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Mexican conductor Alondra de la Parra recalls some of the milestones of her career, right from the start, when a young girl dreamed of leading an orchestra.

We spoke to Floris Don, the Orchestra’s manager of artistic affairs, about that viral "Ode to joy" and all the interesting virtual concerts still waiting ahead. 

We spoke to Sir Donald Runnicles about the new Ring cycle, getting inspired by Stefan Herheim’s ideas and performing Wagner in the midst of the pandemic.

We spoke to the latest recipients of this prize, whose aim is to improve the lives of present and future generations.

We speak to the South Korean bass about his never-faltering love for opera that even withstood the hardships of military service.

We spoke to the promising young Russian soprano about her experience joining the Dutch National Opera Studio to expand her career in Europe.

The prolific Polish choral composer tells us about Polish sacred music and about his new festival that will introduce British audiences to this unfamiliar genre.

Ukrainian baritone Maksym Nazarenko told us all about his career as an opera singer, life in Amsterdam – and going missing for a few weeks.

The soprano tells us about her surprising career, in which a passion born when she was in her teens has brought her from a childhood in central France to the threshold of a more-than-promising career.

Polish pianist Adam Rogala isn’t interested in being in the spotlight, preferring to collaborate behind the operatic scenes.

What shall it be –  jazz or opera? We speak to this young mezzo-soprano whose talent and opportunities make decision-making very difficult.

We speak to the Polish musical duo about their experience studying at the Teatr Wielki Akademia Operowa in Warsaw and their current and future projects.

The 26-year-old American tenor speaks to us about moving to Amsterdam and learning how to discover what unique and special qualities you can bring to a role.

We spoke to the Chief Conductor to discover what makes Bamberg and its orchestra so special for him. 

We spoke to the Polish duo, partners in life and on the piano bench, about their win in the chamber music division, their time on the competition's stage and what's important to them when performing together.

We spoke to the Canadian pianist, winner in the piano division, about his time as a contestant, learning a vast array of Polish repertoire and what lies ahead.

We spoke to the Italian conductor about his experience conducting in Tokyo and the unique staging of the Hall Opera® productions.

We spoke to French musicians David Salmon and Manuel Vieillard about their win and what's next in store.

On candidates, contests and Covid: the Éva Marton Singing Competition is back on track after a near 17-month pause.

Wayne McGregor’s ambitious ballet based on The Divine Comedy, with a commissioned score by Thomas Adès, is finally receiving its complete premiere – exactly 700 years after Dante’s death. The choreographer talks to Sarah Kirkup about the intricate process behind this multi-arts collaboration.

This year's festival focuses on the theme of love and offers the opportunity to mix and mingle with musicians and fellow music lovers, something sorely needed after the extended forced separation inflicted by the pandemic.

The coloratura soprano talks about her vocal training in Germany, her mission to support young singers and her love for Zerbinetta.

The Czech Phil's General Manager talks recording and video – both as a pandemic measure and as a crucial part of their plans.

One of the greatest actors of our generation is also a keen musician: who better to take the role of Bach in Nina Raine's new play?

We talk about life as a piano trio, their competition success, the Suntory Hall Chamber Music Academy and their future plans in Japan and Europe.

We spoke to Martin Wåhlberg, director of Orkester Nord, about their upcoming production at Barokkfest Tidlig Musikk festival.

The composer-in-residence at Bergen International Festival has been more productive than ever during the pandemic. She tells us how.

We spoke to the Austrian composer about the new piece he wrote for Kirill Gerstein and Semyon Bychkov.

We take a glimpse into the lives of Barnabás Kelemen and Katalin Kokas, to whom lockdown has brought a newborn son, a newly reformed string quartet and the challenge of a full Bartók cycle for Bartók Spring International Arts Weeks.

Müpa makes its spring festival the chance to bring to Budapest choreographers from three of Hungary's leading companies, from Győr, Pécs and Szeged.

The young Hungarian composer tells us the tricks of his trade in creating scores for movies both old and new.

We talk about Suntory Hall's past, present and future, about Japanese composers and about the difference between teaching in Japan and in the United States.

Aix-en-Provence, La Scala, Paris and now San Carlo in Naples: his CV reads like a hit parade of world opera. We meet a man who has no fear of speaking his mind.

We speak to this thoughtful Japanese musician about the piano, the pandemic and concert programming.

We speak to the eclectic Italian pianist about his influences and his desire to converse with composers.

We speak to the young Korean pianist about the importance of music in his life, and how everything – even chess playing – is connected to it.

The director of the Opéra de Paris looks back on his early assumption of his post and on how his institution has organised itself during the crisis, before outlining plans for the coming seasons.

The young Japanese pianist takes an approach to performance informed by a keen interest in historical recordings, influential teachers and mentors, and a natural curiosity.

Artistic Director in Madrid for eight years and in Barcelona for seventeen, Matabosch talks about singers, directors, audiences and staying open during the pandemic.

The Turkish pianist wants a grounded relationship with music, and isn’t afraid to put the hard miles in to get there.

We speak to Pablo Heras-Casado about his career, the repertoire he performs and what he wants to communicate to the public.

Bergamo’s Donizetti Festival was the opportunity “to give a signal that it’s still possible to stage opera and to do it well.”

The composer and Artistic Director of Greek National Opera lays out his thoughtful and broad-minded plans for a season which celebrates the bicentennial of the Greek Revolution.

She's missing having an audience, but the projects keep coming: Camille Thomas tells us about her career, how she sees interpretation and the works that are special for her.

The Turkish pianist and composer unveils his career and his inspirations and gives us a glimpse of what it means to be a performer and a composer in the 21st century.

Following his move across the Alps from Vienna to Milan, Meyer talks about his past as troubleshooter for the French culture ministry, the present state of play at La Scala and his plans to modernise the institution.

Online singing masterclasses sound less than ideal, but baritone Benjamin Appl and the Riga Jurmala Academy prove that they can be as fruitful as on-site sessions.

The irrepressible man of the theatre and Intendant of one the flagships of German opera gives us an insight into what makes him and his company tick.

The versatile young violinist Anna Neubert wants to perform and stage new and unusual concert settings, and redefine the term “violinist” for herself.

The young German clarinettist Roman Gerber talks about his personal Sturm und Drang to find new treasures for the clarinet repertoire.