New Zealand bass-baritone Teddy Tahu Rhodes tells Angus McPherson about the “lucky break” that took him from accounting to international opera stardom, why he’s loving the roles he’s getting in his 50s, and why sometimes it’s OK to be booed.
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The pianist's second Brisbane Music Festival will feature the premieres of no fewer than 28 new Australian works.
Tos Mahoney, Artistic Director of Tura New Music in Perth, tells Jo Litson about Kimberley Echoes, a cross-cultural celebration of Kimberley country and its people, which is heading to Australia’s eastern states this month.
Australia’s greatest cultural loss from WWI finally gets to come home with the launch of his complete recording edition. Christopher Latham reports on the late-flowering fruits of a labour of love.
To mark his father’s final season with the Melbourne Symphony Orchestra, Ed Frazier Davis is channelling Hildegard of Bingen.
The one-time Sydney Dance Company performer, is now creating striking artworks made from ballet shoes.
Ahead of her performances with the Australian Haydn Ensemble, the Bavarian-Japanese violinist tells us how she went from modern instrument “convicted offender” to HIP master.
Why does Lachlan Skipworth, the easy-going son of an Australian farmer, have such an affinity for Japanese aesthetics? Ben Etherington explains how the shakuhachi bamboo flute came to be a muse for the talented composer.
A major retrospective by UK artist Cornelia Parker is coming to the Museum of Contemporary Art.
Invented 100 years ago, the first electronic instrument continues to fascinate, not only for its striking sound and aesthetic, but also for the almost superhuman difficulty of playing it without physical contact. Mélissa Lesnie traces its history, and visits theremin school to learn how the devil to tame it.
The popular Australian Chamber Orchestra cellist tells us about his double bass envy, his love of cooking, and his most awkward moment on stage.
Tommy Murphy’s new play puts patriarchal power under the microscope.
