Musical Toronto was launched on November 2011 and has become Canada’s leading classical music web-magazine. We are here to report on the things that make Toronto one of the most vibrant classical music communities going. Musical Toronto does this with an emphasis on exploring the city’s audacious spirit and fostering a sense of connectedness within and between our communities. We look forward to introducing our readers to the people who create and present classical music on a daily basis.
Advertising, partnerships, and memberships are always welcome at Musical Toronto but are strictly curated. We do our best to promote local, independent, community-minded businesses and love to welcome newcomers to the community. If you would like to learn more about the benefits of working with Musical Toronto, please contact our publisher, Michael Vincent [editor [AT] musicaltoronto.org].
Musical Toronto has been featured in Washington Post, New York Times, The New Yorker, Forbes Magazine, CBC, Maclean’s Magazine, BBC, and the Globe & Mail. In 2014, Musical Toronto was honoured to win first place in the Canadian Weblog Awards. Musical Toronto reaches an average readership of 52,000 each calendar month.
EDITOR-IN-CHIEF | PUBLISHER
Michael Vincent was born at the edge of the world in Victoria, BC. Through a quest for creative understanding, he studied music, art, and critical theory, earning a doctorate. He drifted east to Montreal and worked as an editor for music magazines and cut his teeth with Norman Lebrecht. On January 21, 2014, he went to lunch and left as the publisher of Musical Toronto. Later that year he found himself as a freelance classical music critic for the Toronto Star, the former employer of his favourite author Ernest Hemingway.
John Terauds is the founder of Musical Toronto, and one of Canada’s most influential voices in classical music writing. He joined the Toronto Star in 1988 as a classical music critic between 2005 to 2012, and is a teacher, organist and choir director. He is also the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler. He has since retired from his role at Musical Toronto, but will remain on as editor-at-large, contributing once or twice every full moon.
OPERA AND VOICE EDITOR, CRITIC’S PICKS
Joseph So is Professor Emeritus at Trent University and Associate Editor of Opera Canada. He is also a long-time contributor to La Scena Musicale and Opera (London, UK). His interest in music journalism focuses on voice, opera as well as symphonic and piano repertoires. He appears regularly as a panel member of the Big COC Podcast. He has co-edited a book, Opera in a Multicultural World: Coloniality, Culture, Performance, scheduled for publication by Routledge (Taylor & Francis Group) in 2015.
REVIEWS EDITOR, RECORD KEEPING
To submit a digital CD or DVD for consideration, email: reviewseditor [AT] musicaltoronto.org
For physical submission, please use our mailing address listed at the top of this page.
Paul E. Robinson was music director of CJRT-FM and conductor of the CJRT Radio Orchestra. He has conducted in many countries including France, Mexico, Venezuela, Hungary and the United States. He has made recordings for RCA Victor and Marco Polo. He has written four books on conductors and conducting and is a regular contributor to La Scena Musicale (www.scena.org), Musical Toronto (www.musicaltoronto.org), The Art of the Conductor (www.theartoftheconductor.com), and Classical Voice North America (www.classicalvoiceamerica.org).
Stephan Bonfield reviews dance and ballet for the Calgary Herald, where he reviews Alberta Ballet, Decidedly Jazz Danceworks, and dance at The Banff Centre. He now reviews dance for www.musicaltoronto.org.
COLUMNIST, THE MORNING AFTER
Lev Bratishenko has written for Abitare, Canadian Architect, Cabinet, CBC Music, Gizmodo, Icon, Maclean’s, Mark, Triple Canopy, and Uncube. He reviews classical music for the Montreal Gazette and was a 2013 Online Editor-in-Residence at Abitare. Curator of “The object is not online” at the Canadian Centre for Architecture (CCA) in 2010; he was also Senior Online Editor and contributor to exhibitions, publications, and online projects like Sorry! Out of Gas (2007), Actions (2008), Intermission (2009), and Journeys (2010). He co-founded the Critical Workshop, a lab on architecture communication hosted at the CCA in 2010 and the Lisbon Triennial of Architecture in 2012. Lev studied architecture and art history at Yale University. In 2013 he was the first Canadian to receive a USC/Getty Arts Journalism Fellowship. He lives in Montreal and at www.yesyesyes.ca
COLUMNIST, CAPTAIN SENSIBLE
Michela Comparey reluctantly picked up the tuba at age 13. Thanks to competition with her brother who also played the tuba, she stuck with it and has since earned a Masters in Tuba Performance and Pedagogy from Memorial University. Her musical career so far has included playing with numerous ensembles including the Newfoundland Symphony Orchestra, the Royal Canadian Artillery Band (among others in the Canadian Forces), the Weston Silver Band, and several chamber groups. She is a co-founder of Euba, a professional tuba-euphonium quartet.
