En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Shane Lowrencev

Opera Australia's new Turandot succeeds with musical, dramatic and visual values with a mix of local and imported talent. 

Emotions on stage are matched by those rising from the pit as Sarah Giles' popular production returns to Sydney. 

This abridged version of Massenet's Cendrillon was clearly chosen for a wide Sydney audience, succeeding as a popular offering in the Australian summer holiday season. 

Sarah Giles' new production replaces Elijah Moshinsky's venerable staging, and the talented cast delivers a successful performance. 

187 years after its Parisian debut, Halévy's La Juive receives its Australian premiere. A sterling cast under Carlo Montanaro reveals some unexpected beauties (and occasional longueurs) in this classic of French grand opéra.

David McVicar's dark and gothic Don Giovanni is revived in Sydney, with stand-out performances from Luca Micheletti as an unapologetic and dashing Don, and Eleanor Lyons as a magnificent Donna Anna

A fine cast led by Maija Kovalevska conveys the timeless beauty and emotion of Puccini’s Parisian melodrama, but the 1930s Berlin setting remains an imperfectly realised transformation.

Aa fitting tribute to the 20th anniversary of State Opera of South Australia’s ongoing romance with the music of Richard Wagner.

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

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.

David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso). 

I left the Sydney Opera House last night feeling vaguely dissatisfied, and yet a bit puzzled at my dissatisfaction. La Traviata is chock-full of Verdi’s most glorious music, and well though I know the score, I wasn’t feeling in the least jaded to begin with.

In an opera of such popularity as Carmen by Georges Bizet, it wouldn’t be easy to please an audience likely to be inured to a variety of performances of arias such as Habanera and The Toreador’s Song. Yet Opera Australia made a thoughtfully constructed and well vindicated attempt.