We investigate why classical music and the high arts are so inhospitable to people from the working-class in Australia – a country that considers itself a classless society where everyone has “a fair go”.

Phillip Sametz calls for more welcoming program notes.

A scrupulously researched look at a long-lived British musical maverick.

State Opera South Australia presents Richard Mills’ chamber opera as part of its Lost Operas of Oz program.

Michael Quinn talks to two of today’s brightest mezzo-sopranos, Kathryn Rudge and Elīna Garanča, about their very different readings of Elgar's Sea Pictures.

As Wesley Enoch prepares his fifth and final Sydney Festival, we look at the successes and controversies of his artistic directorship, and whether the self-acknowledged risk-taker might follow his sister into politics.

The new-look Limelight magazine includes major features written by Elissa Blake, James Hazel, Jo Litson and Michael Quinn.

The Chief Executive Officer of Arts Centre Melbourne reflects on singing in church as a child, favourite concerts, and music that has kept her sane during lockdown, from Bach’s Goldberg Variations to Hamilton.

Rare outings score over same old-same old, new wine in old bottles, and do we really need more Beethoven?

In a world where singing is dangerous, Guy Noble goes looking for his sense of humour and decides it’s time to move music outdoors.

Catch up on what's been in the Limelight with the top arts stories to recently make headlines.

Featured in a recent, semi-animated documentary called Recorder Queen, Genevieve Lacey loves her instrument’s humility, and says that the recorder has transformed her.