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Opera Australia

Opera Australia is Australia's principal opera company, founded in 1956 by a group of enthusiasts to mark the bicentenary of Wolfgang Amadeus Mozart's birth through performances of four operas, and it has since grown into the nation's largest performing arts employer within the $67.4 billion cultural and creative sector (as of 2023–24). Based primarily in Sydney, the company stages a diverse repertoire of operas, musicals, and concerts at venues including the Sydney Opera House, the Arts Centre Melbourne, and its headquarters at The Opera Centre in Surry Hills, while also touring nationally to share compelling stories through music and nurture emerging Australian talent. The company's early years were marked by grassroots support from ordinary Australians—such as butchers, pharmacists, and newsagents—who contributed to its establishment and operations. In 1967, it received a pivotal grant from the New South Wales government to become a permanent ensemble, enabling sustained professional development. The opening of the Sydney Opera House in 1973 provided a world-renowned home stage, with Opera Australia's production of War and Peace by Sergei Prokofiev inaugurating the venue's lyric theatre. A significant expansion occurred in 1996 when it merged with the Victoria State Opera, consolidating resources and broadening its national reach under the unified Opera Australia banner. Among its notable achievements, Opera Australia premiered the first full-length Australian opera, by Richard Meale in 1986, and achieved international acclaim with its 1994 production of Benjamin Britten's , which toured globally. In 2012, it launched the ambitious Handa Opera on Harbour series, presenting large-scale outdoor productions with stunning harbor backdrops, starting with Giuseppe Verdi's . The company has also embraced innovation, notably with the world's first fully digital presentation of Richard Wagner's cycle in 2023, streamed to audiences amid post-pandemic adaptations. Looking ahead to its 70th anniversary in 2026, Opera Australia continues to champion visionary works by leading directors while fostering new audiences and Australian artistic voices.

History

Origins: Australian Opera Company (1956–1957)

The Opera Company was founded in 1956 by the Australian Elizabethan Theatre Trust as a temporary ensemble to commemorate the bicentenary of Wolfgang Amadeus Mozart's birth, reflecting Australia's post-World War II aspirations to cultivate a national through professional arts institutions. This initiative drew on both government grants and private subscriptions, with an initial federal allocation of £30,000 supplemented by public contributions, underscoring the collaborative effort to elevate local amid limited . The company assembled a cast of amateurs from diverse professions—including butchers, pharmacists, and newsagents—who temporarily left their day jobs to participate, supplemented by expatriate Australian artists to provide professional polish. Its inaugural season featured four Mozart operas: The Marriage of Figaro, The Magic Flute, Don Giovanni, and Così fan tutte, staged in Sydney and Melbourne from July to October. These productions were conducted by Joseph Post, the Trust's musical director, and directed by Robert Helpmann, with international guest artists such as soprano Joan Hammond contributing to the performances despite the ensemble's nascent status. Resource constraints posed significant challenges, including a substantial financial loss of £36,051 for the season and dependence on borrowed orchestras and scenery, highlighting the precarious foundation of opera in Australia at the time. This ad hoc venture laid the groundwork for a more permanent opera company under the Elizabethan Theatre Trust in 1957.

Elizabethan Theatre Trust Opera Company (1957–1970)

Following the success of the 1956 Mozart bicentenary celebrations, which provided the founding impetus for professional opera in , the company was restructured under the auspices of the newly formed Australian Elizabethan Theatre Trust and renamed the Elizabethan Theatre Trust Opera Company in 1957. This transition marked a shift toward more sustainable operations, with annual seasons mounted in major cities such as , , and , often at venues like the Elizabethan Theatre in Newtown. The company also initiated regional tours to bring opera to audiences beyond urban centers, starting with performances by laid-off singers in 1959 and expanding to state-supported tours that reached rural communities across and . A pivotal development occurred in 1967, when the government provided a substantial to establish the company as a permanent ensemble, allowing for year-round programming and reducing reliance on seasonal funding from the Trust. This financial support, amounting to an initial allocation for infrastructure and artist contracts, enabled the recruitment of a core resident company and the planning of consistent national seasons, solidifying opera's place in Australia's . Prior to this, operations had been intermittent, but the facilitated expanded rehearsals and the formation of dedicated support ensembles, including orchestral partnerships. The period saw several notable productions that highlighted the company's growing ambition, including the 1957 staging of Puccini's featuring expatriate soprano Joan Hammond in the title role, which drew large crowds at the Sydney Theatre. In 1958, the company presented its first production of Bizet's , a landmark for introducing more accessible repertoire to Australian audiences. Other key works included Richard Strauss's in 1960, again with Hammond performing the Dance of the Seven Veils, and a 1965 season organized in collaboration with J.C. Williamson Theatres that brought international stars Joan and Luciano to Australia for performances of operas such as . These efforts involved early collaborations with renowned conductors like Georg Tintner and international guest artists, fostering technical expertise among local performers. Under the Trust's governance, the company played a crucial role in building national identity by promoting opera as an inclusive art form, with initiatives aimed at broadening access through affordable ticket pricing and performances in community venues. This included school matinees and outreach programs that introduced thousands of students to opera, emphasizing Australian talent alongside global works to cultivate cultural pride and participation. By prioritizing local artists in leading roles and touring to regional areas, the Elizabethan Theatre Trust Opera Company helped democratize the genre, laying the groundwork for opera's enduring presence in Australian society.

