A unique collaboration between Yolŋu songman Daniel Wilfred, Korean-born vocalist Sunny Kim, and trumpeter and composer Peter Knight shows the world is a richer place when we sing together.

With the company’s MainStage program kicking off in May, Antony Pitts and Francis Greep talk to Limelight about how the company is navigating the turbulence of the global pandemic.

When supplies of black paint from the US dried up during COVID, STC and Robertson's Paints created a superior local version that's highly durable, more eco-friendly and half the price.

Given his great success in the West, why did Prokofiev return to the grip of Stalin in the USSR? Daniel Jaffé offers an explanation.

One man, 24 hours of new music, no sleep. How does Adam Page aim to survive? He discusses his new project at The Lab in Adelaide.

Much like his Spirit of the Wild oboe concerto, the composer’s new double guitar concerto for Slava and Leonard Grigoryan was inspired by a trip to Tasmania with environmentalist Bob Brown.

Tom Donald's new composition Honour of the Season seeks closure as it reflects on the trauma of war.

We need to talk about gender diversity in classical music, says saxophonist Jazmin Ealden.

If you call a piece Symphony, the weight of history bears down on you, says Paul Dean as he talks to Christopher Lawrence about his new work celebrating the Australian World Orchestra's first decade.

The star of Muriel’s Wedding the Musical talks to Limelight about life after Muriel and her role in the musical Fun Home for Sydney Theatre Company.

Don’t be scared; when musicians say there are no limits and embrace the adventure, they will feel free, says Keyna Wilkins.

Though she studied the piano, Laura Vaughan became smitten with the viola da gamba and also plays the lirone, which a colleague described as “The Goosebump Machine”.