Last night, I had the privilege of experiencing Mate Ururoa, a groundbreaking reo rua (bilingual) opera presented by Wellington Opera (music and text by Dame Gillian Whitehead; Ngāi Te Rangi, Tūhoe) directed by Sara Brodie.

As someone attending a bilingual opera for the first time, I’m not sure what to expect — but what unfolds is a powerful, poetic and deeply moving performance that leaves a lasting impression.

The most striking aspect of Mate Ururoa is the unapologetic and masterful use of te reo Māori. As a first language speaker of Te Reo I appreciate how the opera leans into the beauty and complexity of the reo. The script is rich with poetic expression, elevating the narrative and grounding it in the metaphysical depths of Te Ao Māori. It is refreshing to see te reo given space to breathe and command the stage on its own terms — musical, rhythmic and full of wairua.

Complementing the reo are the haunting sounds of taonga pūoro (Ariana Tikao) which bring a unique emotional resonance to the performance. The inclusion of these traditional instruments isn’t simply decorative — it is integral to the sonic world of the opera, bridging the orchestral with the spiritual. The orchestra itself, Stroma, is exceptional, weaving together Western classical structure with Māori tonalities in a way that feels seamless and respectful.

The lead opera singers – Captain Roger Dansey (David Tahere) and Commanding Officer (Brent Allcock) – are nothing short of extraordinary. Their vocal command, emotional depth and stage presence give the story a raw, operatic weight. Stroma’s deep commitment to the kaupapa on that stage gives the audience a visceral experience. The ensemble’s ability to navigate between languages, styles and emotional intensities is testament to their artistry and training.

The set design is complemented with projections, using symbolism and whakaahua of soldiers, various environments, and mood lighting. It enables the storytelling and music to take centre stage while grounding us visually in a world shaped by both tradition and transformation.

Mate Ururoa is a significant artistic achievement — not only for its bilingual form but for the way it centres Māori worldview and storytelling in a genre that has historically excluded Indigenous narratives. It is bold, elegant and filled with mana. For me, it is a moving reminder of how opera can honour the shared histories and turmoils of the past that shape us into who we are today.

Ka tukuna ngā mihi ka tika ki ngā toa o Gallipoli, e ngā ringa whero o te motu, ka nui te mihi, ka nui te whakamoemiti. I tū kotahi koutou mō te whenua, mō ngā uri whakatipu, i te mamae, i te riri, i te pōuri – i ū, i pakari. E kore e warewaretia tō koutou tū, tō koutou mana. Moe mai rā i te rangimārie.

Copyright © in the review belongs to the reviewer

The world premier of Mate Ururoa – which comes from the whakatauki “Kaua e mate wheke, me mate ururoa” | “Do not die like an octopus, die like a hammerhead shark” – at the Hannah Playhouse, produced by Wellington Opera, offers a great evening and admirable experience.

Arriving for the 7.30pm performance and surrounded by a 400 plus group of prestigious looking people from all corners of Wellington, and from as far as Rotorua and Hamilton where relatives, friends and admirers of the Dansey family have arrived as supporters, I feel a sense of history and awe relating to what is about to unfold.  

The programme starts with Notes From The Front composed by Ross Harris. Tenor Richard Greager’s bright, warm, clear, expressive voice speaks to the enraptured audience. Pianist Emma Sayers’ haunting, delicate melodies accentuate Greager’s huge voice range and they are accompanied by Mathew Ross’s violin with it’s expressive, luminous and resonant tones. A superb introduction to the main event.

Mate Ururoa, written and composed by legend Dame Gillian Whitehead (Ngai Te Rangi – Tuhoe), is a captivating opera set against the harsh realities of war in Gallipoli (1915). Captain Roger Dansey, played by baritone David Tahere (Ngāpuhi), a wise and brave leader, in charge of the Native Contingent, defies his Commanding Officer, Lieutenant Colonel Alfred Herbert, played by Brent Allcock, to save the lives of his men. Because he refuses to send his men to be used as cannon fodder, Dansey is court martialled. This is a heroic position and speaks of the mind-set of Commanders working far away from the front lines.

The opera blends traditional Māori music, haka, taonga puoro and storytelling with contemporary theatrical elements, creating a profound cultural experience. Through powerful vocals and evocative staging, Mate Ururoa celebrates identity, resilience and the enduring spirit of Māori traditions. It offers audiences an immersive journey into Māori history during WW1, Māori spirituality, leadership, fostering a new world view of Aotearoa, and appreciation and understanding of indigenous culture during a hard-fought ruthless war.  

Director Sara Brodie’s beautiful operatic depiction of the events are performed in reo Māori and English (with subtitles) and talented taonga pūoro practioner Ariana Tikao, and music ensemble Stroma, are conducted by Hamish McKeich. Stroma’s sucking instead of blowing their reed instruments adds a wind-blowing affect; they use stones to create haunting cadences: a powerful means of depicting the heartache Dansey goes through as a soldier trained to follow orders …

This story has so many parallels to what is happening in 2025 that the similarities are scary and unfortunately prophetic. Mate Ururoa is a testament to what can happen when insanity is defeated with wisdom and courage. It’s not just a story for Māori, it’s a story for all New Zealanders and a broader story for the world. It poses the question: when at war – are you an octopus or a hammerhead shark?

Copyright © in the review belongs to the reviewer