We chart the latest appointments and departures in the arts sector, among them Anne Dunn who joins Sydney Theatre Company and Carl Crossin who leaves Adelaide Chamber Singers.

This month’s concert highlights from ABC Classic, independent radio and streaming.

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.

Eighty years on, argues Brett Weymark, Tippett's pacifist oratorio feels more relevant than ever.

The star pianist discusses the 52 concerts he streamed from his Berlin home when COVID hit, his 15-hour livestream of Satie's Vexations, and his forthcoming digital concert of Beethoven's Diabelli Variations.

The media executive and composer reveals the myriad threads weaving through his program for Adelaide Festival's Chamber Landscapes at UKARIA.

Ahead of his Australian debut as Oberon at the Adelaide Festival, the Brooklyn-born countertenor talks to Limelight about faith, politics, and how a raffle ticket changed his life.

Sexual freedom and the subconscious in Shakespeare’s A Midsummer Night’s Dream.

Catch up on what's been in the Limelight with the top arts stories to recently make headlines.

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?

Clive Paget recommends a week with the Vienna State Opera, Glyndebourne's Vanessa, and asks who's afraid of Arnold Schoenberg?

Clive Paget recommends an Australian Butterfly, a resurrected Austrian miracle and six of the best from Belgium.

Clive Paget recommends rarities by Stravinsky and Strauss, plus Barrie Kosky’s take on Mussorgsky.

It was all go as this year’s 60th anniversary festival got underway with a series of compelling, contentious, provocative and exciting productions.

Missy Mazzoli has poured hope and light into her operatic version of Lars von Trier’s film headed for Adelaide. Tom Morris explains how he’s staging it, and why, as a man, he needed the composer’s blessing.

A trio of choreographers each using the same Beethoven music proves dazzling.