Soon to unveil her Norma for Melbourne Opera, the Australian soprano talks about the challenges of accompanied recitative, the tension between words and music, and putting her own stamp on bel canto's Mt Everest.
Meistersinger takes out best Production in the Opera category while Beautiful: The Carole King Musical cleans up in Musical Theatre at this year’s Green Room Awards.
A ghost ship worth catching before it sails away later this week.
About to take on Wagner's cursed sailor for Melbourne Opera, the bass-baritone discusses the joys of a short rehearsal period, training like an athlete, and the humanity of the Dutchman.
Rossini’s now rarely seen take on Shakespeare’s tragedy is hampered by the plot’s hollowed out drama.
Ahead of directing the Australian premiere of Rossini’s Otello, the legendary director waxes lyrical about the qualities of this overlooked masterwork.
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.
