Kosky praised for embracing the opera's complexities; Domingo and Alagna part of Bayreuth's 2018 programme.

Barrie Kosky's Saul and Leah Purcell's The Drover's Wife win big at this year's awards for live performance in Australia.

My Fair Lady, The Book of Mormon, Barrie Kosky's Saul and Leah Purcell's The Drover's Wife lead the charge.

Baryshnikov and others rally in defence of Kirill Serebrennikov, who they believe falsely implicated in a million rouble embezzlement.

The soprano brings her Mimì to the London stage, while Aussies fill out the ranks of the Covent Garden season. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Neil Armfield and Rachel Healy's debut programme has finished with the biggest takings in the Festival's history.

Kosky’s baroque extravaganza could power SA’s electricity grid for a month.

Students can purchase $50 tickets to attend the final dress rehearsal of Barrie Kosky’s sold out opera production. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The one-time enfant terrible is now the toast of Covent Garden and Glyndebourne and runs his own opera company in Berlin.

The Opera Australia Chorus, Barrie Kosky’s production of The Nose and director Simon Stone are among the 2017 finalists. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The curtain rises on a large severed head sitting on a sea of crumbly black ash. As the camera pans in tightly, we see blood encrusted in the corner of the eyes and mouth, while one eye socket is smashed. It is the head of Goliath after his defeat by the triumphant young warrior David, now hero of the Israelites. Behind, an enormous table is heaped with floral arrangements, fruit, animal carcasses and an elegant swan. Clustered around the rather macabre banquet, the cast gleam in brightly coloured 18th-century costumes with extravagant wigs and make-up lending them a slightly crazed air. Bathed in Joachim Klein’s sickly lighting, the extravagant tableau looks like a warped Flemish still-life where everything is so lusciously overripe it will soon turn fetid. So begins Barrie Kosky’s wildly imaginative production of Handel’s oratorio Saul, which received rave reviews when it premiered at Glyndebourne in 2015. Programmed as the centrepiece of the 2017 Adelaide Festival, here is a chance to see the original Glyndebourne cast, while the camera allows you an up-close look at the performers and vivid visual imagery. Working with designer Katrin Lea Tag, Kosky presents Handel’s original three acts in two… Continue reading Get…

Recording and Artists of the Year head a host of in-depth features making up a bumper holiday edition in stores now. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in