Chances are good he is going to get invited back as a guest conductor in a future season.

8 Tuesday

• Canadian Opera Company plus performers from Opera Atelier, with host Marshall Pynkoski at the Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts. Noon. Free

Co-artistic director Marshall Pynkoski, and Opera Atelier will present Lully’s unrestrained mythical musical tragedy Persée. The work features a heroic Perseus who battles the grisly Medusa to rescue princess Andromeda from her horrendous fate. What’s not to like? Info here.

We’re down to the last couple of weeks of the COC’s season, and the production to catch while you can is the double-bill of Puccini’s Gianni Schicchi, fabulously brought into the present day by director Catherine Malfitano, and paired with the richly intriguing Florentine Tragedy, by Alexander Zemlinsky.

On Tuesday night, the stars of the Jane Mallett Theatre stage were Toronto pianist Eve Egoyan, smartly dressed in black, and a big, black Steinway concert grand piano.

Seven excellent picks for seven excellent days of live music:

Essl, who creates and performs live, electronic musical interventions, is handing his laptop and tiny mixing board to Stephanie Chua. She, Elaine Lau and Joseph Ferretti, members of new music collective JunctQin, are set to perform a concert of Essl’s works at the Music Gallery on Friday night.

“Contemporary pops” is not a concept with much currency, but this is not a bad description of the program the conductor Alex Pauk put together to end the 2016-17 Esprit Orchestra season in Koerner Hall on Sunday night.

The 20-year-old pianist who has captured the hearts of audiences and critics elsewhere still doesn’t have a Toronto concert booked, as far as I know.

There’s a grassroots revolt brewing among Toronto’s new music community over the continued absence of Canadian operas on Canadian Opera Company’s seasons. It’s been 13 seasons and counting since there’s been a Canadian work on its mainstage, and that’s beginning to rankle.

Most of the time, we listen to an opera or an art song as a whole. But that whole is really a sum of parts with complex – and sometimes contradictory – relationships.