The Australian Opera (1970–1996)

In 1970, the Elizabethan Theatre Trust Opera Company achieved full independence and was renamed The Australian Opera under the newly established Australian Opera Foundation, emphasizing its national scope with primary bases in Sydney and Melbourne. The company's landmark moment came in 1973 with the opening of the Sydney Opera House, where it presented the Australian premiere of Sergei Prokofiev's War and Peace in the Opera Theatre on September 29, directed by Sam Wanamaker and conducted by Edward Downes. This epic production, adapted from Leo Tolstoy's novel, marked the first public performance in the new venue and established the Australian Opera as a resident company there. A significant artistic achievement occurred in 1982 with the inaugural outdoor production of Giuseppe Verdi's in 's Domain park, starring as , which drew massive crowds and introduced free public opera performances to broaden accessibility. This event, part of the Sydney Festival, highlighted Sutherland's star power and set a for annual outdoor spectacles. In 1986, the Australian Opera staged the world premiere of Richard Meale's at the Adelaide Festival, with by based on Patrick White's novel, representing Australia's first full-length opera in over 20 years and a major milestone in national operatic composition. The work, conducted by Stuart Challender and directed by , was acclaimed for its innovative score and poetic adaptation, cementing the company's role in commissioning contemporary Australian works. The period culminated in 1994 with the international success of Baz Luhrmann's visually striking production of Benjamin Britten's at the Edinburgh Festival, the first Australian opera production to achieve such global recognition and praised for its bold, immersive staging. This triumph underscored the Australian Opera's growing artistic influence abroad during its final years of independence.

Formation and development (1996–present)

Merger and initial reorganization

In 1996, The Australian Opera merged with the Victoria State Opera, which was facing imminent financial collapse, to form Opera Australia as a unified national company. This merger, driven by the need to consolidate resources and ensure long-term viability amid mounting operational costs from maintaining two separate entities, centralized administration and artistic direction while preserving a dual-city presence in Sydney and Melbourne. Under the leadership of Artistic Director Moffatt Oxenbould, who had held the position since 1984, the new organization prioritized operational efficiencies to address the inherited financial pressures. The initial reorganization emphasized cost management and structural streamlining, including the absorption of the Victoria State Opera's assets and the elimination of duplicative roles across the two former companies. Chaired by Graeme Samuel, a Melbourne-based businessman who facilitated the merger, the board focused on establishing a sustainable model that balanced artistic ambitions with fiscal responsibility, marking a shift from regional competition to national collaboration. Programming efforts centered on stabilizing the core operatic , with early seasons featuring established works to build audience confidence and revenue streams. Opera Australia's inaugural seasons post-merger were held at the in and the State Theatre at , reinforcing the company's commitment to these key venues as hubs for mainstage productions. This dual-season approach, combined with plans for national touring to regional areas, aimed to broaden accessibility and foster a unified Australian opera identity while navigating the challenges of integration.

