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.

The National Gallery of Australia revisits its controversial American collection this month.

"The cello is being treated as a cello, and not as some trumpet-violin gone crazy," the German cellist says ahead of the world premiere with the Sydney Symphony Orchestra.

The Australian saxophonist gives us some reel talk about the new concerto, which draws on traditional Scottish dance forms, ahead of its Australian premiere with the Adelaide Symphony.

Rossini may have made his name and fortune as a master of comedy but a closer look at his life and work reveals a character of no little depth and darkness.

The Australian pianist gave her first public performance at the age of three, with the photos to prove it. Here she talks about giving the world premiere of Elena Kats-Chernin’s Third Piano Concerto.

Sydney Theatre Company offered Kate Mulvany the chance to go “big and bold” with an Australian novel. So she has written a two-part, five and a half hour adaptation of Ruth Park’s Harp in the South trilogy.

Ahead of the release of his period-instrument Winterreise for ABC Classics, the Australian baritone talks about preparing this monumental song cycle with the help of some 19th-century singers.