The Principal Double Bass at Queensland Symphony Orchestra started playing the instrument after an arm wrestle at primary school, though she really wanted to play the harp. She now feels strongest and happiest with a double bass in her hands.
Canberra-born soprano Chloe Lankshear, Pinchgut Opera's first Taryn Fiebig Scholar, tells us about her collaborations with the company so far.
Early music wins the laurels this month, from Jordi Savall’s medieval fiddle to David Skinner’s William Byrd and a trifecta of Handelian delights.
Peter Tregear discusses the rise of identity politics and argues that if we wish to defend our orchestral culture, we cannot avoid questions of musical value.
The editors of Limelight share their selection of the most exciting classical music, opera and theatre events coming soon.
On the 500th anniversary of his death, we pay tribute to Renaissance composer Josquin des Prez.
This year’s ABC Classic 100 managed to unite an ornery group of people with its hilarious stock images and predictable choices.
The winner of 3MBS's The Talent tells us about winning, Chopin, and Evgeny Kissin.
Rosie Dennis discusses this year's Bleach* Festival, which she believes will show there is so much more to the Gold Coast than childhood memories of Surfers Paradise.
Lynden Barber surveys British heritage TV and the continuing fascination with the world of Jane Austen.
The Recognition in Anthem Project proposes two new verses for Advance Australia Fair.
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.
