Four sopranos, two rivals, one intriguing new recording.
Lots of interesting questions were raised by this 'opera' in Melbourne's Fed Square, but the execution was imperfect – and Melbourne's weather certainly didn't help.
Hosted and conducted by Dane Lam, Queensland Symphony Orchestra's Opera Gala was one of exceptional quality, showcasing the talents of four of Australian opera's most exciting voices in a first-class concert program.
Elizabeth Lewis tells an extraordinary story and describes her collaboration with Brenton Broadstock.
The world premiere of this new Australian opera – a work that prompts dread as well as wonder about humanity's relationship with the natural world – was an enormous triumph, artistically and logistically.
Review: Hans Winterberg: Symphony No 1, Piano Concerto No 1 & Rhythmophonie (Berlin Radio Symphony Orchestra, Johannes Kalitzke)
Another interesting voice emerges from the melee of the mid-20th century.
Digital Stage launches with a library of free, paid and on-demand performances, and with great aspirations for bringing the best of Queensland to audiences around the world.
A gilt-edged ensemble of soloists with superlative all-round ability and stamina deliver a performance of dramatic power and grim beauty in Verdi's seldom-seen five-act Don Carlos.
Vick and Wellber’s anti-Parsifal has much to say that needs saying.
Australian opera’s star couple reflected on their amazing careers and lives together with repertoire that inspired them in an intimate, well-presented and received recital.
Review: Olga Neuwirth: Orlando (Kate Lindsey, Anna Clementi, Eric Jurenas, Justin Vivian Bond, Wiener Staatsoper, Matthias Pintscher)
Neuwirth bends more than just gender in her bold new Woolf work.
The marriage of music and breathtaking landscape proved a magical experience for audiences, and for the musicians and singers.
International acts return for the first time in two years, alongside 20 world premieres, with more than half of the 500-odd performances offered free of charge.