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Opera Australia
Sydney
New South Wales

The Sydney Opera House and Sydney CBD on Port Jackson

Population:	4,284,379 [1] (1st)
• Density:	2058/km² (5,330.2/sq mi) (2006)[2]
Established:	26 January 1788
Coordinates:	33°51'35.9?S 151°12'40?E? / ?-33.859972, 151.21111Coordinates: 33°51'35.9?S 151°12'40?E? / ?-33.859972, 151.21111
Area:	12144.6 km² (4,689.1 sq mi)
Time zone:  • Summer (DST)	AEST (UTC+10) AEDT (UTC+11)
Location:	881 km (547 mi) NE of Melbourne 938 km (583 mi) S of Brisbane 3970 km (2,467 mi) E of Perth 1406 km (874 mi) E of Adelaide 4003 km (2,487 mi) SE of Darwin
LGA:	various (38)
County:	Cumberland
State District:	various (49)
Federal Division:	various

Sydney (pronounced /'s?dni?/) is the most populous city in Australia, with a metropolitan area population of approximately 4.28 million (2006 estimate).^[1] It is the state capital of New South Wales, and was the site of the first British colony in Australia. It was established in 1788 at Sydney Cove by Arthur Phillip, leader of the First Fleet from Britain.^[3] A resident of the city is referred to as a Sydneysider.

Sydney is situated on Australia's south-east coast. The city is built around Port Jackson, which includes Sydney Harbour, leading to the city's nickname, "the Harbour City". It is noted for the Sydney Opera House and the Harbour Bridge, and its beaches. The metropolitan area is surrounded by national parks, and contains many bays, rivers and inlets. It is listed as a beta world city by the Loughborough University group's 1999 inventory.^[4] The city has hosted international sporting, political and cultural events, including the 1938 British Empire Games, 2000 Summer Olympics and the 2003 Rugby World Cup. In September 2007, the city hosted the leaders of the 21 APEC economies for APEC Australia 2007, and in July 2008 hosted World Youth Day 2008. The main airport serving Sydney is Sydney Airport.

Sydney is one of the most multicultural cities in the world, which reflects its role as a major destination for immigrants to Australia.^[5] According to the Mercer cost of living survey, Sydney is Australia’s most expensive city, and the 15th most expensive in the world.^[6]

1 Australian Opera Company 1956-57

2 Elizabethan Theatre Trust Opera Company, 1957-70

3 The Australian Opera, 1970-96

4 Opera Australia, 1996 to present

• 4.1 Educational Outreach

5 References

6 External links

Opera Australia which is based in Sydney, is Australia's major opera company. Its performance season at the Sydney Opera House runs for approximately eight months of the year, with the remainder of its time spent in the The Arts Centre in Melbourne, Victoria. In 2004, the company gave 226 performances in its subscription seasons in Sydney and Melbourne, attended by more than 294,000 people.

Like most opera companies, it is funded by a combination of government money, corporate sponsorship, private philanthropy, and ticket sales. The proportion of its revenue from ticket sales is considerably higher than that of most companies, approximately 75%.

As well as the traditional classical repertoire, a number of Australian operas have been premiered by the company, including the recent Lindy (2002), by Moya Henderson, which is based on the Lindy Chamberlain case.^[1] Opera Australia will be giving the first performances outside America of Andre Previn's opera A Streetcar Named Desire in its 2007 Sydney season.

The company is perhaps best known internationally for its association with Dame Joan Sutherland, one of the most famous sopranos of the 1980s, and Baz Luhrmann's attention-grabbing production of Puccini's La bohème in the early 1990s.

By the end of 2004, Opera Australia provided employment to approximately 1,300 Australians. OzOpera (Opera Australia's education, access and development arm) presented the La bohème production in Victoria, Northern Territory and Western Australia, attended by 13,350 people, while OzOpera's Schools Company performed to over 63,500 primary age children in more than 360 performances in urban and regional New South Wales and Victoria. Many thousands of Australians also experienced the work of their national opera company through television, radio, video, compact disc, DVD, and the annual free performance of opera in the Domain in Sydney.

