To commemorate the last Australian battle of World War One, six of our composers have contributed to The Diggers’ Requiem. What was unexpected, however, was a spiritual endorsement from Joan of Arc.
Ahead of his residency at ANAM, the Scottish conductor explains how Mozart's three final symphonies contain every emotion of the human spirit.
Where once one was branded as one type of musician or another, now young players can benefit from multidisciplinary lessons of the past to shape the music of the future.
Guillaume de Machaut was the finest composer of the 14th century. Antony Pitts, Artistic Director of The Song Company, explores one of his most extraordinary manuscripts.
In his new work for the Australian String Quartet, the composer holds a mirror up to the form made famous by Joseph Haydn.
In preparing to stage an operatic version of Kafka’s Metamorphosis for Opera Australia, the director has been pondering what this story of a man who turns into a bug really means.
Festival Director Allanah Dopson and harpsichordist Erin Helyard give us a taste of the upcoming festival, now in its second year.
The renowned choral conductor discusses taking the Sydney Chamber Choir on a sea voyage through maritime disaster to epic adventure.
The New York-based Australian pianist tells us how after the September 11 attacks, Bach's Goldberg Variations were the only thing that made sense.
Louise Farrenc was the first female Professor of Piano at the Paris Conservatoire, so why haven’t we heard more of her music? Omega Ensemble’s Maria Raspopova pans for rediscovered chamber music gold.
With catcalls and pregnancy jokes, Madama Butterfly nearly fluttered by altogether.
Working with the “real” George Gershwin got me thinking about the relationship between conductors and soloists.
Melbourne to host exhibition uncovering the human behind the activist.
