Relevant bibliographies by topics / Opera in Australia

Academic literature on the topic 'Opera in Australia'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Opera in Australia"

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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.
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Gamage, Shashini. "Migration, identity, and television audiences: Sri Lankan women’s soap opera clubs and diasporic life in Melbourne." Media International Australia 176, no. 1 (May 5, 2020): 93–106. http://dx.doi.org/10.1177/1329878x20916946.

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This article examines a soap opera club of Sri Lankan Sinhalese migrant women in Melbourne and their collective engagement with television soap operas from the home country. Teledramas, as Sri Lankan Sinhalese-language soap operas are known, have a predominantly female viewership in Sri Lanka and also constitute a significant presence in the media diets of Sinhalese migrant women in Melbourne, and elsewhere in the world. Furthermore, at a women’s teledrama club affiliated to a Sri Lankan diasporic association, Sinhalese migrant women come together to exchange and archive reproduced DVDs of teledramas broadcast in Sri Lanka, bought from Sri Lankan grocery shops in Melbourne. This article builds on ethnographic research conducted at the teledrama club to show how what may appear to be an informal gathering of female teledrama fans is complexly interwoven into the expression of identity and belonging in Australian society. The article positions trans-Asia media flows in Australia within the everyday lives of migrants by examining the Sri Lankan soap opera club as a gendered space as well as a cultural space of identity, belonging and expression. This article finds that the teledrama club provided the women a symbolic national identity as an audience and the Sri Lankan narratives offered audiovisual access to the value systems of their distant geography and past.
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Sergi, Michael, and Peter Dodds. "How Reality Bites: The Production of Australian Soap Operas." Media International Australia 106, no. 1 (February 2003): 71–83. http://dx.doi.org/10.1177/1329878x0310600109.

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Soap opera in Australia is driven artistically by the bottom line, according to Peter Dodds, the producer of the archetypal Australian soap Neighbours, and to Michael Sergi, a freelance director and academic. The meaning of any particular episode is best understood as being filtered by constraints governing production and direction. The specific production and direction processes illuminate much debate about soaps.
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Jarman, Douglas. "THE MUSIC OF ANTHONY GILBERT (PART 2)." Tempo 58, no. 230 (October 2004): 38–49. http://dx.doi.org/10.1017/s0040298204000300.

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The influence of the rhythmic and harmonic ideas derived from Anthony Gilbert's study of birdsong made itself apparent in his works of the mid and late 1970s, firstly in the radio opera The Chakravaka-Bird, many sections of which are based on overlapping short figurations (Gilbert calls them ‘mantras’) that, like the calls of a large body of different birds singing together, are repeated at measured intervals to produce larger rythmic cycles; and then in Towards Asâvari, which was written in Australia in the spring (that is to say the Australian spring – between August and December) of 1978.
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Lefoe, Geraldine E. "Journal of University Teaching and Learning Practice Editorial 8.2." Journal of University Teaching and Learning Practice 8, no. 2 (April 1, 2011): 2–4. http://dx.doi.org/10.53761/1.8.2.1.

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Welcome to the second issue, Volume 8 of the Journal of University Teaching and Learning (JUTLP). We are very pleased to see the way the journal continues to grow and the improvement in the quality of the papers. For this we would like to thank our editorial board and reviewers for their considerable efforts in providing valuable feedback to the contributors. Recently many people farewelled the Australian Learning and Teaching Council at the Opera House in Sydney as they presented the final round of Teaching and Learning awards and citations. Recognition for these outstanding teachers, as well as support through a multi-million dollar grant system, has seen the profile of teaching and learning raised significantly within higher education in Australia and we look forward to seeing further support through the government body who have taken over this role.
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Kelly, Veronica. "The Globalized and the Local: Theatre in Australia and Aotearoa/New Zealand Enters the New Millennium." Theatre Research International 26, no. 1 (March 2001): 1–14. http://dx.doi.org/10.1017/s0307883301000013.

