Don't let the name fool you – this concert by the Australian Chamber Orchestra is larger than life.

The classical music category was introduced by the National Live Music Awards this year.

Comparisons to the piano seem wrong-headed, says Erin Helyard, the Artistic Director of Pinchgut Opera. A virtuoso on the harpsichord (and fortepiano), he believes it’s the instrument on which Bach sounds best.

The 2020 season also includes Handel's Rinaldo plus concerts of Charpentier, Purcell, Monteverdi and Gabrieli.

The first 20 winners at the 19th Annual Helpmann Awards were announced tonight, with Counting and Cracking taking home four awards.

Cavalli gallops to the finishing line with exquisite music.

A rich realisation of Monteverdi's humane drama.

The company’s starry production of Artaserse has been named best Rediscovered Work.

Erin Helyard produces an extraordinary palette of light and shade in this recital drawn from a manuscript brought to Australia by the artist and diarist Georgiana McCrae.

The best of Sydney in Melbourne’s best room.

Returning to Sydney to take on a more dedicated role as AD of Pinchgut Opera, Helyard talks the company’s first concert of the season, his wish-list operas, and what he’s been up to in the recording studio.

Brett Dean's Hamlet on DVD, Stuart Skelton's debut recital album, and Pinchgut Opera are among the finalists.

A final concert full of vitality, with guest star Erin Helyard.

The American mezzo delivered a Baroque rockstar performance, but the Orchestra of the Antipodes was no mere backing band.

Strong music making, including a compelling performance by Vivica Genaux, is hampered by hands-off direction.

Long a champion of Johann Adolph Hasse, American mezzo-soprano Vivica Genaux waxes lyrical about a composer whose vocal writing she compares to the act of spreading peanut butter.