Opera

Victorian Opera’s Abduction – an interpretation of Mozart’s opera that sidesteps its orientalism – showcases some stunning new talent but scurries over complexity and nuance.

Opera Australia’s new production of Carmen features spectacular design and refreshing physical performance, but some complexity is lost along the way.

Yaron Lifschitz’s compelling production of Dido & Aeneas for Opera Australia brings the acrobatic entertainments of a European royal court into the 21st century.

An operatic adaptation of Murray Bail’s novel Eucalyptus updates his fable for contemporary audiences.

Based on the ancient epic poem, Gilgamesh – the first collaboration between Sydney Chamber Opera and Opera Australia – is fittingly ambitious.

Opera Australia’s magnificent outdoor production of West Side Story remains true to this classic’s tragic social vision.

In Victorian Opera’s ocker production, Leonard Bernstein’s ebullient Candide is rendered as a queer shaggy dog story.

Opera Australia’s The Magic Flute embraces a nostalgic vision of white Australia that undermines Mozart’s cutting social commentary.

Pinchgut Opera’s production of one of Handel’s most popular operas, Rinaldo, is swift, ambitious and energetic.

In a sublime theatrical poem for Chamber Made, cellist Zoë Barry details her experiences of being struck by lightning.