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From lettuce fields to opera stages – the brilliant journey of Helen Sherman

How does a young girl growing up on a lettuce farm in rural New South Wales, surrounded by the quiet rustle of leaves and the hum of daily farm life, go on to become such a powerful voice on the operatic scene? This is the unlikely beginning of Helen Sherman, the Australian-British mezzo-soprano who has taken the world of opera by storm. Sherman’s musical journey began at the Sydney Conservatorium of Music, where her extraordinary voice started to attract attention. It wasn't long before her ambition led her to the prestigious Royal Northern College of Music (RNCM) in the UK. There, she honed her craft, setting the stage for a remarkable career that would see her representing Australia at the BBC Cardiff Singer of the World competition and the Francisco Viñas International Singing Competition. Sherman's rise to operatic fame has been nothing short of meteoric. Her versatility and talent have seen her perform a wide range of roles across the globe. Recent highlights include Flora in La traviata at the Royal Opera House, Covent Garden, and Octavian in Der Rosenkavalier and Cherubino in Le nozze di Figaro with Opera North. Her portrayal of Tamiri in Farnace with Pinchgut Opera and Dorabella in Così fan tutte at Teatru Manoel in Malta further cemented her reputation as a mezzo-soprano of extraordinary range and depth. One of Sherman’s standout performances was her interpretation of the title role in Carmen with the State Opera South Australia. Her embodiment of Carmen’s fiery spirit and complex emotions captivated audiences and critics alike. Equally compelling was her portrayal of Giulio Cesare with Bury Court Opera, a role that showcased her ability to navigate the demanding vocal and dramatic challenges of baroque opera. In 2024, Sherman’s calendar is as busy as ever, as she will be singing Dorabella in Così fan tutte and Mistress of the Novices in Suor Angelica for Opera Australia, roles that promise to highlight her versatility and emotional depth. <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Over60 was lucky enough to be able to interview Sherman in the lead-up to her Sydney performances of <a href="https://opera.org.au/productions/il-trittico-sydney/" target="_blank" rel="noopener">Il Trittico</a> and <a href="https://opera.org.au/productions/cosi-fan-tutte-sydney/" target="_blank" rel="noopener">Così fan tutte</a>: O60: How did you become an opera singer after growing up on a lettuce farm in rural NSW? “It was quite a journey. My father was an incredible piano accordionist (think Flight of the Bumblebee, Malagueña etc). In the 1970s his teaching studio in Bathurst peaked at about 40 accordion students, which I think is quite remarkable. After his father died, Dad stepped back from his teaching to take over the family farm, though he still plays to this day. “My mother is a music lover, and wanted her children to have the opportunity to explore creative outlets that she wasn't fortunate enough to explore in her youth, so my brother, sister and I all had lessons in piano accordion, piano, dancing, drama and singing. We were fortunate to live in a town that had many thriving arts organisations, such as the Dolly McKinnon School of Dance, Bathurst Eisteddfod Society and Mitchell Conservatorium of Music. “Bathurst's Carillon Theatrical Society (for which my dad's cousin, the late, great, Carole Eastment, was choreographer) afforded us the opportunity to be part of full-scale classic musical productions. I was also fortunate to attend MacKillop College, a local Catholic high school of humble proportions, that had a very passionate and resourceful music teacher, Mr David Eyles. Thanks to him, students like me were able to star in wittily re-written and orchestrated G&S productions. With such a plethora of opportunities at my feet, my love of the stage was pretty much pre-determined. “Upon graduating high school, aged seventeen, I moved to Sydney to take up a place at the Sydney Conservatorium of Music, where I completed a Bachelor of Music and a post graduate diploma in opera. At this stage, I wasn't really in love with opera, that came later, when I found myself covering third novice in OA's 2007 production of Suor Angelica. “During the last studio run of the show, mere metres away from me, star soprano Cheryl Barker was singing the final solo notes of the title role: ‘Madonna! Madonna! Salva me! Salva me!’, tears streaming down her face, and the most incredible voice soaring out; I had chills all over my body and in my soul, and I have loved opera ever since.” O60: You were based in London for years; how did you find the opera world overseas versus in Australia – in both your studies and performing? “I guess the main differences are that the UK scene is a bigger one with more companies and more music schools; a more international one, that students and professionals from around the world flock to, and one with – historically – more financial backing and patronage. However, the scene in the UK has suffered dramatically in the last few years, particularly with the effects of Brexit compounded by COVID, cost-of-living crisis and embarrassingly ignorant cuts made by the Arts Council. “Generally, abroad, there are many more opportunities for musicians, but many, many more musicians competing for them. It is an awe-inspiring thing to meet and work with musical idols like Roger Vignols, Julius Drake, Yvonne Kenny etcetera, to sing a piece of music in the venue in which it premiered or was composed for; to tread the same cobblestones that the likes of Mozart and Handel trod and to delight in the discovery that the shoes or trousers you're wearing in a production bear the name of the likes of Dame Sarah Connolly.” “However, I would say that there is plenty of exciting stuff going on in Australia and an optimism and openness in the Australian people, which is impactful on our industry and its creative output. “More needs to be done in our country to insure all children are given creative learning outlets for the benefit of their development, their communities and for the future of our industry.” O60: Why did you return to Sydney and how are you enjoying it? Any future plans to head back overseas? “After a health scare in 2022 that forced me to cancel all my work, my husband received a job offer to relocate to Sydney. It felt like the universe was opening a door for us, so we gladly walked through it, and onto a flight to Sydney in mid 2023. I have felt welcomed (back!) with open arms both personally and professionally and I have no imminent plans to return abroad, at this stage.” O60: You’ve appeared in many staged productions as well as concerts. What do you like about these two types of performances? “Concert performances are a chance to home in on the music and the words without worrying about physical action. Staged productions afford the performer the luxury of inhabiting and exploring a character, physically, right down to their shoes and petticoats. Both are wonderful ways of working and some works naturally lend themselves to one or the other – though, I think for opera, context is key, and can be a challenge to properly manufacture on the concert platform.” O60: Tell us about your two characters and how do you prepare for performing two roles in different operas in the same season? “I've been playing the role of Mistress of Novices in Suor Angelica and am currently preparing the role of Dorabella in Così fan Tutte. One is a senior nun and the other an excitable teenage girl, so they are rather disparate. “The big challenge is in the early days of learning and memorising the role. Once you have a grasp of the music, the libretto and who you are, it's about showing up and reacting to your world. Preparing disparate roles concurrently can be a vocal challenge, since tessitura and vocal gesture have a big impact on how one might approach a score. I like to keep in touch, daily, with technical exercises that encourage economy and flexibility in my voice, especially when I'm working on contrasting roles. Thankfully, the human voice is a very sensitive instrument and responds intuitively to intention and emotion, so developing the character arc and subtext helps a lot with that. O60: What should audiences be watching and/or listening out for Il Trittico versus in Così fan tutte? “There's so much to enjoy so let it wash over you in broad, beautiful, very human brushstrokes!! Or, if you love little details, in Il Trittico see if you can spot which singers appear in all three operas and watch out for Frugola's bag of strange objects in Il Tabarro. You'll learn a lot from the body language and small glances between characters in the world of Suor Angelica, and in Gianni Schicchi, well, I am told there is a very interesting door stop! “In Così fan Tutte, listen out for the way Mozart creates subtext for his characters; tiny details, like Dorabella needing to sing a third higher than Fiordiligi (because she is the competitive younger sister!) when emotionally fraught in some of their act one recitatives! Mozart is a genius of musical detail!” O60: Do you have any dream roles you’re yet to perform? “There are too many to list, but I adore the role of Octavian in der Rosenkavalier by Strauss (a role I have sung, but would love to revisit) and I would love to sing Ariodante by Händel.” --- <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;"><span style="color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px;">Click here for more information on <a href="https://opera.org.au/productions/il-trittico-sydney/" target="_blank" rel="noopener">Il Trittico</a> and <a href="https://opera.org.au/productions/cosi-fan-tutte-sydney/" target="_blank" rel="noopener">Così fan tutte</a>.

