Too big for Sydney: This massive work signals Opera Australia’s comeback

Opera Australia is launching its 2027 season with a bold mix of classic and contemporary works, signaling a fresh direction under new leadership. After years marked by management instability and financial challenges, the organization is positioning itself for a more stable and ambitious future. The season includes a range of productions set to take place in both Sydney and Melbourne, featuring notable names such as David McVicar's interpretation of Wagner’s Tannhäuser and a family-friendly, steampunk version of Mozart’s The Magic Flute. Two major Australian operas and the return of Gilbert and Sullivan to the Sydney Opera House are also among the highlights. The 2027 season marks the debut of Amy Lane as the new director of opera, following her tenure as artistic director of the Copenhagen Opera Festival. Lane will transition fully to Opera Australia after completing her duties in Denmark this month. She expressed optimism about the company’s trajectory, noting that the current climate feels ripe for strategic planning and long-term growth. “It does feel strangely like, after a slightly bumpy period, that the ground is kind of fertile for us to go, ‘OK, what are we planting and what are we going to see in our five-year round?’” she remarked. Alongside Lane, the leadership team includes CEO Alex Budd and music director Andrea Battistoni. Together, they aim to revitalize the organization after a period of frequent changes in top roles, including the tenure of Jo Davies and Fiona Allan. The new leadership structure reflects a commitment to continuity and clarity, moving away from the previous pattern of turnover. A key highlight of the season is the staging of Tannhäuser, which will take place at Melbourne’s State Theatre rather than the Sydney Opera House. This decision comes amid ongoing renovations at the latter venue, which have limited programming options for Melbourne-based opera enthusiasts over the past three years. The move to Melbourne is expected to draw a broader audience, particularly given the scale of the production. Tannhäuser requires an orchestra larger than the capacity of the Opera House’s Joan Sutherland theatre, along with a substantial off-stage brass section. Director David McVicar’s vision for the work has been described as “exhilarating,” according to Lane, who praised his ability to make the complex opera accessible to a wider audience. In Sydney, the season kicks off with the local premiere of Puccini’s La Bohème, which will have its world premiere in Melbourne later in the year. The city will also welcome a revival of Simon Phillips’ production of Donizetti’s The Elixir of Love, featuring localized subtitles tailored to Australian audiences. Additionally, Sydney will host a double-bill of one-act French works, including Ravel’s L’Enfant et les Sortilèges starring acclaimed mezzo-soprano Margaret Plummer and Poulenc’s La Voix Humaine, a poignant one-woman opera centered around a woman’s final telephone call with her unfaithful lover. Melbourne’s offerings include the city premiere of Ann Yee’s Turandot, alongside the steampunk Magic Flute and Leah Purcell’s The Drover’s Wife. These selections reflect a deliberate effort to balance international classics with homegrown talent and innovative storytelling. The season also includes a surprising programming choice, though the details remain incomplete in the available reports. Overall, the 2027 season represents a clear shift toward diversity, accessibility, and artistic experimentation, marking a promising chapter in Opera Australia’s history.