I have rarely heard an audience so unanimously thrilled by something innovative in an opera performance. This is a wonderful experience of theatre.

The Bangalow Music Festival, jewel of the classical music calendar of the Northern Rivers of NSW, has just had its 18th incarnation.

Whiteley is a triumph. I hope that, like The Eighth Wonder, it will have several revivals, But it left me with one question.

Rachelle Durkin’s passionate, vibrant interpretation of the title role was compelling.

Pinchgut Opera is a national treasure. This wonderful opera is hardly known in Australia, and to have it so completely brought to life is a gift of enormous proportions.

Opera Queensland deserves great praise for opening their 2019 season with this lovely work. If there is one contemporary opera to make audiences realise that it is still a wonderful artistic form, and that we don’t always need Puccini, this is it.

The Mahler Chamber Orchestra is that rare beast among the world’s orchestras, a democratic institution. The players themselves founded it, and they choose their conductors. It has musicians from over 20 nations, and assembles for specific tours acoss Europe and the world.

Chamber Landscapes is a long weekend of chamber music held yearly as part of the Adelaide Festival at Ukaria, a cultural centre with an auditorium purpose-built for chamber music, quite possibly the best in the country.

I fell in love with Natalie Clein. Warm, unegotistical yet engaging, she spoke to the audience in the same vein as a simple remark attributed to her in the program, “The music is more important than me.”

Counting and Cracking is a profoundly affecting play, in which the lives of many people are actually or nearly destroyed by political decisions made both in Sri Lanka and in Australia.