Oct 7

Pucini | La Bohème

  • Royal Opera House

When Rodolfo, a penniless poet, meets Mimì, a seamstress, they fall instantly in love. But their happiness is threatened when Rodolfo learns that Mimì is gravely ill.

Rodolfo is painfully aware that he cannot afford the medicine and care Mimì needs, and so separates from her. As her sickness takes hold Mimì returns to Rodolfo’s garret. They are joyfully reunited – but, despite the care of Rodolfo and his friends, Mimì dies.

Show Dates:

  • Mon 11/9/17: 7:30 pm
  • Wed 13/9/17: 7:30 pm
  • Sat 16/9/17: 12:00 pm
  • Tue 19/9/17: 7:30 pm
  • Mon 25/9/17: 7:30 pm
  • Fri 29/9/17: 7:30 pm
  • Tue 3/10/17: 7:30 pm
  • Sat 7/10/17: 7:30 pm


  • Conductor: Antonio Pappano / Paul Wynne Griffiths
  • Director: Richard Jones
  • Mimi: Nicole Car


Dec 31

Pucini | La Bohème

  • Opera Bastille Paris

Is it because Murger had himself lived this way in his youth? No one better
described the half-starved, struggling artists than the writer in his Scènes
de la Vie de Bohème: artists ready to burn a manuscript to try to keep warm yet,
in an era of triumphant bourgeois materialism, dreaming of another existence.
Taking up these scenes of Bohemian life, Puccini offers us a heart-breaking love
story and some of the most beautiful music in the history of opera in the story
of the poet Rodolfo and fragile Mimi. The staging of this new production
has been entrusted to Claus Guth who sets the drama in a future devoid of hope
in which love and art become the sole means of transcendence.

Show Dates:

  • Mon 18/12/17: 7:30 pm
  • Thu 21/12/17: 7:30 pm
  • Sat 23/12/17: 7:30 pm
  • Tue 26/12/17: 7:30 pm
  • Fri 29/12/17: 7:30 pm
  • Sun 31/12/17: 7:30 pm


  • Conductor: Gustavo Dudamel and Manuel López-Gómez
  • Director: Claus Guth
  • Mimi: Sonya Yoncheva (Dec 1 to 16), Nicole Car (Dec 18 to 31)
  • Musetta: Aida Garifullina
  • Rodolfo: Atalla Ayan and Benjamin Bernheim
  • Marcello: Artur Ruciński
  • Schaunard: Alessio Arduini and Andrei Jilihovschi
  • Colline: Roberto Tagliavini
  • Alcindoro: Marc Labonnette
  • Parpignol: Antonel Boldan
  • Sergente dei doganari: Florent Mbia
  • Un doganiere: Jian-Hong Zhao
  • Un venditore ambulante: Fernando Velasquez
Jun 7

Pucini | La Bohème

  • Semperoper Dresden

The world of Paris’s penniless bohemians is an unhappy one. The air is freezing in the garrets above the city’s rooftops where they live. Four friends, Rodolfo, Marcello, Colline and Schaunard, intend to see out Christmas Eve in a cafe when suddenly their dire financial situation improves. Rodolfo stays behind when the friends go out to celebrate. A meeting between him and his neighbour Mimi helps to thaw out the ice-cold garret. Exchanging intimacies, they find themselves falling in love. But this burgeoning romance is afflicted by misery and death. Rodolfo quickly finds himself unable to look after an ill Mimi, and a grotesque argument leads to their separation. When, after some months, they meet again, Rodolfo and his friends only have time to grant the dying Mimi one last wish. 

Show Dates:

  • Mon 4/6/18: 7:00 pm
  • Thu 7/6/18: 7:00 pm


  • Conductor: Giampaolo Bisanti 
  • Director: Christine Mielitz
  • Mimi: Nicole Car
  • Musetta: Emily Dorn
  • Rodolfo: Tomislav Muzek
  • Marcello: Markus Butter
  • Schaunard: Sebastian Wartig
  • Colline: Matthias Henneberg
  • Benoit: Hans-Joachim Ketelsen
  • Alcindoro: Bernd Zettisch


Jul 21

Massenet | Thais

  • Sydney Opera

For all the fame and beauty of the music of Thaïs, the best reason to perform this French opera is to show off a star soprano with a voice that could turn a monk's attention from chaste disregard to irrepressible desire.

