Crack Canberra vocal ensemble Luminescence gives body and soul in this rare visit to the Emerald City.

It might be called Julia, but what Joanna Murray-Smith’s play has its sights on all the time is The Speech.

The big finish to Wagner's monumental Ring cycle is musically and dramatically strong, engaging and a feather in Melbourne Opera's cap.

The Aussie debut of the UK's Renaissance music boy band brings a delicious, harmonic slice of English cathedral tradition to our shores.

Dietrich Buxtehude's consideration of the body of Christ upon the cross is brilliantly performed by Pinchgut's gilt-edged ensemble.

The problem child third opera in Wagner’s Ring tetralogy, Siegfried is dominated by male voices but women save the day.

Fences might strike some as old-fashioned. But this production’s power to immerse you in the lives of others is undeniable.

The honour of being the first show in a new venue goes to the gritty Cherry Smoke, a play that feels out of step with the times.

EO extends a warm hand to its audience from within a private home with new music and a virtuosic world premiere.

Melbourne Opera’s Ring cycle hits its stride with an energising second instalment of Wagner’s tetralogy.

Transparent and transporting, this Covid-postponed Sydney Chamber Choir showcase of sacred music was well worth the wait.

John Rotar’s Passio is an extraordinarily compelling work, one that surely will stand the test of time.