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.

Ahead of his appearance as Baron Ochs in Melbourne Opera’s Der Rosenkavalier, the Australian bass discusses why the role is his very favourite.

Over the past two decades, Australian Heldentenor Stuart Skelton has quietly conquered the operatic world. He reveals how he discovered he wasn’t vocally bulletproof, and admits to an ambition to run an opera house.

In our second In-Depth column, Chris Latham, artist-in-residence at the Australian War Memorial, explores the cultural losses of WWI ahead of The Lost Jewels concert at the NGA.

At long last, Joseph Twist's setting of text by British Cardinal John Henry Newman will receive its world premiere.

We caught up with the Norwegian trumpeter in Townsville for the Australian Festival of Chamber Music in Townsville.

The choreographer didn’t have time for the plopping of elderly ladies as a child, opting instead for the Beatles and Australian punk. Nowadays it’s all about what allows her choreography to flourish.

Part marathon, part tasting plate, part John Cage’s Musicircus, Lyle Chan’s 12-hour festival will see Australia’s most innovative music-makers converge on City Recital Hall.

The August 2018 issue of Limelight Magazine features the thrilling ride to international Wagnerian glory of Australian Heldentenor Stuart Skelton.

The Telstra National Aboriginal & Torres Strait Islander Art Awards is the country’s longest-standing, most prestigious exhibition of its kind, and it continues to develop to keep pace with the changing face of Indigenous art.

Critic Paul Selar gives us his insight into four of the operas on offer at Bayreuth this year.