Review: 150 Psalms: Path of Life & Power and Oppression (Adelaide Festival)
Pristine singing, but does it fulfil the project's aims?
March 6, 2020
Review: Hamlet (Bell Shakespeare)
An eloquent, stylish production, set in the 1960s, with a dazzling performance by Harriet Gordon-Anderson as Hamlet.
March 5, 2020
Review: A Tale of Two Cities (Selby & Friends)
Exciting performances of Stravinsky and Arensky kick off Selby & Friends' 2020 in style.
March 4, 2020
Review: Haveron, Breider, & Clerici with Daniel de Borah (Musica Viva Tasmania)
An evening of chamber music filled with passion, virtuosity, romance and sheer exuberance.
March 4, 2020
Review: Der Fliegende Holländer (Metropolitan Opera, New York)
Gergiev's hand on the tiller makes heavy weather of Girard's new Dutchman.
March 4, 2020
Review: 150 Psalms: Powerlessness (Adelaide Festival)
The Song Company proves adept across styles in this spiritually uplifting concert.
March 4, 2020
Review: ACO Underground (Australian Chamber Orchestra)
The ACO assembles a starry line-up for a concert spanning Bach to Nine Inch Nails.
March 3, 2020
Review: The Doctor (Adelaide Festival)
Robert Icke's riveting adaptation of a 1912 play by Arthur Schnitzler feels urgent and terribly timely.
March 2, 2020
Review: Fidelio (West Australian Symphony Orchestra)
A rousing and triumphantly optimistic experience.
March 2, 2020
Review: Dragon Ladies Don’t Weep (Chamber Made, Asia TOPA)
An avant-garde icon offers rare insights into what drives her.
March 2, 2020
Review: Requiem (Adelaide Festival)
In an exciting start to the festival, this provocative production, with its stunning staging and symbolic imagery, will leave you pondering.
February 29, 2020
Review: Vivaldi’s Venice (Australian Brandenburg Orchestra)
French harpist Xavier de Maistre brings flair and subtlety to Vivaldi's Venice.
February 27, 2020
Review: Debussy & Ravel (Sydney Symphony Orchestra)
Seascapes, a wet acoustic, and a pianist who made a splash.
February 27, 2020