Alexandra Dariescu on programming music that mirrors society

In this episode, David talks with pianist, concert creator, and lecturer Hanni Liang. Hanni has broken free of the traditional classical music career and forged a path for herself. In her new concert formats, she addresses the topics of today with and through music, understanding the concert as an open room for encounters, questions and reflections. As well as creating new concert formats herself, she now teaches others how to do the same as lecturer in concert design and concert education at the University of Music and Theatre Munich. She is also one of the mentor’s for Classical:NEXT’s very own NEXT:LAB, with the next event on 4th of December in Berlin. You can find out more about this over at classicalnext.com In this conversation, we dive into how classical musicians can break out of rigid traditional pipelines to pioneer new, participatory concert formats. We look at what it takes to transition from a broadcast performance model to an active dialogue with audiences, the courage required to embrace artistic risk, and how to pitch collaborative experiences to established venues. We also explore the civic and societal role of the modern artist, mentoring the next generation of concert designers, and why abolishing classical music competitions could unleash true creative freedom.

In this episode, David talks with Amandine Richardot, CEO of the digital sheet music app Newzik. Newzik is not just a pdf reader for digital sheet music. It is an interactive and collaborative app for musicians, ensembles and orchestras. As well as providing a home for all of a musician’s scores in the cloud, it allows for annotations to be shared in real time across orchestras, and includes built in systems for the hiring of music directly from publishers and other tools for librarians. Over the last decade, Newzik has grown to being used by over 150 organizations and 500,000 musicians. It also holds a special place in my heart, as I used Newzik with the orchestra I founded, Yorkshire Young Sinfonia, way back in 2017 and was a key part in making that orchestra successful. In this conversation we dive into how digital sheet music is transforming the way modern orchestras rehearse and perform worldwide. We look at the practical mechanics of real-time score collaboration, how Newzik's publisher platform respects digital copyright, and the groundbreaking features—from automatic page-turning to optical music recognition—that streamline workflows for ensembles and individual musicians alike. We also explore the cultural shifts around technology adoption in major arts organizations and what the future holds for digital sheet music technology."

In this episode, David talks with Grammy-winning countertenor and General Director & President of Opera Philadelphia Anthony Roth Costanzo. Described as “One of the world’s most important singers” by the Los Angeles Times, Anthony is a trailblazer on the international stage whose performances cross experimental opera, broadway, and film. But he is now also known for the innovation he does off the stage as well as on it. When he took over Opera Philadelphia, shortly before the 2024-25 season, it was on a path to bankruptcy, with 12 weeks to raise $4 million. But through he calls "creative fundraising” he ended his first year with a $1.5 million surplus, and has helped build Opera Philadelphia into an innovative powerhouse that draws in new audiences while significantly growing their donor base. In this conversation, we dive into how Opera Philadelphia is breaking industry conventions to create a culture of discovery and accessibility. We look at the 'pick-your-price' ticketing strategy, the psychology behind donor engagement and audience behavior, and why organizations must embrace risk to drive true innovation. We also explore the power of external cross-sector partnerships, the role of modern musician entrepreneurship, and how changing the structures around opera can connect the art form with new audiences.

In this episode, David talks with award-winning contemporary composer, pianist, musical director and educator David Önaç. This conversation is ahead of the world premier of his Atlantic Requiem with the London Symphony Orchestra, BBC Singers, and Hollywood conductor Anthony Parnther, which memoralizes the lost lives of the transatlantic slave trade. David both composed the music and wrote the libretto for the piece, which is based on the archive of Lloyd’s of London Insurance company who supported the work, bringing to life human stories from the 18th century. In this conversation, we dive into the creation of Atlantic Requiem and how music can memorialize the human toll of the transatlantic slave trade. We look at how historical archive documents and court testimonies were transformed into a dramatic libretto, as well as the unique 10-note pitch system used to mirror cultural conflict and resolution. We also explore the rich intersection of contemporary classical music, jazz, and Caribbean heritage, and why artistic expression is essential for fostering empathy, hope, and social reconciliation. Join us in Katowice, Poland for Classical:NEXT 2027 from the 11th to the 14th of May: www.classicalnext.com Follow us on: Facebook | Instagram | LinkedIn The Classical:NEXT Podcast: Hosted by David Taylor Produced by Aliena Haig Learn more: classicalnext.com/update/introducing-the-classicalnext-podcast www.classicalnext.com

In this episode, David talks with pianist, composer, and technologist Zubin Kanga. Zubin is at the forefront of music technology. Since 2021, he has been the Director and Research Lead of Cyborg Soloists, a 7-year music-technology research project supported by a UK Research and Innovation Future Leaders Fellowship and based at Royal Holloway, University of London, where he is Associate Professor in Musical Performance and Digital Arts. Coming up on October 17th, he is performing a double bill at the Southbank Centre in London, featuring a host of premiers and works from composers that embrace technology, including Nwando Ebizie, Alex Paxton, George Lewis, Ben Nobuto, and Alex Groves. Later in October, he’ll also be performing Robert Laidlaw’s Techno-Utopia with the Berlin Symphony Orchestra, bringing in AI as part of the performance. In this conversation, we dive into how AI and machine-assisted composition can serve as creative tools rather than threats to classical music. We look at what it means to perform alongside AI co-performers, the difference between machine intelligence and genuine human musical empathy, and how technology can expand what is possible on stage. We also explore the rich, multi-decade history of computer-assisted music, practical ways artists can navigate emerging tech, and how new performance formats are connecting canonical repertoire with contemporary club culture.