Bayleys Great Classics: Christian Li Plays Programme

GREAT CLASSICS 

PLAYS 

THURSDAY 21 APRIL 2022

AUCKLAND PHILHARMONIA ORCHESTRA 

The Auckland Philharmonia Orchestra 

(APO) is New Zealand’s designated 

metropolitan orchestra, serving 

Auckland, the country’s largest and most 

vibrant city, with concerts and events 

throughout the year. 

The APO presents more than 60 

performances annually. A comprehensive 

season of symphonic work brings 

Auckland’s orchestra together with 

many of the world’s finest classical 

musicians, while collaborations with 

some of New Zealand’s most exciting 

contemporary artists speaks to the APO’s 

reputation of being endlessly innovative, 

passionate and versatile. 

Internationally acclaimed Italian-Danish 

conductor Giordano Bellincampi has been 

Music Director of the APO since 2016. 

Beloved by APO musicians, audiences 

and donors alike, his tenure has resulted 

in a period of significant artistic growth for 

Auckland’s orchestra. 

Recent guest artists with the orchestra 

have included tenor Simon O’Neill, 

pianist Michael Houstoun, violinists 

Arabella Steinbacher, Ning Feng and 

Viktoria Mullova, cellist Julian Steckel, 

pipa virtuoso Wu Man, and conductors 

Vladimir Ashkenazy, Bertrand de Billy, 

and Xian Zhang. 

In 2022, the APO presents a wideranging 

and dynamic season featuring 

many of Aotearoa’s best talents alongside 

debuts and welcome returns of many 

renowned international musicians. 

The exceptional guest artists sharing the 

stage with the APO this year include 

violinists Clara-Jumi Kang and James 

Ehnes, pianists Kristian Bezuidenhout, 

Jean-Efflam Bavouzet, and Benjamin 

Grosvenor, trumpeter Tine Thing 

Helseth, and conductors Gilbert Varga, 

Shiyeon Sung and Alpesh Chauhan. 

Complementing our international artists, 

we are also delighted to showcase 

New Zealand-born violinist Amalia Hall, 

conductor Tianyi Lu, and APO’s own 

Principal Clarinettist Jonathan Cohen 

and Principal Harpist Ingrid Bauer 

among many more. 

The APO is proud to support both 

New Zealand Opera and the Royal 

New Zealand Ballet in their Auckland 

performances. It also works in 

partnership with Auckland Arts Festival, 

the Auckland Pride Festival, the New 

Zealand International Film Festival and 

the Australian National Academy of Music 

among other organisations. 

Through its numerous APO Connecting 

(education, outreach and community) 

initiatives, the APO offers opportunities 

to more than 20,000 young people 

and adults nationwide. 

Each year the APO performs to 

more than 250,000 people live and 

over the course of the pandemic, has 

reached more than 4.3 million viewers 

globally through livestreams and other 

digital offerings.

WELCOME / HAERE MAI 

Tēnā koutou, 

The last two years have been quite 

the roller-coaster. Live performance 

has been repeatedly disrupted, and 

the APO has not escaped unscathed. 

Despite this, we have planned 

ambitiously and optimistically for 

2022. Be it online, on the radio, or 

in the concert hall, we are excited to 

reconnect with our devoted music 

community for a Bayleys Great Classics 

series like no other. 

This year’s series covers celebrated 

favourites by Mozart, Mendelssohn, Borodin, 

Dvořák, Fauré, Lilburn and more, brought to 

life by an outstanding line-up of international 

artists as well as some of New Zealand’s 

best talents. This includes our own Principal 

Clarinettist Jonathan Cohen, who opens the 

season in February. 

A significant ingredient of the APO’s 

artistic success is the generous support 

of our funders, donors and sponsors. We 

extend our gratitude to Bayleys Real Estate 

for returning as series sponsor, and to our 

core funders, Auckland Council, Creative 

New Zealand, Foundation North and the 

Four Winds Foundation. 

I hope you will join us and enjoy this year’s 

Bayleys Great Classics series. 

Welcome, 

Bayleys Real Estate is proud to 

once again be the principal sponsor 

of the Auckland Philharmonia 

Orchestra’s Great Classics series. 

COVID-19 and resulting disturbances to our 

customary way of life have only highlighted 

the importance of the Arts in enriching 

our lives and lifting our spirits. With this 

year’s series, the APO has prepared yet 

another superb year of music, showing 

their extraordinary tenacity and dedication 

to sharing orchestral music with our vibrant 

cultural city by whatever means available. 

