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Soprano Louise Alder reflects on her experiences singing both Susanna and the Countess in The Marriage of Figaro and exploring other Mozart roles. 

Ahead of the Grafenegg Festival’s 20th edition this year, artistic director Rudolf Buchbinder talks about Grafenegg’s new hall that carries his name, and why he is more nervous in performance than ever.

Ahead of a new orchestral suite from Festen presented at the BBC Proms this month, Mark-Anthony Turnage talks about returning to this opera of secrets and revelations, and discovering things about his own family too.

The Canadian virtuoso pianist and composer talks about returning to an old friend: Brahms, whose Second Piano Concerto and Horn Trio he performs in several concerts with the Singapore Symphony Orchestra.

This year celebrated Scottish tenor Nicky Spence returns to the BBC Proms to perform in Oberon – and at the Last Night. But how does he feel about all the flag-waving?

Christopher Carr talks about the challenges of resetting Ashton’s Birthday Offering for a new generation, and how grateful he is to have notation to refer to the original choreography.

Liam Francis talks openly about creating a new dance company, finding his choreographic voice, successes and insecurities, and a circuitous route to securing a life in dance.

Longtime music journalist and founder of ArtsJournal talks about the multiple crises facing orchestras and arts organisations in the United States, amid the damage wrought by the second Trump administration.

The leading US soprano talks about her experiences singing one of opera’s most devastating roles, which she takes to Brno this autumn.

Christoph Poppen, new jury co-chair of the Hong Kong International Conducting Competition, argues that the competition valuable because it allows young conductors to meet one another, in what is an otherwise lonely profession.

With a penchant for Baroque music in historical livery, Collegium Musicum Riga are part of a small but distinctive Early music scene in Latvia, initiating collaborations with others across the Baltic states.

Ahead of the 2026 ARD International Music Competition, Quatuor Ébène’s Pierre Colombet and Gabriel Le Magadure talk about the competition’s transformative effect on their career, performing Beethoven around the world, and advocating for chamber music.

Giulio Prandi, conductor of Coro e Orchestra Ghislieri, and violinist and concertmaster Gabriele Pro talk about crossing borders, adopting shared sensibilities, and the challenges facing historically informed musicians in Italy today.

Erkki-Sven Tüür talks about making sanctuary on Hiiumaa, a wild island to Estonia’s west, and his interest in writing concertos, seen “through the eyes of someone who observes the world very closely”.

The Toronto-born composer talks about new work Romanza for piano and orchestra, theatricality in music, taking influences from psychology, and the effect on his music of working for the United Nations.

Birmingham Royal Ballet’s Jonathan Payn talks about The Green Table by Kurt Jooss, first performed in Paris in 1932 – and how choreography can respond to political collapse and the threat of war. 

A group of younger Croatian musicians, including new ensemble Gli Schiavoni, are determined to recover the historical music of Croatia, despite a devastating series of earthquakes and armed conflicts.

Brett Dean, Heather Betts and Lotte Betts-Dean sit down to discuss their work on Of One Blood, a new opera dramatising the lives of Elizabeth I and Mary, Queen of Scots – affairs of the family all round.

Ahead of a return to Prague to perform with the Czech Philharmonic, Anastasia Kobekina talks about Bryce Dessner’s new cello concerto, Trembling Earth, her love for Dvořák, and exploring new instruments.

Amanda Britton, Artistic Director of Rambert School, talks about an exchange and collaboration between the Rambert School and Juilliard to create a new work by Wayne McGregor, a unique project.

Founder of celebrated young vocal ensemble Cantoría talks about being a musical organiser, singing musical ensaladas, and how Barcelona might be the capital of Early music on the Iberian peninsula. 

Five years ago, the Japanese violinist made the spontaneous decision to enter the prestigious Henryk Wieniawski Violin Competition. She talks about how her win in 2022 was a musically life-changing experience.

Ahead of an appearance at London’s Cadogan Hall, the Swedish mezzo-soprano talks about her love for French and German song, and combining intimate performances with opera singing on a much larger scale.

The Spanish violinist makes her Sinagpore debut in May performing Szymanowski. She talks about taking repertoire to new places, and being an advocate for unusual Spanish music. 

The Austrian conductor reflects on his seven year tenure with the Singapore Symphony Orchestra, work and life, returning to old scores, and why a musical ensemble is like a giant human body.

