Ludwig Van gets to know composer Alison Yun-Fei Jiang, and her thoughts on the trials and tribulations of being a composer.

Just as Glenn Gould proved to the world that J.S. Bach’s immortal Aria and interlinked variations, written for a two-manual harpsichord, could be played on a single, 88-key modern keyboard, Blassel proved to the world five years ago that it could be done on a concert harp’s 47 strings.

Jennifer Liu catches up with Measha Brueggergosman, Christiane LeBlanc, James Norcop and the MIMC laureates for some post-competition talking points.

From Broadway to London’s West End, Come From Away is the Canadian theatre feel-good story of the century. But, the story behind the celebrated musical begins in Canada, and with a show that was the hit of Toronto Fringe a decade ago.

That can’t possibly be true. Not all great videos go viral, but terrible or boring one’s simply don’t.

The American dramatic soprano Christine Goerke, the Met’s newest Brünnhilde, shares her thoughts on singing the warrior maiden.

Tiberghien, who grew up about 100 km north of Paris, has been playing professionally for about 20 years, winning over audience after audience, conductor after conductor. His success has taken hundreds of overnights, dozens of concertos, numerous collaborations and a handful of critically praised recordings.

What does it take to pull together an improvising string quartet? From what I’ve learned sitting in on the rehearsals for Ron Davis’s three Symphronica concerts at Lula Lounge — the first of which took place Sunday evening — it takes a combination of serious musicianship, affinity for different musical traditions, and an open collaborative spirit.

Toronto analyst-by-day, pianist-by-night Ricker Choi is a case in point.

Canadian composer Christina Volpini talks with Ludwig Van about her hot-off-the-press score for Toronto's Esprit Orchestra, "as within, so without".