This is a list of concerts we are attending, wishing we could attend, or thinking about attending between April 20 and 26, 2026. For more of what’s happening around Toronto, visit our calendar here.
Roy Thomson Hall: Itzhak Perlman, Violin with Rohan De Silva, Piano
Monday, April 20, 8 p.m.
Roy Thomson Hall, $101+
The legendary Itzhak Perlman visits Toronto with Rohan De Silva on his 80th birthday tour. Bursting out to the audience in November 2, 1958 on the Ed Sullivan Show as a 13-year old master playing the Flight of the Bumblebee, Poloniase Brillante, and the Finale of the Mendelssohn’s Violin Concerto, he’s won the hearts of many for decades. A beloved figure, and a great social leader — advocate of disability rights and young musicians including a 1 million Genesis Prize donation, a recent 12.9 million donation for the New York Central Homeless Families, and so many other active outreach projects — it’s no wonder the show at the cavernous Roy Thomson is nearly sold-out, with perhaps 10+ seats left at this juncture. We love him. Get your tickets before it IS sold out. It’s not every day that we get to see true heroes in person — and with thousands of concerts under his belt, there’s no doubt that this evening’s performance will be satisfying, inspiring, and beautiful. Info here.
Music Toronto: Steven Isserlis, Cello & Connie Shih, Piano
Thursday, April 23, 7:30 p.m.
Jane Mallett Theatre, St. Lawrence Centre for the Arts, $60+
Another musical giant, Steven Isserlis, with Connie Shih, takes over the stage this evening. Born in the year of Perlman’s television debut, Isserlis has been performing, writing, and inspiring the wider audience since the 1970s. His maturity and intense energy always makes an Isserlis concert a great experience — the list of awards that we’ve trusted on him is quite ridiculous, including being one of the only two living cellists inducted into the Gramophone Hall of Fame, along with Yo-Yo Ma. Bringing Beethoven, Schumann, Kabalevsky and Kaprálová, this program full of familiars and fresh-to-the-ears will be a treat, especially with Connie Shih at the piano, and Isserlis’s cello — the Marquis de Corberon Strad. Info here.
Esprit Orchestra: Hallelujah Sim
Thursday, April 23, 8 p.m.
Koerner Hall, $20
For the last concert of the season, Esprit have programmed Ben Nobuto’s Hallelujah Sim with 72 singers. Taking apart the familiar Hallelujah chorus, Nobuto disassembled the tune, mixing it up with electronics and live instructions, where the choir transforms the piece in real time, going from one section to another, a simulation, a play in real time. Never thought you would relate video games to Handel? Well, here we are. Certain music just does not translate successfully through recording — so much of the architectural and performance aspect, especially with any music that requires real-time driving and spontaneity, just dies as soon as it’s been scribed into digital bits, never to be alive again post-fossilization. So get yourselves to the hall, and witness this unique piece. Music of Chris Paul Harman, Tristan Keuris and Poul Ruders rounds out the program. What a fun way to see what classical music is capable of with guests the Elmer Iseler Singers and Concreamus Chamber Choir. Info here.
Toronto Symphony Orchestra: TSYO: Rachmaninoff Symphony No.2
Saturday, April 25, 3 p.m.
Roy Thomson Hall, $24+
The superkids of the Toronto Symphony Youth Orchestra present a full program, featuring one of the their own, Harrison Yang Meng (2024/25 IMFC Concerto Competition Winner) in Walton’s fiendish Viola Concerto — Walton was known for writing difficult, yet ravishingly beautiful music. The centrepiece of the program, Rachmaninoff’s Symphony No. 2, is lush and mature, requiring true emotional and technical depth from every chair. At the price of $24+, this is a definite bargain to experience high-calibre music, and unlike adult professionals, there’s something special about these youth groups: here, the youth certainly has not been wasted. Come with an open heart, and be ready to be taken away by the talent, dedication, and love of music of this special group. Info here.
Canadian Opera Company: Bluebeard’s Castle / Erwartung
Saturday, April 25, 7:30 p.m., Wednesday, April 29, 7:30 p.m., Friday, May 8, 7:30 p.m., Sunday, May 10, 2 p.m., Tuesday, May 12, 7:30 p.m., Thursday, May 14, 7:30 p.m., Saturday, May 16, 4:30 p.m.,
Four Seasons Centre for the Performing Arts, $45+
The last section of the COC 25/26 season is here, with a double bill of Bartók and Schoenberg. These gritty one-act works are well-known for their musical expressivity, burrowing deep into the ugly side of the psyche. With the recent trend of horror movies at the cinemas (have you noticed that there are at least a few horror movies at any cinema now? What has happened to us?), one should definitely see if the hunger for dark drama can be sated with this amazingly crafted music, as there are plenty of ugly, hard emotions here. With the entire production lasting just about two hours, intermission included, the skeptics and the I-don’t-knows should try the standing room experience — at $15, there is zero risk — and see if it can compel you to stay till the bitter end. Info here.
Royal Conservatory of Music: Lisa Batiashvili, Violin, with Giorgi Gigashvili, Piano
Sunday, April 26, 3 p.m.
Koerner Hall, $60+
One of the best, fearless Lisa Batiashvili, with Giorgi Gigashvili on piano, takes over Koerner for this afternoon magic. Belonging to the very special group of performers who embrace the open possibilities and spontaneity of live performance (in contrast to the traditional, do-as-planned, with pearl string perfection and planned, careful pacing), her playing has been noted for wild, intense Shakespearean interpretations, backed up with impeccable virtuosity. Though many will be eager for Batiashvili and Gagashvili’s Franck Sonata, I am most excited about Prokofiev’s first sonata — the work was written after the ‘second’ sonata (as the second violin sonata was an adaptation of the flute sonata), and Prokofiev went into a great depth of searching, exploring for a whole eight years — what a contrast to his usual rapid, supercharged compositional process. The thoughts, care, and emotional depth makes this first sonata a true masterpiece — to have the duo take on this significant work is exciting. Come and fill your afternoon with these two fiery, incandescent humans. Info here.
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