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David Farquhar  

A Christmas with Carols

Duration: 31' 00" Year: 1994
for SATB choir and narrator with organ

Bryony Jagger  

A Poet's Requiem

Duration: 1h 15' 00" Year: 1998
for 3 narrators, soprano, mezzo & contralto soloists, choir and orchestra

Anthony Ritchie  

Albatross, Flying So High

Duration: 02' 00" Year: 1991
for voice and piano

John Wells  

Benedicite Aotearoa

Duration: 03' 00" Year: 1995
for unison singers with keyboard accompaniment

Anthony Ritchie  

Dogwobble and other Songs

Duration: 11' 00" Year: 1990
songs for mixed SAB choir and flexible instrumental ensemble

David Farquhar  

Enchanted Island

Duration: 1h 40' 00" Year: 1997
an opera in three acts based on Shakespeare's "The Tempest"

  • Instrumentation
    3 sopranos; 2 mezzos; 4 tenors; 4 baritones; 1 bass; chorus Orchestra: 2121; 2100; 2 percussion; keyboards; strings
  • Programme Note

    The Tempest is Shakespeare’s most musical play; as Caliban says “…the isle is full of noises, sounds and sweet airs….”. Its musical demands include many songs and many magic effects, storms and a celestial masque.

    Strangely, while many composers (including myself!) have written incidental music for the play, there have been very few operatic adaptations. Yet the fable contains all the operatic ingredients of romance, intrigue and comedy with lots of magic thrown in – is the happy ending a drawback!? There is also an important theme of freedom present, as the ‘tangata whenua’ of the island, Caliban and Ariel, struggle to get free from their slavery to Prospero. They finally succeed, and Prospero himself in the Epilogue asks the audience to “set him free” to leave magic and the stage, just as Shakespeare is also signalling his retirement from play-writing.

    My adaptation of Shakespeare has reduced his text to about a quarter of the original, and five acts to three.

    Act 1 starts with the storm, presents Prospero’s story so far and his relationships to Miranda, Ariel and Caliban, and ends with Ferdinand’s arrival and his falling in love with Miranda.
    Act 2 is in five symmetrical scenes – courtiers, “comics”, lovers, “comics”, courtiers -, and presents the intrigues aimed at killing King Alonso and Prospero, but thwarted by Ariel.
    Act 3 provides more magic ( Prospero’s masque of spirit godesses, celebrating the lovers’ betrothal), and leads to the denouement, where Prospero assembles everyone, forgives the would-be murderers, and announces the departure of all the the visitors to celebrate Miranda and Ferdinand’s wedding in Naples.
    The Epilogue (originally for Prospero alone), is adapted as a vaudeville finale for the entire cast, ending with the everyone adding clapping to their singing, and inviting the audience to join in.

  • Availability

Anthony Ritchie  

From the Southern Marches

Duration: 2h 00' 00" Year: 1997
for choir, soprano, alto, tenor and bass soloists and orchestra

  • Programme Note

    From the Southern Marches was the brain-child of George Griffiths, historian and owner of Otago Heritage Books in Dunedin. He writes: ‘For many years I’d pondered the nature of the southern region and the people who live in it – particularly the contradictory characteristics passed on from our Scots forebears, with their unrelenting capacity for hard work and their uncertain trust in the rewards to be gained from it. In a broader view, it seemed the development of a southern character was a story so rich in human spirit and diversity that it demanded some kind of expression.’ The ‘kind of expression’ depended very much on George’s choice of texts which come from a wide variety of sources, ranging from old Maori chants to more recent poetry.

    The work progresses more or less in a chronological manner, but avoids becoming a potted history of the south. Each text from each particular era focuses on a special characteristic of the time – whether it is the reckless optimism of the gold miners in the 1860s, or the grim reality of the needle-workers in the 1880s who were virtual slaves. George has drawn on a rich variety of ideas and texts, so that more serious items are contrasted with humour, as in Thatcher’s The Old Identity or ‘King’ Dick Seddon’s political speech. Some items involve text with existent tunes, and the music becomes an arrangement (as is the case with The Old Identity). Sometimes these tunes are just a starting point for lengthy elaboration, as in Bright Fine Gold, based on the tune for Hot Cross Buns.

    From the Southern Marches has a format that is similar to oratorio, with alternations between solo vocal items and choruses, with the addition of two purely orchestral sections. There is even references to the ‘recitative’ style in The Jubilee, Southern Education and elsewhere. It runs to almost two hours in length, and is divided into two halves.

    Such was the success of the premiere in March 1998, From the Southern Marches was repeated in December of the same year, this time with Dobbs Franks conducting. In 1998, Otago Heritage Books won a Special Merit Award in the National Business Review’s Business Sponsorship of the Arts Awards .

  • Availability

John Rimmer  

Galileo

Duration: 1h 30' 00" Year: 1998
a chamber opera using for 6 singers, small chorus and 8 players, also using electroacoustic music and DVD of visuals

  • Instrumentation
    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.
  • Availability

Ross Carey  

Kocho

Duration: 1h 15' 00" Year: 1991
chamber opera in two acts

  • Instrumentation
    soprano, tenor, choir (3 sopranos), flute, oboe/cor anglais, clarinet, bassoon, horn, strings, piano solo
  • Programme Note

    Based on the Noh drama Kocho (“Butterfly”), this chamber opera was written as part of my composition folio for my Honours year of study at Victoria University of Wellington. Although at this particular time I had never heard or seen a Noh drama, I was captivated by this text which I had found in the university library, and decided to make my own setting. This particular drama belongs to the genre of “Spirit Pieces” where the chief motivation is the desire for Nirvana promised by Buddha. In Kocho, the spirit of the butterfly is denied the bliss of Nirvana for a specific reason – her desire for the companionship of the plum blossom that blooms before her time. She tells her story to a travelling monk, asking him to pray for her. In the second act, the butterfly dances joyfully amongst the plum blossoms, her wish fulfilled at last.

    The musical language I have used is a mixture of freely written tonal passages with strong doses of modal (often rather Asian sounding, although not based on any particular system) and minor harmonies, as well as minimalist elements. The choir sings mainly in unison, and in contrast to a traditional Noh choir is made up entirely of women’s voices. On occasion the pianist takes on a more soloistic role, as does the leader of the orchestra. Presented in an unstaged performance at Victoria University of Wellington, in November 1991.

  • Availability

Suzanne Court  

Korimako, Bellbird

Duration: 02' 00" Year: 1995
for voice and piano