Ahead of his trip to Tasmania, the young American virtuoso extols the joys of Tchaikovsky’s Concerto and defends it from the criticisms of its first dedicatee, Leopold Auer, and the venomous Eduard Hanslick.

The in-demand choreographer talks about becoming AD of Chunky Move and his new four-hour work for Dance Massive where two humans are trapped in a world of superseded objects.

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.