Live, Video: Find classical music concert, opera, ballet and dance reviews | Natalie Aroyan

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. 

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.

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.

The ever-popular La bohème returns in Gale Edwards' adaptation which features a change to the final months of the 1930s Weimar Republic as featured in the musical Cabaret.