Podcasts about victorian opera

The Hindu epic Mahabharata is the longest poem in the world, a tale where gods and mortals dance around each other in stories about creation, sex, death and destruction. But can it be told in under nine hours? That was the duration of  Peter Brooks' famous 1988 production of The Mahabharata at the Adelaide Festival. Miriam Fernandes and Ravi Jain, from Canada's Why Not Theatre, have wrestled the saga into a two-part, five-hour theatrical production which includes time for a shared meal. It's headlining Perth Festival.The hit Broadway musical Dear Evan Hansen has recently had to cancel its Canberra and Adalaide tours due to poor ticket sales, despite the show doing well in Melbourne and Sydney. Before that news broke, we recorded a song with the musical's Australian star Beau Woodbridge.Stephen Sondheim's Follies is the story of a once-famous company of American showgirls who have a reunion in the 1970s, 30 years after they last performed. The themes of age and regret require the performers to dig deep into vulnerability, says Antoinette Halloran, who stars as Sally in a new production by Victorian Opera. She's joined by director Stuart Maunder.

Join Richard Watts for his penultimate episode before he closes out 2024 with his 20th anniversary next week! Details for the live event happening on Thursday 19th can be found here: https://www.rrr.org.au/events/smartarts-20th-anniversary-special Whether you're a Midsumma Festival veteran or you're wanting to go for the first time, Chief Executive and Creative Director, Karen Bryant, is here to give us a 2025 program overview. The theme for 2025 is Collective Identities, and the festival runs from 19 January - 9 February at various locations around the city and the regions. Full program here: https://www.midsumma.org.au/info/program-guides/We've been showcasing the 2025 programs of theatres around Melbourne for a few weeks and now it is time to hear from Red Stitch!! Artistic director, Ella Caldwell, tells us all about what to expect (perhaps the unexpected) next year and a bit about their fundraising campaign, Long Live Big Little Theatre - which you can donate to now to help them get to their multi-year goal of $2 million. TarraWarra Museum of Art Curator, Anthony Fitzpatrick, tells us about the current exhibition, Intimate Imaginaries. Get along to the picturesque gallery in Healesville from now until March 10 to see contemporary and lively art from a collection of 13 artists. Tickets available here.Australian soprano, musical theatre royalty and actress, Marina Prior AM, joins Richard to talk about her latest project with Victorian Opera, Follies. They talk about her character (Phyllis Rogers Stone), what it's like to be a legend among legends, and performing at The Palais! You can catch Follies from February 1-6 at The Palais Theatre in St Kilda.Was ACCA's new CEO and Artistic Director Myles Russell Cook always destined for the job? Myles joins Richard to talk about taking on the role, and The Art of Lazy – an evening with Lady Susan, showing Saturday December 14th, plus gives us some highlights for the year to come at ACCA.

This week on SmartArts with Richard Watts,As we all know, Melbourne is the most Irish city in Australia, and Dr Enda Murray, the Festival Director of the 2024 Irish Film Festival is here to tell us how we can embrace our Irish-ness through cinema. Showing from 24-27 October, find something on the program for yourself here: https://irishfilmfestival.com.au/ Academy Award winning filmmaker and artist, Adam Elliot has a new exhibition showing at Beinart Gallery. Opening on October 26th, All The Lonely People is a personal collection, resonating with the same melancholy and emotional depth characterising Elliot's film work. As we've been launching the various calendars for Melbourne's performing art scene, it is now time to launch next years Victorian Opera 2025 season with Artistic Director Stuart Maunder! Have a look at the full 2025 program here: https://www.victorianopera.com.au/victorian-opera-announces-season-2025/ Richard is joined by the world renowned, host, actor, writer, comedian, philosopher Stephen Fry to answer the big questions. What is art? How do you choose an acting role? And of course, what do we need to know about his upcoming Australian tour, An Evening with Stephen Fry? Hopefully all questions are answered but here's the link for tickets and more info if you need it: https://premier.ticketek.com.au/shows/show.aspx?sh=STEPHENF24&v=PLN Co-Artistic Directors Emma Valente and Kate Davis come on to discuss their project, THE RABBLE's Wake. It is showing 25/10 and 26/10 at Burrinja Cultural Centre in Upwey, tickets available here: https://thesubstation.org.au/program/wake Merlynn Tong, writer and co-star of Golden Blood, the story of a brother and sister left to fend for themselves in Singapore. Showing at Melbourne Theatre Company with a preview performance on the 25th and Opening Night on October 31st.Plus, Anne Marie Peard, wraps up Melbourne Fringe for another year!

It's been 100 years since the death of the Italian opera composer Giacomo Puccini. From La bohème to Turandot, Puccini's operas remain some of the most popular around the world. To explore Puccini's life and legacy, we're joined by musicologist Dr Linda Fairtile and hear performances from two upcoming Opera Australia productions.Also, over their 20-year history, Brisbane's contemporary circus company Circa have grown enormously in scale, reputation and ambition. Right now, the entire ensemble are at home in Brisbane rehearsing seven different shows that are bound for stages right across the world, including a major new production of Dido and Aeneas with Opera Queensland.

A much loved baritone from New Zealand, Teddy Tahu Rhodes has captured the hearts of audiences here in Australia and in many parts of the world. An ARIA, Helpmann, and Limelight award-winner, he has given renowned performances in classics such as Don Giovanni and Carmen, and premiere performances in new works including The End of the Affair and Dead Man Walking. He's performed for Opera Australia, the Metropolitan Opera, the Welsh National Opera and the Bavarian State Opera to name just a few, and regularly sings in concert. Limelight magazine said of his voice “there is a velvet richness, a great resonance, and a touching sense of fragility." Teddy takes us through his evolution as a singer, from boy soprano to opera star, and getting through his uncertainty and unwillingness in grasping his first big break. Teddy Tahu Rhodes performs Mendelssohn's Elijah with the Sydney Philharmonia Choirs under the artistic direction of Brett Weymark at the Concert Hall of the Sydney Opera House on 18 May. He then performs in La Rondine for the Victorian Opera from 8-10 August, and then returns to the role of Scarpia for performances of Tosca with the Wellington Opera, from the 11-15 September.

Sarah Prestwidge will star as the majestic Parrwang as Victorian Opera again presents 'Parrwang Lifts the Sky'

Since graduating from WAAPA in 2006, Lucy Maunder has cemented her reputation as one of Australia's musical theatre leading ladies performing in a huge range of roles over the last 17 years.Most recently she appeared as Winifred Banks in the critically acclaimed Cameron Mackintosh/Michael Cassel Group/Disney revival of Mary Poppins. Prior to this Lucy starred in Victorian Opera's production of Kurt Weill's anti-capitalist musical Happy End as Lillian Holiday. The start of 2022 also saw her play the protagonist Alison Bechdel in the acclaimed MTC/STC Australian premiere production of Fun Home (Green Room and Sydney Theatre Award nominations for Best Performer in a Leading Role in a musical). In between seasons of Fun Home, Lucy reprised her role of Mrs Bucket in Charlie and the Chocolate Factory (Crossroads Live) for which she received a Helpmann Award nomination.Following the devastation of the Covid-19 pandemic to the Arts, Lucy was lucky enough to appear in the first main stage commercial musical to return after the shutdown of all theatre as Catherine in Pippin for Crossroads Live. Her other recent career highlights include Cynthia in Beautiful: The Carole King Musical (Michael Cassel Group, Green Room Award nomination), Miss Honey in Matilda: The Musical (Louise Withers/RSC, Helpmann Award nomination), The Spirit of Christmas (QPAC), There's Something About Music (The Little Red Company), Heather Chandler in Heathers (ShowWork Productions), Patty in Tim Finn's Ladies in Black (QTC/MTC), Rizzo in Grease (GFO, Helpmann and Sydney Theatre Award nominations), Cinderella in Into the Woods (Victorian Opera, Helpmann and Green Room Award nominations), Georgia Hendricks in Curtains (The Production Company), Gertrude Lawrence in Noël and Gertie (CDP Theatre Producers, Glug Award for Best Actress in a Musical), Polly Peachum in The Threepenny Opera (STC/Malthouse/Victorian Opera), Janet in The Rocky Horror Show (TML Enterprises), Emma in Jekyll & Hyde (TML Enterprises) and Anne in A Little Night Music (Opera Australia). Lucy also created the role of Lara in the world première of Doctor Zhivago opposite Anthony Warlow (GFO, Helpmann and Sydney Theatre Award nominations).Lucy's film credits include The Eternity Man (Channel 4 UK/ABC) and the lead role in the short film Identical, amongst other commercial and television appearances including the National Anthem at the State of Origin, The Lord Mayor's Christmas Carols (Channel 9) and appearances on The Morning Show (Channel 7) and Today Extra (Channel 9).Lucy's one-woman show Irving Berlin: Songs in the Key of Black toured Australia to rave reviews at venues such as the prestigious Spiegeltent, the Adelaide Cabaret Festival, His Majesty's Theatre Perth and La Salon at Claire's Kitchen. Her album featuring arrangements and musical direction by Daniel Edmonds is available across all streaming platforms.Lucy is over the moon to be starring as Roxie in Chicago, a true bucket list moment.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