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Late in 1999 the Commonwealth of Australia's Department of Communications, Information Technology and the Arts released Securing the Future, the final Report of the Major Performing Arts Enquiry chaired by Helen Nugent (commonly referred to as the Nugent Report). The operations of the committee and the findings of the Report occasioned considerable public debate in the Australian arts world in the late 1990s, as the Enquiry solicited and analysed information and opinion on the financial health and artistic practices of thirty-one national major performing arts companies producing opera, ballet, chamber and orchestral music as well as theatre. The Report saw the financial viability of Australian live performance as deeply affected by the impact of globalization, especially by what elsewhere has been called ‘Baumol's disease’ – escalating technical, administrative and wage costs but fixed revenue – which threaten the subsidized state theatre companies of Brisbane, Adelaide and Perth with their relatively small population bases. The structural implementation recommended a considerable financial commitment by Commonwealth and State Governments to undertake a defined period of stabilizing and repositioning of companies. Early in 2000 both levels of Government committed themselves to this funding – in fact increasing Nugent's requested $52 million to $70 million – and to the principle of a strengthened Australia Council dispensing arms-length subsidy. In an economically philistine political environment, these outcomes are a tribute to Nugent's astute use of economic rhetoric to gain at least a symbolic victory for the performing arts sector. In 2000 New Zealand arts gained a similar major injection of funding, while a commissioned Heart of the Nation report, advocating the dilution of the principle of arm's-length funding through the abolition of the national funding organization Creative New Zealand, was rejected by Prime Minister Helen Clark.
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Brinke, Josef. "26th Congress of the International Geographical Union." Geografie 94, no. 1 (1989): 1–4. http://dx.doi.org/10.37040/geografie1989094010001.

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The autor, head of the Czechoslovak delegation, presents basic information about the 26th International Geographical Congress which took place in Sydney, Australia, from 21st to 26th August, 1988. The Congress was formally opened by Sir N. Stephen, Gavernor General of Australia, at the Concert Hall of Sydney Opera House. All sessions and exhibitions were held at the University of Sydney, established in 1850. In the congress more than 1200 geographers participated while from among 88 IGU member countries 51 ones were represented by official delegations. About 800 papers were presented in 14 sections, working and study groups sessions. Prof. Ronald Fuchs from the USA was elected president by the General Assembly of IGU for the next four years. The 27th International Geographical Congress will take place in Washington, D.C. in 1992.
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Halliwell, Michael. "Annarosa Berman (text) and Bridget Elliot (photographs)The company we keep: An intimate celebration of opera Australia." Musicology Australia 30, no. 1 (January 2008): 75–79. http://dx.doi.org/10.1080/08145857.2008.10416734.

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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Brown, Paul, Taylor L. Hunt, and Khageswor Giri. "Effects of gear type, entrance size and soak time on trap efficiency for freshwater crayfish Cherax destructor and C. albidus." Marine and Freshwater Research 66, no. 11 (2015): 989. http://dx.doi.org/10.1071/mf14284.

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Freshwater crayfish support significant commercial and recreational fisheries worldwide. The genus Cherax is fished in Australia with a variety of fishing gears, yet little is known of the relative efficiency of the different fishing gears and methods. Additionally, freshwater-crayfish traps can pose a risk to air breathing by-catch such as aquatic mammals, reptiles and birds, so by-catch mitigation is important. We sought to understand whether freshwater-crayfish fishing can be undertaken efficiently, using passive traps and nets, without undue risk to air-breathing by-catch species. In field-experiments, we compared the efficiency of six gear types and tested the effect of five exclusion rings on catch performance over three soak times. The efficiency of gear types varied significantly by soak times. In productive locations, catch can be maximised by repeatedly deploying open-topped gear for short soak times. Opera-house traps fitted with fixed entrance rings (45–85-mm diameter) were not size-selective for yabbies. Encouragingly, open-topped gear and opera-house traps fitted with fixed ring entrances much smaller than many commercially available (45-mm diameter) still fish effectively for yabbies. We believe that smaller fixed ring-entrance size is likely to be correlated with a reduced risk of by-catch for air-breathing fauna.
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Dissertations / Theses on the topic "Opera in Australia"

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Smart, Bonnie Jane. "Leon Caron and the music profession in Australia." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1427.

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Leon Francis Victor Caron (1850-1905) was one of the major figures in Australian nineteenth-century opera and orchestral circles. He was a well-known and well-liked public figure, regarded with respect and affection by musicians and audiences alike. Little has been written concerning Caron’s career. Given the amount he contributed to the Australian stage, an assessment of his importance within the music profession is warranted. Most areas of Caron’s life are, as yet, totally unexplored; it falls outside the ambit of this thesis to present every detail pertaining to his varied and extensive musical career. Nevertheless, new information about a selection of Caron’s ventures is drawn upon here for the first time. Much of this material is used to examine the impact of Caron’s conducting on the orchestral profession in Melbourne and Sydney. Many of Caron’s performances (orchestral or otherwise) often featured the popular music of the day. The popular aspect of Caron as a composer is also considered, with particular reference to the incredibly successful pantomime Djin Djin. An examination of Caron’s performances gives great insight not only into the part he played in the wider profession; but it also sheds light on orchestral standards, performance practices and public tastes of the time. His contribution to the music profession in nineteenth-century Australia is extremely significant.
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Howlett, May Catherine. "The production of a contemporary chamber opera (The boy who wasn't there)." Thesis, Electronic version, 2005. http://hdl.handle.net/1959.14/769.

