This month features a striking operatic debut, the latest pianistic fireworks from Aussie-born barrister Paul Wee, plus outstanding new releases from Krystian Zimerman and Hilary Hahn.
Robert Veel argues that applause for individual musicians now overshadows the performance itself.
The Opera Australia CEO explains how she moved from playing the clarinet to arts management, and how she was once a whiz on the WX7, a Yamaha MIDI controller.
Why do post-concert celebrations so often revolve around alcohol? asks Guy Noble, who is thinking of trading a glass of bubbly for an iced doughnut.
The editors of Limelight share their selection of the most exciting classical music, opera and theatre events coming soon.
Katie Yap, the 2022 Freedman Classical Fellow, tells us about the project she is undertaking as a result of her win.
A round-up of our recent news reports.
The Artistic Director of The Little Red Company unwraps Christmas Actually, created with her company co-founder Adam Brunes.
This month’s performance highlights from ABC Classic, independent radio and streaming.
The latest arts appointments and departures.
The great Australian pianist on returning to his Chatswood roots and a lifetime of experience.
Hugh Robertson, the Orchestra’s Editorial Manager and former Limelight Deputy Editor, reveals what he is most looking forward to next year.
Julian Day reports on the longest, and probably the loudest, noise set they have ever heard by experimental musician Marco Fusinato, who is representing Australia at the Venice Biennale.
