Podcasts about australian opera

Violist Irina Morozova has a long and distinguished career, including as principal viola of the Australian Chamber Orchestra, the Australian Opera and Ballet Orchestra, and guest principal of the Sydney Symphony and Hong Kong Philharmonic Orchestras. But it's as part of the Goldner String Quartet that she and her fellow musicians Dene Olding, Dimity Hall and Julian Smiles, have found a significant place in the hearts of Australia's classical music lovers. Long been considered Australia's pre-eminent string quartet, the Golders are considered among the best quartets in the world. They've recorded 19 albums covering repertoire from Beethoven to Peter Sculthorpe and have performed internationally including at London's Wigmore Hall and at the Biennale in Venice. But this year, their 30th season, is also their last, with their farewell concert taking place this Sunday 8th of December at the Verbruggen Hall of the Sydney Conservatorium of Music in association with Musica Viva. Irina talks about the significant place the Golden String Quartet has had in her life and heart. The music she shares is done so with thoughtfulness and passion, and her story is inspiring.

A musical theatre actor responsible for some of the most notable performances on our stages, Anthony Warlow began his career with the Australian Opera in 1980. He has since become a household name thanks to his work in The Phantom of the Opera, The Secret Garden, Annie, My Fair Lady, Jeckyll & Hyde to name only a few, while also performing with Opera Australia for The Magic Flute, Die Fledermaus, The Pirates of Penzance, and more. He's performed on Broadway and the West End, and has several albums to his name. In this extended version of the broadcast edition, Anthony displays his deep understanding of how to create a successful performance, time and again. We hear stories about his journey to the stage, and about some of the roles that have made him one of Australia's popular and successful musical theatre performers. Anthony Warlow plays Billy Flynn, the lawyer who lets you get away with murder, in Chicago, on now at Sydney's Capitol Theatre.

