What's Hot New Zealand caught up with director Lindy Hume to talk about and love, the revolution, and the NZ Opera season of The Marriage of Figaro.

Have you directed The Marriage of Figaro before? I have not. And so it's nice to be doing it for the first time, at this advanced age!

Can you tell us a little bit about the opera without giving too much away? The whole thing is set in one single day of madness. It’s an intertwining plot of love, scheming and deception. Figaro is to marry a Countess’s maid, Susanna, who the Count is planning to bed, as he believes it’s his right. The young couple set about exposing the older man’s lechery, and he in turn sets about revenge.

Is it a love story or something more? It's much more than a love story. I mean, it is a love story in that there is a lot of love in there, but there's also a lot of pain. Because it's the beginning of one marriage and the middle of another marriage. And so those two things collide. The Count and the Countess are starting to cope with their reality, and both of them are very attracted to other people, who happen to be people they aren’t married to. So yeah, it's an interesting combination of people who are happy and people who are unhappy.

How does this production of the opera explore feminist ideas? It is very much embracing some of the ideas in Martha C. Nussbaum’s essay, which I mentioned my direct designs. And it looks at the opera through the prism of the women – Susanna, the Countess, Marcellina, and in a way Cherubino, who is quite gender nonspecific in that he’s a young adolescent boy, but he's played by a woman and he dresses as a woman a lot of the time in the opera. So there's a lot of play with gender. The men are very revenge oriented and angry a lot of the time and the women seem to ameliorate those emotions. And, the women are the people that propose the idea, which is the big idea of the opera – forgiveness.

What's revolutionary about the story? It’s based on the play by Beaumarchais, who was indeed a revolutionary in the French Revolution. The play itself was undermining the idea of the Ancien Régime, where the aristocracy had all the power and everybody else had none. And so it was the beginning of the new regime for France, but also for the world. We're looking down the barrel of the Industrial Revolution, so in terms of the making of the play, it had a very strong political purpose. Mozart's approach to it is also about liberty, fraternity and equality, but it is also much more humane, I think, and looks at the political as personal as well. You get the idea of the world changing externally. But you also get the human condition, the impact on the humans and the changes that have to happen internally in order to make external change.

In terms of the aesthetic of this production, does it have a more traditional, or enlightenment-era setting? It's not traditional in any sense, but having said that, some of the costumes have a relationship with the 18^th Century. We try to belong to both eras simultaneously. The clothes and the scenery – both have resonances of the original period, and our world.

Why did you make that decision? The whole point of what I'm trying to do with this production is to find common ground between the two worlds, 250 years apart. To look at what was revolutionary about the play and the opera at that time – it related to a very particular time politically in Europe and around the world. What are the things that are similar to our world now? For example, attitudes to women are changing currently, very strongly. So that's an easy kind of focus point. But I think the world is changing, in the sense that it's observing the great injustices of the very rich, and the very poor. And so all these things in the opera are timeless. We’re looking at those things in a different way, and finding thematic common ground.

What has it been like working on an opera with such a strong team of women in the top roles? I can't say it's that unusual for me to be directing, but it's really nice to have a team of very accomplished colleagues, who have always been amazing at their jobs, who just happen to be women. I guess it means that we don't feel we need to justify or explain any of those decisions.

What do you love about this opera? I love its humanity. It's just absurdly beautiful music. It has a luminous quality that I love – particularly the Countess. What I love about working on this particular show also is that they're such gorgeous colleagues.

You've directed opera all over the world, Europe, United States, Australia. What's different about doing it in New Zealand? This is my seventh production for New Zealand Opera. I always love coming back here because I feel like it's a sort of home company for me in a weird way. I've done some of my best work with this company. And some of the productions that have gone on around the world have been productions that we made here at New Zealand Opera. I feel like we have a capacity here to have creative freedom. It’s a company that supports creative leadership and new ideas. And I feel like the audiences are open to interesting ways of looking at things.

What music are you listening to at the moment, other than Mozart? I love Handel, which is why it was really nice to see the Semele film recently. In this mode, I tend to only really listen to the work that I'm working on. I like rock music, that’s my happy place. But I tend to be surrounded by the music I'm working on.

What's on the cards for you for the rest of the year? I’m doing something in Wales, if I can get out of the country. I'm also the artistic director of two festivals, Ten Days on the Island in Tasmania and the Four Winds Festival in Bermagui, NSW, in February. Both of which are music and multi arts festivals. That keeps me busy. I’m also doing my PhD, and meant to be submitting it in the next couple of months.

Read our Q&As with the other women of The Marriage of Figaro creative team: Zoe Zeniodi, Eleanor Bishop and Tracy Grant Lord.

Nationwide

Tue 8 Jun - Tue 13 Jul

nzopera.com

Eleanor Bishop is the assistant director of the New Zealand Opera production of The Marriage of Figaro. It's a radical tale with strong feminist underpinnings, which suits Eleanor's political sensibilities rather well. What's Hot New Zealand sat down with her to discuss her favourite character, guilty pleasures, and the opera's messages.

You’re known for directing political productions – can you tell us about the motivations for your work? Ever since I was young I have found inner strength and power in female-driven stories – as an artist and an audience member. I make theatre because throughout history the stage has always been a revolutionary place. It’s a way to take apart the world as it stands and to imagine a new world.

Does The Marriage of Figaro tick the right political boxes for you? I think artistic work doesn’t have to tick boxes but I’m always excited when I see groups of women work together to support each other – and perhaps make some men look a little foolish.

Who’s your favourite character? Cherubino. It’s a ‘breeches role’ which means it is a female performer playing a male role. I was absolutely gobsmacked and overjoyed when I first encountered this convention. It’s so subversively queer. And they have the ‘Voi Che Sapete’ aria which has a special place in my heart ‘cos I first heard it as a preteen watching the iconic 1995 BBC miniseries of Jane Austen’s Pride & Prejudice. Elizabeth Bennett plays and sings it as Mr Darcy gazes lovingly at her.

