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For more information please review our page. Nevertheless, native forms would develop in spite of this influence. Retrieved 21 May 2016. The First Night Gilbert and Sullivan. Cambridge: Cambridge University Press. Retrieved 23 Zip 2013. On the other hand, accepted Wagnerian ideas but took them in wholly new directions, along with incorporating the new form introduced by Verdi. Retrieved 30 January 2007.
Type Built Criteria a, b, c, d, e, f, g Designated 3 December 2003 Reference no. It is one of the 20th century's most famous and distinctive buildings. Designed by Danish architect , the building was formally opened on 20 October 1973 after a gestation beginning with Utzon's 1957 selection as winner of an international design competition. The , led by the , , authorised work to begin in 1958 with Utzon directing construction. The government's decision to build Utzon's design is often overshadowed by circumstances that followed, including cost and scheduling overruns as well as the architect's ultimate resignation. The building and its occupy the whole of on , between and , adjacent to the and the , and close by the. Though its name suggests a single venue, the building comprises multiple performance venues which together host well over 1,500 performances annually, attended by more than 1. Performances are presented by numerous performing artists, including three resident companies: , the and the. As one of the most popular visitor attractions in Australia, more than eight million people visit the site annually, and approximately 350,000 visitors take a guided tour of the building each year. The building is managed by the , an agency of the New South Wales State Government. On 28 June 2007, the Sydney Opera House became a ; having been listed on the now defunct since 1980, the register since 1983, the Heritage Inventory since 2000, the since 2003, and the since 2005. The building covers 1. It is supported on 588 concrete piers sunk as much as 25 m 82 ft below sea level. Though the shells appear uniformly white from a distance, they actually feature a subtle chevron pattern composed of 1,056,006 tiles in two colours: glossy white and matte cream. The tiles were manufactured by the Swedish company which generally produced stoneware tiles for the paper-mill industry. Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is largely clad with aggregate panels composed of pink granite quarried at. Significant interior surface treatments also include off-form concrete, supplied from in northern New South Wales, and. Of the two larger spaces, the Concert Hall is in the western group of shells, the Joan Sutherland Theatre in the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas up to the high stage towers. The smaller venues the Drama Theatre, the Playhouse and the Studio are within the podium, beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant. The podium is surrounded by substantial open public spaces, and the large stone-paved forecourt area with the adjacent monumental steps is regularly used as a performance space. It contains the , the largest mechanical organ in the world, with over 10,000 pipes. Until 16 October 2012 it was known as the Opera Theatre. Other areas for example the northern and western foyers are also used for performances on an occasional basis. Venues are also used for conferences, ceremonies and social functions. Other facilities The building also houses a recording studio, cafes, restaurants, bars and retail outlets. Guided tours are available, including a frequent tour of the front-of-house spaces, and a daily backstage tour that takes visitors backstage to see areas normally reserved for performers and crew members. Construction progress in 1966 Planning began in the late 1940s, when , the Director of the , lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, the , was not considered large enough. By 1954, Goossens succeeded in gaining the support of , who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site: Cahill had wanted it to be on or near in the northwest of the. An international was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3,000 and a small hall for 1,200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances and other presentations. The winner, announced in 1957, was , a Danish architect. The runner-up was an entry by firm of. The grand prize was 5,000. Utzon visited Sydney in 1957 to help supervise the project. His office moved to , Sydney in February 1963. Utzon received the , architecture's highest honour, in 2003. The Pritzker Prize citation read: There is no doubt that the Sydney Opera House is his masterpiece. It is one of the great iconic buildings of the 20th century, an image of great beauty that has become known throughout the world — a symbol for not only a city, but a whole country and continent. Design and construction The , occupying the site at the time of these plans, was demolished in 1958 and construction began in March 1959. It was built in three stages: stage I 1959—1963 consisted of building the upper podium; stage II 1963—1967 the construction of the outer shells; stage III 1967—1973 interior design and construction. Stage I: Podium Stage I commenced on 2 March 1959 with the construction firm , monitored by the engineers. The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind, mainly because of unexpected difficulties inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents. Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built. However, engineers were unable to find an acceptable solution to constructing them. The for using concrete would have been prohibitively expensive, and, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive. The glazed ceramic tiles of the Sydney Opera House From 1957 to 1963, the design team went through at least 12 iterations of the form of the shells trying to find an economically acceptable form including schemes with parabolas, circular ribs and before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in , to understand the complex forces to which the shells would be subjected. The computer system was also used in the assembly of the arches. The pins in the arches were surveyed at the end of each day, and the information was entered into the computer so the next arch could be properly placed the following day. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mould, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. It is unlikely that the truth will ever be categorically known, but there is a clear consensus that the design team worked very well indeed for the first part of the project and that Utzon, Arup, and Ronald Jenkins partner of Ove Arup and Partners responsible for the Opera House project all played a very significant part in the design development. As states in The Saga of the Sydney Opera House:... The design of the roof was tested on scale models in at and later in order to establish the wind-pressure distribution around the roof shape in very high winds, which helped in the design of the roof tiles and their fixtures. The shells were constructed by , who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes. The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965. Stage III: Interiors Interior of the Studio Theatre. Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new government declared the project under the jurisdiction of the Ministry of Public Works. Due to the Ministry's criticism of the project's costs and time, along with their impression of Utzon's designs being impractical, this ultimately led to his resignation in 1966 see below. However, the projected costs for the design were at this stage much more significant. The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. Farmer as government architect, D. Littlemore and Lionel Todd. Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee SOHEC that Utzon's original acoustic design allowed for only 2000 seats in the main hall and further stated that increasing the number of seats to 3000 as specified in the would be disastrous for the acoustics. The minor hall, originally for stage productions only, incorporated opera and ballet functions and was called the Opera Theatre, later renamed the Joan Sutherland Theatre. As a result, the Joan Sutherland Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These now comprise the Drama Theatre, the Playhouse and the Studio respectively. These changes were primarily because of inadequacies in the original competition brief, which did not make it adequately clear how the Opera House was to be used. His design for the Concert Hall was rejected as it only seated 2000, which was considered insufficient. Utzon employed the acoustic consultant Lothar Cremer, and his designs for the major halls were later modelled and found to be very good. The subsequent Todd, Hall and Littlemore versions of both major halls have some problems with acoustics, particularly for the performing musicians. The orchestra pit in the Joan Sutherland Theatre is cramped and dangerous to musicians' hearing. Completion and cost The Opera House was formally completed in 1973, having cost 102 million. Stage II: roof shells M. In reality, the project was completed ten years late and 1,357% in real terms. The building illuminated at night Before the Sydney Opera House competition, Jørn Utzon had won seven of the 18 competitions he had entered but had never seen any of his designs built. Utzon's submitted concept for the Sydney Opera House was almost universally admired and considered groundbreaking. The Assessors Report of January 1957, stated: The drawings submitted for this scheme are simple to the point of being diagrammatic. Nevertheless, as we have returned again and again to the study of these drawings, we are convinced that they present a concept of an Opera House which is capable of becoming one of the great buildings of the world. For the first stage, Utzon worked successfully with the rest of the design team and the client, but, as the project progressed, the Cahill government insisted on progressive revisions. They also did not fully appreciate the costs or work involved in design and construction. Tensions between the client and the design team grew further when an early start to construction was demanded despite an incomplete design. This resulted in a continuing series of delays and setbacks while various technical engineering issues were being refined. The building was unique, and the problems with the design issues and cost increases were