Curated clapping, and keeping mum between orchestral movements, was developed in the 20th century. But applause is most satisfying when it’s spontaneous – as artists know.

Composer Ian Munro discusses the new show based on the picture book, which has a classical score that references birds and a bunyip, and includes a children’s round.

Barrie Kosky’s animated production of Mozart’s Singspiel has been stunning audiences globally. Suzanne Andrade and Paul Barritt from innovative British theatre company 1927 tell us how a “hyperactive little Australian” convinced them to stage their first opera.

The Brodsky Quartet, Ntaria Choir and Bach for breakfast are all on the menu at the Canberra International Music Festival this year. We talk to the Artistic Director about his plans.

The artist, who has an intellectual disability, has a work on the cover of the Fringe brochure, on Adelaide trams, and as a city mural. He also has an exhibition in the festival.

WASO’s former Assistant Conductor returns to lead the orchestra’s season-opener after a whirlwind few years.

A young Yuja Wang, Budapest’s first Beethoven, and Liszt tops the list.

The Gabrieli's chief on the sublime King Arthur, the edgy string harmonies, even the smutty glees.

The minimalist icon has spent 30 years avoiding the potential pitfalls of orchestral performance, so why break the habit now? Clive Paget visits the composer in his rural retreat to get the lowdown.

About to take on Wagner's cursed sailor for Melbourne Opera, the bass-baritone discusses the joys of a short rehearsal period, training like an athlete, and the humanity of the Dutchman.

Or how the Austrian composer perfected the death stare a century before Julie Bishop.

Percy Grainger's wildly colourful The Warriors is the only long-form work by a composer best known for his miniatures. Conductor David Robertson and musicologist Malcolm Gillies help us get to the bottom of the Australian composer's attempt to 'do a Stravinsky'.