Fascinated by complex musical ideas, Jack Symonds never wants to make work that resembles anything else – whether he’s programming it or writing it himself.

The original scores tell you how early music should be played, says Jordi Savall.

Known for his visionary, striking productions, Damiano Michieletto returns to Opera Australia with a new take on Offenbach’s The Tales of Hoffmann, which starts with Hoffmann as an old man in a bar, then travels through different episodes in his life.

Spanish maestro Jaime Martín should prove a hit as Melbourne Symphony Orchestra’s new Chief Conductor.

The Kiwi Heldentenor, one of the leading Wagnerians of his generation, talks about his new album of German lieder, his idol Fritz Wunderlich, his new opera role, and “commuting” from New Zealand.

We talk to the playwright as she prepares to make her mainstage debut in her own play.

The soprano, who dropped the double bass for singing lessons as a teenager, talks about Puccini’s heroines, her multifaceted career, and her upcoming star turn as a mermaid.

Soon to take on the Don for Opera Queensland, the bass-baritone discusses his first encounter with the opera, its crucial moments and why he’d compare the title role to tofu.

Ahead of her concert performance of Die Walküre Act I with the MSO, the Dutch soprano discusses the joys of singing one of her signature roles.

The spinto tenor is embracing the chance to take a new look at Verdi's opera, with Davide Livermore directing a digitally staged production.

Soon to make her Australian debut in the role of Gilda, the Russian soprano talks about overcoming her scepticism about what is now a calling card role.

Returning to Sydney in a role for which he’s won much acclaim, the American tenor makes the case for why Edgardo might just be crazier than Donizetti’s Bride of Lammermoor.