virtual tour opera house sydney

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Sydney opera house and sydney harbour.

Transport yourself into Sydney Harbour and visit the magnificent Sydney Opera House and Sydney Harbour Bridge when you take a tour with Andrew, a former Opera House performer and Opera House tour guide. Learn about the history, design and controversy surrounding the construction of one of the world's most recognisable icons! Stunning views, one million ceramic tiles and gold infused windows are just some of the things you'll see and hear about on this 360 degree Virtual Tour from our very knowledgeable tour guide. Why are the Opera House shells shaped the way they are? What were the construction blow out costs? Who has performed here in the past? Learn all this and more on the 360 Opera House tour!

About our 360 tours

All of our tours and experiences are filmed with the latest 360 cameras, meaning you can look around at whatever you like during the tour!

Up, down, left, right, you name it, the choice is yours! Depending on what device you are using, simply pan around with your mouse, finger or headset to enjoy the views around you. Use the icons on your screen to move to different parts of the tour, pause or mute the tour, switch to full screen or VR mode, learn about your guide, and even make a booking for a real in-person experience!

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Google Launches Virtual Tour Inside Sydney Opera House

Google Cultural Institute offers virtual vacation to the land down under.

— -- Get ready for a virtual vacation to the land down under.

Google 's Cultural Institute launched a virtual tour of the Sydney Opera House this week, giving people around the world a chance to virtually explore the landmark.

ABC News VR: Virtual Reality News Stories

More than 1,000 artifacts from the iconic building's 60-year history are ready to be explored, including the original designs for the building, diaries of the architect and photographs of the opening in 1973 featuring Queen Elizabeth II .

The tour lets virtual vacationers wander around the building at their own pace -- even giving them the chance to feel what it's like to stand on stage.

Google's Cultural Institute also lets armchair travelers explore other world wonders, including the Taj Mahal, Giza and more. The experiences are available for mobile devices, tablets and desktop. They can also be viewed on Google's Arts & Culture app for iOS and Android.

Enjoy the "trip"!

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Sydney Opera House Sydney, Australia

"It stands by itself as one of the indisputable masterpieces of human creativity, not only in the 20th century but in the history of humankind." Expert evaluation report to the UNESCO World Heritage Committee, 2007. Fusing ancient and modernist influences, the sculptural elegance of the Sydney Opera House has made it one of the most recognisable buildings of the twentieth century, synonymous with inspiration and creativity. As Pritzker Prize judge, Frank Gehry, said when awarding architecture’s highest award in 2003: "[Jørn] Utzon made a building well ahead of its time, far ahead of available technology... a building that changed the image of an entire country." Built to "help mould a better and more enlightened community," in the words of then New South Wales Premier Joseph Cahill, Sydney Opera House has, since opening in 1973, been home to many of the world’s greatest artists and performances and a meeting place for matters of local and international significance. Today it is one of the world’s busiest performing arts centres and Australia’s number one destination, presenting uniquely diverse experiences to more than 8.2 million visitors, 363 days a year. Those experiences range from the work of seven flagship performing arts companies – Opera Australia, the Sydney Symphony Orchestra, Australian Chamber Orchestra, Sydney Theatre Company, The Australian Ballet, Bell Shakespeare and Bangarra Dance Theatre – to burgeoning contemporary music, talks-and-ideas and children’s programming, and award-winning restaurants and bars. As the Opera House approaches its 45th Anniversary in 2018, a year that also marks the centenary of architect Jørn Utzon’s birth, a suite of projects is underway to renew the building for future generations of artists, audiences and visitors. As part of this Renewal, the Opera House is committed to bringing the vision and ambition that inspired its creation to all that it does. Google Cultural Institute provides an unparalleled opportunity to share the many facets of the Opera House, past, present and future, with people wherever they are.

The Coburn Tapestries at the Sydney Opera House

Sydney opera house, curtain of the sun, curtain of the moon, art, colour and performance, the utzon tapestry: homage to carl philipp emanuel bach, les dés sont jetés - the die is cast, the masterful solution, the people's house, sculptural from all sides: 1963-65, opera australia, bangarra dance theatre, late night house, a meeting place for ideas, the australian ballet, a backstage pass, the concert hall, in this collection, opera house, 1,364 items, 2 museum views.

