Ahead of an Adelaide Festival performance of their two song cycles, Nigel Westlake and Lior talk about their collaborative process and what comes first: the words or music.

Gurrelieder was one of Schoenberg’s greatest public triumphs. We discuss the cantata with Simone Young, who's conducting the Sydney premiere.

The second outing of Brisbane Powerhouse’s ΩHM Festival of Other Music marks Queensland as an international player in left-field, contemporary arts.

Deborah Cheetham Fraillon explains how her new work broke her compositional silence after the Voice to Parliament referendum left her mute.

Ahead of his Australian debut, Icelandic pianist Víkingur Ólafsson talks about performing Bach’s Goldberg Variations around the world.

The American mezzo-soprano is making her Australian debut in Mahler 3 with Melbourne Symphony Orchestra. She just wishes she could have brought her dog.

After his Lorenzo Guadagnini was stolen in 2003, cellist Alban Gerhardt bought a beaten-up 1710 Matteo Goffriller – a challenging instrument to play because it’s so large.

Kate Llewellyn’s new poem Faith has been set to music by Anne Cawrse for the Adelaide Chamber Singers, who will perform it at the Adelaide Biennial of Australian Art.

Australia’s disco queen is currently playing Teen Angel in Grease. She explains why her recent gospel album feels like a homecoming.

A Finnish find features as our Recording of the Month, plus Tognetti’s resounding Beethoven, Vänskä’s blockbuster Mahler and a perfect pairing of Whitwell and Withers.

The editors of Limelight share their selection of the most exciting classical music, opera and theatre events coming soon.

Pondering the passion in Puccini’s Madama Butterfly, Guy Noble discovered the composer was something of an Italian stallion.