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

With an ambitious new musical survey underway, Clive Paget looks at the 18th-century movement that made bold men quake with fear and women fall into a faint.

The Director of the National Gallery of Australia tells us about his mother’s inspiring passion for music, his own eclectic tastes from classical to electronic, and his love of vintage vinyl.

As David McAllister prepares to leave The Australian Ballet, he releases a new memoir.

When Claire Edwardes first discovered this weird and wonderful instrument in Holland she thought it might be rather one-dimensional, but in fact, she has discovered it is full of sonic possibilities.

Robert Veel laments the trend for ‘overture acting’.

Why the two wildly different productions are both such hits, and asks how the misogynistic opera is received today.

While live performance is returning, travel restrictions due to the coronavirus pandemic mean virtually no international artists will tour here. Will we seize the chance to create a greater space for Indigenous, female and ethnically diverse voices to speak to us about Australia today?

American mezzo Jamie Barton tells Clive Paget about recording Unexpected Shadows, Limelight’s Recording of the Month for October.

Guy Noble has pondered tunnelling his way beneath borders to raise a baton interstate, as the Prime Minister’s optimistic “snapback” strategy snapped.

In a new batch of reissues, Eugen Jochum and Andor Foldes impress, but Charles Munch is only for completists.

As his company celebrates its 10th anniversary, the choreographer discusses his work and his new production about excessive gaming, which will be performed and live streamed this week.