The Australian dancer won a gold medal at the 2018 Genée International Ballet Competition and the Choreographic Award. He tells us what his success means to him.

Brodie James is getting to grips with Albrecht for his first mainstage Giselle.

The British filmmaker's composer portraits for the BBC are Limelight's Recording of the Month in August.

From hallucinations to the awakening brain, Australian composer Carl Vine tells us how images from neuroscience have become interwoven with his music ahead of the premiere of his new symphony.

Three Flinders University scholars have written a new book about the “metric madness” surrounding the way we value Australian culture. We publish an extract.

Ahead of his Australian performance with the Zurich Chamber Orchestra, the violinist talks about learning at the feet of Yehudi Menuhin and pranking Rostropovich.

The Metropolitan Orchestra's Chief tells us about Shostakovich's uncharacteristically cheerful Second Piano Concerto ahead of TMO's all-Russian concert.

The composer and clarinettist tells us about his love of dark operas, transcribing butcherbirds, and how he left home with his bags unpacked.

Fresh from her fifth tour of regional Australia, the popular soprano tells us why she recommends getting out of the city and connecting personally with audiences.

Ferdinand Hiller did history a favour when he brought a pair of scissors along to view a corpse.

As the original production of Evita returns to Australia for a 40th anniversary season, Jansson J. Antmann talks to the show’s legendary director.

Pondering the inscrutability of artists’ statements, Guy Noble gets a whiff of a rather facetious contribution to the genre.