Opera Australia posts $5.6 million profit for 2018
With a modest operating surplus of $342,667 (up from an operating deficit of $2.1 million the year before) the company’s bottom line was bolstered by a number of significant bequests.
With a modest operating surplus of $342,667 (up from an operating deficit of $2.1 million the year before) the company’s bottom line was bolstered by a number of significant bequests.
Oliver Fartach-Naini's deftly played Suite Latina examines the myriad South American styles that have become an integral part of the guitar repertoire.
Inside the issue: Ute Lemper, Requiems to die for, Rossini's Il Viaggio a Reims, ZOFO's new Pictures at an Exhibition, the Bolshoi Ballet and more.
Pianist Jeremy Chan and American tenor Michael St Peter are one of 27 shortlisted singer-pianist duos in this year's competition.
The conductor speaks to Limelight about an upcoming Canberra Symphony gala in memory of Richard Gill.
His score for the critically divisive Beetlejuice has seen him touted for Best Original Score.
Before he embarks on a complete cycle of Bach’s solo works over a single day at the Canberra International Music Festival, violinist Kristian Winther tells us why he’s channelling the monster that never breathes.
The composer and soprano tells Jo Litson about Eumeralla, the first major Australian choral work written in an Indigenous language.
Featuring Ute Lemper, requiems, Rossini's Il Viaggio a Reims, ZOFO's new Pictures at an Exhibition, the Bolshoi Ballet and the AWO's Alexander Briger.
A great meeting of the sacred and the profane.
The company’s starry production of Artaserse has been named best Rediscovered Work.
Three acts will present Australian music and musicians to the world as part of the Showcase Festival at the conference in Rotterdam.
After a shaky start with Dvořák, the penultimate concert built to a jovial close with a work by Edgar Meyer.