The program for this year's MIFF has been curated with compassion, ambition, sensitivity and range, and will be presented in a new model, both in cinemas (COVID permitting) and online.

Erik Griswold's new work for Brisbane Music Festival was inspired by our current COVID predicament, and Cole Porter's song Ev'ry Time We Say Goodbye.

The Cooktown Cantata, staged in June as part of the Cooktown and Cape York Expo 2021, deserves to be staged again, and seen more widely.

Cameron Lam's playlist for July features music from Tasmania and from composers with strong ties to the island state.

French composer Emmanuel Chabrier might be best known for his vivid musical portrait of Spain but Wagner was his true inspiration.

Marg Horwell tells us how her stunning design for Opera Queensland's new Marriage of Figaro has been directly influenced by the unpredictable nature of the last 18 months.

Sydney-born pianist Rosemary Tuck shares her love of the fun, beguiling music of English composer Albert Ketélby, which she has recorded on her new album A Dream Picture.

La Boite's new production Caesar, adapted by five writers for five actors, will offer blood, conspiratorial thrills and political commentary, but also a comic romp.

Much-loved soprano Emma Matthews is committed to teaching at WAAPA but still loves singing. She discusses her role debut as Nedda in Pagliacci for West Australian Opera.

A new adaptation of Thornton Wilder's novel The Bridge of San Luis Rey, starring Slava Grigoryan and Paul Capsis, will premiere at the Adelaide Guitar Festival presented with Brink Productions.

Artistic Director Piers Lane explains how this year's Sydney International Piano Competition has adapted to taking place online.

In this month's opera column, Greg Eldridge explores the dichotomy that has emerged between purists who loved traditionalist productions and lovers of modernist regietheater.