Latest news with #TheMerryWidow
South China Morning Post
7 days ago
- Entertainment
- South China Morning Post
Opera Hong Kong brings The Merry Widow to the stage
Opera Hong Kong is set to bring a treat to the city's classical music scene this summer with two performances of Austro-Hungarian composer Franz Lehár's beloved operetta, The Merry Widow, at City Hall on August 15 and 16. Advertisement For those intimidated by or unfamiliar with the art form, an operetta offers an inviting first step: short, humorous and more conversational in music and story than capital-O opera. Based on an 1861 French comic play, L'attaché d'ambassade, by Henri Meilhac, The Merry Widow has earned a reputation for being as approachable as it is melodically rich. Soprano Candice Chung is part of an all-local cast of young singers from Hong Kong appearing in The Merry Widow. Photo: Handout Premiering in Vienna in 1905, it tells the story of the recently widowed Hanna Glawari, in the fictional nation of Pontevedro, who has recently inherited a vast fortune from her late husband. With the country's finances in peril, the local nobles cook up a clever plan: to marry Hanna off to a fellow Pontevedrian, so her late husband's millions stay within their borders, setting the stage for the ensuing shenanigans. Opera Hong Kong has pulled together an all-local cast of young singers from within its own ranks for the performance. Leading the show are sopranos Candice Chung Ka-yan and Rianne Lau Cheuk-ying, sharing the role of Hanna, with tenors Henry Ngan Ka-lok and Lam Kwok Ho as her would-be suitor, Count Danilo, and baritone Albert Lim Chun as the scheming Baron Zeta. Soprano Rianne Lau will share the role of Hanna with fellow singer Candice Chung for the Opera Hong Kong performances. Photo: Handout Conductor Michael Koehler and opera director Tang Xinxin, both respected names on the international stage, round out the creative team.
The Advertiser
05-08-2025
- Entertainment
- 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
04-08-2025
- Entertainment
- 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
26-07-2025
- Entertainment
- Sydney Morning Herald
The dream purchase soprano Danielle de Niese finds ‘hard to justify'
This story is part of the July 27 edition of Sunday Life. See all 14 stories. Each week, we quiz a prominent person about their style and the inspiration behind it. Ahead, opera singer Danielle de Niese. How would you describe your style? Diva glam. What's the oldest thing in your wardrobe? A white blouse given to me by Donna Karan. I wore it on the cover of my debut album, Handel Arias, in 2007. And the most recent addition? A white leather Gucci belt with the classic gold GG buckle. What would you wear… … on a first date? On my first date with my husband I wore jeans, a white lace shirt that had a train at the back and high heels with a pearl ankle strap. … on a plane? Black trousers, a shirt, jumper, big scarf and my Brooks tennis shoes. … on the red carpet? I've worked with some amazing designers: Marchesa, Temperley, Vivienne Westwood; a favourite is a fuchsia corseted gown that Vivienne made for me. And I wear Christian Louboutin 'Nude' heels for darker skin. What's your favourite fashion era? I love the art deco period. When I did The Merry Widow here in Australia in 2017, I was in seventh heaven in all the 1920s gowns. The art deco era has style, sleek lines and feminine silhouettes without being that corseted, 'poofy' bottom period. Who's your favourite designer? I love Vivienne Westwood so much, her blend of edgy, rock 'n' roll and feminine. It sums up my style: I like things to be strong, fun and make a statement but also be feminine – and feminine doesn't always mean soft. What's your fragrance of choice? I wear Lolita Lempicka.
The Age
26-07-2025
- Entertainment
- The Age
The dream purchase soprano Danielle de Niese finds ‘hard to justify'
This story is part of the July 27 edition of Sunday Life. See all 14 stories. Each week, we quiz a prominent person about their style and the inspiration behind it. Ahead, opera singer Danielle de Niese. How would you describe your style? Diva glam. What's the oldest thing in your wardrobe? A white blouse given to me by Donna Karan. I wore it on the cover of my debut album, Handel Arias, in 2007. And the most recent addition? A white leather Gucci belt with the classic gold GG buckle. What would you wear… … on a first date? On my first date with my husband I wore jeans, a white lace shirt that had a train at the back and high heels with a pearl ankle strap. … on a plane? Black trousers, a shirt, jumper, big scarf and my Brooks tennis shoes. … on the red carpet? I've worked with some amazing designers: Marchesa, Temperley, Vivienne Westwood; a favourite is a fuchsia corseted gown that Vivienne made for me. And I wear Christian Louboutin 'Nude' heels for darker skin. What's your favourite fashion era? I love the art deco period. When I did The Merry Widow here in Australia in 2017, I was in seventh heaven in all the 1920s gowns. The art deco era has style, sleek lines and feminine silhouettes without being that corseted, 'poofy' bottom period. Who's your favourite designer? I love Vivienne Westwood so much, her blend of edgy, rock 'n' roll and feminine. It sums up my style: I like things to be strong, fun and make a statement but also be feminine – and feminine doesn't always mean soft. What's your fragrance of choice? I wear Lolita Lempicka.
