Latest news with #OperaAustralia
Epoch Times
17 hours ago
- Entertainment
- Epoch Times
A Global Phenomenon Overcoming Adversity
Commentary As many performing arts companies struggle financially in uncertain economic times, Shen Yun Performing Arts has completed its 18th global tour earlier this month, performing what it calls a historic run of 799 shows in 199 cities across 26 countries to an audience of more than 1 million people. Shen Yun not only has to overcome the financial challenges the industry faces, but also faces ongoing sabotage attempts by the communist regime in China. This includes threats directed at theaters, performers, and their families in China and warnings of economic and diplomatic reprisals in locations where Shen Yun performs. Additionally, there are issues with online disinformation and gross misrepresentations by various media outlets. How does a performing arts company presenting traditional Chinese culture today survive and flourish when facing such challenges? Performing Arts in the West In the post-COVID-19 pandemic arts landscape, traditional performing arts productions, such as ballet and classical music, are under increasing pressure to remain financially viable. Australia's largest performing arts companies, Opera Australia and the Australian Ballet, have each posted recent losses, despite receiving significant government grants. The Paris Opera Ballet, the world's oldest national ballet company, receives government subsidies to ensure financial stability. What Sets Shen Yun Apart? Shen Yun is a nonprofit organization established in New York in 2006. Its success is almost entirely funded by ticket sales and limited donations, not government grants or corporate sponsorships. Related Stories 5/11/2025 11/18/2024 It is audience appreciation and support that allows Shen Yun to grow and be successful. More and more people want to experience what Shen Yun presents. A full house at FirstOntario Concert Hall in Hamilton, Ontario, on Dec. 31, 2019. Evan Ning/The Epoch Times Shen Yun's mission is to revive traditional Chinese culture, which has been decimated by the impact of communism in China for more than 70 years, and share these inspirational stories with the world. The traditional values displayed on stage are not an act—performers aim to embody these principles each day. Most artists practice Falun Gong, also known as Falun Dafa, a spiritual and meditation practice with teachings centered on truth, compassion, and forbearance. After being introduced to the Chinese public in 1992 by Mr. Li Hongzhi, Falun Gong's popularity grew exponentially, reaching at least 70 million by the decade's end, according to official estimates. Fearing that the popularity of Falun Gong would threaten its authoritarian rule, the Chinese Communist Party (CCP) launched a brutal persecution campaign to eradicate the practice in July 1999. The persecution continues today, including the killing of practitioners to harvest their organs for the state-run organ transplant industry in military and civilian hospitals. Media, Negativity, and Truth Media outlets that intentionally publish sensational, one-sided articles attacking Shen Yun and Falun Gong ignore the harmful impact on millions of practitioners, including those suffering persecution in China. Psychological research has identified an inherent negativity bias in human beings. It relates to survival mechanisms developed thousands of years ago, where identifying danger or negative threats was essential and could be a matter of life or death. The impact of negativity bias on our decision-making is well understood in the media and politics today. Negative news draws greater attention and can be perceived as believable or truthful. Negative information can lead people to vote against a candidate. If people are not mindful, they can be swayed to accept what is good as something bad or to be avoided. Negative media reporting in the United States is part of Beijing's campaign, In contrast, the Paris Opera Ballet, which has rigorous professional standards similar to Shen Yun, and a modest pay rate (as of 2020) for a full-time entry-level dancer of 2,000 euros per month (around $2,280), does not attract such negative media attention. This distinction lies in its focus on European culture, which isn't seen as a threat by the CCP. CCP's Fear of Shen Yun The CCP knows it does not have the support of the will of the Chinese people. In transforming itself from a 'revolutionary' to a 'ruling' party, it has killed tens of millions in its drive to replace traditional Chinese culture with communist culture. A Chinese paramilitary policeman guards at Tiananmen Square under crimson clouds at sunset after several days of heavy air pollution on July 4, 2013 in Beijing, manic campaign to sabotage Shen Yun displays its deep-seated insecurity: Shen Yun presents an inspiring vision of what China was, and can be, without communism. This dissolves the CCP's illusory claim to represent Chinese civilization, and that 'China' and the party are inseparable. Communism and Secularism Some Western media seem to take their reporting cues from the propaganda used by the CCP to demonize and persecute Falun Gong. There is nothing 'Chinese' about the Communist Party. It has been