Latest news with #NZOpera
Scoop
4 days ago
- Entertainment
- Scoop
Unleashing Aotearoa's Monster: NZ Opera's Groundbreaking Premiere Of The Monster In The Maze
New Zealand Opera is proud to announce details around the highly anticipated Australasian premiere of the powerful community opera, The Monster in the Maze. Written by acclaimed British composer Jonathan Dove (Mansfield Park, Flight, Marx in London) with libretto by Alasdair Middleton, The Monster in the Maze is a unique community opera that earned a British Composer Award in 2016. Celebrated as one of the most successful contemporary operas of its kind globally, it was originally commissioned by prestigious institutions the Berlin Philharmonic, the London Symphony Orchestra, and the Festival d'Art Lyrique d'Aix-en-Provence. Since its premiere in 2015, the opera has garnered widespread acclaim and has been performed to great success around the world, in multiple languages. Led by the creative powerhouse duo of Director Anapela Polata'ivao ONZM (Tīnā, Red White and Brass, Wild Dogs Under My Skirt) and Creative Producer Stacey Leilua (The Savage Coloniser Show, Wild Dogs Under My Skirt, Young Rock), NZ Opera's The Monster in the Maze will be performed in English across Aotearoa New Zealand this September, offering a profound exploration of identity and cultural resonance. The production brings together professional singers, the Christchurch Symphony Orchestra, New Zealand Symphony Orchestra and the Auckland Philharmonia and the Freemasons Foundation NZ Opera Chorus with large numbers of amateur, youth, and children's choirs and musicians, in a groundbreaking operatic collaboration with communities in each location. The production marks the significant NZ Opera directorial debut for Anapela Polata'ivao. Reflecting on what drew her to The Monster in the Maze she explains: 'What attracted me was the community aspect. This is an incredible opportunity for our local choirs and community members to participate in a high-level, professional performance. This collaborative involvement not only enriches the storytelling but also fosters a sense of connection to the production's cultural themes and to each other, making it an inclusive and empowering experience for all participants and audiences.' The Monster in the Maze opera reimagines the ancient Greek myth of Theseus and the Minotaur, exploring themes such as resistance, justice, and the power of collectivism in a dramatic, Hunger Games-style, one-hour opera. The narrative follows the aftermath of King Minos's victory over the Athenians, as he demands their youth as tribute to be fed to the terrifying Minotaur beast at the heart of his maze. Despite this, the tyrannical king soon discovers these youth are far from passive. Crucially, this new production pays homage to the rich Pasifika heritage that profoundly shapes New Zealand's cultural tapestry, highlighting themes of displacement and resilience. The Athenian youth's journey from a warmer homeland to the cold, unforgiving land of Crete powerfully echoes the migration experiences of many Pacific peoples. In this Aotearoa-specific interpretation, Athens symbolises the warmth and familiarity of the islands, while Crete metaphorically becomes contemporary urban New Zealand, embodying the challenges and opportunities of arriving in a new land. An exceptional, all-New Zealand cast star in the principal roles. Acclaimed UK-based mezzo-soprano Sarah Castle (Andrea Chénier, Semele, La Cenerentola) brings her powerful presence to the role of Mother. Popular baritone and 2018 Lexus Song Quest winner Joel Amosa (La Traviata, Mansfield Park, Rigoletto) steps into the role of maze architect Daedalus. Rising operatic talent Ipu Laga'aia, recently named NZ Opera Freemasons Foundation Company Artist for 2025, makes his professional operatic role debut as the hero Theseus. Completing the principal cast, versatile entertainer and actor Maaka Pohatu (Ngai Tāmanihiri, Tūwharetoa), known for The Modern Māori Quartet and screen roles in Happiness, Far North, and Wellington Paranormal, makes his NZ Opera debut as the vindictive King Minos. Joining Anapela Polata'ivao and Stacey Leilua in the creative team, conductor Brad Cohen leads the Christchurch Symphony Orchestra in Ōtautahi, Christchurch, and Brent Stewart conducts the New Zealand Symphony Orchestra and the Auckland Philharmonia in Te Whanganui-a-Tara, Wellington and Tāmaki Makaurau, Auckland respectively. The Freemasons Foundation NZ Opera Chorus, child, youth and adult community performers join the production in each city. A highly innovative set, costume, and lighting design by Filament Eleven 11 (Rachel Marlow and Brad Gledhill) vividly transforms the worlds of Athens and Crete into a compelling contemporary setting. The design skillfully weaves local narratives into the production elements, showcasing Aotearoa's unique identity and its ongoing dialogue between traditional heritage and contemporary realities. The Monster in the Maze begins its national tour in Christchurch at the start of September, before travelling to Wellington and Auckland for strictly limited seasons.
