Critics have applauded the soprano's touching assumption of Puccini's seamstress.

With catcalls and pregnancy jokes, Madama Butterfly nearly fluttered by altogether.

In her highly anticipated ACO debut, the opera star shows herself to be an accomplished, detailed recitalist.

Fresh from winning 3MBS’s The Talent, the Australian violinist discusses her musical heroes, how she focuses on taking advantage of opportunities in the present, and what it means to be a good musician.

Despite its out-of-this-world setting, this production of La Bohème remains human and grounded.

From blossoming romances to an unlikely friendship between an elf and a fir tree, operatic composers have taken a shine to Christmas over the years.

An utterly captivating and delightful experience that deserved a longer season.

In 2002, Riccardo Chailly conducted the first Turandot to use the new completion by Luciano Berio at the Amsterdam Muziektheater directed by Nikolaus Lehnhoff. 15 years later, the same team reunited to mount it at La Scala and commit it to video. Alfano’s completion sought to continue the spectacle but, in its rush to wrap up the story, is dramatically implausible – poor Liú is soon forgotten and love conquers all. Berio’s alternative is low key and pensive, its modernist touches may jar the ear but it’s more respectful than Alfano’s gauche reprise of “that” tune. Lehnhoff’s production has some curiosities but I “get” his neo-Brechtian-meets-Commedia-dell’arte aesthetic and there are some arresting images. Stemme is splendid as the cruel princess, her warm tone evincing a humanity behind the ice; her Wagnerian credentials allow her to ride the maelstrom from the pit in thrilling fashion. Antonenko does well to match her, though his sound has tightened since his fine 2008 Salzburg Otello. Maria Agrest is a lovely full-toned Liú, and the Milan chorus is superb whether delicately awestruck or baying for blood. Topping all is the brilliance of Chailly’s conducting – this could well be the finest account of the score…

For its fifth Handa Opera on Sydney Harbour, Opera Australia chose Puccini’s Turandot, set in a fantasy China. Spectacle is a pre-requisite for the stunningly located outdoor event, and Chinese-American director Chen Shi-Zheng delivers striking visual effects without resorting to tacky glitz, while his martial-arts inspired choreography enhances the clear story-telling. Dan Potra’s design is dominated by two set pieces: a giant, fire-breathing dragon and a towering, spiky pagoda, from where the frosty-hearted Princess Turandot looks down on the execution of the suitors who fail to solve her riddles. Scott Zielinski’s imaginative lighting add lashings of colour. Serbian dramatic soprano Dragana Radakovic is an impressive, imperious Turandot with a powerhouse voice, which has a steely glint. As Calaf, Italian tenor Riccardo Massi is a commanding presence. At six foot four he is every inch the romantic hero, giving a passionate, lyrical portrayal, matched by rich, bronzed vocals. Hyeseoung Kwon is very moving as the slave girl Liù. The chorus is also outstanding, while the Australian Opera and Ballet Orchestra gives a good account of the gorgeous score under Brian Castles-Onion. Fine camera work makes the most of the spectacular location, while close-ups of the performers add to the experience.

A tradie has been breaking into operatic song on a worksite in Sydney.

With stunning sets and deftly built tension, Bell’s Tosca has earned its place in OA’s rep.

Gianni Schicchi, Puccini’s only comedy, was the last in his penultimate opera, Il Trittico, premiered in New York in 1918.Schicchi, often performed separately, tells of a money-grabbing family undone by an unscrupulous lawyer. Apart from the lawyer, the only people to emerge unscathed are Schicchi’s daughter Lauretta (she of O mio babbino caro fame) and her lover Rinuccio. Puccini was an entertainer. He didn’t moralise in the way Verdi did, but his operas, despite years of sniffing from the musical establishment remain brilliant creations, with remarkable melodies and superb orchestrations. His flair for the dramatic is ever present and the matching of music to text is remarkable. Rinuccio’s glorious aria in praise of Florence, for example, is tucked seamlessly into the narrative.   Woody Allan directs adroitly, his added treats in no way undermining the work. The busy cast perform well, and although the days are long gone when opera singers could stand like statues, opera ‘acting’ still hovers. This is especially noticeable when the camera closes in on the action. Sadly, the audio recording is dead dull and the orchestra under Grant Gershon, performs perfunctorily. So buy it for Domingo’s saturnine Schicchi and Allen’s clever production.