Comparisons to the piano seem wrong-headed, says Erin Helyard, the Artistic Director of Pinchgut Opera. A virtuoso on the harpsichord (and fortepiano), he believes it’s the instrument on which Bach sounds best.

The 2020 season also includes Handel's Rinaldo plus concerts of Charpentier, Purcell, Monteverdi and Gabrieli.

A rich realisation of Monteverdi's humane drama.

The company’s starry production of Artaserse has been named best Rediscovered Work.

The best of Sydney in Melbourne’s best room.

Returning to Sydney to take on a more dedicated role as AD of Pinchgut Opera, Helyard talks the company’s first concert of the season, his wish-list operas, and what he’s been up to in the recording studio.

Brett Dean's Hamlet on DVD, Stuart Skelton's debut recital album, and Pinchgut Opera are among the finalists.

The American mezzo delivered a Baroque rockstar performance, but the Orchestra of the Antipodes was no mere backing band.

Strong music making, including a compelling performance by Vivica Genaux, is hampered by hands-off direction.

Take a peek at what's happening in Pinchgut Opera's rehearsals for Artaserse, opening in Sydney this Thursday.

Long a champion of Johann Adolph Hasse, American mezzo-soprano Vivica Genaux waxes lyrical about a composer whose vocal writing she compares to the act of spreading peanut butter.

In a roundtable chat, mezzo-soprano Vivica Genaux and artists of Pinchgut discuss the weight of history in the Australian premiere of Hasse's opera.