After COVID-19 closures, Edmonton Opera presented a contemporary telling of the Greek myth of lovers separated by death.
Performing at the coronation of King Charles III will be just one of many firsts for the activist soprano.
It is 150 years since the birth of the Neapolitan tenor Enrico Caruso.
First performed in 1693, Pinchgut Opera sets this baroque opera in the 20th century – with remarkable relevance to today.
In many countries, helpful background information and context is offered to audiences in the accompanying program – why are Australians missing out?
Many Black audiences are justifiably weary of works about their community told from white perspectives. But authorship isn’t always black and white.
Dr George Ian Ogilvie Duncan was murdered at a gay ‘beat’ in the 1970s. His death was instrumental in South Australia’s decriminalisation of male homosexual acts.
Most of my work takes place in the lab. But recently I became involved with an organisation which allows me to connect with the very people who could one day benefit from my research.
Over 15 seasons, 90% of all opera productions at The Royal Opera credited a male director.
Mzilikazi Khumalo was a brilliant linguist with a stellar career in music. These achievements are extraordinary considering the obstacles he faced throughout his career.
She was a feted opera singer, and Australia’s first celebrity. But there were many sides to Nellie Melba, a complex, clever businesswoman with a rather contemporary take on fame.
Neil Armfield’s production of the Benjamin Britten opera is a triumph of sure-footed direction, subtle vocal shadings, brilliant comic timing and orchestral precision.
Falsetto male pop and opera artists fascinate us with their high voices, but it’s also intriguing to know anyone can find a falsetto sound.
The best podcasts take you inside another person’s head and heart. Here are some summer listens to get you started.
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.
Is music the best medium to respond to traumatic events like the COVID-19 pandemic? A recent history of such pieces suggests maybe not.
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.
A new narration written by Alison Croggon and performed by Eryn Jean Norvill comes together in triumph.