Nicole Car is that star, and she sings the role of the disillusioned courtesan in concert, opposite Canadian baritone Etienne Dupuis as the man who cannot resist her charms, Athanaël.

Massenet's music explores the ways sacred faith and human passion intersect, in harmonies that blend the exotic and erotic to take you to a different world.

The Australian Opera and Ballet Orchestra will play the powerful score in a rare opportunity to hear this opera performed live.

Show Dates:

  • Sat 22/7/17: 7:30 pm
  • Mon 24/7/17: 7:30 pm


  • Conductor: Guillaume Tourniaire
  • Thaïs: Nicole Car
  • Athanaël: Etienne Dupuis
  • Nicias: Simon Kim
  • Palémon: Richard Anderson
  • Albine: Sian Pendry
  • Crobyle: Anna-Louise Cole
  • Myrtale: Anna Yun
Jun 14

Tchaikovski | Eugène Onéguine

  • Opéra Bastille

In November 1836, irritated by the French lieutenant Georges-Charles de Heeckeren d’Anthès’ importunate attentions towards his wife, the beautiful Natalia Nicolaïevna Gontcharova, Alexander Pushkin challenged his rival to a duel. Beneath a snow-laden sky on the evening of February 8th 1837, the Russian poet, at the height of his glory, was hit by a bullet, costing him his life. Curiously, the same scene had been related in his verse novel, Eugene Onegin, published six years earlier. Inspired by this masterpiece of Russian literature, Tchaikovsky’s opera provides a sublime portrait – both ironic and sympathetic – of a character embittered by society life, rejecting love out of vanity, killing his friend the poet Lenski out of pride and spending the rest of his days in abject despair. A repertoire classic, Willy Decker’s streamlined production makes the Paris Opera echo once more to the strains of Russian romantic music. Edward Gardner conducts an exceptional cast including Peter Mattei in the title role and Anna Netrebko as Tatiana.

Show Dates:

  • Sat 3/6/17: 7:30 pm
  • Tue 6/6/17: 7:30 pm
  • Sun 11/6/17: 2:30 pm
  • Wed 14/6/17: 7:30 pm


  • Conductor: Edward Gardner
  • Director: Willy Decker
  • Madame Larina: Elana Zaremba
  • Tatiana: Nicole Car
  • Olga: Varduhi Abrahamyan
  • Filipievna: Hanna Schwarz
  • Eugène Onéguine: Peter Mattei
  • Lenski: Pavel Černoch / Arseny Yakovlev
  • Le Prince Grémine: Alexander Tsymbalyuk
  • Monsieur Triquet: Raul Giménez
  • Zaretski: Vadim Artamonov
  • Le Lieutenant: Olivier Ayault
  • Solo Ténor: Gregorz Staskiewicz


Mozart | Cosi Fan Tutte
Aug 13

Mozart | Cosi Fan Tutte

Laugh at love, old man, for you and I both know that women are all the same.
But don't say your heart isn't moved when I sing of love...

Mozart's opera about testing fidelity is an intriguing story set to music of impossible beauty. Two men disguise themselves as Albanians and attempt to seduce each other's lover in an elaborate ruse to win a bet. Absurd? Yes, but Mozart's luminous music takes the absurd and makes it sublime.

Come along for a merry ride and you’ll see that under that veil of farce is a poignant drama about love, faith, loss and sex.

Director David McVicar delivered profound and acclaimed productions of Don Giovanni and The Marriage of Figaro, so we're excited to see what he has in store for this final instalment of the Da Ponte trilogy.

