En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mitchell Butel

Love comes in 57 varieties in Cavalli's Apollo and Dafne, and they're both enjoyed and suffered by a dynamic cast of six playing 20 characters.

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.

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.

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. The ABC’s Limelight magazine describes the production as ‘a razor sharp, satirical romp that’s camper than a row of tents and twice as funny’.