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

We talk to choreographers Roberto Campanella and Robert Glumbek about, Figaro 2.0, a new ballet based on Mozart’s classic opera happening now at ProArteDanza.

Yesterday, Stratford Summer Music Festival announced the program line-up for their fourteenth season, starting July 14th through August 24th.

I can’t think of  a more enthusiastic endorsement than seeing members of the Toronto Symphony Orchestra literally go out of their way to play for a conductor.

Instead, the 31-year-old American has amassed several music degrees, is the star organist and a professor at Harvard University, and spends his free time giving concerts around North America and the U.K.

“Sometimes it clicks and sometimes it doesn’t,” he continues, adding that Sir Colin Davis used to refer the first contact between baton and players as “a blind date.”

Toronto composers Amin Bhatia & Ari Posner discuss putting their own musical stamp on the famous “Anne of Green Gables” tale.

Russian culture is entirely Western, so little distances it conceptually from its neighbours to the west. But a different alphabet and 70 years of isolation within the Soviet Union and its former satellite nations has left a lingering whiff of cultural separateness.

I caught up with him before rehearsals yesterday. Because of the nice weather, he was standing out in the sunshine on Wellington St W. laptop satchel in one hand and, in the other, the score to Benjamin Britten’s Violin Concerto, written during the composer’s early-wartime exile in the United States, in 1940.

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.