Music

Hamlet: Experience the epic tragedy reimagined

Brett Dean and Matthew Jocelyn’s Hamlet has been one of the most universally applauded operas in recent memory, with successful performances at the Glyndebourne Festival, the Adelaide Festival, New York's Metropolitan Opera and the Bavarian State Opera. Now Opera Australia’s production of the incredible adaptation at the Sydney Opera House continues to bring new life to Shakespeare’s iconic tragedy. With its rich storytelling, the opera masterfully combines the profound themes of betrayal, revenge and madness with stunning musical compositions – but with a huge difference. For those familiar with Shakespeare’s work, this version of Hamlet provides a fresh perspective, blending the traditional elements of the play with operatic expression skilfully applied by Australian composer Brett Dean and Canadian librettist Matthew Jocelyn. Over60 was fortunate enough to secure an interview with librettist Matthew Jocelyn about his experience in adapting one of the world’s most famous plays into an opera. O60: Firstly, by way of an introduction, you’re a director and librettist – can you summarise your career and your current roles? Matthew: “I have led a particularly speckled career, navigating happily between directing theatre and opera, writing, teaching, running arts institutions in France and Canada, and walking. I always look forward to more of the latter. Right now I direct Koffler Arts, a gallery and multi-disciplinary arts project in Toronto, Canada, the first time I have had the opportunity to work directly with visual arts projects.” O60: How did you get involved with working on this production of Hamlet? Was this a project you’d be looking for or did an offer come as a surprise? Had you done a lot of work with Shakespeare works before this project? Matthew: “Brett Dean contacted me in 2013, through the recommendation of a couple of mutual friends in Berlin, a composer and a singer – both of whom I had worked with on a new opera in 2010. Brett was looking for someone crazy enough to embark on a project of adapting Hamlet for the opera. It was a cold call, but after a few conversations it was clear we shared similar ideas about what the opera could look like, and how to go about it.” O60: How did you approach turning Shakespeare’s famous lines into an opera? Did you write the libretto first or did Brett write the music first? Did you feel pressure making changes to the great Bard’s iconic piece? Matthew: “One of the most important decisions we made very early on was to use only Shakespeare’s own words to compose the libretto. But as three different versions of Hamlet were published during Shakespeare’s lifetime, or shortly after he died, there is no one definitive version – giving us both a multitude of choices for various lines, but also a deep sense that Shakespeare himself was continually rewriting his own text, giving us licence to continue doing the same. “The other major decision was to give ourselves freedom in who would say/sing each line. In our version, Hamlet may sing lines from Laertes or Ophelia, Ophelia sings lines from Polonius, Hamlet and Gertrude, lines get moved from one scene to another, and certain scenes appear in unexpected places for those who know the play. But at the end of the day – and this was the goal – the story is clear, and the emotions strong.” O60: You’ve collaborated with Brett Dean on other projects. What do you like about working with this Australian composer? Do you have future plans for work in Australia? Matthew: "Brett and I worked on numerous projects over a nearly ten-year period. This included chamber works, works for large orchestra with solo voices, and this opera. It was a rich and productive collaboration – with deeply thoughtful exchanges and a shared sense of play. Now we are both working on separate projects.” O60: What are your current projects / what’s coming up in the future? Matthew: “I am writing the libretto for a couple of new operas right now – one in Canada, one in France. And my most recent project, Cassandra by Belgian composer Bernard Foccoulle, will be performed at the Berlin Stadtsoper in June, 2025, after opening at the Théâtre Royal de la Monnaie in Brussels last autumn. Reconceiving Koffler Arts is also a bit of a passion project – I’m very lucky that way.” Attending Opera Australia’s Hamlet is not just a night out but an opportunity to witness a masterful adaptation of a classic story. Whether you’re a seasoned opera lover or new to the genre, this production promises to be an enthralling experience. Don’t miss the chance to see this exceptional interpretation of Hamlet and immerse yourself in the beauty and drama of opera at its finest. Visit <a href="https://opera.org.au/" target="_blank" rel="noopener">https://opera.org.au/</a> for more info. Images: Opera Australia \ Tony Hauser

Music

Jack Black cancels Tenacious D tour after on-stage Trump comment

Jack Black has cancelled the rest of Tenacious D's Australia and New Zealand tour after his bandmate Kyle Gass’s on-stage joke about the attempted assassination of Donald Trump was widely condemned. Gass was celebrating his 64th birthday on stage at Sydney’s International Convention Centre on Sunday night, just hours after Trump was fired upon at a rally Pennsylvania, when Black presented him with a cake and asked for his birthday wish. “Don’t miss Trump next time,” Gass replied. The moment was captured and posted to TikTok where it quickly went viral, even attracting attention from radio shock jock <a href="https://oversixty.com.au/entertainment/music/kyle-slaps-comedy-legends-with-lifetime-ban-for-twisted-trump-joke" target="_blank" rel="noopener">Kyle Sandilands</a>, who proposed Tenacious D receive a lifetime ban from touring in Australia. Since the moment garnered online attention, Kyle Gass has been dropped by his talent agency, Greene Talent, with rep Michael Greene telling <a href="https://www.tmz.com/2024/07/16/tenacious-d-kyle-gass-dropped-talent-agency-trump-shooting-comment/" target="_blank" rel="noopener" data-link-type="article-inline">TMZ</a> they have parted ways due to the incident. In the hours after the show, Jack Black took to Instagram where he shocked fans by announcing the rest of their tour would be cancelled, as the joke prompted a falling out between the two bandmates. “I was blindsided by what was said at the show on Sunday. I would never condone hate speech or encourage political violence in any form,” Black wrote in a statement. “After much reflection, I no longer feel it is appropriate to continue the Tenacious D tour, and all future creative plans are on hold. I am grateful to the fans for their support and understanding.” Gass has since apologised for the joke, saying, “The line I improvised onstage Sunday night in Sydney was highly inappropriate, dangerous and a terrible mistake." “I don’t condone violence of any kind, in any form, against anyone. What happened was a tragedy, and I’m incredibly sorry for my severe lack of judgement." “I profoundly apologise to those I’ve let down and truly regret any pain I’ve caused.” Image credits: Reynaud Julien/APS-Medias/ABACA/Shutterstock Editorial/TikTok

