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Sir Donald Runnicles, Madeleine Pierard and the NZSO

Reviewed by John Daly-Peoples

Sir Donald Runnicles

New Zealand Symphony Orchestra

Four Last Songs

R. Strauss: Rosenkavalier Suite

R. Strauss: Four Last Songs (Vier letzte Lieder) performed by Madeleine Pierard

Johannes Brahms: Symphony No. 3

Conductor; Sir Donald Runnicles

Auckland Town Hall

October 2

Reviewed by John Daly-Peoples

The Rosenkavalier suite is an orchestral arrangement derived from Richard Strauss’s famous 1911 comic opera and consists of five connected sections that capture the emotional and melodic core of the opera. It is a marvellous piece of composition which showed off the strength of the orchestra with Sir Donald Runnicles conducting with tremendous energy particulary in the final, uproarious waltz sequence, where Sir Donald seemed to be like a ringmaster in charge of a circus band.  

Throughout the work he ensured that all the tonal and percussive qualities of the music were appreciated, bringing out the intense drama of the work as well as the more pensive parts where the orchestra was almost whispering and in several of the dance sequences, he almost seemed to take flight.

The strings were particularly expressive in the presentation of the rose sequence as well is in the final trio, but the finest sequence of all was the prelude, with its marvellously colourful horns.

Strauss’s Four Last Songs come at the end of the period of great German music and while the songs are something of a requiem for the composer, they are also a meditation on the downfall of Germany and the end of its romantic period. However, the mixture of the depressing and the defiant can also be seen as a celebration of the eventual resurrection of the man as well as that of the country.

The four poems which are set in a garden trace out both a day and a life from the perspective of the composer reflecting on the passing of time and his own life.

The first song Frühling (Spring) is a setting of a poem by Hermann Hesse about waking up in a scent filled spring garden. The second song September makes use of a Hesse poem depicting the garden’s colours changing to autumn.

In Beim Schlafengehen (Going to Sleep) the composer uses the poem to explore his desire to escape the demands and worry of the day and to escape into the night.

The final song Im Abendrot (At Sunset) takes a poem by Joseph von Eichendorff in which the composer depicts himself and his wife at sunset contemplating death with the composer quoting from his own composition Death and Transfiguration.

 Madeleine Pierard

 Madeleine Pierard managed to capture the sense of life slowly ebbing from the body and contemplation of death with the occasional vision of tranquillity. Her shimmering gown seemed to mirror her shimmering voice shot through with light sparkling against the dark.

At times she allowed the music to overwhelm her voice as though overcome by the forces of death and despair, only to then rise above the music. At times her voice seemed like a musical instrument as it flowed among the sounds of the orchestra

Throughout the songs her voice had an introspective quality, the music providing the garden in which she wandered, her aching despairing voice emerging as though striving to find new life.

Her voice had a superb quality of emotional expression matching the emotional quality of Strauss’s music, always able to complement the power and delicacy of the music.

Concertmaster Vesa-Matti Leppanen provided a soulful violin solo in the Going to Sleep song, mirroring the vocal soaring of Pierard’s voice depicting the rising of the soul in flight and is emotional highlight of the song cycle.

The major work on the programme was the Brahms “Symphony No 3, a work which is full of marvellous melodies, but which is something of an enigmatic work.

In many ways it is a forerunner of the impressionist works of Debussy and Ravel reflecting the interest of the Impressionist artists of the late nineteenth century. Much of the music is linked to visions of landscape, light and shade, colours and texture.

Sir Donald took a very nuanced approach to the music exploring the chiaroscuro of the work. Every tonal change seemed to have an extra emphasis with some sections slightly truncated while others were extended and several sequences had a palpable tension.

These images he created parallel a world of emotions and feelings, the composers inner and exterior worlds mingling. In building a structure based on these links Brahms explores the nature of the human condition. This is particularly evident in the final movement with its passages of drama and tumult suggesting natural forces as well as the inner turmoil of love and passion.

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Cabaret

Reviewed by Malcolm Calder

Three Ladies and more Image: Andi Crown

Cabaret

Book Joe Masteroff

Music John Kander

Lyrics Fred Ebb

Based on the play by John Van Druten

Based on stories by Christopher Isherwood

Director Benjamin Kilby-Henson

Musical Director Robin Kelly

Choreographer Kira Josephson

Set & Costume Dan Williams

Lighting Rachel Marlow, Bradley Gledhill, Filament Eleven 11

Sound Sam Clavis

Voice/Dialect Kirstie O’Sullivan

With Susan Brady, Nomi Cohen, Jonathan Martin, Hillary Moulder, Matu Ngaropo, Steven Ray, Justin Rogers, Monēt Faifai-Collins, Vincent Farane, Joel Hewlett, Sophie Jackson, Kira Josephson, Josh Morris, Emily Patterson, Waikamania Seve, Adeel Surendran, Te Ohorere Williams

ASB Waterfront Theatre, Auckland

Booking to 25 October

Reviewer Malcolm Calder

25 September 2026

Director Benjamin Kilby-Henson has noted that Cabaret is his ‘absolute favourite of all time’.  One of mine too.  And this production for ATC more than bears both of us out.

