In Conversation

Italian bass-baritone Renato Dolcini has become one of the most distinctive voices on the international Baroque scene, having performed with some of the world’s best, including William Christie, Sir John Eliot Gardiner, Giovanni Antonini and Cecilia Bartoli. In this conversation, Renato reflects on his long-standing relationship with the Australian Brandenburg Orchestra and Artistic Director Paul Dyer, and discusses Italian Serenatas, a program that takes audiences on a musical journey through the cities, styles and traditions that shaped Italian music. Renato traces his own musical journey back to an early encounter with Mozart’s Don Giovanni, which ultimately led him towards a career in music. Along the way, he discusses the profound influence of Cecilia Bartoli, whose recordings and performances opened his ears to a more theatrical, text-driven approach to singing and ultimately helped guide him towards the world of historically informed performance. We also hear about the life-changing experience of winning William Christie’s prestigious Le Jardin des Voix competition, the unique demands of Baroque singing, and why he sees himself first and foremost as a musician rather than simply a vocalist. Renato offers fascinating insights into ornamentation and the close collaboration between singer and orchestra in Baroque performance, before revealing some unexpected passions away from the stage including a love of French pastry-making. This conversation provides a compelling glimpse into the artistry behind one of today’s most exciting Baroque voices. Renato Dolcini performs with the Australian Brandenburg Orchestra until July 2.

Internationally acclaimed violist Lawrence Power joins In Conversation while in Sydney to guest direct the Australian Chamber Orchestra’s Isles of Light program, a musical journey through the British Isles that traces a line from Renaissance composers such as Tallis through to contemporary voices including Jonny Greenwood and Kate Bush. Lawrence reflects on the distinctive character of British music, the influence of Vaughan Williams’ Fantasia on a Theme by Thomas Tallis, and his passion for presenting classical music in fresh and imaginative ways. He also discusses the premiere of a new work by fellow violist and composer Garth Knox, and why curiosity and collaboration remain at the heart of his musical life.Lawrence shares the remarkable story of how he came to the viola by chance after missing out on a violin at school, and why the instrument’s unique voice continues to fascinate him. He recalls his formative years at London’s Junior Guildhall, the musical discoveries that shaped him, and the experiences that led him away from a potential orchestral career and towards chamber music, solo performance, and the commissioning of new works through his ambitious Viola Commissioning Circle. It aims to create ten new viola concertos before 2030, helping to expand the instrument’s repertoire and bring new voices to audiences around the world. Throughout, Lawrence reveals himself as a musician dedicated to exploration, connection and the boundless possibilities of music.Lawrence Power guest directs the Australian Chamber Orchestra for Isles of Light until June 21.

Actor, director, musical director and theatre entrepreneur Andrew Bevis has enjoyed a remarkable career spanning Australia and London’s West End, performing in major productions including Les Misérables, Hello, Dolly!, Rocky Horror and Jerry Springer: The Opera, while also working extensively behind the scenes as a musical director and creative collaborator. In this conversation, Andrew discusses his return to the stage as Michael Dorsey/Dorothy Michaels in Tootsie at Sydney’s Teatro at the Italian Forum. He reflects on his lifelong fascination with theatre, which began with self-produced school productions and led directly from high school into the orchestra pit of The Phantom of the Opera aged just 18.At the heart of the discussion, however, is Teatro itself. Andrew speaks passionately about building a new professional theatre in Sydney’s Inner West and, even more importantly, creating pathways for the next generation through Teatro’s Theatre Bridge program. Designed to help emerging performers, musicians and backstage artists transition into the profession, the initiative reflects Andrew’s desire to create the kind of opportunities he wished had existed when he was starting out. Along the way, there are reflections on film music, storytelling, John Williams, Steven Spielberg, and more.Andrew Bevis stars in Tootsie at Teatro at the Italian Forum until 21 June.

Widely regarded as one of the world's finest horn players, Stefan Dohr has been Principal Horn of the Berlin Philharmonic since 1993. In this conversation, Stefan reflects on the remarkable journey that took him from a musical childhood in Essen – where he initially played the viola alongside his brothers – to one of the most coveted positions in the orchestral world. He shares memories of discovering the horn through a Christmas concert, landing his first professional orchestral job at just nineteen, and navigating the pressures of auditions, competitions and life in Germany's demanding opera houses. He offers a glimpse into the unique democratic structure of the Berlin Philharmonic, where all the musicians vote on everything from new members to the appointment of their chief conductor.Stefan also discusses the changing standards of orchestral playing, the challenges of maintaining world-class technique on one of the most demanding brass instruments, and his passion for expanding the horn repertoire through collaborations with leading contemporary composers. He recalls working with conductors including Claudio Abbado, Sir Simon Rattle and Günter Wand, reflects on his experiences with contemporary music ensembles such as Ensemble Modern, and explains why the horn remains, in his view, the "soul of the orchestra." This interview was recorded at the 2025 Australian Festival of Chamber Music in Townsville. Stefan returns to the festival in 2026, which takes place in Cairns from 24 July to 1 August.

Australian violinist Madeleine Easton has built an international career as a soloist, concertmaster and director, performing with some of the world’s leading period and modern ensembles, including the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique under Sir John Eliot Gardiner. In this conversation, Madeleine reflects on the extraordinary journey of founding Bach Akademie Australia nearly a decade ago, the challenges of sustaining an ensemble in Australia, and the deep emotional and intellectual connection she feels to the music of J.S. Bach.We hear about the mentors who shaped her career, especially Gardiner’s encouragement to establish her own orchestra, and about the transformative experiences that cemented her passion for historically informed performance. Madeleine also shares vivid memories of growing up in an extraordinary musical household, studying at the Conservatorium High School, and forging a path through Australia’s major orchestras before building a career in the UK, driven by exceptional talent combined with bold tenacity.Bach Akademie Australia performs Collegium Musicum on Friday June 12 at the Mosman Art Gallery, Saturday June 13 at ACO on the Pier, and Sunday June 14 at the Bowral Memorial Hall.

Highly accomplished Australian violinist Dale Barltrop has recently concluded a 10 year tenure as Concertmaster with the Melbourne Symphony Orchestra, having previously held that position with the Vancouver Symphony Orchestra. He’s also appeared as Concertmaster with the Australian World Orchestra, and guest directed the Australian Chamber Orchestra and Camerata. Since 2016, he’s been first violin of the Australian String Quartet. Dale reflects on a remarkable musical journey that has taken him from Queensland state school music programs and youth orchestras to leading major orchestras in Australia and North America, before ultimately finding a new artistic home with the Australian String Quartet. He discusses the formative influence of inspirational teachers and mentors, the experience of moving alone to the United States as a teenager, and the unexpected path that led him to become concertmaster of both the Vancouver Symphony Orchestra and the Melbourne Symphony Orchestra. Along the way, he shares memories of childhood obsessions with Vivaldi and Rossini, the collaborative thrill of orchestral leadership, and the realities of balancing two highly sought after roles before deciding to devote himself fully to the Australian String Quartet.This conversation was recorded at the 2025 Australian Festival of Chamber Music. The 2026 festival is in Cairns and runs from July 24 to August 1.

