Canadian soprano Suzie LeBlanc is on a mission to reunite the real words with the possible music of Bishop’s universe. It’s a mission that has proven to be, like so many adventures, full of unexpected twists.

I thought the best way to introduce this concert would be through Sherkin’s own words, as well as hearing his own fingers on the piano keys.

“My students are so much more knowledgeable about new music than I am,” says Oh, who has led a small-ensemble course at University of Toronto for the past eight years. He is afraid that he’s getting set in his ways, of not being on the cutting edge anymore.

Five musicians from the Toronto area converge to celebrate their common passion, in spite of their disparate life journeys.

Costello sings the role of Edgardo in Gaetano Donizetti’s musically florid take on a Gothic horror story by Sir Walter Scott. This production, which comes to us from English National Opera in London, is directed by David Alden and stars equally young-and-talented American soprano Anna Christy as Lucia.

James Norcop chats with Ludwig Van about bringing art song competition to Canada with Concours Musical International de Montreal (CMIM).

When the South Korean was trying to establish a career in the West in the 1970s, he competed as much as he was able, winning enough prestigious prizes to get noticed by orchestras and concert presenters. Now, as a veteran of the concert stage and recording studio, he is frequently invited to adjudicate.

This week we profile mezzo-soprano Wallis Giunta as she sheds light on her upcoming role debut as Dido in Opera Atelier's production of Purcell’s Dido and Aeneas.

Cellist Matt Haimovitz gets his kicks out of mixing it up, playing Arcade Fire at a pop-up concert one day, then restringing his instrument with gut strings to play period Beethoven the next. For tonight’s Toronto visit with the Ontario Philharmonic at Koerner Hall, he reaches into the heart of the repertoire with Ernest Bloch’s Schelomo.

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.