Leadership transitions and strategic challenges

In 2009, Lyndon Terracini assumed the role of at Opera Australia, bringing a focus on accessible programming that emphasized popular operas and crossovers to broaden audience appeal. Under his leadership, the company increased productions of crowd-pleasing works like repeated stagings of alongside musicals such as South Pacific, which accounted for a significant portion of performances—185 out of 384 advertised shows by 2014—aiming to boost attendance amid evolving market demands. By 2024, Opera Australia faced a severe , reporting an operating deficit of $10.1 million, driven by a 23% drop in revenue to $50.7 million from $65.7 million the previous year. This shortfall was exacerbated by the underperformance of the musical , which contributed to a $15 million overall revenue decline, compounded by lingering post-COVID recovery challenges including reduced audience turnout and a $1.8 million fall in and donations. In response to these mounting pressures, Opera Australia underwent a major overhaul in August 2025, appointing Professor AC as Chair of the Board, Alex Budd as effective November 2025, and Battistoni as starting January 2026. These changes followed a year of instability, including the departures of Jo Davies in August 2024 and CEO Fiona Allan in January 2025, and were explicitly aimed at addressing the financial deficits through enhanced operational efficiency and long-term stability. The overhaul sparked internal debates about reducing operations in , where economic viability has been questioned amid the State Theatre's closure until 2027 and competition from Victorian Opera, with some advocating a shift to a Sydney-centric model to cut costs. To counter the crisis, Opera Australia initiated strategic responses including intensified philanthropy drives to reverse the donation slump and rebuild sponsorship from $8.1 million in 2023 to higher levels, alongside programming adjustments such as a comprehensive review of 2024 seasons leading to fewer overall performances in 2025 and 2026 for cost control. The company also planned to leverage international star power, exemplified by Battistoni's appointment and the return of global talents for key productions, to enhance artistic draw and audience recovery while exploring asset sales like the Opera Centre to bolster financial sustainability.

Major milestones and productions

One of the landmark achievements in Opera Australia's post-merger era was the 2012 launch of Handa Opera on Sydney Harbour, an ambitious outdoor production series that transformed the city's iconic waterfront into a grand stage for . The inaugural event featured 's , directed by Francesca Zambello, with a lavish set by Brian Thomson that included a nine-meter and drew over 50,000 attendees across its run, setting a new benchmark for accessible, spectacle-driven opera in Australia. This production not only revitalized public engagement with opera but also established the Handa series as an annual tradition, reaching its tenth edition by 2022 with cumulative audiences exceeding 500,000. In 2013, Opera Australia presented its first complete staging of Richard Wagner's , a monumental four-opera cycle directed by Neil Armfield, which premiered in and was acclaimed for its minimalist yet emotionally resonant approach, blending psychological depth with innovative video projections by Neil Kellerhouse. The production, conducted by Pietari Inkinen, ran for 16 hours over multiple evenings and marked a significant artistic milestone, earning international praise for elevating Australian opera to the forefront of Wagnerian interpretation. The company's 2022 mounting of Andrew Lloyd Webber's at the became the fastest-selling ticketed event in the venue's history, with over 61,000 tickets sold in its initial run and generating record revenue amid post-pandemic recovery. This production, adapted for the Handa Opera on Sydney Harbour format earlier that year, showcased a cast of 65 and elaborate staging, underscoring Opera Australia's ability to blend musical theater with operatic grandeur to broaden its appeal. Expanding beyond Sydney and Melbourne, Opera Australia brought a new, fully digital production of Der Ring des Nibelungen to Brisbane in 2023, directed by Chen Shi-Zheng and designed by Bob Cousins with cutting-edge projections by Lightsound Motion, attracting audiences from across Australia and overseas to the Queensland Performing Arts Centre. This second major Ring Cycle for the company highlighted regional growth, with two full cycles performed exclusively in Brisbane from December 2023, emphasizing immersive technology to reimagine Wagner's epic for contemporary viewers. In 2024, Opera Australia co-presented the world premiere of Gilgamesh, a groundbreaking new by Jack Symonds with by Louis Garrick, based on the ancient Mesopotamian and exploring themes of mortality and heroism through a fusion of orchestral and elements. Performed in collaboration with Sydney Chamber Opera, Australian , and Ensemble Offspring, the production won the APRA AMCOS Awards for Work of the Year (Dramatic) and Performance of the Year (Notated Composition), affirming its critical and artistic impact. Looking ahead, Opera Australia is preparing its 2026 season to celebrate the company's 70th anniversary, opening with Moffatt Oxenbould's beloved production of Giacomo Puccini's at the from January to March, alongside new commissions and revivals that blend timeless classics with innovative Australian works to honor its legacy.

