Australia’s arts sector faces a watershed moment. It has the opportunity to become the leading space for discourse – but only if there are major changes in cultural leadership.

What is it like to rediscover a centuries-old work by Mozart? We talk to an academic who exhumed a forgotten 12-minute serenade and a musician who recorded it.

Composer Carl Vine discusses his latest work for the Sydney Symphony Orchestra, in which he explores musical ideas one would least expect at a traditional symphonic concert.

Christine Anu is about to appear in her first musical since 2016, playing Hermes in the Australian premiere of Hadestown. She tells Elissa Blake why it feels like the right musical at the right time.

A round-up of our recent news reports.

Travel is nowhere near as relaxing as it’s made out to be, argues Guy Noble. So, he has a novel solution – just send him your photograph.

After The Mousetrap, Robyn Nevin is directing And Then There Were None. She shares why she agreed to stage another Agatha Christie play.

Simon Rogers, Artistic Identity Director of the Tasmanian Symphony Orchestra, talks about upcoming concerts centring non-traditional music.

The award-winning British-Australian organist tells us about the music of French composer Charles-Valentin Alkan, which he is about to record in Luxembourg. 

The Artistic Director of Perth Festival explains how the “wonderful, hot mess of music” in her life has influenced her programming.

Ahead of an Australian tour with the Singapore Symphony Orchestra, Music Director Hans Graf tells us why he puts his distinguished career down to luck.

Essential holiday listening includes a Britten rarity, stunning recordings of Elgar and Tippett, a pair of oddball operas, and three outstanding discs of orchestral music by women.