Australian Opera Company 1956-57

In 1956, the Australian Opera Company was formed in Sydney under the auspices of the Australian Elizabethan Theatre Trust. It commemorated the Mozart bicentenary by presenting four Mozart operas in all capital cities, travelling more than 10,000 kilometres, and giving 169 performances. A truly national company was in place.

 Elizabethan Theatre Trust Opera Company, 1957-70

By 1957, it changed its name to the Elizabethan Theatre Trust Opera Company.

In the years before 1970, the company gave its first regional tour with Rossini's The Barber of Seville using a small chorus and reduced scenery with only a piano accompaniment. However, by 1963 a permanent nucleus of singers and staff was retained throughout the year and the company had made appearances at regional festivals, including Adelaide. It also was able to establish the first Elizabethan Trust Orchestra for the company by 1967 with additional government aid.

While not yet appearing with this company, Joan Sutherland, then an internationally known Australian soprano, and her husband, Richard Bonynge, the conductor, by the mid-1960s helped the cause of opera in general in Australia.

Another milestone was a television recording of Puccini’s Tosca for broadcasting. This starred internationally-known baritone, Tito Gobbi in addition to two Australian singers, the soprano Marie Collier and tenor Donald Smith.

The Australian Opera, 1970-96

In 1970, the company became known as The Australian Opera. The 1970s saw considerable changes both in administration and location. In 1972, Edward Downes, formerly associated with London’s Royal Opera House, became Musical Director, and his first new production was the Australian premiere of Richard Strauss's Der Rosenkavalier at the Princess Theatre, Melbourne, followed closely by Prokofiev's War and Peace as the opening night performance of the brand new Sydney Opera House.

The Sydney Opera House, as well as quickly becoming a distinctive cultural landmark in that city, gave the company a permanent performance home and thus helped to expand its repertoire and develop local audiences. Audiences were certainly boosted by Joan Sutherland’s performances with The Australian Opera in Offenbach's The Tales of Hoffmann. In addition, in the 1974 season three Australian works were performed : The Affair by Felix Werder, Lenz by Larry Sitsky, and Rites of Passage by Peter Sculthorpe.

By 1976 Richard Bonynge had become Musical Director and he led the company on its first overseas tour to New Zealand with Verdi's Rigoletto and Janácek's Jenufa. This was followed in 1978 by the first Australian Opera country tour with orchestra to north-western New South Wales and Queensland.

During the 1980s, after many years of recording performances by the Australian Opera for television, the Australian Broadcasting Corporation (ABC) and The Australian Opera presented their first live simulcast, Johann Strauss' Die Fledermaus, and it was seen by more than two million people. Over the following years a series of simulcasts reached millions of Australian homes.

On the popular front, a big box office success was the appearance of Luciano Pavarotti and Joan Sutherland at the Concert Hall of the Sydney Opera House in 1983, with the Elizabethan Sydney Orchestra conducted by Richard Bonynge. This nationally simulcast performance broke box office records for an indoor event. Another successful concert with Sutherland and Marilyn Horne was held in the Concert Hall.

In addition, several innovative features characterized this period of the 1980s. The first “Esso Opera in the Park” in the Sydney Domain quickly became an annual event, and it is now called “Opera in the Domain”. Typically, it attracts almost 100,000 people each year. A similar annual outdoor event, which attracts more than 25,000 people, is held in Melbourne. The second was the establishment of “The Esso Young Artists' Development Program” for the Australian Opera under the direction of soprano Cynthia Johnston, while the third was the “Australian Compositions Program” launched with a new production of Brian Howard's Metamorphosis.

