Tag Archive | "Robert Sirman"



The Canada Council has announced the appointment of Simon Brault as its next Director and CEO, succeeding Robert Sirman. Brault, who has been CEO of the National Theatre School since 1997, is one of the founders of Journées de la culture, a founding member and Chair of Culture Montréal, leads the steering committee of Montréal, Cultural Metropolis 2007-2017, and is a member of the International Advisory Board of the Musagetes Foundation. He will assume the role on June 26, 2014 for a 5-year term. Speaking about the appointment, Canada Council board chair Joe Rotman said, “Simon has raised the profile of the arts in his home province of Quebec, across Canada and internationally and is well positioned to lead the Canada Council in remaining responsive to the shifting arts ecology and to changing demographics, technologies and economic developments.

Symphony Nova Scotia has recently announced that Renaud Lapierre will be returning to join them in the 2014-15 season for a second one-year contract as Concertmaster.

The Victoria Symphony has announced the appointment of a new composer-in-residence, Jared Miller. Miller currently lives in New York, where he is completing his doctorate at the Juilliard School, where he is studying with John Corigliano. http://jaredmillermusic.wordpress.com/

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Canada Council Update

Canada Council Update

Each year, the Canada Council invites national arts service organization leaders to Ottawa for an annual face-to-face meeting; and this year, the meeting took place October 20 and 21, with well over 50 executive directors from media arts, writing and publishing, performing arts and visual arts service organizations meeting in the nation’s capital. Arts service organizations in music (including Orchestras Canada) had the opportunity for a focused meeting with Aimé Dontigny, the head of the Music section. And the entire group had the chance to discuss the current environment, receive updates on the Canada Council’s activities and plans, and share our own organizations’ initiatives, collaborations, failures, and successes.

Aimé Dontigny provided some thoughts on the cross-country consultation sessions that Music section staff have undertaken since September, and outlined the next steps in the review of operating programs. These include:

End of October: Conclude the face to face consultations with a session in Calgary
November: Undertake Webex consultations with stakeholders in communities not included in the tour
February: Issue a report on the geographic consultations (which will be made available to the community)
Fall 2014: Start “subdiscipline” consultations, including one with representatives from the orchestral community
Jan 2015: Issue draft program guidelines for new programs, with a generous allocation of time for feedback
June 2015: Announce new programs of support in music

Robert Sirman, Director and CEO of the Canada Council provided updates on Council’s activities in program review, public engagement, building internal capacity, and the upcoming leadership transition. (Mr. Sirman will be stepping down in June 2014; a search for his successor is now underway.) New Head of Arts Disciplines, Roger Gaudet, and Writing and Publishing officer Carole Boucher (who steered the consultation process and the development of the new program), presented a high-level overview of the results of the Flying Squad program review and the new Leadership for Change program, publicly announced on October 23. You can find details on the new program, here.

Currently, 80% of Council’s programs are undergoing review—and of that 80%, 2/3 are operating programs, including the operating programs in Music.

The Council has also launched a new International Market Access page with resources, grant
information and policy framework documents. You can find the portal here.

Public engagement continues to be a central concern for the Canada Council. CEO Robert Sirman explained that for many years, both Council and the community have expressed Council’s mandate as “support to artists.” With the new focus on public engagement, Sirman suggests that the mandate is, in fact, “to support artists because the public needs art.” At the same time, he was quick to clarify that this clarified message is intended to situate the Council as providing public value through funding the arts: it does not signal a shift away from a focus on professional arts practice.

Sirman also highlighted plans for additional research, review and analysis about current arts practice in Canada, as well as “foresighting” future arts practice. As part of this focus on research, attendees heard the results of a survey done by CADAC staff during the summer months. We learned that, while most respondents were “satisfied or very satisfied”
with the financial forms, the statistical forms were deemed far less satisfactory. And, an overwhelming number of organizations responded that they were unaware of the report function or had found it unsatisfactory as a research tool. It was good to hear that the survey results are being taken very seriously, and changes are already in the works.

Finally, we were reminded that Canada Council will have a new Ottawa home in December. Located at 150 Elgin Street, the design of the new space is intended to better reflect the Canada Council’s relationship with the arts community and the broader public, while reducing the organization’s operating costs and carbon footprint, and encouraging collaborative working practices. The building will have an official housewarming during the Council’s Annual Public Meeting, this year scheduled for January 28, 2014.

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The Canada Council for the Arts has announced the appointment of Roger Gaudet as the new Director, Arts Disciplines Division at the Council, effective October 15, 2013. He succeeds Anne Valois, who is leaving Council after 27 years—the last three in this role. He, too, is a Council veteran, with over 16 years of experience working in the Theatre section, most recently as Head. Mr. Gaudet will work closely with colleagues at Council on operating funding program changes, among other responsibilities.

The Canada Council for the Arts has reappointed Board Chair Joseph L. Rotman for another five year term. Speaking about the reappointment, Council Director and CEO Robert Sirman said, “Mr. Rotman’s deep understanding of best practices in business and management are enormous assets to the Council. His dedication to ensuring that Canadians have access to a vital and diverse arts sector is invaluable. The big changes to which the Council aspires take time, and Mr. Rotman’s reappointment will help ground the important work already underway on program renewal and public engagement. I am delighted we will be able to continue to count on his wisdom and support.”

Hearty congratulations to the Thunder Bay Symphony Orchestra’s resident conductor, Daniel Bartholomew-Poyser, who was recently awarded the Jean-Marie Beaudet prize by the Canada Council for the Arts. Worth $1,000, the Jean-Marie Beaudet Award is given annually to a young Canadian conductor as recommended by the Grant to Professional Musicians Peer Assessment Committee for the March 1st deadline. Eligible candidates are selected by the Music Section from among the resident or staff conductors with Canadian orchestras. To learn more about Mr. Bartholomew-Poyser, please visit bartholomewpoyser.com.

The Canada Council Michael Measures Prize has been awarded to 19-year-old violinist Blake Pouliot, a Toronto native who’s currently studying at the Colburn School in Los Angeles. Launched in September 2010 through a partnership with the National Youth Orchestra of Canada (NYOC), the prize will provide Mr. Pouliot with $15,000 to help continue to build his musical career, already off to a promising start. To learn more about Mr. Pouliot, please visit canadacouncil.ca.

