He is regularly reviled as something of a monster, but as Michael Scott Rohan finds out, a closer look at Richard Wagner – and in particular his music – reveals a more genial side to the German composer.

Opera Australia has introduced a new program for people who’d love to go to the opera but have no-one to go with. Heathcliffe Auchinachie agreed to try it out for us.

A musical Russian arc from a modern English maestro.

The British tenor, who spent much of his career in Australia, has died aged 93.

Louise Bezzina will mark her final festival as Artistic Director with a monumental performance of Verdi’s Requiem, a drive-in dance work, a ship that doubles as a musical instrument – and 180 fitness balls on the beach.

The popular soprano tells us about winning the Award, being a “vocal detective”, and her optimism at the future of music.

Barrie Kosky’s animated production of Mozart’s Singspiel has been stunning audiences globally. Suzanne Andrade and Paul Barritt from innovative British theatre company 1927 tell us how a “hyperactive little Australian” convinced them to stage their first opera.

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.