80 years after the destruction of Hiroshima and Nagasaki, Allan Marett’s Noh play inspired by the "father of the atomic bomb" is being performed in Japan.

In an era in which Australian music festivals struggle with sustainability and curating distinctive offerings, Montreux shows us what is possible.

We're celebrating our 250th issue this month. Rather than look back, we've asked leaders in the field to imagine what music might be like when we publish Limelight #500.

Ahead of a major showcase of the work of the University of Melbourne’s Faculty of Fine Arts and Music in disability arts, we hear about a unique program that allows everyone to play music.

Your essential coast-to-coast guide to the Australian music being played on our concert stages this month.

A first-time collaboration between major regional companies might just switch Australian opera onto a new track.

In the second part of our look at the changing face of China’s arts scene, Tim Draxl, Lise Lindstrom, Dane Lam and Ivan Gil-Ortega share their experiences.

Founded in 1935, GSOV sticks to its founding statement: "To perpetuate the memory of those two men ... and, generally speaking, have a good time.”

In part one of this two-part feature, we hear from Torben Brookman, Sarah Brightman and Dane Lam about the opportunities and challenges they see in the huge and fast-evolving Chinese market for music and theatre.

The University of Melbourne's Wind Symphony tour is more than just a talent flex, it's a chance to be part of a major world premiere.

Log in to read the flipbook version of Limelight's August 2025 magazine.

It’s our 250th issue and we couldn’t be prouder. We look back at our history and ask our publisher, Bruce Watson, as well as several long-time subscribers what Limelight means to them.