Also, at this time, the fourth of these innovative programs began with “The National Opera Workshop”, established to enable selected Australian composers present works in workshop form with artists from the Australian Opera. Lastly, “OperaAction”, the “Youth Education Program” established a program of events, including three Youth performances of Puccini's Madama Butterfly and, in 1986, Winds of the Solstice, an original youth opera created by 70 students working on libretto, music, choreography and orchestration and presented at the Sydney Opera House.

In 1988, in association with the Australian Bicentennial Authority, the company toured Brisbane, Darwin, Hobart, Melbourne, Perth and the National Opera Workshop in Melbourne with The Ra Project, a music-theatre work composed with the direct participation from the earliest stages of the singers who performed it and marking director Baz Luhrmann's first association with the Australian Opera.

When she retired from the operatic stage, Dame Joan Sutherland gave her farewell performances for the Australian Opera in 1990 in a production of Meyerbeer's Les Huguenots. Two years later, the company named its major rehearsal studio after Dame Joan.

The early 1990s were to see two important changes in the way that the company worked: firstly, in 1991, with the formation of the “Artistic Associates of The Australian Opera”, a body of people was created which comprised some of the most important figures in the Australian musical and performing arts world. Secondly, the Australian Opera and Ballet Orchestra was integrated with the Australian Opera to produce a permanent opera and ballet orchestra for the company.

In its first performances outside Australasia in 1994, the company performed Britten's A Midsummer Night's Dream at the Edinburgh International Festival. In addition, the Baz Luhrmann production of La bohème was screened over more than 300 North American television stations, followed by worldwide video release.

 Opera Australia, 1996 to present

Opera Australia was formed by the merger of the Australian Opera and the Victorian State Opera (VSO) companies in 1996, following a major review, commissioned by the Australian Government, of the government-supported performing arts companies in Australia. At this time Lindy Hume, then Artistic Director of the VSO, was appointed Artistic Director of OzOpera. Richard Gill succeeded her in 2003.

It undertook a "pilot" regional tour of Mozart's The Magic Flute to four states. Following performances at the Adelaide Festival, OzOpera performed The Magic Flute in The Barracks at Queenscliff, the Great Hall of Parliament House in Canberra, and in a cinema in Mudgee.

The first few years of the present century saw the retirement of Moffatt Oxenbould, Opera Australia's Artistic Director for 15 years, and the appointment of Simone Young as Musical Director-designate. She assumed the position fully from 2001. To honour the retiring director, the Young Artists' Program was renamed the “Moffatt Oxenbould Young Artists' Development Program”. By 2003 Richard Hickox was appointed Music Director-designate, which became fully effective from January 2005.

 Educational Outreach

In 1977 Opera Australia's younger parent company, Victoria State Opera (VSO), which itself was established as a successor to the Victorian Opera Company created the Schools Company which remains a cornerstone of Opera Australia activity. Now performing in New South Wales and Victoria, the Schools Company is administered by OzOpera which tours smaller centres and performs in non-traditional settings (for instance, for school groups). Its music director is Richard Gill, and it is administered from Opera Australia's Melbourne office. Esso and its successor Exxon-Mobil have sponsored the Schools Company regularly since 1984 under the direction of soprano Cynthia Johnson. With the establishment of an Education program, Opera Access, in 1978 secondary students were able to attend opera.

Click here for all the latest information on Opera Queensland

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			EVENTS: SEPT 08 SN M T W TH F S 26

About San Francisco Opera At the heart of every production we stage, you’ll find a world-class
company of artists, an enterprising and engaged staff, and the beautiful War Memorial Opera
House. Learn more about our company by using the menu to the right.                                                
                      San Franciso Opera   

