The award-winning producer, casting director and Chair of the Hayes Theatre Co, Lisa Campbell, pays tribute to the amateur dramatics company where she became smitten with musicals, and her father’s love of piano.
Iranian-Australian tar player and composer Hamed Sadeghi fell in love with his instrument after hearing it on the radio aged 13. Now based in Sydney, he fuses traditional Persian music and jazz with his quintet Eishan Ensemble.
Lockdown in a global pandemic gave soprano Sonya Yoncheva the opportunity to realise a long-held dream and return to her musical roots. So, where does ABBA come in?
Christopher Latham explains the motivation behind the 200-strong Vietnam Requiem, a project he hopes will enable the healing of those who were harmed during the war.
Rather than always expecting classical precision, it’s sometimes cool to be like Harrison Ford and make things up on the spot, says Guy Noble.
How the Adelaide Symphony Orchestra is redressing the gender imbalance.
An Australian rising star makes an auspicious debut on disc, chamber music dominates in a month of major names, and a visceral new opera dissects the heart.
Raymond Hanson’s legacy as a composer is not to be underestimated.
Writing a psychedelic violin concerto using sampling and looping proved a trippy trek for Gordon Hamilton.
A glimpse of what opera could become post-COVID, as the artform embraces drive-ins, livestreams, virtual reality and digitally augmented live performances.
After the frustrations of 2020, Amy Campbell has a big year in 2021. She is Resident Director on Hamilton, Movement Director on Once, and will unveil a production of A Chorus Line, complete with brand new choreography.
Miriam Hyde’s daughter recalls her mother’s love of music.
The Australian World Orchestra founder and CEO talks past, present and future ahead of the company's tenth anniversary.
