The star pianist discusses the 52 concerts he streamed from his Berlin home when COVID hit, his 15-hour livestream of Satie's Vexations, and his forthcoming digital concert of Beethoven's Diabelli Variations.
Clive Paget caught up with violinists Catherine Manson and Michael Gurevich to find out what’s so special about Haydn’s Op. 76, quartets and what a historically informed approach brings to the composer.
The saxophonist and composer draws on the life of his great grandfather Heini Portnoj, who escaped the Nazis and came to Australia in 1940, in the first live performances of his suite Vienna Dreaming.
The work is the brainchild of baritone Joshua Hopkins whose sister was murdered in 2015.
Musicians Simone Slattery and Gabriella Smart have created aural responses to the Clarice Beckett exhibition at the AGSA, leading to live performances and a recorded soundscape in the Gallery.
The media executive and composer reveals the myriad threads weaving through his program for Adelaide Festival's Chamber Landscapes at UKARIA.
Yaron Lifschitz, AD of Circa, explains how Aardman's much-loved animated TV show is playing tricks in Brisbane.
Log in to read the PDF version of Limelight's March 2021 magazine.
Andrew Ford’s new project proves the right idea for strange times.
Find out what's on stage – and streaming online – in January & February from Limelight editors Jo Litson, Angus McPherson and Clive Paget.
Steve Dow explores the history of Adelaide's Her Majesty's Theatre and its latest renovation, which fuses the old and the new.
Yvonne Frindle investigates why Margaret Sutherland's forward-looking orchestral composition has been so unjustly ignored.
You can’t ‘fake news’ your way out of a bad performance, which is why many musicians suffer the curse of perfectionism, says Guy Noble.
