In Conversation

Award-winning Australian soprano Cathy-Di Zhang has performed extensively with Opera Australia as well as for Victorian Opera and the State Opera of South Australia. She has sung with the Melbourne Symphony Orchestra, the Perth Symphonic Chorus and as a soloist with orchestras and chamber groups throughout Europe and Asia.In this conversation, Cathy-Di reflects on her somewhat unconventional journey to the profession, and opens up about navigating life as an artist. From lockdowns and love stories, to rediscovering her voice back home in Australia, she shares her delight in pushing artistic boundaries through projects like Opera Up Late and The Butterfly Lovers, and her belief that music should always have soul, playfulness, and heart.Cathy-Di Zhang joins the Sydney Philharmonia Choirs for Brahms’s A German Requiem at the Sydney Opera House on Saturday, October 25.

The “Rock stars of Renaissance music” is how The New York Times described the award winning British vocal ensemble The Tallis Scholars. Founder and artistic director Peter Phillips has devoted his life to creating the ideal choral sound, and exploring many neglected gaps in the polyphonic repertoire. He’s also commissioned many contemporary composers including Eric Whitacre, John Tavener and Nico Muhly. On top of all that, he’s written columns for newspapers and magazines, presented radio lectures, and even written a novel.In this conversation, Peter discusses how his fascination with vocal harmony began in his school days, developed at Oxford, and eventually led to the formation of The Tallis Scholars in 1973, an ensemble that would become synonymous with the purity and precision of Renaissance choral music. He shares insights into the challenges of interpreting centuries-old music, from deciphering incomplete manuscripts to navigating lost performance traditions, and how the group strives to make these works vivid for modern audiences. Warm and deeply insightful, Peter reveals the passion, intellect, and humour that have sustained his remarkable career in music.The Tallis Scholars, under founder and artistic director Peter Phillips, perform at the Sydney Opera House on Sunday, 12 October. They will also be performing at the Adelaide Town Hall on Thursday, 9 October, and at the QPAC Concert Hall on Friday, 10 October. Performances in Canberra and Melbourne had already occurred at the time of publication of this program.

As a self-described “post-post modern diva”, Meow Meow is one of the world’s most outstanding cabaret artists. She has played to sold-out venues from London to New York, and Berlin to Sydney. Winner of the Edinburgh Fringe Prize in 2010, and a Helpmann Award in 2012, she’s performed with the great Barrie Humphries, been commissioned by David Bowie, and created roles in London’s West End. Berliner Zeitung called her “The Queen of Chanson” while London’s Evening Standard said she possessed “devilishly funny bones and heavenly vocal cords”.Meow Meow displays her razor-sharp wit throughout this conversation, exploring her artistic evolution and inspirations, revealing the mix of parody and sincerity which are the hallmarks of her shows. We hear about her early musical influences and passions, and the impact past and present artists have had on her work and outlook.Meow Meow’s The Red Shoes, is playing at Sydney’s Belvoir Street Theatre until November 9.

British organist Martin Baker has spent a lifetime at the keyboard, from the moment he first touched the instrument as a child to his twenty years as Master of Music at Westminster Cathedral. Along the way he has become one of the world’s most sought-after organists, known especially for his dazzling improvisations.Martin reflects on the twists of fate that shaped his career, from early lessons on a family keyboard, to the honour and pleasure of leading music at some of the UK’s most important cathedrals. He recalls playing at unforgettable occasions, including the funeral of Diana, Princess of Wales, revealing the quick thinking required when a live event doesn’t go exactly as scheduled.With warmth and humour, Martin talks about the joy of improvisation, whether it’s adding an unexpected burst of ABBA into a Phantom of the Opera screening, or creating music that lifts a congregation in worship, sharing insights into the rich traditions of Catholic and Anglican church music.A candid and illuminating glimpse into the artistry, craft, and humanity of one of today’s great organists.This program was recorded while Martin was visiting Sydney in May 2025 to perform at St James, King Street.

Tony Award-winning director John Rando has staged some of Broadway’s most inventive and entertaining productions – from Urinetown to On the Town, The Wedding Singer to Mr. Saturday Night. He was one of the creative forces behind the stage musical version of Back to the Future in both the West End and on Broadway, which he is now bringing to Australia.In this lively and wide-ranging conversation, John takes us behind the scenes of turning a beloved movie into a dazzling theatrical spectacle – complete with a time-travelling DeLorean – and reveals how musicals can deepen characters we thought we already knew. He shares stories from his early days in Texas and New York, reflects on some career-changing moments, and talks about working with legends like Billy Crystal and Glen Ballard.The interview is a masterclass in creativity, collaboration, and the art (and gamble) of making Broadway magic, and throughout John displays warmth, humour, and his passion for the stage.Back to the Future: The Musical opens at Sydney’s Lyric Theatre on 26 September.

Tara Morice has been a beloved presence on Australian stage and screen for more than three decades. Best known for her breakout role as Fran in Baz Luhrmann’s Strictly Ballroom – a performance that earned her BAFTA and AFI nominations – Tara has built a career across film, television and theatre that is as varied as it is enduring.In this wide-ranging conversation, Tara reflects on the global phenomenon of Strictly Ballroom, the early days of working with Baz Luhrmann, and the challenges of sustaining a long career in the arts. She talks candidly about typecasting, ageing in an industry obsessed with youth, and the balance between artistic integrity and simply paying the bills. She also explores the touching story behind her documentary My Biggest Fan, and why she’s relishing the chance to bring humour, honesty and celebration to her upcoming role in Menopause: The Musical.Menopause: The Musical plays at the State Theatre, Sydney, for two weeks only from September 19.

The repertoire of Australia’s leading recorder virtuoso, Genevieve Lacey, ranges from medieval manuscripts to cutting-edge contemporary commissions. She has a love of both the very old and the very new in music, performing on an instrument that has become a bridge between worlds that are centuries apart.She discusses her remarkable journey, from growing up in Papua New Guinea, to her musically formative years in Ballarat, through to her career-defining encounters with ensembles like the Australian Brandenburg Orchestra and the Australian Chamber Orchestra. Along the way, she shares how the recorder became her voice, despite the prejudices attached to it as a schoolyard toy, and how she has carved out a career performing on an instrument that few master to this level.Genevieve also reflects on her wider curatorial work, her passion for collaboration, and the role of arts and culture in shaping a healthy society. She reveals why the relative simplicity of the recorder continues to captivate her and audiences alike.Genevieve Lacey joins the Australian Chamber Orchestra for A Musical Awakening, under the guest direction of ACO principal cellist Timo-Veikko Valve until 21 September.

Brett Weymark has spent over two decades as Artistic and Music Director of the Sydney Philharmonia Choirs, shaping the sound of one of Australia’s leading choral organisations. Along the way he has conducted every major Australian orchestra, worked with Opera Australia and Pinchgut Opera, and even brought his skills to the big screen conducting film scores including Happy Feet and Mad Max: Fury Road.In this conversation, Brett reflects on his path from childhood singalongs to standing on the podium at the Sydney Opera House. He talks candidly about the mentors who inspired him, the challenges of leading volunteer singers to professional standards, and the joy and meaning he finds in the collective act of making music.Warm, witty, and deeply insightful, Brett is a conductor who has dedicated his life to bringing voices together.Brett Weymark conducts the Sydney Philharmonia Choirs for Michael Tippett’s A Child of our Time, in the Concert Hall of the Sydney Opera House at 2pm on Saturday 13 September.

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, Brittanie 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.