In 1982 renowned Russian pianist Vladimir Ashkenazy toured New Zealand. With the combined support of TVNZ, Radio New Zealand and the NZ Symphony Orchestra, a one-off televised concert was arranged. Ashkenazy plays two pieces backed by the NZSO at the Auckland Town Hall, after an interview by Ian Fraser, in which the pianist praises the NZSO's ability to handle a piece he describes as "almost unplayable in parts". In the second clip, he plays Béla Bartók’s Second Concerto, and in the third clip — which appears never to have gone to air — César Franck’s Symphonic Variations.
London-based jazz saxophonist Nathan Haines returns home to perform with the New Zealand Symphony Orchestra, where he's accompanied by his bassist father, Kevin, and guitarist brother, Joel in a musical family reunion. They've followed different paths since the mid-80s when Nathan was 14 and they used to play as a trio (seen here in archive footage). The NZSO concert features standards and new songs from the brothers. This documentary backgrounds those songs, and follows the tricky business of melding jazz group and orchestra in rehearsal and concert.
This Royal New Zealand Ballet performance of Stravinsky’s Petrouchka stays true to the original 1911 version by legendary ballet company Ballet Russes, in more than just spelling. As tormented puppet Petrouchka, Douglas Wright pays tribute to legendary performer Vaslav Nijinsky. Designer Raymond Boyce channels Alexandre Benois, while Russell Kerr's choreography evokes Mikhail Fokine. The sellout season was reviewed as "phenomenal" and "a visual feast… exploding with colour and shifting image". Future TV executive Andrew Shaw directed coverage of the ballet.
This edition of Prime TV’s history of New Zealand television looks at 50 years of entertainment. The smorgasbord of music, comedy and variety shows ranges from 60s pop stars to Popstars, from the anarchy of Blerta to the anarchy of Telethon, from Radio with Pictures to Dancing with the Stars. Music television moves from C’mon and country, to punk and hip hop videos. Comedy follows the formative Fred Dagg and Billy T, through to Eating Media Lunch and 7 Days. A roll call of New Zealand entertainers muse on seeing Kiwis laugh, sing and shimmy on the small screen.
Near the end of his life, renowned English composer Edward Elgar composed some of the greatest music of his career. This film examines the idea that Elgar's deeply emotional Cello Concerto in E Minor was provoked by memories of his first great love, Helen Weaver, who emigrated downunder after their relationship ended. After learning that Weaver's son had been killed fighting in France, Elgar was moved to write a war requiem. The award-nominated film mixed interviews, dramatisations, and a performance of the concerto by cellist Lynn Harrell and the NZ Symphony Orchestra.
This post-war film was made to showcase New Zealand to UK audiences. Directed by Michael Forlong, the NFU film is a booster’s catalogue of contemporary NZ life. The message is that NZ is a modern pastoral paradise: open for business but welfare aware. Nature is conquered via egalitarian effort; air and sea links overcome the tyranny of distance; and science informs primary industry. Māori are depicted assimilating into the Pākehā world. Sport, suburbia and scenic wonder are touted, and an NZSO performance shows that the soil can grow culture as well as clover.
Gibson Group series Frontseat was the longest-running arts programme of its era. Hosted by actor Oliver Driver, the weekly series aimed a broad current affairs scope at the arts. The first excerpt asks the question "is there really an art boom, and if so, why aren't the artists benefiting?" Art dealer Peter McLeavey, late artist John Drawbridge and others offer their opinions. The second clip asks whether NZ really needs eight drama schools. Richard Finn, Miranda Harcourt and newcomer Richard Knowles (later a Shortland Street regular) are among those interviewed.