opera   February 17, 2024

Victorian Opera’s Candide

In Victorian Opera’s ocker production, Leonard Bernstein’s ebullient Candide is rendered as a queer shaggy dog story.

opera   February 10, 2024

Opera Australia’s The Magic Flute

Opera Australia’s The Magic Flute embraces a nostalgic vision of white Australia that undermines Mozart’s cutting social commentary.

opera   December 9, 2023

Pinchgut Opera’s Rinaldo

Pinchgut Opera’s production of one of Handel’s most popular operas, Rinaldo, is swift, ambitious and energetic.

opera   September 23, 2023

The Nervous Atmosphere

In a sublime theatrical poem for Chamber Made, cellist Zoë Barry details her experiences of being struck by lightning.

opera   December 10, 2022

Pinchgut Opera’s Médée 

Pinchgut Opera’s contemporary production of Médée is musically glorious, if a little static in its staging.

opera   April 9, 2022

The Phantom of the Opera

Aided by the spectacular backdrop of Sydney Harbour, this production of The Phantom of the Opera is easy to love.

opera   December 18, 2021

Opera director Barrie Kosky

Opera, says Barrie Kosky, is all about bringing the dead back to life – as will be seen in his Adelaide Festival production of The Golden Cockerel.

opera   October 17, 2020

The Diary of One Who Disappeared

The Sydney Chamber Opera discovers a new intimacy in its filmed performance of Leoš Janáček’s feverish song cycle.

dance   May 9, 2020

The collapse of Carriageworks

With the Covid-19 lockdown forcing Sydney arts precinct Carriageworks into voluntary administration, the embattled cultural sector is bracing for worse to come.

opera   May 2, 2020

Sydney Chamber Opera’s Breaking Glass

Sydney Chamber Opera’s Breaking Glass comprises four exciting new works, in which Australian women composers reimagine the myth of Odysseus, the story of the night parrot, and works by Sylvia Plath and Margaret Atwood.

opera   February 2, 2019

Where’s home for theatre and opera director Barrie Kosky?

Barrie Kosky’s peripatetic career has led him to work throughout Australia and Europe, before finally establishing a true connection with Berlin. Still, for the Melbourne-born theatre and opera director, nothing says “home” like a rehearsal room. “It just happened that theatre discovered me, and performance and music discovered me, because the very same time that I started to think, ‘Who am I? How does this relate to me?’ and felt that disconnectedness, was the very same time I was experiencing music: Mahler symphonies or puppet shows or musicals or opera. And it was very linked.”