Should Victorian-era melodrama give way to deeper explorations of the author's intent in staging legacy operas?

A child prodigy in the 1920s and a Decca artist in the 1950s and 60s, 97-year-old American pianist Ruth Slenczynska has now been re-signed by the label.

What have our opera and dance companies programmed this year?

Why Barrie Kosky’s strange, dreamlike staging of The Golden Cockerel is unlike any other production of Rimsky-Korsakov’s final opera.

Blockbusters from Kaufmann and the Dude lead a stellar pack, but an exceptional month throws up plenty of other treasure, plus a remarkable Aussie debut.

In this month's opera column, Greg Eldridge explores the dichotomy that has emerged between purists who loved traditionalist productions and lovers of modernist regietheater.

A glimpse of what opera could become post-COVID, as the artform embraces drive-ins, livestreams, virtual reality and digitally augmented live performances.

A glimpse of what opera could become post-COVID, as the artform embraces drive-ins, livestreams, virtual reality and digitally augmented live performances.

In his final film and television column, Lynden Barber finds rich pickings on Netflix, Stan and SBS On Demand.

In his final column, Clive Paget recommends Glass at the Met, OA's Turandot, and a handful of European gems.

In his final column Dr Nick Gordon travels from Art Basel to White Cube and the Royal Academy in London, who are showing artists including Tracey Emin, Picasso and Manet.

In her final column, Deborah Jones looks at two productions, Giselle and Betroffenheit, available on Marquee TV, dubbed the Netflix of the arts.