Award-winning actress and director Blazey Best has spent more than three decades working across theatre, television and film. Her theatre credits include Arcadia and Travesties for the Sydney Theatre Company, The Wild Duck for Belvoir, and The Glass Menagerie for the Ensemble, winning Sydney Theatre Awards for her roles in Ivanov, Medea and Miracle City. She’s appeared in a slew of television favourites, from Water Rats to Heartbreak High and numerous feature films including Ruben Guthrie and Stealth. She’s also turned her hand to directing, including Tell Me on a Sunday for Hayes, and Well Behaved Women for Belvoir.Blazey speaks about her current role in the heartwarming 84 Charing Cross Road currently playing at the Ensemble, and the fascinating challenge of creating intimacy and a developing relationship expressed only through letters. She looks back on her childhood in regional Victoria, roller skating to disco Beethoven and discovering a love of performance through school musicals and youth choirs. She speaks candidly about the realities of life as a “jobbing actor”, from early television guest roles to the emotional rollercoaster of auditions and reviews, and the importance of building a sense of self beyond the profession. Blazey Best stars in 84 Charing Cross Road at the Ensemble Theatre until June 13.

A comedian and actor who has made audiences around the world laugh for 40 years, Suzy Eddie Izzard, known professionally as Eddie Izzard, began her comedy career in famous London venues including the Comedy Store and the Ambassador Theatre, has appeared in plays on the West End and Broadway (including a Tony nomination for her performance in A Day in the Death of Joe Egg), and appeared in many television shows such as The Riches and The Day of the Triffids, and films, including Ocean’s 12 and 13. She’s back in Australia for her latest stand up show – The Remix Tour – and is then presenting her one person version of Hamlet.Suzy reflects on the challenges of sustaining a visceral, emotionally immediate interpretation of Shakespeare alone on stage, and how her background in stand-up and street performance has equipped her for it. She candidly reflects on key milestones of her career, her early rejections, and how her success in stand-up sidetracked her original ambitions to be an actor. We hear about her Tony nomination, her foray into politics and her journey to coming out as trans. All the stories are told with her trademark wit and humour.Suzy Eddie Izzard performs Hamlet at the Playhouse of the Sydney Opera House June 9-21, the Brisbane Powerhouse June 24-27, Arts Centre Melbourne Fairfax Studio from June 30 to July 12, the Perth Heath Ledger Theatre July 27-28 and the Canberra Theatre Centre from July 31 to August 2. She also performs Hamlet in Auckland and Wellington.

An award-winning lyricist and writer for film, TV, and musical theatre, Lynn Ahrens has collaborated with composer Stephen Flaherty on a slew of popular musicals, including Anastasia for both film and stage, Ragtime, Once on this Island, Seussical, A Man of No Importance, and many others. She’s been nominated for two Academy Awards, two Golden Globes and won the Tony for Best Original Score for Ragtime. In this wide-ranging conversation, Lynn reflects on the remarkable journey that took her from a secretary with a guitar to one of musical theatre’s most celebrated lyricists. She speaks candidly about the role of luck alongside persistence, from her breakthrough writing for Schoolhouse Rock! to the formative partnership with Stephen Flaherty that began with a chance call across a New York street. Along the way, she shares insights into craft, from the challenge of writing opening numbers to the necessity of constant rewriting, as well as formative encounters with legends like Stephen Sondheim, Comden and Green, and Sheldon Harnick. The conversation also explores the evolution of Anastasia from animated film to stage musical, shaped by a desire to deepen its emotional and historical resonance, and the ongoing life of works like Ragtime, whose themes continue to echo powerfully in today’s world. Lynn speaks warmly about mentoring the next generation of writers, the realities of collaboration, and the emotional highs and lows of developing new work.Anastasia, music by Stephen Flaherty, lyrics by Lynn Ahrens, is playing at the Sydney Lyric Theatre, currently booking until July 18, before heading to Adelaide and then Brisbane.

One of Australia’s pre-eminent actresses, Pamela Rabe has graced our stages and screens for over four decades. Her list of credits is vast, having appeared in seminal plays, from Private Lives and The Glass Menagerie, to God of Carnage and August: Osage County. She’s also no stranger to the screen, most notably for her portrayal of Joan Fergusson in Wentworth. She’s received countless nominations for Green Room, Helpmann, and AACTA awards, scoring wins for many including her roles in The Well, The Wizard of Oz, and the aforementioned Wentworth. Pamela traces her remarkable journey from a childhood in Canada to a distinguished career in Australia across stage and screen. She reflects on her early love of radio and storytelling, the formative experiences that led her into acting, and the unexpected path that brought her to Australia, where appearing different became an asset rather than a limitation. She gives thoughtful reflections on the nature of performance, as well as her experience stepping into the iconic role of Joan Ferguson in Wentworth. In the 2023 Queen’s Birthday Honours, she was made a Member of the Order of Australia for significant service to the performing arts as a performer and director. Pamela Rabe stars in a gripping new theatrical adaptation of Olga Tokarczuk’s cult novel Drive Your Plow Over the Bones of the Dead for Belvoir Street Theatre until May 10, followed by the leading role of Sister Aloysius in John Patrick Shanley’s Doubt for the Sydney Theatre Company from June 30.

A conductor with an impressive career that now spans 45 years, Sir Donald Runnicles has had enduring relationships in chief artistic leadership positions at many organisations around the world – Deutsche Oper Berlin, the Scottish Symphony Orchestra, the Sydney Symphony Orchestra, the Grand Teton Music Festival amongst many others, with his newest position as Chief Conductor of the Dresden Philharmonic. He’s quite the Wagnerian and is celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire.In this conversation, Donald traces his path from a musical upbringing in Edinburgh immersed in church music and choral singing to an international career defined by long-standing artistic relationships and a deep affinity for German repertoire, particularly Wagner. He reflects on the formative experience of learning his craft in the opera houses of Germany, the importance of communication as a conductor through gesture rather than words, and how his understanding of music continues to evolve over time. He also gives insights into his work and relationship with the Sydney Symphony Orchestra as its Chief Guest Conductor.Sir Donald Runnicles conducts the Sydney Symphony Orchestra for Tchaikovsky’s Fifth Symphony and Shostakovich’s Violin Concerto no 1 from 15-18 April.

