About to take on Wagner's cursed sailor for Melbourne Opera, the bass-baritone discusses the joys of a short rehearsal period, training like an athlete, and the humanity of the Dutchman.
Or how the Austrian composer perfected the death stare a century before Julie Bishop.
Percy Grainger's wildly colourful The Warriors is the only long-form work by a composer best known for his miniatures. Conductor David Robertson and musicologist Malcolm Gillies help us get to the bottom of the Australian composer's attempt to 'do a Stravinsky'.
In a letter to Limelight, Elizabeth Quinn reiterates the need to bring classical music to children; something Richard Gill lived and fought for.
Keen to raise the profile and expand the repertoire of the classical guitar, Matt Withers formed the Australian Music Composition Competition, and has recorded the 2018 winning works on a new album.
Pianist Nicole Tj and violinist Thomas Lo, co-founders of anon., tell us about their 18-week music series, Bach X Reimagined, inspired by the National Gallery of Victoria's Escher x nendo exhibition.
The Australian violist, who returns home to perform with the Australian World Orchestra this year, talks about her instrument, inspirations and starting a music series in an underground fortress-turned-dance club.
In Sydney to work with Gondwana and the Sydney Philharmonia Choirs, the renowned British choral conductor talks about the power of choral singing and why for the UK, Brexit is the biggest single disaster of his lifetime.
The legendary cellist’s Strauss with Adrian Boult gets a reissue on vinyl.
Forget your troubles and set sail with Royal Caribbean’s BRAVO Cruise of the Performing Arts. As Jo Litson discovers, it’s a wonderfully relaxing way to indulge in an almost endless supply of music and food, not to mention some tropical island bliss.
Israel’s L-E-V Dance Company is performing a double bill called Love Cycle at the Sydney Opera House. Sharon Eyal explains the shows and her company.
In 2018, Estonia celebrated the centenary of its independence by opening the new Arvo Pärt Centre. As the Australian Chamber Orchestra and Estonian Philharmonic Chamber Choir prepare to tour together, we look into the prism of Pärt’s music, with the help of the composer’s son Michael Pärt.
After a brawl at a concert in Sweden, Guy Noble offers a novel solution to the perennial problem of audience noise.