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A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies.
Dissertation, libretto and score of the opera.
Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005.
Bibliography: p. 138-141.
Introduction -- Historical background and literature review -- Structural and philosophic changes -- Chamber opera: a genre in evolution -- Chamber opera: its potential for the future -- The personal experiment -- Conclusion..
From its origins as chamber opera just over four hundred years ago, Opera developed through the 18th and 19th centuries, in length and complexity, to attain the status of 'grand', a term that most people associate with opera to this day ... At the beginning of the 20th century, radical innovations in the arts influenced by movements such as the Bauhaus phenomenon, added to the aftermath of a world war that shattered existing socio-political structures and artistic sentiments turned from extroverted displays of grandeur to the creation of more cerebral, introverted styles. ... On the threshold of a new millennium, small, often experimental companies, passionately convinced of the relevance of, and excited by the artistic potential inherent in this revitalized form of opera, formed a loose consortium of creative artists internationally, similar in spirit to the original Camerata of the 16th century, making use of current technologies. Whether these newer works may be styled 'chamber opera' or 'music theatre', they represent a form in evolution, capable of further development into a new genre, a vital nexus of traditional skills applied to current issues, peculiarly suited to integration with electronic modes such as television.
Mode of access: World Wide Web.
141 leaves music
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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999." Queensland University of Technology, 1999. http://eprints.qut.edu.au/17527/.

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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance practice, revealing insights into how and why artistic and aesthetic sensibilities shift when choreographic processes are transferred from an Australian to a Vietnamese setting. The study began with a premise of intercultural performance practice as an equitable sharing of ideas and has ended with the experience of intercultural collaboration as a transforming process, involving cultural translation to and by the local context - in this study through a process of Vietnamisation. Transformations are seen to occur via alteration of professional practices and the metamorphosis of meaning, metaphor and myth, providing substantially new readings of the original ideas. Importantly, the study points to the body as the central site of cultural difference, cultural commonalities and complex intercultural sensibilities. A dual methodology for the research combined artistic practice with theoretical reflection, resulting in a polyphonic text of written, visual and kinetic data. From the extant practice of the researcher/choreographer, a model of intercultural performance was devised which was refined as the two research projects of the pilot and case studies progressed. Reflective analysis of the model was undertaken through the framework of intercultural performance theories, parallel to the artistic practice. Throughout the research process, privileging the voices and bodies of the Vietnamese artists in both their practice and their perceptions of that practice have been fundamental to the outcomes of the study. This is the first in-depth study of contemporary professional dance practice in Vietnam and of intercultural performance practice between Australia and Vietnam.
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Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." 2008. http://hdl.handle.net/2440/49219.

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Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331575
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
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Câmara, Fernando Américo Carlos da. "Análise da capacidade cognitiva dos empresários do distrito da Matola para entender e usar informações financeiras no contexto do ambiente de negócios em que operam." Master's thesis, 2017. http://hdl.handle.net/10071/15520.

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O objectivo deste trabalho é avaliar o nível de literacia financeira e seu impacto no empreendedorismo entre os empresários da província da Matola. Para elaboração deste estudo, adoptou-se o questionário complementado por entrevista, visando avaliar o nível de literacia financeira entre os empresários do distrito da Matola. A educação e a formação, tanto no ensino primário como no ensino secundário, com ênfase na literacia financeira e nas habilidades empresariais podem ter implicações significativas para o desenvolvimento e o crescimento das pequenas, micro e médias empresas. Com efeito, o documento revela que a literacia financeira entre os jovens empresários do distrito da Matola é satisfatório e contribui de forma significativa para suas habilidades de empreendedorismo. Este trabalho é o primeiro a estudar o nível de literacia financeira entre os empresários do distrito da Matola e como tal estabelece uma referência importante para novas pesquisas nesta área.
The purpose of this study is to evaluate the level of financial literacy and its impact on entrepreneurship among entrepreneurs in Matola province. For the preparation of this document, the questionnaire was supplemented by an interview to evaluate the level of financial literacy among the entrepreneurs of Matola province. Education and training, both in primary and high school, with an emphasis on financial literacy and entrepreneurial skills, can have significant implications for the development and growth of small and medium-sized enterprises. We find that financial literacy among young entrepreneurs in Matola District is medium and contributes significantly to their entrepreneurship skills. This work is the first to study the level of financial literacy among entrepreneurs in Matola District and as such establishes an important reference for new research in this area.
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Boshoff, Dorothea. "Crafting positions : representations of intimacy and gender in The Sentients of Orion." Thesis, 2017. http://hdl.handle.net/10500/23473.

