Opera Australia’s new production of Rossini’s The Turk in Italy opens tonight in Sydney. Here’s a sneak peek at what to expect.
Images by Lisa Tomasetti, courtesy Opera Australia. Scroll down for all 8 images.
Some weeks ago we posted the link to a feature in the New York Times bout the destruction of pianos that no-one wanted to keep or maintain. Now the Sydney Morning Herald reports on a rapidly diminishing skill base of piano tuners. http://www.smh.com.au/national/scaled-back-dying-skill-a-note-of-concern-for-pianists-20120824-24rxj.html
The precociously talented Russian soprano Julia Lezhneva will make her debut Australian appearance at the 2014 Hobart Baroque festival. At just 23, the Moscow trained singer has performed with musical royalty like Marc Minkowski, Juan Diego Flores, Il Giardino Armonico and Angela Gheorghiu – and there is an Australian connection – she completed post-graduate studies…
This week, Stefan Duwe, viola player with Acacia Quartet shares his insights into the music of Beethoven. A performer and a teacher, Stefan was born in Oldenburg, Germany. He has worked with many orchestras including the Cologne Chamber Orchestra, Folkwang Chamber Orchestra, Philharmonia Hungarica, Philharmonie Essen, Düsseldorfer Sinfoniker and Die Deutsche Kammerphilharmonie Bremen. In Australia,…
Having reported recently that an increasing number of pianos (in the US at least) are being dumped ( http://soundslikesydney.com.au/news/free-to-a-good-home-when-pianos-pass-their-use-by-date/8789.html), and that Australia is suffering a lack of piano tuners and training facilities for them, (http://soundslikesydney.com.au/news/australia-out-of-tuners/9084.html) research has proven that working and training as a piano tuner produces specific adaptations in brain function that relate to the…
Maestro Claudio Abbado has died at the age of 81. A prolific creative force, one of his many landmark achievements was to found the Mahler Chamber Orchestra which toured to Sydney just last year. Read more.
A $400 million upgrade is planned for the Sydney Opera House, reports Matthew Westwood in The Australian. Does this plan place too much competition on the venue to live up to expectations as a tourist facility as well as a centre for the arts and its ensembles in residence?