What statements is this opera making? The values of humanity, love and optimism are revolutionary and radical.

How does directing opera differ from directing theatre? The music drives everything and the words are less important.

Which do you prefer? Theatre so far but that’s only because I’m so new to opera. I’m hungry to do more.

What’s it like working with director Lindy Hume? Incredible. She’s a powerhouse and super fun.

What music are you listening to at the moment? I’m listening to the album Deep England by NYX and Gazelle Twin. NYX are an all-female electronic drone choir based in London. I recently met their leaders who are a couple of London-based Kiwis – Sian O’Gorman and Philippa Neels. I’m obsessed.

What’s one thing people probably don’t know about opera? That it’s still evolving and developing as an art form. New and contemporary works I’ve seen overseas that blur the boundaries between opera and music theatre are very exciting to me.

What’s the best advice your mum ever gave you? “Take it quietly” – basically it means don’t freak out, breathe and focus.

What’s your favourite guilty pleasure? The ‘sad classical’ playlist on Spotify. That algorithm knows me well.

What’s the best way to relax and unwind? Les Mills Bodybalance, massage, glass of rosé, Ru Paul’s Drag Race.

Read our Q&As with the other women of The Marriage of Figaro creative team: Lindy Hume, Zoe Zeniodi and Tracy Grant Lord.

Nationwide

Tue 8 Jun - Tue 13 Jul

nzopera.com

Conducting the New Zealand Opera production of The Marriage of Figaro is Zoe Zeniodi, 'ingenious Greek maestro' and lifelong lover of La Traviata. She spoke to What's Hot New Zealand about piano playing, Carnegie Hall, and eating bananas.

How did you get into opera? When I was little, at home, unattended, as things used to be back then, I remember coming back from kindergarten and putting on a video tape that I had found on a shelf which showed a lady being in agony for a long time and dying on her couch. I loved ‘dying’ with her every day on my couch after school. It was a daily ritual for me. I had never realised what I was watching, until much later, in my 30s, I found that old tape again and decided to watch it. It was La Traviata by Verdi. I had been watching the complete La Traviata daily throughout my early childhood without ever realising that this was an opera. I went into classical music at an early age. I started my life as a pianist, so I was very involved with instrumental repertoire and performances. The first time I consciously realised that I love opera was when I moved to London for my studies at the Royal College of Music and a friend invited me to the Royal Opera House in Covent Garden to watch Tosca by Puccini. It was one of the most powerful experiences in my whole life – it was a life-changing moment, the moment I realised I really wanted to be able to work with voices and this amazing genre.

What was your first-ever on-stage experience? The first experience with an audience was actually when I was seven years old and I had travelled with my father to Switzerland. There was a piano in the hotel and I remember, after approximately a year of piano lessons, sitting on the piano during breakfast and playing all the little pieces I was learning. I think I really had no idea that there were people there, I had not thought of the piano as something that relates to an audience. Suddenly, I heard all the hotel guests applauding, I still remember feeling happy and embarrassed at the same time, not really understanding why they were applauding. Let’s call this my first-ever on-stage experience. Soon after though, when I was 12 years old, I started playing recitals and public exams in front of audiences.

You came to New Zealand especially for The Marriage of Figaro, right? Where have you been spending the last year or so? New Zealand has excellently handled Covid-19, creating the possibility of live concerts for its people. Unfortunately, most places in the world were not able to be as effective. In Europe, we all stayed home for a very long time, and that was Greece for me. Before Covid, I used to travel a lot for my work. The year before I had gone for concerts to Vietnam, Japan, Colombia, Italy and the Czech Republic, along with my concerts in Greece. I have to admit that taking a year off has been a very beautiful and recharging time, a time of introspection and mindfulness. But, I am more than happy now to be able to come back to music through my collaboration with the wonderful New Zealand Opera.

Where has been your favourite place to perform around the world? I have lived in London, Salzburg and Miami for 20 years – these have been homes for me and places where I connected strongly to music. I have performed in all the continents and in great concert halls. If I have to name one concert hall, Carnegie Hall in New York would be the one. The sound, the acoustics, the energy in that hall are phenomenal. I remember giving the first downbeat – I was conducting Beethoven – and being totally taken aback with the sound I received from the orchestra. I almost had to stop as I was really in shock with the beauty of the sound. A most fulfilling experience!

Have you spent much time in New Zealand before? No, this is my first time visiting this wonderful country – I hope to see as much of it as I can! And certainly, visit more than once.

What stands out to you about the country? As we speak I’m in my Managed Isolation Facility so I cannot really talk about any personal experiences yet in the country. What I feel though strongly is that the people, the system, the system’s care for the people, the infrastructure of the country, as well as the kindness and generosity I have already come across are certainly beautiful characteristics of this nation. I feel that people live happily here and I am eager to discover more of its outstanding qualities.

What’s special about the music for The Marriage of Figaro? Words would never be enough to express the magic of this music. It is a piece full of energy, perfectly written, with an intelligent and witty plot where action is constant. It is a very enjoyable work, beautiful characters and vocal lines, not a moment to be bored. I could go on for hours, but really, just come and enjoy the ride.

What do you hope the audiences will take away from the performances? This opera has deep political connotations and insights. It was very revolutionary for its era, but still, there are similar issues in the world, so it is very much contemporary. I hope audiences will be able to enjoy the music and the plot, relax and have fun but at the same time, leave the performance with the hope that the world can change, that we are all connected into making changes that will aid humanity to its development, a present where we can all be happier, healthier and we can relate beautifully to each other.

What music are you listening to at the moment? Le Nozze di Figaro – it runs inside my brain most of the time, day and night. I find it impossible to listen to other music while I am working full-time on a piece. These past months are very much just Mozart. I will be able to say farewell to the piece the day after my last performance here.