Music

What it's like to play the baddest opera villain in the world

As we mark the 100th anniversary of Giacomo Puccini’s passing, Opera Australia is pulling out all the stops to celebrate the legendary Italian composer with two of his most celebrated works at the iconic Sydney Opera House this winter. Kicking off the season is Edward Dick’s five-star production of Tosca, which had its opening night on June 25. This electrifying new take on Puccini’s action-packed thriller is captivating audiences with its compelling narrative and intense emotional depth. Tosca unfolds over a swift 24-hour period, weaving a tale of passion and power, jealousy and betrayal, love and tragedy. It's a perfect introduction to opera for newcomers and a beloved classic for seasoned fans, promising an edge-of-your-seat experience. Renowned for his ability to breathe fresh life into classic works, Director Edward Dick has assembled an award-winning creative team to deliver a visually stunning production. Tom Scutt's set design brilliantly juxtaposes Renaissance grandeur with contemporary elegance, featuring a suspended gilded dome revealing a breathtaking Renaissance fresco. BAFTA-winning costume designer Fotini Dimou dresses the performers in chic, modern attire, while Lee Curran's stadium-style lighting adds a dramatic flair. The cast is equally stellar. Making her Opera Australia debut, Northern Irish soprano Giselle Allen has taken on the titular role of Tosca, sharing the stage with OA favourite Karah Son, who received critical acclaim for her performance in Melbourne. Joining them is Korean tenor Young Woo Kim, debuting at the Sydney Opera House as the love-struck painter Cavaradossi. The role of the villainous Scarpia will be portrayed for the first half of the show's run by Armenian dramatic baritone Gevorg Hakobyan, also making his OA debut, until award-winning local baritone Warwick Fyfe takes over the role for the second half of the run, beginning on July 31 until the run's conclusion on August 16. Over60 was thrilled to be given the chance to interview Fyfe in the lead-up to his Sydney performance. O60: Firstly, by way of an introduction to Warwick Fyfe the Australian Helden bass baritone – can you summarise your career? Fyfe: “In Yes, Minister, Sir Humphrey once – referring to Bernard – used the expression “a low flyer supported by occasional gusts of hot air”. I suppose I’m a bit like that. But I have a single major achievement, to wit: I’m still here! Over several decades I’ve seen hot shots come and go and change careers but I’m still earning a living at singing. Moreover, I think I might at last be getting the hang of it.” O60: What is your history with this opera Tosca by Puccini? Fyfe: “I sang the Sacristan in the 1995 Victoria State Opera production. That was the start. The director John Copley was very supportive and taught me a lot. Also, I got to know the great John Wegner, having previously only seen him from the auditorium. He was a great influence even though he and I were very different. I’d watch him every night from the wings during Act 2. Then years later, having done countless Sacristans, I did a Scarpia of my own, taking over from John at the tail end of a season. Then in 2022 I was to sing Scarpia for West Australian Opera. Alas, the season was severely damaged when I caught Covid. I only did the first and last shows and not very well. This current production allows me at last to put my stamp on the role and do it properly. It went well in the Melbourne run.” O60: How do you approach learning the role of Scarpia and connecting with a villainous character? Fyfe: “Tosca is very standard repertoire and additionally I was the Sacristan early in my career so that I had an osmotically acquired sense of the thing from early on. Also, the donkey work of learning and memorising the notes and words is a task of only moderate proportions with this role. So one just sits down at the piano and starts hacking away at it. “The other two bits of the equation (which can’t actually be separated) are the singing of the role and the inhabiting of the character. Vocally, it requires that I be at peak form. I can sing it much better than when I was young but it requires much more conscious effort to sustain it. My teacher Christina Henson Hayes has helped me enormously on that front. “Dramatically, it’s almost always possible to find in some dark recess of oneself something which is reflected in the character. Having found this way in, one can push it and stretch it and eventually pop out like a newborn into the new fictional world where that person lives. But equally important, especially for the in-the-round, creaturely and not at all stylised characters of verismo, one needs to have lived and absorbed that which is around one. Read good books, watch great actors – not in an ad hoc sense but generally. Be a cultural sponge. Make reading good books and watching great actors as constant and inevitable a part of life as eating. Read everything, listen to everything, observe everything. If the singer has no cultural hinterland, it is to be hoped that the director is a magician!” O6O: You recently performed in this production in Melbourne’s Margaret Court Arena – the first opera to be staged on the tennis court. How did you find that experience and will anything about your performance be different for the Sydney season? “Well, it was lovely because all my colleagues were lovely. As well as all my Opera Australia chums, there were people new to me such as Nadine Benjamin and Young Woo Kim – people so warm and friendly, not to mention talented, that one feels almost abashed and instinctively tries in response to be the best colleague one knows how to be. “Nevertheless, I’m a traditionalist who believes that opera will always be better for all concerned in a conventional, properly appointed theatre. Opera singers do not like being miked. For me, however good the technicians, the sense of one’s sound being only partially in one’s own control is uncomfortable. On the other hand, feeling one’s voice commanding a huge space as if one were a Rabelaisian giant is quite thrilling and of course it opens up possibilities for the company commercially.” O60: Opera Australia is presenting several Puccini works this year in celebration of the legendary composer as 2024 marks the 100th anniversary of Puccini’s death, so let’s chat about Puccini’s contribution to the world of opera. He was a champion of verismo; can you explain what that means? What should audiences expect from the performance? “Verismo is simply realism. Characters presented in the round rather than as two-dimensional types or figures of heightened allegory. In place of a stylised, artificial or high-flown approach, the composers wished to present real people in plausible dramatic settings. Of course this presents an apparent contradiction because in real life we don’t sing at each other. However, in practice you can have your cake and eat it because the genius of Puccini, from a starting point of a verisimilitudinous situation and story, can take it to another plane of intensity and power. But the roots in reality are unbroken. That reality is in the DNA of every cell of the artwork which rises majestically from those roots. Hence the opera feels real despite the built-in artificiality of the art form. By contrast, a composer of another era and school might take his subject away from reality to a more rarefied place. Audiences should expect an intense, purely human drama.” O60: Puccini is known for his innovative use of the orchestra and an expansive use of instruments; what should audiences be listening for when they come to Tosca? “Different composers have their preferred palettes. This also varies on national as well as individual lines. As Puccini is the supreme figure in verismo, he IS the archetype so that I can answer the question in a circular way by saying that it will sound very Italian, very verismo. Lush, yes, but a Puccinian version thereof rather than a Straussian one. “There are also exquisite touches, sort of musical special effects used judiciously and sparingly enough so as not to seem gimmicky. For example, the bells and spoken Latin of the Te Deum or the distanced effect of the oratorio in Act 2. The arias are of course high points but much of the interest lies in the meat connecting those moments.” O60: Which of Puccini’s works is your preferred or do you find one most revolutionary? “For brutal intensity, Tosca represents the high-water mark, especially Act 2. I love the kaleidoscopic richness of Turandot. The story is horrible but this is not a negative if one accepts it as a fable which has different rules from those applying to a pungently realistic tale. Also, Turandot is structurally flawed because he didn’t finish it. It is, however, musically astonishingly good. If you said I had to see a Puccini opera tonight but I could choose which one, I’d definitely choose La Fanciulla del West. Not only is it a masterpiece, it doesn’t get done nearly enough.” --- Don't miss this extraordinary celebration of Puccini's legacy. Whether you're an opera aficionado or a first-time attendee, this production of Tosca is set to be an unforgettable highlight of the cultural calendar. Get ready to be swept off your feet by the sheer drama, passion, and beauty of Puccini’s masterpiece. Visit <a href="https://opera.org.au/" target="_blank" rel="noopener">https://opera.org.au/</a> for more info. Images: Opera Australia