Publicity hoopla aside, this is quite simply a stunning staging and one of which ATC can be proud.

Kilby-Henson’s Cabaret has strength and power, is theatrically engaging, explores multiple values and provides its audience with one of the most satisfying and fascinating shows of 2026.  In a word, this show has Zing!  And whole lot more if we look for it.

Firstly, let’s look at the casting.  There is a breath of fresh air with nearly 2/3 of the company being ATC first-timers, ably backed up by some firm experienced hands.  And, while music-theatre performers may have long been a standout product of the NZ scene over the years, this selection serves Kilby-Henson’s purposes particularly well.  From the strength of Susan Brady’s Fräulein Schneider counterpointed by Steven Ray’s earnest Herr Schultz, to Hillary Moulder’s brash Fräulein Kost or the multiple characters subtly nuanced by Monēt Faifai-Collins and Waikamania Seve, and on to Te Ohorere Williams’ towering mezzo, this is an ensemble built on power, conviction and absolute unity.

Nomi Cohen more than holds her own as Sally Bowles, teaming well with Justin Rogers (Clifford Bradshaw).  At one point I wondered if her sudden disintegration, descent, and eventual demise was a bit sudden.  But it actually works – think about it. She nailed it.

Towering over them, so might say their ringleader, is the near ever-present fishnet-clad figure of Matu Ngaropo. His Emcee leads, sets scenes, describes and comments; he is the gel that ties everything together and, ultimately, he is the heart and soul of the message around which this Cabaret has been built.

Musically, Robin Kelly’s band somehow, and quite fittingly, combines the tacky with the creatively winsome.  Whoever would have conceived of a sousaphone taking centre-stage for a german folk song with a hidden anthem?

However it is the overall design that works and makes everything else work well – as well!  From a faux hanging CABARET with the third, fourth, fifth and sixth letters occasionally highlighted, to some special effects that actually made me jump, to costumes that blended function with form, blurred sexuality and underpinned everything this production is about.

A word of appreciation too for Kira Josephon’s choreographic work. Slapdash, and higgle-depiggedly yes, but also tight, slick and well-rehearsed when it mattered.  Like when it was meant to be slapdash, and higgle-depiggedly!

And therein lies the principal secret of Cabaret’s continued reiteration and lasting success.  Not only does it tell a story, it tells it well and then grows with each re-telling.  It has a profound message about values that are universal.  Far from simple, these are about civilisation and the world in which we live.  From Hal Prince’s original Broadway staging back in the 1960s, the tone and focus of this classic have changed considerably.  Many years ago, a young Judi Dench gave us a Sally Bowles who guilt-tripped the audience, and Sam Mendes’ shone a light on the Emcee providing a very different interpretation in 1993 that oozed evil and made audiences squirm.  A more recent London revival turns an entire auditorium into the Kit Kt Klub, has enjoyed more than 5 years of continuing success and won a clutch-full of awards. 

This production tells the same story.  But in its own way.  Probably deserves its own award even as it strikes something of a middle ground.  There are many factors lurking just beneath the surface of this production and we don’t have to look too far to see them.  In many ways they work to Cabaret’s favour allowing it to become a more subtle allegorical work – the job of art after all.  Particularly in light of a world that has, and is, becoming increasingly complex, riven by dissent and to much of which we may well be blind.

 Auckland Theatre Company is to be congratulated too.  With a shrinking audience base it has struggled to find a new one.  That has seen ATC presenting some rather tired work over the last few years, to exploring multi-culturalism, to pushing the limits of its Pasifika potential, to encouraging youth involvement and every so often to surprising us with a gem. 

2026 however has seen something of a turnaround.  There have been a succession of interesting and well-produced productions – supported by the occasional overseas import – several directed by Mr Kilby-Henson.  Audiences appear to be re-discovering quality theatre and, in Kilby-Henson, ATC may have discovered a director with energy, ideas and a thirst for the new – in every sense.

After all, life is but a cabaret.

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NZ Opera’s “The Pearl Fishers”.

Reviewed by John Daly-Peoples

The Pearl Fishers Image; Andi Crown

Georges Bizet, The Pearl Fishers.

NZ Opera

The Freemasons Foundation

New Zealand Opera Chorus

Aotea Centre

September 23

Reviewed by John Daly-Peoples

Bizet’s 19th century opera Les Pêcheurs de perles (The Pearl Fishers), was composed when he was twenty-four, but he had already written half a dozen smaller works by then including one based on the Irish dramatist RB Sheridan’s 1775 farce, St. Patrick’s Day; Or, The Scheming Lieutenant.

