Coppelia combines laughter, mystery, romance and the finest classical ballet – from spectacular character dances to the grand romantic pas de deux – in a fun-filled spectacle.
In the 1780s, Paris audiences went wild for Haydn’s symphonies. Cherubini reported how orchestral players there “received them with rapture”.
Deborah Humble’s commanding appearance as Erda, the deus ex machina... with sheer vocal authority silences even the gods (Das Rheingold).
Nicholas Routely, Australian Stage
She has a kind of talent and undeniable star quality that money can’t buy. A magnetism combined with a natural ease and presence.
Radio New Zealand National
Certainly, Jian Liu’s performance of Liszt’s visionary exploration of the spirit of Dante’s Divine Comedy seemed like an all- encompassing display of both technical brilliance and poetic identification with the music.
Peter Mechen, Middle C
His voice, projection, singing and stage presence were a revelation ... He is a young talent to watch.
Garth Wilshere, Capital Times
Emma Fraser was superbly assured in everything she sang, providing the concert’s musical zenith.
John Button, The Dominion Post
Tenor Henry Choo's voice as Nadir blossomed with colour and honey sweetness as soon as he opened his mouth.
Peter McCallum, Sydney Morning Herald
His voice... a resonating bronze instrument with excellent phrasing and articulation... with beautifully judged legato and caressing of the words.
Sandra Bowdler, Opera Britannia
Coached by music director Mark Dorrell, The Orpheus Choir met the often-fearful demands of the score with fortitude and, given the speeds conductor Marc Taddei called for, accuracy and clarity which verged on the virtuosic.
Lindis Taylor, Middle C