Amy Lehpamer is currently starring in the hit pop musical & Juliet as Anne Hathaway.Amy earned nation-wide critical acclaim playing Maria in The Sound of Music, receiving the 2015 Sydney Theatre Award for best Actress in a Musical, as well as Helpmann and Glug award nominations. She was Helpmann nominated in 2017 for her portrayal of pop and soul icon Dusty Springfield in the Australian hit musical Dusty for The Production Company. Amy played lyricist and hit-maker Cynthia Weil in the Australian premiere cast of Beautiful: The Carole King Musical and was awarded the 2018 Helpmann for Best Supporting Actress in a Musical for the role.From 2018-2020, Amy toured Australia, NZ and China as Rosalie Mullins, the uptight school Principal with a Rock 'n Roll soul in Andrew Lloyd Webber's musical version of School of Rock.  She played Mrs Webb in Queensland Theatre's revival of the pulitzer prize winning classic, Our Town and Mrs Walker in the Australian Premiere of The Who's Tommy for the Victorian Opera. Her skill as a violinist and performer were highlighted in her role of Reza in Once for the Gordon Frost Organisation and Melbourne Theatre Company.  This, and her big haired, starry eyed Sherrie in Rock of Ages saw her receive Helpmann nominations. She has twice played Christine Colgate in the musical adaptation of the hit comedy Dirty Rotten Scoundrels, in her first ever leading role for Melbourne's The Production Company.Other notable roles for Amy include Tracy Lord in High Society for the Hayes Theatre, the iconic Janet Weiss in Rocky Horror for GFO/ATG. Amy created the title role of Margaret Fulton in the new Australian musical Margaret Fulton: Queen of the Dessert (Theatreworks) and was part of the original cast of Eddie Perfect's Shane Warne - The Musical, as well as the 2014 production for Adelaide Cabaret Festival and Hamer Hall, featuring on the cast recording.Additional theatre credits include: The Threepenny Opera (Malthouse and Victorian Opera); The 25th Annual Putnam County Spelling Bee and Songs for a New World (Doorstep Ensemble); Young Phyllis in Follies (The Production Company).Amy is the co-creator and star of the musical comedy webseries Donnatelegrams, produced by the ABC and Screen Australia, and now viewable on YouTube. On screen, Amy also holds credits in prime time television shows: Get Krack!n', Utopia. The Time of Our Lives, Winners and Losers, House Husbands, and the HBO mini-series The Pacific.  She has performed disco classics alongside Kate Ceberano and Paulini with the Adelaide and Queensland Symphony Orchestras. And she's sung The Best of Rodgers and Hammerstein alongside Simon Gleeson with the West Australian Symphony Orchestra.  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

Sarah joins Regina to talk about how she has paved her way in as a director and the things that interest her. As well as her latert production No Pay? No Way! on at Sydney Theatre Company.      Sarah Giles is an award-winning opera and theatre director. Described by Limelight Magazine as one of Australia's most thoughtful theatre-makers, she has a passion for comedy and opera and has directed over 25 productions for companies including Sydney Theatre Company, Melbourne Theatre Company, State Theatre of South Australia, Malthouse Theatre, Griffin Theatre, The Australian Chamber Orchestra, Sydney Chamber Opera, Opera Queensland, State Opera of South Australia and West Australian Opera.  Sarah is a freelance artist, who works as a director, dramaturg and adaptor. She works across Australia and is based in Naarm / Melbourne where she lives with her family. Sarah received Helpmann Award and Green Room Award nominations for Best Direction of an Opera for her world premiere Victorian Opera production of Lorelei which won Best New Australian work and Best Design at the Green Room Awards where it was nominated in five categories.

The last production to grace the stage of Griffin's historic SBW Stables Theatre before a major redevelopment will be The Lewis Trilogy from Australian playwright Louis Nowra. The three highly acclaimed plays — Summer of the Aliens, Così and This Much Is True — are all drawn from Nowra's own very eventful life.Also, Jonathan Larson's hit musical RENT is back on stage in Australia, and ahead of two new productions of Candide in Melbourne and Adelaide, we take a closer look at Leonard Bernstein's comic operetta based on the Enlightenment-era novella by Voltaire.

Our entire week on JOY Breakfast has been all about the music as we pick songs to march to at Pride March on Sunday as a part of JOYs Pride... LEARN MORE The post Victorian Opera presents Candide appeared first on JOY Breakfast.

Have you ever wondered how a musical is written? At this year's Adelaide Cabaret Festival, the Tony-nominated composer and lyricist Eddie Perfect hosted an event that brought us into that process. Eddie and another musical theatre composer, Gillian Cosgriff, share their insights and debut brand new songs in our music studio.Also, Richard Mills' forthcoming opera Galileo explores the life of the pioneering Italian astronomer Galileo Galilei. Performed by Victorian Opera, Galileo will have its world premiere at the Palais Theatre in Melbourne. Richard joins us at the piano to share stories from his own life as a composer.

Stuart Maunder, artistic director of Victorian Opera, joins David and Neil for a moving episode of Sunday Arts Magazine. Born in country N.S.W, Stuart developed a keen love and interest... LEARN MORE The post Sunday Arts Magazine: Stuart Maunder appeared first on Sunday Arts Magazine.

Richard Roberts is an award-winning designer and educator. His body of work spans theatre, ballet, opera, musical theatre, and film, across Australia and internationally. Richard is currently Head of Design and Production at the Victorian College of the Arts.  He has held positions as Head of Design at The Western Australian Academy of Performing Arts, Head of Production at The Victorian College of the Arts and Head of Design at The Hong Kong Academy of Performing Arts. Richard's designs for opera include: for Opera Australia, Rigoletto, Don Pasquale, The Magic Flute and Die Fledermaus (with West Australian Opera); for Victorian Opera, Parsifal, Cunning Little Vixen; Nixon In China, The Magic Flute, Baroque Triple Bill, The Marriage Of Figaro; The Corronation Of Poppea and Don Giovanni; for Opera Queensland, Ruddigore; and for New Zealand Opera, Seattle Opera, and Philadelphia Opera Rigoletto. For dance, Richard's designs include: for Australian Ballet, Don Quixote, Requiem, Molto Vivace and Raymonda; La Sylphide and La Fille Mal Gardee for West Australian Ballet and Queensland Ballet. For theatre, Richard's designs include: for Queensland Theatre, Othello, The Sunshine Club, Death Of A Salesman, Noises Off (with MTC), Much Ado About Nothing, Tartuffe and Managing Carmen (with Black Swan); for Ensemble Theatre, Black Cockatoo; for TML, Fiddler On The Roof; for Melbourne and Sydney Festivals, The Season national tour; for Melbourne Theatre Company, Last Man Standing, Solomon And Marion, Next To Normal, The Gift and Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons; for Sydney Theatre Company, Australia Day(with MTC), True West, Riflemind; for Black Swan, The Caucasian Chalk Circle and Glengarry Glen Ross; for Belvoir, The Sapphires (with Black Swan). For screen, Richard's work includes production design for George Ogilvie's The Battlers for the Seven Network, the 12-part series Five Times Dizzy for SBS and I Own The Racecourse for Barron Films. Richard has designed the Operatic adaptation of Jane Harrison's The Visitors for Victorian Opera, currently playing The Arts Centre in Melbourne. For Opera Australia's Summer season he is Design Consultant for the Mozart Opera's Idomeneo and The Magic Flute. 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

