A ghost ship worth catching before it sails away later this week.
The Gabrieli's chief on the sublime King Arthur, the edgy string harmonies, even the smutty glees.
About to take on Wagner's cursed sailor for Melbourne Opera, the bass-baritone discusses the joys of a short rehearsal period, training like an athlete, and the humanity of the Dutchman.
Brett Dean's Hamlet on DVD, Stuart Skelton's debut recital album, and Pinchgut Opera are among the finalists.
A stunning production, visually and musically, that tips you into a nightmarish world, though the emotion is sometimes overwhelmed.
Amber Wagner blazes as Puccini’s icy princess.
Australians make a strong case for Saariaho’s well-travelled oratorio, but can’t entirely overcome the work's curiously dissatisfying nature.
After success abroad, the singer has received a $25,000 grant for artistic development.
A cast of uncommon distinction headed by Joyce El-Khoury's powerful Mimì makes this revival feel anything but routine.
Director Imara Savage talks about the challenges of staging the Australian premiere of Kaija Saariaho’s strange, contradictory oratorio about the life of French philosopher and mystic Simone Weil.
We reveal our 2018 Artists of the Year. Other features include The Magic Flute, Meryl Tankard's Two Feet and Australian Brandenburg Orchestra at 30.
Inside this issue: 2018 Artists of the Year, The Magic Flute, Meryl Tankard's Two Feet, Australian Brandenburg Orchestra at 30, Leonardo Da Vinci 500.
The Lebanese-Canadian soprano tells us about her musical friendship with Lorin Maazel, singing Mimì and Musetta, and bringing to life rarely performed works.