This entrée to the world of opera should have given the composer a reasonable understanding of both the importances of the libretto and the music for opera. In fact, The Pearl Fishers, was a problem work for its inception. Benjamin Jouvin, the music critic of Le Figaro dismissed the premiere of the work, writing that,” there were neither fishermen in the libretto nor pearls in the music.”

Brad Cohen, General Director of NZ Opera, also knows the about problems with Bizet’s opera better than most, having prepared a new critical edition of the score in 2002 as well as conducting the work several times.

Critics from its 1863 premiere onward noted that the plot relies heavily on melodramatic cliches, convenient coincidences, and static action where key events are discussed rather than shown.

Despite many of the operas problems it contains one of the most famous of opera’s duets “Au fond du temple saint”, which comes near the beginning of the opera.

As the programme notes of this latest production states “underneath the surface lurks a 21st century challenge – how to triangulate a supposedly Ceylonese setting with an original libretto demonstrating colonial attitudes to both race and (Hindu) religion, as well as very antiquated male attitudes about women and chastity.“

This “problem, but also an opportunity. invited us to revisit the piece along with a view to reframing it for a 21st century audience. … we tell a parable about the ruthlessness of Western powerbrokers today where transgressors to the cult are executed publicly.

We were reminded of one of the greatest films of all time – Casablanca – where Humphrey Bogart and Paul Henreid compete for the affections of Ingrid Bergman against the shifting sands of the 1940s Second World War.”

To make the opera more accessible and relevant Brad Choen has moved the setting from Ceylon to an unspecified Pacific location where the luxury brand Pecheur & Perle are hosting an event at the exclusive resort, The White Pearl presumably akin to the TV series White Lotus.

The two male leads have been updated so Zurga is now Director of Brand Strategy for the company and Nadir the previous Creative director while Leila who was originally a priestess of Brahma is now billed as a celebrity singer.

However, changing the characters, plot and setting has done little to deal with the issues of misogyny, racism and religious intolerance.

What remains of the opera are the features which have allowed it to remain one of the great second tier operas – few great musical sections including “Au fond du temple saint”.

Samuel Dundas (Zurga) and Madison Nonoa (Leila) Image: Andi Crown

In this production one of the more impressive scenes is the second act scene of Zurga and Leila located in his quarters. The tight rectangular, space has the same mood as Puccini’s setting in Tosca where Scarpia attempt to seduce the diva.

The three principal singers all had the strong voices and technique necessary, but occasionally they seemed to lack the sense of melodic line in their singing. 

Madison Nonoa who excelled in her role as Leila had a captivating stage presence with open smiles and beguiling gestures. She projected with clarity and warmth although she did not seem to convey the inner turmoil of her character. She was at her best in her Scene II opening aria and her later confrontation with Zurga.

Filipe Manu (Nadir) and Madison Nonoa (Leila) Image; Andi Crown

The very dapper Nadir sung by Filipe Manu possessed a most elegant tenor voice and he sang with exquisite control, his voice tender, yet steely. 

Samuel Dundas as Zurga displayed a strong voice suitable for the forceful character of the firm’s manager especially when he was bent on revenge against Nadir. He sang with excellent technique and emotion as well as moving and acting well on stage.

Madison Nonoa (Leila) and Filipe Manu (Nadir) Image; Andi Crown

The set and costumes by Yannis Thvoris worked well enough with a mid-twentieth century look but the inclusion of cell phones seemed at odds and the cheerful scene at the execution of Leila and Nadir was strange as was the execution setting of electric chairs instead of the guillotine.

Even through the opera present several problems these are mainly the fault of the librettists, Eugene Cormon and Michel Carre so the blame shouldn’t be laid at the feet of Bizet.

Throughout the performance the audience was entranced and completely immersed in the production. There was appreciation of nearly every aria and a rousing ovation at the conclusion.

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Australian Music: Umberto Clerici Conducts Dvorak

Reviewed by John Daly-Peoples

Umberto Clerici

Australian Music: Umberto Clerici Conducts Dvorak

Concert Hall

Sydney Opera Houseouase

September 18

Reviewed by John Daly-Peoples

In February 2022 as Auckland was coming out of Covid lockdown the Auckland Philharmonia gave a special performance in the Town Hall to 100 masked patrons. It was the orchestra’s first concert after nearly two years and the major work on the programme was Dvorak’s Symphony No 8, a joyful work sounding the relief after many days of seclusion.

Last week the Sydney Symphony Orchestra was playing the Dvorak symphony as part of their Tea & Symphony series which feature one-hour daytime orchestral performances at the Sydney Opera House complete with complimentary tea and biscuits.

The symphony is like the soundscape to a Czech epic tale with a mixture of nature, landscape, events and dancing, it is the music of adventures, heroics, and larger than life figures,

Like other composers of the period there is a strong element of nationalism to the music similar to the earlier works of Jean Sibelius’  such as “Finlandia” and Edward Greig’s “Peer Gynt Suites”.

