Wellington City Opera
| Company type | Non-profit organisation |
|---|---|
| Industry | Performing arts |
| Predecessor | De La Tour Regional Opera Trust |
| Founded | 1982 |
| Fate | Merged with Opera New Zealand in 1999 to form New Zealand Opera |
| Headquarters | Wellington , New Zealand |
| Products | Opera productions |
Wellington City Opera operated as a professional opera company headquartered in Wellington, New Zealand. Originating in 1982 under the name De La Tour Regional Opera Trust, it rebranded to The National Opera of Wellington in 1997 before merging with Auckland’s Opera New Zealand in 1999, resulting in the creation of New Zealand Opera.
Origin
After the dissolution of the New Zealand Opera Company in 1971, Wellington saw the formation of the De La Tour Opera Group in 1975, focusing on chamber operas with minimal staging and often piano accompaniment. Under the artistic guidance of Geoffrey De Lautour, this ensemble formally incorporated as the De La Tour Regional Opera Trust in 1982, with lawyer Ian Cochrane as chairperson, aiming to foster professional opera within Wellington and its surrounding regions.
The Trust’s inaugural professional staging was Verdi's La traviata, performed at Victoria University’s Memorial Theatre on 21 September 1982. Despite modest scenery and volunteer support staff, it garnered favorable critical response. This success was followed by a production of Madama Butterfly in April 1983, also directed by De Lautour.
Wellington City Opera
In 1984, to enhance its association with the capital city and attract corporate funding, the Trust expanded its governance and adopted the name Wellington City Opera. That year’s staging of Puccini's Tosca, featuring dual casts for principal roles, received positive acclaim. Beginning in 1985, Caltex assumed the role of principal sponsor, committing $150,000 over three years and maintaining sponsorship agreements for more than a decade.
The company appointed a full-time professional administrator and relocated its performances to the State Opera House, starting with the 1985 production of The Barber of Seville, directed by Raymond Boyce. This production, starring Patrick Power and Wendy Dixon, marked a notable enhancement artistically and financially.
In 1988, Wellington City Opera oversaw the Caltex Opera Scholarships competition in collaboration with the New Zealand Opera Society; however, due to insufficient applicant quality, the competition was discontinued.
By the early 1990s, Wellington City Opera had grown into one of Wellington’s most significant performing arts entities. From 1989 onward, it generally presented three operas each year but scaled back to two during years when the biennial New Zealand International Festival of the Arts featured an opera—starting with Die Meistersinger von Nürnberg in 1990. Distinguished productions during this period included The Merry Widow (1993), Turandot (1994), Peter Grimes (1995), and Rigoletto (1996). The company occasionally collaborated with Canterbury Opera.
National Opera of Wellington
Following a decline in global oil prices in 1996 that resulted in reduced Caltex NZ sponsorship and funding cuts from Creative New Zealand in 1997 and 1998, Wellington City Opera sought alternative financial backers. In 1995, Auckland Opera rebranded itself as Opera New Zealand, positioning Wellington City Opera and Canterbury Opera as regional entities. To assert a national presence, Wellington City Opera adopted the name The National Opera of Wellington in February 1998 and premiered at the more prestigious St. James Theatre with a production of La bohème.
This production showcased emerging talents such as Sarah Hills, Jae-Woo Kim, and Jonathan Lemalu making his professional debut. Directed by Colin McColl—his first opera direction—the contemporary interpretation attracted critical attention. Following this popular run was Verdi's Otello, featuring Suzanne Prain and Christopher Doig reprising their collaboration from La bohème. Despite solid performances, Otello suffered financial losses that compelled the company to cancel one of its three planned productions for 1999.
Mozart's The Magic Flute opened in March 1999 starring Debbie Wai Kapohe and Mark Pedrotti; it utilized sets and costumes borrowed from Canterbury Opera’s 1996 staging. Later that year, a successful joint production with Canterbury Opera presented Madame Butterfly, headlined by Patrick Power and Malvina Major, with Heather Taylor returning to a role she had performed in the company’s 1983 production. Directed by Phillip Mann, this marked The National Opera of Wellington’s final independent presentation.
In 1999, The National Opera of Wellington merged with Auckland-based Opera New Zealand to establish a unified national opera company inaugurated on 15 October 1999 as The National Business Review New Zealand Opera following a $1 million naming rights sponsorship lasting three years. The Wellington chorus was renamed The Chapman Tripp Opera Chorus while The National Opera of Wellington transitioned into a supporting role overseeing its investment within New Zealand Opera. The merged entity’s debut production was Verdi’s Aida in 2000.