an invasive form of foreign interference in China since 1921, and, like a pandemic, it has contaminated China and the world with its Marxist–Leninist ideology that declares religions are human creations, denies the possibility of life after death, and the existence of God or a Creator. Over the past 50 years, the importance of religious belief has declined in the West, accompanied by a rise in secular thought. While secularism provides for the reasonable separation of church and state, it can also include philosophical elements that reject religion and align with communist atheist ideology that interpret life solely through a focus on the material world. A focus on materialism and 'self' in the West has led to a sense of isolation from the totality of being human—body, mind, and spirit—and can lead to depression as life may appear random or even meaningless. Chinese traditional culture emphasizes the unity between Heaven and Man and the intrinsic value and spiritual essence of every human being. Shen Yun's Universal Appeal Archbishop Makarios Griniezakis, head of the Greek Orthodox Church of Australia, saw Shen Yun perform in Sydney in February this year and was moved to write to Shen Yun in appreciation. Archbishop Makarios Griniezakis of the Greek Orthodox Church of Australia watched Shen Yun in Sydney, Australia, on Feb. 26, 2025. NTD 'Through this rich and most captivating performance, you [Shen Yun] offer a beautiful and spiritual message to the wider society, which is of the utmost importance in our current days,' Archbishop Makarios wrote in the March 3 'This testimony of cultural and spiritual revival is not only paramount for the people of China, but it sends a pertinent message to the whole world. 'It is through the artistic exploration of faith, love, hope, and unity that the audience is able to contemplate such virtues of which the contemporary world seeks not only to deny but to systematically reject.' The message of hope and kindness that Shen Yun brings to the world is a universal blessing; its audiences truly appreciate it, regardless of their political or religious orientation. There is nothing the CCP can do to stop that momentum. Views expressed in this article are opinions of the author and do not necessarily reflect the views of The Epoch Times.
AU Financial Review
2 days ago
- Entertainment
- AU Financial Review
From Young Talent Time to Carmen: opera star names her style favourites
Melbourne-born Danielle de Niese took out Young Talent Time at nine. Now 45, she is hailed as the 'world's coolest soprano'. Holed up in her literal castle, England's Glyndebourne country estate and opera house, she is preparing for her first Australian role in seven years, in Opera Australia's Carmen. My style signature is … Diva glam. I'm not a T-shirt and jeans girl. My daughter has asked if she can have all my dresses and shoes when she is bigger. Of course, I said yes – she sweetly replied that I can have all of her dresses and shoes when I'm older.
Sydney Morning Herald
23-05-2025
- Business
- Sydney Morning Herald
Opera Australia's in dire trouble. As a former CEO, I think I know why
My recommendation was that this obligation cease and Opera Australia reduce its footprint to seasons at the Sydney Opera House which, after all, is one of the world's most famous buildings and happens to be (kind of, among other things) an opera house. The opera on the harbour could continue but honestly should do so only if the repertoire was there to sustain interest. I have been away from Australia for many years but Guys & Dolls on the harbour? Seriously? What's the point? The federal funding for the national company should be proportionally reduced and redistributed to the state-based companies and also to one of the Melbourne companies, who all do fine work as it happens. If cutting Melbourne's apron strings was long past due then, it's simply irrational today. I then turned my mind to the financial challenges that were coming thick and fast. The company had an impressive property portfolio thanks to previous administrations. However, having such non-liquid assets tied up was not helping the day-to-day operations of the company. I recommended rethinking the Surry Hills headquarters. Perhaps a joint venture could be explored with our neighbour – Belvoir Street Theatre – which owned an adjacent building. We could partner with a developer to redesign the whole (large downtown) site to accommodate rehearsal rooms, administration offices and apartments above: both literally and figuratively be that 'beacon on the hill' rightly expected of a supposedly national flagship performing arts company. The notion of having scenery and costume manufacture in such a plum location made no sense at all. This was especially odd when the company already owned a large scenery storage warehouse in Alexandria which could be fitted out to accommodate manufacturing functions. It could also have easily been possible to offload the Alexandria site and move both manufacturing and storage to a regional base. The Royal Opera House in London builds productions in the Thames estuary and stores productions in Wales, for example. Frankly, given the dire financial position revealed by Opera Australia's most recent set of accounts, it