Programme 1990 – La Bohème

HAWKE’S BAY REGIONAL OPERA TRUST

PRESENTS:

LA BOHÈME

BY GIACOMO PUCCINI

STARRING

Howard Spicer   Robyn Lynch-Burnard
Daryn Edmundson   Roger Wilson
David McAtamney   Donald Edwards
Director:   Richard Campion
Musical Director:   Alan Foster

HASTINGS MUNICIPAL THEATRE
April 26, 28, May 1, 3, 5, 1990

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PAGE THREE

HAWKE’S BAY
REGIONAL OPERA TRUST
P.O. BOX 1015, Napier.

1990

SEASONAL PATRON
Mr Hugh A. A. Baird Q.S.M.

CHAIRMAN
Guy Wellwood

SECRETARY
Naomi Baker

TREASURER
Neil Edmundson

TRUSTEES
Leith Morgan, Margaret Wellwood, James Baker, Peter Bohm, Terry Coxon, Ian Kerr, Cedric Wright.

MESSAGE FROM THE CHAIRMAN

It is with considerable pleasure and pride that I welcome you to our second season of opera. Even before the first curtain went up in July 1988 for our immensely successful first season “La Traviata” we had made the ambitious decision to stage “La Boheme”. It has been a battle for the trust getting this far with La Boheme but a battle the trustees, the cast and the production team have determinedly fought because we believed in what we were doing. Grand opera is very expensive in money and time. We have somehow produced a production for you to enjoy at bargain basement prices, yet the standards of our set, our orchestra and our singers are as good as you will get anywhere in New Zealand.

We are the only regional opera trust in New Zealand and one of only five performing grand opera companies in New Zealand. The largest gets $250,000 from the Government each year to perform opera. Four of the companies get more than $40,000 each. We are the fifth; we get nothing.

Major New Zealand companies like the Bank of New Zealand and Mobil give generously to opera in the main centres but decline to support us out here in the region. Many local businesses are learning that it is in their interest to support us but it is a slow process. We shall hopefully one day convince them all.

Over a few weeks of the summer a quarter of a million New Zealanders went and watched, even in the rain, a soprano called Kiri sing mainly opera songs. They came away enchanted. We think we can enchant you too with two of the country’s top sopranos, two of the country’s top baritones, top Australian tenor and other fine singers, drama, music and sheer spectacle. You will be comfortably housed in the finest opera venue in New Zealand.

My thanks go to those who have made this production possible. They know who they are and we have tried to mention them in the programme. Your contribution as audience is also appreciated. We hope you enjoy yourselves.

Guy Wellwood
Chairman
HAWKE’S BAY
REGIONAL OPERA TRUST

PAGE FOUR

LA BOHEME

Placido Domingo and Marta as Rodolfo and Mimi in an earlier version of La Boheme.

PAGE FIVE

ACT I, PARIS 1800’s

We are in a garret at the top of a rambling old building in Paris. Lots of stairs but a great view over the roofs of the Latin Quarter. Here congregate the future great names of art and literature. Well, maybe… Right now they are hungry and penniless and very cold, but they are spirited for are they not bohemians?  It is winter – outside and inside. There is an iron stove, but no fuel. Marcello works on a painting ‘The Crossing of the Red Sea”, and on keeping warm. Rodolfo – a writer-poet – scribbles an article with numb fingers.

Should they break up a chair? No. Rodolfo will sacrifice his play script. “Act 1” burns merrily. Colline, mad about books, enters and is now mad because he cannot cash in any at the pawnbroker’s up the hill.

It is Christmas Eve. The play, “a roaring success”, is interrupted by errand boys with food, drink and fuel! Schaunard, a budding musician, has had a windfall. He scatters money before them. Nobody wants to hear his story – something about ridding a rich English eccentric of a parrot.  Happiness is theirs. But Schaunard packs the foods away – on Christmas Eve they eat out! A knock on the door and horrors – Benoit the landlord enters looking for the rent. They cajole and flatter him with wine and words. Indiscretions are admitted and out he goes! They follow but Rodolfo has the wretched article to finish. A knock on the door. A girl needs a light for her candle. Sure. Come in. The girl staggers and faints. Rodolfo tends her and notes her gentle loveliness. She leaves but returns for her key. The candles go out. They search in  the dark and their hands touch. Confidences follow. She is known as Mimi and embroiders flowers. Will love follow? They go off to join his friends.

ACT II

People selling and hustling, people haggling and buying, eating and drinking: everybody in the Latin Quarter, it seems, is out in the streets on Christmas Eve.

Children chase a toy seller and mums chase the children. Bourgeois, working girls, students and shopkeepers collide and have fun.

We spot our friends among the crowd: Schaunard buys a horn, Colline a coat, Rodolfo a bonnet for Mimi – for have they not some money?

