One Giant Success
Herald Sun

“He composed the score for the beautiful Oscar Wilde fable and it is already promising to be a highlight of the next year’s opera calendar. “The whole thing started in 2015 when we came up with the idea and pitched it to Richard Mills at Victorian Opera, who then asked us to develop it, officially commissioning the piece last year.” Bruckard says.”

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Hansel and Gretel in Melbourne: "crispy, crispy, crunchy"
SBS German

SBS reporter Christian Froelicher attended a rehearsal and spoke to two German-speaking members of the professional troupe, Simon Bruckard (conductor) and Richard Mills (artistic director). Audio clip in German:


Improving Your Sight Reading
Rehearsal Magazine

“There are a few pieces of advice I can give you to help practice sight reading, but the best way to improve is by playing music with other people. The temptation to stop and correct yourself is strongest when you’re practicing by yourself at home. As tough as it is, try to put yourself in as many situations as possible where you have no choice but to keep going.”


Simon Bruckard on conducting with Victorian Opera
Cut Common Magazine

“I love working on new music. It’s the most exciting thing we do, and Victorian Opera are leaders in the field, doing at least one new work every year. The biggest challenge is also the most exciting thing – there is absolutely no precedent for its performance. That means the audience has no preconceptions about how it should be performed. It’s not like doing La Bohème, where the audience expects the tenor to sing a high C in his aria (even though it’s not in the score). There’s no previous performance practice to draw on. You can’t listen to a recording to save time, or assume that everyone has an understanding of the style of the work. But, you have an opportunity to surprise and excite, which is what brings you back to performing.”


Victorian Opera - MCM Master of Music (Opera Performance) Recital
Albert’s Wars

Simon is a virtuosic pianist, but he is more than that. He’s that rare musician: an accompanist. And more than that he’s a répétiteur: pianist, language coach, voice coach and rehearsal coach. He provided the lovely running figure under their lovely legato lines in Cosi. He provided the chromatic and timing structure for then to be secure in the recitatives in Figaro: spot-on all the time. He provided the frenetic dance colour in Carmen. He provided the beautiful cello-ish line in Die Zauberflöte. His was a superb performance.


Five Questions for Simon Bruckard
Melba Opera Trust

“I don’t think there’s anything unusual about liking vocal music. Most people listen almost exclusively to music with singers, particularly in the pop/music theatre worlds. And I think it’s obvious why. It’s much easier to relate to text than absolute music. You can hear the individual behind the performance and feel a personal connection. We all have those songs that never fail to move us, make us laugh or get us dancing.”