Pettman dare scholarship brochure 2013

Pettman DARE International Performance Scholarship Celebrating Our First Three Scholars: 2010–2013

Front cover: Hugo Zanker, PDIPS Scholar 2011–2012, performs in The Gift of Pygmalion, a new work created by George Rodosthenous, University of Leeds. Photo by George Rodosthenous.

About the Scholarship

‘We are enormously grateful to Professor Barrie and Mrs Maureen Pettman, together with our colleagues in New Zealand, for the opportunity to support emerging leaders in the arts. In return, the contribution Pettman DARE Scholars make to our own organisations is not to be underestimated.’

In 2010, DARE: Opera North and the University of Leeds in the United Kingdom, together with New Zealand Opera and the Pettman National Junior Academy of Music in New Zealand, created the Pettman DARE International Performance Scholarship (PDIPS).

This ground-breaking initiative awards promising young practitioners of music theatre in New Zealand an individually crafted programme of practice based learning and academic development in the United Kingdom.

The programme supports their career ambitions in their chosen artistic field, particularly opera.

The Scholarship is a fully funded, nine-month opportunity, with one Scholar each year beginning their adventure in September. Working within a framework designed specifically to maximise the potential of the Scholar, the first seven months are spent in the United Kingdom at Opera North and the University of Leeds, followed by a month at New Zealand Opera and engagement with the Pettman National Junior Academy of Music, Auckland, New Zealand.

The combination of experience in both countries at the heart of award-winning international opera companies, supported by academic mentoring from leading universities, provides an insight into artistic thinking and practice at the highest level.

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Unlike many scholarships in the sector, PDIPS gets right under the skin of the full production process, from initial ideas to the main stage.

By engaging with the broad spectrum of roles – planning, technical, music and communications to name but a few – the Scholar develops a deeper understanding of the business of opera. In doing so they become better equipped for a career at a senior level.

The Scholarship is generously funded by Professor Barrie and Mrs Maureen Pettman through the Opera North Future Fund.

Dr Richard Mantle General Director OBE, Opera North

Sir Alan Langlands Vice-Chancellor, University of Leeds

Below: Chris Clark, PDIPS Scholar 2012–2013, meets Professor and Mrs Pettman at Opera North, October 2012.

A message from Professor Barrie and Mrs Maureen Pettman We are keen to enable young people reach their potential and develop a fulfilling career in music and the arts.

It is immensely rewarding for us to see how the Pettman DARE International Performance Scholarship is inspiring and enabling creative practitioners in New Zealand, where we live for part of each year, to achieve their professional ambitions.

We are committed to giving Scholars the opportunity to grow and develop both artistically and academically at the heart of leading institutions.

It makes us proud that with our support, our first three Scholars, Hedda, Hugo and Chris, are already investing their Pettman DARE experience as they embark on what are sure to be successful careers in New Zealand.

We invite you to share and celebrate with us just a few of these experiences, and we look forward to welcoming future Scholars.

Professor Barrie and Mrs Maureen Pettman

From left: Dr Richard Mantle OBE, General Director Opera North; Wyn Davies, Music Director New Zealand Opera; Belinda Brown; Hedda Oosterhoff, Pettman DARE Scholar 2010–2011; Professor Michael Arthur, Vice-Chancellor University of Leeds; Aidan Lang, General Director New Zealand Opera; Professor Rod Carr, Vice-Chancellor, University of Canterbury, Christchurch.

Launching the Scholarship

Our Scholars 2010–2013

Belinda Brown, New Zealand Deputy High Commissioner, celebrates the launch of the Pettman DARE International Performance Scholarships at the New Zealand High Commission, London in October 2010.

Hedda Oosterhoff, designer and violinist, was awarded the first Pettman DARE International Performance Scholarship in 2010.

‘This unique programme combines the very best in practice and learning to create an exceptional opportunity for New Zealand’s next generation of artistic leaders.’

‘The impact this scholarship will have on the New Zealand arts community will be far reaching.

The scholar will make a valuable contribution to the sector, which as a consequence will help raise the benchmark for arts organisations across the board.’

Belinda Brown, Deputy New Zealand High Commissioner, London, 2010

Aidan Lang, General Director, New Zealand Opera, 2010

‘The Scholarship opened doors I couldn’t have accessed otherwise.

