Cellist Michelle Wood runs us through what she’s most looking forward to in 2022.

After two decades based in the US, Durkin has returned to Australia and is poised to star in one of Britten's darkest works.

The composer discusses her new piece inspired by the Indigenous practice of listening with the whole body.

Roland Peelman explores the genesis of Haydn’s Creation, from the high-minded philosophy of The Enlightenment to the very real motivation of a large commission!

COVID has laid bare the struggle between creativity and livelihood, but similar challenges existed for Baroque composers.

Lynden Barber finds the dark shadow of the Ukraine invasion hovering over this month’s film and TV.

As she prepares to revisit the role of Violetta, the star soprano has fallen in love again with Verdi’s music.

Flautist Joshua Batty explains why a fundraiser is so important right now, and what we can expect.

The Melbourne theatre stalwart talks about the unique proposition of playing the voice of Cohen in Australian Contemporary Opera Co's 'Book of Longing'.

Elliott Gyger tells us about his new piece for WASO, and exactly what a concerto for orchestra is.

Hannah Reilly and Megan Washington discuss their new musical The Deb, which they hope will leave you feeling much lighter than when you entered the theatre.

Shaun Rennie discusses his work as Assistant Director on Phantom of the Opera on Sydney Harbour and the challenges posed by torrential rain, wild winds disrupting the use of the cranes, COVID and his unexpected appearance.