This month features a Kurt Weill trifecta, idiomatic Dvořák symphonies from the Czech Phil, a major Joshua Bell rediscovery and a radical take on Mozart’s Requiem.

Weill's music is like a wormhole, says Mallwitz, one that transports you back to the explosively creative Berlin of the 1920s.

Thanks in part to cellist Sam Lucas, a Holocaust survivor has seen and heard an instrument stolen from her father for the first time in 85 years.

Cameron Lam explores the dark side of Classical, Jazz and Sound Art in this month’s playlist full of yearning, waiting, and the unknown.

From a song cycle about passing time to a kid's country album, Sydney Conservatorium students talk about their projects for New Creatives.

Decades of funding cuts have created a chasm between the priorities of arts company boards and artists, argues Heather L. Robinson. We'll all pay the price.

Co-curator Amy McNickle illuminates the ideas behind this year's High Score, a conference connecting musicians and the gaming industry.

A new project unearths the Indigenous and settler songs you might have heard were you in Sydney in the early 1800s.

The Sydney Conservatorium's Laura Case delves into the logical and historical reasons for the large number of violins in a symphony orchestra.

As pianist Angela Hewitt prepares for her Australian dates, we grab a few minutes to talk about her program and what she does to stay at "the pinnacle".

Director Laura Hansford and star Emma Pearson talk to Limelight about making a Lucia di Lammermoor for the 21st century while honouring its history.

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