Maxim Vengerov is the biggest name to visit New Zealand in 2024. A global superstar since his early 20s, Vengerov plays Sibelius with Auckland Philharmonia on 22 August. David Larsen reminisces about a special Vengerov moment.
Maxim Vengerov was 21 years old the first time I saw him perform, ancient for a violin prodigy; but it had become clear well before he left his teens that he was not just another young shooting star. Twenty-seven years later, I remember two things especially about that concert. First, the character of his sound.
Of the great violinists I had heard live before then, Shlomo Mintz, in an all-Vivaldi programme, had called the brightest, keenest sound out of his fiddle. Each note was a gleaming ice dagger; I’d thought I knew what clarity sounded like, and he taught me better.
Pinchas Zukerman taught me about big sound. It wasn’t that he was necessarily loud, though when he reached for fortissimo he could stun a deaf person at 50 paces. It was the way his playing enveloped you, even when he dropped to a whisper. He obliterated distance. It was like being cradled in a giant’s fist.
Experience the ultimate cinematic combination of a martial arts classic and full-strength live orchestra at Auckland Philharmonia’s Crouching Tiger, Hidden Dragon Live in Concert on 3 October in the Aotea Centre. Ang Lee’s Crouching Tiger, Hidden Dragon has an outstanding multi award-winning score, so watching this feature-length movie, accompanied by the incredible sound of the Auckland Phil’s 70-piece professional orchestra, is not to be missed.
Presented by Film Concerts Live! in association with Sony Pictures Classics, Crouching Tiger, Hidden Dragon, was nominated for ten Academy Awards® and is one of the most ground-breaking and influential films of all time. Crouching Tiger, Hidden Dragon Live in Concert is an exciting opportunity to experience this martial arts spectacle and enduring love story film, together with composer Tan Dun’s Oscar®- winning score performed live to film by the Auckland Phil.
Maestro David Kay will conduct this epic evening of music and movie. He feels that “whether you are a long-time fan of this classic film, or just after a spectacular evening of cinematic mastery and incredible live music, this is sure to be a moving and memorable experience. Tan Dun’s score is a powerful work that is a wonderful listen in itself – we look forward to sharing this special evening with you this Year of the Dragon.”
New Zealand heldentenor, Simon O’Neill, is widely regarded as one of the finest Wagnerian singers in the world. Auckland Philharmonia’s Lucy Harris spoke to him ahead of his performance in the role of Tristan in our upcoming Opera in Concert, Tristan und Isolde.
Tristan und Isolde is one of the most influential works of art in history. From your perspective, what makes it such an important work?
After engrossing himself in the philosophy of Schopenhauer and completing much of the massive Ring Cycle - Das Rheingold, Die Walküre and the first two acts of Siegfried, Wagner turned to the story of Tristan und Isolde. In these works, Wagner revolutionised the structure of opera with his concept of the ‘Gesamtkunstwerk’ (total work of art), where he sought to unify music, poetry, drama, and visual. The Tristan opening prelude is, in my opinion, one of the greatest achievements for mankind – Friedrich Nietzsche described “a lasting sense of ecstasy,” and proclaimed the work to be “the real opus metaphysicum of all art…. insatiable and sweet craving for the secrets of night and death…it is overpowering in its simple grandeur.” Giuseppe Verdi said that he “stood in wonder and terror” before Wagner’s masterpiece. Well, one can’t argue with those two giants of humanity.
Wagner composed this opera over 150 years ago. Why do you think it still resonates with modern-day audiences around the world?
159 years ago, the opera Tristan und Isolde premiered at the Munich National Theatre, the very same theatre that I have had the honour performing Siegmund in Die Walküre and the title role of Parsifal. These operas explore universal themes such as love, power, betrayal, redemption, and the struggle between good and evil, which make them timeless and continue to be relevant to human experience. At its core, Tristan und Isolde is a profound exploration of love, passion, and longing - the characters undergo a massive development throughout the opera, which allows the audience to see parts of themselves in these characters. The role of Tristan is ‘The Everest' in the operatic repertoire - it is a huge challenge to negotiate not only the extremely difficult vocal demands but the psychological decay and ultimately physical decay of the character. A small titbit - in my score, during the third act, I have drawn a picture of Mount Everest on a certain page…. once the singer has made the vocal summit, he must then, with extreme fatigue, descend the rest of the vocal mountain. Interestingly, more people vocally perish on the descent of this operatic Everest than the ascent.
