In our latest magazine, ten leading brains decide who and what changed the course of music history. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Based on the premise that far more operas were written before 1750 than since, Pinchgut has been unearthing a rich stash of rediscovered treasures for Sydney audiences since 2002. Starting off with one production a year, the company under its Artistic Director Antony Walker has moved to two short seasons at the intimate City Recital Hall. For its 2014 offerings Pinchgut moved to the decade before the French Revolution to stage two contrasting works, Salieri’s comedy The Chimney Sweep and Gluck’s Euripidean saga of parricide, matricide and near-fratricide, Iphigénie en Tauride, which marked the 300th anniversary of the composer’s birth. You can now share the performance of the latter, containing some of Gluck’s finest music, with this live two-disc set. Premiered in Paris in 1789 Iphigénie was an instant hit and this disc shows why – the vocal and orchestral writing are both wonderful. The mystery is why it has taken so long for it to re-emerge from relative obscurity. Gluck pitches the listener straight into the dramatic action. Dispensing with an overture we hear the timpani signalling an approaching storm at sea off Scythia where Iphigénie, exiled after the goddess Diana saved her from being sacrificed by her father…

A musically sublime but visually slight journey to Baroque heaven.

Venera Gimadieva is perfection in revival of Eyre’s respectful production.

Forget the sexy tones of ‘Je t’aime’, classical music has sultrier sounds and bigger climaxes to offer wannabe Valentines.

A Valentine's Day tribute to the women and men who inspired the great composers.

A rich and riotous exploration of time, fusing dance, music, video and theatre.

Sydney’s leading contemporary performance venue seeks residents interested in presenting new Australian work. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Opera singer Cecilia Bartoli and songwriter Max Martin are this year's award winners.

Editor’s Choice, Jan/Feb 2016 – Opera Francesco Benucci was the star singer of Vienna’s Italian Opera Buffa Company, founded in 1783, and was renowned for his splendid vocalism and good taste – novel qualities for most exponents of the buffa style. He placed musical values first and foremost, characterising roles with elegance and sophisticated wit without descending into vulgar comic shtick. Mozart was delighted by his portrayal of the title role in Le Nozze di Figaro during those nine niggardly Viennese performances before its runaway success in Prague. Benucci later played Leporello when Don Giovanni was revived in 1788 and Mozart whipped up a special comic duet for him and the Zerlina. Hyperion here continues its smart “Arias for…” thematic programming with this tribute to Benucci and has wisely chosen Matthew Rose to convincingly channel the spirit of the original. His dark but nimble tone is ideal for this repertoire, yet not overweight making it fit well within the scale of Jonathan Cohen’s period direction. His musicanship is impeccable, but most importantly he sings ‘on the words’ with subtle changes of colour and emphasis so that the expression… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Opera Australia’s television experiment is a ratings hit, seen by almost double its annual stage audience. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

With Voyage to the Moon, Michael Gow has made something new out of something old along with the late, great Alan Curtis. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in