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Behind the Scenes, Interviews

Q & A: Pinchgut Opera’s Erin Helyard On Winning An International Opera Award & Moving Forward

https://operawire.com/q-a-pinchgut-operas-erin-helyard-on-winning-an-international-opera-award-moving-forward/

Sydney-based Pinchgut Opera became the first Australian company to win an International Opera Award when it was recently awarded best “Rediscovered Work” for Hasse’s 1740 “Artaserse” at this year’s Awards in London. OperaWire talked to the organization’s Artistic Director, Erin Helyard about the company’s beginnings, upcoming projects, and future endeavors. . OperaWire: What is Pinchgut? What is its brief and {…}

Behind the Scenes, Interviews

Q & A: Pinchgut Opera Artistic Director Erin Helyard On Company’s 2018-19 Season

https://operawire.com/q-a-pinchgut-opera-artistic-director-erin-helyard-on-companys-2018-19-season/

Baroque opera’s popularity is growing every year. You’ve felt it. I’ve felt it. I think everyone in the opera world is feeling it. Everywhere you look, major companies are putting on more works by Handel or Monteverdi. And if those big names aren’t producing them, then you are starting to see smaller companies take on the responsibility of presenting some {…}

News

Pinchgut Opera to Present ‘The Fairy Queen’

https://operawire.com/pinchgut-opera-to-present-the-fairy-queen/

Pinchgut Opera is set to present Purcell’s “The Fairy Queen,” The work will be directed by Netia Jones, who is known for her innovative use of technology and projection. She will transform this Baroque masterpiece into a visually dynamic and immersive experience for this production, marking her Australian debut. In a statement, Jones said, “I want the audience to experience {…}

Reviews, Stage Reviews

Opera Australia 2025 Review: Dido and Aeneas

https://operawire.com/opera-australia-2025-review-dido-and-aeneas/

(Photo credit: Keith Saunders) The Opera Australia production of Purcell’s “Dido and Aeneas” that opened at the Sydney Opera House on March 13 was the second time in a year that Erin Helyard conducted the work. Previously, Helyard’s own company Pinchgut Opera had presented the work at Angel Place Recital Hall. This time Helyard conducted a co-production between Opera Australia {…}

News

Opera Australia to Peform ‘Dido & Aeneas’

https://operawire.com/opera-australia-to-peform-dido-aeneas/

(Credit: ©David Kelly) Opera Australia is set to present Henry Purcell’s “Dido & Aeneas.” The production is Opera Queensland’s production directed by Yaron Lifschitz, Artistic Director of the widely acclaimed acrobatic troupe Circa. The production showcases the winning formula of his highly praised “Orpheus & Eurydice,” merging Circa’s physicality and Opera Australia’s musicianship in a contemporary operatic retelling of the {…}

Reviews

Pinchgut Opera 2024-25 Review: Julius Caesar

https://operawire.com/pinchgut-opera-2024-25-review-julius-caesar/

(Photo: BrettBoardman) Undoubtedly, Sydney is coming of age as a culturally vibrant city, with thought-provoking, often superior productions of concerts, musicals, plays and operas. This long-awaited but most welcomed process is well illustrated by two excellent opera performances within less than a week that would be hailed anywhere in the world: a few days after Richard Wagner’s “Die Walküre” had {…}

Reviews, Stage Reviews

Pinchgut Opera 2024 Review: Dido & Aeneas

https://operawire.com/pinchgut-opera-2024-review-dido-aeneas/

(Photo Credit: Cassandra Hannagan) Audience-members arriving at Sydney’s Angel Place Recital Hall for Pinchgut Opera’s latest production, Purcell’s opera “Dido and Aeneas,” walked in on a boxed theatrical space in which ensemble-members crossed and re-crossed the stage folding linen. While some audience-members were to be heard wondering what the folding signified, the repeated activity, minutes before the opera started, could {…}

Reviews, Stage Reviews

Opera Australia 2023-24 Review: Theodora

https://operawire.com/opera-australia-2023-24-review-theodora/

(Photo Credit: Keith Saunders) Opera Australia’s summer season continued on February 8 with a chance to hear Handel’s favorite among his oratorios. What was it? 1739’s “Saul?” “Messiah” of 1742? Neither. In a coproduction with baroque specialists Pinchgut Opera, Opera Australia presented “Theodora,” Handel’s oratorio from 1750. This was a semi-staged version directed by Lindy Hume, who has been Opera {…}