Latest news

A new principal conductor for the waso

The West Australian Symphony Orchestra has appointed a new Principal Conductor to succeed Paul Daniel who ends his contract next year. Asher Fisch is no stranger to Australia having worked here in 2004, conducting Adelaide’s production of The Ring. Since 2007, Asher Fisch has been Seattle Opera’s Principal Conductor. He is a former music director…
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Review fom the NYTimes: The ACO at Carnegie Hall

“Intensity and virtuosity are the hallmarks of this orchestra”. Read the New York Times review of the Australian Chamber Orchestra’s performance with soprano Dawn Upshaw at Carnegie Hall early this week. http://www.nytimes.com/2012/05/02/arts/music/australian-chamber-orchestra-at-carnegie-hall.html?_r=1&ref=music Benefactors, a Stradivarius and The Glide build the bottom line for the ACO: http://www.smh.com.au/entertainment/music/rare-violin-lifts-aco-bottom-line-20120502-1xz60.html http://www.theaustralian.com.au/arts/acos-subscription-switch-wins-surplus/story-e6frg8n6-1226345172062
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Welcome David Zinman

  Acclaimed conductor David Zinman conducts the Sydney Symphony Orchestra during May this year in two programmes. Zinman is the Music Director of the Tonhalle in Zurich to which he was appointed in 1995. Renowned for his creative programming, he has also appeared as guest conductor with the major orchestras of the world – the Boston Symphony, Chicago Symphony,…
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Latest reviews

La Traviata – the verdicts are rolling in

The highly anticipated production of La Traviata staged on Sydney harbour opened on Saturday night. This production has polarised opera lovers. Without doubt the performances are superlative and the concept of an open-air opera with the spectacle of Sydney harbour as a backdrop is irresistible. As to whether it is ‘opera’ – the verdicts on that proposition are rolling in. As pure entertainment…

‘Messiah’ at St James’ King Street: a listener’s perspective

  Whatever the diet of musicians in Handel’s time, his performers must certainly have had tremendous stamina. ‘Messiah’ as Handel intended, for a chamber sized ensemble is a massive test of endurance, requiring a technique that supports the power of the ‘Hallelujah Chorus’, the coloratura of ‘All we like sheep’ and the hushed sostenuto of ‘Since by man came death’. After all this comes the mighty…