Tag: Sydney Opera House

Posted on by Lauren Katulka

Electric Fields with the Sydney Symphony Orchestra @ Sydney Opera House, Eora/Sydney – 19 October 2024

There was a hum of excitement around Warrung/Circular Quay yesterday as the city showcased blak excellence. DanceRites, the country’s only First Nations dance competition had taken over the Opera House forecourt. And inside the House, Electric Fields joined the Sydney Symphony for a very special show in the Concert Hall.

The Opera House and the Symphony are cultural icons, not just for this city but for this nation. But Electric Fields are quickly establishing themselves as an act that’s every bit as important for this country. Witnessing the Symphony and Electric Fields coming together in this iconic place is something I’ll forever hold close to my heart.

There was a reverence in the air as Zaachariaha Fielding, Michael Ross, and their backing vocalists took their places in front of the Symphony. It hung in the air as they opened with “Anpuru Maau Kutjpa,” an Inma in the Yankunytjatjara language passed down through generations. The idea that music is a universal language has become somewhat of a cliché. But listening to this traditional song featuring lyrics that I didn’t understand rendered so beautifully here, all I could do was feel.

It was magic, leaving us all in a bit of a dream state, until Electric Fields woke us up with “Shade Away” and encouraged us all to get on our feet. We were happy to oblige, feeling the music in a different way as we moved in time with the irresistible beats. Electric Fields know how to create a dancefloor banger and they turned the Concert Hall into a party.

We bounced between those energetic bops and more sombre moments, embracing the twists and turns. I got goosebumps listening to their beautiful rendition of Paul Kelly and Kev Carmody’s “From Little Things Big Things Grow.” As a Eurovision fan, I relished dancing along to “2000 and Whatever” and “One Milkali (One Blood).”

I marvelled at Zaachariaha Fielding’s incredible voice. I knew it was good from those recordings and live performances on TV, but sharing space with him made me appreciate its commanding beauty even more. The orchestral backing elevated this music, giving it extra gravitas. There was something so beautiful about the coming together of the Symphony, a white symbol for arts and culture, and the oldest living culture on the planet. I loved being a part of that too. Zaachariaha encouraged us to sing along, taking the time to teach us some of those Indigenous lyrics and explain their meaning. It was all just so special.

This show with Electric Fields and the Sydney Symphony Orchestra was transformative. To witness such talent on stage in such a welcoming space, to feel moved and energised in equal measures, was incredible.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Dermot Kennedy @ Sydney Opera House Forecourt, Eora/Sydney – 7 December 2023

As an Aussie Dermot Kennedy fan, I’ve felt incredibly blessed by his time in our country. A few weeks ago, I got the opportunity to see him play at the Doss House, a venue so small he didn’t even need to use a microphone. After this acoustic teaser, I got to see him again last week in the Sydney Opera House forecourt. While the room he played in the Doss House would have been lucky to hold 50 people, the Opera House forecourt holds thousands. And he sold it out. Twice.

It’s a testament to the quality of Dermot’s music that it can work in any setting. In a place like the Doss House, you can reflect on those personal lyrics. At the Opera House forecourt, backed by a full band, his words become battle cries. They come from such a deep place, and I was thrilled to yell them out as Dermot encouraged us to sing louder. Dermot is a performer that sings from his gut. He leaves nothing on the stage, delivering passionate vocals that connect and resonate.

The night was a fitting farewell to the promotion for Dermot’s album Sonder. Songs from his sophomore LP book-ended the set. While “Blossom” ends the album, it was a fantastic opener. Those newer songs were balanced by the old favourites from Without Fear. The fans who’ve been there from the beginning were even treated to “Glory,” from his debut EP, Doves and Ravens.

While I hold my memories of the Doss House show so close, it was missing one major thing for me: my husband. It was so special to see this show with him, to sing along to songs like “Outnumbered” and “Homeward” as we held hands and thought about how far we’ve come. I also thought about how lucky we were to do this during “Better Days,” a lockdown anthem that has now become so life-affirming. Last time I saw Dermot was at an indoor venue, so I didn’t feel comfortable removing my mask. Sitting on the steps of the Opera House, enjoying this fabulous music, the pandemic was the last thing on my mind. Instead, I revelled in singing the song together, to paraphrase the lyrics.

