Voices at the End
Wheelchair tickets $20
A true festival coup, we present internationally renowned New Zealand composer John Psathas’ immersive world premiere featuring six grand pianos and a sweeping digital audio landscape, with a Steve Reich work as icing on the cake.
Taking inspiration from the poetic documentary Planetary, you’ll be transported around the world with sounds and music from the Amazon jungle, outer space (literally), Japan, Armenia, Africa, the Mahabharata, Aotearoa forests, roaring multitudes, predators from the wild, cataclysmic weather events, Tibetan meditation, and more than a dozen musical genres… all in 45 minutes.
Leading New Zealand pianists Stephen De Pledge, Arts Foundation Laureate Michael Houstoun, Somi Kim, Jian Liu, Sarah Watkins and Liam Wooding form a rare combination of instrumental heft and world-class talent – so rare, in fact, that as an extra treat we also present Six Pianos by groundbreaking and award-winning US composer, Steve Reich.
$20 Wheelchair Tickets
Thursday 18 March 8.00pm
Great Hall, Auckland Town Hall
Tickets $20* each for individual and one companion
*Subject to availability – limited number of access tickets available
TO BOOK: Fill in the form HERE
Note: A Touch Tour and Artist Talk with John Psathas takes place prior to the concert at 6.30pm. For details about the Touch Tour and Artist Talk click here
SPECIAL EVENT
Planetary documentary screening
Planetary was the inspiration for composer John Psathas’ Voices at the End. It is a provocative and breathtaking wake-up call – a cross-continental cinematic journey, that explores our cosmic origins and our future as a species. It is a poetic and humbling reminder that now is the time to shift our perspective. It asks us to rethink who we really are, to reconsider our relationship with ourselves, each other and the world around us – to remember that we are planetary.
Thursday 18 March, 6.00pm–7.30pm
Digital Stage, Aotea Square
FREE
Accessibility
“I discovered Six Pianos when I was about 17, but it took time before I understood its austere beauty. You’re exploring a single chord as though you’re peeling a fruit, pressing the flesh, eating it.”
