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Helen Fisher  

Bone of Contention

Duration: 1h 20' 00" Year: 1993
a dance work for mezzo-soprano and ensemble

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Kit Powell  

Christophorus

Duration: 45' 00" Year: 1981, r. 1982
Christmas cantata for baritone, children's chorus, wind orchestra and percussion

  • Instrumentation
    Solo baritone, childrens' chorus Orchestra: 2222; 2220; timp., perc.(2), pno, organ; no strings. Uses slide projections
  • Programme Note

    The first version was written in 1981 collectively with Andre Fischer, a pupil at the Kantonsschule Zürcher Unterland in Bülach. It is a setting of words from an advent calendar by Max Bolliger. It is scored for baritone soloist (Christophorus), children’s chorus and wind orchestra, with percussion. The work was performed twice in December 1981.

    Christophorus tells the story of St. Christopher, a very strong man, who is searching for an ogre who rules the world. Each year, instead of finding the ogre, he finds a child in distress. In the eighth year, still searching, he meets Mary and Joseph in Bethlehem. During the night, when Jesus is born, the child speaks to him and says he has met the ogre seven times already. Christophorus now knows what the ogre is, but is much less sure of his ability to conquer lt.

    The characters of and the children whom he meets are dressed in costume, but do not act. The Cantata is, however, illustrated by a series of slides which are shown during the whole performance.

    In 1982 in Christchurch I revised Christophorus and translated the text into English. It was performed for a season before Christmas of that year, with James Dames singing the part of Christophorus. This revised version has double wind, piano, organ and three percussionists, plus the children’s chorus. A recording was made.

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Bryony Jagger  

Dreams in the Grass

Duration: 35' 00" Year: 1979
A fantasy for mezzo-soprano, treble recorder and narrator

  • Instrumentation
    treble recorder plays triangle, narrator should be male voice, and the mezzo is also required to dance. This work can also be performed by one person as a concert work, if the dance is omitted. Songs can be performed as separate works.
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Jason Kaminski  

Eclogue

Duration: 09' 00" Year: 1996
chamber opera

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Shen Nalin  

Fatal Desire


opera for chamber ensemble with ten players

  • Instrumentation
    Korean instruments: daegum, piri, seanghwang, gayageum, percussion; Western instruments: clarunet in B flat, bass clarinet in B flat, guitar, violincello, percussion
  • Programme Note

    Fatal Desire – synopsis

    In exile upon a small island and in search of his idyll, a Chinese poet lives with his wife (Xiang Yu) and his lover (Qinger); the couple’s infant son stays nearby with a neighbour. Returning from a trip overseas, the poet discovers that Qinger has fled the ramshackle seaside batch the three of them share, apparently with another man. The poet immediately sits down to write a novel narrating the story of their love – a novel, in the poet’s mind, both for and by her. As has been the case in the past with his poetry, his novel is transcribed for him, word by word, by Xiang Yu. Scene Three of the opera, presents the poet’s account of his first sexual encounter with his lover, juxtaposed with Xiang Yu’s longing for her absent son. The opera ends with reports of the tragic outcome of the imminent departure of Xiang Yu also from their home – her murder at the hands of her husband and his suicide. – Duncan Campbell

    Scene three of the opera Fatal Desire has subtitled as “Bingbu Yaoyuan de Sinian”, “Diyi Ge Yue” and “Chu Yie”. It was first performed in Asia Pacific Festival 2007 at Te Whaea, National Dance and Drama Certre, Wellington, featuring Linden Loader (mezzo soprano), Wang Xing-Xing (soprano), James Meng (tenor), Daniel Shen (voice of the son), and directed by Sara Brodie with Gao Ping conducting the Contemporary Music Ensemble Korea.

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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

Score Sample
Video Sample
  • 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.
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Jack Body  

Love Sonnets of Michelangelo

Duration: 13' 00" Year: 1982
for soprano, mezzo-soprano, voice, and a dancer

Score Sample
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  • Programme Note

    The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

    The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

    These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

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Gillian Whitehead  

Outrageous Fortune

Duration: 1h 58' 00" Year: 1998
a chamber opera in two acts

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Chris Adams  

River Lavalle

Duration: 1h 00' 00" Year: 2011
A Chamber Opera (six singers, eight instrumentalists incl sound effects operator) presented as a 1940s style radio play detective story with an underlying environmental theme.

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Alex van den Broek  

Still Standing Silent

Duration: 50' 00" Year: 2009
for four musicians and a contemporary dancer

Video Sample
  • Instrumentation
    for B flat clarinet, tenor saxophone, percussion, contrabass - there is improvisation within set structures mostly for the tenor saxophone and contrabass
  • Programme Note

    In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

    This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

    More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

    Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

    The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

    Alex van den Broek

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