As Parramatta's Powerhouse Museum reaches full height, secret lifted on target opening date
The intended opening date puts it close to two years behind its promised opening date, which has been pushed back due to unseasonal rains and a complex building process.
The new target opening date was inadvertently revealed by Premier Chris Minns at a press conference at the site on Friday morning, during which he announced a $5 million donation from the philanthropic Neilson Foundation for a range of exhibitions at the site.
'It's not far away, probably September of next year it'll open its doors, and it'll be an exciting day for our beautiful city,' he said. When a reporter clarified the target opening date, Minns responded: 'Well, it may well be that I wasn't supposed to say that, but that's what we're aiming for, and so it's not too far away. We really want to open as soon as possible.
'If it's held back, it will only be because it'll be a bigger, better exhibition.'
The museum has now reached its full 75-metre height, and its exoskeleton – the 'milk crate'-like external steel pillars that leave the internal floor space free of columns – is also complete.
The Neilson Foundation's donation will go towards new exhibitions at the venue, including The Dark, a children's exhibition focusing on 'the new frontiers of discovery', said billionaire founder Kerr Neilson.
While Powerhouse Parramatta is expected to open next year, its Ultimo site (which will still house exhibitions) is also undergoing a major renovation. The museum's move to Parramatta has been controversial, with cost blowouts and changes made over concerns the area, next to the river, could flood.

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The Advertiser
10 hours ago
- The Advertiser
Turning 70, Opera Australia returns to milestone shows
As Opera Australia releases its 70th anniversary slate, featuring tried-and-true favourites, new productions, and musical theatre money-spinners, the company is in a state of flux. It's recruiting a new chief executive, director of opera, and music director, as well as trying to turn around 2024's box office slump and operating deficit of $10.6 million. There are some positive signs so far in 2025, according to acting chief executive Simon Militano, including a record number of new ticket buyers over the summer season. The offering for 2026 aims for a balance between artistic requirements and financial imperatives, after a giant collective effort by the company, he said. "Whilst it's not sustainable to do it this way, a massive shout out to the entire company who worked together," Militano said. As it tries to move forward following the departures of artistic director Jo Davies and chief executive Fiona Allan, Opera Australia is marking its 70th anniversary by returning to some of its milestone productions. The Sydney program opens with Moffatt Oxenbould's production of Madama Butterfly, and features Graeme Murphy's The Merry Widow. There's also Elijah Moshinsky's Hansel & Gretel and his version of Rigoletto, Kasper Holten's Eugene Onegin, and the world premiere of a new version of Turandot from director and choreographer Ann Yee. By contrast, the company's offering of fully-staged productions at its temporary Melbourne home in the Regent Theatre, is again about half the size of its Sydney slate. It includes Opera Australia's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. As for contemporary opera, there's Leah Purcell's adaptation of Henry Lawson's classic tale The Drover's Wife, in an Opera Australia co-production with the Queensland Performing Arts Centre. The Drover's Wife will have its world premiere in QPAC's new Glasshouse Theatre in May, followed by shows at the Sydney Opera House. Billed as an intersection of grand opera traditions and First Nations storytelling, Purcell's version has already been made into a play, a novel, and a film. It's a thrilling tale - and a harrowing one, according to Opera Australia's head of music Tahu Matheson, who has been in some of the show's development workshops. "We're hoping that in this latest incarnation, it's going to be so powerful that you're just going to be a wreck at the end of the night," he said. Neil Armfield's hit production Watershed: The Death of Dr Duncan will also have its Melbourne premiere. The city will also host the company's 70th anniversary gala, while the Sydney Opera House will host La Stupenda, a celebration of the 100th birthday of the late Dame Joan Sutherland starring Jessica