In the lead up to this year’s festive Mardi Gras season, the Sydney Opera Trust sent a legal letter to the Harbour City Bears demanding that the gay social group for big hairy men immediately cease using its sixteen year old logo which features a bear paw over the sails of the Sydney Opera House. Each sail is a different colour of the gay rainbow flag. The Sydney Opera House Trust was established by the State Parliament in 1961 and manages the publicly owned site. The Trust’s own vision statement asserts: “Sydney Opera House belongs to everyone.”

While the Sydney Opera House is an iconic symbol for the Harbour City and the whole of Australia, the Trust’s legal department asserts, “The Sydney Opera House Trust manages the use of Sydney Opera House’s image and brand on behalf of the New South Wales Government.” The Trust does not distinguish between non-profit and commercial organisations in sending out legal threats to anyone using the Opera House sails as part of its own symbol, logo or marketing campaign.

In 2007, Telstra was threatened with legal action by both the Sydney Opera Trust and Uluru’s administrators when it used images of Australia’s two most famous landmarks as part of an online marketing campaign. The matter did not go to court. Whether or not a legal challenge against the Bears would stand a chance is problematic. Under the Australian Copyright law of 1968, it is not illegal to use “a painting, drawing, engraving or photograph of a building.”

The President of the Harbour City Bears, Jonny Bastin sent a statement out to all members vowing not to cave in to legal threats from the Trust: “We know that many people love our logo as it symbolises our city, our club and our community. The fact that we have been using it unchanged since 1995; and that it is recognised in the bear community worldwide means it is now part of our history. Please be assured that myself and the current Harbour City Bears Committee will be doing everything possible to protect our club’s history.”

Gays and lesbians are a large part of Sydney’s ever shrinking arts’ audience. Whether or not the Trust would ever succeed at winning a legal challenge against the Harbour City Bears, its actions are certain to lose the hearts and minds of an important market in Sydney’s struggling arts scene.

By Lawrence Gibbons

Turnandot was Puccinni’s final, uncompleted opera, composed in the 1920s as the last of the grand Italian opera composers succumbed to throat cancer. The opera is set in ancient Peking, where men literally lose their heads in pursuit of a beguiling princess named Turnandot. Any suitor who wants her hand must first answer three perplexing questions. Get them right and you will win the hand of the princess in marriage. Fail the quiz and you are decapitated at sunrise. The imperial palace is littered with the scalps of many a failed suitor, until a unknown prince answers all three questions correctly to the dismay of an icy Turnandot.

One of Australia’s greatest choreographers, Graeme Murphy first directed this production in 1990, which is staged magnificently as a chorus of courtesans and soldiers swirl around the opulent palace set. Tenor Rosario La Spina is wonderful in the role of Calaf, the unknown prince, who sings the famous aria Nessum Dorma, None Shall Sleep – while the whole of Peking is awakened to learn his name by a desperate princess. Turnandot is performed stupendously by American soprano Susan Foster. But in the end, it is the whole of the Opera Australia chorus who takes centre stage and makes this production well worth seeing.

Until Mar 19, Sydney Opera House, $58-297, 9318 8200, opera-australia.org.au

In the Story of a Rabbit, Hugh Hughes jumps between two separate encounters with death. In 1995 Hugh, played by Welsh actor, Shon Dale-Jones first came face to face with death when a neighbour asked him to watch after her childrens’ rabbit, only to have the neighbour’s pet die under his watch.  Hughes’ comic narrative of trying to shove a dead bunny into a garbage bag is interposed with a philosophical discussion of life, death and the theatre. The second time Hughes encountered death was five years later in 2000, when his father died in a church in the north of Wales. The hyperbolic weaving between two different terminal tales is juxtaposed with audience interactions, random cups of tea for two lucky people in the theatre and a free badge at the end of the evening. Rest assured you will never have another night at the theatre quite like this.

Until Dec 10, Playhouse, Sydney Opera House, $29-35, 9250 7777,sydneyoperahouse.com

The Love of the Nightingale, the opera in two acts by Richard Mills (who also conducted the Sydney Opera Theatre production), is bloody, controversial and passionate. A very modern adaption of the Greek myth of the rape of Philomele (Emma Matthews) by her brother-in-law Tereus (Richard Anderson), this opera is feminist and pacifist in inspiration as it explores the ruthless abuse of patriarchal power. When Tereus robs Philomele of her voice, as well as her innocence, by cutting off her tongue to silence her, he croons: “My sweet, my songless, my caged bird.” The audience revulsion at that scene is almost tangible. The ensuing revenge of Philomele and her sister Procne (Anke Höppner) is shocking and cruel but thematically logical. The ending, however, is idealistic. Love the music and the choral ensembles, and especially the seductive wailing of Aphrodite (Taryn Fiebig). And Emma Matthews was brilliant in the role of Philomele. Definitely worth catching.