Jonathan Darlington returns to conduct a cast of Opera Australia's finest talents, along with American tenor Charles Castronovo, who makes his Australian debut.

Introduction by David McVicar

"Così fan tutte!" (All women are the same!); so believes the cynical old philosopher Don Alfonso and his reckless young friends, the officers Guglielmo and Ferrando agree to put his theory to the test, participating in an elaborate charade, attempting the seduction of each other's fiancees, the sisters Fiordiligi and Dorabella. The four young people soon discover more about each other, themselves and life itself than any of them have bargained for.

Mozart's bitter-sweet romantic comedy was his final collaboration with the greatest of his librettists, Lorenzo Da Ponte, following the triumphant successes of The Marriage of Figaro and Don Giovanni. Premiered in 1790, just one year before Mozart's death, it was also a huge hit; but the sudden death of the Austrian Emperor Joseph II curtailed performances and Mozart's own death the following winter put paid to any immediate revivals. It was not until the early 20th century, with notable productions in Vienna under the direction of Gustav Mahler and at Glyndebourne in 1934, that the public began once again to appreciate a work, dismissed in the 19th century as immoral, disgraceful or even worthless.

The questions the opera poses to an audience are today even greater and possibly more disturbing. Often played in the past as an all-out farce, the subtle mix of sexual politics, heart-break, loss and pain that are inherent in the final masterpiece of Mozart and Da Ponte are more relevant today than ever before.

The new production sets this most troubling and ambiguous of operatic comedies in the dying days of a Europe about to lose itself in the carnage of the First World War. The ravishing costumes of the early 1900's are bathed in the late summer light of an age of innocence and elegance on the brink of being shattered, as the lives of the four lovers in the comedy ultimately are.

Show Dates:

  • Tues 19/7/16 : 7.30pm
  • Fri 22/7/16 : 7.30pm
  • Mon 25/7/16 : 7.30pm
  • Wed 27/7/16 : 7.30p
  • Sat 30/7/16 : 7.30pm
  • Fri 5/8/16 : 7.30pm
  • Thur 11/8/16 : 7.30pm
  • Sat 13/8/16 : 7.30pm




Jul 13

Bizet | Carmen - National Opera De Paris

The first words uttered by Carmen mark one of the greatest entrances in the history of opera and express all that need be said: “Love is a rebellious bird that no one can tame…” With a devilish sway of the hips and a hint of Andalusian flair, the beautiful cigar-maker sets her sights on a soldier: Don José. Fate will do the rest. Though immediately regarded as a masterpiece throughout Europe, it took time for Carmen to win acceptance in Paris where it received a lukewarm reception at its premiere in 1875. Composed to a libretto by Meilhac and Halévy based on Prosper Mérimée’s novella, the opera exploded the boundaries between tragedy and comedy with a modernity that caused a scandal at the time. Can we kill the one we love with love? The fiery beauty of Bizet’s music, where one unforgettable aria follows another, has worked year in, year out to make it the world’s most performed opera.


Show Dates:

  • 13th June




Verdi | Luisa Miller - Arts Centre Melbourne
May 27

Verdi | Luisa Miller - Arts Centre Melbourne

  • State Theatre

Love.   Intrigue.  Poison.

Who is Luisa Miller? A woman in love, a woman in anguish — trapped by a man she does not love and a father who loves her too much. And to play her, a woman finding international stardom: Australian soprano Nicole Car, making another role debut after her successes in Europe.

This early piece by Verdi gives us a heroine every bit as fragile as Gilda or Violetta, a lover as jealous and nuanced as Alfredo, and a worried father who ultimately destroys his only love. The music is sumptuous and intimate, the story at once domestic and political, and the characters compelling in their humanity. 

We are sharing this glamorous new production from Opéra de Lausanne. Director Giancarlo del Monaco and designer William Orlandi have created a stylish, glossy world for the three acts of this opera, aptly titled Love, Intrigue and Poison.

