His recording of Schubert's Ave Maria was used on the crime drama Hidden Assets. Now the Canberra-born rising star has released his first classical album, Primero. He's also recorded a version of Lady Gaga's Shallow.
Cat Hope talks about the electroacoustic music ensemble's first British tour in a landmark Australian cultural collaboration with the UK, and why electroacoustic music is in a constant state of flux.
The celebrated Canadian violinist goes deep on Beethoven’s unique and irreplaceable violin concerto, and why he looks forward to performing with Simone Young and the Sydney Symphony.
Cameron Lam explores the music of South Australia in this month's Australian Art Music playlist.
The Melbourne-based musician and co-director of Australian Digital Concert Hall has received the prestigious Fellowship to investigate creative and sustainable approaches for a digital arts platform.
Finnish composer and harpist Iro Haarla and Australian double bassist Jonathan Zwartz collaborate on Suite Suomi – a group work that will premiere at SIMA’s Sydney International Women’s Jazz Festival.
Wodunnit fans have a double dose of murder mysteries to indulge in. Robyn Nevin discusses the fun and challenge of directing The Mousetrap, while See How They Run hits our cinema screens.
Joseph Tawadros writes about his new album, on which he plays with William Barton; a unique recording that explores the wonderful array of diverse voices within Australia.
The Canberra-based artist and musician's new sound sculpture draws on his own diagnosis to fight for Australians affected by cancer and immunodeficiency.
Ahead of their 10th Australian tour, the Tallis Scholars founder illuminates the murky world of Renaissance art and politics.
Following masterclasses at an intensive five-day music camp, the students of the Western Sydney Philharmonic presented their first orchestral concert, performing alongside their professional teachers.
Artistic Director, Australian-Swiss flautist Bridget Bolliger, discusses the program for this year's Sydney Chamber Music Festival after two years of uncertainty.
Musicians often find Symonds' music technically difficult to play, but from the first rehearsal, he saw that the ASQ had taken his score "by the scruff of the neck" and that he had no need to worry.
