Joan Sutherland Theatre, Sydney Opera House
When Shostakovich released his debut opera into the world at the tender age of 20, his brilliance was plain as the nose on his face.
He used every musical trick in the book (and quite a few that weren’t) to tell this amusing tale: here a raucous percussion ensemble, here a maniacal gallop, there a lyrical chorus. This eclectic parade of styles put a few noses out of joint, but sniff as they might, not even the establishment could deny that here was a virtuoso at work.
The frenetic score springs entirely from the action on stage, as a lowly official chases his gallivanting nose around town. It’s a zany, hyperactive cabaret with more than 80 named parts (including the nose itself).
Who better to direct than the outrageously inventive Barrie Kosky, the Australian director of Berlin’s Komische Oper? Reviewers called this co-production with the Royal Opera House “terrifically realised, brilliantly inventive and highly entertaining” (The Spectator).
Andrea Molino conducts a massive cast including Martin Winkler, John Tomlinson and Alexander Lewis. They perform in English in a new translation by David Pountney.
An absurd little story about a nose on the move
Met a precocious composer with something to prove
There resulted an opera that bursts with ideas
The critics were shocked: an assault on the ears!
But the audience sniggered, guffawed and then gasped
At the clowning, the slapstick, the flatulant brass
Exuberant music with theatre to match
A nose on the run is a hard thing to catch
So go dizzy, go wild, have a marvellous night
At an opera that’s fizzy and busy and bright
Enjoy dinner before the opera at Sydney Opera House
Allow us to make your dinner reservation for you: 6pm in the Northern Foyer of the Joan Sutherland Theatre. You'll be served a themed three-course menu for just $69, including a Kir Royale on arrival. View the menu.
Simply add dinner to your cart after selecting tickets.
|Revival Director||Felix Seiler|
|Set & Lighting Designer||Klaus Grünberg|
|Associate Set Designer||Anne Kuhn|
|Revival Choreographer||Thomas Herron|
|Assistant Director||Matthew Barclay|
|Platon Kuzmitch Kovalev||Martin Winkler|
|Ivan Iakolevitch / Clerk / Doctor / Khosrev-Mizra||John Tomlinson|
|Praskovia Osipovna / Pretzel Seller / Presenter||Antoinette Halloran|
|District Inspector / Eunuch||Kanen Breen|
|The Nose / Iaryzhkin / Eunuch||Alexander Lewis|
|Pelageya Podtotschina / Travel Agent / Hanger-On||Sian Pendry|
|Podtotschina's daughter / Hanger-On||Eva Kong|
This production is not recommended for children. It contains strong language and adult themes.
There is a complete lockout for this production. Latecomers will not be admitted.
Running time: approximately 1 hour & 50 minutes, without interval.
A co-production between Royal Opera House Covent Garden, Opera Australia, Komische Oper and Teatro Real, Madrid.
A lowly official wakes up to find his nose has escaped his face.
To add insult to injury, the nose is gallivanting around town wearing a higher rank than he.
Dinner in the Northern Foyer of the Joan Sutherland Theatre
Allow us to make your dinner reservation for you: 6pm at in the Northern Foyer of the Joan Sutherland Theatre.
You'll be served a themed three-course menu for just $69, including a Kir Royale on arrival. Simply add dinner to your cart after selecting your tickets.
Kir Royal (Moët Royale $15 supplement)
Sourdough, Pepe Saya butter
(Additional beverage available on the night)
Smoked salmon, creme fraiche, chives, potato blinis
Holy Goats cheese, witlof, green lentils & beetroot vinegar (V)
Chicken, mushroom, 'Pomme Maxim'
Gnocchi Parisenne (V)
Mixed greens ($7)
Petits fours: Gold opera gâteau, framboise macaroon, Champagne truffle
Espresso or herbal tea selection
"Shostakovich's score, driven with furious energy by conductor Andrea Molino, embraces the bizarre in lean, sometimes scattered textures, with fleeting references to an eclectic range of styles and popular genres, to capture in music a large Hogarthian cast."
★★★★★ — The Sydney Morning Herald
"The Nose is a finely choreographed celebration of the absurd, the grotesque, the different and the weird."
"The costumes are a riot of colour and styles, and the choreography by Otto Pichler must be applauded - the tap-dancing noses brought the house down."
"The whole thing was magnificent. A bold, brave production of a fiendishly difficult work stunningly realised by an amazing team. Equal parts brilliant and hysterical."
— Patrick (Marrickville, NSW)
"Martin Winkler's performance was extraordinary, not only for his singing but for his masterful comedy."
— Patricia (North Avoca, NSW)
“Absolutely brilliant! I had so much fun!”
— Sergey (Peregian Springs, QLD)
“This was the most uncouth load of rubbish I have ever seen. NO STARS AT ALL”
— Joy (Sylvania, NSW)
Simulated sex. Man running around in underpants. Multiple Gunshots. Crazy CRAZY countessa. 9 tapdancing giant noses. Cutthroat razor shaving. And no interval for the ‘subtle escape’. 71 (I think) perfs on stage at once. Written by a 20 year old. WE LOVED IT #Opera #TheNose— not, like, a genius (@ozbluey) February 19, 2018
@OperaAustralia “The Nose” is the perfect opera for our times—a healthy and invigorating dose of surrealism and absurdism. Cast and chorus superb and the orchestra sounded great in the new pit. The whole is shot through with Barrie’s genius.— Erin Helyard (@ErinHelyard) February 21, 2018
I loved @OperaAustralia's The Nose last night. I haven't laughed so much in an opera before. I am going to give away one gag, because it's just too good (sorry!) There's a particularly wild sequence that ends with silence before a voice shouts out 'you won't see THAT at Evita!'— Ben Neutze (@neutze) February 21, 2018
I was luck enough to be invited to @OperaAustralia “The Nose” tonight. Total surrealist masterpiece. Please see it if you can. More of this please! Genius!!!!— paul mac (@thepaulmac) February 21, 2018