For An Englishman Downunder , Fiona Watson interviews Ballarat based Tenor Jason Wasley, a principle performer for the Enduring Classics concert 'A touch of Spring. Held at Ballarat Anglican Catherdal, 2:30pm on Saturday 9 September. Australian tenor Jason Wasley received a scholarship in 1991 to attend the Victorian College of the Arts Opera Studio in Melbourne.  In 1993, Jason won the Herald-Sun Aria, which enabled him to further his studies in Europe.  The following year he represented Australia in the finals of the Placido Domingo World Operalia Competition in Vienna.  Jason then worked as an apprentice soloist with the Victorian State Opera, undertaking the roles of Sciarrone and The Gaoler in Tosca, Juan in Don Quichotte, Tarquinius in The Rape of Lucretia and Robin Oakapple in Ruddigore. After study at Bertrand Russell Institute of Languages in Italy, Jason moved to London where he was accepted into the National Opera Studio. There, he studied and performed in the roles of Figaro in The Barber of Seville, Silvio in Pagliacci, the title role in Billy Budd, Prince Tarquinius in The Rape of Lucretia, Sid in Albert Herring, Count Almaviva in The Marriage of Figaro, the title role in Eugene Onegin, Schaunard in La bohème and Belcore in L'Elisir d'Amore.  He worked for the Glyndebourne Festival and Touring opera companies performing in the chorus and covering the roles of the Second Prisoner in Fidelio, Patrocle in Iphigénie en Aulide, Morales in Carmen, the title roles in Eugene Onegin, Le Nozze di Figaro and Don Giovanni.  Jason has also worked with the Welsh National Opera's education programme, which included performing Don Giovanni and Escamillio from Carmen. He sang the Boatswain in H.M.S. Pinafore for D'Oyly Carte Opera, Figaro in The Barber of Seville for British Youth Opera, Peter in Hansel and Gretel for Clonter Opera and Belcore in L'elisir d'amore for Pegasus Opera Company.  He also sang Kullervo in the British premiere of Aulis Sallinen's Kullervo.  For Melbourne Opera, he has performed Papageno in The Magic Flute and Marullo in Rigoletto. For OzOpera, he sang Marcello in La bohème and Dancairo in Carmen. For Promac Productions he performed the roles of Pooh-Bah in The Mikado, The Pirate King in The Pirates of Penzance and Captain Corcoran in H.M.S. Pinafore.  In 2006, he moved from baritone to tenor and sang the tenor solos in Verdi's Requiem for the Melbourne Chorale, the roles of Don José in Carmen and Cavaradossi in Tosca for Melbourne Opera, the title role in Stravinsky's Oedipus Rex for Victorian Opera and Pinkerton in Madama Butterfly for OzOpera's national tour. Most recently, Jason Wasley has sung Alfredo in Opera Australia's touring production of La traviata, the tenor solos in Beethoven's Symphony No. 9 with Sydney Philharmonia, Florestan in Fidelio, Max in Der Freicschütz and the title role in Rienzi for Melbourne Opera, Verdi's Requiem with Sydney University Chamber Choir and Rodrigo in Otello for State Opera of South Australia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kevin-harper1/message

Ross welcomes his very own GP, Dr Mary-Anne Lancaster, to talk all things general practice and find out what's going on with his "bung eye". And artistic director of Victorian Opera, Richard Mills, sings the praises of renowned opera singer Maria Callas.  See omnystudio.com/listener for privacy information.

Antoinette Halloran (Wagner's The Ring Cycle, Madam Butterfly) stars as Mrs Lovett in the Victorian Opera's production of Stephen Sondheim's 'Sweeney Todd, the Demon Barber of Fleet Street'. Currently on tour, playing at the Sydney Opera House. Antoinette's been playing Mrs Lovett for 9 years, so this is a special short sit-down. The video podcast has Antoinette in costume. Tickets: Sydney Opera House  Watch performances: ~ First look at rehearsals ~ Sweeney Todd (Sweeney) with cast ~ 'My Friends' Sweeney Todd ~  'God that's good' Sweeney Todd ~ opening night curtain call, Sydney Opera House ~ watch full video interview (with performances) Follow: Antoinette Halloran Let Me Entertain You - Instagram | Twitter | Facebook | TikTok | Youtube

Ashley Rubenach (An American in Paris, Cry Baby) stars as Johanna in the Sydney season Stephen Sondheim's musical thriller, 'Sweeney Todd, the Demon Barber of Fleet Street', an original production with Victorian Opera. Ashleigh returns to the role that actually was her first lead role in a musical back in high school. Hear more about how her professional career and how its shaped her new approach to the character and the musical. Tickets: Sydney Opera House  Watch performances: ~ First look at rehearsals ~ Sweeney Todd (Sweeney) with cast ~ 'My Friends' Sweeney Todd ~ 'God that's good' Sweeney Todd ~  'An American In Paris' (starring as Milo) curtain call ~ Opening night curtain call Sweeney Todd, Sydney Opera House ~ watch full video interview (with performances) Follow: Ashleigh Rubenach Let Me Entertain You- Instagram | Twitter | Facebook | TikTok | Youtube

Ash Flanders made his reputation with wildly funny, often surreal queer theatre made under the name Sisters Grimm with his creative partner Declan Greene. Now, Ash has put the glitter and wigs aside and written a new, naturalistic play called This Is Living.Also, multidisciplinary artist and "radical mischief-maker" Candy Bowers shares the works of art that have most inspired her journey on Top Shelf and we explore the themes of Stephen Sondheim's Sweeney Todd: The Demon Barber Fleet Street with the Sydney Opera House cast.

Ash Flanders made his reputation with wildly funny, often surreal queer theatre made under the name Sisters Grimm with his creative partner Declan Greene. Now, Ash has put the glitter and wigs aside and written a new, naturalistic play called This Is Living. Also, multidisciplinary artist and "radical mischief-maker" Candy Bowers shares the works of art that have most inspired her journey on Top Shelf and we explore the themes of Stephen Sondheim's Sweeney Todd: The Demon Barber Fleet Street with the Sydney Opera House cast.

Lindy Hume, AM, is one of Australia's leading directors, acknowledged internationally for fresh interpretations of a wide variety of repertoire, and for progressive artistic leadership of a number of Australian arts organisations, including Opera Queensland (2012-2017), Sydney Festival (2010-2012) and Perth International Arts Festival (2004-2007). She was also the first Artistic Director of West Australian Opera (1992-96), Artistic Director of Victoria State Opera and then OzOpera (1996-2001). Lindy has most recently been Creative Director of the Four Winds Easter Festival, Bermagui and is currently Artistic Director of the 10 Days on the Island Festival, Tasmania 2019-2023. In 2021 Lindy Hume was appointed a Member of the Order of Australia for significant service to the performing arts, particularly to opera. After a hugely successful year in 2021, during which Lindy directed The Marriage of Figaro for New Zealand Opera, Madama Butterfly for Welsh National Opera and The Barber of Seville for State Opera South Australia, 2022 saw her continuing in her roles as Creative Director of the Four Winds Easter Festival and Artistic Director of the 10 Days on the Island Festival, Tasmania as well as developing a new staged presentation of Schubert's Die Winterreise for Musica Viva's national tour of the work with Alan Clayton, which was also seen at the Barbican, in London. Lindy's production of Rigoletto was also presented by Opera Philadelphia. As a director, Lindy has created more than 50 major productions across Australasia including Carmen, Don Giovanni, Fledermaus, La Périchole and Les pêcheurs de perles (Opera Australia), Orlando, Trouble in Tahiti and The Barber of Seville (OzOpera), Alcina and Orpheus in the Underworld (West Australian Opera), Carmina Burana (State Opera of South Australia/The Australian Ballet), Idomeneo (Pinchgut Opera), Rigoletto and Lucia di Lammermoor (NBR New Zealand Opera). European productions include La bohème (Deutsche Staatsoper in Berlin, which was telecast live throughout Europe), Tolomeo (Musiektheater Transparant in Belgium), Radamisto (Handel Festspiele and Opernhaus Halle), A Streetcar Named Desire and Norma (Opera Theatre St Gallen in Switzerland), Così fan tutte (Guildhall School of Music and Drama in London), and Albert Herring and Phaedra (Aldeburgh Festival in the UK). She made her American debut in 2004 directing The Barber of Seville for Houston Grand Opera, returning in 2009 and 2013 to direct Rigoletto and Die Fledermaus respectively. Her production of “Cenerentola” was produced by NBR New Zealand Opera in 2015 and presented by Oper Leipzig and in San Diego in 2016. Lindy is recognised as a champion of new Australian work across a range of genres. As Artistic Director of OzOpera, she commissioned the MDTV project, award-winning screen operas with ABC TV, and major Australian works including Paul Grabowsky's Love in the Age of Therapy and Richard Mills' Batavia (with Opera Australia and the Melbourne Centenary of Federation Festival). In 2007, she commissioned and directed the world première of Richard Mills/Timberlake Wertenbaker's opera The Love of the Nightingale. New Australian work, a focus on contemporary Indigenous culture, the development of a distinctive regional identity and celebration of local communities have been fortes of her tenure as Artistic Director of the Perth International Arts Festival 2004-2007 and as Festival Director of the 2010-2012 Sydney Festival. Lindy has just directed a new production of Mozart's Idomeneo, in a co-production between Victorian Opera and Opera Australia. The production has just finished a season at the Palais theatre in Melbourne and will be seen in Sydney from February 20th to March 15th in 2024.It will be a part of the thrilling Summer season programmed by Lindy as Guest Creative Director. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts.