Andrew Sharp began his professional career playing The Artful Dodger in J.C.Williamson's 1966 revival of Oliver! He went on to work steadily in theatre and on television in the 1970s, in shows such as Peter Kenna's A Hard God and Peter Handke's Kaspar at the Nimrod Street Theatre, The Season at Sarsaparilla and Julius Caesar for The Old Tote Theatre Company, The Rocky Horror Show at The New Art Cinema in Glebe, as well as playing a regular role in The Young Doctors and guest roles in other Grundy's productions. At the age of 25 he moved to London where he played leading roles in three long-running West End productions: Beyond the Rainbow, Stage Struck and Deathtrap. Returning to Australia in the 1980s he worked mostly in film and television, notably in movies such as Buddies and Undercover, mini-series such as Glass Babies and Sword of Honour and the 13 episode Taurus Rising - amongst other work. Throughout his career he dabbled in directing, producing shows with friends in unusual locations such as garages, living rooms and church halls. He graduated from the post-graduate diploma course in film directing at Melbourne's Swinburne Institute of Technology in 1986. In the 1990s he went on to work as an assistant director on several operas at The Australian Opera (as the company was then known), before returning to the UK in the 1990s, where he directed opera students at the Royal College of Music and the Birmingham Conservatoire and - for the Covent Garden Opera Festival - directed Handel's Saul and his own translation of Mozart's The Impresario. In 2002, searching for “home”, he moved to the small northwestern NSW town of Barraba, where he created The Playhouse Hotel, a 9 bedroom boutique hotel housing an 80 seat theatre. There he has presented dozens of touring theatre performances, bands, musicians and comedians… though he admits he misses his real hometown of Sydney, and plans to return soon. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Anthony Warlow has been thrilling audiences from the moment he arrived on the theatrical scene and has successfully inhabited a diversity of roles in opera and musical theatre, his versatility gaining him an honoured place on the international stage.From his debut with the Australian Opera in Benjamin Britten's A Midsummer Night's Dream in 1980, he has left an indelible stamp on the industry both at home and abroad. Anthony's lengthy stage credits include the London National Theatre production of Guys and Dolls, making his music theatre debut with the role of Sky Masterson in 1986, creating the role of Enjolras in the Australian production of Les Misérables (1988), and the title role of the Phantom in Sir Andrew Lloyd Webber's The Phantom of the Opera (1990 and 2007-2008). In 1995 he enjoyed a joyous season in Lucy Simon's The Secret Garden as Archie Craven, and collaborated with her again in 2010, creating the role of Dr Yuri Zhivago in the Australian premiere production of Doctor Zhivago: The Musical. Other highlights include Australian tours of Annie (2000 and 2012), seasons with Opera Australia and a critically acclaimed performance as Tevye in Fiddler On The Roof in 2016.Anthony made his Broadway debut in 2013, portraying the iconic role of Oliver “Daddy” Warbucks in the 35th Anniversary production of Annie, directed by James Lapine. His performance won him several Broadway nominations (Drama Desk, Drama League, People's Choice), and in 2015 he was invited to return to the US to perform the dual roles of Miguel De Cervantes/ Don Quixote in The Shakespeare Theatre Company of Washington production of Man of La Mancha. This portrayal won him the prestigious Helen Hayes Award for Outstanding Actor in a Musical. The same year he replaced Kelsey Grammer (Frasier) in the Broadway production of Finding Neverland, playing the roles of Charles Frohman/ Captain Hook.Anthony made his Carnegie Hall debut in 2013 but is no stranger to the concert platform, performing around Australia with our Symphony Orchestras. His studio recordings have spanned more than 20 years and include solo albums, cast recordings and live performances in concert and with Opera Australia. His love of “flawed anti-heroes” continued with his portrayal of Sweeney Todd, The Demon Barber of Fleet Street. His performance was hailed by critics and was a welcome addition to his theatrical canon.Anthony has been honoured by the nation receiving the title of Living National Treasure, and his outstanding achievements acknowledged with his investiture as a Member of the Order of Australia (AM) for his services to the performing arts. He is married to Amanda and divides his time and career between Australia's capital cities and New York.Anthony Warlow is back on the boards and will step into the shoes of the cunning and charismatic lawyer Billy Flynn in audience favourite; CHICAGO. The musical opens in Perth on November 21st, prior to a national tour.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Anthony Warlow has been thrilling audiences from the moment he arrived on the theatrical scene and has successfully inhabited a diversity of roles in opera and musical theatre, his versatility gaining him an honoured place on the international stage.From his debut with the Australian Opera in Benjamin Britten's A Midsummer Night's Dream in 1980, he has left an indelible stamp on the industry both at home and abroad. Anthony's lengthy stage credits include the London National Theatre production of Guys and Dolls, making his music theatre debut with the role of Sky Masterson in 1986, creating the role of Enjolras in the Australian production of Les Misérables (1988), and the title role of the Phantom in Sir Andrew Lloyd Webber's The Phantom of the Opera (1990 and 2007-2008). In 1995 he enjoyed a joyous season in Lucy Simon's The Secret Garden as Archie Craven, and collaborated with her again in 2010, creating the role of Dr Yuri Zhivago in the Australian premiere production of Doctor Zhivago: The Musical. Other highlights include Australian tours of Annie (2000 and 2012), seasons with Opera Australia and a critically acclaimed performance as Tevye in Fiddler On The Roof in 2016.Anthony made his Broadway debut in 2013, portraying the iconic role of Oliver “Daddy” Warbucks in the 35th Anniversary production of Annie, directed by James Lapine. His performance won him several Broadway nominations (Drama Desk, Drama League, People's Choice), and in 2015 he was invited to return to the US to perform the dual roles of Miguel De Cervantes/ Don Quixote in The Shakespeare Theatre Company of Washington production of Man of La Mancha. This portrayal won him the prestigious Helen Hayes Award for Outstanding Actor in a Musical. The same year he replaced Kelsey Grammer (Frasier) in the Broadway production of Finding Neverland, playing the roles of Charles Frohman/ Captain Hook.Anthony made his Carnegie Hall debut in 2013 but is no stranger to the concert platform, performing around Australia with our Symphony Orchestras. His studio recordings have spanned more than 20 years and include solo albums, cast recordings and live performances in concert and with Opera Australia. His love of “flawed anti-heroes” continued with his portrayal of Sweeney Todd, The Demon Barber of Fleet Street. His performance was hailed by critics and was a welcome addition to his theatrical canon.Anthony has been honoured by the nation receiving the title of Living National Treasure, and his outstanding achievements acknowledged with his investiture as a Member of the Order of Australia (AM) for his services to the performing arts. He is married to Amanda and divides his time and career between Australia's capital cities and New York.Anthony Warlow is back on the boards and will step into the shoes of the cunning and charismatic lawyer Billy Flynn in audience favourite; CHICAGO. The musical opens in Perth on November 21st, prior to a national tour.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Anthony Warlow has been thrilling audiences from the moment he arrived on the theatrical scene and has successfully inhabited a diversity of roles in opera and musical theatre, his versatility gaining him an honoured place on the international stage.From his debut with the Australian Opera in Benjamin Britten's A Midsummer Night's Dream in 1980, he has left an indelible stamp on the industry both at home and abroad. Anthony's lengthy stage credits include the London National Theatre production of Guys and Dolls, making his music theatre debut with the role of Sky Masterson in 1986, creating the role of Enjolras in the Australian production of Les Misérables (1988), and the title role of the Phantom in Sir Andrew Lloyd Webber's The Phantom of the Opera (1990 and 2007-2008). In 1995 he enjoyed a joyous season in Lucy Simon's The Secret Garden as Archie Craven, and collaborated with her again in 2010, creating the role of Dr Yuri Zhivago in the Australian premiere production of Doctor Zhivago: The Musical. Other highlights include Australian tours of Annie (2000 and 2012), seasons with Opera Australia and a critically acclaimed performance as Tevye in Fiddler On The Roof in 2016.Anthony made his Broadway debut in 2013, portraying the iconic role of Oliver “Daddy” Warbucks in the 35th Anniversary production of Annie, directed by James Lapine. His performance won him several Broadway nominations (Drama Desk, Drama League, People's Choice), and in 2015 he was invited to return to the US to perform the dual roles of Miguel De Cervantes/ Don Quixote in The Shakespeare Theatre Company of Washington production of Man of La Mancha. This portrayal won him the prestigious Helen Hayes Award for Outstanding Actor in a Musical. The same year he replaced Kelsey Grammer (Frasier) in the Broadway production of Finding Neverland, playing the roles of Charles Frohman/ Captain Hook.Anthony made his Carnegie Hall debut in 2013 but is no stranger to the concert platform, performing around Australia with our Symphony Orchestras. His studio recordings have spanned more than 20 years and include solo albums, cast recordings and live performances in concert and with Opera Australia. His love of “flawed anti-heroes” continued with his portrayal of Sweeney Todd, The Demon Barber of Fleet Street. His performance was hailed by critics and was a welcome addition to his theatrical canon.Anthony has been honoured by the nation receiving the title of Living National Treasure, and his outstanding achievements acknowledged with his investiture as a Member of the Order of Australia (AM) for his services to the performing arts. He is married to Amanda and divides his time and career between Australia's capital cities and New York.Anthony Warlow is back on the boards and will step into the shoes of the cunning and charismatic lawyer Billy Flynn in audience favourite; CHICAGO. The musical opens in Perth on November 21st, prior to a national tour.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

A group of Nepali instrumentalists and an Australian Opera singer with a Turkish heritage will be performing a traditional Nepali musical concert at the Sydney Opera House and Melbourne Recital Center on the occasion of Tihar. Ayşe Göknur Shanal, along with Naresh Jirel, Regan Awale, David Gautam, Ashesh Rai and Yogesh Bhandari, will perform at the historic concert at the Opera House on Sunday, 5 November 2023 and Friday, 10 November 2023, in Melbourne. SBS Nepali spoke to Ms Shanal, Mr Jirel and Mr Rai about the concert they described as a “musical fest of fun and exuberance”. - अस्ट्रेलियन ओपेरा गायिका र नेपाली वाद्यवादकहरूको एक समूहले तिहारको अवसरमा सिड्नी ओपेरा हाउस र मेलबर्न रिसाइटल सेन्टरमा परम्परागत नेपाली गीत-सङ्गीत घन्काउने भएका छन्। सङ्गीत प्रशिक्षक समेत रहेकी आएसा गोक्नर सेनालले नरेश जिरेल, रेगन अवाले, डेभिड गौतम, अशेष राई र योगेश भण्डारीसँगै आइतबार, ५ नोभेम्बर २०२३ र मेलबर्नमा शुक्रवार, १० नोभेम्बर २०२३ उक्त प्रस्तुति दिन कार्यक्रम छ। नेपाली परम्परागत बाजामा अकुस्टिक गायिकाले नेपाली चर्चित गीतहरू गाउँदा ओपेरा हाउसमा कस्तो माहौल जम्ला त? 'हर्ष र उल्लासको साङ्गीतिक प्रस्तुति' भनिएको उक्त कार्यक्रम बारे गायिका सेनल सहित स्टूडियोमा उपस्थित दुई वाद्यवादकहरू जिरेल र राईसँग एसबीएस नेपालीले गरेको कुराकानी सुन्नुहोस्।

