Lyric soprano Nicole Car has been tipped by Opera Australia’s Artistic Director Lyndon Terracini as the next big thing in opera, as confirmed by her recent triumphs at Covent Garden. “She has the genuine, real potential to be the most important Australian opera singer since Joan Sutherland,” he says. Terracini may have a vested interest, but if they haven’t already seen her, Sydney and Melbourne operagoers will get a chance to gauge what all the fuss is about when she stars in two Opera Australia productions this year: first in the title role of Verdi’s Luisa Miller and then as Fiordiligi in Mozart’s Così Fan Tutte. They can also get an idea from this, her first solo studio recording, which is excellently produced by the ABC Classics team. The 30 year-old from Essendon, Melbourne, built her reputation with roles like Tatyana in Tchaikovsky’s Eugene Onegin and Donna Elvira in Mozart’s Don Giovanni in 2014. Then last year she made a triumphant Royal Opera House debut in Onegin and as Micäela in Bizet’s Carmen (arias from both are featured on The Kiss). Car has a versatile voice – she started studying jazz singing before turning to orchestral – and… Continue reading…

Handel’s Partenope is one of those inexplicable rarities. A tuneful, light romance, it has everything that one could want from a Baroque opera – love, intrigue, cross-dressing… Back in Handel’s time, however, the opera claque had it in for the piece. “Senesino put me in a sweat in telling me that Parthenope was likely to be on the stage, for it is the very worst book (excepting one) that I ever read in my whole life,” sniped the rival Academy’s purse-lipped Italian agent Owen Swiny. Poppycock, said Edward J Dent who described it in 1959 as “perhaps the best libretto that Handel had ever set,”likening it to Shakespeare no less. As always, the truth lies somewhere in-between. A tale of love, jealousy and betrayal, the plot revolves around the un-historical titular Queen of what would become Naples and her three suitors. Arsace, Prince of Corinth is the front runner, but when Rosmira, his former betrothed arrives disguised as a knight, it throws the field wide open. Arsace is forced to dissemble rather than admit his falsehood, and Partenope’s affections are diverted towards Armindo, the timid Prince of Rhodes. After Arsace forces Rosmira to reveal her identity… Continue reading Get unlimited…

A former Italian stuntman is set to turn heads as the tenor of the moment on Sydney Harbour. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

While the Transfield controversy almost derailed 2014’s Festival, the 20th Biennale of Sydney is set to open tomorrow as planned. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

★★★★★ A perfect example of the level of musicianship of which this orchestra is truly capable. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The centrepiece of this year’s set, designed by Dan Potra, has been installed ahead of next week’s opening night. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

History tends to favour the creator, though is not always kind to the muse. Mozart and the Weber Sisters is a refreshing change in that it honours both. Presenting a strong, insightful narrative of love, fervour and disappointment, this release paints fascinating musical portraits not only of an infatuated Mozart, but also of the talented women who inspired him – the sisters Aloysia, Josepha and Constanze Weber. Mozart would eventually marry Constanze, but his first love was the eldest, Aloysia. She and Josepha had illustrious careers as opera singers, with Mozart writing some of his most daring and inspired music for them. The luscious Vorrei spiegarvi, oh Dio!, capitalised on Aloysia’s impeccably soft, stratospheric cantabile, while the fiery Der Hölle Rache was perfect for Josepha, the original Queen of the Night. The vocal prowess of these impressive women is channelled in Sabine Devieilhe, a formidable artistic force who rises to the technical challenges of this wide-ranging programme. There are numerous highlights, but an obvious one is Mozart’s insertion aria to Glück’s Alceste, Popoli di Tessaglia. Devieilhe is magnificent, not least for the infamous top G – one of Aloysia’s unique vocal gifts. Ensemble Pygmalion’s sound is… Continue reading Get unlimited…

Tenor Jonathan Abernethy was unexpectedly called to take over the role of Nadir, mid-way through the show. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Throughout history there have always been, and there will always be, women composers.

None shall sleep on Sydney harbour as Potra brings a bit of Chinese spice to bear on Puccini’s classic love story. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Kate Miller Heidke’s ‘The Rabbits’ and Brett Dean’s ‘Bliss’ each receive a nomination for the 2016 awards. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

★★★★☆ A feast for the ears peppered with delicious performances, but an implausible plot leaves a sour taste. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in