Pratt. The Broadway musical Anastasia will premiere in Sydney and Melbourne, while Handa Opera on Sydney Harbour sees the return of The Phantom of the Opera. Director Michael Gow's production of Mozart's Don Giovanni will tour nationally. As Opera Australia releases its 70th anniversary slate, featuring tried-and-true favourites, new productions, and musical theatre money-spinners, the company is in a state of flux. It's recruiting a new chief executive, director of opera, and music director, as well as trying to turn around 2024's box office slump and operating deficit of $10.6 million. There are some positive signs so far in 2025, according to acting chief executive Simon Militano, including a record number of new ticket buyers over the summer season. The offering for 2026 aims for a balance between artistic requirements and financial imperatives, after a giant collective effort by the company, he said. "Whilst it's not sustainable to do it this way, a massive shout out to the entire company who worked together," Militano said. As it tries to move forward following the departures of artistic director Jo Davies and chief executive Fiona Allan, Opera Australia is marking its 70th anniversary by returning to some of its milestone productions. The Sydney program opens with Moffatt Oxenbould's production of Madama Butterfly, and features Graeme Murphy's The Merry Widow. There's also Elijah Moshinsky's Hansel & Gretel and his version of Rigoletto, Kasper Holten's Eugene Onegin, and the world premiere of a new version of Turandot from director and choreographer Ann Yee. By contrast, the company's offering of fully-staged productions at its temporary Melbourne home in the Regent Theatre, is again about half the size of its Sydney slate. It includes Opera Australia's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. As for contemporary opera, there's Leah Purcell's adaptation of Henry Lawson's classic tale The Drover's Wife, in an Opera Australia co-production with the Queensland Performing Arts Centre. The Drover's Wife will have its world premiere in QPAC's new Glasshouse Theatre in May, followed by shows at the Sydney Opera House. Billed as an intersection of grand opera traditions and First Nations storytelling, Purcell's version has already been made into a play, a novel, and a film. It's a thrilling tale - and a harrowing one, according to Opera Australia's head of music Tahu Matheson, who has been in some of the show's development workshops. "We're hoping that in this latest incarnation, it's going to be so powerful that you're just going to be a wreck at the end of the night," he said. Neil Armfield's hit production Watershed: The Death of Dr Duncan will also have its Melbourne premiere. The city will also host the company's 70th anniversary gala, while the Sydney Opera House will host La Stupenda, a celebration of the 100th birthday of the late Dame Joan Sutherland starring Jessica Pratt. The Broadway musical Anastasia will premiere in Sydney and Melbourne, while Handa Opera on Sydney Harbour sees the return of The Phantom of the Opera. Director Michael Gow's production of Mozart's Don Giovanni will tour nationally. As Opera Australia releases its 70th anniversary slate, featuring tried-and-true favourites, new productions, and musical theatre money-spinners, the company is in a state of flux. It's recruiting a new chief executive, director of opera, and music director, as well as trying to turn around 2024's box office slump and operating deficit of $10.6 million. There are some positive signs so far in 2025, according to acting chief executive Simon Militano, including a record number of new ticket buyers over the summer season. The offering for 2026 aims for a balance between artistic requirements and financial imperatives, after a giant collective effort by the company, he said. "Whilst it's not sustainable to do it this way, a massive shout out to the entire company who worked together," Militano said. As it tries to move forward following the departures of artistic director Jo Davies and chief executive Fiona Allan, Opera Australia is marking its 70th anniversary by returning to some of its milestone productions. The Sydney program opens with Moffatt Oxenbould's production of Madama Butterfly, and features Graeme Murphy's The Merry Widow. There's also Elijah Moshinsky's Hansel & Gretel and his version of Rigoletto, Kasper Holten's Eugene Onegin, and the world premiere of a new version of Turandot from director and choreographer Ann