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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

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

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

Music

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

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

Music

Soap star killed in robbery gone wrong

General Hospital actor Johnny Wactor has died at the age of 37. The soap star was killed in downtown Los Angeles on Saturday morning when he stumbled across three men allegedly breaking into his car, according to <a href="https://www.tmz.com/2024/05/26/general-hospital-actor-johnny-wactor-dead-shot-killed-robbery-attempt-car-catalytic-converter/" target="_blank" rel="noopener">TMZ</a>. His mother, Scarlett, told the outlet that he was with a co-worker when they “saw three men messing with Johnny’s car”, but he didn't attempt to confront or fight them. Unfortunately, he was shot as the group took off. Paramedics arrived at the scene around 3am and took Johnny to the hospital, where he was pronounced dead. According to the outlet, the description matched a reported incident in the area where three men were attempting to steal a catalytic converter from a vehicle. The suspects have not yet been found, and police have yet to release descriptions of the alleged thieves. Johnny's agent, David Shaul, has paid tribute to the actor and remembered him as “a spectacular human being” in an interview with People. “Not just a talented actor who was committed to his craft but a real moral example to everyone who knew him,” Shaul said. “Standing for hard work, tenacity and a never give up attitude. In the highs and lows of a challenging profession he always kept his chin up and kept striving for the best he could be. “Our time with Johnny was a privilege we would wish on everyone. He would literally give you the shirt off his back," he added. “After over a decade together, he will leave a hole in our hearts forever.” Johnny began his career in 2007 playing various roles on the show Army Wives. He most notably played Brando Corbin on General Hospital, appearing in almost 200 episodes of the show. He also appeared on hit shows like NCIS, Criminal Minds, Station 19, The OA and Westworld. Fans have taken also taken to social media to pay tribute to the actor. “How sad to learn of the death of Johnny Wactor so young and in such conditions! A star will shine brighter tonight [star] Condolences to his family and all the actor’s fans,” one tweeted. “RIP #JohnnyWactor. This world is such a cruel place. :(,” another added. “I am beyond words about Johnny Wactor, a life that was taken without cause. I hope whoever did this spend the rest of their life in prison," a third wrote. Johnny is survived by his mother and younger brothers Grant and Lance. Image: Ouzounova/ Shutterstock editorial

Caring

Legendary Aussie soap star dies just weeks before birthday

Brian Wenzel has died aged 94. The beloved Aussie actor, known for his role on A Country Practice, passed away peacefully in an Adelaide nursing home, just weeks away from his 95th birthday. “It is with great sadness that we remember the life of beloved Australian actor Brian Wenzel,” the soap star's agent, Jennifer Hennessy confirmed in a statement. “His iconic and revered performances spanned multiple Australian generations with his wit and humour shining through to the end. “A passionate family man and devoted Carlton supporter leaves an irreplaceable mark on the Australian film and television industry.” Born on the 24th of May in 1929, Wenzel began his acting career at the age of just 17. He became a popular figure on Aussie TV in the 60s and 70s, starring in shows like Homicide, Division 4, and Matlock Police. He then scored his most memorable role as Frank Gilroy, an old-fashioned and uptight sergeant who was the heart of A Country Practice for 12 years. The show ran from 1981 to 1993, with a whopping 1,058 episodes, and he also briefly appeared on Neighbours after the show ended. Wenzel's role as Gilroy earned him a Logie Award for Best Actor in 1981. His final role on-screen was in 2014 for John Doe: Vigilante. In 2018 the actor had suffered two mini strokes that made him unable to walk unaided. “It’s terrible to not be able to walk and I can’t sing anymore, which is terrible. I’m hoping against all hope that I can get it all back again," he said at the time. Four years later, he was marred by his tragic battle with dementia and entered nursing care which he shared with his beloved wife Linda. Image: news.com.au/ Michael Marschall

