Sofitel Auckland to reopen after luxe French makeover

Sofitel Auckland to reopen after luxe French makeover

Luxurious boutique hotel, Sofitel Auckland Viaduct Harbour, will reopen on October 19 after an extensive makeover that highlights its French luxury and art-de-vivre heritage.

Overlooking the sparkling waters of the Waitematā Harbour, Sofitel Auckland Viaduct Harbour is one of Auckland's most stunning places to rest your head. We're not the only ones who think so; the hotel has often been the choice of high profile celebrities, dignitaries and guests seeking something special. And the newly-refurbished space is oh-so chic, sporting timeless French flair, modern execution and stylish ambiance with elaborate ceiling art, rich Louis XVI-inspired furnishings and bold modernist sculptures.

“Sofitel Auckland Viaduct Harbour epitomises sophisticated charm for locals and well-travelled connoisseurs seeking an urban oasis with luxury boutique spaces and a discreet personalised experience,” says General Manager Stephen Gould. “Like the ateliers of Paris, every space is a treasure house of artisanship. We’re proud to welcome locals and visitors to Auckland to journey through the hotel to experience its beautiful, elegant and stylish new-look.”

Among the hotel's new features is Club Millésime, an elegant set of services for guests reserving the hotel’s luxury rooms and suites. Club Millésime features a lounge retreat embellished in decorative art and is the setting for exclusive breakfasts, afternoon tea, evening drinks and canapés.

Restaurant La Marée, helmed by Michelin starred Chef Marc de Passorio, will bring to the Auckland foodie landscape the best of New Zealand seafood and local produce with French culinary techniques.​ With an elite waterside location in the Viaduct, the restaurant is a fabulous place to enjoy vistas across the Waitematā Harbour.

French Press, influenced by traditional Parisian sidewalk cafés, is the perfect waterside place to sit and people watch with coffee in hand. Make sure you check out the wide variety of sweet and savory crepes.

Sabrage brings the classic Champagne bar to the Sofitel experience, and is the perfect place to celebrate a special occasion. Embracing its waterfront locale, the bar also offers bespoke seasonal cocktails, a local wine list and sharing platters.

The new-look Sofitel Spa offers clients a place to be pampered with cutting-edge accoutrements and the exclusive offering of French skincare line Biologique Recherche. Sofitel Spa is a luxurious escape for anyone visiting Sofitel Auckland Viaduct Harbour.

sofitel-auckland.com

SIX60 announce nationwide Saturdays 2021 tour

SIX60 announce nationwide Saturdays 2021 tour

Start laying down your 2021 plans Kiwi music lovers, SIX60 have added a six-show Aotearoa-wide tour to the upcoming banging summer of Kiwi tunes.

This is set to be another groundbreaking tour for the multi-platinum selling band who recently sold over 130,000 tickets to their Saturdays tour just earlier this year. This time, they're extending their schedule to new cities and large outdoor venues, so you can enjoy home-grown tunes in the heat of our long summer nights. At each concert, they'll be joined by a handpicked line up of musical guests, like Drax Project, Dave Dobbyn, Ladi6 and Aacacia, in a 100% Aotearoa artist line up. It's a unique chance to see some of our A-list artists up on the big stage again and catch debut performances from some of our hottest new acts!

You can catch them throughout January and February in Waitangi, Hastings, New Plymouth, Christchurch, Wellington and Hamilton, and an epic Eden Park show has just been added for Auckland in April - the first ever concert to be held at the stadium.

Fans at each gig will be treated to the first live performance of some of SIX60’s latest material. The band have been working on some brand-new tracks this year, quickly following up from last year’s epic release that produced stand-out hits ‘The Greatest’, ‘Please Don’t Go’, ‘Long Gone’ and ‘Sundown’.

The SIX60 Saturdays tour will be the largest outdoor concerts that kiwi fans can attend in what feels like an eternity after lockdown. They provide a special opportunity to spend a great day of entertainment in the sun with friends this summer!

This will surely be another sell out, so mark your calendars, music fans - tickets go on sale at 12pm on Monday 19 October.

Saturday 16 January, Waitangi Sports Ground, Waitangi

Saturday 23 January, Tomoana Showgrounds, Napier

Saturday 30 January, Bowl of Brooklands, New Plymouth

Saturday 6 February, Hagley Park, Christchurch

Saturday 13 February, Sky Stadium, Wellington

Saturday 27 February, Claudelands Oval, Hamilton

Saturday 24 April, Eden Park, Auckland

ticketmaster.co.nz

Q&A: Peri Drysdale, founder of Untouched World

Q&A: Peri Drysdale, founder of Untouched World

No one mixes style and sustainability like Peri Drysdale of Untouched World, the only lifestyle fashion company to be recognised by the UN for sustainability.

You’ve had a strong sustainability focus for a long time. What does sustainability mean to you? In a nutshell, working to protect the future of our planet and its people while meeting the needs of today. This has to be a holistic focus – environmental, social, cultural issues are all interconnected and can’t be solved independently of each other.

What are the latest sustainable initiatives you’ve been working on? We have been on our sustainable journey for 20 years now, and over that time we’ve put a lot of work into finding and developing the most sustainable fabrics and fibres and walking the talk when it comes to best practice in terms of our design and manufacturing process.

One issue that is still a biggie for us is all the plastic in our environment. It bugs us that we can’t find a genuinely better alternative to poly bags that we use to protect the garments in our warehouse from moths et cetera. We’ve looked at a huge range of alternatives from bags made from sugar cane to bags made from corn starch and while these ‘compostable’ bags sound nice, in reality they’re still not very kind to the planet.

Last year we undertook a comprehensive three-month study into plastic bag alternatives. In order to make compostable packaging more flexible, stronger and water-resistant, a biodegradable binding agent such as PBAT is usually added. It is partially derived from a petrochemical, fossil-based agent that is still not fully renewable. The ‘compostable’ options currently available are not suitable to be placed in kerbside recycling. If they find their way into the recycling stream, then they contaminate all the other material, meaning nothing can be recycled and it will all end up in landfill.

Our study showed that there is no transparent, waterproof, insect-proof bag material that is better in our current environment with the available recycling and composting facilities than a poly bag, so it’s something we’ll continue to work on.

Untouched World started developing masks way back at the start of the year. How are people responding to the products? The response has been huge. We have done a lot of research into the efficacy of reusable face masks and reusables with disposable filters. Callaghan Innovation had a number of scientists firing information to us through lockdown and we had our own global research going on by then into the best protection against Covid.

When it comes to sustainability and socially-conscious products, how important is it to pair them with good aesthetic design? Good aesthetic design inspires and feeds the soul. The uptake of environmentally and socially-conscious products is much, much higher when a product is aesthetically pleasing, so this is really important to us. It’s always been our mantra that you shouldn’t have to give up luxury and great design to be good to the planet.

What is the cornerstone of Untouched World’s design philosophy? Less is more. We believe in timeless design and by using luxurious, quality fabrics and fibres that are easy to wear and easy on the earth, our pieces become those go-to styles in the wardrobe that you’ll want to wear because they make you feel good. We design our pieces to dress up or down effortlessly, so they can take you anywhere and you don’t need as much in your wardrobe.

One thing everyone should have in their wardrobe this season? For women I would say a floaty summer dress that can be dressed up for silly season festivities and down for lazy days at the beach. It’s been a pretty crazy year, a lot of it spent in our work at home wardrobe, so as the weather warms up it’s nice to be able to dress up a little in something that makes you feel great. For guys it would be a luxurious linen shirt. Pare it back with a pair of chinos or shorts for a smart yet relaxed look.

If you could give the world one fashion tip, what would it be? Buy less, but invest in quality pieces you really love.

Tell us about Untouched World Kitchen – what can people expect when they visit you? A light, airy, relaxed space where our friendly team serve simple yet nourishing and delicious dishes, catering for vegetarians, vegans and meat eaters, with plenty of options for those who are dairy or gluten intolerant. There’s also a cabinet full of irresistible treats to have with your coffee, like our Raw Vegan Raspberry Dark Chocolate Cups, Raw Vegan Salted Caramel Peanut Butter Slice and Vegan Banana Loaf with Coconut Whip.

The native garden is a great touch – do you see it as an important part of the café experience? We do. It is an invitation to unwind and soak up a bit of nature. We all live such busy lives these days that finding those little escapes and moments of relaxation really matter.

