{"id":104707,"date":"2024-06-03T16:03:12","date_gmt":"2024-06-03T20:03:12","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=104707"},"modified":"2024-06-04T09:18:40","modified_gmt":"2024-06-04T13:18:40","slug":"interview-royal-conservatorys-dr-peter-simon-life-music","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2024\/06\/03\/interview-royal-conservatorys-dr-peter-simon-life-music\/","title":{"rendered":"INTERVIEW | The Royal Conservatory\u2019s Dr. Peter Simon \u2014 A Life in Music"},"content":{"rendered":"
\"L-R
L-R (clockwise): Dr. Peter Simon (Photo: Stuart Lowe, courtesy of The Royal Conservatory); (left to right) Queen Elizabeth II, Prime Minister Jean Chretien, and Dr. Peter Simon – June 28 97 (Photo courtesy of the RCM); Lang Lang and Dr. Peter Simon (Photo courtesy of the RCM)<\/figcaption><\/figure>\n

At the end of August 2024, Dr. Peter Simon will step down from his role as President and CEO of the Royal Conservatory of Music. During his tenure, the institution has become recognized as a leading educational institution, as well as home to a world class concert hall.<\/p>\n

He\u2019ll be replaced in the role by Alexander Brose, as the RCM looks to expand its reach beyond Canada in its next phase of evolution.<\/p>\n

We spoke to Dr. Simon about his time leading the institution.<\/p>\n

Dr. Peter Simon<\/h3>\n

Simon was born in 1949 in northeastern Hungary, in a small village where his father worked as an engineer. They moved to Budapest, but in 1956, fled Hungary altogether before Simon\u2019s father could be arrested for organizing strikes to protest the Soviet invasion. They made it to Canada in 1957.<\/p>\n

Naturally, Simon\u2019s exposure to music didn\u2019t begin as an administrator. He studied the piano with Boris Berlin at the RCM he would later head. He continued piano studies at The Juilliard School in New York, and then at the University of Michigan. There, studying with Leon Fleisher, he earned his PhD.<\/p>\n

In 1986, he was the director of academic studies at the Royal Conservatory, where he brought Fleisher back to Toronto to teach and perform.<\/p>\n

It was essentially on a whim that he applied for the job of President of the Manhattan School of Music in 1989. To his surprise, and with zero management experience, he won the appointment. His tenure would last two years. In 1991, however, the job was open at the RCM back in Toronto.<\/p>\n

The Royal Conservatory of Music<\/h3>\n

To understand what Simon was coming home to, it\u2019s necessary to delve into the RCM\u2019s history.<\/p>\n

The Royal Conservatory of Music was founded in 1886 by Edward Fisher on the upper floor of his music store at Yonge and Dundas. At that time, it was linked to the University of Trinity College. That changed to an affiliation with the University of Toronto in 1896. For just under a century, it grew to establish a national network of examination centre, with annual performances and a Canada-wide profile as an educational institution.<\/p>\n

It developed into a centre for both student and professional training. The Canadian Opera Company grew from within its opera division, and it produced a generation of prominent musicians and teachers, including Glenn Gould, Mario Bernardi, Teresa Stratas, and others.<\/p>\n

But, Simon returned to an organization poised organizationally for the future, but also dealing with financial shortfalls and other assorted problems.<\/p>\n

From 1963 until 1991, the RCM has been governed entirely by the University of Toronto, which squeezed it out of its original home. The Conservatory landed at its current home on Bloor Street, but lost most of its concert and recital halls, along with the library in its entirety, and three pipe organs in the process. Without adequate funding, the institution entered a period of decline.<\/p>\n

In 1991, the RCM became independent from the University of Toronto through an act of the Ontario Legislature. It was a fairly tumultuous time, you could say.<\/p>\n

\u201cIt was pretty emotional for everybody,\u201d Simon says. \u201cWhat had happened was unfortunate.\u201d Still, there was potential, despite the challenges. \u201cIt was what it was.\u201d<\/p>\n

\u201cCooler heads and wiser heads prevailed,\u201d he says of the move to institutional independence. \u201cPeople realized that the Conservatory didn\u2019t fit within the university, and I commend the university for recognizing that,\u201d he says. \u201cI think it was a good thing for both parties.\u201d<\/p>\n

Three decades plus later, of course, both institutions are thriving as top notch music schools.<\/p>\n

