Now based in Miami, Argentinian-born violinist Tomas Cotik came to embrace the music of his birthplace reluctantly — as an adult. He wanted to be — and has become — a classical violinist. He completed his graduate work in Germany, in the very heart of the European art music tradition.

Musical Toronto visits Charleston, South Carolina for the 40th-anniversary of the Spoleto Festival, including their first-ever production of Gershwin’s Porgy & Bess.

The programme featured a number of guest artists, including guest vocal ensemble GREX, guest conductor, Patrick Murray, and guest performers Jason Sharp and Kaie Kellough, whose extra presence managed to completely fill the well-attended Arrayspace venue on Thursday night.

The programme, which repeats on Saturday, is a strange match musically. But mixing a 19th century opera overture (from Giuseppe Verdi’s La forza del destino) with a warhorse solo showcase from the same period (Johannes Brahms’ Violin Concerto) and a late-20th century masterwork (Adams’ Harmonielehre, from 1985), ensured there was something to hear for nearly every taste.

French composer Camille Saint-Saëns, who bridged the Romantic and Modern eras thanks to an 86-year lifespan, was treated as a relic of a bygone age by his obituarists and university lecturers.

When the Ohio city’s exuberant Art Deco train station was handed a new life by preservationists as the Cincinnati Museum Center, the building also received a massive, new pipe organ, cobbled together from two instruments built in the 1920s by E.M. Skinner, the United States’ equivalent of Canada’s top builder, Casavant Frères.

Each of us has known trauma in our many relationships with others. But it takes a John Neumeier to show exactly what that looks like and the brilliance of the National Ballet to perform it.

COC presents Bizet's Carmen with Direction by Joel Ivany. "I might love you, and if I do, beware." — Those are the words of Carmen, played by mezzo-soprano Anita Rachvelishvili, and she means it.

The history of opera is an ongoing pendulum swing that began with the dramatic simplicity of the text at the start of the 17th century in Italy, and gradually became more vocally and instrumentally embellished, then was confronted with a back-to-basics movement in the mid-18th century.

Volume 6 of German baritone Matthias Goerne’s remarkable repeat journey through the Lieder of Franz Schubert has arrived at the 14 songs assembled after the composer’s death in 1828, and named Schwanengesang (Swan Song).