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The Canada Council has announced that the 2012 Virginia Parker Prize has been awarded to young countertenor Daniel Cabena. The award is for Canadian classical musicians under the age of 32 who demonstrate outstanding talent and musicianship. “Daniel Cabena is part of a new generation of artists helping to put Canada on the world stage,” said Robert Sirman, Canada Council Director and CEO. “The Canada Council’s Virginia Parker Prize recognizes Daniel’s achievements as a singer of great expressive power and will help to assure the brilliant career that lies ahead.”

The Orchestre symphonique de Laval has announced the departure of general director Alain Demers, after a successful 5 year tenure with the orchestra.  Alain is taking on a new role with the Fondation Cité de la santé de Laval.

The Montréal International Music Competition has announced the winners of its 2012 competition, this year for voice. The overall winner was Canadian bass-baritone Philippe Sly; for more information on the other winners, please visit concoursmontreal.ca.

Montréal’s Orchestre Metropolitain has announced the appointment of Jean R. Dupré as its new President and CEO, succeeding Mme Luce Moreau. No stranger to the not for profit world, M. Dupré has been part of both Speed Skating Canada and the Canadian Olympic Committee. Speaking about his appointment, he noted, “joining an organization, like this orchestra, that has attained a level of excellence is truly an honour, since I’ve spent my whole career building, cultivating and maintaining excellence.”

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Montréal, nous t’aimons

Montréal, nous t’aimons

Between Sunday, May 27 and Tuesday, May 29, over ninety people representing Canadian orchestras from St. John’s NF to Nanaimo BC gathered in Montréal for Orchestras Canada/Orchestres Canada’s national orchestra meetings – 48 hours of concentrated learning, peer exchange and artistic appreciation. The event was co-hosted by the Orchestre symphonique de Montréal and the Carmelle and Rémi Marcoux Chair in Arts Management at HEC Montréal, and – between the generosity and formidable resources of our hosts, the hospitality shown to us by the Conseil des Arts et des Lettres de Québec (CALQ) and the Conseil des Arts de Montréal, the consistently high standard of the presentations, the transparency and power of the OSM’s sound in the new Maison symphonique, the generosity of our partners in government, corporate sponsors, and foundation and individual donors, the sheer fascination exerted by our host city, and the reliable joy of once again sharing the air with true colleagues – a splendid time was had by all.

Many of the sessions were recorded, and over the coming weeks, OC’s summer student Mike Romaniak will be editing the recordings, synching them to the PowerPoint slides, and posting them on OC’s YouTube channel. We’ll keep you up to date on the latest!

While many, many people went beyond the call of duty in making all of this possible, Orchestras Canada/Orchestres Canada particularly wants to recognize:

The team at the Orchestre symphonique de Montréal – Mmes Madeleine Careau and Melanie La Couture, and – of course – Maestro Kent Nagano, whose presentation to the group on Tuesday morning was a highlight

The faculty and staff of the Chair in Arts Management at HEC Montréal, with particular thanks to Francois Colbert, Holder of the Carmelle and Rémi Marcoux Chair in Arts Management, who generously supported our quest to partner with HEC Montréal on the conference, and Dr. Wendy Reid, who invested untold hours to ensure that our program was rich in intellectual content, that we heard about HEC faculty’s latest research on relevant topics, and that our dealings with the school were pleasant in all ways.

Our guest speakers: Kelly Hill of Hill Strategies Research; Dr. Robert Flanagan, professor of Labour Economics at Stanford University; Bob Fraser, bass trombonist of the Victoria Symphony and secretary of the Organization of Canadian Symphony Musicians; Stephen Huddart, CEO of the J.W. McConnell Foundation; Robert Sirman, director of the Canada Council for the Arts; Maestro Kent Nagano; Kelly Rice of CBC Radio; and breakout session guests Denise Ball, Robert Rowat and Steve Pratt from CBC; Frédéric Massé, Heenan Blaikie, Labour and Employment Law Group; and Cossette Communications.

Members of our group who led or facilitated break-out sessions for their peers: Trudy Schroeder, Erika Beatty, Vicki Young, Leanne Davis, Mitchell Krieger, Marie-Anne Perreault, Elizabeth Aman-Hume.

Volunteers from HEC Montréal, who assisted with everything from package stuffing to registration to note taking.

A particular feature this year was a parallel gathering for education and community engagement staff of Canadian orchestras, made possible by a visionary foundation partner. This intrepid group met for a day and a half for a program that explored such topics as diverse audiences, using technology to further orchestra’s music education programs, collaborations and partnerships, evaluation, and network development. This part of the program was designed and facilitated by Dr. Diana Dansereau, Assistant Professor of Music Education at Boston University, and it featured guests from a range of artistic disciplines. In the coming weeks, we’ll be working through some of the implications of the meeting, including the all-important work of building on the nascent network that started so well in Montréal.

Finally, a word of thanks to the funders and sponsors who made it all possible:

Canada Council for the Arts
Department of Canadian Heritage
An anonymous foundation donor
Great West Life – London Life – Canada Life
Dr. George Freundlich
Coffee break sponsors: Agence Station Bleue, L’Arsenal à Musique, Cowan Insurance, Domoney Artists Management, Long and McQuade

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Orchestras Canada’s National Meetings

Orchestras Canada’s National Meetings

We’re hard at work putting final touches on the program for BOTH components of Orchestras Canada’s national meetings, taking place in Montreal in late May. Component #1 is the meeting of CEOs, which runs from May 27-29; component #2 – made possible by a visionary foundation partner – is designed for education and community engagement staff of member orchestras, and takes place May 28 and 29.

The meetings are co-hosted by the Orchestre symphonique de Montreal and HEC Montreal. Program highlights include presentations by Dr. Robert Flanagan of Stanford University, Kelly Hill of Hill Strategies Research, Robert Sirman of the Canada Council for the Arts, key faculty at HEC Montreal, Stephen Huddart of the J.W. McConnell Foundation, Phillip Bravo of Carnegie Hall’s Link-Up National and International program, Dr. Ann Patteson of Queen’s University and the Royal Conservatory’s Learning Through the Arts program – and, as a particular highlight, a session with Maestro Kent Nagano, with CBC host/producer Kelly Rice. We’ll get a behind the scenes tour of the Maison symphonique with acoustician Tateo Nakajima. And there’s more!

To view the agenda for the CEOs meeting, please click here.
To view the agenda for the Education/community engagement meeting, please click here.

Two matters of some urgency:

While we’ll be taking registrations right up to a week before the meetings, the deadline for booking hotel rooms at the Hyatt Regency Montreal at our negotiated rate of $137/night is today – April 25. To get more information and to book on-line, please visit orchestrascanada.org.