How do you relax? I exercise and meditate. I read books and I drink tea. I enjoy time with my twins. I love nature and I walk a lot. I feel that being conscious constantly, living in the present and being able to concentrate very well when needed, lead to a beautiful and pretty relaxed life.

What’s the most common misconception about conductors? People that I have come across have expressed two thoughts that are certainly misconceptions. Firstly, they tend to believe that the conductor is someone that just moves her hands around and things happen. They are not properly informed on what really the job of a conductor is. Secondly, they tend to believe that the conductor is a type of ‘dictator’, a machine of power who has the right to do what she wants. This is totally wrong and this would never be accepted anymore by any orchestra in this world. The conductor should be an inspiring musician, a leader and collaborator to all the team, someone that the orchestra, the singers, the musicians really want to make music with.

Do you have a pre-performance or post-performance ritual? The one thing I need to do on the day of the performance is to have the space to be totally alone for the majority of the day. I need to be able to lie down and rest as much as I need, to take a nap before the performance, meditate and concentrate. And just before the performance I normally eat a banana.

Read our Q&As with the other women of The Marriage of Figaro creative team: Lindy Hume, Eleanor Bishop and Tracy Grant Lord.

Nationwide

Tue 8 Jun - Tue 13 Jul

nzopera.com

What's Hot New Zealand and the Cinema Italiano Festival take you on a journey through Italy in film.

We begin our trip on the far northwest, at the village of Castel Vittorio near the French border. Io Sono L’Amore / I Am Love was shot in this mountainous town, as well as just down the road in coastal Sanremo and in the northern city of Milan. The film centres on a wealthy Milanese family and the heir’s Russian wife, Emma Recchi (Tilda Swinton) who appears to be a static part of the family’s ‘collection’, but awakens herself through a developing relationship with a talented chef. The film contains magnificent demonstrations of Milanese architecture, including the Villa Necchi Campiglio, designed by celebrated architect Piero Portaluppi.

Heading south, we hit the tourist hotspot of Tuscany – heart of the Renaissance and home to unending beauty in its cities, landscapes dotted with vineyards and olive groves, and Mediterranean coastline. This is the magical setting for Pinocchio – Italy’s favourite fairy tale. This version of the classic tale is told by director Matteo Garrone (of Gomorra fame) with humour, spectacular in-camera special effects, and a touch of his signature darkness.

Next we arrive in the capital, Rome. In the suburbs of this history-drenched city we find the setting of Favolacce / Bad Tales – an exploration of characters and stories in a stylish and naughty drama that tackles toxic masculinity, the loss of innocence and general human unpleasantness amid a long, hot Roman summer.

No film-based trip through Italy would be complete without a stop in Naples. It’s a city of contrasts – stunning beauty, traditional hospitality, world-famous cuisine, crime, and the mafia. The perfect setting for the most interesting of Italian stories. Matrimonio All’Italiana / Marriage Italian Style is one of these stories – a former prostitute attempts to lure a dissociative aristocrat into marriage for the sake of her children, in a highly entertaining and pointed critique of Italian patriarchal chauvinism.

Without a doubt the best way to get from Naples to Sicily is by sea, and La Dea Fortuna / The Goddess of Fortune features one such trip in beautiful detail. The film depicts several sun-drenched Italian locations beautifully: Rome, Naples, Palermo. It’s also a humanistic, warm, funny, sophisticated and thoughtful drama about a family turned upside down by fate and friends, featuring some big names in Italian film.

We find ourselves in Sicily, the island being gently punted off the toe of the boot of Italy. Sicily is home to sandy beaches and Mediterranean sunbathing platforms, snow-covered mountains, an active volcano, deserts and historic cities. Il Gattopardo / The Leopard is an iconic film about the failing influence of the old Italian aristocracy, and its famous ball scene is both a showcase of the height of Sicilian beauty and opulence, and a demonstration of the irrelevance of extravagance.

Finally, our trip through Italy takes on a cultural exchange to a place where many of the locals don’t consider themselves to be Italian at all: Sardinia. L'uomo che Comprò la Luna / The Man Who Bought the Moon shows off the island’s unique wit in this absurdist, hilarious film that pits a mainland special agent against a Sardinian man who lays claim to the moon.

Nationwide

Thu 17 Jun - Tue 14 Dec

cinemaitalianonz.com

The Glow Show artistic director Sarah Burren talks to What's Hot New Zealand about the value of teamwork, and keeping the attention of toddlers.

So you’re the Glow Show puppet master? Well, there’s a huge team of people who make this happen. I came up with the idea of The Glow Show, and I make the puppets myself.

Tell us a bit about the show. It’s been a five-year project getting this far, and this is the fourth year doing the show. Matariki 2017 was the first year. It’s ultraviolet puppetry with blue sky thinking. The show is very mesmerising for children, they think “How do they do that, how do they make it happen?” This year’s show is very loosely themed on wonderland. It’s wacky as, and very uplifting.

What’s the highlight this year? The eight-metre caterpillar. And the music is going to be epic.

How did you come to this idea? I come from a production background – working on sets, costumes and props, mainly in theatre. I worked in London for eight years and Toronto for seven years. I worked on some incredible productions with big crews of people. When I came back to New Zealand in the ‘90s I got into puppeting in Auckland. I grew up with the Muppets, you know, I always liked puppets. I was doing kids’ shows, because that’s what was available. And in every show we did a glow-in-the-dark section. I thought, why not make a whole glowing show? I’ve always enjoyed the art of ultraviolet puppetry because it’s very difficult to do. There’s a lot of science and art to it.

What’s the process for making the puppets? Well, you start with the characters, what personalities will be in the show? Then they’re hand-drawn, then built in CAD [computer-aided design] and finally handmade into puppets. The puppets are all very lightweight, because they’re very big.

