FEATURE | The Politics of Music Programming
By Michael Vincent on April 15, 2015
RCM’s Mervon Mehta explains the complexities of programming today’s media-savvy classical music performers
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By Michael Vincent on April 15, 2015
RCM’s Mervon Mehta explains the complexities of programming today’s media-savvy classical music performers
(Continue reading)By John Terauds on April 9, 2015
Every once in a while, someone comes along to spill hot tea over the veneer of civil society, and we get a chance to watch it crack and curl before our eyes...
(Continue reading)By Lawrence Cherney on April 7, 2015
A special guest post by Soundstreams Artistic Director Lawrence Cherney, on his personal memories of composer and friend Sir John Tavener...
(Continue reading)By Michael Vincent on April 7, 2015
The TSO have censored pianist Valentina Lisitsa based on her political views, which goes against the Canadian Charter of Rights and Freedoms...
(Continue reading)By Michael Vincent on March 31, 2015
Concert start times can be divided into two primary groups: The 7:30 and the 8:00 p.m. Besides the supreme importance of curating world-class artists and engaging programs, arts presenters must also invariably decide upon the start time of each show...
(Continue reading)By Jenna Douglas on March 25, 2015
The opera scene in Canada can be divided into two broad groups: those with real estate, and those without. Companies like the Canadian Opera Company own the Four Seasons Centre, which they use for their whole season. Other companies, like Opera 5, move between various venues for their shows. There is indeed a blurry line between a company owning its primary performance space, and a company's having a history of regular use in a specific venue, the way l'Opéra de Montréal uses space at Place des Arts. Generally speaking, though, larger opera companies have a fixed performance venue, and smaller, independent companies are more nomadic...
(Continue reading)By Dan Reitz on March 12, 2015
The verdict is in. Marvin Gaye owns a certain “style” of music. And now thanks to legal precedent, in the US anyway, if you re-create it like Robin Thicke and Pharrell Williams did, you could end up owing a mountain of money to the Gaye estate – in this case $7.4 million...
(Continue reading)By Jenna Douglas on March 10, 2015
I loved my time in university. For the first time in my life, I was surrounded with everything I needed to do exactly what I wanted: make music, listen to music, scour libraries for music, nerd out about music. I even found like-minded friends, and our relationships grew out of our mutual love of our work. I still remember those inspiring times, even when I look back with exasperation on the disproportionate amount of training for the amount of payback (financial and otherwise)...
(Continue reading)By Tyler Versluis on February 18, 2015
From his irreverent early work with Bang on a Can in the late 1980’s, to his more recent appointment as professor of composition at Yale University, David Lang juggles a dual role as an iconoclast and respected new music figure...
(Continue reading)By Jenna Douglas on February 17, 2015
This week, I'm helping out on a remount production of Semele. I first worked on it in 2012 during my time in the COC Ensemble Studio, and this March, Zhang Huan's Semele is heading to the Brooklyn Academy of Music...
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