Outside of work, what are you passionate about? Family, friends and the work of our Untouched World Foundation – not completely outside of work, but a passion and they say if you love what you do, you never work a day in your life!

What food will you never get tired of? Our wonderful chef Kerry’s Super Food Salad. As the name suggests, it’s full of everything that’s good for you, and it’s yummy to boot.

What’s your favourite guilty pleasure? I love a really good red wine. High on my list of favourites are the full-bodied reds from the Gimblett Gravels wine growing area in Hastings.

How do you relax? I am a reader! I’m in my happy place with a really good book.

Have you read any good books lately? I really enjoyed ‘Becoming’ by Michelle Obama, a frank and honest autobiography; Shoe Dog by Phil Knight, a fascinating behind the scenes story of Nike’s beginnings; Autobiography of a Yogi by Paramahansa Yogananda – inspiring, grounding and endlessly re-readable. I’m a fan of non-fiction.

What are your proudest moments? 'People moments' with the wonderful bunch of humans I am privileged to work alongside. I recently attended our Untouched World Foundation’s Advanced Leadership weekend in Kaikōura where a group of incredible young people, alumni from our UWF leadership programmes, got together to discuss a ‘moonshot’ for the group. These capable young people were tasked with coming up with a big lofty goal they could aspire to, to make the world a better place. There was a huge level of passion, the thinking was fresh and unlimited, but at the same time practical. I left there truly inspired.

Four essential things in your handbag? An Untouched World face mask, hand sanitiser, my mobile and a memobottle to keep me hydrated on the go.

What’s the best piece of advice you’ve been given? What you think about, you get. If you are radiating out love and positivity, that is what you’ll get back. If things are a bit lumpy, check your thoughts. Ask yourself “what great things are going to come out of this?” There’s usually always a silver lining.

untouchedworld.com

Q&A: Best Dressed judge Lou Heller

Q&A: Best Dressed judge Lou Heller

Lou Heller is a stylist, personal shopper, and a judge at the upcoming IRT NZ Trotting Cup Day at Addington Raceway in Christchurch. She's letting us in on her best race day fashion tips and seasonal style.

Are you looking forward to your first year judging The Crossing Fashion Starts Here Best Dressed Competition? To sum it up, when I received the email a few weeks back, I may have done a wee squeal with excitement! I’ve always wanted to enter fashion in the field since moving from Taranaki 21 years ago, and attending Cup and Show week, but I’ve never had the guts to. To be a judge has been a secret dream of mine for years, and for it to come to fruition is incredible.

What’s the golden rule of race day fashion? Tough one. I’ve got so many answers for this. Essentially, when I have used my own self as a measure, it has to be about wearing something that allows you to feel ‘like you’. You can always sense the punters who get dressed to impress others, or wear something that isn’t ‘them’, as their energy gives it away. And lastly, challenge your style, push your boundaries but stay true to you.

What are you hoping to see? I’m really hoping to see something I’ve not seen before, outfits that aren’t rehashed from social media at recent race day events overseas. We can always emulate to stimulate as I say, but when I’ve seen past entrants wear something strikingly similar to someone else, I feel it can be an easy solution, when someone may have gone out of their way to go and wear an original but not placed. I always want to see and feel firstly their confidence, then their creativity, refinement, class, preparation, accessories... and lastly what fun they can bring.

What advice do you have for contestants? Own it. Own your outfit and do it for you. We have been through so much this year, so if there’s one year you want to throw caution to the wind and front up and have some fun on stage, this is the year to do it.

How should race wear be different from evening wear? Race wear traditionally is more refined plus more statement. Think classic shapes and silhouettes. Stay away from plunging necklines. Accessories are a must, and most importantly, the headwear.

How important is it to work with a theme? I feel a theme can sometimes be a great place to begin. Overall there has to be a story to your look without trying too hard to be matchy-matchy. I’m a creative, so I appreciate someone who’s put thought into the whole head-to-toe. Hair, make up, accessories, and of course the dress. I always say to my clients, “Feel what your dream outfit looks like, and what that feels like on you in your imagination.” If you can portray that feeling in real life, you’re already halfway there.

What’s the most common fashion faux pas? Short dresses, VUL (visible underwear lines), carrying your shoes around at the end of the day, and attending with little or no effort! (Men too). It’s the races – go all out!

How do you nail selecting a hat or fascinator? I always start with the head-to-toe look and ‘feel’ I’m wanting to give off when wearing the outfit. The headpiece needs to work seamlessly, and not compete too much. You can absolutely still clash the headpiece, but it needs to visually work overall with everything else. This is where line, form and design come in. For it to be successful there has to be cohesion in some way.

What’s the best way to get the judges’ attention? Contestants who wear something that visually represents their passion and love for being there on stage. That wonderful sense of “I feel amazing, I love my outfit, and I have put effort into this”. It’s one of our biggest days of the year, and generally you will have spent months prepping for that one moment on stage. There’s the cliché ‘their smile’, but if you are nailing everything else, you will naturally be doing so.

We’re keen to ask you about this season’s style trends. Can you describe ‘the look’ for SS20? I think we can attest to this when I say New Zealand has its own look to a degree. We live in our own wee bubble down here, and yet we are driven by international social media at the same time. Fashion is a constantly moving beast, and hard to pin down. I feel this year we have been so caught up in Covid, that we felt our style had to re-navigate, but we still want to dress for the occasion when it arises. The Danish have been the fashion set for a long time, with their edge, and their relaxing wear which has really come into its own this year. Labels like Ganni represent this movement so well. Cool streetwear you can head to a bar in, cook at home with your mates in, or watch Netflix in.

Are you noticing anything different about what people are wearing this year? I did notice people were really keen to head out once we hit Level 1. There was a sense of ‘life is short, wear the good stuff’, which is what I am all about. I never save my good pieces for events, as I love to wear them all the time.

Are there any colours that are standing out? We always see colours come in and go out. I find this is ever changing, but some tend to stand out more than others: green in lots of hues – khaki, sage, emerald, mint – is huge this year, coral pink, cerulean blue, edgy neutrals like turmeric yellow and copper.

What’s an essential fashion piece this season? My go-to is a really lovely interesting ‘everything dress’. One that can be worn dressed up or down. With sneakers, heels, boots, sandals, hats, headbands, and mismatched accessories to make it work for your lifestyle.

Fashion trend that needs to go? I answered this once and got backlash, so I’m going to be careful what I say here. I really feel it’s time for the zip-up sneaker with the inbuilt wedge to be given the boot. They should’ve gone a long time ago, but I still see them sneaking in occasionally.

What’s your must-know fashion tip? Trust your gut, and the rest will follow. Sometimes we stand in changing rooms, and more often than not we buy pieces that at the time we felt ‘meh’ in, but we still buy to fulfil a rush. We don’t stop and think “Do I love this? Do I feel amazing? Will it go with A, B, C, and D, in my wardrobe? And can I sleep on it?” I can assure you, if you don’t, it will sit in your wardrobe unworn.

Red or nude lipstick? Both have their place equally, that’s like comparing children to me. I love a smokey eye with a nude, and a fresh lined eye with a red.

Heels or sneakers? Again, both! However, if pain didn’t come into it, I would choose heels without a doubt; they can make any outfit come alive.

Can you tell us about your Wardrobe Detox? What are the ‘toxins’ and why should we get rid of them? Your toxic pieces are the ones that don’t serve your lifestyle, the ones you don’t feel amazing in regardless of their age or price, and the ones that don’t fit. More often than not, we hold onto these pieces because they are nostalgic, or we paid a lot for them. But these can prevent us from evolving, and we end up just buying more and more to try and fix the issue. I guess where I come in is that I can allow you to see this very clearly with gentle, honest guidance, yet I have to have some ruthlessness too.

What’s the best part about styling for a living? Without a doubt, meeting incredible people every time! Seeing and feeling their transformation, and how wonderfully vulnerable it is to spend time with them in their wardrobe and in changing rooms. Their eyes always light up, and their energy changes because they feel it for the first time in a long time. It’s a privilege to see.

What’s a possession you couldn’t live without? A timeless handbag! And definitely my phone. Eeek, yep, I said it.

Who are your favourite designers? So many. Workshop for me has always been a go-to, Helen Cherry has been a staple and fave of mine for 20 years or more, Isabel Marant, Iro, Zara, Aje, Agolde jeans, L.K. Bennett heels, Zimmermann. I loved the recent international resort fashion week looks, and have aspirations of owning some Sportmax and N°21. I tend to be drawn to androgynous style, but then love a good dress, which I love about the designers I wear. I mix it up, I wear high street with my more expensive pieces, as it allows me to get more crossover wearability. I buy quality second hand pieces too.

