British director Jo Davies discusses the things she's keen to address at OA, and explains why she doesn't think it's a problem that this is her first AD role.

Rahel Romahn plays Mozart in Amadeus, opposite Michael Sheen as his musical adversary, Salieri. He plans to pick Sheen’s brains, since the Welsh star portrayed Mozart in London in 1998 and then on Broadway.

"Employ more women," says Opera Australia CEO Fiona Allan, one of six women, including Simone Young and Deborah Cheetham, interviewed in a new documentary by Miriam Gordon-Stewart.

With a surge in hyper-local creativity, it’s time to look to the regions as we reevaluate Australian culture.

This month our features explore investing in music education, reevaluating Australian culture through a regional lens, two stage adaptations of Jekyll and Hyde and whether postmodernism has put paid to beauty.

This month our features explore investing in music education, re-evaluating Australian culture through a regional lens, two stage adaptations of Jekyll and Hyde and whether postmodernism has put paid to beauty.

Pairing Schubert's Winterreise with Fred Williams' paintings proves to be ingenious, but the night still belongs to tenor Allan Clayton and pianist Kate Golla.

English tenor Allan Clayton discusses A Winter’s Journey, a new staging of Schubert’s mournful song cycle Winterreise, and explains why he is drawn to bleak work and outsider roles.

It’s time for ageing audiences to put their demands for old-fashioned opera out to pasture.

Log in to read the PDF version of Limelight's April 2022 magazine.

The Creative Director of the Four Winds Festival tells us about her second and final program.

Our April features explore the new Cobar Sound Chapel, a documentary about luthier Harry Vatiliotis's last violin, musical arrangements in the past and today, and the joy of walking and its link to creativity.