After experiencing the intimacy of the Doss House, I marvelled at the numbers who’d gathered for this show. While I always prefer a small gig, there’s certainly something special about coming together with so many people who are passionate about an artist’s music. Hearing our voices, seeing the lights of our phones, watching us move together to the beats of these songs we all carry in our hearts, was special. Doing it at an iconic place like the Sydney Opera House was the icing on the cake of this fantastic tour. I’m sure I’m not the only one who’ll miss having Dermot in our country, but we take some comfort knowing that he had such a great time that he probably won’t stay away for too long.

Posted on by Lauren Katulka

Evanescence with Sydney Symphony Orchestra @ Sydney Opera House, Sydney – 14 February 2018

Evanescence last visited Australian shores in 2012, not long before they announced a hiatus. When some bands take a break from the music scene, they fade from people’s minds. But not Evanescence. The energy in the Sydney Opera House’s Concert Hall last night suggests everyone was simply waiting for their return.

It was the last of two sold-out Opera House shows performed as part of Evanescence’s Synthesis Live With Orchestras tour. These concerts bring to life the orchestral arrangements of classic Evanescence songs showcased on their most recent Synthesis album. Each Australian show sees the iconic ‘90s band paired with one of our own symphony orchestras. I might be biased, but I can’t imagine another state’s ensemble doing as well as the Sydney Symphony Orchestra.

The SSO took the stage first, paying homage to the pieces of music that inspired Evanescence frontwoman Amy Lee. It was a diverse set, featuring everything from Bach’s “Cello Suite N. 1, The Prelude” to AC/DC’s “Back in Black.” An instrumental set with so many classical pieces was a risk for this audience of mostly members of Generations X and Y, but they sat mesmerised. I was transfixed by the SSO’s charismatic cellist, who stood proudly at the front of the stage, playing with such passion that he snapped many of his bow strings.

While the crowd was appreciative of the SSO’s opener, it was clear everyone was here to see the headliners. The applause was enthusiastic when the band members joined the orchestra on stage, then rapturous when Amy Lee arrived, looking dazzling in a bold red dress. Often there’s an initial high when a band appears, then the audience settles. I rarely see shows like this when the crowd stays so up, rising to their feet time and time again throughout the set.

So did Evanescence live up to the adoration? Yes they did. It seems the time away from the spotlight might have done the band good, because they seem so energized. The band is tight and Amy Lee, breathtaking. I haven’t often witnessed such a powerful voice, haunting, able to go seemingly anywhere, strong yet vulnerable. She performs with such passion, still visibly so moved by the songs she wrote decades ago. She spent time at the piano, but also emerged from her self-confessed “comfort zone” to get closer to the people, something I really appreciated. I’ve spent good money on concert tickets in the past, only to have my view of the artist obscured by the piano. While I loved listening to her play, I was so glad to watch her in the front.

I’m not as familiar with Evanescence’s back catalogue as my husband. In many cases, I was hearing the songs for the first time. However, unlike so many gigs where I’ve been in a similar situation, I didn’t feel like a fish out of water. The music was beautiful, rich and powerful. I lost count of the number of times I leaned over to my husband and whispered how much I enjoyed a particular song. The singles were beautifully executed, especially “My Immortal” which seemed to bring many of us, including Amy, undone with emotion. But it was all so good that I didn’t find myself hanging out for the more familiar music. I just wanted to experience it all.

It would be easy for a band who’ve achieved as much as Evanescence to take it all for granted. But that’s not their style. I think we all melted a little as Amy spoke in such glowing terms of her appreciation for the audience and her excitement about playing the Opera House.

After nearly 12 years of marriage, Valentine’s Days tend to blend into one another. One thing is for certain, thanks to Evanescence, the Valentine’s Day of 2018 is one I won’t quickly forget.

Evanescence’s Australian tour concludes at Melbourne’s Rod Laver Arena on February 16.

Image source: Stephen Katulka

Posted on by Lauren Katulka

George Michael: Praying for Time @ Sydney Opera House, Sydney – 7 July 2017

I remember so vividly the punch to my gut that came on Boxing Day morning last year. My phone alerted me to a news report which told me George Michael had passed away. I can’t remember what I said, but I remember the way my knees buckled. I was still reeling from losing Prince in April and now another of the musical figures who had shaped me was gone.

