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Opera at the Sydney Opera House


The Sydney Opera House was built for opera. 
Step inside the sails and discover the magic at the heart of Sydney's famous icon.

Raise a glass in the panoramic glass foyer overlooking the harbour. Take your seat in the historic Joan Sutherland Theatre. Revel in a spectacular performance of some of the greatest music the world has ever known.

A night at the opera is an unforgettable experience. Do something worth sharing.

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Opera at the Sydney Opera House

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Ticket Types Gate Price Our Price Savings Quantity
Premium $249.95 $230.12 $19.83
A Reserve $212.66 $194.41 $18.25
B Reserve $172.98 $157.91 $15.07
C Reserve $127.75 $115.06 $12.69
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Opera at the Sydney Opera House
No trip to Sydney is complete without a visit to its most famous building. And the best thing to do when you visit the Sydney Opera House is to come inside and see an opera performance.

The best way to experience Sydney’s #1 attraction
Sip champagne while you overlook the harbour from the foyer
Choose from a range of the most popular operas - see more information for a list of performances

Season Dates
Summer Opera Season, January – March
Winter Opera Season, July – October

The ultimate femme fatale is here to stamp her feet, toss her hair and dance. Will she love Don José? Maybe. Will you fall for her sultry Habanera? Definitely.
In the colourful streets of a colonial city, Carmen is a red hot spark.
She sings her siren song, and suddenly, Don José's world is alight with a volatile fire. 
This vibrant production of Bizet's opera features gypsy girls and bull­fighting boys in eye-popping colours. There are smugglers in suits, parades and punches, lust and loathing aplenty.
And underneath those irresistible Spanish tunes, the dark undercurrent of fate pulses. Carmen knows she is dancing with death.
John Bell's production is a bold look at the intense relationships at the heart of Bizet's famous opera. It hones in on the wild love that promises freedom, while binding the lovers in an unbreakable web of fate.
The vivacious Rinat Shaham returns as opera's favourite femme fatale, with Argentine tenor Marcelo Puente as Don José and Michael Honeyman as Escamillo.
Later in the season, Sian Pendry, star of last year's Handa Opera on Sydney Harbour, reprises this famous role.

Violetta wears velvet and lace and drinks the very best champagne from crystal glasses. Her parties are legendary, her company desired. She's free and free-spirited, living outside society's bounds, and for this courtesan, it seems like the party will never end. Could a little love really change everything?
La Traviata is so popular because it puts a life we can only dream of on stage, with its risqué glamour, joys and sorrows.
Verdi's music sings of freedom with flying melodies, makes merry with rousing drinking songs and leaves us, at the last, with passionate duets between breaking hearts.
This production by Elijah Moshinsky is one of our most successful, featuring lush party scenes in Paris and beautiful autumn afternoons in the countryside.
Lavish, crowded sets and exquisite costumes combined with Verdi's famous tunes offer the perfect way to experience opera for the first time, or the chance to revisit a favourite with an exciting new cast.
Adored at home and sought-after abroad, Nicole Car makes her debut as Violetta.
Raise your glass, flutter your pretty lashes, it's Paris in the salons and you're the life of this party. He's staring at you, he's singing for you... Are you tempted?

From a time when men were brave and bold comes the dreamer, Don Quichotte. He chases bandits. Tilts at windmills. Serenades the pretty girls.
He’s a hero like the knights of old, pursuing dreams the world forgot.
It takes a special performer to make you fall in love with this eccentric character. Ferruccio Furlanetto’s Don Quichotte is famous.
He takes the dreams and delusions of the famous knight-errant and paints an earnest and endearing portrait of a man out of time. Furlanetto’s Don Quichotte is brimful of whimsy and bursting with bravery. His sonorous bass finds all the colours of Massenet’s lush, romantic score.
He performs with brilliant French conductor Guillaume Tourniaire and Elena Maximova as the damsel Dulcinée.
The hero no one needed embarks on one last noble quest.

