After directing Theodora for Pinchgut in 2016, Lindy Hume is back to tackle another Handel oratorio, this time Athalia. She writes about why this rather arcane work is another Handelian masterpiece.

A new opera company run by young artists will have its first ever performance this month. We speak with tenor Spencer Darby about AOC's inception and Handel's Ariodante.

A bold, mostly considered take on Monteverdi's potent tale of sex, power and violence.

The opera may be 375 years old, but with its sex, murder and lust for power it feels as contemporary as the latest HBO hit.

Ahead of Monteverdi's Coronation of Poppea, Pinchgut Opera shares photographs from the rehearsals.

Plus, the secrets of Rembrandt and Vermeer and why Monteverdi’s sex and politics shocker is the 17th century’s GoT. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The November 2017 issue of Limelight Magazine is your ultimate 2018 Season Preview. Use our comprehensive guide of orchestral, chamber, opera & vocal, dance, theatre, musicals, galleries and festival events to plan your 2018 cultural calendar.

Pinchgut Opera’s AD has just cut his first solo disc. The in-demand harpsichordist talks about the joys of Handel and musical theatre.

In a season of ‘H’s’, Erin Helyard returns to his beloved Handel and finally gets to host some Johann Adolph Hasse.

Visceral Vivaldi brought vividly to life by Sydney’s very finest.

A complex interweaving of plots and realities – with fantastic music.

Without André Grétry (1741-1813) there wouldn’t be opera as we know it. The first French composer to successfully marry French and Italian styles in the Classical period, Grétry’s melodic and dramatic gifts coupled with a strong desire to push opera to its limits ensured his lasting fame. First performed at Versailles in 1778 before Louis XVI and Marie Antoinette, L’Amant Jaloux, ou Les Fausses Apparences (The Jealous Lover, or False Appearances) was an immediate success. The setting is Cadiz, Spain. The rich Don Lopez (baritone David Greco) forbids his widowed daughter Léonore (soprano Celeste Lazarenko) to marry again. But she is in love with the eponymous jealous lover, Don Alonze (tenor Ed Lyon), who has a sister Isabelle (soprano Alexandra Oomens), who is Léonore’s friend and the beloved of French officer Florival (tenor Andrew Goodwin). Without giving too much away, much mayhem ensues before the happy ending. Erin Helyard directs cast and orchestra – both of which are uniformly excellent – from the keyboard with great attention to detail yet with a sure grasp of forward momentum. We also get snippets of English dialogue which must have made live performances from which this recording was made an… Continue reading Get…