This year’s Opera in Concert production is a rare opportunity to see Tristan und Isolde performed in New Zealand. What makes this a special opera to see performed live?
I am so thrilled to be part of another Auckland Philharmonia Opera in Concert, having previously performed the title role of Otello, and Florestan in Fidelio. Our wonderful country has had opera running through its veins since the early 1860s - I think this is partly the reason that New Zealand produces many first-rate opera singers internationally. Auckland Philharmonia performs a lot of opera which makes them an orchestra that is knowledgeable on the repertoire which helps greatly the singer on stage.
Watching this opera performed live has been described as a life-changing experience. Why do you think it has such a profound impact on audiences?
This opera, with its unique harmonic treatment, is arguably the work that revolutionised classical music. Any orchestra or opera company that programmes Tristan und Isolde has undertaken a huge commitment. This work takes great courage and planning - a large orchestra, specialised vocalists and conductor, and a male choir. As with all Auckland Philharmonia’s Opera in Concert performances, I know the audience members love being so close, so immersed in the orchestral, as well as the vocal, music of these masterpieces. I hope (know) Tristan und Isolde will impact much of the audience with its most glorious music.
This opera was written to be fully staged with an orchestra in the pit, but performed in concert the orchestra is up on stage next to you. How does your experience performing differ with the orchestra on stage?
In Wagner’s Tristan, the cello, oboe, the cor anglais and the complete orchestra are all equally as important characters as the singers in the portrayal of the opera. I love opera in concert for this reason - it gives the audience the opportunity to see, as well as hear, the instrumentalist in this light. As performers and audience members, we are blessed to have the gorgeous acoustics of the Auckland Town Hall as our concert space. Such a hall gives the experience tidal waves of, not only emotions, but also massive audio.
Major roles such as Tristan involve many hours of intense concentration, how do you relax in your downtime between rehearsals?
The role of Tristan requires huge stamina, power and vocal fitness - to both start and finish the thing is a feat for many singers! I have been working this role for many years, having performed it over a dozen times, and I am so looking forward to having the honour of singing the role in my hometown for the Auckland Philharmonia. Obviously, vocal rest is essential and a sensible allotment of vocal use in the prior rehearsals is required. I absolutely love immersing myself in this role - I know it is a ‘ride’ that only a few people get to experience, but it’s ‘one hell of a ride!'
You have an incredible career, performing in some of the finest opera houses across the globe. What have been some of your career highlights?
Ha! I am often asked this question…the opening of the season for Teatro alla Scala with Barenboim, Salzburg Festival with Muti, the Met with Levine, Grammy Award with Dudamel, title role Parsifal at the Bayreuth Festival and the London Symphony with Sir Simon Rattle to name a few. I am so grateful for my career and have many amazing performance highlights. At the end of the day, the highlights of my life are the great kids that my beautiful wife, Carmel, and I have - everything else pales in comparison. If anyone is interested please visit simononeill.com to read my biography and follow my performance schedule.
On Sunday 8 September, the Auckland Town Hall will fill with hundreds of instrumentalists and community singers performing together at Auckland Philharmonia’s ‘Community Bash’. This free music-making initiative will offer much more than a fun opportunity for Aucklanders to connect with others through music; the additional benefits associated with taking part in this type of event include improved wellbeing and sense of belonging in the community.
Community Bash will bring together musicians of all ages and skill levels from across Tāmaki Makaurau to perform alongside the orchestra’s professional players, culminating in a final joint public performance. Formerly called Community Play In, all are welcome to join in and sign up to participate in the music-making or simply listen to wonderful live music at the finale later in the afternoon.
As well as being a fun and enjoyable experience, attending or taking part in this event may also be beneficial for your wellbeing. This link between music and improved wellbeing was supported by an Arts Council UK study that found that taking part in creative activities is “associated with increased positive emotions such as optimism, hope and enjoyment."1 Simply listening to music can also improve your wellbeing and reduce anxiety, particularly among adults.2
Performing music also has physical health benefits. A 2019 study by the University of Auckland found that playing a musical instrument and singing are beneficial for brain heath, general fitness and maintaining cardiac function.3
Many have experienced that feeling of belonging that arises when you are part of an audience from all walks of life in the concert hall, with over 70 professional musicians unifying as one orchestra on stage, collectively experiencing a performance that will never be repeated the same again. This feeling of togetherness and collective unity is part of what makes live music experiences so special.
