Over the course of a career spanning 45 years, Sir Donald Runnicles has built his reputation on enduring relationships with major symphonic and operatic institutions. Focusing on depth over breadth, he has held chief artistic leadership positions at the Deutsche Oper Berlin (since 2009), Grand Teton Music Festival (since 2005), San Francisco Opera (1992–2008), BBC Scottish Symphony Orchestra (2009–2016), and Orchestra of St. Luke’s (2001–2007). Sir Donald was also Principal Guest Conductor of the Atlanta Symphony Orchestra for more than two decades (2001–2023), and he is the first ever Principal Guest Conductor of the Sydney Symphony Orchestra (since 2019). In February 2024, Runnicles was appointed as Chief Conductor of the Dresden Philharmonic, which begun with the 2025/26 season.

Known as a consummate Wagnerian and conductor of German Romantic repertoire, Runnicles leads Deutsche Oper Berlin this season in a new production of the Richard Strauss rarity, Intermezzo, directed by Tobias Kratzer, as well as revival performances of Parsifal and two full cycles of Wagner’s Ring des Nibelungen. At the Metropolitan Opera, he conducted eight performances of the Otto Schenk production of Tannhäuser. Other 2023/24 appearances include the Dresden Philharmonic, Dallas Symphony, Cincinnati Symphony, and Utah Symphony, where he led the world premiere of a new concerto written and performed by Sir Stephen Hough.

Runnicles spends his summers at the Grand Teton Music Festival in Jackson, Wyoming. This eight-week festival of symphonic and chamber music, five of which are programmed, planned, and conducted by Runnicles as music director, takes place amid the breathtaking beauty of Grand Teton National Park. Summer 2024 GTMF festival highlights included a semi-staged The Magic Flute, concerts with Augustin Hadelich and Yo-Yo Ma, and two fifth symphonies by Mahler and Vaughan Williams.

Runnicles’ 2024/25 season opened with a 70th birthday celebratory concert closing the Edinburgh Festival with Bruckner’s Ninth Symphony, after which he opened the Dresden Philharmonic season and then continued to Berlin for a concert with the Deutsche Oper Berlin Orchester as part of the Berlin Festival. Runnicles’ 2024/25 Deutsche Oper Berlin season included a new production of Richard Strauss’ Die Frau ohne Schatten and revivals of the Zemlinsky one-act opera Der Zwerg (The Dwarf), Arabella, Intermezzo, Tristan und Isolde, and Verdi’s Don Carlo. He returned twice to Sydney Symphony over the course of the season and made guest appearances in Chicago, Houston, Pittsburgh, Detroit, and Cincinnati.

Runnicles tours regularly with Deutsche Oper Berlin to destinations such as the Edinburgh International Festival, the London Proms, Royal Opera House Muscat in Oman, and Dubai. He has joined the Philadelphia Orchestra on tours to China, summer residencies at Bravo! Vail Music Festival in Colorado, and annual subscription concerts. A frequent guest conductor with the Chicago Symphony, Runnicles’ performance history dates back to 1997. Over a decade-long relationship with the Vienna State Opera, he led new productions of Parsifal, Britten’s Billy Budd, and Peter Grimes, as well as core repertoire pieces.

Runnicles’ extensive discography includes recordings of Wagner’s Tristan and Isolde, Mozart’s Requiem, Orff’s Carmina Burana, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, Bellini’s I Capuleti e i Montecchi, and Aribert Reimann's L’invisible. His recording of Wagner arias with Jonas Kaufmann and the Orchestra of the Deutsche Oper Berlin won the 2013 Gramophone Award for Best Vocal Recording, and his recording of Janáček’s Jenůfa with the Orchestra and Chorus of the Deutsche Oper Berlin was nominated for a 2016 GRAMMY award for Best Opera Recording.

Sir Donald Runnicles was born and raised in Edinburgh, Scotland. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

Caitlin Lynch studied at the University of Michigan and the University of Cincinnati College-Conservatory of Music (CCM) before training with the young artist programs of Houston Grand Opera, Seattle Opera and the Glimmerglass Festival.

​Highlighting the 2026-2027 season, Ms. Lynch makes her Australian debut, singing performances of Beethoven’s Missa Solemnis with Donald Runnicles and the Sydney Symphony Orchestra. She headlines the Opening Night Concert with Chamber Music Detroit and returns to the Metropolitan Opera as the First Lady in the beloved holiday version of The Magic Flute, later covering the leading soprano role of Anna Sørensen in the company premiere of Silent Night.

