"No one wants to have their music played because of their gender," says Zoe Knighton, but...

The Australian chamber opera examining the life of the sister of bushranger Ned Kelly invites curiosity and is mostly satisfying.

Flinders Quartet is to premiere a piece for string quartet, female voice and narrator, inspired by letters written to asylum seekers, which were returned to sender.

I bet a lot of other people were clapping enthusiastically in their lounge rooms, too, writes Clinton White.

The new online initiative run by Melbourne musicians hopes to help sustain local artists – and their audiences – who have been affected by the COVID-19 crisis.

Programmed as a gift for her mother, the cellist tells us about a cycle regarding pregnancy and birth – with lyrics by a man.

Kathryn Selby, Zoe Knighton, Timo-Veikko Valve and more share their favourite bits of Bach ahead of the 3MBS Bach Marathon.

Cello and piano sing a Southern Hemisphere’s ode to the North.

The Flinders Quartet's Zoe Knighton explains what happens when you mix and match the seating arrangements.

Flinders Quartet’s Zoe Knighton on finding the voices of the future and hypothetical conversations with dead composers. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

If there is one nationality who really wrote with hearts on sleeves, it was the Russians. If there is an instrument that can really explore torment, it’s the cello. Russian Cello, is a wonderfully colourful project for Zoe Knighton and Amir Farid who deliver a selection from known masters (Stravinsky, Rachmaninov, Prokofiev) and less-known contemporaries (Glière, Gretchaninov and Sokolov). The duo start with an exquisite rendition of Rachmaninov’s Vocalise that allows Knighton to warm up her thrilling tenor-sound, sensitively accompanied by Farid. The programming continues with other ‘songs without words’, including an enchanting Album Leaf from Glière followed by Stravinsky’s eccentric, folk-inspired Chanson Russe. The playing goes up a gear with a pair of Glazunov items, beginning with Chant du Ménéstrel. Knighton’s portamento is suitably full of woe and in the substantial Elégie she really gets to show much more range, muscling into her lowest register with grit. Farid is an attentive partner in crime. Both are attuned to each other’s subtle musical choices. Gretchaninov’s Sonata is the first long-form piece on the album. With charming interjections from the piano and a pretty melody for the cello it’s… Continue reading Get unlimited digital access from $4 per month Subscribe Already…