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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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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.

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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

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Cirque Alice full of elaborate acts and surprises

Reviewed by John Daly-Peoples

The Cirque Alice cast take their final bow

Cirque Alice

Civic Theatre, Auckland

August 28 – September 6

Reviewed by John Daly-Peoples

 My invitation to Cirque Alice said that the dress code for the event was A Touch of Wonderland, a request which quite a few people had taken up with several sequined jackets and dresses seated close to me and some children wearing their Frozen dresses. The Civic Theatre was at its best as well, with the winking stars and the occasional comet streaking across the ceiling of the theatre.  The theatre itself was flossed up with spotlights and laser light sparkling across the stage and audience, creating the setting for an extravagant evening. Then we were reminded of where we are and who we were to meet when the White Queen commanded us to ensure there was no flash photography or it would be “off with your head”.

Cirque du Soleil shows are always elaborate gymnastic displays, but they are always imbedded with a story or narrative which loosely holds all the characters and the events together.

The advertising for Cirque Alice said it was a reimagined Alice in Wonderland, Lewis Carroll’s classic tale of characters and adventures but like a lot of Cirque show after establishing the reason for being there the evening takes on a rather casual approach to the narrative. The characters are all immediately recognisable – Alice, White Rabbit and Mad Hatter but their adventures and exploits take you to another realm.

The show featured a lineup of some of the greatest circus and magic performers on earth – from America’s Got Talent: Fantasy League, and Cirque du Soleil the cast members were among the very best acrobatic, music and dance talent in the world.

The various acts were set to an enthralling soundtrack of newly arranged contemporary takes on some of the world’s favourite classical hits – Lakme, Swan Lake and Flight of the Bumble Bee while the costumes designed by Angele Aaron were stunning.

The March Hare and Alice

Alice (Layla Schillert) is on stage a lot of the time and with her brilliant soprano voice she wowed the audiencia with some captivating singing. There are even has a few sequences which have been taken for the book. So that when she drinks from an unlabelled bottle, she ends up fifteen metres above the stage with a vast train of a dress.

But it is the Mad Hatter (Darren “Dizzy” Partridge) who is the stand-out performer and one of the few characters who speaks to the audience He is the part magician who gets audience members on the stage. We also get quite a lot of The White Rabbit (Raphael Papo) playing his violin.

The various acts are cleverly structured so that there are spectacular acts where the audience holds its collective breath for several minutes along with acts which are just amazing for the dexterity of the performers as they create small, intimate, poetic moments.

The Caterpillar

One of these poetic more acts was The Caterpillar (Munkhjin Tuvd, Bayarmaa Ganbat, Shinechimeg Otgonbayar and Dolgorsuren Ganbold) where the four performers balance and intertwine with each other bodies creating extraordinary patterns and rhythms.

Then there were acts where you can’t really believe what someone is attempting. There have been many cabaret acts where performers balance a short platform on a ball, managing to keep their balance, but when The Dormouse (Daniel Onofre) starts to pile six tubes on top of each other your heart is in your mouth and then while he is wobbling on this pile of tubes, he introduced a couple of hula hoops which he threaded through his legs and body – ridiculously complicated.

The White King and White Queen (Mathieu and Myriam Lessard) wearing roller skates performed a duo, spinning around on top of a small circular stage and it looked a bit inelegant. Roller skating is pretty difficult at the best of times but the balancing and twirling that they engaged in started to seem impossible. Then when they began spinning with the King supporting the Queen with only a strip held between their two mouths the act became unbelievable and dangerous.

There were a couple of acts where the performers strength and skill was obvious. The Knights (Fadhili Rashidi and Ibrahim Mwaimise) walk around, climb steps and ladders all the time balancing each other on their heads. They did it all with such grace and ease that it makes you think it must be easy, until one of them nearly trips and you realise it’s not that easy.

A Cirque du Soleil show is always more than just entertainment. You get to see people whose skills are exceptional and whose acts are refined to the point that they transcend regular circus and acrobatic performances such as we regularly see the at the Auckland Festival. This is what years of practice, concentration and commitment can achieve.