Caring

West Side Story returns to Handa Opera on Sydney Harbour

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

Domestic Travel

Elevating tradition: La Traviata at the Sydney Opera House

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

Art

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

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

Domestic Travel

Beloved Aussie opera singer passes away

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

Caring

Award-winning soap actress dies at age 70

Nancy Fragione has died at the age of 70. The award-winning actress was best known for her starring role on All My Children, in which she played Tara Martin from 1977 to 1979. According to an online obituary, Fragione passed away on August 18th in her native Massachusetts, however her cause of death is still unknown. The actress is remembered for her iconic portrayal of villainess Cecile de Poulignac in Another World from 1981 to 1984, in the role that earned her a Soap Opera Digest award for outstanding villainess in a daytime soap opera. Fragione was revered by soap opera lovers, with devastated fans taking to X, formerly known as Twitter, to express their grief over her passing. "One of the most famous villainesses in soap opera history has passed away," one fan expressed. "Nancy Fangione was truly a soap icon," another said. The soap star also had a string of primetime television credits to her name including a guest starring role as Fran Fine's cousin Marsha on The Nanny, Highway To Heaven, Matlock and Buck Rogers. Nancy met her husband, Christopher Rich, on the set of Another World, as the co-stars married in 1982. The pair welcomed one daughter, Mariel, together during their marriage but ultimately divorced 14 years later in 1996. Image credits: Instagram

Review: Madama Butterfly

The critically acclaimed opera Madama Butterfly is back and viewers are in for one hell of a ride as the story plays out on Sydney’s stunning harbour. Patrons sit on the Fleet Steps at Mrs Macquarie’s Point where they are blessed with the stunning backdrop of the Sydney Harbour Bridge and Opera House, and a surprise firework display, as Madama Butterfly plays out on the water. The phenomenal performance is sung in Italian with English subtitles, and tells the story of Cio Cio San, also known as Madama Butterfly, who falls in love with American naval officer Pinkerton. Madama Butterfly sings of her woes as she grew up poor and had to work as a geisha to make ends meet. She is soon set up with the rich Pinkerton by Goro the marriage broker, who warns him that Madama Butterfly has strong feelings toward him. Pinkerton however dismisses the warnings and believes that one day he will have a “genuine” marriage to an American woman. After they get married, Pinkerton leaves for three years, promising to return back to Madama Butterfly “when the robins nest”. Madama Butterfly is told by her faithful servant Suzuki and others to give up hope and that Pinkerton would not come back for her to which she disagrees and stays waiting. One day, Madama Butterfly hears a cannon shot from the harbour indicating that Pinkerton had returned. She waits all night for him to come home, only to rise and not find him and be informed he had taken on another wife who is American. This agitates Madama Butterfly who gives up her son to Pinkerton’s new wife before committing suicide. This outstanding performance is not one to be missed and is held every night until April 23. Grab your tickets here: <a href="https://opera.org.au/productions/madama-butterfly-on-sydney-harbour/">https://opera.org.au/productions/madama-butterfly-on-sydney-harbour/</a> Image credits: Getty Images

