By Henry Purcell

libretto by E. Settle or T. Betterton after Shakespeare’s A Midsummer Night’s Dream

Dec 3, 6, 7 & 8  2003

Every piece in Purcell's The Fairy Queen is a masterpiece. It's an enigma of a piece; there's much we don't know about it - including who adapted the libretto - but the music speaks for itself.

Enter a realm of sheer joy and exuberance, where fairies, mortals and people from myth and legend play together, bound in the magic of Purcell's score. 

Cast & Crew

Sara Macliver, soprano
Sally-Anne Russell, mezzo  
Jamie Allen, tenor                                
Paul McMahon, tenor                    
Stephen Bennett, bass
Miriam Allan, soprano                      
Belinda Montgomery, soprano          
Alison Morgan, soprano                    
Jenny Duck-Chong, mezzo                  
Brett Weymark, tenor                          
Corin Bone, baritone                          
Simon Lobelson, baritone

Cantillation, chorus                  

Orchestra of the Antipodes – Anna McDonald, leader

Antony Walker       conductor
Justin Way              director
Kimm Kovac & Andrew Hays   designers
Bernie Tan             lighting designer
Edith Podesta        movement consultant
Anna Kosky           stage manager


One of the most beautiful, and most memorable airs in The Fairy Queen. A reflection on the duality of love.

Sara Macliver, Cantillation, Orchestra of the Antipodes, Antony Walker, conductor.

The first of a quartet of arias celebrating the four seasons, this is delightfully sung by Miriam Allan.

Miriam Allan, Orchestra of the Antipodes, Antony Walker, conductor.

The penultimate movement in the Fairy Queen, this is a piece of dance gorgeousness. Our almost favourite.

Orchestra of the Antipodes, Antony Walker, conductor.

The soul, of course, is in the singing, particularly the beautifully balanced partnership of Sara Macliver - clear, thrilling and brilliantly precise in Hark the Echoing Air - and Sally-Anne Russell, richly expressive in O let me weep.
— The Sydney Morning Herald