Painterly orchestral story-telling in Debussy’s only completed opera.

Back in 2015, this extended musical family told Clive Paget how the ‘food of love’ can also be the language of love. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The revered pianist has withdrawn from all three Sydney concerts due to physical exhaustion, with Yuja Wang to replace her.

Daniel Barenboim and Charles Dutoit help us discover the private pianist behind the public persona.

Ahead of the Australian premiere of Stravinsky's Funeral Song, we explore the rediscovered works of the great composers.

Robertson, Clerici and the SSO deliver a cleverly planned programme, played with panache.

Ahead of his Pelléas with the SSO, the maestro talks French music and modern opera – just don’t mention the R-word! Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Ahead of the SSO’s Pelléas with Dutoit, Vincent Plush traces the work’s history and reception in this country. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The 33-year-old wins $50,000 and mentorship at The Australian Ballet, Opera Australia and the Sydney Symphony. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Rory Jeffes has called on Greg Hywood to recognise the importance of critical arts journalism. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The SSO finds its sea legs in Berlioz’s Pirate Overture.

I was bemused to read, when perusing the publicity, that the three works here had been “curated”. I thought “curate” described an exhibition of objects (usually art works) which had been lent or borrowed from various sources. It’s stretching things to say three mainstream works performed in rapid succession in a loosely structured series have been curated! That said, these two CDs showcase the level David Robertson has brought the Sydney Symphony to during his tenure as Chief Conductor. The only problem with the complete Firebird ballet is that the first half, with its shimmering (and the SSO certainly knows how to shimmer – beautifully) textures seems to last forever: I found myself longing for something to happen amid all the colour and movement of the more familiar suites, which, when they finally arrived, were worth waiting for. Petrushka is probably the best prospect for “tunes”. Here, Robertson went for loud primary Kandinsky-like colours and textures, but also captured the sinister overtones of the sadistic Moor. The Rite of Spring was a real savage, not a “pet” one, to coin Stravinsky’s own rebarbative description of Karajan’s version of the work. (He also described his Dance of the… Continue reading Get…