Artikel-artikel mengenai Opera

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Martin Winkler and Virgilio Marino in Opera Australia’s 2018 production of The Nose at the Sydney Opera House. Prudence Upton

Barrie Kosky’s nose for the inventive and surreal makes for an outstanding production of The Nose

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.
Opera is treated differently to other artforms in Australia. AAP Image/Tracey NearmyAAP Image/Tracey Nearmy

Does opera deserve its privileged status within arts funding?

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…
Saul at the Adelaide Festival: the early scenes feel like hallucinatory dreamscapes unanchored in space. Tony Lewis

Barrie Kosky’s Saul: a masterpiece of operatic staging

With its themes of family dysfunction, love, death, madness and the supernatural, this Old Testament story is ready-made for opera.
A mosaic of King Roger II: we should celebrate his 12th-century example of inter-cultural collaboration. Matthias Süßen/Wikimedia commons

What can the medieval King Roger teach us about tolerance?

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.
Circus and opera crash together in Cirque de la Symphonie. Daniel Aulsebrook

Sequins and symphonies: how opera ran away with the circus

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.
Design for upgrades to the Sydney Opera House Concert Hall. Courtesy Sydney Opera House

The Sydney Opera House upgrade deserves a single guiding vision

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.
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.

Voyage to the moon, opera and the voyage of human emotion

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.

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