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.

Lynden Barber surveys the TV fashion for holiday stories, where exotic settings add some visual appeal, and characters are pushed out of their comfort zones.

Michael Sollis asks if it is fair to expect artists to rise above their individual pain and turn their attention to creating works that address the broader societal challenges of the pandemic.

The Italian conductor, who is about to take to the podium for OA's The Marriage of Figaro, explains why he often memorises opera scores.

Veena virtuoso Hari Sivanesan and Melbourne Symphony Orchestra Artistic Advisor Matthew Hoy discuss an exciting concert featuring South Asian musicians and the MSO at Bunjil Place.

Playwright and director of new Australian musical set in remote Western Australia talk about creating opportunities for WA artists, and the 1960s dream of equality unrealised all these years later.

There are a large number of musicals to look forward to this year, COVID permitting, from the well-known to the less familiar, with several new Australian musicals among them.

Cameron Lam explores music for two in this month's playlist of Australian art music.

Sydney Festival's Acoustic Life of Boatsheds is not just another concert but a real experience around Sydney Harbour that audiences will not forget.

As young artists embark on audition season, many will pay hundreds of dollars for the privilege of submitting their applications – and there's no guarantee they will actually be listened to.