Organization and operations

Venues and performance seasons

Opera Australia primarily performs at two main venues in a dual-city model, staging extended seasons in and shorter ones in . The Theatre at the serves as the company's principal home, hosting performances from January to April and July to November each year, spanning approximately six to eight months of the calendar. Seasons in typically occur at the State Theatre within the Arts Centre Melbourne for three to four months. Due to renovations to the State Theatre beginning in April 2024, the 2025 and 2026 seasons will be held at the Regent Theatre, including the 2025 program from October to December featuring mainstage operas like , , and & , with the State Theatre expected to reopen in early 2027. Complementing these indoor seasons, Opera Australia presents an annual large-scale outdoor production at Handa Opera on Sydney Harbour since its in 2012, transforming Mrs Macquaries Point into a pop-up with a extending over the water. The venue accommodates approximately 3,000 spectators per performance, drawing crowds for spectacles like the 2024 and the extended 2026 run of , which marks the first lengthening of the event's typical March-April schedule. The company extends its reach through regional touring, performing at key centres including the (QPAC) in , His Majesty's Theatre in , Her Majesty's Theatre in , and the . Notable examples include the 2023 Ring Cycle exclusive to QPAC and a 2025 gala concert at the celebrating its 60th anniversary, featuring the full , , and soloists for the first time in 42 years. Tours like the 2025 national production of also visit multiple regional sites, such as and , supported by partnerships through the Opera Conference and Creative Australia funding. Season planning follows a structured dual-city approach, with 10 to 12 mainstage operas produced annually across and , supplemented by concerts, musicals, and tours. The 2025 lineup exemplifies this, including operas such as in , and in , alongside musicals like on national tour and . This programming balances classic repertoire with contemporary works, presented in "stagione" format for in 2025, where individual productions run consecutively. Attendance trends reflect robust engagement in core venues amid broader challenges, with over 83,000 attendees at the 2024 summer season across 68 performances, contributing to a total of 362,430 for the year despite a 26% decline overall and revenue pressures from reduced international visitors.

Educational and community outreach

Opera Australia's educational and community outreach initiatives focus on nurturing emerging talent and broadening access to opera for diverse audiences across . These programs emphasize for young artists and instrumentalists, while fostering through school-based activities and inclusive partnerships. By integrating training opportunities with public access efforts, the company aims to build a sustainable future for Australian opera. The Young Artist Program provides an 18-month, fully paid, intensive training opportunity for emerging singers, equipping them with professional skills through masterclasses, coaching from répétiteurs, directors, and vocal specialists, as well as roles in mainstage productions. Up to seven participants, including five singers, join annually, with the program based at The Opera Centre in and including international components to enhance . In 2024, the program supported 27 young artists in productions, demonstrating its role in bridging training and professional . Complementing vocal training, the Patricia H. Reid Orchestral Fellowships offer 12-month positions for exceptional early-career string musicians, including first and second , viola, and players, to develop orchestral skills and gain pathways into professional careers. Four fellows were appointed in 2024, participating in rehearsals and performances with the Opera Australia . The George and Nerissa Johnson Memorial Scholarship further supports instrumentalists and conductors by providing financial assistance for advanced training unavailable in Australia, often overseas, to up-and-coming artists affiliated with the company. Five recipients received funding in 2024 for such professional development. Community initiatives include tailored school programs featuring performances, workshops, and tours that bring opera into school halls and regional centers, enabling students to engage with music, voice, and storytelling. Since 2000, these efforts have reached over 800,000 school students, with national tours incorporating local children's choruses, such as the 268 participants in the 2024 La Bohème tour across 20 locations. Free outdoor relays of Handa Opera on Harbour productions are streamed digitally, allowing remote audiences to access full performances at no cost via smart devices and platforms. Partnerships with groups promote cultural inclusion through actions that support Aboriginal and Islander artists and communities via ongoing learning and collaboration opportunities. Outreach has evolved from foundational school programs in the , which laid the groundwork for widespread student access, to post-2010 expansions incorporating resources like plans and streams to reach remote and underserved audiences. These developments reflect a commitment to , with initiatives like the 2024 Education, Learning, and Participation program offering workshops on topics such as visual art and to diverse groups. The impact of these programs is evident in their contribution to the company's artistic , training over 20 artists annually through combined fellowships and scholarships, while 87.3% of cast members and conductors in key 2024 roles were Australian-trained, underscoring the initiatives' success in developing local talent for mainstage performances.

