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Graeme Murphy's new Madama Butterfly opens with arrestingly kinky imagery and heavily exploits digital projections thereafter, but the joy of the production is in the uniform excellence of the performers, headed by the outstanding Karah Son in the title role.

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

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.

Chinese dragons, Dalek-like pagoda towers: Opera Australia's harbour-side production of Turandot did not shy away from oriental imagery, leading to a spectacular evening's entertainment.

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.

Take an exquisite production of a Puccini tearjerker, cast it attractively… then crush its fragile wings under the weight of the Albert Hall’s vastness.

Àlex Ollé's harbour production of Puccini's Madama Butterfly for Opera Australia is attractive and thought-provoking, with strong performances from Hiromi Omura and Georgy Vasiliev.

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 Magic Flute was advertised as a family-friendly production, and at times felt more like a pantomime than an opera.

After the untimely passing of Salvatore Licitra, touted the “new Pavarotti”, in a motor-scooter accident earlier this month, I hardly dare suggest anyone as potential successor to the lyric tenor of the finest Italian tradition, lest he be jinxed. Yet, I would be doing a great disservice to Mexican tenor Diego Torre if I didn’t even make a passing mention of his possible candidacy.