Her 2025-2026 season included a highly acclaimed role debut as Carlisle Floyd’s Susannah, in Patricia Racette’s production at Opera Omaha, and her Wagnerian debut as the Third Norn in Götterdämmerung at Atlanta Opera. She also returned to the Metropolitan Opera to cover Micaëla in Carmen.

Ms. Lynch joined the Metropolitan Opera during the 2024-2025 season for two Mozart titles: singing the First Lady in the company’s cherished family production of The Magic Flute, and covering Contessa Almaviva in Le nozze di Figaro. She also returned the Grand Teton Music Festival as the soprano soloist for Beethoven’s Ninth Symphony, led by Sir Donald Runnicles. During the summer, she created the title role of Siddhartha, She, a new scenic oratorio composed by Chris Theofanidis and conducted by Robert Spano, at the Aspen Music Festival.

A champion of contemporary composers and new music, Caitlin received international acclaim for creating the role of Eliza in Nico Muhly’s chamber opera, Dark Sisters, which premiered at the Gotham Chamber Opera in New York with subsequent performances at Opera Philadelphia. She originated Callie Van Lew in the highly anticipated world premiere of Jake Heggie and Gene Scheer’s Intelligence at Houston Grand Opera, which received the 2026 Grammy for Best Opera Recording. Ms. Lynch has worked closely with Heggie and Scheer throughout her career, premiering their new song cycle, Another Sunrise, commissioned by Music of Remembrance (MoR) in Seattle. She helped celebrate the 25th anniversary of MoR during the 2022-23 season, with performances of the work in Seattle, San Francisco and Chicago, and also appeared with the ensemble for the world-premiere of Farewell, Auschwitz!

Caitlin Lynch made her Metropolitan Opera debut as Biancofiore in Zandonai’s Francesca da Rimini and returned as Cynthia in Nico Muhly’s world-premiere production of Two Boys; she has also recently sung performances of Contessa Almaviva and Pamina (The Magic Flute) with the company, also covering Clarissa Vaughan in The Hours. Her other recent operatic engagements include First Lady in Barrie Kosky/1927’s production of Die Zauberflöte for Houston Grand Opera; Micaëla in Carmen with the Seiji Ozawa Music Academy; Donna Anna in Don Giovanni for her debut with English National Opera; Contessa Almaviva with Austin Opera, San Diego Opera and Seattle Opera; Yadwiga in the world premiere of Ben Moore’s Enemies, a Love Story at Palm Beach Opera, and Violetta (La traviata) and Marie Antoinette (Corigliano’s The Ghosts of Versailles) with Chautauqua Opera.

On the concert stage, the soprano has recently appeared with the Kansas City and Seattle Symphonies (Beethoven Ninth Symphony); The Washington Chorus (Mendelssohn Elijah), the Handel & Haydn Society (Mozart concert arias & Mass in C Minor); the Saint Louis Symphony (Mozart Requiem); and the Omaha Symphony (Dvořák’s Stabat Mater). She has also sung Handel’s Messiah with the Ann Arbor, Pacific and Milwaukee Symphonies; Brahms’s Ein Deutsches Requiem with the Grant Park Music Festival; Orff’s dramatic cantata Carmina Burana with Seattle, Milwaukee, and Alabama Symphonies and appeared at the Spoleto Festival USA as the Soprano Soloist in John Adams’s El Niño.

Additional career performances include Micaëla in Carmen at Seattle Opera; Marguerite in Faust at Michigan Opera Theatre (now Detroit Opera); Violetta in La traviata with Arizona Opera and Des Moines Metro Opera; Countess Almaviva in Le nozze di Figaro with the Glimmerglass Festival, Detroit Opera, and Opera Lyra Ottawa; Donna Anna (Pittsburgh Opera) and Donna Elvira (Madison Opera, Utah Opera, Opera Carolina) in Don Giovanni; Konstanze in Die Entführung aus dem Serail (Arizona Opera); and Fiordiligi in Così fan tutte (Opera Carolina, Arizona Opera, Palm Beach Opera).

