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Musical America routinely updates the list of scholarships and grants in an effort to keep current and ensure opportunities for musicians. If you know of a scholarship or grant not mentioned in our lists, please send us a message.
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July 16-29, 2023 Arlington, VA Piano Technicians Guild Convention
July 31 - August 3, 2023 Pittsburgh, PA International Association of Venue Managers Conference
August 16-18, 2023 Riverside, CA Association of California Symphony Orchestras Conference
August 20-23, 2023 Tokyo, Japan InterNoise Conference 2023
August 23-25, 2023 Huddersfield, United Kingdom Audio Engineering Society International Conference (Spacial & Immersive Audio)
September 5-8, 2023 Seattle, WA Western Arts Alliance Conference
September 6-8, 2023 Hasselt, Belgium Audio Engineering Society International Conference (Audio Education)
September 18-21, 2023 Quito, Ecuador Audio Engineering Society Latin American Conference
October 12-14, 2023 Charleston, SC National Association for Campus Activities Convention
October 16-19, 2023 Beaverton, OR Arts Northwest Annual Conference
October 19-21, 2023 Little Rock, AR National Association for Campus Activities Convention
October 19-22, 2023 Ottowa, ON Society for Ethnomusicology Conference
October 25-26, 2023 New York, NY National Association of Broadcasters Show
October 25-27, 2023 New York, NY Audio Engineering Society 155th Convention
October 26-28, 2023 Miami, FL College Music Society National Conference
October 26-28, 2023 Syracuse, NY National Association for Campus Activities Convention
November 3-5, 2023 Raleigh, NC National Council of Acoustical Consultants Conference
November 4-8, 2023 Ottowa, ON Canadian Arts Presenting Association
November 9-12, 2023 Denver, CO American Musicological Society Annual Conference
November 9-12, 2023 Denver, CO Society for Music Theory Annual Meeting
November 16-18, 2023 Riverside, CA National Association for Campus Activities Convention
November 17-21, 2023 Scottsdale, AZ National Association of Schools of Music Annual Meeting
December 4-8, 2023 Sydney, Australia Acoustical Society of America 185th Meeting
January 3-6, 2024 Phoenix, AZ National Opera Association Annual Convention
January 4-6, 2024 New York, NY International Conductors Guild
January 9-11, 2024 New York, NY International Society for the Performing Arts
January 12-16, 2024 New York, NY Arts Presenters Conference
January 18-21, 2024 New York, NY Chamber Music America
January 24-27, 2024 Spokane, WA American Choral Directors Association Northwestern Region Conference
January 25-28, 2024 Anaheim, CA National Association of Music Merchants Show
January 29 - February 1, 2024 Las Vegas, NV International Ticketing Association Annual Conference
February 7-10, 2024 Omaha, NE American Choral Directors Association Midwestern Region Conference
February 21-24, 2024 Louisville, KY American Choral Directors Association Southern Region Conference
February 27 - March 2, 2024 Denver, CO American Choral Directors Association Southwestern Region Conference
February 28 - March 2, 2024 Providence, RI American Choral Directors Association Eastern Region Conference
February 28 - March 2, 2024 Cincinnati, OH Music Library Association Annual Meeting
March 6-9, 2024 Pasadena, CA American Choral Directors Association Western Region Conference
March 6-10, 2024 Washington, DC American Bandmasters Association Annual Convention
March 16-20, 2024 Atlanta, GA Music Teachers National Association National Conference
March 20-23, 2024 Louisville, KY Suzuki Association of the Americas Conference
March 20-23, 2024 Louisville, KY American String Teachers Association National Conference
March 20-23, 2024 Seattle, WA US Institute for Theatre Technology Annual Conference
April 4-6, 2024 Des Moines, IA National Association for Campus Activities National Convention
April 13-17, 2024 Las Vegas, NV National Association of Broadcasters Show
April 30 - May 3, 2024 Perth, Australia International Society for the Performing Arts
May 13-17, 2024 Ottowa, ON Acoustical Society of America 186th Meeting
June 3-8, 2024 Los Angeles, CA Opera America
June 6-8, 2024 Atlanta, GA Chorus America Conference
June 16-19, 2024 Orlando, FL American Harp Society Conference
June 17-22, 2024 Fullerton, CA Guitar Foundation of America Convention
June 20-22, 2024 Chicago, IL Theatre Communications Group National Conference
June 28 - July 2, 2024 Knoxville, TN National Association of Teachers of Singing Conference
June 30 - July 4, 2024 San Francisco, CA American Guild of Organists
July 21-25, 2024 Flagstaff, AZ International Double Reed Society Annual Conference
July 31 - August 4, 2024 Dublin, Ireland ClarinetFest Conference 2024
August 1-4, 2024 San Antonio, TX National Flute Association Conference
October 17-26, 2024 Virtual Society for Ethnomusicology Conference
November 7-9, 2024 Washington, DC College Music Society National Conference
November 7-10, 2024 Jacksonville, FL Society for Music Theory Annual Meeting
November 11-16, 2024 Montréal, QC CINARS (International Exchange for the Performing Arts) 
November 14-17, 2024 Chicago, IL American Musicological Society Annual Conference
November 22-26, 2024 Chicago, IL National Association of Schools of Music Annual Meeting
February 26 - March 2, 2025 Chattanooga, TN American Bandmasters Association Annual Convention
March 5-8, 2025 Columbus, OH US Institute for Theatre Technology Annual Conference
March 15-19, 2025 Minneapolis, MN Music Teachers National Association National Conference
May 19-23, 2025 New Orleans, LA Acoustical Society of America 188th Meeting
June 17-20, 2025 Chicago, IL Dance/USA Annual Conference
August 7-10, 2025 Atlanta, GA National Flute Association Conference
October 23-26, 2025 Atlanta, GA Society for Ethnomusicology Conference
October 30 - November 1, 2025 Spokane, WA College Music Society National Conference
November 4-9, 2025 Minneapolis, MN American Musicological Society Annual Conference
November 6-9, 2025 Minneapolis, MN Society for Music Theory Annual Meeting
March 18-21, 2026 Long Beach, CA US Institute for Theatre Technology Annual Conference

