George Balanchine changed the face of Western ballet. We talk to the Bolshoi’s Artistic Director Makhar Vaziev and two of his rising stars about how the world famous company has belatedly embraced the “lost son” of Russian ballet, as they perform Jewels in Brisbane.

Where did the Requiem come from and why have so many composers been fascinated with death? We explore the evolution of the Mass for the Dead, and looks at the five big ones to die for.

Rose Riebl and David Larkin explore the erasure of the woman behind Wagner's Wesendonck Lieder.

Currently playing Mrs Bucket in Charlie and the Chocolate Factory, the musical theatre star recalls infant adventures in the pit, seeing Starlight Express 12 times, and getting the lead in the school musical at 14.

Two film-fests deliver the goods.

Carolyn Philpott’s work as a musicologist has taken her from writing a book about Malcolm Williamson to visiting Antarctica. She reveals how she is exploring the ways composers have used music to represent landscape, and how music might advocate for fragile regions.

In 1988, embarrassed at constantly being compared to Marlene Dietrich, Ute Lemper wrote to the legendary actor. She talks about the extraordinary three-hour phone call that followed, which, 30 years later, has led to the German-born cabaret star’s latest show.

The Sydney Symphony Orchestra's Chief Conductor tells us about recording the orchestra's new Westlake and Reich disc, Limelight's Recording of the Month in May.

The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family.

Its innovative livestreaming program, which introduces primary school students to opera, returns this month.

Flautist Tim Munro tells us why John Luther Adams' immersive score is something to crow about.

Terracotta Warriors to march on Melbourne.