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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.

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

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

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. 

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. 

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. 

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

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. 

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

Opera Australia's well nigh perfect production of Mozart's Così fan tutte excels in every dimension, with an excellent ambiguous conclusion.

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 fine ensemble cast brings Puccini's triptych of one-acters to the Sydney Opera House stage, with stand-out performances from Lauren Fagan, Viktor Antipenko, Simon Meadows and Angela Hogan.

Man of the circus Yaron Lifschitz gives Orpheus and Euridice the Gesamtkunstwerk treatment in his involving production that arrives from Brisbane. 

Sarah Giles' new production replaces Elijah Moshinsky's venerable staging, and the talented cast delivers a successful performance. 

An icy Götterdämmerung brings Opera Australia's Ring Cycle to a successful conclusion, with standout performances from Lise Lindstrom as Brünnhilde and Andrea Silvestrelli as Hagen.

The tireless Stefan Vinke wows in the title role of Opera Australia's Siegfried, in a production which harnesses technology to excellent effect.

The second part of Opera Australia's Ring Cycle sees digital effects employed with greater restraint, delivering a production that is by turns moving and thrilling. 

The opening Opera Australia's much-delayed Ring cycle contains wonderful visuals, and a standout performance from Warwick Fyfe as Alberich, but also moments of bafflement and excess.

Damiano Michieletto's imaginative take on Offenbach's The Tales of Hoffmann is lavish fun, with star turns from Jessica Pratt, Iván Ayón Rivas and Marko Mimica.

Despite high quality singing, arresting video cannot replace real direction in Davide Livermore’s digital production.

Could this be the last triumphant outing for the late, great Elijah Moshinksy's moving production of Rigoletto?

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

The Armenian-Australian soprano steps in for an indisposed Ermonela Jaho in Rosetta Cucchi's staging of Cilea's verismo masterpiece. 

Andrei Kymach and Yuri Kissin deliver standout Australian debuts in a revival of Sir David McVicar's dark, unshrinking Don Giovanni.

Sydney may possess the most iconic opera house in the world, but Opera Australia ventured outdoors once more for a successful rock 'n' roll-themed Carmen on Cockatoo Island, with a stage positioned at water's edge.

Gorgeous sets and costumes aren't quite enough to make this La traviata revival sparkle.

A mid-performance jump-in by tenor Thomas Strong saves the show on the opening night of this revival of Graeme Murphy's production.

Star tenor Jonas Kaufmann sings the title role in Olivier Py's dour and symbolism-heavy Lohengrin, set in post-war Berlin.

187 years after its Parisian debut, Halévy's La Juive receives its Australian premiere. A sterling cast under Carlo Montanaro reveals some unexpected beauties (and occasional longueurs) in this classic of French grand opéra.

Splendid performances by Yonghoon Lee and Karah Son breathe life into Harry Kupfer’s 20-year-old production.

Three outstanding debuts and a warm and funny ensemble shine in David McVicar's naturalistic Marriage of Figaro. 

Graeme Murphy's legendary staging of Puccini's final opera remains a vital combination of strong storytelling and visual panache.

Fireworks, party boats, Violetta swooping from a giant chandelier: soprano Stacey Alleaume triumphs in this magnificent restaging of Francesca Zambello's spectacular waterfront La traviata.  

John Bell's reworking brings Tosca to 1943 Nazi-ruled Rome, featuring gorgeous sets and Carmen Giannatassio's striking Opera Australia debut in the title role.

Role and production debuts in no way diminished the psychological impact of this intense hour with Bartók and Balázs.

A mixed-bag of an evening at the Sydney Opera House, with a production of Ernani imported from La Scala failing to solve the inherent challenges of the work, despite good performances from the cast.

Livermore updates the scene to the 1930s, but seems to be setting Mussolini's Italians against invading Germans. 

The revival of David McVicar's production of Gounod's Faust provides spectacle and entertainment in spades, with strong performances from Ivan Magrì (Faust) and Teddy Tahu Rhodes (Méphistophélès).

David McVicar's dark and gothic Don Giovanni is revived in Sydney, with stand-out performances from Luca Micheletti as an unapologetic and dashing Don, and Eleanor Lyons as a magnificent Donna Anna

Gale Edwards' popular revival, set in the 1930s Weimar Republic, brings visual delight and showcases Australian-Chinese tenor Kang Wang as Rodolfo.

Rossini's opera is all about art and art lovers in this production by Damiano Michieletto.

A beautiful 17th-century setting does nothing to dim the freshness and relevance of Sir David McVicar's production for Opera Australia.