This link between the shared experience of listening to music with others and a sense of togetherness has been supported by a Creative Waikato Toi Waikato study that established,
"Residents who attend or create artistic, cultural or creative events or activities at least once a month report feeling more connected to culture and community, to land and place, and self.”4
Performers on stage also often feel this connectivity due to the hormonal impact of this collective activity. An increased sense of togetherness is frequently experienced by instrumentalists and singers when they perform together due to a change in their oxytocin levels (the bonding hormone). 5
If you’re interested in joining this year’s Community Bash, all are welcome to sign up to take part – even if you haven’t picked up your violin for years or have never sung in a choir before. It’s a chance to have-a-go, join the fun, and connect with other Aucklanders in a free afternoon of spectacular music-making in the Auckland Town Hall. Sign up prior to the event here to receive the music in advance and get stuck in!
This year’s orchestral repertoire goes on a musical journey through the solar system with two pieces from Holst’s famous work, The Planets. With special arrangements provided for beginner, intermediate and advanced players, anyone can join in to sing or play in this huge orchestra of over 300 Aucklanders.
It’s also free entry (and no tickets are required) to watch the epic final performance later in the afternoon. Come along and hear the sounds of this fantastic community initiative that connects Aucklanders with music, each other, and themselves.
Community Bash is delivered thanks to the support of Four Winds Foundation, Auckland Live, the Maurice Paykel Charitable Trust, New Zealand Community Trust (NZCT) and the orchestra’s core funders Auckland Council, Creative NZ and Foundation North. This initiative is one of the many free or low-cost events that the orchestra offers through the Auckland Philharmonia’s Learn & Participate programme. This music education programme provides concerts and experiences that bring together the orchestra’s professional musicians with communities, schools, and individuals across Tāmaki Makaurau. Find out more about upcoming Learn & Participate events and programmes here.
As this year’s Opera In Concert approaches, Richard Betts speaks with Wagner Society of New Zealand president Professor Terence Dennis about why Wagner was a great composer, where Tristan und Isolde sits in the composer’s oeuvre, and how to approach good music by a bad man.
Phil News has caught Terence Dennis at an opportune time. Dennis, who is Professor of Music at the University of Otago, is in the middle of a U3A lecture series about Richard Wagner, both man and music. Since 2019, he has also been President of the Wagner Society of New Zealand - who better to quiz ahead of the orchestra’s forthcoming performance of Tristan und Isolde?
Richard Betts: To the uninitiated, a Wagner opera can be daunting: for the length, for the stentorian singing, maybe winged helmets. What advice do you give someone who wants to dip their toe in?
Terence Dennis: His operas are long, yes, but Wagner lovers like that because they can listen over and over and always hear new sounds or concepts. It’s not all noise and thunder. Much of it’s in chamber music textures, beautiful orchestral colours, the instruments and voices interweave. I’d forget about the winged helmets, which you’re not going to get in Tristan. I would say that the emotional quality of the music speaks across the decades, and I think that is timeless. From Wagner’s day, most people when they heard it recognised that here was something of great integrity, and emotional and psychological richness. If you’ve never heard Wagner before, go with an open mind. He’s not a composer who takes prisoners, in the sense that if you don’t want to be taken by the music you won’t like Wagner, because Wagner demands that. It’s not a passive listen, it’s a full-intensity listen. If you’ve never heard anything from Tristan, which is one of the most powerful pieces of music ever written, and very influential, have a listen to the Prelude. That will tell you the intensity of the music that will go on for the next while. A little bit of exploration might help, put it that way. But the original audiences never had that, of course.
RB: You said that Wagner demands. But he also gives, which you can see in the way he inspires true devotion. For fans, what makes Wagner great?
TD: I think it’s the power of the music and the great command he has. Nothing much happens on the stage and of all the operas, Tristan is particularly like that, so it’s an emotional connection. If things do happen on the stage, it’s generally pretty dramatic, and any dramatic action is marvellously controlled in the music. I think people feel that. He transformed the established idea of opera into long stretches of symphonic fabric in which the character motives, thoughts or a facet of the drama could be illustrated by the use of musical themes. He could do a lot psychologically because although the protagonists on the stage may say something, the orchestra may tell us something else that gives us a new layer. I think it’s that layer that’s so fascinating. And he’s able to weld these together into very long works using a combination of these themes that are constantly in change as the motivations of the characters and the plot develop. He said that music was the art of transition, not just getting an idea but how you develop it, and of course he’s a great master at that. He wrote his own words, too, so he was able to achieve a synthesis between the text and the drama as he wanted it.
