The choir is in superlative form in the ABO's annual concert featuring traditional carols, sacred songs and popular numbers.

In this adventurous concert exploring the experiences of Mary, mother of Christ, the singers give an expert performance, but the production values could be better.

The precision, blend, fullness and intensity of the sound that this choir makes is utterly glorious.

Led by guest director and harpsichordist Chad Kelly, this celebration of the music of CPE Bach was a fine way to round out the Australian Haydn Ensemble’s 10th anniversary season.

SSO signs off a momentous season with a boldly British blast from the past, along with a new work by Australian composer Paul Stanhope.

The orchestra was in fine fettle for this anniversary concert, while legendary pianist Roger Woodward was on top of every bar in Prokofiev's Piano Concerto No 3.

This presentation of a neglected masterpiece in an abridged version by Joseph Nolan proved welcome and accomplished, but it undercut the work’s complexity and didn't always do justice to Handel’s genius.

This always interesting arrangement draws the ear to melodic and harmonic elements that sometimes get lost, and elegantly reinforces the work’s well-crafted moments of grandiloquence.

Sydney’s classical music scene gets a breath of fresh air thanks to a new orchestra, a new composer, and a conductor with an exhilaratingly fresh take on the repertoire.

Directed by Peter Coleman-Wright, this production was a triumph, with superb singing, beautiful music and inventive staging overcoming budgetary limitations.

Conducted by Brett Weymark, Handel's Messiah shines a fresh light after the dark months of the pandemic.

DSO and Vocalective deliver a rendition of music of the spheres par excellence, pairing Holst's perennial favourite with Rutter’s Gloria and Vaughan Williams’ Serenade to Music.