Joseph Haydn considered Armida one of his finest works and Pinchgut Opera has assembled an extraordinarily consistent line-up to bring it to life.
Highlights from Carmen, Turandot, La Boheme and other classic operas will be performed in this collaboration with Opera Australia.
The Love for Three Oranges's obstinate refusal to take anything seriously baffled its first audience in Chicago and it still baffles today, and that is the point.
It's one of the more startling transformations you can see on an opera stage. In less than 10 seconds, soprano Eva Kong transforms from a giant piece of fruit to an Orange Princess.
In John Bell's Carmen, Cuba is the new Spain. Almost nobody has actually been there, just as Bizet had never been to Seville.
Opera diva Dame Nellie Melba's Yarra Valley home is to open to the public for the first time.
There are knives with six-inch blades, a 1963 Kombi van and lacy push-up bras galore in this radically altered version of the classic Bizet opera, Carmen.
Some singers know when their voice is no longer what it was, but others keep going regardless.
Director Giancarlo del Monaco's deeply psychological approach sustains the high drama, which was emphatically realised with a consummate performance by Nicole Car.
Emma Matthews' dramatic power soars over the orchestra to convey both strength and vulnerability in this sumptuous new production.
OPERA LA BOHEME ★★★½ Opera Australia State Theatre, until May 3
The Sydney Opera House is the latest cultural institution to move into Google's online world.
Jessica Pratt produced some remarkable singing but for a great work, with a maddened, blood-soaked heroine at its core, this anaemic production is in urgent need of a transfusion.
Opera Australia's Melbourne autumn season features three operas.
Despite starring in more than 20 productions of the opera, Jessica Pratt has yet to perform the role in Australia, so her local debut in Victorian Opera's Lucia di Lammermoor is much anticipated.
Greta Bradman will perform in Canberra as part of her 'My Hero' concert tour.
With the fourth Handa Opera on Sydney Harbour, modern Sydney is developing its own rituals around Mrs Macquaries Point.
From being an axe-wielding extra in Gangs of New York to singing one of opera's most famous arias, Nessum Dorma, on Sydney Harbour, tenor Riccardo Massi takes it all in his very long stride.
This time last year, Sydney's cockatoos were already making a meal of the colossal head of Nefertiti, the scenic centerpiece of the Handa Opera on the Harbour production of Verdi's Aida.
Some balance and staging issues marred an impressive production of this fusion of material from eight Baroque composers.
Four friends gather for the degustation meal to end all others.
Melbourne's independent performing arts scene is in rude good health, if the nominations for the Green Room Awards recognising excellence on the city's stages is anything to go by.
A work of pure gold that manages to be charming, witty, musically adroit and, at little more than 80 minutes, not a second too long.
A lesser known Verdi opera is given a dark but engaging setting to showcase a star on the rise.
The Met is always keen to say there is no substitute for live opera, and there is no better example than this Lulu.