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• John Drummond: A Beleaguered City  Year: 2002 

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10 singers, childrens' chorus, orchestra: 2121; 2200; perc., pno; strings

A Christmas opera in 3 acts, based on a Ngaio Marsh play, and including audience participation in a number of carols.

• Farquhar: A Unicorn for Christmas; facsimile 

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• Farquhar: A Unicorn for Christmas; facsimile 

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• Farquhar: A Unicorn for Christmas 

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orchestra, chinese instruments, baritone, actor, 2 chinese folksingers, chinese opera singer

• Festival '98 - ALLEY, an opera by Jack Body 

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2 sopranos playing percussion; 1 bass playing percussion; Bass; Tenor; Dancer; women's chorus; flute, alto flute, clarinet in A, bass clarinet, bassoon; horn, trombone, bass trombone; timpani, piano; strings (including solo electric violin); Percussion: Javanese drums, bass drum, tamtam and optional Javanese gong, gender, slentem, kempul.

An operatic setting of the dance-play by W.B. Yeats which is also performable as a dramatic cantata in a concert version. This is a one-act work and is ritualistic in nature reflecting Yeats’ modeling of the text on the Japanese Noh play. The music is at times dark and atmospherlc, and the archetypal symbolism and metaphysical suggestion of the text, wlth its archaic language and bleak images, is a rich source of inspiration for this. The musical language is comprehensive with tonality and atonality used in conjunction with each other to express literary ideas. Written for five solo singers with the main roles being a tenor and a bass, and a dancer, the backing ii provided by a 30 or so piece orchestra including piano, solo electric violin, and gamelan instruments.
(Programme note from composer’s website)

• Keay: At the Hawk's Well; facsimile 

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• Keay: At the Hawk's Well; facsimile 

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• Nigel Keay: At the Hawk's Well; video 

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• Nigel Keay: At the Hawk's Well 

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• Nigel Keay: At the Hawk's Well 

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2sop,1ten,2bari,SATB chorus and orchestra: (2)22(2)2(2); 2220; 2perc,timp,2keyb; strs.

Bitter Calm is a full length opera for five principals, chorus and orchestra in two acts. It is based on an incident at Motuarohia Island in the Bay of Islands, New Zealand in the 1840s. It is a drama of human passions in the contexts of land alienation and tensions between Maori and new settlers. Premiered at the New Zealand International Festival for the Arts in 1994 and filmed for television.

• Blake: Bitter Calm; facsimile 

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• Blake: Bitter Calm; facsimile 

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• Blake: Bitter Calm (Scenes 1-3) 

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Television newsreader (spoken voice), Nobelman (baritone), Castelli (tenor), Galileo (baritone), Boy/Angel (mezzo soprano), Three Priests (tenor/baritones), Heretic (baritone), Christina (soprano), Military Man (baritone), Sea Captain (baritone), Troubadour (mezzo soprano), Cardinal Bellarmino (tenor), Pope Urban VIII (bass baritone), Pope John Paul II (baritone), small chorus of townspeople; flute doubling piccolo, oboe, clarinet doubling bass clarinet, horn, piano, percussion, violin and cello. Electroacoustic music played through at least eight loudspeakers. DVD of visuals.

• Rimmer: Galileo; electroacoustic part 

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• Rimmer: Galileo; computer-set 

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• Rimmer: Galileo; computer-set 

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• Rimmer: Galileo (visuals) 

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mezzo-soprano, bass-baritone, baritone; clarinet/bass clarinet, violin, viola, violoncello

Markheim is a man at the end of his tether. What started as a robbery gone wrong has ended in a murder – a murder that seems certain to force him to kill once more. And then kill again. Trapped, he is made to confront circumstances that have brought him to this terrible crisis. Just at the moment a mysterious stranger appears – but it soon becomes clear that this saviour is not all he seems. Is he the devil driving to further temptation and inevitable damnation? Or an angel come to save him from himself?

Loosely based on R. L. Stevenson’s macabre story, Markheim, a haunting story of guilt and redemption, Good Angel, Bad Angel is a chamber opera for three voices and four instrumentalists.

SYNOPSIS: The opera opens in an old curio-shop where the owner and his daughter are having a row. She feels unappreciated by her miserly father and says she’d prefer to spend Christmas Day with someone who cares for her – her boyfriend. She storms out leaving the old man to his gold and silver. A knock at the shop door. The shopkeeper is reluctant to open, but realising it could be a potential customer, lets in the caller. It is Markheim, a small time thief. He claims he wants to buy a Christmas present for his girlfriend. The old man shows him his stock. When the old man’s back is turned Markheim kills him. Believing that there is a hoard of gold hidden somewhere in the shop, Markheim is now free to look for it. Another knock at the door. Two drunks are wanting to visit the old man. Markheim doesn’t answer and tries not to panic. Finally the drunks wander off. Quite unexpectedly, a complete stranger – the visitant – enters from the back of the shop. He offers to tell Markheim where the gold is hidden. Fearing the unknown, Markheim refuses to answer. The visitant tells him the old man’s daughter is coming back to the shop to apologise for her outburst. If Markheim is still here when she arrives, he will have to kill the daughter as well to cover his crime. A dialogue follows with Markheim realising more and more the hopelessness of his position. The visitant keeps reminding him that the daughter will be arriving very soon. Markheim insists the money will allow him to start a new life and in a high dramatic solo passage declares that freedom is within his grasp. The murder is one-off, he claims, and from now on his life will be on the straight and narrow. A knock at the door. It is the daughter. The visitant says Markheim will have to let her in. Then he will have to kill her. Markheim opens the door and tells her that her father is dead. At first she thinks the old man collapsed and that the doctor has been called. Then Markheim shows her the knife. Realising what has happened she sings a moving lament for her father and begs for her life. The powerful trio that follows is interrupted by a knock at the door. It will be her boyfriend. The girl starts to scream for help. For Markheim this is the end. Or perhaps a new beginning.

• Cresswell: Good Angel, Bad Angel; computer-set 

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• Cresswell: Good Angel, Bad Angel 

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Hōhepa originates from the request by Matiu Mareikura (Ngati Rangi) to Jenny McLeod to write the story of Hōhepa Te Umuroa. In 1988 Matiu ensured Hohepa’s bones were repatriated home to Pati-arero on the Whanganui River from Maria Island, Tasmania. Jenny undertook what she describes as a “sacred trust” to honour her friend’s wishes, whānau and the memory of Hōhepa. The result is a succinct hour and forty-five minute through-written opera, epic yet very human at heart.

Since taking up the task of librettist and composer in 1996, Jenny’s research has been extensive based on recorded, personal and oral histories (she has since supplied Witi Ihimaera with this material for his subsequent book The Trowenna Sea). The NBR New Zealand Opera have been connected with Hōhepa since its inception, originally encouraging Jenny to write a chamber opera. The vision for 2012, in collaboration with the New Zealand International Festival of the Arts, is to realize Hōhepa on a larger scale to do justice to the scope of a story crammed with characters, and to include specialized dance and kapa haka performers in the staging.

Source: nzopera.com

• Jenny McLeod: Hohepa 

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• Drummond: Impersonating Maurice and Marriage a la Mode  Year: 2004 

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• Buchanan: It Began With a Pony; computer-set 

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• Dorothy Buchanan: It Began with a Pony  Year: 1998 

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• Dorothy Buchanan: Two Salon Operas  Year: 2003 

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