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.

Ahead of the new Bendigo Chamber Music Festival, co-director and cellist Chris Howlett reveals how a love of drums started his own musical journey.

Superstar cellist Yo-Yo Ma brought a spirit of joyous community to this epic concert in Xinghai Concert Hall in Guangzhou, China.

In the 250th anniversary year of Beethoven’s birth, Melbourne Opera is tackling his only opera, Fidelio. Conductor Anthony Negus discusses the work’s power and the influence of one of its greatest interpreters.

Adelaide Symphony Orchestra’s Principal Contrabassoon Jackie Newcomb talks about the myriad challenges and delights of the imposing instrument, which she describes as a character instrument.

The General Manager, Classics and Jazz, Universal Music Australia discusses Eloquence, which he founded in 1999, and why it has gathered a dedicated fan base, selling two million units in its 20 years.

Winner of Season 2 of 3MBS’ The Talent in 2019, the soprano discusses the importance of championing new and Australian composition, dream roles, and falling asleep to Andreas Scholl.

Musica Viva Australia turns 75 this year. As the chamber music organisation started by refugees in 1945 celebrates its milestone season, we talk to former Artistic Director Carl Vine and new Artistic Director Paul Kildea about Musica Viva’s past, present and future.

ABC Classic and ABC Jazz Content Manager Toby Chadd reveals some of the things in store in 2020 including a new baroque show, Beethoven each Friday, as well as the Classic 100: Beethoven.

The rivalry between Pablo Picasso and Henri Matisse has been likened to a boxing match.  With a new exhibition in Canberra setting their artworks side by side, we explores the complexity of the pair’s relationship, and how it transformed art in the 20th century.

Jansson J. Antmann talks to Neil Armfield and artist Abdul Abdullah about how religious, sexual and identity politics feature in many of the works in this year's Adelaide Festival.

A lifelong love affair with the French language meant that when asked to sing the devilish villain in Gounod’s radically different original version of Faust, the British bass-baritone didn’t think twice.