Ahead of Opera Australia's upcoming Lohengrin, Warwick Fyfe looks back at his lifelong love of Wagner.

Greg Eldridge argues that with OA and VO looking for new artistic directors, there is much to discuss about the future role of opera companies in Australia.

Anna Dowsley fell asleep when she was taken to see her first opera but she still decided to train as a singer. Clive Paget talks to the Australian mezzo-soprano whose European career is taking off.

Arrigo Boito is best known as the librettist for Verdi's Otello and Falstaff, but he was also a composer. As Opera Australia prepares to stage his only opera, Mahima Macchione traces his career.

The editors of Limelight share their selection of the most exciting classical music, opera and theatre events coming soon.

The Melbourne theatre stalwart talks about the unique proposition of playing the voice of Cohen in Australian Contemporary Opera Co's 'Book of Longing'.

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.

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?

A round-up of our recent news reports.

Should Victorian-era melodrama give way to deeper explorations of the author's intent in staging legacy operas?

In an opinion piece in the Sydney Morning Herald, Cat-Thao Nguyen said she left OA's Turandot after Act 1 feeling "utterly sick" at the racism. We look at the complex issue.

Opera’s gendered violence is a complex issue, with no easy fix