Everything old is new again as Schiff’s period instrument Brahms proves a revelation.
The stimulus package will provide much-needed support for performing arts organisations who have lost income as a result of Sydney's current COVID lockdown.
It was a bolstering experience to see the Melbourne Symphony Orchestra so match-fit under the baton of Lawrence Renes, despite recent turbulence due to COVID.
The new study by the Donne – Women in Music foundation, analysing the music played by 100 orchestras from 27 countries during the 2020-21 season, highlights the lack of representation.
TSO Community will deliver digital content and performances to community aged care facilities across Tasmania and beyond.
UKARIA's new season features performances from pianist Stephen Hough, horn player Katy Woolley, the Orava Quartet and The Australian Vocal Ensemble AVÉ among others.
We look at opera's love affair with wine, the Australian Chamber Orchestra's new project River, and Virginia Gay's emergence as a playwright. We also salute Paul Goodchild, doyen of Australian brass.
Headlined by William Barton’s powerful world premiere for didgeridoo and orchestra, the Queensland Symphony Orchestra delivered a first-class program of classics and new work.
Adelaide’s new festival, Illuminate Adelaide, celebrates the crossover of music and technology. This year’s line-up includes an immersive virtual reality work involving William Barton and the Australian String Quartet, and a solo improvised concert by Paul Grabowsky.
This month’s concert highlights from ABC Classic, independent radio and streaming.
The new Director of Artistic Programming at the Australian Chamber Orchestra, and former ABC Classic and ABC Jazz Content Manager, reflects on how his musicologist father informed his curiosity, and admits to playing the cello, badly.
Guy Noble owns up to a bad case of PCSD–Post-COVID Stress Disorder – manifested in unusual bouts of negativity, foreboding and absent-mindedness.
Ahead of a solo with the Australian Romantic & Classical Orchestra, Brian Nixon explains why you will often see the timpanist with an ear close to the drum.