OPERA GALA - Snow Concert Hall

 

Thomas Victor Johnson (Piano) - Helen Sherman - Cathy-Di Zhang

Artistic Director – Ana de la Vega

Snow Concert Hall May 29, 2026 - Reviewed by BILL STEPHENS

Opera lovers at Snow Concert Hall’s Opera Gala were treated to a dazzling evening of highlights performed by two of Australia’s most accomplished and versatile singers, Cathy-Di Zhang and Helen Sherman.

Since returning to Australia after successful careers overseas, both artists have become audience favourites through appearances with Opera Australia, Pinchgut Opera and state opera companies.

What made this gala especially intriguing was that it marked the first time the two had shared the stage. They clearly relished the opportunity, and their delightful rapport was evident throughout.

Helen Sherman - Thomas Victor Johnson (piano)

Sherman opened the program with a coquettish interpretation of “Una voce poco fa”, Rosina’s aria from Rossini’s The Barber of Seville, a role she performed with Opera Australia in its 2025 season.

She then introduced Cathy-Di Zhang, who had stepped in at short notice after the withdrawal of the previously announced Jane Ede. Together they gave a charming rendition of the playful duet “Ah, guarda sorella” (“Ah look, sister”), after which Zhang followed with the dramatic aria “Come scoglio” (“Like a rock”), the first of four excerpts from Mozart’s Cosi fan tutte, an opera in which both singers have appeared in separate productions.

Cathy-Di Zhang - Thomas Victor Johnson (Piano)

The second half opened with two more Cosi fan tutte excerpts: Sherman’s dramatic rendition of “Smanie implacabili” (“Torments implacable”) following which Zhang rejoined her for the duet “Prenderò quel brunettino” (“I’ll take the dark-haired one”).

Other duets included the affecting “Miro, o Norma” from Bellini’s Norma and “Ah, perdona al primo affetto” from Mozart’s La Clemenza di Tito, a treat for Canberra audiences who remember Peter Coleman-Wright’s full National Opera production.

Both artists introduced their items with brief, delightfully cheeky remarks and performed with compelling dramatic commitment, inviting the audience not only to savour the beauty of their singing but also to admire the artistry of their characterisations.

Among the solos, Sherman offered an arresting “Habanera” from Bizet’s Carmen and the demanding mezzo aria “Parto, parto” from Mozart’s La Clemenza di Tito, while Zhang enchanted with “Song to the Moon” from Dvořák’s Rusalka and drew tears with “One Fine Day” from Puccini’s Madama Butterfly.

That aria was preceded by the Act III Prelude from Madama Butterfly, played by Thomas Victor Johnson, who provided masterful piano accompaniment throughout for a memorable concert which concluded with a superb encore rendition of the famous Barcarolle from Offenbach’s The Tales of Hoffmann.

                                                            Images by Dalice Trost

         This review first published in the digital edition of CITY NEWS on May 30th 2026