Opera Australia's 2027 season promises a resurgence after years of turmoil, with a diverse lineup that showcases the company's renewed ambition and stability. The season features a range of productions, from a new David McVicar take on Wagner's Tannhäuser to a family-friendly, steampunk Magic Flute, and the return of Gilbert and Sullivan to the Sydney Opera House. This marks a significant shift from the past, where Sydney audiences have faced slim pickings due to venue closures for renovations.
At the heart of this transformation is the appointment of Amy Lane, a seasoned director, as the company's full-time director of opera. Lane's expertise and vision are pivotal in shaping the company's future, as she joins a revamped leadership team alongside CEO Alex Budd and music director Andrea Battistoni. The departure of the revolving-door era of Jo Davies and Fiona Allan signifies a new beginning for Opera Australia.
One of the highlights of the season is the staging of Tannhäuser in Melbourne's State Theatre, a move that will alleviate the frustration of Sydney opera fans who have endured limited offerings due to venue closures. The production, directed by McVicar, is a monumental work that requires a larger orchestra and off-stage brass ensemble, making it an ideal fit for the larger venue.
Lane's enthusiasm for McVicar's vision is palpable, describing their initial meetings as "exhilarating." She emphasizes the director's ability to make Wagner's complex work accessible and enticing, not just for Wagner enthusiasts but for a broader audience. This approach aligns with Opera Australia's strategy to attract younger audiences, as evidenced by the Australian premiere of Scottish Opera's Magic Flute, a family-friendly production that has already garnered positive reviews.
In Sydney, the season opens with the local premiere of Puccini's La Boheme, a beloved opera that will be followed by the return of Simon Phillips' production of Donizetti's The Elixir of Love, complete with ocker-ised surtitles. The season also features a double-bill of one-act French works, including Ravel's L'enfant et les sortileges and Francis Poulenc's La Voix humaine, a one-woman opera that offers a vulnerable and intimate performance.
The winter season in Sydney showcases a range of productions, including McVicar's Faust, Stuart Maunder's Pirates of Penzance, and the Sydney premiere of Verdi's A Masked Ball. Melbourne's offerings include the city's premiere of Ann Yee's Turandot, the Magic Flute, and Leah Purcell's The Drover's Wife. A unique decision to present a one-off performance of Beethoven's 9th Symphony in Melbourne adds a touch of variety and innovation to the season.
Lane's philosophy behind the programming choices is evident in her emphasis on variety and pushing boundaries. She encourages the exploration of new classics and the reimagining of traditional works to cater to diverse tastes and attract a broader audience. This approach reflects Opera Australia's commitment to innovation and its desire to leave a lasting impact on the industry.
In conclusion, Opera Australia's 2027 season represents a significant step forward, showcasing the company's resilience and artistic vision. With a diverse lineup and a renewed leadership team, the company is poised to captivate audiences and solidify its position as a leading opera organization. The season's emphasis on variety and innovation sets a promising trajectory for the future of Opera Australia, leaving audiences eager for the next chapter in its storied history.
