Carmen’s rebel creatives strike back at Opera Australia over major changes

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News & Commentary, Opera, Stage |

Last week, three key members of the original creative team for Opera Australia’s Carmen on Sydney Harbour spoke out about their exclusion from this year’s remount of their 2013 production. OA was quick to fire back that the company: “employs a wealth of talented directors and craftspeople who painstakingly and lovingly present these productions as true

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‘Matilda’ dominates 2016 Green Room Awards

Matilda Trunch

Tim Minchin’s Matilda the Musical has continued its winning streak at Australia’s awards ceremonies, picking up eight Green Room Awards, including Best Production of a Musical. Other big winners of Melbourne’s premier performing arts awards included Opera Australia’s Ring Cycle, which won six awards, including Best Production of an Opera, and Melbourne Theatre Company’s Miss Julie, which won

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Carmen review (Handa Opera on Sydney Harbour, 2017)

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Opera, Reviews, Stage |
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Director Gale Edwards’ spectacular, smart, and wildly entertaining 2013 staging of Carmen is the first production to be revived for Handa Opera on Sydney Harbour. Revisiting the production, it’s clear to see why. Edwards and her team found the perfect balance between spectacle and nuance — and given the scale of the glitzy annual event, that balance

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Opera Australia’s Carmen creative team speaks out

CARMENJAMESMORGANweb
News & Commentary, Opera, Stage |

Director Gale Edwards, set designer Brian Thomson and costume designer Julie Lynch have delivered a slapdown to Opera Australia just two days before its multimillion-dollar production of Carmen opens on Sydney Harbour. In a statement sent to media this afternoon, the trio, who directed and designed the original Carmen on Sydney Harbour in 2013, have said that they cannot

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GALLERY: Victorian Opera’s Sleeping Beauty comes to life with extraordinary puppets

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News & Commentary, Opera, Stage |

Most of us think we know the story of The Sleeping Beauty. The fairytale has its roots all the way back in the 14th century, and has been imagined and reimagined time and again, perhaps most famously in Disney’s 1959 animated film. But within this fairytale about a sleeping young princess waiting for true love’s first kiss lies a dormant,

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Inside Opera Australia: foreign singers favoured while creative teams ‘disrespected’

OPERAweb
News & Commentary, Opera, Stage |

There’s growing disquiet in the Australian arts community over Opera Australia’s apparent push towards the casting of foreign singers in prize roles, while creative teams appear to have been “locked out” out of revivals of productions they had originated for the company to great acclaim. Daily Review has spoken to numerous former and current OA artists who say they’ve been “disrespected” by the

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Melbourne’s Green Room Awards’ very long list of nominations

Matilda Trunch
Dance, Musicals, News & Commentary, Opera, Stage, Theatre |

The Green Room awards — possibly the world’s most comprehensive performing arts awards — has announced the nominees for its customary mammoth list of categories: cabaret, contemporary and experimental performance, dance, independent theatre, music theatre, opera, and theatre companies. Each of these categories has up to ten separate sub-categories. The nominee list this year contains over 330 names of individual

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‘Tis Pity (Melbourne Recital Centre)

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Opera, Reviews, Stage |
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‘Tis Pity She’s a Whore is the title of a play by a near-contemporary of Shakespeare, John Ford, and An Operatic Fantasia on Selling the Skin and the Teeth is the subtitle of the new collaboration between Meow Meow, director Cameron Menzies and composer and librettist Richard Mills. Mills’s program note points out that performing

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Kanen Breen: collaborating with Meow Meow and why opera needs to adapt or die

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News & Commentary, Opera, Stage |

Kanen Breen has been one of Australia’s busiest opera singers for the last decade, performing with almost every major opera company in the country, but he says he’s never been in a rehearsal room quite like the one for ‘Tis Pity, Victorian Opera’s brand new “romp that goes awry”. It marks Breen’s first collaboration with Australian cabaret

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