Ben Mingay (Shrek, Carousel, An Officer and a Gentleman) stars in the title role of Sweeney Todd in Stephen Sondheim's musical thriller, 'Sweeney Todd, the Demon Barber of Fleet Street', a co-production with Victorian Opera and New Zealand Opera. The production will finish the final leg it's five year extensive NZ/AUS tour at the Sydney Opera House. Ben also stars as Jim in the popular ABC television show 'Frayed' and as a fan of the show, I had to ask about a season 3 return. Hear more about Ben's Sweeney backstory, magic of a Sondheim score and more about this fan favourite musical. Tickets: Sydney Opera House  Watch performances: ~ First look at rehearsals ~ Sweeney Todd (Sweeney) with cast ~ 'This Is Our Story' Ben Mingay (as Shrek) and cast ~ 'Frayed' television series (ABC iview) Follow: Ben Mingay Let Me Entertain You @LMEYpodcast - Instagram | Twitter | Facebook | TikTok | Youtube

Richard Hull, CEO of Flying Fruit Fly Circus explains the devastating impacts Swinburne University's decision to freeze the National Institute for Circus Arts' student intake in 2024, may have on circus in Australia; Artist Ben McKeown on ‘Dig Deeper', a portrait of four different Indigenous and First Nations artists, premiering at the Melbourne Documentary Film Festival; Director Steven Mitchell Wright & Actor Justin Hosking on revisiting the canonised Australian theatre production, ‘Away'; Opera director Lindy Hume on the new production of ‘Idomeneo,' by the Victorian Opera and Opera Australia.

Interview with an opera creative on-the-rise Constantine Costi about his upcoming show for Victorian Opera "Melbourne, Cheremushki" that transports the Soviet-era Khrushchev-style apartment complex of Shostakovich's Moscow, Cheryomushki to contemporary Melbourne. - Эта история случилась в Москве в далеком 1959 году, а теперь, как ни странно, она обрела новую актуальность в австралийском Мельбурне. Как так вышло - выяснила Сима Цыскина в мельбурнском театре "Playhouse" в беседе с режиссером Константине Кости.

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.

Episode 3: Kontratenorer vs kastratsangereJeg heter Astrid Kirschner, og dette er min podkast Barokkpodden!I dagens episode snakker jeg for første gang med en gjest, nemlig med den australske kontratenor-stjernen DAVID HANSEN. Vi sitter ikke på samme sted, men vi snakker sammen på Zoom – jeg i Oslo og han i Zürich. Han hjelper meg å få klarhet i en del spørsmål, for eksempel: Hvordan klarer han egentlig å synge så høyt at det låter som en kvinne? Og hva er egentlig forskjellen mellom en kontratenor og kastratsanger?David Hansen har bodd i Oslo siden 2007 og har brukt byen som base for sin internasjonale karriere som operasanger i den smale bransjen som kontratenor. Han har gjestet Den Norske Opera & Ballett i Oslo mange ganger, og har ellers sunget på operahus verden over. Han har bemerket seg i roller som Bertarido i Rodelinda ved Teatro Arriaga i Bilbao; Trinculo i The Tempest ved Santa Fe Opera; Orfeo i L'Orfeo ved Staatsoper i Berlin; Cherubino i Mozarts Figaros bryllup ved Teatro Verdi di Sassari; Farnace i Mitridate, re di Ponto ved La Monnaie i Brussel; Athamas i Händels Semele, også ved La Monnaie; Nerone i Monteverdis Poppeas kroning ved Boston Early Music Festival, Teatro Calderón og Victorian Opera; tittelrollen i Julius Cæsar ved Sächsische Staatsoper, Semperoper Dresden, Theater an der Wien og Teatro de la Maestranza de Sevilla.David Hansen er også en svært aktiv konsertsanger og har sunget under dirigenter som Nikolaus Harnoncourt, Sir Simon Rattle, René Jacobs, Marc Minkowski og Fabio Biondi, og med orkestre som Berlinfilharmonien, Les Musiciens du Louvre Grenoble og Concertgebouw, Amsterdam.I 2013 ga han ut platen Arias for Farinelli & Co., med Academia Montis Regalis og Alessandro De Marchi, og i 2018 kom hans innspilling One Charming Night (med Oslo Circles, LAWO) på markedet, begge til strålende internasjonale anmeldelser.Til hver episode av selve podkasten BAROKKPODDEN finnes det også en passende spilleliste med barokkmusikk på Spotify. Der kan du lytte til CD-innspillinger jeg anbefaler, og spillelisten til 3.episode er smekkfull av halsbrekkende italienske koloraturarier og vakre engelske sanger med dagens gjest - kontratenoren David Hansen!Søk den opp og kos deg med musikken!Her er linken til spillelisten:https://open.spotify.com/playlist/4vZq4O9uDFIANYzd21JnGG?si=df1133a7635945b5&pt=a8ce533fa66b3fa7cc7712c18bb40cc7*** Musikkeksemplene brukt i 3.episode Kontratenorer & kastratsangere:Henry Purcell: Come, ye Sons of Art, Away (Strike the viol), David Hansen, Oslo Circles (SIMAX)Henry Purcell: Come all to me, fra Timon of Athens Z 632, David Hansen, Oslo Circles (SIMAX)***Takk til Fond for Lyd og Bilde som støtter prosjektet Barokkpodden!Photo cred: Lars Bryngelsson*** Disclaimer: In my podcast Barokkpodden! I talk about different aspects of baroque music, composers, instruments, historical context and much more, and it is my sincere wish to give my interested listeners and my concert audience a better and deeper understanding of baroque music. Several record companies have given me their permisson to use their recordings of baroque music for this project. Thank you very much! Some of the record companies have limited their permission to max 30 seconds of each music clips, others have allowed me to use music clips in full length. I'm a musician myself, and I certainly do not want to hurt any other musician's rights or copy right. I hope I can increase the love to and knowledge about baroque music with this project, but if you are a musician, and prefer not to be a part of this podcast, please let me know, then I will make the changes accordingly.Best wishes,Astrid Kirschnerasursula@online.no

British keyboardist and director Chad Kelly has a very long list of credits to his name. He has been living in Australia less than two years, but has already performed with the Australian Chamber Orchestra, the Victorian Opera, and with the Sydney and Tasmanian Symphony Orchestras. Earlier this year, he joined Opera Australia. His commitment to historically informed performance practice has led him to perform with Sir John Elliot Gardiner and Trevor Pinnock, and his enduring collaboration with violinist Rachel Podger has recently culminated in them recording an album together of JS Bach's Goldberg Variations, due for release in 2023. He will be guest directing the Australian Haydn Ensemble for CPE Bach: Universe of Harmony, their final concert of the year, from the 11th to the 14th of December. In this conversation, Chad gives us a preview of the concert and his unique perspectives on historically informed performance practice, and he shares a diverse selection of works which have played different roles in his life.

