Operatic ‘Billy Elliot’ is officially recognised for his outstanding musical contribution to the UK. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

David Hansen hits the highs with soapsuds and fluffy towels. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

How the Principal Conductor of the West Australian Symphony Orchestra hopes to perform 'forbidden' Wagner operas.

The Australian premiere of Kancheli's Exil promises a spiritual journey of hope and discovery.

Verdi’s monument to a fellow hero of the Risorgimento and his fraught relationship with the Church must strike a chord with Daniel Banreboim drawing parallels with his friendship with Edward Said and interest in Israeli-Palestinian politics. Twety years ago he set down an exciting dramatic account in Chciago but thsoe optimistic days are past; this new recording is a lment for our troubled times – the tone is darker, almost opressively so. Mustival values are better served in chciago whereas spiritual matters are to the fore in Milan; the idfferent characters of the forces are the key – symphonic versus operatic. Despite the presence of Domingo in Chicago the new bunch of soloiosts are superior. Harteros’ vibrant voice can turn pure and gleaming when required and Garanča sounds marvellously rich and idiomatic. Pape is suitably imposing, intelligently singing “on the words”. Kaufmann might sound too teutonic for some ears (not mine) and his vocal production is so worryingly tight that one hopes it doesn’t all go p ear-shaped with overwork. Barenboim’s grasp of long term structure makes this performance work. Whiel there are some tremendous hell-raising moment eh eschews sensationalist effects in favour of a compassioante vision. Whilst… Continue reading…

DG’s new series of Mozart operas helmed by the label’s latest “das Wunder” Yannick Nézet- Séguin, kicked off last year with a superb Don Giovanni. Rolando Villazon is making a low-key comeback after his various vocal crises and has given a different slant to the tenor roles so-far. His Don Ottavio was a refreshingly muscular and Italianate change from the usual polite Mozartian tenors but here his Ferrando is not quite so successful with the more lyrical writing exposing his slightly nasal delivery; the tone now more tight and dry. Miah Persson’s Fiordiligi, a known quantity from an excellent Glyndebourne DVD, is technically immaculate and Angela Brower’s Dorabella is superb with ideal colour and weight of voice. Platchetka’s is an ideal Gugliemo and Corbelli puts in another fine not-too-buffo Don Alfonso however I remain immune to the charms of Mojca Erdmann, DG’s house soubrette. Her Despina is irritatingly arch with all the old clichéd off-key vocal disguises – tediously unfunny! Nézet-Séguin’s direction is superb, more weighted towards period style than before. The recitatives are wonderfully fleet and conversational, tempi are ideal, the finales thrilling with precise articulation. It may seem churlish to complain that this set is not at the…

The charismatic Franciscan has a second album in the classical hit parade but he’s alert to the lure of fame. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

David Hansen takes the philandering title role in a 400-year-old opera receiving its Aussie premiere next month.

A stunning, if far from fairytale, ending to OA’s Ring.

German-Australian actress turned opera visionary Elke Neidhardt passes, aged 72. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Armfield and Vinke find the Mensch in the Ubermensch.

The ACO’s Richard Tognetti’s in the Limelight hot-seat for a special December issue. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in