How do you get all the equipment around the country? We have a people mover and a trailer. Everything is designed to fit into a certain size and space, including the 3.4-metre flowers. They all pack in together.

That sounds like a pretty tight ship. It is! The first show is usually 10am so we’ve got to pack in pretty quickly. Get to the venue at 7:30, doors open 9:30. We’re very disciplined, right from the design process until the actual delivery. You have to be very organised to do this type of work, because there’s layers and layers of production management.

Are there any challenges? To keep the price reasonable for parents. The more you let the cost of production go up, the more the price of tickets has to go up. We’ve been very disciplined so that people can go to these amazing places like the Isaac Theatre Royal and pay $15.50 or $17.50 for a ticket.

Are the two shows different? Yes, we’ve found there’s a big difference in the ages between 0 and 12. So for the under-fives we do a 10am show that’s music and puppetry only. Those young kids just want to dance and have fun, they don’t necessarily want a deep and meaningful story. The 11:30am show is for six- to 12-year-olds, it’s a longer show with dialogue.

You mentioned your team earlier. How big is this production? There are 18 people involved in pre-production, and seven people go on the road. I try to bring in established talent to run this as a high quality show. It’s a very collaborative process. I’ve got a music director, the very talented Jason Smith, and my showrunner and director is Rokalani Lavea. Kodez Kauri is our sound engineer on the road, and his talent is indispensable – the sound and the visuals go hand-in-hand. We don’t have any scenery, so the timing of the sound is very important. And we’ve got a lot more very talented people in the team. In the artistic industry, age is ageless. I’m in my 50s, but I’m working with people who are 20, 30, 40 years old. They’re closer in age to our audience and it’s really important to have that perspective.

Wonderland Glow Show
Nationwide
Mon 20 Dec - Sun 24 Jul
glowshow.co.nz

All our pop dreams are coming true this winter as the sonic sounds of Drax Project head our way, along with Mitch James and special guest AACACIA.

From humble beginnings as music students busking on the street, Drax Project have grown into an exceptional band who've won over crowds at every single one of their recent performances, from their own headline shows to international festivals and opening for such household names as Ed Sheeran, Christina Aquilera, Lorde and SIX60.

With catchy tracks that have any audience bopping along, this is one of New Zealand's most-watched groups and one of the world's must-see live acts. Singles from their self-titled debut album have been streamed over 300 million times and have collected 18 platinum certifications to date.

Mitch James is a Kiwi-born, Australian-based singer songwriter whose star is rising fast. After multiple headline shows across New Zealand and winning Best NZ Act at the MTV Europe Music Awards, Mitch is back with an introspective new single, 'Be Somebody' and ready to soar to new heights - and what better way to do that than on a tour with his good mates Drax Project!

AACACIA's mix of R&B and pop melodies makes the perfect accompaniment to this wicked pairing, and her signature vocal talents and thoughtful lyrics will ensure she makes a splash of her own.

Legendary Aussie pub-rocker Jimmy Barnes is taking advantage of the open borders to launch a New Zealand tour, kicking off at Christchurch Town Hall on May 5 2022.

While most of us spent 2020 bingewatching TV shows, Jimmy and his wife Jane entertained the world with daily ‘at home’ performances that attracted more than 100 million views on social media. The Australian rock icon also used 2020’s COVID lockdowns to learn the bagpipes, release a non-fiction book, start work on a novel and help Jane create a forthcoming recipe collection. Plus he somehow found time to write and record a new album with his loved ones that’s aptly titled, Flesh And Blood.

Flesh And Blood is released on July 2 and is the 20th studio album by Jimmy Barnes. To celebrate the release, Jimmy will be bringing his eight-piece band made up mostly of his family to New Zealand for a three-date tour.

“It’s great to be back playing live again”, Jimmy says. “It was good to get some downtime at home for a change but now we’re hungry to get back onstage together. If 2020 taught me anything it’s that Facebook and YouTube videos can be fun but they’re no substitute for a real gig.”

The ten songs on Flesh And Blood feature multiple contributions from Jimmy’s extended family. His son Jackie plays drums, his daughters Mahalia, Eliza-Jane and Elly-May all contribute vocals, as does Jackie and granddaughter, Tyra Harrison. His son-in-law, Ben Rodgers, engineered the album, played bass and collaborated with Jimmy’s nephew, renowned photographer Jesse Lizotte, on the album cover, plus he and Jane also duet together on the American classic Love Hurts.

jimmybarnes.com

Master of Wine Emma Jenkins is presenting at Winetopia this winter, and she sat down with What's Hot New Zealand to talk grapes, wine regions and excellent bubbles.

Can you tell us about a lesser-known wine region that’s captured your heart? Well, I kind of hope there are no lesser known wine regions in New Zealand these days! But if I had to nominate somewhere that people often overlook, it’s the sub-region of Alexandra, in Central Otago. It’s a little bit further-flung and there aren’t as many well-known names as its mostly very very small producers, but the unique and sometimes extreme conditions can produce some of the region’s most expressive fruit. Worth having on your radar, plus it’s a lovely place to visit.

What interesting things are coming out of the big-hitting regions this year? We’ve just had two fantastic vintages, so both 2020 and 2021 will deliver some excellent wines to the shelves this year. As well as great examples of the usual favourite varieties, we’re seeing an increase in the so-called ‘alternative varieties’ as well as less-common wine styles, such as skin contact wines et cetera. If you haven’t already, then this is as good a time as any to dip your toe in those waters – wine should be fun and interesting, so explore all that 2020 and 2021 have to offer. It’s been a tough 12 months for wineries, with the borders closed and hospitality turned upside-down worldwide, and I urge people to get out there and support their favourite wineries – drink their wine, visit them… it’ll help ensure they’ll still be there come the next harvest.

