"I think it’s important that art keeps being made and being put out there," says Christopher Healey, who has been working on a project with musicians from all around the country.

The Sydney-based chamber choir’s Musical Director Margaret Tesch-Muller explains why she felt it was so important to push ahead with the program in an otherwise disrupted year.

Violins of Hope is an artistic and educational project composed of instruments owned by Jewish musicians before and during the Holocaust. Niv Ashkenazi is the first musician to record a solo album on one of them.

Piers Lane, whose new album is Limelight's Recording of the Month, explains why once recognised masterpieces can grow to be underestimated and neglected.

Flinders Quartet is to premiere a piece for string quartet, female voice and narrator, inspired by letters written to asylum seekers, which were returned to sender.

The Australian guitarist tells us about his new album with Ariel Nurhadi, his new routine during the covid-19 pandemic, and his plans for the future.

The conventional wisdom says that for the performing arts the online space is difficult, if not impossible, to effectively monetise. We speak to the musicians and presenters who are making a go of ticketed live streaming events.

Claire Edwardes, Artistic Director of Ensemble Offspring, weighs in on funding cuts, ‘unfunded excellence’, and the planned fee hike for arts and humanities degrees.

Two young mezzo-sopranos have launched a new podcast series in which they interview opera performers, among them Australian soprano Lauren Fagan. They explain how and why.

As ABC Classic releases his Concerto for Oud and Orchestra, recorded live with the Sydney Symphony, Joseph Tawadros explains his love for the instrument, and how the composition was born.

We speak to director Katt Osborne about adapting Menotti’s The Telephone for WA Opera in the time of coronavirus.

Finding his feet in his newly adopted country, the Russian composer was game for anything.