Review: Saint Joan (Sydney Theatre Company)
A stark, strikingly staged production that offers an audacious, sharper, punchier rewrite of Shaw's play.
June 10, 2018
Review: (C)age of Enlightenment (UKARIA 24)
Nicolas Altstaedt kicks off UKARIA 24 with a program both intelligent and utterly compelling.
June 10, 2018
Review: Pia de’ Tolomei (Spoleto Festival, Charleston)
US premiere of a Donizetti opera proves a case of dramatic snakes and musical ladders.
June 10, 2018
Review: Tree of Codes (Spoleto Festival, Charleston)
Aussie composer Liza Lim's intriguing 'cut-out' opera receives a handsome second staging in the USA.
June 9, 2018
Review: Janis Undead: Amber Martin (Adelaide Cabaret Festival)
Get her while you can, don't turn your back on love.
June 9, 2018
Review: Die Meistersinger von Nürnberg (Beijing)
A great experience marred by some political correctness, says Colin Mackerras.
June 8, 2018
Review: Così Fan Tutte (Opera Holland Park, London)
Australian singers abound, including a dastardly Peter Coleman-Wright as Don Alfonso, in Opera Holland Park's Così.
June 7, 2018
Review: Grace & Grandeur (Adelaide Symphony Orchestra)
Thrilling colour and quality from Australian violinist Grace Clifford and the ASO.
June 2, 2018
Review: Thomas Hampson (Melbourne Recital Centre)
It doesn't get much better than this: a superb evening of song from the renowned American baritone.
June 1, 2018
Review: The Longest Minute (Queensland Theatre)
Sport and theatre collide in this impassioned work about footy, family, and never giving up on your team.
June 1, 2018
Review: Carmen & The Firebird (Queensland Ballet)
Liam Scarlett's version of The Firebird is ravishing, and vastly more compelling than Carlos Acosta's Carmen.
May 28, 2018
Review: Haydn The Creation (Sydney Philharmonia Choirs)
Taryn Fiebig and Jud Arthur steal the show as a luminous Adam and Eve.
May 28, 2018
Review: Claire Chase (Backstage Music)
New York flute player Claire Chase kicks off Backstage Music’s 2018 season with a bang.
May 27, 2018