The music is focused on the landscape and ethos of the country with Dvorak presenting changing moods and unfolding spectacle. He moves from the playful to the picaresque, from the dramatic to the contemplative. There is wit and there is angst all skilfully delivered by conductor Umberto Clerici.

After the honeyed tones of the opening and the sweetness of the flutes the orchestra erupted with joyous celebratory tones flecked with hints of drama. Then we heard bird-like sounds from the strings followed by some ferocious sounds from the percussion heralding a triumphant Nature.

The second movement featured a flowing dance sequence illuminated by woodwinds and flutes. Then after a mysterious segment there was another spritely dance sequence featuring strings, brass and woodwinds.

The third movement was full of shimmering sounds creating a spring-like impression full of joy followed by passages of dark foreboding while the fourth movement opens with a big, bold march tune which morphed into a sequence of Czech dance tunes such as the polka, Dvorak turning these simple melodies into clever musical inventions.

The final movement opens with commanding brass fanfare that is followed by the cello which introduced the lyrical main theme—a distinctly Czech melody consisting of wide-ranging variations which shift dynamically between moments of fiery, rustic energy and tender, introspective beauty.

The first work on the programme was Ligeti’s “Romanian Concerto“ which like Dvorak’s Symphony was a nationalistic work with the composer responding to the sounds of Romanian village band.

The work composed in1951 opens with a sweeping landscape common to many composers reacting to their country’s nationalist sympathies. The flute sounds hinting at the bright glint of light on water also suggested the dawn of a new era of modernist composition.

Then there were rousing sounds from the woodwinds referencing lively, dance themes as well as some quirky abrupt, sequences and some rustic sounds from the horns. There were also mysterious, restless passages with the sounds of gypsy strings which Legeti recalled from his youth.

The way in which he wrote the music of the village bands with a slight discordant sound was regarded by the authorities as incorrect and led to the work being banned for many years.

Future Sydney Symphony Orchestra concerts

October 30 – 31 Mendelssohn’s Elijah with Bryn Terfel

November 6 -8 Simone Young conducts Mozart & Bach

November 19 – 22 Simone Young conducts Gotterdammerung

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Australian music: Sydney Symphony Orchestra performs Mozart’s Requiem

Reviewed by John Daly-Peoples

Stephen Lawton. Image: Sydney Symphony Orchestra

Mozart’s Requiem

Sydney Symphony Orchestra

Sydney Opera House

September 9

Reviewed by John Daly-Peoples

The last performance of Mozart’s Requiem I heard was a couple of years ago at the Royal Albert Hall where there were close to two thousand choristers.

Sydney Philharmonic Choirs may have had only a tenth of that number in last nights performance with the Sydney Symphony Orchestra but under the direction of conductor Stephen Layton it delivered an intense, introspective interpretation which showed that size alone does not produce sonic brilliance.

The Requiem  may have been written for Count Franz von Walsegg but it always feels to have been written for Mozart himself.

The Latin text that he used would have been familiar to him as well as most Europeans of the day and it would have held meaning for the composer as well with four of his six children dying young

Is is the emotional drama of the music which is very much the composers as he reflects on his own life and mortality.

 From  the opening Introit, Mozart defines what is central to the work – lifes journey from uncertainty to renewal.

In the first sections, the Introit and Kyrie we have the first intimations of a heavenly voice with a brief appearance of soprano Samantha Clarke as well as hints of melancholia from the darker strings. Mozart then gives us an extraordinary change of pace with sonic punches from orchestra and choir with Dies Irae. This acknowledgment of the Day of Wrath with thunderous sounds was as powerful as any of his operatic moments.

This was followed by Tuba mirum where the soloists and their tenuous searching voices made us aware of the human figures in the work. Baritone Simon Meadows melancholic voice alerted us to the dark dimensions of life while Clarke and mezzanine Ashlyn Tymms gave us wondrous angelic sounds.

With the Rex tremendous the soloists and orchestra provided a beautifully  layered sound providing an emotional richness. Clarke seemed particularly engaged with her bright, focused voice

Mozart only wrote the first eight bars of Lacrimosa before he died (completed by his close  friend and pupil Xaver Sussmayr. It is a sumptuous piece which conveys human sadness with  mixture of lightness and despondency which the choir elegantly delivered.

The Sanctus which followed showed a  particularly forcefully choir and orchestra while in the Benedictus which followed  Tymms’ distinctive voice along with Clarke’s soured above the warm voices of tenor Andrew Goodwin and Meadows’s powerful baritone, the four voices intermingling in an elegant display.

With the beautifully crafted Agnus Dei the choir seemed to be searching for a new sound, their voices varying from the lightest of whispers to full crescendo but with the final Communio they embarked on the great drama which ended the work.

After interval the orchestra played Fantasia on a Theme by Thomas Tallis by Ralph Vaughan Williams and John Rutter’s Gloria. The Vaughan Williams melancholic music which explores British landscape with sounds of the spirit rising to an apotheosis was rewarding while Rutter’s celebratory work was fine companion work to Mozart’s Requiem.