Fashion is… What we buy, and what happens collectively and seasonally directed by some incredibly talented people at the top of the fashion chain. But it’s what you do with it that makes it ‘your style’. Style is always how we speak to each other without speaking a word.

louhellerstylist.com

Gear up for Addington Cup Week 2020

Gear up for Addington Cup Week 2020

Whip out your fanciest gladrags, don your sleekest suits, and head to Christchurch for Addington Cup Week 2020.

It’s the fashion, entertainment and racing event of the year. Addington Cup Week is the ideal opportunity to join the best of Canterbury and party it up, enjoying the sun with your pick of spectacular food, wine and beer from some of Christchurch and the South Island’s top creators at Addington Raceway & Events Centre.

IRT NZ Trotting Cup Day on Tuesday 10 November is an occasion for celebration with racing, rockin’ entertainment and extravagant fashion. With hospitality areas available for hire, IRT NZ Trotting Cup Day is an ultimate hosting and networking experience for thanking clients, staff and friends. There are limited tickets this year, and as of the start of October five popular hospitality areas had already sold out. Venture into The Edge Public Village to have an epic experience where you will be right in the heart of the action for all the racing, entertainment and food, including food trucks and the Speight’s Lawn. Avoid the general admission queues and get a free glass of bubbly on arrival at the Lindauer Lawn, drink some quality beer with a buddy in the two-person Emerson’s Tiny Pub at Emerson’s Village.

If you love to dress up and know in your heart you’ve always belonged on a catwalk, don’t miss The Crossing Fashion Starts Here Best Dressed Competition, an always-popular feature of the IRT NZ Trotting Cup Day. Win bragging rights with a show-stopping outfit and get in the running to win fancy ribbons and thousands of dollars in prizes. Nothing says a day at the races more than an outrageous hat, fascinator or hairpiece, so channel your inner aristocrat, coordinate your outfit with the ultimate in accessories, and have a bit of fun with it. Men, match a swanky hat to your pocket square or tie, and you’ll get that added sun protection as a fashionable bonus. For some tips on picking out the perfect attire, see our Q&A with competition judge Lou Heller.

The Show Day Races on Friday 13 November will be a day out to remember. Open to all for a gold coin donation to Māia Health Foundation – entry comes with access to hospitality and viewing areas including the Lindauer Lawn and Christian Cullen Lounge. Packages are available in the Blossom Lady Lounge and Terror To Love Lounge for those looking for a more exclusive and luxe experience with a great view of the final stretch.

HOT TIPS

There are no gate sales this year.

Pace yourself and carry sunblock. Take advantage of the free water and sample the delicious eats.

Crack out your most boss pair of heels, and make sure you can actually walk in them. Maybe pack emergency flats for the sore-footed future you.

Save time lining up for a flutter on the day and download the TAB mobile app in advance.

Consider booking an all-inclusive package with no queues and a dedicated space to rest your legs.

Bring a power bank. There’s nothing worse than running out of juice when it’s time to book your Ola or Uber.

addington.co.nz

Q&A: Amanda Atlas from The Human Voice

Q&A: Amanda Atlas from The Human Voice

Kiwi soprano Amanda Atlas sung her way around the world before settling back in New Zealand. She talks about her upcoming performance of NZ Opera’s The Human Voice back on home soil.

You’ve performed all over the world. Where has been your favourite city to perform? The city I loved performing in the most was definitely New York. I travelled there to work as an apprentice artist not long after I finished my Masters in New Zealand, and the thrill of being in such a huge city, surrounded by incredible artists, with the opportunity to see some of the greatest singers in the world was just so stimulating and exciting. I’ll never forget my first production in NY, singing in the chorus of Cavalleria rusticana, and feeling the rush of emotion as the audience gave the ‘Easter Hymn’ a standing ovation. I just felt so lucky. I returned to NY in 2012 to sing a leading role with the company I got my start with, and it was incredible to be back in such a vibrant place.

What’s been a highlight of your career? Definitely entering from the rafters in the enormous Arts Centre Melbourne State Theatre, dangling on a swing, while the thundering Opera Australia orchestra played ‘Ride of the Valkyries’ when I performed Siegrune with OA in their 2016 Ring Cycle. Terrifying and utterly exhilarating.

What’s it like performing for a home audience? Actually, nothing is better. I’ve been lucky enough to sing on three continents, but singing in a city or country where you don’t really know anyone doesn’t hold a candle to singing to an audience where there are people who have known and supported me since I was young. To be honest I do get more nervous at home, especially when my husband is in the audience – as he’s my teacher and coach and he’s tough! But that adds to the excitement.

As well as opera, you perform musical theatre and classical concerts. How does each different medium make you feel as a performer? I knew coming home to New Zealand to live permanently would mean I wouldn’t have a full-time career singing operatic roles – there just isn’t enough work in such a small country. I can’t say I don’t miss that – singing a full role in a staged work is my favourite artistic medium; the rehearsal period really gives you an opportunity to explore the full spectrum not only of the vocal aspects of a role, but also the emotional journey that the character is on. Plus the joy of working with colleagues, staging, acting - it’s just the best. However, concert work is my bread and butter, and it provides its own joys and challenges. You don’t get as much time to live in one piece; often concerts are produced with only one or two rehearsals, and if you have to learn new music it can be stressful to get it up in a short time. What I love about concerts though is the closer connection you get to the audience: it’s not one story they are there to see, but a singer (or singers) taking them on lots of different journeys throughout the evening. I love the contrast and variety you get singing concerts. Musical theatre is just an utter joy for me. Opera is my training and has formed the backbone of my career, but I’ve loved singing musical theatre since I was little girl belting into my hairbrush. I love the freedom of singing in a slightly different technical position, I love the immediacy of performing in English, and how the emotional language of the genre makes me feel when I sing it.

What’s exciting about The Human Voice? The exciting challenge in The Human Voice is that it’s a one-woman opera. There are no other characters onstage with me. It is a one-sided monologue – a woman (Elle – which in the original French simply means ‘She’) on the telephone with her ex-lover. However, the pianist really acts as a duet partner rather than simply an accompaniment. The ‘orchestra’ represents Elle’s ex, and his replies to her, but it also represents the telephone, her emotions, her ever-changing situation as she grapples with both her reactions to the unseen man on the telephone and her decisions as to what she is going to do. I love the challenge of not only remembering my own text (essentially a 40-minute aria) but also creating his text. None of his replies are definitively given by the writer Poulenc; they are all implied by the tone and colours of the accompaniment and by Elle’s reactions. It’s an incredible challenge, but such a rewarding one.

You’ve performed this opera before overseas. What’s being done differently in the NZ Opera production? I last sang this opera in Nashville, USA, in a large 1200-seat theatre with a full orchestra. This NZO production has been stripped right down to the bare essentials: a woman, a piano, and a hotel room. The audience will be right up close and personal – no remove of a well-lit stage or an entire orchestra between us, the usual spectator experience. They will be close enough to touch. It will be confronting for the audience to be so close to someone not only singing operatically in a small space, but also someone experiencing strong emotions of pain, sorrow, anger, desperation. I imagine it will be confronting for me too, to have the audience so close.

Tell us about Elle. Elle is a woman whose entire life has revolved around her relationship with this man – a man who has now left her and moved on with someone else. She is now unmoored, almost unable to allow herself to realise her situation; the moments when she does, she is overwhelmed with pain. There is an implication in the opera that she is an actress, she talks of a friend who has been helping her, but her life has narrowed to one thing: the breakdown of her relationship with the unseen man, and her despair, depression, and sorrow. She can be charming, funny. At times we get a glimpse of what it was like when things were good between them. But the opera provides a snapshot in time – she is deeply hurt, she is trying to hide that, but ultimately she cannot.

What’s it like performing opera in a hotel room? The main thing I will be focusing on in terms of the performance space is the vocal colours and strength I will employ. Obviously the audience is very close - I won’t need to use my full Wagnerian strength to be heard – there is no distance or orchestra I need to overcome! However it is an opera, and I will really need to balance the eardrums of my audience with my need to sing the more dramatic and full-voiced sections with proper operatic technique. Much of the opera is like recitative though – lots of unaccompanied moments, lots of moments when she is very quiet – so it’ll be great to really use all my dynamic range.