How much do you need to spend for a bottle of New Zealand méthode traditionelle that goes toe-to-toe with a French Champagne? I would say $40 onwards will get you some pretty smart fizz, and if you’re willing to pay around $80-100 a bottle then you will get wines of great depth and character that would easily beat the equivalently priced Champagne. New Zealand sparkling wine is definitely an underrated wine style and I wish people would drink more of it.

Does a méthode have to be made with the traditional three grape varieties or is there room to mix it up? No they don’t, but I do believe the most complex and interesting examples are made from the classic varieties in the manner perfected in Champagne. However, these wines can be from a number of origins – for example New Zealand, Australia and California all produce excellent MT wines. That said, there are plenty of other decent sparkling wines made from other varieties so there’s no need to limit yourself to these styles.

What other varieties make for a good bottle of bubbles? I’m not sure it’s a variety thing so much as a quality thing. I can think of lots of pretty average MT wines, including plenty of Champagne. It’s more about quality of the base wines and the balance and harmony of the sparkling wine. The world of sparkling wine is pretty broad - think of Prosecco (made from Glera grapes), Cava (typically Macabeo, Parellada and Xarel-lo) or numerous French Crémant styles – there’s lots of good stuff to explore.

‘Pinot Gris-Viognier-Riesling-Gewürztraminer’ is both a mouthful and a hard sell. How can we get past the hurdle of naming and marketing lesser-known but delicious grape blends in New Zealand? Big question! I think some producers with multi-variety blends have done well to create a specific name for the wines which gets around this, for example Te Whare Ra’s ‘Toru’ blend, but I’m not sure the issue is so much about the names as it is about helping wine drinkers feel confident to get out of their comfort zones and try new wines, no matter what they’re called. I’m always amazed by how many people will drink the same wine over and over – you wouldn’t do that with food so why limit yourself with wine? This is where events like Winetopia can be really helpful, allowing people to explore new varieties and styles in a low-risk and fun setting.

What’s your favourite up-and-coming wine variety being produced in New Zealand? I think the Spanish white variety Albariño has shown a lot of promise. It seems to work well with our climate and vineyard conditions and the crisp fruity style is one that is familiar and popular here, plus suits a lot of our food.

Are there any varieties you’d consider a failed experiment in New Zealand? Maybe Viognier? It can be a tricky grape to get right and many producers seemed to struggle with finding a comfortable style fit and getting balance right in their wines. I think a few who have persisted make some good wines but overall Viognier doesn’t really seem to have settled that well into NZ.

Can you name one budget wine and one top shelf wine you’re loving at the moment? My friend Jane Skilton MW recommended the 2018 Main Divide Merlot Cabernet and she was spot on – it’s both delicious and a steal at $20. I love great Central Otago Pinot, which is not inexpensive though I still think it delivers excellent value for money.

What’s a 2020 wine that’s worth cellaring for a few years? Good quality 2020 Hawke’s Bay reds and Chardonnays will definitely reward patience.

You’re only allowed to drink one wine for the rest of your life – what is it? My worst nightmare! It would be like having only one book to read for the rest of one’s life. Can I choose a wine style? That’s a little bit more bearable. Sparkling wine – versatile and satisfying.

What’s one thing people probably don’t know about the wine industry? How small New Zealand’s production really is on a global scale – we produce less than 1% of the world’s wine, which makes our global reputation ever more impressive.

What’s the most common misconception about wine? That it’s intimidating. Don't be afraid – it’s just wine! Ask questions, try new stuff, have fun. Most wine people are pretty friendly and eager to share wine knowledge and info about wines they love.

What are you looking forward to at Winetopia 2021? Engaging with consumers, talking about a topic I love, seeing familiar and unfamiliar producers, and learning new stuff.

Bob Campbell MW is a bit of a legend in New Zealand wine. We understand you work closely with him – can you tell us a bit about what he’s like? He’s great. Passionate about wine, super knowledgeable, generous with both attributes, and he has a great sense of humour. Bob is someone from whom I learned a lot when I first started out in wine, and still do. He encouraged me to do my MW. He’s not afraid to voice an opinion on things and I always look forward to his company. Read What's Hot New Zealand's Q&A with Bob Campbell here.

What can we expect to learn from yourself and Bob at Winetopia? Hopefully how to broaden your wine horizons and become more confident about navigating the world of wine, plus plenty of tips on how to get more enjoyment from wine.

Do you have favourite wine-drinking music? I don't listen to music when working – tasting and writing – as I find it distracting, but when I am cooking dinner and pour a glass I usually have some combo of Talking Heads, Violent Femmes, Gorillaz, The Clash, Pixies and a few others that put me in a good mood on my playlist.

What’s the best advice your mum ever gave you? Smile.

One day I’ll… Have time to get my garden in order and read the millions of books and magazines lying about the place.

Winetopia

TSB Arena Wellington Friday 21 - Saturday 22 May

Shed 10 Auckland Friday 18 - Saturday 19 June

Air Force Museum of New Zealand Christchurch Friday 9 - Saturday 10 July

winetopia.co.nz

Before sharing his expertise at Winetopia in July, Master of Wine Bob Campbell sat down with What's Hot New Zealand to talk favourite fizz, top shelf wines and the best budget drops.

Can you tell us about a lesser-known wine region that’s captured your heart? Waitaki. It's a small, wonderfully scenic region on the border of Otago and Canterbury, and it’s capable of producing great wines given the right vintage conditions.

What interesting things are coming out of the big-hitting regions this year? Expect top Chardonnay and Syrah from Hawke's Bay, intensely flavoured Sauvignon from Marlborough and high quality Pinot Noir from Otago.