Lucia is a woman on the edge of insanity: deceived by her brother, bereft of her lover, she marries a man she does not love and descends into madness.
The sopranos that conquer her stratospheric notes are some of the greatest the world has ever seen. Jessica Pratt has joined the ranks of Nellie Melba and Joan Sutherland: one of just three Australians to sing this role on the hallowed La Scala stage.
Now, she returns home to make her Sydney Opera House debut.
Passions run hot on the cold moors of Scotland, and Donizetti traces every moment with exquisite music. The score is full of highlights, but none compare with the dazzling coloratura of Lucia’s mad scene.
The blood-covered bride emerges from her chamber a vocal whirling dervish, while the glass harmonica plays in haunting accompaniment.
Pratt performs her celebrated Lucia with Michael Fabiano’s intense Edgardo and Giorgio Caoduro’s menacing Enrico.
Carlo Montanaro conducts this brilliant young cast in a compelling production by John Doyle with period designs by Liz Ascroft.
Do not make her say, without love, 'til death do us part' 
Lest death come swiftly and madness follow.

At the Duke’s infamous parties, one man’s words light the darkness with a sinister glitter. Among the glamorous girls and greasy gangsters, Rigoletto serves his master with sharp wits and averted eyes.
He’s hideous. He’s hated. He’s untouchable.
But in this shimmering world of secrets and seduction, can he keep the one he loves most safe?
From the moment he wrote it, Verdi knew he had a hit on his hands. The story had everything: royalty, loyalty, deformity, devotion, lust and revenge.
And the music? The music was sensational, so full of hummable tunes that Verdi demanded complete secrecy from his première cast. The tenor was forbidden from even whistling the catchy ‘La donna è mobile’ outside of rehearsals.
The morning after Rigoletto’s triumphant premiere, that melody rang out in the streets: a hit for ever after. The title character Verdi called the “greatest creation” in the history of theatre had found a home in a masterpiece of music.
Elijah Moshinsky’s much-loved production of Rigoletto returns to the Sydney Opera House stage, complete with its glamorous La Dolce Vita-inspired sets and costumes and scene-stealing car.
The revolving dolls-house style set gives a cinematic detail to each scene.
We’ve assembled a brilliant cast led by Verdi master Renato Palumbo, and Dalibor Jenis as the tortured jester at the heart of Verdi’s masterpiece.


This is a story of love so strong it defies enemy lines. This is a story of a kingdom in triumph and a nation in chains.
This is a story of betrayal.
Verdi’s monumental, transcendent music makes this historic epic a perennial favourite. Our new production comes from the celebrated Italian director Davide Livermore. 
He is renowned for high-tech sets so tangible, it’s hard to believe they are just light and shadow. Immersive, impressive, intimate — this is the future of spectacle on stage.
Thrilling young conductor Andrea Battistoni returns to lead this production. Three magnificent casts perform Verdi’s difficult leads. You don’t want to miss the stunning soprano of Amber Wagner, paired with Elena Gabouri as Amneris and Riccardo Massi as Radamès.
Later in the season, rising star Natalie Aroyan takes on her dream role, and Clémentine Margaine, Milijana Nikolic, Diego Torre and Yonghoon Lee join the all-star lineup.

From Italy's greatest master of laughs comes a riotous comedy with a knockout score. 
It skips and sparkles from the gruffest of bass notes to the impossibly high reaches of Stacey Alleaume's coloratura.
Andrea Molino leads a cracking team of comic talents, including Paolo Bordogna in his side-splitting performance as the Turk. Simon Phillips' playful production wrings every last laugh from Rossini's ridiculous romp.
Gabriela Tylesova's gelato-coloured costumes and clever, cartoonish sets are stars in their own right: a candied cherry on top of this rather outrageous ice-cream sundae.
“It's just about as much fun as you can have in an opera house,” said Phillips, and the critics agreed.
She’s flirtatious, audacious and unspeakably bored.
He’s geriatric, sycophantic and easily ignored.
Add a handsome prince,
A gypsy minx,
And a poet in need of a plot.
Put this classic Rossini
In vintage bikinis
and a rollicking good time we’ve got!

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Opera at the Sydney Opera House

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