Simon Phillips talks about meeting Tom Stoppard, how The Real Thing is beautiful as well as brilliant, and why Australian actors need to understand that for Stoppard the brain is sexy.
The composer shares the story behind his new work for the Australian String Quartet, a “shrine in music” to the memory of his late sister Kate.
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 beloved soprano reflects on her new role as WAAPA’s Head of Classical Voice and Opera Studies ahead of her From Broadway to La Scala tour.
As the American conductor returns to lead the Melbourne Symphony Orchestra, he reflects on his leadership style, his musical tastes and having fun with Dvořák.
This issue includes features on streaming classical music, the life of Tchaikovsky, English actor Maxine Peake, Kronos Quartet, Tom Stoppard and more.
A new 22-CD box set of Fürtwangler’s radio broadcasts is one for the collection.
Guy Noble explains why overcoming a fear of the musical unknown can lead to finding love in unexpected places.
English actor Maxine Peake is known for portraying tough, complex women. She talks to Justine Nguyen about making her Australian stage debut in a play about a woman undergoing IVF, and the toll it takes on her, before presenting an immersive performance piece about the Velvet Underground’s Nico.
Chinese choreographer Yang Liping returns to Australia with her latest production.
A pernicious bout of fake news landed the famous conductor in hot water and worse.
Ahead of a chamber performance that will put the MSO Chorus in the spotlight, chorusmaster Warren Trevelyan-Jones explains why Brahms’ music is still so relevant today.
The flamenco guitarist and composer gets to the bottom of the style that has made him the musician he is today.