Music

West Side Story returns to Handa Opera on Sydney Harbour

Get ready to snap your fingers, tap your toes and experience the magic of Broadway in Sydney as Opera Australia presents the electrifying musical extravaganza West Side Story – making its triumphant return to the Handa Opera on Sydney Harbour stage in 2024. The 2019 production of West Side Story, if you were fortunate enough to grab seats, was an absolute smash hit. With record-breaking ticket sales and rave reviews, it's no wonder this show stole the hearts of over 65,000 theatre and musical buffs. Directed by the incomparable Francesca Zambello, West Side Story promises to once again whisk audiences away to the bustling streets of New York City, complete with iconic songs, heart-pounding dance numbers, and enough drama to fill the harbour twice over. Leonard Bernstein and Stephen Sondheim's musical masterpiece will once again take centre stage, accompanied by Jerome Robbins' legendary choreography – and this year, we were fortunate enough to be able to pose a few pre-performance questions to none other than Guy Simpson, the show’s musical director, and the all-singing, all-dancing Wayne Scott Kermond, who is playing “Doc” onstage. Let’s raise the curtain and see what they have to say! <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Guy-Simpson.jpg" alt="" width="1280" height="720" /> Guy Simpson Guy Simpson, a seasoned musical director with nearly 45 years of experience, boasts an illustrious career spanning global productions. Notably, his involvement with iconic shows like Miss Saigon and The Phantom of the Opera has taken him across continents, from Australia to Asia and beyond. Simpson's extensive repertoire includes serving as Musical Supervisor and Director for Opera Australia's acclaimed productions such as Evita, My Fair Lady, and of course West Side Story. Additionally, his contributions as an orchestrator and producer of cast recordings further solidify his stature in the musical theatre realm. With credits ranging from beloved classics like Les Misérables to contemporary hits like Muriel's Wedding, Simpson's versatile talent continues to enrich the world of musical theatre on an international scale. OverSixty: What memories do you have of your first time working on West Side Story – when was it and what was the experience like? Guy: “I was a rehearsal pianist for the 1983 production of West Side Story. The conductor was Dobbs Franks, who came from the US to conduct the first production of the show in 1960. So I was lucky to learn the show from him. I wasn’t in the orchestra and had tickets to watch opening night but during the afternoon of that day I received a call to play in the orchestra that night because the pianist was unwell. I’ll never forget that! Since then I have conducted three seasons of the show and learn more and more about it each time.” OverSixty: What were Bernstein’s influences and what impact did Bernstein’s score have when the musical first premiered? And why do you think it remains so recognised today? Guy: “Bernstein was influenced by many things. There is an <a href="https://www.wrti.org/arts-desk/2018-08-23/the-surprising-backstory-to-west-side-story" target="_blank" rel="noopener">excellent article by Debra Lew Harder</a> that outlines these influences. I love the combination of Jewish themes, Puerto Rican rhythm, Mexican dance music and of course American jazz. His classical roots also come in here – especially the music of Aaron Copland and George Gershwin. The genius is Bernstein's ability to blend all this into a score that tells the story so brilliantly." OverSixty: What’s your favourite moment in the music that audiences might not always notice but could listen out for? Guy: I like what is known as ‘THE BALCONY SCENE’. Most people will know it as the iconic love duet ‘TONIGHT’. In the show this scene moves between spoken dialogue (with underscoring), into the song and back into dialogue in a wonderfully cohesive way. It is so well crafted and is quite a challenge for the conductor to fit the music with the dialogue in a seamless way. I also love the scene in the bridal shop that includes the song ‘ONE HAND ONE HEART’. <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Wayne-Scott-Kermond-as-Doc.jpg" alt="" width="1280" height="720" /> Wayne Scott Kermond Wayne Scott Kermond, hailing from a rich lineage of Australian Vaudeville performers, epitomises the essence of musical theatre, comedy and cabaret. With a repertoire spanning from Anything Goes to Hairspray, including acclaimed performances in several productions of West Side Story, Kermond's versatility shines through. Additionally, he's showcased his creative prowess as the creator and star of captivating cabaret shows such as Candy Man and Jive Junkys. Beyond the stage, Kermond's talents extend to film, where he's contributed to projects like Happy Feet 1 & 2, and as a respected scriptwriter and director for various musicals, cabarets and corporate events. With accolades including a Green Room Award and Mo Award, alongside nominations for Helpmann Awards, Kermond's exceptional abilities and esteemed showbiz heritage solidify his status as an extraordinary Australian talent. OverSixty: You and Guy first worked on this musical 40 years ago, how does it feel to be coming back together on the Handa Opera version? Wayne: “I first performed in West Side Story at the old Her Majesty’s Theatre (Sydney), 40 years ago playing the youngest member of the Jets gang, ‘Baby John’, and then again in another fabulous production touring Australia / New Zealand in the mid-nineties playing Arab. And so it was lovely to be reminded by Guy on the first day of rehearsals for this season how special it is to us both, here we are, doing it again, just a little greyer." “We shared a few laughs about ‘where did that time go?’, and how ‘young’ we still look after all these years. It’s so great to work with Guy again, I think the last show we did together was Chicago, back in the late nineties. So with Guy's huge amount of expertise and experience at the helm as our Musical Director the show is in great hands. Wait till you hear the amazing Orchestra.” OverSixty: What about this musical’s story, lyrics, etc resonate with you and why do you think it keeps being seen on stage? Can it appeal to all ages? Wayne: “West Side Story is as iconic to music theatre as Swan Lake is to ballet. All great musicals such as West Side have to have a great love story; West Side certainly has that. And to add to that, also an incredible score, dynamic original choreography and a beautifully written book makes it a triple threat. That's why it stands the test of time – it's an inter-generational piece, whose story and message still stands today, which is the reason why I’m now getting the opportunity to play an adult character ‘Doc’ in this OA production 40 years later, as it will be for another artist, in another 40 years' time.” OverSixty: What’s your favourite moment in the show and why? Wayne: It is very difficult to say there is a favourite moment as there are so many. The whole journey of the show is something everyone who loves theatre should experience. The Prologue, Dance at the Gym, America, Cool, Tonight, Something's Comin, and not forgetting the Quintet powerhouse... Every part of this show is special, whether you're seeing the show for the first time or for the tenth time, it’s exhilarating, poignant and moving." “It’s especially wonderful for me to have been given the opportunity to revisit the show, after all these years later as a performer. And it’s very exciting to watch another generation of performers being given the opportunity to experience such an exceptional piece of theatre.” So, mark your calendars, Sydney-siders, because Handa Opera on Sydney Harbour is about to serve up a theatrical experience like no other. With world-class performances, breathtaking views of the harbour, and enough fireworks to make New Year's Eve jealous, this is one event you won't want to miss. So grab your tickets, grab your friends, and get ready to experience the magic of West Side Story like never before. See you at the opera! For more information and ticket sales, check out <a href="https://opera.org.au/productions/west-side-story-on-sydney-harbour/" target="_blank" rel="noopener">opera.org.au/harbour</a> All images: Supplied

Domestic Travel

Elevating tradition: La Traviata at the Sydney Opera House

Opera Australia is set to enchant audiences as it opens its highly anticipated 2024 season with the Sydney premiere of Sarah Giles’ acclaimed production of Verdi’s timeless masterpiece, La Traviata. The curtains will rise on January 2nd at the iconic Joan Sutherland Theatre in the Sydney Opera House, promising an unforgettable journey into the world of love, sacrifice and redemption. Hailed as "an absolute triumph" by The AU Review and described as "audaciously new" by InReview, this co-production by Opera Queensland, State Opera South Australia and West Australian Opera promises to deliver the quintessential glamour of La Traviata while offering a fresh, female perspective. Director Sarah Giles skilfully brings the inner turmoil of Violetta to the forefront, shedding light on the harsh realities and heartaches of her life as a courtesan. Enhancing the narrative, Charles Davis' masterful set design delves into Violetta's public and private spheres, while his costumes brilliantly capture the opulent world of lavish parties and extravagance synonymous with La Traviata. For the first time, the award-winning conductor Jessica Cottis will take the baton, leading the Opera Australia Orchestra and the celebrated Opera Australia Chorus through Verdi's emotionally stirring score. Audiences can anticipate spine-tingling renditions of iconic pieces such as the lively "Brindisi" and the achingly beautiful "Sempre libera". Taking centre stage as Violetta, Australian soprano Samantha Clarke, fresh from a string of successful debuts in prestigious venues worldwide, including Carnegie Hall and the Sydney Symphony Orchestra, is set to mesmerise audiences with her poignant portrayal. Joining her are the talented Australian-Chinese tenor Kang Wang, reprising the role of Alfredo, and New Zealand baritone Phillip Rhodes, making his Opera Australia debut as Giorgio Germont. As the season progresses, rising Australian soprano Sophie Salvesani will step into the shoes of Violetta, a role she previously captivated audiences with in 2022. Alongside her, Australian tenor Tomas Dalton returns as Alfredo, while baritone Luke Gabbedy, fresh from his acclaimed performance in OA's five-star production of the Ring Cycle in Brisbane, graces the stage as Giorgio Germont. Prepare to be swept away by the passion, drama, and timeless melodies of La Traviata, as Opera Australia invites you to experience this unforgettable journey of love and sacrifice, reimagined for a new era. Don't miss your chance to witness this exquisite production at the Sydney Opera House, from January 2nd to March 16th, 2024. For more information, <a href="https://www.sydneyoperahouse.com/opera-australia/2024-season/la-traviata" target="_blank" rel="noopener">click here</a>.

Art

Sydney Opera House at 50: a public appeal, a controversial build, a lavish opening – and a venue for all