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This study comprises a close reading and textual analysis of The Sentients of Orion, a space opera series by Australian author Marianne de Pierres, with a view to investigating the representations of gender in modern, popular science fiction by women authors. I hypothesise that de Pierres will pose a fictional enquiry into gender, based on the richness of science fiction by women, but that a closer examination of physical and emotional intimacy (both positive and negative) in these ‘less literary works’ will prove de Pierres’ gender enquiry to be superficial and inconsistent in nature. My main approach is a qualitative exploration of selected incidents through the theoretical lenses of feminist literary criticism, gender theory and, where applicable, queer theory. While I draw eclectically on these interpretive paradigms, my approach is most closely aligned with poststructuralist feminism. Proving the first part of my hypothesis, my findings show that de Pierres does pose an enquiry into gender through her portrayal of plot and character. The particular focus on the intimacies involving the heroine, women, men, and alien characters, proves the second part of my hypothesis incorrect as it reveals how de Pierres not only deeply and consistently challenges the heteronormative status quo, questioning dynamics in relationships, gender roles, ageism, sexism and societal stereotypes, but also provides possible alternatives.
English Studies
D. Litt. et Phil. (English)
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Books on the topic "Opera in Australia"

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Opera for the Antipodes: Opera in Australia, 1881-1939. Sydney: Currency Press and Pellinor, 1990.

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Zietz, Karyl Lynn. Opera companies and houses of western Europe, Canada, Australia, and New Zealand: A comprehensive illustrated reference. Jefferson, N.C: McFarland, 1999.

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Silsbury, Elizabeth. State of opera: An intimate new history of the State Opera of South Australia, 1957-2000. Kent Town, S. Aust: Wakefield Press, 2001.

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Dreamscapes. Oxford: Isis, 2006.

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The saga of Sydney Opera House: The dramatic story of the design and construction of the icon of modern Australia. New York: Spon Press, 2004.

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Downes, Peter. The Pollards: A family and its child and adult opera companies in New Zealand and Australia, 1880-1910. Wellinton, NZ: Steele Roberts, 2002.

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Bonynge, Richard. Joan Sutherland & Richard Bonynge with the Australian Opera. Roseville, NSW, Australia: Craftsman House, 1990.

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Wilmoth, Peter. Diva: Dame Joan Sutherland : Australia's opera legend. Melbourne: Australia Post, 2004.

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Wang, Zheng-Ting. Chinese music in Australia, Victoria: 1850s to mid 1990s. Melbourne: Australia Asia Foundation, 1997.

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Mercado, Andrew. Super Aussie soaps: Behind the scenes of Australia's best loved TV shows. North Melbourne: Pluto Press, 2004.

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Book chapters on the topic "Opera in Australia"

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Akın, Ömer. "Sydney Opera House, Sydney, Australia." In Design Added Value, 177–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-28860-0_16.

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Staples, David. "Sydney Opera House, 1973 Sydney, Australia." In Modern Theatres 1950–2020, 237–48. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-30.

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Halliwell, Michael. "Prologue." In National Identity in Contemporary Australian Opera, 1–14. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-1.

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Halliwell, Michael. "Coda." In National Identity in Contemporary Australian Opera, 187–90. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-10.

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Halliwell, Michael. "Failure." In National Identity in Contemporary Australian Opera, 15–34. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-2.

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Halliwell, Michael. "The bush – The Ghost Wife, Whitsunday and Fly Away Peter." In National Identity in Contemporary Australian Opera, 35–58. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-3.

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Halliwell, Michael. "Postwar disillusion." In National Identity in Contemporary Australian Opera, 59–80. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-4.

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Halliwell, Michael. "New beginnings – Bride of Fortune and The Riders." In National Identity in Contemporary Australian Opera, 81–99. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-5.

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Halliwell, Michael. "Cultural renaissance – The Eighth Wonder." In National Identity in Contemporary Australian Opera, 100–117. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-6.

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Halliwell, Michael. "Suburban dreams and nightmares – The Children’s Bach, Love in the Age of Therapy and Midnight Son." In National Identity in Contemporary Australian Opera, 118–40. Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315597171-7.

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Conference papers on the topic "Opera in Australia"

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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Leong, Tuck Wah, and Peter Wright. "Understanding 'tingle' in opera performances." In the 25th Australian Computer-Human Interaction Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2541016.2541026.

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