Adelaide Festival
Adelaide Festival review: Manifesto
Watching the Adelaide premiere of Manifesto feels less like viewing a performance and more like witnessing an explosive, ecstatic and primal phenomenon.
Adelaide Festival
Watching the Adelaide premiere of Manifesto feels less like viewing a performance and more like witnessing an explosive, ecstatic and primal phenomenon.
Adelaide Festival
This UK-based ensemble – a selection of players from the full Chineke! orchestra – has debuted at the Adelaide Festival with an exuberant and delightful program, the centrepiece of which was a specially-commissioned work from one of Australia’s most important musicians and composers.
Three disparate worlds are currently contained within Samstag Museum’s walls: two compelling audio-visual installations by eminent British artist Isaac Julien, and a realm of uncanny, biomorphic entities created by Australian ceramicist Helen Fuller.
An ear-splitting explosion. A shuddering light. A plunge into darkness. From the outset, Wudjang: Not the Past grabs us by our neatly-pressed collars and hurls us into the dark chasm of Australia’s colonial legacy.
Showing in the Adelaide Railway Station’s north eastern concourse, this exhibition of work by an impressive and diverse collection of mid-career South Australian artists is a must-see on the festival program.
With dazzling stagecraft and an extraordinary solo performance by Eryn Jean Norvill, this screenshot of Dorian is a Wilde ride.
Call it what you will – masque, oratorio or pastoral opera – but Handel’s Acis and Galatea is a gem from the Baroque that needs only a little tender love and polish to win it over to any modern audience.
Adelaide Festival
Adelaide Festival
Adelaide Festival
Adelaide Festival