When the Sydneys Opera House opens its doors this week, its first big event is not only the first major opera house in Australia, but also its first performance by an Australian female vocalist.
In the last few years, the Sydney Opera House has hosted performances by several prominent female opera singers, including Sarah Banks, Sarah Nussbaum, and Emily Brontë, among others.
But the debut performance of the Sydney Symphony’s own vocalist, Mariana Dutroux, is one of the first of many events that will take place at the new opera house this year.
As she tells me, she’s not just excited to have the opportunity to perform with the symphony, but to have a role in its world-class productions as well.
“I’m so excited to be a part of a symphony that is so well-known around the world,” Dutrox tells me.
“It’s such an exciting place to be, and it’s an incredible experience to be part of something like that.
I’m thrilled that it’s happening.”
The Sydney Symphony is one the world’s biggest orchestras, and a key component of the world-famous Australian opera scene.
But, like many of its international peers, the symphonies have faced an existential crisis.
In 2006, the American opera house The Metropolitan Opera House canceled a performance of “La Mornada” because of the sexual harassment allegations against its lead singer, Liza Minnelli.
The opera house also canceled an upcoming concert in New York City because of an alleged assault against the conductor, Patrick Carney.
In 2015, the Vienna Philharmonic decided to cancel a concert of “The Wrecking Ball,” citing allegations of sexual harassment against its conductor, Johannes Vermeer.
And in 2017, the London Philharmonia cancelled a concert after allegations surfaced that a man had sexually assaulted a young female performer in the early 2000s.
As an opera house that has had to deal with this kind of crisis on multiple levels, the opening of “Dutrouxe” will be a big deal for the Sydney symphony.
The Sydney Opera Hall opened in 2008, and the new house will be the first to open to the public since then.
Its opening is a significant milestone for the symposium, and its reputation as a leading institution in the opera world is also well-earned.
But this is no small event.
As Dutrias, who is 23, tells me she hopes to get more exposure, she has some advice for opera fans: “There’s nothing worse than a fan saying, ‘I know you’re great, but I just don’t want to go out to see you.’
But for now, she is just looking forward to the music. “
For the next year, the world will see more performances of Dutrôx’s music, which will be presented in the company of the New York Philharmonics, the Chicago Symphony Orchestra, and many more other major orchestras.
“Being able to see people on stage and in front of the audience, and to see all of that energy, it’s just amazing.” “
To see the orchestra come out and play is such an awesome feeling,” Dostroux says.
“Being able to see people on stage and in front of the audience, and to see all of that energy, it’s just amazing.”
She adds that she has heard that the new music is “more powerful” than anything she has performed in a performance.
For more on “Dieter Bijlmans: The Story of a Vampire,” pick up a copy of EW’s fall/winter 2017 issue on newsstands now or pick up the digital edition here.