Tickets for our highlight concert, the sold-out performance by the Orchestre symphonique de Montreal on Monday, May 28, are in very short supply – and we’re distributing them on a first come, first served basis to meeting registrants. Register on-line today, to avoid disappointment.

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Federal Budget 2012

Federal Budget 2012

Much has been written about the federal budget, delivered by Finance Minister Jim Flaherty on Thursday, 29 March – and more will be written in weeks to come, as detailed departmental spending estimates are released. In the meanwhile, though, we’ll provide the headlines we think are particularly pertinent to the orchestral sector.

Budget 2012 explicitly indicates that the budget for the Canada Council for the Arts will be maintained at $181 million for 2012-13. We have subsequently received informal confirmation from Canadian Heritage Minister James Moore that three other programs well-used by Canadian orchestras, the Canada Cultural Investment Fund (which includes the Arts Endowment Component), the Cultural Spaces Fund and the Canada Arts Presentations Fund, will maintain funding levels in 2012-13.

As has been widely reported elsewhere, other agencies of the Department of Canadian Heritage have not fared so well, with the National Arts Centre taking an ongoing funding reduction of $1.9 million and the Canadian Broadcasting Corporation taking a $115 million cut. The effect of these funding reductions will be clarified in coming days.

While this news provides valued breathing room to Canadian orchestras, it’s fair to say that the notion of “business as usual” has fundamentally changed. Budget 2012 explicitly states that “[o]rganizations within the Canadian Heritage portfolio will streamline corporate support functions, consolidate office space and improve the efficiency of operating processes, improve processes for managing programs and operations, and prioritize grants and contributions. Canadian Heritage will move to a more integrated policy framework that focuses on the socioeconomic benefits that their programs offer to Canadians and their communities. The Department will also focus on funding that leverages contributions from partners.”

Similarly, the Budget Day release from the Canada Council for the Arts quotes Director Robert Sirman as saying that “[t]he government’s decision to maintain the Council’s funding gives us the opportunity to independently take actions that will generate savings that we can reinvest back into the professional arts sector. It will also enable us to ensure our programs continue to be relevant, cost-effective and responsive to the changing needs of the community. Over the next three years we will implement a number of changes that are already in development, including reducing the cost of our office space, streamlining operational processes and adjusting programs.” The release goes on to say, “[i]n the coming months, the Council will review options that address its traditional commitment to the core of creative arts practice while reflecting areas of increasing priority, including equity, public engagement, and national and international market access.”

In addition to the measures specific to arts investment that were announced in Budget 2012, there were also a number of references to the Canadian charitable and not for profit community.

They included:
• the fundraising potential inherent in the discontinuation of the penny;
• stricter guidelines for reporting political activity by charities, and the development and delivery of education programs by the Canada Revenue Agency to ensure that charities are accurately reporting their political activity. By law, charities are able to dedicate as much as 10% of their time and resources to non-partisan political activity; however, new measures will be put in place to better track and report it, including a new section in the annual T3010 form. For more information about this, please visit cra-arc.gc.ca;
• stricter guidelines for charities accepting gifts from foreign sources to underwrite political activity.

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What’s Up At Orchestras Canada

What’s Up At Orchestras Canada

As living proof that there’s no rest for the wicked, we’ve been busy at Orchestras Canada in recent weeks! Here’s a quick update on a few of the things that we’ve been working on.

Youth Orchestra Task Force: Recruitment is complete, and we’re now working on scheduling the first meeting of a new task force that will study the current state and needs of Canadian youth orchestras. We are grateful to the following people for stepping forward to serve on the task force, east to west:
Ken MacLeod, New Brunswick Youth Orchestra (chair)
Louise Richard, Association des orchestres de jeunes du Quebec
John Gomez, Ottawa Youth Orchestra Academy
Diana Weir, Hamilton Philharmonic Youth Orchestra
Paul Dornian, Mount Royal Conservatory
Sheila Redhead, Greater Victoria Youth Orchestra

Comparative Reports for 2010-11: Do you love orchestra data? If so, we have a treat for you. With the co-operation of 65 Canadian orchestras, from small to huge, OC’s intrepid statistician, C. Stephen Smith, has completed work on this year’s Comparative Report – a compendium of contextual, financial and audience data from the 2010-11 season. While the detailed report is only available to participating orchestras, we’ve published two summary reports (by region of the country and budget size) on our website – and you can view them here.

Final touches are being put on a brand-new report by Kelly Hill of Hill Strategies Research, commissioned by Orchestras Canada with support from the Ontario Arts Endowment Fund. To complement our annual Comparative Report study, we’ve asked Kelly to report on the observable trends from six years of data from fifty consistently-participating Canadian orchestras, 2004-05 to 2009-10. Watch this space: we’ll let you know when it’s posted (in both languages, bien sûr!) on our website.

Planning for the National Orchestras Meetings in Montréal: The full program for the 2012 national orchestras meeting will start at 1 p.m. on Sunday, May 27 and it will wrap up at 12 noon on Tuesday, May 29. Confirmed program highlights include presentations by Professor Robert Flanagan, author of the recently-published The Perilous Life of Symphony Orchestras; key staff at HEC Montreal; Kent Nagano, music director of the Orchestre symphonique de Montréal; and Robert Sirman, director of the Canada Council for the Arts. Delegates will also be attending a SOLD OUT concert by the Orchestre symphonique de Montréal, led by Maestro Nagano and featuring Cirque Eloize, in a new “imagining” of Ravel’s Daphnis and Chloe. We are also planning a parallel program for symphony education and community engagement staff, May 28-29. For more information, click here.

This past weekend, members of the Orchestras Canada board of directors met in Toronto to kick off the development of a new strategic plan for OC. Working with Peter O’Donnell and Linda Spence of Healthy Futures Group, the OC board engaged in 1.5 days of intense discussion, attended performances by the Toronto Symphony Orchestra and Tafelmusik Baroque Orchestra, and re-affirmed our belief that Canadian orchestras have an intelligent and brave group of directors working on their behalf. While the plan itself will not be complete for a number of months, we can hint that the following themes will almost surely be explored in it:

Smart positioning of Canadian orchestras – with government bodies, the Canadian public and businesses and philanthropic funders
Collective action – enhancing and expanding partnerships and collaborations
Network building – providing the tools and venues to Canadian orchestras to learn together, build common cause, and better support one another

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Update from the Canada Council for the Arts

Update from the Canada Council for the Arts

Earlier this week, 75 representatives of national arts service organizations – including Orchestras Canada’s Board Chair Thérèse Boutin and Executive Director Katherine Carleton – took part in a meeting in Ottawa hosted by the Canada Council for the Arts. One of the highlights of the meeting was a presentation by Canada Council Director and CEO Robert Sirman, during which he elaborated on the Council’s current perspective on funding, priorities and challenges, Council’s corporate plan, and the Government of Canada’s Deficit Reduction Action Plan (DRAP).

