Get the Inside Story: The First Murder
Get the Inside Story
The First Murder
Who was Alessandro Scarlatti?
Alessandro Scarlatti was a central figure of the Baroque era, whose influence can be heard in the music of both Bach and Handel. He was also the father of the renowned composer Domenico Scarlatti.
He is considered a founding figure of the Neapolitan School, a major force in 17th- century Baroque music and also played a key role in shaping and popularising the da capo aria, one of the defining musical forms of the Baroque period.
What is The First Murder?
Written and first performed in 1707 in Venice, The First Murder (Il primo omicidio) was written as an oratorio or sacred drama (a work of spiritual reflection, told with theatrical intensity). It was likely first performed in an intimate, private setting under aristocratic or ecclesiastical patronage.
What is the story?
A re-telling of the story of Cain and Abel, this work is not simply about the first act of violence, but about what follows. It traces the emotional awakening of the first family: as innocence gives way to experience, and a new, more complex human world begins to take shape.
At its heart, this is a story of becoming human: of love and conflict, of generosity and restraint, and the fragile bonds between siblings. It explores the push and pull between our better instincts and our darker impulses, and the path to compassion and forgiveness.
What themes does it explore?
While the story touches on profound moments of rupture, it is not defined by them. As with all great Baroque works, it holds a wide emotional spectrum; moments of joy, reflection, tenderness and stillness.
The key themes are:
Forgiveness and redemption
Compassion and connection
The complexity of human feeling
This is not a story that ends in darkness, but one that searches for healing.
What will it look like on stage?
Set on a coastal heath, the production draws on the shared memory of the Australian beach holiday, a place of familiarity, ritual, and quiet tension. Beneath this recognisable world, something more elemental begins to stir, echoing the expulsion from Eden and our connection to forces larger than ourselves.
The visual language is spare, atmospheric and evocative, allowing the emotional power of the music to remain at the centre.
Set Design Concepts
by Jeremy Allen
Costume Designs
by Melanie Liertz
A unique approach to the character.
The roles of Cain and Abel are realised in a striking dual form: each is represented by both a singer and an actor.
The actors embody the physical action on stage, while the singers give voice to the inner life — the thoughts, emotions and “soul” of each character.
Listen, rather than following.
You don’t need to follow every detail of the story to connect with this piece.
Instead, allow yourself to listen; to the voice, to the space between phrases, to the shifts in feeling. Meaning lies in what is said, how it is expressed, and what is unsaid.
This is the beauty of opera. It takes us on a virtual rollercoaster that traverses all our emotions.
What can you expect?
An experience that is both intimate and expansive.
Music that is tender, evocative and deeply moving — unfolding with clarity and
emotional truth.
An ancient story, seen in a new light.
And a work that reaches beyond its time to speak directly to our own.
Watch behind the scenes
Step into the rehearsal room with the cast and creative team
Scarlatti's Masterpiece with Erin Helyard
