Few musicians have expanded the horizons of their instrument quite like harpist Alice Giles. From winning the Israel International Harp Contest at just 21, to acclaimed performances across Europe and America, Alice has become one of the world’s most celebrated harpists — praised for her artistry, imagination and technical brilliance. But her journey has not always been conventional: she’s performed with the great orchestras, championed contemporary repertoire, and even carried her harp to Antarctica.
In this conversation, Alice reflects on her formative years and the mentors who shaped her, including the legendary June Loney and Alice Chalifoux. She shares the challenges and triumphs of building an international career, the delicate art of balancing music with family life, and what it means to her now to guide the next generation as both teacher and Chair of the World Harp Congress. With warmth, insight and a touch of adventure, Alice offers a portrait of a musician who has never stopped exploring what the harp can be – in sound, in colour, and in life.
Alice Giles performs with the Australian World Orchestra under chief conductor Alexander Briger for Mahler’s 4th and 5th Symphonies, at Hamer Hall in Melbourne on Wednesday September 3, and the Concert Hall of the Sydney Opera House on Thursday September 4.
Actor, director, playwright, and singer Brittanie Shipway has worn just about every creative hat there is – and worn them brilliantly. From starring in The Dismissal, Chess, and The Pirates of Penzance to writing her own acclaimed play A Letter for Molly, Brittanie’s career is a tapestry of performance, storytelling, and cultural connection.
In this conversation, Brittany shares the vision behind her reimagined Once on This Island at the Hayes Theatre which blends the show’s Caribbean story with the voices, languages, and traditions of a richly diverse cast. We explore the importance she places on the Gumbaynggirr part of her heritage, the mentors and moments that shaped her, the joys and challenges of creating new Australian works, and why she’s determined to make theatre a place where everyone feels welcome. She is a warm, thoughtful, and passionate artist determined to expand the stage for all.
Once on This Island, directed by Brittanie Shipway, plays at the Hayes Theatre until August 31. Brittanie will also be directing The Witches of Eastwick, this year's "neglected musical" at the Hayes, with performances 8-11 October.
One of the foremost clarinettists and leading artists of his generation, Michael Collins has shared his dazzling virtuosity and sensitive musicianship to audiences the world over. He’s served as the principal of the Philharmonia Orchestra and London Sinfonietta, and has been conductor of several orchestras, including serving as principal conductor of the City of London Sinfonia for most of the 2010s. He’s back in Australia, and has just concluded playing at the Australian Festival of Chamber Music in Townsville. Later this month, he performs with the Omega Ensemble for their upcoming tour, Elevator Music, where he joins artistic director David Rowden in giving the world premiere of Graeme Koehne’s Double Clarinet Concerto.
In this captivating conversation, Michael traces the arc of his extraordinary musical life – from childhood fascination with the clarinet to international acclaim as both soloist and conductor. He shares stories of mentorship from figures like Thea King and Jacqueline du Pré, gives insights into commissioning new works, and offers his unique perspective on interpreting core repertoire like the Copland and Mozart concertos. With great warmth and humour, he tells of the joys and challenges of conducting from within an ensemble, and how a herd of sheep once upended his life, revealing a musician devoted to beauty, integrity, and reinvention.
Michael Collins joins the Omega Ensemble for Elevator Music at the Melbourne Recital Centre on Saturday 16 August, at the City Recital Hall in Sydney on Tuesday 19 August, and at the Newcastle City Hall on Thursday 21 August.
Whether as a singer and musical director of The Swingle Singers, or composing choral works that are sung across the globe, or championing women in music, Joanna Forbes L’Estrange has made an indelible mark on the choral and jazz worlds alike.
In this wide-ranging and deeply personal interview, Joanna reflects on her remarkable musical journey – from a childhood shaped by foster care and early singing in a parish choir, to leading The Swingle Singers and becoming a celebrated composer and cross-genre soprano. She shares the inspiration behind her choral reimagining of The Four Seasons, titled A Season to Sing, which is receiving its Australian premiere this year thanks to the Sydney Philharmonia Choirs.
Joanna speaks movingly about the influence of her foster father, her late mother, and the joy of collaboration with her husband, Alexander. The conversation explores her creative process, her championing of inclusive choirs, her experience navigating sexism in the music industry, and the unexpected honour of composing for King Charles III’s coronation. With humour, humility and emotional candour, Joanna offers a portrait of a musician whose artistry is rooted in resilience, curiosity, and community.
