Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Stacey Alleaume

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

Here was the much-loved three-act opera Rigoletto, yes, but chances are, it was one far beyond Verdi’s wildest dreams.

A much-loved 1991 production evoking Fellini’s post-war glamour and grime is revived with three talented young principals, including Mongolian baritone Amartuvshin Enkhbat in the title role.

The real triumph of Michael Fabiano's role debut as Werther lay in controlling the bold intensity of his voice in favour of a sweet and lower-key level of passion – a match for Massenet's frequent choice of the cello.

Turco inspired many a great opera director in the past; understandably, as it offers plenty of splendid comic situations. Simon Phillips' hilarious 2014 production is revived by Opera Australia.

As clearly visible on all photos, the Sydney Opera House has two “sails”, interconnected major sections. One of them houses concerts, the other operas. Opera performances, however, are not exclusively taking place in the Opera Theatre.

One of the world’s great Carmens and John Bell’s smart direction is a winning combination for this Opera Australia production.

Director John Bell's chosen associations for his Carmen with Strindberg's Dance of Death and Albee's Who's Afraid of Virginia Woolf underlined an emphasis upon the fated couple's joint knowledge that nothing they can do will turn the tsunami that's leading to their deaths.

Beautiful sets and a fine cast led by Guillaume Tourniaire can't quite compensate for the dramatic weaknesses in Opera Australia's new production of Bizet's Les pêcheurs de perles.