Jeremy Eccles was born in the UK, engaged with music at Dulwich College, Jurisprudence at Oxford and politics at the BBC. Then he made a sea-change to Radio Hong Kong - and culture entered his professional world. On to Australia in 1982, where culture took over, broadcasting on the ABC and writing in all national newspapers, mainly about the performing arts. He formed a local chapter of the International Association of Theatre Critics, contributed to The World of Theatre and edited two magazines. Later, Jeremy began reviewing opera for the Australian Financial Review and dance for the Sydney Review. Most of his writing (and the odd film) today is deep into Indigenous art and culture at aboriginalartdirectory.com, but he maintains a continuing engagement with opera - early, contemporary, on the Harbour and plain old Puccini.
Not quite ready for a full-blown opera, but Sydney's Pinchgut maintains its historically informed purity with a delicately expanded version of Charpentier's Messe de Minuit.
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.
Voltaire and Bernstein's wilful political incorrectness make Candide a challenge to behold, but the Sydney Philharmonia meets them in a concert performance in the opera house.
The American Pacifica Quartet was convincingly introduced to Aussie Nigel Westlake's Second Quartet for their Down Under tour; but revealed its essence in the theatre of Shostakovich.
Historically informed rarities from Rameau and Vinci aim to recreate the world of 18th-century opera-going in Paris. But a misaligned production distracts from this specialised experience.
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.
Mary Finsterer has managed a musical melange that crosses effortlessly and delightfully from the Renaissance to today. If only Tom Wright's book and libretto had been a match, this would have been a work worth taking to the world.
Sydney, a city offering a cultural life, architectural pearls immersed in stunning natural landscapes. Reviewer Jeremy Eccles is our insider. Read his tips and squeeze the most out of your visit.
Its achievement lies in the brilliant notion of taking the two parts of Dostoevsky's work – the Aboveground Man's self-loathed life and the Underground Man's reflections upon it 20 years later – and running them concurrently, using two different singers.
Not just a jolly romp through the inconstancies of the heart, Sir David McVicar takes Così fan tutte through a dark lesson for lovers while leaving the music ravishingly intact.
Confusion has such lovely music! Sydney's pioneering Baroque and early classical opera specialists, Pinchgut Opera offered Haydn's Armida as its 16th 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.
Englishman Laurence Dale’s Göttingen Festival production of Handel’s Agrippina, now presented in the second Brisbane Baroque Festival, is based on the political void between appearance and reality.
Would Britain enjoy 'The Rabbits'? For that's how the new Australian family opera allegorises the colonial Poms who came to this Terra Nullius Downunder, denying the existence of the native Aborigines - appearing as Marsupials in this opera.
