One last post on good opera in 2014.
In Kasper Holten's production of Eugene Onegin, a coproduction with the ROH, I loved the overlaying of time and the emphasis on the (for me) truism that time isn't necessarily sequential but a selection of options all of which are available in the great hologram of existence. Unlike the SSO's Elektra (don't mistake me - the Elektra was the highlight of the year), the use of dance here was at times sublimely successful, adding great depth.
The other interesting work was from Sydney Chamber Opera, a bold company doing bold work like their Owen Wingrave which I thought I had blogged on about but can't find in the rush of this moment. In 2014 it was Mayakovsky, music by Sydney's Michael Smetanin and libretto by Melbourne's Alison Croggon. And it sold out.
At the very least I learnt something about the revolutionary Russian poet, Stalin's man.
