This year's line-up, a cross section of some of the finest chamber ensembles in the country, would have graced any of Australia’s more well established festivals, and it is a massive endorsement of Festival Director Catherine Harker’s entrepreneurial skill that she was able to secure these...

Our ears had been purified, refined into the most subtle distinctions of resonance by baroque harp and voice, so that the sound of a modern wind quintet burst on our ears like a thunderstorm after gentle sunshine.

This venue, purpose built for chamber music, has been described as the best chamber music concert hall in Australia.

In just half an hour, I was alone, face to face with a screen on which was someone older than me whom I’d never met and would be most unlikely ever to meet again.

This was a truly transformative experience.

It is rare indeed to attend a work whose dramatic place is less than a kilometre from its place of staging.

The Australian Haydn Ensemble are an early music orchestra at the top of their game. 

I doubt that this opera will ever make it into the standard repertoire. Yet congratulations to the Festival organisers for putting it on especially in the current circumstances.

The Adelaide Festival is a cultural flagship of Australia. Modelled on the Edinburgh Festival, it has throughout its history staged works unfamiliar to Australian audiences.

Wudjang: Not the Past is, among other things, a powerful wake-up call to non-indigenous Australians like me. After almost 250 years we shouldn’t need it, but we do.