They make for the Cafe Momus and order a scrumptious supper. Marcello alone is grumpy, but soon his fickle beloved Musetta, the queen of the quarter, arrives with a rich, elderly councillor, Alcindoro. Marcello ignores her but Musetta mounts ploy after ploy.

Mimi is now richly in love and Rodolfo even shows signs of possessiveness. Typically the bohemians have spent all their money – it’s simply vanished, and can’t pay the waiter.

PAGE SIX

ACT III

But this is Musetta’s night and she wins back Marcello and is carried off behind a local band leaving her abandoned Alcindoro – with the bills.

INTERVAL

Dawn in February and it is snowing. Workers shuffle through one of the gates of Paris which is manned by customs men. We see sweepers, women bringing milk, vegetables, and late revellers from the local tavern. Here Marcello is staying while he works on an inn sign and Musetta? We hear her singing in the bar.

Like a shadow a slight figure approaches. Marcello is called. The girl coughs in the cold air. It is Mimi. She tells a sad tale of jealousy, of quarrels and scenes, and last night, a walk-out.

Rodolfo who was inside sleeping now comes out. Mimi hides. The young man tells Marcello that she is a flirt, but pressed, admits that the real reason for their discord arises from his anguish and humiliation at not being able to care for her. He is steeling himself for somebody of wealth to take her in for she is dying.

At this disclosure Mimi is horrified and they confront each other. Mimi arranges to leave with the calm of despair. The other lovers are also breaking up. Musetta is bored with bohemian poverty, quarrels stridently with Marcello and whisks away – another wealthy man?

But Rodolfo and Mimi cannot part – not now, not just yet. They will wait for Spring when the sun shines.

They walk off over snow.

INTERVAL

ACT IV

We are back in the garret but now it is spring. Both Marcello and Rodolfo are hard at work ostensibly.

They miss Musetta and Mimi, but other things are the same – no food, no money.

Schaunard and Colline have been out scavenging: they arrive with one herring and four bread rolls. No matter. Imagination triumphs – the fun is fast and furious, when Musetta bursts in with the news that Mimi is below – too ill to climb the last stairs.

There is a rush to help. Mimi has left her viscount and is now brought back into the fold and settled on the bed.

She is very ill. Musetta sells her earrings and Colline his heroic coat to buy medicine and a muff for her icy-cold hands. Mimi and Rodolfo comfort each other with fond memories of candles and keys.

The friends return. Schaunard realises that Mimi is slipping fast. Musetta prays. Mimi, comforted with a muff and warmed by love, quietly breathes her last. Rodolfo, shocked and despairing, wildly calls her name . . .

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PAGE EIGHT

Richard Campion – Director

Born in Wellington and educated at Victoria University and Wellington Teachers’ College, Richard was at the Old Vic Theatre School when he first attended opera in London. Returning to New Zealand, he directed plays for the New Zealand Players and the first three-act opera for the N.Z. Opera Company, “The Consul” by Menotti. Next came “Die Fledermaus” by Offenbach and later “Carmen” in which he directed Kiri Te Kanawa, “La Traviata”, “Lucia Di Lammermoor” with Malvina Major and “Carmen” again. In 1988 Richard directed the highly acclaimed Hawke’s Bay Opera Trust production of “La Traviata”. This year he arranged and co-directed the “Re-enactment of the Signing of the Treaty” at Waitangi and was artistic co-director for the day, which included 45 groups performing in 9 venues.

Elizabeth Curtis – Chorus Mistress
Elizabeth Curtis is a graduate of Auckland University and has gained both L.T.C.L. and L.R.S.M. in singing. After further studies at Guildhall School of Music in London, she taught in Auckland and Wellington before moving to Havelock North in 1977. Since then she has been active as a soprano recitalist and soloist throughout the North Island. Locally she is involved as an organist, choir trainer and as a teacher including working as tutor for the National Secondary Schools Choir. Elizabeth sang the role of “Flora” in “La Traviata” in 1988 for the Trust.

Lois Reefman – Wardrobe Mistress
Lois was engaged by the trust to dress “La Traviata” in 1988. She is an experienced wardrobe mistress having spent 30 years involved in Theatrical Production, 20 of them working with costume. She holds a Diploma in Dressmaking and puts her qualifications as a designer to good use. Lois has worked with Levin Operatic Society and Song and Opera Workshop.

Barbara Jones – Properties Manager
This is the second time Barbara has been properties “boss”, having managed properties for “La Traviata” in 1988. Her association with theatre goes back to being prompt for Morrinsville’s production of “Pygmalion” in 1961 and taking part as a nun in “Sound of Music” in 1979. Barbara was trained in the art of “props” by Moira Reay for Hastings Operatic Society, and is high in praise of her support team.

