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Coppelia combines laughter, mystery, romance and the finest classical ballet – from spectacular character dances to the grand romantic pas de deux – in a fun-filled spectacle.

In the 1780s, Paris audiences went wild for Haydn’s symphonies. Cherubini reported how orchestral players there “received them with rapture”.

This serene choral-orchestral setting of the Mass is scored for orchestra, organ, mixed chorus and soprano and baritone soloists.

Orchestra News

2014 Soloists

Subs 1:

The Angel

Deborah Humble, mezzo soprano

Deborah Humble’s commanding appearance as Erda, the deus ex machina... with sheer vocal authority silences even the gods (Das Rheingold).

Nicholas Routely, Australian Stage

Subs 2:

What love tells me

Bianca Andrew, mezzo soprano

She has a kind of talent and undeniable star quality that money can’t buy. A magnetism combined with a natural ease and presence.

Radio New Zealand National

Subs 3:

Song of the nightingale

Jian Liu, piano

Certainly, Jian Liu’s performance of Liszt’s visionary exploration of the spirit of Dante’s Divine Comedy seemed like an all- encompassing display of both technical brilliance and poetic identification with the music.

Peter Mechen, Middle C

Subs 4:

Songs of a Wayfarer

Kieran Rayner, baritone

His voice, projection, singing and stage presence were a revelation ... He is a young talent to watch.

Capital Times

Subs 5:

Carmina Burana

Emma Fraser, soprano

Emma Fraser was superbly assured in everything she sang, providing the concert’s musical zenith.

John Button, The Dominion Post

Subs 5:

Carmina Burana

Andrew Grenon, tenor

Andrew Grenon sang faultlessly, digging deep for Acis’ subsequent despair and bloody demise.

The Christchurch Press

Subs 5:

Carmina Burana

James Clayton, baritone

His voice... a resonating bronze instrument with excellent phrasing and articulation... with beautifully judged legato and caressing of the words.

Sandra Bowdler, Opera Britannia

Subs 5:

Carmina Burana

The Orpheus Choir of Wellington

Coached by music director Mark Dorrell, The Orpheus Choir met the often-fearful demands of the score with fortitude and, given the speeds conductor Marc Taddei called for, accuracy and clarity which verged on the virtuosic.

Lindis Taylor, Middle C