To coincide with Earth Hour, the Melbourne-based company will stage eco-minded performance.

Ten Australians form the backbone of award winning English Touring Opera. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

You know that New York’s Met has made it into the 21st century when it starts putting on operas with cyber-thriller plots. Manhattan-based Nico Muhly (The Reader, Kill Your Darlings) has all the audacity you’d expect from a composer in his thirties, and to call this recent production daring would be a glaring understatement. The opera, with libretto by Craig Lucas, is based on true events: a teenage boy is stabbed in the heart and lies comatose in a hospital bed. An older boy is the main suspect. Detective Anne Strawson must discover how an online friendship could wind up in attempted murder. The investigation leads to a mysterious and sordid world of online chat rooms. Muhly’s music has a modern edge and his orchestration glows like the virtual colour-world of cyberspace. The score is full of fascinating textures, including a disturbing polyphony of chat room addicts: mums and miscreants chanting in fragmented cyberspeak. It underscores the drama well and is highly engaging, though there’s the unmistakable suggestion of John Adams’ operatic style and language at play. The leads are strong. In particular, Paul Appleby’s sensitive turn as the confused and tormented older boy, Brian, as well as Alice Coote’s…

The redevelopment of the Adelaide Festival precinct will take place over the next five years.

An 18-meter high bust of Egyptian queen Nefferttiti is erected for Aida.

Baroque bouquets aplenty, if only the garden had been a little smaller.

This six-part German-made series compares the two greatest opera composers of their time. While it is not without interest, it is often laboured, primarily because the filmmakers (all six of them) couldn’t make up their minds on the direction of the narrative. Prominent singers, conductors and directors feature, and this makes the series worthwhile. The scenes with the remarkable vocal coach Elio Battaglia are treasurable. The man is worth a doco of his own! Wagner’s anti-Semitism is dealt with, the filmmakers arguing that he was far less of an anti-Semite than his followers, especially considering the hive of racial nastiness, known as the Wagneriana, which still surrounds Bayreuth today. Further south, Italy’s extremist Northern League uses the humanitarian Verdi’s Va, pensiero as their anthem. Unfortunately German filmmakers are obsessed with overdubbing commentaries instead of using subtitles. Additionally, the quaint English speech of the commentator, with many ambiguous sentences and bizarre pronunciations is confusing. For example, he pronounces ‘Trovatore’ as ‘Trovatora’, ‘soprano’ as ‘sopranist’ and ‘Bayreuth’ as ‘Bayrate’. Consequently, he often sounds as if he doesn’t know what he is talking about. The failure of the filmmakers to handle this properly is surprising and counterproductive.

Bryars’ intimate, operatic look at Marilyn is steeped in beautiful melancholia.

Concert Hall, Sydney Opera House February 27, 2015 If someone had told me a couple of years ago I’d be sitting though a double bill of Wozzeck and Beethoven Nine in Sydney, I would probably have said they were a few notes short of a tone row. Last nights season opening gala, however, proved that in the David Robertson era, anything can (and frequently does) happen. The Sydney Symphony Orchestra’s charismatic Chief Conductor is a dynamo on the podium, a generous colleague and a terrific communicator, but his superpower is programming. By placing the denouement of Alban Berg’s operatic tale about man’s inhumanity to man next to music’s ultimate affirmation of mankind’s ability to transcend its baser instincts, Robertson took us on a musical long night’s journey into day – in the key of D Minor. The concert opened with Bruckner’s motet Christus Factus Est, along with his Locus Iste one of the most beautiful and impassioned of all 19th-century acappella choral works, and here given a clean, clear reading by the excellent Sydney Philharmonia Choirs augmented by the voices of the Sydney Grammar School Choir. No wallowing here, they… Continue reading Get unlimited digital access from $4 per month…

Antonio Pappano conducts an all-star cast for the sensational Warner Classics release.

Mike Baird promises multi-million dollar refurbishment that will transform Sydney’s arts hub.

The late director’s Cio-Cio San of choice remembers a remarkable collaboration. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in