What’s one thing people probably don’t know about opera? You can wear jeans to the opera if you want to! Opera can seem inaccessible. The fancy clothes, the foreign language, the stereotypical ‘fat’ lady singing in breastplate and horns. But the reality is completely different. Opera is simply a musical amplification of our common human experience. It explores love, betrayal, heartbreak and joy. The power of unamplified human voices soaring through those themes is something that everyone can be moved by.

If you weren’t doing what you are now, what would you want to be? I did consider changing careers for a while when I was working a temp job in London that I absolutely loved. I was a casework assistant for a children’s charity, assessing applications for essential household items for families in need. I really loved that job, it’s the only one I’ve ever had that I thought might pull me away from singing and music. So something charitable that makes a real difference to people that need help, that’s what I would try to do if I weren’t singing.

Tell us about your first public performance: I had to really think about this, because I started performing pretty young in school and church productions and concerts. My dad was an Anglican vicar, and I grew up singing at church – such great training! Every year at Christmas the Christmas Eve midnight service started with a soloist singing the first verse of ‘Once in Royal David’s City’, and I remember doing that when I must have been about seven.

What do you like to do when you’re in town? Nothing too unusual – I love shopping and chatting in coffee shops. Ooh, and then dinner and a movie.

If you could invite any three people living or dead to a dinner party, who would they be? I would invite Jessye Norman, my favourite soprano, for her genius and warmth. Meryl Streep as she’s been my favourite actress since I went to see The French Lieutenant’s Woman when I was way too young as it was the only movie on in Invercargill that day. And John Oliver as he never fails to makes me laugh amid all the insanity that is American politics at the moment.

The Human Voice

Art Deco Masonic Hotel, Tuesday 13 - Wednesday 14 October, Hawkes Bay

The George, Saturday 17 – Wednesday 21 October, Christchurch

The Rutherford Hotel, Saturday 24 - Sunday 25 October, Nelson

Ohtel, Wednesday 28 - Tuesday 3 November, Wellington

Anchorage Resort, Thursday 5 - Friday 6 November, Taupō

Hotel DeBrett, Tuesday 10 - Thursday 12 November, Auckland
nzopera.com

46° below: Explore the Subantarctic Islands this summer

46° below: Explore the Subantarctic Islands this summer
Expand the 'travel local' mantra slightly and scratch your travel itch in the Subantarctic Islands.

Your passport might be gathering dust, but your much needed vacay to remote, unexplored and exotic locations needn’t be off the cards this summer. You'll just need to head further afield to open up an otherworldly adventure in furthest reaches of New Zealand’s backyard. Remote, rugged and UNESCO World Heritage listed, the Subantarctic Islands are internationally-renowned wildlife havens and just an expedition cruise away. Nesting albatross, sea lion pups and affectionate weaners(!), thousands of penguins and supersized alien flowers combine to offer an experience straight out of a David Attenborough doco, and an escape so complete you’ll feel like you’re not only in another country, but often on another planet. What’s more, they’re all part of New Zealand (mostly).

AUCKLAND ISLANDS

Once all but destroyed by livestock, Enderby Island, a (not-surprisingly) failed cattle farm, has been successfully reclaimed by nature following Department of Conservation intervention. Nationally-endangered hoiho (yellow-eyed penguins) flourish here, and you can enjoy front row seats watching life and near-death play out at a Hooker’s sea lion breeding colony on Sandy Bay – complete with super cute new-born pups. Explore flame-tipped rata forests and marvel at crazy UFO-shaped clouds. On neighbouring namesake Auckland Island, hike 200 metres up South West Cape and take in the flurry of avian activity below at the white-capped albatross colony. As an added bonus for your effort, the views over Carnley Harbour are the definition of jaw-dropping. Bragging rights: Zodiac cruising through a natural arch into a surreal, wave-worn open-topped cathedral where crystalline blue water meets colourful, marbled stone walls crowned with cascading lush vegetation at Musgrave Inlet is as breathtaking as any man-made attraction you’ll find in Europe.

SNARES ISLANDS

Closest to the mainland, this imposing clutch of inhospitable ancient fractured granite islands are home to 2.7 million pairs of nesting seabirds, including some 60,000 endemic Snares crested penguins. Not impressed? You will be when you’re Zodiac cruising along their jagged towering cliffs, complete with Hooker’s sea lion escorts, spotting nesting Buller’s albatross and exploring sea caves as New Zealand fur seals lazily watch you pass from the comfort of their rocky recliners. Bragging rights: Two words – penguin slide. Watching thousands of plucky, and often clumsy, Snares crested penguins navigate this treacherously-steep thoroughfare in and out of the water is endlessly fascinating – and filled with some seriously comical moments.

CAMPBELL ISLAND

This Subantarctic fave won’t so much steal your heart as it will effortlessly snatch it still beating, Indiana Jones-style, from your chest. If wading waist-deep through the gigantic alien flowers known as ‘megaherbs’ and described by botanist Sir Joseph Dalton Hooker as a “floral display second to none outside the tropics” doesn’t get you, the seriously scenic and wildlife-filled walks along towering cliffs to hang out with southern royal albatross will. Pro tip: sea lions have right of way on walkways. Bragging rights: An afternoon at the southern royal albatross colony gaping at nesting couples affectionately grooming, rowdy juveniles engaged in the raucous dating game known as ‘gamming’ and the landing-and-takeoff chaos of a pre-Covid airport will have your spirits soaring alongside these majestic masters of flight. FYI – your tolerance for people casually discarding plastics and potentially harming your new besties will be forever dangerously low.

MACQUARIE ISLAND

The pavlova and Crowded House of the Subantarctics, Australia has staked its claim on this geographically New Zealand island too. The only place in the world where royal penguins breed, you’ll never forget visiting this raucous ‘Penguin City’ or Zodiac cruising one of the world’s largest penguin populations. It’s standing room only for the hundreds of thousands of regal king penguins, nesting defiantly around the ruins of Joseph Hatch’s animal-oil-extracting digesters that decimated the local elephant seal and penguin populations. Take in the aquatic ballet of these script-flipping birds as they crowd your Zodiac to check you out checking them out. The wildlife here is fearless. Sit down and penguins will waddle over and give you a cheeky peck while ridiculously cute weaners (older elephant seal pups) will caterpillar over and try to climb on top of you while you’re busy trying to compute how the hell they turn into the flatulent, blubbery huddles jousting in front of you. Bragging rights: Your ‘weaner lap dance’ story will never get old.

Looking for something a little closer to home?

Heritage Expeditions also offers authentic expedition cruises to some of New Zealand's most remote and iconic locations, many only accessible by expedition ship. Experience the time-forgotten rawness of Rakiura (Stewart Island) and explore the primordial majesty of Fiordland's remote coves on the Unseen Fiordland and Stewart Island voyage.

heritage-expeditions.com

Additional Fields

  • Photo: G.Riehle, Heritage Expeditions

Art in the open: SCAPE Public Art Spring Season begins

Art in the open: SCAPE Public Art Spring Season begins

SCAPE Public Art is adorning Christchurch’s city centre with thought-provoking pieces under this year’s theme Secrets and Lies. Get ready to play detective and uncover hidden meanings in this selection of artworks made by local and national artists. Cityscape has a teaser of some of the artworks on show for the six-week season starting October 3.

Queen’s Last Breath, 2020 – Melissa MacLeod

New Brighton sculptor, photographer and performance artist Melissa MacLeod has captured and compressed air from the former QEII site in large bags, giving visible form to this otherwise intangible environment. They will be installed in the Awly Building in the city centre, linking that space with the east side of Ōtautahi, and drawing on the social and geographical conditions of post-colonial, post-quake Christchurch.

The Real World, 2020 – Dane Mitchell

Dane Mitchell is erecting the steel armature – the supports used to hold a skeleton in a museum – for a woolly mammoth skeleton, minus the skeleton. It will be displayed in the inaccessible Robert McDougall Art Gallery, and audiences will view the mysterious object in this normally behind-the-scenes context via live-stream in the Old Engineering Building at the Arts Centre.

Frank, Love and the apocalypse, 2020 - Natasha Matila-Smith

Head down to Hagley Park or keep an eye on the city’s digital billboards to see Natasha Matila-Smith’s text-based artworks. Often darkly funny and sometimes uncomfortable, Natasha’s work is based in internet culture and uses recognisable memes and social media tropes to explore themes around loneliness and discomfort. Often confessional in nature, her work perfectly explores the theme Secrets and Lies.