A composer who has been capturing our imaginations for over 40 years, Alan Menken is best known for his stage and screen compositions for a slew of Walt Disney films and subsequent stage musicals. He was one of the creative powerhouses behind what has become known as the Disney Renaissance, composing for The Little Mermaid, Beauty and the Beast, and Aladdin amongst many other titles. And that was all in addition to his non-Disney shows, which include the classic Little Shop of Horrors and the stage version Sister Act. He’s received an extraordinary number of awards – 8 Academy Awards, a Tony, 11 Grammies, 7 Golden Globes and a Daytime Emmy. He’s collaborated with some of the most well-known lyricists in musicals – including Howard Ashman, Stephen Schwartz, Tim Rice, Benj Pasek and Justin Paul, and Lin-Manuel Miranda. In this conversation, Alan traces his journey from a musically curious child more interested in improvising than practising, to one of the most decorated composers in entertainment history. He offers candid insights into his collaborations with lyricists such as Howard Ashman, the creative alchemy behind iconic works like The Little Mermaid, Beauty and the Beast, and Aladdin, and the constant process of rewriting, refining, and often discarding songs in pursuit of the finished product. Along the way, he speaks with honesty and humour about resilience, creative instinct, and the importance of not becoming too precious about your own work.A Whole New World of Alan Menken, comes to Melbourne’s Palais Theatre on Wednesday May 6, and the Sydney Event Centre on Friday May 8.

A fiercely original voice in Australian theatre, Sheridan Harbridge is an artist who moves fluidly between acting, writing and directing, and who thrives on the adrenalin of making new work. In this wide-ranging conversation, she speaks about her latest projects, including co-writing the book for the new Australian musical My Brilliant Career, based on the Miles Franklin novel, returning to the stage in Suzie Miller’s Prima Facie, and bringing the electrifying life of Chrissy Amphlett to audiences in Amplified. At the centre is her deep commitment to telling stories that feel urgent, female-driven, and theatrically daring and that connect with audiences.Sheridan also reflects on the path that led her here, from a childhood in country Victoria, through her time at NIDA, to the lessons learned from a career built largely on original material. She speaks openly about the tolls and challenges that sit behind a good performance, and the responsibility of carrying stories that resonate far beyond the stage. Throughout, Sheridan is full of candour and wit, revealing a theatre maker driven to make work that leaves a lasting mark.My Brilliant Career shows at the Rosalyn Packer Theatre until May 3, then heads to the Illawarra Performing Arts Centre until May 17. Amplified: The Exquisite Rock and Rage of Chrissy Amphlett is on at the Seymour Centre on April 15-25. Suzie Miller’s Prima Facie plays at Melbourne’s Comedy Theatre from May 20, coming to Sydney’s Rosalyn Packer Theatre from June 3. 

A conductor who has been making a name for himself in both Australia and Europe, Sam Weller has conducted top tier orchestras including the Rotterdam Philharmonic, the Orchestra of the 18th Century and the Dutch Radio Philharmonic, as well as our own Adelaide, Tasmanian, West Australian and Queensland Symphony Orchestras. In a wide-ranging conversation that moves from bold contemporary programming to the realities of building an international career, Sam works between Sydney and Amsterdam, and continues to develop Ensemble Apex, the group he founded as a student. Their upcoming program Behind Me is the Dark reflects his fascination with contrast, texture, and the meeting point of sound and visual design – an approach that speaks to his broader aim of making concerts feel immediate, immersive, and alive for audiences today. Sam also reflects on his musical beginnings, from playing saxophone at Newtown High School of the Performing Arts to an early, eye-opening experience conducting his school orchestra at the Sydney Opera House as a teenager. He speaks candidly about the steep learning curve of conducting, the influence of mentors and collaborators, and the ever-expanding possibilities of orchestral sound. Thoughtful and honest, Sam offers insight into both the craft of conducting and the mindset required to navigate a fast-moving, global musical life.Sam Weller conducts Ensemble Apex for Behind Me is the Dark at ACO on the Pier on 1-2 April.

Musical theatre performer Jarrod Draper steps into the role of Raoul in Andrew Lloyd Webber’s The Phantom of the Opera for the spectacular Handa Opera on Sydney Harbour. A proud Wiradjuri man and the first Indigenous graduate of WAAPA’s musical theatre program, Jarrod reflects on the journey that led him to this moment – from growing up in Orange in a sports-loving family to discovering musical theatre through a community production of The Boy from Oz. Along the way he shares his musical influences – from Disney to Stephen Sondheim and Tracy Chapman and beyond – that has helped shape his voice and storytelling as a performer. Jarrod also explores the deeper personal experiences behind his career: the bullying that prompted his move to continue his schooling in Sydney, his formative years at WAAPA, the challenges and opportunities he has encountered as an Indigenous performer navigating the musical theatre industry, and his desire to act to improve outcomes for emerging First Nations artists. Through stories of touring life, pivotal productions like Moulin Rouge! The Musical, and the artists who inspired him, Jarrod reflects on resilience, identity, and the importance of staying grounded in family. It’s a thoughtful and inspiring look at a performer whose career continues to gather momentum on the biggest stages of Australia and beyond.Jarrod Draper plays Raoul, Vicomte de Changny, in Andrew Lloyd-Webber’s The Phantom of the Opera, the 2026 Handa Opera on Sydney Harbour thanks to Opera Australia, from March 27 through to May 3.

An Australian soprano admired by international critics for her “glossy, commanding sound” and “magnificent dramatic power”, Lauren Fagan is one of the most impressive and versatile sopranos on today’s stages. She’s performed roles with the Canadian Opera Company, Scottish Opera, the Glyndebourne Festival, Opernhaus Zürich, and Opéra de Paris, and many others, for roles ranging the full spectrum from Gutrune in Götterdämmerung to Violetta in La Traviata, and she’s equally at home on the concert stage too. In this conversation, Lauren also looks back on an unconventional path into opera, growing up in a sporty Sydney family with little classical music in the house before discovering singing through school musicals and competitions. After studying business and working in IT sales, she took a leap of faith and moved to London to pursue singing seriously – a decision that led her to train at the Guildhall School of Music, the prestigious Jette Parker Young Artist Programme at the Royal Opera House Covent Garden, and an international career across Europe and beyond. Now based in Vienna, she reflects on the realities of life as an opera singer, the importance of mentors and language skills, and the balance between artistic ambition, personal life, and the demanding global nature of the profession.Lauren Fagan performs the role of Tatiana in Tchaikovsky’s Eugene Onegin with Opera Australia until 28 March.

A violinist hailed for her “brilliant, polished, expressive and intense, absolutely stunning playing,” who is respected by critics, peers and audiences alike, Dutch born Simone Lamsma has an extensive repertoire, having performed with the world’s top orchestras. She’s played with the New York and London Philharmonics, the Royal Concertgebouw and Vienna Symphony to name just a tiny fraction, and worked with an equally impressive array of conductors, be it Jukka-Pekka Sarasate, Edo de Waart, Jaime Martín or Asher Fisch. She also has eight albums to her name, and counting.Simone speaks about her desire to play the violin from the age of just two, when led her to move internationally at 11 to attend the Yehudi Menuhin School in the UK, then onto the Royal Academy of Music and a stunning solo career. She shares her deep love of music which she has always felt was her spiritual home, the importance of Bach to the world of music, and her long affection for the Britten Violin Concerto which holds a special place in her heart.Simone Lamsma performs Britten’s Violin Concerto with the Sydney Symphony Orchestra under chief conductor Simone Young on 6 and 7 March.

