June 25, 2024 • 13 mins
Moses Mackay of Sol3 Mio fame is in Christchurch, performing Le Comte Ory with the New Zealand Opera.
He joined John MacDonald to discuss the show and his life in Italy.
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Speaker 1 (00:06):
You're listening to the Canterbury Mornings podcast with John McDonald
from News talkst B Broken.
Speaker 2 (00:14):
We had down it on the man who went out
his from Lake crimms ptend.
Speaker 3 (00:30):
P P Sime in life that win.
Speaker 4 (00:37):
He almost had my phone out then with the light
on Moses Mackay for EG. Good morning to you, good morning,
thank you for having me. Now we will get on
to talking about La Comte's Audi, which is the New
Zealand Dot production.
Speaker 3 (00:49):
That's right that you brought to town.
Speaker 4 (00:51):
But tell us first about that song that you were
singing there.
Speaker 2 (00:54):
Yes, well, that song is called Avon and I wrote
that song specifically for christ Church and we were on
tour and also in a trio called Slime. It's a small,
small little band. The tours from time to time and
we were performing, we were touring and the what had
(01:14):
happened is actually the shootings had happened at that time. Now,
we were on tour at that time and it was
a really emotional moment for the entire country, and we
had talks about not putting the show on, but instead
I walked out and I sat there before everyone came
into the theater and I sat on this grand piano
and I just the fingers just happened, and I wrote
(01:34):
composed this entire piece called Avon talking about the Avon River,
which being you know, the bloodline.
Speaker 3 (01:40):
To our to our people.
Speaker 2 (01:41):
And I've always had a connection with christ Church. And
so I released it last year on the album called
Grace and a debut at number one in the country. Uh,
it's it's also for sale. It's out there, you can
go to mosa dot com. But it was just a
beautiful moment for me to kind of release this, this
gift out to the world.
Speaker 3 (02:00):
You mentioned the other group You've done a bit with.
Speaker 4 (02:05):
The spelling always been a sore. But anyway, Solomo, I
remember you guys. Did you sing at the opening of
the Cricket World Cup here, that's right. And I had
a very loose involvement with with the what the event,
And I remember the afternoon you guys turned up to
(02:27):
do a sound check. Yeah, I'd never heard you guys
sing before, and it was it was it was like
a jumpbone cheek. You guys opened your mouth. It blew
me away. Do you blow yourselves away when you when
you sing like that?
Speaker 2 (02:41):
You know, I mean, I guess that's the beauty of
singing opera and seeing classical music is that you don't
really know the power of it until you're standing in
front of someone and they sing with that type of projection,
that type of sound. It's different to someone singing on
a microphone. It's not like a pop singer, you know,
it's it's a different experience. And then to have three
sar won singers do it at the same time, it
(03:04):
creates quite a fuss.
Speaker 4 (03:06):
What got you into opera in the first place?
Speaker 3 (03:08):
What got me in?
Speaker 2 (03:10):
You know, my singing teacher, Super Williams. Shout out to her.
She's back at high school now. I was never going
to study music. It wasn't a thing for me. I
always did it, but I didn't know it was a
thing that you could study. And she was the one
that pushed me to do it, and she introduced me
to this world singing and these Italian arias and and
so basically.
Speaker 4 (03:31):
Is that because you were more of a performer.
Speaker 2 (03:34):
Well, I love the challenge. I love the challenge. And
at the time, you know, I was playing first fifteen,
I was playing representative rugby right throughout the country, trailing
the country, playing and she came to me she goes,
I bet you couldn't sing this Italian song, the Italian Aria.
Speaker 3 (03:49):
And I said, well, what do I get if I do?
She goes, if you.
Speaker 2 (03:51):
Sing this Italian aria, I'll pass you on your paper.
