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2021 Guide to Top Competitions
Competing in the time of COVID-19
February 2021
Details for nearly 100 top competitions
With the arrival of the vaccines, a bit of light has emerged at the end of a long tunnel for musicians and competitions. It is a testament to competition organizers that, whether postponing deadlines, changing venues, or being forced to make any number of other alterations, these competitions have persevered. Their commitment to bringing new, exceptional talent into the limelight persists, and with that, their continued nourishment and renewal of the field. |
2021 Guide to Summer Camps, Institutes & Programs
Envisioning Summer 2021
November 2020
Summer 2021 holds promise: by then, having waited for COVID-19 to dissipate, artists will be hungry to perform, rehearse, teach, and/or listen to live music in a shared environment. Fortunately, there are many opportunities being planned, and our annual Guide to Summer Camps, Institutes, and Programs lists nearly 300 possibilities. |
2020-21 Guide to Music Schools
⇒ Includes pandemic policies for each school
September 2020
The Guide is always a substantial undertaking, even under normal circumstances.
Needless to say, we are not in normal circumstances. Looking into what is still a very cloudy crystal ball, we have added a few practical, pandemic-caused questions this year: Will you be starting in the fall as planned? Later? Will classes shift online? Will masks be required on campus? What about testing? Will classes be smaller? Any academic changes in store? Will on-campus housing be altered? Tuition change?
Consider: a new generation of musicians who are not only learning their craft, but also developing new coping skills, learning how to go with the flow, and, perhaps most importantly, become video producers par excellence. |
2020 Guide to Summer Festivals
Details for more than 100 events
April 2020
While the 2020 Guide to Summer Festivals is packed with more than 100 festivals, this Guide is also as much an expression of hope as it is of planning in this unpredictable time.
Festivals’ status and schedules are in continual flux, as you might imagine, so this Guide accurately reflects everyone’s plans for the coming season. We urge you to check with the individual events to confirm; we will be updating these pages as we receive new information.
Musical America’s 2020 Festival Guide offers a wealth of robust programming plans and we hope to see them come to fruition. |
2020 Guide to Top Competitions
Details for more than 90 contests
February 2020
Competitions have many moving parts—application deadlines, eligibility rules, artistic disciplines, frequency, dates, fees, jury members. We've gathered and filtered them all to present the sixth Guide to Competitions, our largest yet.
In addition, each part has subtleties and iterations. For instance, jury members may be teachers and, if so, the question arises as to whether their students will be allowed to compete (always a sharp discussion point after the winners are announced).
We run all those disparate elements through our filter to make the result as useful as possible. We hope it’s helpful, both to aspiring talent and to those trying to find the bright future stars. |
Read the articles below or |
• | Eduardo Gabriel Álvarez Ortega, Director General and Conductor, Acapulco Philharmonic Orchestra | • | Stephanie Arrigotti, Producer/Director, Western Nevada Musical Theater Company |
• | Patricia Barretto, President & CEO, Harris Theater for Music & Dance | • | Stephen Marc Beaudoin, Executive Director, The Washington Chorus |
• | Kathleen van Bergen, CEO and President, Artis-Naples | • | Shana Bey, Associate Orchestra Personnel Manager, Los Angeles Philharmonic |
• | Alexander Lloyd Blake, Founder and Artistic Director, Tonality | • | Synneve Carlino, Chief Communications Officer, Carnegie Hall |
• | Crystal Carlson, Director of Operations, Cleveland International Piano Competition | • | Adam Cavagnaro, President and Founder, Promethean Artists |
• | Leslie DeShazor, Violist, Teacher | • | Charles Dickerson, Executive Director and Conductor, Inner City Youth Orchestra of Los Angeles / South Side Chicago Youth Orchestra |
• | Monica Felkel, Director of Artist Management, Young Concert Artists | • | Sarah Hoover, Associate Dean for Innovation, Interdisciplinary Partnerships and Community Initiatives, The Peabody Institute of The Johns Hopkins University |