The second half of Joanna Forbes L’Estrange’s A Season to Sing will be performed as part of the Sydney Philharmonia Choirs concert Lost Birds on Saturday 16 August at the White Bay Power Station.
One of Australia’s most talented creatives, Toby Schmitz is a beloved actor on stage (including Broadway) and screen, from the works of Shakespeare and Tom Stoppard to TV dramas such as Black Sails and The Pacific. He’s directed at the Darlinghurst Theatre and The Old Fitz, and is also a playwright, winning the Patrick White Award for his play Lucky in 2002. And as if that weren't enough, he’s penned a successful novel, The Empress Murders.
In this rich and wide-ranging interview, Toby reflects on his multi-faceted career as an actor, playwright, director, and now novelist. He discusses his current role in Grief Is the Thing with Feathers at Belvoir, detailing the adaptation process and the creative collaboration involved. He revisits formative moments in his life, from his unusual musical tastes as a child and difficult school years, to his time at NIDA and early stage roles. He shares candid stories about navigating the highs and lows of the acting world – including missed opportunities, critical acclaim, and the freelance grind. He speaks with great passion about Shakespeare, Tom Stoppard, and the thrill of live theatre, while also describing the long and arduous journey of writing and publishing his debut novel The Empress Murders. Throughout, his sharp wit, love of language, and enduring dedication to storytelling shine through.
Toby Schmitz stars in Grief is the Thing with Feathers, adapted from the Max Porter novel, at Belvoir Street Theatre until August 24. His novel, The Empress Murders, is available at all good book sellers.
The New York Times Magazine dubbed Danielle de Niese as “opera’s coolest soprano”. Melbourne born, she has gained worldwide acclaim for her beautiful stagecraft, and superb communication. She regularly appears on the world’s most prestigious opera and concert stages, from Hamburg to New York, and from Glyndebourne to the BBC Proms. She has six solo albums to her name, and has won an Emmy for her TV presentation.
In this conversation, Danielle speaks about her role debut as Carmen with Opera Australia, exploring her meticulous preparation for the part including her interpretation of the character and insights from reading the original novel. It traces her remarkable journey from winning Young Talent Time as a child, the family move to the United States at a young age to pursue her career, a Met debut at 19, and a breakout success at Glyndebourne with Julius Caesar. She reflects on the important influence and support of her parents, and her dedication to giving back through charity work. The interview also explores her forays into musical theatre, and how she balances diverse artistic passions with a deep commitment to opera.
An Australian soprano who has established herself as one the leading artists of her generation, Nicole Car is a fixture at all of the world’s top opera houses, be it the Met, the Royal Opera House Covent Garden, Opéra National de Paris, or the Sydney Opera House. She’s praised for her beautiful, rich timbre and unique musicality, with Limelight magazine speaking recently of her unfailingly clear and strong voice, with lovely tone and silky legato.
In this wide-ranging interview, Nicole reflects on her role debut as Rusalka in Dvořák’s opera of the same name, exploring the character’s emotional depth. She recounts her early musical influences – from her initial interest in becoming a jazz singer to a transformative experience watching Tosca – and her unusual path into classical music. The conversation traces the steep learning curve she threw herself into, her career-defining competition wins, and her thoughtful approach to role choices, including knowing when to say no. She speaks candidly about the challenges and rewards of balancing private life with a demanding international opera career, offering touching insights into life in Paris, and performing alongside her husband Étienne Dupuis.
Nicole Car performs Dvořák’s Rusalka with Opera Australia at the Sydney Opera House until August 11.
One of Australia’s most beloved tenor crossover artists, Mark Vincent burst into our consciousness thanks to a stirring rendition of Nessun Dorma on Australia’s Got Talent in 2009, and never looked back. He has performed in venues around the world, and eight of his albums to date have topped the ARIA Classical Crossover charts. He’s also performed in musical theatre, from Dirty Dancing to My Fair Lady. He’s now performing in Andrew Lloyd Webber’s Cats, currently playing at Sydney’s Theatre Royal.
In this deeply personal and wide-ranging interview, Mark reflects on his extraordinary journey from singing as an eight-year-old in his grandparents’ Italian restaurant to becoming Australia’s best-selling classical crossover artist. He discusses his current role as Old Deuteronomy in Cats, his enduring passion for music, and formative influences including Andrea Bocelli, Julie Andrews, and Mario Lanza. He opens up about childhood challenges, early financial hardship, and the pressure of supporting his family from a young age. Mark also speaks candidly about fatherhood, and how personal struggles have shaped both his character and artistry. The interview is rich with emotion, humour, and music – from Nessun Dorma to My Way – offering a heartfelt portrait of an artist whose voice and vulnerability go hand in hand.