Gwyn Ace – Lighting Designer
Gwyn has worked in Theatre for over 40 years, mainly in the area of staging and lighting. Earlier work was setting and lighting of drama, with the last 15 years adding the complex field of musical theatre. “Cabaret”, set and lit for producer Gillian Davies was his favourite show. Other productions include “Man of La Mancha”, “My Fair Lady”. “Chicago”, “Fiddler . . “, “Joseph and His Technicolour Dreamcoat”, “Jesus Christ Superstar”, and many Music Halls.

Robin Johnson – Lighting Manager
“La Traviata” was Robin’s first association with the Trust as lighting director. He has been involved with the theatre for 20 years both in administration and backstage. Mainly working with Napier Operatic Society Robin has vast experience with local and professional companies and in all aspects, including head chef in a theatre restaurant. He recently joined the lighting crew for the opening and closing ceremonies of the Commonwealth Games.

PAGE NINE

Alan Foster – Musical Director
A violinist in the N.Z.S.O. since 1971, and a member of the Gezentsvey String Quartet for 3 years, Alan was co-founder and conductor of the Terrace String Ensemble 1975-84. He has conducted the Wellington Chamber Orchestra and N.Z.S.O. on several occasions including a live telecast of the 1987 Mobil Song Quest final. He has conducted for the Dunedin Opera Company, de Lautour Opera, Opera Technique and Opera Guild in Wellington and was resident musical director for Wellington City Opera for 1987 and 1988.
In 1989, Alan took a year’s leave, when he conducted the Willoughby Symphony Orchestra in Sydney, played in the Sydney Symphony and the Sydney Bach orchestras followed by an extensive study period at the Cologne Opera in West Germany.

Orchestra

LEADER: Norma Smith

DEPUTY: Helen Tippler

FIRST VIOLINS:
Dallas Knight – Napier
Norma Smith – Napier
Bevis Stevens – Havelock North
Helen Tippler – Havelock North
Ann Willink – Napier

SECOND VIOLINS:
Sue Branch – Havelock North
Sarah Croucher – Havelock North
Elizabeth Ralph – Hastings
Christiana Stevens – Havelock North

VIOLAS:
Marian Stronach – Taradale
Kathy Brenstrum – Napier

CELLOS:
Fiona Dunn – Hastings
Kate Contos – Havelock North
Stephen Gibbs – Hastings

DOUBLE BASS:
Barbara Dine – Mahia

FLUTES/PICCOLO:
Mary McHattie – Hastings
Sally Davies -Napier

OBOE:
Julian Pook – Hastings

CLARINETS:
Frances Morgan – Hastings
Karen Edwards – Havelock North

HORN:
Michael Winter – Napier

TRUMPETS:
Jonathan Krebs – Napier
Graham Harrington – Taradale

TROMBONE:
Raewyn Mclndoe – Taradale

PERCUSSION:
Bryan Rae – Havelock North
Katharine Farrell – Havelock North
Katharine Webster – Havelock North

PIANO:
Corrie Hughes – Hastings

Stage Band

Catriona Eagles
Caroline Freeman
Sarah Hewitt
Susannah Middlebrook
Elizabeth Shaw
Elizabeth Middlebrook
Phillip Geenty
Kevin Keys

PAGE TEN

Howard Spicer   Rodolpho   A writer
Born in Victoria, Australia, Howard Spicer made his debut with the Victorian Opera Company in Weill’s “Mahagonny”. Since then he has sung such roles as Romeo in Gounod’s “Romeo et Juliette”, Pinkerton in “Madam Butterfly”, Des Grieux in “Manon”, Alfredo in “La Traviata” and Don Hose in “Carmen”. He received nation-wide acclaim for promoting opera in high schools and was commissioned to write a work for a schools programme and for a film on his work with children and members of the Aboriginal and Torres Strait Islanders Dance Theatre. In 1980 Mr Spicer studied In Germany under Hendrikus Rootering, performing with the Stadtische Buhne Munster, and in concert throughout Germany. He has previously sung in New Zealand when engaged by the Dunedin Opera Company for “Yeoman of the Guard”. More recently he was engaged by the Australian Opera to sing Turiddu in “Cavalleria Rusticana”.

David McAtamney   Marcello   A painter
David first studied singing with Ashley Aitcheson in Otago, and after with the renowned bass, David Ward. He made his opera debut as Escamillo in “Carmen” for the Dunedin Opera Company. In 1983 he joined the Australian Opera and sang in over thirty operas throughout Australia. He returned to New Zealand in 1985 to sing Zurga in “The Pearl Fishers” in Dunedin followed by roles in “La Traviata” in both Auckland and Wellington, “La Boheme” in Dunedin and in 1989 “Faust” for Wellington City Opera and “Carmen” in Dunedin.