The Interior, 2019 – Sorowit Songsataya

Deep in the Botanic Gardens, Sorowit Songsataya’s The Interior shows the passing of the last moa surrounded by native birds of Aotearoa – some extinct like the moa, others endangered. They’re life-sized, allowing us to imagine New Zealand richly populated by avian life, like it once was. It’s an emotional powerful work that interrogates the false dichotomy we’ve created between nature and humanity.

Mr + Mrs Hands, 2014 – Kate Newby

Auckland artist Kate Newby makes subtle, site-specific installations that can often be touched or walked on, challenging how art is typically displayed. She uses a huge range of materials to make art that can be easily overlooked, but that stands out on closer investigation. This year she’s installing a huge scarlet rope around the top floors of the Old Courthouse, easily missed by – and at the same time completely visible to – anyone who passes by.

‘Return home Tūī. Let your song remind us of histories unseen’, 2020 – Martin Langdon

Currently exhibiting a piece at The Physics Room using rocks that will eventually be used to restore the repair the Arts centre, Martin Awa Clarke Langdon is no stranger to creating art that’s unique to Christchurch. For SCAPE 2020, he’s constructing a makeshift fence and raised bird feeder in the Arts Centre North Quad, drawing upon various histories that are both seen and unseen in Ōtautahi. Through his work, he aims to create work that incorporates both Māori and Pākehā world views in order to stimulate conversations and collaborations.

The Pool, 2018 – 2002 – Natalie Guy

Natalie Guy’s diving board installation stops passers-by in their tracks. Without a pool, it’s stripped of its purpose, and becomes “a surreal, redundant and inaccessible object,” Guys says. Guy’s work is influenced by David Hockney’s iconic Californian paintings, and Jane Drew’s contribution to the design of Chandigarh in India, imagined in the 1950s as a modernist utopia. This existing work will be moved to the Ōtākaro Avon River Precinct for the SCAPE season.

scapepublicart.org.nz

Additional Fields

  • Stay, Antony Gormley

Go with the floe on an unforgettable 30-day trip to Antarctica

Go with the floe on an unforgettable 30-day trip to Antarctica

Looking to scratch that international travel itch? Check out this bucket-list adventure - a 30-day expedition cruise to Antarctica with Christchurch's own Heritage Expeditions.

There’s a blinding flash behind my eyelids immediately followed by an all over burning sensation as I hit the -1°C water. In the couple of strokes it takes to reach the ship and our thermally-insulated Expedition Leader Samuel Blanc, who’s waiting knee-deep in the Ross Sea at Cape Adare, the burning sensation gives way to a blanket coldness racing inwards and I’m grateful to see his industrial-gloved hand ready to help haul me out.

Alighting the stairs in a jacked up blur of adrenaline and deafening whoops, I’m wrapped in a fluffy towel when I reach the top, and high five my way along the ship’s deck to watch our chef’s impressive leaps (backwards flip and commando) from the top of the gangway. Neurons crackling and bristling with energy I can’t recall feeling this alive, even as the smile frozen on my face starts to ache.

When I can’t feel my feet on the steel deck, I pad down to the sauna on deck 2 where I’m greeted by a welcoming wall of heat and the burly smile of one of the Russian crew. Beside him a wad of birch tree branches sticks out of a bucket of scalding water like a twisted Addams Family bouquet. Grabbing the branches I begin flogging myself as I’ve seen in the movies as water flies wildly around the sauna prompting my companion to intervene and relieve me of the branches. Dipping them back in the water he holds them upright, gently shakes off the excess water and commences to beat me across the chest with them. The extremes of frigid water, dry heat and gentle lashing results in an eruption of gooseflesh as he motions me to turn around and works my back over. Inwardly cursing Hollywood for my Russian sauna etiquette faux pas I thank him for the beating, it only seems right, and offer to return the favour. Laughing, he holds up a hand to stop me and declines, no doubt recalling my earlier self flagellation. The only thing I beat is a hasty retreat back to my cabin.

We first meet our trusty expedition vessel Akademik Shokalskiy, a roguishly charming and sturdy Russian vessel built for polar research in 1984, now repurposed for adventure, when we board her in Bluff. Her ice-strengthened sea cred and Soviet-era nostalgic cool sets the scene for an authentic expedition, adding to the excitement of our adventure. Resplendent in blue and white with yellow cranes at the bow and stern, she will be more than our home for the next 30 days, sharing with us some of the most inaccessible and remote shores in the heart of Antarctica. Aptly named ‘In the Wake of Scott & Shackleton’, our expedition follows these heroic legends and offers a rare opportunity to explore the Ross Dependency, New Zealand’s claim on Antarctica, as well as Australia and New Zealand’s Subantarctic Islands which lie like scattered stepping stones to and from the Antarctica. These UNESCO World Heritage Sites, themselves irreplaceable ecosystems and fascinating destinations rich in history, offer their own special adventures.

I never thought I’d be so happy to be woken at 5am as I am when I hear Samuel’s voice crackling over the PA announcing our first iceberg. Excitedly filing into the bridge, we watch its silhouette slowly develop in the mist like a Polaroid picture in slack-jawed silence. As the floating apartment block-sized iceberg, stark white above the water and luminous blue below, nears we brave the Antarctic chill up on the Monkey Deck, the highest accessible point on ship, to get a better look. Its gnarly caves, layers, fissures and cracks signals the first in an endless procession of these silent monoliths, each uniquely cleaved and hued by nature, providing a dramatic, ever-changing backdrop to our journey. The same afternoon we celebrate the auspicious occasion of crossing the Antarctic Circle, surrounded by ice, with mulled wine under a brilliant blue sky. Reciting an oath pledging to protect all things Antarctica we earn the ‘mark of the penguin’ – stamped on our foreheads.

We spend our days weaving among perfectly lit tabular icebergs and smaller ice cathedrals of varying blues watching airborne penguins leap out of the water onto the ice while lone Leopard and Crabeater Seals raise their heads to watch our passage from private frozen islands as we shudder through ice floes. Lectures from the expedition team school us up on all things Antarctica while in the bridge, complete with delightfully anachronistic instrumentation straight out of Stranger Things, proves the place to be no matter the time of day courtesy of an open bridge policy. We are, of course, in the realm of 24-daylight where the mere minutes between sunset and sunrise stain the seascape and skies in preternatural oranges, pinks and reds. From here we watch pods of Antarctic Minke Whales, their small dorsal fins knifing through the deep blue water, Orca patrolling the ice edge, lounging seals, penguin-strewn ice floes and pass Emperors preparing to march.

Time proves irrelevant under a perpetual sun and every opportunity to get out and explore is taken, regardless of the time, as we juggle meals and sleep around our adventures. It’s all part of Heritage Expeditions’ first rule of exploration – remaining ‘rigidly flexible’. The weather can be temperamental here, so we take our opportunities when and where we find them. There is, of course, a certain thrill to walking on the ice at 3am in brilliant sunshine as we find out during our first triumphant steps on the frozen continent at Cape Adare. Large icebergs loom ahead of our destination – a flat stretch of land framed by snow-capped peaks and presided over by neighbouring giants Mount Sabine and Mount Minto. As our Zodiacs skip over the glassy water a gentle breeze carries the ripeness of Antarctica’s largest Adelie Penguin colony engulfing Carsten Borchgrevink’s Hut, Antarctica’s oldest.

Nothing quite prepares you for the full-on, all sensory assault of hundreds of thousands of penguins and their fluffy brown chicks. Its pungency hits you like a wave, a wave you can taste, and is accompanied by the endless squawks of neighbourhood disputes and hungry youngsters chasing parents demanding feeding. Confined to the beach by their numbers, we spot Borchgrevink’s Hut rippling, mirage-like, over the ocean of rowdy penguins and enjoy a perfect, minutes-long sunset and rise.

On Inexpressible Island, Adelie Penguins leap out of the water onto the ice on our arrival with a Chinstrap Penguin even jumping into our Zodiac to hitch a brief ride before returning to more familiar surrounds. Ice crunches underfoot as we walk to the site of the snow cave where Robert Falcon Scott’s Northern Party saw out a winter after being stranded and having to leg it more than 200 miles to Cape Evans. Along the way we stop to observe a group of Weddell Seals in repose – the vocal seals delight with their near 180-degree yawns which end in a brief chattering of impressive teeth as they lazily scratch mottled undersides with dexterous flippers. Hiking over the ridge of Harrowfield Hill (named after Heritage Expeditions’ recently retired lecturer Dr David Harrowfield) we could be anywhere in the world as we navigate large rocky outcrops and, far below, the white expanses of Priestley and Reeve’s Glaciers inch their way into the Ross Sea.

