Review: Il trovatore (Melbourne Opera)
Splendid singing by Helena Dix, Rosario La Spina and Christopher Hillier compensates for a potboiler plot.
Patricia Maunder has been an arts journalist since the 1990s, interviewing the likes of Sir Andrew Davis and Renée Fleming, and contributing to publications such as The Age and Opera (UK). Based in Melbourne, she’s passionate about opera, theatre and anything Baroque.
Splendid singing by Helena Dix, Rosario La Spina and Christopher Hillier compensates for a potboiler plot.
The Egyptian queen takes centre stage in this trimmed down version of The Bard’s historical tragedy.
Kat Stewart is the beating heart of a powerful new play set in a working-class Australian town with limited life choices.
Minor flaws aside, this show shines when Broadway star Will Swenson performs some of the 20th century's greatest hits.
Tarantino's cult heist film gets a clever Shakespearean makeover, including with retro-meets-Elizabethan live band.
A Kiwi company explores heartbreak through a quirky, clever patchwork of drama, wry humour, music and science.
Monteverdi’s opera of ancient Rome gets an exciting makeover courtesy of the 1983 film Scarface and Elena Kats-Chernin’s new orchestration.
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A clever Jane Austen reinterpretation with laughs and karaoke, this West End hit finally makes its Australian debut.
Baritone Renato Dolcini leads a memorable journey through the Italian Baroque, from Florence to Naples, Rome to Venice.
This classic of contemporary Australian theatre explores the marginalisation and mistreatment of people with disabilities.
The real-life fake heiress who was the subject of a Netflix mini-series is the inspiration for this fast-paced, dialogue-driven play.
Avoiding greatest-hits predictability, the national opera company celebrates a milestone birthday with a satisfyingly thoughtful, ensemble-driven program.