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Experience Australia from your home with virtual events at Sydney Opera House and Arts Centre Melbourne

With travel restrictions in abundance and the pandemic leaving the travel-hungry starved with nowhere to go and seldom left to do, why not take a virtual front-row seat to some of Australia’s best and prime events. Find below events to be held at two of Australi's iconic performance hotspots from where upcoming events will be streamed virtually. Read on:

Live from the Sydney Opera House

A world-renowned mecca of culture, music, dance and theatrics, the Sydney Opera House is the quintessential go-to for the arts. Bringing world-class entertainment to the public, the Sydney Opera House regularly hosts live performances and never before seen footage as part of their Digital Season, a roster of events that encapsulate everything from standup comedy and theatrical tap dance to an orchestra performance lead by BAFTA award-winning composer Ólafur Arnalds .

Jam out at the Vault Sessions at the Arts Center Melbourne

Live-streamed directly from the stage of Australia’s iconic and premier concert venue, Hamer Hall, tune in for a day of acoustic delight made possible through a series of live gigs and digital concerts hosted by the Australian Music Vault. Showcasing the very best of the Australian music scene, catch the theatrical and musical stylings of this all-star Aussie line up of entertainers, from the comfort of your couch:

Cash Savage and the Last Drinks - Unwind to the deep and soulful tunes of guitarist, Cash Savage and her band The Last Drinks as they serenade you into the night. Available for streaming until August 20.

Big Night In with John Foreman ­ - Uniting to virtually enthral audiences far and wide, decorated composer John Foreman and the Aussie Pops Orchestra have joined forces to bring together musicians and artists from an array of genres. Treat yourself to episodes filled with lively discussions, spontaneous musical numbers, with a finale culminating in a grand symphonic orchestra performance. Available for streaming until October 31.

Keeping The Curtain Up - Keeping the vivacious Australian performing arts community alive, relive some of Aussie music theatre’s as legendary performers take the stage to recount classics like Phantom of the Opera ,  Les Misérables ,  Mary Poppins , My Fair Lady ,  The Rocky Horror Show and many more. Available for streaming until December 31.

You can even take your pick from a pool of previously recorded digital concerts, which are only made available for two weeks!

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Take a 360-Degree Tour of the Sydney Opera House

With a full performance by the sydney symphony orchestra..

At this day and age virtual tours of historic landmarks have never been easier to access, and this week the  Sydney Opera House has partnered with Google’s Cultural Institute to present a full 360 degree-tour of the iconic Australian landmark. Built by famous Danish architect Jørn Utzon in 1973, the Opera House is a shining example of unique architecture based off modern expressionist design, all housed under its prominent white concrete ribbed roofs.

Take a look at the Opera House’s exterior, interior, concert hall and arts center in the 10-minute video above, which features a performance from soprano Nicole Car with the Sydney Symphony Orchestra

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Vivid youth cruise for ages 13 to 18

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Tuesday 28 May from 5pm to 7pm

Concession : $23

Join our youth and community workers on this fun boat tour. 

You’ll get to see the lights at Barangaroo, The Rocks and Circular Quay from the water including the Sydney Harbour Bridge and the Sydney Opera House sails. It’s a great way to safely enjoy Vivid and avoid the crowds.

The cruise goes ahead in the rain. Bring a raincoat and your own drinks and snacks.

The cruise has no alcohol on board.

Your child must be at the pickup point at Darling Harbour, King Street Wharf, Wharf 1, Sydney, between 4.30pm and 4.45pm, to be checked off the attendance list by City staff. The cruise will leave at 5.30pm sharp.

Parents must ensure that they are at the meeting point to pick up their child/ren at 6.45pm, to take them home, young people will not be sent home unaccompanied from the wharf.

Bookings are essential: The booking link will take you to an expression of interest form, as there are limited tickets available only. Once we receive your completed form, one of our team will contact you to confirm your ticket and how to make the $23 ticket payment.

We aim to deliver inclusive and accessible events. If you have any particular access or communication needs, please contact Lauren Al-Ali, Youth and Community worker, on 0472 769 117 or [email protected] .

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Pink reportedly upset her Australia tour was overshadowed by Taylor Swift coverage

The ‘raise your glass’ singer toured australia in march, weeks after swift brought her record-breaking tour to the country in late february, article bookmarked.

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Pink was reportedly “pi**ed off” by the imbalance of media coverage her Australian tour received compared to the overwhelming attention that Taylor Swift ’s Eras Tour received.

Australian pop singer Sam Fischer, 32, made the claim on a recent episode of the Ricki-Lee, Tim & Joel radio show.

