Music has always had a special power, to transport us to different times and places. Composers have frequently sought to try to convey the natural world around us through soundscapes that convey a specific place or location. We have selected some of our favourite pieces of music based on geographical locations to take you on a global music tour from the comfort of your computer/tablet/mobile phone. So, sit back, relax and stamp some spots in your musical passport.
Howls of ‘What’s the time Mr Wolf’ will echo across Auckland this April as TVNZ’s Toi Time cast join the Auckland Philharmonia to perform the children’s concerts, Tunes 4 Tamariki: Toi Time. Over four fun, interactive and educational performances in Central Auckland and the North Shore, cast members from children’s TV show, Toi Time, will perform their catchy version of this wolfy tune, plus many more of their hits, alongside a full symphony orchestra.
At Tunes 4 Tamariki: Toi Time concerts, Toi Time characters Jojo (Taylor Rogers), Buzz (Reuben Butler) and Māia (Awhimai Fraser) will join the Auckland Philharmonia to explore the magical world of music through sing-along, dance-along fun. Audiences can look forward to hearing orchestral arrangements of music from the Toi Time show, as well as other familiar family favourites, ‘Incy Wincy Spider’ and ‘Twinkle Twinkle Little Star’.
These concerts have been specifically designed with preschoolers and early primary-aged children in mind. Tamariki-friendly elements over the one-hour performances include opportunities to have a go at conducting, sing and dance along with the music, join a walk through the orchestra while the musicians are playing to see the instruments up close, and meet-and-greet their favourite Toi Time cast members. Ahead of the performances, free pre-concert activities include face painting, musician ‘show & tells’, and a dance floor to practise your moves.
For the Auckland Town Hall concerts, most of the stalls seating will be moved to make way for big cushions and beanbags making it a great, relaxed space for kids to have fun dancing and listening to the music.
These concerts kick off Auckland Philharmonia’s 2024 Tunes 4 Tamariki series of children’s music concerts (formerly APO 4 Kids) that are delivered as part of the orchestra’s Learn & Participate programme. This is also the first opportunity to hear an Auckland Philharmonia Learn & Participate concert conducted by 2024 NZ Assistant Conductor-in-Residence, Ingrid Martin.
Thomas Hamill, Auckland Philharmonia’s Director of Learn & Participate says, “Our Tunes 4 Tamariki concerts provide valuable opportunities for children to experience the excitement and togetherness of a live performance with their whānau and wider community. These early live music experiences are important for developing resilience and concentration skills in tamariki and can either lead to a lifelong love of music or spark a passion for music that develops later in life.
“Whether it’s the excitement on children’s faces as they enjoy a live performance in a large venue alongside other tamariki, or the look of delight as they share a special moment with their whānau seeing the orchestra’s instruments up close for the first time, these concerts create memorable experiences for all.”
Auckland Philharmonia’s Tunes 4 Tamariki series is delivered thanks to the support of the Stout Trust, Auckland Live and the orchestra’s core funders, Auckland Council, Creative NZ and Foundation North.
Tickets are $15 each, with under 2’s free, or $50 for a family pass (2 adults/2 children or 1 adult/3 children).
Get set to groove the night away to disco tunes performed by a full symphony orchestra, plus enjoy fabulous food and cocktails, at Auckland Philharmonia’s newest event - Boogie Wonderland: Disco Ball on 16 May in the Auckland Town Hall.
Don your sequins and flares for this epic night of disco and symphony fusion featuring performances by Annie Crummer, Dillon Rhodes (Hipstamatics), and LOU’ANA, alongside the Auckland Philharmonia’s full orchestra, plus unmissable disco DJ sets by Nathan Haines and Jaimie Webster Haines.
The Auckland Town Hall will be transformed into the glam and glittering world of disco fever, including a Studio 54-style bar and disco-themed food stations. Lounge seating areas will also provide a chance to chill between dance floor disco battles.
Shake your groove thing to electrifying disco hits with full orchestral arrangements, including the songs ‘Night Fever’, ‘Young Hearts, Run Free’ and ‘(That’s the Way) I Like It’. Conducted by Maestro David Kay, Boogie Wonderland: Disco Ball will be a night of symphony and sequins to remember.