Tahu Matheson has worked for Opera Australia since 2007. He became Head of Music for the company in 2017. He studied piano with Kalle Randalu in Germany, and with Oleg Stepanov and Natasha Vlassenko at the Queensland Conservatorium, where he completed his Master of Music. He is a frequent accompanist for international artists including Teddy Tahu Rhodes, Anthony Dean Griffey, Yvonne Kenny and Emma Matthews. His Opera Australia repertoire includes - Conductor of Tosca, L'elisir d'amore, The Magic Flute and The Pearlfishers at Sydney Opera House; Aida on the Beach and tours of Don Giovanni. Tahu was Assistant Conductor of the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio, Of Mice and Men, The Barber of Seville, Lucia di Lammermoor, Werther, The Magic Flute, La Bohème, La Traviata, Madama Butterfly, La sonnambula, Orpheus in the Underworld, A Streetcar Named Desire, Billy Budd and Don Giovanni. For other companies Tahu has conducted Kurt Weill's The Seven Deadly Sins for Victorian Opera. This work was paired with the premiere of a new work by four Australian Composers, of the same name, but with updated subject matter and music. Tahu has conducted many concerts including a concert performance of a new opera, Nelson, by Stuart Greenbaum in London, and a performance of Beethoven's Ninth Symphony for 4MBS Radio in Brisbane. He recently made his debut with the Queensland Symphony Orchestra. Tahu performed the Rachmaninov Preludes Op 23 and the world premiere of Ten Concert Studies for Piano, written for him by Edwin Carr (New Zealand International Festival of the Arts – recorded on CD for international release by Kiwi Pacific Records). Tahu has been a soloist in the major concert venues throughout Australia and New Zealand, toured for Musica Viva and Chamber Music New Zealand, and been broadcast on New Zealand and Australian radio and television. Through November and December Tahu Matheson conducts Opera Australia's brand new, Sydney-exclusive open-air event, Opera on Cockatoo Island, with a gritty new production of Bizet's much-loved Carmen, giving visitors a thrilling opportunity to experience world-class opera under the stars with stunning harbour views. STAGES caught up with Tahu at his place of work - Opera Australia - to discover what's in store for audiences attending Carmen, and the gateway through which he discovered his passion for telling big stories on the Operatic stage. 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

Paul Capsis is an Australian icon and one of a kind. From day 1 he was told he would never work in the industry; a gay man of Greek and Maltese heritage which in the 80's in Australia meant he was largely uncastable. That didn't stop Paul and thank goodness it didn't. Cut to headlining some of the world's most prestigious arts festivals, feature roles on screen and treading the boards for the likes of the Sydney Theatre Company and the Victorian Opera. His message? Never give up! Talking everything from his fascinating obsession and synchronicity with Janis Joplin, to how he shaped his career. Please enjoy this interview with multiple Helpmann Award winner, Paul Capsis. Hosted on Acast. See acast.com/privacy for more information.

With a celebrated career spanning over 25 years, David is one of Australia's most acclaimed leading men. Based in New York City, David is currently starring as the Duke of Monroth in the North American production of Moulin Rouge! The Musical and is delighted to return to Do You Hear the People Sing? after appearing in the show since its inception in Shanghai, Manila, and Taipei. David gained critical acclaim for his portrayal of Chris in Claude-Michel Schönberg and Alain Boublil's new production of Miss Saigon which earned him Helpmann and Sydney Theatre Award nominations for "the year's most truthful and moving stage portrayals" (Sydney Morning Herald). He received a further Helpmann Award nomination for his performance as Fiyero in Wicked. David was awarded a Green Room Award for Best Actor as well as Helpmann and Sydney Theatre Award nominations for his portrayal of Emmett Forrest in Legally Blonde and was awarded Theatre People's Award for Best Actor for his portrayal of The Baker in Victorian Opera's production of Into The Woods. In 2018, David was nominated for his fourth Helpmann Award and second Green Room Award for his portrayal of Tick in Priscilla Queen of the Desert. Relocating to New York City in 2014, David received a Connecticut Critics Circle Award nomination for Best Actor for his performance of Dan in Next to Normal and starred as Jean Valjean in Les Misérables which co-starred and was directed by Tony Award winner Terrence Mann. He starred as Billy Crocker in Anything Goes, as Father in Ragtime and originated the role of Max Bronfman in the new, reworked production of Rags with Stephen Schwartz. Other Australian performances include; the dual roles of Adam and Noah in the Australian premiere performance of Stephen Schwartz's Children of Eden (Theatre People Award nomination for Best Actor in a Musical); Malcolm in The Full Monty; The Beast in Beauty and the Beast; Greg in The Boy From Oz; Joe Hardy in Damn Yankees; John Brookes in Little Women; Prez in The Pajama Game; Perchik in Fiddler On The Roof alongside Topol; John in Andrew Lippa's John & Jen; Oscar in The Wild Party; Orville Wright in Richard Maltby Jnr and David Shire's new musical Take Flight; and Jimmy Smith in the Australian premiere of Thoroughly Modern Millie. David originated the role of Bud in the Australian premiere production of the two-man comedy, Gutenberg! - The Musical; created the numerous male roles in the Australian premiere of Breast Wishes; and received a GLUG Award for Best Actor in a Musical for his performance in LOVEBiTES. David began his professional career in the original Australian productions of The Boy From Oz and Mamma Mia and was awarded a MO Award for Best New Talent in 1997. In concert, David toured with Michael Ball on his Australian tour; performed with Lea Salonga in Vietnam; performed with Stephen Schwartz in Stephen Schwartz and Friends; with Andrew Lippa in Lippa and Friends. In 2016, David starred alongside Sutton Foster, Aaron Tveit, Betty Buckley, Joanna Ampil and Helen Dallimore in Defying Gravity - the songs of Stephen Schwartz. David has released two solo albums, 'Til The Night Is Gone and At This Stage. He premiered his solo show, ‘Til The Night Is Gone to sold out audiences at the 2010 Adelaide Cabaret Festival and Newcastle's Civic Theatre and returned to the Adelaide Cabaret Festival in 2014 to headline the Australian premiere of Picture Perfect. David's most recent solo show, Time Is a Traveller premiered to a sold out, extended season at the Hayes Theatre and toured nationally to great acclaim, being awarded the Theatre People's Award for Best Male Cabaret in 2014. Do You Hear the People Sing? plays the Hamer Hall, Arts Centre, Melbourne, September 27th and 28th. Then the Concert Hall, Sydney Opera House, September 30th to October 2nd www.davidharrisofficial.com The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favouri

La première della versione di Victorian Opera, composta dall'italiano Pierangelo Valtinoni, farà rivivere a grandi e piccini la magia di una favola resa universale dalla musica.

Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York's Lincoln Centre and Berlin's Bar Jeder Vernunft to London's West End and the Sydney Opera House.As well as being a prolific original music, theatre and dance-theatre creator for such commissioners as Pina Bausch, David Bowie and Mikhail Baryshnikov,Meow Meow specialises in the Weimar repertoire and French chanson. She has played Jenny in Brecht/Weill's Threepenny Opera in Paris and London with the London Philharmonic and Anna 1and 2 in Brecht/Weill's Seven Deadly Sins with Orchestra Victoria, and with United Ensemble at the Konzerthaus Berlin.Meow Meow's original works include Vamp, Beyond Glamour, Feline Intimate, Meow Meow's Little Match Girl, Meow Meow's Little Mermaid, His Master's Choice, Apocalypse Meow, and An Audience with Meow Meow. Concert work includes Meow Meow's Pandemonium with the London Philharmonic, Bergen Philharmonic and Sydney Symphony Orchestras. She recently appeared in Barry Humphries's critically acclaimed Weimar Cabaret season at the Barbican and at the Kennedy Centre in Washington DC.In other works, Meow has played Titania in Emma Rice's A Midsummer Night's Dream at Shakespeare's Globe and appeared on the West End in Kneehigh and Michel Legrand's The Umbrellas of Cherbourg in a role created especially for her - La Maîtresse. She played Pegleg in Tom Waits' musical fable The Black Rider with Victorian Opera and Malthouse Theatre; Édith Piaf in Cocteau's Le Bel Indifferent, for the Greenwich Music Festival and an acclaimed Miss Adelaide in Guys and Dolls with the Royal Philharmonic at Royal Albert Hall.Meow Meow has performed as guest artist with iconic orchestra Pink Martini at the Berlin Philharmonie, Royal Albert Hall, Opera Garnier Monte Carlo, the Hollywood Bowl, and across the concert stages of Europe, Canada, and the United States. Their album Hotel Amour: Meow Meow with Thomas M. Lauderdale includes duets with Rufus Wainwright, Barry Humphries, the Von Trapps and the late Michel Legrand. It was released in 2019 and named one of The Times' top 100 albums of the year.Meow Meow is a favourite performer at Adelaide Cabaret Festival and returns this year performing with the Adelaide Symphony Orchestra. Meow Meow's Pandemonium plays at Her Majesty's Theatre on June 18th.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

Marg joins Regina to talk through a life as a theatre designer and in particular The Picture of Dorian Gray.   Marg has an extensive list of design credits spanning theatres across Australia. For STC, Marg has designed for The Picture of Dorian Gray, Avalanche (with Barbican Theatre), How to Rule the World and The Histrionic (with Malthouse). As Costume Designer she also worked on STC productions of Lord of the Flies and The Resistible Rise of Arturo Ui. She has worked on a wide range of productions for Malthouse including Because the Night (interiors), Blasted, Melancholia, Bliss, Caravan, The Testament of Mary, The Real and Imagined History of The Elephant Man, Revolt She Said Revolt Again, The Homosexuals Or ‘Faggots' (with Griffin Theatre Company), Edward II, I Am A Miracle and The Good Person Of Szechuan. Marg has also designed for many other leading theatre and opera companies including English National Opera, Opera Queensland, Victorian Opera, Melbourne Theatre Company, Bell Shakespeare, Belvoir and Griffin Theatre Company. She has also worked with Circa, Performing Lines, Dee and Cornelius, Angus Cerini Doubletap and Chunky Move. Marg has won seven Green Room Awards and two Sydney Theatre Awards including one for The Picture of Dorian Gray (2021).  