I said, fine, well, of course you're gonna do it. Fine,
come on there. So I stood in front of my
whole class of boys and sang non pondres. I didn't
sound like that back then, by the way, I was like,
you know, but the thing is I started seeing this
and the whole class started laughing at me. They thought
(04:14):
it was a joke. And I looked at my teacher
and she looked at me, and she goes, keep going,
And I kept going, and I kept going, got right
to the end, three minutes of singing this aria, and
I finished and everyone laughed. No one clapped, no one clapp.
Speaker 3 (04:28):
Was like, what the hell? What she gave you for?
Speaker 4 (04:31):
What was the mark? She stood up and she goes,
you passed, brilliant, just like that, just doing it right,
And I'll do that's more often you're going. And then
you fast forward to today and with your opera New
Zealand's right, tell us about the show the content lo comte.
Speaker 3 (04:48):
It's a.
Speaker 2 (04:50):
It looks really strange if you see you know the
words that said l M C O M T, so
it sounds it looks strange, but it actually just translates
into count Ari, the count Ari. It's totally in French. However,
in this opera they have surt titles all in English
and so you can follow what's going on, and it's
about this one guy in this production is Manasselatu. He's
(05:14):
a tenor and he's trying to get all the ladies,
especially one lady.
Speaker 3 (05:19):
Sounds like an opera.
Speaker 2 (05:20):
He's trying to get all the ladies, especially this one
beautiful lady. She's the countess and everyone wants to be
with her, but him in particular.
Speaker 3 (05:26):
Now I I'm as wingman.
Speaker 4 (05:28):
Right, so you're not competing, No, no, well I'm a
little bit jealous of him at the same time I
feel but you know, at the same time, he's my boy,
So I'm like, you know, I wanna I want to
I want to get that for you.
Speaker 2 (05:39):
But if she doesn't want you, then I want to
put my hand up at the same time.
Speaker 4 (05:43):
So you're a backup as well as I'm a backup.
Speaker 2 (05:46):
So it's a very funny opera. A lot of people
when they think operas, they think really serious, heavy dramatic,
you know, big horns on the head, and they exist,
don't get me wrong, but this one is not quite
like that.
Speaker 3 (06:00):
It's very light.
Speaker 2 (06:01):
It's very easy to watch. Last night we had a
whole auditorium full of kids. They came along to watch.
It was our Driss rehearsal and they were all laughing along.
Speaker 3 (06:09):
It was really fun.
Speaker 4 (06:11):
Listened to that. I listened to that. Don't always hear
that on the show every day. It's twenty six to midday,
you still said me Cannaby Mornings with John McDonald and
Moses mackay from Solomo. It was in town for New
Zealand production of the com Do I want to talk
about your new life? Did I say that the right way?
It was what do I say about solo?
Speaker 3 (06:32):
Mao? What you mayo?
Speaker 2 (06:34):
And I couldn't help, but just think of mayonnaise.
Speaker 3 (06:38):
You said that. I didn't say that. I'm on Best Food,
Best Food Sports.
Speaker 4 (06:43):
Here we go line up a deal as we speak.
By the midday the money will be rolling in. When
did you move to Italy?
Speaker 3 (06:50):
A year ago? A year ago?
Speaker 2 (06:52):
So I've been singing opera over in Italy for the
last year in productions right around the country over there.
I live in Bologna in the north.
Speaker 3 (06:59):
Yes, have you been to Italy?
Speaker 4 (07:00):
Yes I have not, but I want to tell you, yes,
you've been singing at Italian and I was singing opera
in Italy. Every man and his dog sings opera athlete
because I want to share experience. We went to Venice
years and years and years ago, and we arrived on
it on a ship overnight, got to a place to stay,
and my wife went and had a sleep, and suddenly.
Speaker 3 (07:20):
This opera music came on, and I thought japers thought.