“I have a friend who’s Pink’s background singer and my friend Danny said she’s really just pi**ed off no one’s talking about the fact that she’s also selling out stadiums,” Fischer said.

“Pink is out here riding her bike around the Opera House saying, ‘I’m here too!’,” he added. “It’s kind of funny everyone’s talking about Beyoncé and Taylor doing the stadium shows but Pink’s also out here selling them all out.”

The Independent has contacted Pink and Swift’s representatives for comment.

The “Raise Your Glass” singer, 44, travelled the country in March, performing at Sydney’s Accor Stadium, followed by stops in Brisbane and Townsville. Her arrival came weeks after Swift brought her record-breaking Eras Tour to the country in late February.

At the time, Live Nation, the producers of Pink’s tour, stated that the “Just Give Me a Reason” singer’s Summer Carnival tour had sold nearly one million tickets, the most of any female headliner in Australia and New Zealand.

Pink is currently on hiatus but will resume her tour in Cardiff, Wales, next month. She’s currently touring in support of her latest album, Trustfall , which was released in February 2023.

Meanwhile, fresh off the release of her 11th studio album , Swift returned to the stage on Thursday (9 May) in Paris , France , where she performed several songs from her newest record, The Tortured Poets Department .

Following performances from her 1989 album, the 34-year-old superstar re-entered the stage dressed in a white gown, before launching into tracks from TTPD .

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She began with the album’s sixth song, “But Daddy I Love Him”, before jumping around and performing “Who’s Afraid of Little Old Me”, “I Can Do It With a Broken Heart”, “loml”, “So High School”, “The Smallest Man Who Ever Lived” and more.

Thursday’s concert marked her first of four in Paris, which is in turn the first stop on her 18-city European leg.

TTPD , which was released last month, has topped the Billboard 200 chart, selling 2.61 million units, the highest for any album since Adele’s 25 in 2015.

It also gives Swift the most No 1 albums on the Billboard 200 chart among female recording artists. Save for her 2006 eponymous debut album, which peaked at No 5, all of Swift’s albums have managed to reach the No 1 spot.

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Spokane Symphony will celebrate Expo ‘74 with concerts this weekend. Three players will be on stage who also played in Expo a half-century ago.

The first time Paul Raymond played with the Spokane Symphony in Spokane, the governor was in the audience. On stage was international opera star Roberta Peters, renowned ballet dancer Edward Villella and ballerina Lucette Aldous, who was more accustomed to playing world-famous venues like the Sydney Opera House.

It was a monumental night for the symphony and Spokane, the grand opening of the symphony’s new home, the Spokane Opera House, and a celebration of Expo ’74, the six-month party about to start that would bring millions to the Inland Northwest.

The program was long and ambitious and included Shostakovich, Tchaikovsky, Mozart and Strauss.

Raymond had moved to Spokane from Michigan after barely a year of college mid-winter in his Ford Pinto station wagon after he met Spokane Symphony timpanist Martin Zyskowski, who had been on sabbatical and was teaching where Raymond was in school, Eastern Michigan University.

“He told me that, ‘You know, you should come out to Spokane because the world’s fair’s coming and there’s gonna be a lot of work for musicians.’ So I thought, ‘What the heck.’ And that’s how I ended up here, sight unseen,” Raymond said.

But less than five months after his move, after the grand opening show in Spokane, he was downcast while riding home with Zyskowski and another percussionist.

Raymond was sure he was about to be fired.

The last piece of the program, “Image of Man,” was written for the event by Michael Colgrass, a percussionist and composer who would later win the Pulitzer Prize. With Washington State University’s Concert Choir and Singers, it took more than 200 people to perform it.

In one frenzied part of the song (which included well over a dozen percussion instruments including a “large cooking pot”), Raymond needed to quickly transition, perhaps to a bass drum – he doesn’t fully remember . In the chaos, a cymbal fell from a table. He described the sound of it hitting the floor as a loud crash that rattled on as it rolled around – and around.

“And I thought, ‘Well, there goes my career,’ ” Raymond said in an interview earlier this week.

In the car after the concert, he assumed everyone noticed the cymbal crash not written in the music.

“I was bummed. This is it,” Raymond said. “And they said, ‘What do you mean?’ There was so much going on. It was so loud. They didn’t even notice it back in the section with me.”

So Raymond’s career continued with the Spokane Symphony as he earned music degrees and became the symphony’s principal percussionist.

This weekend, as he nears retirement, Raymond will be on stage as the symphony celebrates the 50th anniversary of Expo ’74, partially replicating the concert that Raymond once feared had ruined his career.

