I am genuinely excited to share our 2022 season with you all. These concerts showcase the magnificence of two monumental requiem settings by Verdi and Mozart, The Sacred Veil, composed and conducted by Eric Whitacre, a performance of Carl Orff’s Carmina Burana performed by our three national choirs, and a production for sixteen Voices New Zealand singers, Voices Love Opera, staged by the award-winning opera and theatre director, Jacqueline Coates.

Such collaborations as this season offers give us the point of difference as national choirs. The opportunity to work with the NZSO and their newly appointed Artistic Advisor and Principal Conductor, Gemma New, to perform Mozart’s Requiem and with the APO and Music Director, Giordano Bellincampi, for a once in a lifetime opportunity to perform Verdi’s Requiem are priceless opportunities for our singers and audiences alike.

The versatility and panache of Voices New Zealand singers is captured in Jacqui’s staging for Voices Love Opera. The show is one of the funniest and most engaging we have presented and I’m very proud of the ensemble singers and the professional soloists who bring the stories of the lovers and their various successes (or otherwise) to life. The excerpt from Nico Muhly’s The Two Boys exposes the horrors of relationships in chat rooms and gives the show a particularly contemporary and poignant twist.

Most significant for 2022 are the opportunities for our national choirs viz. Voices New Zealand, New Zealand Secondary Students’ Choir, and New Zealand Youth Choir to perform together. First, the opportunity to present two recitals conducted by Grammy award-winning American choral composer, Eric Whitacre, will give the choirs and the listeners the opportunity to hear the first New Zealand performance of The Sacred Veil, a profound meditation on love, life, and loss. Then all three choirs join, together with alumni soloists Natasha Wilson (soprano), Oliver Sewell (tenor) and James Harrison (baritone), in the dramatic and intense work by Carl Orff, Carmina Burana which I will conduct in Holy Trinity Cathedral.

Can’t wait to share this with you all. See you at the concerts!

Karen Grylls ONZM
Artistic Director

My inspiration for the May and October concerts, especially, comes from the whakataukī  (Māori proverb) Ka mua ka muri  (walking backwards into the future) where the past and the future intertwine, where those in the present stand on the shoulders of those who have gone before, where our composers carry ideas from early music and classical composers into their new kupu and new works. This inclusion of works from the choral canon into the newly commissioned works has always been a clear path for composers and choirs.

At the May Concert, Early Music Reimagined, you will hear Leonie Holmes’s new work Der Weg alongside Bach’s double choir motet Komm, Jesu, komm BWV 229.This concert will feature Eric Renick (marimba, percussion) and James Bush (violoncello), directed by Jacqui Coates, and will present new views of old music and new compositions connected to these works. Expect the unexpected!

The theme continues with the October Concert Mozart Re-imagined, a new work commissioned by Chamber Music NZ from our very own NZ composer, Robert Wiremu. This will be an exciting opportunity for Robert to write a work for 18 voices and instrumental ensemble, with his relevant and contemporary view which references Mozart’s Requiem.

The orchestral collaborations give us the chance to perform Beethoven 9 with the Auckland Philharmonia and Mahler 3 with NZSO featuring an upper voice choir and a children’s choir.

This is indeed an exciting year for us all. See you at the concerts!

Karen Grylls ONZM

Music Director, Voices New Zealand Chamber Choir

Artistic Director, Choirs Aotearoa New Zealand

1. Commission new works

The national choirs regularly commission work from New Zealand composers which they perform publicly, take on tour and often record. To promote a musical legacy for the choral sector in New Zealand we have also established an annual composition competition for composers under 30 years of age, Compose Aotearoa!. Support from the Amplify Collective makes commissioning new work possible and enables us to create meaningful opportunities for established and emerging composers.

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Just in time for the festive season, we’re proud to present ‘Follow That Star’, a southern hemisphere Christmas collection of New Zealand Choral Music. In the midst of the pandemic, six New Zealand composers (five are represented here) were commissioned by Voices New Zealand and Artistic Director, Karen Grylls, to reimagine familiar Christmas tunes. The new works set old tunes, some with the atmosphere of centuries old traditions and some with the stories and traditions from New Zealand.

You can read more of Artistic Director Karen Grylls thoughts here.

Stream now on all your favourite music platforms.

Celebrated New Zealand choir director Dr Karen Grylls CNZM has announced that 2024 will be her final year as Artistic Director for Choirs Aotearoa New Zealand (CANZ) – the body that manages the country’s four national choirs – as she signals a shift to a new role as Artistic Director Emerita.

