Buoyed by a residency with the legendary Takács Quartet and now boasting a major record deal, the Orava Quartet is taking the chamber music world by storm.
The mezzo-soprano talks about her daring new project, which takes audiences deep into the inner workings of the human voice.
Mark Haddon was approached umpteen times for permission to adapt his best-selling novel for the stage. We find out why Simon Stephens’ "heart of flint" made him the perfect fit for the job.
We spoke to the Canberra International Music Festival's Artistic Director about his plans for this year's festival.
Inua Ellams’ joyous play set in London and Africa has proved a cut above the rest.
Ahead of her appearance at the Adelaide French Festival, Nin talks about the inspiration behind her show, her alter ego, and festival after parties.
He starred in the first workshop and the original Australian, West End and Broadway productions. Now he's back, with stories about the show's development and his own occasional deafness.
Following Kaufmann's stellar performance in Opera Australia's Parsifal, James McCarthy explains why the German singer is indeed a tenor for the ages.
With his opera Hamlet coming to Adelaide in 2018, the composer-violist-conductor reflects on a year of successes.
The American soprano sings one of Strauss’ most complex roles in Limelight’s Recording of the Month for January/February.
It took Danish ensemble Between Music ten years to become the world's first underwater band. They're now bringing their show Aquasonic to the Sydney Festival.
From Raoul in the West End to the Tin Man in Australia, the versatile leading man chats about Lloyd Webber's Wizard of Oz and his own debut album.
Ahead of its run at Sydney Festival, writer, director and designer David Morton talks the development of his play about Charles Darwin.