Joshua Denenberg is a Toronto-based composer, student, and writer. Originally hailing from Peekskill, NY, Joshua has been living in Toronto for nearly three years and intends to make it many more. At one point and time, Joshua also played bassoon but we never talk about that.
Colin Eatock is a composer and writer who lives in Toronto. He has written in a variety of media, composing works for solo instruments, voice, chamber ensembles, choir and orchestra. Eatock’s compositions have been performed in Canada, the USA and Europe, presented by Rome’s Accademia Filarmonica, the Houston Chamber Choir, Toronto’s Evergreen Club Contemporary Gamelan, Ottawa’s Music and Beyond Festival, Vancouver’s Erato Ensemble, and many others.
In addition to writing music, Eatock also writes about music. He has contributed many articles to Toronto’s Globe and Mail, and has also written for the New York Times, the Houston Chronicle and the Kansas City Star, among other publications. He is the author of two books: “Mendelssohn and Victorian England” and “Remembering Glenn Gould.”
Arthur Kaptainis started his career at the Varsity at the University of Toronto and established himself as a freelancer for the Globe and Mail. He writes for Opera Canada and is heard from time to time on CBC Radio Two. Besides writing for Musical Toronto, he is the classical music critic for the Montreal Gazette and the National Post.
COLUMNIST, LEBRECHT LISTENS
Norman Lebrecht is one of the most widely-read commentators on music, culture and cultural politics. He is a regular presenter on BBC Radio 3 and a contributor to the Wall Street Journal, Bloomberg, Standpoint, Sinfini and other publications. His blog, Slipped Disc, is among the most widely read cultural sites online, breaking exclusive stories and campaigning against human abuse and acts of injustice in the cultural industries.
Norman Lebrecht’s many books – which include The Maestro Myth, When the Music Stops, Mahler Remembered and The Life and Death of Classical Music – have been translated into 17 languages. His most recent work, Why Mahler?, is the best-selling composer biography of the 21st century.
Norman Lebrecht is a popular lecturer at major cultural institutions and universities. He has been invited to speak at the Universities of London, Yale, Syracuse, SUNY Buffalo, UMKC Kansas City, USC Los Angeles, Claremont McKenna, Carnegie Mellon, Tel Aviv and the University of Granada, Spain. He has also worked with the Gewandhaus zu Leipzig, Los Angeles Philharmonic Orchestra, London South Bank Centre, City of Birmingham Symphony Orchestra, Royal Liverpool Philharmonic, Intelligence Squared, the Shanghai International Literary Festival; and with the festivals of Verbier, Toblach, Cheltenham, Derry, Edinburgh, Melbourne and more.
COLUMNIST, ASK THE PROFESSOR
A consummate professional, James is recognized as a soloist, a chamber musician and as the pianist for Canada’s foremost ensemble, the Gryphon Trio. Add to this his critically acclaimed performances with major Canadian symphonies like Toronto, Vancouver, Victoria, Quebec City, Edmonton, National Arts Centre, Symphony Nova Scotia and many in between, one is reminded of the scope of his contributions to the national classical music scene. With three JUNO recording awards and many other nominations from his vast discography, James Parker continues to graciously strive to do it all.
Robin Roger is a writer, editor, book reviewer and psychotherapist living in Toronto. She is a passionate amateur pianist, trying to return to the level at which she played until she stopped when she was a young adult. She believes that a life long study of music, both appreciation and performance, is a major contributor to emotional and intellectual health.
Originally from St. Catharines, Ontario, Tyler Versluis first took music lessons from his grandfather and later studied music and sociology at Brock University. As a composer he has worked with ArpaTambora (Sanya Eng and Ryan Scott), ARRAYmusic, pianist Corey Hamm and tenor Will George, the Toy Piano Composers, gamUT new music ensemble, the St. Catharines Chamber Music Society, the University of Toronto Oratorio, the Niagara Youth Orchestra and the Brock University Wind Ensemble. He is an alumnus of the Atlantic Music Festival, VISI Art Song Lab, the Canadian Contemporary Music Workshop, ARRAYmusic Young Composers Workshop, and the Niagara Youth Orchestra.
Tyler lives in Toronto and is currently enrolled in the doctoral program at the University of Toronto Faculty of Music, studying composition with Gary Kulesha.