Show Dates:

  • Mon 16/5/16 : 7.30pm
  • Fri 20/5/16 : 7.30pm
  • Tues 24/5/16 : 7.30pm
  • Frid 27/5/16 : 7.30pm



Verdi | Luisa Miller - Sydney Opera House
Feb 29

Verdi | Luisa Miller - Sydney Opera House

  • Sydney Opera House

Love.   Intrigue.  Poison.

Who is Luisa Miller? A woman in love, a woman in anguish — trapped by a man she does not love and a father who loves her too much. And to play her, a woman finding international stardom: Australian soprano Nicole Car, making another role debut after her successes in Europe.

This early piece by Verdi gives us a heroine every bit as fragile as Gilda or Violetta, a lover as jealous and nuanced as Alfredo, and a worried father who ultimately destroys his only love. The music is sumptuous and intimate, the story at once domestic and political, and the characters compelling in their humanity. 

We are sharing this glamorous new production from Opéra de Lausanne. Director Giancarlo del Monaco and designer William Orlandi have created a stylish, glossy world for the three acts of this opera, aptly titled Love, Intrigue and Poison.

Show Dates:

  • Thur 11/2/16 : 7.30pm
  • Sat 13/2/16 : 7.30pm
  • Tues 16/2/16 : 7.30pm
  • Frid 19/2/16 : 7.30pm
  • Mon 22/2/16 : 7.30pm
  • Wed 24/2/16 : 7.30pm
  • Sat 27/2/16 : 7.30pm
  • Mon 29/2/16 : 7.30pm


Tchaikovsky | Eugene Onegin - Royal Opera House
Jan 7

Tchaikovsky | Eugene Onegin - Royal Opera House

  • royal opera house

The Story

When Tatyana is introduced to the dashing, unconventional Onegin, she believes that he is the hero of her dreams. He coldly rejects her. Bored, he flirts with her sister Olga, outraging Lensky, Olga’s fiancé and Onegin’s only friend.

Lensky challenges Onegin to a duel, at which he loses his life. Onegin travels the world in an attempt to escape his guilt. Eventually he returns to Russia and finds Tatyana has become the elegant wife of Prince Gremin. He is overcome, and begs her to return his love. Though she still loves him, Tatyana refuses to break her vow to her husband.


Pyotr Il’yich Tchaikovsky’s best-loved opera, Eugene Onegin, is based on Alexander Pushkin’s verse novel of the same name. It provided Tchaikovsky with an opportunity to present everyday and authentic experiences on the stage, in contrast to the epic narratives that characterized much European opera of the time. After initial consternation that Tchaikovsky should set to music this pinnacle of Russian literature, Eugene Onegin quickly became a firm favourite with Russian audiences. Within a decade of its 1879 premiere it had been performed over one hundred times in St Petersburg.

Tchaikovsky’s deep sympathy for his heroine Tatyana is shown in the tenderness of her music. Her yearning string motif opens the opera and it gains full expression in her letter aria in Act I – one of the most intense solo scenes ever written for the soprano voice. In Kasper Holten’s production, the turbulence of Tatyana and Onegin’s youth is contrasted with the self-realization they gain in later life. The staging foregrounds the power of memory and the futile desire to rewrite the past.


  • Eugene Onegin – Dmitri Hvorostovsky
  • Tatyana – Nicole Car
  • Lensky – Michael Fabiano
  • Olga – Oksana Volkova
  • Prince Gremin – Ferruccio Furlanetto (except 7 Jan) / Brindley Sheratt (7 Jan)
  • Madame Larina – Diana Montague
  • Filipyevna – Catherine Wyn-Rogers
  • Monsieur Triquet – Jean-Paul Fouchécourt
  • Captain – David Shipley §
  • Zaretsky – James Platt §
  • Royal Opera Chorus, Orchestra of the Royal Opera House

§ Jette Parker Young Artist

19 December at 7pm
22 | 30 December at 7.30pm
2 January at 7pm
4 | 7 January at 7.30pm

Sound Unbound - The Barbican Classical Weekender
11:00 am11:00

Sound Unbound - The Barbican Classical Weekender

  • Barbican Centre

This October we stage one of our most ambitious projects yet, and open up the entire Centre to sounds old and new.

