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.

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.