Is opera dead or can it redefine itself?
The classical operas can be interpreted in ways that don't perpetuate harmful stereotypes or cultural appropriation, says a University of Melbourne expert.
The Crucible reborn
Theatre director and University of Melbourne alum Adena Jacobs explains her modern take on The Crucible and looks forward to her UK operatic directorial debut.
Come behind the scenes of Short Black Opera
Deborah Cheetham, proud Yorta Yorta woman and one of Australia's leading sopranos, reflects on the journey her opera Pecan Summer took to the Sydney Opera House
Instrumental reward of the harpsichord
Dr Erin Helyard has been praised as a virtuosic soloist as well as an inspired and versatile conductor. Here he talks opera, harpsichord and music education.
Womin Jeka: A choir with the desire to inspire
Sopranos Deborah Cheetham AO and Shauntai Batzke are leading a unique choral performance at the University of Melbourne of a song in the Woi Wurrung language.
An emotional journey through pasticcio opera
Voyage to the Moon, a new pasticcio opera, will help give researchers insight into the development of emotions.
Indigenous songstress on the international stage
Indigenous opera singer Shauntai Batzke's father was a gifted boxer but as a graduate of the VCA she is carving out a career on a different international stage
Surreal stories make the best operas
Composer Elliott Gyger explains there are no new stories in opera, and that surrealism works best in a genre that embraces the absurd and extravagant.