Are the arts being board to death?
Should Australian arts leaders do away with their board of directors?
Should Australian arts leaders do away with their board of directors?
Donald Runnicles and Frank Peter Zimmermann offer a touch of class in Sibelius and Elgar.
A quirky, but ultimately uplifting evening of unexpected festive delights.
Holographic technology allowed the deceased Russian composer to return to the concert platform. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The coloratura discusses mental instability, her new Lucia and where next for those famous top notes.
The young Sydney-born mezzo talks to us about her gifts, goals, going abroad. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
We want you to tell us who you consider worthy of a place in the elite Maestro Pantheon.
12 artists across seven artistic disciplines recognised with $100,000 award. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
One of minimalism’s elder statesmen tells Clive Paget why he’s rewriting Radiohead
The world famous performance artist will depict La Divina in new video artwork.
Why, oh why is Gluck’s Ipigénie en Tauride still a relative rarity on the stage? In his late, post-reform operas, the German Classical composer and noted Francophile achieved an almost unmatched marriage of text with music – an emotional ‘rightness’ that alas went the way of all flesh once the brassy bel canto of Rossini and co. took over in the 19th century. Perhaps its modest lack of showiness works against it – there are no da capos here, no flashy vocalisations on display. Gluck can be a slowburn composer, his sublimities revealing themselves on further hearings rather than smacking you between the eyes first time round. And it is, after all, Greek drama in its purist form – no romantic entanglements, no mad scene, no laughs – just a searing human drama of almost domestic proportions. In his adaptation of one of Euripides’ most potent masterpieces, Gluck was able to dish out hope, grief, despair and that oh-so-crucial cathartic relief of the happy ending in two hours of intense, introspective suffering. Hardly box-office, then, to offer up to today’s sensation-craving “where are the crackers?” opera on the harbour crowd. Fortunately, Lindy Hume, in her handsome classically proportioned production for…
A sell-out recital that delivers some fearless and impeccably balanced playing.
Pulitzer Prize winner and other hot properties prove their worth in Melbourne.