And the best part is – you’ll be grooving for a good cause. Auckland Philharmonia is a charitable trust, and every ticket purchased supports the Auckland Philharmonia’s Learn & Participate music education programme that offers numerous opportunities for over 20,000 young people and adults to get involved with the orchestra, in schools and communities throughout Tāmaki Makaurau.
This event is proudly delivered by the Auckland Philharmonia, thanks to the support of Auckland Live and Little Wolf Catering.
Limited Early-Bird tickets are now available and include event entry, two complimentary beverages, and dinner served from delicious food stations. Get in early as it’s sure to be a sell-out!
New CEO Diana Weir tells Richard Betts about hating piano lessons, loving Britten, and her vision for the orchestra.
Diana Weir is poised, articulate, and not quite settled in. “As you can see from the boxes behind you,” she says, “I’ve been living in AirBnBs for the past two months.” She’s not complaining; it is said with a smile, as is much of our conversation, and she has a wry sense of humour that will fit nicely in her new surroundings. But it’s been a whirlwind few months for Diana, who has relocated from the Canadian city of
Hamilton, Ontario to become Auckland Philharmonia’s new CEO, the result of an exhaustive international search to bring the best of the best to Aotearoa.
Phil News: Where does your love of music come from?
Diana Weir: My mom bought a piano when I was five. I came home from school and she said, “Look at this beautiful piano!” I said, “But I can’t play it.” She said, “You will.” Then it was the torture of piano lessons. I mostly hated it. Everyone told me that one day I’d be grateful that my mother forced me to take lessons, which I didn’t believe but, of course, they were right. It instilled this care for music, and I became a professional church musician for the better part of a decade. I didn’t experience a symphony orchestra until I was in my early 20s. I went through a period of buying these cheap tickets and experienced some fantastic performances in that way. The most memorable one was a performance of Britten’s War Requiem. It was incredibly moving, and that is what got me interested in symphony orchestras.
PN: Your entire career has been in performing arts: opera, youth orchestras, symphony orchestras, contemporary dance.
DW: I have such respect for the arts in general and particularly performing arts. I like arts that don’t tell me what to think. With a symphony orchestra I can take my own meaning. That gives a listener the freedom to explore their own senses and creativity and I think that’s special.
PN: What made you accept the role at Auckland Philharmonia?
DW: I worked at the Hamilton Philharmonic in Ontario, Canada, where [Kiwi conductor] Gemma New was music director, and I learnt about New Zealand through her. She gave me a book about scenery in New Zealand, which sat on my coffee table. When this opportunity came up, I spoke to her and she thought highly of the Auckland Philharmonia, because of course she has guest conducted here. I spoke a couple of times with the hiring committee, and came out to Auckland for an in-person interview in the middle of winter. It rained the whole time and I mostly stayed in my hotel room [laughs]. But when I sat with the committee to talk about the orchestra, when I met with [Music Director] Giordano Bellincampi, when I heard from the musicians, it gave me a sense of possibility. There’s wonderful infrastructure and support
for the orchestra, and a real desire to serve Aucklanders inside and outside the concert hall. I thought, “Oh yeah, I could get into this. I have something to contribute, and if I get to work with the people sitting around the table, then great.”
PN: Why do you think the committee chose you?
DW: I think people can tell I care about this artform. I think people can tell that I think life is better when you have broad experiences with the arts, but specifically when you can experience the power of hearing and feeling 100 musicians being led by a conductor to interpret this work in a way that can only happen on this stage in that moment, in this venue, with 1200 people around me. It’s unique. I want every person to have that moment where they hear that culminating brass chorale of a symphony and have the hair on the back of their necks stand up. It’s that desire to share that with others that makes me good at my job. You find this a lot with people who work in the arts; their personal and
professional values are tied together.
PN: Was there any area you thought: This is something I can bring my knowledge and experience to?
DW: A lot of the work I did in Canada was creating partnerships and expanding the expectation of what a symphony orchestra can do. I think the success of a contemporary orchestra is how well it integrates with the broader community. How it continues to show its citizens that it’s a public asset worthy of civic pride and that yes, we play fantastic, high-calibre, artistically significant and relevant music on the mainstage, but we also find ways to intersect with the other priorities of our city. That means building relationships with fellow arts organisations and businesses, but also civic, social, health and well-being community organisations, and finding ways to serve one another in mutually
beneficial partnerships, relationships, collaborations. If we can continue to find ways to welcome more people into our space, but also take our artists into the community and contribute to those areas of Auckland that make it a fantastic place to live and work, I think that’s an exciting opportunity for us.
