INTERVIEW | Joel Ivany On The Transformation of Mazzoleni Hall: Cendrillon
By Robin Roger on November 17, 2016
Joel Ivany transforms a prosaic venue into an Enlightenment Salon for this 19th-century Version of Cinderella.
CD review: Jan Lisiecki's big-label Mozart concertos a triumph
I’ve been following Jan Lisiecki’s progress for three years now. Finally, with the release of this first big-label album, I think it’s safe to say that the now 17-year-old Calgarian (and current student at the Royal Conservatory’s Glenn Gould School) is Canada’s next great contribution to the world of classical piano.
INTERVIEW | Drawing Outside The Lines With "don’t shoot the pianist" Creator Eugene Chan
How does someone go from Microsoft software engineer to classical music cartoonist? We find out.
Interview: Catching up with some of Canada’s best-known composer/performers: Tim Brady, Glenn Buhr, and Adam Sherkin
In Canada, we seem to punch well above our weight in regards to composer-performers, and many of our home-grown talents have gained an incredible following.
Pianist Jeremy Denk an example of how to use a composer as a conduit not a destination in Toronto Symphony's annual Mozart fest
Look at the four programmes of Mozart@257 — spread out over seven concerts, which begin this evening at 6:30 — and behold a strange assortment of genres and guest performers.
Interview: There was no option but piano for Venezuelan Gabriela Martinez
The 28-year-old Venezuelan pianist makes her Toronto début as part of Roy Thomson Hall’s more intimate programming at the Glenn Gould Studio on Friday night.
Tonight: Pianist John O'Conor on the elusive art of sounding spontaneous
The affable pianist, a lifelong Dubliner, makes the key to spontaneiety sound at once easy and complicated.
PREVIEW | Tafelmusik Goes Au Natural At The Hearn For Luminato
By Ieva Lucs on June 16, 2016
The Tafelmusik Baroque Orchestra prepares to take the stage at The Hearn, acoustically naked but unafraid.
Tonight: Cellist Matt Haimovitz prefers to play it eclectic on stage and in the studio
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.
Interview: Simone Dinnerstein has more in common with Glenn Gould than we might think
“I was standing outside at night, thinking about Bach and being around this square full of modern buildings,” Dinnerstein recalls. “There were a lot of drunken tourists, this kind of nightlife. In the middle, here is Bach’s church and I was thinking about how there’s something extremely funny about the fact that people nowadays obsess about how Bach would have played his own music when you just need to stand in this place and see that absolutely everything has changed.