Here are some key points of Mr. Sirman’s presentation:

Canada Council’s parliamentary appropriation for 2011-12 is $181 million: it is unchanged since 2007.

Council is either experiencing or anticipating three new and distinct forms of financial pressure:
1. Income from endowments, traditionally 5-6% of Council’s budget, is lower than usual due to the performance of the Council’s investment portfolio;
2. Council is affected by fiscal restraint legislation that covers all federal government departments and agencies. Administrative and overhead costs cannot exceed a baseline established in 2010-11. In partial response to this, the Canada Council will be moving its offices in just over 2 years; this move is projected to save the Council a significant amount of money each year, while providing the organization with a notable branding opportunity;
3. Like every other part of government, Council has been asked to participate in the Government of Canada’s Deficit Reduction Action Plan (DRAP), an exercise designed to bring government spending back into balance by 2014-15. DRAP applies to every federal government department and agency, including the Canada Council, Department of Canadian Heritage, Industry Canada, the CBC and HRSDC. Council has submitted scenarios for 5% and 10% spending cuts to Treasury Board, and Treasury Board’s decisions for 2012-13 will be conveyed next February or March. Only then will Council know its spending targets for the fiscal year that starts April 1, 2012.The scenarios submitted by Council are protected by cabinet confidentiality, and even senior staff at Council are not apprised of their content. Mr. Sirman stated strongly that there is no evidence that the Canada Council will be a particular target for cuts; at the same time, there is every indication that the Council will be asked to contribute to savings targets. He also noted that Council will not be in a position to make up shortfalls created by funding reductions from other federal funders.

Despite these pressures, Council is committed to its core mandate and to regularly and thoroughly evaluating the effectiveness of its work and the responsiveness of its programs to the evolution of the arts in Canada. Mr. Sirman reminded attendees of the five themes in Council’s last strategic plan – and three more recent elaborations of those themes:
1. The role of the individual artist
2. The role of arts organizations
3. Equity
4. Partnerships
5. Internal Capacity

6. Facilitating greater synergy within the existing arts infrastructure to enhance sustainability and adaptability.
7. Increasing Council’s focus on the impact of the transition to a digital society on the arts.
8. Advancing a public conversation on the value that art and artists make to everyday life.

Readers who are interested in knowing more can review the Council’s corporate documents at canadacouncil.ca.

Mr. Sirman shared some thoughts on potentially resonant (and less-resonant) messaging from the arts community.

Resonant Messages
• Job retention and job creation are key;
• Stabilizing the economy and strengthening Canada’s economic position are enormously important: thus the current Deficit Reduction Action Plan;
• Issues related to freedom of expression are important – and they do not affect artists only.

Less-resonant Messages
• There is no appetite to revive the cancelled programs of support for international market development and cultural diplomacy. If the Government of Canada re-engages in this area at a later date, the approach will be a very different one.
• The concept of special treatment for certain individuals or groups has limited traction: arguments are most successfully framed when they’re presented in light of their impact on a broad group of Canadians.

In all, we benefited from a candid and well-informed report from the Canada Council’s staff leader – and we hope our readers appreciate it, too.

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Late last week, Joseph L. Rotman, Chair of the Canada Council for the Arts, announced the reappointment of Robert Sirman as Director and CEO of the Canada Council for a second four-year term. Mr. Rotman characterized this as “excellent news. Mr. Sirman’s leadership over the last four years has been exemplary…Under Mr. Sirman’s leadership, the Council underwent two significant reviews: a Special Examination by the Auditor General of Canada, which said the Council was doing a good job of managing its affairs, and a Strategic Review of all of its programs, which resulted in the 2010 federal budget stating that the Council’s programs were aligned with the priorities of Canadians. The Board and I look forward to drawing upon Mr. Sirman’s wealth of experience and expertise in our continuing efforts to ensure that Canadians enjoy an abundance of arts experiences of exceptional quality across the land.”

Congratulations to Maestro John Morris Russell, Music Director of the Windsor Symphony Orchestra, who has been presented with the Herb Gray Harmony Award by the Multicultural Council of Windsor, recognizing the diverse and inclusive concert series and musical programs he has developed to celebrate and promote multiculturalism in Windsor/Essex. In the announcement of the award, he was cited in this way: Maestro Russell is an advocate for Windsor/Essex and strives to reach out to all members of society. Music has given him a means of connecting with the residents of Windsor/Essex and increasing the quality of life. His diverse programming has given cultures a voice and a way through which to educate others. His education concerts specifically target students to create an awareness of other cultures early on and give composers from different cultures a medium to present their work. John Morris Russell has made Windsor/Essex a welcoming place for artists from different cultures and a city with diverse artistic talents.

The Eckhardt-Gramatté National Music Competition in piano has announced its 2010 winners. The laureates include grand prize winner Claudia Chan, a 20-year-old pianist from Ottawa currently studying in Toronto; second prize and Brandon Prize winner, Andrea Lodge of Bonavista, N.L.; third prize winner, Christopher Morano, originally of Sault Ste. Marie ON.  As well, the Canadian Music Centre and Canadian League of Composers presented its Friends of Canadian Music Award to Montréal-based conductor Véronique Lacroix – also founder and artistic director of the Ensemble contemporain de Montréal – who has conducted over 200 Canadian works during her career.

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Next Generation Leaders Orientation Session

Oakham House, Riel Room
63 Gould Street
8:00-9:00 am

Katherine Carleton
Andrew Mellanby

Orchestras Canada’s Next Generation Leaders program, now in its second year, is a competitive national bursary program designed to help talented future leaders with a keen interest in Canadian orchestras, and under the age of 35, to attend the National Meetings, and engage in in-depth conversations with senior leaders in the field. This year’s NGL participants include:

Emily Carr (Thunder Bay Symphony)
Jeremy David Krahn (Winnipeg Symphony Orchestra)
Allison Luff (Regina Symphony)
Marie-Anne Perreault (Orchestre symphonique de Longueuil)
Faeron Pileggi (Toronto Symphony Orchestra)
Bryn Richards (Saskatoon Symphony Orchestra)
Kevin Zakresky (Prince George Symphony Orchestra)

The program is underwritten by Orchestras Canada’s Strategic Reserve Fund.

