Seriously stellar cast features Aussie theatrical legends alongside fresh musical talent. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Many consider it the great Australian novel. So will George Palmer’s adaptation be the next great Australian opera? Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
A real-time MRI scan shows what happens inside an opera singer’s head while he sings. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Jessye Norman, live shower songs and a 600-voice Carmina Burana to star in new NSW festival. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
We talk with the soprano about life, musical loves and the remarkable year she experienced in 2015. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
★★★★☆ Good ideas, good voices and great conducting help a rum old story. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
At only 30, the soprano is fast becoming an in-demand operatic globetrotter. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Aussie composer hopes to follow the success of Bliss with his version of Hamlet. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The Korean-born soprano talks about embracing the cultural perils of Puccini’s tragic Madama Butterfly. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
A spirited cast make this intriguing portrayal of the bohemian classic well worth seeing.
Four hours in a theatre is one of our Editor’s not-so-secret pleasures. But is this becoming an impossible ask for many?
Initially, listening to Dorothea Röschmann singing Oh Smania! Oh Furie! from Idomeneo, I was aware of some alarming shouting. In the next track, Deh, Se Piacer Mi Vuoi from La Clemenza di Tito, I thought her singing had improved considerably until she hits a top note with what can only be described as a bit of a shriek. This happens a few times, exacerbated by minor audio peaks on the recording. Porgi, amor, from The Marriage of Figaro fares much better, with less abrasiveness on top notes and a more beguiling style throughout. In Dove sono, requiring less forte singing, the loveliness of her voice is once more to the fore. The weightier demands of Mi tradì quell’alma ingrata from Don Giovanni, suit her stentorian style well, and in E Susanna non vien! we find a Countess who is not as put upon as some. Back to Idomeneo, she sings the moving Solitudini Amichi beautifully and with considerable feeling. Ecco il punto from Clemenza, has spirit, her rich bottom notes a feature. This substantial aria requires that the singer range across many moods in order to bring the piece off successfully, which she does. Finally the concert… Continue reading Get unlimited…
Zubin Mehta, an outspoken genius among conductors, shares his astonishing life story. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