Roger Wilson   Colline   A bookworm
A graduate of the University of Otago, Roger studied and sang in Switzerland and Germany for 6 years. Roger broadcasts, translates and teaches in Wellington and is often engaged by the N.Z.S.O, choral societies and orchestras throughout New Zealand. He played Germont-Pere in “La Traviata” and recently Fritz Kothner in “Die Meistersinger”. Next year he repeats the role of Colline in a cast headed by Dame Kiri Te Kanawa, in Auckland. He was the recipient of a New Zealand Opera Society bursary last year.

Alex Burns   Benoit   A landlord
A love of theatre and music have lead to TV. and night club appearances in Australia and New Zealand. Alex has taken the male leads in “Sound of Music”, “And So To Bed” and “Patience”. With a Song and Opera Workshop he has appeared in “Dido and Aneas”, “Gianni Schicci” and “Cavalleria Rusticana”. He sang in “La Traviata”, and brings his flair for comedy to the part of Benoit.

Sam Browne   Papignol   A toyseller
A versatile actor, Sam is also experienced in choral and solo singing. Previous study has been enhanced by vocal tuition with Napier’s Phillipa Reade. His stage personality and pleasing voice have won him many roles. Noted as a convincing diplomat in “The Merry Widow” he gained a cameo role in his first grand opera.

PAGE ELEVEN

Robyn Lynch-Burnard   Mimi   A seamstress
Robyn Lynch won second place in the 1983 Mobil Song Quest, also winning the Dame Joan Hammond Scholarship. After studies with Dame Joan, she returned to win the Song Quest in 1985. Invited to sing in Salt Lake City at the temple with the Mormon Tabernacle Choir, her performance was broadcast live across the USA and Europe to an estimated 50 million. After singing in Belgium and England. Robyn returned to New Zealand, married and recommenced studies with former tutor, Emily Mair of Wellington. She has sung the roles of Delilah in Handel’s “Sampson”, the Countess in a concert version of “The Marriage of Figaro” at Government House, studied the lead of “Suor Angelica” and performed for “Friends of the Opera”. She has recorded arias from “Tosca” and “Norma” for a film company.

Donald Edwards   Schaunard   A musician
Baritone, Donald Edwards won the New Zealand Opera Society’s Moyra Todd Scholarship in 1988. He has already majored in political science at Victoria University but having decided to make music his career is studying for a Bachelor of Music degree. He has sung in numerous concerts as soloist and with choral and operatic groups throughout Wellington. In 1989 he sang a lead role in “The Marriage of Figaro” for Compact Opera Group and the part of Figaro in a concert version at Government House.

Daryn Edmundson   Musetta   A courtesan
A graduate of Canterbury University, Daryn has sung in oratorio and numerous recitals and concerts. She won both the Evening Post and Waikato Times Aria contests in 1986. She was chosen to understudy Malvina Major for two seasons of opera with the Wellington City Opera Company. Daryn has sung many lead roles including that of “Violetta” for the Hawke’s Bay season of “La Traviata” In 1988. She returned recently from post graduate study at the Sydney Conservatorium to sing with the N.Z.S.O.

Christopher Gibbs   Alcindoro   A councillor
After study at an English choir school and the Guildhall School of Music in London, Christopher sang professionally in England before emigrating to New Zealand. He has played an active part in music, drama and radio in Hawke’s Bay. His major roles include Prof. Higgins in “My Fair Lady”, Tevye in “Fiddler On The Roof”, Marriage Broker in “The Bartered Bride” and Dr. Grenvil in “La Traviata”.

Wayne Lister   Customs Official
Wayne’s first experience with musicals, was in “Kismet” for Napier Operatic Society in 1960, followed by numerous singing leads with Hastings Operatic Society, Frivolity Minstrels with whom he toured the North Island centres, and the Hastings Musical Comedy Co. He is well known for work in repertory and pantomime and his powerful voice is often heard in charity performances.

PAGE TWELVE

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PAGE THIRTEEN

Director’s Notes

“LA BOHEME” IN THE BAY

Marcello . . . “Oh beautiful age of deceits and Utopias, one believes, hopes, and all seems beautiful.”

This is a young people’s opera, or rather about the young. Students and artists in the big city, living on fun, talent, air, and not much else, it could be London or Auckland – here it is Paris before Social Welfare. The rewards of such a life are dazzling: wit, freedom, free-love … but the cost can be devastating.

This creates the dramatic tension. The tenderness is in Puccini’s music. Its impressionistic technique gives us in music the glimmer of Monet, Renoir, Degas – the 19th century French artists.

As with Verdi’s opera, the characters and the life of the “Latin Quarter” are derived from the intimate observation of real people: painters, writers, muso’s, entertainers who enlivened the artists’ quarter of Paris.