Ask Edna
Edna Landau’s blog
Edna LandauEdna Landau—doyenne of the music business, long-time managing director of IMG Artists and director of career development at the Colburn Conservatory of Music in Los Angeles—writes Ask Edna exclusively for to provide invaluable advice to music students and young professional artists. Read more about Edna’s impact on the performing arts.

Send your questions to Edna Landau at and she’ll answer through Ask Edna. Click the links below to read Edna’s recent columns on the critical aspects of launching and managing and professional music career.

Arts Administration

Career Etiquette

Communicating with Your Audience

Finding a Manager

For Chamber Music Ensembles

Listening to Your Inner Voice

Managing Your Own Career

Publicity and Promotion

The Orchestral World

When It Comes to Recording

During Edna’s 23 years as managing director of IMG Artists, she personally looked after the career of violinist, Itzhak Perlman and launched the careers of musicians such as pianists Evgeny Kissin and Lang Lang, violinist Hilary Hahn, and conductors Franz Welser-Mõst and Alan Gilbert.

Edna believes young musicians can grow their own careers, with “hard work, blind faith, passion for the cause, incessant networking and a vision that refuse[s] to be tarnished by naysayers.”



Antony and Cleopatra at SFO: John Adams in His Prime

September 30, 2022 | By Thomas May, Musical America

SAN FRANCISCO  — John Adams has not tired of defying expectations. Nowhere is this more evident than in his works for the stage, which tend to trigger the most heated, even contradictory, critical reactions.

Antony and Cleopatra, his latest opera, comes loaded with surprises — and revelations — that show the 75-year-old composer at the top of his game. San Francisco Opera made a bold choice to launch its 100th-anniversary season with the world premiere production of a work whose musical and theatrical challenges alike are considerable. The moving, intricately layered performance I attended (on September 27, a few weeks into the run) justified that choice as singularly foresighted.

Transforming Shakespeare into opera is hardly unexpected per se. The Bard’s intensification of speech through poetry might be seen as analogous to opera’s intensification of emotion through music and the power of the singing voice. But Adams chose one of Shakespeare’s most complex panoramas, a blend of history, epic, and tragedy involving 40 characters in locations on land and sea across multiple continents.

Antony and Cleopatra may be among the world’s most legendary star-crossed couples, yet their motivations remain at best opaque without knowledge of the convoluted historical-political backstory: the misogynist and racist attitudes toward Cleopatra exacerbated by the Romans’ fear of her influence, for example, or the rivalry between military hero Mark Antony and the hyper-ambitious Octavian, Rome’s first emperor-in-the-making (called Caesar throughout the play and opera).