<a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> It is one of the most famous buildings in the world. It has an instantly recognisable silhouette that adorns tea towels, bottle openers and souvenir sweatshirts. Miniature versions huddle in snow domes. You can build your own from <a href="https://www.lego.com/en-us/product/sydney-opera-house-10234">Lego</a>. Bidjigal artist and elder Esme Timbery constructed a replica in her trademark <a href="https://recollections.nma.gov.au/issues/volume_7_number_2/papers/displaying_the_decorative">shell art</a>. Ken Done put it on doona covers and bikinis. If you search the hashtag on Instagram, you will see over a million posts. Fifty years ago today, after a prolonged and controversial period of construction, the Sydney Opera House was officially opened by Queen Elizabeth II in a lavish ceremony. Spectators carrying flasks of coffee and cushions watched from the sidelines. More than 2,000 small boats viewed the ceremony from the water. After the national anthem was played and nine F111 aircraft roared overhead, the crowd heard a didgeridoo and Aboriginal actor Ben Blakeney delivered a prologue “representing the <a href="http://nla.gov.au/nla.news-article110753207">spirit of Bennelong</a>”. In her speech, the Queen remarked the Opera House had “captured the imagination of the world”. The opening festivities gestured both to Australia’s deep Indigenous roots and white imperial origins. The building itself symbolised a new era of state investment in cultural infrastructure. This was a hallmark of the “new nationalism” in the 1970s: the arts were regarded as essential to Australia’s newly confident sense of national identity. Today, the Sydney Opera House reminds us Australia can value culture for its own sake. But what did the Opera House mean to Australians when it opened 50 years ago? <h2>Building the Opera House</h2> The campaign for an Opera House in Sydney was initiated by Sir Eugene Goosens, who came to Australia as conductor of the Sydney Symphony Orchestra in 1947. He found a sympathetic ear in Joe Cahill, the Labor premier who committed Bennelong Point to the project and launched an international competition to design the building in 1955. This part of the story is well-known (indeed, there was even an <a href="https://www.theeighthwondertheopera.com">opera</a>). Danish architect Jørn Utzon’s bold, avant garde design won the competition and construction began in 1961, funded – in a democratic touch – by the NSW government’s Opera House lottery. Construction was plagued by difficulties and expanding costs. Utzon famously resigned from the project in 1966; Australian architect Peter Hall oversaw the construction of the interior. In spite of the jokes and doubts, by the time the building was finished, Australians had embraced the Opera House as their own. The Queen tactfully acknowledged the building’s construction delays in her speech at the opening ceremony, <a href="http://nla.gov.au/nla.news-article110753207">suggesting</a> “every great imaginative venture has had to be tempered by the fire of controversy”. <h2>Cringe and strut</h2> As historians Richard White and Sylvia Lawson <a href="https://trove.nla.gov.au/work/35026797/version/50553486?keyword=symbols%20of%20Australia">note</a>, while the Opera House was intended for all performing arts, the centrality of opera – with its expense and small audiences – made a symbolic statement a “new, more sophisticated Australia” had arrived. As Australia sought to find an identity independent of Britain, the Opera House became a symbol of this new nationalist turn. Some fitted the Opera House into older narratives of Britishness: in his book Sydney Builds an Opera House, Oswald Zeigler remarked we needed to thank Captain Arthur Phillip “for finding the site for this symbol of the Australian cultural revolution”. <a href="http://nla.gov.au/nla.news-article110752757">Gough Whitlam declared</a> it was "a magnificent building, Our civilisations are known by their buildings and future generations will honour the people of this generation […] by this building." In spite of this, there was still cultural cringe. The <a href="http://nla.gov.au/nla.news-article110753207">Canberra Times</a> reported the British media believed the Opera House was a sign that “the country had turned a corner artistically”. It was a telling sign of cultural cringe that their opinions were sought at all. The Opera House was part of an Australian cultural renaissance in 1973. The ABC broadcast an adaptation of Ethel Turner’s beloved Seven Little Australians. The bawdy Alvin Purple was a box-office smash. Patrick White became the first (and so far, only) Australian to win the Nobel Prize for Literature. The new wave of Australian drama was in full swing, and the Opera House’s opening season included a play by new wave star David Williamson alongside Shakespeare’s Richard II. Historians have nominated many emblems for the new nationalist mood (from the new national anthem to The Adventures of Barry McKenzie) but I would suggest the Opera House embodies it best: the soaring sails, the bold, rich colours of the interiors, and John Coburn’s glorious, confident curtains for the performance venues. <h2>For the elite or for the people?</h2> There were always objections on the grounds that government investment would be better focused elsewhere, rather than on a performance venue for “elites”. These arguments are wearyingly familiar today. Premier Joe Cahill rejected this charge from the outset: in <a href="https://mhnsw.au/stories/general/sydney-opera-house-the-gold-book/">1959 he declared "</a>the average working family will be able to afford to go there […] the Opera House will, in fact, be a monument to democratic nationhood in its fullest sense." Cahill’s insistence this was a building for everyone to enjoy and be proud of has been fulfilled by its creative use ever since. School children regularly perform; new audiences have been drawn by musicians of all genres, from punk to Prince. But the Opera House has also been a place for creative experimentation and innovative performance – as it should be. Today, 50 years from its opening, the Sydney Opera House reminds us the state still has a role to play in supporting the performing and creative arts in Australia. This radiant, soaring building belongs to all of us: a great reason to celebrate its birthday.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/213252/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, Professor of History, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/sydney-opera-house-at-50-a-public-appeal-a-controversial-build-a-lavish-opening-and-a-venue-for-all-213252">original article</a>.

Domestic Travel

Beloved Aussie opera singer passes away

Award-winning opera singer and music theatre singer Jacqueline Dark has passed away at 55. According to ABC, Dark passed away in a Sydney hospital on Tuesday night following a long battle with cancer. Australian tenor Kanen Breen, who she shares a son with, paid an emotional tribute on Facebook and shared the heartbreaking details of her final hours. “The love of her life was our boy Xander and, from the moment he existed, she did it all for him,“ Breen said in a statement. “It (her heart) was standing next to her, in the shape of our boy, and we literally watched as she gave the last of her life to make him happy one last time,” he added. “She took her last heroic breaths surrounded by profound peace and profound love.” Dark performed in various operas across Australia and internationally, including with Opera Australia, Victorian Opera, Pinchgut Opera, and Opera Hong Kong. She won multiple awards including two Green Room Awards and a Helpmann Award, among others. Tributes from the Australian music community have started pouring in on social media. "Her irrepressible humour and life and energy and musicality made her one of the greatest of Australian mezzos," wrote Erin Helyard, Artistic Director of Pinchgut Opera. "Jacqui's magnificent voice and magnetic stage presence entrenched her place in Australia's musical history; her indefatigably upbeat personality will be long remembered," added her agent Patrick Togher. "Whenever she came into ABC Classic for an interview, we always ended up laughing so much. And as an artist, she was brave — just as happy singing cabaret or with electronic musicians as she was tackling Wagner," said ABC Classic Drive presenter Russell Torrance. Dark was born in Ballarat, Victoria, and spent 10 years as a maths and physics teacher before pursuing her career as a singer, according to The Australian. She also appeared on So You Think You Can Dance and was a guest panellist on the popular music quiz show Spicks and Specks. Image: ABC Classic

Caring

“An exciting place to be”: Carmen becomes first opera performed on Cockatoo Island

Operas as we know them conjure up images of concert halls with soaring ceilings, tiered, cushiony seats, and singers projecting their voices for the whole audience to hear. To take opera beyond the theatre and into the great outdoors comes with plenty of challenges, many of which conductor Tahu Matheson has become all too familiar with while conducting the orchestra for <a href="https://www.oversixty.com.au/travel/domestic-travel/fireworks-motorbikes-and-opera-carmen-on-cockatoo-island-review">Carmen on Sydney’s Cockatoo Island</a>. “It’s quite tricky,” he tells OverSixty. “In particular, it’s the distance. The orchestra is a long, long way away from the grand outdoor stage.” With the orchestra located in one of the island’s historic buildings and the opera’s main stage on the water’s edge, Matheson and the cast rely on monitors to see each other and stay in time. “I can see the stage but only really from a distance,” he explains. “So really, I just listen, basically, and try and follow the singers as much as possible. “And they've got a big monitor, and when they can they take note of the monitor.” Naturally, the elements present another challenge to be overcome with the help of microphones, and the help of sound designer Tony David Cray, who Matheson describes as a “sound genius”. “He never stops working. When we’re all having a break, we hear moments of stuff that we’ve just done, and then he's just working on the sound and seeing if we can make this clearer and more beautiful, and more articulated,” Matheson says. But the most interesting part of this production for Matheson has been how it has changed from the original under the guidance of director Liesel Badorrek. “Carmen, probably one of the strongest women in opera, is being sort of interpreted just slightly differently, from a woman’s point of view,” he says. “There’s always a little bit of Carmen where, yes, she’s an incredibly strong character, but it’s definitely been written by a man, so a man’s idea of a strong woman. “And so Liesel just interprets that in a slightly different way… a strong woman from a woman’s perspective. I think it’s timely and it’s also slightly more interesting than we’ve had in the past.” Opera Australia’s version of Carmen draws attention to themes of violence against women at a time when sexual violence and coercive control have been in the spotlight. It also modernises the appearance of Carmen through costuming and set design, opening up questions of whether future productions could follow suit in a bid to appeal to modern audiences. But, Matheson says this can be tricky when dealing with an artform like opera. “I think there are some things about opera, just the artform itself, that are so thrilling and exciting that I don’t think you're going to experience them in any other artform,” he says. “It’s very difficult because it’s a hybrid of three or four different artforms, each of which, in itself, is capable of reducing the audience members to tears, whether it’s just the spoken word alone, or just music in a concert, or just a singer with a piano. “And then you bring all these things together and then you add a dramatic plot to it - it has the ability to be something so thrilling and so amazing. “But it also has this fragility because it depends on all four or five disparate parts working together. And so it can fail, and sometimes it does. “And I think it’s worth remembering as a member of the public that it has the possibility to be the most stunning experience that you’ve ever had in your life. “At the same time, we do need to modernise, think forward a little bit and [think]: How do we engage with people as well as wanting them to engage in the artform itself?’ “I don’t think it’s as simple as going, ‘We’ll add more people in jeans and t-shirts so that people empathise with characters’, but somehow a mixture of both, I think it’s what we need.” Carmen on Cockatoo Island is showing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>. Images: Prudence Upton / Opera Australia