  History Opera is the plural of the Latin word opus, meaning, "work" (each piece written by a composer is called an opus). Opera is often defined as a play in which the words are sung rather than spoken, but this definition is too simplistic. A better definition is drama through music. The music is a partner; it does not merely accompany the drama, it contributes to it. Time stands still at times for the vocal sections in which the characters express their emotions. While opera combines music, plot and the spectacle provided by the sets, costumes and staging, the result is much more than the sum of the parts. It is truly an audio-visual art form. Although opera as we know it started during the Italian Renaissance, its roots go back to Greek drama. We don't know what it sounded like, but the ancient Greeks never thought of separating the poetry of their drama from music. The Greek plays were accompanied by strings or pipes and the words were sung or chanted. Dance was also part of the drama. The early church gave structure to chants and the accompanying music, supplying scales and notation.
At first there were only single-line melodies, but later these were woven together to form polyphony (several different lines of music played or sung at one time) and thus, harmonies. By the end of the fifteenth-century, it was the custom in Italy to perform short musical dramas during intermissions of other plays. Small orchestras accompanied these intermezzi. Court Masques, or elaborate dramas based on mythology or fables, became a very popular form of entertainment in the royal courts of Europe from the early sixteenth through seventeenth centuries. The stories were played out in pantomime to a background of orchestrated music, and the players were court members who spent lavish amounts of time and money on their costumes. Masques were intended to honor the head of the court where they were produced, and they were used to show the wealth and political power of the royal they honored. At this time, there was no real separation, as we know it, between theatre and opera, or between opera and ballet. These divisions started to become more obvious as musical composition developed. Jacopo Peri (1561-1633) is credited for the first opera, Dafne, based on the Greek myth. Though famous throughout Europe at the time, it has since been lost. Claudio Monteverdi (1567-1643) is the earliest composer whose works are still performed. He blended the music and the poetry of the libretto to create a multi-faceted theatrical form. Such early operas were usually based on history or mythology. This kind of opera is called opera seria, in contrast to opera buffa, or comic opera, which would develop later. During this period, the words were most important, with the small orchestras providing a simple accompaniment.
Separate musical lines were not written for the instrumentalists. Instead, they played the singers' lines; this meant that there was also no need for a conductor as we know of them now. Orchestras of the day usually functioned much the way current jazz ensembles often do; they looked to one player, often the keyboardist, to prompt them while playing. Mozart (1756-1791) was one of the first composers to write not just for, but about the nobility and their servants. A great example of this type of work is The Marriage of Figaro. In the early nineteenth century, with the development of more complex orchestrations and the addition of more flexible woodwind and brass instruments, conductors became necessary to coordinate and mold the sound and tone of the whole. By the end of the nineteenth century, opera was telling us stories on the steamier side of life among the lower classes, and the singing became more conversational. This type of opera is identified as verismo, or real. Puccini (1858-1924), who wrote his works during this time, gave us such important works as La Bohème, Madama Butterfly and Turandot. Opera is still being written today, and new works about historical and colorful figures are being performed throughout the world. Some of the newest works tell the stories of Harvey Milk, Malcom X and Jacqueline Kennedy.
Opera Basics text courtesy of San Diego Opera and Elizabeth Otten.    