Caitlin Lynch was awarded First Place in the Houston Grand Opera Competition, and subsequently made her mainstage debut as Hero in Beatrice et Benedict. Additional awards include a Sara Tucker Grant from the Richard Tucker Foundation, and second place in the Palm Beach Opera Competition.

Fleuranne Brockway is the first prize winner of the Concours Musical International de Montréal 2025, and was awarded the grand prize, first prize and the Opéra de Montréal Aria Prize as well.

During the 2024/25 season, Australian mezzo-soprano Fleuranne Brockway appeared in the title role of Carmen and in the new production of Offenbach’s Fantasio, also in the title role, Armando in a new production of Ligeti's Le Grand Macabre, Cherubino, and Meg Page in Falstaff at the Hessisches Staatstheater Wiesbaden under the new intendanz of Dorothea Hartmann and Beate Heine.

The young Australian mezzo soprano is quickly gaining international recognition as an emerging artist with ‘high notes that ring thrillingly’ (Opera Today) and ‘rich, dark lows’ (Online Merker). Celebrated as a ‘wonderfully natural singing-actor’ (Opera Today) with a ‘lusciously dark centred voice’ (Herald Sun), she has captivated audiences throughout her native Australia, and Europe alike.

In the summer of 2023 Fleuranne made a debut at the Bregenz Festival in the Andreas Homoki production of Puccini's Madama Butterfly as Suzuki. That same year she was a finalist at the Queen Elisabeth Competition for Voice in Brussels and also made a debut at the Opera Las Palmas as Fenena in June 2024. 

Since winning First Prize in the highly coveted German Australian Opera Grant in 2018, Fleuranne relocated to Wiesbaden, Germany in 2019 to join the ensemble of the Hessisches Staatstheater. Since arriving in Wiesbaden, she maintained an impressive performance schedule in such roles as Dorabella (Così fan tutte), Wellgunde and Rossweiße (Der Ring des Nibelungen), Third Maid (Elektra), Mercédès (Carmen), Sonyetka (Lady Macbeth of Mtsensk), Zweite Dame (Die Zauberflöte), Annina (Der Rosenkavalier), and critically acclaimed performances of Charlotte (Werther). In 2022, Ms. Brockway also attended the Accademia del Belcanto ‘Rodolfo Celletti’ and made her debut at the renowned Festival della Valle d'Itria as Carlotta in Salieri's La scuola de' gelosi. In the 2022/23 season she was heard as Hänsel (Hänsel und Gretel), Maddalena (Rigoletto) and the title role of Carmen (Carmen), among others.

She performed with the West Australian Opera as a Wesfarmers Young Artist and the recipient of the Bendat Scholarship for their 2017/18 season, making her role and company debut as as Mercédès in Bizet’s Carmen. Previously, she was selected for the Developing Artist program with Victorian Opera, making her role and company debut as Mrs. Mayor in the world premiere of the children’s opera The Pied Piper, composed by Richard Mills. Her other professional engagements have included the roles of Meg Page in Verdi’s Falstaff, and Cherubino in Mozart’s Le nozze di Figaro in concert with the Queensland Symphony Orchestra.

In addition to being in high demand on the operatic stage, Fleuranne Brockway has enjoyed remarkable success on the competition circuit. In 2022, she won first prize and best female voice at the prestigious Concorso Lirico Internazionale di Portofino and was a semi-finalist of the Operalia Competition. In 2021, she was recognized as a finalist in the prestigious International Hans Gabor Belvedere Competition and a winner in the Joan Sutherland and Richard Bonynge Bel Canto Award. She was also a recipient of the Dame Heather Begg Memorial Award from the Melba Opera Trust, with whom Ms. Brockway has enjoyed a long-standing and fruitful relationship. In 2018, the young mezzo-soprano was the inaugural recipient of the Australian International Opera Award’s Royal College of Music Award. Another of her notable achievements was winning First Place in the Australian National Liederfest Competition, securing her place at the renowned Franz Schubert Institute in Vienna, where she participated in masterclasses with Roger Vignoles, Julius Drake, Elly Ameling, and Helmut Deutsch.