Choreographer and dancer Dalisa Pigram is a Yawuru/Bardi woman and the co-artistic director of the acclaimed dance company Marrugeku. Dalisa is the winner of the 2023 Creative Australia Award for Dance. The prize was announced this week as part of ABC Arts Week.Also, ahead of the opening of her show Mutton is the New Lamb — a trans de-mythology, Julie Peters brings in her photo album to discuss making art from life, and Mary Finsterer, one of Australia's most widely performed composers, guides us through her creative process.

Born in Sydney, Richard Bonynge studied at the NSW Conservatory of Music and the Royal College of Music. He served as Music Director of the Sutherland-Williamson Grand Opera Company in 1965 (Melbourne, Adelaide, Sydney, Brisbane), as Artistic Director of the Vancouver Opera from 1974-77 and Music Director of The Australian Opera from 1976-86. Maestro Bonynge's accomplishments as conductor and musical scholar were recognized when Queen Elizabeth II, during her Silver Jubilee Celebration in 1977, made him a Commander of the British Empire. In the summer of 1989, the French government honored him with the rank of “Commandeur de l'Ordre National des Arts et des Lettres”.Throughout his illustrious career, Richard Bonynge has conducted in the world's leading opera houses in Europe, North and South America, Australia and New Zealand and Asia. He has received world-wide acclaim as a scholar of bel canto opera and is celebrated for leading the renaissance of eighteenth and early-nineteenth century musical theater, such as Les Huguenots(Meyerbeer), Semiramide, Sigismondo (Rossini), La Fille du Régiment, Maria Stuarda, Anna Bolena, Lucrezia Borgia(Donizetti), Esclarmonde, Le Roi de Lahore, Thérèse (Massenet), Medea (Pacini), Orfeo (Haydn), I Masnadieri (Verdi).In recent seasons he led performances of La Traviata in Athens, I Capuleti ed I Montecchi in London, Norma, Lucia di Lammermoor, La Scala di Seta, Signor Bruschino, Roméo & Juliette in Sydney, Lucia, Norma and Faust in the United States, La Favorite in Barcelona, I Lombardi in Buenos Aires and Semiramide (Meyerbeer) at the Wildbad Festival, Germany.Mr. Bonynge's extensive career includes innumerable performances with his wife, Dame Joan Sutherland, culminating in her farewell engagements in opera and recital throughout the world. The two artists also toured the United States with the Sydney Symphony in celebration of Australia's Bicentennial, with concerts at the Kennedy Center, Carnegie Hall and the United Nations.His discography reflects the eclecticism of his music interests. He has recorded over 50 complete operas as well as the three Tchaikovsky ballets, three Delibes ballets and numerous lesser known ballets by Adam, Minkus, Burgmuller, Auber, Drigo, Offenbach. He recorded several recital discs with Sumi Jo, Jerry Hadley, Deborah Riedel, Rosamund Illing, Cheryl Barker and Elizabeth Whitehouse. His recent recordings are Le Domino Noir (Auber), Le Toréador (Adam), Der Czarevich, Das Land des Lächelns (Paganini), Giuditta (Lehar), Cendrillon (Nicolo), Orfeo (Haydn), Die Herzogin von Chicago and Die Czardasfürstin (Kálmán), British Opera Arias (Balfe, Wallace, Sullivan), Sacred and Profane Arias (Massenet), Puccini Arias (Puccini), La Somnambula (Hérold), Verismo Arias and Tchaikovsky & Grieg piano concertos with Simon Tedeschi and the Queensland Orchestra. Video recordings include Les Huguenots, La Fille du Régiment, Adriana Lecouvreur, Die Lustige Witwe, Les Dialogues des Carmélites, Norma, Die Fledermaus, Lucrezia Borgia, Lucia di Lammermoor, Lakmé, Il Trovatore, Die Zauberflöte and Die Czardasfürstin.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

John is joined on this episode by musical theatre royalty. Anne-Maree McDonald was a principal soprano with the Australian Opera and Philip Quast's voice is at the opposite end of the spectrum, famously using his baritone to great effect as Javert in Les Miserables both here in Australia and in London. See Anne-Maree in Into the Woods at Belvoirhttps://belvoir.com.au/productions/into-the-woods/And see Philip Quast in Philip Quast: The Road I Tookhttps://www.ensemble.com.au/shows/philip-quast/Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

This year's Perth Festival takes us to the stars, with many events in the program inspired by stories of the cosmos. The West Australian Symphony Orchestra's concert Music of the Spheres included music from Australian composer Richard Mills' forthcoming opera Galileo, inspired by the life of the pioneering Italian astronomer Galileo Galilei.Also, Aboriginal dreaming stories inspire bold new theatrical work being staged under — and among — the stars, and Palawa writer Nathan Maynard and Māori writer Jamie McCaskill take us on an adventure across the sea and through the stars and spirit world in Hide the Dog.

This year's Perth Festival takes us to the stars, with many events in the program inspired by stories of the cosmos. The West Australian Symphony Orchestra's concert Music of the Spheres included music from Australian composer Richard Mills' forthcoming opera Galileo, inspired by the life of the pioneering Italian astronomer Galileo Galilei. Also, Aboriginal dreaming stories inspire bold new theatrical work being staged under — and among — the stars, and Palawa writer Nathan Maynard and Māori writer Jamie McCaskill take us on an adventure across the sea and through the stars and spirit world in Hide the Dog.