Karen has been involved with the national choirs since 1989 when she was appointed music director for New Zealand Youth Choir (NZYC). In 1998, Grylls founded Voices New Zealand chamber choir, our premier national choir, directing both Voices NZ and NZYC for the next 13 years. She’s been Voices’ music director for 26 years now, a role she will continue until the end of 2025 when, Karen says, “It will be time to hand over the reins”.

“Karen’s contribution to our national choirs has been remarkable, and thousands of singers have benefited from her expertise and generosity,” says CANZ Chief Executive, Arne Herrmann, “Her ability to take a sound, a choir, to the next level is second-to-none, and the array of awards her choirs have received is testament to this. Karen’s influence has shaped CANZ into an organisation of excellence with a hunger for quality and musical exploration.”

In 2023, Karen was recognised in the King’s Birthday and Coronation Honours as a Companion of the New Zealand Order of Merit for her exceptional contributions to the world of choral music. Karen says that as music director of both the NZ Youth Choir and Voices NZ, her highlights have included NZYC being named “Choir of the World” at the 1999 International Music Eisteddfod in Llangollen, Wales, and just a week later the choir winning the “Grand Prix Slovakia” while on an international tour. “In 2004, we took part in the 43rd International Choral Competition in Gorizia, Italy, and at the 2005 NZ Music Awards our CD, Gaude, was a finalist for Best Classical Album,” Karen says.

Voices New Zealand made its début at the 1998 New Zealand International Arts Festival and later that year won awards at the Tolosa International Choral Competition in Spain. Karen says she’s particularly proud of winning a 2006 NZ Music Tui Award for Best Classical Disc for Spirit of the Land, the 2016 one-off, sell-out New Zealand Festival gala recital with Dame Kiri Te Kanawa and the 2018 concerts with The King’s Singers, London, at the New Zealand Festival and the Auckland Arts Festival to celebrate the choirs’ respective anniversaries – 50 years for The Kings Singers and 20 for Voices NZ. In collaboration with taonga puoro artist and composer, Horomona Horo, Voices represented New Zealand at the 2011 World Choral Symposium in Patagonia, and in 2018 toured to the UK, France, Germany and Spain.

“The 90s were watershed years for me, when the relationship with Ngāpō and Pimia Wehi, legendary kapa haka exponents, and the national choirs began. There were joint performances by the NZ Youth Choir and Te Waka Huia at Holy Trinity Cathedral and at the Sydney Opera House during the 1996 World Choral Symposium,” says Karen, “The relationship with Aroha Cassidy-Nanai that followed was one of the most remarkable times for the choir as we were gifted Wehi compositions to perform. The more than 30-year relationship continues today with a new Youth Choir commission from Ngāpō and Pimia’s granddaughter, Tuirina Wehi.”

Karen says she is excited to continue her relationship with CANZ as Artistic Director Emerita; sharing her expertise and experience with the organisation and its people. She’s looking forward to having more time to devote to mentoring and teaching and is passionate about her work with the New Zealand Children’s Choral Academy, of which she is co-artistic director. Karen is also Honorary Associate Professor at the University of Auckland, working with young conductors. 2025 will be another busy year for Karen as she continues her role as Music Director for Voices NZ, with the year culminating in an international tour. No doubt there will also be one, or many, celebrations of Karen and her incredible contribution to the national choirs so far: “It’s been a privilege,” she says.

For more information:

Rachel Healy, Publicist, T: 027 2706105, E: rachel@rachelhealy.co.nz or
Arne Herrmann, Chief Executive, T:027 2761751, E: ceo@choirsnz.co.nz

We had a wonderful tour down south to Christchurch and the West Coast back in April, and our thanks to everyone who made it happen. We did get rained on a little, but luckily singing isn’t an outside sport! Our three public concerts were packed, and we had the eyes of the world on us at South New Brighton Primary School, when a video of our performance there went viral and received over 280,000 views from a truly global audience. We received comments from Ireland, USA, Newfoundland, UK, Scotland, Germany, Belgium, Australia, Brazil, the Bahamas, Poland, France, Iceland, Netherlands, Philippines, South Africa and more!

Follow the link below for a recap video of the tour, with footage from our school visits, pop-up performances and concerts.

Read more here

Chamber Music New Zealand ‘Reimagining Mozart’, Voices New Zealand Chamber Choir, Karen Grylls (Music Director), Robert Wiremu (composer). Wellington, October 29, 2023.  

