Why do post-concert celebrations so often revolve around alcohol? asks Guy Noble, who is thinking of trading a glass of bubbly for an iced doughnut.

Guy Noble raises an eyebrow at the Sydney Opera House’s “spittle-catchers”. On another note, he is proud to be staging a fundraiser in memory of much-loved soprano Taryn Fiebig.

There have been so many deluges when he conducts outdoors that Guy Noble is beginning to wonder if he has rain-making powers. As for the bugs he encounters, just open his scores.

Venues like intervals as they make money from the bar sales, but should performers be forced into having one if it interrupts the natural flow of the show?

A text message from his daughter got Guy Noble and his friend Teddy Tahu Rhodes thinking about how comforting (and amusing) it would be to have an emotional support animal or person on stage.

Being moderately offensive is the lifeblood of humour, says Guy Noble, as he recalls being booed on stage and the witty on-air jousts between Clive Robertson and Caroline Jones.

There are so many euphemisms for dying, but we will only be truly dead when everyone who knew us has ‘passed on’.

The noise of the city is an assault on the ears, says the aurally sensitive Guy Noble. But a beautiful voice is another matter.

Rather than sanction Russian music, why don’t we focus on Ukrainian music – and learn more about it.

Forced into box-ticking to be allowed to work (safely) at the Sydney Opera House, Guy Noble suddenly had an egotistical thought . . .

Guy Noble says it’s time to start making more of an effort to increase the representation of women composers on our stages.

There are big egos in music, but happily not too many narcissists, says Guy Noble, who is recovering from a difficult experience with a self-­described “visionary”.