Mark Vincent performs in Cats at Sydney’s Theatre Royal until September 6, before heading to the other capitals. He is in concert with the Australia Symphony Orchestra at Glen Street Theatre on Sunday, July 5.
Conductor and music director Sam Allchurch’s repertoire spans the works of Bach and Handel through to contemporary works by Australian composers. The Sydney Morning Herald said that under his leadership, “Sydney Chamber Choir’s singing is as nuanced and refined as ever, and their spirit abounds in hope”.
Sam returns to In Conversation to discuss the Sydney Chamber Choir's 50th anniversary gala, which features Paul Stanhope’s Requiem along with five specially commissioned works from Australian composers. He delves into the choir’s dual focus on early and contemporary music, explains the commissioning process from a conductor’s perspective, and reflects on the choir’s resilience during the pandemic. Sam also speaks about his musical upbringing, his formative experiences including with the Gondwana Choirs, his ambitions for greater national and international recognition for the choir, and the importance of re-performing new music. We hear about his masterclass with the Berlin Radio Choir, the specific challenges of choral conducting, and his personal inspirations.
Sydney Chamber Choir presents its 50th Anniversary Gala Concert at 3pm, Saturday 5 July in the City Recital Hall.
Helena Rathbone has long been a central and beloved figure in Australia’s musical life. As Principal Violin and sometimes leader of the Australian Chamber Orchestra, she brings both incisive musicianship and deep artistic integrity to everything she touches. She’s equally at home leading string ensembles, mentoring young musicians, or stepping into a solo spotlight.
In this wide-ranging and warm interview, Helena reflects on her rich musical life as Principal Violin of the ACO and co-director of the upcoming ACO Unleashed tour. She shares stories from her musical upbringing in a singing family, her training in the UK including at the Guildhall School of Music, her experiences with the Academy of St Martin in the Fields, and her decision to move to Australia to join the ACO 30 years ago. She talks about her passion for mentoring young musicians through the ACO’s emerging artist programs, her treasured Stradivarius violin, and the emotional significance behind her music choices.
Helena Rathbone co-directs the Australian Chamber Orchestra for ACO Unleashed around Australia from June 21 to July 2.
Associate Conductor of The Sixteen, Eamonn Dougan has built a reputation as an inspirational communicator with a wide-ranging and adventurous repertoire. In addition to his work with The Sixteen, he is the founding director of Britten Sinfonia Voices and Music Director of the Thomas Tallis Society. The website Bachtrack perhaps sums him up best, praising his “remarkable knack for finding the perfect balance between allowing the emotion time to speak, while keeping everything moving.”
In this conversation, Eamonn shares his passion for unearthing overlooked musical treasures, including the rich and rarely heard repertoire of the Polish Baroque. He speaks warmly about his educational work with emerging artists, advocating for ensemble singing as a distinct discipline deserving serious attention. We also discuss the origins and impact of his podcast Choral Chihuahua, created during the pandemic and now in its eighth season, as well as his approach to recording, and the lasting emotional power that music holds in his life.
Eamonn Dougan is currently in Australia guest directing The Song Company for Love’s Four Seasons, a compelling program exploring the cycle of human relationships through madrigals by Monteverdi, Gesualdo, and Barbara Strozzi, alongside modern works. At the time of publication, performances have already taken place in Newcastle, Wollongong and Canberra, with further concerts at the Utzon Room of the Sydney Opera House on Saturday 14 June and at the Blackheath Uniting Church on Sunday 15 June.
One of Australia’s foremost young conductors, Luke Spicer has appeared as guest conductor of the Tasmanian, Queensland, and Canberra Symphony Orchestras, and as a conductor and music director with Opera Australia. He’s also been guest Assistant Conductor at the Bruckner Orchestra Linz, the Saarländisches Staatstheater of Saarbrücken, and with the Sydney Symphony, working with both Simone Young and Vladimir Ashkenazy.
In this conversation, Luke reflects on his journey from violinist to violist to conductor, influenced by formative experiences including a pivotal moment in Bathurst. He recounts studying under demanding mentors like Gianluigi Gelmetti, and his early performing experiences, including touring with Opera Australia.