I gained an understanding of the complex relationships that constitute opera; creative concepts and technical realities. It is fascinating how such a wide range of disciplines and such a diverse range of people interact to create synergy on the stage.’

Hedda Oosterhoff, 2012

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‘What I did in Leeds and at New Zealand Opera has helped me in many ways.

Being entrepreneurial and getting an overview of things people don’t usually see has been especially useful in pursuing my ambition to increase access to music education.

The experience has really influenced my teaching philosophy.’

Our Scholars 2010–2013

Our Scholars 2010–2013

Hugo Zanker, cellist and film-maker, was awarded the second Pettman DARE International Performance Scholarship in 2011.

Chris Clark, trumpeter and conductor, was awarded the third Pettman DARE International Performance Scholarship in 2012.

‘One unexpected and greatly appreciated result of my time in Leeds was the opportunity to get career development advice from leading professionals around the United Kingdom.

The support I received, including at New Zealand Opera, is enabling me to make informed decisions about my future.’

Chris Clark, 2013

Hugo Zanker, 2012

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Below: Just a few of the team in Leeds who support the PDIPS programme.

Below: Hugo rehearses with young artists at New Zealand Opera.

Learning

‘Until now, I underestimated the enormous and complex task that the creative and technical team faces with each production.’

Opposite: Hedda explored Opera North’s production of The Merry Widow from the perspective of the director and conductor.

Hedda Oosterhoff, 2011

‘Unlike other scholarships in the sector, it does not focus solely on an individual specialism. The Scholar really gets under the skin of the full production process, from initial thoughts to the main stage.

By engaging with the broad spectrum of roles the Scholar develops a deeper understanding of how the pieces of the production jigsaw work together, and becomes better equipped for a career at a senior level.’

Each Scholar has dedicated personal mentors in the United Kingdom and New Zealand, who explore and support their ideas, connect them with specialists and encourage them to have new adventures.

Hugo was able to learn first-hand about the logistics and creative challenges of rehearsing and staging Rigoletto at two New Zealand cities with a change in chorus and orchestra.

Rick Green, Opera North Operations and Technical Director, and conductor Wyn Davis together with Director Giles Havergal, enabled Hedda to explore the production process for Lehar’s The Merry Widow, from learning about the adaptation of the score to a 3.00am technical set up.

‘It has been such an opportunity to watch every single rehearsal of New Zealand Opera’s Rigoletto, something an orchestral instrumentalist seldom has.’

Hugo Zanker, 2012

Opera News, New Zealand, 2010

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Below right: Chris gives a recital accompanied by Opera North’s Head of Music Martin Pickard.

Learning

Building Knowledge

Below left: Chris conducts young people participating in New Zealand Opera’s El Sistema programme.

‘The generosity of the artists and staff at Opera North, the University of Leeds and New Zealand Opera, far exceeded my expectations. They shared their expertise and time and provided opportunities which challenged me and informed my career ambitions.’

‘I have been making full use of academic resources at the University of Leeds, including the fantastic Special Collections department. In addition, my studies have enabled me to learn alongside a variety of students with multidisciplinary backgrounds.’

Chris Clark, 2013

Chris Clark, 2013

Martin Pickard, Opera North’s Head of Music, nurtured Chris’ creative expertise through diverse activities.

These included performance, research and introductions to experts in the many facets of opera production.

At Opera North Chris followed all elements of the creative process for several productions. This included assisting conductor Wyn Davis in rehearsals for Poulenc’s La voix humaine. He also assisted conductor Tobias Ringborg at New Zealand Opera in rehearsals for Madame Butterfly.

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An unexpected treat for Chris when he joined the team at New Zealand Opera was the opportunity to conduct the final concert of the company’s education initiative based on El Sistema, something Chris described as ‘rather amazing!’

‘I am acquiring useful research techniques and valuable insights into how culture works in the United Kingdom. This will provide a useful comparison when assessing New Zealand’s changing creative sector.’

Hugo Zanker, 2012

Supported by a personal academic mentor, each Scholar participates in seminars, lectures and activities at the University of Leeds, including modules on ‘Creative Work’, ‘Research Perspectives’, ‘Strategic Arts Management’ and ‘Managing Arts Organisations’.

Hugo was able to use his new knowledge to investigate the changing cultural landscape and to discuss the topic with the General Directors of Opera North and New Zealand Opera. This provided valuable content for his Living Archive.