In Terra Nova Bay we’re invited to spend the afternoon at Italian research station Mario Zucchelli. Their first ship visitors in two years, our Italian hosts are as excited to meet us as we them and greet us on their wharf by a ladder, made just hours earlier, especially for our visit. Our enthusiastic hosts show us around their shipping container constructed summer research station, reminiscent of Christchurch’s former Re:Start container mall where they conduct oceanic, meteorological and geological studies surrounded by towering, ice-capped ridgelines. Tour complete, we join them in their mess hall where we sack out in front of an open fire and enjoy tales of life on the ice, indulging in the surreal experience of sipping Antarctica’s finest espresso and eating pizza with Italians in Antarctica.

Dreams are realised for many as we step inside the history-strewn, rustic huts of Scott and Shackleton. At Cape Evans, Scott’s second hut is resplendent in its meticulous preservation by the Antarctic Heritage Trust. Indeed, such is its condition you get the uneasy feeling Wilson, Ponting or Scott himself might swing open the door at any moment and catch you trespassing. Dog skeletons tethered to chains, remarkably preserved stacks of seal blubber and hay greeting us on the nose in the stables all stark reminders of the hardships endured by these heroic legends. Traversing the volcanic landscape at Cape Royds, we arrive at the bleached, silvery wood of Shackleton’s Hut crowded by jagged black rock and tucked under a frosted, smouldering Mt Erebus. It’s here I wander off for some inward reflection, find a rock with a view and bask in the quiet majesty. It’s a memorable moment to be sure, but as far as sheer delight goes it’s hard to top the tuxedoed Emperor Penguin who gatecrashes our on ice celebrations of the 200th anniversary of the first sighting of Antarctica. Torpedoing out of the water and belly sliding over the ice he stands to attention at our makeshift bar 77° south of the equator between Mount Erebus and Mount Discovery in an unforgettable ‘a penguin walks into a bar in Antarctica’ joke come to life. Our suave celebrity guest freely mingles and poses for photos, and, like all party animals, is the last to leave.

Cruising along the Ross Ice Shelf also gives us a taste of the previously unknown power of Antarctica as we trade the cosy comfort of the bridge for the -15˚C katabatic wind chill for a closer look at one of Mother Nature’s more inspired creations. Staring up at the giant white wall and along its endless sheer expanse, the air a-shimmer with ice crystals tingling my face where they land, I quickly realise no camera can ever capture this experience and lower my lens. Rousing me from from the Shelf’s hypnotic trance, the call of “Orca” sees us spend the next hour observing dozens of pods of Type C Orca (including females with calves) patrolling the Shelf’s edge. On the hunt for toothfish, we watch as they slam their tails on the water and dive below our ship, their unmistakable white markings visible below the surface as terrified penguins leap through the white-capped water and scrabble up floes half expecting David Attenborough to chime in at any moment with a classic narration.

Back at Cape Adare, post plunge, with the spiny backdrop of the Admiralty Mountains cutting into the skyline we charge glasses of Shackleton Whisky on the back deck in the happy/sad farewell akin to saying goodbye to a close friend you may never see again. I can feel Antarctica’s intimate, chilling embrace still running in my veins long after the great white continent fades in our wake.

heritage-expeditions.com

 

 

 

Q&A: Joel Shadbolt talks L.A.B.'s rise to fame

Q&A: Joel Shadbolt talks L.A.B.'s rise to fame

Listen-Able Band? Legs And Butts?  Joel Shadbolt from chart-topping Kiwi band L.A.B challenged us to come with an acronym. Like A Boss?

It’s been a big few years for the band with three albums and a lot of touring. What’s been a highlight moment for you? It’s been a buzz. We’re actually working on another album at the moment. Our goal was to do three albums in three years and we just seem to be keeping the ball rolling and hoping to get another one out by the end of this year. The highlights have been touring, getting over to Australia and playing some massive festivals here in New Zealand. It’s just been an incredible experience.

Is the title of the new album going to vary from the running theme or stick to the pattern? Yeah, L.A.B IV it is. Keep it consistent. No surprises.

When are we going to see L.A.B. IV? Early December. Safe to say. We’ve got strings on the album, more than we have done in the past. Mahuia [Bridgeman-Cooper], the guy who did all the string arrangements has a quartet called The Black Quartet. It’s been cool having that and experimenting with a whole ‘nother layer to the sound. There’ll be a lot of groovy funk stuff, so it’s giving that old-skool soul train kind of vibe.

You’ve got a big summer of gigs? Yeah we’ve got One Love, Northern Bass, Bay Dreams, and of course Electric Avenue in Christchurch. To me that looks like the best lineup of the summer so far.

Who are you looking forward to seeing there? I’m actually looking forward to seeing Scribe and P-Money. That’ll be a buzz. And actually I’ve never seen Benee live, and I really want to see what she’s all about. I love her style and her voice, what she’s got going on, so it’ll be cool to see what she brings to the table for a live show.

The name L.A.B. started off as an acronym of band members’ names. With the new lineup have you come up with a new meaning for it? We’ve got an A and a B, but we don’t have an L now and we can’t change it to J.A.B. because that would just sound stupid! Yeah, it’s an acronym but we just kind of leave it. It’s a weird one, we’ve never thought about changing the name because it just stuck. But no, we’ve just kept it as it is and we just think of it as the ‘musical laboratory’ now. You can make some up if you want.

You might regret giving us that licence. People talk a lot about ‘genre’ and say L.A.B. is ‘mixed genre’. How do you describe yourselves? I’d say we’re a roots band. Obviously there’s a reggae influence in there, there’s a blues influence. There’s funk, soul, RnB, and obviously a bit of electronic as well. But it all kind of stems from some form of roots music.

Your background is playing blues in Tauranga, right? Yeah I’m Tauranga born and bred, I used to play all the jazz festivals. I’m a blues guy but I studied jazz in Auckland because it’s just such a beautiful style, understanding how harmony works and whatnot. I played in heaps of covers bands as a young fella.

Your bandmates Brad, Stu and Ara are Kiwi music legends – Kora and Katchafire have been the soundtrack to a lot of summers. What’s it like working with them? It’s awesome. It’s a laugh a minute. They’re hilarious dudes, they’re humble, talented, talk a lot of shit. And when it comes to the music side there’s such an array of flavours. Brad’s all over the place with what he likes – everything from metal to electronic to Robert Cray to blues. Stu’s one of these guys that can play anything. He’s a guitarist and a keys player. He played guitar in Heavy Metal Ninjas so he played real out-of-it shit like playing in 11/8 time and that kind of stuff – real complex metal. And then he plays reggae, like, he’s just incredible. And Ara’s bass lines are on everybody’s stereo. He’s right into his RnB and funk. I think because they’ve been around the block there’s a different attitude to the band.

Who would you love to collab with? Damn, that’s such a hard question. I’d love to do something with Tedeschi Trucks Band. Derek Trucks is a blues guitarist from the States. He’s incredible. It would be cool to sit in a room with him, and his wife Susan’s the singer.

Have you got a pre-show ritual? I definitely warm up as a singer. Gotta get out there for that first song and it has to be on. I stretch, do some vocal warmups, sing a couple of tracks, get the boys together, do some harmonies. Just kind of get in the vibe to hit that first note. Nothing worse than going out cold. Maybe the odd sneaky shot, but I usually try and wait ‘til after the show for that.

Are we going to hear any new material at your October gig in Christchurch? Nah we won’t be playing any of the fourth album. We’ll wait until it’s released and give it a bit of time. But we’ll be playing that stuff at Electric Avenue for sure.

How is it different playing at a festival versus your own concert? Sometimes you go to festivals and you’ve got to win the crowd over because they’re there to see the act after you. It’s always a real good challenge, you have to come out firing and prove why you’re there. Most bands start being the small print down the bottom playing at 2 o’clock in the afternoon to 500 people and then the headline is playing to 10,000. Festivals are great to play at but it’s a harder gig. I still love them. We’ve had some incredible moments. The last Electric Avenue we played, I think they had a deal with the university because we played real early that day and like five busloads of kids turned up. It was epic.

What’s on the cards for L.A.B. in 2021? Hopefully touring. Hopefully we can get to Australia. The goal is to get on the road. I think like a lot of artists we just want to get out there and play.

