Season 2021/2022

Next we’re performing a semi-staged version of the Judgment of Paris, with music by Daniel Purcell, John Weldon, John Eccles and Godfrey Finger … for tickets go to the Fringe page:

Following the challenges 2020 threw at performing organisations such as ours and the uncertainty over arrangements 2021 happened in a slightly more fluid way. In March we had our programme of Music from the Habsburg empire, and in April our rescheduled concert of Bach and Vivaldi with Nota Bene.

We were fortunate to be able to perform at St Andrew’s on the Terrace on the 11th August at 12.15, but lockdowns ultimately prevented us from putting on our Judgment of Paris project in November (not to worry though, this will be going ahead, golden apple and all, as a part of NZ Fringe in February).

Next up we will be performing at Old St Paul’s on the 18th December, in a festive programme including Habsburg composer Vejvanovsky’s glorious Missa Salvatoris. In the programme we also have a piece for horn and bass baritone by little known composer Volckmar and music by Fux for sackbut and soprano. Christmas music, but with the colour and vitality of The Queen’s Closet! Buy your tickets here:

Purcell project

Here at The Queen’s Closet, we don’t just perform music; we also have a busy programme of projects in development.

We are continuing with the development of a new work in collaboration with Dave Armstrong supported by significant grants from Creative New Zealand. This project will reimagine the semi-opera of 300 years ago, a form that only existed in Restoration London, with a new piece of musical theatre. The work will feature the music of Henry Purcell, tied together with a contemporary New Zealand narrative written by Dave, for performance as one of our future programmes. We’re always looking at how we present Restoration music in ways that resonate with modern audiences, while using performance practice based on the most up to date research and understanding of how 17th century baroque music was conceived and performed.

We have been busy working on aspects of 17th Century performance practice with mentors in London, Glasgow and Basel. This has been our main focus for the past few months, with our players having individual sessions on performance style, and being joined by the Christopher Suckling, Oliver Webber, Jan Waterfield for full orchestra playing sessions via videoconference. In mid-July we spent a weekend workshopping the work with singers, actors and our producer and director.