Stephen Lawton’s conducting throughout the work was crisp and controlled ensuring a nuanced sound from the orchestra and choir but his conducting became more agitated and demonstrative when the music required.

Future Sydney Symphony Orchstra concerts

October 30 – 31 Mendelssohn’s Elijah with Bryn Terfel

November 6 -8 Simone Young conducts Mozart & Bach

November 19 –  22 Simone Young conducts Gotterdammerung

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The Art of Terry Stringer

Reviewed by John Daly-Peoples

The Art of Terry Stringer

Edited by Linda Tyler

Massey University Press

RRP $90.00

Reviewed by John Daly-Peoples

Terry Stringer has been a leading New Zealand sculptor and a key figure in the history of art in New Zealand. Working predominately in bronze, the majority of Stringer’s sculptures depict figures and still-life subjects. Many of his works reveal his interest in classical sculpture, Renaissance art, cubism and architecture along with mythology and literature.

It is these wide range of influences which are explored in a new book “The Art of Terry Stringer” which examines his life and work.

Along with a substantial introductory biographical essay by Linda Tyler, the book features essays by Peter Simpson, Mark Hutchins-Pond, Mark Stocker, Andrew Douglas and Robin Woodward, each focusing on different aspects of Stringer’s body of work. It is handsomely illustrated with photos of Stringer in his studio by Jane Ussher, and of the artist’s work by art photographer Haru Sameshima.

Terry Stringer. Arts Laureate Award, 2000. Bronze, 19.5cm. Haru Sameshima

It is a book that reveals the inspirations, the thinking, the processes, and the way he perceives his art within various environments ant the writers, photographers and designers have crafted a book which seems to have all the characteristics of the artist’s approach to creation.

Some of his major works can be seen at public sites throughout Aotearoa/New Zealand. These include The Risen Christ in Christchurch’s Cathedral Square (now in storage), Mountain Fountain, in the forecourt of Auckland’s Cathedral of the Holy Trinity and The World Grasped in Newmarket.

Terry Stringer. Being in Time 2021 AP. Courtesy of Milford Galleries. Photo Glenn Frei: Being in Time, 2021. Bronze, 220cm. Courtesy Milford Galleries, Dunedin and Queenstown, photograph by Glenn Frei

Stringer says of his approach to sculpture making, “For me, it has been a lifetime of pursuing one idea. I have to say that I am making the same sculpture over and over, and that it changes just a little each time, each piece of it being a new puzzle to solve. In the making of a work two contradictory ideas are clashed together — perhaps one subject transforms into another as the work is turned, or it might be that a figure that has been distorted for formal reasons needs to be brought to life.”

With many of the artists’ works he provides the viewer with multiple viewpoints, as Peter Simpson notes in his essay “The Intercut Image”. One of these sculptures “Gather ye Rosebuds” takes its title from the Robert Herrick poem and the work’s multiple images reference images from the poem – a young girls face, a blooming rose and a reaching hand.

The intercut images are not just a way of rewarding the viewer with changing perspectives we also see the artist exploring the nature of three-dimensional art.

Terry Stringer. Temple of Flora, 2004. Bronze, 254cm. Gil Hanly

The book has over one hundreds photographs by Jane Ussher and Haru Sameshima which feature many of the artists’ works as well as his studio and residences. The images of his studio are particularly revealing, Ussher has captured the artist at work in his current cavernous studio in Couldry St in Mt Eden as well as at the foundry where his works are made.

Zealandia, Mahurangi, by JASMAX Architects, 1998–2000. Simon Devitt

The photographs provide a visual record of the artist which sees the artist in the various stages of producing his work, revealing the almost magical steps in the creation of the artworks.

There is also a photographic essay on the evolution of a sculpture he was making of the painter Jacqueline Fahey. From initial sketches of the artist through the various stages of making the original clay figure, going to the foundry and the finishing processes.

He says of the process ‘Bronze sculpture-making has many stages. This sequence of images showing the evolution of a head of the painter Jacqueline Fahey starts with a drawing and then the clay work. From there it is plaster-moulded in my studio and wax is poured into it before it goes to the foundry. There it is prepared, re-moulded and baked out to create a ceramic shell for the bronze to be poured into. In this manufacturing process the artist starts the sequence and then decides the final presentation. Bronze-making is a story of life, death and rebirth over several episodes, until the work is finally realised.’

Of the photography by Jane Ussher several of which show Stringer in his studio he says “They have the atmosphere of old master paintings. And I had huge fun collaborating with Jane in staging still life groups that referenced various sources of inspiration.”

Terry Stringer Image Jane Ussher

Linda Tyler says of his work “His ideas for sculpture are typically quirky and engaging as well as beautifully executed, and while his works belong to different series, there are certain constants. For example, he communicates his sense of fun by encouraging viewers to move around each sculpture and make (sometimes startling) discoveries for themselves. I think that this derives from his love for Victorian ‘optical amusements’ such as folded pictures and puzzles where you see one image when you look in a certain direction, and something different when you look back the other way.”