Speaker 4 (07:24):
I immediately thought, alarm clock radio, the radio has come on. No,
went out, I couldn't find the radio, quiet, peaceful, But then
again more opera singing coming through the hotel room. Trying
to find out it was. I realized when I looked
out the window it was a gondola going past the
hotel room, and the guys sing into the passengers. And
(07:47):
then we went out and we heard walk past a
pub and all the doors were closed and things, but
everyone inside, rather than yelling at it at a sports match,
they were singing opera. Whow is that how you have
found Italy to be that every man and his dog sings.
Speaker 2 (08:03):
Well, yes, Venice's was very touristy, please, so it doesn't
surprise me. You got that whole experience. But you know,
it's like it's like rugby here in New Zealand. Over
there it's opera. And I say that because they're not
rugby is not very good.
Speaker 4 (08:21):
And how many match officials do they have in an
opera as well?
Speaker 2 (08:24):
And because it's like their bread and butter, you know,
you talk to anyone about opera over there, and they
know these composers, they know these songs because these were
the pop songs of at that time. These were the
songs that were passed down from their parents and their
parents and their parents, you know. And so they have
a different relationship with opera. When we hear opera here
in New Zealand, we go, wow, that's amazing, but I
(08:46):
have no idea what they're saying, but it's amazing. But
we just don't have the same connection with it over there.
You start sing opera, they will start singing along with
you because they know it. Maybe not in the same
technique or the same voice, but it's it's sick of
nature to them.
Speaker 4 (09:01):
So the Soloma Boys or the Solomonaised boys, like you've
just started. You're all over the world, aren't you. That's right,
doing your thing.
Speaker 2 (09:10):
So I'm based out of Italy and Penna and Amitai,
they are both based out of Paris. Amita is just
finishing his season of the Magic Flute over in San Francisco,
and Penna is currently in Birmingham doing an opera over there.
I think he's doing Madame Butterfly, and I'm doing Rossina
here and then I fly from here straight back to
(09:32):
Italy for a week for a quick stopover, and then
I go straight into an opera and fest in Prague
where I'll be singing. And you know, most of these
circles were the only kiwis. You know, there's no one
else doing over dawn.
Speaker 3 (09:46):
So it which is exciting and it's cool. But yeah,
a lot of a lot of traveling.
Speaker 4 (09:51):
You have any dealings with Jonathan lamarlu.
Speaker 2 (09:54):
I met him years ago, years ago. I haven't met
him in them recent years. But yeah, it's a small
circle circle.
Speaker 4 (10:02):
Where do you see it going?
Speaker 3 (10:04):
For you? For me?
Speaker 2 (10:07):
For me, it's it's a it's a lifestyle you know,
I I love singing opera. I love telling stories.
Speaker 3 (10:15):
My brain.
Speaker 2 (10:16):
I suppose you could say it split into two, where
it's it's the opera brain and working the art form
of opera, but also the composition side. So I write
a whole bunch of music like last year releasing Grace obviously,
but currently I'm working on a new project where I'm
writing an Italian album of Italian music, so it's like
a neoclassical sound. So I'm working with a whole crew
(10:38):
of people over in Italy. At the same time as
singing opera, I'm writing new pieces for the new generation
coming through to kind of sing these these pieces of opera.
Speaker 4 (10:48):
So you are writing new Italian opera music, operatic music.
Speaker 2 (10:54):
Yeah, neoclassical, because I feel like that kind of opens
it up to a lot of different sounds and sounds life.
Speaker 4 (11:02):
Sing this is terrible. Singing me an example of neoclassical.
Speaker 3 (11:06):
It's very similar to Italian opera. I suppose you could say,
but what you say opera.
Speaker 2 (11:11):
Then I don't know you kind of if you say
you're you're an opera composer, you're putting yourself in the
same line of the guys like Giuseppe vere the you
know Mozart.
Speaker 3 (11:20):
What's wrong with that? That is not me? That I
couldn't I could have did put my name in their park.
Speaker 4 (11:26):
Come on, the geniuses, we're gonna have. You gotta have
secondary geniuses.