Culture Track 2014: Examining the Evolving Behaviors of Cultural Audiences (Plenary)

Oakham House, Tecumseh Auditorium
63 Gould Street
9:00-11:00 am

Maggie Hartnick, Associate Director, Strategy and Branding
Hil Moss, Associate Strategist

Elaine Calder, Executive Director, Shaw Festival
Robert Fraser, Chair, Organization of Canadian Symphony Musicians
Denny Young, Vice President, Development, Toronto Symphony Orchestra

Culture Track 2014 is the culmination of a decade of national research (fielded 6 times since 2001) that focused exclusively on attitudes, motivators, and barriers of culturally active audiences. LaPlaca Cohen built on existing research studies and dug deeper into what’s really driving or discouraging cultural participation. The findings include a new – broader – definition of culture, how people plan for and engage with organizations and with culture, and how people perceive an organization as worthy of participation or donation, among others.

More information about Culture Track>>>


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Attesting to our dedication to service and our ability to deliver and sustain results, we have been privileged to work with an unrivaled roster of leading museums, performing arts organizations, architecture firms, orchestras, dance companies, corporate sponsors, foundations, and collectors.

Long & McQuade Coffee Break


Long & McQuade is the largest chain of musical instrument retailers in Canada, with 63 locations from British Columbia to Newfoundland. This means that if you’re a touring musician, you’ll have the benefit of dealing with a familiar store with consistent sales, supplies and service, no matter where your homebase is.

Balancing Act: The Financial Health of Canadian Symphony Orchestras (Plenary)

Oakham House, Tecumseh Auditorium
63 Gould Street
1:30-2:30 pm

Renaud Legoux, Associate Professor of Marketing, HEC Montreal

Perspectives on Recording and Digital Strategies (Panel Discussion)

Oakham House, Layton Room
63 Gould Street
2:30-3:30 pm

Moderator: Randy Barnard
Tricia Baldwin, Managing Director, Tafelmusik Baroque Orchestra
Marie-Josée Desrochers, Director of Strategic Planning and International Relations, Artistic Department, Orchestre symphonique de Montréal
Rick Dunlop, VP Sales and Marketing, NAXOS Canada

This session is generously sponsored by Beatty Media Projects.
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For the last 20 years, I produced concerts with professional orchestras across Canada. Known for strategic integration of innovative ideas and new technology, I helped create partnerships, develop audiences, and bring in new revenue. I love to connect with others who create intriguing projects and get things done. My favorite work identifies community need, creates lasting results, and engages new, young and remote audiences.

[thinking / learning / making things happen]

Finding and Keeping a Younger Audience: What's working?

Oakham House, Tecumseh Auditorium
63 Gould Street
2:30-3:30 pm

Moderator: Renaud Legoux
Jennifer Bryan, Director of Sales, Toronto Symphony Orchestra
Tim Crouch, Marketing Coordinator, Tafelmusik Baroque Orchestra
Kimberly Raycroft, Senior Marketing Officer, National Arts Centre Orchestra

This session is generously sponsored by TicketPro.

Finding and Keeping a Younger Audience: Sponsored by TicketPro


Ticketpro Canada Inc. is a leading provider of box office software and online ticket sales and services for entertainment events. We specialize in feature-rich solutions for venues, festivals, event organizations, producers and promoters.

Dean Artists Coffee Break 2

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“Dean Artists Management specializes in the management of classically trained singers, conductors of singers, and opera stage directors/choreographers. Founded by owner Bruce Dean as the classical music division of The Talent House (www.talenthouse.ca), Canada’s most successful classical agency has branches in Toronto and New York. After twenty years in international arts management, we remain attuned to the trends of the opera and classical music markets, and to the visions of our colleagues and clients.

Working as a team to strategically broaden the careers of established artists, Dean Artists Management is equally known for its ability to nurture and guide emerging careers. Our artists include specialists in both early and contemporary music, carefully chosen “cross-over” artists, and those directors and conductors who have a particular knowledge of, and affinity for, opera, choral and vocal orchestral repertoire.”

Deepening Community Toward Strategic Engagement (Plenary)

Oakham House, Tecumseh Auditorium
63 Gould Street
4:00-5:15 pm

Speaker: Paul Born

Paul Born, author, Ashoka Fellow, and President of Tamarack Institute will give a talk and lead a short workshop inspired by his recent book, “Deepening Community: Finding Joy Together in Chaotic Times”. In chaotic times like these we naturally reach out to each other for security, sense making and belonging. Many years of not really needing each other and over-relying on professional intervention to meet our individual and community needs have left us with diminished skills and resources for community. How can we build community in our lives, our organizations, and in the places we live? Paul’s powerful and often humorous stories provide concrete examples that inspire individuals to reach out to others and work together.

Tanztheatre Wuppertal Pina Bausch: Kontakthof

Making its Toronto premiere and marking the 40th anniversary of choreographer Pina Bausch’s legendary Tanztheater Wuppertal, Kontakthof is the crowning achievement of her too-brief career. First staged in 1978, it has earned global praise as a masterful examination of the eternal battle of the sexes; wherein whatever harmony is achieved is ultimately scuttled because male and female forces are inevitably opposed. The setting is a drab dance hall, as separated groups of women and men slowly interact. The need, and quest, for not just intimacy but love ignites a spectrum of actions and reactions, sometimes angrily, often comically, always brilliantly.

Critical Response Workshop (Plenary)

KPMG, 333 Bay St, 46th Floor
9:00-10:30 am

Judy Harquail
Tim Yerxa
Sam Varteniuk

Our three facilitators will lead attendees through a Critical Response process, using the Tanztheater Wuppertal performance as the departure point. (A ticket to the performance is included in all meeting registrations.) Deceptively simple, the power of the process is extraordinary: it encourages reflection, connection, and inclusion in group discussions about any complex shared experience. In addition, the facilitator does not need to be an expert on the subject and only requires minimal education on the process itself.


