Opera Australia has added another outdoor spectacular to its program, today announcing the inaugural New Year’s Eve Opera Gala on Cockatoo Island.
The Cockatoo Island event is in addition to OA’s annual NYE opera performance in the Joan Sutherland Theatre in the Sydney Opera House.
The new outdoor event is giving visitors and Sydneysiders even more reason to come out and kick-up their heels after months of lockdowns and COVID-19 restrictions.
“We’ve all been starved of live entertainment so we’re inviting everyone to come and celebrate New Year’s Eve with us, to say farewell to 2021 and its lockdowns, and embrace the beginning of a fresh and invigorating new year,” said OA’s Artistic Director Lyndon Terracini.
The opening to another darkly dramatic production for Opera Australia, we seem to have had a fair few of them in recent times. It’s the first time the company has produced Verdi’s Attila (the Hun) which was brought in from Teatro alla Scala, Milan. Lesser known that many of Verdi’s other masterpieces, Attila is filled with memorable arias and chorus numbers, the overture and opening scene probably best known and most recognised.
Some background into the story… The Huns are still a mystery to historians. They were nomadic people, most likely from somewhere between the eastern edge of the Altai Mountains and Caspian Sea, roughly where you’ll now find modern Kazakhstan. Many artistic impressions of them are as Asians, others show red headed fair skinned Aryan people similar to the oldest records of Genghis Khan. In the 5th Century they were described as barbaric and uncivilised yet, compared to the corrupt Roman Empire, they appear to be extremely loyal to their family members, well organised and lethal in accelerating the fall of the Roman Empire. Continue reading ATTILA @ JOAN SUTHERLAND THEATRE SYDNEY OPERA HOUSE→
George Bizet’s CARMEN has been wowing opera-goers for over 140 years now with its alluring mixture of the unpredictable and dangerous, love and loathing, and, as the program notes state, “the ultimate femme fatale is back to stamp her feet, toss her hair and dance”.
As a staple of Opera Australia’s programming (the last major run at the Opera House was only a couple of years ago), American director Francesca Zambello was presented with a real challenge in bringing something fresh to the story of that most famous of feisty gypsy girls and the ultimately doomed desires of her suitors, whilst at the same time maintaining the levels of passion and intensity both musically and visually that the audience has come to expect.