The observer was Murger who wrote a novel in the form of “Scenes” which everybody wanted to read, from which a play was derived which everybody wanted  to see, and thence to Puccini’s opera which everybody wants to hear . . . But everybody. . . And now, in Hastings.

“NEW ZEALANDERS FIRST” –

Hawke’s Bay continues its exciting policy. Keith Brazier of the city, designs. It is a new production.

Daryn Edmundson whose performance as Violetta made our first opera season so telling has been to Australia to study the role of Musetta, the gay girl of Montmartre.

Robyn Lynch-Burnard has been engaged to sing Mimi the gentle little embroiderer who gets caught up in the world of the “Bohemians”. Robyn is petite and  has won high awards for her singing . . .

Roger Wilson of Wellington who was such a powerful “Germont” and has been performing in “Die Meistersinger”, returns as Colline, the bookworm. The  sheepfarmer baritone of Otago, David McAtamney has sung Marcello in other centres; not so Don Edwards, a student musician, who plays his mirror image in “Boheme”.

Howard Spicer gives us an international flavour and the strengthening of a wide experience, but our own Alex Burns, Chris Gibbs and Sam Browne take Important roles; the “chorus” of singing actors will build on their reputation, youngsters from various schools, a band . . . But the biggest and richest contribution comes from the musicians of the orchestra who have been working for weeks to make this performance illustrious.

So now we have it – “La Boheme”, the ‘comic’ opera so full of life, whose mask of happiness is always threatening to slip and show the human face of longing and loss.

Mimi . . . “To Love is still sweeter than honey” . . .

RICHARD CAMPION

PAGE FOURTEEN

Giacomo Puccini

Giacomo Puccini 1856-1924

PAGE FIFTEEN

The Composer

Giacomo Puccini was born in Tuscany In 1858. He came from a musical family. His great-great grandfather was an organist and choirmaster, and his grandfather Antonio Benedetto Maria Puccini was also a choirmaster and composer.

Giacomo’s father Michele, followed the tradition and also composed operas. He married Albina Magi, the sister of one of his pupils and they produced a family of eight, the fifth child destined to be perhaps the most famous of all Puccinis.

Giacomo was an organist and choirboy at the age of ten and already in demand as a pianist. It is said he even stole organ pipes as a lad to buy himself  cigarettes.

At the age of sixteen he had already been introduced to the works of Verdi; ‘Rigoletto’, ‘La Traviata’ and ‘Aida’ about which he said “when I heard Aida at Pisa,  I felt that a musical window had opened for me”.

La Boheme, written in 1896, was his second successful opera (Manon Lescaut written in 1893 being the first) and is considered by many to be his finest score. Puccini wrote La Boheme during what was perhaps the happiest time of his life, and could have been in some ways a reflection of the years he spent in Milan, studying and in lodgings with his younger brother, a cousin, and the 19-year-old Pietro Mascagni, composer of Cavalleria-Rusticana. Money was short and they were used to outwitting landlords and restaurant proprietors. It is recorded that he once pawned his overcoat, not for a dying seamstress but to take a ballet dancer to supper.

After gaining his diploma from the Milan Conservatorium in the summer of 1883 Puccini had to consider his future. His teacher Ponchielli helped by mentioning of a famous publishing firm. Giacomo decided to stay in Milan and pursue a career as composer of opera, assisted by a contract with Ricordi.

At this time he began to live with his lover Elvira Gemignani, who left her husband and took her daughter to live with Puccini. They were denounced as having  brought shame on the honourable name of Puccini, not assisted by the birth of a son, Antonio, to them in 1886. It was not until the death of Elvira’s husband that Puccini was able to marry her in The year before, he had been involved in a car accident which left him with a limp, and he developed a persistent hoarse throat which was the beginning of the cancer which caused his death in 1924. The effects of a life-long habit of smoking had finally caught up with him. His legacy to the world includes the much loved operas “Tosca”, “Madam Butterfly”, “Gianni Schicchi”, and “Turandot”.

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PAGE SEVENTEEN

“In Rehearsal”