exacerbated by commencement of work before the completion of the final plans. After the 1965 election of the Liberal Party, with becoming , the relationship of client, architect, engineers and contractors became increasingly tense. Hughes had no interest in art, architecture or aesthetics. A fraud, as well as a philistine, he had been exposed before Parliament and dumped as Country Party leader for 19 years of falsely claiming a university degree. The Opera House gave Hughes a second chance. For him, as for Utzon, it was all about control; about the triumph of homegrown mediocrity over foreign genius. The Opera House seen from the north Differences ensued. One of the first was that Utzon believed the clients should receive information on all aspects of the design and construction through his practice, while the clients wanted a system notably drawn in sketch form by Davis Hughes where architect, contractors, and engineers each reported to the client directly and separately. This had great implications for methods and cost control, with Utzon wishing to negotiate contracts with chosen suppliers such as Ralph Symonds for the plywood interiors and the New South Wales government insisting contracts be. Utzon was highly reluctant to respond to questions or criticism from the client's Sydney Opera House Executive Committee SOHEC. However, he was greatly supported throughout by a member of the committee and one of the original competition judges,. Utzon was unwilling to compromise on some aspects of his designs that the clients wanted to change. Utzon's ability was never in doubt, despite questions raised by Davis Hughes, who attempted to portray Utzon as an impractical dreamer. Hughes then withheld funding so that Utzon could not even pay his own staff. Thank you very much. Utzon left the project on 28 February 1966. Utzon left the country never to return. Following the resignation, there was great controversy about who was in the right and who was in the wrong. Few clients have been more patient or more generous than the people and the Government of NSW. One would not like history to record that this partnership was brought to an end by a fit of temper on the one side or by a fit of meanness on the other. The design was one of the first examples of the use of to design complex shapes. The design techniques developed by Utzon and Arup for the Sydney Opera House have been further developed and are now used for architecture, such as works of and , as well as most reinforced concrete structures. The design is also one of the first in the world to use to glue the precast structural elements together and proved the concept for future use. It was also a first in mechanical engineering. Another Danish firm, , was responsible for designing the new air-conditioning plant, the largest in Australia at the time, supplying over 600,000 cubic feet 17,000 m 3 of air per minute, using the innovative idea of harnessing the harbour water to create a water-cooled heat pump system that is still in operation today. After the resignation of Utzon, the Minister for Public Works, Davis Hughes, and the Government Architect, Ted Farmer, organised a team to bring the Sydney Opera House to completion. The architectural work was divided between three appointees who became the Hall, Todd, Littlemore partnership. David Littlemore would manage construction supervision, Lionel Todd contract documentation, while the crucial role of design became the responsibility of Peter Hall. Upon graduation a travel scholarship enabled him to spend twelve months in Europe during which time he visited Utzon in. Returning to Sydney, Hall worked for the Government Architect, a branch of the NSW Public Works Department. While there he established himself as a talented design architect with a number of court and university buildings, including the Goldstein Hall at the University of New South Wales, which won the in 1964. Hall resigned from the Government Architects office in early 1966 to pursue his own practice. When approached to take on the design role, after at least two prominent Sydney architects had declined , Hall spoke with Utzon by phone before accepting the position. Utzon reportedly told Hall: he Hall would not be able to finish the job and the Government would have to invite him back. Even so, his appointment did not go down well with many of his fellow architects who considered that no one but Utzon should complete the Sydney Opera House. Upon Utzon's dismissal, a rally of protest had marched to Bennelong Point. A petition was also circulated, including in the Government Architects office. Peter Hall was one of the many who had signed the petition that called for Utzon's reinstatement. When Hall agreed to the design role and was appointed in April 1966, he imagined he would find the design and documentation for the Stage III well advanced. What he found was an enormous amount of work ahead of him with many aspects completely unresolved by Utzon in relation to seating capacity, acoustics and structure. To bring himself up to speed, Hall investigated concert and opera venues overseas and engaged stage consultant Ben Schlange and acoustic consultant Wilhelm Jordan, while establishing his team. In consultation with all the potential building users the first