Pasticcio it may be but Vivaldi's Bajazet is more than the sum of its parts.
Clive Paget and Pinchgut Opera’s Erin Helyard consider who was the real winner. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Two hours of unrelieved Franco-Germanic suffering proves surprisingly sublime. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Nothing makes a bad opera like a bad libretto. Luckily Gluck knew a thing or two...
Tyrants, lovers and fools aplenty to be found two rarely performed operas premiering in Australia.
Sweeping the cobwebs from one of Salieri's smuttier masterpieces.
History rapidly forgot him and 'Amadeus' sought to paint him black but who was this much-maligned composer?
Jean-Philippe Rameau’s Tragédie en musique Castor et Polluxreceived merely a lukewarm reception when it was first performed at the Paris Opéra in 1737. However, its 1754 revision turned out to be a complete triumph. That’s the version Australia’s Pinchgut Opera presented in Sydney, December 2012, from which live performances this recording was assembled. One of Rameau’s most popular operas, containing music of exceptional quality and beauty, it’s surprising this was the first time the work had been performed in Australia in its entirety. Better 258 years later than never, I suppose. It is also of great comfort that this is such a fine interpretation. The story is straightforward. The immortal Pollux offers to marry his deceased mortal brother’s widow, Télaïre. She’d rather have her husband back, which request Jupiter agrees to grant providing Pollux takes his slain brother’s place in Hades. Castor’s filial love is too strong, however, and he insists on spending one day only with the grieving Télaïre. Impressed, Jupiter makes Castor immortal as well and both brothers are placed among the constellations as the heavenly twins. Conductor Antony Walker and harpsichord continuo player Erin Helyard are fully conversant with the style of the French Baroque, and the…
David Hansen takes the philandering title role in a 400-year-old opera receiving its Aussie premiere next month.
Pinchgut Opera explores Rameau’s bizarre operatic love triangle. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Hobart Baroque brings Covent Garden to early music festival putting Tasmania on the map. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Why director-driven travesty beats bland traditionalism in opera any day.
Australian countertenor David Hansen might be the first male singer in over 250 years to tackle the role of Ottone.