It was all go as this year’s 60th anniversary festival got underway with a series of compelling, contentious, provocative and exciting productions.

Soon to perform all five of Beethoven’s piano concertos across two concerts, fortepianist Kristian Bezuidenhout explains why hearing this music on period instruments is a walk on the wild side.

Missy Mazzoli has poured hope and light into her operatic version of Lars von Trier’s film headed for Adelaide. Tom Morris explains how he’s staging it, and why, as a man, he needed the composer’s blessing.

Collaborations between Indigenous musicians and composers with Western classical orchestras, ensembles and musicians are beginning to grow. Steve Dow talks to some of the artists participating in the cultural exchange about the challenges involved, the protocols that need to be respected, and the exciting new Australian sounds that are emerging.

Sam Allchurch, AD of Sydney Chamber Choir, discusses staging the Messiah with chamber forces similar to those that Handel had at his disposal.

Composer Ella Macens tells us how her eyes were opened to a powerful musical weapon that she’s harnessed in her work, Superimposition.

We report from the third festival at Hepburn Springs where the audacity of Artistic Director Stewart Kelly is well and truly paying off.

How bequests from opera lovers are supporting established and emerging arts companies across the globe.

The role the arts can play in the face of a climate crisis, exciting new collaborations between Indigenous composers and Western classical musicians, Natalie Aroyan, Stephen Sondheim and much more.

The night the wizard of the keys found he could only push the little Leipziger so far.

Pakistani musician Ustad Saami embodies an ancient musical tradition that is likely to disappear when he dies.

Stateless, a new ABC miniseries examining Australia’s onshore detention system hopes to spark complex conversations.