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.

Backstage Music spotlights the works of artists with disability in a program rich with unique practices and fascinating considerations.

After a decade, Queensland Ballet’s joyful, annual production still has plenty left to give to audiences of all ages.

This thoughtful recital was an ideal showcase for a very fine trio and a new, rather unique, highly atmospheric concert space for Adelaide.

Joel Bray opens his arms to the community and invites the audience to take part in an enlivening experience that celebrates our earth, our First Peoples and everyone else in the freest way imaginable.

An imperfect but still powerful production of an Ibsen rarity.

Conductor Laureate Sir Andrew Davis proved a saviour at times as the MSO played with its talented Young Artist in Association, 14-year-old Christian Li, while Brahms' Symphony No 4 received an impressive performance.

Asher Fisch and his forces awake this behemoth with sensitivity and abandonment, portraying the epic life-and-death struggle as conflict, but also as progress and reconciliation.