Music

Kyle slaps comedy legends with lifetime ban for "twisted" Trump joke

US comedy-rock duo Tenacious D have found themselves at the centre of a media maelstrom during their current Australian tour. The reason? A blink-and-you'll-miss-it moment during which guitarist Kyle Gass expressed that his birthday wish at their Sydney show was: “Don’t miss Trump next time.” The comment quickly sent shockwaves through the media landscape, and has even managed to ruffle the feathers of the famously unshockable Kyle Sandilands. It all started innocently enough at Sydney’s ICC Theatre. As the band celebrated Kyle Gass' 64th birthday, Tenacious D frontman and star of the big and small screen Jack Black paused the show for the ceremonial blowing out of candles. What better time for Gass to wish for world peace, or perhaps a new guitar? But no: “Don’t miss Trump next time,” he quipped, referring to the failed assassination attempt that very morning on the former US President. As expected, the moment was captured by at least one concertgoer and shared on TikTok, where the comment section swiftly became a battlefield. “As a Tenacious D fan, no. Just no,” lamented one disappointed follower. “Hmm … the left condoning gun violence. Hypocrisy at its finest. Keep showing us your colours,” declared another. However, not everyone was scandalised. “My respect for Tenacious D,” reads the top comment, with another fan chiming in, “Aaand I like them even more.” But the real kicker came when Sandilands, on the Kyle & Jackie O show, took to the airwaves to express his utter dismay. “Someone’s promoting the assassination of another human being? Seriously?” he said. “That’s some serious, twisted s**t. And whoever that is, is banned for life.” Sandilands was especially flabbergasted to learn the comment came from Tenacious D. “See, those two seem like normal people, not unhinged lunatics,” he mused. Images: KIIS FM | TikTok

Music

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

"Mind blowing": Michael J. Fox stuns with Coldplay performance

British rock band Coldplay has made history at Glastonbury music festival this year, becoming the first band to headline the festival a record five times - and they had one special guest join them on stage. Fans were left in tears after Michael J. Fox hit the stage with Coldplay on Saturday to play the guitar during Fix You and Humankind. Chris Martin paid tribute to Michael and thanked him for being the "main reason" why the band was formed. "The main reason why we're in a band is because of watching Back to the Future, so thank you to our hero forever and one of the most amazing people on Earth, Mr Michael J. Fox. Thank you so much, Michael," he said, before welcoming the actor on stage. The actor, who is an avid musician and famously played the guitar in the iconic 1985 sci-fi movie, thanked his team and Coldplay for the incredible moment. "Glastonbury all the love and thanks to the @coldplay team who took such great care of us," his shared on Instagram. "Oh yeah in case you were wondering… it was f**king mind blowing. There is a time for every band and a band for every time. This is @coldplay's time. More pics to come," he added. <blockquote class="instagram-media" 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);" data-instgrm-permalink="https://www.instagram.com/p/C82KTgiI95d/?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> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </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;" href="https://www.instagram.com/p/C82KTgiI95d/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Michael J Fox (@realmikejfox)</a> </div> </blockquote> Many fans were also left in tears following his surprise appearance. "Coldplay, wow just wow. What a show and Michael J. Fox, don't tell me you weren't in tears," wrote one fan on X. "Coldplay rocking Glastonbury and then bringing out Michael J. Fox will be the best thing I see all year," added another. "Coldplay bringing out Michael J. Fox is not what drunk me expected. Sobbing mess," added a third. "Michael J Fox bless his heart on stage with Coldplay," wrote a fourth. Images: BBC / YouTube

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

Prince William shakes it off at Taylor Swift's concert

Prince William has celebrated his 42nd birthday with a boogie at the first of Taylor Swift's Eras Tour concerts at Wembley Stadium in London. The pop star took to Instagram to share a selfie she took with the future King and his children Prince George and Princess Charlotte, as well as her boyfriend NFL star Travis Kelce She captioned the photo: "Happy Bday M8! London shows are off to a splendid start." <blockquote class="twitter-tweet"> Thank you <a href="https://twitter.com/taylorswift13?ref_src=twsrc%5Etfw">@taylorswift13</a> for a great evening! <a href="https://twitter.com/hashtag/LondonTSTheErastour?src=hash&ref_src=twsrc%5Etfw">#LondonTSTheErastour</a> <a href="https://t.co/NFSi8hAl1o">pic.twitter.com/NFSi8hAl1o</a> — The Prince and Princess of Wales (@KensingtonRoyal) <a href="https://twitter.com/KensingtonRoyal/status/1804489979294364005?ref_src=twsrc%5Etfw">June 22, 2024</a></blockquote> The Prince and Princess of Wales also shared another angle of the selfie, this time without Kelce included in the photo, to their joint Instagram account. "Thank you @taylorswift for a great evening! #LondonTSTheErastour," they captioned a photo. <blockquote class="twitter-tweet" data-media-max-width="560"> 📲| Prince William dancing to "Shake It Off" at Taylor Swift's Eras Tour in London <a href="https://t.co/c0J7aSM1Li">pic.twitter.com/c0J7aSM1Li</a> — The Swift Society (@TheSwiftSociety) <a href="https://twitter.com/TheSwiftSociety/status/1804453576560808210?ref_src=twsrc%5Etfw">June 22, 2024</a></blockquote> Eagle-eyed fans who attended the show also spotted the royal shaking it off on the balcony of a private box at the stadium on Friday night and shared a snippet of Prince William dancing the night away to X, formerly Twitter. "Prince William dancing to "Shake It Off" at Taylor Swift's Eras Tour in London" they captioned the video. Fans were amused at the royal cameo, with one saying: "He was getting it with the ultimate dad moves." Another quipped: "Prince William got moves and boy I tell you George & Charlotte are definitely embarrassed." "Shake it off Prince William! Shake it Off!" added another. Images: Instagram/ X