George might be gone but his music lives on in the albums and live performances like George Michael: Praying for Time, a start-studded tribute night staged at the Sydney Opera House last week. On paper artists like David Campbell, Diesel, Sam Sparro, and Brendan Maclean are very different. But George Michael was one of those artists of such breadth that entrusting his music to such a wide range of artists was essential I think. These four musicians largely took the lead, supported ably by Gary Pinto, Jade McRae, Carmen Smith, Natasha Stuart, and the always incredible Sydney Symphony Orchestra. The supporting players were mostly relegated to back-up vocals, but each had time to shine. Aretha Franklin set a high bar, but Jade McRae filled her shoes admirably when she duetted on “Knew You Were Waiting For Me” with David Campbell. The three women showed they could become the next big female vocal group if they ever wanted to with super-tight renditions of “Fast Love” and “Too Funky.” Gary Pinto showed a side of him I never saw in CDB with a killer version of “Wham Rap.”

I’m a long-time David Campbell fan, and his takes on iconic tracks like “Kissing a Fool” and “Careless Whisper” was flawless. I wasn’t so sure how Diesel’s rougher rock vocals would sit on George’s smooth tracks, but listening to him cover songs like “Waiting for that Day” and “Praying for Time” made so much sense. Sam Sparro’s cover of “Spinning the Wheel” hit just the right emotional note. I was familiar with the work of all these artists, except Brendan Maclean who proved to be the biggest revelation for me. Fabulously camp and committed, he had in his diverse cover versions. Watching him sing into the mirror for “Older,” my heart broke. But soon enough he was there in ‘80s acid wash overalls delivering a high-energy rendition of “Monkey.” When he paired up with Sam Sparro for “Outside,” it was every bit as flamboyant and defiant as the song should be.

As a long-time fan, I loved that this show celebrated the breadth of George’s artistry. It went beyond the commercial hits that Anthony Callea’s tribute concert showcased a couple of years ago and brought us many of the album tracks fans like me and the artists on stage hold close to our hearts. My mum attended the show, standing in for my sick husband. Even though I blasted George’s music while I was growing up, it was something she never really absorbed. She leaned over to me at one point and asked “Did George Michael write all these songs?” She told me that for the first time, she realised he was much more than simply a pop singer.

I like to think the audience was made up of people who loved George and people who were fans of the artists on the bill who got the opportunity to truly discover George’s music for the first time. If it was, looking at all the people up on the feet during the encore, it seems both groups got what they came for. I know I did. I like to think that if George were looking down on our celebrations, he’d be happy with the way these Aussie artists honoured his legacy.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Megan Washington, Neil Finn, and Jack Carty Line Up for Music Therapy Fundraiser

Art of Music Live is a unique celebration of Aussie music for a good cause. Jenny Morris will curate the biannual event which brings acclaimed musicians including Megan Washington, Neil Finn, and Jack Carty together to pay tribute to some of our most beloved songs. No two shows will ever be the same, so if you’re not there you’ll miss out.

Proceeds from the event go to Nordoff-Robbins Music Therapy, an organisation that transforms lives through music therapy. The group has helped mute children speak and given others that couldn’t move their arms fine motor skills. It’s also helped elderly Australians struggling with dementia. This is truly an organisation doing good.

Art of Music Live hits the Sydney Opera House on 4 May. Tickets cost $195 and are on sale from the Art of Music website.

Image used with permission from Ferris Davies PRM

Posted on by Lauren Katulka

Glen Hansard @ Sydney Opera House, Sydney – 23 October 2016

I had to rely on this blog to tell me how many times I’ve seen Glen Hansard perform. It seems Sunday’s show at the Sydney Opera House was my fourth time seeing the Irish troubadour, yet the gloss never seems to wear off.

Funnily enough, when my husband and I tell people we’re seeing Glen Hansard we’re always met with blank faces. We mention the movie and stage musical Once, the song “Falling Slowly” it spawned, yet still there’s no recognition. I’m not sure why he hasn’t broken through to the mainstream yet, but I’m glad there are enough of us dedicated fans to see Glen sell out iconic venues like the Opera House twice over.

One of the things that keeps me coming back to see Glen is that every show is different. This time he was out promoting his newish album Didn’t He Ramble, so there were new songs to enjoy. He was also out here with one of the biggest bands I can remember, made up of members of The Frames, the act that saw him come to prominence, as well a string section and pianist.