Recognised as one of the most dynamic and internationally acclaimed conductors of his generation, Andrea Battistoni has conducted in many of the world’s leading opera houses, including Covent Garden and Deutsche Oper Berlin. He’s currently music director with Teatro Regio di Torino, chief conductor of the Tokyo Philharmonic Orchestra, and has just commenced another role – as Music Director of Opera Australia.In this wide-ranging conversation, Andrea reflects on this appointment and the artistic vision he hopes to bring to a company he feels a great connection with, as well as a deep affection for the Australian way of working. While Italian opera remains central to his musical DNA, he speaks candidly about his desire to broaden his repertoire in Australia, exploring German, Slavic and contemporary works. He also offers fascinating insights into the role of a music director, from shaping orchestral sound and casting decisions to supporting singers in the unpredictable reality of live performance.Andrea traces his own journey from a childhood in Verona inspired by summer nights at the arena and a fiercely determined mother who insisted on his musical training, to becoming the youngest conductor ever to appear at La Scala. He speaks openly about the challenges of authority, leadership and learning to manage the people as much as the music, as well as the instinct that’s needed on the podium. Alongside his conducting career, composition is playing an increasingly important role in his life, with a new opera and major works premiering in Europe later this year. With lovely honesty and humour, he reflects on family life on the road, his enduring love of Puccini, and even gently compares coffee in Australia to Italy.Andrea Battistoni conducts Turandot and Madame Butterfly for Opera Australia until March 14.

Rupert Noffs is a singer, actor, writer and producer who works across cabaret and musical theatre, as well as live comedy and television. He’s recently twice toured the country as Bob Downe’s wide-eyed nepo-nephew in Choose Bob: 40 Ridiculous Years and is a founding performer in Old Friends Sing Sondheim. Rupert’s life story goes well beyond that, though, as he’s also a successful restaurateur, having co-owned venues in Australia and New York, and he and his family are part of one of this nation’s top charities, the Noffs Foundation, formerly the Wayside Foundation. In this lively and candid conversation, Rupert reflects on his wide-ranging career, sharing his deep musical influences and long-standing creative partnerships, including his collaboration with music director Bev Kennedy and his onstage work with Bob Downe creator Mark Trevorrow. He offers an honest and often humorous account of his upbringing, revealing how performance became both an escape and a source of confidence. He also shares stories from his eclectic professional life beyond the stage, from his work with the Noffs Foundation, to his ventures in fashion and restaurant ownership in New York, bringing unexpected experiences that have shaped his resilience and creativity. Throughout, he reveals himself as an energetic and reflective artist whose life is defined by reinvention, collaboration and an enduring love of entertaining.Rupert Noffs performs Broadway, Baby at Gingers at The Oxford on Sunday 22 February.

An actor, writer, director and artistic director who is now a major force in Sydney’s theatrical scene, Mitchell Butel has come a long way from bursting onto the stage for his Sydney Theare Company debut in Six Degrees of Separation 35 years ago. Now the STC’s artistic director, he is presenting his first full season, coming to the role after a five-year stint as artistic director of the State Theatre Company of South Australia.As an actor, he’s received Helpmann awards for his turns in Avenue Q, The Mikado, Mr Burns and The Venetian Twins. He returns to the stage to star in The Normal Heart, a role he has already performed in Adelaide. Mitchell discusses how this play about the AIDS crisis in New York from the mid-80s still has resonance today, and goes on to reveal some other highlights of the 2026 season which is shaped by themes of difference, dialogue, and social change, balancing drama with humour and emotional storytelling. We hear about his unconventional path into theatre, from growing up in Maroubra and studying arts/law to then embracing a professional acting career. He speaks of the responsibilities of leading a major arts organisation, including nurturing artists, selecting productions, and balancing creative ambition with financial sustainability, including the development of new Australian works such as upcoming productions of new musicals My Brilliant Career and Whispering Jack. Throughout, Mitchell conveys both the challenges and deep rewards of shaping the future of Australian theatre while maintaining his enduring passion for performance. Mitchell Butel stars in The Normal Heart at the Drama Theatre of the Sydney Opera House until March 14.

A pianist whose fresh interpretations have established him as one of the most unique and unusual soloists of his generation, Dejan Lazic has performed with some of the world’s leading orchestras, among them the Chicago Symphony, the London Philharmonic, the Royal Concertgebouw and the Tokyo Symphony. He’s recorded 16 albums, and been lauded by critics, with Die Spiegel magazine praising his “grandiose technique” and The Guardian describing him as “a powerhouse performer whose playing combines strength with beauty”. He has returned to Australia to once again appear with Richard Tognetti and the Australian Chamber Orchestra, an orchestra he first saw perform as a 12 year old in Zagreb and with which he feels a special affinity.Dejan talks about his musical upbringing in Croatia, his early success as both a pianist and clarinettist, and his formative studies in Salzburg within the Hungarian piano tradition. He reflects candidly on the challenges of growing up as a highly visible young musician, on what was needed to shake off the perceptions of being a child prodigy, and on how working as a composer is an important part of being a fully rounded musician. Throughout, he exudes energetic curiosity and a grounded humility.Dejan Lazic performs with the Australian Chamber Orchestra for Rachmaninov’s Rhapsody until February 18.

Principal trumpet of the Sydney Symphony Orchestra, David Elton, speaks about his career at the very top of the orchestral world and his ongoing commitment to new music. He discusses his collaboration with Australian composer Lachlan Skipworth, including the upcoming premiere of a new double concerto for trumpet and clarinet with the Omega Ensemble, and reflects on what it means to help shape a work from its earliest stages. He also shares insights into the art of orchestral playing, balancing virtuosity with blending one’s sound with the other players.David traces his musical journey from early violin lessons and choral singing to discovering the trumpet, studying in Australia and the United States, and holding principal positions with major orchestras in Australia and overseas, including a remarkable period serving simultaneously as principal trumpet of both the Sydney Symphony Orchestra and the London Symphony Orchestra. Along the way, he reflects on auditions, orchestral culture, teaching the next generation of musicians, and the lifelong process of refining sound, technique, and musical identity. It is a thoughtful and generous portrait of a musician who combines technical brilliance with curiosity, humility, and a deep love of music.David Elton performs with the Omega Ensemble which includes the premiere of A Turning Sky, a new concerto for trumpet and clarinet by Lachlan Skipworth, at the City Recital Hall in Sydney on February 12, at the Newcastle City Hall on February 13, and at the Melbourne Recital Centre on February 18.

Vienna-based Australian mezzo-soprano Margaret Plummer is beloved by audiences in Australia and Europe. She spent eight years as a principal artist with the Vienna State Opera, and she’s sung with orchestras from the Vienna Philharmonic to the Tasmanian Symphony Orchestra, and at La Scala and Bayreuth. She’s back in Sydney performing again with Opera Australia, for a role she is very familiar with – Hänsel, in Engelbert Humperdinck’s Hänsel and Gretel.In this conversation, Margaret recounts her journey from Sydney’s Northern Beaches to life as a principal artist at the Vienna State Opera. She speaks of her initial desire to be a jazz singer, the persistence needed to navigate the years through her training, to her time in the Opera Australia Chorus which eventually led to her leap of faith that took her young family to Europe. She offers candid insight into the realities of working in a major European repertoire house, the challenges of language and bureaucracy, which all lead to the artistic and personal freedom she now enjoys as a successful solo freelance mezzo.Margaret Plummer performs Hänsel, in Engelbert Humperdinck’s Hänsel and Gretel, with Opera Australia from January 27 to February 28.

