Aaron Wyatt’s invigorating music transposes Vivaldi’s conceit to Noongar boodjar.

James Ledger’s new Clarinet Concerto dazzlingly premiered; Rachmaninov's Second superlatively delivered.

Opening with Beethoven’s Ninth, the West Australian Symphony Orchestra accentuates the positive.

Performing in a relatively intimate theatre, the combined forces of WASO gave this concert a power not always matched in larger venues.

James Ledger discusses his new Clarinet Concerto, composed especially for Perth-based musician Ashley Smith, one that pushes the instrument to the edge of its capabilities.

Alice Topp’s muscular Macbeth turns Shakespeare’s tragedy into a riveting modern political nightmare.

WASO and Konstantin Shamray bring fire, precision and fresh vitality to Russian masterpieces and Beethoven.

A 20-something Finn made his Australian debut with a national orchestra and closed out the evening as though he owned the place.

Beilman and Bihlmaier take the lead in WASO’s thrilling journey from Mendelssohn to Shostakovich.

US violinist Benjamin Beilman returns to Australia with a Mendelssohn masterpiece and a violin with a stellar past.

Cellist Ivan Karizna – playing an instrument that once belonged to Paul Tortelier – is both songster and storyteller in his WASO debut.

Holly Harrison talks to Katie Yap about her love of nonsense and her new Concerto for Classical Accordion, composed for James Crabb and four of our orchestras.