• | Rena Kraut, Executive Director, Cuban American Youth Orchestra | • | François Mario Labbé, President, Analekta |
• | Marianne LaCrosse, General Manager and Education Programs Director, Music@Menlo | • | Ashley Magnus, General Director, Chicago Opera Theater |
• | Ahmad Mayes, Director, Education & Community Engagement, Cincinnati Symphony Orchestra | • | Jazmín N. Morales, Manager, Center for Innovation and Community Impact, The Colburn School |
• | Veronica Neo, COO and Co-Founder, Primephonic | • | Andrew Ousley, Publicist and Presenter, Unison Media / Death of Classical |
• | Gary A. Padmore, Director of Education and Community Engagement, The New York Philharmonic | • | Melissa Smey, Associate Dean and Executive Director, Miller Theatre at Columbia University School of the Arts |
• | Johnnia Stigall, Manager, Pre-college and Pathway Programs, Cleveland Institute of Music | • | Caen Thomason-Redus, Senior Director of Community & Learning, Detroit Symphony Orchestra |
• | Melissa Wegner, Executive Director, Metropolitan Opera National Council Auditions | • | David Whitehill, Executive Director, Asheville Symphony Orchestra |
• | Sarah Williams, New Works Administrator, Opera Philadelphia | • | Benjamin Woodroffe, Chair, Global Foundation for Performing Artists |
2020 Guide to Summer Camps, Institutes & Programs
November 2019
We gathered all the important details you need to make decisions for your 2020 summer. From a villa in Tuscany to a log cabin in the Colorado Rockies, summer programs are popping up everywhere—and we have details on nearly 300 of them.
These relaxed, often bucolic settings also provide vast opportunities for networking and for just plain making new friends. Some of them offer regular camp activities, such as hiking and swimming; one program provides archery instruction along with master classes in string playing and chamber music. In virtually all cases, the chance to mix and mingle with the faculty is a given—meals are often served in a common dining room and the attire, except perhaps at those evening events, is strictly casual.
We hope you enjoy perusing your summertime music options, no matter your age, expertise, or geographical preference. |
2019 Guide to Music Schools
September 2019
For our largest Music Schools Guide, we culled about 60 institutions from our data base of nearly 1,200 schools. We focused on quality and reputation, and paid little attention to school size.
The result: the 2019-20 Guide runs the gamut from the Academy of Vocal Arts in Philadelphia (23 students) to the Jacobs School of Music at Indiana University (1,600 students).
While a school’s size doesn’t necessarily impact its quality, it can impact the breadth of options. Large university music programs will more likely offer, say, a double degree in trombone performance and business. However, some of the smallest schools are tuition-free, and most schools in the Guide offers some training in the music business.
For the student of the arts, it seems the field is rich in options. |
2019 Guide to Festivals
April 2019
The newest Guide to Festivals covers nearly 100 festivals with everything from opera in the Swiss Alps and chamber music in a California vineyard to prepared piano at a Massachusetts modern art museum.
Such is a sampling in our sixth annual Guide to Summer Festivals. Additional highlights: the world premiere of Poul Ruders’s
And they say the season slows down in summer. |
2019 Guide to Top Competitions
February 2019
This is our fifth annual Guide and it offers annotated listings of all shapes and sizes of competitions. They range from piano to voice to woodwind to all of the above; from annual to biannual to quadrennial; some include master classes; some are open to the public and include live rounds, others are by recorded submission only. But be they evolving or staying the same, competitions of any stripe remain an exciting way to discover, develop, and honor our rising artists.
We also sat with Pierre van der Westhuizen, currently in his second year as director of the Irving S. Gilmore Keyboard Festival and Awards. Westhuizen knows his way around competitions, having been the previous CEO of the Cleveland International Piano Competition, which he transformed into a world-class, multi-faceted experience.