Scholars also had opportunities to share their knowledge with students.

This in turn gave the Scholars a broader, more informed view of learning and teaching.

‘The opportunity to present to students at the University of Leeds was not only a chance for them to learn about my research and experience; it taught me a lot about how to communicate with young people curious about the creative process.’

Hedda Oosterhoff, 2011

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Below: In April 2010, Hugo gave a farewell recital for friends and colleagues in Leeds.

Performing with Professionals

Opposite: Hedda was cast as Psyche in Opera North’s production of Weinberg’s The Portrait.

‘Never in a million years did I think I would be on the main-stage performing with Welsh National Opera one week and Opera North the next.’

Chris Clark, 2013

‘Working with academic and director George Rodosthenous at the University of Leeds allowed me to explore new creative approaches and share my artistic skills with students.’

Hugo Zanker, 2012

The Scholarship provided Hedda, Hugo and Chris with rare opportunities to perform alongside world-class artists.

Chris Clark played trumpet on stage in Welsh National Opera’s production of Puccini’s La Bohème in addition to touring with Opera North’s production of Verdi’s Otello.

Hugo gave a recital of Chopin and Britten as part of the University of Leeds’ popular concert series, which received high praise from a large public audience.

Not only was Hedda cast in Weinberg’s The Portrait in the United Kingdom as Psyche, her skills were truly tested when she was appointed Production Designer for the Opéra national de Lorraine revival of the piece at Nancy, France. As well as using her acting skills, Hedda adapted the design of the United Kingdom production for a new cast and stage in an international working environment.

‘The scholarship has opened several doors. I made so many contacts working with people like David Poutney, one of the world’s top directors, and I went to visit some of them in Italy. It was nice having this network of professionals throughout the world.’

Hedda Oosterhoff, 2011

The productions Hedda was a part of allowed her to make contacts which would otherwise have not been possible.

This led to a second recital in the Howard Assembly Room and an invitation from director and academic Dr. George Rodosthenous to collaborate on The Gift of Pygmalion, ‘Cyprus Spring Festival’ Gasteig Theatre, Munich 2012.

‘There were three French singers, a Maldivian, an Israeli, a Russian, a Canadian, an American, a Korean and a New Zealander – an amazing conglomerate of different nationalities. ... I learned so much about different work ethics.’

Hedda Oosterhoff, 2011

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Below left: Hedda designed the set, costumes and lighting for the first United Kingdom performance of Taneyev’s Oresteia, at the University of Leeds.

Creating New Work

Below right: Chris Clark’s research of landscapes in the Lake District.

Opposite: Hugo Zanker, PDIPS Scholar 2011–2012, performs in The Gift of Pygmalion.

Photo by George Rodosthenous.

‘I was able to practice a full range of skills as a designer, producer, technician and performer, when working with Dr Anastasia Belina from the School of Music at the University of Leeds.’

Hedda Oosterhoff, 2011

‘Learning creative research concepts and methodologies at the University of Leeds inspired me to translate pre-existing material from the University’s Arthur Ransome archive into another creative genre.’

Opportunities for creative collaborations inspired our Scholars to push their artistic frontiers.

Hugo collaborated with director George Rodosthenous, Lecturer in Music Theatre at the School of Performance and Cultural Industries University of Leeds, to create the Music Theatre piece The Gift of Pygmalion.

It was performed in Leeds and presented at the Gasteig Theatre, Munich in April 2012. The project was commissioned by the Cyprus Embassy in Berlin.

Initially starting as part of the orchestra, Hedda then became heavily involved in the production and helped Dr Belina bring the performance from a concert to a fully staged opera.

Chris Clark is using the University of Leeds Special Collections and the landscape of the Lake District as the inspiration of a new piece based on the work of Arthur Ransome who was born in Leeds.

The project stems from his childhood fascinations with Ransome’s Swallows and Amazons set in the Lake District.

Chris Clark, 2013

‘With Hugo Zanker on the cello, performing music from Bach to Britten and his own music ... The Gift of Pygmalion offers an introduction to the antinomy between art and life.

The myth of Pygmalion... comes to life when played

by Zanker...’

Livia Bidoli, gothicnetwork.org 14

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Below: Chris Clark is thanked by Opera North’s General Director Richard Mantle after presenting his Living Archive to colleagues and guests in the Howard Assembly Room in April 2013.