Music

Don Giovanni Sydney: Review

From the first spine-tingling chord the orchestra plays beneath a stage covered in skulls and shrouded in shadow, Don Giovanni at the Sydney Opera House promises a thrilling take on the iconic opera. Ukrainian baritone Andrei Kymach shines as the suave Don Giovanni, highlighting the anti-hero’s enjoyment of his lifestyle and his unrepentant nature and showing off his velvety tone. <img src="https://oversixtydev.blob.core.windows.net/media/2023/01/don-giovanni1.jpg" alt="" width="1280" height="720" /> Andrei Kymach as Don Giovanni and the cast of Don Giovanni. Image: Keith Saunders (Supplied) Kymach is joined in his Australian debut by French-Israeli bass-baritone Yuri Kissin as Leporello, who brings a slice of comedic light to an otherwise dark and grim production. Acting as the “conscience” of his machiavellian and unrepenting master, Kissin does this all while delivering a rich tone and perfectly executing Mozart’s rapid passages. Following the final day of Don Giovanni’s life, the downfall of the serial rapist and scoundrel is apparent from the very beginning, in a story that is packed to the brim with vengeance, grief and rage. In a post-#metoo world, the solidarity between Donna Anna (Sophie Salvesani), Donna Elvira (Bronwyn Douglass), and Zerlina (Cathy-Di Zhang) in holding Don Giovanni accountable for his actions is a standout theme. <img src="https://oversixtydev.blob.core.windows.net/media/2023/01/don-giovanni2.jpg" alt="" width="1280" height="720" /> Juan de Dios Mateos as Don Ottavio and Sophie Salvasani as Donna Elvira (left), Bronwyn Douglass as Donna Anna (middle), Cathy-Di Zhang and Andrew Williams as Zerlina and Masetto. Images: Keith Saunders (Supplied) Whisperings of what he’s really like and Donna Anna’s unrelenting campaign to prevent others from sharing her fate are moments that are reminiscent of the stories of women protecting each other from male abusers in the real world. Even in contrast to the scale of Don Giovanni’s misdeeds, no-one is without flaws and the cast portray their characters as authentic and messily human. Salvesani offers a believable depiction of grief and a need for justice following the death of her father, the Commendatore (David Parkin), while Douglass offers up a rich portrayal of a woman torn between love for Don Giovanni, hatred at his deceptions and grief over his impending death, and Zhang straddles the line between loyalty to her husband and the allure of a better life with Don Giovanni. Andrew Williams’ portrayal of Masetto throws an ugly light over the peasant’s jealousy and misguided anger towards his new bride, the victim of Don Giovanni’s attention, while Juan de Dios Mateos brings the supportive yet impatient Don Ottavio to life with great vocal artistry and control. <img src="https://oversixtydev.blob.core.windows.net/media/2023/01/don-giovanni3.jpg" alt="" width="1280" height="720" /> The cast of Don GIovanni at the Sydney Opera House. Image: Keith Saunders (Supplied) This rendition of David McVicar’s Gothic reimagining - where even the chorus become part of the scenery - features a cast of debuting stars, supported by a slimmed-down orchestra that perfectly captures the range of Mozart’s score, from the boisterous celebration of Zerlina and Masetto’s nuptials to the chilling moment Parkin appears on Don Giovanni’s doorstep as the ghoulish statue of the Commendatore. <img src="https://oversixtydev.blob.core.windows.net/media/2023/01/don-giovanni4.jpg" alt="" width="1280" height="720" /> David Parkin as Commendatore and Andrei Kymach as Don Giovanni. Image: Keith Saunders (Supplied) Don Giovanni’s fate - being dragged to the Underworld by harpies with abdominal wounds of unknown origin - carries a haunting warning that our actions - and particularly our willingness to change - comes with consequences. Don Giovanni will be playing at the Sydney Opera House until February 17. To get tickets, head <a href="https://opera.org.au/productions/don-giovanni-sydney?scroll=story">here</a>. Images: Keith Saunders (Supplied)

Music

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

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

Domestic Travel

Amazon’s resuscitation of Neighbours: can Aussie TV become good friends with streaming?