How much do you need to spend for a bottle of New Zealand méthode traditionelle that goes toe-to-toe with a French Champagne? The fantastic No. 1 Family Estate Assemblé NV goes for just over $30

Does a méthode have to be made with the traditional three grape varieties or is there room to mix it up? I really don’t think so. The traditional French Champagne blend is Pinot Noir, Pinot Meunier and Chardonnay, but my favourite fizz is 100% Chardonnay.

What other varieties make for a good bottle of bubbles? I like German Sekt made from Riesling although there are not many local examples. Chenin Blanc is another strong contender.

‘Pinot Gris-Viognier-Riesling-Gewürztraminer’ is both a mouthful and a hard sell. How can we get past the hurdle of naming and marketing lesser-known but delicious grape blends in New Zealand? Don't declare the grape varieties and give it a catchy brand name – there are a few wineries in New Zealand who do this really well. The wine must also be delicious to succeed.

What’s your favourite up-and-coming wine variety being produced in New Zealand? Albariño. It’s a Spanish white aromatic grape that is already producing some great wines here. Most of the plantings are in Gisborne, and some Albariños are coming out of Hawkes Bay, Marlborough and North Canterbury.

Are there any varieties you’d consider a failed experiment in New Zealand? Arneis, Grüner Veltliner and Viognier are struggling a bit, which is a pity because there are some good examples if you are willing to sniff them out.

Can you name one budget wine and one top shelf wine you’re loving at the moment? Budget is the 2019 Akarua Rua Pinot Noir which goes for around $23, and a great top shelf is the 2018 Radburnd Chardonnay.

What’s a 2020 wine that’s worth cellaring for a few years? 2020 Craggy Range Le Sol Syrah. I've only tasted a tank sample as the bottles aren’t on the market yet, but it is magnificent.

You’re only allowed to drink one wine for the rest of your life – what is it? 1985 Mugnier Musigny – the best wine I have ever tasted.

What’s one thing people probably don’t know about the wine industry? It has a very strong sense of camaraderie.

What’s the most common misconception about wine? It all improves with age. Many wines are best when they’re young and only certain styles cellar well.

What are you looking forward to at Winetopia 2021? Meeting new wine enthusiasts.

You’ll be joined at Winetopia by Master of Wine Emma Jenkins– what’s it like working with her? Great! She is very bright, has a great sense of humour and loves wine as much as I do. Read What's Hot New Zealand's Q&A with Emma Jenkins here.

Do you have favourite wine-drinking music? Cool jazz.

What’s the best advice your mum ever gave you? Don't become a chartered accountant. I did.

One day I’ll… Taste a 1947 Cheval Blanc.

Winetopia

TSB Arena Wellington Friday 21 - Saturday 22 May

Shed 10 Auckland Friday 18 - Saturday 19 June

Air Force Museum of New Zealand Christchurch Friday 9 - Saturday 10 July

winetopia.co.nz

Benee fans rejoice - the pop sensation will be embarking on a regional tour of Aotearoa this August, covering the smaller cities that usually miss out on big-name music gigs.

The Auckland singer had an incredibly successful New Zealand tour in October last year, performing sold-out shows to the likes of Auckland's Spark Arena, but it occurred to Benee, AKA Stella Rose Bennett, that fans located outside of the main centres don't often get the chance to see full-scale shows in their own backyards. "It's important to go to people if they can't come to you," she says. “I feel like it's important to make everyone feel like their area is important, because it is, and we are thinking about every area."

After skyrocketing to stardom following her pre-lockdown release of single 'Supalonely', Benee's hot streak continued with her acclaimed and award-winning debut album, Hey U X, and a full schedule of headlining summer festivals.

For now, she is back in the studio working on her next project with producer Josh Fountain, which she says is likely to be eclectic and creative as her first record.

The tour will start in New Plymouth on August 6, before heading around the country to Palmerston North, Porirua, Invercargill, Nelson, Tauranga, and Napier, finishing at Hamilton’s Claudelands Arena on August 28.

beneemusic.com

The Great NZ Toastie Takeover judges are deliberating on which cafés, restaurants, bars and eateries are behind Aoteatora's best toasties. In the meantime, you can get the recipes direct from the source.

There's nothing like a good cheesy toastie for a classic Kiwi meal. The Great NZ Toastie Takeover is an annual competition to find the best one in New Zealand. The criteria are that the toastie has to be sandwiched between two slices of bread and able to be eaten by hand if necessary. Each toastie must also contain cheese and McClure's Pickles.

We highly encourage you to get out around your area and try some of the toasties entered in the competiton, and if you're a home toastie maestro you can check out recipes for previous winners and chef-designed toasties on the Great NZ Toastie Takeover website. Recipes include mushroom toasties, lamb toasties,  grilled sourdough with chicken parmesan, and more.

The 12 finalists will be announced on July 1. The supreme winner will be announced on July 30.
toastietakeover.com

Pegasus Bay Winery, one of the original and definitive Canterbury wineries, released its first wines in 1991. But its story starts in the 1970s with some of the first grape vines in Canterbury.

Ivan Donaldson and wife Christine were behind those early vine plantings. Ivan was a consultant neurologist who started making wine as a hobby in the garage at their Christchurch home. At that point they had no idea that wine would become the family's business and passion.

A decade later, in 1986, Ivan and Chris purchased some land in the Waipara Valley of North Canterbury with a vision of creating what is now Pegasus Bay. Their four sons, aged 8 to 14 years, helped plant the vineyard which is now 35 years old. All the Donaldson boys are still involved in the business today: eldest sn Mat is the winemaker, Mike is the Canterbury sales manager, Paul is the general manager, Ed is the marketing manager, and his wife Belinda is the events manager.

Ivan and Chris are also still involved, with Ivan overseeing the vineyards and Chris evolving and maintaining the winery gardens. “I always knew I would make wine one way or another, but could never have predicted the extent of my family’s interest, and the success they have enjoyed together. Their involvement has been vital and gives Chris and I a great deal of pride,” says Ivan.

