As David McAllister prepares to leave The Australian Ballet, he releases a new memoir.
When Claire Edwardes first discovered this weird and wonderful instrument in Holland she thought it might be rather one-dimensional, but in fact, she has discovered it is full of sonic possibilities.
Robert Veel laments the trend for ‘overture acting’.
While live performance is returning, travel restrictions due to the coronavirus pandemic mean virtually no international artists will tour here. Will we seize the chance to create a greater space for Indigenous, female and ethnically diverse voices to speak to us about Australia today?
Why the two wildly different productions are both such hits, and asks how the misogynistic opera is received today.
American mezzo Jamie Barton tells Clive Paget about recording Unexpected Shadows, Limelight’s Recording of the Month for October.
Guy Noble has pondered tunnelling his way beneath borders to raise a baton interstate, as the Prime Minister’s optimistic “snapback” strategy snapped.
In a new batch of reissues, Eugen Jochum and Andor Foldes impress, but Charles Munch is only for completists.
As his company celebrates its 10th anniversary, the choreographer discusses his work and his new production about excessive gaming, which will be performed and live streamed this week.
Daniel Assetta, Ayla Beaufils, Tim Draxl, Albert Mwangi and Sean Sinclair discuss performing in empty theatres during COVID-19 and how it's made them value live audiences more than ever.
Choirs perform an essential role in many of our rituals – in fact the Requiem was a response to medieval plagues. So how do choirs fare during pandemics?
This weekend the world gets its first look at an opera commissioned during the COVID-19 lockdown. Jansson J. Antmann talks to the librettist and director David Pountney.
Ahead of the premiere of his Clarinet Quintet by Omega Ensemble as part of the Sydney Opera House's digital season, Gordon Kerry ponders the dangers of the genre.