She made her operatic debut at 28 as Lucia, so it takes a lot to faze this British-born, Australian soprano. Ahead of her Sydney debut, she tells us why doing the role feels like going home.
Antony Pitts, Artistic Director of The Song Company, shares his affair of the heart with 14th-century poet and composer Guillaume de Machaut.
The British pianist is touring Australia, has two CDs on release and has written his first novel. As well as discussing the priesthood, he talks to Limelight about dreams, Debussy, Rachmaninov and rentboys.
We’d love to hear about the performances you’ve loved (or hated), the music you’re listening to or your favourite artists.
In his concerto grosso for the Australian Chamber Orchestra, the American composer throws the traditional hierarchies to the wind.
Ahead of his upcoming ACO tour, the great British cellist discusses the challenges and the ideas behind one of the cornerstones of the repertoire: Shostakovich’s cinematic First Cello Concerto.
Justin Fleming puts Wagner, Hitler and Cosima Wagner on stage in his new play Dresden, which explores human creativity and destruction.
Expressions celebrates Natalie Weir's 10th year as AD with a triple bill called 4Seasons featuring dancers from Hong Kong.
This winter, 200 contemporary masterpieces from MoMA set up shop at the NGV.
Ahead of her turn as Lehár’s plucky heroine, the soprano tells us why the best operetta is like making a meringue.
After directing Theodora for Pinchgut in 2016, Lindy Hume is back to tackle another Handel oratorio, this time Athalia. She writes about why this rather arcane work is another Handelian masterpiece.
Whether echoing the Amazonian forest or tripping along to local songs and dances, Villa-Lobos’s music portrays his homeland’s spirit like no others.
The Broadway legend gives us a refreshingly honest interview as she prepares to tour Australia in Don't Monkey With Broadway.