Sharing learning

Opposite: Hedda Oosterhoff shares her PDIPS experience with guests at the New Zealand High Commission in 2010.

‘[The Scholarship is] illuminating the reasons for different organisational structures as a way to respond to different economic and operating environments.’

Hugo Zanker, 2012

‘[My work as a scholar] has significantly informed my own output as an aspiring artist, performing instrumentalist and as a conductor, but also given me a great deal more insight into various elements of music. ... I have absorbed and learnt skills and concepts that were new to me at the beginning of this process, and as a result of this, am now able to utilise them in a cohesive and articulate manner.’

Chris Clark, 2013

Each Scholar creates a Living Archive, researching and interpreting the opera production process from their chosen perspective. This documentary – a glimpse of their observations, experiences and perspectives – becomes not only an insight into their Pettman DARE journey, but a valuable learning tool for students and peers.

Hugo Zanker presented his draft Living Archive at the University of Leeds conference ‘Theory, Business and Practice of Opera’ in 2012, exploring the organisational structures of Opera North and New Zealand Opera.

Chris shared his experiences as a researcher, practitioner and collaborator, demonstrating a valuable understanding of artistic and administrative relationships and their potential to inspire new work and new thinking.

He approached his time as Pettman DARE Scholar from the perspective of the music production team.

He focused on the practical creative processes that occur to produce an opera, demonstrating a fusion of academia and practical creativity.

Through interviews, observations and conversations, he interrogates the roles, individuals, interactions and influences that support the creative process at the highest level.

Hedda’s Living Archive takes Weinberg’s The Portrait and traces her involvement with it; from audition and costume fitting to the finished performance.

Working with director Giles Havergal and conductor Wyn Davis on Opera North’s new production of Lehar’s The Merry Widow, Hedda considered the relationship between the composer’s intentions and the resulting on-stage design.

‘There is not just one acceptable way, but an infinite number of possibilities, problems and solutions that need to be navigated in order to produce an opera.’

Hedda Oosterhoff, 2011

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The Scholar’s Legacy

‘I am interested in music education and the role it could play in rebuilding Christchurch after the earthquakes. My experience in Leeds opened up different attitudes towards the role of education in increasing access to music. ...

[The work of Opera North Education] blew my mind... their way of working at the heart of a community was inspiring.’

Hugo Zanker, The Press, Christchurch, 2012

Looking Forward

Hedda Oosterhoff

Pettman DARE Scholar 2010–2011 Hedda now has a full time job at an architecture practice specialising in theatre design. She credits her backstage experience, including as a designer and technician, with giving her a competitive edge.

Hugo Zanker

Pettman DARE Scholar 2011–2012 Since returning to New Zealand Hugo has completed his Teaching Diploma and is teaching drama and art at Rangiora High School. He was appointed the school’s Artist in Residence 2013 which allows him to be a student mentor as well as continue his own practice. Hugo also teaches at the Pettman National Junior Academy.

Chris Clark

Pettman DARE Scholar 2012–2013 Engaging with some of the United Kingdom’s foremost conductors and trumpeters has provided Chris with a rare insight into the two roles, particularly in the creation of large-scale opera. He now has a clear vision of how he will develop his career in these two spheres.

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Below: Rosel Labone, PDIPS Scholar 2013–2014

We are immensely grateful to Hedda, Hugo and Chris for being part of our team. Their energy, creativity and curiosity have inspired us all.

We have learned much over the past three years and have welcomed the advice of our first three Scholars in terms of how we can continue to strengthen the Pettman DARE experience.

We welcomed our fourth Pettman DARE Scholar in October 2013.

Singer Rosel Labone will add to the legacy of Hedda, Hugo and Chris.

We are committed to building on that legacy to create projects which reach further into communities in New Zealand and engage many more young people in the magic of music and opera.

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The Scholarship is generously funded by Professor Barrie and Mrs Maureen Pettman through the Opera North Future Fund.

Contact: Lesley Patrick Lesley@dareyou.org.uk Pettman DARE International Performance Scholarship Opera North Limited Grand Theatre 46 New Briggate Leeds LS1 6NU UK Registered Charity No. 511726 Š Opera North 2013

dareyou.org.uk

operanorth.co.uk

nzopera.com

pnja.co.nz

leeds.ac.uk