Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Sydney

Hätte Großbritannien Spaß an The Rabbits? Denn so allegorisiert die neue, australische Familienoper die Briten der Kolonialzeit, die in diese herrenlose Welt Downunder kamen und die Existenz der australischen Ureinwohner leugnete - die in dieser Oper in Gestalt von Beuteltieren auftreten.

Kamele, Feuerwerk und ein riesiger Kopf von Nefertiti: der Sydney Harbour-Inszenierung von Aida fehlt es nicht an Spektakel. Latonia Moore sticht in der Titelrolle heraus, mit guter Unterstützung von Miliaja Nikolic als Amneris und Michael Honeyman als Amonasro.

Johann Sebastian Bach schrieb hunderte liturgische Werke, die meisten davon mit einer straffen Frist – der kommende Sonntagsgottesdienst. Die Komposition (so mancher würde es Kompilation nennen) der Messe in h-Moll BWV 232 aber beschäftigte ihn viele Jahre lang.

Pekka Kuusisto and the ACO have 25 years of shared experience so they can rise to the occasion as soon as his bow/sword strikes his Strad. 

Pinchgut Opera always has a lot to offer, but this time their delivery proves patchy in ‘Coffee and a Dead Canary’. 

Sydney Dance Company serves up four sharply contrasting works in a snappy hour of sex, sweat, street dance and celebration. 

Opera's greatest romcom glitters on its third outing at the Sydney Opera House. 

Sydney Dance Company's latest triple bill celebrates contemporary dance at its most adventurous and diverse.  

The Bach Akademie Australia celebrates the Leipzig Collegium Musicum of the Baroque era with an entertaining concert of familiar works and rarities, including the outright "silly" concerto of Telemann's The Frogs.

An unusual combination of 20th-century Russian masterworks herald debut appearances by both conductor and soloist in Sydney.

Bangarra’s latest triple bill creates a powerful evening of resilience, belonging and community. 

As usual, Pinchgut lavishes musical excellence on an obscure Baroque work... but why stage an oratorio? 

This revival of Romeo and Juliet combines vivid staging and technical leads, but the lover's careful partnership lacks the volatility that makes young love convincing and tragedy believable. 

Flora unites the Australian Ballet with Bangarra Dance Theatre in a glorious collaboration that traces loss, renewal, resilience, cultural continuity and enduring vitality of the body. 

Eugene Onegin returns to the Sydney Opera house in Kasper Holten’s slightly awkward production but the singing and orchestral playing are exemplary. 

Olli Mustonen’s playing never permits a passive response. One can enthusiastically nod or one can profusely object, but the listener is asked to take a side and react.

Putting Gershwin up against Mahler is a challenge, but Simone Young and Jean-Yves Thibaudet bring it off in the Sydney Symphony's 2026 season opener. 

Elijah Moshinsky’s 33-year-old production of Hansel and Gretel hasn’t aged well. 

Opera Australia's new Turandot succeeds with musical, dramatic and visual values with a mix of local and imported talent. 

Bach Akademie Australia, led by its founder Madeleine Easton, presents as good a performance of the complete Brandenburgs as anyone could be wished for.

Terrific orchestral colours abound in this Sydney Symphony concert under Simone Young, adding to a thoughtful and emotive rendering of one of the best-known cello concertos.

A delightful programme welcomes conductor Lionel Bringuier and returning cellist Daniel Müller-Schott to Sydney.

Two mighty piano sonatas bookend Marc-André Hamelin's concert at Sydney's City Recital Hall. 

Three very different works from the long life of Richard Strauss are performed by the Sydney Symphony Orchestra under Simone Young.

Stephen Layton conducts Haydn and Handel, and is joined by soprano Sara Macliver for Bach and Mozart for a joyful evening. 

Siobhan Stagg is an outstanding Susanna in a strongly cast and well produced Marriage of Figaro at the Sydney Opera House

Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

Danielle de Niese's assumes the title role at the Sydney Opera House, leading an impressive cast with an interesting approach to characterisation with a somewhat over the top blingy setting. 

A rare 17th-century English Baroque spectacular, designed to delight the Restoration crowd, is given a contemporary twist in Sydney. 

Bangarra Dance Theatre's 2025 commissioned work reclaims space and offers ambitious visuals, but sacrifices intimacy. 

Elim Chan expertly conducts the SSO through a varied programme featuring an Australian fanfare, Russian ballet music and Brahms' First Piano Concerto with Sir Stephen Hough. 

A most appealing Romantic programme by the French pianist at Sydney's City Recital Hall, played with accurate finesse in search of emotional highlights. 

A heartfelt performance from American countertenor with the Bach Akademie Australia with contrasting spiritual works by Bach and Vivaldi. 

Neumeier's Nijinsky explores the professional and personal life of the legendary dancer with intense choreography and powerful performances.  

Both evocative and restrained, Sydney Dance Company's Somos returns to Sydney for its second season. 

Yaron Lifschitz mesmerises from the opening tableaux’s row of candles in his Purcell staging for Opera Australia, featuring Circa, a Brisbane-based circus company. 

Dean Bryant's production of Leonard Bernstein’s operetta leans more towards musical theatre, blending French period costumes with weak attempts at Aussie humour. 

Awe-inspiring performances of much loved classics in Sydney, yet the musical eyebrows have reasons to go (and stay) up. 

Emotions on stage are matched by those rising from the pit as Sarah Giles' popular production returns to Sydney. 

Missy Mazzoli's Dark with Excessive Bright is the centrepiece of the Omega Ensemble's contribution to the festival's imaginative chamber music series. 

A thoroughly enjoyable and brilliantly performed version of Rossini's great comic opera at the Sydney Opera House. 

This abridged version of Massenet's Cendrillon was clearly chosen for a wide Sydney audience, succeeding as a popular offering in the Australian summer holiday season. 

Brimming with festive season joy, the Australian Ballet gives an exuberant performance of a Peter Wright classic: The Nutcracker. 

With four diverse and dynamic works on offer, Sydney Dance Company promises an interesting and exciting future for its next generation of choreographers. 

Bangarra Dance Theatre’s next generation of artists shine in Dance Clan.

After so many terrific concerts in the last few months, Petrenko's performance with the SSO does not quite fulfill expectations.

Handel's Giulio Cesare is heavily abridged in Sydney, but generally well-performed musically, albeit with a rather awkward staging by Neil Armfield. 

Wotan's predicaments provide Sydney's victory: Chief Conductor Simone Young has her musicians on some of their best form in recent years, with only a few question marks over an excellent concert performance.

The Australian Ballet’s first commissioned full-length work in 20 years, based on the life of Oscar Wilde, fails to fully take flight. 

A powerful work by brave innovators is a legacy for the departing Opera Australia Artistic Director.