In February 1974, Robert Rose, a twenty-two-year-old Australian Rules footballer and Victorian state cricketer, was involved in a car accident that left him quadriplegic for the remaining twenty-five years of his life. The tragedy received extensive press coverage and struck a chord with many in and beyond the Melbourne sporting community ...... (read more)
Difficult it is to imagine the full impact Benjamin Britten’s opera Peter Grimes had on the opening-night audience at Sadler’s Wells Theatre on 7 June 1945, just a few weeks after the conclusion of World War II. Little wonder that the audience, possibly expecting something cheerier from the prodigal wunderkind ...... (read more)
Opera Australia – in its present expansionary phase – has hitched its wagon to a digital star in the form of a series of seven-metre-high LED screens. The future moves about on a busy automation system, thus creating a series of new dramatic spaces. Interviewed in the July 2019 issue of Opera magazine, Lyndon Terracini ...... (read more)
When Barry Humphries published his first volume of autobiography, many readers were left wanting ‘More, please’ – avid as gladdie-waving victims during one of his shows; voracious as the greedy polymath himself ...... (read more)
Dr Johnson famously defined opera as ‘an exotic and irrational entertainment’, and so it proved on the opening night of Opera Australia’s autumn season – at least until the curtain went up. Lights down, photography admonition underway, conductor due any moment, we became aware of a strange incident in the gloom, as a solitary figure ...... (read more)
For more than a decade the world has waited, patiently or disbelievingly, for a second book from Nam Le, author of The Boat (2008), a collection of seven tales that won the young Australian author acclaim throughout the world. Finally, it has arrived. A book-length essay running to about 15,000 words ...... (read more)
In September 2018, NewSouth published a new edition of A Certain Style.
On a chilly evening in 1980, a stylish woman in her early seventies, wheezing slightly from a lifetime’s cigarettes, climbed a staircase just beneath the Harbour Bridge, entered a room full of book editors – young women mostly, university-educated, making their way ...
Notwithstanding the riches that follow in the final two acts (Wotan’s Farewell, the Ride of the Valkyries, the Todesverkündigung), Act One of Richard Wagner’s Die Walküre offers perhaps the greatest hour of music in German opera. It is ideal for discrete, unstaged performances, and as we know ...... (read more)
Nietzsche was in no doubt: Wagner owed his success to his innate sensuality. The philosopher – most influential of the Wagnerites – began to have reservations about his hero in the mid-1870s, around the time of the first Bayreuth Festival (1876), though he never ...... (read more)
John Doyle’s production of Gaetano Donizetti’s 1837 opera dates back to 2012 – a co-production with La Fenice and Houston. It is a rather self-important production – very dour and Presbyterian. The dark cloudage never parts. There is a radical want of props ...... (read more)