Support for Australian creativity

Opera Australia has demonstrated a sustained commitment to fostering modern through commissioning and staging new works, beginning with initiatives in the 1970s. Since 1974, the company—initially as The Australian Opera—has fully staged at least 12 new Australian operas and conducted over 20 workshops for emerging compositions, contributing significantly to the national operatic repertoire. Notable examples include the premiere of Richard Meale's in 1986 at the Adelaide Festival, an adaptation of Patrick White's novel that was hailed as a in Australian for its exploration of exploration and identity. More recently, collaborations have extended to contemporary projects like the 2024 production of by composer Jack Symonds and librettist Louis Garrick, co-presented with Sydney Chamber Opera, which earned recognition for its innovative take on the ancient epic. Key initiatives have included partnerships with prominent Australian composers to develop and restage significant works. A prime example is the collaboration with Richard Mills, whose opera Batavia—with libretto by Peter Goldsworthy—was commissioned by Opera Australia and premiered in 2001, drawing on historical events of the 1629 to examine themes of power and survival; it was later restaged in 2006. The company supports ongoing development through structured programs, such as workshops and the annual Opera Australia Lab, which provide resources for composers and librettists to refine new pieces from concept to performance. These efforts prioritize Australian narratives and musical innovation, ensuring a pipeline of homegrown talent. International co-productions often incorporate Australian creative input, enhancing global visibility for local artists. For instance, the 2023 production of Offenbach's , directed by Damiano Michieletto, was a co-production with House , featuring sets designed and built in to evoke the opera's dreamlike worlds, thereby showcasing Australian technical and artistic expertise on international stages. In recent years, Opera Australia has emphasized diverse voices in its commissioning process, particularly since , with a focus on gender balance and perspectives. Post- commissions have increasingly involved women creators, contributing to a substantial rise in female representation among directors, conductors, and designers by . collaborations are integrated through cultural consultations and elements in new works, aligning with the company's Action Plan to support Aboriginal and Islander artists as the original storytellers of the land. Since 1996, over half of the company's premiered new works have featured creators, underscoring a strategic emphasis on national content; in alone, four new works were performed, marking a historic high for the organization.

Digital and media presence

Digital innovations

Opera Australia has pioneered digital technologies to revolutionize opera production and broaden audience engagement, particularly through immersive visuals and accessible online platforms. A landmark example is the 2023 production of Richard Wagner's Der Ring des Nibelungen in Brisbane, the world's first fully digital Ring Cycle, which employed 23 LED screens composed of 834 individual panels for dynamic projections and storytelling, minimizing reliance on physical sets to create a futuristic, abstract environment. This innovative approach integrated cutting-edge tools like BlackTrax for real-time performer tracking, seamlessly merging video projections with lighting to enhance narrative immersion. Virtual reality was utilized during the design phase to prototype stage configurations and LED interactions, ensuring precise execution of the production's technical demands. The company has expanded digital access through streaming and broadcast initiatives, beginning with cinema broadcasts of recorded performances from Handa Opera on Sydney Harbour productions around 2015, such as Aida, which allowed nationwide viewing of these outdoor spectacles. In response to the , Opera Australia launched OA | TV: Opera Australia on Demand in 2020, a free platform offering full-length recordings of key operas—including Handa Opera on Sydney Harbour shows from 2015 onward—and archival content featuring Dame , accessible via website, smart TVs, and a dedicated . As of 2025, OA | TV continues to add new content, supporting ongoing audience engagement post-pandemic. Post-pandemic adaptations have further emphasized remote engagement, with the service providing ongoing access to performances and content, alongside app-based viewing options for flexible consumption. Complementing this, Australia's educational programs include online resources and modules tailored for remote learning, supporting curriculum integration in music, drama, and arts education. The primary venue, the , enhances these efforts with virtual 360-degree tours and immersive digital experiences of its spaces, enabling global audiences to explore the performance environment virtually. These digital advancements have significantly amplified Opera Australia's international presence, fostering wider participation in opera through technology-driven accessibility and innovation.