Speaker 3 (11:32):
You gotta have fresh geniuses.
Speaker 4 (11:34):
Can't the old geniuses all forever?
Speaker 2 (11:38):
Due? Yeah?
Speaker 4 (11:39):
Yeah, I'm talking you up here. So if that mayonnaise
contract carries through, I want to cut. And if the
Italian's going nuts for you, the one who adopt you,
I want to cut of that.
Speaker 2 (11:50):
Well. The funny thing about this opera that we're doing
is that it was written by Rossini. He's Italian. The
operas in French and it's performed by Kiwis and the
third titles are in English.
Speaker 4 (12:02):
And so you had your dress rehearsal last night. You
open tonight tomorrow night.
Speaker 2 (12:06):
We are opening at the Isaac Theater. There are a
few seats available. You can go to New Zealand Opera
dot Com to buy these tickets. And then Saturday is
the last show, and I don't know when they're going
to do this opera again.
Speaker 4 (12:18):
And then you're out. You're out of the country that night,
Saturday night, Sunday morning after early morning flight and I'm
back to Europe. So this is the last time, tiny
window of opportunity, tiny window, brilliant, all the very best,
wonderful Moses. Now, if you would like to be in
the drawer to win a double pass, don't ring just yet,
(12:39):
because we have another exciting thing to tell you about.
Before midday, there will be a chance for you to
win a double pass to go and see Moses and
the rest of the New Zealand Opera.
Speaker 3 (12:48):
We call it Crew, we call it the New Zealand,
New Zealand Superheroes, the New Zealand Opera. Crew Man.
Speaker 4 (12:59):
You're talking yourself up now.
Speaker 3 (13:00):
I'm learning off you.
Speaker 4 (13:03):
Not if I'm doing well by midday will be too impossible,
more impossible than we are at the moment.
Speaker 3 (13:09):
Ready to see your Mosses.
Speaker 1 (13:11):
For more from Category Mornings with John McDonald, listen live
to news Talks It'd be Christchurch from nine am weekdays,
or follow the podcast on iHeartRadio.
You're listening to the Canterbury Mornings podcast with John McDonald
from News talkst B Broken.
Speaker 2 (00:14):
We had down it on the man who went out
his from Lake crimms ptend.
Speaker 3 (00:30):
P P Sime in life that win.
Speaker 4 (00:37):
He almost had my phone out then with the light
on Moses Mackay for EG. Good morning to you, good morning,
thank you for having me. Now we will get on
to talking about La Comte's Audi, which is the New
Zealand Dot production.
Speaker 3 (00:49):
That's right that you brought to town.
Speaker 4 (00:51):
But tell us first about that song that you were
singing there.
Speaker 2 (00:54):
Yes, well, that song is called Avon and I wrote
that song specifically for christ Church and we were on
tour and also in a trio called Slime. It's a small,
small little band. The tours from time to time and
we were performing, we were touring and the what had
(01:14):
happened is actually the shootings had happened at that time. Now,
we were on tour at that time and it was
a really emotional moment for the entire country, and we
had talks about not putting the show on, but instead
I walked out and I sat there before everyone came
into the theater and I sat on this grand piano
and I just the fingers just happened, and I wrote
(01:34):
composed this entire piece called Avon talking about the Avon River,
which being you know, the bloodline.
Speaker 3 (01:40):
To our to our people.
Speaker 2 (01:41):
And I've always had a connection with christ Church. And
so I released it last year on the album called
Grace and a debut at number one in the country. Uh,
it's it's also for sale. It's out there, you can
go to mosa dot com. But it was just a
beautiful moment for me to kind of release this, this
gift out to the world.
Speaker 3 (02:00):
You mentioned the other group You've done a bit with.
