Tag Archives: Stacey Alleaume

OA LAUNCHES NYE OPERA GALA ON COCKATOO ISLAND

A scene from the much loved Puccini opera ‘La Boheme’. Photo Prudence Upton.

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. 

Guests are spoilt for choice with two of the best vantage points in the city to see Sydney’s internationally  famous NYE fireworks display on offer, along with world-class performances, five-star hospitality and  glamorous parties.  Continue reading OA LAUNCHES NYE OPERA GALA ON COCKATOO ISLAND

PINCHGUT OPERA : THE LOVES OF APOLLO AND DAFNE

Celebrating twenty years of performances, Pinchgut Opera brings us another superb production directed by Mitchell Butel , gloriously sung and with a lush, exquisite performance by the Orchestra of the Antipodes led by Erin Helyard on chamber organ and harpsichord. The Orchestra was streamlined with Baroque harp intrepidly performed by Hannah Lane, Laura Vaughan on viola da gamba and lirone, and Simon Martyn-Ellis on theorbo. 

This production was filmed at the City Recital Hall in May 2021.

THE LOVES OF APOLLO AND DAFNE, his second opera, was written in 1640 by Francesco Cavalli with lyrics by Giovanni Francesco Busenello .Cavalli moved to Venice, Italy, when a schoolboy and was a pupil of Montiverdi .During the 17th century Cavalli was regarded as a major opera composer who wrote over 30 works,  but his music fell into obscurity in the 18th and 19th centuries until roughly the 1950’s.

This is the third Cavalli opera Pinchgut have presented (after Ormindo in 2009, and then Giasone in 2013). It is still rare to see performances of Cavalli’s operas today.

Under Butel’s direction this performance is presented as set right now, bright, colourful and energetic, with mobile phones, computers etc and giving the work a fascinating completely new ‘ twist’ and appearance making it very relevant to today. The designs by Jeremy Allen (set and costumes) and lighting by Damien Cooper are splendid. There are many doublings (even quadrupling) of roles by most of the cast in this fresh, vivid performance.  Continue reading PINCHGUT OPERA : THE LOVES OF APOLLO AND DAFNE

THE TURK IN ITALY – MODERN AUSSIE OPERA

This image: Graeme Macfarlane as Albazar, Anna Dowsley as Zaida and chorus in Opera Australia’s 2018 production of The Turk in Italy at the Sydney Opera House. Photo credit: Keith Saunders
Featured image: The Opera Australia Chorus in Opera Australia’s 2018 production of The Turk in Italy at the Sydney Opera House. Photo credit: Keith Saunders

THE TURK IN ITALY is not one of Rossini’s best known or best received operas, but this risqué OA production is sure to entertain most. (Just don’t take your kids or your prudish mother-in-law.)

Director Simon Philips premiered this playful retro adaptation in 2014 and returns this year with the same cartoonish set design and candied costumes, as well as much of the original cast.

The plot is by no means serious drama and does not stand up to critical examination. But it is laugh-out-loud funny. This is opera buffa, after all. It is meant to be ridiculous, and is by its’ very nature full of gender and race stereotypes, with not one fully formed, complex character. Continue reading THE TURK IN ITALY – MODERN AUSSIE OPERA

OPERA AUSTRALIA: THE MERRY WIDOW @ DAME JOAN SUTHERLAND THEATRE

Above: Alexander Lewis and Danielle de Niese as Danilo Danilovich and Hanna Glavari. Featured image: Danielle de Niese and male ensemble.

It is a challenge to present a modern public with something of a soap-operetta like The Merry Widow. This light work profiles gender, marriage and loyalty to a small state very specifically and in a contrasting way to our contemporary approach.

However, the cast and creatives at Opera Australia, and Lehár’s direct and beautiful score as interpreted with infectious lilt by Vanessa Scammell save the day in this regard. The attractive, engaging production spills over us with sumptuous momentum, visual delights and a dazzling, physicality to the storytelling. Continue reading OPERA AUSTRALIA: THE MERRY WIDOW @ DAME JOAN SUTHERLAND THEATRE