What song have you got on high rotation at the moment? A song called ‘Don’t Know What it Means’ by Tedeschi Trucks Band.

Who’s a Kiwi artist to keep an eye on? The Leers. They’re a Mount College band, from the high school I went to. They opened for us at Spark [Arena]. Man, they’ve got a cool sound.

Christchurch Arena, Saturday 31 October, Christchurch


FB/LABmusicNZ

Q&A: Thomas de Mallet Burgess on the future of New Zealand opera

Q&A: Thomas de Mallet Burgess on the future of New Zealand opera

New Zealand Opera’s general director Thomas de Mallet Burgess waxes lyrical on his upcoming productions The Human Voice and Eight Songs for a Mad King, and the future of opera.

What can you tell us about the creative setting of The Human Voice? The Human Voice takes place in a hotel room, and the audience are brought into close proximity with the character, who is undergoing a profoundly emotional rollercoaster of a journey: a separation with her ex-partner. As the audience listens to that conversation, they’ll realise that she’s lying, and the ex-partner is lying. The audience are stuck in the middle trying to deduce the situation, and they’re so close they viscerally experience the unfolding emotion. The significance of the hotel room becomes clear over the course of the opera. Particularly what a lonely place a hotel room can be. These elements knead together in the performance. Using these alternative spaces is a way to give something fresh to our loyal audience, and also possibly a way of interesting a new audience that we’re keen to meet. The size and scale of The Human Voice allows us to take it to places we otherwise wouldn’t reach. It’s two shows per night, two different sopranos, one pianist, and one person who is the manager, box office operator and everything else.

And what about Eight Songs for a Mad King’s location? Eight Songs for a Mad King is a very different work again. The Human Voice was written by Francis Poulenc whose music is beautiful, heart-breakingly beautiful at times. Sir Peter Maxwell Davies is more of a bad boy. He was in his time the enfant terrible of music. The work is deeply uncomfortable for other reasons. It’s exploring the mental condition of a king, someone with a huge degree of power. The music is at times violent and aggressive, and at other times very beautiful. The audience sees the performance twice, once up close inside the Tūranga Central Library, and then at a distance from the street. Having these different experiences, they will think or feel differently about it. Not only that, but because of the public nature of the street, anyone is free to walk past and have a look. Perhaps there might be some guests from the Novotel next door who come out and find themselves in the middle of a crazy performance piece. There’s an element of happenstance. Unexpected. Unplanned. There have been huge changes in the central city in the last few years. Not just the art, but shops opening, life coming back to the city centre. I’m keen for opera to play a part in that. And if there’s nobody in the street when the performance starts, we will note that and mark that in the performance.

So it’s dynamic? Yes it’s dynamic. It’s all about dynamic. The dynamic of plans and happenstance, for one thing.

Will people who wander in be able to hear the opera? Yes, there will be speakers in the street, coming from inside the library to accompany the visuals. The experience of course is completely different. So there’s three experiences – those inside the room who are up close, those ticketed audience members in the street who have a different view and a very personal sound in their headphones, and those other onlookers who come along unplanned, and their experience is less immediate, one might say slightly duller. At the other shows in Auckland and Wellington, people started to interact in strange ways with the show. Some people walked between the audiences. Some cruised in for a bit and then left, and others sat and watched the whole thing. Some whizzed through on a bike, not conscious of what was happening. They all had very different reactions. Through the performance, the king starts to look actually more sane than some of what’s going on in the world outside.

Are there advantages to performing in a hotel room or a library boardroom over a traditional space like an auditorium? One of the concerns I have in general is that we are so bombarded with media – including music but of course all sorts of other things as well – our behaviour is becoming about blocking off, not really hearing, not really listening, not attending. I know I’ve been in the theatre and my own mind has wandered to think about what’s for dinner. How can you get the audience to attend to the work? It’s important to have a different experience. It’s important to have those theatre shows with full lighting and sound setups and it’s also important to do shows in these alternative settings.

So what’s coming up for you in the next year? I could tell you, but you know the deal, I’d have to kill you. We have some amazing things coming up. Because of the Covid-19 situation we’re having to think very carefully about how we plan. What I can tell you is the next thing for us this year is Semele at the Holy Trinity Cathedral in Auckland, so that’s another site-specific production. And we have some upcoming performances of The Marriage of Figaro, which was postponed from this year. And we’re thinking about digital media. Not simply a recording of what we’re performing live, but should we be creating work that is designed for digital from the get-go? And we have a strategic agenda. As well as our main-scale opera, regional New Zealand is very important to us so we’re thinking of ways to bring shows to smaller centres. And we want to commission more work from Māori and Pasifika artists. Developing young artists is also important.

What piqued your interest in a career in the opera? The first opera I directed was the first I listened to. After that I quickly realised that the form is endlessly fascinating and therefore likely to support a career life well lived.

The first? How did that come to be? I was starting in my career as a director. This was the 1990s in the UK and there were only really two courses in the world that taught directing. I did my research on them and wasn’t really impressed. Of course now there are thousands. But I did what I was advised to do, which was call myself a director and start directing. Someone my mother knew had an opera production and wanted a theatre director, and that’s how the introduction was made. It was Menotti’s The Medium. A bunch of us who were learning our craft got together and put on The Medium in Croydon, and it did really well, then we took it to the Edinburgh Festival Fringe. Then opportunities started to come my way in opera.

Who is your personal hero? Denis Diderot, because he was of the Enlightenment. In many ways, the ideas of the Enlightenment are still with us. The relationship between science, the arts and religion, gender politics, those big things. He was also a master of an uncertain narrative where we’re unsure which characters we can trust. Sounds familiar. It does sound familiar. And we’re in a world of fake news, Donald Trump and other populist leaders. And particularly in a time when journalism as a career is taking a huge knock, Diderot’s own struggle with this is very ‘of the moment’.

Is there a particular author who has inspired your career? Hermann Hesse is a deeply, deeply spiritual writer. I went into the arts in the first place around 30 years ago and I was always interested in the idea of transformation in ourselves as human beings. He’s sad, tragic, and always brilliant. He’s a writer I go back to, and read and reread.

The Human Voice

Art Deco Masonic Hotel, Tuesday 13 - Wednesday 14 October, Hawkes Bay

The George, Saturday 17 – Wednesday 21 October, Christchurch

The Rutherford Hotel, Saturday 24 - Sunday 25 October, Nelson

Ohtel, Wednesday 28 - Tuesday 3 November, Wellington

Anchorage Resort, Thursday 5 - Friday 6 November, Taupō

Hotel DeBrett, Tuesday 10 - Thursday 12 November, Auckland


Eight Songs for a Mad King

Tūranga Central Library, Thursday 3 – Sunday 6 December
nzopera.com

 

 

Additional Fields

  • Thomas de Mallet Burgess

Q&A: Donna Jefferis on creating incredible costumes for Royal New Zealand Ballet

Q&A: Donna Jefferis on creating incredible costumes for Royal New Zealand Ballet

Royal New Zealand Ballet's end of year performance of The Sleeping Beauty is approaching, and RNZB head of costume Donna Jefferis has been busy creating the fantastical outfits that will colour the stage.

Dona Jefferis been let loose a little on this one; it’s not a standard period piece, it’s a fantasy. When it all comes together, she expects The Sleeping Beauty to look like a swirling mass of colour on stage. That vision doesn’t come quickly – the work starts about a year out. “Once a show has been selected, I work with the choreographer or director to gauge what they’re doing with the story,” she says. “They’ll have a vision of where and when it’ll be set. I take some of that and add my own spin; it’s a collaborative process.”

Those sketched designs are finalised six months before production, and Donna gets to work with her team to sew costumes for all 169 dancers in the show, each of whom has at least five pieces to their costume. Four permanent staff and a few freelancers work in her costume workroom. Donna and one other make patterns, sewing up prototypes in calico or basic fabrics. Then the team cut and sew. “We’ve even got someone working just on costume props – like hats, armour and jewellery,” she says.

Donna’s skills come from a lifetime of creativity. “I’ve always sewed with Mum,” she explains. While she was at university, she had a job at Downstage Theatre, which morphed into working with their costumes. She then moved with her husband to America and did a Masters in Fine Arts in Theatrical Design, and started working in theatre after she returned to New Zealand.

