Szymanowski’s magnum opus was seen by many as a box office risk, but ended up exceeding its budget. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The one-time enfant terrible is now the toast of Covent Garden and Glyndebourne and runs his own opera company in Berlin.

Saimir Pirgu discusses the challenges and excitement of taking on the Shepherd in Szymanowski’s operatic masterpiece. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Tap dancing noses herald another triumph for Australian Opera director Barrie Kosky.

Churchill Trust report author David Barnard is "irresponsible" and "self-interested," says Opera Queensland's Lindy Hume.

One of the star attractions of the 2016/17 season, the superstar soprano has withdrawn from Bellini debut at ROH.

After last year’s infamous Guillaume Tell, the Royal Opera’s gory Lucia di Lammermoor has also been booed. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Aussie talent is well represented at Covent Garden thanks to director Barrie Kosky and new principal artist, Samuel Sakker. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Richard Jones’ eccentric extras focus on Terfel’s tortured Tsar. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Venera Gimadieva is perfection in revival of Eyre’s respectful production.

A sick Alfredo sees the young Australian tenor make his Covent Garden role debut at less than four hours notice. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Agostino Steffani (1654-1728) set words to music as only a master linguist and singer could. His beautiful chamber duets were influential on Handel’s essays in that genre, while Steffani’s sacred music and French-influenced operas seem to grow out of the duet as a fundamental unit of composition. Steffani spent two decades working in Munich and Niobe, Regina di Tebe, composed in 1687, was his final opera for that city. Based on an episode in Ovid’s Metamorphoses, Luigi Orlandi’s libretto tells the story of Queen Niobe’s downfall after being handed the regency by her husband Anfione, King of Thebes. Assailed by love and hate in equal measure – Tiberino, son of the King of Alba, wants Thebes for himself; the vengeful magician Poliferno assists lovestruck Creonte in his own ambitions for queen and kingdom – Niobe ultimately succumbs to pride and is duly punished by the gods. The music is glorious, Steffani’s adroit handling of recitative and aria matched by his generous orchestrations utilising strings, woodwinds, brass and percussion. Captured live at the Royal Opera House, Covent Garden, this performance conducted by Thomas Hengelbrock and featuring Véronique Gens as Niobe, Jacek… Continue reading Get unlimited digital access from $4 per month Subscribe Already…