Starting with the infectiously spirited 

‘Slavonic Dances’ concert in February 

through to the poetic serenity and storms of 

‘Fliter Plays Chopin’ in November, prepare 

to experience a dazzling array of musical 

offerings. 

We look forward to sharing the Bayleys 

Great Classics series with you throughout 

the year and celebrating Auckland’s premier 

professional orchestra. 

Mike Bayley 

Managing Director, Bayleys Real Estate 

Barbara Glaser 

Chief Executive, Auckland Philharmonia Orchestra 

APO.CO.NZ 3

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

4 AUCKLAND PHILHARMONIA ORCHESTRA 2022

APO.CO.NZ 5 

AUCKLAND PHILHARMONIA ORCHESTRA 2022

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AUCKLAND PHILHARMONIA ORCHESTRA 2022 

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Programme book 

Visiting international artists 

Programme notes by Amber Read © 2022 

Season photography by Adrian Malloch 

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Layout and print 

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The flowers presented on stage are 

generously donated by Scarecrow – 

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Concerts in the Bayleys Great Classics series are broadcast on 

APO.CO.NZ 11

PLAYS 

THURSDAY 21 APRIL 

Conductor Vincent Hardaker 

Violin Christian Li 

Fauré Pelléas et Mélisande: Suite 

Saint-Saëns Introduction and Rondo capriccioso 

Ravel Tzigane 

Mussorgsky Night on the Bare Mountain 

Borodin Symphony No.2 

VINCENT HARDAKER 

CONDUCTOR 

Vincent Hardaker is one of New Zealand’s 

most promising up-and-coming conductors 

and is currently the Resident Conductor 

for the Auckland Philharmonia Orchestra. 

From 2020 to the end of 2021, he was 

New Zealand’s inaugural Assistant 

Conductor-in-Residence – a position 

created to find and foster talented, emerging 

conductors to assist all of New Zealand’s 

professional orchestras. 

Recent symphonic work has been with 

all professional orchestras in New Zealand: 

New Zealand Symphony Orchestra, 

Auckland Philharmonia, Christchurch 

Symphony and Dunedin Symphony. 

His opera experience includes a 2020 

production of Postcard from Morocco from 

Pulitzer-Prize winning composer Dominick 

Argento. He was the NZSO Conducting 

Fellow in 2015, through which he assisted 

for the NZSO National Youth Orchestra, and 

received mentorship from such conductors 

as Vasily Petrenko, Jose Luis Gomez and 

Simone Young. He has attended significant 

conducting masterclasses throughout 

Europe, Australia and New Zealand including 

such orchestras as the Odense, Tasmanian, 

and Accademia Chigiana with conductors 

such as Pietari Inkinen, Michael Schønwandt 

and Daniele Gatti. 

Hardaker studied conducting in the soloist 

class of the Royal Danish Academy of Music 

with Giordano Bellincampi and Michael 

Schønwandt, and in 2014 he graduated from 

the New Zealand School of Music with a 

Bachelor of Music (First Class Honours) in 

conducting under Kenneth Young and viola 

under Gillian Ansell. 

12 CHRISTIAN LI PLAYS

CHRISTIAN LI PLAYS 

CHRISTIAN LI 

VIOLIN 

Christian Li has captivated audiences around 

the world with his maturity and virtuosity 

since he became the youngest-ever Junior 

1st Prize-winner of the 2018 Yehudi Menuhin 

International Violin Competition at the age of 

10. Previously, at the age of nine, Christian 

won First Prize at the 2017 Young Artist 

Semper Music International Competition and 

performed at Carnegie Hall in New York in 

the American Protégé Showcase 10-year 

Anniversary concert. In 2020 he became 

the youngest artist ever to sign with Decca 

Classics and released his first album of 

Vivaldi’s Four Seasons in 2021. 

In 2019 he made acclaimed debuts with 

the Melbourne and Sydney Symphony 

Orchestras, the China Philharmonic 

Orchestra, and debuted in the UK, Norway 

and Israel, including a televised performance 

at the Tel Aviv Opera House. 

Born in Melbourne, Australia in 2007, 

Christian began learning the violin at the age 

of five and made his professional concerto 

debut at 10, performing the Mendelssohn 

Violin Concerto with Orchestra Victoria. 

