Music

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MARK ADAMO

MAKING ROOM FOR MELISMAIC EMBROIDERY

“I follow the Zadie Smiths of the world saying the real value of art is muscular empathy.”

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MISCHA MAISKY IN TORONTO

THE CELEBRATED CELLIST REMAINS DEDICATED TO EXPRESSIVE MASTERWORKS

“The only thing I try to do is to destroy Bach’s music as little as possible.”

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LUCAS DEBARGUE

A VIRTUOSO CHALLENGES THE STATUS QUO

“There is a big difference…between the music I have in my soul and the trends in contemporary art music.”

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ANTHONY BARFIELD 

CLASSICAL COMPOSER  BRANCHING OUT NEW YORK

“I don't really see too many people occupying the space that are literally, straight-up, combining classical with what we know as the hip-hop idiom.”

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PAOLA PRESTINI 

A MULTIMEDIA COMPOSER

“One of the main characters in the opera is a robot that’s essentially being built through an international research culture and technology project.”

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A BIG YEAR FOR EMILY D’ANGELO

A MEZZO-SOPRANO WITH A CURATORIAL FLAIR

“As far as my style, it’s important to note that nothing happens in a vacuum. That’s the beauty of it. As you work with certain people, you discover different parts of yourself and learn new things.”

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MORGAN DAVISON

WHAT CAN STRAVINSKY DO FOR YOU?

“Every person will react in a different way upon listening. Some will be abhorred, some enraptured, some not amused. The important thing is that you felt something at all.”

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CAMILLE THOMAS

THE CELLIST ON THE ROOF

“ was so touched to see that the music, that this view of Paris which was close enough to the sky to be a little bit above the troubles of the world, could bring people so much joy.”

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EMMET COHEN: FOREVER MODERN

THE NEW YORK JAZZ MUSICIAN REFLECTS OF PANDEMIC CREATIVITY

“Jazz music has always adjusted, and it’s always adapted. That’s what it preaches and teaches: it’s about flexibility, it’s about adaptation, and it’s been amazing to see how the music has evolved in the time and space of the pandemic.”

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CHICAGO SYMPHONY ORCHESTRA

JEFF ALEXANDER - PRESIDENT OF CHICAGO 
SYMPHONY ORCHESTRA ASSOCIATION

“It’s not easy; it's never easy. But we’ll see improvements because of 2020. It’s opened our eyes even further; prompted us to ask, 'Can’t you see what your organization looks like? Don’t you think it should look different?'”

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ALEXANDER NEEF - PARIS OPERA HOUSE ARTISTIC DIRECTOR

There are always questions that you ask yourself, like: should we have taken more risks? Sometimes it’s easy to get intimidated by economic constraints and then sometimes you think maybe you should have just done it and not have abandoned it because you were afraid it wouldn’t generate the revenue.

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AMBUR BRAID, DAN KURTZ &ISAAC RAYMENT

“And that’s why so many people are moved to tears: it’s the acoustics. It gets into your bones and it reverberates and there are so few things that can do that. A live event was what mattered to me in the most safe way we can do it, because we’re missing that. And more than ever people need that; they need the human contact, the release, and the safe space to feel that power.”

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ALEXANDER SHELLEY - NATIONAL ARTS CENTRE
ORCHESTRA MUSIC DIRECTOR

"I feel very distinctly the privilege, the responsibility of working at a national organization... How how can we do the things that other organizations can't do? Because that, for me, is the essence of a federal entity. I've always felt that public entities need to be taking the risks that commercial entities can't."