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Simon O’Neill and Pietari Inkinen shine in NZSO’s Radiance

Simon O’Neill Photo: Phoebe Cassidy / NZSO

Radiance

New Zealand Symphony Orchestra

Conductor: Pietari Inkinen

Tenor: Simon O’Neill

Auckland Town Hall

August 21

Reviewed by John Daly-Peoples

Normally one has to wait till either the Wellington or Auckland Arts festivals brings together a couple of international stars, but the NZSO Radiance concert brought together conductor Pietari Inkinen and tenor Simon O’Neill provided an exceptional linking of two international stars along with an inspirational NZSO.

Both O’Neill and Inkinen have become international names in concerts hall around the world, regarded as Wagner specialists.

With the eerie green light projected onto the Town Hall’s organ pipes, the vast array of instruments on stage and a sold-out performance the concert promised to be a major event. And it was.

Out of the huge orchestra came the initial light tones of the Tannhauser Overture which slowly increased in volume and within a few minutes came the full force and musical energy of Wagner’s music under the baton of Pietari Inkinen

 Carefully shaping the orchestral sound, revealing the brilliance of the music, he made the audience aware of all the hallmarks of Wagner. Mystery, myth, magical spaces, human sacrifice and redemption. Linking the heroic past to contemporary German nineteenth century German religious ideas and nationalism.

It was several minutes into the music that O’Neil entered, bemoaning his condition. His distinctive voice rising above the sounds of the orchestra.

While the workbegins with the quiet, noble hymn representing redemption and faith it soon erupts into swirling, chromatic agitation depicting sensual temptation.

This was music that followed the ideas of the composer – the total work of art with richly orchestrated music, dramas driven by recurring, psychologically shifting leitmotifs and extreme chromatic harmony. It was music which emphasised the ideas of aspiration, regeneration, hope and nobility.

O’Neill fiercely conveyed the idea of a hero struggling against forces beyond his control, with his sharp angular movements and gestures as well as focussed singing.

Under Inkinen’s direction the NZSO provided a perceptive clarity to the music, sensitive to the singing of O’Neill and providing the emotional depth to the unfolding narrative.

There was drama and violence as well as calm and sweetness to the O’Neill’s voice and he demonstrated his total control, his posture, gestures and all his movements seemed natural and he was the embodiment of the Tannhauser, providing a nuanced depiction of the hero.

A Wagner performance is dependent on the role of the conductor, who needs to understand the music’s structure appreciate the connection between singers and the music and is able to balance the needs of the orchestra and the singers.

Pietari Inkinen Photo: Phoebe Cassidy / NZSO

Central toTannhäuser is the exploration on the deep, conflictbetween carnal desire and spiritual purity which prevents Tannhäuser from achieving a psychological wholeness. Rather than a simple moral tale of sin and repentance, it is also Wagners attempt to reconcile his own attempt to understand his own ego driven life and the fate of German ideas.

O’Neill approached the role with immense commitment, his tenor voice powerful and his projection flawless. He maintained an intense, radiant quality particularly in the lengthy Rome narrative section as well his farewell to Venus.

His singing, from the quiet, noble passages representing redemption and faith, through the swirling chromatic agitation depicting sensual temptation of the Venusberg section was always focussed.

Parsifal opens with an achingly beautiful prelude where out of silence, a simple melody emerges, played by the strings, and seems to hover there creating a sense of otherworldliness and later adding grandeur and nobility.

Many of the work’s motifs notably those associated with the Grail and the Spear as well as abstract ideas like sorrow and faith, shame and torment are revealed in the music — the restless string rhythms and shifting harmonies always searching for resolution.

The success of Parsifal relies heavily on an orchestra and conductor appreciating the needs of the soloist and the way Wagner’s music supports the singer and O’Neill was able to balance heroic aspects of the role along with his anguished search for redemption.

The audience was provided with the German text and a translation but only those near to the stage would have had sufficient illumination to read the words. Providing surtitles has become essential for any opera production and should have been available for the Radiance concert.

