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.
Soprano Eva Kong is about to make her debut as Manon in Seoul – though the performances, which were planned to take place in front of an audience, will now stream live.
In his final film and television column, Lynden Barber finds rich pickings on Netflix, Stan and SBS On Demand.
In his final column, Clive Paget recommends Glass at the Met, OA's Turandot, and a handful of European gems.
Opera-Bytes is Victorian Opera’s latest digital offering from its youth chorus ensemble, VOYCE.
In his final column Dr Nick Gordon travels from Art Basel to White Cube and the Royal Academy in London, who are showing artists including Tracey Emin, Picasso and Manet.
Eleanor Lyons and her conductor/pianist husband Vladimir Fanshil have formed LIVEATYOURS, a new project offering “micro-concerts” in people’s homes, which launches tonight.
In her final column, Deborah Jones looks at two productions, Giselle and Betroffenheit, available on Marquee TV, dubbed the Netflix of the arts.
