Hugo von Hofmannsthal and Richard Strauss consciously set out to emulate Mozart in Der Rosenkavalier, and succeeded, creating not only the last great Romantic opera but the most perfect Viennese confection, and Strauss’s most-loved opera. It was an immediate hit ...... (read more)
We live in strange days. Matters once unlikely to raise a flicker of public criticism can now quickly became raging bushfires of self-righteous anger. Such is the accelerant power of social media. Our public discourse is, however, rarely the better for it. Subtlety and nuance are all too frequently sacrificed on the altar of a supposed moral clarity that, among othe ...
In this fortnight's Update: The Sydney Symphony Orchestra's 2019 season, the first female director of the Art Gallery of South Australia, the full MWF program is released, the new Carlton Readings store, the Melbourne Art Fair, Australian films at the Venice International Film Awards, Ranald Macdonald on the ABC, and some giveaways ...... (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)
Björn Runge’s The Wife features several claustrophobic and tense scenes that take place in the back of a limousine driving Joan Castleman (Glenn Close) and her novelist husband Joe (Jonathan Pryce) through the snowy streets of Stockholm, where Joe is accepting the Nobel Prize in ...... (read more)
August Strindberg thought Creditors, which premièred in its original Swedish in Copenhagen in 1889, his ‘most mature work’. Sitting alongside the more often performed The Father (1890) and Miss Julie (1889) in the playwright’s middle, ultra-naturalistic period, the play is an attempt to ...... (read more)
John Russell (1858–1930) is an artist who has largely fallen through the cracks of art history. Neither Australian enough to be incorporated into the history of Australian art, nor French enough to be recognised as a major player in histories of French art, Russell has been consistently overlooked – until now.... (read more)