Many were shocked by the <a href="https://www.theguardian.com/tv-and-radio/2022/nov/17/neighbours-soap-opera-australia-to-return-on-amazon" target="_blank" rel="noopener">announcement</a> that Australian soap opera Neighbours would return to screens in 2023, courtesy of a new deal between production house Fremantle Australia and multinational digital streamer Amazon. Significantly, this announcement overturns many expectations about television in the age of streaming. When <a href="https://www.abc.net.au/news/2022-03-03/neighbours-tv-show-cancelled-after-37-years/100880272" target="_blank" rel="noopener">news of Neighbours’ cancellation</a> broke earlier this year, streamers declined to offer a lifeline, with veteran cast member Stefan Dennis (aka Paul Robinson) lamenting that soaps seemed <a href="https://theconversation.com/the-loss-of-neighbours-is-a-loss-of-career-pathways-for-australias-emerging-screen-professionals-185289" target="_blank" rel="noopener">out-of-kilter</a> with the demands of streaming. Back in February, journalist <a href="https://omny.fm/shows/please-explain-1/everybody-needs-good-neighbours-now-neighbours-nee" target="_blank" rel="noopener">Michael Idato noted</a> streamers were focused on “short-order, very high quality” blue-chip programming, with long-running, continuing soaps like Neighbours presenting a less attractive option despite loyal fans and healthy audience numbers. After all, when axed by UK Channel 5, Neighbours was still attracting 1 million daily viewers in the UK alone. So what has changed? Why is Melbourne’s own beige yet beloved (by some) Neighbours positioned at the precipice of a new dawn in streaming’s evolution? <h2>What’s the value of Neighbours to a streamer?</h2> Amazon’s resuscitation of Neighbours is unprecedented in the Australian context, as it represents the first time a multinational streaming service has commissioned a stripped (weeknightly), continuing soap. Yet, in a global context, Neighbours seems to be part of a recent trend. This year, soaps in other significant Anglophone markets shifted from daily broadcast to online streaming: Hollyoaks in the UK and Days of Our Lives in the US. No one knows how this will play out for the US-based streamer and its new ad-supported, free streaming service <a href="https://www.amazon.com/adlp/freevee-about" target="_blank" rel="noopener">Amazon Freevee</a>. What we do know is there are very good reasons why a streaming platform could be interested in a show like Neighbours. The value of soaps is entrenched in industry lore. Since their transition from radio to television in the US during the 1950s, continuing soap operas have provided the backbone of many a network, ensuring consistent, returning and ardently loyal audiences. In doing so, soaps have a proven ability to weather the storms of radical technological and industrial change. A similar logic prevailed presumably in 2011, when Network 10 shifted Neighbours onto its new free-to-air channel <a href="https://en.wikipedia.org/wiki/10_Peach" target="_blank" rel="noopener">10 Peach</a>. On the one hand, this move signalled a marginalisation of the prime-time soap. On the other hand, it was a means to lure a valuable audience to the fledgling multichannel. Idato refers to Neighbours as a “<a href="https://omny.fm/shows/please-explain-1/everybody-needs-good-neighbours-now-neighbours-nee" target="_blank" rel="noopener">library series</a>”: one with an extensive back catalogue of content. With 37 seasons and more than 8,000 episodes under its belt, Neighbours puts supposedly mega-series like Game of Thrones, The Simpsons and Supernatural to shame. Library series bring inventory and depth to a streaming service in a way that new content cannot, no matter how heavily promoted or highly produced it might be. Currently, streamers are looking not just to attract new subscribers, but to retain them by keeping them engaged with the platform. Series that come with their own in-built library of content developed over multiple years or decades can benefit streamers precisely by bringing with them their large, loyal audiences while offering countless episodes for fans to explore. The Fremantle/Amazon deal seems to signal something quite the opposite of previous predictions, pointing to the increase of “low-prestige” programming on streaming platforms and the rising tendency for streamers to adopt and adapt pre-existing televisual logics and strategies. We are seeing the resumption and resurrection of patterns of broadcast, free-to-air programming, not its demise. In the context of Amazon, one reason for this shift is likely the Federal Arts Minister Tony Burke’s confirmation last Thursday of <a href="https://www.afr.com/companies/media-and-marketing/streaming-services-will-be-forced-to-meet-local-drama-quotas-burke-20221118-p5bzf5" target="_blank" rel="noopener">government plans to introduce local content quotas for streaming</a> services. At the 55th annual Australian Writers Guild Awards, Burke stated he had already met with streamers to inform them of the forthcoming policy. In light of this development, Amazon’s renewal of Neighbours will help it to meet Australian content requirements. <h2>Has TV streaming reached maturity?</h2> It seems we are moving into a new, more mature phase of streaming television. Initially, streamers sought to loudly distinguish themselves from older forms of television, but they now seem less focused on branded distinction and more concerned with getting down to business. Like the networks that dominated TV in the 20th century, streamers now pursue multiple interests, popular taste communities and tried and tested formulas, alongside edgier-style, prestige programming like Sex Education and this year’s Australian reboot <a href="https://theconversation.com/teenage-misfits-messy-emotions-and-joyous-discussions-on-consent-heartbreak-high-is-a-bright-new-piece-of-television-188733" target="_blank" rel="noopener">Heartbreak High</a>. Similarly, streamers are now reverting to old-style revenue models through the <a href="https://www.theage.com.au/culture/tv-and-radio/why-the-future-of-streaming-is-looking-unexpectedly-like-tv-s-past-20221121-p5c00d.html" target="_blank" rel="noopener">introduction of ad-supported subscription tiers</a>. Television is changing, most notably in its separation from the broadcast programming schedule. But the logics of what attracts and retains audiences are far from obsolete – they are merely being updated for digital delivery. Soap operas are widely denigrated, but they can prove to be a guiding light in moments of media transformation. This article originally appeared on <a href="https://theconversation.com/amazons-resuscitation-of-neighbours-can-aussie-tv-become-good-friends-with-streaming-195101" target="_blank" rel="noopener">The Conversation.</a> Image: Ten

Could Johnny Ruffo be returning to Summer Bay?

