Opera
Opera Australia's short spring season in Melbourne began with the first revival of David McVicars's highly resuscitable production of Le nozze di Figaro 
, first seen in Sydney in August this year. It follows the British director's Don Giovanni
Michael Halliwell reviews 'The Rabbits' (Opera Australia/Barking Gecko Theatre Company)
Australia is being overrun by a rabbit phenomenon, but not of the annoying, four-legged variety. It’s The Rabbits: the opera, the musical, the song cycle, or what? Does it matter?
Premièred to highly positive reviews at the Perth Festival in February this year, it has now reached the Melbourne Festival. Some have seen in the success of this wo ...
Good and evil, damnation and salvation, love and death, virtue and folly: State Opera of South Australia’s pairing of Gounod’s five-act grand opera Faust () with Verdi’s momentous opera cum oratorio Requiem
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Amongst the seventy works composed by Gaetano Donizetti (1797–1848), only three, The Elixir of Love, Don Pasquale, and Lucia Di Lammermoor were regularly performed in the first half of the twentieth century, and the most popular of these, Lucia, was often presented in truncated form. After World War II, a burgeoning recording indu ...
British director, Nicholas Hytner, remarking on its indestructibility, once observed that one could set The Marriage of Figaro on the moon as long as the doors were in the right place. In fact, not such a strange idea, as Mozart’s great contemporary, Joseph Haydn, had set his opera Il mondo della luna (‘The World on the Moon’) exactly there.
...In the argument over the programming of Broadway musicals by Australia’s opera companies, it is usually assumed that audiences know the difference between the two forms. But even superficial markers can be misleading. Bizet’s Carmen (1875) uses dialogue and song forms that are traditionally associated with the musical, but is classified as an
... (read more)‘In my Eden a person who dislikes Bellini has the good manners not to get born,’ wrote W.H. Auden in his poem ‘Vespers’ (1954). Like much of Auden’s table-talk, this may seem rather extreme, but those who attended last Thursday’s concert version of Vincenzo Bellini’s I Puritani may have gone away with similarly exclusive thoughts.
Though ...
Writing to a friend in 1898, Giuseppe Verdi said of Rossini’s The Barber of Seville:
You may say things about Rossini and they may be true regarding the borrowings, the speed of composition and so forth, but I confess that I cannot help believing ‘The Barber of Seville’ for abundance of ideas, for verve and for truth of dec ...
A music teacher in Thomas Mann’s early novel, Buddenbrooks (1900), when presented with some piano arrangements of Tristan und Isolde, recoils in terror: ‘I won’t play this ... This is not music ... It is pure chaos! It is demagoguery, blasphemy, and madness! It is the end of all morality in the arts. I will not pl ...
Passion and politics often go hand in hand – and never more so than in Don Carlos, arguably Verdi’s greatest opera. Based on the historically questionable play by Friedrich von Schiller, it is certainly the composer’s grandest and most ambitious work and the most demanding of his career. Because of church and state inte ...