A round-up of this year’s boundary-challenging US Festival, staged in various venues including a rock club, a museum and a world heritage site.

The October 2018 issue of Limelight Magazine is now on sale featuring Daniel Barenboim, Karina Canellakis, Teatro alla Scala Ballet Company, and much more.

Making her anticipated Victorian Opera debut as Debussy’s enigmatic heroine, high-flying soprano Siobhan Stagg relishes the challenge of unravelling her character’s many contradictions.

Orlando di Lasso’s final work, written days before the composer’s death, captures the look Jesus gave Saint Peter at his betrayal. Director Peter Sellars and conductor Jenny Wong tell us about a bold staging for the Los Angeles Master Chorale.

The British conductor talks to us about Mozart in London, Limelight's Recording of the Month in September.

Long fingers may not have been enough to equip the playwright for the life of a concert pianist, but thanks to the late Ken Tribe and a healthy dose of the ACO, he’s now a classical music true believer.

The Canadian baritone tells us about getting to grips with J Robert Oppenheimer in John Adams' Doctor Atomic, our Recording of the Month in October.

To commemorate the last Australian battle of World War One, six of our composers have contributed to The Diggers’ Requiem. What was unexpected, however, was a spiritual endorsement from Joan of Arc.

Ahead of his residency at ANAM, the Scottish conductor explains how Mozart's three final symphonies contain every emotion of the human spirit.

Where once one was branded as one type of musician or another, now young players can benefit from multidisciplinary lessons of the past to shape the music of the future.

Guillaume de Machaut was the finest composer of the 14th century. Antony Pitts, Artistic Director of The Song Company, explores one of his most extraordinary manuscripts.

In his new work for the Australian String Quartet, the composer holds a mirror up to the form made famous by Joseph Haydn.