Australia's most respected director on what music means to him and how he learned to love Wagner’s epic.

As he prepares for his leading role in Opera Australia's new Ring, the Australian heldentenor talks Wagner.

Stars of OA’s Ring Cycle pay tribute to the secret life of Miriam Gordon-Stewart’s grandmother.

With Kaufmann, Sir David McVicar and Kasper Holten, Lyndon Terracini pulls out the big guns for Opera Australia’s 2014 season. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

John Bell's new production of Puccini's "shabby little shocker" is far from shabby but still a shocker.

Theatre turned opera director John Bell on bringing Puccini’s tragic opera to life. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Pietari Inkinen to replace Richard Mills as conductor of The Melbourne Ring Cycle 2013.

British Wagner specialist is rumoured to be the name in the frame to rescue Opera Australia's Ring.

Graeme Murphy’s handsome production of Puccini’s grandest opera was first recorded back 
in 1991, so why have Opera Australia chosen to revisit it? First of all, it’s an opportunity for a technological upgrade, and in this respect the DVD is a singular success. Picture quality is crystal clear, with clever use of overlays to enhance the visuals. The sound, too, is very good, every detail of Andrea Licata’s highly effective, dramatic reading of the score brought vividly to life. First honours go to American soprano Susan Foster in the title role, commanding the stage with ringing tone, immaculate diction and an insightful dramatic identification with the character. It’s a wild performance, and some might find the vibrato a trifle wayward, but she easily sails over the chorus and her emotional transformation is riveting. The other star of the show is the Australian Opera chorus who, despite Murphy’s production occasionally veering into Kismet territory, sing with unflagging power and commitment. Unfortunately, Rosario La Spina proves a fly in the ointment. His foursquare musical approach and unimaginative use of text lacks finesse and, although the top notes are all there, his hollow tone is dull. Add to this some dubious Italian vowels…

The maestro leading one of Australian opera's largest and most expensive undertakings calls it quits, citing issues of "personal chemistry".

Opera Australia celebrates the great man’s birthday with a life-sized Valkyrie helmet cake.

The gypsy is spellbinding but Bizet’s intimate tale lacks, well…intimacy in this operatic spectacular.