Joining him will be two other members of the symphony in 1974 who have retired but are back as substitutes: Kelly Farris, who was the Juilliard School-trained concertmaster and retired in 2006, and Roxann Jacobson, who was the principal violist.

As the symphony prepared for Expo and its new home, it worked to boost its experience and quality, said Verne Windham, who was selected as the symphony’s principal French horn player in 1971 after studying at the Eastman School of Music.

“It just pulled itself up to the next level,” said Windham, who played with the symphony until 1988 and later became program director for KPBX.

The symphony played 20 Expo concerts in its extended season with many major stars, including Itzhak Perlman and the Modern Jazz Quartet. Ella Fitzgerald headlined the closing concert on Nov. 3.

“I still remember sitting backstage by the door inside in the hallway where the dressing rooms were and heard a door open,” Raymond said. “Ella Fitzgerald walked out and came walking down towards me, and I was just so star struck.”

Jim Kershner, who wrote “The Sound of Spokane, A History of the Spokane Symphony,” said Expo gave the members tremendous experience as well as exposure to prominent musicians. Also booked to play at Expo were the Philadelphia Orchestra, the Cleveland Orchestra, the Utah Symphony and the Los Angeles Philharmonic.

“They were accompanying some of the biggest stars of the international classical world,” Kershner said. “The consensus was that Expo really upped their game.”

Jacobson said Expo “put Spokane on the map.”

“The whole feeling in those days was one of optimism and idealism. The hippie generation, it really impacted the general zeitgeist, I guess you could say,” she said. “We were just very optimistic and excited that we had a new opera house for a home for the symphony.”

The anniversary concert

Conductor and Music Director James Lowe poured through archived symphony programs from 1974 to select pieces for the anniversary program, which is the last Masterworks concert of the 2023-24 season.

He settled on three pieces from the Opera House’s opening night: Dmitri Shostakovich’s “Festive Overture”; Wolfgang Amadeus Mozart’s “Exsultate, jubilate”; and Riccardo Drigo’s “Pas de Deux” from “Le Corsaire.”

“Ending on a bang was a really important thing for me, and similarly the Shostakovich, the way it opens the concert, it starts with this kind of high energy, high octane music, and then going into the Mozart, which is really extremely beautiful,” Lowe said.

He chose Pyotr Ilyich Tchaikovsky’s fourth symphony as the finale, which differs from the Tchaikovsky piece on the program 50 years earlier.

“I mean, the Tchaikovsky symphony certainly doesn’t start with an air of celebration,” Lowe said. “It’s all about struggling against fate, but it ends in absolute triumph.”

In the 1974 concert, the symphony played from the pit in the first half, to make room for Villella and Aldous who performed on stage while the orchestra played Tchaikovsky and Drigo. Raymond had never heard of Villella until the rehearsal before the concert.

“This guy comes out wearing a Bruins hockey jersey, and he’s just kind of walking around the stage. I thought, ‘What’s the big deal with this guy?’ ” Raymond recalled. “And then when the lights came on for the concert, this guy came bounding out from backstage. I swear he was 10 feet in the air and then he just was bounding around the stage like a deer. I’d never seen anything like that.”

Lowe opted against bringing back the commissioned piece Colgrass wrote for the opening of Expo.

“Image of Man is a concert theatre piece for chorus and orchestra where soloists from the chorus sing and speak about contemporary man and his environment,” Colgrass wrote.

It was heavy on percussion and included a bass drum, glockenspiel, triangle, xylophone, timbales, bongo drum, chimes, cymbals, crash cymbals, tambourine, sleigh bells, cow bell, anvil, large cooking pot, car horn, suspended cans, metal ratchet, kitchenware, gong and a vibraphone, according to the program.

Among the lyrics:

A bird came to me one day/With a strange complaint/I can’t sing/Bloodshot eyes/Flabby wings/Decreased sexual activity/Was this some terrible disease/That could make our birds extinct

Raymond and Windham remembered liking the work, though it was panned by the Spokane Daily Chronicle’s symphony reviewer.

And Windham said it probably wouldn’t be appreciated by a modern audience.

“It has sideburns down to the floor and bellbottom pants,” Windham said. “I was a hippie and loved it.”

Farris, who joined the Spokane Symphony in 1969, was no stranger to world’s fair concerts. He also played at the grand opening concert for the 1962 world’s fair as a member of the Seattle Symphony.

