Cat Hope takes stock of the incredible service the outgoing Australian Music Centre CEO has dedicated to an organisation that supports a large ecology of creative people and activity.

Ahead of Pinchgut’s performances, Erin Helyard discusses tackling Monteverdi's masterpiece.

Award-winning pianist and teacher Matthew Xiong discusses the Achilles heel for many musicians, performance anxiety, and how he’s found results in practices from sports psychology.

From the long-awaited recording of Jessica Wells’ The Night Parrot to Nardi Simpson’s Of Star and Birds, Cameron Lam catches up on a bumper few months of album releases in his latest playlist.

Back in Perth for the first time in a year, the maestro shares the challenges and triumphs of conducting opera productions and orchestras across a world in the grip of a global pandemic.

Sydney chorister Ria Andriani traces the hopes and fears of singers during the various COVID outbreaks and the arrival of vaccines.

The composer tells us about how diamond-like rain that occurs in space and concerns about climate change on Earth have inspired her new work for the Canberra Sinfonia.

Australia's great Shakespearean actor discusses his new solo show, why The Bard is so special, and how Shakespeare's writing has become his secular Bible.

Eighty years on, argues Brett Weymark, Tippett's pacifist oratorio feels more relevant than ever.

The new Melbourne venue will offer eclectic programming from Kate Ceberano to Dustyesky to David Helfgott, with an immersive La Bohème on the horizon.

The composer spent more than 20 years working on his Requiem. He shares this long journey, which ends on March 13 when the composer conducts its premiere with the Sydney Chamber Choir.

We speak to the composer about his symphonic song cycle with Lior, Compassion, which has had a rich performance history since it premiered in 2013.