Theatre First Episode 324Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Happy End – Playhouse Arts Centre, Melbourne, Australia Slapstick humour characterises a little staged and decidedly different style of saints and sinners musical.Victorian Opera's Happy End is set in America in 1919.The storyline sees the Salvation Army come face to face with gangsters.For more information visit https://www.bitesz.com/show/movies-first/p/blog/ For more Theatre reviews from Alex, visit https://www.bitesz.com/show/theatre-first/ Subscribe, rate and review Theatre First at all good podcast apps, including Apple Podcasts, Spotify, Google Podcasts, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.Theatre First RSS feed: https://www.spreaker.com/show/4988589/episodes/feed For more podcasts visit our HQ at https://bitesz.com #theatre #stage #reviews #melbourne #australia #happyend #victorianopera

George Gershwin's An American in Paris has been associated with dance ever since it inspired the 1951 Gene Kelly film, so who better to bring it to the musical theatre stage than the renowned ballet dancer, choreographer and now director Christopher Wheeldon. Also, with several Australian companies currently presenting works by Bertolt Brecht and Kurt Weill, we learn about the lives of these two men and their belief in the revolutionary potential of the theatre.

George Gershwin's An American in Paris has been associated with dance ever since it inspired the 1951 Gene Kelly film, so who better to bring it to the musical theatre stage than the renowned ballet dancer, choreographer and now director Christopher Wheeldon. Also, with several Australian companies currently presenting works by Bertolt Brecht and Kurt Weill, we learn about the lives of these two men and their belief in the revolutionary potential of the theatre.

George Gershwin's An American in Paris has been associated with dance ever since it inspired the 1951 Gene Kelly film, so who better to bring it to the musical theatre stage than the renowned ballet dancer, choreographer and now director Christopher Wheeldon. Also, with several Australian companies currently presenting works by Bertolt Brecht and Kurt Weill, we learn about the lives of these two men and their belief in the revolutionary potential of the theatre.

Constantine Costi is a director, writer and the co-artistic director of Red Line Productions at the Old Fitz working across opera, film, and theatre. He was named one of the 21 hottest creatives of 2021 by The Australian.Most recently Constantine directed Handa Opera on Sydney Harbour La Traviata for Opera Australia, as well as Verdi's Requiem for Ensemble Apex and Phoenix Central Park, and is currently preparing a Kurt Weill Double Bill for The Old Fitz Theatre of Mahagonny Songspiel and The Seven Deadly Sins.In 2020 he directed the feature film A Delicate Fire for Pinchgut Opera based on the madrigals of Barbara Strozzi, wrote the libretto of a new Australian opera Cassandra for Victorian Opera by composer Simon Bruckard, directed Monochromatic; a video series of piano portraits for Phoenix Central Park, and directed an online Don Giovanni production for the Shanghai Opera with Maestro Xu Zhong.Constantine has also directed Karakorum starring David Wenham (Australian Brandenburg Orchestra); the award-winning production of Bittersweet Obsessions, and Messiah which played to standing ovations and sell-out seasons in Sydney, Melbourne and Brisbane; Puccini's Suor Angelica (Opera Projects Sydney); and Il Tabarro at Alfie's Sydney.Constantine has directed revivals of Harry Kupfer's Otello (OA), Il Viaggio a Reims (Dutch National Opera, OA and Royal Danish Opera), Sir David Mc Vicar's Vienna State Opera production of Falstaff(National Centre of Performing Arts, Beijing); and La Traviata (OA).He also assistant directed productions of Ring Cycle (Chen Shi-Zheng) and Wozzeck (Salzburg Festival, OA, Canadian Opera Company, Metropolitan Opera); Hunde Gottes (Schauspielhaus Vienna); and The Marriage of Figaro (OA). Constantine has also worked with director Chen Shi-Zheng as assistant director of Puccini's Turandot (OA, Handa Opera on Sydney Harbour), as well as co-directing Werther with director Elijah Moshinsky (OA).Other work includes directing and co-creating the world premiere of jazz musical The Overcoat (Belvoir's 25A); co-writing the immersive theatre experience Visiting Hours (Vivid Festival); and directing The Space Between the Fuel and the Fire (NIDA).Constantine is the recipient of The Berlin New Music Opera Award with The Opera Foundation for Young Australians where he worked with Komische Oper Berlin's directing team on the premiere of Tchaikovsky's Eugene Onegin directed by Barrie Kosky.Other directing credits include: The Hypochondriac, The Shewing-up of Blanco Posnet (NIDA); Young Artist's Program Showcase (Opera Australia); Thomas Arne's The Sailor's Return (Nagambie Lakes Opera Festival); The Master and Margarita after Bulgakov (Aboriginal Centre of the Performing Arts); Accidental Death of an Anarchist by Dario Fo (Zenith Theatre); and The Canterbury Tales by Chaucer (George Georgiou Inc). Constantine has previously been a member of the Belvoir Artists' Workshop and was affiliate director with Griffin Theatre.Constantine's screen credits include: music videos, I Know What You're Hiding (Hedge Fund) and Into My Arms (Bloods) for Triple J Unearthed; and the short films Ferguson & Daisy & Ursula, andDonny.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

Anne Marie Peard reviews recent theatre works; Actor and soprano Ali McGregor chats about Victorian Opera's staging of the 20th century anti-capitalist musical comedy 'Happy End'; Jason Arrow, who plays the titular character in 'Hamilton', discusses the critic-proof phenomenon. With presenter Richard Watts.

The former artistic director of The Australian Ballet, David McAllister, steals the spotlight to interview his partner, Noonuccal Nuugi playwright and director Wesley Enoch. Also, Yorta Yorta composer and singer Deborah Cheetham talks about the making of her opera Parrwang Lifts the Sky, based on the Wadawurrung story of the magpie who brought light to the land.

The former artistic director of The Australian Ballet, David McAllister, steals the spotlight to interview his partner, Noonuccal Nuugi playwright and director Wesley Enoch.Also, Yorta Yorta composer and singer Deborah Cheetham talks about the making of her opera Parrwang Lifts the Sky, based on the Wadawurrung story of the magpie who brought light to the land.

The former artistic director of The Australian Ballet, David McAllister, steals the spotlight to interview his partner, Noonuccal Nuugi playwright and director Wesley Enoch. Also, Yorta Yorta composer and singer Deborah Cheetham talks about the making of her opera Parrwang Lifts the Sky, based on the Wadawurrung story of the magpie who brought light to the land.

Il compositore Pierangelo Valtinoni è diventato famoso per le sue opere liriche per ragazzi tra le quali "Pinocchio" rappresentata in Europa, America Latina, Hong Kong, Corea del Sud, Russia e Italia. Il prossimo anno a Melbourne la Victorian Opera metterà in scena, in italiano, "Il Mago di Oz".

Fondata nel 2005 dal governo del Victoria, la Victorian Opera in pochi anni ha raggiunto una fama internazionale invidiabile. Oltre ai noti classici amati dal grande pubblico, mette in scena lavori inediti di giovani compositori, molti dei quali australiani.

Victorian Opera is finally set to stage the Australian premiere of The Who's Tommy from 22 February – 1 March 2022 at the Palais Theatre, St Kilda. Victorian Opera's CEO... LEARN MORE The post Elizabeth Hill-Cooper talks about Victoria Opera and the musical Tommy. appeared first on Sunday Arts Magazine.

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Saturday 7 August: Vika & Linda's new album The Wait - after 19 years of waiting - plus The Who's Who's Next and Victorian Opera's Tommy

Elizabeth Hill-Cooper, CEO of Victorian Opera, said performers would do "pretty much anything" that would be required of them. See omnystudio.com/listener for privacy information.