Mercifully for a show starting at 9 on a school night there was no support act. Glen and his players walked out without fanfare, setting the scene for a show that was more about true talent than bells and whistles. And there we were, transfixed, for the best part of three hours. This generous set never felt laboured because Glen has so much quality music to draw from. The long set gave us time to hear the stories behind songs and enjoy extended jams which showcased the quality of all musicians on the stage. Everyone was so talented, but Glen is the one who demands attention. I don’t think I’ve ever seen a performer that’s so committed to his songs, so connected to his music. It’s a raw, beautiful to see him strumming furiously at an instrument, crying out his lyrics.

Most of the songs drew from Didn’t He Ramble, but he still delved back into the old Frames and Swell Season catalogue for those of us who’ve supported his music all these years. “Star Star” morphed into “Pure Imagination,” a fitting tribute to the late Gene Wilder. A cover of “Astral Weeks,” a nod to his fellow countryman Van Morrison was another highlight for this woman who was raised on Van’s music.

There were also special guests. Glen brought up Peter, a busker he’d met on the streets of Sydney who played a stunning song he’d penned for his mother. Watching this young guy so overwhelmed to be on the Opera House stage, to be playing Glen’s guitar, to be so supported by a musical hero, was so moving. Peader O’Riada, a legendary Irish classical pianist also joined Glen for “Leave a Light” before treating us to a few of his own compositions. I don’t listen to a lot of classical music but I couldn’t help but be impressed by his talent.

As we were shuffling out of the theatre I heard the gentleman behind me turn to his friends and say “I have the feeling we just witnessed something really special.” I can’t help but agree.

Image source: own photo

Posted on by Lauren Katulka

Disney Under the Stars @ Sydney Opera House Forecourt, Sydney – 27 February 2016

Like so many Australians, some of my earliest musical memories came from watching Disney movies. Songs like “We Are Siamese” and “Once Upon a Dream” became early favourites. My parents bought my sister and I the read-a-long books with cassettes, and while the stories were fun, it was always the bonus songs at the end that got us dancing. When music makes such an early impression on you, I don’t think it ever really leaves your heart. So when I heard of the Disney Under the Stars concert, I snapped up tickets.

I expected my husband and I would be one of the few childless couples. However, most of the people in our immediate area were in the same boat, adults unashamed of their passion for Disney. We discussed our favourite movies and characters until Chong Lim and his orchestra took to the stage and treated us to an instrumental medley of some of Disney’s most beloved songs, complete with an animated background of movie moments.

David Campbell, Ricki Lee, Lucy Durack, and Harrison Craig soon joined the musicians for “Part of Your World” from Aladdin. It was a wonderful start to a night that combined nostalgia, magic, and fun, all of the essential Disney elements.
There were so many highlights that took me back to some of my favourite film memories. Ricki Lee might have looked more like Ariel than Lucy Durack, but the blonde stage star carried off the animated mermaid’s signature song “Part of Your World” beautifully. Ricki Lee did her part playing the princess roles too, with superb solo performances of “Colours of the Wind” and “Let it Go.” I’d heard David Campbell sing “I Wanna Be Like You” from The Jungle Book at his shows before, but it lost nothing despite the familiarity. Speaking of David, his performance of one of the songs from The Hunchback of Notre Dame was one of the true showstoppers. I also loved seeing him pal around with Harrison Craig in “You’ve Got a Friend in Me.” A rambunctious group performance of “Supercalifragilisticexpialidocious” had everyone clapping and singing along. The good versus evil dichotomy of Lucy Durack and Ricki Lee’s performance of “Once Upon a Dream” was really inventive, although I can’t help thinking it was a little dark for those little girls dressed as princesses in the crowd.

It’s very hard on a night like this to please everybody. As an older concert goer, I could have done without the three (or was it four?) songs from Frozen played. While I enjoyed “Mother Knows Best” from Tangled and “Touch the Sky” from Brave, I could have easily given them up for a few older Disney tracks. I felt for the woman sitting in front of me who adored Cinderella, yet didn’t get to hear one song from this film. Some of my personal favourites, Dumbo and Robin Hood, were also neglected. But for the younger crowd, there’s never enough Frozen, and those new movies are the one they have fond childhood memories of. While big kids like me could have fun on a night like this, it’s perhaps more important the smallest members of the audience are not left feeling short-changed. Sometimes tells me it’s what Walt would have wanted.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rob Thomas @ Sydney Opera House Forecourt, Sydney – 24 February 2016

It’s been six long years since Rob Thomas graced us with a solo tour. That time around he was promoting his sophomore solo album Cradlesong and the heavens opened up, making Hope Estate a soggy muddy mess. Yesterday couldn’t have been more different, a steamy summer’s day that made me worry about getting burned even with a wide-brimmed hat and healthy helping of 50+ sunscreen. Those weather extremes aren’t ideal for an outdoor show, but when I know Rob Thomas will soon be in front of me I’m always willing to grin and bear it.

