Principal bassoon with Melbourne Symphony Orchestra, Jack Schiller, discusses the new Bassoon Concerto he will premiere in July and his seven-year wait for a new instrument.

How Sally Sara’s debut play Stop Girl, now playing at Belvoir St Theatre, became a lifeline after decades in war zones.

It’s certainly harder to justify regular visits to the multiplex when new feature films and serials of quality crop up on the various streaming services, writes Lynden Barber in his latest column.

The composer hopes her new work for choir – written during a period when choirs were silenced – will leave the listener uplifted and ready to work to fix the world.

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.