Domestic Travel

Fireworks, motorbikes and opera: Carmen on Cockatoo Island review

Even if you haven’t seen Carmen, you’re sure to recognise its standout tunes that have cemented themselves into pop culture - and you won’t want to miss its current showing on Sydney’s Cockatoo Island. A first for the historical island, Carmen has been transported both out of its traditional theatre environment and its 18th-century Spanish setting, being reimagined with a gritty, modern aesthetic that matches Cockatoo Island’s former ship-building warehouses and preserved industrial heritage. While leaning on a ‘rock ‘n’ roll’ theme, the vibe from both the setting - think scaffolding and piles of barrels and destroyed cars - and costuming - think modern military gear, denim, fishnets, leopard print and elements of Y2K fashion - is more reminiscent of punk, dystopia, and Mad Max, with a trio of stunt motorbike riders and fireworks as icing on the cake. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review1.jpg" alt="" width="1280" height="720" /> Y2K, punk, and modern military styles collide in this adaptation of Carmen to create a dystopian feel that’s disconnected from a particular time or place. Image: Prudence Upton (Supplied) Taking Carmen out of a Spanish cultural context gives the production a more timeless feel too, with additional imagery projected behind the cast during key scenes pushing the audience to interpret Carmen and Don José’s increasingly toxic relationship with a modern lens - particularly regarding themes of violence against women and coercive control. In a time where these issues are being talked about more openly, this shift in perspective couldn’t be any more relevant, even if it does come across in a heavy-handed way in some moments. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review2.jpg" alt="" width="1280" height="720" /> In a world post-#MeToo and amid growing awareness of how issues such as coercive control victimise women, Opera Australia’s production draws attention to the negative elements of Carmen and Don José’s relationship. Image: Prudence Upton (Supplied) While many aspects of how Carmen is presented have been changed for this adaptation, the music has stayed true to the original - with one difference coming from the nature of presenting an opera outdoors. With the talented orchestra, led by conductor Tahu Matheson, located some distance away from the main stage in an adjacent building, the music is projected using speakers. Despite the challenging situation, which saw the conductor and singers rely on screens to see each other, the performance is just as flawless as if the orchestra were in a pit beneath the stage of a concert hall. When combined with the minimalist scenery and miked singers, it gives the production the sense of being less like an opera and more like a musical, with the grunge aesthetic making it seem particularly similar to Andrew Lloyd Webber’s Cats. But this didn’t take away from the performance, with the talents of Carmen Topicu and Roberto Aronica (who share the roles with Sian Sharp and Diego Torre) as Carmen and Don José and their captivating chemistry shining through. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review3.jpg" alt="" width="1280" height="720" /> Bullfighter Escamillo has been transformed into a leather-clad rockstar mobbed by an adoring crowd against a backdrop of wrecked cars. Image: Prudence Upton (Supplied) The reimagining of the bullfighter Escamillo (played by Daniel Sumegi and Alexander Sefton) as a rockstar with elements of Elvis - including an iridescent black cape - is refreshing and helps to convey his celebrity status to a modern audience and the contrast between him and the more humble corporal Don José. Micaёla also serves as a contrasting character, with her costuming of pastels and a more conservative, housewife-esque outfit highlighting her as the innocent village girl against Carmen’s bold and more revealing outfits, as well as her strength, independence and rebellious nature. With a cast already considered large for an opera, Opera Australia’s production has seen this number grow even more as the roles of Carmen, Don José, Escamillo, Micaёla and Frasquita are shared, with singers performing on alternate nights. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen1.jpg" alt="" width="1280" height="720" /> Carmen’s costuming helps to convey the contrasting nature of its key characters, such as between childhood sweetheart Micaёla (right) and fiercely independent Carmen (left). Images: Prudence Upton (Supplied) Other updates to the opera, such as motorbikes taking on the roles of bulls at the bullfight and the use of street dance choreography throughout, are employed to create the feeling of timelessness and modernity, along with the meta nature of the set design and story, including the use of a Carmen poster as a curtain for Carmen to walk through. All in all, Carmen on Cockatoo Island is a refreshing take on a well-known opera that is sure to be enjoyed by regulars and first-timers alike, while its modern messaging will be sure to spark important conversations among those who see it. Carmen on Cockatoo Island will be performing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>. Image: Prudence Upton (Supplied)

Domestic Travel

Stranded opera singer busks to earn cash after cancelled flights

After her flight home was cancelled, one Jestar passenger said she was forced to busk for money until she could get home. Edit Pali had travelled to a remote resort in Phuket with her husband Tibor to celebrate her 50th birthday when a cancelled flight saw their stay extend for another five days. Having spent a large portion of their savings on their trip, the couple were faced with the problem of paying for their additional days in the resort. Ms Pali told <a href="https://9now.nine.com.au/a-current-affair/stranded-aussie-jetstar-passengers-speak-out/04c064ba-f60c-43dd-8ba8-640595f8ddc9" target="_blank" rel="noopener">A Current Affair</a> that the airline had offered them $30 for meals and $150 for accommodation each day in compensation - but the money failed to arrive. “I’m a tough chook but I cried, I really cried,” she said. Taking advantage of her skills as an opera singer, Ms Pali decided to sing for her supper at breakfast, lunch and dinner while they waited for the funds to come through. "We're just average people, we don't make a lot of money, so for us to go away to Thailand for a week to a luxury resort, that was a big enough chunk into our savings,” she added. A Jetstar spokesperson said they were aware of Ms Pali’s situation and were doing “everything we can”. But Ms Pali isn’t the only person affected by a cancelled flight, as six out of 11 of Jetstar’s 787 planes were grounded earlier this month. At least 4,000 passengers travelling on popular winter routes, including to Bali, Thailand, and Japan, have been affected by delays and cancellations, with the airline blaming lightning, bird strikes and parts shortages. "Our teams work around the clock to get passengers on their way as soon as possible and we provide a range of support, including help to cover accommodation and meals costs as well as other reasonable expenses," the airline said. In a statement, Jetstar said Ms Pali and her husband were due to have their expense claim paid by September 27. Image: A Current Affair

Travel Trouble

Review: Il Trovatore at the Sydney Opera House

Tarot, clowns, romance, and drama abound in Opera Australia’s rendition of Il Trovatore, the melodramatic tale created by famed operatic composer Guiseppe Verdi. Set in 15th-century Spain, Il Trovatore follows Manrico (Yonghoon Lee), a rebel soldier and troubadour who is in love with lady-in-waiting Leonora (Leah Crocetto), who has also caught the attention of the Count di Luna (Maim Aniskin). Some years before the opera is set, the Count’s father accused a Romani woman of bewitching one of his sons and had her burned at the stake, but not before her daughter, Azucena (Elena Gabouri), supposedly snatched his son and threw him into the fire as well. It is then revealed that Azucena had mistakenly burned her own child in the fire and had taken Manrico from the count and raised him as her own son. With Azucena urging him to exact revenge on the current Count, Manrico rescues Leonora from the Count and they plan to marry each other. However, when Azucena is arrested and Manrico is captured attempting to rescue her, Leonora is faced with the decision to make the ultimate sacrifice to save her beloved. Opera Australia’s rendition of this classic opera blends tradition with innovation: the setting shifts forward in time to the Spanish Civil War and traditional set pieces are replaced primarily with towering digital screens. Though this change in setting was captured well with the costuming, with the Count’s men donned in 40s era grey overcoats and armed with a mix of swords and pistols, the digital stagecraft captured the ambience of Il Trovatore more than a sense of place and came across as shallow in some moments. <img src="https://oversixtydev.blob.core.windows.net/media/2022/07/il-trovatore1.jpg" alt="" width="1280" height="720" /> That said, the digital aspects weren’t without their positives, playing with the audience’s sense of space and highlighting important aspects of the story, with projections of a series of tarot cards (a nod to Romani culture), a rundown circus, and a disembodied clown head as notable examples. The rotating stage of the Opera House’s Joan Sutherland Theatre and select physical props and sets were used quite effectively to capture the dilapidated circus grounds and hospital. Meanwhile, silhouetting the cast to punctuate between scenes and songs and circus folk and henchmen frozen mid-fight showed how the cast could themselves become scenery. As for the cast themselves, Lee shone as the fierce troubadour, even when he seemed to falter and be visibly in pain on some notes. Gabouri’s casting as Azucena seemed a perfect fit, given her powerful vocals and the strength with which she played her character. <img src="https://oversixtydev.blob.core.windows.net/media/2022/07/trovatore-cast.jpg" alt="" width="1280" height="720" /> Yonghoon Lee (left) and Elena Gabouri (right) shine as Manrico and Azucena, and their chemistry as mother and son is electric. Aniskin’s cold and menacing portrayal of the Count came through particularly in the second act, while Crocetto’s incredible range helped her shine as the leading lady Leonora. The orchestra, led by Andrea Battistoni, were exceptional throughout in capturing the highs, lows, and intricacies of Verdi’s music. As a first-time opera goer, the need to look at the surtitles above the stage made it difficult to stay immersed, particularly as they seemed to translate the essence of what was being sung rather than the literal lyrics. Even so, Opera Australia’s rendition of Il Trovatore is engaging in its fusion of tradition and tech, and its stellar cast breathe life into a story that is just as relevant today as it was when it was first written. Il Trovatore will be performed at the Sydney Opera House on select dates until July 30, with tickets available to purchase <a href="https://opera.org.au/productions/il-trovatore-sydney/" target="_blank" rel="noopener">here</a>. Images: Keith Saunders

