Review: Artaserse (Pinchgut Opera)
Strong music making, including a compelling performance by Vivica Genaux, is hampered by hands-off direction.
Strong music making, including a compelling performance by Vivica Genaux, is hampered by hands-off direction.
Take a peek at what's happening in Pinchgut Opera's rehearsals for Artaserse, opening in Sydney this Thursday.
In a roundtable chat, mezzo-soprano Vivica Genaux and artists of Pinchgut discuss the weight of history in the Australian premiere of Hasse's opera.
From fine food and wine to Bach in the Barns, the festival celebrates the wonders of what Tasmania has to offer.
The line-up includes the Mahler Chamber Orchestra, Moscow's Sretensky Monastery Choir, and Meryl Tankard's Two Feet performed by Natalia Osipova.
Festival Director Allanah Dopson and harpsichordist Erin Helyard give us a taste of the upcoming festival, now in its second year.
Ahead of the release of his period-instrument Winterreise for ABC Classics, the Australian baritone talks about preparing this monumental song cycle with the help of some 19th-century singers.
The ACO revels in the joyful complexities of Bach’s legendary Goldberg Variations.
Erin Helyard gives us masterworks from Monteverdi and Vivaldi, as well as two recitals with an Australian premiere to whet the appetite.
Ahead of its Australian premiere, Bernard Labadie talks to Justine Nguyen about his string arrangement of Bach’s towering Goldberg Variations.
An interesting production not without its problems, balanced by some strong performances.
The opera may be 375 years old, but with its sex, murder and lust for power it feels as contemporary as the latest HBO hit.
Erin Helyard’s superlative Handel certainly hits the musical sweet spot.