Der Freischütz
Der Freischütz
Der Freischütz
Madame Butterfly
La Traviata
Cosi Fan Tutte
La Boheme
The Merry Widow
The Barber of Seville

Nance Grant

Nance Grant AM MBE, who is on Melbourne Opera's Chairman's Advisory Council, talks on ABC Classic FM with Mairi Nicholson about her wonderful career.

Click here for Nance Grant OA, MBE - An Australian Treasure on Music Makers - ABC Classic FM

Melbourne Opera prides itself on its commitment to producing high quality, accessible performances for the benefit of audiences and performers. With an ensemble of dedicated performers and administrators, we aim to provide opera of the highest standard to audiences of all ages and backgrounds at affordable prices.

The Barber of Seville review - Classic Melbourne

There is a great deal to recommend in Melbourne Opera’s second production for the year, The Barber of Seville, especially the quality of the singing and acting.

Some purists might be offended by the plethora of comic inclusions, joining forces with Robert Lawrence, who in his introductory essay to a Schirmer edition of the opera decried a tendency to turn Rossini’s elegant score “into a cheap ‘gag’ show, with exaggerated comic routines and outlandish costumes”.

The Barber of Seville review - Australian Book Review

Writing to a friend in 1898, Giuseppe Verdi said of Rossini’s The Barber of Seville:

You may say things about Rossini and they may be true regarding the borrowings, the speed of composition and so forth, but I confess that I cannot help believing ‘The Barber of Seville’ for abundance of ideas, for verve and for truth of declamation the most beautiful opera buffa in existence.

The Barber of Seville review - Stage Whispers

Melbourne Opera’s oft-revived production of ‘ The Barber of Seville’ retains a rather enviable freshness and vitality, in no small part due to the direction of Hugh Halliday, that all too rare director who can never bore an audience.  By leaving the piece squarely ‘in period’ and essentially following the instructions left by composer Rossini, librettist Sterbini and playwright Beaumarchais, the audience was kept laughing from curtain-up to the final scene.  Halliday’s first brilliant touch is to leave the curtain down for the overture.

The Barber of Seville review - Simon Parris

What a difference a tenor makes. Joining 2010 stars Phillip Calcagno and Sally-Anne Russell, lively young tenor Brenton Spiteri completes a terrific trio whose antics are as much of a joy to watch as their singing is a pleasure to hear.

Making a welcome return after five years, Melbourne Opera’s delightfully daffy 2006 production of Rossini’s The Barber of Seville remains one of their mostly artistically satisfying. Creative design enhances the humour, and inventive direction creates an unpredictable air that fits the desperate disguises and deceptions of the plot perfectly.

ANZAC Centenary– free download

Commemorating the ANZAC Centenary – free download - A special commemorative tribute recording to mark the forthcoming centenary of the Gallipoli landings in 1915, organised by Melbourne Opera’s Patron-in-Chief Lady Potter AC and Frà Richard Divall.

Great to hear Dimity Shepherd singing!

Der Freischütz review - Australian Stage

Carl Maria von Weber’s Der Freischütz or The Marksman (1821, Berlin) is a pivotal piece in German opera history and performance practice. On one hand, it is known as a seminal piece of German Romantic opera. It had an ardent initial reception with a pronounced national sentiment, notwithstanding the strong influence of French opéra comique.  On the other hand, the opera has prompted experimentations with staging techniques, particularly of the famous second act finale or the casting of magic bullets in the Wolf’s Glen. 

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