Opening traditional theatres and smaller venues may not be physically or financially viable. But with winter coming and the arts industry floundering, something needs to be done.
Opera Australia has been hit hard by the pandemic’s economic impact. It’s time to rethink our approach to funding opera, with a focus on local companies.
Policy makers and arts sectors together need to reimagine how we might organize contracts, leverage networks and change supports to create more long-term opportunities for arts workers in Canada.
While the name of the season - now online - suggests breaking through opera’s glass ceiling, the violent imagery fits the context of ecological disaster, inequality, mental illness, and dystopia.
Vivaldi’s Farnace is a masterpiece of 17th century opera, but has been largely forgotten. This new production is the best revival production by Pinchgut Opera yet.
Princess movies and opera alike reveal the limited number of models available to women. “Le Dernier Sorcier”, composed by Pauline Viardot in 1869, shows that a much richer world is possible.
A new opera focuses more on the personal life of artist Brett Whiteley than his artistic creations. As the opera reveals, a life like Whiteley’s does not offer a clear moral message.
Gioachino Rossini’s opera was originally meant as a satire of royalist France. A new production updates the work for a modern audience, setting the drama in a museum where the paintings come to life.
Despite the exclusion of their creative work from mainstream opera companies, Australian women composers are creating spaces for themselves, writing work that tackles urgent social issues.