Scoop
4 days ago
- Entertainment
- Scoop
Unleashing Aotearoa's Monster: NZ Opera's Groundbreaking Premiere Of The Monster In The Maze
New Zealand Opera is proud to announce details around the highly anticipated Australasian premiere of the powerful community opera, The Monster in the Maze. Written by acclaimed British composer Jonathan Dove (Mansfield Park, Flight, Marx in London) with libretto by Alasdair Middleton, The Monster in the Maze is a unique community opera that earned a British Composer Award in 2016. Celebrated as one of the most successful contemporary operas of its kind globally, it was originally commissioned by prestigious institutions the Berlin Philharmonic, the London Symphony Orchestra, and the Festival d'Art Lyrique d'Aix-en-Provence. Since its premiere in 2015, the opera has garnered widespread acclaim and has been performed to great success around the world, in multiple languages. Led by the creative powerhouse duo of Director Anapela Polata'ivao ONZM (Tīnā, Red White and Brass, Wild Dogs Under My Skirt) and Creative Producer Stacey Leilua (The Savage Coloniser Show, Wild Dogs Under My Skirt, Young Rock), NZ Opera's The Monster in the Maze will be performed in English across Aotearoa New Zealand this September, offering a profound exploration of identity and cultural resonance. The production brings together professional singers, the Christchurch Symphony Orchestra, New Zealand Symphony Orchestra and the Auckland Philharmonia and the Freemasons Foundation NZ Opera Chorus with large numbers of amateur, youth, and children's choirs and musicians, in a groundbreaking operatic collaboration with communities in each location. The production marks the significant NZ Opera directorial debut for Anapela Polata'ivao. Reflecting on what drew her to The Monster in the Maze she explains: 'What attracted me was the community aspect. This is an incredible opportunity for our local choirs and community members to participate in a high-level, professional performance. This collaborative involvement not only enriches the storytelling but also fosters a sense of connection to the production's cultural themes and to each other, making it an inclusive and empowering experience for all participants and audiences.' The Monster in the Maze opera reimagines the ancient Greek myth of Theseus and the Minotaur, exploring themes such as resistance, justice, and the power of collectivism in a dramatic, Hunger Games-style, one-hour opera. The narrative follows the aftermath of King Minos's victory over the Athenians, as he demands their youth as tribute to be fed to the terrifying Minotaur beast at the heart of his maze. Despite this, the tyrannical king soon discovers these youth are far from passive. Crucially, this new production pays homage to the rich Pasifika heritage that profoundly shapes New Zealand's cultural tapestry, highlighting themes of displacement and resilience. The Athenian youth's journey from a warmer homeland to the cold, unforgiving land of Crete powerfully echoes the migration experiences of many Pacific peoples. In this Aotearoa-specific interpretation, Athens symbolises the warmth and familiarity of the islands, while Crete metaphorically becomes contemporary urban New Zealand, embodying the challenges and opportunities of arriving in a new land. An exceptional, all-New Zealand cast star in the principal roles. Acclaimed UK-based mezzo-soprano Sarah Castle (Andrea Chénier, Semele, La Cenerentola) brings her powerful presence to the role of Mother. Popular baritone and 2018 Lexus Song Quest winner Joel Amosa (La Traviata, Mansfield Park, Rigoletto) steps into the role of maze architect Daedalus. Rising operatic talent Ipu Laga'aia, recently named NZ Opera Freemasons Foundation Company Artist for 2025, makes his professional operatic role debut as the hero Theseus. Completing the principal cast, versatile entertainer and actor Maaka Pohatu (Ngai Tāmanihiri, Tūwharetoa), known for The Modern Māori Quartet and screen roles in Happiness, Far North, and Wellington Paranormal, makes his NZ Opera debut as the vindictive King Minos. Joining Anapela Polata'ivao and Stacey Leilua in the creative team, conductor Brad Cohen leads the Christchurch Symphony Orchestra in Ōtautahi, Christchurch, and Brent Stewart conducts the New Zealand Symphony Orchestra and the Auckland Philharmonia in Te Whanganui-a-Tara, Wellington and Tāmaki Makaurau, Auckland respectively. The Freemasons Foundation NZ Opera Chorus, child, youth and adult community performers join the production in each city. A highly innovative set, costume, and lighting design by Filament Eleven 11 (Rachel Marlow and Brad Gledhill) vividly transforms the worlds of Athens and Crete into a compelling contemporary setting. The design skillfully weaves local narratives into the production elements, showcasing Aotearoa's unique identity and its ongoing dialogue between traditional heritage and contemporary realities. The Monster in the Maze begins its national tour in Christchurch at the start of September, before travelling to Wellington and Auckland for strictly limited seasons.