Just because Bayreuth doesn’t provide surtitles doesn’t mean audiences around the world have to make do without them as well.

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NZTrio’s Space Jump

Reviewed by John Daly-Peoples

Somi Kim, Amalia Hall and Matthias Balzat

NZ Trio, Space Jump

Auckland Concert Chamber

August 16

Reviewed by John Daly-Peoples

The title of the NZTrio’s latest concert came from the first work on the programme – Fazil Say’s “Space Jump for piano trio”. The Turkish composer, Say wrote the work having witnessed the Austrian skydiver Felix Baumgartner jump from a balloon 39 kilometres above the New Mexico desert. His descent time was 9 minutes and 3 seconds making him the first human to break the sound barrier in freefall without vehicle power.

The work which is like the soundtrack to a film of the event described the action of the ascent, the jump, the descent and the  parachute landing.

Ater a short introduction of several sharp sounds the music took on a free, floating tone suggesting the emptiness and soundlessness of the ascent with the occasional music hint at an inherent danger.

Halfway through the piece the cello and violin suggest an almost spectral sound before the climatic sounds of the descent, dramatic and relentless, Amalia Hall energetically plucking at the strings of her violin and the trilling of the piano captured the idea of the billowing parachute and the stillness of its descent

The trio gave an intense sonic performance which required aggressive attacks, precise harmonising, and rhythmic strength with the piano, violin, and cello cleverly creating the sense of being in Earth’s upper atmosphere.

Reena Esmail’s Piano Trio stems from her Indian immigrant background with the threads of Western and Eastern music blending her interest in Hindustani music as well as that of Mendelssohn and Shostakovich.

Each of the four movements has displayed an element of the classical Indian raga which generally provided a melodic framework for improvisation.

The first movement has a particularly light quality with shimmering sounds from each of the instruments and they each seemed to be chasing an elusive sound. There were shifting dynamics between the three instruments where the subtle textures slowly morphed into raga melodies, integrating with the classical. The music was full of tremolos, slides and taut harmonies which created a sense of timelessness.

There were sparkling and watery sounds with a flowing movement along with some exuberant playing by the violin and cello while Somi Kim produced multiple runs on the piano.

The third movement hints at Mendelssohn and Shostakovich whose has been important to her and in the final movement there is a rising, intricate string melody, shimmering over over the piano work, which the led to a passage where the instruments seem to be at odds with each other before moving into a dreamlike conclusion.

The New Zealand composer Keith Moss write his “Field notes in Autum” about his living in Wellington in Autumn.

This was a truly atmospheric piece conveying many elements of Wellingtons weather and its changing light. There is a flurry of rain in the opening moments of the piece before suggestions of fleeting clouds, rain sweeping across hills along with the creeping chill of a Wellington day.

This is a sombre Wellington, dark and brooding but with flashes of sunlight dancing on the houses and hills.

The final, and major work on the programme was Schumann’s “Piano Trio No 2” which is essentially a love letter to Clara Schumann.

It was passionate and intense from the opening moments with the violin and cello in an ardent and rapid conversation. Light notes from the violin were answered with denser sounds from the cello.

The work is not just a conversation, it also conveyed the passion and drama of the couple’s relationship. With the light quivering of the violin and the richer reflections of the cello.

The second movement was less passionate and more contemplative surrounded by bursts of excitement. It is as though Schumann is seeing the relationship with more depth and understanding.

Throughout the piece violin and cello were well integrated, answering each other’s tentative questions with musing and meditations.

Somi Kim’s piano provided an ideal setting for the two strings as well as adding depth to the instruments. Violin and cello also responded to the piano giving some cheery and frothy accompaniment. Before leading to the climactic finish with some rapid intersections and mingling of voices.

As with all their concerts the trio demonstrated why they are such an innovative group programming a mix of classic and contemporary works along with New Zaland and international compositions which challenge, entertain and surprise.

