17th November 2020 Armed with insatiable artistic curiosity, a true performer’s instincts and the advantages of a rigorous central European […]
Dr Hannah Baxter
Issue 15: Conflict and Collaboration
Happy New Year! I’m delighted to welcome you to Issue 15, which is comprised of three in-depth interviews, one to […]
Mark Warman on Scott Walker
27th November 2020 Conductor and Orchestrator Mark Warman teaches the craft of Musical Direction at the Royal Academy of Music...
Dame Jane Glover on Monteverdi’s Il Combattimento di Tancredi e Clorinda
21st October 2020 Acclaimed British conductor Dame Jane Glover has been Music of the Baroque’s Music Director since 2002. She...
Thoughts on Conducting during the Pandemic
by Nurhan Arman After having conducted two virtual concerts with Sinfonia Toronto I want to share my experience and impressions. […]
The Maestro: Benevolent dictator or collegial facilitator?
by John Andrews Ivan Hewett recently defended the image of the ‘tyrannical male maestro’ against a perceived inclination by orchestral […]
Issue 14: Contrasts in the 1930s
An essential element in every conductor’s education is learning to understand music in its historical context. Rachmaninoff’s Symphony No. 3 […]
Barbara Hannigan on Berg’s Lulu Suite
10th July 2020 Embodying music with an unparalleled dramatic sensibility, soprano and conductor Barbara Hannigan is an artist at the...
Sir Andrew Davis on Berg’s Lulu
22nd July 2020 Sir Andrew Davis is the Music Director and Principal Conductor of the Lyric Opera of Chicago. Maestro...
Leo McFall on Rachmaninoff’s Symphony No. 3
7th September 2020 Leo McFall is currently starting his tenure as Chief Conductor of the Symphonieorchester Vorarlberg. Winner of the...