Award-winning actress, singer, and dancer Caroline O’Connor has spent over four decades performing in Australia as well as in the West End and on Broadway. She came to world attention thanks to her role in Baz Luhrmann’s film Moulin Rouge! in 2001, but she’d already been on stage for the 20 years prior to that in a slew of theatre productions. From Helpmann-winning turns as Judy Garland and Edith Piaf, to Chicago, Funny Girl, Anything Goes, Gypsy, and many others, Caroline has musical theatre in her DNA. On top of that, she has impeccable Stephen Sondheim credentials – not only did she perform at his special 80th birthday celebration at the Royal Albert Hall, but after seeing her in Sweeny Todd, the great composer and lyricist declared her to be the best Mrs Lovatt he’d ever seen. This all makes her the ideal choice to be headlining Sondheim’s Putting it Together, playing now at the Foundry Theatre until February 15.In this conversation, Caroline reflects on her extraordinary journey in musical theatre, from her early training as a dancer to becoming one of the most respected performers of her generation. From chorus girl to leading lady, she speaks about the resilience required to navigate auditions, setbacks, and on making pivotal career decisions. She recounts her move to London, and the moments of chance and courage that led to major breakthroughs.

In Conversation kicks off 2026 by welcoming an actor who has graced our stages and screens for over 50 years. Andrew McFarlane has appeared in seminal Australian television dramas, including Division 4, The Sullivans, Patrol Boat, The Flying Doctors, and Underbelly. His theatre credits are just as long, appearing in classics such as The Glass Menagerie, Who’s Afraid of Virgina Wolf, and King Lear. He has also appeared in many David Williamson plays, and he returns to the Ensemble theatre later this month for The Social Ladder, the latest work from Australia’s most famous playwright.In this conversation, Andrew reflects with great humility on his long career, tracing his journey from a comfortable and conservative upbringing through to discovering acting and training at NIDA. He speaks candidly about the formative impact of the Vietnam War era on his political awareness and how it shaped his early adulthood. From managing typecasting by deliberately leaving popular roles, to the irony of not being cast in gay roles despite his sexuality, Andrew remains grateful for the combination of confidence, discipline and a heathy dose of good luck that has brought him long term success as a performer.Andrew McFarlane stars in David Williamson’s The Social Ladder at The Ensemble Theatre from 23 January to 14 March.

For the final program of 2025, Simon Moore was invited into the home of a trailblazer of early music performance – not just in Australia, but also in the wider world. Winsome Evans founded The Renaissance Players in 1959, and quickly became a leader in the field. She appears on 33 albums, and has the aptitude to have taught herself to play that many instruments too. She’s also a composer, having written and arranged music for radio, film and TV, and for half a century at Sydney University she taught and inspired generations of our musicians. This conversation tracks Winsome’s early life from childhood to the formation, development and success of The Renaissance Players, as well as her life-long academic career. We hear about the music she has loved to perform, and the people she loved to perform it with, plus the instruments she has found, restored and played.

Sydney doesn’t put away its party hats after the New Year is rung in, because from January 8, the city comes alive once again for the Sydney Festival. Simon Moore sat down with new Festival Director Kris Nelson to provide some highlights of the upcoming festival and revealing his hopes and ambitions for it as it reaches half a century.Festivals are very much in Kris Nelson’s blood, having just finished a six-and-a-half year stint as Director of the London International Festival of Theatre, and prior to that having a long run as Director of the Dublin Fringe Festival. Kris traces his personal and professional journey, from growing up in Saskatoon, Canada, through grassroots theatre and festivals, to leadership roles in Montreal and beyond. He reflects on the energy of fringe culture, and the joys of presenting unique shows that find the festival environment as their homes.The Sydney Festival runs from 8 to 25 January.

A composer, writer, and presenter, Andrew Ford is a unique and highly valued voice in Australia’s musical landscape. His music has been heard all around the world, from Sydney to New York, and London to Singapore. It’s been conducted by Jeffrey Tate and Benjamin Northey, played by Piers Lane and Lisa Moore, and sung by Yvonne Kenney and Teddy Tahu-Rhodes. He’s educated us with his 11 books, most recently The Shortest History of Music, and entertained and enlightened us with his three-decade long presentation of The Music Show on Radio National.In this conversation, Andrew reflects on discovering composition as a teenager and how an encounter with Michael Tippett shaped his artistic outlook. He discusses balancing technique with intuition, the magic of hearing a work for the first time, and accepting that self-criticism and the realities of needing to finish a work are part of the creative process. Andrew also provides some fascinating cultural observations, especially on the history and future of music, innovation versus tradition, how audiences shape what endures, and how genres once thought ephemeral have matured into a kind of canon. This program was recorded at the 2025 Australian Festival of Chamber Music. The next Australian Festival of Chamber Music will take place in Cairns from July 24 to August 1, 2026.

One of the key figures of Sydney’s theatre scene, UK born Mark Kilmurry has written, directed and performed in countless theatre productions around the world. He’s had a long association with the Ensemble Theatre, first as an actor, then associate director, and since 2016 he’s been their sole artistic director. In this conversation, Mark delves into the early influences of his mother’s comedy writing for the BBC, and his own formative drama-school training in Coventry. We hear about the theatre company Snarling Beasties which he formed in the UK in the 1980s, and the accidental path that ultimately brought him to Australia. He describes the evolution of his career from acting to directing, and the joys and challenges of doing both simultaneously. From his passion to create new Australian theatre to recounting some memorable onstage mishaps, Mark reveals a deep commitment to the magic of live theatre, the nurturing of new talent, and his desire to sustain a vibrant theatre culture. Mark Kilmurry directs Dial M for Murder at the Ensemble theatre, playing until January 11. Subscriptions for the Ensemble’s 2026 season are now available.

Internationally acclaimed and award winning soprano Carolyn Sampson has had an unusually organic rise to the world stage – from her formative years in Bedfordshire’s exceptional youth music programs to early encouragement from influential mentors like Geoffrey Skidmore and Harry Christophers. Equally at home on the concert and opera stages, she has appeared with the Gewundhaus, BBC Philharmonic, and Opéra de Paris amongst many others, and released more than 100 albums.In this conversation, Carolyn reflects on the transition from ensemble singing with renowned groups such as The Sixteen to major opera roles at English National Opera. She also talks about the development of her voice over time, the thrill of stagecraft, and the creative partnership behind her many recordings with pianist Joseph Middleton, including her milestone 100th album But I Like to Sing. She explores her love of music across genres and also speaks passionately about giving back through community music-making. In the 2024 New Year Honours, Carolyn was awarded an OBE for services to music. This conversation was recorded at the 2025 Australian Festival of Chamber Music, in Townsville. The next AFCM will take place in Cairns from July 24 to August 1, 2026.

