Will Tristan And Isolde Save The ENO?
Last night, the English National Opera premiered a new production of Wagner’s Tristan and Isolde
Last night, the English National Opera premiered a new production of Wagner’s Tristan and Isolde
Conducted by the ENO’s ex-music director Edward Gardner, designed by the artist Anish Kapoor and direction by Daniel Kramer – the company’s artistic director elect, the cast included Australian tenor Stuart Skelton as Tristan.
Will it be the troubled ENO’s saving grace?
Click here to read more in The Independent.
The Sydney Festival is hiring an elite German orchestra to perform at the 2014 Sydney Festival, because believe it or not, it is more cost effective than employing an Australian ensemble. Substantial government subsidies are the reason behind this curious situation. Click here to read the feature in The Age.
Until yesterday, Michael Kaiser was the President of the John F Kennedy Centre for the Performing Arts. After 29 years spent running 5 arts institutions he has sat at his last board meeting and writes that he will “breathe a sigh of relief” when he leaves the board room for the last time. Read his…
Omega Ensemble has a new release on ABC Classics, featuring an all Mozart programme recorded in concert at Sydney’s City Recital Hall. The ensemble is conducted by Paul Meyer, clarinet with bassoonist Ben Hoadley, performing Mozart’s classic Symphony No. 40 with his Clarinet and Bassoon Concertos. The tracks: Mozart: Clarinet Concerto in A Major, K. 622/ Mozart: Bassoon Concerto in…
Deutsche Grammophon has released a recording of highlights from the competition winning recitals of pianist Seong-Jin Cho, the 21-year-old South Korean pianist who recently claimed first place in the 17th International Chopin Piano Competition held in Warsaw. Adjudicators at this year’s competition included Martha Argerich, Philippe Entremont, Garrick Ohlsson and Yundi. Born in Seoul, South Korea, on 28…
‘Art for art’s sake’ is becoming an increasingly remote concept in 21st century Australia as performing arts bodies are expected to function according to business models and boost their bottom line from private sources. Are these expectations realistic – and who evaluates the bodies that make the funding decisions? The Australia Council for the Arts which…
Some years ago I attended a concert at the Vienna Konzerthaus. Sopranos Montserrat Caballe and her Callas look-alike daughter Monserrat Marti gave a superb rendition of solos and duets for female voices. The hall was packed; the audience brought them out – and they graciously obliged – for three encores. On the premise that one good…