The Wadawurrung story of Parrwang, a magpie that lifted the sky to bring light to the land, is now an opera. Parrwang Lifts the Sky is by the Yorta Yorta composer and singer Deborah Cheetham and presented by Victorian Opera. Also, we visit a rehearsal of The Dispute, a work performed and co-created by children with experience of family separation, hear performance from the new Australian production of Chess and check in on London's West End theatres as they reopen their doors.

The Wadawurrung story of Parrwang, a magpie that lifted the sky to bring light to the land, is now an opera. Parrwang Lifts the Sky is by the Yorta Yorta composer and singer Deborah Cheetham and presented by Victorian Opera.Also, we visit a rehearsal of The Dispute, a work performed and co-created by children with experience of family separation, hear performance from the new Australian production of Chess and check in on London's West End theatres as they reopen their doors.

The Wadawurrung story of Parrwang, a magpie that lifted the sky to bring light to the land, is now an opera. Parrwang Lifts the Sky is by the Yorta Yorta composer and singer Deborah Cheetham and presented by Victorian Opera. Also, we visit a rehearsal of The Dispute, a work performed and co-created by children with experience of family separation, hear performance from the new Australian production of Chess and check in on London's West End theatres as they reopen their doors.

Since graduating from WAAPA in 2006, Lucy has cemented her reputation as one of Australia's musical theatre leading ladies. When the Covid-19 Pandemic hit, she was about to preview at Brisbane's Lyric Theatre QPAC in Charlie and the Chocolate Factory (GFO) as Charlie's mum Mrs Bucket, which had just finished two very successful seasons in Melbourne's Her Majesty's Theatre and Sydney's iconic Capitol Theatre. She was nominated for a 2019 Helpmann Award for Best Supporting Actress for her performance in the show. Lucy was also about to start rehearsals for MTC's Australian Premiere of the Tony Award winning Best Musical Fun Home in the role of Alison. Throughout 2018 Lucy starred in Beautiful: The Carole King Musical (Michael Cassel Group) as sassy Cynthia Weil on its critically acclaimed Australian tour earning a Green Room Nomination for Best Supporting Actress in a Musical. Prior to this, with her newborn baby in tow Lucy played Miss Honey in the Australian/New Zealand tour of Tim Minchin's Matilda: The Musical (Louise Withers and Associates, RSC), and was nominated for a 2017 Helpmann Award for Best Supporting Actress. Lucy originated the role of Heather Chandler in the smash Australian Première of Heathers: The Musical, she created the role of Patty in Tim Finn's new musical Ladies in Black (QTC, MTC) and starred in Grease as Rizzo (GFO) earning Helpmann, Glug and Sydney Theatre Award nominations for the show's Australian and Asian tour. Lucy also created the role of Lara in the world première of Doctor Zhivago: A New Musical (GFO) opposite Anthony Warlow earning Helpmann and Sydney Theatre Award nominations for Best Actress in a Musical. Other career highlights include Cinderella in Into the Woods (Victorian Opera, Helpmann and Green Room Nominations); Georgia Hendricks in Curtains (The Production Company); Gertrude Lawrence in Noël and Gertie (CDP Theatre Producers, Glug Award for Best Actress in a Musical); Polly in The Threepenny Opera (STC, Malthouse, Victorian Opera); Janet in The Rocky Horror Show (TML Enterprises); Emma in Jekyll & Hyde (TML Enterprises) and Anne in A Little Night Music (Opera Australia). Lucy's one-woman show Irving Berlin: Songs in the Key of Black toured Australia to rave reviews at venues such as the prestigious Spiegeltent, the Adelaide Cabaret Festival, The Noosa Longweekend Festival, His Majesty's Theatre, Perth and La Salon at Claire's Kitchen. Her album featuring arrangements and musical direction by Daniel Edmonds is available on iTunes, Spotify and Apple Music.

Roger Kirk is a Tony Award-winning set and costume designer for theatre, film and television. He has designed costumes on world stages for productions that have included The Boy From Oz Arena Production with Hugh Jackman, The King and I, 42 Street, Jesus Christ Superstar and King Kong - the Musical.He began his career in television in Australia, working in the costume department of the Sydney ABC studios where he graduated to design television productions that included The Marcia Hines Show and The Norman Gunston Show. Prior to television he had worked in London’s West End for three years managing the props. for stage productions. While working in the costume department at the ABC an opportunity lead to design costumes for the Sydney Theatre Company and their landmark production of Chicago; a production that boasted an entirely Australian creative team in the construction of the seminal Broadway musical.He has designed sets for Elton John’s 1986 Australian tour, sets and costumes for the Australian TV version ofGladiators and awards shows such as the AFIs.Roger was the costume designer for the most recent filmed production of Jesus Christ Superstar, and has worked extensively on set and costume design for Opera Australia. Other credits include Andrew Lloyd Webber’s Whistle Down The Wind in the West End; Silver Rose, Le Corsaire for Munich Opera House, Dusty – The Original Pop Diva, and Shout!. In 1996 Roger received the Tony Award for Best Costume Design for his work on the Broadway production of The King and I. He also received the Drama Desk Award, the Friends of New York Award, and the Outer Critics Circle Award for the same production. In 2001 the highly acclaimed production of The King and I took centre-stage at London’s Palladium Theatre.For Opera Australia Roger has designed costumes for Manon Lescaut, The Gypsy Princess, Pirates of Penzance, My Fair Lady, A Little Night Music, Iolanthe, HMS Pinafore, Trial by Jury, Manon, and Graeme Murphy’s production of Aida.Further credits include Sweeney Todd for Victorian Opera, and sell-out shows in Sydney and Melbourne for Hugh Jackman’s Broadway to Oz: Hugh Jackman Live in Concert. It is a vast career and Roger shares terrific anecdote and insight in this fascinating episode of STAGES.

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.

La Victorian Opera ha annunciato il programma lirico del 2021 che include opere del grande repertorio internazionale e numerosi lavori inediti di compositori australiani che verranno presentati per la prima volta in scena.

We meet renowned conductor and Artistic Director of the Victorian Opera, Richard Mills, who has a lifelong passion for growing orchids

Hailing from the USA but an Aussie through and through, Nancy Black has tread the boards as an actor, writer, dramaturg, educator producer and director for over 50 years. Nancy has been with Blackhole Theatre Company in Melbourne (Victoria) since 2001 when she directed 'Caravan' at short notice. Since then, she's taken Blackhole to new heights, with traveling shows and collaborations all over the world. Nancy has lead an extraordinary life not without its challenges, but she speaks with such grace and by gosh can she tell a story! In this episode, Nancy and I discuss 'Blind', a collaboration with renowned Brazilian artist Duda Paiva. We talk about her work with The Victorian Opera as well as the incredible number of projects that kept her occupied during the darkest times of the pandemic. As an experienced director of puppet theatre, I ask Nancy what she looks for in the puppeteers she works with and she elaborates on her process of directing through collaboration and the splicing of form and genre in her work. This is the final episode of our first season. We'll be back on World Puppetry 2021, with Season 2, Talking Sock International. Make sure you subscribe so you don't miss out on the first episode when it lands!Join the conversation on our socials@talkingsockcast (Twitter)@oneorangesockproductions (Instagram)Please consider becoming a Patreon supporter to help us bring more home grown creative content. Your support will help us make this podcast more accessible in creating Transcripts and will help us be able to sustain this cast!You can now also buy us a Ko-Fi!Find us at www.oneorangesock.comThanks for listening to #talkingsockcastSupport this show http://supporter.acast.com/talking-sock. See acast.com/privacy for privacy and opt-out information.

Laureato in biologia marina in Colombia, dove è nato, il tenore Carlos Bárcenas ha scoperto l'amore per la lirica per una regola universitaria, e ha cambiato carriera approdando alla Victorian Opera di Melbourne.

Mavis Staples continues to release acclaimed solo albums of protest soul music in her 80s, the enduring appeal of Strauss' bloody opera Salome, and remembering the man who brought a traditional Zulu male singing style to a global audience.

Samuel Beckett's friend and biographer James Knowlson shares the revelations found within the playwright's theatrical notebooks from when Beckett directed Waiting for Godot himself.Also, Elizabeth Chong takes us into the theatre of the kitchen, David Suchet shares his Best Advice and Anna Cordingley guides us through the principles of set and costume design.