Sound Unbound is a weekend festival that releases classical music from its traditional confines: you can tap into any of the short sessions in our Conservatory, foyers or concert halls, engage in debates around the genre, take a pint in and live tweet the concert, or go all night with a Nonclassical DJ set and our Classical Overnighter.

From the full force of a 100-piece symphony orchestra to intimate solo sets, the varied programme is curated to demonstrate music’s visceral and emotional power. But we’re also showcasingthe work of some of the contemporary voices in the genre with the likes of Max Richter, Philip Glass and Steve Reich – and our expert Hosts will be on hand to guide you through the programme. So if you’re curious about classical, grab a drink, soak up the sounds and see where the music takes you.

Performers announced so far include John Adams with the London Symphony Orchestra, James Rhodes, Max Richter, Academy of Ancient Music, Nicola Benedetti, Gabriel Prokofiev, Maya Beiser, Calder Quartet, Jeremy Denk, Nicole Car, James McVinnnie, Speak Percussion, BBC Singers, VOCES8, BBC Symphony Orchestra, Britten Sinfonia plus many more to be announced.

Music by John Adams, Vivaldi, Mozart, Thomas Adès, Rachmaninov, John Luther Adams, Steve Reich, Handel, Ravel, Philip Glass, Anna Clyne, Osvaldo Golijov, Schubert, Gabriel Prokofiev, Bach, Stravinsky, Daníel Bjarnason, Monteverdi, Holst, Beethoven, and many more.

Bizet | Carmen - Royal Opera House
Nov 4

Bizet | Carmen - Royal Opera House

  • Royal Opera House

The Story

The young soldier Don José intends to marry Micaëla, a girl from his home village. But when he meets the sensual and high-spirited Carmen, he sacrifices everything to be with her.

Carmen grows tired of Don José and falls in love with the toreador Escamillo. Unable to bear her leaving him, Don José tracks Carmen down to a bullring where Escamillo is fighting and murders her.


Carmen is the most popular work from French composer Georges Bizet. For this, his 17th and last opera, Bizet took inspiration from the popular novella by Prosper Mérimée, which had enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and the opera was a critical failure on its premiere in 1875. Bizet died shortly after, and never learned of the spectacular success Carmen would achieve. Popular around the world, the opera has been performed more than five hundred times at Covent Garden alone.

The opera contains many much-loved numbers, such as Carmen’s seductive Habanera and Escamillo’s rousing Toreador Song, in which he celebrates the thrill of the bullfight. In Francesca Zambello’s 2006 production for The Royal Opera, richly coloured designs by Tanya McCallin capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-century Seville to life.


  • Carmen – Elena Maximova (19, 21, 24, 27, 30 Oct; 4 Nov) / Anita Rachvelishvili (7, 10, 14, 16, 21, 26, 30 Nov)
  • Don José – Bryan Hymel (19, 21, 24, 27, 30 Oct; 4, 7, 10 Nov) / Jonas Kaufmann (14, 16 Nov) / Yonghoon Lee (21, 26, 30 Nov)
  • Escamillo – Alexander Vinogradov (19, 21, 24, 27, 30 Oct; 4, 7, 10 Nov) / Gábor Bretz (14, 16, 21, 26, 30 Nov)
  • Micaëla – Nicole Car (19, 21, 24, 27, 30 Oct; 4 Nov) / Sonya Yoncheva (7, 10, 14, 16 Nov) / Celine Byrne (21, 26, 30 Nov)
  • Frasquita – Vlada Borovko §
  • Mercédès – Michèle Losier (19, 21, 24, 27, 30 Oct; 4, 7, 10 Nov) / Rachel Kelly (14, 16, 21, 26, 30 Nov)
  • Le Dancaïre – Grant Doyle (19, 21, 24, 27, 30 Oct; 4, 7, 10 Nov) / Adrian Clarke (14, 16, 21, 26, 30 Nov)
  • Remendado – Timothy Robinson (19, 21, 24, 27, 30 Oct; 4, 7, 10 Nov) / Harry Nicoll (14, 16, 21, 26, 30 Nov)
  • Zuniga – Nicolas Courjal
  • Moralès – Samuel Dale Johnson §
  • Royal Opera Chorus, Orchestra of the Royal Opera House