Music

‘Screaming, chanting, struggling teenagers’: the enduring legacy of the Beatles tour of Australia, 60 years on

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> The Beatles began their first and only tour of Australia 60 years ago this week. It remains a landmark event in our social and cultural history. The Beatles spent almost three weeks in Australia and New Zealand. Touching down in a wet and cold Sydney on Thursday June 11 1964, they played 32 concerts in eight cities: first Adelaide (where drummer Ringo Starr, suffering from tonsillitis and pharyngitis, was replaced by Jimmie Nicol), then Melbourne (with Starr again), Sydney, Wellington, Auckland, Dunedin, Christchurch and two final shows in Brisbane on June 29 and 30. Charming and irreverent as they were, The Beatles themselves were only part of the reason the tour was so memorable. It was the hordes of screaming fans who followed their every move that astonished onlookers. <h2>The rise of Beatlemania</h2> By 1964, Australian teenagers had access to a global youth culture. As the feminist author Anne Summers, then an Adelaide teenager, recalled in her memoir Ducks on the Pond: "It was rare for world-famous pop stars to come to Adelaide and unheard of for a group at the height of their celebrity." That Australian teenagers had the opportunity to see The Beatles in person in 1964 was due to a stroke of luck for tour promoter <a href="https://adb.anu.edu.au/biography/brodziak-kenneth-leo-kenn-32165">Kenn Brodziak</a>. In late 1963, Brodziak secured the then up-and-coming Beatles for a three-week tour of Australia at a bargain rate. By the time the tour took place, the Beatles were the biggest band in the world. Their popularity had skyrocketed throughout 1964. <a href="https://www.youtube.com/watch?v=jenWdylTtzs">I Want To Hold Your Hand</a> went to number one on the Australian charts in mid-January and the top six singles that year were <a href="https://en.wikipedia.org/wiki/List_of_top_25_singles_for_1964_in_Australia">all by The Beatles</a>. <figure><iframe src="https://www.youtube.com/embed/iUCl9FWLzgM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> So when the band arrived here, Beatlemania was the predictable result: crowds of surging, screaming young people, who turned out in massive numbers wherever the Beatles appeared. While the earliest rock ‘n’ roll fans (and even performers) in the late 1950s were often labelled <a href="https://eprints.qut.edu.au/633/1/moore_keith.pdf">juvenile delinquents</a>, there were too many teenagers swept up in Beatlemania for them to be dismissed in the same way. The crowds became a spectacle in themselves. <h2>‘A chanting mass of humanity’</h2> Beatlemaniacs were loud and unruly. The Daily Telegraph reported: "50,000 screaming, chanting, struggling teenagers crowded outside Melbourne’s Southern Cross Hotel this afternoon to give the Beatles the wildest reception of their careers." It was a similar story in Adelaide. The Advertiser described: "police, their arms locked together and forming a tight circle around the car carrying the Beatles, had to force a path through the surging, screaming crowd […] Police said they had never seen anything like it." The crowds overwhelmed observers with their sheer size – a “solid, swaying, chanting mass of humanity”, according to The Age – and noise. The Daily Telegraph consulted an acoustics expert to conclude “Beatles fans scream like [a] jet in flight”. <figure><iframe src="https://www.youtube.com/embed/2MOFBmxPUCs?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Beatlemania was visible (and noisy) evidence of a growing teenage consumer market and the assimilation of rock music, dancing and youth culture into the leisure practices of middle-class youth. It was proof (if anyone still needed it) the youth market was highly developed and extremely lucrative. The speed with which companies found a ready audience for Beatles merchandise (wigs, souvenirs, magazines) demonstrated the relative affluence of the youthful consumer in mid-1960s Australia. This market would continue to grow throughout the decade. <h2>A new idea of youth</h2> Perhaps the most remarkable characteristic of Beatlemania was its femaleness. While not all Beatles fans were girls, it was the crying, screaming girls who attracted the most media comment. The Daily Telegraph described them this way: "It was the girls, the nymphets of 1964 in their uniform of black slacks and duffle coats and purple sweaters – who showed the orgiastic devotion due to the young men from the damp and foggy dead end of England […] the girls wept, screamed, grimaced, fainted, fell over, threw things, stamped, jumped and shouted […] [The Beatles] were the high priests of pop culture, taking due homage from a captive, hypnotised hysterical congregation." The references to “nymphets” with their “orgiastic devotion” tells us many Australians thought these young women were transgressing the norms expected for their era. Young women in the early 1960s were still expected to be demure and responsible. Beatles fans were breaking these rules, and helping to rewrite the meanings of youth and gender in 1960s Australia. <figure><iframe src="https://www.youtube.com/embed/Wyrs5uR-nwc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Beatlemania was an expression of female desire. The Beatles were powerful objects of fantasy for many fans in a world where sexual mores were slowly changing but where women were still expected to police male desire, stopping young men from “going too far”. A fantasy relationship with a Beatle became a way for young women to dream about their ideal relationship. Screaming, chasing a Beatle down the street: these were acts of rebellion and joy that prefigured the rise of women’s liberation, with its embrace of rebellious femininity. Beatlemania reminds us that, even if women were not always behind the microphone or playing the guitar, they have been important to the history of rock ‘n’ roll music as fans and audience members. Beatlemania marked the ascendancy of a new idea of youth: these young people weren’t mere replicas of their parents, but they were not juvenile delinquents, either. The Beatles tour drew young Australians more closely into a transnational youth culture, fostering the development of a distinctively Australian variant here. Beatlemania also demonstrated the massed power of youth. By the end of the 1960s, many Australian teenagers were gathering on the streets to protest, rather than celebrate, and to make political demands, rather than to scream.<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/227680/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: Granger/Shutterstock Editorial 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/screaming-chanting-struggling-teenagers-the-enduring-legacy-of-the-beatles-tour-of-australia-60-years-on-227680">original article</a>. </div>