Luke Spicer conducts musicians of the Guizhou Chinese Orchestra and the Australia Orchestra for Folk Reimagined: East in Symphony in the Concert Hall of the Sydney Opera House on Monday 7 July and at the Melbourne Recital Centre on Wednesday 9 July.
Susannah Lawergren has developed a reputation as a beautifully clear soprano with “stunning vocal expression” and “compelling stagecraft”. A principal artist with both The Song Company and Bach Akadamie Australia, she’s also performed with our other top ensembles, from Sydney Chamber Choir and Opera Australia, to Cantillation and Ensemble Offspring, plus has appeared at the Sydney and Adelaide Festivals and the Canberra International Music Festival.
In this conversation, Susannah speaks candidly about her musical upbringing and studies, and reflects on the unique qualities of singing in different languages, explaining how language profoundly shapes vocal expression. We hear about how a beer at a pub serendipitously led to her involvement with Bach Akadamie Australia, plus about her career-making role with The Song Company. She also delves into the technical and emotional challenges of singing early and contemporary music, the importance of vocal pedagogy, and how her teaching approach emphasises sustainable practice and motor learning.
Susannah Lawergren performs The Class of 85 with Bach Akadamie Australia 30 May to 1 June, followed by Love’s Four Seasons with The Song Company from 6 to 15 June.
One of Australia’s finest mezzo-sopranos, multi-award-winner Sally-Anne Russell has a career spanning over 80 operatic roles and performances on some of the world's most prestigious stages. She is celebrated for her rich, expressive voice and captivating artistry. From Baroque masterpieces to contemporary works, Sally-Anne has enchanted audiences across the globe. She’s worked with luminaries from Bryn Terfel and Sumi Jo, to our own Richard Gill and Simone Young, and appears on over 40 albums and DVDs.
Sally-Anne recounts her early beginnings in Adelaide, including her shift from aspiring dancer to opera singer, and her unusually young entry into the State Opera of South Australia Chorus. She discusses her time performing in The Phantom of the Opera, her return to classical singing, and her subsequent international experiences, including scholarships and working with major figures like Bryn Terfel and Pavarotti. The conversation explores her affinity for Baroque repertoire, particularly Bach and Handel, her work as co-artistic director of the Albury Chamber Music Festival, and the unpredictability and resilience required in a performer’s life.
Sally-Anne Russell performs Warm Winter Songs at the Yallamundi Room of the Sydney Opera House onWednesday, June 11. A fundraiser by the Sydney Opera House Ladies Committee, their events support the Arts Assist & Access Programs of the Opera House so children from under-resourced schools, or with a disability, can attend a performance at the House, which is often their first such experience.
A man who can only be described as musical theatre royalty, Michael Ball made his West End debut in 1985 as Marius in the original cast of Les Misérables. He went on to play the lead role of Alex Dillingham in Andrew Lloyd Webber’s Aspects of Love in both the West End and on Broadway. He’s appeared in a long string of musicals covering all parts of the repertoire – The Phantom of the Opera, Sweeney Todd, Chitty Chitty Bang Bang, Chess, Sunset Boulevard, even going full drag for Hairspray. He's recorded 27 albums, including 6 number 1s, not including the 12 cast recordings he’s a part of. He’s twice won the Olivier Award for Best Actor in a Musical, and in 2015 was made an Officer of the Order of the British Empire for his services to musical theatre.
In this lively and heartfelt interview, Michael reflects on his illustrious career, from his breakout role as Marius to his current portrayal of Javert in the Australian arena tour. He shares behind-the-scenes stories about the show's early development, the camaraderie among its global cast, and how the evolving production has stayed relevant over four decades. Michael opens up about personal challenges, including a battle with stage-related anxiety early in his career, and how he overcame it with support from Cameron Mackintosh and others. We also hear about his success as a solo artist, his collaborations with Alfie Boe, and his ventures into songwriting. With warmth and humour, he discusses some of his memorable roles, his thoughts on fame and creative control, and the deep satisfaction he finds in all aspects of his work.
Described as a renegade opera star and cabaret artist, Ali McGregor began her career as a principal soprano with Opera Australia before running away to the circus to become an award winning cabaret performer. Nominated for an ARIA in 2014, she went on to win both a Green Room and Helpmann Award in 2015. She’s one of the most in-demand performers on the international festival circuit and is a former artist director of the Adelaide Cabaret Festival, performing at venues from Glastonbury and Carnegie Hall to the Sydney Opera House.
