My first time at English National Opera!  

I was so excidted (and nervous!) before we started cover rehearsals because John Adams' music for the Countertenor trio is so difficult! But when we all met in week one I realised we all felt the same way and as a result we were all extremely well prepared...with a little help from Murray. 
It has been a great privilege to work on this stage premiere production and be part of something truly unique and special. The music, although difficult, is exceptionally touching and memorable, heightened by Peter Sellars' moving libretto. Opening night was a huge success with well deserved standing ovations for the cast and creative team alike. ​

I'm looking forward to working at ENO again early next year on their production of Purcell's Indian Queen. 

​As the lights dimmed on our final performance of Monteverdi's The Return of Ulysses, I'm saddened to leave the cloister, gardens and wonderful colleagues, staff and helpers at Iford Festival. So pleased to finally work with my friend Justin Way before he heads to Madrid. Not to mention the great privilege to work with Christian Curnyn and the players from the Early Opera Company. I shall miss sharing the stage with so many wonderful singers and all the banter and hysterics in rehearsal and backstage. Until the next time!

A few reviews of the performances are opposite. Here's a treat from inside the cloister. Kimm Kovac's costumes are DIVINE. 

I have been particularly busy this month preparing for the European première of Andrew Ford’s The Past. 

I first gave a ‘workshop performance’ of an excerpt of this piece back in 2005 whilst still a student at The Sydney Conservatorium of Music. The piece was written for my then teacher, Graham Pushee and The Australian Brandenburg Orchestra, but had never been performed. A few years later in 2009 Piers Lane contacted me and invited me to perform in the official world première of the piece at the Australian Festival of Chamber Music in Townsville, Queensland. 

Five years later in London, I'm revisiting the piece but it’s still as hauntingly beautiful as I remember. It can be extremely challenging to bring it altogether, but Kelly has done a fantastic job with sensitivity towards the text which allows the audience a chance to hear music from within the Australian sound world, whilst also allowing a glimpse into the social history of the Aboriginals and newly colonised Australia. 

There’s only one performance on Saturday 31st May at 19:30 so please come along if you can! 
For more information please visit
www.ausnzfestival.com/event/oodgeroo-noonuccals-the-past-by-ruthless-jabiru/
Inside the beautiful Victorian Chapel during the performance. 

I've really enjoyed the last few days’ rehearsal in windy Wellington in preparation for my second Messiah of the week. It’s been great working with soloists Anna Leese, James Egglestone & Teddy Tahu Rhodes, and especially reconnecting and working with conductor Richard Gill, for whom I first sang for as a student at the Conservatorium High School, and who encouraged me to pursue a career as a countertenor. 

We had a full house and both the NZSO and The Orpheus Choir were in fine form which the audience acknowledged with rapturous applause at the end of the evening. Thanks for being a great host New Zealand! Happy Christmas and I hope to come back soon! 

Here I am back stage after the show with the other soloists and below with my friend and colleague Erin Helyard who was playing the harpsichord! 

It’s been a very busy and exciting week performing Narciso in Agrippina and Nutrice in Poppea in the Britten Theatre at The Royal College of Music. 

This is my first experience with English Touring Opera and I’m having a great time working with old friends and making new ones. I can’t wait the road trips! 

The Old Street Band under Jonathan Peter Kenny and Mike Rosewall, are a dream to sing with. I’m having a great time playing around with my characters. Agrippina gives me the opportunity to explore my sinister side as the slimy cleric Narciso whereas Nutrice in Poppea allows me to explore my feminine side, as it were. 

Here I am backstage as Nutrice with Arnalta performed by friend and colleague, tenor John-Colyn Gyeantey.