Bravo! A Tribute to the New Zealand Opera Company.
Programme 3 of 3: The Vision Fades.
Presented by music historian Adrienne Simpson.
1969 saw the New Zealand Opera Company's second production of "Carmen" by Bizet and the return home of soprano Kiri Te Kanawa was the draw-card, with performances selling-out.
However, the company was now in decline, with problems which began in 1967 with the sudden resignation of founder Donald Munro.
Corinne Bridge recalls his leaving and the loyalty which everyone felt to him, due to his personal financial sacrifices to get the company off the ground.
After that they were managed by accountants and being looked at as a profit-making company. In March 1967 fire gutted the warehouse that the company shared with the New Zealand Ballet. The loss was immense - costumes, props, scenery from all past productions, etc. A public plea gave a great response but most items couldn't be replaced. The government also cut its funding and the number of productions decreased.
In 1967 the new Opera Company School with artistic director John Thompson, but money remained a problem. In 1968 the company opened its own opera theatre in Karori, Wellington, in a converted disused cinema.
First seen there was "Fidelio", cast entirely from resident singers. "The Rake's Progress" followed but lost money. Dorothy Hitch recalls her part including a costume malfunction.
Seasons remained shorter and country tours were now a thing of the past. There wasn't enough work to keep artists in New Zealand.
Elizabeth Hellawell recalls with sadness the contracting of the company's activities. Maurice Leech gives his opinion on what went wrong,
regarding the financial aspects and over-ambition.
The idea of a smaller touring Concert Orchestra was mooted. Geoffrey Newson recalls the lack of planning and why this didn't work out, including problems with some of the musicians.
The change in the company's fortunes can be seen clearly by comparing its 1970 activities with those of five years earlier.
"The Barber of Seville" in 1970 brought several ex-pats back to New Zealand to sing including John Hovell and Malvina Major.
However, the other 1970 production, "Faust" was plagued by problems.
Raymond Boyce, Constance Kirkaldie and Geoffrey Newson recall some of the unsung heroes of the NZOC. Nancy Seaton is remembered for her skills at making the costumes. Trudy Heap was the touring wardrobe mistress and recognised for her contribution. Beverley Simmons was a free-lance writer with the Herald and did radio work - assisted in publicity and practical work for the company. Barry Layton was the company's stage manager and a quiet, efficient person. Russell Channel who is now a reputable conductor was trained by James Robertson.
Fred Turnovsky recalls the high standard of the NZOC as does Maurice Leech. Angela Shaw recalls the standard of their work. Donald Munro believed their best production was "Tosca" but there were many almost on par with these. Lyn Saunders and John Malcolm recall audience response to the shows. "Aida" was to be the company's final production.
In 1970 the New Zealand opera and ballet companies amalgamated under Arts Council pressure. Within a few months the Arts Council had a change of policy and the NZOC's grant would cease after the 1971 season. The last production was "Aida" with the costs shared by the NZBC.
Angela Shaw [Gorton] recalls the unnerving experience of watching the performance, knowing the company was going under. Graeme Gorton recalls how the NZOC gave him a career at the time. Elizabeth Hellawell recalls her career and being paid for something she loved doing.
Corinne Bridge recalls the high standard of the work of the company. Geoffrey Newson praises Donald Munro for founding the company. The final words from Donald Munro, who says it was the most exciting, artistic venture in New Zealand history.