British conductor Simon Over has been coming to Dunedin for about nine years and is about to take a piece of New Zealand back home with him, he tells Rebecca Fox.
Dunedin holds a special place in British conductor Simon Over's life.
Not only does he love the city he visits regularly to conduct the Dunedin Symphony Orchestra but it is also where his son was conceived.
Thanks to Over and his new wife's hectic schedule, they were able to pinpoint conception to the night of the premiere of Anthony Ritchie's Gallipoli to the Somme.
''It was the only night we were together for some time despite what midwives told us. He's a little Kiwi in way. We have a particularly glowing memory of that visit.''
It was his wife's first visit to the city and a chance for her to meet the people and see the places Over regularly spends time in and with.
''My wife came with me last autumn, which was a lovely thing for me. I've been talking about these people; now she's saying when we talk she can imagine where I'm having lunch, the sights I'm seeing.''
When Over, who was born in 1964, first came to Dunedin he was single, was conducting the Southern Sinfonia, rehearsed in the Carnegie Centre and the orchestra had yet to perform overseas.
Since then he has accompanied the orchestra on a tour of Japan, the Sinfonia is now the Dunedin Symphony Orchestra and it has moved to new premises in Hanover St. The orchestra has also celebrated its 50th birthday.
Over's personal life also changed. He met and married his wife, became stepfather to two and this year, a dad.
''Quite a few things have happened. I've gone from no family to one of five. It's been a steep learning curve.''
Despite all the changes, he feels the orchestra is in good heart.
''It's a real gem for the city.''
The mix of professionals, academics and students really made it special, he said.
''The mixture of it being a community orchestra and also a professional one shows how music brings together all sorts of people across all sorts of boundaries.
''I don't know that I work with any other group that has such a rich variety of backgrounds and careers.''
And that is saying something from a conductor who leads the British Parliamentary Choir.
''And that's pretty powerful with high intellect.''
Given the people involved, his role was to bring together that rich variety of backgrounds to present a concert on Saturday night.
''My job is to unite as much as possible to bring us to the same place so we deliver with one voice. They have to be singing off the same hymn sheet.''
While some conductors are control freaks with specific directions for their musicians, from which they can't deviate, Over likes to think he is not one of them.
''You have to accept the 80 or 90 people in front of you have an awful lot to say and what you want to do is give them a chance to say that; obviously with some kind of cohesion and unified voice.
''That is the fascinating challenge for me. It is the same with the parliamentary choir: you have all these powerful people who represent different political parties and they have to come together and sing as one.''
That will be a particular challenge for Over when he takes Ritchie's Gallipoli to the Somme to the United Kingdom to perform.
Part of the funding from Creative New Zealand for the work required it to be performed elsewhere, so Britain was chosen.
''Anthony Ritchie did a fabulous work. It was a very powerful experience at the concert last year. People were very moved by it.''
Having the Southern Youth Choir, who were of similar ages to those who went to war perform alongside the Dunedin City Choir and soprano soloist Anna Leese, made it very special.
''There were so many layers. Music brings together and gives expression and space for emotions to be expressed.''
That had been highlighted for him after playing the organ at an aunt's funeral and also giving the eulogy. It was the music people commented on rather than his words.
''I think sometimes music gives people a safe place for emotions to swim around.''
Having the parliamentary choir involved will add another dimension to the performance, given the role parliaments play in war, he believes.
The choir has been doing some work with its counterpart in the Bund in Germany, so it is hoped some of its members will also take part.
''Politicians are very well versed in war.''
Over also conducts a young orchestra - the Southbank Sinfonia - which has musicians of similar ages to the soldiers.
The concert will be performed twice in London and once in Oxford.
''It will be interesting to see how they do the Maori.''
He hopes to be able to get the New Zealand community in London behind the concerts with the help of retired High Commissioner Lockwood Smith's wife, who sang in the choir.
''It's going to be an exciting part of next year and I'm very much looking forward to it.''
In the meantime, he is concentrating on his final concert for the year with the Dunedin Symphony Orchestra, which features Rimsky-Korsakov's Scheherazade and Brahm's Requiem.
It features a violin solo by the orchestra's concertmaster Tessa Petersen.
''She has been doing fantastic work. Succeeding the legendary Sydney Manowitz was a tough seat to fill but she is doing great work.
''I'm thrilled this work has a big solo for her as it will give her an opportunity for her work to be celebrated.''
It is an interesting programme of works, he said.
''The first half will take us to an exotic Asian location with smells of incense and magic carpets, then Brahms is this very strong exuberant work.''
Two young soloists will also share the stage; soprano Rebecca Ryan and 2016 Lexus Song Quest semifinalist baritone Jarvis Dams.
''It's very much about celebrating local talent, with those two soloists and the City Choir [Dunedin].''
While he had not yet been asked back for next year, he hoped he would be.
''I'm always very happy to come.''
See it
Dunedin Symphony Orchestra
Rimsky-Korsakov’s Scheherazade and Brahms Requiem
September 30
Dunedin Town Hall
