The Hamilton Philharmonic Orchestra formalized the Centre for Musical Leadership late last year. It brings together and builds on initiatives that the organization has instituted with a view to helping to develop the careers of the next generation of classical music talent in Canada.
The Centre for Musical Leadership is Canada’s first orchestra-led, tuition-free mentorship centre, and its mandate includes supporting emerging artists such as composers, conductors, and musicians, as well as arts administrators. The mentorship program helps develop professional skills with real-world industry training via fellowship opportunities.
LV caught up with HPO Executive Director Kim Varian and Music Director James S. Kahane to talk about the opportunities on offer.
Kim Varian: The Interview
“It’s been building for us over many years. We’ve long been an organization that believes in musical mentorship,” Varian says.
The Centre for Musical Leadership was formalized in September 2025, during the HPO’s 140th anniversary year.
“We were expanding our musical fellowships,” she says. The HPO has offered Composer Fellowships since the 2018/19 season. As she points out, the HPO has also been a partner organization in the Women and Musical Leadership program that is led by Tapestry Opera. “We’ve been involved that program for four years.”
For 2026, the HPO’s initiative will also include a Conductor Fellowship component. That’s just the first addition.
“Then we will be adding musician fellowships, and that will include players on stage. The really important goal of this Centre for Musical Leadership is to include other roles,” she says. That will also incorporate arts administration in the future.
“There’s a lot of interest in them. We’re thrilled to put them together,” Kim adds. “And what’s unique about it too, is that these musical leadership roles are led by our own musicians.”
She notes that, to thrive in today’s cultural environment, any professional musician needs a flexible and multifaceted career.
“You’re wearing many hats,” Varian says. She points out that the HPO’s personnel manager is a professional musician, and their librarians are the composer fellows. That situation is common to most orchestras the world over.
Practical Industry Training
The Centre for Musical Leadership was developed, among other reasons, to fill gaps in the field of music education. Colleges and universities can only cover so much material. With a focus on the main thrust of study, be it performance or conducting, many practical skills don’t form part of the curriculum.
“You’re not getting that learning in traditional school settings at all,” she says. As such, HPO’s mentorship opportunities can be used to complement what’s learned via a specialized music degree.
For conductors, for example, universities can only offer a limited amount of practical experience.
“That’s one of the really coveted things that they want. They want that experience on the podium,” Varian says. Along with composers and musicians, it’s a chance to add to their CV. “To build their portfolio. Guidance is really an extraordinary opportunity, and one that we really think is important at this time.”
She feels that the program will benefit not only artists local to Hamilton or Ontario, but the Canadian classical music landscape in general.
Connections
Like the Tapestry Opera program, HPO’s Centre for Musical Leadership will work towards building connections with other arts organizations in order to serve their goal of helping emerging artists develop sustainable careers.
“In the musical arts, the performing arts, we want to work together,” Kim says. “We collectively advance the opportunities for new and upcoming musicians.”
Along the way, the hope is that the program will spark an interest in classical music careers among young people who may not have previously considered it. It’s a concept that is becoming more and more important with the overall downturn in musical education in Canada.
“In our region, we see music education declining,” she says. It’s important for younger generations to see what is possible, she points out. For Hamilton Philharmonic Youth Orchestra members, the Centre for Musical Leadership could offer a next step up the ladder.
“It’s a bold goal,” she says. “There’s a lot of interest as well. We have very passionate music educators here. We want to be a support for them. It’s also an opportunity for us to really diversify the opportunities.”
Building networks is a crucial part of any creative career. “Partnerships are so important. It doesn’t have to be formal school programs at the college or university level.”
The success of graduates from the Composer Fellow program has already provided evidence of its efficacy. Varian mentions expanded opportunities for the artists, and the important connections they’ve made. Many of the Composer Fellows, like Liam Ritz, the very first, have gone on to work with other organizations across the country.
“The more we can support these artists early in their career, or wherever they need help the most, we do see that.”
HPO Conducting Fellowships
Hamilton Philharmonic Orchestra and Music Director, James Kahane is inviting applications for its 2026-27 Season Conducting Programs. Two immersive programs offer hands-on training in a professional setting, tuition-free. Successful applicants will benefit from personalized mentorship along with direct experience.
Applicants for the Conducting Fellowship are invited to submit a complete application package by April 19, 2026 at 5 p.m.
There rare two conducting fellowship programs on offer.
Conducting Fellow & Assistant to the Music Director
This role will assist Kahane, and work closely with orchestra musicians and staff throughout the coming season. They will lead rehearsals, prepare scores, collaborate with other artists, and assist in planning, among other activities.