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Read the articles below or | ![]() |
• | Bonnie Barrett, Director, Yamaha Artist Services New York | • | Shelly Berg, Dean and Patricia L. Frost Professor of Music, Frost School of Music, University of Miami |
• | Lorenzo Brewer, Founder and CEO, nkoda | • | Linden Christ, Director of Education, Chicago Opera Theater |
• | Christine Taylor Conda, Chair, Board of Directors, El Sistema USA; Director, Reach*Teach*Play® Education Programs, Ravinia Festival | • | Joseph Conyers, Assistant Principal Bass, Philadelphia Orchestra; Executive Director, Project 440 |
• | Damien Crutcher, CEO, Crescendo Detroit | • | Trey Devey, President, Interlochen Center for the Arts |
• | Eric Einhorn, General and Artistic Director, On Site Opera | • | Aiden Kim Feltkamp, Director of Emerging Composers and Diversity, American Composers Orchestra |
• | Gabriela Lena Frank, Founder, Gabriela Lena Frank Creative Academy of Music; Composer | • | Aloysia Friedmann, Founder/Artistic Director, Orcas Island Chamber Music Festival |
• | Heather Gladstein, Personal Assistant, Consultant & Tour Manager | • | James Gourlay, Music Director and CEO, River City Brass |
• | Lacey Huszcza, Executive Director, Las Vegas Philharmonic; Former Associate Executive Director, Los Angeles Chamber Orchestra | • | Homer Jackson, Director, Philadelphia Jazz Project |
• | Barbara Lister-Sink, Director, School of Music and Graduate Music Program; Professor of Piano, Salem College | • | Evan Mack, Composer, Pianist, Professor |
• | Terrance McKnight, Evening Host, WQXR Radio | • | Naoyuki Miura, Mari Ono, Artistic Director, Executive Director/Associate Artistic Director, Music From Japan |
• | Amy Schwartz Moretti, Director, Robert McDuffie Center for Strings | • | Dantes Rameau, Co-Founder and Executive Director, Atlanta Music Project |
• | Erik Rönmark, VP and General Manager, Detroit Symphony Orchestra; Co-founder and Executive Director, New Music Detroit | • | Clyde Scott, Director of Video Production/Resident Projection Designer, New World Symphony |
• | Steve Shaiman, Senior Vice President, Concert Artists Guild | • | Amanda Sweet, President, Bucklesweet |
• | Alan Valentine, President and CEO, Nashville Symphony | • | Abigayl Venman, Senior Director of Arts Leadership, Sphinx Organization |
• | Julian Wachner, Director of Music and Arts, Trinity Wall Street; Composer | • | Lecolion Washington, Executive Director, Community Music Center of Boston |
2019 Guide to Summer Camps, Institutes & Programs
November 2018
The largest Summer Guide yet
The 2019 Guide contains nearly 200 national and international listings. Some combine learning from the pros by day with listening to them perform by night. Others put the talent-in-training on stage and charge admission.
The programs come in all shapes and sizes. Some take place over a weekend, others last all summer. At the Salzburg Summer Music Academy, 1,000 students work with a faculty of 70; at the Bang on a Can Summer Festival, the count is 40 teachers to 11 students; at NYO Jazz, it’s 22 to 10; at Tanglewood it’s 155 to 75. Some are free, some are decidedly not.
Virtually all of the pre-professional institutes require an audition of some kind, while those for the very young steer clear of a competitive atmosphere. The listings in the Guide provide many options for musical self-improvement, with the added summertime bonuses of fun, friendship, and warm weather.
2018-19 Guide to Music Schools
September 2018
The new Guide contains key information — scholarships, faculty, audition requirements, just to name a few — on 50-plus top music schools, all in an easy-to-use format.
Two trends emerge in the Guide: Schools are now offering more and deeper areas of concentration, such as in Performing Arts Health, Lied Interpretation for Pianists, or a masters degree in Contemporary Chamber Music; and schools are injecting real-world relevance in the performing arts. Examples: Office of Entrepreneurship and Career Development at the Jacobs School of Music at Indiana University and the entrepreneurship grants and start-up funding for musical projects provided by the Curtis Institute.