Cowan Insurance Coffee Break 3

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As one of the preeminent insurance brokerage and consulting operations in Canada, Cowan specializes in providing the best value to businesses, organizations and individuals for their insurance and risk management needs. Cowan Insurance Group represents the leading national and international insurance companies in order to provide the best balance of coverage, risk management services and specialized expertise available to each and every client.

Canadian orchestras and Federal Government Priorities

Moderator: Micheline McKay
Jeff Alexander, Vancouver Symphony Orchestra
Thérèse Boutin, Orchestre symphonique de Québec
Brian Emmett, Chief Economist, Imagine Canada
Paul Wells, Political Editor, Maclean’s

What can we do today to initiate positive change for ourselves, our orchestras, our community?

Facilitator-in-chief: Jane Marsland

Orchestras Canada’s new strategic plan is predicated on collaboration – the belief that better collaboration between orchestras will further the cause of orchestral music in Canada, enhance the resiliency of the sector, and make every orchestra stronger. We think OC has a key role to play in facilitating this collaboration – but we need your input!

This conference-closing session will begin with an open forum to confirm topics that you think are the most amenable to a collaborative approach, whether led by members or led by OC (Research and analysis? Collaborative artistic/education projects? Advocacy? Digital strategy? You tell us!)

Move into facilitated breakout sessions for in-depth discussions and rapid prototyping of the ideas your group finds most compelling, and conclude with a report-back to the plenary.

We look forward to your input and your energy!



Associate Director, Strategy & Branding, LaPlaca Cohen

Maggie’s diverse experience in the fields of art, architecture, and design gives her a distinct edge for driving content direction, ideation, and strategic ideas for the cultural world. She has helped to direct messaging, marketing, and communications strategies for renowned national and international projects in the private and public sector that range from urban planning, museums, and performing arts, to education, hospitality, and interactive technology.

Maggie has been involved in the art and architecture world in a variety of ways, including journalism, teaching, curating, and advocating. Before joining LaPlaca Cohen, she was a Senior Manager of Content Strategy, Communications and New Media at the architecture and design firm, Rockwell Group.

Maggie received a MA in Art and Architectural History from The Institute of Fine Arts at NYU, and a BA in English Literature and Fine Arts from Amherst College.


Associate Strategist, LaPlaca Cohen

With a background in both the performing arts and the global contemporary art world, Hil brings a diverse range of insights into the cultural landscape and the unique opportunities that organizations possess as they move into the future. Hil received a BA in Art History and a certificate in African Studies from Princeton University, where her undergraduate thesis focused on new models of collaborative art practice spearheaded by burgeoning artists in Kampala, Uganda—where she also assisted in planning for the development of the first multi-disciplinary arts center in the country. Prior to joining LaPlaca Cohen, she interned in the Deputy Director’s Office of the Solomon R. Guggenheim Foundation & Museum.

Hil sits on the Board of Trustees of the Princeton Triangle Club, the oldest touring collegiate musical-comedy troupe in the United States, in which she previously performed as an actress and served as the organization’s President


President, Organization of Canadian Symphony Musicians

Robert Fraser (goes by “Bob” to all his friends) has been the bass trombonist in the Victoria Symphony since 1990. He holds a Bachelor’s degree in Music Education from Brandon University, a Licentiate in Trombone Performance from McGill University, and Master of Arts in Musicology/Performance from the University of Victoria.

During the 2005-06 season, Bob was acting bass trombonist of the Calgary Philharmonic, and held a similar position in the Winnipeg Symphony in the fall of 2009; in both instances replacing a musician on sabbatical leave. In addition to his work with the Victoria Symphony, he performs regularly as a trombonist in groups as diverse as the Palm Court Light Orchestra, the Festive Brass (at The Butchart Gardens), and Victoria’s own Renaissance wind band, “A Great Noyse” where he plays an array of wind instruments, including recorder, crumhorn and the ancestor of the trombone, the sackbut.

Besides the trombone, Bob is a chorister, singing with the St. Christopher’s Singers of Christ Church Cathedral, the chamber choir Vox Humana, and the eight-voice ensemble Raincoast Voices. He enjoys lecturing and teaching as well, giving pre-concert talks for the Victoria Symphony and occasional lectures on orchestral music and music history for various groups.

Bob has also worked as a long-time advocate for musicians, as Secretary-Treasurer of the Musicians’ Association of Victoria and the Islands (Local 247, CFM) from 1991-2002, and as Secretary of the Organization of Canadian Symphony Musicians (OCSM) from 2003-2013. In August 2013 he was elected President of OCSM.

Bob occasionally performs music with his wife, Ann, a violinist who specializes in early music. And when he’s not chasing his Abyssinian cat, Jack, around the house, he feeds his addiction to cryptic crosswords and Facebook.


Executive Director, Shaw Festival

Elaine Calder is one of North America’s most experienced performing arts administrators. Between 1994 and 2012 Ms. Calder held executive leadership positions with the Canadian Opera Company, the National Arts Centre, Hartford Stage, the Edmonton Symphony and the Oregon Symphony, before returning to the Shaw Festival as its Executive Director in September 2012 – a position she held previously, from 1990 to 1994. She has led significant financial recoveries at most of these organizations, primarily by increasing attendance and earned and contributed income, rather than by cutting expenditures. She took the Edmonton Symphony to Ottawa for the NAC’s 2005 Alberta Scene Festival with a program of music by five contemporary Alberta composers, and produced its first recording of the music of John Estacio. Similarly, she took the Oregon Symphony to Carnegie Hall for its triumphant performance at the 2011 Spring For Music Festival, and produced its Grammy-nominated recording of that program, entitled Music for a Time of War. Despite her return to theatre she continues to love the symphonic repertoire and orchestral musicians and so far this year has attended concerts by the orchestras of Toronto, Hamilton, Buffalo, Rochester, Cleveland, Columbus, Detroit, Seattle and Portland, Oregon.


Vice President of Development, Toronto Symphony Orchestra

Denny Young has held senior fundraising and communications positions in a number of sectors including health, social service, and the arts. He currently serves as a member of the senior management team of the Toronto Symphony Orchestra in the role of Vice-President, Development. In this position he has the privilege of working with a dedicated team of 14 staff and many passionate volunteers – all tirelessly engaged in developing support for the orchestra’s annual operations and building the TSO’s endowment.

A regular speaker and lecturer on nonprofit management, Denny is also a part-time faculty member at Ryerson University in the Nonprofit Management Program and at Humber College in the Fundraising Management program.