Before the Opera House, the orchestra played at the Fox Theater, which the symphony would buy and remodel years later. But at that point, the Fox mostly was a movie theater and showing its age.

Farris remembers preparing to play a concerto before a show around 1970 with January air wafting in through a broken window.

“We had limited access for rehearsals and it was not being kept up very well,” Farris said.

Jacobson joined the Spokane Symphony in the mid-1960s when she was a 16-year-old student at S

hadle Park High School. She earned her master’s in music from Eastern Washington University around the time of Expo. Farris was her teacher at Eastern.

She left not long after Expo and played with Burt Bacharach in the late ‘70s as his electric solo violinist. She retired in Spokane after three decades in the San Francisco Symphony.

“I’m a sub here, you know, but they’ve welcomed me so much and been so kind,” Jacobson said. “It just feels like a welcome home.”

Farris and Jacobson said in interviews this week that one of the best memories of Expo was when they were featured in an outdoor concert playing Mozart’s Sinfonia Concertante.

Jacobson has high praise for the public schools that sparked her interest in music as well as the many musicians in Spokane in the 1960s and ‘70s who encouraged and inspired her long music career.

“I could just name so many people. They were so passionate and dedicated about what they were doing and they really passed on that dedication and passion to the students,” Jacobson said. “I just am so grateful I got to be a recipient of that.”

After the concerts Saturday evening and Sunday afternoon, audience members are invited to mingle with the symphony at a “wrap party.” Cupcakes will be provided.

The symphony also will open a time capsule that was sealed in 1996.

The theme for the weekends’ concerts is celebration: “So we’re kind of recreating that experience from 50 years ago,” Lowe said.

Jonathan Brunt can be reached at (509) 459-5442 or [email protected].

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In the Heights

20 july - 25 august 2024.

In the Drama Theatre

Musical Theatre

From America’s musical mastermind, Lin-Manuel Miranda ( Hamilton, Moana ) comes the quadruple Tony Award® winning, salsa-fuelled musical about a vibrant community in Washington Heights.

Starring Ryan Gonzalez ( Moulin Rouge! The Musical ) as Usnavi, Olivia Vásquez ( Moulin Rouge! The Musical, West Side Story ) as Vanessa and latin music extraordinaire Richard Valdez as the loveable Piragua Guy. Experience the incredible journey of love, ambition, and community in this must-see smash hit musical.

$8.95 booking fee applies per transaction

Prices correct at the time of publication and subject to change without notice. Exact prices will be displayed with seat selection.

The authorised agencies for this event are  Sydney Opera House . For more information about Authorised Agencies, see the frequently asked questions below.

Sydney Opera House Insiders Presale 9am, Tuesday 7 May 2024 Become a Sydney Opera House Insider to receive exclusive pre-sale access   Presenter Presale 10am, Tuesday 7 May 2024 Past Purchasers Presale 11am, Tuesday 7 May 2024 What’s On e-newsletter Presale 9am, Wednesday 8 May 2024   General Public Onsale 9am, Friday 10 May 2024

In English Wheelchair accessible Auslan Interpreted performance Tuesday 13 August 2024 7:00pm

Experienced Auslan theatre interpreters stand to the side of the stage and translate what the actors are saying or singing into Auslan. A block of seats is reserved for users of this service to ensure a good view of the interpreter and the stage. Book here

Audio Described performance

Wednesday 14 August 2024 7:30pm Tactile Tour at 6:30pm

Audio description is a live commentary for people who are blind or have low vision of the visual elements of a performance which is relayed to the patron via a free headset and receiver linked to the FM radio system. A pre-show Tactile Tour allows hands on access to costumes, props and stage set in order to capture the atmosphere of the work. Book the Audio Description price type. 

Find out more about  accessibility at Sydney Opera House

Content Parental Guidance is recommended. Contains mild coarse language and sexual references. Strobe and smoke machines may be used. Run time This performance will run for approximately 2 hours and 20 minutes, including interval Event duration is a guide only and may be subject to change.

Age Recommended for ages 12+ Children aged 15 years and under must be accompanied at all times. The Opera House is committed to the safety and wellbeing of children that visit or engage with us. Read our  Child Safety Policy . 

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Venue information 

Covid-safe information

Frequently asked questions, seating map.

Download seating map (PDF)

The Tony Award® winning Broadway sensation is here

It’s lights up on Washington Heights, a close-knit neighbourhood in Manhattan, where the heat is stifling and the A-train is the only way out. 

