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On Radio: May 28 - June 3, 2016

Including Australian guitarist Slava Grigoryan and jazz bagpiper Rufus Harley.

Slava Grigoryan, Music Alive, Thursday. Photo/Randy Larcombe
Slava Grigoryan, Music Alive, Thursday. Photo/Randy Larcombe

SATURDAY MAY 28


The New Jazz Archive (RNZ Concert, 5.00pm). We’re keen to hear the work of Rufus Harley, jazz bagpiper. In this week’s programme, Jeff Haas looks at the more unusual instruments to be used in the service of jazz, including the tuba, the banjo and the flute. Haas talks to jazz tuba pioneer Howard Johnson, and explores how the banjo shaped the sound of early jazz.

SUNDAY MAY 29


Celtic World (Otago Access Radio, 2.00pm). Two hours of Celtic music (hey, it is Dunedin) from all over, from the Isle of Man to Ireland. The show, which is presented each Sunday by Douglas ­MacMillan, can be streamed live on the OAR website, or heard later on podcast: oar.org.nz/event/celtic-world.

Opera on Sunday (RNZ Concert, 6.00pm). In the penultimate performance from the Metropolitan Opera Season, Swedish soprano Nina Stemme leads an intense performance of Elektra, Richard Strauss’ psychologically gripping family drama that is based on the Greek myth. The production featured modern costumes and unadorned sets that were praised for their “sheer theatrical inventiveness” by the New York Times, which called conductor Esa-Pekka Salonen “brilliant”.

MONDAY MAY 30


Music Alive (RNZ Concert, 8.00pm). Orchestra Wellington’s 2015 season came to a conclusion with the final work in its Tchaikovsky cycle, Symphony No 6 (as a primer, Thomas Goss looks at the symphony at 7.00pm). The concert also features Michael Houstoun, pianist Emma Sayers and cellist Brenton Veitch, who perform a challenging new work, Melting Furniture, by the orchestra’s composer in residence, Karlo Margetic.

THURSDAY JUNE 2


Music Alive (RNZ Concert, 7.30pm). In tonight’s live broadcast, the Auckland Philharmonia heats up a cold night with Latin Rhythms, featuring Australian guitarist Slava Grigoryan, who performs Rodrigo’s Concierto de Aranjuez. The Philharmonia also performs the Latin-inspired Symphonic Dances and El salon Mexico, by Americans Leonard Bernstein and Aaron Copland. The concert begins with Manuel de Falla’s Andalusian El amor brujo.

Talkback


Your chance to comment on TV and radio

UNREALITY


Viewers, advertisers and contestants should not be surprised by the outcome of The Bachelor NZ. Television reality programmes are based on two words: exploitation and humiliation.

I heard an “expert” say the chances of a third series were about the same as Donald Trump coaching the All Blacks. Wrong. The unreality of this whole debacle is that TV3 will already be planning another series.

Christopher Bourn
(Nelson)

AD NAUSEAM


Why do the powers that be at RNZ Concert seem intent on dumbing down their programmes?

Most announcers read competently from a script, but it takes a different talent to ad lib on radio. Take the Classical Chart, for example. Over the past few weeks, the announcer has insisted on inviting texts, and then bumbles along with ums and ahs and pauses to tell us what Joe Bloggs or Mary Black thinks. Who cares? More chart and less chat, please.

Neville Nielsen
(Orewa)

HYMN AND HER


A bouquet for Robyn Jacquiery (RNZ Concert, Hymns on Sunday) and her intelligent, well-researched commentary on hymns and their origins. For the first time in years, and even at the unfriendly hour of 7.30am, this programme has begun to take on a life of its own, helped by her crisp, informative delivery. It’s as if the library of hymns at RNZ has suddenly been discovered and given fresh exposure.

The printing of the week’s hymn words on the website makes for more appreciative listening. Thanks!

Shirley Murray
(Kapiti Coast)

Good pointe


I was delighted to hear Esther Juon on Saturday Morning (RNZ National, April 23) talking about ballet pointe shoes and preventing foot damage.

As a practising GP and a mother of two young ­dancers, I had major concerns regarding pointe shoes. I am aware of long-term injuries and surgical procedures that have resulted from being on pointe too early and without adequate preparation.

It almost seems to be a badge of honour for full-time dancers to have damaged feet, but surely suffering for your art is no longer necessary?

I’m relieved that my daughters’ ballet teacher makes sure her dancers and their parents have access to Juon Pointe workshops, so they are fully informed as to what is required for a safe transition onto pointe.

Sharon McHardy
(Palmerston North)

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