From sublime singing to ridiculously good comedy, this new production is the next big step up for a small opera company.

Ahead of his appearance as Baron Ochs in Melbourne Opera’s Der Rosenkavalier, the Australian bass discusses why the role is his very favourite.

The six singers will receive performance and cover opportunities, as well as attending workshops dedicated to role preparation as part of the program.

Local soprano Lee Abrahmsen leads a handsomely sung but theatrically underwhelming production of Wagner’s tragic love story.

Ahead of Melbourne Opera's Tristan, the conductor talks about Bayreuth, finding that extra dimension in Wagner, and the importance of empathy in the rehearsal room.

Opening night belonged to Australian soprano Helena Dix in the role of Queen Elizabeth I.

Suzanne Chaundy talks about staging Donizetti’s Tudor Queens ahead of the final instalment, Roberto Devereux.

Wagner’s swan makes a splash in Melbourne.

After making her name on the international scene, the soprano returns to her hometown for Wagner’s Lohengrin. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

British satire, German Romanticism, and high Italian drama make up this year’s offering from the company. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The Australian soprano reflects on the challenges of singing Donizetti’s tragic Anna Bolena. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Sarah Sweeting on how she came to discover a more sensual, seductive expression of Venus. Wagner’s operatic masterpiece, Tannhäuser, begins in the magical and erotic realm of the Venusberg, where the Goddess Venus resides. Here, love is celebrated freely and with wild abandon through all manner of sensual and sexual expression. Venus is discovered in the opening scene entwined around our central character, Tannhäuser, a man who comes from a world of chivalry, knighthood, religious order and a life of service to God. Essentially, Wagner’s opera is an epic tale of the inner torment and struggle of a man caught between these two worlds, each seemingly opposing the other, yet both being true expressions of the one powerful force: love.  As a singer the role of Venus has its own challenges, not only is it musically and vocally tricky at times, but how is one meant to convey ‘The Goddess’? During rehearsals, our director Suzanne Chaundy called on me to bring a more earthy physicality to the role rather my somewhat ethereal interpretation. I believe that it was due to this collaboration, experimentation and continually examining my understanding of the character, what emerged was a more of a sensual and altogether seductive expression…