Half-truths are rendered in sonic half-light in this evocative new account from Roth and Les Siecles

Shaun Rennie discusses his work as Assistant Director on Phantom of the Opera on Sydney Harbour and the challenges posed by torrential rain, wild winds disrupting the use of the cranes, COVID and his unexpected appearance.

Tchaikovsky's final opera gets a clever and thoughtful reworking that gave Iolanta the chance to tell her own story.

An extraordinarily ambitious production gives Weill and Brecht’s limited works their best imaginable presentation.

Five new appointments have been made to the board as the federal government prepares for the election.

David Lang's opera is a fascinating, thought-provoking work even if it doesn't quite work as a live performance.

Simon Stone creates a visceral Viennese Wozzeck for today.

There's not much about the Phantom that Guy Simpson doesn't know, having worked on 15 productions since 1990, so how has he approached OA's Sydney Harbour production?

For the first time since the scholarship was introduced in 2008, two mid-career designers have been honoured.

The Western Australian soprano discusses her role in WA Opera's Iolanta, which centres the lived experience of the blind and vision impaired community, and the language challenges inherent in opera.

This new work plays with centuries of expectations around women’s roles in opera.

Industry researchers say 2022 Budget ends COVID support far too early, as an especially dire picture emerges for film and television and for regional arts.