§ Jette Parker Young Artist

19 | 21 | 24 | 27 | 30 October at 7pm
4 | 7 | 10 | 14 | 16 | 26 | 30 November at 7pm
21 November at 12 noon

Mozart | The Marriage of Figaro - Sydney Opera House
Aug 29

Mozart | The Marriage of Figaro - Sydney Opera House

Upstairs, downstairs, inside, outside, dressups and dressing downs, all in a day's work.

Mozart's classic comedy has been entertaining crowds for centuries, and between the witty, fast-moving libretto and the melodic, charming ensemble writing, it's not hard to understand why.

"Music by Mozart and libretto by Da Ponte — this is the best you can get in an opera," says Nicole Car, who makes her Australian debut as the Countess. "Figaro is all about the interplay between the characters, so it's fun to work with singers you know really well to develop those relationships on stage."

Musically, this is the ultimate ensemble opera, with brilliant trios, quartets and even a fantastic sextet.

Dramatically, it's the opera with everything: lovers and liaisons, disguises and tricks, lust and laughter.

In a not-so-subtle dig to the aristocrats Mozart derided, the opera makes a hero of the underclass, especially the servant Susanna.

"Susanna is the servant with more brains than everyone else put together," says Taryn Fiebig, who reprises her favourite role. "She's the puppeteer, manipulating everything to get herself out of a bind. She manages to save her job, keep her husband, fix her boss's marriage, get Marcellina off her tail and still be a lovely person!"

David McVicar won acclaim for his Covent Garden production of The Marriage of Figaro, so we look forward to his new production for Australia, conducted by Jonathan Darlington.

Tchaikovsky | Eugene Onegin - Deutsch Oper Berlin
May 25

Tchaikovsky | Eugene Onegin - Deutsch Oper Berlin

  • Deutsche Oper Berlin

Eugene Onegin, a verse novel very much in the Pushkin vein, corresponded closely to what he was looking for. The outer sequence of events seemed unspectacular, except for the duel, but the conflicts of the persons involved immediately touched hearts and in many respects reflected Tschaikovsky's own experiences. The full spectrum of emotions - melancholy, longing, passion and grief over a life wasted –influences a musical landscape enriched by stirring choruses and lively dances and enhanced by folkloristic elements.

In the Deutsche Oper Berlin production these scenes are some of the most colourful and charming moments in the entire opera. Tschaikovsky was especially fascinated by the character of Tatjana, who led him to write one of the most moving letter scenes in opera history. Each of the figures has his or her own charm: the cheerful Olga, the rapturous Lenski, the dignified Prince Gremin, whose role is all the more impressive for its briefness, and of course the hero of the opera, whose character develops significantly in the course of the story. The episodic structure of the opera does not follow traditional opera dramaturgy, but the composer had rejected this approach from the outset. The opera's structure is far more a precondition for the special atmosphere that permeates those »lyrical scenes«, as Tschaikovsky called his opera, far more a special characteristic of Slavic opera in general. For director Götz Friedrich, however, this opera of all operas is also remarkable in that » the Onegin scenes do not unfurl patriotic and historical images or employ national legends. Instead, scenic, musical sequences portray the complex, inner thought processes of distinctly unheroic individuals in their day-to-day social interactions… The ›lyrical scenes‹, beginning with Tatjana's motif of longing, conclude with Onegin's loneliness, his sense of perdition. Is he plunging into the void? Or will he find a new meaning to life?