Queensland Opera    WELCOME TO SEASON 2007      Hansel and Gretel  Lost in the woods, a world of magic and temptation, Hansel and Gretel soon find themselves encountering the evil Witch and her irresistible sweet house. Only their courage and wit can save them from becoming culinary delights – will they live to tell their “Grimm” tale? Based on a fairytale, adults and children of all ages will be enamoured with Elijah Moshinsky’s enchanting production of this classic opera. With brilliant, eye-catching designs and costumes, Humperdinck’s masterpiece will take you to a fantasy world and leave you mesmerised long after.       Vienna Opera                           Vienna State Opera The original State Opera House, a neo-romantic building severely criticised when it was built, was  inaugurated on May 25, 1869 with Mozart's Don Giovanni.  During World War II, the stage  was destroyed by Allied bombs  and the building gutted  by fire on March 12, 1945. The foyer, with frescoes by Moritz von Schwind, the main stairways, the vestibule and the tea room were spared. Almost the entire décor  and props for more than 120 operas with around 150,000 costumes were destroyed. The State Opera was temporarily housed at the Theater an der Wien and at the Volksoper. The rebuilt theatre, seating more  than 2200, reopened on November 5, 1955 with Beethoven's Fidelio with  Karl Böhm conducting.For many  decades, the opera house has been the venue of the Vienna Opera Ball.    Teatro Alla Scala Story of the Day Episode Had It:  Tenor Walks Off La Scala's Stage to Boos December 12, 2006 · The Teatro Alla Scala says it will never allow tenor Roberto Alagna sing on its stage again, after Alagna left the stage during a performance of Aida Sunday night in Milan, Italy, in which he was booed by the audience at La Scala. Robert Siegel speaks with Enrico Girardi, a music critic for the Italian newspaper Corriera della Sera.    Opera De-Paris   The New Winter Season at       the Royal Opera House      The Film Society of the  LincolnCentre                                                                             The Royal Opera House                                              Los Angeles Opera Los Angeles Opera Welcome to Los Angeles Opera’s 2005-06 Season, overflowing with exciting new opportunities and familiar programs reaching further into the community than ever before. To download the complete Education and Community Programs 2005/06 Season Brochure, use the following links: 2006/07 Education & Community Programs Brochure 2006/07 Education & Community Programs Application With something for absolutely everyone, Los Angeles Opera’s Education and Community Programs Department invites you to be part of the excitement and mystery that is opera. We promise you will never be  the same. Students enjoy matinee performances free of charge, in-school residencies, school assemblies, opera clubs, opera camps, and are able to win season subscriptions. Teachers, too, are enriched by in-service teacher training and recital programs. College Students get involved by registering to receive e-mail announcements for special ticket offers and events. Additionally, LA Opera partners with a limited number of schools to bring special events to campuses, including opera recitals and master classes with LA Opera artists. Families are invited to join us for our newest tradition in the Grand Hall of the Dorothy Chandler Pavilion, Saturday Mornings at the Opera. Communities enjoy lively opera talks and recitals at libraries, senior centers, colleges and universities, and community  theaters. Senior Citizens associated with city or county-funded senior centers can attend free dress rehearsals at the Dorothy Chandler Pavilion. Los Angeles Opera's Speakers Bureau consists of over 60 knowledgeable and enthusiastic Opera League of Los Angeles volunteer speakers, who present insightful  "Opera Talks" to any group of 10 or more. From classrooms to libraries to civic or private groups to senior centers, our speakers serve thousands each year. Los Angeles Opera has joined forces with a number of local libraries to host a series of talks and presentations open to the public and free of charge. At selected  participating libraries, Los Angeles Opera presents free opera concerts to conclude the series. Los Angeles Opera is continuing its Free Demonstration Performance  Tour with our youthful take on Puccini's The Girl of the Golden West, The Prospector in January and February 2006 at nine community venues. Please don't hesitate to contact us for more information about this exciting program. for more information about this exciting program. It is our sincere hope that you will take advantage of the enriching opportunities Los Angeles Opera offers you and your community! Los Angeles Opera would like to announce its inclusion on www. LAArtsEd.org, the County’s first-ever online directory for arts education programs. The site provides one-stop shopping for educators looking for quality arts education programs that meet the state of California standards. The directory is searchable by artistic discipline (music, dance, theatre, visual arts), school subject area (history, math, English, science), grade level, program type (performance, workshop, field trip, residency) and cultural origin. Users can view video clips, and, most importantly, get directly in touch with us via an online booking form. The directory is operated by the Los Angeles County Arts Commission as part of the Arts for All initiative, launched in September 2002 to restore comprehensive arts education to Los Angeles County classrooms. 2006/07 Education & Community Programs Brochure 2006/07 Education & Community Programs Application Volunteer and Affiliated Support Groups Participate online! Watch KCET Life & Times' - Tosca Student Matinee Coverage