sM | What are some of the features in programming that you’d like to implement to expand the orchestra’s global appeal? And what creative opportunities does this city present that you perhaps won’t find elsewhere?

GG — While we can’t yet discuss the exact details of our programming, I believe that next season’s artistic schedule will speak for itself. We have been planning within the confines of existing restrictions, and in a sense have been programming our 2022/23 season hypothetically, imagining how the structure would work best. I feel familiar with the history of the Toronto Symphony Orchestra, and I know how active the orchestra has been in commissioning new works, so those elements have been incorporated  into both the 2021/22 and 2022/23 seasons.

Programming core repertoire and well-known works for our audience is obviously important, but I also believe that we are living in a time where integration and togetherness are especially interesting and significant. Within many of the programs, the chosen pieces contrast strongly with each other in terms of style, era, and aesthetics. I think including fresh, new voices is really important, not only new music but also music by living composers who have perhaps had their work premiered by the TSO. By fusing innovation with core works of the classical symphonic repertoire, we are varying the programming, which is a challenge for us—for me, but also for the musicians! However, we knew that this was the journey we wanted to  take our audience on. I’m aware of the fact that orchestras in Europe are funded in a different way, which in certain situations can make the process of blending established works with newer artists more stable. But that’s part of why it was important for us to combine these newer voices with the music and musicians that people know so well. I find that Torontonians have a sophisticated and adventurous appreciation for music, and Toronto is such a culturally vivid city. My belief is that we have a responsibility in two directions, both to honour what people know and love and to challenge ourselves and our audiences.

Finding a position in Ontario and in Toronto, being a part of those communities, is crucial for us; however, touring and playing globally is also very important, and we are looking to find a place in the wider world of performance. Clearly, everyone is still navigating the difficulties associated with the pandemic, but our minds are now working towards the future. We fully expect to perform outside of Toronto, and outside of Canada; touring and finding new destinations is one of the central challenges and goals for our future.