PAGE EIGHTEEN

Opera Oddments

A.   ARIA:   Song.
ACOUSTICS:   The quality of musical tone as distinct from mere noises.
AUDITORIUM:   Part of the Opera House occupied by the audience.
B.   BONNET:   Metres of pink lace. A gift from Rodolpho to Mimi. Made by Pamela Graham of Havelock North. this opera season’s symbol, depicted on programme and poster.
C.   CONDUCTOR:   Musical Director. Of greatest importance in staging an opera. With the director, responsible for interpreting the composer’s work. He trains the orchestra, chorus and solo singers.
D.   DIRECTOR:   Producer. He rehearses the singer/actors in their movement interprets roles moods, character and the overall visual concept of the drama. He guides the sets, lighting and wardrobe designers.
E.   ECONOMICS:   A most expensive art form to create. “La Boheme” budget is about $120,000! Fees, hireages, music, postage, publicity, printing, lighting, sound, paint, transport, programmes and tickets, building materials, costumes, insurance, venue hire, theatre hire, refreshments, stationery, accommodation, etc, etc.
F.   FLIES:   The area above the stage and behind the arch containing items for raising and lowering sets and drop curtains. Flymen work from lofty platforms here.
G.   GALLERY:   “Gods”. The top tier of audience seating where the 120 channel lighting control is being operated from tonight.
H.   HOUSE LIGHTS:   They light up the auditorium of the theatre.
I.   INTERMISSION:   Interval between acts. Allows scene and costume changing, and effective time lapse.
J.   JINX:   Do not whistle backstage nor take plain white bouquets into dressingrooms.
K.   KETTLEDRUM:   A copper or brass orchestral drum with a rounded bottom, usually played in pairs to allow a wider range of tuning.
L.   L LIBRETTO:   The words of an opera. The librettist (writer) needs to understand music and the way the words and mood will fit to it.
M.   “MIMI”:   Gentle, fragile, naive seamstress. Little Robyn with the big round voice!
N.   NUMBERS:   Separated self contained arias, duets and ensembles in the printed score.
O.   OVERTURE:   Prelude to an opera, usually to set a mood theme or quieten an audience. There is no overture to “La Boheme”.
P.   PATRON:   One who protects, supports, encourages the arts, YOU! Thank you.
Q.   QUOTAS:   The nitty gritty of opera production, with allocations of money, seats, personnel, dates…
R.   RECITATIVE:   In song, an attempt to imitate the inflection of speech. Dialogue of opera.
S.   SITZPROBE:   Sitting rehearsal. Usually the first with orchestra and cast complete.
T.   TESSITURA:   (Texture) The average vocal range of a song or operatic role.
U.   UNDERSTUDY:   One who studies a role as an emergency fill in. The underpaid, unsung heroes.
V.   VIRTUOSO:   An opera (or art) connoisseur. A musician with masterly skills.
W.   WARDROBE:   The complete set of costumes and jewellery for the opera.
X.   XYLOPHONE:   Played by the percussionist. A mounted row of graduated wooden bars struck with two small mallets. Plays chromatically.
Y.    YACKING and YODELLING:   That’s what goes on in the dressing rooms!!
Z.   ZEST:   Our cast and leads add this extra spirit, charm and piquancy to make the opera sparkle.

PAGE NINETEEN

LA BOHEME

An opera in four acts by Giacomo Puccini

Cast in order of appearance

RODOLPHO – A writer   Howard Spicer
MARCELLO – A painter   David McAtamney
COLLINE – A bookworm   Roger Wilson
SCHAUNARD – A musician   Donald Edwards
BENOIT – A landlord   Alex Burns
MIMI – A seamstress   Robyn Lynch-Burnard
MUSETTA – A courtesan   Daryn Edmundson
ALCINDORO – A councillor of state   Christopher Gibbs
PAPIGNOL – A toyseller   Sam Browne
CUSTOMS OFFICIAL   Wayne Lister

LADIES, GENTLEMEN AND CHILDREN OF THE CHORUS

Diane Abraham
Heather Cram
Janice Davidson
Natalie Geor
Elaine Goodwin
Beverley Heard
Diane Hopson
Maria Krunic
Janet Smith
Glen Sutherland
Frances Tod
Lauris Varney
Eileen von Dadelszen
Eve Weir
Vanessa White
Jenny Leu Williams

Lex Barker
Sam Browne
Warwick Bull
Alex Burns
Roy Clement
Scott Cormack
Ken Keys
Wayne Lister
Ross Lange
Michael Morgan
Christopher Gibbs
Callum Dodunski

Michelle Anderson
Jackie Beirne
Nicola Brady
Rhonda Browne
Sophie Burberry
Allison Cormack
Dorothy Hemopo
Rachel Lewis
Marguerite Paku
Toby Buck
Damien Dodunski
Tarver Graham
Stephen Nicholl
Marcus Smith
Iain Whiteley
Yvette Wiig

ACTORS IN CROWD SCENE

Maitre d’ Hotel, David Reefman; Olive Gibbs; Claire Keys; John Timpson; Peter Van Derstam.

UNDERSTUDIES

MIMI: Marilyn Reynolds   MUSETTA: Eileen Von Dadelszen
MARCELLO: Bernard Jennings    COLLINE: Wayne Lister
ALCINDORO: Scott Cormack   BENOIT: Lex Barker

SCENES

Act 1: Rodolpho’s attic in Paris.
Act 2: The same evening – a square outside the Cafe Momus.
15 minute interval.
Act 3: Several weeks later – a customs house and toll gate at the edge of Paris.
10 minute interval.
Act 4: Some months later in Rodolpho’s attic.