PN: You’re coming into a role that has been filled by one person for many years. How is that?
DW: I’ve found great comfort in the strength of the leadership here over the last 17 years, and the work [former CEO] Barbara Glaser put in and what the whole team created. She was so well regarded and respected, and Barb is still a wonderful supporter and now patron of the orchestra. We’re so grateful for her impact in our city and continued support of the orchestra.
PN: The arts in New Zealand are not self-sustaining, and you come to the orchestra at a time when local and central government funders are reassessing how they support the sector. What are your views on the role of public support in the arts?
DW: We understand that governments have lots of priorities, and we believe that infrastructure and healthcare and housing should absolutely be the first-level priorities. But we also know that in addition to the basics of living, we need to have offerings in our city that make life great. That’s where the arts come in. I think local and central governments here have provided incredible support to ensure there’s a stable arts community. That allows us to keep 100 artists and creative-class workers employed in the country’s biggest city. We are the
largest employer of full-time artists in Auckland. So without that support we’d be a very different orchestra, one with less impact on the tens of thousands of people we reach every year. As arts institutions we need to keep communicating the message to funders about our role in the lives of New Zealanders. I’m excited to do that work.
PN: Philanthropy has traditionally been less prominent here than in North America. Is that an area to work on?
DW: Philanthropy has a different flavour here to North America, but there is a shared passion for supporting organisations that are meaningful to people. Aucklanders are dedicated to making this city a great place to live and philanthropy has a significant role to play in
enhancing and enabling culture, art and beauty. And it’s refreshing and humbling to witness the bonds that form in supporter circles. Auckland Phil donors are part of our wider family and they relate to each other that way, finding friendship through like-minded support. At the same time, they inspire us to be the best we can be and provide the financial support we need to dream big and reach as many people as possible.
PN: What role might business play?
DW: What do people want when they move to a city? They want to know they can find a good place to live, that they can do fun things in their free time. What is an opera company or theatre company or symphony orchestra or sports team but an attraction for people to feel that where they’re moving to is vibrant? We play a role in the economic health of the community but also in attracting and retaining talent not just in the orchestra but the city. So we can continue to work with our corporate partners to show them how they can use us as an asset to
reward, retain and cultivate employees and clients.
PN: The Auckland Philharmonia has for many years stood out for its support of local music and musicians. What are your thoughts on the role of an orchestra in supporting the musical community it’s part of?
DW: I think it’s important for orchestras to bring the best of the world to their cities. It contributes to a global understanding and respect
for where we are, as artists from around the world come to Auckland, have a positive experience and then spread that message with their
colleagues who are also on the global touring circuit. At the same time, we need to reflect the communities where we exist. I feel very strongly that one of our responsibilities is to cultivate New Zealand talent. You’ll see that in our programming on the mainstage, in our commissioning, but also in our Learn & Participate activities and our New Zealand Assistant Conductor-in- Residence programme, which
is a partnership between us, the Christchurch Symphony and the Dunedin Symphony. We want to raise the tide so these boats can come up
and this talent can be cultivated, go on to be successful and represent New Zealand on the world stage.
Unsuk Chin is one of the leading composers of our time. Evie Bamford looks at Chin’s life, music and her Violin Concerto No.1, the piece that confirmed her greatness.
Unsuk Chin’s childhood wasn’t easy. Born in Seoul in 1961, she grew up poor, barely a decade after the war that left Korea devastated and divided. She had music, though. Her father, a Presbyterian minister, brought a piano into his church and she immediately fell in love with it. Without the money to afford lessons, she began teaching herself to play, and by the age of eight she was providing accompaniment at his services.
It was just the beginning. Chin later completed a composition degree in Seoul, before receiving a scholarship to study at the prestigious Hochschule für Musik und Theater Hamburg, where she was drawn into the orbit of the great György Ligeti.