Christian performs on the 1737 

ex-Paulsen Guarneri del Gesù violin, on 

loan from a generous benefactor, and uses 

a bow by François Peccatte. He studies 

under Dr. Robin Wilson, Head of Violin at 

the Australian National Academy of Music 

in Melbourne. Christian also enjoys reading, 

swimming and bike riding. 

APO.CO.NZ 13

PROGRAMME NOTES 

Gabriel Fauré (1845-1924) 

Pelléas et Mélisande: Suite 

FOUR MOVEMENTS: 

I. Prélude 

II. Fileuse 

III. Sicilienne 

IV. Mort de Mélisande 

DURATION: c.18’ 

Jean Fauré’s Pelléas et Mélisande suite 

originated as incidental music for the 

1898 London production of Maeterlinck’s 

influential symbolist play of the same name. 

In keeping with the allusion and suggestion 

characteristic of symbolist literature, Fauré’s 

delicate music perfectly evokes the misty, 

watercolour atmosphere of Maeterlinck’s 

imagined medieval world of Allemonde. 

The gentle Prélude raises the curtain 

on a forest stream where the ethereal 

woman Mélisande is found, and in Fileuse 

(spinner) Mélisande sits at her spinning 

wheel while her lover Pelléas looks on. The 

famous Sicilienne is Fauré’s likeness of 

Mélisande, drawing on the water imagery 

that permeates the play. When her lover is 

killed by her jealous husband, Mélisande 

wastes away and Mort de Mélisande 

accompanies her funeral procession (and 

years later, also Fauré’s). 

Camille Saint-Saëns (1835-1921) 

Introduction and Rondo capriccioso 

ONE SINGLE MOVEMENT 


“Virtuosity,” said French composer 

Camille Saint-Saëns, “is the source of 

colour in music. It gives wings to the artist 

to help [them] escape from the prosaic and 

commonplace.” Dedicated to the renowned 

violinist and composer Pablo de Sarasate, 

the Introduction and Rondo capriccioso 

launches the soloist into the sky, drawing 

listeners into a fantastical world. 

The lyrical Introduction was the perfect 

vehicle to showcase Sarasate’s famed purity 

of tone, while the swaggering rondo theme 

is characterised by the idiomatic rhythms of 

Spain, Sarasate’s birthplace. 

The popularity of this work among 

violinists and audiences alike is as much 

due to Sarasate as to Saint-Saëns, who 

said, “[Sarasate] was at that time the most 

prominent violinist in the world, and he 

played my works, still unknown, everywhere.” 

Maurice Ravel (1875-1937) 

Tzigane 



Maurice Ravel’s Tzigane also owes its 

existence to a violinist, this time the 

Hungarian virtuoso Jelly d’Aranyi who had a 

long career in London. Ravel met d’Aranyi 

in 1922 when she performed his Violin 

Sonata and their meeting went well overtime 

as d’Aranyi went on to perform, at Ravel’s 

14 CHRISTIAN LI PLAYS

urging, hours of improvisations and tunes in 

Hungarian Gypsy style. 

A year later, Ravel completed Tzigane 

for her – two days before the scheduled 

performance! D’Aranyi pulled off the 

performance with the power and vivacity for 

which her playing was renowned. 

Tzigane means gypsy, doubtless Ravel’s 

nod to d’Aranyi’s performance for him, but 

his writing offers a more generic exoticism, 

than any reference to a specific gypsy style. 

Dazzling and fireworks are words often 

overused in the description of music, 

but they are justly applied here, with the 

instrument’s capacity for technical display 

tested on every side. The violinist must 

explore every register of the instrument from 

the full-throated roar of the opening cadenza 

(which is almost half the length of the work) 

to the eerie trills alongside the harp entry, 

from prismatic harmonics and glittering 

pizzicato to the furor of the final bars. 

INTERVAL 

Modest Mussorgsky (1839-1881) 

arr. Rimsky-Korsakov (1844-1908) 

Night on the Bare Mountain 



Modest Mussorgsky’s short tone-poem Night 

on Bare Mountain depicts the night revels of 

a Witches’ Sabbath. Menacing brass pound 

under frenetic strings but at the tolling of 

the church bell the darkness bleeds away in 

limpid strings and serene woodwind solos 

draw on the sunrise. 

Mussorgsky reinvented this work several 

times over the course of his two-decade 

compositional career: he had high hopes 

for it within various operatic projects as well 

as in tone-poem form, but none of these 

projects reached performance in his lifetime. 