What do the two trends mean? Schools are fully cognizant of the need to equip students to put their years of training to work as well as to develop expertise in the performing arts. Sounds like a winning combination. |
Read the articles below or | ![]() |
• | Baritone Adam Plachetka, February 2009 | • | Conductor Lionel Bringuier, April 2009 |
• | Pianist Di Wu, May 2009 | • | Composer Mason Bates, June 2009 |
• | Cellist/Composer Joshua Roman, August 2009 | • | Violinist Caroline Goulding, Decmeber 2009 |
• | Pianist Tamara Stefanovich, March 2010 | • | Baritone Quinn Kelsey, May 2010 |
• | Choreographer Kyle Abraham, June 2010 | • | Soprano Leah Crocetto, August 2010 |
• | Tenor Sean Panikkar, November 2010 | • | Dancer Robert Fairchild, January 2011 |
• | Composer Du Yun, May 2011 | • | Pianist Daniil Trifonov, August 2011 |
• | Conductor Ward Stare, November 2011 | • | Soprano Corinne Winters, January 2012 |
• | Violinist Tessa Lark, August 2012 | • | Violinist Patricia Kopatchinskaja, December 2013 |
• | Conductor Omer Meir Wellber, June 2014 | • | Conductor Speranza Scappucci, November 2014 |
• | Conductor Christopher Allen, July 2015 | • | Conductor Mirga Gražinyte-Tyla, September 2015 |
• | Composer Rene Orth, November 2015 | • | Composer Michael Gilbertson, March 2016 |
• | Cellist Sheku Kanneh-Mason, January 2017 |
2018 Guide to Top Festivals
April 2018
Our fifth annual Guide to Summer Festivals is our biggest yet—plus our usual free access to the 1400 listings in the Musical America database. The details for the festivals include dates, locations, booking details, artistic directors, programming, guest artists, ticket prices and much more.
Musical America contributor George Loomis also interviewed officials at two highly regarded events—Ravenna and Ojai—and asked them one set of questions, just for the purposes of compare and contrast. The two couldn’t be more different: one takes place over a weekend, the over a two-month period; one is in the U.S., the other in Europe; one is rural, the other urban; one’s in a valley, the other by the sea; one focuses on contemporary fare, the other on traditional; one houses its artists in homes, the other in hotels; Ojai’s venues are primarily outdoor and strictly 20th century, Ravenna’s are mostly indoor and date as far back as the sixth century. It’s a fascinating study of contrasts.
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2018 Guide to Top Competitions
February 2018
This Guide is our biggest to date and we've added more information about the competitions―everything from their Twitter handles to the names of the jury members, entry fees, cash prizes (as well as management, performances, and recordings), deadlines, frequency, disciplines, eligibility, and the dates of the semi-finals and finals. So, whatever the discipline, you (or your students) are bound to find the right competition at the right time and the right place.
We also interviewed Benjamin Woodroffe, secretary general of the World Federation of International Music Competitions (WFIMC), for his insights into the latest trends in competitions. Woodroffe discusses how the larger competitions are not only choosing the best and the brightest contestants, but also booking them, training them, and managing them.
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Read the articles below or | ![]() |
• | Douglas Beck, Director, Artist Training Programs, Weill Music Institute, Carnegie Hall | • | Bob Becker, Founding Member, Nexus; Composer/Arranger |
• | Sarah Burman, Director of Operations and Education, South Dakota Symphony Orchestra | • | Annie Burridge, General Director & CEO, Austin Opera |
• | Carla Dirlikov Canales, Founder, CEO, & Artistic Director, The Canales Project | • | Basil Considine, Founder and Artistic Director, Really Spicy Opera |
• | Paul Crewes, Artistic Director, Wallis Annenberg Center for the Performing Arts | • | Will Crutchfield, General and Artistic Director, Teatro Nuovo |
• | Margo Drakos, Co-founder and CEO, ArtistYear | • | Elena Dubinets, Vice President of Artistic Planning, Seattle Symphony |
• | Peggy Kriha Dye, Artistic Director, Opera Columbus | • | Cori Ellison, Opera Dramaturg, Teacher |
• | Andrea D. Fessler, Founder and Executive Director, Premier Performances of Hong Kong | • | Bernhard Fleischer, Managing Director, Bernhard Fleischer Moving Images |
• | Noreen Green, Artistic Director and Conductor, Los Angeles Jewish Symphony | • | Sean Michael Gross, Executive VP and Chief Strategy Officer, 21C Media Group |
• | Neeta Helms, Founder/President, Classical Movements | • | Jim Hirsch, Chief Executive Officer, Chicago Sinfonietta |
• | Cerise Jacobs, Co-Founder, Librettist, White Snake Projects | • | Peter Jarvis, Salesman, Reuning & Son Violins; Faculty member, New England Conservatory Prep |
• | Alex Laing, Principal Clarinet, Phoenix Symphony; Founder, The Leading Tone | • | Tania León, Composer, Conductor; Founding Artistic Director, Composers Now |
• | Mark Lowry, Co-Founder, Editor, and Chief Theater Critic, Theater Jones | • | Quinton Morris, Assoc. Prof. of Violin, Director of Chamber and Instrumental Music, Seattle University; Director, Key to Change Studio |
• | Eugene Rogers, Associate Director of Choirs, Associate Professor of Conducting, University of Michigan | • | Alex Ross, Music Critic, The New Yorker; Author, The Rest Is Noise, Listen to This |
• | Marna Seltzer, Director, Princeton University Concerts | • | Yuval Sharon, Founder/Artistic Director, The Industry |
• | Joan Squires, President, Omaha Performing Arts | • | Nancy Umanoff, Executive Director, Mark Morris Dance Group |
2018 Guide to Summer Camps, Institutes & Programs
November 2017
The inaugural Guide to Summer Camps, Institutes & Programs includes key information about more than 170 programs and is designed for ages seven to 70—teachers and parents looking for a summer arts program for their charges, high school students en route to the conservatory and those on their way to a professional career. The Guide is also directed to those for whom the arts is an avocation, looking to hone or rekindle their chops over a summer vacation.