PAGE TWENTY

Production Personnel

DIRECTOR:   Richard Campion

ASSISTANT MUSICAL/DIRECTOR:   Kathleen Barry

CHORUS MISTRESS:   Elizabeth Curtis

REPETITEURS:   Kathleen Barry
Marjorie Hamilton
Corrie Hughes
Marie Stothart
Phillipa Ward

VOCAL COACHING:   Emily Mair
Phillipa Reade

WARDROBE MISTRESS:   Lois Reefman

WARDROBE ASSISTANTS:   Molly Evans
Beverley Elms
Frances Murray and friends

MILLINER:   Pamela Graham

MAKE UP SUPERVISOR:   Dawn McCowatt

MAKE UP CREW: Chorus children’s mothers and friends

CALL STEWARDS:   Ngaire Hawke
Graeme Burnard

REFRESHMENT MANAGER:   Merlyn Jarden

REFRESHMENT CREW:   Daphne McPherson
Ngaire Hawke
Shirley Vogtherr
Eileen Sampson
Morva Crofsky
Margaret Lewis and friends

PHOTOGRAPHY:   James Baker

MUSICAL DIRECTOR/CONDUCTOR:   Alan Foster

REHEARSAL SECRETARY:   Staveley Tankersley
Morva Crofsky

SCENE CALLER:   Staveley Tankersley

PRODUCTION MANAGER:   Naomi Baker

SET DESIGNER:   Keith Brazier

CONSTRUCTION: Carl Wright
Ian Ward
Keith Cooze

STAGE MANAGER:   Len Evans

STAGE CREW:   Stuart Young
Gordon Vogtherr
Barry Hughes
Malcolm Smith
Alan Adams and friends

LIGHTING DESIGNER:   Gwyn Ace

LIGHTING MANAGER:   Robin Johnson

LIGHTING CREW:   Patrick Van Hooijdonk
Russell Anderson
Michael Kemp

PROPERTIES MANAGER:   Barbara Jones

PROPERTIES CREW: Ross Pullen
Liz Pegg
Simon Howard and friends

PUBLICITY:
Naomi Baker

BOOKING OFFICERS:   Leith Morgan
Neil Edmundson
Helen Berry
Alex Burns
Freda Milne
Amanda Clarkson and friends

THEATRE MANAGER:   Cedric Wright

FRONT OF HOUSE:   Members and friends of the Opera Trust

Acknowledgements

Bruce Greenfield, Wellington
Gary Bowler & pupils of   Woodford House, Hastings
Napier Daily Telegraph
Dr Michael Bostock
Mr & Mrs K. Wyley
Hastings Sinfonietta
R. Hannah & Co Ltd
Mr & Mrs C. Heard
The Courier, Napier
Wellington City Opera
Dannevirke Municipal Band
Altrusa Club of Hastings
The Hastings Building Society
Tamatea Intermediate School
Stortford Hire Centre
Comedy Play House
Group Theatre, Hastings
Raphael Studio, Napier
Hawke’s Bay Herald Tribune
Miss Frame & nurses of  Memorial Hospital
Christian Community Centre, Hastings
Mr E.N. Butterworth
Mr & Mrs D. Waite
Hastings District Council
Coles Myer, Hastings
Lynley & Kevin Wilson
R. Hannah & Co Ltd
Paul Matthews
Redgraves Garden Centre
Foster Brook, Hastings
Hastings Operatic Society
Napier Operatic Society

PAGE TWENTY-ONE

The Hawke’s Bay Regional Opera Trust gratefully acknowledges the following sponsors

Major Sponsors

Anonymous Charitable Trust   $8,000
NZ Opera Trust   $1,091.25

CORPORATE PATRONS OF THE TRUST
GOLD: $600 upwards

Dent Robertson & Partners
Coopers & Lybrand
Gifford Devine & Partners
Harcourts (Cox Coxon Ltd)
International Insurance Brokers Ltd
KPMG Peat Marwick
Scannell Hardy & Co

SILVER: $400-$599
Hastings Bacon Co Ltd (Vogthers)
D.L Stewart & Associates

BRONZE: $200-$399

GOLD STAR PATRONS: $500 upwards
Mrs N. R. Isaacs    Mrs Thelma Smith
Mr & Mrs H. A. A. Baird   John & Marie Wenley

SILVER STAR PATRONS: $200-$499
Sir Richard & Lady Harrison   Dene & Dennis Kelly & family
Jean & George Newdick

