Collaborations between Indigenous musicians and composers with Western classical orchestras, ensembles and musicians are beginning to grow. Steve Dow talks to some of the artists participating in the cultural exchange about the challenges involved, the protocols that need to be respected, and the exciting new Australian sounds that are emerging.

Fine performances and Sohan Ariel Hayes’ stunning visuals make for a magical Opera in the Park.

WASO provides a fun array of sunny works and endlessly hummable tunes to gently coax its audience back into the concert hall.

Voted Limelight's Australian Artist of the Year 2019 by our critics, the Yorta Yorta soprano and composer looks ahead to an extraordinarily busy 2020 season.

Gugnin rehabilitates Shostakovich’s 24 Preludes.

Verdi's sacred masterpiece brought stunningly to life.

Asher Fisch and WASO orchestrate a fascinating evening of discovery.

The conductor tells us about his Tristan und Isolde, Limelight's Opera Recording of the Year 2019, and what's next on his bucket list for WASO.

Lovers united – Fisch finesses a matter of love and death.

What do you do with a chorus of witches? And a less than heroic hero? These are just some of the challenges Verdi’s Macbeth poses for a director, says Stuart Maunder.

James Ledger's new Viola Concerto, performed by Brett Dean, was a concert highlight alongside Florent Schmitt and Berlioz.

Vespers in the afternoon prove a delightful spring treat.

Recording WASO’s concert performance of Tristan und Isolde with Asher Fisch and Stuart Skelton was a huge challenge, says producer Virginia Read, but also a once-in-a-lifetime experience.

Power and passion as soloist and conductor trade places.

Power and passion from performers at the top of their game.

The 19th century’s most romantic of Romantics was never short of an alter ego to embody his complex musical ideas. Ahead of performances of his ever-popular Piano Concerto, Clive Paget talks to Asher Fisch and asks will the real Robert Schumann please stand up?