Bartsch's Merlyn Myer Commission, along with arrangements of selections from her solo classical/jazz hybrid albums, provides a subtle submergence in a range of lush lullabies and flowing lattices of chamber writing.
This is a silly play for the silly season, tipsily leaning to the left. If you go with the good intention to have good time, there's a very good chance you will.
Three performers delve into two eras in one superb concert.
Top choir cooks up a glorious feast of Bach’s magnificent six motets in one sitting.
This recital, which extended beyond opera and lieder to include musical theatre and Australian standards, was rapturously received.
An invigorating jazz performance with moments of genius that evoked a tremblingly gorgeous mystical realm.
The Sydney Chamber Choir demonstrates its versatility with a concert ranging from Renaissance music to Britten to an impressive new song cycle by Australian composer Joseph Twist.
A hollow-hearted new co-production with the Met gets off to a standing start.
This new production doesn't always hit the mark, but it is inventive, audacious and imaginative, with three superb performances, and it certainly makes you see the play afresh.
Javier Torres' The Sleeping Beauty, a shortened and expanded version made for West Australian Ballet, suits the company perfectly, exacting the utmost control and precision – the kind that has your heart in your mouth as the dancers set up to execute some truly difficult display of technical bravura.
For this recital, Simon Cobcroft stepped in for regular cellist Tim Nankervis, with the trio delivering superb performances of Beethoven's 'Archduke' Trio and Haydn's Piano Trio in C.
The MTC returns with a beautiful, surprisingly subtle take on Shakespeare’s comedy.
A joyful return to the stage turned the page on a troubled season, and marked the start of exciting new era for the ACO.