We asked Ricarda Merbeth about loving Wagner, preparing for Isolde, and facing an expert audience.
Translation: Claudia Ruff.
Phil News: How did you come to know and love Wagner’s music?
Ricarda Merbeth: I completed my vocal studies in Leipzig in 1989, then at age 23 my singing career began with my first operatic role at the Theatre Magdeburg as Roßweiße, one of the eight valkyries in Die Walküre by Richard Wagner. Looking back, I really threw myself into these early roles with great passion, energy and diligence, taking joy in the music and people who worked with me.
Over the following seven years, the management of the Magdeburg Opera entrusted me with Elisabeth in Tannhäuser, Isabella in Das Liebesverbot and Eva in Die Meistersinger von Nürnberg, in addition to many other roles, such as Pamina or First Lady from The Magic Flute. I learnt an incredible amount through these opportunities. This paved my path in German opera, and I now perform worldwide in the roles of Isolde and Brünnhilde.
PN: You are world-famous for your Isolde. What qualities does a soprano need to be a successful in the role?
RM: The most important qualities are years of experience on stage with various roles (including operas by Mozart, Puccini, Beethoven) to develop an excellent vocal technique, selfcriticism, musicality, courage, selfconfidence and a lot of humility. These qualities are not only applicable to the role of Isolde, but also to Brünnhilde or Elektra.
Grammy Award-winning violinist, Maxim Vengerov, will make his New Zealand debut when he performs in Auckland and Wellington this August.
Maxim Vengerov is one of the most in-demand soloists across the globe. Described as a violinist "who reaches places others cannot”, The Sunday Times recently enthused, "With his communicative, colourful and technically near-miraculous playing, and an individual sound recognisable for its seductive richness, he is the nearest thing the violin has today to a household name."
Vengerov’s journey from child violin prodigy to acclaimed soloist, and more recently conductor, began when he first picked up the violin at age five. He sensationally burst onto the international scene in 1984 when he won the prestigious Wieniawski Competition at the age of 10.
Hearing such a supreme artist perform live will be a real luxury, made even the more so as he will be performing Sibelius’ magnificent Violin Concerto at both his New Zealand performances. This technically challenging piece is a captivating listen full of drama that is widely regarded as one of the best concertos for violin. Vengerov comes to New Zealand for exclusive concerto performances as part of a tour of Australasia that includes recitals in Brisbane, Melbourne and Sydney.
On the Aotearoa leg of this tour, Vengerov’s first stop is in Wellington, where he will perform with the New Zealand Symphony Orchestra (NZSO) at the Maxim Vengerov Plays Sibelius concert on 15 August in the Michael Fowler Centre. He joins impressive conductor André de Ridder and the NZSO to perform this great violin concerto.
Then on 22 August, he will take the stage at Auckland Philharmonia’s The New Zealand Herald Premier Series: Vengerov & Sibelius concert in the superb acoustics of the Auckland Town Hall. Conducted by the veteran Sibelian, Okko Kamu, who also collaborates with Vengerov and the Singapore Symphony following his Auckland appearance, the stars will align for this special event.
Auckland Philharmonia’s CEO, Diana Weir, says, “We are thrilled to bring a soloist of such calibre to the Auckland stage to perform this spectacular Sibelius concerto alongside our musicians. It is fantastic to partner with our national symphony colleagues at the NZSO to bring this important artist to New Zealand audiences.”
“When it comes to virtuosos, Maxim Vengerov is one of the true greats of any age,” says NZSO Acting Chief Executive Kirsten Mason.
“For him to perform in Wellington will be an unforgettable evening for the audience and the orchestra led by the esteemed André de Ridder. For a long time, the NZSO and the Auckland Philharmonia have wanted New Zealanders to experience Maxim live on stage and this is a dream come true.”
Don’t miss this rare opportunity to see one of the world’s greatest musicians perform live in Aotearoa, head to aucklandphil.nz/vengerov-sibelius or nzso.co.nz to book.
After the sad news of Sir Andrew Davis’ passing, Auckland Philharmonia’s upcoming concert on 7 November 2024 will be dedicated to the legacy of the late conductor and have a new concert title: The New Zealand Herald Premier Series: Sir Andrew Davis: A Tribute (1944 – 2024).