In an interview with her publisher, Boosey & Hawkes, Chin described her move to Germany as a creative liberation; art and inspiration were everywhere. Ligeti, a composer known for his unconventional teaching methods that included the analysis of rock and jazz, encouraged Chin to discover her own identity separate from the aesthetics of her inspirations, Debussy and Stravinsky, without letting go of tradition.
So despite the artistic freedom Chin found in Germany – and the fact that she makes a point of saying her music is free of distinctive cultural characteristics – she believes her Korean heritage, alongside her homeland’s historical lack of interaction with Western compositional dogma, enabled her to discover and express her own voice.
She began experimenting with electronic music and by 1988 was working as a freelance composer in a German electronic music studio. The experience prompted her to stop relying on motifs to tell her story; she was now able to think of music in a more abstract way, where colour, timbre and texture conveyed emotion instead.
You can hear it in Chin’s First Violin Concerto (2001). It was the work that brought the composer’s music to an international audience. The late music critic Alan Rich called it the first masterpiece of the 21st century, and it earnt Chin the Grawemeyer Award, generally regarded as the Nobel Prize for music composition. More importantly, it transports you to a vibrant, luminous world, where her playful use of rhythmic and textural imagery creates a work bursting with colour and innovative soundscapes.
Towards the back of the hall lurks an immense percussion section, with at least six players required to tackle 23 instruments. Many of them, such as a Javanese gong and the lithophone, are non-Western and not typically seen in this context, contributing to the work’s shimmering, ethereal nature.
For all that, the concerto retains a classical structure, with broadly traditional movements, though four of them instead of three. The first trio of movements explore the tonal relationship between the four open strings on a violin: G, D, A and E. These notes form the basis of the opening theme, which returns towards the end of the fourth movement. This time, the violin is supported by other members of the string section; the collaboration between soloist and orchestra is complete.
The work closes with neither a bang nor a whimper but an exhalation, a meditation focused on the out-breath. Somehow, though, as the last note fades, the concerto is still breathing, as if Chin has much left to say.
Evie Dwyer-Leech, Tertiary Projects Executive, chatted with Jennifer Yuan, the Auckland Philharmonia 2024 Young Composer in Residence.
Tell us a bit about yourself
I am based in central Auckland and grew up here as well. I went to Epsom Girls Grammar before studying a Bachelor of Music in composition at the University of Auckland. I recently graduated at the end of 2023 and am looking forward to beginning my honours in composition in 2024.
What is your earliest musical memory?
This is a hard question! To be honest, I think my earliest musical memory is having music lessons. I don’t come from a musical family but my parents really valued giving their children other opportunities that weren’t necessarily related to the main academic subjects in school. I also struggled a lot with socialising when I was a child and music really helped me with that. I began recorder lessons outside of school when I was five, and proceded to learn piano, clarinet, violin and guitar.
Tell us about your journey when it comes to composing music
Actually, from an early age I was quite a big fan of classical music; I really enjoyed listening and watching large scale orchestral concerts. I loved being able to pinpoint all of the sounds while watching a concert, and that’s actually how I learnt a lot about orchestration before I began composing in year ten music class.
I get a lot of inspiration from ideas that I hear in my head because of internal audiation. I can hear voices and instruments, as well as orchestral, chamber, and solo music in my head. It’s very helpful!
Who are your biggest musical influences?
This is quite hard because I do have a lot of influences! My third piano teacher is probably my first biggest influence. She taught me important concepts like rhythm and musicality in ways that made sense to me. She is also the person who introduced me to orchestral music.
Coming up with my favourite composers is a super, super hard question because each composer is so different! I think I have learnt something from all of them.
Congratulations on finishing your degree! As someone who has just graduated from university, what advice would you give young musicians at the beginning of their music studies?
Something I wish I knew is that you might go through creative block sometimes and it can be a bit difficult. I wish I knew that this is really normal and it’s okay to feel that way – when you’re doing something so constantly, it’s normal to have bad moments. I still haven’t quite figured out how to deal with it, but just trust that eventually you will push through and it’ll be okay.
Do you have any hobbies or interests outside of music?
I’ve been doing a lot of reading recently and have also started drawing. I’ve been trying to do more stuff outside of music so I can keep my inspiration up!
