Find classical music concert, opera, ballet and dance reviews | Jane Ede

With her signature role’s coloratura fireworks and dramatic nuance, Jessica Pratt’s Sydney Opera House debut is one to remember.

Massanet’s Don Quichotte is mounted by Opera Australia, in a production which creaks but is held together by fine singing from Ferruccio Furlanetto and Warwick Fyfe.

An outstanding cast headed by Karah Son in the title role provides a fitting send off for Opera Australia’s much-loved production of Madama Butterfly in Sydney

The fascinating politics of this opera are diminished by the presentation of just four scenes. The music and three strong performances almost make up as Sydney gets its first taste of this work.

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

The final instalment of the Melbourne Ring is vividly brought to life by excellent singing, an adaptable set, and committed playing from the pit.

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.

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.

A well-worked revival of Elijah Moshinsky's production of Rossini's Barber of Seville offers gales of laughter and vocal delights at the Sydney Opera House, with starring roles for Paolo Bordogna, Anna Dowsley and Warwick Fyfe

Julie Taymor's production maintains the magic of The Magic Flute at Sydney Opera House. 

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

‘To lose one singer, Mr Terracini, may be regarded as a misfortune; to lose two, one of them in the title role, looks like … a disaster’. Such were the thoughts running through my head when the Artistic Director of Opera Australia made the pre-performance announcement.

In his director’s note, Jonathan Biggins writes, ‘All I can hope for is that you go out of the theatre feeling a bit more cheerful than when you came in’. If that was the opera’s aim, then few could claim that it was not successful in achieving it.