insults artists, crew and remaining donors for the company to maintain its obdurate and irrational resistance to leveraging for survival, an asset of the magnitude as the company possesses. And finally to the conundrum of the musical. In my early days, Opera Australia would regularly present Gilbert & Sullivan and Viennese operettas to large, enthusiastic audiences. These productions were cost-effective, a great way to use the chorus and resident principal artists and terrific for the bottom line. Of course, tastes change and the company had to move on. The introduction of large-scale musicals as a co-production with a commercial producer was, for a while, a sensible way to mitigate the rising costs of main-stage opera and a great boost to the box office. Loading There were, though, a number of challenges, even in the good old days of my time. Supply of venues was an annual challenge. Sydney and Melbourne were certain; Perth and Adelaide were generally not financially sensible; and Brisbane was possible only should the Queensland Performing Arts Centre be interested in the title. Without a substantial length of season, the cost base made the musical unviable. There was always a concern, as with Handa Opera on the Harbour, that we would run out of titles. Fast forward to now and the company is presenting the aforementioned Guys & Dolls on the harbour and is licking its wounds from a disastrous season of Sunset Boulevard. It's crazy. The annual musical became the artistic heroin of the company. We knew it was not really what we were supposed to be doing (we were meant to be an opera company, after all) and we were not confident of our supply, but without it, we would be in greater trouble. As it happened, by the time I left the company to return to London, we were presenting as many performances of the national season of My Fair Lady as all of the main-stage operas combined – surely not a sustainable construct. More importantly, this addiction to musicals dangerously deprecated the company's assumed raison d'être: first and foremost, to present opera. Musicals are not opera. I have a huge fondness for this company, Opera Australia and I count some of the finest productions of my professional life in its catalogue (Luhrmann's La Bohème, Armfield's Tristan & Isolde) and so I learn of the catalogue of woes from afar with great concern and sadness. However, none of the issues I've described in this cook's tour of my time at the helm of Opera Australia are new. Many people of goodwill have lent much time and expertise over the years to help the company – it tells us something that surely no art form in Australia has endured more inquiries than opera. So what baffles therefore is how it is that successive boards have either failed to understand or worse, have shown themselves deaf to the need to undertake reforms so obviously necessary to save, not just the company, but the sustainability of the wider arts ecology. If Opera Australia is indeed our national flagship performing arts company, it needs to conduct itself accordingly because its fortunes affect many. There is no natural right to existence for a publicly subsidised opera company. The company must dig deep and identify exactly who and what it is for. For whom does it exist to serve? Fresh thinking at board level is needed. I love opera and I love Opera Australia. I sincerely hope a solution can be found. Many opera companies around the world are experiencing similar difficulties but sadly, for our own national company, the problem is particularly acute.
The Age
23-05-2025
- Business
- The Age
Opera Australia's in dire trouble. As a former CEO, I think I know why
My recommendation was that this obligation cease and Opera Australia reduce its footprint to seasons at the Sydney Opera House which, after all, is one of the world's most famous buildings and happens to be (kind of, among other things) an opera house. The opera on the harbour could continue but honestly should do so only if the repertoire was there to sustain interest. I have been away from Australia for many years but Guys & Dolls on the harbour? Seriously? What's the point? The federal funding for the national company should be proportionally reduced and redistributed to the state-based companies and also to one of the Melbourne companies, who all do fine work as it happens. If cutting Melbourne's apron strings was long past due then, it's simply irrational today. I then turned my mind to the financial challenges that were coming thick and fast. The company had an impressive property portfolio thanks to previous administrations. However, having such non-liquid assets tied up was not helping the day-to-day operations of the company. I recommended rethinking the Surry Hills headquarters. Perhaps a joint venture could be explored with our neighbour – Belvoir Street Theatre – which owned an adjacent building. We could partner with a developer to redesign the whole (large downtown) site to accommodate rehearsal rooms, administration offices and apartments above: both literally and figuratively be that 'beacon on the hill' rightly expected of a supposedly national flagship performing arts company. The notion of having scenery and costume manufacture in such a plum location made no sense at