Moffatt Oxenbould's contribution to the development of opera in Australia and Opera Australia (OA) spans a period of more than fifty years. He was Artistic Director of Opera Australia from 1984 – 1999, during which time he also directed a number of milestone productions for the company including Il trittico, Madama Butterfly, La bohème, Britten's The Rape of Lucretia, Rossini's Semiramide, Mozart's La clemenza di Tito based on the production of the late Göran Järvefelt and Idomeneo . In 2000 he directed a new production of Simon Boccanegra for OA in the Sydney Olympic Arts Festival. Having retired from the position of Artistic Director of the Australian Opera at the end of 1999, he continued an active role as an Opera Director and Broadcaster. He has remounted and directed a number of highly regarded productions including Idomeneo at Houston Grand Opera, La Clemenza di Tito and Il trittico for Opera Australia, and Madama Butterfly for Opera Queensland. Moffatt Oxenbould was awarded an AM for his services to Opera in 1985 and was the recipient of the inaugural Dame Joan Hammond Award, in recognition of his contribution to opera. To honour his dedication to developing the talents of young Australian artists, Opera Australia named its Young Artists Development Program – The Moffatt Oxenbould Young Artist Program. He is a blessed artist and administrator, who navigated every stage of his career, with tremendous joy, education and passion. And through this investment, Moffatt has enabled legions of performers to embrace their craft …. and audiences to embrace the most mysterious and magnetic of all art forms - the Opera! The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Opera Australia will embark on its 26th annual National Tour with a new production by director Priscilla Jackman of Gioachino Rossini's The Barber of Seville, opening 15 July at the... LEARN MORE The post Barber of Seville – Australian Opera appeared first on Sunday Arts Magazine.

In this weeks episode the most wonderful guest! He is royalty in The Australian Opera scene - David Hobson! David Hobson has had the most amazing career and we both were so lucky and privileged to be able to listen to him talk about not only how he became who he is today, but to hear stories from his childhood and talk about every artist/composer/songs that he absolutely adores. Thank you David Hobson for joining us! FIND DAVID HOBSON HEREIG - https://www.instagram.com/davidhobbo/SHOWS WITH MARINA PRIOR - https://www.marinaprioranddavidhobson.comSHOWS WITH COLIN LANE - https://www.davidhobsonandcolinlane.comSPOTIFY - https://spoti.fi/39ri8RhBUY US A COFFEEhttps://www.buymeacoffee.com/ddbpodcastOur Spotify playlist - https://spoti.fi/3cnBgO0You'll find all the songs we mention in the episode here!Email us!daydreambelieverspodcast@gmail.comTiktok - https://www.tiktok.com/@daydreambelieverspodcast?Instagram - https://www.instagram.com/daydreambelieverspod/Facebook - https://www.facebook.com/daydreambelieverspodEMT Coaching - https://www.instagram.com/emtcoaching/Three Tickets To Podcast - https://thethreeticketstopodcast.buzzsprout.com

Simon talks to Neil and David about his career and his upcoming Opera he is staring in. The post Simon Meadows – Lohengrin Australian Opera appeared first on Sunday Arts Magazine.

The Australian Opera season 2022 will delight us with interesting productions, among them is the premiere of Wagner's Lohengrin, which will be Elena Gaboury's debut as Ortrud. - Сезон Австралийской оперы 2022 порадует нас интересными постановками, и среди них премьера оперы Вагнера "Лоэнгрин", которая станет дебютом Елены Габури в роли Ортруд.

For over three decades, the name of Jenifer Eddy was foremost in the Australian opera scene as the major Artist Manager. Her stable of artists became household names under her guidance and Jenifer Eddy Artist Management boasted the crème de la crème of operatic celebrities.Their careers were carefully governed and tailored to present them at their finest. Jenifer Eddy had the knowledge and manner to assist a young singer in career growth. How did this lady of diminutive physical stature but strong character gain such knowledge? How did she so clearly understand the emotional plight of a singer and tend to their needs?What was little known was that Jenifer Eddy had experienced the journey of a singer, on an international level, first hand. Her career as a brilliant coloratura and soubrette soprano had taken her to the major opera houses of the United Kingdom and throughout Europe. Her on-stage colleagues included some of the finest and admired performers of the second half of last century.She packed into her fifteen years on the operatic stage what reads like twice the amount of performances of any other soprano of this voice type. Jenifer's vocal technique was strong and secure. Her delivery of the most difficult, stratospheric vocal writing appeared easy and her pert stage presence was beloved by colleagues and audiences alike.What seemed to be the perfect career, flying high, came to a sudden halt in 1968 due to a physical condition which remained undiagnosed for almost seven years – by which time, Jenifer had closed the door to her singing career and opened another as an Artist Manager.“Everything in life has a purpose” is a mantra that Jenifer has held throughout her careers. It provided an inner strength to travel the bridge from singer to agent. Both roles demonstrate careers of excellence, and legacies that have left an indelible mark on classical singing and opera in Australia.(text: Brian Castles-Onion)The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

On February 2, the soloist of the Moscow Helikon-Opera, tenor Ivan Gyngazov, who sings the part of Calaf in Puccini's Turandot, will make his debut on the stage of the Australian Opera in Sydney. - 2 февраля на сцене Австралийской Оперы в Сиднее дебютирует солист московской Геликон-Оперы тенор Иван Гынгазов, который поет партию Калафа в опере Пуччини "Турандот".

The Opera Australia 2022 season has opened in Sydney with a relaunch of Mozart's The Marriage of Figaro. The part of Countess Rosina is sung by the soprano of the Bolshoi Theatre Ekaterina Morozova. SBS Russian spoke to Ekaterina, this content is available in Russian only.  - В Сиднее открылся сезон Opera Australia 2022, в котором возобновлена постановка оперы Моцарта "Женитьба Фигаро". Партию графини Розины поет сопрано Большого театра Екатерина Морозова, интервью с которой мы и представляем вашему вниманию.

