Latest news

The Dark side of mothering: Herodias in ‘Salome’

  There’s no time for niceties in Richard Strauss’ opera Salome. There’s no overture that introduces themes and focuses the mind. Rather, the music and the narrative plunge straight into the tangle of lust and depravity that culminates in death and ruin. This week in Sydney, Opera Australia presents a new production of Salome, directed…
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Merit a myth for women in music

Awards for excellence in acting are separated according to gender, so why aren’t the awards for excellence in music? Jessica Duchen of The Independent argues the detrimental effects of a continuing focus on the appearance rather than the abilities of female musicians: http://www.independent.co.uk/arts-entertainment/classical/features/sexism-with-strings-attached-8197972.html
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Opera Australia’s CEO moves on

After 16 years as CEO of Opera Australia, Adrian Collette is leaving the company at the end of 2012 to take up a post with the University of Melbourne. Collette began his career with the company as a Young Artist, interleaved with a career in publishing before returning to the company as CEO in 1997….
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Latest reviews

Skelton powers through Grimes at the Proms

Last week Stuart Skelton sang the title role of Peter Grimes in a concert version of Britten’ eponymous opera at the BBC Proms in London.  Tim Ashley of TheGuardian describes the production as “overwhelming …sung, acted and played with uncompromising veracity and commitment”. Sydney audiences would be familiar with Skelton’s electrifying performance as Grimes when he sang the role for…

Das Rheingold in Brisbane reviewed

If you didn’t make it to Brisbane to hear Simone Young conduct the Hamburg State opera and Philharmonic Orchestra in  concert performnce of Das Rheingold, here’s a review by Matin Buzacott for The Australian. http://www.theaustralian.com.au/arts/music/wagner-played-with-fantastic-power-and-great-restraint/story-fn9d2mxu-1226457251400