all. This was especially odd when the company already owned a large scenery storage warehouse in Alexandria which could be fitted out to accommodate manufacturing functions. It could also have easily been possible to offload the Alexandria site and move both manufacturing and storage to a regional base. The Royal Opera House in London builds productions in the Thames estuary and stores productions in Wales, for example. Frankly, given the dire financial position revealed by Opera Australia's most recent set of accounts, it insults artists, crew and remaining donors for the company to maintain its obdurate and irrational resistance to leveraging for survival, an asset of the magnitude as the company possesses. And finally to the conundrum of the musical. In my early days, Opera Australia would regularly present Gilbert & Sullivan and Viennese operettas to large, enthusiastic audiences. These productions were cost-effective, a great way to use the chorus and resident principal artists and terrific for the bottom line. Of course, tastes change and the company had to move on. The introduction of large-scale musicals as a co-production with a commercial producer was, for a while, a sensible way to mitigate the rising costs of main-stage opera and a great boost to the box office. Loading There were, though, a number of challenges, even in the good old days of my time. Supply of venues was an annual challenge. Sydney and Melbourne were certain; Perth and Adelaide were generally not financially sensible; and Brisbane was possible only should the Queensland Performing Arts Centre be interested in the title. Without a substantial length of season, the cost base made the musical unviable. There was always a concern, as with Handa Opera on the Harbour, that we would run out of titles. Fast forward to now and the company is presenting the aforementioned Guys & Dolls on the harbour and is licking its wounds from a disastrous season of Sunset Boulevard. It's crazy. The annual musical became the artistic heroin of the company. We knew it was not really what we were supposed to be doing (we were meant to be an opera company, after all) and we were not confident of our supply, but without it, we would be in greater trouble. As it happened, by the time I left the company to return to London, we were presenting as many performances of the national season of My Fair Lady as all of the main-stage operas combined – surely not a sustainable construct. More importantly, this addiction to musicals dangerously deprecated the company's assumed raison d'être: first and foremost, to present opera. Musicals are not opera. I have a huge fondness for this company, Opera Australia and I count some of the finest productions of my professional life in its catalogue (Luhrmann's La Bohème, Armfield's Tristan & Isolde) and so I learn of the catalogue of woes from afar with great concern and sadness. However, none of the issues I've described in this cook's tour of my time at the helm of Opera Australia are new. Many people of goodwill have lent much time and expertise over the years to help the company – it tells us something that surely no art form in Australia has endured more inquiries than opera. So what baffles therefore is how it is that successive boards have either failed to understand or worse, have shown themselves deaf to the need to undertake reforms so obviously necessary to save, not just the company, but the sustainability of the wider arts ecology. If Opera Australia is indeed our national flagship performing arts company, it needs to conduct itself accordingly because its fortunes affect many. There is no natural right to existence for a publicly subsidised opera company. The company must dig deep and identify exactly who and what it is for. For whom does it exist to serve? Fresh thinking at board level is needed. I love opera and I love Opera Australia. I sincerely hope a solution can be found. Many opera companies around the world are experiencing similar difficulties but sadly, for our own national company, the problem is particularly acute.
ABC News
21-05-2025
- Entertainment
- ABC News
Behind the scenes at Eurovision and major losses at national companies
Eurovision is a phenomenon in Australia, with more than 450-thousand people tuning in for the final this year. But what's it like to compete in this global extravaganza? And what impact does it have on a musician's career? Electric Fields, who represented Australia in 2024, share their experience at the competition. Hasib Hourani reads his NSW Literary award-winning poem you can start anywhere, you'll still hit all the service stations, originally broadcast on Line Break Opera Australia and The Australian Ballet have each announced losses of more than nine million dollars for the 2024/5 financial year. That follows on from leadership changes at both companies. Samuel Cairnduff says that this is more symptom than cause, and there are bigger issues facing the arts sector. Our track of the week is Heartbreak by Tune-Yards Stories mentioned in the headlines: Cannes attempts to institute new fashion rules on the red carpet Gen Z gets a seat on NSW arts boards Winners announced for the NSW Literary Award Elton John brands government 'losers' over AI copyright plans