Music

"No fan of mine": Kyle Sandilands shocked on air by brutal John Blackman audio

Kyle Sandilands was paying tribute to his “childhood hero” Hey Hey it's Saturday star John Blackman on-air Thursday morning, when he was interrupted by an audio of the late star trashing him in a recent interview. Speaking on the Kyle and Jackie O Show, the shock jock said he was upset when he learned of <a href="https://www.oversixty.com.au/health/caring/australia-is-a-sadder-place-shock-as-john-blackman-s-death-confirmed" target="_blank" rel="noopener">Blackman's passing</a>, but before he was able to elaborate on how the radio star was his childhood hero, his manager Bruno Bouchet interjected and told him about Blackman's brutal review. In a May interview on the You Cannot Be Serious podcast, Blackman said: “Why are we giving these two publicity hungry, oxygen thieves, waste of oxygen. The man [Sandilands] is a no talent. He doesn’t have a voice for radio, by the way.” Footage of Sandilands listening to the audio for the first time was shared by KIIS FM on their Instagram stories, and both he and Henderson were shocked. “I’m very confused,” Sandilands said, before coming to the conclusion that Blackman wasn’t a fan of him because he’s not as polished as “old school” media veterans. “What’s happened here is old school media, TV, radio, newspapers. They’re all fake,” he said. “They pretend everything’s wonderful. You never really know the real person." He then elaborated and said that he and Henderson try to keep it real with their listeners. “We don’t pretend it’s a wonderful day. Even though it’s p*ssing with rain and snowing or whatever. We don’t pretend. We say, ‘Oh, what a s**t day.’ We’re just a different breed. “Oh well, that’s one hero of mine that’s dead. No fan of mine.” Images: Instagram

Music

Cyndi Lauper announces farewell tour

Cyndi Lauper is saying goodbye to fans after announcing that her upcoming US tour will also be her last. The music legend, who turns 71 later this month, will go on a 23-date tour of the US and Canada in October. The announcement of her tour titled Girls Just Wanna Have Fun: The Farewell Tour, sent fans into a frenzy on social media, as they begged her to extend her last tour to more countries. “Farewell tour? Nooo,” wrote one fan on Instagram. “I’m so happy and so incredibly sad. I know you have worked your booty off since the very early 80s and you are due for a darn good rest but I just cannot imagine not seeing you all the time,” another added. “I hate farewells and I am so thankful I grew up when your music was always on the radio!” a third wrote. Fans hoped that the singer would hold a similar farewell tour to fellow pop diva Cher, who went on a 326-date farewell tour from 2002 to 2005. Cher has since performed two more world tours and two separate Las Vegas residences, making it a total of 430 concerts since her announcement. Lauper has not yet spoken publicly about what exactly this “farewell” means in terms of whether she is retiring from touring or the music industry altogether. The singer last visited Australia in March 2023, when she was a support act for Rod Stewart. In the 1980s she had 10 top 20 hits, including scoring a number one spot for her solo debut single Girls Just Wanna Have Fun. Image: SplashNews.com/ Shutterstock Editorial

Music

ABBA members reunite for knighthood

ABBA has reunited to receive the Royal Order of Vasa knighthoods in Sweden. All four members of the iconic group were handed the honours by King Carl XVI Gustaf and Queen Silvia at the Royal Palace in Sweden. Bjorn Ulvaeus, Anni-Frid Lyngstad, Agnetha Faltskog and Benny Andersson received one of the country's most prestigious awards, establishing them as Commanders of the First Class, for “very outstanding efforts in Swedish and international music life.” The Royal Order of Vasa is an order of chivalry given in recognition of personal efforts for Sweden or for Swedish interests, and was last handed out almost 50 years ago. The pop band were recognised by the King and Queen for their cultural impact, which has taken Swedish pop music to a huge global audience, following their win in the 1974 Eurovision Song Contest with their smash hit Waterloo. Candidates for this year's Royal Order of Vasa honours were nominated by the public and approved by the Swedish government and the King. It has been forty years since the group last performed live together. In 2021 they released a comeback album called Voyage. The group also gathered at the ABBA Arena in London on Thursday to celebrate the second anniversary of Abba Voyage, the avatar show that has been successfully playing at the venue. They have declined to perform at at this year's Eurovision, marking 50 years since their win. Image: Henrik Montgomery/EPA-EFE/ Shutterstock Editorial

