The Director of Chamber Music Adelaide tells us why the concerts in this weekend festival are free and why accessible chamber music is so important to her.

In his latest choral work, Christopher Bowen has drawn on Keating's famous Redfern Speech. He tells us why, and about the feedback he got from Daniel Barenboim.

Ginar is a Torres Strait Islander word for dance, and the name of a new dance company paying homage to the land and sea, from the northern tip of Australia to the border of Papua New Guinea.

As Anthony Warlow prepares to helm the Titanic at Melbourne's Town Hall, he discusses Maury Yeston's score, as well as his love of Gilbert & Sullivan and early 20th-century operetta.

"I would love to do a concert where I just sing female songs", says Ben Mingay, as he discusses Sondheim and finding the vulnerability in a character, ahead of starring in a musical theatre concert in Adelaide.

"Employ more women," says Opera Australia CEO Fiona Allan, one of six women, including Simone Young and Deborah Cheetham, interviewed in a new documentary by Miriam Gordon-Stewart.

Benjamin Millepied, former Principal with New York City Ballet, Director of Dance at the Paris Opera Ballet and choreographer of Black Swan, discusses his latest film and the influence of Jerome Robbins.

The founder of London’s Chineke! Orchestra explains her passion for a Black British musical icon, whose music, she believes, should be much better known.

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We catch up with Amanda Lee Falkenberg to find out how The Moons Symphony came to be, and what listeners can expect from the thrilling artistic odyssey.

We explore the history of Fidelio, and talk to Simone Young and First Nations writer Tyson Yunkaporta about the Sydney Symphony Orchestra’s new concert version.

We look at the work of Christian Spuck, Peter Sellars, Barrie Kosky and Romeo Castellucci to determine whether the oratorio has regained its long-lost theatrical mantle.