Gounod | Faust
Mar 13

Gounod | Faust

Temptation. The word holds great power, even in an age where organised religion holds little sway. What would you give up your soul for?

Led into temptation by the garish Méphistophélès, Faust hardly hesitates, swapping a life of dissatisfied restraint for a salacious journey through life’s earthly pleasures.

McVicar’s startling production for Covent Garden puts the opera in the composer’s own time: the decadence and debauchery of 1870s Paris. Between towering cathedral columns and the crumbling proscenium arch of the theatre, Faust’s terrible pact plays out in all of its sinister splendor.

The images are at once delightful and disturbing, a reminder that given the chance, any one of us might stumble down Faust’s road.

Behind all this is the resounding beauty of Gounod’s music, including the famous ‘Soldier’s Chorus’.

Nicole Car sings the ‘Jewel Song’ in her role debut as Marguerite, opposite Teddy Tahu Rhodes in his debut as the devilish Méphistophélès and thrilling young American tenor Michael Fabiano in the title role. After his triumph as Rigoletto in Sydney, Giorgio Caoduro sings the role of Valentin under the baton of Guillaume Tourniaire.

Mozart | The Marriage of Figaro - U.S. Debut
Nov 9

Mozart | The Marriage of Figaro - U.S. Debut

  • Marriage of Figaro - Dallas Opera

Figaro loves Susanna, but he’s not the only one. In a single crazy, romantic day, doors will be locked and unlocked, disguises donned, kisses exchanged and innermost hearts revealed – to some of the most memorable music Mozart ever composed. Leading this merry band is Italian bass-baritone Mirco Palazzi (Figaro), who charmed us out of our seats as Leporello in his 2010 U.S. debut, along with Austrian soprano Beate Ritter and Australian soprano Nicole Car in their exciting American debuts! Conducted by Music Director Emmanuel Villaume and staged by Dallas Theater Center Artistic Director Kevin Moriarty – this Figaro could very well be a marriage made in heaven!

Starring Marco Palazzi • Beate Ritter • Joshua Hopkins • Nicole Car • Emily Fons •Diana Montague • Kevin Langan

Conductor Emmanuel Villaume • Director Kevin Moriarty

Bellini | Norma
7:30 pm19:30

Bellini | Norma

  • Norma - Victorian Opera

“Norma is one of the greatest of all operas, a vocal tour de force. It is a remarkable piece on the fate of a female leader constrained by her society.” – Richard Mills 

The celebrated role of Norma demands a voice of extraordinary power and is a rare and unmissable operatic experience. Now Victorian opera present Bellini's much loved work as the composer intended including the extended and magnificent Act One finale originally written. 

In Roman occupied Gaul, the priestess Norma discovers her lover’s infidelity, and her burning jealousy leads them down a path of no return. Spanish soprano Saioa Hernández makes her Australian debut as the tormented druid priestess with Rosario La Spina as her lover Pollione. 

SOLD OUT VIA SUBSCRIPTION! There will be no single tickets available.

Mozart | Don Giovanni
Aug 30

Mozart | Don Giovanni

  • Don Giovani - Opera Australia


Teddy Tahu Rhodes’ Don is mad, he’s bad, he’s dangerous but, damn him to hell, his serenades are just divine.

Tchaikovsky | Eugene Onegin
May 9

Tchaikovsky | Eugene Onegin


Tchaikovsky's romance - a journey from what could be, to what might have been - in a new co-production with the Royal Opera House, Covent Garden. 

Tchaikovsky | Eugene Onegin
Mar 28

Tchaikovsky | Eugene Onegin

  • Eugene Onegin - Opera Australia


Tchaikovsky's romance - a journey from what could be, to what might have been - in a new co-production with the Royal Opera House, Covent Garden. 

Puccini | La bohème
Jan 21

Puccini | La bohème

  • La Boheme


Gale Edwards’ lavish production inhabits 1930s Berlin, a hub for young impoverished creatives contending with the high cost of round-the-clock hedonism in a city seething with glitzy excess.