With over 230 episodes in the STAGES archive, it's time to revisit conversations featured in previous seasons. STAGES spotlights such episodes, in case you missed them first time ‘round - or so you can simply savour a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages.Joan Carden was born in Melbourne in 1937 on the anniversary of the great composer Giuseppe Verdi's birth. After understudying June Bronhill as ‘The Merry Widow' in 1960, Joan Carden sought tuition in London studying with her major musical influence, London-trained and based, West Australian-born, multi-lingual, expatriate vocal coach, Vida Harford.She made her stage debut with The Australian Opera as ‘Liu' in Turandot and ‘Marguerite' in Faust. After much acclaim in Australia as ‘Gilda' in Rigoletto she was invited to repeat the role at Covent Garden. Engagements ensued throughout the United Kingdom and United States.Joan Carden has sung virtually all the Mozart heroines. Her performance of ‘Violetta' in Verdi's La Traviata has been noted for the moving interpretation. Her voice in ‘Violetta's' famous aria, is on the sound track of the film Priscilla, Queen of The Desert.She has sung more than 50 major roles from the 18th century through to contemporary works. It is a magnificent career.Joan Carden is engaging grace and charm. In the episode she reflects warmly on a career that has not only brought audiences great joy but also rewarded her, in the ability to gift the art of song.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

In 2022, West Australian Opera celebrates stories of hope, passion and purpose in a program that offers audiences a range of experiences across venues in WA. Tod Johnston chats with West Australian Opera's Artistic Director, Christopher van Tuinen to find out more. See omnystudio.com/listener for privacy information.

After a career as principal horn player with the Australian Opera and Ballet Orchestra and guest principal with many other orchestras in Australia and overseas, Geoff Collinson found his true calling as a teacher and headed up the brass department at The University of Melbourne. 10 years ago, the digital world provided opportunities to solve problems of geographical isolation in music education and Geoff took the plunge away from a tenured position. People assumed I had given up on creativity but Geoff had never been more creative than through solving business problems. What he learned by being a musician about conquering his fears on the concert stage, the preparation required, and how focusing on his passion for knowledge quells negative thought has taken him to this point today. The creative world and the business world intersect in so many ways and he find myself in a unique position to help others on their journey.QUOTES“I used to suffer so intensely with nerves that I was advised to actually give up the Horn. I couldn't stand in front of anybody and play without completely falling apart.”“It was basically like starting an instrument from scratch again. So that learning and all the tools I've got have given me the persistence to go through all those times where you wake up at 3.30am in the morning worrying about how I'll feed the family.”“Some of this (business) is far more creative than what I was able to do as a musician, because I never walked over that line of improvising.”LINKSFind Geoff on LinkedINAeyonsPODCAST TEAMProduction Penny ManwaringAudio Engineering from Frazer RuddickTheme Music Composed by Danna YunTheme Music Composed by Natasha PearsonTheme Music Performed by Alison McIntosh-Deszcz (soprano), Natasha Lin (piano), and Susan Eldridge (horn). Theme Music Recorded Lady Marigold Southey Performance Studio, 3MBS Fine Music in Melbourne in October 2016. With thanks to recording engineer Cheryl Scott.FIRST BROADCAST15 November 2016

I spoke to Brett Lucas of Australia. Brett Lucas has been involved in the arts since he was a child, attending Victorian College of the Arts and performing as a freelancer performing with the Melbourne Symphony, State Orchestra of Victoria, Australian Ballet, Australian Opera and many other professional Arts organizations, all before the age of 19. After getting his degree in performance, he went on to complete his teaching degree, where his passion for performing soon developed into inspiring and encouraging the next generation to go after their dreams. In 2009, Brett realized the corporate lifestyle didn’t give him any value and he didn’t feel like he was helping people to the best of his ability. He put his MBA on hold and began working as a social worker, where he was able to develop a better understanding of social change and how he could be a part of that change. Brett went on to complete his MBA but this time with a focus on social impact. With such a broad range of experience, Brett is able to use his skills to create a well-rounded experience for his students. Since taking over The Academy of Music Dance Drama in 2018, Brett has completely reinvented the school. Enrollment has more than tripled, class offerings have expanded, and a large focus has shifted on growing the confidence and creativity of each student. “I am on a mission to empower the creative minds and create more creative markets,” says Brett. “It’s not just the promise of the ‘belting out the ballad’ Celine Dion-style or making it on X-Factor. I want performers to make a difference to their own happiness whatever it may be, through developing their own values and being part of the community.” Now that the success of The Academy of Music Dance Drama has taken off, Brett is in the process of completing his Master of Laws at the University of New South Wales in order to grow the school even more and help the students understand all of the legal aspects of the performing industry. Brett is not only growing his school but also assisting other businesses and individuals in expanding their strategies in the arts. This multifaceted man is always learning, not just from his schooling, but from his students, and is always trying to be the best that he can be. In our conversation we speak about Lucas' career experiences and his views towards education in the arts in Australia. Learn more on Dreams Not Memes. Website: https://musicdancedrama.com.au/ Instagram: https://www.instagram.com/musicdancedrama/ Facebook: https://www.facebook.com/musicdancedrama/ --- Support this podcast: https://anchor.fm/dreamsnotmemes/support

Lesley and Bruce Scott are a dynamic duo. They have championed the careers of countless performers and guided them in the pursuit of career and craft; providing invaluable experiences on tours and on stages.They launched their own company, Dance Encore Productions in 1980, supplying professional entertainment to Australia, New Zealand, South East Asia, Japan and South Korea. Theatre productions of Cinderella and Snow White and the Seven Dwarfs contributed to their enormous output, with the two of them effectively completing many of the creative and producing tasks required.The pair were perfectly equipped as they came to the business extensively schooled as performers in the business! Bruce commenced his professional career in 1966 in J.C. Williamson’s production of Funny Girl as a dancer, and followed this with the appointment as Principal Dancer in their next production, Fiddler on the Roof. A sojourn to the U.K followed with gigs that included Humpty Dumpty on Ice, several West End revues and two years at the Lido in Paris. Returning to Australia he danced in the musicals Charlie Girl and Pippin.At the age of 9, Lesley made her first professional stage appearance in The Johnny O’Keefe Show followed by numerous Australian tours of the pantomimes Snow White, The Flintstones and Peter Pan. Performing in the Australian and West End seasons of the musicals My Fair Lady and Irene added to her growing resume; and for the Australian Opera, Lesley was the Principal Dancer in productions including The Merry Widow, La Boheme and Nambucco.Soon after meeting, the pair formed an adagio/acrobatic/contortion act and toured the world performing in some of the most famous theatres, nightclubs and cabarets.It is a delight to feature Lesley and Bruce Scott in this episode of STAGES. Theirs is a life rich in experience, wisdom and so much more; gathered from a dedication and life traversing vast stages.