Yee. By contrast, the company's offering of fully-staged productions at its temporary Melbourne home in the Regent Theatre, is again about half the size of its Sydney slate. It includes Opera Australia's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. As for contemporary opera, there's Leah Purcell's adaptation of Henry Lawson's classic tale The Drover's Wife, in an Opera Australia co-production with the Queensland Performing Arts Centre. The Drover's Wife will have its world premiere in QPAC's new Glasshouse Theatre in May, followed by shows at the Sydney Opera House. Billed as an intersection of grand opera traditions and First Nations storytelling, Purcell's version has already been made into a play, a novel, and a film. It's a thrilling tale - and a harrowing one, according to Opera Australia's head of music Tahu Matheson, who has been in some of the show's development workshops. "We're hoping that in this latest incarnation, it's going to be so powerful that you're just going to be a wreck at the end of the night," he said. Neil Armfield's hit production Watershed: The Death of Dr Duncan will also have its Melbourne premiere. The city will also host the company's 70th anniversary gala, while the Sydney Opera House will host La Stupenda, a celebration of the 100th birthday of the late Dame Joan Sutherland starring Jessica Pratt. The Broadway musical Anastasia will premiere in Sydney and Melbourne, while Handa Opera on Sydney Harbour sees the return of The Phantom of the Opera. Director Michael Gow's production of Mozart's Don Giovanni will tour nationally. As Opera Australia releases its 70th anniversary slate, featuring tried-and-true favourites, new productions, and musical theatre money-spinners, the company is in a state of flux. It's recruiting a new chief executive, director of opera, and music director, as well as trying to turn around 2024's box office slump and operating deficit of $10.6 million. There are some positive signs so far in 2025, according to acting chief executive Simon Militano, including a record number of new ticket buyers over the summer season. The offering for 2026 aims for a balance between artistic requirements and financial imperatives, after a giant collective effort by the company, he said. "Whilst it's not sustainable to do it this way, a massive shout out to the entire company who worked together," Militano said. As it tries to move forward following the departures of artistic director Jo Davies and chief executive Fiona Allan, Opera Australia is marking its 70th anniversary by returning to some of its milestone productions. The Sydney program opens with Moffatt Oxenbould's production of Madama Butterfly, and features Graeme Murphy's The Merry Widow. There's also Elijah Moshinsky's Hansel & Gretel and his version of Rigoletto, Kasper Holten's Eugene Onegin, and the world premiere of a new version of Turandot from director and choreographer Ann Yee. By contrast, the company's offering of fully-staged productions at its temporary Melbourne home in the Regent Theatre, is again about half the size of its Sydney slate. It includes Opera Australia's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. As for contemporary opera, there's Leah Purcell's adaptation of Henry Lawson's classic tale The Drover's Wife, in an Opera Australia co-production with the Queensland Performing Arts Centre. The Drover's Wife will have its world premiere in QPAC's new Glasshouse Theatre in May, followed by shows at the Sydney Opera House. Billed as an intersection of grand opera traditions and First Nations storytelling, Purcell's version has already been made into a play, a novel, and a film. It's a thrilling tale - and a harrowing one, according to Opera Australia's head of music Tahu Matheson, who has been in some of the show's development workshops. "We're hoping that in this latest incarnation, it's going to be so powerful that you're just going to be a wreck at the end of the night," he said. Neil Armfield's hit production Watershed: The Death of Dr Duncan will also have its Melbourne premiere. The city will also host the company's 70th anniversary gala, while the Sydney Opera House will host La Stupenda, a celebration of the 100th birthday of the late Dame Joan Sutherland starring Jessica Pratt. The Broadway musical Anastasia will premiere in Sydney and Melbourne, while Handa Opera on Sydney Harbour sees the return of The Phantom of the Opera. Director Michael Gow's production of Mozart's Don Giovanni will tour nationally.


