The Nose (Opera Australia)

ABR Arts is generously supported by ABR Patrons and Copyright Agency Cultural Fund.
Zoltán Szabó Friday, 23 February 2018
Published in ABR Arts

Dmitri Shostakovich’s rarely performed first opera, The Nose (1930), premièred in the Sydney Opera House on 21 February. To add to the ‘firsts’: this was Barrie Kosky’s début at Covent Garden in 2016, it is Kosky’s first work for Opera Australia in almost twenty years, and this is the first professional production of this grotesque and satirical opera in Sydney, and possibly Australia.

Like many other operas, The Nose is greatly assisted by excellent staging; as is the case with few operas, its outrageously quirky music would work less well without the visual experience. Music and action are of equal importance here. The frequent use of orchestral sounds to imitate noises (such as the dramatic sneeze at the very end of the opera), the intermezzo written solely for percussion instruments, the extremes of vocal and instrumental registers, the long and awkward intervals in the singing parts, and many other effects make this opera a highly eccentric musical encounter. This brilliantly scored work manifestly breaks with the conventions of arias and cantilena musical lines, as it expresses the text through continuous speech-like recitatives and even, recitative-like speeches; the composer regularly includes prose in his opera.

Read the rest of this article by subscribing to ABR Online for as little as $10 a month.

We offer a range of subscription options, including print, which can be found by clicking here. If you are already a subscriber, enter your username and password in the ‘Log In’ section in the top right-hand corner of the screen.

If you require assistance, contact us or consult the Frequently Asked Questions page.

Published in ABR Arts
Zoltán Szabó

Zoltán Szabó

Zoltán Szabó is a cellist and musicologist. Having migrated from his native Hungary to Australia in 1985, he worked with the Australian Chamber Orchestra in Sydney until 1991, when he became Principal Cello with Opera Australia. In 2017, he was awarded with a Doctor of Philosophy degree (PhD). Currently, he is teaching music history and musicology at the Sydney Conservatorium of Music.