Associate Professor, Marketing –HCE Montreal

Renaud Legoux is Associate Professor of Marketing at HEC Montréal. He received his PhD in Management with a concentration in Marketing from McGill University. He is the director of the Master in Management of Cultural Enterprises. Before his academic career, he worked as a manager for a professional theater company. His current research interests include arts marketing, consumer satisfaction, and sponsorship.


Director of Sales, Toronto Symphony Orchestra

Jennifer Bryan has dedicated over 10 years of her life to arts marketing. After graduating with an arts degree in music, she quickly realized that the glamorous life of a jazz guitarist was not for her. After being taught by the best in the biz at Humber College, Jennifer learned the marketing ropes at Tafelmusik Baroque Orchestra and Chamber Choir. She has since spent 7 years at the Toronto Symphony Orchestra, and is currently Director of Sales, where she focuses on (and delights in) growing audiences and ticket revenue in this wonderfully challenging cultural landscape.


Author, Ashoka Fellow, President of Tamarack Institute

Paul Born is the President and cofounder of the Tamarack Institute which since 2001 has provided leadership in Canada on issues of citizen engagement, collaborative leadership and community innovation. Prior to Tamarack, Paul Born was the Executive Director and co-founder of the Community Opportunities Development Association one of Canada’s leading community economic development organizations that were recognized by the United Nations as one of the top 40 projects in the world. He was elected into the world’s largest network of social innovators, as a Senior Ashoka Fellow in 2013.


Program Manager, Ontario Performance Arts Presenting Networke

Judy has over 30 years of experience working in the performing arts. Her previous accomplishments include directing and executing touring activity for some of Canada’s most highly respected dance and opera companies, developing and executing strategic marketing campaigns and working in collaboration with an extensive range of arts organizations and arts professionals across Canada, the United States, and throughout the world. Amongst the many projects she is currently working on, she is Program Manager for Ontario Presents where she is responsible for the Ontario Dances and Theatre Connects program, the Audience Demographic Mapping program and CCI’s block booking program. She also has extensive experience dealing with all levels of government funding agencies having worked on contract for the Canada Council and the Department of Canadian Heritage assisting in the launch of the Arts Presentation Canada Program in Ontario. Judy is the 2007 recipient of the National Arts Centre award for distinguished contribution to touring and the 2011 Sandra Tulloch Award for Innovation in Arts and Culture in Ontario.


General Manager, The Registry Theatre

Sam Varteniuk is General Manager of The Registry Theatre, and Artistic Director of JM Drama Alumni. He has spent 15 years writing, directing, producing, and starring in stage plays, short films, and sketch comedy. Sam has worked extensively in the world of Drama Therapy/Theatre for Social Change, collaborating with mental health organizations, seniors’ communities, and newcomers to Canada to tell their stories; he recently embarked on another such collaboration with KW’s Extend-A-Family.


Program Officer, Music Section, Canada Council for the Arts

Daniel Swift, a conductor and a musicologist, was artistic director of two Canadian orchestras, and guest conducted ensembles and orchestras in Canada, Europe and the United States. He currently holds the position of Program Officer at the Canada Council for the Arts. At Orchestras Canada’s 2014 National Meeting, on Friday June 13, he will lead an ideas exchange session on support to Canadian composers and conductors as it relates to the orchestra milieu.

Conductor and musicologist Daniel Swift studied oboe and composition at the Conservatory in Trois-Rivières, music history and musicology at Laval University in Québec, and conducting with Pierre Dervaux and Jean-Pierre Jacquillat in Paris. He has been music director of l’Ensemble instrumental de Trois-Rivières, the Laval University orchestra and of the Ensemble instrumental des Jeunesses musicales du Canada (Montréal). Winner of the Heinz Unger Conducting Award in 1983, he was assistant conductor for Boris Brott with the Hamilton Philharmonic and Uri Mayer with the Edmonton Symphony Orchestra before becoming conductor and Music Director of the Saskatoon Symphony Orchestra (1984-1992) and of the Niagara Symphony (1999-2008).

A frequent guest of the Canadian Broadcasting Corporation (CBC) and Radio-Canada, Mr. Swift has regularly conducted concerts both for regional and national broadcast. He has also guest conducted numerous orchestras in Canada, the United States and Europe.

Particularly interested in the French repertoire, Daniel Swift directed in Paris and New York (1989), a revival of Francis Poulenc’s musical play Le Gendarme incompris, which he rediscovered during musicological research in France. He participated in the preparation of an edition of this work for music publisher Salabert. As well, he has recorded three ballets of French composer Henri Sauguet with the CBC Vancouver Orchestra on the SM5000 label. This CD entitled Parisian Ballets was unanimously recommended by music magazines in Japan, France and the United States.

Daniel Swift has also worked as Music Officer for the Canada Council for the Arts (1992-1999) where, through the years, he managed Sound Recording, New Music, Commissioning, Residencies, Professional Orchestras and Opera/Music Theatre programs.


President and CEO, Vancouver Symphony Society

Jeff Alexander was named to the position of President & CEO of the Vancouver Symphony Society in September 2000. As such, he serves as the chief administrator for the organization, responsible for overseeing board, government and community relations, long-range planning, and day-to-day management for Western Canada’s largest performing arts organization and Canada’s third largest symphony orchestra with an annual budget of over $14 million.

Since his appointment, Alexander has worked closely with VSO Music Director Bramwell Tovey, the organization’s Board of Directors, musicians, staff and volunteers to strengthen every aspect of the organization’s artistic, fiscal, community, governance and administrative activities. With the implementation of a new strategic plan in 2002, subsequent updates, and a wide variety of new programs, the organization has experienced significant growth in subscription and single ticket sales, as well as individual, corporate and government support, resulting in a surplus on annual operations for nine of the last ten years.

Alexander has also supported a number of innovations at the VSO, including the reformatting, expansion and creation of concert series; significant growth in the organization’s educational and community programs and community partnerships; the use of video screens in the concert hall; the Society’s first endowment campaign ($10.2M raised to date); the purchase and implementation of Tessitura (the first orchestra in Canada to own and operate this integrated ticketing/fundraising software package developed by the Metropolitan Opera); the planning and implementation of an Asia-Pacific tour with concerts in Korea, Macau and China in October 2008 (the first international tour for the orchestra in 17 years); a May 2009 tour to Ottawa, Toronto, Montreal and Quebec City (the orchestra’s first performances in these cities in 33 years); a January 2013 tour to the U.S. West Coast (the orchestra’s first U.S. tour in 35 years) and the creation of the state-of-the-art 25,000 square foot VSO School of Music directly next to the orchestra’s home, the Orpheum Theatre, now home to over 950 students and 60 faculty members. The result has been a renewed spirit of support and admiration for the orchestra locally, regionally, nationally and internationally.