From 2019 to 2020, Fleuranne Brockway was a member of the prestigious Royal College of Music (RCM) International Opera Studio in London, where she completed her Artist Diploma in Opera under the tutelage of acclaimed Scottish soprano Janis Kelly. The mezzo-soprano graduated with her Bachelor of Music (Classical Vocal Performance) from the University of Western Australia, where she studied under Megan Sutton. Following her bachelor’s degree, Fleuranne joined the private voice studio of internationally renowned dramatic baritone and voice teacher Gregory Yurisich AM. Later, she was selected as a Melba Scholar with the Melba Opera Trust, which provided her with invaluable professional development and performance opportunities. She is grateful to have received the Annie McFarling and Ruskin Scholarship as part of that program. Ms. Brockway also participated in the Lisa Gasteen Opera School from 2014 to 2016.

Mihails Čuļpajevs’s upcoming engagements feature debut as Pinkerton (Madama Butterfly) at Komische Oper Berlin, debut as Rodolfo (La bohème) at Finnish National Opera, Don Alvaro in a new production of La forza del destino at Bühnen Bern, debut with La Monnaie de Bruxelles as Grigoriy in Boris Godunov (Vasily Barkhatov), return to the Bregenzer Festspiele as Mazal, Blankytný and Petřík (The Excursions of Mr. Brouček) and a re-invitation to the Bregenzer Festspiele for 2028.

Among Mihails’s recent noteworthy roles: debut as Alfonso Violanta at Deutsche Oper Berlin, debuts with Opéra de Lyon as Grigoriy in Boris Godunov (Vasily Barkhatov), Shepherd Œdipe at the Bregenzer Festspiele, debuts with Ópera Nacional de Chile as Il Duca (Rigoletto), Don Ottavio (Don Giovanni) with the Royal Swedish Opera and the Finnish National Opera, Narraboth (Salome) and Gabriele Adorno (Simon Boccanegra) with the Finnish National Opera, Ganya (The Idiot) at Theater an der Wien, Narraboth (Salome) and Der Fremde (Das Wunder der Heliane) at Deutsche Oper Berlin, Alfredo (La traviata) and Gabriele Adorno (Simon Boccanegra) at the Latvian National Opera.

In concert Mihails Čuļpajevs’s recent and upcoming engagements are Szymanowski's Third Symphony with Mro Lintu and Finnish Radio Symphony Orchestra, The Bells with Gulbenkian Orchestra and Lahti Symphony Orchestra, Das Lied von der Erde with Staatsoper Stuttgart and in Portugal, Verdi’s Messa da Requiem with Oxford Philharmonic Orchestra, Dvořák’s Requiem, Rossini’s Petite Messe solennelle, Rossini’s Stabat Mater, Puccini’s Messa di Gloria, The Bells, Carmina Burana, all in Latvia.

His other projects include performances as Arturo (Lucia di Lammermoor) at Deutsche Oper am Rhein, Aleksey (Valentina) at Deutsche Oper Berlin and roles such as Alfredo (La Traviata), Lensky (Eugene Onegin), Chevalier (Dialogues des Carmélites), Don Ottavio (Don Giovanni), Prince (L'amour des trois oranges), Alfred (Die Fledermaus), Tamino (Die Zauberflöte), Edmondo (Manon Lescaut), Walther von der Vogelweide (Tannhäuser), Steuermann (Der fliegende Holländer), Tom (The Rake's Progress), Ernesto (Don Pasquale), Ramiro (La Cenerentola), Gabriele Adorno (Simon Boccanegra) and Almaviva (Il Barbiere di Siviglia) at the Latvian National Opera.

American bass Raymond Aceto has established a commanding presence among the world’s leading opera companies and symphony orchestras, earning both critical and popular acclaim. Highlights of Aceto’s 2025-26 season include a return to the role of Warden George Benton in Dead Man Walking at San Francisco Opera, a role he recently sang at the Metropolitan Opera, and to The Dallas Opera as Marquis de la Force in Dialogues of the Carmelites.

In the 2024-25 season, Aceto appeared as Abimélech in Samson et Dalila with New Orleans Opera, Il Commendatore in Don Giovanni with Opera Philadelphia, Sourin in The Queen of Spades at the Metropolitan Opera, and Daland in Der Fliegende Holländer with the Fort Worth Symphony Orchestra.

Of his portrayal of Baron Scarpia, one of Aceto’s signature roles, the Houston Chronicle raved, “Raymond Aceto oozes suave villainy as the evil Baron Scarpia, his voice a dark rumble of menace and lust…intelligent characterization distinguishes Aceto’s Scarpia as more than a cartoon villain.”