She’s currently collaborating with the Signum Saxophone Quartet and Musica Viva for Hollywood Songbook, a concert tour exploring the turbulent first half of the 20th Century through the music of emigres such as Kurt Weill and Hanns Eisler, with performances until 17 May.
In this interview, Ali traces her journey from performing at Opera Australia to creating innovative, genre-blending shows. She discusses the artistic freedom and creative risks involved in moving from traditional opera to the cabaret scene, and shares insights into her creative process plus her role as an artistic director. The conversation also touches on her efforts to make classical music more accessible and engaging to broader audiences through inventive programming and theatrical flair.
Gottfried von der Goltz is a violinist, conductor, and artist of extraordinary insight. As the director of the Freiburg Baroque Orchestra, he has played a pivotal role in shaping the modern sound of historically informed performance, breathing new life into Baroque and Classical music with a blend of scholarship and sheer musical brilliance. Whether wielding the bow as a soloist or guiding an ensemble from the podium, his interpretations are known for their energy, elegance, and deep expressiveness.
In this conversation, Gottfried discusses his musical upbringing, his leadership of the Freiburg Baroque Orchestra, and his early involvement in historically informed performance. He reflects on his musical family background, his studies at Juilliard, and his passion for exploring Baroque and Classical repertoire with authenticity, including playing on period instruments and embracing improvisation and varied ornamentation. He shares insights into the different national styles of Baroque music and talks about the challenges and creativity involved in recording historically informed interpretations.
This interview was kindly arranged by the Snow Concert Hall in Canberra.
As Assistant Concertmaster of the Sydney Symphony Orchestra, violinist Lerida Delbridge is a vital cornerstone of our classical music scene. She also has a passion for chamber music as a founding member of the Tinalley String Quartet, which has performed internationally and been the recipient of numerous awards. She has recently taken on the role of artistic director of Hunters Hill Music, which brings outstanding chamber music closer to audiences.
In this wide-ranging conversation, Lerida discusses her multifaceted musical life, reflecting on her early musical influences, international study experiences, and the challenges and triumphs of building a career in chamber music from Australia. Delbridge also speaks about the importance of community music-making, her cherished historic violin, and the joy and insight she gains from teaching.
The next Hunters Hill Music – Swirl, Swoop & Dance – is on at 2pm on Sunday 4 May at the Hunters Hill Town Hall. Visit huntershillmusic.com.au for further details about this and future concerts.
It’s difficult to categorise Tom Gleisner, because he’s done it all. He’s a presenter, producer, director, writer, and actor, and even then that only scratches the surface of his talents. We first became aware of Tom thanks to The D Generation back in 1986, and as a part of Working Dog Productions he’s created comedy classics like Frontline and Utopia, panel shows like Have You Been Paying Attention and The Panel, and feature films such as the critically acclaimed The Castle and The Dish. But it’s musical theatre which Tom has most recently turned his hand to, writing the book and lyrics for Bloom, a new Australian musical set in an aged care facility.
Tom reflects on his inspiration for the show, and his desire to treat older characters with dignity and complexity. He also shares insights into the collaborative process of developing the musical. He also discusses his multifaceted career, from his early days with The D-Generation and Frontline, the success of The Panel, to his more recent work in television satire with The Hollowmen and Utopia. He talks about making The Castle on a shoestring and the greater complexities and budget requirements for The Dish. Beyond entertainment, Gleisner speaks passionately about his involvement in charity work, including co-founding an autism support organisation and chairing a cancer charity.
Bloom plays at the Roslyn Packer Theatre until May 11.
Zubin Kanga is a pianist, composer and technologist, who has been at the forefront of curating and creating interdisciplinary musical programs exploring what it means to be a performer in the 21st Century. His multi year project, Cyborg Solosits, is unlocking new possibilities in music making through interactions with motion and biosensors, new hybrid instruments, interactive visuals, and AI.
In this conversation, Zubin provides a fascinating glimpse into this project, where he is collaborating with dozens of composers around the world in an exciting exploration of the limitless possibilities that lie ahead in how we create, perform, and enjoy music.
Zubin also provides insights into the world premieres he will be performing, which includes one of his own compositions, with Ensemble Offpring to launch their 30th anniversary season, for Lumen Machine, on April 12 at The Neilson and April 13 at the Newcastle Conservatorium.
