Opera Australia to reprise La Traviata on Sydney Harbour
The company will bring back the Francesca Zambello production that launched Handa Opera on Sydney Harbour in 2012.
The company will bring back the Francesca Zambello production that launched Handa Opera on Sydney Harbour in 2012.
Ermonela Jaho talks about Anna Bolena, we learn the true story behind Come From Away, and Nico Muhly discusses his three Australian commissions.
As Ermonela Jaho prepares to take on Donizetti’s Three Queens, beginning with Anna Bolena, Justine Nguyen talks to the soprano about the role’s challenges and delves into the origins of the trilogy.
The enfant terrible of the Australian art scene is the subject of a new opera by Elena Kats-Chernin and Justin Fleming. They talk to Justine Nguyen about the challenges of translating this colourful, larger-than-life figure to the stage.
International theatrical phenomenon Harry Potter and the Cursed Child and Belvoir's Counting and Cracking lead the way with eight nominations each.
The celebrated bass-baritone tells us about his forthcoming Australian concerts, his first cruise, his new opera roles, and why he won’t be bringing his Welsh Rugby Union jumper on his trip Down Under.
Learn how Lang Lang became a more rounded artist, brush up on Opera Australia's Brett Whiteley opera, and discover the rich musical history of Notre Dame.
The company is to present a fully digital, 21st-century staging of Wagner’s epic tetralogy in Brisbane in 2020, directed by Chen Shi-Zheng.
Rossini’s rarely-performed opera was written for the coronation of a king, with all the excess that entails. Director Damiano Michieletto explains how he got to grips with an opera that’s more showpiece than drama, and why he had to set it in an art gallery.
The 90-year-old composer used a megaphone to air his long-held grievances about Opera Australia as the houselights went down.
The scholarship provides the Opera Australia Principal Artist the invaluable opportunity to travel overseas and further develop her international profile.
With a modest operating surplus of $342,667 (up from an operating deficit of $2.1 million the year before) the company’s bottom line was bolstered by a number of significant bequests.
Featuring Ute Lemper, requiems, Rossini's Il Viaggio a Reims, ZOFO's new Pictures at an Exhibition, the Bolshoi Ballet and the AWO's Alexander Briger.