While Royal New Zealand Ballet does a lot of original ballets, needing costumes to be invented out of thin air, the ballet company also performs classic pieces, like The Sleeping Beauty. It’s still a re-invention challenge, Donna says, no matter how well-known the show is. “You get a lot of scope to be creative, but you do run up against some weird things,” she says. “Aurora is always in pink, for example. But we’ve had some good challenges in this. Aurora’s suitors are from different parts of the world – there’s a Swedish guy, a French guy and an English guy. Because we’re not in a specific period, we have to consider what our audience will read as recognisably Swedish, French or English these days.”

Because the ballet isn’t set in a specific time period, Donna could be inventive with the well-known characters. “Carabosse and her henchman are going to be fabulous, with these big alien headdresses,” she says. “Traditionally the evil fairies are old and ugly, but our one is more along the lines of Maleficent, she’s a fabulous kind of evil.” Aurora’s birthday outfit is another highlight: 650 flowers adorn the bust, sleeves and skirt, and every single one had to be hand-sewn.

One thing people don’t realise about ballet costumes is the logistics of washing. Donna’s team have to make washable underpinnings in every costume – the dancers are doing huge amounts of physical activity, and you can’t have them performing for six weeks in something that can’t be washed, no matter how ornate it is. But Donna knows the tricks. “Often, the sleeves of a costume are attached to the underpinnings, not the outerwear. It looks like they’re wearing a jacket, but the arms won’t be attached, which allows for more movement, and it means the sleeves can be washed.”

Some of her secrets are more glamorous. “People would be surprised about the amount of money we spend on sparkles,” she says, adding in a whisper: “I’ve spent a few thousand dollars on Swarovski crystals.”

“I love the designing and pattern-making,” Donna says, “but most of all I love working with dancers. They work really hard, so I love doing anything I can to support them. A couple of weeks ago we made face masks for the entire company, over a hundred of them. I bought in quilting fabric – it’s ideal for masks because it’s closely woven and washable – and we sewed them up in all these festive patterns.”

After growing up sewing with her Mum, does Donna create fabulous garments for herself at home? After all, there must be some tulle and Swarovski crystals left over. “Not so much anymore. You should’ve seen the fabric I took home during lockdown - and then didn’t do anything with. I knit instead. And I just bought an e-bike.”

The Sleeping Beauty

29 October - 7 November, Opera House, Wellington

11 November, Civic Theatre, Invercargill

14 November - 15 November, Regent Theatre, Dunedin

19 November - 21 November, Isaac Theatre Royal, Christchurch

25 November, Regent on Broadway, Palmerston North

28 November - 29 November, Municipal Theatre, Napier

3 December - 6 December, Aotea Centre, Auckland

11 December - 12 December, Bruce Mason Centre, Takapuna


rnzb.org.nz

 

Additional Fields

  • RNZB - The Sleeping Beauty. Photo: Ross Brown

Celebrate Te Wiki o te Reo Māori around Aotearoa (and online)

Celebrate Te Wiki o te Reo Māori around Aotearoa (and online)

Te Wiki o te Reo Māori – Māori Language Week has been celebrated in New Zealand since 1975. It aims to promote and encourage the use of te reo Māori, revitalising the language as a unique cultural treasure for all New Zealanders. This year’s theme is Kia Kaha te Reo Māori – let’s make the Māori language strong.

Māori Language Day is September 14, which marks the day in 1972 when a petition signed by 30,000 New Zealanders was presented to parliament, asking for active recognition of te reo Māori. Three years later, Māori Language Day became Māori Language Week. We may not be able to participate in Māori language parades this year, but despite mate korona (coronavirus), there are still plenty of opportunities to bring te reo Māori into our lives.

Celebrations around the country of Te Wiki o te Reo Māori will look a little different this year, but there are still plenty of ways to get involved. In Wellington, light projections of Māori phrases on the side of The Embassy and Te Papa will encourage the public to learn and practise te reo. Hutt City Libraries will be hosting its very own Māori language game, Kupu Tupu, while Ōtautahi (Christchurch) is offering the Te Reo Māori Activity Trail to explore the city and improve your te reo. The Toitū Research Centre in Dunedin is becoming a language hub for the week, offering the chance to learn through self-led interactive activities.

In the absence of more live events to attend, the whole country can instead take part in a Māori language moment. The Māori Language Commission wants to get 1 million people speaking, singing and celebrating te reo at the same time on Monday, September 14 at 12pm. What you do for your moment can be as simple as playing a song in Māori or starting lunch with a karakia – the main thing is that New Zealanders come together to celebrate te reo Māori.

Check out the list of 100 Māori words every New Zealander should know – and see if you can learn a couple more this week. For an even loftier goal, you can challenge yourself to learn a word a day for a year with this list of 365 Māori words. Try writing down your word of the day on your daily planner or online calendar, and get members of your household or workplace involved too. For those of you with a fondness for label makers, integrate Māori into your everyday life by attaching labels to items around your home with their Maori names – for example, ipupara – rubbish bin, kāpata – cupboard, ngaruiti – microwave, pouaka whakaata – TV, and tiwharawhara – stereo.

There are free beginners courses in Te Reo Māori available online, or if you prefer a class environment to test your conversational skills, Ara offers beginners, everyday, intermediate and upper intermediate courses. If you want to try some Māori cuisine-inspired recipes, grab yourself a copy of Hiakai: Modern Māori Cuisine by Monique Fiso.

Enter the E Tū Whānau Song Competition with an original song inspiring positive change and be in to win cash prizes! Make ‘kia ora’ your greeting when you’re saying hi to people this week. Recruit a bunch of friends for a singalong to an easy te reo song, such as Tūtira Mai or the National Anthem. Listen to the Te Wiki o te Reo Māori playlist on Spotify. Tune into Māori Television or your local iwi radio station. Try some Māori legend comics in te reo or English with Sanctuary: Pūrakau Evolution.

Whatever you do to improve your use and understanding of te reo Māori, kia kaha!

Gindulgence 2021

Gindulgence 2021

New Zealand’s largest celebration of all things gin is coming back for 2021.

Get into the summer spirit with the most refreshing of beverages and spend a gindulgent afternoon trying local and international gins, along with some excellent snacking potential.

The 2021 lineup includes leading New Zealand craft gin vendors such as Curiosity Gin, Juno Gin, Blush Gin and Lighthouse Gin, and international gins from brands such as Hi I.Q. Liquor Merchants and Clemengold Gin. Accompany your gin with eats from a range of New Zealand’s favourite food stops, such as Kung Fu Dumplings, Gelatiamo, Smoke ‘n’ Barrel and Bacon Brothers.

Each gin producer will have a signature G&T on offer, and with masterclasses, gin tastings and live entertainment, there’s enough to satisfy every true ginthusiast. So head along to soak up the atmosphere and let the gin times roll.

Wellington - Frank Kitts Park, 30-31 Jan 2021
Christchurch - Ilam Homestead, 27-28 Feb 2021
Auckland - Dates TBC

gindulgence.co.nz

Bic Runga announces North Island tour

Bic Runga announces North Island tour

Internationally heralded and locally-loved pop songstress Bic Runga is ready to celebrate both the warming weather and the freedom to perform with a six-show North Island tour.

She has a whole suite of new tunes - while the rest of us were drinking wine with our friends over Zoom, Bic was creating a lockdown soundtrack, starting a new side project called King Sweeties, and writing songs for her next record.

From late October to mid November, Bic will perform in Tauranga, at the Hawke's Bay Arts Festival, in Wellington, Whanganui, Auckland and Leigh, with support from a range of artists along the way including Ebony Lamb, Yasamine, Kendall Elise and Na Noise. At each show, she'll be accompanied by her all-star band, comprised of Kody Nielson (Silicon, UMO), Cass Mitchell (Tiny Ruins, King Sweeties) and Michael Logie (Silicon, The Mint Chicks).

Bic's shows promise to be a musical journey that will take in all points in her career, including re-imaginations of old favourites, a few rarities, te reo Māori interpretations and brand new tunes. Touring is a resource-intensive activity, so the whole way through this tour Bic and her team will be measuring and offsetting their carbon emissions.

Sunday 25 October - Tauranga, Baycourt Theatre - support from Yasamin
Monday 26 October - Hawke's Bay Arts Festival
Friday 6 November - Wellington, San Fran - support from Ebony Lamb
Saturday 7 November - Whanganui, Royal Wanganui Opera House - support from Ebony Lamb
Friday 13 November - Auckland, The Hollywood Avondale - support from Na Noise
Saturday 14 November - Leigh, Sawmill - support from Kendall Elise

Tickets on sale now at bicrunga.com