The response has highlighted a disconnect between the feelings of people in these industries, and their ability to address the challenges ahead.
Articles on Opera Australia
Displaying 1 - 20 of 28 articles
Opera Australia’s new production of Turandot has elements of staging and singing to commend – but nothing quite comes up to the level of Young Woo Kim.
Directed by Anne-Louise Sarks, this Carmen is defined by many degrees of contrast: a contemporary retelling of the 19th century opera.
Based on a myth first told in Greece over 2,500 years ago, Hadestown, now playing in Sydney, is a modern retelling of the story of lovers Orpheus and Eurydice.
The past few months has seen the sudden departure of leadership from the Melbourne Symphony Orchestra, Queensland Ballet, Queensland Theatre, Opera Australia and the Adelaide Festival.
From Opera Australia, Sydney Chamber Orchestra and Carriageworks, Gilgamesh, is a visceral retelling of a story from a forgotten age, exploring ideas of love, tyranny and what it means to be human.
A new production by Kate Gaul does not shy away from pantomime silliness.
Our new research has tracked the gender of artists working at Australian opera companies and found evidence of pervasive gender inequality.
In many countries, helpful background information and context is offered to audiences in the accompanying program – why are Australians missing out?
Lockdowns, job loss and university courses struck down: 2020 was a difficult year for Australia’s artists. But there was light through the darkness.
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.
Concert halls may slowly be able to reopen – but difficulties will remain.
Public funding for the arts was not originally intended to be a permanent arrangement. But some economic fundamentals mean that it’s necessary.
A number of measures from both state and federal goverments will offer support to Australia’s arts industry.
Jimmy Chi’s 1990 musical is given its first major stage revival – and leaves the audience singing along.
Die Meistersinger von Nürnberg (The Mastersingers of Nuremburg) is a long, complex work. An ensemble performance by Opera Australia transports Wagner’s 16th-century guild of mastersingers to a modern-day men’s club.
Australian operas have been written about many pressing topics - from the Stolen Generations to the Lindy Chamberlain case - but few have been staged a second time. What is going wrong?
Opera Australia’s new production of Aida features movable LED panels with digital scenery. It’s part of a revolution transforming the art form.
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…
The kinds of voices that can be used in a show like ABC’s The Divorce are certainly not typical of those one would hear in Madama Butterfly. But – and let’s be honest for a second – does it matter?
Top contributors
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Principal Fellow and Professor of Music, The University of Melbourne
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Associate Professor of Vocal Studies and Opera, University of Sydney
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Associate Professor and Principal Fellow (Hon), School of Culture and Communication, The University of Melbourne
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Senior Lecturer in Musicology, University of Sydney
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Honorary Research Associate, Department of Classics and Ancient History, University of Sydney
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Senior Lecturer in Creative Industries and ARC DECRA Fellow, The University of Melbourne
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Professor of Cognitive Science, Western Sydney University
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Professor of Publishing and Audience Studies, Edith Cowan University
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Senior Lecturer in Creative Industries, University of the Sunshine Coast
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Research Associate - Creative Industries, Flinders University
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Lecturer in Spanish Studies, University of Sydney
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Lecturer in Musical Theatre, Western Australian Academy of Performing Arts, Edith Cowan University
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Associate Professor of Musicology and Director of Academic Program, Music, Western Sydney University
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Dennis Altman is a Friend of The Conversation.
Vice Chancellor's Fellow and Professorial Fellow, Institute for Human Security and Social Change, La Trobe University
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Head of Musicology, The University of Melbourne