Ms. Ayako Ohtake will appear in a contemporary comedy opera called "Chop Chef," and play the role of former-champion Victoria who won the deadly cooking competition last time. - 舞台となるのは「命がけの」料理対決。負けは死を意味し、話しが進むにつれて出演者がどんどん少なくなります。

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible.Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible. Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible. Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible. Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Joan Carden was born in Melbourne in 1937 on the anniversary of the great composer Giuseppe Verdi’s birth. After understudying June Bronhill as ‘The Merry Widow’ in 1960, Joan Carden sought tuition in London studying with her major musical influence, London-trained and based, West Australian-born, multi-lingual, expatriate vocal coach, Vida Harford.Joan Carden appeared in opera and concerts in Europe before initially joining The Australian Opera in concerts in 1970. The following year marked her stage debut with the company as ‘Liu’ in Turandot and ‘Marguerite’ in Faust. After much acclaim in Australia as ‘Gilda’ in Rigoletto she was invited to repeat the role at Covent Garden. Engagements ensued throughout the United Kingdom and United States.Joan Carden has sung virtually all the Mozart heroines. Her performance of ‘Violetta’ in Verdi’s La Traviata has been noted for the moving interpretation. Her voice in ‘Violetta’s’ famous aria, is on the sound track of the film Priscilla, Queen of The Desert.She has sung more than 50 major roles from the 18th century through to contemporary works , including: ‘Desdemona’ (Otello); ‘Leonora’ in both Il Trovatore and La Forza del Destino; ‘Elisabetta’ (both Don Carlos and Maria Stuarda); ‘Rosalinde’ in Die Fledermaus, ‘Feldmarschallin’ (Der Rosenkavalier) and ‘Ellen Orford’ (Peter Grimes); ‘Tatyana’ (Yevgeny Onyegin)- in Russian and English. Other title roles include Alcina, Lakme, and Adriana Lecouvreur.She has embraced Musical Theatre performances as Mother Abbess in the Gordon/ Frost Organisation’s The Sound of Music and Ida Strauss in Titanic. In 2003, she took on a last role for Opera Australia - ‘Public Opinion’ based on controversial political figure, Pauline Hanson, in a satirical new version of Orpheus in the Underworld.Joan Carden is engaging grace and charm. She reflects warmly on a career that has not only brought audiences great joy but also rewarded her, in the ability to gift the art of song.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where all good podcasts are found.

Simon Sweeney is a professional trumpet player and educator based in Sydney. He is a studio musician and has been prolific in the live music scene since 1993. As a member of the Jazz Faculty at the Sydney Conservatorium of Music since 2010 he has taught many of the young players currently working in the Sydney scene. Simon has appeared as guest Principal trumpet with the Sydney Symphony Orchestra, the Australian Opera and Ballet Orchestra, the Adelaide Symphony Orchestra and the Tasmanian Symphony Orchestra. Film recording credits include Happy Feet, The Great Gatsby, The Extra and The Bank. Simon has played on over 40 professional musical theatre productions since the mid 90s. He has played lead trumpet for Michael Bublé, George Benson, Paloma Faith and Tim Minchin. As a jazz musician he has toured and recorded with Mike Nock, played with the Space Cadets, recorded with the Jazzgroove Mothership Orchestra and he is currently co-lead trumpet of the Australian National Jazz Orchestra. He has performed with Silverchair, Thirsty Merc and recorded with Powderfinger and Billy Thorpe. Simon's lead playing can be heard on the Netflix series Beat Bugs and Motown Magic. Simon’s own small group jazz album “Emerald City Blues” was released on the Jazzgroove label. During the lockdown he has put together a horn section called the Emerald City Horns comprising some of Sydney’s most prolific studio musicians.

Hilarious natter with Australian opera singer, jewellery designer (KTCD Jewellery on Etsy) and teacher, Kate Sheppeard. They shoot the breeze about nightmare performances, imposter syndrome, anxiety, working at ENO and Sydney Opera House plus so much more...

Curiosities and oddities from Australia and around the world, selected by Dr Maria Staykova - Любопитни факти и истории от цял свят, избрани и представени от д-р Мария Стайкова

What makes a leader, a super star? Director Saheem Ali has turned Shakespeare's Richard II, a tale of political intrigue and enmity, into a radio serial for our times; and nearing age 90, conductor Richard Bonynge reflects on the exquisite vocal style that made his wife Dame Joan Sutherland, La Stupenda, a legend. Plus, The Telephone: a bright dose of opera for a Zoom-weary audience.

What makes a leader, a super star? Director Saheem Ali has turned Shakespeare's Richard II, a tale of political intrigue and enmity, into a radio serial for our times; and nearing age 90, conductor Richard Bonynge reflects on the exquisite vocal style that made his wife Dame Joan Sutherland, La Stupenda, a legend.Plus, The Telephone: a bright dose of opera for a Zoom-weary audience.

What makes a leader, a super star? Director Saheem Ali has turned Shakespeare's Richard II, a tale of political intrigue and enmity, into a radio serial for our times; and nearing age 90, conductor Richard Bonynge reflects on the exquisite vocal style that made his wife Dame Joan Sutherland, La Stupenda, a legend. Plus, The Telephone: a bright dose of opera for a Zoom-weary audience.

