Opera Australia’s Head of Music explains how he moved from playing classical piano to conducting opera, and why The Drover’s Wife is so powerful.

Our mid-winter edition celebrates orchestral milestones and boundary-breaking composers while pondering creativity in the algorithmic age.

Our mid-winter edition celebrates orchestral milestones and boundary-breaking composers while pondering creativity in the algorithmic age.

Elijah Moshinsky’s iconic production still works its magic, with stunning voices and a sublime reading of the score by maestro Tahu Matheson.

Humperdinck’s fairy-tale opera has captivated conductor Tahu Matheson since childhood. Now he returns to it with fresh insight.

The OA Orchestra and Concertmaster rise from the pit in blazing form, the Chorus once again affirming its place among the world’s best.

Creating Opera Australia's 2026 season without an artistic director has been a galvanising challenge, "a real team effort".

On the 150th anniversary of Carmen, we talk to director Anne-Louise Sarks about her new production for Opera Australia.

After navigating turbulence in recent weeks, Opera Australia charts a course to "engage and delight" in 2025.

Edward Dick’s take on Puccini’s shabby little shocker holds a scathing mirror up to society, with a bravura performance from Giselle Allen in the title role.

Perth Festival's in-concert staging is a reminder of the pleasures of immersion in the orchestral world of an opera.

The Melbourne-born singer talks about preparing for her second Ring Cycle with Opera Australia, and the friends she’s made along the way.