An assured performance of Bach’s masterpiece in a beautiful but acoustically challenging venue.

Anna Lapwood brings her brilliant skill and boundless effervescence to the Sydney Opera House Grand Organ.

Sydney Chamber Choir’s association with this work has always been strong. Under Sam Allchurch's direction, it grows even deeper.

From Mahler’s audacious First Symphony to site-specific bells and Sting's working-class roots, April’s issue explores music, place and identity.

In his second program as Artistic Director of the Canberra International Music Festival, Eugene Ughetti presents a lineup rich in site-specific bell works.

In her new book Opera Wars, Caitlin Vincent takes a lively, illuminating, insightful and, at times, irreverent look at the world of opera.

The award-winning string quartet, formed in Berlin in 2019, gives us the lowdown on its name and debut Australian tour.

Once dismissed as “a brutal din”, Mahler’s Symphony No. 1 is now acknowledged as a monumental, groundbreaking work that expanded the symphonic genre.

After living in the UK for two decades, Helena Dix is back. And now there's "no more sitting like a puppy dog at an opera casting director’s door . . ."

As he returns to Opera Australia’s Sydney Harbour production of The Phantom of the Opera, Guy Simpson tells us how he fell into theatre.

A childhood dream led Dutch musician Jörgen van Rijen to the Royal Concertgebouw Orchestra. But first, he had to grow into his instrument.

Director Neil Armfield tells Steve Dow why his production of Cinderella for State Opera South Australia will have a 1970s twist.