Music

Teen Elvis sensation to join best tribute acts in the country

In the bustling corridors of a regional high school in the Victorian town of Colac, where teenage dreams often centre around passing maths exams and surviving gym class, a baby-faced Year 10 student named Charlie Gaylard is gearing up for something far more extraordinary. With a swivel of his hips and a curl of his lip, this 15-year-old is preparing to dazzle audiences alongside Australia’s top Elvis tribute artists at the Cooly Rocks On nostalgia festival on the Gold Coast from June 5-9. The journey from classroom to the spotlight wasn’t something Charlie stumbled upon; it was a destiny orchestrated by a loving grandad and a bit of serendipity. Greg, his 73-year-old grandfather and manager, has been spinning Elvis records for Charlie since he was in diapers. "We have had a lot of time together since Charlie could walk," Greg explains. "We spent a lot of time in the car together when he was young, and all we would play was Elvis. I am from a family of Elvis fans, as we were all brought up in that era." "When he went to primary school in grade two, they had a talent quest, and Charlie decided that he wanted to go as Elvis," Greg continues. "He got up on stage and sang 'Hound Dog', and ended up winning 'St. Mary’s Got Talent'." "From day one, he concentrated on acting and dancing." Charlie’s final transformation into the young Elvis we see today started two years ago after he was mesmerised by Baz Luhrmann’s Elvis biopic. "He went and saw the Elvis movie," recalls Greg, "and then went back again and again, bought the CD, and never stopped watching it." After watching the film, Charlie then said to his grandad, “I want to give up acting. I think I can do Elvis just like Austin Butler.” Balancing school and his newfound passion, Charlie has become a sensation. His classmates might be studying biology, but Charlie’s researching Elvis’ dance moves and perfecting his rendition of “Jailhouse Rock.” The turning point in Charlie's journey came when renowned Australian singer Jack Gatto saw him perform on video. Recognising the teenager's raw talent, Gatto reached out to Greg. “We have to give this boy a go,” he insisted. It wasn't long before the one and only Dean Vegas – regarded as Australia's best ever Elvis impersonator – had flown Charlie and Greg to Brisbane so that Charlie could perform, resulting in an unbelievable response. And then – proving that three really is a charm – prodigious live show promoter Dom Arpa gave Charlie the go ahead to perform in three Elvis festivals. Grandpa Greg could not be prouder. "Everything has just blown me away. I’m truly flabbergasted," he says. "He was brought up in the Elvis world with me, but I didn’t teach him anything. Charlie does it by himself 100%." Retirement has turned into a second act for Greg, who now revels in every moment of this rock-and-roll adventure with his grandson. "Tis has come along and suits me perfectly," he says. "I love every bit of it, every aspect of it. I could have never wished for anything better, never." Now, with Australia’s largest nostalgia festival on the horizon, Charlie is set to bring down the house. Cooly Rocks On is expected to attract over 160,000 visitors, all eager to relive the golden age of rock and roll. Among the glittering lineup, Charlie Gaylard stands out as the fresh-faced teen who, with a little help from his grandad, is keeping the spirit of Elvis alive and well. Images: Supplied

Music

"It's timeless": Apple Music reveals best albums of all time

Apple Music has compiled their list of the top 100 albums of all time, with the number one spot dividing music lovers. Said to be “a modern 21st-century ranking of the greatest records ever made,” the list was compiled by Apple Music’s team of experts “alongside a select group of artists, songwriters, producers, and industry professionals.” “The list is an editorial statement,” the streaming giant said in a press release, “fully independent of any streaming numbers on Apple Music - a love letter to the records that have shaped the world music lovers live and listen in.” Taking out the number one spot, which has divided music lovers, is Lauryn Hill’s 1998 magnum opus The Miseducation of Lauryn Hill. The album beat out other iconic works such as Abbey Road by The Beatles and Thriller by Michael Jackson for the top spot, as well as newer records such as Back to Black by Amy Winehouse and Blonde by Frank Ocean. Following the big reveal, Apple Music’s global creative director, Zane Lowe, described Hill’s album as one that “has not dated, not even a fraction”. “In fact, it feels more fresh and more relevant the more you listen to it … There are a lot of young artists hearing it, and it’s becoming part of their artistic DNA,” he said. “It’s inspiring and influencing them … It’s timeless.” While The Miseducation of Lauryn Hill is certainly popular after selling over 20 million copies and making it one of the best-selling albums of all time, not everyone was so sure it deserved top spot on the list. “Album is fire but no way this gets #1 of all albums,” one user wrote on X, formerly Twitter, while another account declared simply: “BLASPHEMY.” “The most overrated album in history. I’m not saying it’s not good but come on,” a user wrote. Many people also insisted Jackson’s “Thriller” deserved to be number one. “That album had no miss, but Michael Jackson thriller is no 1,” an X user said. “I feel like Michael got snubbed,” another agreed. Check out the top 20 of the coveted list below. You can see the top 100 list in its entirety <a href="https://www.news.com.au/entertainment/music/best-albums-of-all-time-revealed/news-story/620abfb3fc0279559eff1cbbbb552b80" target="_blank" rel="noopener">here</a>. 20. Pet Sounds – The Beach Boys 19. The Chronic – Dr. Dre 18. 1989 (Taylor’s Version) – Taylor Swift 17. What’s Going On – Marvin Gaye 16. Blue – Joni Mitchell 15. 21 – Adele 14. Highway 61 Revisited – Bob Dylan 13. The Blueprint – Jay-Z 12. OK Computer – Radiohead 11. Rumours – Fleetwood Mac 10. Lemonade – Beyoncé 9. Nevermind – Nirvana 8. Back to Black – Amy Winehouse 7. good kid, m.A.A.d city (Deluxe Version) – Kendrick Lamar 6. Songs in the Key of Life – Stevie Wonder 5. Blonde – Frank Ocean 4. Purple Rain – Prince & The Revolution 3. Abbey Road - The Beatles 2. Thriller - Michael Jackson 1. The Miseducation of Lauryn Hill – Lauryn Hill Image credits: Ruffhouse Records / Apple Records / Epic Records <div class="media image" style="caret-color: #000000; color: #000000; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: inherit; margin-bottom: 24px; display: flex; flex-direction: column; align-items: center; width: 705.202209px; max-width: 100%;"> </div>