Speaker 4 (02:05):
The spelling always been a sore. But anyway, Solomo, I
remember you guys. Did you sing at the opening of
the Cricket World Cup here, that's right. And I had
a very loose involvement with with the what the event,
And I remember the afternoon you guys turned up to
(02:27):
do a sound check. Yeah, I'd never heard you guys
sing before, and it was it was it was like
a jumpbone cheek. You guys opened your mouth. It blew
me away. Do you blow yourselves away when you when
you sing like that?
Speaker 2 (02:41):
You know, I mean, I guess that's the beauty of
singing opera and seeing classical music is that you don't
really know the power of it until you're standing in
front of someone and they sing with that type of projection,
that type of sound. It's different to someone singing on
a microphone. It's not like a pop singer, you know,
it's it's a different experience. And then to have three
sar won singers do it at the same time, it
(03:04):
creates quite a fuss.
Speaker 4 (03:06):
What got you into opera in the first place?
Speaker 3 (03:08):
What got me in?
Speaker 2 (03:10):
You know, my singing teacher, Super Williams. Shout out to her.
She's back at high school now. I was never going
to study music. It wasn't a thing for me. I
always did it, but I didn't know it was a
thing that you could study. And she was the one
that pushed me to do it, and she introduced me
to this world singing and these Italian arias and and
so basically.
Speaker 4 (03:31):
Is that because you were more of a performer.
Speaker 2 (03:34):
Well, I love the challenge. I love the challenge. And
at the time, you know, I was playing first fifteen,
I was playing representative rugby right throughout the country, trailing
the country, playing and she came to me she goes,
I bet you couldn't sing this Italian song, the Italian Aria.
Speaker 3 (03:49):
And I said, well, what do I get if I do?
She goes, if you.
Speaker 2 (03:51):
Sing this Italian aria, I'll pass you on your paper.
I said, fine, well, of course you're gonna do it. Fine,
come on there. So I stood in front of my
whole class of boys and sang non pondres. I didn't
sound like that back then, by the way, I was like,
you know, but the thing is I started seeing this
and the whole class started laughing at me. They thought
(04:14):
it was a joke. And I looked at my teacher
and she looked at me, and she goes, keep going,
And I kept going, and I kept going, got right
to the end, three minutes of singing this aria, and
I finished and everyone laughed. No one clapped, no one clapp.
Speaker 3 (04:28):
Was like, what the hell? What she gave you for?
Speaker 4 (04:31):
What was the mark? She stood up and she goes,
you passed, brilliant, just like that, just doing it right,
And I'll do that's more often you're going. And then
you fast forward to today and with your opera New
Zealand's right, tell us about the show the content lo comte.
Speaker 3 (04:48):
It's a.
Speaker 2 (04:50):
It looks really strange if you see you know the
words that said l M C O M T, so
it sounds it looks strange, but it actually just translates
into count Ari, the count Ari. It's totally in French. However,
in this opera they have surt titles all in English
and so you can follow what's going on, and it's
about this one guy in this production is Manasselatu. He's
(05:14):
a tenor and he's trying to get all the ladies,
especially one lady.
Speaker 3 (05:19):
Sounds like an opera.
Speaker 2 (05:20):
He's trying to get all the ladies, especially this one
beautiful lady. She's the countess and everyone wants to be
with her, but him in particular.
Speaker 3 (05:26):
Now I I'm as wingman.
Speaker 4 (05:28):
Right, so you're not competing, No, no, well I'm a
little bit jealous of him at the same time I
feel but you know, at the same time, he's my boy,
So I'm like, you know, I wanna I want to
I want to get that for you.
Speaker 2 (05:39):
But if she doesn't want you, then I want to
put my hand up at the same time.
Speaker 4 (05:43):
So you're a backup as well as I'm a backup.
Speaker 2 (05:46):
So it's a very funny opera. A lot of people
when they think operas, they think really serious, heavy dramatic,
you know, big horns on the head, and they exist,
don't get me wrong, but this one is not quite
like that.
Speaker 3 (06:00):
It's very light.
