"It feels like my brain gets massaged," says Shimada, Principal Contrabassoon of the Sydney Symphony Orchestra.

In our 250th issue, Guy Noble explains how he came to write his monthly Soapbox column and how the ideas continue to flow.

In Europe for a series of high-profile appearances, the players of the Australian Youth Orchestra are making the most of the opportunity.

In heavy disguise, opera critic Albert Ehrnrooth experiences the sweaty business of performing in a gigantic Carmen staged in scorching summer heat.

Chloé Charody brings her politically charged performance pieces to Melbourne for the first time. "I want to use my platform to amplify the voices the world wants to forget,” she tells Limelight.

Making her Australian World Orchestra debut in its MAHLERFEST, violinist Sola Hughes is tuning up for a once-in-a-career musical experience.

What would we do if all the rubbish we hurled into the world came back to bite us? A new show at La Boite confronts our uncertain future.

The British pianist explains what makes Ravel's songs special, and how to pull them off.

Cameron Lam’s Australian Art Music playlist is tied together by strings, literal and figurative this month.

Unsound Artistic Director Mat Schulz chats about the festival's record label; an enduring artefact of an ephemeral moment in time.

In his monumental Symphony Kūkai, Chinese composer Zou Ye invites audiences into a contemplative experience.

The reinstatement of Khaled Sabsabi's invitation to represent Australia at the Venice Biennale is more than a symbolic reversal. It is Creative Australia's chance to restore trust, argues Samuel Cairnduff.