Mozart’s Requiem is a cornerstone of the classical canon, a powerful mass for the dead written by the composer on his deathbed. Ahead of its premiere at the Adelaide Festival, Justine Nguyen learns how Romeo Castellucci has staged it as a celebration of life instead.
We speak to the students honing their skills in China's elite orchestral training program.
The composer tells us about her response to Beethoven’s Ninth, which premieres at the MSO’s Season Opening Gala.
British director Phelim McDermott has been obsessed with Philip Glass’s music since the early 1980s. He talks to Jo Litson about meeting the legendary composer, directing his operas, and the dream in a flotation tank which led to their first direct collaboration.
A trio of choreographers each using the same Beethoven music proves dazzling.
Ahead of his performance with Southern Cross Soloists, the Royal Concertgebouw Orchestra's Principal Trumpet shares how watching Looney Tunes got him hooked on the instrument.
The artist, designer and director on closing Theatre of Image, publishing a 30th anniversary book, and adapting and designing a ballet of The Happy Prince.
For close to 3000 years, people have turned to the Book of Psalms for consolation. For nearly as long, composers have transformed these texts into some of the most profound music imaginable. Justine Nguyen explores how a unique choral project sees four choirs perform all 150 Psalms set to music by 150 different composers over the course of 12 concerts.
A new exhibition from the NGV brings together the work of two of the art world’s greatest disrupters, Keith Haring and Jean-Michel Basquiat.
Rachel Hocking explains how Resound is matching donated musical instruments with musicians affected by the bushfires, and how moving that can be.
The Russian soprano, who made her La Scala debut at just 23 years old, talks to Justine Nguyen about her lucky breaks, the extraordinary musicianship of Renata Scotto, and saying goodbye to Gilda.
The writer-director discusses her Noongar-language interpretation of Shakespeare’s play, which puts the spotlight on an oft-excluded character.
Christopher Wiley traces the career of Ethel Smyth, who was the first woman to have an opera performed at the Metropolitan Opera, wrote the suffragette’s anthem, and developed a parallel career as an author.