But first I had to make it through Pete Murray. I don’t know what it is about Pete Murray. He’s a good-looking guy who sings folky acoustic guitar driven music. On paper, he’s exactly what I like. However, I’ve just never been able to engage with him. Probably those moments anticipating a performance from my very favourite singer in the world weren’t the ones I’d suddenly develop an appreciation for Pete. I will say that he performed very well. He joked about the men a little less reluctant to embrace his set, and encouraged them to sing along as well. He sounded just as he does on the radio and he has a really tight band. His lead guitarist was particularly impressive. He played all the hits, although hearing them one after another only reinforced my idea that his music is a little samey. I couldn’t fault what he did. It just still wasn’t for me.

Rob Thomas on the other hand …

I wondered whether in a week that was sadly shrouded in controversy I could expect the same energy and fun from Rob, but as he burst out with “Give Me the Meltdown,” a high-energy number from Cradlesong. It left no doubt that we were all there to have a good time, and that’s just what we did. In fact, I think I might have had the most fun I’ve ever had at a Rob Thomas show, and believe me there have been a few. Rob kept the energy up with “Fallin’ to Pieces,” “Lonely No More,” and “Her Diamonds.” I marvelled at the song choices, a wonderful mix of the numbers everyone knew and the tracks near and dear to the heart of the fans who buy the albums.

A stripped back, raw performance of “Ever the Same” had me choked up. It was as near to perfection as I think I’ve ever heard. “Pieces,” another ballad and one of the rare songs from the new album The Great Unknown to make the set, was so powerful. His lively cover of “Let’s Dance” was a fitting tribute to Bowie. “Streetcorner Symphony,” with its lyrics of being there for one another, sisters and brothers of every different colour, was the most delightful way of putting all of the media muckraking to rest.

Rob’s banter with the crowd might have got him in trouble last week, but he wasn’t about to stop giving of himself that way. I love that. For me it’s the stories that make a concert. Moments like hearing about the admiration he has for his wife’s strength, and how that inspired him to write the album’s title track, “The Great Unknown.” Moments like listening to him speak about living in the moment and appreciating the beauty in it, even if it’s something as seemingly insignificant as standing around while your dog defecates, made a song like “Little Wonders” resonate a little more deeply.

There’s a line in that song that says “I cannot forget the way I feel right now.” Standing there, watching my very favourite singer, a person who has such a special place in my heart, I thought about just how I felt, how wonderful that very moment was.

You know the best thing about it all though? For the last few tours I’ve scaled back my concert activities. When I was in my late teens and early 20s, I’d always see two or three shows on Rob’s solo or Matchbox Twenty tours. Then I got older and married and reasoned I needed to be responsible, that I had other priorities in my life. I was still committed to this notion until Rob announced a State Theatre show. The allure of seeing my favourite singer in such a small venue was so strong that I snapped up tickets.

So as I watched the show last night, there was none of that sadness I usually get, because this tour’s not over for me. Tomorrow night I get to do it all again, with Rob playing a more intimate, stripped back set, so he informed us. I am so thrilled that this concert high gets to last a little longer. Rob’s going to have to pull out something special to top last night’s gig, but I’m sure he’s up to the task.

Image source: Stephen Katulka

Posted on by Lauren Katulka

5 Best Places to see Live Music in Sydney, NSW

The Entertainment Centre and Allphones Arena might get the lion’s share of the big-name acts, but there are plenty of better places to see bands in Sydney. Read on to discover five of the best.

1. Sydney Opera House

Image via Flickr by cogdogblog

There’s a reason why international artists revere the Sydney Opera House. Its Concert Hall was purpose-built to offer some of the best acoustics around. Of course it hosts symphonies and operas, but in recent years it’s also played host to an eclectic mix of big-name acts like Tori Amos, Ben Folds, Michael Buble, and Jason Mraz. Seeing a show there always feels extra special.

