The international recording industry is in panic catch-up mode in response to raves for Lang Lang’s performance of Beethoven’s Für Elise.

To call Leonard Cohen: A Crack in Everything a contemporary art exhibition is to suggest new ways of understanding Cohen’s very old soul have been found. Well, it doesn’t happen, maybe because this was mission impossible from the first.

The USD 100,000 paid yesterday for one of the scores Glenn Gould used for his 1981 recording of Bach’s The Goldberg Variations establishes a new benchmark.

In a plot with endless twists, Toronto audiences experience a world-famous production of Eugene Onegin, crafted by its own creative stars and owned and controlled by its very own opera house — for the very first time.