Malcolm Gillies

‘Bringing the world back home’ was an early strapline of Australia’s SBS network. In those early multicultural days, it emphasised that being Australian did not restrict you from being culturally plural. It had the unfortunate implication, however, that Australia was not actually part of ‘the world’. We stood apart. Zoom forward to Covid-struck 2021, and Australia desperately wants to stand apart. Bringing that world back home has proven quite a technical difficulty, in sport, business, culture, even family reunion.

For nearly two centuries considered the runt of Mozart’s operatic litter, La Clemenza di Tito has taken on new life this millennium. Written in the formalistic, to nineteenth-century ears even archaic, style of opera seria, this hastily composed two-act work of Mozart’s final year (first performed in Prague on 6 September 1791) is now received as fresh, even vital, overturning an inherited view of it as ‘a conception not fully realized’ (Julian Rushton). Its intensely political message is so pertinent to our own immoral times. Why, there is even a storming of the (Roman) Capitol towards the end of Act I, from which the instigators walk free.

Béla Bartók’s Duke Bluebeard’s Castle was premièred amid the chaotic, final months of the Great War. Its lugubrious symphonic mood, grim libretto, and static set gained respect rather than favour from its first anxious audience. A century on, now freed from the shackles of copyright (Bartók died in 1945), the opera invites new approaches, arrangements, and settings. There is even now an annual Hungarian opera festival, where the Duke and his latest wife are presented everywhere from night bars to spa baths.