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2022 Guide to Festivals
A return to summer performances
April 2022
The largest Festivals Guidedetails for 115 festivals
The 2022 festival season feels like a joyous welcome home party after so long. Masks on or off, audiences and artists are lining up for live and in-person musical and terpsichorean performances in picturesque settings around the world, in vineyards, mountains, valleys, lakeshores, and amphitheaters historic and modern.
As usual, we’ve packed the Guide with the essentials, including dates, geographic and venue information, ticket prices and purchase links, pandemic safety links as needed, artistic directors, performers, web addresses, and social media links galore. Personally, we’ve already got one foot out the door, heading to the mountains, valleys, and any place in between for some serious music-making and listening. Hope you are too.
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2022 Guide to Top Competitions
A light starting to shine?
February 2022
Details for nearly 100 top competitions
But it is safe to say 2022 is looking more solid for competitions or, at least, for predicting and solidifying their information (be sure to check their websites for updates). Scrolling through the near-100 listings here, you’ll find quite a few looming application deadlines, along with live/streamed events in locations ranging from Ljublijana, Slovenia, to Cork, Ireland, to Flint, MI. The stakes are high, the challenges vast. But the rewards—monetary, professional, and just knowing you tried for your personal best—are huge, not just for the participants, but for a field that celebrates constant rejuvenation.
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Read the articles below or |
• | Lorna Aizlewood, Chief Operating Officer and General Counsel, HarrisonParrott | • | Wayne S. Brown, President and CEO, Michigan Opera Theater |
• | Camille Delaney-McNeil, Director, Beckmen YOLA Center at Los Angeles Philharmonic | • | Lara Downes, Pianist and Host and Resident Artist, USC Radio Group |
• | Lawrence Edelson, Artistic and General Director, American Lyric Theater | • | Sophie Galaise, Managing Director, Melbourne Symphony Orchestra |
• | Xiang Gao, Distinguished Professor of Music, University of Delaware, and Artistic Director, Master Players | • | Martha Gilmer, Chief Executive Officer, San Diego Symphony Orchestra |
• | Sasha Gutiérrez, Soprano, Impresaria | • | Daniel Hahn, Vice President of Education, Playhouse Square |
• | Neeta Helms, President, Classical Movements | • | Andrew Irvin, Concertmaster, Arkansas Symphony Orchestra |
• | Cerise Lim Jacobs, Founder, Executive Producer, Librettist, White Snake Projects | • | Lisa Jaehnig, Managing Director, Shuman Associates |
• | Terell Johnson, Executive Director, Chicago Philharmonic | • | Jennifer Koh, Violinist |
• | David LaMarche, Conductor and Music Administrator, American Ballet Theater | • | Nancy Laturno, Chief Executive Officer, Mainly Mozart |
• | Charlotte Lee, President and Founder, Primo Artists / Founder, Performing Arts Managers and Agents Coalition | • | Frank Luzi, Vice President of Marketing & Digital Strategy, Opera Philadelphia |
• | Anthony McGill, Principal Clarinet, New York Philharmonic | • | Heather Noonan, Vice President, Advocacy, League of American Orchestras |
• | Iván Enrique Rodríguez, Director of Education and Community Engagement, The New York Philharmonic | • | Christina Scheppelmann, General Director, Seattle Opera |
• | David Snead, President and CEO, Handel and Haydn Society | • | Titus Underwood, Principal Oboe, Nashville Symphony / Associate Professor, UC College-Conservatory of Music / Music Video Producer |
• | B.C. Vermeersch, Executive Director, Musicians Foundation, Inc. | • | Rod Vester, Director of Contemporary Music; Assistant Professor, Shenandoah University Conservatory |
• | Philip Wilder, President & General Director, Chanticleer | • | Tomer Zvulun, General & Artistic Director, Atlanta Opera |
2022 Guide to Summer Camps, Institutes & Programs
Plan your summer of music (finally …)
November 2021
As proven by the roughly 300 individual listings in the 2022 Guide, the phrase summer "camp" no longer applies strictly to children at play, nor does "institute" imply young artists at work. You can study lied in Vienna, practice yoga in Belgium, sing your heart out in Mandarin in China, play tennis in Peoria, or learn the Taubman Method at the Golandsky Institute in California.
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2021-22 Guide to Music Schools
Pursuing musical education in the pandemic age
September 2021
Students of the arts once sought only to train to achieve artistic excellence, but now that's not enough. On the heels of the pandemic and the move to streaming, an artist must also be an audio/video producer, winning onscreen personality, social media expert, and marketing whiz.
Music schools and conservatories are attempting to meet the challenge with solutions ranging from mentoring faculty, technology, and internships and fellowships, to name a few. Pay close attention to the Guide's “Career/Post Graduate Assistance” section |
2021 Guide to Summer Festivals
Looking ahead to a season of music
April 2021
Our largest Festivals Guide
Hope is in the air, vaccinations are in (many) arms, and our hardy crop of mountain, lakeside, and pastorally sited music-makers appear to be in recovery mode from a very long year. The latest Guide lists 100-plus entries, some still in the throes of program planning, others with their schedules nailed down, one or two strictly online, and most a combination of the above. We are thrilled on many levels to deliver the Guide and look forward to a summer season of music. |
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. |
2019-20 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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• | 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.
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• | 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 |
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• | 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 |
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• | 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 |
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• | 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 | ![]() |
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• | 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. |
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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.

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