Greg Eldridge argues that with OA and VO looking for new artistic directors, there is much to discuss about the future role of opera companies in Australia.

The new digital archive features the first dedicated library of Australian operas and is accessible to the public.

Anna Dowsley fell asleep when she was taken to see her first opera but she still decided to train as a singer. Clive Paget talks to the Australian mezzo-soprano whose European career is taking off.

Arrigo Boito is best known as the librettist for Verdi's Otello and Falstaff, but he was also a composer. As Opera Australia prepares to stage his only opera, Mahima Macchione traces his career.

The editors of Limelight share their selection of the most exciting classical music, opera and theatre events coming soon.

Shaun Rennie discusses his work as Assistant Director on Phantom of the Opera on Sydney Harbour and the challenges posed by torrential rain, wild winds disrupting the use of the cranes, COVID and his unexpected appearance.

There's not much about the Phantom that Guy Simpson doesn't know, having worked on 15 productions since 1990, so how has he approached OA's Sydney Harbour production?

Donizetti has created a marvellous piece of music through which he tells a dramatic tale, eloquently expressed in this concert production.

A round-up of our recent news reports.

This spectacular co-production of Halévy's 1835 opera couldn't have been grander, while offering a powerful reminder that everyone suffers when hate prevails.

Should Victorian-era melodrama give way to deeper explorations of the author's intent in staging legacy operas?

In an opinion piece in the Sydney Morning Herald, Cat-Thao Nguyen said she left OA's Turandot after Act 1 feeling "utterly sick" at the racism. We look at the complex issue.