We’ve included both foreign and domestic programs, the tiny programs (Cellos at Belle Serre in Castres, France, with an enrollment of ten) and the huge programs (University of North Carolina at Greensboro Summer Music Camp, with 1,900).
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Special Feature: The efforts by music schools and conservatories to keep pace with an ever-evolving job market by engaging in the community is explored in a feature article, Conservatories as Good Citizens: Four Success Stories. Author Brian Wise, producers of the Chicago Symphony Orchestra’s national weekly radio broadcasts, focuses on how music schools are infiltrating their surrounding community to help equip students with the needed tools for success. |
Special Feature: In a special feature article, we examine two summertime young-artist programs, one domestic and one foreign: Glimmerglass and the Aix-en-Provence Festival’s Académie. They share only two characteristics: their focus on opera and their sterling reputations. Otherwise they are very different. Glimmerglass is far smaller and also younger, but they have the same goal: training the artists of tomorrow by enabling them to work under and play—in every sense—with the pros of today. |
Special Feature: In a special feature article, we asked five top competitors about what they’ve learned, both as winners and losers, through their experiences. "I always imagine myself being as nervous as possible and still playing well," said Austin Larson, winner of the International Horn Competition of America—just one nugget among many uncovered in our interviews. |
Read the articles below or | ![]() |
• | Zuill Bailey, Artistic Director, El Paso Pro-Musica | • | Fred Bronstein, Dean, Peabody Institute |
• | Jane Covner, Associate, JAG Entertainment | • | David B. Devan, General Director and President, Opera Philadelphia |
• | Helen Eaton, Chief Executive Officer, Settlement Music School | • | Alan Fletcher, President and CEO, Aspen Music Festival and School |
• | Adrian Fung, Vice President, Innovation, Toronto Symphony Orchestra | • | James Ginsburg, President, Cedille Chicago |
• | Ed Harsh, President and CEO, New Music USA | • | Thomas Knific, Head of Jazz Studies, College of Fine Arts, Western Michigan University |
• | Christopher Koelsch, President and CEO, Los Angeles Opera | • | Missy Mazzoli and Ellen Reid, Luna Composition Lab |
• | Benjamin Mitchell, Founder and President, Kaleidoscope Chamber Orchestra | • | Beth Morrison, Creative Producer, Beth Morrison Projects |
• | Kristin Olson and Nadir Aslam, Founders, Mount Sinai Concerts for Patients | • | Bill Palant, Founder and Managing Director, Étude Arts |
• | Jonathan Palant, Founder/Conductor, Dallas Street Choir | • | Troy Peters, Music Director, Youth Orchestras of San Antonio (YOSA) |
• | Paola Prestini, Executive/Creative Director, National Sawdust | • | Roberto Prosseda, Pianist |
• | William Ransom, Artistic Director, Emory Chamber Music Society of Atlanta | • | Richard Scerbo, Director, National Orchestral Institute + Festival |
• | Paul Schwendener, Executive Director, All-Star Orchestra | • | Josh Shaw, Artistic Director, Pacific Opera Project |
• | Chad Smith, Chief Operating Officer, Los Angeles Philharmonic | • | Nick Squire, Recording Engineer, Boston Symphony Orchestra |
• | Melvin Stecher and Norman Horowitz, Executive Directors, New York International Piano Competition | • | Christian Thompson, Artistic Advisor, Orchestre National de Lyon |
• | Stephen Wadsworth, Director of Opera Studies, The Juilliard School | • | Katie Wyatt, Executive Director, Kidznotes |
Read the articles below or | ![]() |
Special Feature: Musical America explores career-guidance offerings at schools, both before and after graduation. In our feature story, Where Training in the Arts Meets Training for Life, author Ian VanderMeulen speaks with officials at five schools that we felt were particularly well-attuned to job market opportunities and challenges: Curtis Institute, London's Guildhall School, Indiana University's Jacobs School of Music, Juilliard and San Francisco Conservatory. |
Read the articles below or | ![]() |

April 2016
In this year's Guide, you’ll notice newcomers, such as Tippett Rise, established 2016 in Fishtail, Montana, and old faithfuls, like the Salzburg Festival, founded in that historic city in 1920 and not standing still: Cecilia Bartoli will be singing Maria in West Side Story. Not to be missed.
