Ahead of her intimate recital, Gu speaks about performing in a salon, forging connections with the audience, and bringing the music of the East to western audiences.
The Tasmanian-born pianist is celebrated with a generous 10-disc box set.
The Australian soprano spoke to Limelight ahead of her performance with the Sydney Philharmonia Choirs.
The set and costume designer for this year's Handa Opera on Sydney Harbour talks weatherproofing costumes, reanimating opera's workhorse, and giving Puccini's heroines their due.
Is it surprising that so many men got away with so much for so long? Because after all, they still pretty much run the show.
Pianist Hannah Shin auditioned for the International Piano-e-Competition in Alaska, without ever leaving Melbourne.
Raised on a turkey farm, the actor recently performed in Dominic Cooke’s highly-praised Follies at London’s National Theatre. He explains his truly eclectic tastes in music.
Australian states are now starting to embrace the National Music Teacher Mentoring Program, as results from a national survey and study confirm how much is to be gained.
Hugo Weaving stars in Brecht’s anti-fascist play for Sydney Theatre Company, but don’t expect a Hitler moustache.
Written as his marriage and his health collapsed, Mahler’s unfinished Tenth Symphony arises from the depths of despair.
Greg Horsman is putting some Indian authenticity into Brisbane’s new staging.
Playwright Jochen Sandig, whose imaginative staging of Brahms Requiem is coming to Adelaide, explains why this “human” Requiem is more relevant than ever.
In a duo situation, the pianist is invariably considered subservient, an accompanist supporting a soloist. Brieley Cutting begs to differ, suggesting that it could just be the other way around.