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  • Sydney Philharmonia Choirs: PopUp Sing! Workshop | From Our House To Yours

    • On-demand

    Sydney Opera House and Sydney Philharmonia Choirs invite you to a virtual PopUp Sing! workshop recorded live in the Joan Sutherland Theatre.

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  • Opera Australia: The Marriage of Figaro - Sydney Opera House (2010)

    • On-demand

    A chaotic whirlwind of mistaken identities makes the wedding day of Figaro and Susanna a lesson in hilarity in this 2010 production, directed by Neil Armfield.

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  • Natalia Osipova | Artist Profile

    • Dance
    • On-demand

    Few dancers boast a career as stellar as Natalia Osipova. In this interview, Osipova unpacks the moments that made her — from a mentorship with Alexei Ratmansky, to becoming principal artist at The Royal Ballet.

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  • Amrita Hepi (Australia)

    • On-demand

    Amrita Hepi, The Anguilla Pursuit (2021), video. 4:31. Commissioned by Sydney Opera House and C-LAB, Taiwan with the support of the Ministry of Culture, Taiwan. Courtesy the artist and Anna Schwartz Gallery. The Anguilla Pursuit takes inspiration from the migration of the freshwater eels, Anguilla Anguilla, who travel over 2 000km from New Caledonia to freshwaters of the Royal Botanic Gardens, Sydney. In this split-channel work, Hepi personifies their journey home through the Sydney Opera House and into the waters that surround, in a dynamic chase scene. Through metaphor and allusion, Hepi’s work explores the physical and psychological dimensions of the 'oceanic feeling'.

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  • Riverbed Theatre (Taiwan)

    • On-demand

    Riverbed Theatre, The Weight of Things (2021), video, 13:30. Commissioned by Sydney Opera House and C-LAB, Taiwan with the support of the Ministry of Culture, Taiwan. Courtesy the artists. (Craig Quintero, Lynn Yeh, Kuan-Yu Chen, John Rommereim, Carl Johnson). Imagined as a Surrealist dreamscape, the Riverbed Theatre's The Weight of Things transports audiences into the world of suspended belief through a series of striking scenes. Threaded together with a dramatic score, evocative cinematography and suggestive narrative, The Weight of Things stirs deep contemplation and reflection about our current moment. The film includes the same cinematic images with two different musical scores. In this Rashomon-inspired experiment, we are reminded that “the truth” is always clouded by our own perspective, that a twice-told tale will never be the same.

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  • Charwei Tsai (Taiwan)

    • On-demand

    Charwei Tsai, Numbers (2022), video, 16:44. Created in collaboration with Stephen O’Malley. Commissioned by Sydney Opera House and C-LAB, Taiwan with the support of the Ministry of Culture, Taiwan. Courtesy the artist. Filmed across Australian natural environments and Sydney Opera House, Taiwanese artist Charwei Tsai’s Numbers is an evocative black and white meditation on trauma, grief and discord. Collaborating with musician Stephen O’Malley, the soundtrack features the musician Kali Malone, and five local Opera Singers, each commissioned to sing numbers significant to each artist, recounting days of separation, to ages of loved ones, to rising death tolls.

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  • Su Yu Hsin + Angela Goh (Taiwan, Australia)

    • On-demand

    Su Yu Hsin and Angela Goh, Tidal Variations (2021), video, 14:40. Commissioned by Sydney Opera House and C-LAB, Taiwan with the support of the Ministry of Culture, Taiwan and Critical Path. Courtesy the artists. Using the lenses of technology, ecofeminism and the body, artists Su Yu Hsin and Angela Goh have reimagined the House as a speculative data centre drifting upon water where undersea cables converge. Through language, sound, animation, dance and archival footage, their commissioned artwork weaves together a layered portrait of space, time and the virtual.

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  • Koki Tanaka (Japan)

    • On-demand

    Koki Tanaka, Reflective Notes (Reconfiguration) (2021), HD video, colour and sound, 06:32. Commissioned by The Sydney Opera House for Returning with support from The Japan Foundation, Sydney. Koki Tanaka’s video essay, Reflective Notes (Reconfiguration) explores the impact from COVID-19 and self-isolation. Drawn from his recent book, Reflective Notes (Recent Writings) published in 2020, Tanaka animates his text through archival footage drawn from his film catalogue. Central to his exposition is the metaphor of “concrete” and “abstract” which he uses to explore the clear and the abstract, the tangible and intangible, the qualitative and quantitative impacts of the pandemic. Questions are posed, answers are suggested, but ultimately, Tanaka reminds audiences that real change lies within individuals and communities. Reflective Notes (Reconfiguration) features Sydney based artist Rainbow Chan as co-narrator.

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  • Cherine Fahd (Australia)

    • On-demand

    Cherine Fahd, Play Proximus (2021), HD video, 10:37. Courtesy the artist. Commissioned by the Sydney Opera House for Art Assembly, with support from our Corporate Partners and Donors as part of New Work Now, project donors and the ARROW Collective. An articulation of touch and intimacy, artist Cherine Fahd’s, Play Proximus documents the 50 public performances of Fahd’s participatory artwork, A Proxy for One Thousand Eyes performed as part of ANTIDOTE at Sydney Opera House’s Utzon Room. Transforming these performances into 12 minutes of tender imagery, Play Proximus is a document of connection, embrace and yearning -- continuing the artist’s interest in portraiture, documentation and performance.

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  • Caroline Garcia (Australia)

    • On-demand

    Caroline Garcia, Force of a .22 Calibre Bullet (2021), digital video, colour, sound, 7:55. Commissioned by The Sydney Opera House for Returning with support from The Japan Foundation, Sydney. Filmed on a body camera, typically used by the police force, Caroline Garcia’s Force of a .22 Calibre Bullet is an experimental mediation of grief, violence and resistance. Taking inspiration from the mantis shrimp, which smashes its victim’s shells with the force of a fired bullet, Garcia performs a series of boxing exercises, appearing as if she is manipulating footage of the mantis shrimp composited into the frame. Framing the violence of her actions is a mediation soundtrack of Indigenous Filipino instruments by Canadian filipino group Notu. Against this juxtaposition of Garcia’s violent exercises, the calming meditation and the allusion to surveillance through her video, Garcia creates a timely statement about the relationship between power, violence and regeneration.

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