RNZ News
04-06-2025
- Entertainment
- RNZ News
Old opera, brand new production
This audio is not downloadable due to copyright restrictions. Director Bruno Ravella Photo: Andi Crown Photography Bruno Ravella is one step ahead of the rest of the team. While NZ Opera is still performing its latest production of Puccini's masterpiece La bohème in Auckland, Ravella is already directing the chorus in rehearsals for the Wellington shows. And by the time the rest of the cast catch up, he'll be in the South Island with the Christchurch chorus. While the opera itself is well over a hundred years old, NZ Opera is presenting a brand new staging devised by Ravella. The original was set in mid-19th century Paris, but Ravella has updated it to the same city in 1947 - a time of recovery after the trauma of the Second World War. Ravella joined RNZ Concert's Bryan Crump ahead of a rehearsal with the Wellington chorus to discuss how he approaches opera, how he directs, and why La bohème works as an opera despite not really being about anything much at all. Boy meets girl, they fall in love, she gets sick and dies. Ravella says the simplicity is the opera's secret. No labyrinthian plot twists, no kings or queens, just two ordinary folk and lots of ordinary human emotion, beautifully expressed through Puccini's music.
The Spinoff
01-06-2025
- Entertainment
- The Spinoff
Review: La Boheme is intimate but inert
NZ Opera's production of Puccini's masterpiece looks and sounds lovely, but would it work better in a different space? Operas come with their own assumed cultural cache. Even if the general public – if such a thing exists anymore – isn't familiar with specific pieces, they at least know that certain operas exist, and that if they're still being performed they must at least be a little good. The Magic Flute, The Barber of Seville, and a few other Mozarts have this level of recognition. Puccini's La Bohème – the story of doomed bohemians in love – is another one of these. La Bohème is part of the standard opera repertoire, this most recent production being the fourth time that NZ Opera have performed it since the turn of the millennium, and it is regarded as one of the best operas of all time. You might also be familiar with it as the basis for the musical Rent, but La Bohème remains a far more interesting take on the source material, as it is loosely adapted from Henri Murger's Scenes de la vie de Bohème, which nobody reading this has read. (By the way, calling La Bohème a more interesting version of Rent is a surefire way to piss off fans of both shows.) Director Brad Cohen's new take on the show relocates it to Paris in 1947 – one of those oddly specific directorial setting choices that seems trendy in this artform – but otherwise feels fairly safe. For opera, it is a remarkably small scale story. Men hang out, men fall in love, woman gets sick, woman gets sicker, people get sadder. While there are a few moments where the stage is flooded by the ensemble, for the most part we remain with our core cast. Some of the singing seems oddly underpowered, sometimes lost under the orchestra. The men in the cast suffer the most here, stuck in the uncanny valley between mimicking the physicality of dudes hanging out with each other with the need to play out to the massive venue. As the doomed Mimi, Elena Perroni fares better, helped along by a gorgeous blue dress that seems to absorb the light, and a florid physicality that immediately defines the character. However, it's Emma Pearson as Musetta, easily the most fun character in the show, who stands out. She plays all the colours of the character, her darkness and her frippery, in a way that fills the stage rather than occupies it, but she also finds intimate moments that really stick out. There is one simple gesture toward the end of the show, a flick of a hand, that was so small and so specifically human, but still stood out in the massive space. 'Why do we go to the opera?' is a question I find myself asking when I see any opera, which is perhaps an unfair thing to ask of any one show. I don't watch an episode of Severance or say, even Family Guy, and ponder the value of TV as an artform. Opera is, however, a form that I am still very much in the process of understanding, and by proxy, truly appreciating. What I love about it is the spectacle, the fact that you can see every dollar onstage, and see what happens when art is supported to achieve that spectacle. Opera is a big artform, it involves human beings going large to achieve human truths even larger. La Bohème, or at least this production of it, is not what I go to the opera for. There is an intimacy to it that is lost in the Kiri Te Kanawa, and while the set strikes an initial gorgeous image – like the memory of a Parisian apartment in 1947 dropped in a sack onto the stage, complete with a sunlight hanging over them – the effect is lessened. Similarly, the moments of snow falling from the sky is also initially impressive, even moving, but becomes less effective on repetition. The tension of this intimacy is felt by the entire production (and perhaps this is the fault of the libretto). The moments where the ensemble come onstage feel obligatory rather than organic, and Chris McRae's delightful clown Parpignol, who entertains some children, is as much a jarring intrusion as his inclusion in the second to last paragraph of this review. I wondered what La Bohème might feel like in a more intimate space, whether a theatre like the ASB Waterfront or even Q's Rangatira could capture the small moments at the heart of this show. The show feels unfortunately inert, stuck on this massive stage rather than reaching out to grab us in the stalls. As a result, I felt similarly unmoved. I appreciate the beauty, the music, and what spectacle there is, but it sits at such a distance from me that it might as well be a sculpture. As with all opera, the human truths are there, but I wish I didn't have to squint to see them.
NZ Herald
01-06-2025
- Entertainment
- NZ Herald
La Boheme captivates with stunning production and powerful performances
American writer John Ardoin envied newcomers to La Boheme, discovering Puccini's evergreen score leaping to life with the freshness of a spring day. NZ Opera's new production might well have even seasoned veterans succumbing, with its opening act so smoothly gliding from the blokey banter of Rodolfo and his mates
