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

The real proof of Lisitsa’s pianistic pudding will come in live performance, which Torontonians get at Koerner Hall on Sunday afternoon.

Whether it is recording calving icebergs in Norway, or writing minimalist works for the Contact Contemporary Music ensemble, Toronto-based composer Allison Cameron is a voice in constant search for innovation.

“When you’re out of school and starting a career, is when you need help the most.” Ann Summers Dossena dishes on the importance of supporting your career with a community.

The large and excellent community choir closes its season with two performances of Solomon, the 265-year-old masterpiece oratorio by George Frideric Handel, in the beautiful acoustics of Grace Church-on-the-Hill in Forest Hill.

Our field report of Banff Centre's cultural renaissance on the world stage. Part two: what should Indigeneity mean for the Canadian identity?

Tenor Asitha Tennekoon takes on MT's Q&A, including the strangest road he's ever travelled, and the three composers he never wants to hear again.

One of the ways to sum up the change in our relationship to recorded music over the past two decades is to call it the triumph of mobility over fidelity. John Terauds chats with Belgian musician Piet Goddaer about audio quality and transferring the immediacy of a live concert into recorded sound.

Tonight marks the opening of Lamon conducting (from her concertmaster’s desk) a semi-staged concert of George Frideric Handel’s 1745 “musical drama” Hercules. It and Semele are the only two English-language operas he wrote (although there is no evidence that it was ever fully staged in his day).

The AGO’s new modern and contemporary art curator Kitty Scott and Vancouver Art Gallery’s Bruce Grenville have allowed Cardiff and Miller’s work to occupy the physical and aural space of the Vivian Campbell Centre for Contemporary Art on the light-filled fourth floor.