Speaker 2 (06:01):
It's very easy to watch. Last night we had a
whole auditorium full of kids. They came along to watch.
It was our Driss rehearsal and they were all laughing along.
Speaker 3 (06:09):
It was really fun.
Speaker 4 (06:11):
Listened to that. I listened to that. Don't always hear
that on the show every day. It's twenty six to midday,
you still said me Cannaby Mornings with John McDonald and
Moses mackay from Solomo. It was in town for New
Zealand production of the com Do I want to talk
about your new life? Did I say that the right way?
It was what do I say about solo?
Speaker 3 (06:32):
Mao? What you mayo?
Speaker 2 (06:34):
And I couldn't help, but just think of mayonnaise.
Speaker 3 (06:38):
You said that. I didn't say that. I'm on Best Food,
Best Food Sports.
Speaker 4 (06:43):
Here we go line up a deal as we speak.
By the midday the money will be rolling in. When
did you move to Italy?
Speaker 3 (06:50):
A year ago? A year ago?
Speaker 2 (06:52):
So I've been singing opera over in Italy for the
last year in productions right around the country over there.
I live in Bologna in the north.
Speaker 3 (06:59):
Yes, have you been to Italy?
Speaker 4 (07:00):
Yes I have not, but I want to tell you, yes,
you've been singing at Italian and I was singing opera
in Italy. Every man and his dog sings opera athlete
because I want to share experience. We went to Venice
years and years and years ago, and we arrived on
it on a ship overnight, got to a place to stay,
and my wife went and had a sleep, and suddenly.
Speaker 3 (07:20):
This opera music came on, and I thought japers thought.
Speaker 4 (07:24):
I immediately thought, alarm clock radio, the radio has come on. No,
went out, I couldn't find the radio, quiet, peaceful, But then
again more opera singing coming through the hotel room. Trying
to find out it was. I realized when I looked
out the window it was a gondola going past the
hotel room, and the guys sing into the passengers. And
(07:47):
then we went out and we heard walk past a
pub and all the doors were closed and things, but
everyone inside, rather than yelling at it at a sports match,
they were singing opera. Whow is that how you have
found Italy to be that every man and his dog sings.
Speaker 2 (08:03):
Well, yes, Venice's was very touristy, please, so it doesn't
surprise me. You got that whole experience. But you know,
it's like it's like rugby here in New Zealand. Over
there it's opera. And I say that because they're not
rugby is not very good.
Speaker 4 (08:21):
And how many match officials do they have in an
opera as well?
Speaker 2 (08:24):
And because it's like their bread and butter, you know,
you talk to anyone about opera over there, and they
know these composers, they know these songs because these were
the pop songs of at that time. These were the
songs that were passed down from their parents and their
parents and their parents, you know. And so they have
a different relationship with opera. When we hear opera here
in New Zealand, we go, wow, that's amazing, but I
(08:46):
have no idea what they're saying, but it's amazing. But
we just don't have the same connection with it over there.
You start sing opera, they will start singing along with
you because they know it. Maybe not in the same
technique or the same voice, but it's it's sick of
nature to them.
Speaker 4 (09:01):
So the Soloma Boys or the Solomonaised boys, like you've
just started. You're all over the world, aren't you. That's right,
doing your thing.
Speaker 2 (09:10):
So I'm based out of Italy and Penna and Amitai,
they are both based out of Paris. Amita is just
finishing his season of the Magic Flute over in San Francisco,
and Penna is currently in Birmingham doing an opera over there.
I think he's doing Madame Butterfly, and I'm doing Rossina
here and then I fly from here straight back to
(09:32):
Italy for a week for a quick stopover, and then
I go straight into an opera and fest in Prague
where I'll be singing. And you know, most of these
circles were the only kiwis. You know, there's no one
else doing over dawn.
Speaker 3 (09:46):
So it which is exciting and it's cool. But yeah,
a lot of a lot of traveling.
