Opera Australia’s latest La Bohème stands tall among the rest

Por Alan Yu, 20 septiembre 2011

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Crítica hecha desde Sydney Opera House: Joan Sutherland Theatre, Sídney el 19 septiembre 2011

Puccini, La bohème

Opera Australia

Brian Castles-Onion, Dirección

Gale Edwards, Dirección de escena

Opera Australia Chorus

Opera Australia Orchestra

Hyeseoung Kwon, Mimì

Diego Torre, Rodolfo

Andrew Moran, Marcello

Jacqueline Mabardi, Musetta

Opera Australia’s Eugene Onegin shines musically

Sandra Bowdler, 17th March

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

****1

Humperdinck hobbled in Opera Australia revival

Jeremy Eccles, 27th January

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

***11

A psychological Turandot in Ann Yee's Opera Australia staging

Sandra Bowdler, 15th January

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

****1

Siobhan Stagg leads a strong Marriage of Figaro revival in Sydney

Sandra Bowdler, 31st July

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

****1

Watery magic as Nicole Car makes a triumphant return to Sydney

Jeremy Eccles, 19th July

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

****1

Danielle de Niese makes Carmen debut in a colourful new Sydney staging

Sandra Bowdler, 10th July

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.

****1

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Alan Yu

The first concert Alan attended was Mahler’s Das Lied von der Erde. For 7 years he presented classical music programmes for Radio Television Hong Kong, partly to pay his way through university. He attends concerts whenever he can and believes there is no substitute for the thrill of live performances. He writes here.