BRONZE STAR PATRONS: $100-$199
Alan Brabant    Mrs W J Morgan
Janice Davidson   Les & Sue Robertson
Bruce Greenfield   Helen & Jeff Whittaker
Mr & Mrs S. G. C. Morgan   Mr J. W. Kelly
Mrs Margo Lowry   Felicity & Fenton Kelly
Mr & Mrs Brian Higgins

Foundation Members

Joy Archibald
ALex Burns
Mr & Mrs H. A. A. Baird
Naomi & James Baker
Canon Cherie Baker
Frank & Gladys Boyce
Caryl Boyle
Mrs M. J. Brenstrum
Warwick & Judy Bell
Bernie & Bernie Christensen
Lila Collin
Kath & Scott Cormack
Mrs M. Crook
Mrs J. Crowe
Captain & Mrs R. A. Date
Ruth Donovan
Patricia Davidson
Janice Davidson

Neil Edmundson
Miss C. A. Elliott
Molly & Len Evans
Mrs E. M. Fergusson
Barbara Fox
Margaret & Geoff Fuller
Natalie Geor
Christopher Gibbs
Doris & Les Goddard
Sir Richard & Lady Harrison
Margo Harvey
Greta Hawtin
Beverley Heard
M Dawn Heyward
Elizabeth Hill
Mrs & Mrs L. P. Hodgson
Ian & Diane Hopson
Mrs Dennie Isaacs
Mrs J. Innes

Miss Amy Jarvis
Hatsch Kalberer & L. R. Hiroki
Glenys Kempshall
Joy & Ian Kerr
Dr & Mrs A. V. Kurta
Mrs M. E. Lowry
Lynne & Paul Matthews
Mrs M. R. Menzies
Freda Milne
Leith & James Morgan
Ann & Craig Morgan
Mrs W. J. Morgan
Heard   Thelma Murphy
Miss S McKeever
Jean & George Newdick
Mrs D. Paynter
Rachel Plank
Mrs N. Renouf
Eileen Sampson

Thelma Smith
Sybil & William Smith
Janet Smith
Frances Tod
Mr & Mrs J. D. Torley
Kathleen Twigg
Mrs C.P. Tolley
Shirley & Gordon Vogtherr
Mrs A. A. Watt
Margaret & Stan Walmsley
Margaret & Guy Wellwood
Marie & John Wenley
Diane Whyte
Gretta & Ulric Williams
Cedric Wright

PAGE TWENTY-TWO

New Members

For year ended 31/12/1990

Dr & Mrs I. Abernethy
Mr & Mrs C.W. Alexander
Dr Michael Bostock
Sam Browne & family
Alison Bravenboer
Mr & Mrs David Butcher
Roy Clement
Mr & Mrs M. Eagle
Mrs R. Elliot
Mr & Mrs G. Fuller
Elaine Goodwin
Ngaire Hawke
Mrs J. Innes
Robin Johnson
Mr & Mrs A. Jones
Dene, Dennis & Victoria Kelly
Mr & Mrs I. Kerr
Ross Lange
Mrs G.A. Liddy
Longley & Massey Funeral Services
Mrs D. McPherson

Patricia Murtagh
Mrs R. G. Plank
Mrs Kath La Rooy
Mr & Mrs B. A. Ralph
Ian Rosenberg
Fred & Heather Sanders
Mrs G. Shaw
Drs O. & L. Smales
Glen & Bill Sutherland
Misses M. & M. Thomsen
Mrs B. M. Tolley
Mr & Mrs J. D. Torley
Jane Tylee
Alison Van der Poele
Dr & Mrs David Yates
Eileen von Dadelszen
Mrs S. Waite
Mrs A. Watt
Dr & Mrs A. White
Vanessa White
H. & T. Whiteparsons
C. & A. N. Wood

The H.B. Regional Opera Trust wishes to thank the following for donations of up to $100.

Dr. Michael Bostock   Cecily Charlton-Jones   Mark Eagle
Mr & Mrs C. W. Alexander   Norma McKearney

NEWSLETTER SPONSORS

Heard’s Pacific Jewellers, Napier/Hastings    Wool & Handcraft Centre, Hastings
Ian Kerr Pharmacy Ltd, Hastings    E. J. Treacher Ltd, Napier/Havelock North
Hutchinson Furnishers, Hastings    Harcourts, Napier/Hastings/Havelock/Taradale

HAWKE’S BAY REGIONAL OPERA TRUST

(1)   Please find enclosed $20/$35 being single/family membership of the Trust.

Name:
Address:
Telephone No:

(2)   Please find enclosed $100 for Bronze Star Patronage/Donation.
$200 for Silver Star Patronage/Donation.
$500 for Gold Star Patronage/Donation.

(3)   Corporate Patronage is available. For inquiries please ring the Secretary: 69-920.

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