Until Nov 1, Sydney Opera House, $95-297, opera-australia.org.au

The buffed and barely clad Kiwi baritone, Teddy Tahu Rhodes makes a perfect Don Giovanni. Mozart’s infamous seducer is brought to life in Opera Australia’s revival of this 18^th century classic as Rhodes struts across the stage with his shirt undone, flashing his pecs and abs for all to see. Don Juan (or Don Giovanni in Italian) is one of fiction’s greatest antiheroes and was born in an age of enlightenment and personal freedom. Mozart wrote his libertine opera in 1788, a year after the American constitution was penned and a year before the French revolution broke out. Here in Sydney of course, 1788 was the year that the first fleet arrived in Botany Bay. Carl Fredrich Oberle’s palatial set serves as a spectacular backdrop to Mozart’s brilliant music which goes from playful to seductive to foreboding.  Rhodes’ muscular and masculine voice fills up the Sydney Opera House as he performs what has become his most famous role. As he sings the famous “Champagne” aria, he tosses off his clothes as if he were a Chippendale performer. Don Giovanni’s loyal servant Leporello is performed by fellow Kiwi Conal Coad, whose singing of the famous comedic “Catalogue” aria is spectacular. The Australian born Soprano Rachelle Durkin stands out as Donna Anna, the love torn Lady of Burgos. Bass Baritone Daniel Sumegi’s voice raises the rafters as the Commodore, who offers Don Giovanni the chance to repent his sins as the set collapses ominously and the swaggering renegade is dragged to an eternity in hell.

Until Nov 5, Sydney Opera House, $55-297, 9318 8200, opera-australia.org.au

Emma Matthews cements her international reputation as one of Australia’s best sopranos in the leading role of Opera Australia’s Lakmé. As the beguiling Brahmin priestess who steals the heart of a British officer, Matthews is superlative.  The opera is worth watching, if only to hear Matthews perform Delibes’ most famous duet The Flower Song beside Dominica Matthews, who performs the role of Lakmé’s hand maiden stupendously. Matthews is equally impressive in the Second Act when she sings the even more demanding Bell Song – breathlessly hitting every last high note in an incredible display of coloratura. Aldo Di Toro performs the role of Gerald, the British soldier who falls in love with Lakmé at first sight, effortlessly commanding centre stage with Matthews. While the story is short on plot (Opera Australia’s synopsis takes up less than 125 words) the libretto has enough tragedy to make it one of the opera canon’s most popular works. Complete with a vengeful father, a failed murder attempt and a suicidal soprano, Lakmé hits all the high notes. Equally impressive is Opera Australia’s lush set design, which richly draws on Indian art to create an opulent ocular experience.

Until Sep 21, Sydney Opera House, $115-297, 9318 8200, opera-australia.org.au

Sixteen years ago this week, the first edition of the City Hub hit the street. Since August 21, 1995 our aim has been “to print the news and raise hell.” From day one the City Hub has been freely distributed at thousands of small local businesses throughout the inner city and at some of Sydney’s best and most iconic destinations including the Bondi Pavilion, Sydney Town Hall and Gould’s Books in Newtown (see our Best of Sydney supplement).
Publishing an independent alternative newspaper year in and year out requires the support of a range of independent minded businesses. From hip outdoor markets to fearless fringe theatres, from trendy trattorias to hip, underground pubs, we have had the support of some of Sydney’s best independently owned businesses targeting the vibrant inner city marketplace. Year in and year out, you — our loyal readers have shown your support for unique and authentic Sydney based business by putting your money in their tills and by voting for them in our annual BEST OF SYDNEY readership poll. Once again your votes have been tallied and the results appear in the pages of our anniversary edition. As always your opinions are provocative, engaging and spot on.
Of course, publishing an independent alternative newspaper also requires the efforts of a dependable and passionate team of independent minded individuals: a tenacious group of sales professionals who can help local businesses reach the inner city marketplace, talented designers who can turn scanty directions into inviting layouts; one of the few remaining independently owned and operated newspaper printers in Sydney who can deliver a high quality print product; distributors to drop papers into thousands of outlets. And a tireless team of young writers, old fashioned muck raking journalists and some damned good editors who can pull it all together, polish it up and actually get each and every edition of this paper to print on time.
Our commitment to tell Sydneysiders what they want and need to know has not waivered over the years. Sure, our old fashioned medium may have had its ups and downs along the way, but we are still here to print the news and raise hell. Let Murdoch buy up every other local newspaper group in town. Let him tap our phones and shut down a weekly newspaper or two along the way, we will not be deterred. When all is said and done about the future of a free and vibrant independent, alternative press here in Sydney: you are holding the single largest edition of the City Hub to have been produced in over a decade. Enjoy!
Australians value a free and fearless press. Sure we may live in the most monopolistic media market in the “free world”; ours may be one of the only democratic societies not to protect the right to free speech in a Charter of Human Rights, but we are still willing to speak the truth. This year Australians have made global headlines as they have broken laws to publish illegally obtained, secret information. 2011 was ushered in with Julian Assange, an Australian born hero publishing leaked, state secrets on the Internet. Half a year later another Australian born anti hero, the media monopolist Rupert Murdoch was hauled before the British parliament and grilled for publishing illegally obtained private secrets in an old fashioned newspaper. In so doing each publisher has provoked debate about what the public does and doesn’t have the right to know. Here at the City Hub we are not surprised that it has been Australians stirring the pot, sparking debate, printing the news and raising hell.