Throughout his practice he has produced a number of figurative works which celebrate New Zealand artists with works depicting Charles Rose, Frank Sargeson, Frances Hodgkins, Kiri te Kanawa and Jacqueline Fahey.

Along with Tyler’s writings there are five essays by gallery directors, arts writers and university teachers – Andrew Douglas, Peter Simpson, Mark Stocker, Mark Hutchins-Pond and Robin Woodward. These writers investigate particular areas of nth artists work — his purpose-built residences / studios, the intercut images, the medals and maquettes and assemblages.

Stringer was awarded a Queen Elizabeth II Arts Council Scholarship four times – 1977, 1981, 1982 and 1986.  His contribution to New Zealand art was acknowledged in 2003, when he was the recipient of the country’s national honour, the ONZM (Officer of the New Zealand Order of Merit).

Throughout his career Terry Stringer has exhibited extensively, with solo shows in Auckland, Sydney, Los Angeles and London. He is represented in major public collections, including the Auckland and Christchurch Art Galleries, Museum of New Zealand Te Papa Tongarewa and the Alexander Turnbull Library.  

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The NZSO’s Rhythm & Dance: infectious dance tunes of the Twentieth Century

Reviewed by John Daly-Peoples

Gemma New

New Zealand Symphony Orchestra

Rhythm & Dance

Auckland Town Hall

September 5

Reviewed by John Daly-Peoples

The four works on the NZSO’s Rhythm & Dance programme were infused with dance music of the twentieth century, all linked to the music of the Jazz Era with dance tunes which were immediately recognizable with infective portraits of places and events.  

Ten years ago the Auckland Arts Festival presented a concert version of John Adam’s Nixon in China one of the great operatic works of the late twentieth century recounting the visit of President Nixon to the Republic of China in 1972 and his meeting with Mao Zedong.

The opera has several dance-like tunes and “The Chairman Dances” is an interlude with no singing that has been described by Adams as an “outtake” from the opera depicting Madame Mao gate-crashing a presidential banquet and performing a dance.

The percussion and woodwinds opened “The Chairman Dances” sequence before slowly building Adam’s minimalism sounds which featured a mixture of delicacy and robust sections.

The music relies on a clever mixture of percussion, bassoon, viola, along with an insistent, foxtrot rhythm with some bell–like sounds introduced Madame Mao along with music that referenced 1930s Chinese film music.

The work finished with a typical Adams percussion combination of piano, wood block and snare drum.

Conductor Gemma New responded to the music with her own flowing and floating gestures, notably in the animated fox trot sequence and the bell liken sounds which referenced Madame Mao’s early career as a film actress.

Patrick Barry

Copland’s “Clarinet Concerto” saw soloist Patrick Barry navigating the technical capabilities of the clarinet with a marvellous dexterity. After a soulful, filmic opening. his instrument soured above the orchestra, its bright sound weaving through the sounds of the orchestra.

There were sections where the clarinet captured the vast, open spirit of the American West and others where jazz was more dominant. Then there were passages when the orchestra seemed to be replicating the sounds of the clarinet and some boisterous sequences where the piano provided some gritty syncopation.

The orchestra and clarinet hurtled towards the finale with a fast and jazzy sounds, blending popular rhythms along with a reference to George Gershwin’s Rhapsody in Blue.

Gabriela Ortiz ‘s “Anropolis” is a portrait of Mexico City, describing the sounds and energy of the dance halls and clubs of the city. Central to the performance was the wide range of percussion instruments which delivered an edgy, constantly evolving percussion background.

From the massive opening drum and brass displays the work moved to a high energy soundscape punctuated by flute and brass where waves of sounds were constantly interrupted by the drum soloist. The work transitioned through different musical styles, including traditional Mexican sounds, mambo, and experimental punk with the musicians briefly shouting out in unison in a nod to dance hall routines.

This was high velocity music with some hectic, playful sequences which the orchestra players and conductor appeared to relish.

The last work on the programme was the “Symphonic Dances from West Side Story” by American conductor and composer Leonard Bernstein. Here, we get the ten-movement suite of orchestral music from West Side Story, with its recognizable tunes, familiar Latin rhythms and elements of jazz.

From the rhythmic finger snapping used by the Jets and the Sharks during the opening instrumental sequences through the jazzy dance sequences and the romantic interludes the music captured the spirit of New York.

The music has its emotional centre in the wholesomeness of Tony and Maria’s relationship conveyed by “Somewhere”, but it was shattered by the dark hatred of their environment and the gangs conveyed by the gangland themes.

Throughout the work Bernstein cleverly changes the pace of the music the high energy and jazzy sequences contrasting with the romantic scenes of the two lovers.

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Wellington artworks added to register of 20th Century Public Art

John Daly-Peoples

Matt Pine, Cone Piece. Whanganui War Memorial

Thirty-one Wellington artworks have recently been added to a national register of 20th Century Public Art which at present has more than 500 listed artworks.