Samuel Beckett's friend and biographer James Knowlson shares the revelations found within the playwright's theatrical notebooks from when Beckett directed Waiting for Godot himself. Also, Elizabeth Chong takes us into the theatre of the kitchen, David Suchet shares his Best Advice and Anna Cordingley guides us through the principles of set and costume design.

Tim Winton's Cloudstreet returns to the stage, we look back at when Stephen Sondheim and Harold Prince staged some of the most inventive and challenging musical theatre Broadway had ever seen, we tour The Australian Ballet Centre's pointe shoe room and learn that it takes a firm hand to mould a soft shoe, and playwright Michelle Law drops by to share the Best Advice she ever got.

Tim Winton's Cloudstreet returns to the stage, we look back at when Stephen Sondheim and Harold Prince staged some of the most inventive and challenging musical theatre Broadway had ever seen, we tour The Australian Ballet Centre's pointe shoe room and learn that it takes a firm hand to mould a soft shoe, and playwright Michelle Law drops by to share the Best Advice she ever got.

Tim Winton's Cloudstreet returns to the stage, we look back at when Stephen Sondheim and Harold Prince staged some of the most inventive and challenging musical theatre Broadway had ever seen, we tour The Australian Ballet Centre's pointe shoe room and learn that it takes a firm hand to mould a soft shoe, and playwright Michelle Law drops by to share the Best Advice she ever got.

Productions from Sydney's Belvoir St Theatre have dominated this year's Helpmann Awards with big wins for Counting and Cracking and Barbara and the Camp Dogs, Peter Carey's Booker Prize and Miles Franklin Award-winning novel Oscar and Lucinda comes alive in a new opera, Playwriting Australia board member Andrew Bovell explains the organisation's decision to suspend operations and undertake an independent review, and skateboarding and theatre collide in Big hART initiative SKATE — a big show with even bigger ambitions.

Productions from Sydney's Belvoir St Theatre have dominated this year's Helpmann Awards with big wins for Counting and Cracking and Barbara and the Camp Dogs, Peter Carey's Booker Prize and Miles Franklin Award-winning novel Oscar and Lucinda comes alive in a new opera, Playwriting Australia board member Andrew Bovell explains the organisation's decision to suspend operations and undertake an independent review, and skateboarding and theatre collide in Big hART initiative SKATE — a big show with even bigger ambitions.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Theatre First Episode 207A Little Night Music (Victorian Opera)If anyone can bridge the gap between opera and musicals, it is the incomparable Stephen Sondheim. With his characteristic wit and indelible musical talent comes the most musical of musicals: A Little Night Music.Over the course of a weekend in the country, an entangled group of worldly characters rekindle lost love, court new liaisons, and flirt with romantic possibilities.Capturing the uncertainties of love with playfulness and heartbreaking accuracy, A Little Night Music resonates with bittersweet wisdom, and speaks to us all.For more information visit  http://www.victorianopera.com.au/season/a-little-night-musicTheatre First RSS feed:   https://feeds.megaphone.fm/ivetheatrereviews  Subscribe, rate and review Theatre First at all good podcatcher apps, including Google Podcasts, Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, CastBox.FM, Podbean, ACast etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.#theatre #stage #reviews #melbourne #australia Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

In the 1970s, composer-lyricist Stephen Sondheim and director-producer Harold Prince made some of the most inventive and challenging musical theatre that Broadway had ever seen. Two of those shows — A Little Night Music and Sweeney Todd: The Demon Barber of Fleet Street — return to Australian stages this month. Also on the program, we're joined by New York Times theatre reporter Michael Paulson for all the latest news ahead of the 73rd Tony Awards, and MTC are touring a production of Finegan Kruckemeyer's The Violent Outburst That Drew Me to You for young people in regional Victoria and Tasmania — so what is the impact of seeing professional theatre for the first time?

In the 1970s, composer-lyricist Stephen Sondheim and director-producer Harold Prince made some of the most inventive and challenging musical theatre that Broadway had ever seen. Two of those shows — A Little Night Music and Sweeney Todd: The Demon Barber of Fleet Street — return to Australian stages this month. Also on the program, we're joined by New York Times theatre reporter Michael Paulson for all the latest news ahead of the 73rd Tony Awards, and MTC are touring a production of Finegan Kruckemeyer's The Violent Outburst That Drew Me to You for young people in regional Victoria and Tasmania — so what is the impact of seeing professional theatre for the first time?

Viv, Fergus and Luca talk to Jarrad from the Australian Youth Orchestra (AYO) and his experiences as an AYO musician. In particular how AYO is collaborating with Victorian Opera in their production of Wagner’s Parsifal, where AYO musicians will be taking to the orchestra pit to provide the accompaniment to some world-renowned opera singers. Parsifal will be on Wednesday 20 February, 4:30pm, Friday 22 February, 4:30pm, Sunday 24 February, 3:00pm at Palais Theatre, St Kilda. Originally aired on February 17th. Segment produced and edited by Marcie Di Bartolomeo. Photo courtesy of Pier Carthew for Victorian Opera

The Melbourne Theatre Company's Astroman introduces us to a young video game wiz in 1980s Geelong, Victorian Opera's world premiere of Lorelei reimagines the myth of the water spirit who lures sailors to their deaths, voice and dialect coach Leith McPherson helps us with the accent of the Southern United States, and as part of Armistice 100 on RN we look at some of the performing arts events staged near the battlefield during WWI.

We meet Perci Moeketsi who plays Nelson Mandela in Madiba — a stage musical celebrating Mandela's life, we pay tribute to Richard Gill who has died at the age of 76, Elena Carapetis's The Gods of Strangers takes us to Port Pirie in 1947 where southern European immigrants seek refuge after WWII, we discuss the importance of Indigenous Australians telling their own stories on stage, and we dive into the archives to hear Richard Gill in conversation about the Victorian Opera production of The Rake's Progress in 2012.

The gang go and see William Tell by Victorian Opera and The Death of Walt Disney by MKA. We talk feudal hipster DILFS, gender non-binary opera representations, exploding apple fails, soprano sexism, our current favourite podcasts, the myths about lemmings and Korean garbage disposal.

The Victorian Opera presents William Tell 140 years after it was last performed in Australia, we take a look at the winners of "Act I" of this year's Helpmann Awards, Hedwig and the Angry Inch creator and original performer John Cameron Mitchell on the songs and stories of Hedwig, a digitised collection of stunning backdrops made for JC Williamson stage productions provides a window on the history of Australian theatre.

Australian choreographer Graeme Murphy on 50 years with The Australian Ballet, Henry Naylor tackles the Syrian refugee crisis in Borders, The Magic Pudding – The Opera returns to the stage and BRONKS production Us/Them explores how young people deal with trauma.

Samara Barr reviews Black Rider: The Casting of the Magic Bullets, a co-production between Victorian Opera and Malthouse Theatre written by Tom Waits and William S. Burroughs that's playing until October 8.

Samara Barr reviews Black Rider: The Casting of the Magic Bullets, a co-production between Victorian Opera and Malthouse Theatre written by Tom Waits and William S. Burroughs that's playing until October 8.

Richard jumps on the phone with Backbone director Darcy Grant, Nadja Kostich pops by for another visit to chat aboutFor the ones who walk awayby St Martins; Kanen Breen and Phoebe Brigs stop by to chat about the Malthouse Theatre and Victorian Opera's latest ventureThe Black Rider.

In this mini-series, our editor Berry is determined to sit her rebellious, music-loving mum Lee down with a pile of her favourite records to get to the heart of things. In this final episode, we take a whirlwind tour of Lee's vinyl collection—with stops at tantric songs and pyramid recordings—while Berry and Lee reflect on what it means to swap stories across generations. This podcast is brought to you by our friends at Victorian Opera. Music from the episode: http://bit.ly/1Uu7GHY

In this mini-series, our editor Berry is determined to sit her rebellious, music-loving mum Lee down with a pile of her favourite records to get to the heart of things. Berry and Lee swoon over the ridiculously urbane Nat King Cole, Lee scandalises Berry with her favourite Beatle—and both chat about the challenges of motherhood. This podcast is brought to you by our friends at Victorian Opera. Music from the episode: http://bit.ly/2399Q1M

In this mini-series, our editor Berry is determined to sit her rebellious, music-loving mum Lee down with a pile of her favourite records to get to the heart of things. Berry looks forward to the luxury of sitting down with her mum over endless cups of tea and hours of music. But, as ever, life has other plans! Thank goodness then for Mahler and the divine Sarah Vaughan. This podcast is brought to you by our friends at Victorian Opera. Music from the episode: http://bit.ly/1rpeUBo

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