Review: Peter Grimes (Teatro alla Scala)
When three Australians appear on the same bill at one of the world’s most prestigious opera houses, it’s an occasion worthy of celebration.
When three Australians appear on the same bill at one of the world’s most prestigious opera houses, it’s an occasion worthy of celebration.
Ahead of his performances for Opera Australia, the world’s number one tenor Jonas Kaufmann talks about his highly anticipated role debut and upcoming season.
In the Awards’ 60th year, six young Australian artists win opportunities to work in some of the world's most esteemed opera houses.
A round-up of our recent news reports.
This month’s performance highlights from ABC Classic, independent radio and streaming.
The Italian operatic giant offers a new digital streaming platform as part of a larger plan to bring the venerable house into the modern age.
The October 2018 issue of Limelight Magazine is now on sale featuring Daniel Barenboim, Karina Canellakis, Teatro alla Scala Ballet Company, and much more.
Audience members who have flouted the house’s dress code have been offered a unique solution.
Steve Davislim's Tito will also be among the highlights to catch the ears of Aussie audiences.
The Italian maestro conducted the Chicago Symphony in Milan 12 years after his controversial bust-up.
Verdi’s monument to a fellow hero of the Risorgimento and his fraught relationship with the Church must strike a chord with Daniel Banreboim drawing parallels with his friendship with Edward Said and interest in Israeli-Palestinian politics. Twety years ago he set down an exciting dramatic account in Chciago but thsoe optimistic days are past; this new recording is a lment for our troubled times – the tone is darker, almost opressively so. Mustival values are better served in chciago whereas spiritual matters are to the fore in Milan; the idfferent characters of the forces are the key – symphonic versus operatic. Despite the presence of Domingo in Chicago the new bunch of soloiosts are superior. Harteros’ vibrant voice can turn pure and gleaming when required and Garanča sounds marvellously rich and idiomatic. Pape is suitably imposing, intelligently singing “on the words”. Kaufmann might sound too teutonic for some ears (not mine) and his vocal production is so worryingly tight that one hopes it doesn’t all go p ear-shaped with overwork. Barenboim’s grasp of long term structure makes this performance work. Whiel there are some tremendous hell-raising moment eh eschews sensationalist effects in favour of a compassioante vision. Whilst… Continue reading…
Milan’s opera house defends conductor Daniel Harding after newspaper prints personal attack. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
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