The Latvian conductor talks to Limelight about his latest Shostakovich disc with the Boston Symphony Orchestra, Limelight's Recording of the Year for 2018.

This new, immersive work by the adventurous ensemble has been fashioned from hours of field recordings, and requires custom instruments and an inflatable performance space.

Our writer spends a weekend by the Murray at the Albury Chamber Music Festival.

Long a champion of Johann Adolph Hasse, American mezzo-soprano Vivica Genaux waxes lyrical about a composer whose vocal writing she compares to the act of spreading peanut butter.

Constantly on the run, “Le Beau Visage” got into more amorous scrapes than Casanova.

The Japanese artist brings new sound worlds to the Asia Pacific Triennial at QAGOMA.

In a roundtable chat, mezzo-soprano Vivica Genaux and artists of Pinchgut discuss the weight of history in the Australian premiere of Hasse's opera.

The Australian composer's new double violin concerto for the Melbourne Chamber Orchestra sits back to back with Bach.

The repercussions of the leadership spill will last years, but at least Turnbull isn’t staying, like Gollum wanting his Precious back.

Jonathan Grieves-Smith and the Hamer Singers remember the victims of war and violence.

The pianist and Musica Viva Futuremaker tells us about her fascination with colour ahead of performances at the Huntington Estate Music Festival.

Sony reissues the Finn in full, plus birthday boy Bernstein comes complete on DG.