Opera’s magic wins Chch — but what about future?

Press, 23 July 1986, Page 23

Opera’s magic wins Chch — but what about future?

By

KAY FORRESTER

How do you judge an opera season? That is the question facing the Canterbury Regional Opera Trust as it sits down soon to review the just completed season of “The Magic Flute.” That the season, which finished on Saturday evening, was an artistic success is beyond doubt. Almost full houses would seem to have assured its financial success and to have vindicated the Bank of New Zealand’s gamble in underwriting the season on a cover loss-share profits arrangement. What the trust has to

assess is the future of opera in Christchurch. Its chairman, Mr Chris Brodrick, is in no doubt that “the Magic Flute” has done a tremendous public relations job for opera. And he believes the people of Christchurch will continue to support new productions. Opera is in good health in New Zealand. “The Magic Flute” season is the first of three in the next few weeks. The last year has • seen successful seasons in Dunedin, Wellington and Auckland. The Queen Elizabeth II Arts Council has just announced that next year it will share its opera vote

around regional operas rather than concentrate it all in Auckland. In spite of the National Opera being officially wound up in January after three years in recess, the regional companies are producing successful seasons. Chris Brodrick thinks the enthusiasm for opera might be because of the hiatus after the National Opera folded. “Mercury Opera (in Auckland) was getting all the Arts Council funding for opera. That generated provincial jealousies and made people determined to get up and do. something.

"I think we have proved that Christchurch can put on a professional production — to the audience, to the Arts Council, to our sponsors.” The city has the best opera producer in the country in Elric Hooper, he says. The “Flute” season confirmed the talent there is in the city. The trust will definitely be presenting another production next year, Chris Brodrick says. He doubts that it could plan more than one a year at this stage.

“It is a very expensive art form. We have relied tremendously on the goodwill of businesses

who have lent us things and on the Court Theatre. If the trust was a full-time operation with a permanent company it would have these things.” There doesn’t seem any real possibility at the moment of permanent staff for the trust, not even an administrator. “To warrant that I think we’d have to do at least two productions a year.”

The omens for the future are good? “We may get some money from the Arts Council next year, we have the support of the audience, we have the talent. The omens are marvellous.”