Acclaimed German conductor, Karl-Heinz Steffens, himself an admirer of Sir Andrew’s stellar career on the podium, will step in to conduct this concert. Steffens makes a welcome return to the Auckland Town Hall stage after his impressive debut with Auckland Philharmonia earlier this year.
Karl-Heinz Steffens is currently Principal Conductor and Artistic Advisor of the Norrköping Symphony Orchestra, in Sweden. Prior to taking up the baton, he led a high-level career as a clarinettist, serving as Principal Clarinet of both the Bavarian Radio Symphony Orchestra and the Berlin Philharmonic. He has subsequently guest conducted both ensembles and is a regular guest with other leading European orchestras and opera houses.
Auckland Philharmonia’s Chief Executive, Diana Weir, says, "We are saddened that we won't have the opportunity to make music with Sir Andrew Davis, particularly Vaughan Williams’ music, of which he was the world’s leading interpreter. We are looking forward to welcoming back Karl-Heinz Steffens. The orchestra had wonderful chemistry with Karl-Heinz during his debut with us in May, and we look forward to honouring Sir Andrew Davis' legacy, as one of the most distinguished conductors of our time, in November."
This concert opens with two beloved Beethoven works: the theatrical Leonore Overture No.3, followed by his sunny Piano Concerto No.3 - which outstanding Argentinian pianist, Ingrid Fliter, will join the orchestra to perform. The New Zealand Herald Premier Series: Sir Andrew Davis: A Tribute (1944 – 2024) programme also includes music by Vaughan Williams, a composer whose soul was ablaze with glory, pity and anger. His ballet, Job – A Masque for Dancing, based on the engravings of William Blake, is radiant, incandescent and life-affirming; one of Vaughan Williams’ greatest works.
This updated concert title of The New Zealand Herald Premier Series: Sir Andrew Davis: A Tribute (1944 – 2024) replaces the previously advertised title. Karl-Heinz Steffens replaces the previously advertised conductor, the late Sir Andrew Davis. The music programme is unchanged.
The New Zealand Herald Premier Series
Sir Andrew Davis: A Tribute (1944 – 2024)
7:30pm, Thursday 7 November
Auckland Town Hall
Conductor Karl-Heinz Steffens
Piano Ingrid Fliter
Beethoven Leonore Overture No.3
Beethoven Piano Concerto No.3
Vaughan Williams Job – A Masque for Dancing
Rising French conductor, Samy Rachid, will step in as replacement conductor for Auckland Philharmonia’s upcoming concert, The New Zealand Herald Premier Series: Joie de Vivre, on Thursday 12 September.
Making his Australasian début, Rachid will conduct this concert’s enchanting programme that includes works by French composers Ravel, Saint-Saëns, and Poulenc, as well as Japanese composer, Takemitsu, for whom French music was a significant inspiration.
Sparkling Swiss pianist, Louis Schwizgebel, will take the stage as the soloist for this concert. Schwizgebel will perform Saint-Saëns’ Second Piano Concerto, a vibrant piece that commands astonishing virtuosity from the pianist.
Rachid is currently concluding the first of a two-year term as Assistant Conductor of the Boston Symphony Orchestra under Andris Nelsons, the same position he previously held at Opéra National du Rhin in Strasbourg. He has also served two seasons as Conducting Fellow at the prestigious Verbier Festival, working with such renowned conductors as Zubin Metha, Gianandrea Noseda and Klaus Mäkelä.
Samy Rachid will replace the previously advertised, Nodoka Okisawa, who has withdrawn for personal reasons. The programme and concert title are unchanged.
The New Zealand Herald Premier Series: Joie De Vivre
7:30pm, Thursday 12 September
Auckland Town Hall
Conductor Samy Rachid
Piano Louis Schwizgebel
Ravel Le Tombeau de Couperin
Saint-Saëns Piano Concerto No.2
Takemitsu Three Film Scores for Strings
Poulenc Sinfonietta
Traversing the emotional extremes of distain, desire, love and loss, Auckland Philharmonia’s Opera in Concert production of Wagner’s Tristan und Isolde will be a profound, unmissable experience. This colossal semi-staged production features an outstanding cast of internationally renowned singers, who will perform alongside the powerful sound of Auckland’s full strength professional orchestra on 10 August in the Auckland Town Hall.
