Is it surprising that so many men got away with so much for so long? Because after all, they still pretty much run the show.

Pianist Hannah Shin auditioned for the International Piano-e-Competition in Alaska, without ever leaving Melbourne.

Raised on a turkey farm, the actor recently performed in Dominic Cooke’s highly-praised Follies at London’s National Theatre. He explains his truly eclectic tastes in music.

Australian states are now starting to embrace the National Music Teacher Mentoring Program, as results from a national survey and study confirm how much is to be gained.

Hugo Weaving stars in Brecht’s anti-fascist play for Sydney Theatre Company, but don’t expect a Hitler moustache.

Written as his marriage and his health collapsed, Mahler’s unfinished Tenth Symphony arises from the depths of despair.

Greg Horsman is putting some Indian authenticity into Brisbane’s new staging.

Playwright Jochen Sandig, whose imaginative staging of Brahms Requiem is coming to Adelaide, explains why this “human” Requiem is more relevant than ever.

In a duo situation, the pianist is invariably considered subservient, an accompanist supporting a soloist. Brieley Cutting begs to differ, suggesting that it could just be the other way around.

Fresh from winning 3MBS’s The Talent, the Australian violinist discusses her musical heroes, how she focuses on taking advantage of opportunities in the present, and what it means to be a good musician.

The sitar virtuoso studied with her father, the late, great Ravi Shankar, from age seven. She talks about the humanitarian inspiration for her album, which she plays live in Australia this month.

With a Sydney Theatre Award for her star turn in Calamity Jane at the Hayes, now touring, the popular performer recalls being raised on classical music, before discovering Nirvana, musicals and “newgrass”.