Perth Now
13 hours ago
- Perth Now
Turning 70, Opera Australia returns to milestone shows
As Opera Australia releases its 70th anniversary slate, featuring tried-and-true favourites, new productions, and musical theatre money-spinners, the company is in a state of flux. It's recruiting a new chief executive, director of opera, and music director, as well as trying to turn around 2024's box office slump and operating deficit of $10.6 million. There are some positive signs so far in 2025, according to acting chief executive Simon Militano, including a record number of new ticket buyers over the summer season. The offering for 2026 aims for a balance between artistic requirements and financial imperatives, after a giant collective effort by the company, he said. "Whilst it's not sustainable to do it this way, a massive shout out to the entire company who worked together," Militano said. As it tries to move forward following the departures of artistic director Jo Davies and chief executive Fiona Allan, Opera Australia is marking its 70th anniversary by returning to some of its milestone productions. The Sydney program opens with Moffatt Oxenbould's production of Madama Butterfly, and features Graeme Murphy's The Merry Widow. There's also Elijah Moshinsky's Hansel & Gretel and his version of Rigoletto, Kasper Holten's Eugene Onegin, and the world premiere of a new version of Turandot from director and choreographer Ann Yee. By contrast, the company's offering of fully-staged productions at its temporary Melbourne home in the Regent Theatre, is again about half the size of its Sydney slate. It includes Opera Australia's first new production of La Bohème in 15 years, as well as La Traviata directed by Sarah Giles. As for contemporary opera, there's Leah Purcell's adaptation of Henry Lawson's classic tale The Drover's Wife, in an Opera Australia co-production with the Queensland Performing Arts Centre. The Drover's Wife will have its world premiere in QPAC's new Glasshouse Theatre in May, followed by shows at the Sydney Opera House. Billed as an intersection of grand opera traditions and First Nations storytelling, Purcell's version has already been made into a play, a novel, and a film. It's a thrilling tale - and a harrowing one, according to Opera Australia's head of music Tahu Matheson, who has been in some of the show's development workshops. "We're hoping that in this latest incarnation, it's going to be so powerful that you're just going to be a wreck at the end of the night," he said. Neil Armfield's hit production Watershed: The Death of Dr Duncan will also have its Melbourne premiere. The city will also host the company's 70th anniversary gala, while the Sydney Opera House will host La Stupenda, a celebration of the 100th birthday of the late Dame Joan Sutherland starring Jessica Pratt. The Broadway musical Anastasia will premiere in Sydney and Melbourne, while Handa Opera on Sydney Harbour sees the return of The Phantom of the Opera. Director Michael Gow's production of Mozart's Don Giovanni will tour nationally.

Sydney Morning Herald
5 days ago
- Sydney Morning Herald
Finger painting of Australian virtuoso musician wins Archibald People's Choice
In the last four years, Manilla-born artist Loribelle Spirovski had come close to giving up on painting while nursing a debilitating injury that sends pins and needles into her hands and makes holding a brush difficult and painful. On Thursday, Spirovski was named winner of the 2025 Archibald Prize People's Choice award with a joyful portrait of yidaki (didgeridoo) virtuoso William Barton, painted entirely with gloved fingers and hands. Director Maud Page said the portrait was painted under incredible duress and with resilience which captured the energy and spirit of Barton. Spirovski said when she first met Barton she was too shy to ask him to sit for her and worried she might not be able to do his talent justice. 'I can never thank you enough Will.' Barton sang and played his yidaki in celebration. Spirovski had been inspired to throw her paintbrush away when she worked on Barton's portrait in her studio and played the musician's renowned composition, Birdsong at Dusk, as background music. Spirovski had first asked Barton to sit for her after a concert last October at the Sydney Opera House featuring both Barton and Spirovski's husband, concert pianist Simon Tedeschi. 'As the music began, my hand set the brush aside, and I dipped my finger into the soft, pliant paint. I turned the volume up, the music guiding me,' she recounted. 'Without a brush, painting was almost painless. As the portrait painted itself, I felt alive in a way I hadn't for a very long time.' Spirovski's tactile portrait was the clear favourite of 40,842 people who visited the Archibald, Wynne and Sulman Prizes 2025 exhibition at the Art Gallery of NSW. This is the highest total number of votes ever received since the $5000 prize was first awarded in 1988.