The Hong Kong-born conductor talks about her entry into music, her love of big Russian repertoire, her “Cinderella moment” winning the Donatella Flick Conducting Competition and her ambition to “go against the grind”. 

The Royal College of Music offers an enviable nurturing ground for the next generation of operatic talent. Audrey Hyland, head of the Vocal and Opera faculty, talks about what makes the department special. 

As the Franz Schubert Filharmonia celebrates its 20th anniversary, conductor Tomàs Grau tells the story of the ensemble, reflects on the importance of local music institutions, and gives a glimpse of the road ahead.

Renowned harpsichordist Jean Rondeau presents a new view of Bach’s Goldberg Variations at this year’s Bachfest Schaffhausen, including in arrangement for Baroque ensemble, and as a new composition for piano, percussion and electronics inspired by the cycle.

Among the most performed living composers by orchestras worldwide, Montgomery talks about her personal approach to musical storytelling, and writing a new cello concerto for Abel Selaocoe.

The young Polish harpsichordist with the Cohaere Ensemble talks about the Early music scene in Poland, her investigations into music of 18th-century Danzig, one of Europe’s most cosmopolitan cities.

Renowned Japanese conductor returns to the Singapore Symphony Orchestra to perform unusual music from Johann Wenzel Kalliwoda – an influence on Robert Schumann, who described him as “unique in the world of symphonies”.

Medieval music specialists Irini Bilini Moraiti and Dimitris Kountouras talk about their distinctive approaches to Early music in Greece, and the survival of old music through oral traditions.

The Royal Opera’s Principal Guest Conductor explains her passion for opera, her journey into the pit and how good conductors share the attributes of football managers. 

The Japanese mezzo soprano is returning to the New National Theatre, Tokyo for her role debut in Massenet’s Werther. We talk about her love for Rossini, and expansions into later Romantic opera.

The Serbian-French violinist talks about what makes the George Enescu International Competition special, his experiences winning in 2001, and performing Enescu, Beethoven and Prokofiev.

Principal clarinettist with the CBSO, Oli Janes talks about the elegies, raucous dances and virtuoso fireworks of Bartók’s Concerto for Orchestra, which the orchestra performs in April.

Chanda VanderHart talks to the American tenor about his Tristan debut at the Met, his love for Vienna and Otto Schenk, and the incredible scope of his repertoire.

Principal contrabassist of the Royal Stockholm Philharmonic Orchestra talks about why Mahler’s restless and volatile First Symphony is a highlight of any orchestra season.

We sit down with Ballet Black’s artistic director Cassa Pancho and dancers Isabela Coracy and Ebony Thomas, to discover the challenges and achievements of the company’s first 25 years.

We talk to Baroque violinist and folk fiddler Ida Meidell about being at the intersection of folk music and Early music, and the richness of the wider scene across Scandinavia.

We speak to young soprano Jasmin Binde about singing The Fairy Queen, the dauntingly crowded world of Early music in Germany, its challenges and opportunities.

As the idiosyncratic, laconic Hungarian composer approaches his 100th birthday, we talk to Pierre-Laurent Aimard about his decades-long relationship with György Kurtág, on his unique playfulness and gift-giving. 

With a contract at Berlin’s Komische Oper extended to 2030, conductor James Gaffigan is soon to take up the music directorship at Houston Grand Opera from 2027. We talk about how he does it all...

The trailblaizing playwright makes a return to the operatic stage to direct a new production of Strauss’ Salome with Regents Opera – held in an old boxing venue, an apt location given the opera’s bloody subject...

Vanessa Latarche, professor of Piano at the Royal College of Music and chair of Hastings’ jury, talks about what makes the competition special, working with Sir Stephen Hough, and being a stickler for fairness.

With significant works by Louise Farrenc, Augusta Holmès and Clémence de Grandval – including two grand operas – Palazzetto Bru Zane is pioneering rediscovery of French music of the 19th century. 

At the intersection of mathematics and music, the Festum Pi festival brings together theorists and performers to explore one of humanity’s oldest intellectual duets. We spoke with participant Professor Bertrand Maury, acclaimed mathematician and a concert pianist, about this enduring connection.

Young trombonist Meggie Murphy talks about the challenges of becoming a professional musician, the importance of mentorship, and the important role played by LSO Conservatoire Scholarship scheme.

Elisabeth Schwarz sits down with the British conductor to talk about his history of mental illness, his coming out and his journey back to the joy of music.