This part of the program is designed for early career professional conductors.
HPO Conducting Apprentice
The Conducting Apprentice will be mentored by Music Director James Kahane, and observe him at work. They will have the opportunity to learn from the orchestra musicians and administrative staff throughout the season. Rehearsal leadership, score preparation, and artistic collaboration and planning are some of the skills they’ll learn.
This part of the program is designed for those who may not have significant professional experience, but who demonstrate a clear commitment to pursuing a professional career in orchestral conducting.
- Find details on how to apply — with a deadline of April 19, 2026 — [HERE].
James S. Kahane: The Interview
James S. Kahane received his own training in conducting at the Sibelius Academy, where some of the most prominent conductors of today’s classical music world learned their craft.
The HPO’s Centre for Musical Leadership program is one of the rare opportunities where young conductors can hone their skills.
“There aren’t many programs like that,” he says “and conducting is a very specific field and work where your instrument is the orchestra. If you really want to train conductors and give them a chance to be competitive and competent in the national and international level, you have to give them the opportunity to conduct an orchestra.”
Even in a dedicated university program, there aren’t many chances to conduct a professional orchestra, as he points out.
“We have identified a point where there is a gap that needs to be filled.”
While the Conducting Fellowship opportunities are just being launched, he’s thinking to the future.
“We are talking now about the HPO, [but] my dream would be to establish a cross orchestral [program],” he says. The Women in Musical Leadership program is the only one he’s aware of in Canada that offers such opportunities, where candidates gain experience with orchestras across the country.
Hands-on training is the key to success. “We are focusing on giving them podium time, and making sure that they have a role.” That role would extend across partner organizations in the future, as he sees it. “They’d have a privileged relationship with various orchestras.”
His Approach
He’s taking cues from his training in Finland in designing his approach. During conducting time, the focus will be on going through the piece of music. Detailed feedback comes afterwards.
“That’s how I studied at the Sibelius Academy, and I found it incredibly effective not only to learn, but to build confidence on the podium,” he explains. “You need to feel in control when you’re on the podium.”
Stopping to correct every mistake, or offer pointers at every turn, can undermine that sense of control. “You can make a mistake,” James says. “The mentor is not going to jump on you.”
Provided the music is heading in the right direction, it continues. To offer valuable feedback, he’s initiating some practical details.
“Every time the Conductor Fellow is going to conduct, it’s going to be recorded by a 4K camera,” Kahane explains. “After they are done conducting, we will systematically look at the video, and then give feedback on the video.”
Applicants
Kahane points out that there are two opportunities available — the Conducting Fellow & Assistant to the Music Director, and the Conducting Apprentice.
For the Assistant role, he’s looking for someone with solid experience. “Someone we can trust that they can lead a rehearsal confidently,” he says.
He notes that the successful candidate will probably already be a graduate of a conducting program, or someone who is close to graduating and has ideally already completed a few gigs, but who is not yet at the point of being able to get professional conducting gigs.
The Conducting Apprentice, on the other hand, can be someone who is much earlier on that path.
“I’m very proud of the Apprenticeship, because this is very, very rare,” he says. “We take someone who shows great potential. They can be very green. They can be learning,” he says. “We are going to be your godfather.”
While the Apprentice won’t yet conduct the orchestra, they will receive lessons at the piano, and have the opportunity to closely observe how an orchestra works at all levels.
“I think for someone who is at the very beginning of their conducting studies, it’s very, very precious.” He points out that participation in the program will come in handy as they progress. “It’s very useful to be endorsed by a professional orchestra.”
Final Thoughts
“The Centre for Musical Leadership existed before I arrived,” Kahane says. “The idea and design of a conducting fellowship — I think that was under my impulse.”
It’s part of his passion for educating the next generation, and giving them the kind of opportunities that he had on the way to a professional career. He’s excited to be able to bring that to Hamilton.
“I think even worldwide, it’s very, very rare.”
Making a conducting career seem doable, and offering practical steps to get there, is the key.
“I really hope this program can help to contribute to creating a really strong and healthy international [environment] for [developing conducting talent],” he says.
He wants to put Canada on the conducting map.
“Canada has the talent to do that,” he says. “In theory, nothing prevents Canada from being known as a place for producing conductors,” he adds.
“The hope is that it inspires other orchestras to think about that, and gives us a place to interact with other conducting programs perhaps at universities.”
More Info…
- Find more information about the HPO’s Centre for Musical Leadership opportunities, including applications for the Conductor Fellowship program — with a deadline of April 19, 2026 — [HERE].
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