In November's On Screen column, Lynden Barber recommends a Tom Hanks maritime thriller, a Netflix drama on domestic abuse and a crazily scattergun Romanian film satire.
Nicolette Fraillon fell into conducting dance, but she was quickly hooked by the artform. Music Director of The Australian Ballet since 2003, she guides Jo Litson through the history of ballet music, discusses the different kinds of collaborations between choreographers and composers, and wonders why ballet scores aren’t always given their proper due.
When Rameau wrote Platée he was taking a bold step outside of traditional French opera by treating comedy as seriously as tragedy. Erin Helyard explains.
Virginia Gay and Richard Carroll discuss the joys and oddities of pantomime and staging a new play that celebrates panto traditions.
Nat Bartch's new work The Glasshouse, the 2021 Merlyn Myer Commission, is inspired by portraits taken by Victorian-era photographer Julia Margaret Cameron.
Jessie Tu talks with Tessie Overmyer and Hannah James about playing Charles Mingus's music as part of a nine-piece band at the Sydney International Women's Jazz Festival.
Roger Dean's austraLYSIS has released five new performance recordings, demonstrating the breakdown of barriers between familiar music, and the unfamiliar.
After a winter spent locked down in Sydney, guitarist Hilary Geddes is itching to get back to playing gigs again – starting with the Sydney International Women's Jazz Festival this weekend.
Keyna Wilkins' new album features a collaboration with Ahwazi Arabic poet and artist Jalal Mahamede, who has been in detention for nine years and is currently held in Brisbane. She tells us how it came about.
The conductor runs us through performing the entirety of Carl Orff's Carmina Burana with the Adelaide Symphony Orchestra, little-known despite its iconic opening.
November’s playlist us brings up to date with the slew of new releases (and digital re-releases) over the past couple of months. There’s an exciting range from contemporary classical, jazz and sound art from composers who have featured before and some new faces.
The Little Red Company managed to thrive during COVID and has now landed multiyear funding. Poised to revive two of its popular shows, it has a new production planned for its tenth anniversary in 2022.
Shane Lestideau, Artistic Director and violinist of Evergreen Ensemble, tells Limelight about the group's collaboration with Melbourne Symphony Orchestra for its digital platform MSO.LIVE.
