EDITORIAL | The TSO Removes Audience's Right to Choose
The TSO have censored pianist Valentina Lisitsa based on her political views, which goes against the Canadian Charter of Rights and Freedoms...
FITS AND BURSTS | The Effect of Scheduled Start Times on Concert Attendance
Concert start times can be divided into two primary groups: The 7:30 and the 8:00 p.m. Besides the supreme importance of curating world-class artists and engaging programs, arts presenters must also invariably decide upon the start time of each show...
#leanarts Tackles Performing Arts Ills with Startup Methods
By Margaret Lam on September 14, 2014
Christina Loewen, Executive Director of Opera.ca
, has a front row seat to the changes in the performing arts industry. As a member of Canada’s Performing Arts Alliance, she is a part of a conversation at a national level and across disciplinary boundaries about the realities of dwindling audience numbers, and the sustainability of the performing arts sector.
Op-ed: The Compositional Voice and the Need to Please
“What is a composer, today?
”, an article by Curtis Perry recently published on Musical Toronto
, gave rise to some lively debate on an issue that deserves some further thought. In the article, Perry acknowledges, “the apparent collapse of the publicly funded industry of commissioning and academia,” and asks that when composing, “is it inherently wrong to write music in order to please the crowd?” He also suggests that “the failure of the average composer of our time to be recognized by the average listener,” is a result of obedience to convention, and a desire for academic approval.
LINES OF ENQUIRY | What is a composer, today?
I believe the question of what a composer is today rests on what basis a composer – a practitioner of sound-art – is capable of accurately reflecting our contemporary rituals and life experiences. With this in mind, I will share three examples of who I think is renewing the idea of the composer for the public, and leading a way forward for this particular kind of artistic profession to find better appreciation.
A music critic’s odyssey against second-hand music
I try to listen to
the still, small voice within
but I can’t hear it
above the din
– from Little Audrey’s Story by Eliza Ward
Speaking the same language: thoughts on opera and musical theatre
But I can’t help but to wonder how he would have felt about music with words? More specifically opera and musical theatre? Surely he would have found this hybrid drama-music a salve to his musical neurosis?