Tristan und Isolde is one of the most influential works of art in history; from its very first notes, Wagner’s opera reshaped music. A searing portrait of agonised, unstoppable, uncontrollable desire that ultimately ends in tragedy.
This love story like no other will be performed by an extraordinary cast that could grace any great opera house on earth. New Zealand heldentenor, Simon O’Neill, that musical force of nature, has appeared at the Metropolitan Opera, London's Royal Opera House, La Scala, Berlin, Munich, Vienna and Paris opera houses as the principal Wagnerian tenor and has sung Tristan at the BBC Proms and Glyndebourne. He is widely regarded as one of the finest Wagnerian singers in the world
Also performing this sublime score with the Auckland Philharmonia will be one of the world’s leading interpreters of Isolde, soprano Ricarda Merbeth. She has previously sung Isolde in Amsterdam, Hamburg, and at the Deutsche Oper Berlin, where she will reprise the role next season. The cast also includes Katarina Karnéus, whose previous appearances include the Vienna Philharmonic and Covent Garden, and globally sought-after bass-baritones, Johan Reuter and Albert Dohmen, who have interpreted major roles at prestigious opera houses across the world. They will be complemented by the New Zealand Opera Chorus.
Giordano Bellincampi, Auckland Philharmonia’s Music Director and conductor for this concert, says he is “looking forward to exploring this powerful score with a stellar cast of international and New Zealand soloists and the wonderful Auckland Philharmonia. From its famous opening ‘Tristan Chord’, this magnificent opera has captivated audiences around the world for over 150 years, transcending time and place.”
Wagner’s epic opera begins with Isolde, princess of a rival kingdom, travelling to King Marke who has claimed her as his bride. To escort her to his castle, King Marke has sent his knight Tristan. But the King is unaware that when Tristan was once grievously wounded in battle, Isolde healed him – and the two fell in love. Nor is the King aware that Tristan and Isolde, thinking they are escaping their predicament by drinking poison, have actually drunk a love potion.
Opera in Concert is a highlight of Auckland’s Philharmonia’s season every year, and this year’s performance of Tristan und Isolde will be no exception. Succumb to your desires, before it’s too late… get your tickets now.
Calls of ‘Wherefore art thou Community Classics?’ will be answered on 16 June when Auckland Philharmonia’s free concert series kicks off with the Community Classics Central concert in the Auckland Town Hall. Uniting music lovers across Tāmaki Makaurau, this year’s Community Classics concert series features repertoire inspired by William Shakespeare and includes two further concerts later this year in South Auckland (21 July) and the North Shore (19 October). Don’t miss this special opportunity to see Auckland’s professional orchestra perform live for free in a relaxed, family-friendly concert environment.
Often referred to as ‘The Bard’, Shakespeare has influenced many aspects of life, arts and culture, including music. This year’s Auckland Philharmonia Community Classics concert series will feature Shakespeare-themed music that audiences will know and love, such as extracts from A Midsummer Night’s Dream, Romeo & Juliet, West Side Story, plus many other bard-inspired pieces.
Experienced Kiwi Shakespearean actor who has performed in countless Pop-Up Globe productions, Kevin Keys, will present all three concerts in the series sharing quotes and connections to The Bard. However, no prior knowledge is required of Shakespeare or classical music – all are welcome to enjoy the incredible music played by the orchestra’s talented professional musicians and conducted by the 2024 NZ Assistant Conductor-in-Residence, Ingrid Martin.
Enjoy orchestral bangers inspired by the great bard, all from the comfort of a bean bag. At this year’s Community Classics concerts, bean bags will replace some of the stalls seating to make it a more relaxed and comfortable environment.
Thomas Hamill, Auckland Philharmonia’s Director of Learn & Participate, is thrilled to deliver this free concert series that brings Aucklanders together through music.
“With three concerts across Tāmaki Makaurau all available at no cost to concert goers, our Community Classics series helps to give more people greater access to the orchestra and share and inspire a love of orchestral music with the wider community. These concerts are an uplifting hour of music that everyone can enjoy, simply come along to see beautiful music performed for free by Auckland’s full-strength professional orchestra,” he says.
The Community Classics series is presented by Davis Funerals and supported by Auckland Live, Four Winds Foundation, and the orchestra’s core funders, Auckland Council, Creative New Zealand and Foundation North. Booking not required but arrive early as entry is first in first served.