A chance encounter with Mozart’s Flute and Harp Concerto changed Ana de la Vega’s life forever. It inspired her so much that she is now one of the most sought-after flautists of her generation, praised for her crystal clear and velvety tone. She has appeared in some of the world’s most prestigious venues, including Philharmonie Berlin, the Concertgebouw in Amsterdam, and London’s Wigmore Hall. No stranger to the recording studio, she’s released six albums, including the enchanting My Paris. Having been based in Europe for 15 years, Ana has returned to Australia and is now artistic director of the Snow Concert Hall in Canberra.Ana’s career is a story of dedicated practice and determined persistence, from knocking on doors in Paris to study under teachers connected to her musical idol Jean-Pierre Rampal, to creating an entirely new concert series at the Snow Concert Hall from scratch. She describes her desire to make classical music more accessible and emotionally engaging for new audiences, reflecting on her own transformative experience of discovering it as a child. She speaks with passion about artistry, perseverance, and the expressive power of music to connect deeply with listeners regardless of background or experience.Ana de la Vega performs at the Snow Concert Hall on Saturday 15 November. Tickets for the 2026 season are now available.

Under Richard Tognetti’s leadership, the Australian Chamber Orchestra has come to be regarded as one of the world’s finest ensembles. In this wide-ranging and candid conversation, Richard reflects on 35 years at the helm, as well as his international orchestral appearances as director or soloist. Equally at home on the period, modern and electric violins, he has also created dozens of arrangements and compositions, including for several films, and claimed six ARIA Awards.From a Wollongong childhood, Richard traces a journey defined by fierce independence and a passion for blurring musical boundaries - qualities that have shaped the ACO’s distinctive sound. He speaks compellingly of the importance of music education, sharing moving stories of his personal encounters through the ACO’s outreach, and takes pride in the orchestra’s new home at Pier 2/3 in Walsh Bay - a place to share and experience music.Personal and insightful, this conversation illuminates the energy, intellect and uncompromising spirit of one of Australia’s most influential musicians.Richard Tognetti directs the Australian Chamber Orchestra for Cocteau’s Circle around Australia until November 22. Subscriptions for the ACO’s 2026 season are now available.

A music director, pianist, composer, producer and cabaret performer, Steven Kramer has worked on a diverse array of musicals, from Little Shop of Horrors to Calamity Jane and from Assassins to Rent, winning the Sydney Theatre Award for Best Musical Director for Jekyll & Hyde. He’s played piano with the Sydney Symphony Orchestra and Kate Ceberano, and for productions of The Sound of Music and Frozen. With all that musical theatre experience under his belt, it’s little wonder that he has written his first musical based on the story of Australia’s most famous racing horse – Phar Lap: The Electro-Swing Musical.Steven takes us through the inspiration for the musical and we take a deep dive into what it takes to get a project from idea to the stage. We hear about the key moments of his career, including his collaboration with Courtney Act for the Sydney World Pride concert. He reflects on lessons learned from theatre and cabaret, the importance of creative risk-taking, and why musical theatre should always embrace its sense of fun, heart, and a little absurdity.Phar Lap: The Electro-Swing Musical, with music, book and lyrics by Steven Kramer, plays at The Hayes Theatre until November 22.

One of the world’s most sought-after cellists, Daniel Müller-Schott performs on all the international concert stages, whether it’s with the New York Philharmonic, the London Symphony Orchestra, or the Gewandhaus Orchestra. He’s worked with the world’s greatest conductors, including Neeme Järvi, Andris Nelsons and Simone Young, and recorded over 30 albums for a diverse array of labels. He also enjoys combining the art of music with the visual arts and literature. In this conversation, Daniel recounts the impact of winning the Tchaikovsky Competition in Moscow at age 15, a milestone that launched his professional career. He speaks warmly of his mentors, including Anne-Sophie Mutter, Steven Isserlis, and Mstislav Rostropovich, who taught him the expressive and human dimensions of music. Beyond the concert stage, we hear about Daniel’s interest in blending classical music with other art forms such as painting, dance, and film. Through his festival in Switzerland, he creates performances that invite audiences to experience music in fresh, multidimensional ways. He also reflects on the bond he shares with his centuries-old cello, his evolving creative process, and the importance of finding inspiration in art, travel, and everyday life.Daniel Müller-Schott performs with the Sydney Symphony Orchestra from 22-25 October, before heading to Adelaide, Melbourne, Hobart and parts of New Zealand throughout November.

Award-winning Australian soprano Cathy-Di Zhang has performed extensively with Opera Australia as well as for Victorian Opera and the State Opera of South Australia. She has sung with the Melbourne Symphony Orchestra, the Perth Symphonic Chorus and as a soloist with orchestras and chamber groups throughout Europe and Asia.In this conversation, Cathy-Di reflects on her somewhat unconventional journey to the profession, and opens up about navigating life as an artist. From lockdowns and love stories, to rediscovering her voice back home in Australia, she shares her delight in pushing artistic boundaries through projects like Opera Up Late and The Butterfly Lovers, and her belief that music should always have soul, playfulness, and heart.Cathy-Di Zhang joins the Sydney Philharmonia Choirs for Brahms’s A German Requiem at the Sydney Opera House on Saturday, October 25.

The “Rock stars of Renaissance music” is how The New York Times described the award winning British vocal ensemble The Tallis Scholars. Founder and artistic director Peter Phillips has devoted his life to creating the ideal choral sound, and exploring many neglected gaps in the polyphonic repertoire. He’s also commissioned many contemporary composers including Eric Whitacre, John Tavener and Nico Muhly. On top of all that, he’s written columns for newspapers and magazines, presented radio lectures, and even written a novel.In this conversation, Peter discusses how his fascination with vocal harmony began in his school days, developed at Oxford, and eventually led to the formation of The Tallis Scholars in 1973, an ensemble that would become synonymous with the purity and precision of Renaissance choral music. He shares insights into the challenges of interpreting centuries-old music, from deciphering incomplete manuscripts to navigating lost performance traditions, and how the group strives to make these works vivid for modern audiences. Warm and deeply insightful, Peter reveals the passion, intellect, and humour that have sustained his remarkable career in music.The Tallis Scholars, under founder and artistic director Peter Phillips, perform at the Sydney Opera House on Sunday, 12 October. They will also be performing at the Adelaide Town Hall on Thursday, 9 October, and at the QPAC Concert Hall on Friday, 10 October. Performances in Canberra and Melbourne had already occurred at the time of publication of this program.

As a self-described “post-post modern diva”, Meow Meow is one of the world’s most outstanding cabaret artists. She has played to sold-out venues from London to New York, and Berlin to Sydney. Winner of the Edinburgh Fringe Prize in 2010, and a Helpmann Award in 2012, she’s performed with the great Barrie Humphries, been commissioned by David Bowie, and created roles in London’s West End. Berliner Zeitung called her “The Queen of Chanson” while London’s Evening Standard said she possessed “devilishly funny bones and heavenly vocal cords”.Meow Meow displays her razor-sharp wit throughout this conversation, exploring her artistic evolution and inspirations, revealing the mix of parody and sincerity which are the hallmarks of her shows. We hear about her early musical influences and passions, and the impact past and present artists have had on her work and outlook.Meow Meow’s The Red Shoes, is playing at Sydney’s Belvoir Street Theatre until November 9.

