INTERVIEW | Talking Conductors and Composers With Hannu Lintu
Paul Robinson chats with Finnish conductor Hannu Lintu about music, his training and his forthcoming appearance with the TSO.
PROFILE | Orchestral Obsessions: In Conversation With Matthias Pintscher
Matthias Pintscher redefines the ego-driven approach to conducting and composition that has notoriously, and maybe unfairly, defined 20th-century classical music making.
THE SCOOP | Video Of A Ten-Year-Old Yannick Nézet-Séguin Conducting Surfaces
A ten-year-old Yannick Nézet-Séguin conducts during an elementary school performance.
THE SCOOP | Gemma New Announced Music Director of Hamilton Philharmonic
The Hamilton Philharmonic Orchestra has announced 28-year-old conductor Gemma New as their new music director.
THE SCOOP | Janko Kastelic named Kapellmeister at Vienna State Opera
Janko Kastelic appointed new Kapellmeister of the Wiener Hofmusikkapelle at the Vienna State Opera.
THE CLASSICAL TRAVELER | André Previn and Elgar Well-Served in Texas (Review)
Review: André Previn premieres his Double Concerto for Violin and Violoncello in Austin, Texas.
RECORD KEEPING | Manfred Honeck Injects Fire Into Strauss Elektra Release
Manfred Honeck conducts Elektra with fire and authority, and the Pittsburgh Symphony Orchestra responds appropriately; this is exciting music-making.
THE CLASSICAL TRAVELER | A Conversation with Leon Major
Many years ago, in 1979 to be exact, Leon Major and I worked together at the St. Lawrence Centre in Toronto. Leon was the General Manager and directed most of the plays, and I was the incoming director of music programming, succeeding Franz Kraemer. For me it was a great opportunity to broaden my approach to music programming. I was to continue my work as music director at CJRT-FM and as conductor of the CJRT Radio Orchestra, but with Leon I could see new challenges. Alas, it was not to be. After ten years of working together, Leon and his board were ready to part ways, and he left just after I arrived. Without Leon at the helm, the St. Lawrence Centre seemed far less idealistic and far less interested in taking artistic risks. I too soon moved on.
FITS & BURSTS | Why Messiah - Forever and Ever?
At any given time during the holiday season, hundreds of choirs will amass in churches and various concert halls across the world, to perform Handel’s Messiah . With the exception of Beethoven’s Ode to Joy, no other choral work has been so fixed into western musical culture. In fact for many, the tradition of going to a performance of the Messiah is as dear as beautifying the Christmas tree in the family living room.But why?