Domestic Travel

The Sydney Opera House unveils historic upgrades

After being closed for two-and-a-half years of extensive renovations, the Sydney Opera House’s Concert Hall is finally ready to reopen to the public. Since closing in 2020, the venue has seen hundreds of construction workers, acousticians, and experts in architecture and heritage help deliver one of the biggest upgrades in nearly 50 years. “We’re thrilled to be welcoming the community back to the renewed Concert Hall,” Louise Herron AM, the CEO of Sydney Opera House, said in a <a href="https://www.sydneyoperahouse.com/content/Non-Indexed/media/newsroom/media-release-soh-unveils-historic-concert-hall-upgrade.html" target="_blank" rel="noopener">statement</a>. “Artists and audiences are set to experience world-class acoustics in a venue that is more accessible, safer and better equipped to present the full breadth of 21st century performance.” With more $190 million invested into the renewal project, improving acoustics and accessibility have been two major priorities. The old acrylic ‘donuts’ hanging above the stage have been replaced with magenta ‘acoustic petals’ - matching the Concert Hall seats - while a new lift and passageway now allows for wheelchair users and people with limited mobility to access all levels, including the Northern Foyer and its stunning harbour views. A state-of-the-art sound system and acoustic diffusion panels have also been installed throughout the venue, along with automated stage risers and other technology to make putting on a performance - whether it be an orchestra or musical - that much easier. Its reopening marks the final project in the Opera House’s Decade of Renewal, which has seen the World Heritage-listed building fitted with a range of improvements and new venues, all without interfering with the original concrete and structures. The venue will reopen to the public from July 20, marked by the return of the <a href="https://www.sydneyoperahouse.com/events/whats-on/sydney-symphony-orchestra/2022/simone-young-conducts-mahler-2.html" target="_blank" rel="noopener">Sydney Symphony Orchestra</a> performing Mahler’s Second Symphony. Images: Lisa Maree Williams (Getty Images), Daniel Boud, Anna Kucera

Domestic Travel

Three operas you won’t want to miss at the Sydney Opera House

The onset of short days and chilly nights might have put a damper on plans for heading outside, but that doesn’t mean you have to stay home all winter. Whether you’re an operatic expert or a first-time visitor, Opera Australia’s winter season at the Sydney Opera House offers a trio of top quality operas to entice and delight. From dystopian re-imaginations to digital productions, here’s what’s in-store at the Opera House’s intimate Joan Sutherland Theatre this month. Madama Butterfly (June 29-July 30) The iconic opera from Giacomo Puccini has been reimagined as a futuristic dystopia by director Graeme Murphy, boasting striking costume designs and towering robotic servants against a backdrop of dynamic, seven-metre tall LED screens. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/syd-opera-butterfly.jpg" alt="" width="1280" height="720" /> Sae-Kyung Rim as Cio-Cio-San and the Opera Australia Chorus in Opera Australia’s 2022 production of Madama Butterfly at the Sydney Opera House. Image: Guy Davies Starring South Korean soprano Sae-Kyung Rim as Cio-Cio-San, a 15-year-old girl who is set to marry US naval officer Pinkerton (Diego Torre), who intends to leave her when he finds a proper American wife. The story of <a href="https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2022/madama-butterfly.html" target="_blank" rel="noopener">Madama Butterfly</a>, the same as the musical Miss Saigon, promises to be a story of love and heartbreak accompanied by Opera Australia’s Chorus and Orchestra. La Traviata (July 2-29) La Traviata’s love story, which inspired Moulin Rouge and Pretty Woman, will star homegrown talent Stacey Alleaume, reprising her role as a free-spirited courtesan Violetta, alongside a cast of Opera Australia’s talented singers that bring the music of Giuseppe Verdi to life. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/syd-opera-traviata.jpg" alt="" width="1280" height="720" /> Agnes Sarkis as Flora Bervoix, Andrew Moran as Marquis D’Obigny and the Opera Australia Chorus in Opera Australia’s 2022 production of La Traviata at Arts Centre Melbourne. Image: Jeff Busby With lavish sets and costumes, recognisable aria ‘Sempre libera’ and drinking song ‘Brindisi’, <a href="https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2022/la-traviata.html" target="_blank" rel="noopener">La Traviata</a> is a fan-favourite and perfect performance for first-time opera goers. Il Trovatore (July 15-30) Another Verdi opera, director Davide Livermore’s digital production of <a href="https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2022/il-trovatore.html" target="_blank" rel="noopener">Il Trovatore</a> will be making its premiere at the Sydney Opera House this July. It will also mark the first time Opera Australia has performed the opera in almost a decade, starring South Korean tenor Yonghoon Lee as Manrico, Belarusian baritone Maxim Aniskin as Count di Luna, and American soprano Leah Crocetto as Leonora. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/syd-opera-trovatore.jpg" alt="" width="1280" height="720" /> Yonghoon Lee stars as Manrico in the digital production of ‘Il Trovatore’. Image: Opera Australia 2022 The highly dramatic tale, filled with a love triangle, a quest for revenge, and sacrifices made for love, is enhanced by digital stagecraft. Livermore’s production promises to explore jealousy, obsession, witchcraft and what it means to curse and be cursed. Tickets for all three operas cost $79 for adults (plus a $9.80 booking fee) and can be purchased <a href="https://www.opera.org.au/" target="_blank" rel="noopener">here</a>. Image: Opera Australia 2022

Domestic Travel

Review: Feel like a tourist in your own city at Sydney’s Opera House Tours

Sydney’s harbour wouldn’t be complete without it, but the history and interiors of the Sydney Opera House aren’t as well known - which is where the Sydney Opera House Tours and Sunset at the House tours come in. Throughout June, Sunset at the House gives you a chance to explore and witness the stunning harbour views during the golden hour. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/20220616_163853-scaled.jpg" alt="" /> Image: Author The tour is limited to a maximum of 30 people, making for an intimate experience as you make your way from the steps outside all the way to the Joan Sutherland Theatre near the building’s peak, then back down again to the Western Foyers and Colonnade, taking in the history of the Opera House along the way. But before you step inside, the tour’s first stop is on the steps outside, where you can view the iconic sails and the Aztec-inspired stairs designed to represent stepping away from the hustle and bustle of everyday life and into something more spiritual (at least, that’s what our tour guide said). Once inside, you’ll be treated to an immersive digital experience projected onto the ceiling above you, showcasing some of the highlights of the Concert Hall’s past performances. The tour couldn’t be any more timely either, with the Concert Hall preparing to open its doors in July after being closed for two years of renewal works. If art, architecture, history, or even acoustics technology intrigues you, you’ll be sure to find the tour to be a fascinating insight into the Opera House’s story and the work that goes into putting on its calendar of shows and performances, made all the more compelling by the engaging tour guides. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/20220616_171614-scaled.jpg" alt="" width="2560" height="1920" /> Image: Author Rounding out the tour with some nibbles and a glass of bubbles next to Portside Sydney, one of the Opera House’s harbourside eateries, is a nice touch that gives you the chance to enjoy views of the Harbour Bridge and its surrounds as day turns to night. Though tickets for Sunset at the House have already sold out, the Opera House will be running daily tours - without the canapes and sunset drinks - at 11.30am, 12pm, 1.30pm, 2pm, 3pm and 3.30pm until August 31. From September, tours will depart at 10.30am, 12pm and 2pm Sunday to Friday, with three tours on Saturdays at 9am, 10.30am and 12.30pm. The hour-long tours are free for children under five, with adult tickets costing $43 and $33 for conession holders. To book your tickets, head to the Opera House <a href="https://www.sydneyoperahouse.com/visit-us/tours-and-experiences/english-tour.html" target="_blank" rel="noopener">website</a>. Image: Sydney Opera House

Domestic Travel

Take in the views this month at Sydney Opera House’s sunset tours

The sails of the Sydney Opera House are an icon in Sydney's skyline, and now you can explore the building itself - thanks to a new series or sunset tours running through June. Sunset at the House is part of the NSW government's Culture Up Late initiative, offering an intimate tour of the landmarks halls and foyer spaces. Starting at 4pm, you'll get to go behind the scenes of the World Heritage-listed site during golden hour - the prime time to snap some photos of the stunning waterside views - and round out the afternoon with canapes and a drink. “There is no better way to step inside the Opera House and learn more about how the building comes to life,” Nicola Brandon, the Sydney Opera House General Manager of Tours, Retail and Projects, said. Sunset at the House is a wonderful experience where people can enjoy the Opera House at a time when it’s buzzing with energy. Guests will be awed by the beauty of a stunning harbour sunset, with delicious canapés and drinks served to them at Portside or the Joan Sutherland Theatre’s northern balcony, two of our finest locations,” Tickets cost just $20 - half the price of a standard Opera House Tour - and are available to purchase for select dates from June 3-29 <a href="https://www.sydneyoperahouse.com/visit-us/tours-and-experiences/sunset-at-the-house.html" target="_blank" rel="noopener">here</a>. Image: Supplied

