Eva Kong's well-chosen program, entertaining story-telling about her operatic life, and vocal skill made for a thoroughly enjoyable recital.

This monumental, unforgettable, deeply moving experience left the audience silent for a full minute before the roaring applause rang out.

Pamela Rabe is an unforgettable Ranevskaya in Eamon Flack's production of Chekhov’s last play for Belvoir.

The Australian World Orchestra again proves its mettle as an orchestra that Sir Simon Rattle said is “not just a national treasure, it’s an international treasure".

Martha Marlow is a performer of deep introspection, who captivates on an intellectual and emotional level, giving pause for a reflection on the power of words.

The Tasmanian String Quartet emerged because of the impact of COVID-19 on music in Tasmania, and is proving to be an impressive chamber ensemble.

WASO treated audiences to a warm, colourful program showcasing the sonic range and artistry of Latin American orchestral works.

The Little Prince is so ingenious in conception and seemingly effortless in execution, it will continue to glow inside audience members who see it.

The concert from The Song Company, which features a new arrangement of Gavin Bryars' minimalist classic, Jesus' Blood Never Failed Me Yet, is fascinating acoustically and visually.

This compelling, thought-provoking program was given a truly engaging concert by the Sydney Symphony Orchestra under conductor Fabian Russell.

Angela Goh extends her 2020 Keir Choreographic Award-winning solo and makes another winner.

First staged in 1995, this landmark Australian play still has plenty to say, though there is room for more emotional depth in this production.