The Co-Director of streaming platform Melbourne Digital Concert Hall explains how the need to help Australian artists drives the project's incredible momentum.

We investigate why classical music and the high arts are so inhospitable to people from the working-class in Australia – a country that considers itself a classless society where everyone has “a fair go”.

Phillip Sametz calls for more welcoming program notes.

The singer-songwriter, actor and provocateur, whose credits include the musical Matilda and the TV series Upright, discusses his new album Apart Together.

State Opera South Australia presents Richard Mills’ chamber opera as part of its Lost Operas of Oz program.

Michael Quinn talks to two of today’s brightest mezzo-sopranos, Kathryn Rudge and Elīna Garanča, about their very different readings of Elgar's Sea Pictures.

How Nicholas Harding started drawing actors from the wings.

As Wesley Enoch prepares his fifth and final Sydney Festival, we look at the successes and controversies of his artistic directorship, and whether the self-acknowledged risk-taker might follow his sister into politics.

The Chief Executive Officer of Arts Centre Melbourne reflects on singing in church as a child, favourite concerts, and music that has kept her sane during lockdown, from Bach’s Goldberg Variations to Hamilton.

Rare outings score over same old-same old, new wine in old bottles, and do we really need more Beethoven?

In a world where singing is dangerous, Guy Noble goes looking for his sense of humour and decides it’s time to move music outdoors.

Catch up on what's been in the Limelight with the top arts stories to recently make headlines.