Domestic Travel

Actor David Gulpilil’s life and legacy honoured on Sydney Opera House

Content warning: Aboriginal and Torres Strait Islander readers are advised this article contains images of a person who has died. The family of the late actor has permitted use of his image and his surname. Tributes to iconic actor David Gulpilil Ridjimiraril Dalaithngu - who passed away last week - continue with the projection of his life on the sails of the Sydney Opera House. Gulpilil, a Yolηu man of the Mandhalpuyngu clan, was known for his roles in Rabbit Proof Fence, Crocodile Dundee, Australia and Storm Boy among others, and passed away at the age of 68, following a lengthy battle with lung cancer. Images spanning the length of his career - from his debut role in Walkabout to his last as an ailing cancer patient in I Am Gulpilil - have been displayed on Sydney’s iconic landmark, as the film industry prepares to award him with the country’s highest accolade. Gulpilil will receive the Longford Lyell Award at the AACTA Awards - Australia’s equivalent to the Oscars - on Wednesday night. He will join similarly illustrious recipients of the award, including Cate Blanchett, Jackie Weaver, and Crocodile Dundee co-star Paul Hogan. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CW_3dpAvui7/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/p/CW_3dpAvui7/?utm_source=ig_embed&utm_campaign=loading" target="_blank">A post shared by AFI | AACTA (@aacta)</a> </div> </blockquote> “David carried the legacy of his people into all of his performances creating an authenticity that had never been seen widely before, and will never be forgotten,” AACTA chief executive Damian Trewhalla <a rel="noopener" href="https://www.msn.com/en-au/news/australia/sydney-opera-house-illuminates-life-and-career-of-late-nt-actor-david-gulpilil/ar-AARydlH?ocid=hplocalnews" target="_blank">said</a>. “By redefining how the world sees Indigenous Australians, he paved the way for the next generation to reject cultural stereotypes and express their own truths. “All Australia owe him a debt.” Gulpilil’s lifetime achievement award will be introduced at the ceremony by Yolηu rapper Baker Boy. The Sydney Opera House will show his tribute again on the night, as his award is posthumously presented. Yothu Yindi musician Witiyana Marika, who is Gulpilil’s son by lore and also an actor, will join the celebrations of his renowned relative at the AACTA Awards. Marika played a major role in the 2020 film High Ground - taking the part originally cast for Gulpilil, who was forced to pull out due to his cancer diagnosis. “I’ll be singin’ his name, I’ll be singin’ his estate … the place he comes from, the land, the water,” Marika said. “Healing the spirit. The powerful spirit of the land, and his name.” He said the film industry would offer their respects to the “boy who came out from the Marwuyu bush and became a big shining star”. “He was the first shining light for me, and for everyone else who believed in him, and who saw him,” the senior Rirratiηu clan elder said. “And he made a big change, you know? He was a Yolηu Mandhalpuyngu role model.” As tributes continue, the NT government says plans for a state funeral are yet to be confirmed. “We remain in discussions with the family around their wishes for Mr Dalaithngu’s funeral,” an NT government spokesman said. “This will take time. We will provide an update as soon as we have one.” Image: James D. Morgan (Getty Images)

Caring

Olympic and Paralympic athletes light up Sydney Opera House

As the Paralympic cauldron was extinguished, celebrating the end of the Tokyo Games 2020 in the National Stadium on Sunday night, a show of another kind was unfolding on the sails of the Sydney Opera House. With various states of lockdown still affecting many in Australia, there was no chance for ticker tape parades and crowded streets of cheering supporters to celebrate our returning athletes. So, a modern twist for an age-old tradition was found. Athletes and their families everywhere – whether still in Tokyo, in quarantine back in Australia – could tune into a five-and-a-half-hour livestream like no other. All 665 of Australia's Paralympians and Olympians had their faces and names projected onto the Opera House sails for 30 seconds each, giving them their moment in the spotlight. Two official photographers captured thousands of photos from the livestream along with Olympic and Paralympic montages and ‘Thank you Tokyo’ shots, with every athlete to receive a personalised image as an Australian-made gift to remember their Tokyo experience. Largest show of this kind at the Opera House According to the NSW government this was the largest collection of images ever projected onto the Sydney Opera House. Working with the Australian Olympic Committee, Paralympics Australia, Sydney Opera House and The Electric Canvas, the NSW Department of Premier and Cabinet managed the project, collecting every athlete's image over two weeks then mapping them onto a design concept to fit the Opera House sails. The Games have been credited with giving people in every state and territory a positive boost and a break from the stress of lockdown and the seemingly never-ending coverage of COVID. Australia's athletes were impressive right to the end, with Madison de Rozario winning the women’s Paralympic marathon while teammate and marathon newcomer Jaryd Clifford, finished with a silver in the men's event on the final day. While the Games are nothing without the athletes, and they deserve their Opera House tribute, many of them will tell you their own lasting memories will be of the volunteers who for days on end stood in the heat and humidity directing busloads of competitors and officials. They were also making sure the fridges stayed full of water, or were simply charged with reminding every single person that passed through the security gates to "please, sanitise your hands". Some of the best quotes of the Paralympic Games As a final tribute, the Olympic Information Service in Tokyo compiled some of the best quotes of the Paralympic Games, which we share with you now as a final farewell: "I wouldn't change anything. I'd break my neck again if I could." - Australian wheelchair rugby player, Richard Voris on "living the dream" after his friend accidentally jumped on his neck while swimming, leaving him quadriplegic. "When I modelled for (US fashion label) Tommy Hilfiger I had this realisation that this perfect body does not exist; only a handful of people have this type of body, this lifestyle. If you look around, all of us have little bumps and bruises all over us and we are all imperfect." - US swimmer Haven Shepherd, who lost both her legs at 14 months old when her parents strapped a bomb to themselves and held her in their arms in an attempted family suicide in Vietnam. "I love what the Paralympics represents – it represents more than sport, it represents people with disability, succeeding in what they love, it gives us purpose, it gives us a passion, it changes cultures, changes perceptions. We can work, we can get jobs, we can be teachers, we can be mums, we can be dads, we can travel, we can be partners, we can have kids, we can do so much." - Australia's tennis quad singles gold medalist Dylan Alcott, on the power of the Paralympics. "It was so good to have a female on the podium – that just happened to be me." - British track cyclist Kadeena Cox who won the gold medal in the C1-5 750m team sprint, reflecting on being the only woman in the mixed team final. "I was literally swimming using one lung. I risked my life by coming here because my right lung is not functioning. But I came here to deliver a message representing millions of refugees around the world. There are thousands and thousands of disabled refugee athletes who are counting on me, so I didn't want to let them down." - Syrian-born swimmer Ibrahim Al Hussein, representing the Refugee Paralympic Team, revealing he competed at Tokyo against the advice of his doctor. Image: Getty Images

Domestic Travel

Night at the opera: Keith Urban reveals what really happened

Keith Urban and Nicole Kidman love a night at the opera, but not when they're attacked with programs by avid opera fans. The pair found themselves in a heated exchange against an opera lover at the Sydney Opera House, where the man allegedly hit Kidman with her program. Of course, this was all just rumours until Urban confessed the story was true on The Kyle and Jackie O show. "We were sitting down with Nic's mum and we were clapping. It was a bloody great performance and everyone was cheering and cheering," Keith said. "I looked around and I see a few people standing and a few more and I thought 'oh I'm getting up'. "And then this guy behind me just whacked Nic, like really hit her, with the program." "It's a bit of a pickle I was in because I'm a husband and you want to defend your wife but it took a lot of restraint. I was pretty upset," he said. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-permalink="https://www.instagram.com/p/CHdzh1KHS1c/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="13"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/p/CHdzh1KHS1c/?utm_source=ig_embed&utm_campaign=loading" target="_blank">A post shared by Nicole Kidman (@nicolekidman)</a> </div> </blockquote> Keith explained that it was his first time at the opera and was unaware standing up was a bad thing. "We did not know you are not supposed to stand in the opera. Having not been to the opera before ever in my life, I am sensitive to the etiquette," he said. It's unclear whether the pair have plans to return to the opera after the exchange.

Legal

Nicole Kidman and Keith Urban fight stranger at the opera

Nicole Kidman and Keith Urban had an eventful experience at the Sydney Opera House after an altercation with a gentleman. According to <a rel="noopener" href="https://www.smh.com.au/culture/celebrity/high-drama-when-nic-and-keith-went-to-the-opera-20210204-p56zjy.html" target="_blank">The Sydney Morning Herald</a>, the couple fought about opera etiquette with the man and it resulted in him being escorted from the building. The couple attended a showing of The Merry Widow and were so thrilled with the performance that they both rose to give a standing ovation to the cast. <blockquote class="twitter-tweet"> Last night we were joined by two familiar faces (recognisable even with face masks) at The Merry Widow... Thanks Nicole Kidman and <a href="https://twitter.com/KeithUrban?ref_src=twsrc%5Etfw">@KeithUrban</a> for your support! We were honoured to have two great Australian artists in the audience and hope you enjoyed the performance. <a href="https://t.co/bfj2oM57d6">pic.twitter.com/bfj2oM57d6</a> — Opera Australia (@OperaAustralia) <a href="https://twitter.com/OperaAustralia/status/1349867238887624705?ref_src=twsrc%5Etfw">January 14, 2021</a></blockquote> The gentleman behind them allegedly took issue with the fact that the pair were on their feet and told them so. After the famous couple didn't sit down, the man swatted Kidman with his show program, which was where Urban accused the man of assaulting his wife. Kidman was left very upset after the incident, which prompted a call to police. NSW Police confirmed that two officers were called to the opera that night. "Police have been told a 53-year-old man and a 67-year-old man were both attending the entertainment centre when an argument broke out. Officers spoke to both men and no further action was taken," NSW Police said in a statement.

