Artist. Rebel. Icon.
He burst onto the international art scene, all golden curls and bravado. He was dynamic, damaged, a big idea and a bold brush. With the vivacious Wendy on his arm, Brett Whiteley was magnetic.
He abhorred straight lines, adored drugs, alcohol, women. He worked in vivid colour and ravishing curves. Heroin was both muse and merciless master. Out of this tumultuous life spilled a messy array of brilliant artworks and astonishing self-reflection.
In 2019, this Australian icon meets two of Australia’s greatest artists in a brand new work for the Australian stage: Whiteley, by Elena Kats-Chernin and Justin Fleming.
Kats-Chernin is peerless among contemporary composers, celebrated for her enormous output and music that bursts with colour, life and tenderness. Fleming is a respected playwright and librettist whose work is renowned for its warmth, wit and poignancy.
Together they’ve created an opera to honour the life and work of a man who could not extricate his talent from his demons.
Production designer Dan Potra’s technology-driven set is an immersive world created from Whiteley’s most famous paintings. Experience the works of a modern master on moving, larger-than-life screens.
Duración del musical: 2 horas y 30 minutos, incluido un intermedio.
Calificación: recomendado para mayores de 6 años.
Todas las personas necesitan de una entrada para el espectáculo, independientemente de su edad.
Hay acceso disponible para discapacitados.
Hay un gran vestíbulo en el nivel principal. Los baños están en una escalera de caracol o en ascensor. Hay guardarropa disponible.
La entrada al edifico está al nivel de la calle.
El edificio cuenta con aire acondicionado.
Asientos para personas en silla de ruedas disponibles.
Los asientos disponibles en el teatro se llenaran según elección, con la excepción de los que el teatro designa como Asientos Premium. Puede consultar el plano de la sala en este enlace.
Werther loves with thrilling intensity. But passion blooms into a dangerous obsession when the young poet discovers his love can never be realised.
Goethe’s powerful novel, The Sorrows of Young Werther, moved the world upon its release in 1774. Young men cried their anguish into tiny glass vials and carried around their tears to prove the depth of their emotions. They wore the poet’s signature clothes, and a few lovelorn souls even followed his path, seeking death over a life without love.
In the ultimate Romantic opera, Massenet’s rich score magnifies the drama and emotion of the story. Werther falls hopelessly in love with Charlotte in lyrical, melodious phrases. As Charlotte chooses duty over heart, Werther’s turmoil is palpable in restless music that bursts out of an enormous orchestra. The French composer’s ability to evoke mood and moment in music is on brilliant display.
Any tenor that can master the psychological range and musical difficulty of Werther is guaranteed a new signature role. Young star, Michael Fabiano, is renowned for his intense, character-driven performances. Hear his role debut as the troubled poet, with acclaimed mezzo-soprano Elena Maximova as Charlotte and Carlo Montanaro as conductor.
Wozzeck is running, always running, with his shadow in pursuit.
He is poor, and he is weary. He is used, and used up. He is a brute, ruled by brutes.
And now his mind is imploding.
Berg’s fascinating opera is a portrait of a ravaged man, drawn with vivid clarity through unsettling music and sharp, structured scenes.
One of the most exciting visual artists of our generation, William Kentridge, directs and illustrates this extraordinary production, a collaboration between Opera Australia, the Metropolitan Opera, Salzburg Festival and the Canadian Opera Company.
Kentridge’s haunting illustrations offer a window into the carnage of Wozzeck’s world. Charcoal drawings fill the stage, frenetic scribbles are illuminated and then erased, as we wonder, with Wozzeck, what is real.
At its Salzburg premiere, The New York Times recorded the audience “seemed stunned at the end, yet grateful”. The Telegraphcalled it “completely enthralling ★★★★★”, the Financial Times labelled it “a breathtaking reassessment of Berg’s masterpiece… a work of art across many genres.”
Food and Drinks
Seating Chart: Eugene O'Neill Theatre
Runtime: 2 hours and 45 minutes, including one 15 minute intermission
Rating: Parental Advisory: Explicit language. Children under the age of 4 are not permitted in the theatre.
Hearing Assistance: Yes
There are no wheelchair accessible restrooms. Restrooms are located down one flight of stairs.
There are no steps into the theatre from the sidewalk.
Wheelchair Seating Available
Assisted listening system available
Desire burns in the shadows, rage blazes in the light.
Anne Boleyn won the king’s desire first, his love second, but only an heir could deliver his loyalty. In a court full of secrets and spies, the Tudor Queen’s time is running out.
Donizetti’s opera rips the best bits from a bloody time in history to create a thrilling ride through the last days of Anne Boleyn’s marriage to King Henry VIII. Jealous courtiers and scheming royals have the queen caught fast in a tightening trap. And her lady-in-waiting is waiting indeed, consumed with guilt, to take her place on the throne.
With ardent melodies, fiery singing and acrobatic coloratura, every minute of Anna Bolena is a masterclass in bel canto opera. It depends on a stellar soprano to throw herself into the role.
Ermonela Jaho is that singer, “a fiery angel” (The Economist) renowned for offering her heart and soul up on stage. “Don’t even try to resist,” warns the Financial Times. This starry cast includes Ho-Yoon Chung as Lord Percy and Teddy Tahu Rhodes as the ruthless, passionate king.
From the creative team that brought you Aida comes the first of a new trilogy of Donizetti’s Tudor Queen operas. Davide Livermore directs a new production featuring stunning costumes and his signature high-tech sets.