British organist Martin Baker has spent a lifetime at the keyboard, from the moment he first touched the instrument as a child to his twenty years as Master of Music at Westminster Cathedral. Along the way he has become one of the world’s most sought-after organists, known especially for his dazzling improvisations.Martin reflects on the twists of fate that shaped his career, from early lessons on a family keyboard, to the honour and pleasure of leading music at some of the UK’s most important cathedrals. He recalls playing at unforgettable occasions, including the funeral of Diana, Princess of Wales, revealing the quick thinking required when a live event doesn’t go exactly as scheduled.With warmth and humour, Martin talks about the joy of improvisation, whether it’s adding an unexpected burst of ABBA into a Phantom of the Opera screening, or creating music that lifts a congregation in worship, sharing insights into the rich traditions of Catholic and Anglican church music.A candid and illuminating glimpse into the artistry, craft, and humanity of one of today’s great organists.This program was recorded while Martin was visiting Sydney in May 2025 to perform at St James, King Street.

Tony Award-winning director John Rando has staged some of Broadway’s most inventive and entertaining productions – from Urinetown to On the Town, The Wedding Singer to Mr. Saturday Night. He was one of the creative forces behind the stage musical version of Back to the Future in both the West End and on Broadway, which he is now bringing to Australia.In this lively and wide-ranging conversation, John takes us behind the scenes of turning a beloved movie into a dazzling theatrical spectacle – complete with a time-travelling DeLorean – and reveals how musicals can deepen characters we thought we already knew. He shares stories from his early days in Texas and New York, reflects on some career-changing moments, and talks about working with legends like Billy Crystal and Glen Ballard.The interview is a masterclass in creativity, collaboration, and the art (and gamble) of making Broadway magic, and throughout John displays warmth, humour, and his passion for the stage.Back to the Future: The Musical opens at Sydney’s Lyric Theatre on 26 September.

Tara Morice has been a beloved presence on Australian stage and screen for more than three decades. Best known for her breakout role as Fran in Baz Luhrmann’s Strictly Ballroom – a performance that earned her BAFTA and AFI nominations – Tara has built a career across film, television and theatre that is as varied as it is enduring.In this wide-ranging conversation, Tara reflects on the global phenomenon of Strictly Ballroom, the early days of working with Baz Luhrmann, and the challenges of sustaining a long career in the arts. She talks candidly about typecasting, ageing in an industry obsessed with youth, and the balance between artistic integrity and simply paying the bills. She also explores the touching story behind her documentary My Biggest Fan, and why she’s relishing the chance to bring humour, honesty and celebration to her upcoming role in Menopause: The Musical.Menopause: The Musical plays at the State Theatre, Sydney, for two weeks only from September 19.

The repertoire of Australia’s leading recorder virtuoso, Genevieve Lacey, ranges from medieval manuscripts to cutting-edge contemporary commissions. She has a love of both the very old and the very new in music, performing on an instrument that has become a bridge between worlds that are centuries apart.She discusses her remarkable journey, from growing up in Papua New Guinea, to her musically formative years in Ballarat, through to her career-defining encounters with ensembles like the Australian Brandenburg Orchestra and the Australian Chamber Orchestra. Along the way, she shares how the recorder became her voice, despite the prejudices attached to it as a schoolyard toy, and how she has carved out a career performing on an instrument that few master to this level.Genevieve also reflects on her wider curatorial work, her passion for collaboration, and the role of arts and culture in shaping a healthy society. She reveals why the relative simplicity of the recorder continues to captivate her and audiences alike.Genevieve Lacey joins the Australian Chamber Orchestra for A Musical Awakening, under the guest direction of ACO principal cellist Timo-Veikko Valve until 21 September.

Brett Weymark has spent over two decades as Artistic and Music Director of the Sydney Philharmonia Choirs, shaping the sound of one of Australia’s leading choral organisations. Along the way he has conducted every major Australian orchestra, worked with Opera Australia and Pinchgut Opera, and even brought his skills to the big screen conducting film scores including Happy Feet and Mad Max: Fury Road.In this conversation, Brett reflects on his path from childhood singalongs to standing on the podium at the Sydney Opera House. He talks candidly about the mentors who inspired him, the challenges of leading volunteer singers to professional standards, and the joy and meaning he finds in the collective act of making music.Warm, witty, and deeply insightful, Brett is a conductor who has dedicated his life to bringing voices together.Brett Weymark conducts the Sydney Philharmonia Choirs for Michael Tippett’s A Child of our Time, in the Concert Hall of the Sydney Opera House at 2pm on Saturday 13 September.

Few musicians have expanded the horizons of their instrument quite like harpist Alice Giles. From winning the Israel International Harp Contest at just 21, to acclaimed performances across Europe and America, Alice has become one of the world’s most celebrated harpists — praised for her artistry, imagination and technical brilliance. But her journey has not always been conventional: she’s performed with the great orchestras, championed contemporary repertoire, and even carried her harp to Antarctica.In this conversation, Alice reflects on her formative years and the mentors who shaped her, including the legendary June Loney and Alice Chalifoux. She shares the challenges and triumphs of building an international career, the delicate art of balancing music with family life, and what it means to her now to guide the next generation as both teacher and Chair of the World Harp Congress. With warmth, insight and a touch of adventure, Alice offers a portrait of a musician who has never stopped exploring what the harp can be – in sound, in colour, and in life.Alice Giles performs with the Australian World Orchestra under chief conductor Alexander Briger for Mahler’s 4th and 5th Symphonies, at Hamer Hall in Melbourne on Wednesday September 3, and the Concert Hall of the Sydney Opera House on Thursday September 4.

Actor, director, playwright, and singer Brittanie Shipway has worn just about every creative hat there is – and worn them brilliantly. From starring in The Dismissal, Chess, and The Pirates of Penzance to writing her own acclaimed play A Letter for Molly, Brittanie’s career is a tapestry of performance, storytelling, and cultural connection.In this conversation, Brittanie shares the vision behind her reimagined Once on This Island at the Hayes Theatre which blends the show’s Caribbean story with the voices, languages, and traditions of a richly diverse cast. We explore the importance she places on the Gumbaynggirr part of her heritage, the mentors and moments that shaped her, the joys and challenges of creating new Australian works, and why she’s determined to make theatre a place where everyone feels welcome. She is a warm, thoughtful, and passionate artist determined to expand the stage for all.Once on This Island, directed by Brittanie Shipway, plays at the Hayes Theatre until August 31. Brittanie will also be directing The Witches of Eastwick, this year's "neglected musical" at the Hayes, with performances 8-11 October.