2. State Theatre

Image via Flickr by Eva Rinaldi Celebrity and Live Music Photographer

I get chills whenever I hear that one of my favourite musicians is performing at the State Theatre. This beautiful heritage-listed building feels a lot like the Civic in my old stomping ground of Newcastle, with its dramatic staircases and eclectic mix of Gothic, Italian, and Art Deco design features. The sound is always exquisite, and it’s so intimate that there really are no bad seats. David Byrne, Human Nature, Cyndi Lauper, and Dave Matthews Band are some of the amazing artists I’ve seen here over the years.

3. Enmore Theatre

Image via Flickr by Eva Rinaldi Celebrity and Live Music Photographer

The Enmore’s another intimate venue that has a real charm. It’s a long way from the beauty of the State; there are no frills about it at all. But you’ve got to have respect for a venue that’s still going strong 106 years after it opened its doors. That makes it the longest-running, currently operational live music venue in the state. The Rolling Stones, Counting Crows, Coldplay, and John Mayer are just a handful of the artists who’ve played in this hallowed hall.

4. The Annandale Hotel

Image via Flickr by Newtown Graffiti

Of course it can’t all be about posh venues with plush seating though. If you want to see a band before they break you need to brave the sticky floors of Sydney’s pubs and clubs. Some of my fondest early music memories centred around the Annandale. I remember catching artists like Howie Day and Thirsty Merc here for next to nothing back in the day. I haven’t been for years, but a quick look at its website shows me the Annandale’s still showcasing the best up and comers.

5. The Standard Bowl

I was so impressed with The Standard when I visited a few years ago, even if I did feel far too old for its hipster crowd. If, like me, you’re too old to stand around all night waiting for the bands to appear, arrive early and sneak up to the top level where you can enjoy a few bevvies while you survey the action below. I loved the bird’s eye view I got upstairs, but there’s also plenty of space on the lower level for punters wanting to get a little closer to the action. And it just got even cooler this year with the addition of a bowling alley!

Where do you like to see live music in Sydney? Add your views to the discussion below!

Posted on by Lauren Katulka

Idina Menzel @ Opera House, Sydney – 26 June 2013

I feel like I’ve barely had time to breathe this week. There are worse things that being social, but as I age travelling up the highway and back again more than once in a week really takes its toll. Still, when you’re seeing wonderful things it’s worth all the effort. And Idina Menzel’s concert at the Opera House on Wednesday night was certainly a wonderful thing.

I became enamoured with Idina when I discovered Rent in the late ’90s. Wicked came later, and then Glee, with their roles that showcased Idina’s charisma and incredible vocal prowess. So when I heard she was visiting Australia this month, I jumped at the chance to be in the audience. My expectations were high, but she didn’t disappoint.

In fact, this was one of those shows that was even better than I’d hoped for. What a personality Idina has. She was genuinely humble and so incredible open. She was free with stories of her professional and personal life, even when those memories were painful like the loss of composer and mentor Marvin Hamlisch and Rent creator Jonathan Larson.

The music took the night to another level though. It was eclectic mix touching on jazz standards, musical theatre numbers, and even pop songs. It’s rare to find a set with songs from Lady Gaga, Cole Porter, Joni Mitchell, and Peter Gabriel, but I relished it. It all worked so well. Her tender rendition of “Both Sides Now” was spellbinding, her take on Barbra Streisand’s “Don’t Rain on My Parade” invigorating, her performance of Wicked signature song “Defying Gravity” every bit as impressive without green makeup and levitation.

But personally none of them compared to the joy I felt at witnessing her singing my favourite song from my favourite musical, “Take Me or Leave Me”. As it’s a duet I never expected it to make the set, but I didn’t count on her secret weapon: a ridiculously talented Sydney audience. Normally when singers invite random strangers to the microphone the results are cringeworthy. There’s something special about a musical theatre audience though. All the guest vocalists were stellar. If Idina didn’t look so impressed I’d assume they were plants. Witnessing all these great voices coming together was a true highlight.

I’d be remiss not to mention the Sydney Symphony Orchestra too, who helped elevate Idina’s act as only a full orchestra can. What a combination.

I’m still raving about this show to anyone who’ll listen days later. It was incredible, utter magic. And for nights like that, I’ll happily accept a little post-concert fatigue!

The Sydney Opera House is pretty strict about its no-photos policy, so with that in mind I figured I’d share you one of the clips from the tour video. It’s not Sydney, but it shows how special it is when Idina works with an orchestra. Enjoy!