In this episode of Better Thinking, Nesh Nikolic speaks with Janelle Colquhoun about her incredible life before and after blindness. Her “I'm Blind, Whatever!” attitude is contagious and inspiring! At age 10, Janelle Colquhoun was diagnosed with Type 1 diabetes, which she ignored as she pursued her passion to be on stage. During school she took music, dance and drama lessons, performed in choirs, stage shows, dance revues and played trumpet in concert and jazz bands before winning a scholarship to study opera at the Queensland Conservatorium of Music. At the end of expo Janelle accepted a full-time contract with the Australian Opera, where a highlight was singing in a trio with Dame Joan Sutherland in her Farewell Season. Two years and many successful singing competitions later, Janelle moved to Europe where she sang with the Oper Frankfurt until aged 29 she went blind from the complications of diabetes. She moved back to Brisbane and between many more diabetes-related health issues including stomach cancer, 3 years of dialysis, a heart attack, a kidney-pancreas transplant, and since being immunosuppressed a chronic lung infection, her ongoing professional performances continued with singing the High Priestess in Michael Edgley’s stadium production of Aida, singing the Four Last Songs with the Brisbane Sinfonia, and being a principal in the Access Arts / IHOS Opera experimental opera ‘The Divine Kiss’. Janelle has recorded 3 solo CDs and has appeared as singer, speaker, workshop facilitator and media spokesperson throughout Australia and in Paris, Bermuda, Seoul, Chicago, Montreal, Switzerland, Dubai, London, Auckland, Berlin, New Delhi, Singapore and Kathmandu. In 1999 Janelle established Salubrious Productions, an entertainment and production agency specialising in representing professional artists with disability. She has produced over 1400 mainstream and disability stream events including concerts, art exhibitions, pantomimes, cabarets and a film. She has held innumerable contracts with the Brisbane City Council including the classical and world music lunchtime concert series 2002-2015, and the Children’s and Music Library Series 2002-2012. Janelle is the convener of Sisters in Crime Queensland and has sat on 24 NGO and government committees including the peer panels of the Brisbane City Council, Arts Queensland and Australia Council. Currently she sits on five state and federal health committees as a consumer representative. Although Janelle had never previously been interested in sports, in 2017 she took up blind archery and in 2019 became the Australian Indoor and Outdoor Blind archery Champion and record holder for both. Episode links at https://neshnikolic.com/podcast/janelle-colquhoun

Carolyn Chard has an eclectic taste in music; she is moved equally by the heavy beat of dance music or the gentle and beautiful melodies that speak to the soul. However it is the power of the classics and great composers of Opera that propel her through her work day as the Executive Director of West Australian Opera.The company was formed in 1967 and works in close association with the West Australian Symphony Orchestra. Ms Chard has steered the company for nearly two decades following various arts management positions around the country.Roles at Opera Australia, and Deckchair Theatre and Barking Gecko in WA, nurtured a great passion for the power of theatre. These positions followed her completion of the Arts Management degree at the West Australian Academy of Performing Arts.Informing her decision to pursue Arts Management was her early producing forays in fashion and the rave scene. Working in the banking industry also provided terrific grounding; eclectic experiences indeed, that help to shape the practitioner and guide the artistic journey.Career paths are always fascinating and the rewards can be most satisfying. Ms Chard talks with great candour about her unique journey to arrive at the helm of WA’s triumphant Opera Company.Stages is available from iTunes, Spotify and Whooshkaa.

92 years since its German premiere, Ernst Krenek's Weimar-era opera Jonny Strikes Up! will have its Australian premiere, State Opera South Australia's Lost Operas of Oz series continues with a new production of John Haddock and Michael Campbell's Madeline Lee, and voice and dialect coach Leith McPherson returns to The Stage Show to share more of her insights into the power of voice.

92 years since its German premiere, Ernst Krenek's Weimar-era opera Jonny Strikes Up! will have its Australian premiere, State Opera South Australia's Lost Operas of Oz series continues with a new production of John Haddock and Michael Campbell's Madeline Lee, and voice and dialect coach Leith McPherson returns to The Stage Show to share more of her insights into the power of voice.

Elena Kats-Chernin and Justin Fleming have written a new work for Opera Australia about the life of the brilliant, troubled Australian artist Brett Whiteley, in the second instalment of The Cost of Art, Hannah Reich speaks to theatre-maker Declan Greene, dancer and choreographer Anna Seymour and Urban Theatre Projects' Jessica Olivieri, theatre critic Tim Byrne reviews Bell Shakespeare's new production of Much Ado About Nothing, and an Australian production of Bring It On: The Musical with music and lyrics co-written by Lin-Manuel Miranda is now on tour.

Elena Kats-Chernin and Justin Fleming have written a new work for Opera Australia about the life of the brilliant, troubled Australian artist Brett Whiteley, in the second instalment of The Cost of Art, Hannah Reich speaks to theatre-maker Declan Greene, dancer and choreographer Anna Seymour and Urban Theatre Projects' Jessica Olivieri, theatre critic Tim Byrne reviews Bell Shakespeare's new production of Much Ado About Nothing, and an Australian production of Bring It On: The Musical with music and lyrics co-written by Lin-Manuel Miranda is now on tour.

West Australian Opera with Act Belong Commit presents Opera In the Pinnacles.

It is called "Bartok + ... Opera Festival", because each year the festival focuses on the works of Bartok plus another composer or composers. - Kesselyák Gergely, karmester, a Miskolci Bartók Plussz operafesztivál igazgatója is.

Cheryl Stock PhD AM, has had a diverse and influential career with the common theme of dance running throughout. Cheryl has worked as a dancer, choreographer, academic, teacher and advocate. Cheryl has created over 50 dance works and has been a pioneer in collaborative exchanges with Asia, of particular note is her work in Vietnam. This resulted in her PhD, Making intercultural dance in Vietnam. Cheryl has choreographed for Australian Dance Theatre, Australian Opera, Vietnam Opera Ballet Theatre, Footnote Dance Theatre (New Zealand), Dancenorth, along with many other independent projects nationally and internationally. In 1985, Cheryl became the inaugural Artistic Director of Dance North (now written Dancenorth). Cheryl helped put the Townsville based company on the map. This legacy can be seen through incredible dancers like Samantha Hines, who was recently profiled on Delving into Dance. As a researcher Cheryl has made an enormous contribution to academic and sector wide discourse. She has presented at endless conferences around the globe, published extensively and has nurtured many students. Between 2000–2014 Cheryl was Associate Professor in the Creative Industries Faculty of QUT. In 2016, she was appointed the Head of Cultural Leadership at NIDA and Director, Graduate Studies. Cheryl was National President of Ausdance between 1996-2000 and was elected as Secretary General of the World Dance Alliance (WDA), in 2009. Cheryl’s long list of achievements include being a recipient of the Australian Dance Lifetime Achievement Award (2003) and Order of Australia (2014). She was honored by the Vietnamese government for Services to Dance in Vietnam and the other for Services to the Women’s Movement (1995). Read more about female leadership in dance from Jordon Beth Vincent. This episode is part of a special season Ancestors & Anecdotes, in partnership with Ausdance Victoria.

