Amid fierce competition, a relative rarity has carried off the top prize.

As the world becomes ever noisier, Guy Noble admits he’d like a bit of peace and quiet in the kitchen and department stores – particularly at Christmas.

After a recent European tour, Guy Noble ponders the delicate balance of accepting applause and the awkwardness of excessive curtain calls.

One remarkable day at the Sydney Opera House reminds us that we shouldn't underestimate the public's thirst for classical music, writes Alexander Briger.

We're celebrating our 250th issue this month. Rather than look back, we've asked leaders in the field to imagine what Australian theatremakers might be presenting when we publish Limelight #500.

The reinstatement of Khaled Sabsabi's invitation to represent Australia at the Venice Biennale is more than a symbolic reversal. It is Creative Australia's chance to restore trust, argues Samuel Cairnduff.

If Australia is to maintain a thriving arts industry, it needs to rethink its cultural leadership and governance, argues Samuel Cairnduff.

Pondering the inconsistency of memory, Guy Noble argues that rather than hold a grudge, it’s better to forgive and forget.

Sydney composer-pianist Andrei Hadap earns a $5,000 cash prize and will have his winning work debuted by the Willoughby Symphony Orchestra.

Staging a commercial musical can help finance a potentially loss-making opera, but has Opera Australia tipped the balance too far?

Creative Australia's withdrawal of Khaled Sabsabi from the Venice Biennale is not an isolated incident, argues Samuel Cairnduff. It's part of an emerging trend.

Perhaps it’s time, argues Margaret Seares, to start rebalancing the priorities between corporate drivers and artistic imperatives.