Ten years after establishing the OperaChaser Awards in 2015, Melbourne opera critic and “opera tragic”, Paul Selar, has brought together a number of local opera critics to participate in the inaugural OperaChaser Critics Awards: the OCCAs.
As a member of this group, and a devotee of opera and classical singing, I have had the privilege of discussing the relative merits of various productions and performances, generally with a sense of admiration for the achievements of the many performers and creatives, who have achieved such excellent outcomes often with limited means.
Australian Arts Review outlined Selar’s intentions when conceiving the OCCAs as: “a way of pausing to take stock of the year’s operatic activity in Melbourne and to acknowledge the breadth of talent involved … to offer encouragement and recognition to artists and practitioners who continue to invest enormous skill, imagination and dedication in their work”.
An enthusiastic and discerning “opera chaser” (both in Australia and overseas), Selar has assembled a panel experienced in attending and writing about opera performances over many years. Apart from Selar himself, who reviews opera for Australian Arts Review and also contributes to Limelight, Opera Magazine (UK) and Opera Today (USA), other members of the inaugural OCCAs panel are Patricia Maunder (Limelight), Barney Zwartz (The Age), Tim Byrne (The Guardian and Australian Book Review), Patricia Di Risio (Stage Whispers) and myself (Classic Melbourne).
Nominations for the 11 categories of the OCCAs are drawn from 25 productions mounted by opera companies ranging major government-funded companies to small independent companies. Opera Australia, Victorian Opera, Melbourne Opera, BK Opera, Lyric Opera of Melbourne, IOpera, Forrest Collective, Australian Contemporary Opera Company (ACOCo), Gilbert and Sullivan Opera Victoria and the University of Melbourne Conservatorium have all made significant contributions to nurturing opera in Melbourne and enriching this city’s cultural life.
It has not been easy to whittle down four selections for the 11 categories, and some equally worthy candidates for nomination have inevitably just missed out. (There’s always next year!) In some cases, the same nominee has been chosen by different panel members, but for a different role or production – a particularly notable accomplishment, implying consistency.
Following the panel’s deliberations and voting process, winners from the complete list of nominations will be announced on Wednesday 4 February via X (formerly Twitter), Facebook, Instagram and Bluesky. The inaugural OperaChaser Emerging Artist Prize will also be announced.
OperaChaser Critics Awards Nominations
Outstanding Production 2025:
Die Meistersinger von Nürnberg, Melbourne Opera
Katya Kabanova, Victorian Opera
Macbeth, BK Opera
Orpheus and Eurydice, Opera Queensland with Circa, presented by Opera Australia
Outstanding Director 2025:
Suzanne Chaundy – Die Meistersinger von Nürnberg, Melbourne Opera
Constantine Costi – Abduction, Victorian Opera
Kate Millett – Macbeth, BK Opera
Yaron Lifschitz – Orpheus and Eurydice, Opera Queensland with Circa, presented by Opera Australia
Outstanding Conductor 2025:
Anthony Negus – Die Meistersinger von Nürnberg, Melbourne Opera
Chad Kelly – Abduction, Victorian Opera
Raymond Lawrence – Così fan tutte, Richard Divall Program, Melbourne Opera
Dane Lam – Orpheus and Eurydice, Opera Queensland with Circa, presented by Opera Australia
Outstanding Male in a Leading Role 2025:
Warwick Fyfe – Hans Sachs, Die Meistersinger von Nürnberg, Melbourne Opera
Christopher Hillier – Sixtus Beckmesser, Die Meistersinger von Nürnberg, Melbourne Opera
Rosario La Spina – Samson, Samson and Delilah, Melbourne Opera
Henry Shaw – Don Alfonso, Così fan tutte, Richard Divall Program, Melbourne Opera
Iestyn Davies – Orfeo, Orpheus and Eurydice, Opera Queensland with Circa, presented by Opera Australia
Outstanding Female in a Leading Role 2025:
Lee Abrahmsen – Eva, Die Meistersinger von Nürnberg, Melbourne Opera
Cleo Lee-McGowan – Konstanze, Abduction, Victorian Opera
Desiree Frahn – Katya, Katya Kabanova, Victorian Opera
Livia Brash – Lady Macbeth, Macbeth, BK Opera
Danielle de Niese – Carmen, Opera Australia
Outstanding Male in a Supporting Role 2025:
Luke Stoker – Osmin, Abduction, Victorian Opera
Jeremy Kleeman – Abimélech, Samson and Delilah, Melbourne Opera
Adrian Tamburini – Dikój, Katya Kabanova, Victorian Opera
Robert Macfarlane – David, Die Meistersinger von Nürnberg, Melbourne Opera
Outstanding Female in a Supporting Role 2025:
Deborah Humble – Magdalena, Die Meistersinger von Nürnberg, Melbourne Opera
Antoinette Halloran – Kabanicha, Katya Kabanova, Victorian Opera
Jane Ede – Berta, The Barber of Seville, Opera Australia
Jennifer Black – Micaëla, Carmen, Opera Australia
Outstanding Chorus 2025:
Melbourne Opera Chorus – Die Meistersinger von Nürnberg, Melbourne Opera
Victorian Opera Youth Chorus Ensemble – Boojum!, Victorian Opera
Opera Australia Chorus – Carmen, Opera Australia
Opera Australia Chorus – Orpheus and Eurydice, Opera Queensland with Circa, presented by Opera Australia
Outstanding Set Designer 2025:
Andrew Bailey – Die Meistersinger von Nürnberg, Melbourne Opera
Rachel Hauck – Hadestown, Opera Australia
Nathan Burmeister – Abduction, Victorian Opera
Savanna Wegman – Katya Kabanova, Victorian Opera
Outstanding Costume Designer 2025:
Roger Kirk – Follies, Victorian Opera
Matilda Woodroofe – Abduction, Victorian Opera
Maya Anderson – Cendrillon, University of Melbourne, Conservatorium Opera and Orchestral Performance and VCA Design and Production
Ishan Vivekanantham – Boojum!, Victoria Opera
Outstanding Lighting Designer 2025:
Harrison Cope – Samson and Delilah, Melbourne Opera
Niklas Pajanti – Katya Kabanova, Victorian Opera
Paul Jackson – Carmen, Opera Australia
Alexander Berlage – Orpheus and Eurydice, Opera Queensland with Circa, presented by Opera Australia
Image: Jacopo AMIGONI
Portrait group: The singer Farinelli and friends (c. 1750-1752) National Gallery of Victoria