Johnny Ruffo has teased a possible return to beloved Aussie soap, Home and Away. The 34-year-old who is suffering from brain cancer, shot to fame on the popular series in 2013, playing Chris Harrington. On Thursday, Johnny told Yahoo that he would like to return to Summer Bay in a cameo. The actor and X-Factor star said he has retained a strong friendship with his former Home and Away cast mates, especially Lynne MacGranger, 69, who plays Irene Roberts on the long-running show. Johnny told the publication he has a great relationship with Lynne both on and off-screen, describing the actress as a "really good friend". Johnny said if he did return to Home and Away, he wants Lynne's character - who runs the local cafe - to feature. "[I would just waltz in] and order a coffee," Johnny said, describing his idea for a "come back scene". "And Lynne - I mean Irene - would be like...Chris!" Johnny revealed his prognosis as terminal earlier, only a few short months ago now and said he doesn't want the diagnosis to slow down anything in his life anymore. Image: Network 10

Caring

Fireworks, motorbikes and opera: Carmen on Cockatoo Island review

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

Domestic Travel

Neighbours is saved!

Get ready to return to Ramsay Street in 2023, with the new year bringing along a new season of Neighbours. Amazon have swooped in and saved our beloved Aussie soap just as the long-running series wrapped up in July after a huge 37 years on air. Actors Stefan Dennis, Alan Fletcher, Ryan Moloney and Jackie Woodburne are all signing on to reprise their roles as Ramsay Street residents, in the fictional suburb of Melbourne known as Erinsborough. "Neighbours has captivated its audience for nearly 40 years, building a dedicated and loyal following for the lives and stories of the characters on Ramsay Street," Lauren Anderson, head of AVOD original content and programming for Amazon Studios said in a statement when announcing the news. "With the power of streaming, we're able to offer a catalogue of thousands of Neighbours episodes for new audiences to discover this legendary series and current fans to relive their favourite moments. "We look forward to immersing the audience in new Ramsay Street experiences when we relaunch the show next year for Amazon Freevee and Prime Video customers.” For us watching in Australia, the series will return to channel 10 for the first-run episodes but will be available a week later on Amazon Prime Video which will host the series for viewers in New Zealand and Canada. Fans in the UK and US will be able to watch it on Amazon Freevee. "Neighbours is a unique series with a powerful connection with its fans across the world," Jennifer Mullin, global CEO of production company Fremantle, said in the announcement. "We cherish the show and all those who have been part of its incredible story over many decades, so we are thrilled that we have found a new home with Amazon Freevee.” We can expect new episodes to roll out later in the year, with the soap going back into full production in 2023. Image: Instagram