Review of Program was completed in January 1967. The most significant conclusion reached by Hall was that concert and opera were incompatible in the same hall. A former Government Architect, Peter Webber, in his book Peter Hall: the Phantom of the Opera House, concludes: when Utzon resigned no one was better qualified than Hall to rise to the challenge of completing the design of the Opera House. It had been intended that 's work would have this honour, but it was not ready on time. Rites of Passage was premiered almost exactly a year later, on 27 September 1974. It was an all- orchestral concert performed by the , conducted by and with as the soprano soloist. The first music played was the Prelude to. The concert closed with the Immolation Scene from. It contains an original Utzon 14. In April 2007, he proposed a major reconstruction of the Opera Theatre, as it was then known. Utzon died on 29 November 2008. A state memorial service, attended by Utzon's son Jan and daughter Lin, celebrating his creative genius, was held in the Concert Hall on 25 March 2009 featuring performances, readings and recollections from prominent figures in the Australian performing arts scene. Refurbished Western Foyer and Accessibility improvements were commissioned on 17 November 2009, the largest building project completed since Utzon was re-engaged in 1999. Designed by Utzon and his son , the project provided improved ticketing, toilet and cloaking facilities. New escalators and a public lift enabled enhanced access for the disabled and families with. On 29 March 2016, an original 1959 by 2. The tapestry was bought at auction by the Sydney Opera House in June 2015. It now hangs in the building's Western Foyer and is accessible to the public. In the second half of 2017, the Joan Sutherland Theatre was closed to replace the stage machinery and for other works. The Concert Hall is scheduled for work in 2020-2021. In 1993, was commissioned by the Sydney Opera House Trust in association with REM Theatre to compose Icon, a large-scale music theatre piece for the 20th anniversary of the Sydney Opera House During the , the venue served as the focal point for the events. The event had a 1. Since 2013, a group of residents from the nearby better known as 'The ' , calling themselves the Sydney Opera House Concerned Citizens Group, have been campaigning against Forecourt Concerts on the grounds that they exceed noise levels outlined in the development approval DA. However the DA was amended in 2016 to allow an increase in noise levels in the forecourt by 5 decibels. The residents opposing the concerts contend that a new DA should have been filed rather than an amendment. The Sydney Opera House sails formed a graphic projection-screen in a mounted in connection with the in Sydney Harbour on 5 October 2013. On 31 December 2013, the venue's 40th anniversary year, a was mounted for the first time in a decade. The Sydney Opera House hosted an event, 'the biggest blind date' on Friday 21 February 2014 that won an historic. The longest continuous serving employee was commemorated on June 27th 2018, for 50 years of service. Retrieved 10 March 2017. Retrieved 10 May 2016. Sydney Opera House Official Site. The Pritzker Architecture Prize. Retrieved 19 December 2015. Retrieved 19 December 2015. Retrieved 19 December 2015. The Sydney Morning Herald. Retrieved 28 June 2007. New South Wales State Heritage Register. Retrieved 3 September 2017. Department of the Environment and Energy,. Retrieved 21 September 2017. Retrieved 10 February 2008. Sydney: Sydney Opera House Trust. Archived from PDF on 26 February 2009. Sydney Opera House, Anatomy of Stage Three construction and completion: a general index. Public Works Department, NSW. Retrieved 13 April 2015. Archived from on 18 October 2012. Retrieved 19 October 2012. Retrieved 19 October 2012. Retrieved 9 July 2010. Sydney Builds an Opera House. Archived from on 26 July 2002. Retrieved 2 December 2008. Archived from on 26 September 2007. Retrieved 28 June 2007. Retrieved 23 September 2013. Retrieved 1 November 2008. The Saga of the Sydney Opera House. Yale University Press, 2006. Retrieved 30 January 2007. EMAP Architecture, Gale Group. Archived from on 2006-12-19. Retrieved 30 January 2007. Powerhouse Museum — Collection Database. Retrieved 6 May 2014. Retrieved 6 May 2014. Archived from on 24 March 2010. Retrieved 23 September 2013. Retrieved 10 May 2016. Retrieved 1 December 2008. Retrieved 13 March 2007. Retrieved 3 December 2014. The Sydney Morning Herald. Retrieved 3 December 2014. Peter Hall: the Phantom of the Opera House. Events That Shaped Australia. Retrieved 23 September 2013. Archived from on 30 December 2012. Retrieved 23 September 2013. Retrieved 23 September 2013. Retrieved 13 March 2007. Archived from on 8 February 2007. Retrieved 13 March 2007. The Sydney Morning Herald. Retrieved 12 April 2007. Retrieved 10 July 2017. Retrieved 10 July 2017. Retrieved 4 January 2014. A small publication intended to gather public opinion to bring Utzon back to the project. Ava Hubble was Press Officer for the Sydney Opera House for 15 years. Building a Masterpiece — The Sydney Opera House — Lessons in Space and Environment 40th Anniversary Edition Hardback.
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