Ahead of his appearance as Baron Ochs in Melbourne Opera’s Der Rosenkavalier, the Australian bass discusses why the role is his very favourite.

Over the past two decades, Australian Heldentenor Stuart Skelton has quietly conquered the operatic world. He reveals how he discovered he wasn’t vocally bulletproof, and admits to an ambition to run an opera house.

Erin Helyard gives us masterworks from Monteverdi and Vivaldi, as well as two recitals with an Australian premiere to whet the appetite.

The soprano has withdrawn from the orchestra’s hotly anticipated presentation of Tristan, which was to have featured Stuart Skelton and Westbroek in the title roles.

Moffatt Oxenbould’s much-loved production of Puccini’s opera will return to the stage for OA’s first multi-city international tour in October.

Stuart Skelton, STC's The Harp in the South, Carl Vine, Dame Joan Hammond, and orchestras on the fringe who are thriving.

Critic Paul Selar gives us his insight into four of the operas on offer at Bayreuth this year.

As the English conductor prepares to conduct Act III of Meistersinger for SOSA, he shares his love of Wagner's music.

Strong vocalists and a nuanced handling of Bizet's women characters.

The soprano and mezzo pair – who are close friends off stage – return to St George's Cathedral in a much-anticipated follow up to their Diva’s Delight concert two years ago.

An audience member jumped in mid-show when a production of La Bohème had to replace its ailing tenor.

On top of the new Handa Opera on Sydney Harbour production, the company has announced a returning, indoor production for Sydney and Melbourne.