Because of opera’s long history, integrating elements such as prerecorded and live video into the mix opens up a larger discussion about the role of technology in live performance. - Fast Company
The “Rainbow Waltz” which Yannick Nézet-Séguin programmed for the generally tradition-bound event was attributed to Price (America’s first Black female symphonist) in the program. In fact, it’s a rather free orchestral arrangement of Price’s original piano version — so free that the leading scholar of her work calls it a “forgery.” - The Guardian
The Russian-British violinist joins five current artistic partners: harpsichordist and conductor Richard Egarr, pianist Richard Goode, cellist Abel Selaocoe, conductor Gábor Takács-Nagy, and violist Tabea Zimmermann. Ibragimova’s term begins next season. - The Strad
Overall, works by women made up 14.6 percent of programming in 2025, an increase on 2024’s 11.9 percent after a dip from 13.2 percent in 2023. - Limelight
“Sydney Symphony Orchestra has removed the $8.95 (Aus) booking fee on all tickets to its performances purchased from it directly, arguing the impost disproportionately impacted students and other lower-price ticket buyers.” - Australian Financial Review
The Afro-soul cover highlights a growing challenge — the difficulty identifying when generative AI has been used in production — and how audiences, platforms and artists are struggling to respond.
Sync, it’s called. Once it was known as library music; sometimes it’s called production music. It’s not really a genre. It’s a category, defined by its function: This is music that exists to be paired — synced — with video. That’s why it’s so ubiquitous. - The New York Times
“We’re left to wonder why a noted Price advocate, one of the world’s greatest orchestras, and a respected composer thought it was a good idea, or even remotely acceptable, to suppress Florence Price’s own melodies, harmonies, rhythms, and forms and substitute Dörner’s own for them.” - John Michael Cooper
“I grew up feeling perpetually ‘in-between:’ half-white, half-black; half-British, half-Caribbean, and on the faultline between what sometimes felt like two worlds at war. One night in 2008 my dad took me to see Pentangle play.” - The Guardian (UK)
“The maestro’s fall is the bare-knuckled endgame of a years-long power struggle over the soul of the Boston Symphony Orchestra, an ensemble renowned for its musical excellence, but which has struggled to keep pace with the times.” - Boston Globe
The venue, named after popular a public radio music show, has been in turmoil for a year, since a new management team led by CEO Joe Callahan took over from founder Hal Real. What’s now called World Stage still faces a pile of unpaid rent, tax and utility bills. - The Philadelphia Inquirer (MSN)
The magazine was sold to Mark Allen by Rhinegold Publishing in December 2018, together with other titles such as Music Teacher, Choir & Organ and International Piano. It had been flourishing since the late 1970s but was facing declining interest and online competition. - Slipped Disc
The time when every musical event, every world premiere, every opera opening, was the spark for a lively public discussion is gone. In its place we have, or soon will have, silence. - On a Pacific Aisle