What are you most looking forward to as the Auckland Philharmonia 2024 Young Composer in Residence?
I’m looking forward to being able to work closely with musicians. In the past I’ve been able to have workshops with professional musicians, but to be able to do so in a rehearsal situation seems pretty cool!
You can support the Auckland Philharmonia's Learn & Participate programme by donating to our Future Fund.
With a click of your mouse, you can now be transported to an interactive 3D view of the Auckland Philharmonia on the Auckland Town Hall stage or take a virtual tour of this historic venue. This experience was generated using 3D mapping of the orchestra’s home in the Auckland Town Hall and is thought to be the first of its kind offered by an orchestra anywhere in the world.
From wherever you are, simply head to aucklandphil.nz for a virtual tour of an Auckland Philharmonia concert in the majestic Auckland Town Hall, meet the musicians and instruments of the orchestra through a bird’s eye interactive 3D view of the stage, and hear special digital performances by the orchestra.
Auckland Philharmonia’s new digital experience provides an engaging and accessible way for people of all ages and musical knowledge to connect with music and the orchestra. The website enhancements are designed to introduce new audiences to the orchestra, remove barriers to those who are unsure what to expect at its Auckland Town Hall concerts and enhance the experience of those more familiar with the orchestra.
Auckland Philharmonia’s Chief Executive, Diana Weir, says, “The Auckland Town Hall is a special place where Aucklanders from all backgrounds and tastes can come together to experience their symphony orchestra. We're excited to leverage this new digital experience to provide greater access and opportunities for individuals from all walks of life to engage with the Auckland Philharmonia.
“Whether our virtual interactive tour is being used by students in a classroom, or a local resident considering attending a free concert, we're thrilled to share the experience of our beautiful venue and our orchestra with the wider community – both online and in person."
The digital experience was designed and created by Insight Creative, one of New Zealand’s leading creative agencies, utilising 3D mapping of the Auckland Town Hall by Wyreframe. The physical mapping itself took only a couple of hours to complete and went from the Queen Street entrance of the building all the way to the Green Room backstage (via the Great Hall). This mapping information was then scanned and integrated into a stylised interactive perspective of the concert hall, rather than a photo realistic view.
Auckland Philharmonia’s new website, that houses the 3D experience, was designed by Insight Creative and built by Tilt Digital.
Steven Giannoulis, Insight Creative’s Managing Director says, “We wanted visitors to the website to have the multi-sensory, immersive experience that seeing Auckland Philharmonia live offers. We’re delighted with the final result and the window it opens for audiences to engage and explore our city’s amazing orchestra."
Diana Weir adds, "We're grateful to our partners for helping us launch this innovative feature to increase access to, and engagement with, Auckland's orchestra. Specifically, we thank Auckland Live, our website partners Insight Creative and Tilt Digital, and our donors who supported this project.”
Discover the Auckland Philharmonia’s new digital experience at aucklandphil.nz.
Auckland Philharmonia’s Lucy Harris chatted with piano soloist Yeol Eum Son ahead of her performance with the Auckland Philharmonia for Bayleys Great Classics: Beethoven 7.
Tell us about your process for learning a piano concerto.
It depends very much on my previous experience with the concerto… for instance, this C minor Concerto by Mozart is something that I first started to play when I was about 20 years old, so it’s like an old friend to me. It may also be my favourite piano concerto as a listener. Since I was a teenager, I have really enjoyed listening to others’ recordings and concerts of this piece for countless times. So, whenever I go back to it, it is like meeting a childhood friend. However, at the same time, it is stunning as I always discover something new.
What draws you to Mozart’s music?
This also depends on which works, because I find most of them are very different from each other. The C minor Concerto by Mozart for me is kind of a mystery. I find that it is a most uncertain, ‘going from nowhere to nowhere’ type of music. This is unlike the famous D minor Concerto, which feels much more dramatic in a particular way, and very much to the point.
Is there a composer or work you haven’t performed, that you would like to?
I feel privileged to explore the great diversity of piano music and have covered most that I dreamt of performing. Of course, there are still many things I want to try out in the future, but mostly for myself, and for fun! I want to play more on my harpsichord, which I purchased about a year ago.
Who has had the biggest influence on your career?
