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  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2071.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2070.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2069.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2068.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2067.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2066.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2065.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2064.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2063.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2062.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
    Megan McKenna2060.JPG
  • Megan McKenna ive at the M & S Arena Liverpool
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  • Megan McKenna, Live music in Liverpool, Alfie Boe and Michael Ball perform at the M & S Arena Liverpool this evening with support act Megan McKenna
    Megan (32).jpg
  • Megan McKenna ive at the M & S Arena Liverpool
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  • Megan McKenna ive at the M & S Arena Liverpool
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  • Lyndon Terracini - Opera Australia's Artistic Director 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.
    Lyndon Terracini304.JPG
  • Lyndon Terracini - Opera Australia's Artistic Director 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.
    Lyndon Terracini305.JPG
  • 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.
    Daniel Sumegi350.JPG
  • 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.
    Daniel Sumegi349.JPG
  • 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.
    Daniel Sumegi348.JPG
  • 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.
    Daniel Sumegi347.JPG
  • 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.
    Daniel Sumegi346.JPG
  • 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.
    Daniel Sumegi345.JPG
  • 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.
    Daniel Sumegi344.JPG
  • 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.
    Daniel Sumegi342.JPG
  • 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.
    Daniel Sumegi343.JPG
  • 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.
    Daniel Sumegi341.JPG
  • 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.
    Daniel Sumegi340.JPG
  • 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.
    Daniel Sumegi339.JPG
  • 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.
    Daniel Sumegi338.JPG
  • 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.
    Daniel Sumegi337.JPG
  • 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.
    Daniel Sumegi336.JPG
  • 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.
    Daniel Sumegi335.JPG
  • 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.
    Daniel Sumegi334.JPG
  • 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.
    Daniel Sumegi333.JPG
  • 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.
    Daniel Sumegi332.JPG
  • 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.
    Daniel Sumegi330.JPG
  • 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.
    Daniel Sumegi331.JPG
  • 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.
    Daniel Sumegi329.JPG
  • 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.
    Daniel Sumegi328.JPG
  • 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.
    Daniel Sumegi327.JPG
  • 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.
    Daniel Sumegi326.JPG
  • 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.
    Daniel Sumegi325.JPG
  • 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.
    Daniel Sumegi324.JPG
  • 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.
    Daniel Sumegi323.JPG
  • 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.
    Daniel Sumegi322.JPG
  • 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.
    Daniel Sumegi321.JPG
  • 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.
    Daniel Sumegi320.JPG
  • 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.
    Daniel Sumegi319.JPG
  • 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.
    Daniel Sumegi317.JPG
  • 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.
    Daniel Sumegi318.JPG
  • 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.
    Daniel Sumegi316.JPG
  • 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.
    Daniel Sumegi315.JPG
  • 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.
    Daniel Sumegi314.JPG
  • 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.
    Daniel Sumegi313.JPG
  • 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.
    Daniel Sumegi312.JPG
  • 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.
    Daniel Sumegi311.JPG
  • 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.
    Daniel Sumegi309.JPG
  • 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.
    Daniel Sumegi310.JPG
  • 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.
    Daniel Sumegi308.JPG
  • 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.
    Daniel Sumegi307.JPG
  • 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.
    Daniel Sumegi306.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 Sumegi517.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 Sumegi516.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 Sumegi515.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 Sumegi514.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 Sumegi513.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 Sumegi512.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 Sumegi510.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 Sumegi511.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 Sumegi509.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 Sumegi508.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 Sumegi507.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 Sumegi506.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 Sumegi505.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 Sumegi502.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 Sumegi504.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 Sumegi503.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 Sumegi501.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 Sumegi499.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 Sumegi500.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 Sumegi498.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 Sumegi497.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 Sumegi496.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 Sumegi494.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 Sumegi495.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 Sumegi493.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 Sumegi492.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 Sumegi491.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 Sumegi490.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 Sumegi489.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 Sumegi487.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 Sumegi488.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 Sumegi486.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 Sumegi483.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 Sumegi485.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 Sumegi484.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 Sumegi482.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 Sumegi481.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 Sumegi479.JPG
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