Fly on the wings of madness, melancholy and music.
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Don Giovanni
Sydney Opera House
5 January–17 February
He is irate. He’s awful. He poses a threat. However, his serenades are divine, damn him to hell. Although Don Giovanni’s life is about to end, he is unaware of it.
This is simply another day of pleasure-seeking for the opera’s own Casanova. a bride being seduced on her wedding day. entering a woman’s bedroom in the middle of the night. murdering her angry father.
Don Giovanni’s fate is revealed by Mozart even before the curtain opens. The orchestra plays an ear-splitting chord that heralds the opening of the gates of hell. The scoundrel’s hedonistic days are over.
Don Giovanni is unfazed when he hears a voice from the afterlife warning of imminent punishment. He extends a dinner invitation to the statue of the man he just killed in a half-joking, half-sincere manner.
The dark side of opera’s most captivating anti-hero is shown in Sir David McVicar’s staging. His Don Giovanni is a massively scaled psychological thriller.
The plot is set in a gothic underworld with monumental sets that draw inspiration from Vienna’s catacombs. Period clothing in one colour with beautiful needlework. Can the characters maintain such rigid morals?
La bohème
Sydney Opera House
12 January–11 March
On a chilly Christmas Eve, a spark of love appears. Four friends’ lives are permanently changed when two hands in the dark come together. Discover the magic of the first bohemian romance.
It’s love at first touch when Mimi and Rodolfo first meet. They go to the busy Café Momus, where feisty Musetta and vivacious Marcello rekindle their romance. But no amount of love can keep a winter from being bitterly cold. The Bohemians need to mature a bit.
Music is a great tool for expressing emotions that are too powerful for words alone. Your soul is exposed to the emotions that only music can convey as you see La Bohème. The joy of love, the agony of loss, and the pain of jealousy are all expressed in the music.
This heartfelt story takes place in Berlin in the 1930s, a time of fishnets and fairy lights.
Mim is sung by outstanding sopranos Rebecca Gulinello, Danita Weatherstone, and Karah Son. As Rodolfo, the poet, Iván Ayón Rivas and Atalla Ayan perform songs. Esther Song and Julie Lea Goodwin perform as the famously blonde Musetta, and Haotian Qi sings as her Marcello. Tahu Matheson and Michelangelo Mazza lead the orchestra.
Adriana Lecouvreur
Sydney Opera House
20 February–7 March
Murder, mystery, and intrigue? Liaisons between lovers don’t get any riskier than this.
She is amazing. loved by everyone. Any man she wants can be hers. Maybe she can?
Adriana Lecouvreur, based on a true story, is referred to as “the operatic counterpart of Sunset Boulevard” (The Guardian). The Economist names Ermonela Jaho “the world’s most celebrated soprano,” and she shines in a role that demands a true diva.
This is an unconventional tryst. A love triangle between the famous actress, her aristocratic admirer, and his envious ex—who also happens to be Adriana’s fiercest rival—is ideal for operatic excess. This is a superb verismo drama because to the abundance of secrets, potent violets, and composer Francesco Ciléa’s sensuous tune.
Prima donnas of many eras have wanted to sing Adriana, from Montserrat Caballé and Joan Sutherland to Anna Netrebko. Carmen Topciu’s smouldering mezzo as the Princess is a fit for Ermonela’s voice of a “fiery angel.”
The attention of Count Maurizio, who is portrayed by opera’s “high-flying leading man” (Vanity Fair), Michael Fabiano, causes tensions between the two to build up before erupting. As Michonnet, Adriana’s devoted stage director, baritone Giorgio Caoduro brings depth to the dynamic combination.
The quintessential operatic response to celebrity scandals is rife with passion and danger. Innovative Italian director Rosetta Cucchi brings Adriana Lecouvreur’s scandalous story out of the shadows of the canon and into the spotlight.