\"Michael
Michael Koerner and Dr. Peter Simon in Koerner Hall (Photo courtesy of the RCM)<\/figcaption><\/figure>\n

Back To Toronto<\/h3>\n

What plans did he have on leaving Manhattan some 33 years ago?<\/p>\n

Overall, naturally, was his desire to \u201crestore it as one of the greatest schools in the world\u201d, as he describes it.<\/p>\n

\u201cProbably, three larger items that I thought could be done. One, prior to me going to Manhattan, I had started a professional training programs as an initiative to get the conservatory back to professional training, which had been part of its illustrious history,\u201d he says. \u201cOne, was to build on that.\u201d<\/p>\n

He likens it to a model based on the example of the Curtis Institute, which incorporates a set of philosophical values. He wanted to develop a real community where students that were supported, mentored, and guided.<\/p>\n

\u201cEach student would have an individual identity,\u201d he explains. \u201cOur job was to take them from point A to point B.\u201d The focus is always on the individual and their artistic voice.<\/p>\n

\u201cTo do that would involve a certain type of instructor,\u201d he elaborates. The kind of institution he envisaged would also incorporate more time for each student, specific facilities to accommodate learning and growth, and a welcoming environment.<\/p>\n

\u201cCanada had a great performance school at the RCM,\u201d he says. \u201cBut all that was lost.\u201d It was the right moment to rebuild that legacy. \u201cI thought Canada needed a great training institution.\u201d Canadian students could stay in the country to continue advanced training, and a high calibre institution would also attract foreign students.<\/p>\n

A Concert Hall<\/h3>\n

\u201cThe building was obviously a big, big issue,\u201d Simon notes. \u201cThere was no scenario that you could build a great institution as it existed.\u201d<\/p>\n

Once it had regained its status as an independent organization, the RCM was able to reclaim the building on Bloor where it is currently housed (formerly also home to McMaster University, among other things).<\/p>\n

\u201cIt needed a concert hall.\u201d<\/p>\n

Construction work began on what was called McMaster Hall (now Ihnatowycz Hall) in 1991, eventually developing into the Telus Centre. The Mazzoleni Concert Hall was added in 1997. The front entrance was opened in 2002.<\/p>\n

\u201cI felt Toronto needed a great concert hall with superb acoustics, and I didn\u2019t think we had one,\u201d Simon says. \u201cThe building and the concert hall together were an item. I felt that the performance aspect was a must.\u201d<\/p>\n

Koerner Hall, built at a cost of $110 million, would follow, opening in 2009 on what would have been Glenn Gould\u2019s 77th birthday. It was designed by Marianne McKenna of the architectural firm\u00a0Kuwarabara Payne McKenna Blumberg, already known for their work on the National Ballet School and other cultural institutions.<\/p>\n

Performance connected the school with the city and its people, as well as creating and fostering connections between its students and international artists who arrive to perform, and also give master classes and mentor. \u201cYou need that kind of environment,\u201d Simon explains.<\/p>\n

\u201cThat was the second big thing on the list.\u201d<\/p>\n

The third big issue on his mind went beyond the confines of the RCM or Toronto to consider what he calls \u201cthe virtual elimination of arts programs\u201d at public schools across the country. The infrastructure of music that made it part of people\u2019s everyday lives was being eroded. \u201cI thought we were headed for difficulties there.\u201d<\/p>\n

It led to his determination to strengthen the system of independent music schools and instruction that exists across Canada, and to hopefully to galvanize its expansion.<\/p>\n

\u201c[It] remains for me, the biggest catastrophe for education in my lifetime.\u201d<\/p>\n

\"The
The Telus Centre Groundbreaking ceremony on June 14, 2005 (Photo courtesy of the RCM)<\/figcaption><\/figure>\n

Peter Simon\u2019s Legacy<\/h3>\n

Among his other accomplishments, Simon reorganized the RCM\u2019s activities in interrelated units, including the community and professional schools, the examination centre, and others. Enrolment, revenues, endowments, scholarships \u2014 whatever metric you use, it has increased dramatically over the course of his tenure.<\/p>\n

Today, the RCM\u2019s programs and educational services reach about a half a million people each year.<\/p>\n

By the time he leaves the position at the end of August, his tenure will have lasted 33 years. It has been marked by expansion and consolidation. That has included a number of initiatives, such as:<\/p>\n