Recent highlights include his 2023-24 season-opening performances as Warden George Benton in the Metropolitan Opera’s first production of Dead Man Walking. He returned to Santa Fe Opera in the summer of 2023 as Arkel in Pelléas et Mélisande, then joined the Dallas Opera for Roméo et Juliette as Frère Laurent and performed Hunding in Die Walküre with both Atlanta Opera and the Fort Worth Symphony Orchestra.

In the 2021-22 season, Aceto returned to Wolf Trap as soloist for their 50th Anniversary Celebration Gala, followed by his Seattle Opera appearance as Hunding in a special Die Walküre performance under Ludovic Morlot. He then joined the Lyric Opera of Chicago as the Captain in Daniel Catán’s Florencia en el Amazonas, directed by Francesca Zambello. At the Metropolitan Opera, he performed the Bonze in Madama Butterfly and Gremin in Eugene Onegin, and later returned to the Cleveland Orchestra as Lodovico in Verdi’s Otello.

His engagements in the 2020-21 season included scheduled performances as Zuniga in Carmen, Il Commendatore in Don Giovanni, and Warden George Benton in a new production of Dead Man Walking, all at the Metropolitan Opera; Leporello in Don Giovanni and The Fairy King in Wagner’s Die Feen at the Glimmerglass Festival; and Beethoven’s Ninth Symphony with the Cleveland Orchestra.

Recent seasons for the veteran bass include performances at Washington National Opera and the San Francisco Opera in Francesca Zambello’s RING Cycle; Méphistophélès in Gounod’s Faust at Washington National Opera; Rocco in Fidelio at the Opéra de Montréal under the baton of Yannick Nézet-Séguin; New Orleans Opera as the Archbishop in Tchaikovsky's Joan of Arc; and at the Metropolitan Opera for performances of Pique Dame, Les Pêcheurs de Perles, Carmen, and Madama Butterfly.

A frequent presence on the world’s international stages, Aceto performed in a new production of Nabucco for the 20th Anniversary Celebration of the Shanghai Grand Theater, conducted by Daniel Oren. He also appeared with the Cleveland Orchestra on tour to Vienna’s Musikverein as Harasta in The Cunning Little Vixen under the baton of Music Director Franz Welser-Most and directed by Yuval Sharon. In 2015 he traveled to Japan with the Royal Opera House, Covent Garden as Banquo in Macbeth and Il Commendatore in Don Giovanni with Sir Antonio Pappano conducting.

A regular collaborator with leading symphony orchestras, he has recently been seen as a soloist for Verdi’s Requiem with the Oregon and Grand Rapids Symphonies, Bruckner’s Te Deum with the Atlanta Symphony Orchestra, Mozart’s Requiem with the Rochester Philharmonic Orchestra under Music Director Ward Stare, and Wagner’s Der Fliegende Holländer with the St. Louis Symphony under Music Director David Robertson.

His operatic appearances in the United States include Roméo et Juliette, La fanciulla del West, King Roger, and Rigoletto with Santa Fe Opera; Nabucco, Aida, Don Giovanni, and Rigoletto at the Metropolitan Opera; Nabucco, Macbeth, Il barbiere di Siviglia, Das Rheingold, Siegfried, Samson et Dalila, Les pêcheurs de perles, Rise and Fall of the City of Mahagonny, Aida, Manon, and Boris Godunov with the Lyric Opera of Chicago; Macbeth, Aida, Turandot, Aida, and Susannah with the San Francisco Opera; Tosca, L’incoronazione di Poppea, Rigoletto, Lucia di Lammermoor, Simon Boccanegra, Boris Godunov, Carmen, Die Zauberflöte, and Don Giovanni with Houston Grand Opera; Don Giovanni, Il Barbiere di Siviglia, Lucia di Lammermoor, Rigoletto, La bohème, Das Rheingold, Luisa Miller, and Die Zauberflöte with The Dallas Opera; Méphistophélès in Gounod’s Faust and Vodnik in Rusalka with New Orleans Opera; and Wagner’s RING Cycle at Washington National Opera. He has appeared in leading roles with the opera companies of Seattle, Philadelphia, Cincinnati, Baltimore, Boston, Colorado, Pittsburgh, North Carolina, and Cleveland, as well as the opera festivals in St. Louis and Spoleto (USA).