The first vintage was in 1991, the wine made in the same Christchurch garage where it all began. In the 30 years since, Pegasus Bay has become a globally recognised brand exported to more than 20 countries, with its own winery and events centre on site at the vineyard.

pegasusbay.com

Our national restaurant scene has come leaps and bounds in recent decades, finally doing justice to the fact that some of the best food in the world is produced right here.

Whatever you’re in the mood for – or if you just want to try something a bit different or special – there’s an option nearby to suit. Here’s just ten of the many outstanding highlights in New Zealand’s cuisine scene.

TopSail (Whangārei) This casual, airy, harbourside restaurant offers comfortable surrounds, stunning views and unfussy French-influenced New Zealand cuisine. TopSail has a strong local and artisan focus, making its breads and many of its condiments in-house and even keeping its own chickens! topsail.co.nz

Kazuya (Auckland) This sophisticated, degustation-only restaurant in Symonds Street turns out some of New Zealand’s most creative dishes. Using Japanese and European influences, the team create gastronomic delights that are on the cutting edge of international fine dining. kazuya.co.nz

Harbourside (Tauranga) A dinner at Harbourside is an atmospheric delight, set in a beautiful historic building on the water’s edge and serving sensational modern cuisine. You’ll enjoy exquisite local fare and warm, friendly service while you gaze out across the sparkling expanse of Tauranga Harbour. harboursidetauranga.co.nz

Elephant Hill (Te Awanga, Hawke’s Bay) The Elephant Hill winery restaurant is one of the nation’s best, with a casual-fine dining lunch and dinner menu showcasing the Hawke’s Bay’s freshest produce and a grazing ‘Flights and Bites’ menu available at the cellar door to enjoy with some of the winery’s own tasty drops. elephanthill.co.nz

Logan Brown (Wellington) This capital dining scene institution, set in a heritage building, has been one of the capital’s, and the country’s, top culinary destinations for more than two decades, using quality ingredients to create stunning yet simple dishes. loganbrown.co.nz

Hopgood's (Nelson) A modern bistro feel and a local focus are the order of the day at Hopgood's. Making the most of the region’s raft of top-notch craft beer, the menu pairs local brews with creative and ever-changing dishes. hopgoods.co.nz

Twenty Seven Steps (Christchurch) Located in beautiful and historic New Regent Street, Twenty Seven Steps serves rustic European fare in a cosy, intimate bistro setting. Since opening in 2015, the restaurant has quickly established a reputation as one of the top restaurants in the city. twentysevensteps.co.nz

Francesca’s Italian Kitchen (Wānaka) An absolute institution on the Wānaka restaurant scene, Francesca’s Italian Kitchen began life as a pizza truck and now serves utterly authentic Italian classics in equally authentic surrounds. Expect some of the best pizza, pasta, risotto and ragu you’ve ever tasted. fransitalian.co.nz/wanaka-home

Nest Kitchen & Bar (Queenstown) This modern, Art Deco-inspired restaurant in the Kamana Lakehouse hotel boasts some of the best views in Queenstown from its lofty perch overlooking Lake Wakatipu and the mountains. The menu offers classic Mediterranean fare along with fine wines and an impressive collection of New Zealand gin. nestqt.co.nz

Moiety (Dunedin) Bringing excellent service and beautiful food to Dunedin’s fine-dining scene, Moiety’s menu is short and sweet, with snack items pairing well with local wines and serving to tide you over until your five-course dinner arrives, and as the menu itself states: “If it didn’t taste good, it wouldn’t be on the menu.” moiety.restaurant

Christchurch boasts 60 kilometres of cycleways and shared trails, meaning there’s a path to explore from most parts of this humming city. If you haven’t brought your own bike along on your visit, there are several options for hiring one. Save money, save the planet and join us as we explore Christchurch from the saddle.

UNI-CYCLE

City centre to University of Canterbury campus – 6km

This is a fab ride for the whole family, with a couple of must-see, must-do places where you can hit the pause button and enjoy Mother Nature along the way. From the Arts Centre, Canterbury Museum or the Christchurch Art Gallery, don your helmet, jump on your bike and make tracks through the sprawling splendour of Hagley Park. Follow the cycle trail to Mona Vale for a wander through the majestic sprawling grounds, and take a moment to ponder the meaning of life under one of the ancient oak trees. Next up on the trail you’ll find Riccarton Bush, which if you’re there on a Saturday is the place to experience one of the city’s great farmers’ markets. Grab a tasty handmade treat to enjoy down by the river for an idyllic break on your journey. Take a stroll through the tranquil ancient native forest filled with towering kahikatea trees before jumping back in the saddle and heading to the tree-lined cycleways through the university campus.

RAPANUI

Worcester Street to Charlesworth Reserve – 4.5km

Before kicking off your journey in Linwood, a hearty brunch at our fave local café Under The Red Verandah is a must to keep your motor running as you pedal from Worcester Street towards Stanmore Road. Sail past the Tiny Shops Village to admire the gardens, children’s play space and, of course, the tiny shops in this Green Lab community project. The cycleway takes you through Linwood Park, down Linwood Avenue and then to Charlesworth Reserve, which will soon connect with the Coastal Pathway. Now a lush home to native birds filled with over 100,000 trees and shrubs, this peaceful tidal wetland has plenty of walkways to allow you to commune with nature.

NORTHERN LINE

Truckers Road to Kilmarnock Street – 5.5km

If you are staying on the north side of the city, the route along the railway line is a popular one that ends at Mona Vale, or you can continue through North Hagley Park into the central city if you’re up for some café hopping and a dose of retail therapy. For a spot of lunch, pop in to Mona Vale Homestead and Pantry. Get there via an off-road cycleway that’s shared by walkers and joggers, and continue on the Uni-Cycle cycleway. It connects up with the Northern Line and takes you all the way to Riccarton Bush, Hagley Park and beyond.