Prior to joining the VSO, Alexander spent sixteen years at the Cincinnati Symphony Orchestra, including twelve as General Manager. As such, he was the “second in command” for the sixth oldest and eighth largest orchestra in the United States, with an annual budget of $28 million. In this position, he managed an orchestra of 99 full time musicians, and was responsible for all elements of program planning, concert production, and orchestra relations. He participated in four master agreement negotiations; planned and managed 12 domestic tours, each with concerts in Carnegie Hall, and four international tours, with concerts throughout Europe and Asia.

Alexander was responsible for the production of over sixty recordings and seven national television programs for both the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra. He served on the Steering Committee which planned activities for the Orchestra’s 100th Anniversary Season in 1995; a 1998 Long Range Planning Task Force; and in 1999 the Music Director Search Committee.
Concurrent with the above, Alexander managed the Cincinnati May Festival, an annual choral festival founded in 1873 for which the CSO is the official orchestra.

Prior to being named General Manager, he served the CSO as Director of Regional and Educational Programs, overseeing all educational activities, and a series of orchestral and chamber music concerts in sixteen communities throughout Ohio, Indiana and Kentucky.

From 1982 to 1984, Alexander served as General Manager of the Laredo Philharmonic Orchestra in Texas and from 1980 to 1982 as General Manager of Grapa Concerts in New York City, an artist management firm specializing in organizing Latin American tours for North American and European soloists and ensembles.

Jeff Alexander is a graduate of the New England Conservatory of Music in Boston where he majored in French Horn Performance. He has been a member of the League of American Orchestras since 1984 and Orchestras Canada since 2000. He was elected to the Board of Directors of Orchestras Canada in 2001 and during the subsequent ten years served on its Nominating, Executive Director Search and Bylaw Review Committees, was Vice-Chair of the Board from 2005 – 2007, Chair from 2007 – 2009 and in 2010 chaired its Leadership & Professional Development Task Force. He has served on adjudication panels for the Canada Council for the Arts, British Columbia Arts Council, YWCA of Greater Vancouver and the Alcan Awards, as well as a member of the City of Vancouver’s 125thAnniversary Advisory Committee, and for six years the Vancouver Foundation’s Arts & Culture Advisory Committee.


President and CEO, Orchestre Symphonique de Québec

An experienced manager with a passion for culture, Thérèse Boutin (President and CEO of l’Orchestre symphonique de Québec) has worked in the arts, education and communications field for most of her 35-year career. Beginning as a journalist with CBC/Radio-Canada, she quickly leaped into the management field, working in media, public administration, education and music, in Ontario and in Québec. Additionally, Ms. Boutin has been a senior partner in a communications and strategic planning consulting company for the past 20 years.

A graduate of Laurentian University, where she obtained a BA in Political Science, Thérèse Boutin also holds a Master’s degree in Political Science from York University, a Masters in Public Administration from Queen’s and an MB from l’Université du Québec à Trois-Rivières.

A woman of action and dedication, she has been a member of various Boards from the Chamber of Commerce to the local Conservatory including schools, choirs community groups.

After leading a successful restructuring of the Orchestre symphonique de Trois-Rivières (2006-2013), she was named CEO of the Orchestre symphonique de Québec in May 2013.

She joined the Board of Orchestras Canada in November 2007, was its chair from 2011-2013 and is now past-chair. She has also been on the Board of the Conseil québécois de la musique.


Chief Economist, Imagine Canada (Charitable and Nonprofit Sector)

Brian Emmett is an economics graduate of the University of Western Ontario and the University of Essex in England, and has enjoyed a long and distinguished public service career. He was Canada’s first Commissioner of the Environment and Sustainable Development in the late 1990s and worked extensively on Canada’s Green Plan. He also served as Vice-President of the Canadian International Development Agency (CIDA) in the early 2000s and has been an Assistant Deputy Minister in a number of federal government departments. As the Chief Economists at Imagine Canada, Brian Emmett measures the impact of the Charitable and Nonprofit Sector and brings economic issues facing charities and nonprofits to the forefront of public policy decision makers.


Political Editor, Maclean’s

Paul Wells, political editor of Maclean’s magazine, has reinvigorated Canadian political writing for more than a decade. His career began in Montreal at The Gazette in 1989; in 1997 he became the Gazette’s national affairs columnist, and then moved to the National Post for its launch in 1998. In 2003, he joined Maclean’s, where he has won two gold National Magazine Awards for his writing on politics. A regular commentator for both English – and French – language television and radio, he is also the author of The Longer I’m Prime Minister: Stephen Harper and Canada, which won the Shaughnessy Cohen Prize for political writing and the John W. Dafoe Prize for Canadian non-fiction.


Arts Consultant, Toronto Alliance for the Performing Arts and ARTS Action Research

Jane Marsland has been an articulate advocate for the arts for many years and has served on a wide range of boards, advisory groups and committees. Jane was co-founder and director of ARTS 4 CHANGE, a three-year program designed to create positive change for and by arts professionals in Toronto, as well as co-founder and Director of Technical Assistance of the Creative Trust: Working Capital for the Arts.

Ms. Marsland has managed arts organizations since 1970 and was General Manager of the Danny Grossman Dance Company from 1982 to 1999. Since 1999, Jane has been working as a free-lance arts consultant and has worked with more than 100 arts organizations. Currently Jane is working with the Toronto Alliance for the Performing Arts and ARTS Action Research on a new community initiative, Theatres Leading Change Toronto involving 18 small and midsized theatre and dance organizations.

She has been the recipient of two arts community awards: a “Harold’ in 2001 and the Sandra Tulloch Award for Innovation in the Arts in 2002. In 1995, she received the first M. Joan Chalmers Award for Arts Administration for outstanding leadership in the arts. In 2011, she was the winner of the Toronto Arts Foundation’s Rita Davies and Margo Bindhardt Cultural Leadership Award.

In January 2012 Jane was awarded the first Metcalf Foundation Innovation Fellowship in the Arts to examine Shared Platforms and Charitable Venture Organizations and their applicability to the performing arts sector in Ontario.


Vice President Classics and Jazz – Naxos of Canada (2004 to present)

Some highlights