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'Bluebeard's Castle' 261 images Created 1 Mar 2021

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  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi351.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi352.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi353.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi354.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi355.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi357.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi356.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi359.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi358.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi360.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi361.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi362.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi363.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi364.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi365.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi367.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi366.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi368.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi369.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi370.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi371.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi372.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi373.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi374.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi375.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi376.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi377.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi378.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi379.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi380.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi381.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi382.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi384.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi383.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi385.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi386.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi387.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi388.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi389.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi390.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi392.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi391.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi393.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi394.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi396.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi395.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi397.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi399.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi400.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi398.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi403.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi402.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi401.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi404.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi405.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi406.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi408.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi407.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi409.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi410.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi411.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi412.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi413.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi415.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi414.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi416.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi417.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi418.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi419.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi420.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi421.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi422.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi423.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi425.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi424.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi427.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi426.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi428.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi429.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi430.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi431.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi432.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi433.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi434.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi435.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi436.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi437.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi438.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi439.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi441.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi440.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi442.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi444.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi443.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi445.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi446.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi447.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi448.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi451.JPG
  • Carmen Topciu and  Daniel Sumegi taking part in the 'Bluebeard's Castle' premiere, Final Dress Rehearsal, Sydney, Australia photo by Rhiannon Hopley<br />
<br />
A new, contemporary staging by Australian Director Andy Morton and Associate Director Priscilla Jackman, of the rarely performed psychological thriller, ahead of its premiere at the Sydney Opera House on Monday 1 March. This haunting new production is described as an evocative exploration of the dark recesses of the mind, in a modern interpretation that strips away the layers to confront the disturbing psychology behind the story. Designer John Rayment's inspired use of light creates a stark and chilling set that complements the powerful score and conjures a sense of mystery, with secretive spaces arousing suspicion in the bride-to-be who has abandoned her wedding and run into the arms of the treacherous Bluebeard. Performed in Hungarian and only running 1 hour, this opera demands two commanding singers to tackle the difficult score; Australian bass-baritone Daniel Sumegi and Italian mezzo-soprano Carmen Topciu are equal to the task.
    Carmen Topciu and Daniel Sumegi449.JPG
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