Music

Aussie music icon passes away aged 86

Australian music legend Frank Ifield, best known for his beloved country music performances and unique yodelling style, passed away peacefully on Saturday night at the age of 86. His friend and renowned music journalist Glenn A Baker confirmed the news, describing Ifield as a "remarkable man" whose contributions to music left an indelible mark. "There is so much to be said about this remarkable man, who had four number ones in Britain, three of them before the Beatles (who he had briefly support him in concert)," wrote Baker on Facebook. Ifield's career was marked by major international success, particularly in the UK where he scored four number one hits. Among his most celebrated tracks was the classic single "I Remember You", which gained widespread fame from its performance in the movie The Fleet’s In. The song is often speculated to have been inspired by writer Johnny Mercer's affair with Judy Garland. Ifield's influence extended beyond his chart-topping hits. He was inducted into the Australian Roll of Renown in 2003 and the ARIA Hall of Fame in 2007. In recognition of his substantial contributions to the arts, he was awarded the Medal of the Order of Australia in 2009. Ifield's musical journey began at a young age. His parents gifted him a ukulele for his 11th birthday, and after performing in class, he realised music was his true calling. By the age of 19, Ifield had already released 44 records and was the top recording artist in Australia, New Zealand and Tasmania. In 1959, Ifield took his talents abroad, moving to London where he quickly established himself as a household name. His unique singing style, which blended yodelling with an enthralling falsetto, set him apart and made him a standout act. This was highlighted by his notable performance in the 1962 Eurovision Song Contest, where he finished second in that year’s heat. Ifield's talents were not confined to music alone. He found success in film and television as well. In 1965, he starred in the feature film Up Jumped A Swagman. He also led two television specials, The Frank Ifield Show (1964) and Frank Ifield Sings (1965), and made appearances on numerous popular programmes including In Melbourne Tonight, Top Of The Pops, Celebrity Squares, and Spicks & Specks. Ifield's influence on the music industry extended to helping launch the careers of other artists. Notably, he is credited with playing a part in The Beatles' rise to fame, as the iconic band once opened for him before becoming global superstars. Ifield's legacy is one of innovation and success, both in Australia and internationally. His remarkable career and unique contributions to music will be remembered and celebrated for years to come. As the world mourns the loss of this extraordinary artist, his music and legacy continue to inspire and resonate with fans old and new. Images: IMDB

Music

Nine-year-old Aussie ballet prodigy scores full New York scholarship

A talented nine-year-old is heading to New York City, after scoring a full scholarship to a prestigious ballet school. Malcolm Doyle's dad Nick said he and his wife knew their son had a talent for dance from a young age, and could not be more proud of the international attention his dancing has garnered. "He's been doing really well here in Australia and since last year, there's been a bit of a focus from overseas," Nick told <a href="https://9now.nine.com.au/today/aussie-billy-elliot-nine-year-old-ballet-prodigy-scores-scholarship-to-prestigious-new-york-academy/4e3fdf08-3fb7-41a4-89df-eb6ee4b58095" target="_blank" rel="noopener">Today</a>. "He got brought in to do an audition for Chicago's A and A Ballet, who were doing a world broadcast for auditions and from there, we just started to get a bit of interest." "And then this year, we let him do the auditions for the Royal Ballet and he ended up in Hong Kong over Easter." From there, Nick said the American Ballet Theatre in New York got in contact and offered Malcolm a scholarship. Malcolm ultimately turned down the offer and signed with another NYC school, the Ellison Theatre, who offered the youngster a full ride. The family are currently saving up to buy flights over to the US to check out the school, with Nick saying they will do anything and everything to support their son's dream. "It's taking quite a bit of the funds out of my bank account, but the love he's got for dancing, you can't stop him and even if we wanted to, I mean we get home after he's had a full day of dance and he's still dancing around the house," Nick said. Malcolm's dad has a performing arts background and his mum is also a classically trained ballerina and teacher, so Nick said Malcolm was either going to inherit the genes or "end up having three left feet". "He went and saw a production by the Queensland Ballet on the weekend, which he had never seen before and he walked out with half the choreography memorised in his head and trying to reproduce it.," Nick said. After being dubbed "Australia's own Billy Elliot", the Today hosts asked Malcom what it is he loves so much about dancing. "It makes me feel really excited and it's so amazing for me, the feeling I get when I dance," Malcolm said. Image credits: Today

Music

50 years on, Advance Australia Fair no longer reflects the values of many. What could replace it?