Legal

Sydney Opera House lights up with poppies for Remembrance Day

The sound of a bugle was heard at dawn across Circular Quay on Wednesday, marking the first sign of a day of remembrance. Acting Veterans Affair Minister Geoff Lee stood side-by-side with the bugler and RSL NSW acting president Ray James as the Sydney Opera House was covered in dozens of red poppies for Remembrance Day 2020. The 11th hour of the 11th day of the 11th month signifies Germany’s truce in France in 1918 which ended the First War. Over 60,000 Australians died while fighting for their country, and today the nation pays tribute to those lost and to those who are still serving. Minister Lee described the moment the Opera House lit up as “spine tingling”. “This morning was a great scene, the water was glassy, the sun was rising to the east and red poppies were projected onto the white sails of the Opera House in remembrance of those who paid the ultimate sacrifice for our freedoms,” he said. “It was a strong symbolic reminder of the service and sacrifice made over a century ago which gave us the freedom we enjoy today.” Due to the pandemic, services won’t be the way they were in the previous years, where over 100 people gathered to mark the significant day. Instead, they will be sticking to the four-square-metre rule. But it is an improvement on what was a “highly disruptive” Anzac Day. “This is the first time we’ve had this year to actually commemorate those that have served our country,” he said. “It will always be important to recognise the extreme challenges our nation has overcome thanks to endurance, mateship, sacrifice and courage.” Minister Lee said it’s crucial for young people to recognise the significance of the day, so schools have been given activity packs for students to make poppies and create stories around those who have served at war. “We want to encourage young people to understand the importance of our history and legacy of those who have served our country,” he said. An invite-only official Remembrance Day service will be held at the Martin Place Cenotaph in Sydney later on Wednesday.

News

Do we still need a national opera company as COVID wreaks havoc in the performing arts?

Anyone looking for evidence of just how devastating the COVID-19 pandemic has been to Australia’s performing arts industry need look no further than its flagship company, Opera Australia. Only last year it was <a href="https://www.smh.com.au/entertainment/opera/opera-australia-coffers-swelled-by-45m-in-bequests-20190502-h1e0tk.html">boasting an operating surplus</a>. Last month, however, Chief Executive Rory Jeffes announced an organisational restructure, which <a href="https://www.smh.com.au/culture/opera/opera-australia-to-be-taken-to-fair-work-over-redundancies-20200903-p55s4p.html">the industry union claims could result in up to 25% of permanent staff</a> losing their jobs. The aim of this restructure, <a href="https://www.smh.com.au/culture/opera/opera-australia-sells-up-to-stem-losses-caused-by-pandemic-20200821-p55o7j.html">employees were told</a>, was to better align the organisation to the changing environment of COVID-19 with a new operating model. But what, exactly, should that model be? Certainly, redundancies were inevitable. Jeffes had already called <a href="https://www.smh.com.au/link/follow-20170101-p55gof">an abrupt end to the company’s 2020 season</a>. Even where governments have allowed entertainment venues slowly to reopen, the economics of “socially distanced” opera going simply do not support the budget models of old. Join 130,000 people who subscribe to free evidence-based news. Get newsletter The Media, Entertainment & Arts Alliance, however, has described the proposed changes as “<a href="https://www.limelightmagazine.com.au/news/union-dubs-opera-australia-redundancies-a-disgrace/">a disgrace</a>”, citing a lack of staff consultation among other grievances. In response, <a href="https://www.limelightmagazine.com.au/news/union-dubs-opera-australia-redundancies-a-disgrace/">a spokesperson for Opera Australia </a> said last week the 25% figure refers to administration staff only, and consultations are happening with employees in the rest of the organisation. The dispute, now before the <a href="https://www.smh.com.au/culture/opera/opera-australia-to-be-taken-to-fair-work-over-redundancies-20200903-p55s4p.html">Fair Work Commission</a>, will be followed with interest and concern across the industry. Opera Australia is Australia’s largest, and <a href="https://theconversation.com/does-opera-deserve-its-privileged-status-within-arts-funding-84761#:%7E:text=This%20amount%20was%20divided%20between,state%20government%20grants%20in%202016">most lavishly publicly funded</a> performing arts company and many livelihoods are at stake. A city artform Opera is especially exposed because it is so closely connected to the places where pandemics have the greatest impact — large cities. Opera is an urban art form par excellence. By the mid-19th century, it had become a principal medium through which burgeoning urban populations might hear and see stylised representations of their lives (albeit filtered through the lens of historical or mythic subjects). It’s not for nothing, for instance, that so many operatic heroines die of “<a href="https://en.wikipedia.org/wiki/Tuberculosis_in_human_culture#Opera">consumption</a>”, a preeminently urban disease. Now, however, under the shadow of COVID-19, the future of the city itself is <a href="https://www.linkedin.com/pulse/nyc-dead-forever-heres-why-james-altucher/">under question</a>; the rise of video platforms like Zoom seems to make the necessity of “being there” no longer a necessity. This idea has been refuted by others who highlight <a href="https://www.nydailynews.com/opinion/ny-oped-i-moved-to-the-suburbs-and-lived-to-regret-it-20200904-zboer5sju5ak7ohpblbhow3q3e-story.html">the human yearning for togetherness</a>. The general manager of New York’s Metropolitan Opera, Peter Gelb, similarly has <a href="https://www.thejakartapost.com/life/2020/06/28/will-streaming-be-theaters-death-or-its-savior.html">said</a> that while it may be soothing to watch opera streamed at home, it is ultimately a “one dimensional experience”. Nevertheless, with theatres unable to return to full capacity for the indefinite future, and public funding bodies becoming strapped for cash, a return to anything like our pre-COVID operatic culture is unlikely. The current crisis does, however, offer a chance to think afresh about opera’s place (literally as well as figuratively) in our society. Do we now have an opportunity, as Michael Volpe, the director of London’s Opera Holland Park, has suggested, “for the opera ecology to remodel itself into something that’s more cost effective and fleet of foot”? Volpe calls for an “opera socialism”. What he is advocating is a return to something closer to opera’s own origins as a performance culture more directly connected to, and supported by, the local communities in which it is based. Local, not global? Until the pandemic hit, Opera Australia worked within an industry dominated by a global commerce in “star” singers, conductors, and directors, typically managed by a system of international artist agencies. Now that system is in a state of collapse. In recent weeks, two of the largest classical music agencies, the US-based <a href="https://www.nytimes.com/aponline/2020/08/29/business/ap-us-classical-agency-shuts.html">Columbia Artists Management</a> and the UK’s <a href="https://www.rhinegold.co.uk/classical_music/hazard-chase-ceases-trading-due-to-covid-19/">Hazard Chase</a> have announced they are shutting their doors. Is it now time for us to reconsider the need for a national opera company in turn? The economic impact of Opera Australia touring main-stage productions, even just to Melbourne, puts it under significant operational stress. But it also doesn’t allow the company to develop strong local connections outside its Sydney home. A fully decentralised model might, in fact, be better able to support the operatic “ecology”. Many smaller professional, semiprofessional, and amateur operatic companies already operate successfully in our major metropolitan centres with little or no public funding. They are also currently much more likely than Opera Australia to mount productions of new Australian operas, or works outside the mainstream repertoire. While Opera Australia’s Artistic Director Lyndon Terracini said back in 2014 that he was <a href="https://www.theaustralian.com.au/arts/stage/opera-must-become-more-accessible-in-order-to-survive/news-story/413b300efa92d94e7ae3e31de911dd90">“desperate to create new work that is relevant to a significant audience,”</a> he also conceded the company’s operating model does not give it the financial resources to do more than produce mostly a narrow range of traditional works, supplemented by productions of commercial musical theatre. Maybe it is now time for both federal and state governments to consider focusing more on a civic based or “ground-up” institutional foundation for opera rather than sustaining a nationally based “top-down” one. The 2016 <a href="https://www.arts.gov.au/sites/default/files/national_opera_review_final_report.pdf">National Opera Review</a> ducked considering such a possibility. But a new <a href="https://www.aph.gov.au/Parliamentary_Business/Committees/House/Communications/Arts/Terms_of_Reference">parliamentary inquiry</a> into Australia’s creative and cultural industries and institutions is underway. Now is the opportunity for us to contemplate a new place, and indeed new places, for opera in Australia. Written by Peter Tregear. Republished with permission of <a href="https://theconversation.com/as-covid-wreaks-havoc-in-the-performing-arts-do-we-still-need-a-national-opera-company-145461">The Conversation.</a>

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