Speaker 4 (09:51):
You have any dealings with Jonathan lamarlu.
Speaker 2 (09:54):
I met him years ago, years ago. I haven't met
him in them recent years. But yeah, it's a small
circle circle.
Speaker 4 (10:02):
Where do you see it going?
Speaker 3 (10:04):
For you? For me?
Speaker 2 (10:07):
For me, it's it's a it's a lifestyle you know,
I I love singing opera. I love telling stories.
Speaker 3 (10:15):
My brain.
Speaker 2 (10:16):
I suppose you could say it split into two, where
it's it's the opera brain and working the art form
of opera, but also the composition side. So I write
a whole bunch of music like last year releasing Grace obviously,
but currently I'm working on a new project where I'm
writing an Italian album of Italian music, so it's like
a neoclassical sound. So I'm working with a whole crew
(10:38):
of people over in Italy. At the same time as
singing opera, I'm writing new pieces for the new generation
coming through to kind of sing these these pieces of opera.
Speaker 4 (10:48):
So you are writing new Italian opera music, operatic music.
Speaker 2 (10:54):
Yeah, neoclassical, because I feel like that kind of opens
it up to a lot of different sounds and sounds life.
Speaker 4 (11:02):
Sing this is terrible. Singing me an example of neoclassical.
Speaker 3 (11:06):
It's very similar to Italian opera. I suppose you could say,
but what you say opera.
Speaker 2 (11:11):
Then I don't know you kind of if you say
you're you're an opera composer, you're putting yourself in the
same line of the guys like Giuseppe vere the you
know Mozart.
Speaker 3 (11:20):
What's wrong with that? That is not me? That I
couldn't I could have did put my name in their park.
Speaker 4 (11:26):
Come on, the geniuses, we're gonna have. You gotta have
secondary geniuses.
Speaker 3 (11:32):
You gotta have fresh geniuses.
Speaker 4 (11:34):
Can't the old geniuses all forever?
Speaker 2 (11:38):
Due? Yeah?
Speaker 4 (11:39):
Yeah, I'm talking you up here. So if that mayonnaise
contract carries through, I want to cut. And if the
Italian's going nuts for you, the one who adopt you,
I want to cut of that.
Speaker 2 (11:50):
Well. The funny thing about this opera that we're doing
is that it was written by Rossini. He's Italian. The
operas in French and it's performed by Kiwis and the
third titles are in English.
Speaker 4 (12:02):
And so you had your dress rehearsal last night. You
open tonight tomorrow night.
Speaker 2 (12:06):
We are opening at the Isaac Theater. There are a
few seats available. You can go to New Zealand Opera
dot Com to buy these tickets. And then Saturday is
the last show, and I don't know when they're going
to do this opera again.
Speaker 4 (12:18):
And then you're out. You're out of the country that night,
Saturday night, Sunday morning after early morning flight and I'm
back to Europe. So this is the last time, tiny
window of opportunity, tiny window, brilliant, all the very best,
wonderful Moses. Now, if you would like to be in
the drawer to win a double pass, don't ring just yet,
(12:39):
because we have another exciting thing to tell you about.
Before midday, there will be a chance for you to
win a double pass to go and see Moses and
the rest of the New Zealand Opera.
Speaker 3 (12:48):
We call it Crew, we call it the New Zealand,
New Zealand Superheroes, the New Zealand Opera. Crew Man.
Speaker 4 (12:59):
You're talking yourself up now.
Speaker 3 (13:00):
I'm learning off you.
Speaker 4 (13:03):
Not if I'm doing well by midday will be too impossible,
more impossible than we are at the moment.
Speaker 3 (13:09):
Ready to see your Mosses.
Speaker 1 (13:11):
For more from Category Mornings with John McDonald, listen live
to news Talks It'd be Christchurch from nine am weekdays,
or follow the podcast on iHeartRadio.
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