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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.

Estonian cellist Theodor Sink is passionate about contemporary music and his home country's unique approach to music-making.  

Love for the marimba, for which she has created transcriptions, her taste for Xenakis' complex installations, her life as soloist and chamber musician: welcome to the percussion world of Adélaïde Ferrière.

Estonian countertenor Martin Karu's unique voice has brought him to London, where he is studying hard to carve out his own sound.

German soprano Pia Davila talks about her love of exploring new repertoire and exciting sound worlds.

German countertenor Joël Vuik is an eclectic musician and multitalented artist with big plans for the future.

Estonian violinist Hans Christian Aavik wants to connect not only with the music but also with fellow musicians, to get inspired and explore the world behind every piece.

In this second part of our interview, Káel discusses opera and film direction and his plans for the Hungarian film industry.

Talented Estonian cellist Marcel Johannes Kits might be modest when talking about his accomplishments, but the world is rapidly taking notice.

We speak to the CEO of Budapest's premier arts centre: a film and opera director whose past includes spells as a painter and structural engineer. 

Estonian composer Marianna Liik successfully balances the two sides of the equation, treating electronic and acoustic instruments as equals. 

The Swedish conductor reflects on his long career, from young rebel to grand master and on his child-like curiosity. 

The Belgian choreographer explains how she moved from her initial scepticism about choreographing via Zoom to exploring the possibilities and creating 14 works. 

Talented and tenacious, soprano Mirjam Mesak has been making her mark in Munich, where she went through opera boot camp. Now she’s ready to take on the rest of the world.  

We spoke to the Choral Director of the Philadelphia Boys Choir about his work with children and how music helps them cope with the challenges of the world today. 

We spoke to Jasper Parrott about Virtual Circle, a new, interactive classical music digital platform run by a team of major music managers that aims to support performers both artistically and financially.

Covent Garden's Director of Opera talks about directing opera, moving from a start-up to a behemoth and how The Royal Opera hopes to exit from the pandemic.

The Chief Conductor Designate of the Musikkollegium Winterthur on reading an orchestra, Rothko and playing the long game.

We spoke to Toms Ostrovskis, Director of the Riga Jurmala Festival Academy, about this exciting and stimulating enterprise as well as his plans for next year.

Pianist Tiffany Poon is one of those rare phenomena that come along once in every generation to upend our preconceptions. With over 270,000 subscribers on her YouTube channel, she is the most watched young pianist of her generation.

The Artistic Director of London's multi-genre hall gives us insights into how she builds a programme, about keeping concerts going during the pandemic and hopes for next year's London Unwrapped.

In the midst of frequent changes to a highly ambitious 2020-21 programme, Hungarian State Opera's general director tells us his aims and how they are providing a continuing service.

Artistic Director Martin T:son Engstroem and CEO Zane Čulkstēna tell us how the festival has overcome the disappointment of cancelling its second edition to come back stronger in 2021.

The new chief conductor of the SSO talks about the amended schedules at the start of his tenure and the practicalities of performing for digital streams. 

The new Chief Conductor of the Oslo Philharmonic reflects on the conductor’s toolbox, programme building and his first season in Oslo.

The American soprano reflects on career steps at The Royal Opera and Deutsche Oper Berlin and considers the vital role of streaming and connecting with audiences in the current climate.

How do young opera professionals progress in their careers when Covid-19 is cramping so many opportunities? British Youth Opera has some answers.

Lugano will be hosting the first major post-Covid concert with a full audience. Artistic Director Etienne Reymond tells us about the concert environment in Switzerland.

One of the most influential figures in chamber music talks about Wigmore Hall's efforts to survive the pandemic and the post-pandemic future.

As the curtain is raised again on live performances in parts of the world, the American soprano reveals what it's like to sing in a "new normal" staging at Madrid's Teatro Real. 

With smaller instrumental and vocal events tentatively creeping back into the sunshine, we speak to the PERFORM study principal to look at what happens next to the science of enabling a broader return to performance.

Eric Whitacre, Tori Longdon and Jennifer Sterling, choral directors of virtual choirs during the pandemic, tell us what they have learned and the limitations of the virtual world.

The artistic director of the Royal Ballet of Flanders talks about the travails and inspirations of lockdown and the need to continually ask questions about culture.

Has lockdown made Hofesh Shechter more reflective? More political? A better teacher? Has he taken the time to compose? Read our interview to find out...

One of our greatest operatic basses tells us about his projects during lockdown, including the revelation of hidden non-musical talents...

The ENT consultant and professional tenor tells us about the research he is conducting for Public Health England, which will inform singers, musicians and their ensembles and venues about the safety of a return to performing on stage.