Special Feature: Our feature story reviews summer music programs that enable "grown-up" individuals to practice a favorite avocation, make friends, and, in many cases, enjoy the scenery. At the Tuscany Project, you can join a gospel choir while spending a week on the Greek Island of Kefalonia, among other of the Project’s locations; or pull your ?ute out of moth balls and head to Baltimore for the BSO Academy. Enjoy. |
Special Feature: We sat with mezzo-soprano Jamie Barton, recent Richard Tucker Award winner and someone on an astonishingly swift career trajectory, to try to find out her approach. Pretend it's just another job, she says, because "doing your job doesn't make your mouth go dry and your legs shake." |
Read the articles below or | ![]() |
• | Mei-Ann Chen, music director, Chicago Sinfonietta and Memphis Symphony Orchestra | • | Janet Cowperthwaite, managing director, Kronos Quartet/Kronos Performing Arts Association |
• | Adam Crane, vice president for external affairs, St. Louis Symphony Orchestra | • | Geoffrey John Davies, founder & CEO, The Violin Channel |
• | Afa Sadykhly Dworkin, president & artistic director, Sphinx Organization | • | Ruth Felt, founder & president, San Francisco Performances |
• | Leila Getz, founder & artistic director, Vancouver Recital Society | • | Yehuda Gilad, music director, The Colburn Orchestra |
• | Michael Heaston, director, Domingo-Cafritz Young Artist Program | • | Jonathan Herman, executive director, National Guild for Community Arts Education |
• | David Katz, founder & chief judge, The American Prize | • | Dr. Tim Lautzenheiser, vice president of education, Conn-Selmer |
• | Alecia Lawyer, founder, artistic director & principal oboist, River Oaks Chamber Orchestra | • | Charlotte Lee, president & founder, Primo Artists |
• | Jim Limbacher, managing director & president, St. Paul Chamber Orchestra | • | Bob Lord, CEO, PARMA Recordings |
• | Cheryl Mendelson, CEO, Harris Theater for Music and Dance, Chicago | • | Jerald Miller, managing director, Nu Jazz Agency |
• | Rocío Molina, flamenco dance artist | • | Francisco J. Núñez, founder & artistic director, Young People’s Chorus of New York City |
• | Jordan Peimer, executive director, ArtPower!, University of California, San Diego | • | Amit Peled, cellist & professor, Peabody Conservatory |
• | Scott Reed, president & CEO, Music Academy of the West | • | Lois Reitzes, director of arts and cultural programming, WABE-FM, Atlanta |
• | James Nyoraku Schlefer, artistic director, Kyo-Shin-An Arts | • | David Srebnik, classical music program director, Sirius XM |
• | Xun Sun, music director & conductor, Orchestra of Southern Utah | • | Pierre van der Westhuizen, president/CEO, Cleveland International Piano Competition |
• | Diane Wittry, music director, Allentown Symphony Orchestra, Ridgewood Symphony Orchestra | • | Yolanda Wyns, music program director, Harlem School of the Arts |
Read the articles below or | ![]() |
Below: View the Guide online and access the database or | ![]() |
• | Remote Music Lessons, in Real Time and Almost-Real Time | |
• | Read more about the schools in this issue | |
• | Search Our Worldwide Schools Database FREE during September |
Read the articles below or | ![]() |
We also called on our trusty U.S. and international contributors to find "off-the-beaten-path” festivals". So, we have:
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Below: View the Guide online and access the database or | ![]() |
• | View the Guide online | |
• | Confessions of Seasoned Jurist | |
• | Competition Judging: Keeping Evil out of the Jury Room | |
• | Search Our Worldwide Competitions Database FREE during February |
Read the articles below or | ![]() |
• | Peter Alward, managing director, Salzburg Easter Festival | • | Alexander Lombard, president & CEO, Lake George Music Festival |
• | Martin Anderson, founder & CEO, Toccata Classics | • | Ellen McSweeney, musician & blogger, NewMusicBox |
