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

Emerging from different incarnations of Leah Purcell’s play, George Palmer’s opera develops traditional Dreaming elements from Aboriginal mythology, premiering in Brisbane. 

80% less of Shakespeare's text adds up to more intensity in Brett Dean's Hamlet as Neil Armfield's staging is mounted by Opera Australia. 

A piecemeal evening of high musical values as the Adelaide Festival opens with short Stravinsky pieces rather than the usual substantial opera. 

Paradise is lost and greed is good in this stunning retelling of Puccini's ageless opera.

Neil Armfield's enchanting production of Britten's A Midsummer Night's Dream finally comes to Australia as the centrepiece of the 2021 Adelaide Festival, making a virtue of necessity with its astute casting of Australian talent.

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

Brett Dean's Hamlet is an extremely powerful theatrical experience, excelling in all aspects of production, singing and musical values, but is it an opera?

A combination of ingenious sets, truly heroic singing in the title role by Stefan Vinke, and excellence throughout the rest of the cast makes the Melbourne Siegfried an unmissible highlight of the Ring so far.

On a night of technical delays and extraordinary singing, Opera Australia's revival of Die Walküre is particularly memorable for Amber Wagner's Sieglinde and Lise Lindstrom's Brünnhilde.

The revival of Neil Armfield's Melbourne Ring is relaunched with a successful Rheingold, sensitively conducted by Pietari Inkinen, with an especially fine performance from Warwick Fyfe as Alberich.

While the billboard advertisements focussed on the presence of the ‘hit aria “Nessun dorma”’, there was much else to enjoy in this Turandot revival in Sydney: a lively, rich production and a strong cast headed by Lise Lindstrom and Yonghoon Lee.

Opera Australia’s Falstaff in Melbourne brings freshness to this almost 20-year-old production. Contributing to its success is an outstanding Falstaff...

A mixed evening, more notable for the efforts of the cast than for Brodie's modern Don Giovanni concept.

David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso). 

On Thursday, a polar storm swept up New Zealand doing major damage to Wellington and, in the process, trapped the New Zealand Symphony Orchestra there as they prepared to fly to Auckland.

Tragedy seems to age better than comedy. The works of Aeschylus have been more influential than those of Aristophanes, and Shakespeare’s darker plays are far more popular than his pure comedies. This same propensity for gloomy subjects can also be seen in the opera world.

Virtually every reviewer of Aida mentions elephants, generally only to note their absence: the elephant not in the room, as it were. Like most others, the current Opera Australia production was lacking in pachyderms, but few of last night’s audience will have felt short-changed.

Georges Bizet's The Pearl Fishers, written some ten years before Carmen, does not enjoy as much recognition as the latter opera. Composed at the age of 25, the opera received harsh criticism from many contemporary critics, although not from Hector Berlioz, who clearly recognised something of Bizet's genius in the work.

Opera Australia pulled out all the stops for their latest production of Puccini’s Turandot: an excellent cast, fabulous choreography, amazing costumes and a great sense of drama all combined to make it a wonderful production at Sydney Opera House. The Opera Theatre is comparatively small by modern standards and is a very intimate venue in which to see an opera.

Opera Australia’s production of the Rossini magnum opus The Barber of Seville is a period piece, featuring an era a century later than the one in which it was composed. In this revival of Elijah Moshinsky’s production, director Cathy Dadd masterfully transports the action from the classical period of the 1810s to the silent movies of the 1910s.