Recordings and home media

Opera Australia has produced several key DVD and Blu-ray releases that capture significant productions, contributing to the company's preserved legacy. A notable example is the 2012 recording of Giuseppe Verdi's La Traviata from the Handa Opera on Sydney Harbour, featuring soprano Emma Matthews in the title role and tenor Gianluca Terranova as Alfredo, directed by Francesca Zambello and conducted by Brian Castles-Onion, which highlights the company's tradition of bel canto excellence. Another important release draws from Opera Australia's first complete staged cycle of Richard Wagner's Der Ring des Nibelungen in 2013, conducted by Pietari Inkinen with innovative staging by Neil Armfield and designer Dale Ferguson at the State Theatre in Melbourne. More recently, the 2022 highlights from Andrew Lloyd Webber's The Phantom of the Opera, performed on the Handa Opera on Sydney Harbour stage with Joshua Robson as the Phantom and Georgina Hopson as Christine, were released in home media formats, emphasizing the production's spectacular outdoor spectacle and fireworks integration. In the realm of audio recordings, Opera Australia collaborated with during the 1990s, featuring casts from the Australian Opera era in operas such as (1976 recording reissued in the period) with and conducted by Richard Bonynge, preserving Australian interpretations of Verdi's dramatic scores through high-fidelity studio and live captures. These releases, often involving the Australian Opera and Orchestra, underscore the company's role in promoting Verdi repertoire with local talent. The evolution of Opera Australia's home media reflects broader technological shifts, beginning with VHS tapes in the , such as the 1985 recording of from the Australian Opera series, which allowed domestic access to full performances for the first time. This progressed to DVD and Blu-ray in the , enhancing visual quality and global reach, before transitioning post-2018 to streaming via partnerships and proprietary platforms like Opera Australia's OA | TV service, offering on-demand access to archived productions overlapping with broader innovations. Opera Australia has also preserved key Australian operas through individual audio releases, including Richard Meale's (1986, libretto by based on Patrick White's novel) with baritone John Pringle in the title role, conducted by Stuart Challender, and Richard Mills's (1996, based on Ray Lawler's play) featuring Marilyn Richardson, conducted by Richard Mills, highlighting the company's commitment to commissioning and recording homegrown operas. Sales and distribution of these recordings are primarily handled through ABC Classics, the classical music arm of the Australian Broadcasting Corporation, which has managed releases like the international DVD export of Turandot and ensures availability in physical and digital formats across Australia and abroad to Europe and Asia.

Awards and recognition

ARIA Music Awards

Opera Australia, formerly known as The Australian Opera, has received recognition at the ARIA Music Awards in the classical and soundtrack categories, underscoring its contributions to Australian opera recordings and productions. In 1988, the company won the ARIA Award for Best Classical Album for the cast recording of Richard Meale's opera Voss, based on Patrick White's novel, conducted by Stuart Challender with the Australian Opera and Ballet Orchestra; this marked an early highlight for the company's recorded output and its role in promoting Australian compositional talent. The company has also earned nominations in related categories, reflecting its crossover appeal between opera and broader music industry honors. For instance, in 2015, Opera Australia's recording of Brett Dean's Bliss (libretto by Amanda Holden, after Peter Carey) was nominated for Best Original Soundtrack/Cast/Show Album, celebrating the production's innovative take on contemporary Australian opera. These accolades, including wins and nominations since the ARIA Awards' inception in 1987, highlight Opera Australia's impact on recordings and its ability to bridge traditional with accessible, award-recognized formats.

Other honors and nominations

Opera Australia has garnered numerous accolades beyond the , particularly in theater and arts recognition, highlighting its artistic excellence and innovation in production. The company has secured 15 Helpmann Awards since the awards began in 1999, celebrating achievements in live across categories such as best , direction, and design. Notable victories include the 2014 Best Opera award for its ambitious production of Wagner's , which also earned individual honors for performers like Warwick Fyfe as Best Male Performer in a Supporting Role in an Opera. In Melbourne, Opera Australia has excelled at the Green Room Awards, earning multiple honors for design, direction, and overall production quality. For instance, in 2018, the company swept all nine awards in the Opera category for its season, including for King Roger and Cavalleria Rusticana / Pagliacci. More recently, at the 2025 Art Music Awards presented by APRA AMCOS, Opera Australia co-won two major categories for its collaboration on Gilgamesh, a contemporary opera by Jack Symonds: Work of the Year (Dramatic Work) for its bold adaptation of the ancient epic, and Performance of the Year (Notated Composition) for the ensemble delivery involving Sydney Chamber Opera, the Australian String Quartet, and Ensemble Offspring. These awards underscore the company's role in championing new Australian compositions. On the international stage, Opera Australia earned a nomination for Best Production at the 2023 International Opera Awards for its inventive staging of Offenbach's , which incorporated digital innovations to enhance narrative immersion. In 2025, the company's production of Offenbach's received a nomination for Best Production at the International Opera Awards. Overall, these honors—totaling over 50 major awards—reflect Opera Australia's sustained emphasis on supporting and elevating creative talent through innovative and high-caliber productions.

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