Finding, researching, documenting, promoting, and where possible saving, Aotearoa New Zealand’s 20th Century public art is the mission of Public Art Heritage Aotearoa New Zealand (PAHANZ).

To this end the Wellington City Council supported PAHANZ in researching and listing a further 31 artworks from throughout Wellington City.

These works have now been added to the Trust’s website https://PublicArt.nz, an online register of artworks made, and installed in public space in New Zealand between 1900-1999.

Alongside the artworks, the website also provides biographies of artists, art collectives, and organisations associated with these works. With the Council’s support, 17 new artist biographies and associated organisations/people pages have been added.

Milan Mrkusich B J Ball 35 Graham St Auckland

Sue Elliott, co-director of PAHANZ said “many 20th Century public artworks have been destroyed, covered over, or simply lost. Others remain undocumented and at risk due to a lack of public knowledge of their significance and value. Our website is New Zealand’s first national register of these cultural treasures; launched with 380 works in mid-2023 and now grown to well over 500 works.

“Thanks to funding from Wellington City Council’s Public Art Panel, we have researched a further 31 works for uploading. These works were prioritised to reflect works that were at risk; those that were likely to gain category 1 or 2 significance from our independent assessment panel; and those that increased the diversity of artists already represented on the database,” she said.

The database can be searched by a number of factors including: the artwork, the artist, its location, date or medium.

The works that have just been uploaded include 24 works that are still publicly accessible, three works that are now in storage, and four destroyed/decommissioned works.

Neil Dawson, Ferns Civic Square , Wellington

The 31 Wellington works include works by public art heroes such as: Jim Allen; Doreen Blumhardt; Roy Cowan; Robyn Kahukiwa; Para Matchitt; Beverley Shore-Bennett; Michael Smithers; Toi Te Rito Maihi and many others. They can be found dotted about the city in: The CBD; Botanic Gardens; Te Ngākau Civic Square; Karori; Mt Victoria; Miramar; Thorndon and Newtown.

Co-director, Bronwyn Holloway-Smith said: “The uploading of these works in Wellington is particularly timely with the revitalisation of Te Ngākau Civic Square and soon to be re-opened Te Whare Wakarauika Wellington Town Hall, both of which are important sites of public art. Simultaneously, we’ve also submitted applications for Heritage New Zealand classifications for both the City-to-Sea Bridge and Harbour Plaza, and the Michael Fowler Centre with the important works contained within this building.

“By documenting, promoting, and seeking protections for Aotearoa New Zealand’s 20th Century public art we’re highlighting the value of these creative contributions to public space, and raising awareness about the stories they embody to ensure this important aspect of our culture is accessible to future generations of Kiwis.”

With over 500 works now listed on the register, PAHANZ still has much to do, with a further 1067 works to be researched that include accessible works alongside those that have been lost/hidden/destroyed, or whose current status is not confirmed. These include a further 89 works in the Wellington region that are awaiting auditing and listing.

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Reviews, News and Commentary

Michael Dell’s enigmatic landscapes at Föenander Gallery

Reviewed by John Daly-Peoples

Michael Dell. Landscape at Moutere

Michael Dell. Every Time the Sun Comes Up

Föenander Gallery

Until September 15

Reviewed by John Daly-Peoples

Michael Dells paintings hover between realism and abstraction, between the familiar and the obscure. Viewed as realist depictions the paintings have a mundane subject matter with view of trees, roads and distant hills but Dell gives them a mysterious quality with a misty perspective while the occasional road markings provide an enigmatic narrative.

When viewed as abstractions the artist highlights the ambiguity of the works by including two abstract works, Small Blue Field ($3200) and Small Purple Field ($3200). Here the ambiguity is accentuated by the titles of the works with the artists referencing both the aesthetic notion of ‘Colour Field’ as well as the landscape idea of the field in nature. Small Blue Field like looking into a darkened space or a dense nighttime scene while Light Grey / Blue Field is like looking at the sky or a misty scene

With largest of the works in the exhibition Landscape at Moutere ($26,500) the artist has managed to produce a work in which abstraction and realism almost coincide, the bands of road, field, trees, hills and sky seen as bands of abstract colour.

Michael Dell, Small Blue Field

A couple of works in the exhibition feature road markings leading the eye towards the distant bunching of trees, the only man-made intrusions. In Roadside Landscape 2 ($14,000) the median line curves to the right while Roadside Landscape   1 (($14,000) and Roadside Landscape   3 ($14,000) the median line directs the eye to the background trees.

Michael Dell. Roadside Landscape 3

With other landscapes such as Roadside Landscape 1 ($14,000) the sense of depth is created with some hazy tree branches in the foreground. Dell employs several of the traditional techniques used by landscape painters to give a sense of depth. In some of the works, bands of light cross the roadway creating a sense of depth while in other works it is the colour transition across open ground which creates the depth.