In another unexpected turn, Adams enlisted Elkhanah Pulitzer as director, marking the first time in his operatic career that he has not collaborated with Peter Sellars to create a new work. Likewise unexpected is the fact that Adams himself fashioned the libretto. There are, however, hints of the collage technique of combining unrelated sources, which Sellars developed to generate the librettos for several of his previous stage works. The opera begins with lines from The Taming of the Shrew’s prologue and includes a pivotal scene taken from Virgil’s Aeneid (in John Dryden’s translation) to set Caesar’s hunger for power in relief.

With a few smoothings into more contemporary vernacular, the words are Shakespeare’s (aside from the Virgil scene). Adams’s libretto streamlines the original into two acts totaling nine scenes, winnowing down the characters to a dozen and reassembling some of the lines. Still, it’s a long evening: at some three hours and twenty minutes (including one intermission), the opera well exceeds the typical duration of a staging of the play itself. A couple of scenes could benefit from some pruning.

Adams takes cues for his vocal lines from the rhythms and patterns of Shakespeare’s verse. But within this overall parlando approach, he manages to portray a distinctive personality for each of the principals. Cleopatra’s enormous range communicates her volatility and larger-than-life character. Amina Edris, a newcomer to Adams’s world, celebrates a career-defining triumph as the Egyptian Queen. She effortlessly negotiated the role’s punishing leaps and plunges with lustrous singing and radiated the dramatic presence of a seasoned actor.

Caesar addresses his troops in San Francisco Opera's Antony and Cleopatra

Gerald Finley also made an unforgettable impression as a multifaceted Antony who experiences a Tristan-like breakdown in the second act. He emphasized Adams’s understanding that this is not just a love story but a hate story, especially in the harrowing scenes with Cleopatra following his defeat by Caesar, which prompt some of the most searingly intense music Adams has ever written. Paul Appleby embodied the icy efficiency coupled with Puritancal contempt written into the role of Caesar — a combination of ruthless tech czar and MAGA demagogue.

There wasn’t a weak link among the rest of the large cast, with particularly affecting contributions from Elizabeth DeShong as an emotionally scarred Octavia (offered in marriage to Antony in a move to cement his bond with Caesar), Alfred Walker as Antony’s perceptive lieutenant Enobarbus, and Taylor Raven in the role of Cleopatra’s loyal attendant Charmian.

Anyone familiar with the dramatic, oracular role played by choruses in Adams’s earlier operas is bound to be disappointed by their limited presence in Antony and Cleopatra. Nor is there much in the way of conventional set pieces, whether arias or ensembles; Adams writes just one duet for the lovers, placed as they each prepare for the Battle of Actium (where the chorus first appears) — the catastrophic naval campaign against Caesar’s forces with which the first act reaches its climax.

What is gained is a newfound urgency, as well as focus, in the pacing of the music drama. Over the large scale of the entire opera, Adams intercuts simultaneous narratives of rise (Caesar’s consolidation of power) and fall (Antony’s disintegration, the cornering of Cleopatra) to powerful effect.

The intimacy of the central love tragedy frames the events but comes increasingly to the fore in the second act, with a corresponding flowering of the despairing lyricism that features prominently in this part of the opera. Another of the score's signatures is the restless energy, alternately nervous and aggressive, that pulsates throughout much of the action. We hear it at the outset, in ostinato rhythmic motifs, violent sforzandos, and sinuously flickering woodwind phrases.

Pulitzer and her design team work wonders translating these impulses into vivid theatricality, facilitating the swift flow of Adams’s dramaturgy. Mimi Lien’s geometrically severe set slides, expands, and shrinks to teleport us at once across the ancient world. There’s time travel as well: the costumes (Constance Hoffman) and projections of old newsreels (Bill Morrison) allude both to Golden Age Hollywood and to Mussolini-style fascism.

Eun Sun Kim navigated Adams’s metrical and timbral subtleties admirably, though I would have preferred a slightly tighter rein for the tremendous build-up of suspense that courses through the first act. She was especially effective in the sorrowfully drifting music of Cleopatra’s extended love-death in the final scene, which leads not to transfiguration but a wistful guttering of the candle.

Top: Amina Edris and Gerald Finley as the star couple

Cory Weaver/SFOpera


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