Sterling vocals help audience acquire three different tastes.
April 13, 2016
Jessica Pratt manages to live up to expectations in a production that's good, but rarely great.
April 13, 2016
Miriam Margolyes rules the waves as Brisbane defrosts Purcell’s genius. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
April 12, 2016
After last year’s infamous Guillaume Tell, the Royal Opera’s gory Lucia di Lammermoor has also been booed. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
April 11, 2016
Vivica plus Vivaldi equals an evening of va-va-voom.
April 11, 2016
Brilliantly dirty doings in baroque opera's Game of Thrones.
April 9, 2016
Aussie talent is well represented at Covent Garden thanks to director Barrie Kosky and new principal artist, Samuel Sakker. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
April 7, 2016
A valiant effort and some accomplished voices, but a lack of resources make for a threadbare experience.
April 5, 2016
Fresh from the Royal Opera’s Jette Parker Programme, the young director will assist Neil Armfield on 2016’s Ring revival. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
April 4, 2016
Pratt is a singer at the height of her powers, but in spite of her solid gold C.V., she has been a relatively rare presence on home turf.
April 1, 2016
First the soft piano enters, then the words: “once upon a, once a, once upon a time…” It’s a familiar introduction to a not-so-familiar story. The Light Princess is an imaginative new musical adapted by Adelaide-born writer Samuel Adamson from a Scottish fairytale about a princess whose view of the world is so light, she floats. It’s a fabulous fable, and it’s got a few modern twists that’ll definitely delight contemporary audiences. The music is by singer-songwriter Tori Amos and her score is vibrant, fun and upbeat. Lyrics have a sweet, storybook vibe. The original cast recording sparkles with excellent vocal performances that won’t fail to enchant, particularly that of Rosalie Craig, who sings the titular role. The two bonus tracks, sung by Amos herself, Highness in the Sky and Darkest Hour, are a dreamy treat. Amos’s pedigree as a songwriter is the strongest influence on this musical’s stylistic direction, and tellingly the piano is a ubiquitous presence throughout. The score has a strong momentum, and while there are moments of repose and introspection, they’re a little too scarce in this forward-moving musical fantasy. The story is a strange one (not at all a bad thing), and with a hell of…
April 1, 2016
Sci-fi super fans and theme park investors will give the Opera on the Harbour set a new lease of life after the production closes. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
March 31, 2016