I can name many people who have had a big influence on my career, but musically speaking, it is probably my latest piano teacher, Mr. Arie Vardi. Not only have I learned so much from him, but he also gave me immense trust and support, mentally.
What is your favourite venue in the world?
I actually like smaller venues… I like the feeling of interacting with each audience member… I’d say anywhere which has about 100 seats with good acoustics.
What is the greatest challenge you have faced during a concert?
It wasn’t a challenge at all, but during a concert that I did with the Auckland Philharmonia a year and half ago, an audience member in the balcony, just right ahead of me, started to have some problems – it may have been breathing or something similar, I wasn’t sure. She looked close to fainting and I could clearly see that people around her had started to gather and give her some help. I also felt like I should climb up the stairs to do something…!!! If I remember correctly, we stopped during the performance and waited for her to be carried off, then we started the second movement once again. Thank God she was okay, she came back in for the second half! Maestro Bellincampi brought her a flower at the end of the concert, after the Symphony.
What are you looking forward to exploring while you are in New Zealand?
Last time I was in Auckland, I was resting peacefully at my hotel room, then I suddenly saw through my window somebody falling down the building - I nearly screamed! After some googling, I realised that I was staying right next to the Sky Tower, with its famous Sky Jump. That’s something I always wanted to do, but never was able to find the time. I wish I could do that this time, although my hands are getting sweaty just thinking about it…
What is the best piece of advice you’ve ever received?
Ask yourself ‘How do you know?’. This question can apply to anything.
Auckland Philharmonia and Giordano Bellincampi partnership extended
Auckland Philharmonia is delighted to announce Giordano Bellincampi’s contract has been extended and he will continue as its Music Director until the end of 2027. Since taking up the role in 2016, the Italian-Danish conductor’s leadership and vision has elevated the New Zealand orchestra to new artistic heights and increased its international standing.
This is the third extension to Bellincampi’s contract and will represent a total of 12 years in the position. This is the longest tenure of any of the orchestra’s Music Directors.
Bellincampi has played a pivotal role in the development and success of Auckland Philharmonia. His focus on building the orchestra’s mastery of the core central European repertoire, such as Mozart, Haydn, Mendelssohn, Beethoven, Schubert, Brahms and Schumann, has been at the heart of the orchestra’s artistic growth. His tenure has also been marked by a considerable expansion of the repertoire into less frequently performed works, including a complete Nielsen symphony and concerto cycle (some of which will feature in future seasons), the complete Roman Trilogy by Respighi (planned for June of this year), and several world premieres of works by New Zealand and international composers.
His passion and expertise conducting opera has raised the profile of the Auckland Philharmonia’s annual Opera in Concert. These semi-staged productions with internationally renowned singers are a highlight of every season and have featured repertoire from Mozart and Puccini, through to the hugely acclaimed New Zealand premiere of Korngold's Die Tote Stadt in 2023. Bellincampi also played a key role in the establishment of the New Zealand Assistant Conductor-in-Residence programme. Through this initiative, he provides invaluable support and mentoring for early career conductors in the Australasian region, which helps them to build a solid foundation for a professional career.
Auckland Philharmonia’s Chief Executive, Diana Weir, says, "A key reason for my interest in taking on the Chief Executive role was the quality of artistic leadership at the helm of our organisation. I'm thrilled that our orchestra and community will continue to benefit from Giordano's leadership and musicality for a further three years beyond 2024. I've experienced first-hand how his passion for our city is reciprocated by our audience – as evidenced by the rapturous applause that greets him every time he takes the stage – and feel confident that he will lead our orchestra to new musical heights through to 2027!"
Bellincampi is thrilled to extend his close partnership with the Auckland Philharmonia and is very proud of what they have achieved together.
"It has been a joy to serve the Auckland Philharmonia as Music Director, and I am honoured to continue our relationship through to 2027. The success of our collaboration over many years has been a testament to the way in which we both complement and challenge each other, pushing creative boundaries and delivering excellence, with music always at the heart of what we do."
The announcement comes at the start of the orchestra’s 2024 Season, during which Bellincampi returns to the podium of the Auckland Town Hall to delight audiences with eight concerts across the year. Highlights to look forward to include works by Rossini, Schubert, Mendelssohn and Berlioz, as well as an opera in concert performance of Wagner’s epic Tristan und Isolde.
