The intersection of classical music with other genres such as rock and pop is growing fast, with novel sounds emerging. But what should we call such collaborations? Classical music? Serious music? And how did the division between highbrow and lowbrow music first come about?

As she prepares to unveil her Salome for Opera Australia, soprano Lise Lindstrom discusses the role’s myriad challenges, finding empathy for a ruined princess, and why she had to leave Nilsson behind.

How serious new music is fusing classical and contemporary. How Mozart, Ravel and Liszt really died. Is West Side Story more relevant than ever?

The veteran actor returns to Bell Shakespeare to star as Molière’s stingy Miser.

Five dynasties make the journey from London to Bendigo this March in an exhibition about royal portraiture.

In her new piece for the ACO, Heather Shannon draws on both her classical training and work with indie rock band The Jezabels.

The composer tells us about his avian collaboration with singer-songwriter Paul Kelly, which features settings of poetry by the likes of Judith Wright, Emily Dickinson and John Keats.

The American soprano on mixed heritage, Peter Sellars and John Adams, and curating at NY's Met Museum.

Russia’s Sretensky Monastery Choir has a turbulent 600-year history and international clout. The choir’s regent Nikon Zhila tells us about its history and ethos ahead of performances at the Adelaide Festival.

Having observed both classical and jazz musicians at work, Guy Noble weighs up the similarities and differences.

In their new book, Robyn Dalton and Laura Ginters chronicle a generation at Sydney University which arguably had a bigger influence on Australian cultural life than any single group before or since.

Returning to perform in Opera in the Market after a decade, the soprano discusses what it's like to work with young singers, her artistic ethos, and the joys of audience reaction.