Adding to the Realism / Abstraction ambiguity Dell has employed a technique that suggests that paint has been wiped from the surface of the paintings or that a film has been applied to the surface. This denial of the authenticity of the painted surface heightens the ambiguity of his paintings.

Dell’s paintings explore the nature of light the way they define objects, create space and mood. With works like Velvet Morning ($18,000) the artist seems to have captured both the intense areas of light as well as the dense concentrations of darkness and shadow.

Categories
Reviews, News and Commentary

The Royal New Zealand Ballet’s Sleeping Beauty tours New Zealand

Preview: John Daly-Peoples

The Sleeping Beauty

Royal New Zealand Ballet

Sleeping Beauty

In association with New Zealand Community Trust (NZCT)

29 Oct-Dec 20, 2026

The Royal New Zealand Ballet final ballet of its 2026 series invites audiences to enter a world of fairytale magic as Greg Horsman’s acclaimed production of The Sleeping Beauty returns for a nationwide tour from October to December 2026.

Celebrating the arrival of summer and the festive season, this spectacular production revives one of the Company’s most cherished works. Since its triumphant premiere in 2011, The Sleeping Beauty has become a favourite with audiences across Aotearoa, with more than 42,000 people experiencing its original nationwide tour. 

“It is wonderful for the Royal New Zealand Ballet to return to The Sleeping Beauty to bring our 2026 season to a close,” says Artistic Director Ty King-Wall. “Created for our company, Greg Horsman’s production is an evocative and respectful staging of one of the great ballets of the 19th century. We look forward to a new generation of dancers taking on these coveted roles as this much-loved story awakens once more.”

Set to Pyotr Tchaikovsky’s iconic score, The Sleeping Beauty tells the timeless story of Princess Aurora, whose destiny is altered by a wicked curse before true love awakens her from an enchanted sleep. Combining exquisite classical choreography with breathtaking theatrical design, this production offers an unforgettable ballet experience for audiences of every generation.

Greg Horsman’s elegant choreography honours the grandeur of the classical tradition while bringing warmth, humour and humanity to one of ballet’s greatest masterpieces. Richly detailed sets and costumes by acclaimed designer and former RNZB Artistic Director Gary Harris transport audiences into a storybook kingdom filled with glittering courts, enchanted forests and unforgettable fairytale characters.

Adding an unmistakably New Zealand touch, the production features magical elements created by Wellington’s Wētā Workshop, whose artistry brings an extra sense of wonder to Aurora’s enchanted world. Together with Jon Buswell’s atmospheric lighting design, the production creates a visually stunning theatrical experience that continues to captivate audiences more than a decade after its premiere.

Following its success with the RNZB in 2011, Horsman’s production travelled across the Tasman after the choreographer joined Queensland Ballet in 2012. Since then, it has been staged there several times to widespread critical and audience acclaim, cementing its reputation as one of the most beautiful contemporary interpretations of this enduring classic.

The 2026 tour will feature live orchestral accompaniment in Wellington, Christchurch and Auckland, with Hamish McKeich conducting. Performances in Wellington will be accompanied by the New Zealand Symphony Orchestra, Christchurch performances by Christchurch Symphony Orchestra, and Auckland performances by Auckland Philharmonia. Performances in all other touring centres will be accompanied by a recording of the New Zealand Symphony Orchestra.

“We’re proud to support the Royal New Zealand Ballet as it brings this remarkable production to communities around the country,” says NZCT’s GM of Grants, Marketing and Communications, Ben Hodges. “The tour will give thousands of New Zealanders, including many living beyond the country’s main centres, the chance to experience the magic of world-class live ballet.”

Perfect for first-time ballet-goers, devoted dance lovers and families looking to share a magical experience together, The Sleeping Beauty is the ideal pre-Christmas outing. Overflowing with romance, adventure, dazzling dancing and unforgettable music, this much-loved production promises an afternoon or evening of enchantment for audiences of all ages.

PRODUCTION TEAM

Choreography: Greg Horsman
 

Music: Pyotr Tchaikovsky
 

Set and Costume Design: Gary Harris
 

Lighting Design: Jon Buswell
 

Conductor: Hamish McKeich

Live Orchestra 

Wellington: New Zealand Symphony Orchestra 

Christchurch: Christchurch Symphony Orchestra 

Auckland: Auckland Philharmonia 

* All other venues: Recorded performance by the New Zealand Symphony Orchestra

TOUR SCHEDULE

Wellington: St James Theatre
29 October-7 November 2026

Christchurch: Isaac Theatre Royal
11–14 November 2026

Invercargill: Civic Theatre
18 November 2026

Dunedin: Regent Theatre
21-22 November 2026

Hamilton: BNZ Theatre 27-29 November

Auckland: Kiri Te Kanawa Theatre, Aotea Centre
3-12 December 2026

Palmerston North: Regent on Broadway
16 December 2026

Napier: Municipal Theatre
19-20 December 2026