LITTLE RIVER LINK

South Hagley Park to Springs Road – 11km

Glide through South Hagley Park and the historic Church Square in Addington to Brougham Street, where the cycleway runs parallel to the Southern Motorway for easy connections to sports hub Ngā Puna Wai. Be rewarded for your pedalling efforts with lunch at any of the many cafés and restaurants in Addington.

PAPANUI PARALLEL

City Centre to Northlands Shopping Centre – 5km

From the city centre, head north on Colombo Street through St Albans to Edgeware Village, where you can get some traditional and beautifully presented Japanese cuisine at Tomi Japanese Restaurant. If you’ve an eye for a bargain or an old-skool aesthetic, snap up some vintage duds and retro collectibles at Etcetera. From there it’s on to Rutland Street and past Rugby Park (home of the Crusaders rugby team). For a spot of retail therapy, end your ride at Northlands Shopping Centre. If you have the energy after all that pedalling, drop in to the Graham Condon Recreation and Sports Centre. Take a dip in the pool or hit the machines for a serious workout.

COASTAL PATHWAY

Ferrymead Bridge to Moncks Bay – 3.5km

The warmer months invite carefree bike rides along the causeway, which has been resurfaced and replanted, from Ferrymead Bridge to Moncks Bay. Stop off at the Mount Pleasant Community Centre for an aerial yoga class or stock up on fresh veges and local produce at the Saturday farmers’ market from 9:30am to 12:30pm. Head to Redcliffs Village where you can pick up some quality meat at the butchers, a stunning spring bouquet from the local florist or pop into The Children’s Bookshop for the best range of beautiful books for younger ones. For a sailing lesson, the Christchurch Yacht Club has classes for kids and adults as well as affordable family membership. If you’re in the mood for a stroll along the beach and a delish artisan ice cream from Utopia Ice, continue on just around the corner to Sumner.

QUARRYMAN’S TRAIL

City Centre to Halswell Domain – 8.5km

Start at the Antigua Boat Sheds, where if you’re not in a rush you can hire a canoe or kayak and enjoy a relaxing meander down the Avon. Back in the saddle, ride south on Antigua Street towards Moorhouse Ave then follow the cycle trail across Brougham Street and onto Strickland Street, past the Christchurch South Community Gardens. Turn right into Roker Street and continue until it merges with Sparks Road then follow all the way to Halswell Domain, home to the Canterbury Society of Model and Experimental Engineers’ wonderful miniature railway (every Sunday 1 – 4 pm, weather dependent). The final stage of the cycleway – from Halswell Domain to Te Hāpua and Victors Road – opened in October 2019.

HEATHCOTE EXPRESSWAY

City Centre to The Tannery – 3.5km

The addition of the Ferry Road cycleway means the Heathcote Expressway is now rideable from the central city through to The Tannery in Woolston, where you can feast on some heavenly pastries at Bellbird Baked Goods followed by a spot of shopping at Recycle Boutique, EnCompass, Cosi Fan Tutte and Uncommon, among others. Start your journey in the central city and head for Ferry Road. Follow the cycleway along Wilsons Road and Charles Street, then follow Mackenzie Avenue to Woolston and on to The Tannery.

TE ARA ŌTĀKARO AVON RIVER TRAIL

Pages Road to Cambridge Terrace – 11km

This shared-use trail starts at the Pages Road bridge in New Brighton and takes cyclists right through the residential red zone and along the Avon River before popping out at Fitzgerald Ave. To begin your journey, load your bike on a Yellow Line bus to New Brighton and get off just before the Pages Road bridge. You’ll be hungry and thirsty by the time you make it to Fitzgerald Ave, so park up at Pomeroy’s for a cheeky pint before carrying on down Cambridge Terrace to the central city.

BIKE HIRE

If you need to hire some bikes, head to Action Bicycle Club in Walker Street or Chill – Explore With Us on Durham Street North. Action Bicycle Club has city, mountain-bike and e-bikes for hire, while Chill offers city bike tours, beyond the city tours, and bike hire. If you’ve really got the bug, check out the dream bikes and gear combos available from Bespoked Cycles.

ccc.govt.nz/transport/cycling

The stunning white ngutu (ceremonial entranceway), will welcome visitors to Te Pae Christchurch Convention Centre, and be the location of formal ceremonies.

Construction will begin on the aluminium artwork, named Te Aika, this month. It has been designed by artists Rachael Rakena and Simon Kaan and will be produced by SCAPE Public Art in collaboration with Matapopore.

Te Aika means ‘the home people’ (it is a Ngāi Tahu version of 'Te ahi kā': ‘the home fires burning’). The artwork recognises the mana of local hapu, Ngāi Tūāhuriri. The design has been inspired by the distinctive southern maihi (diagonal bargeboards) on whare on the bank of the Horotueka (Cam River).

Other influences include: the kōtuku, which is considered a good omen; karanga weaving imagery as a tribute to Ngāi Tūāhuriri wāhine; the kahu huruhuru or cloak as a symbol of welcome, warmth, mana and protection; and Te Ao Mārama or world of world of life and light (wisdom and understanding).

Rachael Rakena says the commission was very much a collaboration with Ngāi Tūāhuriri and their aspirations. “It was important for us as artists to ensure that the outcome reflected their mana and whakapapa of place.”

Simon Kaan says it was a great process working together through the complex project. “It has been a privilege to work on such a prominent public artwork for Ōtautahi, which we hope Ngāi Tahu whānui and the public of Aotearoa can embrace. Public artworks, if successful, have the ability to help inform a collective understanding of place and its people. That is our hope for Te Aika.”

Te Pae Christchurch Convention Centre is a major government-lead construction project in central Christchurch. It is one of the remaining rebuild 'anchor projects' and is expected to open in the second half of 2021.

scapepublicart.org.nz