Stranded opera singer busks to earn cash after cancelled flights

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

Travel Trouble

“Come to the theatre!”: Why the survival of the arts post-Covid relies on us

The Covid-19 pandemic - and the lockdowns that were introduced to curb its spread - has taken a wide-ranging toll on individuals, companies, and even entire industries – with the field of creative arts no exception. For instance, even as many of us have returned to a mask-free existence that comes close to our pre-pandemic lifestyles, those working on Opera Australia’s latest season of productions are still following strict precautions – just so that the show can go on. <a href="https://opera.org.au/artist/shaun-rennie/" target="_blank" rel="noopener">Shaun Rennie</a>, assistant director of Il Trovatore, tells OverSixty that while a “more relaxed” view of Covid is great for audiences, catching the virus can be particularly devastating for those putting on the show. “It's a really interesting time in the arts, because I sort of feel that, for the most part, the rest of the world has become much more relaxed about COVID, and is getting on with things and has a lot less fear around COVID, or even going out, or catching it,” he says. “That’s great, because audiences are confident and then coming back. “The challenge is that in the arts, if Covid does get into a company, it can still be really devastating. And so I still find there’s quite a bit of a disconnect between my life outside the theatre and coming into work.” <a href="https://opera.org.au/artist/warwick-doddrell/" target="_blank" rel="noopener">Warwick Doddrell</a>, assistant director of La Traviata, was the staging director for Turandot at the start of 2022 and says they didn’t expect to have to face a Covid outbreak. “With Turandot at the start of the year … we thought that COVID was kind of over, naively,” Doddrell recalls. “But then very quickly we started to lose people. And just by the nature of how the state government policies and work and health recommendations were at the time, it was all very serious, [with] very serious impacts on [the] rehearsal schedule, so we would lose days at a time because we had to do … all the risk management. So we would lose multiple days at a sudden notice. “For us, that meant we had to be really adaptive. And we had to suddenly try to get through as much content as we possibly could at a bare minimum kind of level because … this might be the only day that we have to do Act Three. So let's do Act Three as best we possibly can. Let's get to the end. So that at least next time we've got you, people have some idea of where they're going and what the story is that they're telling, even if it's not as detailed as perhaps we would like it to be. But that there is something there; that there is some semblance of a story that we're telling.” Mask-wearing, daily RATs (Rapid Antigen Tests), and even keeping the cast members, musicians, and crew separate between productions are normal aspects of work now, says <a href="https://opera.org.au/artist/shane-placentino/" target="_blank" rel="noopener">Shane Placentino</a>, revival director for Madama Butterfly. “It's become the norm to test every day, to wear a mask, to sanitise your hands, to wash your hands, all those sorts of things, and that's impacted everyone from makeup and hair especially, and wardrobe, mechanists, stage crew, and orchestra,” he says. Having worked as revival director and choreographer for The Merry Widow, which marked the return of operas to the stage in 2021, Placentino says the rules that were initially met with some resistance are now routine, with the emphasis on reducing the risk of clusters and ensuring that audiences feel safe enough to come back and watch live performances. “We're finding that more and more people are coming back to live theatre,” Placentino says. “I think people are feeling comfortable now that the majority of the population are vaccinated or at least double vaccinated.” With many of us turning to streaming entertainment during lockdown, Placentino says it’s shown that the demand for the arts has still been there throughout. “It seemed to be a mix of people that were craving to come back and see live theatre. The thing that I found quite interesting during those lockdowns was how much streaming of the arts, through social media and internet and on TV, there was quite a lot of access to the arts,” he says. “Companies around the world gave access to productions that had been filmed or videoed and I thought that really indicated that people want to come back. They're just waiting for it to be safe – or safer.” Coming out of the lockdowns, Doddrell believes there’s an appetite for the arts but that companies have had to become more flexible and adaptable, which can come with some new costs. “I think it's going to be interesting to see [what] long, major or lasting changes this has on the industry,” he says. “Particularly because a lot of smaller companies, smaller work now had to have understudies and covers and such things, which was never something smaller companies did before, but now it's kind of your requirements. And it just makes things more expensive. And … if those costs are going to be permanent for the foreseeable future… that will drive up the cost of tickets … I think it's a really tricky situation. Because obviously, theatre is quite expensive compared to some of the other entertainment options people have these days. “And so I think the last thing we want is for prices to go out in such a way that it keeps audiences away.” Interestingly, many industry members were forced to find alternative work at the onset of the pandemic as show after show simply shut down – and yet many haven’t returned despite the curtains rising once more. “We have lost a lot of people in the industry at all levels,” Doddrell says. “People who couldn't just make it work, you know, so they had to find other jobs, they had to move on to something else, and they haven’t come back, which is, you know, good for new people to come in. But it's also [meant that] we've lost a lot of knowledge and a lot of expertise and a lot of history from people who've just had to move on.” Placentino says audiences continuing to come and watch operas, musicals and other live events as they return is crucial for people to come back to working in the arts and for these events to continue. “Initially, [attendance] numbers weren't as high as pre-COVID levels, but we're finding that now it's getting stronger and stronger. And obviously we hope that people feel really safe to come to the theatre and that they do,” Placentino explains. “The more the audience comes to see us, the more people we can employ. That's what we want to happen… so come to the theatre!” Image: Jeff Busby

Domestic Travel

Review: Il Trovatore at the Sydney Opera House

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

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