Big guns go head-to-head in a celebration of two of classical music’s most revered figures. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The finest exponents of the German master's operas from the 1920s to the present day.
Embattled CEO defends expensive artistic projects as job cuts are expected.
South Pacific leads set to reprise their onstage chemistry in Rodgers and Hammerstein’s classic. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Nicole Car shares joint first prize in German international songfest. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
On the 50th anniversary of his first recording for Decca, the Australian maestro reflects on the tenor and his legacy.
Staging based around the infamous unsolved Adelaide cold case will mark 50 years since the children’s disappearance. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The Welsh baritone on playing Wagner’s ‘complicated’ god and teaming up with the Mormon Tabernacle Choir for his new CD. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Opera singer panned as sexual violence downstairs leaves viewers reeling.
New kids on the operatic block tackle Puccini’s nun-fest. The results could be habit forming. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Wow, those New York opera critics are a right bunch of grumble-bums, at least if this superb production of Rigoletto is anything togo by. Sure, the Met’s staging earlier this year wasn’t universally panned, but a viewing o the DVD suggests a world-class theatrical spectacle that didn’t deserve its mealy mouthed treatment from some who seem to have taken umbrage that director Michael Mayer came from Broadway and set the whole thing in 1960s Las Vegas. It’s a brilliant concept that actually has you laughing out loud early on, as the Duke (the ever so charming Piotr Beczała) sings Questo a quella in a Rat-Pack style white jacket, crooner’s microphone in hand, and surrounded by showgirls waving their, um, feathers. But then when the tragedy strikes, designer Christine Jones’ casino set with its brilliant elevator exit never imposes, making this a production that compels you to become emotionally engaged in one of the most pathos-ridden final acts that Verdi ever composed, even when the corpse is revealed inside the boot of a Cadillac. The casting’s the key. Želko Lucˇic´ as the eponymous tragic jester who loses his daughter through a terrible twist of fate was criticised for being wooden in…
Maria Callas’ status as cultural icon endures 90 years after her birth. But how was the legend of La Divina born? Limelight finds out.
Making the move from international opera star to eight-shows-a-week Broadway baby.
