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.

The Australian Ballet dancer tells us about her new ballet created for Verve – with special priced tickets available for 48 hours from today.

Three choreographers create a beautiful harmony rather than one songline.

Wagner pinned his hopes on one young singer, but then it all went tragically wrong.

The South Australian composer and sound designer discusses his installation featuring decaying pianos and the backlash from some.

Despised and rejected, Hector Berlioz vowed he’d write no more, until a game of cards sowed the seed for a miraculous final flowering.

The Polish pianist, whose latest Mozart disc is Limelight's Recording of the Month in June, explains how each concerto tells a story.

German violinist Anne-Sophie Mutter talks about her mentor Karajan, climbing new music mountains, and stalking Daniil Trifonov.