Drawing on the various iterations (in various 

states of completion) left at Mussorgsky’s 

early death, his colleague Rimsky-Korsakov 

reconstructed this brilliant orchestral 

showpiece that carried Mussorgsky’s name 

to audiences far and wide. 

Alexander Borodin (1833-1887) 

Symphony No.2 

FOUR MOVEMENTS: 

I. Allegro moderato 

II. Scherzo: Molto vivo 

III. Andante 

IV. Finale: Allegro 


Alexander Borodin was a person of 

formidable talents, cramming three careers 

and a rich family life into his 54 years. As 

a chemist, he authored over 40 academic 

publications and discovered the Aldol 

condensation – his work in this area 

continues to have applications today from 

perfume production to plasticisers. As a 

composer, he was one of the Moguchaya 

Kuchka or ‘Mighty Handful’, a group of five 

Russian composers who worked to create a 

distinct national style. 

He was also a gifted teacher and 

threw enormous amounts of energy into 

establishing medical courses for women: 

in 1872 (right in the middle of composing 

the second symphony!) his chemical 

laboratory in the St Petersburg Medical- 

Surgical Academy became the first Russian 

laboratory to open its doors to women. 

Musical activity was often fitted into 

the edges of his research and teaching. 

Fellow composer Rimsky-Korsakov recalls 

discussions where Borodin would “leap 

up and rush back into the laboratory in 

order to observe if something had burned 

out or boiled over, all the while making the 

corridor echo with incredible sequences of 

successive ninth or sevenths.” 


APO.CO.NZ 15

Unsurprisingly, many of Borodin’s 

compositions were left unfinished at his 

sudden death in 1887, but his Second 

Symphony is one of the few he completed 

within his lifetime, and it brought him fame 

across Europe. 

The heroic theme that opens the 

symphony, evoking the bogatyri (warriors) 

of Russian epic poetry, is inscribed into 

Borodin’s tombstone, alongside the chemical 

formulas for compounds he discovered. 

Digging deeper into legend, the third 

movement of the symphony is said to refer to 

a bayan – a bard from The Lay of the Host 

of Igor, the 12th century epic that inspired 

Borodin’s other major work, the opera Prince 

Igor. The finale then explodes into colourful 

celebration as the bogatryi feast their victory. 


COPYRIGHT © AMBER READ 2022 

APO.CO.NZ 17

AUCKLAND 

PHILHARMONIA 

ORCHESTRA FUNDERS AND DONORS 

The Auckland Philharmonia Orchestra gratefully acknowledges the contributions made by 

the following organisations and individuals whose funds support the work of the orchestra, 

its main stage concert series and its community, outreach and education concerts and 

other programmes. 

