In 2018, Estonia celebrated the centenary of its independence by opening the new Arvo Pärt Centre. As the Australian Chamber Orchestra and Estonian Philharmonic Chamber Choir prepare to tour together, we look into the prism of Pärt’s music, with the help of the composer’s son Michael Pärt.
After a brawl at a concert in Sweden, Guy Noble offers a novel solution to the perennial problem of audience noise.
The Queen of British musical theatre talks belting, coaching Bette Middler on FaceTime and how to survive 50 years in the biz.
Simon McBurney’s first Schaubühne production, Beware of Pity, comes to the Sydney Festival.
The broadcaster, writer and teacher traces his musical development from Joni Mitchell to Webern and classical nerd-dom to heavy metal, but is constantly beguiled by the music of young beginners.
On May 2, it is the 500th anniversary of the death of Leonardo da Vinci, with celebrations planned across Europe. Art historian Rosalind Ormiston explores the life and genius of the original ‘universal man’ – artist, inventor, scientist, architect, and possibly a vegetarian.
Fresh from performing as soloist with the Australian World Orchestra on tour last year, the violinist tells us about the pleasures of good food and good company, as well as performing and teaching in India.
British director John Tiffany explains the genesis of a hit show and how Aussie actors are making it theirs.
Violinist Ben Dollman, who directs Adelaide Baroque's performance at the Adelaide French Festival, explores the unique music that flourished in the court of the Sun King, Louis XIV.
The Iranian-American harpsichordist tells us about his new album, The Passinge Mesures, Limelight's Recording of the Month in January/February.
Violinist Simone Slattery talks about her avian collaboration with cellist Anthony Albrecht, which tours Tasmania in January.
Director Imara Savage talks about the challenges of staging the Australian premiere of Kaija Saariaho’s strange, contradictory oratorio about the life of French philosopher and mystic Simone Weil.
Raised on Charlie Pride and the music of the 60s, the Artistic Director of Sydney Festival recalls how a student production of The Marriage of Figaro made him change his mind about classical music.