<a href="https://theconversation.com/profiles/wendy-hargreaves-1373285">Wendy Hargreaves</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> On April 8 1974, Prime Minister Gough Whitlam announced to parliament the nation’s new national anthem: <a href="https://www.pmc.gov.au/honours-and-symbols/australian-national-symbols/australian-national-anthem">Advance Australia Fair</a>. Australia was growing up. We could stop saving “<a href="https://en.wikipedia.org/wiki/God_Save_the_King">our gracious Queen</a>” and rejoice in being “young” and “girt”. Finding a new anthem hadn’t been easy. There were unsuccessful <a href="https://www.naa.gov.au/help-your-research/fact-sheets/australias-national-anthem">songwriting competitions</a> and an unconvincing opinion poll. Finally, we landed on rebooting an Australian favourite from 1878. After Whitlam’s announcement, Australians argued, state officials declined the change and the next government reinstated the British anthem in part. It took another ten years, another poll and an official proclamation in 1984 to adopt the new anthem uniformly and get on with looking grown-up. Advance Australia Fair was never the ideal answer to “what shall we sing?”. The original lyrics ignored First Nations people and overlooked women. Like a grunting teenager, it both answered the question and left a lot out. On its 50th anniversary, it’s time to consider whether we got it right. Advance Australia Fair may have helped Australia transition through the 1970s, but in 2024, has it outstayed its welcome? <h2>How do you pick a national anthem?</h2> A national anthem is a government-authorised song performed at official occasions and celebrations. It unifies people and reinforces national identity. Often, governments nominate a tune by searching through historical patriotic songs to find a <a href="https://dictionary.cambridge.org/dictionary/english/golden-oldie">golden oldie</a> with known public appeal. For example, the lyrics of the Japanese anthem <a href="https://en.wikipedia.org/wiki/Kimigayo">Kimigayo</a> came from pre-10th-century poetry. Germany’s anthem <a href="https://www.britannica.com/topic/Deutschlandlied">Deutschlandlied</a> adopted a 1797 melody from renowned composer <a href="https://www.britannica.com/biography/Joseph-Haydn">Joseph Haydn</a>. An enduring song or text offers star quality, proven popularity and the prestige of age. In the 1970s, Australia’s attempt at finding a golden oldie was flawed. In that era, many believed Australia’s birth occurred at the arrival of explorer <a href="https://www.britannica.com/biography/James-Cook">James Cook</a> in 1770. Hence, we narrowed our search to hymns, marches and fanfares from our colonial history for possible anthems. With 2020s hindsight (pun intended), <a href="https://theconversation.com/our-national-anthem-is-non-inclusive-indigenous-australians-shouldnt-have-to-sing-it-118177">expecting First Nations</a> people to sing Advance Australia Fair was hypocritical. We wanted to raise Australia’s visibility internationally, yet the custodians of the lands and waterways were unseen by our country’s eyes. We championed “history’s page” with a 19th-century song that participated in racial discrimination. <h2>Changing anthems</h2> With a half-century on the scoreboard, are we locked in to singing Advance Australia Fair forever? No. Anthems can change. Just ask <a href="https://en.wikipedia.org/wiki/James_Morrison_(jazz_musician)">James Morrison</a>. In 2003, the Australian trumpeter played the Spanish national anthem beautifully at the <a href="https://www.daviscup.com/en/home.aspx">Davis Cup</a> tennis final. Unfortunately, he <a href="https://www.abc.net.au/news/2003-11-28/spanish-angry-over-anthem-mix-up/1516684">played the old anthem</a> that heralded civil war. Morrison’s accidental performance incited a fist-shaking dignitary and an enraged Spanish team who temporarily refused to play. Morrison did, however, to his embarrassment, later receive some excited fan mail from Spanish revolutionists. If we want to change our anthem, where could we begin? We could start by revisiting the golden-oldie approach with a more inclusive ear. Perhaps there’s a song from contemporary First Nations musicians we could consider, or a song from their enduring oral tradition that they deem appropriate (and grant permission to use). If we have learnt anything from Australian history, it’s that we must include and ask – not exclude and take. We could also consider Bruce Woodley and Dobe Newton’s 1987 song <a href="https://www.nfsa.gov.au/collection/curated/asset/101146-i-am-australian-various">I Am Australian</a>, which reached golden-oldie status last year when the <a href="https://www.nfsa.gov.au/slip-slop-slap-i-am-australian-join-sounds-australia">National Film and Sound Archive</a> added it to their registry. The lyrics show the acknowledgement and respect of First Nations people that our current anthem lacks. The line “we are one, but we are many” captures the inclusivity with diversity we now value. <figure><iframe src="https://www.youtube.com/embed/KrLTe1_9zso?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> I Am Australian wouldn’t be a problem-free choice. Musically, the style is a “light rock” song, not a grand “hymn”, which could be a plus or minus depending on your view. Lyrically, romanticising convicted killer <a href="https://adb.anu.edu.au/biography/kelly-edward-ned-3933">Ned Kelly</a> is controversial, and mispronouncing “Australians” could be considered inauthentic (fair dinkum Aussies say “Au-strail-yins”, not “Au-stray-lee-uhns”). That said, Australians are quite experienced at patching holes in our anthem. Advance Australia Fair required many adjustments. If the golden-oldie approach fails again, how about composing a new anthem? We could adopt <a href="https://nationalanthems.info/ke.htm">Kenya’s approach</a> of commissioning an anthem, or could revive the good ol’ songwriting competition. Our past competitions weren’t fruitful, but surely our many talented musicians and poets today can meet the challenge. <h2>It’s time to ask</h2> Fifty years on, we acknowledge Advance Australia Fair as the anthem that moved our nation forward. That was the first and hardest step. Today, if Australians choose, we can retire the song gracefully and try again with a clearer voice. Changing our anthem begins with asking whether the current song really declares who we are. Have our values, our perspectives and our identity changed in half a century? Australia, it’s your song. Are you happy to sing Advance Australia Fair for another 50 years? <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/226737/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/wendy-hargreaves-1373285">Wendy Hargreaves</a>, Senior Learning Advisor, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> 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/50-years-on-advance-australia-fair-no-longer-reflects-the-values-of-many-what-could-replace-it-226737">original article</a>. Images: Shutterstock | Wikimedia Commons

Music

Bruce Springsteen helps a fan skip school for his concert

Bruce Springsteen has helped a fan skip school to attend his concert. While performing in San Francisco on his world tour, The Boss paused his performance to sign an absentee note for a fan who had missed class to attend the show. The fan, who was at the front of the barricade, held up a sign that read: "Skipping school. Sign my note?" Another concertgoer then captured the moment the 74-year-old rocker signed the note to a round of applause and cheers from his band and the crowd. <iframe style="border: none; overflow: hidden;" src="https://www.facebook.com/plugins/video.php?height=476&href=https%3A%2F%2Fwww.facebook.com%2Freel%2F794567008756785%2F&show_text=false&width=267&t=0" width="267" height="476" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe> "That is so awesome. Put tears in my eyes. A true hero," someone wrote in the comments on the Facebook video. "This is the best excuse note a teacher is ever going to see!!" another added. "So cool, Bruce is one of the true talent and a great man of many excuses," a third wrote. The adorable fan interaction comes just weeks after Springsteen returned to the stage for the first time in months after undergoing a lengthy health battle. Springsteen was forced to postpone his 2023 tour with the E Street Band after taking time off to recover from a peptic ulcer disease. Taking to the stage in Phoenix, Arizona, in the first show of the tour, he told the crowd mid-show, "Phoenix, first I want to apologise if there was any discomfort because we had to move the show last time...I hope we didn't inconvenience you too much." Image credits: Facebook

