Louis XIV's Master of the King's Music was a charming backstabber whose ruthlessness matched the monarch's.

Does the framing of AI as a threat place limits on our thinking about a technology that may prove meaningful and constructive in creative practice?

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.

Sting not only wrote the book and lyrics for The Last Ship, he will also play the leading role when the show arrives in Brisbane. He tells us why he wanted to write a musical.

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 . . ."

Guy Noble has had enough of the abusive men who populate opera and would love to see a few rewrites.

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.