Lucy Guerin is one of the powerhouses of Australian Contemporary dance, known for her work in Australia and abroad. An Adelaide native, Lucy fell in love with contemporary dance and pursued this love to New York in 1989, dancing there for seven years. During this time, she worked with leading dance mentors including Bebe Miller, Tere O’Connor and Sara Rudner. In 2002, Lucy Guerin Inc was established in Melbourne, providing a space for exploring and expanding upon ideas about contemporary dance. Through its noted Pieces for Small Spaces & First Run programs, the company have provided a platform for emerging choreographers to experiment and explore choreographic approaches. Lucy has increasingly been working across forms, working in the UK with Carrie Cracknell first on Medea (2014) and then Macbeth (2015). Following the success of Macbeth, Lucy was commissioned by Rambert to make the work Tomorrow. “I like working with the dancers, I like working on the detail of the choreography and the structure of the work.” In terms of acclaim across her career, Lucy won the prestigious Bessie Award for her work Two Lies in 1996 and later in 2005, for outstanding choreography and creation for Chunky Move’s production of Tense Dave, with Gideon Obarzanek and Michael Kantor. A selection of works: Two Lies (1996) Heavy (1998) The Ends of Things (2000) Living with Surfaces (2001) Melt (2002) Tell Me (2003) with Michael Lenz Tense Dave (2003) with Gideon Obarzanek and Michael Kantor The Firebird (2003) Baroque Masterworks for the Australian Opera (2004) Aether (2005) Structure and Sadness (2006) Corridor (2008) Untrained (2009) Human Interest Story (2010) Conversation Piece (2012) Weather (2012) Motion Picture (2015) Macbeth with Carrie Cracknell for Young Vic (2016) Tomorrow (2016) Dark Chorus (2016) Attractor (2017) with Gideon Obarzanek & music duo Senyawa for Dance North Split (2017) I spoke with Lucy before going into rehearsal for Split, recently opened as part of Dance Massive, and in the same week Lucy travelled to her hometown Adelaide with Attractor. This conversation covers everything from current works, working with actors, dance and gender, Australian dance identity, and Lucy’s journey in contemporary dance. “It’s very exposing when you first have an audience.”

In this episode of Beyond the Stage, Susan chats with Horn player Geoff Collinson.As CEO of Icestorm Digital, Geoff is passionate about innovation and ideas. Geoff is a world renowned Horn player and educator, having held the position of Principal Horn with the Australian Opera and Ballet Orchestra before pursuing a career beyond the stage as an entrepreneur.Geoff shares how he came to the Horn from his established career as a professional Trumpet player. Geoff is known as a forward thinking musician and passionate innovator in music education. We talk about the power of music education to train the mind and how Geoff chose to take charge and navigate transitions in his career.

“THE TOMORROW PEOPLE” is an album that has been slowly building for years in 4 different studios in Japan and the UK. One of the issues of this album is that it’s such a big production I’ve yet been able to put it together in its final state. Especially the recording and arranging of the needed male and female opera vocals and other studio musicians. However I think it features some of my best work and want to put it out in its unfinished form for people to listen anyway in the meantime, before I go through each song rebuilding and remastering for a release date which will probably be in a couple of years. The theme of the album started from and is based on the birth of the Internet and the attributes of our ever increasing connected planet. It begins with “A global village linked together by electricity and light” and then precedes to globe trot around the world with tracks like “BUNJALUNG” (Oceania), “CHIKAMICHI” (Asia), “DARK ANGEL” (Europe) & SUNBEAM” (America). Normally the music I write has a very Sci-Fi, spacey or off-world feel but in this case I had very ‘Earthly’ images in mind. With its global outlook the atmosphere is predominantly optimistic, celebratory and hopefully an emotionally positive experience for the listener. The female vocal talents feature the Australian Opera singer Bronwen Stephens, Yan Kuang from Shanghai, and Adeyto (from Europe/Japan). Tracks: 01 ESCALATION (unfinished) 02 GLOBAL VILLAGE 03 DARK ANGEL (Angelo Nero) 04 SUNBEAM 05 CHIKAMICHI [feat. Bronwen Stephens] 06 BUNDJALUNG “The 4th World” 07 LOVE HEROINE [feat. Bronwen Stephens] 08 WORLD WIDE CHILD [feat. Yan Kuang & Adeyto] 09 TOMORROW PEOPLE [feat. Adeyto] 10 FINAL FRONTIER (unfinished)

Richard Gill is an award-winning Australian conductor and music educator. His long career in music started when he was a teacher in Sydney’s western suburbs. He went on to become the dean at the Western Australian Conservatorium of Music, the Director of Chorus at the Australian Opera and, since 2005, he has been the Music Director at Victorian Opera. Richard's memoir is .Give Me Excess of It

Simone Young is an Australian conductor whose career has centred around the opera world and conducting the great Austro-German symphonic works. She appeared as a judge in the BBC TV series Maestro and has conducted here occasionally. She is currently Music Director of the Hamburg opera but her career began in her native country where she learnt the basics of her craft under a variety of mentors including Richard Bonynge and Stuart Challender at Opera Australia. Taking their advice she went to Europe and became assistant to a number of conductors including Daniel Barenboim whom she worked with on Wagner at Bayreuth. She later became the first woman to conduct both at the Vienna State Opera and the Paris Opera. She was Music Director at Australian Opera in the early 2000s but left after a dispute over funding and artistic standards. Hamburg followed where she will remain in her post until 2015. Simone Young talks to Norman about the prejudice she has encountered as a woman her musical tastes and her research in the archives at Bayreuth. Approaching 50 she is widely tipped to get one of the forthcoming vacancies in the major opera houses but notwithstanding these opportunites, she considers her priority now to be how she can develop her ability to concentrate on artistic concerns principally the music. Producer Tony Cheevers.