Elizabeth Kerr: 

Voices New Zealand: Mozart’s Requiem tells a tragic story

“Wiremu’s reimagined Requiem uses Mozart’s glorious and familiar music throughout, though not always in the order Mozart intended. Telling the story of the Erebus disaster, Wiremu, singer and composer, uses highly imaginative instrumental and vocal timbres, depicting both the scenes and the anguished emotions of the story.
There’s no doubt that direct use of Mozart’s music by Wiremu to tell this tragic story is culturally and musically audacious. It would be easy for it to become merely obvious and literal, or perhaps overly and mawkishly sentimental. Making changes to the composition of a master like Mozart could seem presumptuous. Threading Māori concepts through the whole narrative might risk cultural overload.

With great subtlety and imagination these pitfalls are avoided in this profoundly moving work of art which held the audience’s hushed attention throughout”.

“…and when a small child wailed in the audience near the end, it felt as if that crying represented our collective grief. Many in the full house rose to their feet, tears in their eyes, for a standing ovation”.

You can read the full review here! 

Peter Menchen: 

Robert Wiremu’s REIMAGINING MOZART – a mind-enlarging expression of human tragedy in music

“Apart from it all having  a superlatives-exhausting effect from a critical point of view, I found as an audience member, composer Robert Wiremu’s “reimagining” of sequences from Mozart’s final work, his “Requiem”, a profoundly engaging and deeply moving experience. It was thus on so many levels, though naturally the presentation exerted its fullest and deepest effect with all things considered – the atmosphere of the venue (the beautiful St.Mary of the Angels Church in Wellington), the cultural merging of ritualistic procedures, European and Maori, the idea of a “requiem” in the presence of karanga (call), kaupapa (matter for discussion) and poroporoaki (leave-taking) relating to and delivered by the composer in relation to  his subject matter, the use of both specific and “re-presented” parts of the Mozart work, both the overall and specific parts of the presentation’s “narrative”, the technical prowess of the performers, the beauty of their singing and playing, and, of course the skills and complete authority of Music Director Karen Grylls. All of these things interacted to present a work whose range and scope was breathtaking, both when experienced in situ and in subsequent resonant reflection”…

Read the full review here! 

1. Commission new works

The national choirs regularly commission work from New Zealand composers which they perform publicly, take on tour and often record. To promote a musical legacy for the choral sector in New Zealand we have also established an annual composition competition for composers under 30 years of age, Compose Aotearoa!. Support from Amplify Collective makes commissioning new work possible and enables us to create meaningful opportunities for established and emerging composers.

(more…)

Michelle already has fingers in other choirs (literally…as pianist) including Auckland Youth Choir and Auckland University Students’ Choir, so we were keen to find out where it all started, and how this NZSSC experience compared to their other choir work.

It was their grandmother who first spotted Michelle’s rhythm – they used to play duets together on trips to visit family in China – so Michelle was given beginners’ piano books and lessons when back in NZ. At high school in Wellington, Brent Stewart (NZSSC Assistant Director/Accompanist and former HOD Music at Wellington East Girls College) overheard Michelle playing piano in the music rooms, and asked them to accompany Cantala, the school’s auditioned choir. Michelle was ecstatic at this, accompanying the choir for four years – and cannot overestimate the positive effect this had on their school years.

Michelle is in the final year of a BA/BMus studying Politics and Philosophy and Classical Performance Piano. A sense of curiosity led them to Politics and Philosophy – Michelle is a keen non-fiction reader, particularly interested in the philosophy of language and semantics. On top of piano, they are self-taught in bass and acoustic guitarist and listen to jazz, funk and rock, which balances the more classical piano programme at Uni. Michelle also loves video-gaming and is a mental health and disability advocate.

Playing for a couple of Auckland choirs has introduced them to the Auckland choral network. Auckland Youth Choir reached out to them, and Michelle was appointed Emerging Accompanist with Creative New Zealand funding.

Michelle says of this week with the NZSSC, “I am blown away by the talent in this group, seriously some of the most talented singers in the whole country. I did not know what to expect, but all my expectations have been exceeded”. Michelle accompanied two pieces at our concert – our new commission from Richard Oswin, In Flanders Fields, and jammed with our band for I Sing Because I’m Happy by Rollo Dilworth.  They also spent a day working with Elise Bradley and the NZSSC Reserves.

Michelle has big dreams for the future, meaning a “diverse career, always to include teaching and choirs”. Next step would be a Master of Arts in collaborative piano performance, and eventually a PhD in Philosophy. They’d also love to play bar gigs in a cover band! Go for it Michelle!

Thank you Michelle, it has been wonderful to have you on our team for the week and we hope you have gained an insight into the accompanist role in a national choir.

We welcome accompanists, vocal coaches and conductors to submit interest in our Internship programme for all three national choirs: Voices NZ, NZ Youth Choir and NZSSC. Email Anna Bowron anna@choirsnz.co.nz for more information.