PLATINUM 

Auckland Council 

Auckland Live 

Auckland Philharmonia Foundation 

Creative New Zealand 

Graeme & Di Edwards 

Foundation North 

Four Winds Foundation 

Freemasons Foundation 

Dame Jenny Gibbs 

Sir William and Lady Manchester 


Pub Charity Limited 

Potter Masonic Trust 

Staples Education Foundation 

Trillian Trust 

The Trusts Community Foundation 

The Wallace Foundation 

GOLD 

The Douglas Goodfellow Charitable Trust 

Audrey Hay Charitable Trust 

SILVER 

Auckland Philharmonia 

Orchestra Friends 


Family Trust 

Charline Hamilton Baker 



Lesley French Estate 

Manukau Westmere Lodge 


Maurice Paykel Charitable Trust 

Perpetual Guardian 

Rua and Clarrie Stevens Trust 

BRONZE 

Frances Bell 

Sandra Greenfield 

Rochelle McLaren 

Dame Judith Potter 

Hon. John Boscawen 

Sally Clatworthy 

Peter & Fay Cropper 

Jillian Friedlander 

c/- The Friedlander 

Foundation 

Helen Gaeta 

John & Eleanor Gibb 

Liz Herrmann 

Eric Johnston & Alison 

Buchanan 

Robert Kinnear 

Anne Leys 

David Lovell 

Eddie & Michele Mann 

Stephanie Markson 

Coral Mazlin-Hill in 

memory of the late 

Willi Hill 

Ministry of Education 


MusicHelps 

Gaynor & Humphrey 

Nisbet 

In memory of John and 

Jessica Pybus 

Vicki & Ian Ross 

Martin Sowter & Alison 

Pereira 

Berwick Taylor & Anne 

Crosswell 

Noel Vautier & Kerrin 

Vautier CMG 

18 ACKNOWLEDGEMENTS

THE APO STELLAR FUND – 

SUPPORTING ARTISTIC EXCELLENCE 


Lionel & Mary Rogers 


David & Dian Ross 


Lindsay & Janet Spilman 

Peter Wilson & Gerda 

McGechan 

ACKNOWLEDGEMENTS 

SUPPORTERS CIRCLE 

Jack & Liz Alison 

Alastair Anderson 

Jack Astley 

Dianne & Jeremy Aubin 

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Claire & Peter Bruell 

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Anne Coney 

Raewyn Dalziel 

Wayne Dyer 

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Pam Gould 

David & Sally Graham 

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Anne Hargreaves 

Ellen Hume 

Robert Jenkins 

Alan Kinnear 

Ashley Wade Leach & 

Hannah Holland 

Rosemary Langham 

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Anne Leys 

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Caroline May 

Beverley McConnell 

Alison & Ken McKenzie 

Karen McNeill 

Alison Morton 

Andre & Helene Muller 

Anna Nathan & David Williams 

Michael & Adriana Nicholls 

Dot & Gary Paykel 

David & Jackie Pittman 

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Carolyn Reid 

Dr Roger Reynolds 

Judy & John Robertson 

Ron & Jan Russell 

Oliver & Kylie Sealy 


Lady Philippa Tait 

Gael & Earl Thompson 

Russell & Joanna Warren 

Peter Wilson & Gerda McGechan 

John Wright 

8 anonymous donors 

Listed are all donors who have given over $500 to the Annual Appeal since 1 January 

2021. Donations by individuals of $5 or more attract a tax rebate of 33.33%. 

We also extend our sincere thanks to all those who donated the cost of their tickets 

to the APO in the wake of cancelled events in 2021. 

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To find out more information, visit us online: 

apo.co.nz/support 

Or contact: Samara Somerville-Petch, Development Manager 

samaras@apo.co.nz 027 250 4660 

Development team: development@apo.co.nz 

APO.CO.NZ 19

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

21 ST CENTURY CIRCLE 

The 21st Century Circle recognises donors who have made gifts in their wills to the Auckland 

Philharmonia Foundation. The Foundation is dedicated to securing an inspirational future 

for the APO through its endowment fund. All gifts made in wills help build this endowment, 

which will enable the orchestra to go from strength to strength and play a part in shaping 

the cultural future of Auckland. 

June Allen 

Stuart Angel 

Carol & Alan Best 

J Bishell 

Kevin Bishop 

Barbara Bond 

Roger & Joanna Booth 

Hon. John Boscawen 

Dr Ian Ball & Herald Braune 

Canterdale Trust 

Angela Caughey 

Pamela Chalmers 

Kath Cherney 

C L Davidson 

Una Dowding 

Robert G. Eady 

Richard Ebbett & Helen Ferguson 

Graeme & Di Edwards 

Robert & Anne Feigel 

Roger Giese 

Barbara Glaser 

Jean Glenister 

Pamela Gould 

Dora Green 

Gae Griffiths 

Lois Hadfield 

Christopher Devereaux 

& Barbara Harris 

John Harris 

Geoffrey H. Haughey 

Graeme & Margaret Hitch 

Michael Hooper 

Robert & Hilary Howard 

Trevor Hudson 

Neil Jenkins 

Eric Johnston & Alison Buchanan 

Pamela Kean 

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Liggins Family Trust 

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David & Jackie Pittman 

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Chris Swannell 

Elizabeth Swier 

Donald Trott 

Belinda Vernon 

James Wallace Foundation 

Pauline Wetton 

Lorraine Wilson 

Peter Wilson 

Lynette Youlden 

There are a further 55 anonymous 

promised bequests. 

The Auckland Philharmonia Foundation gratefully acknowledges recent bequests advised 

and received from the estates of M G Blumhardt, W F Ryan, Elaine Marjorie Robinson, 

L A Hadfield and Denver Olde. 

