Composer Nick Powell talks to Limelight about his solo piano music for The Lehman Trilogy and "throwing yourself into the deep end".

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In-concert operas are sometimes regarded as the poor relation of their fully staged cousins. But can less be more?

In 2024, some of the country’s leading arts venues will embark on or complete major renovations. What can audiences expect as a result?

Ahead of an Adelaide Festival performance of their two song cycles, Nigel Westlake and Lior talk about their collaborative process and what comes first: the words or music.

Gurrelieder was one of Schoenberg’s greatest public triumphs. We discuss the cantata with Simone Young, who's conducting the Sydney premiere.

The second outing of Brisbane Powerhouse’s ΩHM Festival of Other Music marks Queensland as an international player in left-field, contemporary arts.

Deborah Cheetham Fraillon explains how her new work broke her compositional silence after the Voice to Parliament referendum left her mute.

Ahead of his Australian debut, Icelandic pianist Víkingur Ólafsson talks about performing Bach’s Goldberg Variations around the world.

The American mezzo-soprano is making her Australian debut in Mahler 3 with Melbourne Symphony Orchestra. She just wishes she could have brought her dog.

After his Lorenzo Guadagnini was stolen in 2003, cellist Alban Gerhardt bought a beaten-up 1710 Matteo Goffriller – a challenging instrument to play because it’s so large.

Kate Llewellyn’s new poem Faith has been set to music by Anne Cawrse for the Adelaide Chamber Singers, who will perform it at the Adelaide Biennial of Australian Art.