Pinchgut's AD talks about 'old' pianos and curating a multi-concert series at UKARIA, running over a long weekend, for the Adelaide Festival.

Ahead of the SXS 2022 season launch, Tania Frazer and Chris Williams talk about commissioning works for didgeridoo and chamber ensemble, and teaching composers how to write for the instrument.

One of the most sought-after choreographers, with several new projects in development around the world, Robert Bondara talks about the Australian premiere of Take Me With You at West Australian Ballet.

Sally Melhuish, Artistic Director of Salut! Baroque, shines a light on Portraits of Marianna Martines, Elisabeth Jacquet de la Guerre and Maddalena Casulana.

ABC presenter Joel Carnegie discusses his solo show Stardust about his jazz musician grandfather, which is touring with Tom Molyneux's performance about his Gunditjmara great-great-uncle.

On the eve of his tenth and final 3MBS Marathon, this year focussed on Tchaikovsky, Artistic Director Chris Howlett reflects the origins of the event, and where the marathon now sits in Melbourne's classical calendar.

In the first of three articles, Shaun Rennie offers some fascinating insights into his work on OA's La Bohème and Phantom of the Opera on Sydney Harbour, as well as Bell Shakespeare's new musical The Lovers.

Bianca Gannon writes about her new work, which draws heavily on Indonesian music traditions – in particular the angklung, an instrument made of bamboo tubes attached to bamboo frames.

Killing Katie is currently playing at Sydney's Ensemble Theatre. It was Tracey Trinder's first and last play, commissioned and rehearsed before she died last year. There is now an award named in her honour.

Director Suzanne Chaundy says her approach to Die Walküre is to tell the story as clearly as possible, exploring the themes without adding tonnes of obvious contemporary relevance.

Sam Allchurch will never forget the first time he sang with Gondwana Voices. Applications for Gondwana National Choirs are now open. He encourages young people to apply; it could be their light-bulb moment.

The Hungarian maestro discusses the musically and emotionally demanding Mahler and his sound world, and why he won’t conduct the Tenth.