Peter Rose
In 2001 Peter Rose became the Editor of Australian Book Review. Previously he was a publisher at Oxford University Press. He has published several books of poetry, an award-winning family memoir, Rose Boys, and two novels, the most recent being Roddy Parr (Fourth Estate, 2010). His latest poetry collections are Rag (Gazebo Books, 2023) and Attention, Please! (Pitt Street Poetry, February 2025). His extensive criticism appears in a variety of publication, including ABR. Rose writes and performs short absurdist plays with The Highly Strung Players.
Book reviewers and the editors of periodicals that commission them are used to sour assessments of their worth, but Professor John Dale’s article on The Conversation yesterday is in a class of its own.
What a clichéd, ungenerous and discreditable overview of book reviewing in this country, with its sentimental and predictable coda about mythic Manhattan standards.
Professors should do their h ... (read more)
Melbourne’s Indian summer of opera concludes with imported productions of two melodic masterpieces: Carmen (Opera Australia) and La Traviata (Victorian Opera).
The first is a revival of Francesca Zambello’s production for Covent Garden and the Norwegian National Opera, which came to Sydney in 2008. We are familiar with the New Yorker’s assured, coherent productions in this country, especial ... (read more)
Melbourne’s Lyric Opera, the smallest of its four opera companies, continues to offer interesting repertoire of a kind we would otherwise be unlikely to see. May 2 brought the opening performance of Aaron Copland’s opera The Tender Land. After the shall we say broad humour of Simon Phillips’s production of Rossini’s 1814 opera buffa Il Turco in Italia the previous night (Opera Australia at ... (read more)
After two hapless ventures into the world of Verdi in 2013 (his bicentenary year), Opera Australia has given us an entertaining new production of Rigoletto – one that will probably stay in the company’s repertoire for as long as its lucrative predecessor.
Elijah Moshinsky’s slick production (1991), which leaned on Fellini’s La Dolce Vita, was just one of many radical updatings of Verdi’ ... (read more)
After two hapless ventures into the world of Verdi in 2013 (his bicentenary year), Opera Australia has given us an entertaining new production of Rigoletto – one that will probably stay in the company’s repertoire for as long as its lucrative predecessor.
Elijah Moshinsky’s slick production (1991), which leaned on Fellini’s La Dolce Vita, was just one of many radical updatings of Verdi’ ... (read more)
January 8
Read Henry James’s early tale ‘Poor Richard’. When the eponymous dissolute learns of Gertrude’s unsavoury engagement to Major Luttrel, he descends on her house, determined to end it. Finding her wan and failing, he condemns her attachment to the venal Luttrel: ‘You have suited – God knows what! – your despair, your desolation.’
Did James ever create an uncomplicatedly ... (read more)
So here we are, talking about the so-called Cult of Wagner. No wonder some people recoil from the German composer, given such terminology. It’s not a new coinage of course, but it’s a fairly dubious one. One old acquaintance of mine, on hearing about this event, sent me an email demanding to know: ‘You are not besotted with it, are you??? Are you one of those who travel all over the world to ... (read more)
There was a real sense of occasion at the State Library of Queensland on 15 August when Tony Burke (Minister for the Arts and for Immigration, Multicultural Affairs, and Citizenship) – representing Kevin Rudd – announced the winners of the 2013 Prime Minister’s Literary Awards. Well there might be, when $600,000 of public funds are at stake (the six winners receive $80,000; the shortlisted a ... (read more)
Opera Australia’s spring season in Melbourne opened with two masterpieces by Verdi in his bicentennial year. It was a decidedly rocky pairing.
La Fura dels Baus’s production of Un Ballo in Maschera was first seen in Sydney in January. La Fura is open about its intentions. Assistant director Valentina Carrasco told Time Out Melbourne that ‘it’s not a love story and we want to show that’. ... (read more)