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South Island Māori Rock Art

Reviewed by John Daly-Peoples

South Island Māori Rock Art: European interest from the 19th century to the present

Philippa F Graham

Canterbury Museum

RRP $89.99

Publication Date. September 1

Reviewed by John Daly-Peoples

Rock drawings are one of the oldest forms of art with numerous examples throughout the world. There are also many examples in both the North Island and South Island which have been well documented.

A new publication, South Island Māori Rock Art by Philippa Graham looks at the rock art from some of the South Island sites with numerous maps and photographs and graphic depictions of the artworks which were generally painted onto limestone.

The pale, fine textured limestone provided an ideal surface to draw on with artists using the closest material to hand. The black colour was usually charcoal (burnt stick from fires) while the red colour would have been made from Kokowai (red oxide of iron) mixed with bird or fish oil.  Where there is no limestone, the drawings would have been incised on the smooth surface of grey-wacke rock.

J L Elmore Drawings at Albury Park (Tengawai Gorge)

That the drawings were made with fugitive materials on perishable surfaces it is a wonder that they have lasted so long, exposed to all types of weather. 

The South Island Māori rock drawings, dating back to early Māori occupation, were initially seen as scientific curiosities by many early European explorers and later, museum curators, including Julius von Haast, Alexander Hamilton, Robert
Speight, and H.D. Skinner.

Early on there was the debate in European circles about the artistic merits of the rock drawings, and their value to both local and international collectors. Experts such as Dr. J.L. Elmore a visiting American anthropologist and antiquarian collector documented, controversially damaged and removed portions of Māori rock art from sites in the South Island around 1916 encouraged by a few museum curators.

The scale of the paintings was minimal at some sites while at others they are quite extensive. The ornithologist and botanist W R B Oliver noted that at Weka Pass a portion of the paintings were 66 feet (20m) long with about 80 figures between two and three feet in height.

In the mid twentieth century, the different approaches to the works can be seen in the contrasting attitudes of archaeologist Roger Duff and artist Theo Schoon. Duff was initially dismissive of the rock art seeing the works as “doodles”. Theo Schooh however saw the drawing as having greater aesthetic and spiritual significance.


The book is the culmination of many years of exploring and checking the sites by local farmer Philippa Graham, encouraged by landowners, field staff from the
Department of Lands and Survey and the New Zealand Historic Places Trust.

There has been little written about the history of these rock art sites since Michael Trotter and Beverley McCulloch’s 1971 publication, Prehistoric Rock Art of New Zealand and now with South Island Māori Rock Art, Graham calls on her in-depth research at all of the major New Zealand institutions, in addition to the Thomas Burke Museum, Seattle. She has uncovered fresh material about the sites, the landowners, the governments of the times, archaeologists’ contributions, museums’ involvement, library records and attitudes towards local Māori in early days.

European Sailing Ship, Takiroa Shelter, North Otago

The nameless artists who first daubed charcoal and red ochre on these walls depicted subjects which were generally close to home. The images range from abstract forms, to bird, animal life and people. The presence of bones from moa and the extinct quail suggest that the people who made these images started early in terms of human habitation in the area. There may have been a long break in continuity, as there are also depictions of European sailing ships and animals suggesting that the practice may have been revived in the late eighteenth or early ninetieth century.

The book details the efforts to preserve and record the drawings at various sites. Among these efforts were the overpainting of works at Weka Pass by the and Thomas Herberley and the more recent drawings by Theo Schoon and Tony Fomision.

The book has more than 350 illustrations and maps, an index and a Māori glossary, as well as a chapter focusing on New Zealand artists who have been inspired by the rock drawings. In producing these images, the artists have often produced more refined images and in the case of the New Zealand postage stamps have brought these images to the wider public.

Matariki Stamps 2012 Designer Dane Burke & advisor Brian Allingham and Nga Tahu Māori Rock Art Trust

The artists who have used the imagery include James Turkington, Cliff Whiting, Selwyn Muru, John Bevan Ford, Tony Fomison, Rua Pick, Theo Schoon, Denis Knight Turner and Gordon Walters.