Music

Jimmy Barnes makes his triumphant return to the stage

Jimmy Barnes has made his return to the stage for the first time in three months. The Aussie rocker was welcomed to the stage at Byron Bay's Bluesfest with a roar of applause from the crowd, as he performed for the first time since his open hear surgery three months ago. The 67-year-old said he felt good about his long-awaited return to the stage, although he was worried he would "pop a valve" mid song. "There was a time when I thought I might die but I knew if I could get back on my feet, I'd be up singing again," Barnes told <a href="https://www.9news.com.au/national/jimmy-barnes-kicks-off-tour-at-bluesfest-in-byron-after-open-heart-surgery/6d4e0006-13c4-4bd0-a623-d8f9e05a575d" target="_blank" rel="noopener">Nine News</a>. "The best thing I can do for my recovery is get out there and sing, it makes me feel human, makes me feel good." After singing his hot track Working Class Man, Barnes told the crowd in Byron Bay, "It's good to be here." "It's good to be f***ing anywhere." His daughter Mahalia Barnes said that he had given it "a good go over the years" and was grateful to see her father doing what he loves most. "In recent times he's been so healthy and we're grateful he was fit and this didn't win." In December 2023, Barnes shocked his fans when he announced he was being rushed into open heart surgery after developing a dangerous bacterial infection. Since then, he has documented his recovery journey on social media, all while thanking his fans for sticking by him and sharing how excited he has been to return to the stage. Image credits: Getty Images

Music

Pink's son makes rare onstage-appearance

Pink has been wowing audiences in Australia during her tour Down Under. From <a href="https://www.oversixty.com.au/lifestyle/family-pets/pink-s-sweet-surprise-for-young-fan-s-birthday" target="_blank" rel="noopener">surprising a young fan </a>backstage on her birthday, to watching a local theatre group's <a href="https://www.oversixty.com.au/entertainment/music/that-was-so-good-pink-shocks-local-theatre-group-with-standing-ovation" target="_blank" rel="noopener">performance</a> of "In The Heights", she continues to steal fans hearts. But it was the pop star's seven-year-old son Jameson who captured attention during her gig at Marvel Stadium on Saturday night. Jameson made a rare on-stage appearance wearing a Carlton jumper with a number four on the back. The AFL fans that were at the concert noticed that the seven-year-old was supporting the local Aussie football team, and of course the AFL club was all over it. “Hey Pink, we love Jameson’s style 😏💙,” Carlton Football Club's official Instagram account posted, with a clip of the sweet moment. "Yay blues," fans could be heard shouting and waving at Jameson, who was told to wave back by his pop star mum. “Now git ... git,” Pink playfully said as he dawdled off-stage while looking at something in his hands. “Look, he’s checking out what he got,” Pink laughed. <blockquote class="instagram-media" 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);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/C3um_Rthzli/?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> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </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;" href="https://www.instagram.com/reel/C3um_Rthzli/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Carlton Football Club (@carlton_fc)</a> </div> </blockquote> Many Carlton fans took to the comments to share their love for the team and Pink. "Pink and her beautiful family are Blue Baggers!!💙" one wrote. "Didn’t think I could love pink more but seeing her son come out on stage in his Carlton jersey made my day," another wrote. "We love her more now 💙" a third added. "Big cheer seeing him come out in Carlton top! Little legend!" a fourth wrote. Images: Instagram

Music

Experience the magic of Ireland down under: A Taste of Ireland 2024 Australian Tour

Get ready to immerse yourself in the rich culture, captivating music and mesmerising dance of Ireland as <a href="https://www.atasteofirelandshow.com/" target="_blank" rel="noopener">A Taste of Ireland</a> returns to enchant audiences across Australia in 2024. Featuring World Champion dancers from Lord of the Dance and Riverdance, prepare to be transported to the rolling green hills and vibrant streets of the Emerald Isle, right in your hometown! What is A Taste of Ireland? A Taste of Ireland is not just a performance; it's an unforgettable journey through the heart and soul of Ireland. Combining traditional and contemporary Irish music and dance, this spectacular show showcases the incredible talent and passion of some of Ireland's finest performers. What to expect From the moment the first note is struck, and the first step is danced, you'll be captivated by the energy and artistry on stage. Feel the rhythm of the bodhrán drum reverberate through your bones, and let the fiddles whisk you away to a land of ancient myths and legends. Prepare to be dazzled by the lightning-fast footwork and intricate choreography of the dancers as they weave tales of love, loss and triumph through their movements. Each step tells a story, each leap a celebration of life itself. Why attend? Whether you're a die-hard fan of Irish culture or simply looking for a night of entertainment unlike any other, A Taste of Ireland offers something for everyone. It's an opportunity to witness the magic of Ireland's rich heritage brought to life before your very eyes. Forget your troubles for an evening and let the music and dance sweep you away on a journey you won't soon forget. Whether you're tapping your feet to the lively jigs and reels or wiping away tears during a poignant ballad, A Taste of Ireland is an experience that will touch your heart and soul. Tour dates and locations The 2024 Australian Tour of A Taste of Ireland will be making stops across Australia for 80 shows from March to July, bringing the magic of Ireland to a venue near you. <a href="https://www.atasteofirelandshow.com/" target="_blank" rel="noopener">Check the tour schedule</a> to find out when this unforgettable experience will be coming to your area. Get your tickets now! Don't miss your chance to experience the beauty and excitement of A Taste of Ireland. Tickets are selling fast, so book yours today and get ready for a night of music, dance, and memories that will last a lifetime. Witness the show that has received rave reviews across the globe. Don't rely on the luck of the Irish – <a href="https://www.atasteofirelandshow.com/" target="_blank" rel="noopener">book now</a>, because tickets are selling out fast! Images: Supplied. This is a sponsored article produced in partnership with Pace Live.

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