On the international stage, Aceto has been seen in Il Barbiere di Siviglia, Turandot, Rigoletto, and Il Trovatore at the Royal Opera House, Covent Garden; Oroveso in Norma at the Gran Teatre del Liceu; Simone Boccanegra, Aida, and Carmen at Deutsche Oper Berlin; Aida at the Vienna Staatsoper; Il Trovatore at the Teatro Real Madrid; Rigoletto at the Netherlands Opera; Lucia di Lammermoor and Le Vêspres Sicilienne at Oper Frankfurt; Nabucco, Aida, and Carmen at the Arena di Verona; Scarpia in Tosca at the Teatro Comunale di Bologna; I due foscari at La Monnaie; Zaccaria in Nabucco at the Teatro Comunale di Firenze; Carmen at Teatro Massimo; Fidelio and Der fliegende Holländer at the Canadian Opera Company; and Rigoletto at L’Opéra de Montréal.

In concert, Aceto has appeared with leading symphony orchestras across the world, including Mahler’s Das Klagende Lied with the Dallas Symphony; Szymanowski’s King Roger with the Boston Symphony Orchestra; Verdi’s Requiem with the Cleveland Orchestra, the Dallas Symphony, the New West Symphony, Phoenix Symphony, Colorado Symphony, and the BBC Scottish Symphony Orchestra at London’s Royal Albert Hall; Beethoven’s Symphony No. 9 with the Cleveland Orchestra, the Boston Symphony Orchestra, the Minnesota Orchestra, the Dallas Symphony, the San Francisco Symphony, and the Los Angeles Philharmonic at the Hollywood Bowl; Beethoven’s Mass in C Major with the Cleveland Orchestra; Mahler’s Symphony No. 8 with the Nashville Symphony and the San Francisco Symphony; Stravinsky’s Pulcinella and Ravel’s L’enfant et les sortileges with the San Francisco Symphony; Strauss’ Salome at the Tanglewood Festival; Beethoven’s Fidelio with the Minnesota Orchestra; Bizet’s Carmen with the St. Louis Symphony; and Gounod’s Faust with the Dallas Symphony and the Cleveland Orchestra. He made his Alice Tully Hall debut as Balthazar in a concert performance of Donizetti’s La Favorite with L’Opéra Français de New York, and his Carnegie Hall debut as Andrea Cornaro in Caterina Cornaro with the Opera Orchestra of New York.

A graduate of the Metropolitan Opera’s Young Artist’s Development Program, the Ohio-born bass has appeared frequently with the company since his debut as the Jailer in Tosca during the 1992-1993 season. In 1995 and 1996, Mr. Aceto was awarded Richard Tucker Foundation Career Grants, and in 1994 he was a recipient of a Sullivan Foundation Award. In 1996, he traveled to Japan for performances and a recording of The Rake’s Progress with Seiji Ozawa conducting. Mr. Aceto can also be heard in the role of Capellio in Teldec’s recording of I Capuleti e i Montecchi.

Sydney Philharmonia Choirs is Australia’s premier choral organisation. Since it was founded in 1920, SPC has brought people together through music, and for over five decades, it has been the heartbeat of choral performance at the Sydney Opera House.

Led by Artistic and Music Director Brett Weymark OAM and Associate Music Director Dr Elizabeth Scott, and with more than 2,000 singers across six ensembles, SPC brings the full power of the human voice to dynamic music making. From blockbuster choral classics like Carmina Burana or the Verdi Requiem, to the soaring soundtracks of films such as Gladiator, heartwarming musical theatre, and world premieres by leading Australian composers.

Each year, SPC performs approximately 50 performances across Sydney and beyond, collaborating with top-tier orchestras, soloists and conductors, performing regularly with many of Australia’s most prominent arts companies and festivals. SPC has performed in the Sydney Opera House, Hamer Hall Melbourne, the Singapore National Football Stadium, Westminster Abbey, the Tokyo Dome and the Royal Albert Hall. Highlights over the years have included the opening of the Sydney Opera House, the Sydney and Nagano Olympic Games and being the first Australian choir to perform at the BBC Proms. SPC is also proud to have been the choir of choice for the Sydney Symphony Orchestra since 1936.

Sydney Philharmonia Choirs concerts celebrate diversity – of voices, of stories, and of sound – with programs that allow singers and audiences to connect with an exhilarating range of music in languages from English to Gadigal, keeping things fresh with premieres, commissions and new interpretations of beloved classics.