Alison Moyet is one of Britain's best-loved singer-songwriters. Known for her deep, soulful voice and down-to-earth personality she has managed to combine commercial sensibility with artistic integrity for over 30 years. Today, 16 June, she releases her ninth solo album Other, recorded with long-time collaborator Guy Sigsworth.

Nicholas Bullen is an artist and composer, based in Birmingham. He works across disciplines and media, including sound, installation, film, performance and text. In 1981, Bullen founded the Grindcore legends Napalm Death with Miles Ratledge. He will perform a new solo piece Universal Detention Centre at this year’s Supersonic Festival to mark the 30^th anniversary of their seminal album, Scum, a disc which includes “You Suffer”, the world’s shortest song according to the Guinness Book of Records.

Formed in 1958 by Desmond Briscoe and Daphne Oram, the BBC Radiophonic Workshop pioneered groundbreaking innovation in music making, using anything and everything to create new textures and tones to satisfy eager TV producers looking for otherwordly sounds to lead audiences through their programmes.

The Hope Mill Theatre in Manchester is an irresistible example of the can-do spirit. Less than two years ago the ground floor of a disused mill was being advertised on Gumtree as a storage space. Two actors who had been working as waiters – William Whelton and Joseph Houston – spotted it and, despite having no money, homed in on their chance to realise a dream: to create their own venue for musical theatre.

Koen Kessels is on a mission to change the culture around music in ballet. Anyone who has heard the Belgian conduct will know that he is the right person for the job: Kessels makes the classic scores come alive in the pit like nobody else I’ve heard. I will never forget a performance of Swan Lake with Birmingham Royal Ballet in which he had us all pinned to our seats with excitement, shaping every phrase of the familiar music as if it had never been heard before.

Saddam Hussein’s name is never mentioned in The President’s Gardens, even though he haunts every page. The one time that the reader encounters him directly, he is referred to simply by his title. In a novel of vivid pictures, the almost hallucinogenic image of the President turning the ornamental gardens around him into a bloodbath is one of the most unforgettable.

There are certain roles where you’re lucky to catch one perfect incarnation in a lifetime. I thought I'd never see a soprano as Natasha in Prokofiev's War and Peace equal to Yelena Prokina, Valery Gergiev’s choice for Graham Vick’s 1991 production.

An Australian who emigrated to New Zealand in 1965, Roger Donaldson cut his teeth in documentaries and TV before launching into a career in feature films. His first feature, Sleeping Dogs (1976), on the unlikely theme of a New Zealand plunged into totalitarianism, immediately attracted attention, and after he made Smash Palace (1982) Hollywood came calling.

No one ever went to the theatre for the sound design. Indeed, only the nerdiest theatregoers could name a single practitioner of the art. But imagine attending a production by Katie Mitchell or Robert Icke or Ivo van Hove – or any less overtly authorial theatremakers – with the sound design stripped out. The visual story would be immeasurably impoverished.

Jez Butterworth is back. Even before the critics have uttered a single word of praise The Ferryman, directed by Sam Mendes and set in rural Derry in 1981 at the height of the IRA hunger strikes, sold out its run at the Royal Court in hours. It transfers to the West End in June. That’s good news for British theatregoers.