The 2024 Season commences with the opening concert on Thursday 15 February, The New Zealand Herald Premier Series: Passion & Mystery, featuring Tchaikovsky’s soul-stirring Symphony No.6. Visit aucklandphil.nz to book tickets to 2024 Season concerts.
During a scorcher of a week in January, 84 budding instrumentalists stepped out of the sun and into a fun week of music-making at our Orchestral Summer School. This year, we joined Summer School forces with NZ Opera for the first time to present an arrangement of Kiwi children’s opera, Red! (Little Red Riding Hood, with a twist).
Over the course of our Orchestral Summer School’s five-day intensive training programme, intermediate and secondary school-age instrumentalists, alongside our professional musicians, rehearsed, then performed, a programme of orchestral repertoire favourites. They were joined by 21 intermediate school-age singers, plus NZ Opera singers, to present an arrangement by Kiwi composer, Lucy Mulgan, of her children’s opera Red!. This was a unique opportunity for the students to be mentored by professional musicians and singers through lessons, workshops and rehearsals.
Red!, is an opera based on the classic fairytale, Little Red Riding Hood, but integrates relevant themes for today’s teenagers about standing up to bullying, finding independence and the power of inter-generational relationships. Mulgan specifically created an arrangement of her opera for the Summer School to suit a full symphony orchestra.
The Summer School week culminated with the orchestral students and Auckland Philharmonia musicians performing the fun Summer School Finale concert in the grand setting of the Auckland Town Hall to a record audience of around 450 people. NZ Opera’s students and singers joined them on stage for the combined performance of Red!.
Thank you to the Lion Foundation, our core funders, and wonderful donors for their support for our Summer School. If you would like to find out more about how to donate to support Auckland Philharmonia Learn & Participate initiatives, such as this Summer School programme, head to our Future Fund and Notes Fund.
This month, talented composition student, Jennifer Yuan, will take up the sought-after role of Auckland Philharmonia’s 2024 Young Composer-in-Residence. This annual residency programme, a partnership between Auckland Philharmonia and the University of Auckland, supports New Zealand tertiary students to launch their professional careers as composers.
During the residency, Yuan will compose two works, one full orchestral work and another for chamber ensemble, under the mentorship of New Zealand composer, Ryan Youens. Each of the works will be performed by the Auckland Philharmonia at Learn & Participate events this year.
Auckland Philharmonia’s 2024 Young Composer-in-Residence is coveted by student and emerging composers as it provides them with the rare opportunity to hear their works performed in concert settings by a professional orchestra. Such an experience has often proven to be a valuable stepping stone for early career composers looking to build their portfolio.
Epsom-based Yuan completed her Bachelor of Music degree in composition and conducting at the University of Auckland last year. Her pieces have been workshopped by the Auckland Philharmonia, the Auckland Chamber Choir, and the Nelson Composers Workshop, and she has also provided orchestrations for the University of Auckland Opera Scenes concert. She currently sings in the Auckland Youth Choir and has also recently conducted a few ensembles, such as a chamber group for a student’s work at the Douglas Lilburn Trust Composition Prize concert.
Since childhood, Yuan has enjoyed the wide array of emotions and ideas that can be expressed through performing, composing and listening to music. She believes that through creating music in different ways you can communicate many feelings or thoughts, such as anger, sadness, happiness, or serenity, and share ideas, stories, values, or beliefs.
Yuan is excited about beginning the residency this month and the invaluable knowledge and experience that she will gain through the year-long programme.
“This is a fantastic opportunity for me to progress my career as a composer and I hope to gain further knowledge about writing for an orchestra, increase my rehearsal experience as a composer with different ensembles, and create enjoyable and impactful music. I’ll also have the opportunity to connect with musicians and others involved in the music industry,” she says.
This residency is offered as part of Auckland Philharmonia’s Learn & Participate programme, which aims to enrich Aucklanders lives through music. The Learn & Participate programme brings together the orchestra’s professional musicians with schools, individuals and communities across Tāmaki Makaurau through events, concerts, and workshops that involve over 20,000 young people and adults each year.