One of the foremost clarinettists and leading artists of his generation, Michael Collins has shared his dazzling virtuosity and sensitive musicianship to audiences the world over. He’s served as the principal of the Philharmonia Orchestra and London Sinfonietta, and has been conductor of several orchestras, including serving as principal conductor of the City of London Sinfonia for most of the 2010s. He’s back in Australia, and has just concluded playing at the Australian Festival of Chamber Music in Townsville. Later this month, he performs with the Omega Ensemble for their upcoming tour, Elevator Music, where he joins artistic director David Rowden in giving the world premiere of Graeme Koehne’s Double Clarinet Concerto.In this captivating conversation, Michael traces the arc of his extraordinary musical life – from childhood fascination with the clarinet to international acclaim as both soloist and conductor. He shares stories of mentorship from figures like Thea King and Jacqueline du Pré, gives insights into commissioning new works, and offers his unique perspective on interpreting core repertoire like the Copland and Mozart concertos. With great warmth and humour, he tells of the joys and challenges of conducting from within an ensemble, and how a herd of sheep once upended his life, revealing a musician devoted to beauty, integrity, and reinvention.Michael Collins joins the Omega Ensemble for Elevator Music at the Melbourne Recital Centre on Saturday 16 August, at the City Recital Hall in Sydney on Tuesday 19 August, and at the Newcastle City Hall on Thursday 21 August.

Whether as a singer and musical director of The Swingle Singers, or composing choral works that are sung across the globe, or championing women in music, Joanna Forbes L’Estrange has made an indelible mark on the choral and jazz worlds alike. In this wide-ranging and deeply personal interview, Joanna reflects on her remarkable musical journey – from a childhood shaped by foster care and early singing in a parish choir, to leading The Swingle Singers and becoming a celebrated composer and cross-genre soprano. She shares the inspiration behind her choral reimagining of The Four Seasons, titled A Season to Sing, which is receiving its Australian premiere this year thanks to the Sydney Philharmonia Choirs.Joanna speaks movingly about the influence of her foster father, her late mother, and the joy of collaboration with her husband, Alexander. The conversation explores her creative process, her championing of inclusive choirs, her experience navigating sexism in the music industry, and the unexpected honour of composing for King Charles III’s coronation. With humour, humility and emotional candour, Joanna offers a portrait of a musician whose artistry is rooted in resilience, curiosity, and community.The second half of Joanna Forbes L’Estrange’s A Season to Sing will be performed as part of the Sydney Philharmonia Choirs concert Lost Birds on Saturday 16 August at the White Bay Power Station.

One of Australia’s most talented creatives, Toby Schmitz is a beloved actor on stage (including Broadway) and screen, from the works of Shakespeare and Tom Stoppard to TV dramas such as Black Sails and The Pacific. He’s directed at the Darlinghurst Theatre and The Old Fitz, and is also a playwright, winning the Patrick White Award for his play Lucky in 2002. And as if that weren't enough, he’s penned a successful novel, The Empress Murders.In this rich and wide-ranging interview, Toby reflects on his multi-faceted career as an actor, playwright, director, and now novelist. He discusses his current role in Grief Is the Thing with Feathers at Belvoir, detailing the adaptation process and the creative collaboration involved. He revisits formative moments in his life, from his unusual musical tastes as a child and difficult school years, to his time at NIDA and early stage roles. He shares candid stories about navigating the highs and lows of the acting world – including missed opportunities, critical acclaim, and the freelance grind. He speaks with great passion about Shakespeare, Tom Stoppard, and the thrill of live theatre, while also describing the long and arduous journey of writing and publishing his debut novel The Empress Murders. Throughout, his sharp wit, love of language, and enduring dedication to storytelling shine through.Toby Schmitz stars in Grief is the Thing with Feathers, adapted from the Max Porter novel, at Belvoir Street Theatre until August 24. His novel, The Empress Murders, is available at all good book sellers.

The New York Times Magazine dubbed Danielle de Niese as “opera’s coolest soprano”. Melbourne born, she has gained worldwide acclaim for her beautiful stagecraft, and superb communication. She regularly appears on the world’s most prestigious opera and concert stages, from Hamburg to New York, and from Glyndebourne to the BBC Proms. She has six solo albums to her name, and has won an Emmy for her TV presentation.In this conversation, Danielle speaks about her role debut as Carmen with Opera Australia, exploring her meticulous preparation for the part including her interpretation of the character and insights from reading the original novel. It traces her remarkable journey from winning Young Talent Time as a child, the family move to the United States at a young age to pursue her career, a Met debut at 19, and a breakout success at Glyndebourne with Julius Caesar. She reflects on the important influence and support of her parents, and her dedication to giving back through charity work. The interview also explores her forays into musical theatre, and how she balances diverse artistic passions with a deep commitment to opera.

An Australian soprano who has established herself as one the leading artists of her generation, Nicole Car is a fixture at all of the world’s top opera houses, be it the Met, the Royal Opera House Covent Garden, Opéra National de Paris, or the Sydney Opera House. She’s praised for her beautiful, rich timbre and unique musicality, with Limelight magazine speaking recently of her unfailingly clear and strong voice, with lovely tone and silky legato. In this wide-ranging interview, Nicole reflects on her role debut as Rusalka in Dvořák’s opera of the same name, exploring the character’s emotional depth. She recounts her early musical influences – from her initial interest in becoming a jazz singer to a transformative experience watching Tosca – and her unusual path into classical music. The conversation traces the steep learning curve she threw herself into, her career-defining competition wins, and her thoughtful approach to role choices, including knowing when to say no. She speaks candidly about the challenges and rewards of balancing private life with a demanding international opera career, offering touching insights into life in Paris, and performing alongside her husband Étienne Dupuis.Nicole Car performs Dvořák’s Rusalka with Opera Australia at the Sydney Opera House until August 11. 

One of Australia’s most beloved tenor crossover artists, Mark Vincent burst into our consciousness thanks to a stirring rendition of Nessun Dorma on Australia’s Got Talent in 2009, and never looked back. He has performed in venues around the world, and eight of his albums to date have topped the ARIA Classical Crossover charts. He’s also performed in musical theatre, from Dirty Dancing to My Fair Lady. He’s now performing in Andrew Lloyd Webber’s Cats, currently playing at Sydney’s Theatre Royal.In this deeply personal and wide-ranging interview, Mark reflects on his extraordinary journey from singing as an eight-year-old in his grandparents’ Italian restaurant to becoming Australia’s best-selling classical crossover artist. He discusses his current role as Old Deuteronomy in Cats, his enduring passion for music, and formative influences including Andrea Bocelli, Julie Andrews, and Mario Lanza. He opens up about childhood challenges, early financial hardship, and the pressure of supporting his family from a young age. Mark also speaks candidly about fatherhood, and how personal struggles have shaped both his character and artistry. The interview is rich with emotion, humour, and music – from Nessun Dorma to My Way – offering a heartfelt portrait of an artist whose voice and vulnerability go hand in hand.Mark Vincent performs in Cats at Sydney’s Theatre Royal until September 6, before heading to the other capitals. He is in concert with the Australia Symphony Orchestra at Glen Street Theatre on Sunday, July 5.