The Australian Broadcasting Corporation reports:
Jayson Gillham believes artists have a right to bring their whole selves to the stage.
“I believe that everyone has the right to freedom of expression,” the internationally acclaimed, London-based pianist says.
That’s why the British Australian musician, 39, is suing the Melbourne Symphony Orchestra (MSO) for discrimination based on political belief, after it cancelled one of his scheduled performances in August...
My introduction of a concert of piano music performed by New England Conservatory students on April 14, 2026 in Jordan Hall, Boston.
This concert is part of two large projects: Mass250 (that’s Massachusetts 250), and America250. Both of these are many-part celebrations of the 250th anniversary of the U.S. Declaration of Independence.
The students playing tonight were chosen through a competition....
By revenue, the nonprofit arts sector is small — about $73 billion in organizational spending compared to $1.17 trillion in total US arts and cultural production. Disney's annual revenue alone is larger than every US nonprofit cultural institution in the country combined. But the map of audience shows something entirely
Today’s online “Arts Fuse” carries a piece of mine commenting yet again on the Boston Symphony firestorm, which pits enraged musicians against the management and board – and turns Andris Nelsons, the outgoing music director, in a martyr. Excerpts follow. The read the whole thing, click here. A 14-page “State
We would not have our Guardians grow up among representations of moral deformity, as in some foul pasture where, day after day, feeding on every poisonous weed, they would, little by little, gather insensibly a mass of corruption in their very souls. Rather we must seek out those craftsmen whose
Depth hasn't disappeared. Perhaps it's gone lateral. The vertical architecture that produced "official" cultural memory has cracked, but the appetite for tradition — for context, for lineage, for the why — has migrated to wherever audiences and individuals can build their own context and throughlines. Sometimes those lines are deep
Kaneza Schaal, Theater & Opera Artist & Director, talks about the extraordinary upcoming America at 250 season at Detroit Opera and its impact for audiences and community.
I know the conductor Thomas Fortner, now based in Berlin, from his years as assistant conductor of the remarkable South Dakota Symphony. Thomas recently posted a 70-minute podcast posing earnest questions about the state of classical music. Excerpts follow. JH (1:55): People are not attentive to the arts. People don’t
