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)

meowweb
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

Victorian-Opera-2017_Tis-Pity_Rehearsal-Photography-(LR)-©-Charlie-Kinross-(71)
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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Cavalleria Rusticana/Pagliacci review (Sydney Opera House, Opera Australia)

cavalleria-ss17-keith-saunders-photo-12-high-res
Opera, Reviews, Stage |
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For more than a century, Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci have been performed as a double bill affectionaly known as Cav/Pag, owing to their similar themes of betrayal, revenge and murder. They also share stylistic similarities, being verismo operas (i.e. the post-Romantic realist period, focusing on “real people” rather than kings, queens, gods or myths), and both

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Sydney on stage: the top 11 of 2016

ALLMYSONSREVIEWweb
Musicals, News & Commentary, Opera, Stage, Theatre |

Despite great uncertainty across the performing arts sector in 2016, there was still plenty of excellent performance in Australia. Over the course of the year, I saw performance in New York, Perth, Adelaide (Mother’s Ruin is brilliant, and a must-see for Sydney Festival), Brisbane (a wonderfully fun staging of A Midsummer Night’s Dream), Melbourne (Lilith: the Jungle Girl was

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Circa’s Yaron Lifschitz – the big arts companies protect no-one by protecting the few

Circa_Il_Ritorno_Photography-by-Chris-Herzfeld-–-Camlight-Productions-©CLP_080915_0590
Dance, News & Commentary, Opera, Stage, Theatre |

Yaron Lifschitz, CEO of the Brisbane based circus gave a speech in Sydney at a Currency House Creativity and Business Breakfast last week that challenged the major 28 arts companies (who include the major theatre, ballet and opera companies) that make up the Australian Major Performing Arts Group (AMPAG) to demand their funding pool be opened to anyone who

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The Major Performing Arts companies respond to Yaron Lifschitz’s challenge

presentweb
Dance, Live, Music, News & Commentary, Opera, Stage, Theatre |

Last week the CEO of the circus/theatre company Circa, Yaron Lifschitz, threw down a challenge to the 28 major arts companies that make up the Major Performing Arts Group (AMPAG).  In a speech delivered in Sydney at a Currency House Creativity and Business Breakfast he challenged these companies (who include the major theatre, ballet and opera companies) to demand their

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Survey reveals live music and theatre have suffered a huge hit at the Australian box office

Totem-WEB

Live Performance Australia has released its annual ticket attendance and revenue survey for 2015, revealing a decline in ticket sales across the sector after two years of growth. Just over 18 million tickets were issued to live performance events in 2015, generating total ticket sales revenue of $1.4 billion. When compared to 2014, revenue is down

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