20 ACKNOWLEDGEMENTS

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

Chief Executive Barbara Glaser 

Deputy CEO/Director of 

Business Partnerships & 

Marketing Stuart Angel 

LEADERSHIP TEAM 

Director of APO Connecting 

Thomas Hamill 

Director of Artistic Planning 

Gale Mahood 

Director of Business Services 

Heather Wallace 

Director of Development 

Natalie Macaulay 

Director of Operations 

Wendy Gardiner 


AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

BOARD & SUPPORT 

ORGANISATIONS 

Patrons 

Dame Jenny Gibbs, DNZM 

Dame Rosanne Meo, DNZM, 

OBE 

Dame Kiri Te Kanawa, DBE, 

ONZ 


Orchestra Board 

Chair 

Geraint A. Martin 

Sylvia Ding 

Gordon Hill 

Pare Keiha 

Elizabeth Kerr 

Oliver Sealy 

Julian Smith 

Kate Vennell 

Lucy Whineray 


Orchestra Society 

Executive Committee 

Chair 

Huw Dann 

Secretary 

Jennifer Raven 

Jonathan Cohen 

Ainsley Murray 

Timothy Sutton 

Susan Wedde 

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

FOUNDATION 

Chair 

Robert Clark 

Trustees 


Mark Gatward 

Haydn Staples 

Simon Williams 

Kate Vennell 

Murray Lander 

APO.CO.NZ 21

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

The Auckland Philharmonia Orchestra sends a heartfelt thank you to the following generous 

donations that contribute to our Chair Donor programme. Chair Donors enjoy a special 

relationship with individual APO musicians whilst also receiving invitations to exclusive 

events, as part of the APO family, throughout the year. 

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

CHAIR DONORS 

CRESCENDO 

Crescendo is the APO’s membership 

programme that provides an enriched 

APO experience for concertgoers. As a 

Crescendo member, you will be invited to 

exclusive Crescendo events throughout 

the year. 

Make friends with fellow music lovers and get 

closer to the orchestra. Crescendo gives you 

the chance to engage and get an inner glimpse 

into the workings of the orchestra. 

For information about opportunities to support the orchestra please contact: 

Samara Somerville-Petch samaras@apo.co.nz 027 250 4660 

AUCKLAND 

PHILHARMONIA 

ORCHESTRA 

FRIENDS 

The Auckland Philharmonia Orchestra 

gratefully acknowledges the more than 40 

years of invaluable support of volunteers who 

give substantial assistance behind the scenes 

and at each performance. 

President Jackie Wilkinson 

Secretary Anne Norris 

To join the APO Friends, 

contact Bryce Bartley, 

Membership Secretary: 

bryce_chris@inspire.net.nz 

Music is better with friends 

– Join the APO Friends 

The Friends of the APO are an integral part 

of the Auckland Philharmonia Orchestra 

family. Founded in 1981, the Friends help 

the orchestra in a variety of ways including 

selling programmes at concerts and providing 

suppers for guest artists and the orchestra. 

Funds raised from Friends events, subscriptions 

and raffles are donated to support the APO 

Connecting programme. Membership to 

the Friends is open to all. Annual dues are a 

modest $35 per person and benefits include 

newsletters, invitations to monthly Meet the 

Artist mornings and, most of all, the satisfaction 

of knowing that your contribution helps support 

an essential element of Auckland’s cultural life. 

22 ACKNOWLEDGEMENTS

SERIOUS ABOUT YOUR COMMUNITY 

Auckland Philharmonia Orchestra gratefully acknowledges the contributions 

made by the following companies, trusts and organisations. 

CORE FUNDERS 


PLATINUM 

Sir William & Lady 

Manchester 


TRILLIAN 

TRUST 

GOLD 

The Douglas Goodfellow 


SILVER 


Family Trust 

Australian Communities 

Foundation – Sylvia Fisher Fund 

Lesley French Estate 

Maurice Paykel 


BRONZE 

Adrian Malloch Photography 

APRA AMCOS NZ 

Eurovintage 

Karajoz Coffee 

Marshall Day Acoustics 

Ministry of Education 

MusicHelps 

Nicholas Jermyn 

NZ Premium Foods 

Riverside Homestead 

Scarecrow – deli, café & florist 

For information about business partnerships and corporate events, contact: 

partnerships@apo.co.nz (09) 638 6266 ext 201 

APO.CO.NZ 23

PO Box 7083 

Victoria Street West 

Auckland 1142 

Phone (09) 638 6266 

APO Ticketing (09) 623 1052 

apo@apo.co.nz 

apo.co.nz 

aporchestra 

@aporchestra 

aporchestra 

apo_nz

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