Catching up with the global phenomenon in New York, Clive Paget discovers how those bold interpretations get developed and learns a few of the things that have made an older and wiser Lang Lang into a more rounded artist.
Clare Watson directs Oriel Gray’s neglected, and radical, newsroom comedy.
Ensemble Offspring’s Claire Edwardes tells us about six pieces that will premiere at the Kontiki Racket festival, including a work for a trumpet with two bells.
From cows to elephants, there are many stories of animals responding to music. So what are the preferences of the animal companions of Australia’s music professionals?
As she ticks off another decade, the great German mezzo Brigitte Fassbaender talks to Clive Paget about her continuing legacy.
Anthony Warlow tells Jo Litson that he has refound his theatre mojo in the demanding role of the Demon Barber of Fleet Street.
The celebrated bass-baritone tells us about his forthcoming Australian concerts, his first cruise, his new opera roles, and why he won’t be bringing his Welsh Rugby Union jumper on his trip Down Under.
The oboist tells us about taking a personal approach to music old and new ahead of performances with the Melbourne Chamber Orchestra.
Two musicians from the orchestra give us their unique insight into WASO's Composition Project.
Angelica Mesiti’s work for the Venice Biennale is an optimistic vision of community.
For the ex-pat guitarist, it's a case of Boyd meets girl, has baby, founds concert series and tours Australia.
With movements titled ‘Hubris’ and ‘On-message’, Brett Dean’s new piece for the Doric String Quartet swipes left on social media.
Richard Meale once stood alongside Peter Sculthorpe as a hero of Australian music. James Koehne examines why he fell from prominence and argues that he was the most Romantic of Modernist composers.
