Artiste: Chen Shi-Zheng

An icy Götterdämmerung brings Opera Australia's Ring Cycle to a successful conclusion, with standout performances from Lise Lindstrom as Brünnhilde and Andrea Silvestrelli as Hagen.

The tireless Stefan Vinke wows in the title role of Opera Australia's Siegfried, in a production which harnesses technology to excellent effect.

The second part of Opera Australia's Ring Cycle sees digital effects employed with greater restraint, delivering a production that is by turns moving and thrilling. 

The opening Opera Australia's much-delayed Ring cycle contains wonderful visuals, and a standout performance from Warwick Fyfe as Alberich, but also moments of bafflement and excess.

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.

Toshio Hosokawa’s opera Matsukaze is in many ways a model of modern cross-cultural creation. Premièred in Brussels in 2011, it sets a story from the traditional Japanese Noh theater in a more or less Western operatic framework. And the text is in German.

“Go digital!” was the brief to director Chen Shi-Zheng, who has employed cutting-edge visualisation technology and motion-tracking for the 15-hour Wagner cycle in Brisbane.

The first director of Asian descent to stage Der Ring des Nibelungen in its entirety talks about his refusal to follow existing formulas in this new production for Opera Australia.