• | Steven Blier, artistic director, New York Festival of Song | • | Michael Morgan, music director, Oakland East Bay Symphony |
• | Misty Copeland, Soloist, American Ballet Theatre | • | Mattias Naske, intendant, Vienna Konzerthaus |
• | Aaron Dworkin, founder & president, Sphinx Organization | • | Sara Nealy, executive director, Festival Opera |
• | Hobart Earle, music director, Odessa Philharmonic Orchestra | • | Nicole Paiement, founder & artistic director, Opera Parallele |
• | Susan Feder, program officer arts & cultural heritage, The Andrew W. Mellon Foundation | • | Michael Pastreich, president & CEO, Florida Orchestra |
• | Anthony Fogg, artistic administrator, Boston Symphony Orchestra | • | Matthew Peacockk, founder & CEO, Streetwise Opera |
• | Michael Fox, director of operations, Hale Center Theatre | • | Joanne Polk, pianist, teacher, recording artist |
• | Edmund and Patricia Frederick, co-founders, The Frederick Piano Historic Collection | • | Eve Queler, conductor, impresaria |
• | Amelia Freedman, founder and artistic director, Nash Ensemble | • | Mark Sforzini, artistic & executive director, St. Petersburg Opera Company |
• | Wu Han, co-director, Chamber Music Society of Lincoln Center | • | Robert Spano, music director, Atlanta Symphony Orchestra & Aspen Music Festival |
• | Yin-Chu Jou, artistic director, Friendship Ambassadors Foundation | • | Becky Starobin, president, Bridge Records |
• | Johanna Keller, director arts journalism, S.I. Newhouse School of Public Communications | • | Stanford Thompson, founder & artistic director, Play On, Philly! / chairman, El Sistema USA |
• | Carol Lazier, president, San Diego Opera | • | Karen Zorn, president, Longy School of Music |
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Ticketing: The Latest in Successful Ticket Sales
November 2014
It's about data, timing and (of course) social media. |
Read the articles below or | ![]() |
Read the articles below or | ![]() |
Below: View the Guide online and access the database or | ![]() |
• | Of Shrinking Pools and Expanding Puddles of Opportunity | |
• | Read more about the schools in this issue | |
• | Search Our Worldwide Schools Database FREE during September |
Read the articles below or | ![]() |
Read the articles and access the databases below or | ![]() |
• | Sibling Summer Success Stories: Aspen and Verbier | • | Read more about the festivals in this issue |
• | Search Our Worldwide Festivals Database FREE during the Month of April |
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Careers Bonus |
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• | Mobile Media in the Concert Hall: Who’s Doing It and Who’s Not |
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• | What’s the difference between a nonprofit and a 501(c)(3)? |
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• | 2012 Newsmakers | • | 2012 News Milestones |
• | 2012's Ten Truly Inspired Ideas | • | A few Predictions for 2022 |
• | First Annual JJ Opera Awards |
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![]() Musicians and their Health Care
June 2012
Musicians are "the elite athletes of the small muscles"—with the need to stay on top of their abilities during a long career. We looked into the unique health care needs and solutions faced by musicians and businesspeople in the performing arts. |
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![]() Competitions: Behind the Scenes
May 2012
Key players across competitions provide straight answers to critical questions. Judges: what do they really look for? Presenters: does winning ensure bookings? Managers: do competitions matter? Winners: does winning make a difference? |
Read the articles below or download the special report PDF.
Read the articles below or download the special report PDF.

WHO'S BLOGGING

Law and Disorder by GG Arts Law
Career Advice by Legendary Manager Edna Landau
An American in Paris by Frank Cadenhead
