The airline claims fewer and fewer customers were tuning in to the radio and music channels.

The renowned choral conductor discusses taking the Sydney Chamber Choir on a sea voyage through maritime disaster to epic adventure.

The New York-based Australian pianist tells us how after the September 11 attacks, Bach's Goldberg Variations were the only thing that made sense.

Jessica Pratt and Caitlin Hulcup lead Victorian Opera’s fourth and final Bellini opera in concert with vocal and dramatic flair.

Louise Farrenc was the first female Professor of Piano at the Paris Conservatoire, so why haven’t we heard more of her music? Omega Ensemble’s Maria Raspopova pans for rediscovered chamber music gold.

With catcalls and pregnancy jokes, Madama Butterfly nearly fluttered by altogether.

Working with the “real” George Gershwin got me thinking about the relationship between conductors and soloists.

New commissions by Kate Moore and Nigel Westlake feature alongside canon works in the ASQ’s National Season.

Bruce Beresford’s film Ladies in Black is about to grace the screen. Composer Christopher Gordon tells us about his music, which suits the 1950s period but doesn’t sound like the score from a movie of that era.

Israeli quartet take on the Impressionists in a double bill.

Expressive performance breathes fresh air into an old favourite.

Chiesa brings to light a trio of rare Italian cello concertos.