Trapped running a debt-ridden bodega, Usnavi longs for a simpler life in the Dominican Republic. Alongside him, a community as vibrant as the city itself yearns for change. A winning lottery ticket is sold, but to whom? Is it the family who long to send their daughter to an ivy league school; or the woman desperately trying to find a home?  

Feel the pulse of the neighbourhood with Lin-Manuel Miranda's debut musical, as he seamlessly weaves storytelling with contemporary beats, hip hop, salsa, and Latin rhythms. A colourful, vibrant, joyful musical that will sweep you up in its celebration of community and cultural pride.

Presented by Sydney Opera House in association with Joshua Robson Productions

Exceptional in so many ways Sydney Morning Herald

Absolutely irresistible TimeOut

A completely compelling production that dazzles ArtsHub

Your sneak peak...

Other information

Venue information.

Our foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars. All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers. The public lift to all foyers is accessible from the corridor near the escalators on the Lower Concourse and also in the Western Foyer via the corridor on the Ground Level (at the top of the escalators). Pram parking will be available outside the theatres in the Western Foyer.

The Sydney Opera House Car Park, operated by Wilson Parking, is open and available to use. Wilson Parking offer discounted parking if you book ahead. Please see  their website  for details.

Please check the  Transport NSW website  for the latest advice and information on travel. You can catch public transport (bus, train, ferry) to Circular Quay and enjoy a six min walk to the Opera House. 

The health and wellbeing of everyone attending the Opera House is our top priority. We’re committed to making your experience safe, comfortable and enjoyable, with a number of measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. We remind our audiences and visitors to please stay home if you feel unwell. If you need to discuss your ticketing or booking options, contact our Box Office team on 02 9250 7777.

The health and wellbeing of everyone attending the Opera House is our top priority. We have a number of safety measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. While face masks are no longer required, we ask all our patrons and visitors to practise good hygiene. Please stay home if you feel unwell and read more about our flexible ticket options .

The Sydney Opera House no longer requires patrons to show that they are fully vaccinated against COVID-19.

Ticket purchases and collection at our Box Office is discouraged and eTicket or postal delivery methods should be used, wherever possible. However, if you are collecting your tickets from the Box Office, we recommend doing this at least 60 minutes before the event starts. If you have already received your tickets, the venue doors will be open 45 minutes pre-show for Joan Sutherland Theatre performances, and 30 minutes pre-show for Western Foyer venue performances. Please take your seats as soon as you arrive. 

If you are late, we will seat you as soon as we can and, where possible, in your allocated seat. However, to reduce movement in the venue as well as minimise disruption to the performance and other patrons, ticketholders may be seated in an allocated latecomer’s seat. Please be aware that some events have lock-out periods. In these cases, latecomers will be admitted at a suitable break in the performance. On occasions, this may not be until the interval, or at all where there is no interval. 

Details of our right to refuse admission can be found in our  General Terms and Conditions for Tickets and Events.

In accordance with our venue security procedures, Opera House security will be scanning and checking bags under the Monumental Stairs, prior to entering the building. Bags will be scanned by an x-ray machine, and staff will wear appropriate personal protective equipment (PPE) when handling your belongings, such as gloves. Cloaking facilities will be open 60 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 60 minutes pre-show for Western Foyer venue performances. However it is strongly encouraged that you travel lightly to minimise contact and queuing. Any bags larger than an A4 piece of paper will need to be checked into the Cloak Room.

The authorised agency for this event is the Sydney Opera House.

Only tickets purchased by authorised agencies should be considered reliable. If you purchase tickets from a non-authorised agency such as Ticketmaster Resale, Viagogo, Ticketbis, eBay, Gumtree, Tickets Australia or any other unauthorised seller, you risk that these tickets are fake, void or have previously been cancelled. RESALE RESTRICTION APPLIES. For more details, please refer to our  General Terms and Conditions for Tickets and Attendance at Events.

Please contact Box Office on 9250 7777 as soon as possible to advise if you can no longer attend.

Foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars.

The venue doors will be open 45 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 30 minutes pre-show for Western Foyer venue performances.

Please bring a credit or debit card for any on site purchases to enable contactless payment. You’re welcome to bring your own water bottle but no other food and drinks are permitted inside our venues. Opera Bar, Opera Kitchen and Portside are also available for you to enjoy.

The health, safety and wellbeing of everyone at the Sydney Opera House is our top priority. In line with this commitment, the Opera House became a smoke-free site in January 2022. Read our Smoke-free Environment Policy . 

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