The bassist and co-artistic director of Silkroad Ensemble discusses the group's identity since Yo-Yo Ma's departure, its upcoming Australian tour, and how to bring the bagpipe and the kamancheh together.
The stars of Victorian Opera’s upcoming production of Parsifal talk the holy fool and the wandering Jew.
Frustrated by the confines of classical music, conductor Charles Hazlewood formed the British Paraorchestra for professional musicians with a disability, which is on its way to the Perth Festival.
Pianist Kathryn Selby tells us what she looks for in musical friends ahead of Selby & Friends' Root Position tour.
Harriet Cunningham celebrates the “madness” that led to the formation and running of the period ensemble as it launches a program celebrating the past and the future.
The choreographer tells us about reviving her famous solo work Two Feet with prima ballerina Natalia Osipova now starring.
He is regularly reviled as something of a monster, but as Michael Scott Rohan finds out, a closer look at Richard Wagner – and in particular his music – reveals a more genial side to the German composer.
Cello and piano take the listener on a musical journey in Natalie Williams' new piece for British cellist Natalie Clein.
Opera Australia has introduced a new program for people who’d love to go to the opera but have no-one to go with. Heathcliffe Auchinachie agreed to try it out for us.
We talk to the playwright as she prepares to make her mainstage debut in her own play.
The popular soprano tells us about winning the Award, being a “vocal detective”, and her optimism at the future of music.
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.