Why We Are Publishing the City Hub

1) To print the news and raise hell. To offer an independent alternative to Australia’s media conglomerates. To be unique, vital and indispensable.
2) To fight for progressive social change. To see that everyone gets a fair go. To look out for the underdog (who better than an alternative title to fight the good fight?).
3) To champion local Australian arts and culture. To counter the cultural cringe. To define what is next. To seek what is new.
4) To provide creative individuals with a forum for intelligent discourse. To develop fresh talent. To encourage well-written, accurate and insightful prose.
5) To give every employee the opportunity to grow and advance. To respect our staff. To have fun.
6) To empower our managers to run each department entrepreneurially and responsibly. To encourage new ideas. To develop a collaborative team effort.
7) To serve the interests of young urban readers. To always put our readers’ interests first. To ensure that every publishing decision expands our readership (by so doing our advertisers’ interests will be served).
To offer advertisers an effective, targeted advertising alternative. To provide small, locally-owned businesses with an affordable advertising option. To help our clients grow.
9) To operate profitably and with fiscal responsibility. Revenues are the means by which our message is delivered. Profits ensure that our business is secure.
10) To seek expansion opportunities within our defined market niche. To grow and grow again. To guarantee that our community hears an opinionated, independent voice.

More known for directing movies, Bruce Beresford’s production of Opera Australia’s Of Mice and Men is truly cinematic. It’s not hard to understand Beresford’s attraction to this particular opera. Written for the San Francisco Opera in the 1960s and set in California in the depression era some thirty years earlier, much of the opera could serve as the score for a Hollywood movie. The libretto (which Carlyle also wrote) is based on John Steinbeck’s novella by the same name. Lenny, the mentally impaired farm hand, who accidentally kills everything he comes in contact with: from mice to men, is played by the lumbering, American born, Grammy Award-winning tenor Anthony Dean Griffey, who was born to play this role.  His sidekick, and guardian George is played by a booming Barry Ryan whose voice compliments Griffey perfectly. Beresford tilts his cowboy hat to the big screen in the lead up to the final scene as he projects a film of Lenny being pursued by a posse through the Salinas scrub. Steinbeck’s classic story, complimented by Floyd’s cinematic score and fleshed out by Beresford’s directorial skills makes this a truly dramatic night out at the opera.

Until Aug 11, Sydney Opera House, $95-280, 9318 8200, opera-australia.org.au

Gale Edward’s much heralded production of La Boheme is a perfect winter’s tale. Opening in a freezing artist’s garret, the bundled singers who were huddled for warmth looked much like that evening’s audience who had braved a blustery Sydney winter’s night to attend Puccini’s most popular work. Mimi was peformed by the stunning Takesha Meshé Kizart (Tina Turner’s daughter-in-law and Muddy Water’s grand niece), whose sparking voice filled the Opera House to the rafters. The starving writer and Mimi’s lover, Rodolfo was performed by the superb Korean tenor Ji-Min Park, whose voice complimented Kizart perfectly. Rodolfo’s best friend, the artist Marcello was played by the debonair baritone Jose Carbo. His mistress Musetta  was performed by the blonde and vampish, Taryn Fiebig, who did a good job channelling the ghost of Marlene Dietrich.  Usually set in 19th century Paris, Edward transforms the story of Left Bank decadence to pre war Berlin in the 1920s. The setting provides a perfect opportunity to stage the second scene in the Spiegel Tent complete with cabaret performers coming from the rafters. If you have never seen an opera, this production of La Boheme is an accessible entry point with the famous final scene of Mimi dying in the garret guaranteed to choke up even the most cynical of hearts.

Until Oct 24, Sydney Opera House, $95-280, 9318 8200, opera-australia.org.au

Capriccio was Richard Strauss’ final opera, written during composer’s ‘Indian summer’ when he was 78-years-old and was first performed in 1942 in Munich during World War Two. As operatic plots go, the storyline is simple: the author Olivier and the composer Flamand battle for the affections of a beguiling Countess, each arguing that their own art form is superior and that they therefore are more deserving of the same woman’s affections.  Their muse is performed by Cheryl Barker, Australia’s internationally renowned soprano, who is stunning in her role as the Countess. Andrew Brunsdon’s voice as Flamand is sublimely balanced by Michael Lewis as Olivier, though the latter is perhaps older and less dashing than the libretto calls for.  The highlight of the opera comes in the first act, after Flamand has set Olivier’s sonnet to music. The tenor, the baritone and the soprano weave a sublime musical tapestry. While the second half is perhaps longer than need be, Barker’s final 2o minute soliloquy is well worth the wait.   The spectacular cast is complimented by Conal Coad as La Roche, the wily theatre director and Christopher Tonkin as the Countess’ dashing younger brother.  Set in Paris in the 192os, the period costumes and the lovely rotating art deco set serve as a  perfect setting for this rarely performed opera.

Until Jul 27, Sydney Opera House, $95-280, 9318 8200, opera-australia.org.au