Allan Clayton as Hamlet and Lorina Gore as Ophelia in Brett Dean’s opera at the Adelaide Festival.
Neil Armfield's production of the Brett Dean opera Hamlet is a confronting three hours in the theatre, but then so is Shakespeare's play. The second act is devastating in its emotional impact.
Livecasting in cinemas is only part of the solution in the struggle to attract larger and younger audiences.
Martin Winkler and Virgilio Marino in Opera Australia’s 2018 production of The Nose at the Sydney Opera House.
Expatriate Australian director Barrie Kosky and Shostakovich's modernist opera The Nose seem made for each other. It was sung in an expressive English translation - and the tap-dancing noses brought the house down.
One way to help opera lose its elitist image is to write new ones in regional accents. But can classically trained singers adapt their style?
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We're told VR will let distant audiences experience live shows from the comfort of their living room – but what if no one goes anymore?
Opera is treated differently to other artforms in Australia.
AAP Image/Tracey NearmyAAP Image/Tracey Nearmy
It is a strange reality but opera as an artform is always given special and arguably preferential treatment by governments and other influential forces in Western society. This happens, it seems, regardless…
Anna Dowsley in The Rape of Lucretia: the story is originally recounted in Livy and has been used since as an allegory of civic virtue and Republican zeal.
An austere, crystalline allegorical opera has been reinterpreted for our contemporary age.
Using the right metaphor in science is important.
Theatre is undergoing a virtual revolution.
Elvis's impressive vocal range and his technical ability made his voice an instrument that even opera singers have lined up to pay tribute to.
Saul at the Adelaide Festival: the early scenes feel like hallucinatory dreamscapes unanchored in space.
With its themes of family dysfunction, love, death, madness and the supernatural, this Old Testament story is ready-made for opera.
Meow Meow stars in Victorian Opera’s ‘Tis Pity.
Pia Johnson/Victorian Opera
Victoria Opera's 'Tis Pity brings a litany of harlots to the stage, but doesn't give its female lead many characters to play with. Indeed it risks capitulating to the very 'male hypocrisy' it seeks to address.
A mosaic of King Roger II: we should celebrate his 12th-century example of inter-cultural collaboration.
Matthias Süßen/Wikimedia commons
A new production of the opera King Roger will open this week. At a time when Europe was charged with fear of the 'Muslim threat', this 12th century king collaborated with an Islamic scholar on an extraordinary project.
Valda Wilson as Theodora: a triumph.
© Robert Catto/Pinchgut Opera
This brilliant production of Handel's Theodora, written in 1750, has great contemporary resonance.
Circus and opera crash together in Cirque de la Symphonie.
Barriers between artforms are tumbling down in three recent productions that mix circus and opera. The shows range from sombre to silly, but all hit magnificent high notes.
New Mozart production set in 1930s Eritrea made headlines when ticket holders in Edinburgh were offered refunds – before the event.
Design for upgrades to the Sydney Opera House Concert Hall.
Courtesy Sydney Opera House
The Sydney Opera House is getting an A $200 million upgrade. It's a chance to rectify some glaring faults, but in our risk-averse times, the outcome will be decided by committees.
Meryl Streep as amateur soprano singer Florence Foster Jenkins…should we celebrate ambition over talent?
Films about incompetent, inspirational flops are popular at present. These strange heroes embody the mantra of our self-help culture: never give up and embrace willpower over talent.
Sex Workers' Opera
Verbatim theatre is being adopted more and more to give a voice to marginalised communities in the hope of instigating social change.
Attempts to explain opera’s affective power have a long history.
Photo: Keith Saunders. (L-R) Voyage to the Moon's Phoebe Briggs, Jeremy Kleeman, Emma Matthews, Sally-Anne Russell.
It seems obvious to say that opera "moves" people. But the question of "how" it moves people is far less straightforward. Cue a new research project pegged to Voyage to the Moon.