The exhibition will feature nearly 40 Tourte bows at Rare Violins of New York, located on the 38th floor of Carnegie Hall Tower at 152 West 57th Street in New York.

Attendance at the exhibition is by RSVP only, and space is limited.

“The last time we saw this many great bows was when Paul Childs put together an exhibition of Tourtes in 2008 in London," said Bruno Price, Partner at Rare Violins of New York. "His inspiration is with us as we endeavor to add to the conversation and shared knowledge of the great François Xavier Tourte. ”

Bows on display will include The Prince Demidoff violin bow, The De Lamare cello bow, The Romberg cello bow, The 1825 Tourte violin bow from the Paul Childs estate, and The Ysaye, Stern violin bow, and bows from the Toft Collection.

FÊTE TOURTE will also present select modern bows by today’s living makers, including Victor Bernard, Sylvain Bigot, Noel Burke, Charles Espey, Ron Forrester, Pierre Guillaume, Jean-Jacques Millant, Yongmin Na, Peter Oxley, Isaac Salchow, Magdalena Sapeta, Paul Martin Siefried, and Matthew Wehling.

Each modern maker represented engages directly with Tourte’s legacy, interpreting his balance, geometry, and tonal ideals through their own distinct artistic voices.

“It's remarkable to have so many great bows together in one place, and it's made possible only by the intrepid collaboration of colleagues near and far," said the exhibition’s curator, Chase Maggiano, Bow Restorer at Rare Violins of New York. "We hope that everyone with even a passing interest in bowed instruments will come visit us to learn more about this great maker and how the style of bows we play today came to be through his hand.

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For the concert dates on March 12, 13, and 14, Hahn and Woods have now been replaced by NSO Associate Concertmaster Ying Fu and NSO Assistant Principal Cello Raymond Tsai.

Carlos Simon, who is currently the Kennedy Center’s Composer-in-Residence, wrote his Double Concerto Suite as an NSO co-commission. Bookending his work on the program will be Schumann’s Manfred Overture and Brahms’s Symphony No. 3. 

“We have chosen to withdraw from our concerts at The Kennedy Center this March,” Woods shared in a public statement. “We are sorry to not be with our friends and colleagues at the National Symphony Orchestra and hope to perform with them again in the future.”

This move also comes shortly after Hilary has announced her return to the stage after a serious injury.

While no reason was given for their decision to withdraw, Hahn and Woods’ announcement comes as many artists have chosen not to appear at the Kennedy Center in light of major changes to the venue since Trump’s takeover last February. The venue, which now bears Trump’s name on its building exterior, has also faced a fall in audience engagement and donor activity. 

Trump has also revealed plans to close the Kennedy Center for two years from July 4, 2026, for renovations, though insisted that he was “not ripping it down.” The planned closure has drawn protest from members of Congress and Kennedy Center Union Workers. 

Recently, the center’s president Richard Grenell has informed Kennedy Center staffers of impending layoffs ahead of the renovations, which will lead to “skeletal teams” and “some units totally reduced or on hold until we begin preparations to reopen in 2028,” Grenell said. 

“Far from being ‘tired, broken, and dilapidated,’ the Kennedy Center was beautifully renovated and expanded as recently as 2019,” members of Congress wrote to Trump. “Remaking this ‘national memorial’ as a monument to anyone or anything other than President Kennedy is plainly contrary to federal law and ultra vires.

“The closure of this national treasure could cancel more than 2,200 annual performances and exhibits and eliminate 400 free community events, to the sharp detriment of the Center’s two million annual visitors who are the intended audience and beneficiaries of the Act … It is also unclear how many, if any, Kennedy Center staff will continue to be employed through the prospective closure.”

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The SPCO has chosen to postpone the premiere of The Ballad of John James Audubon and the Runaway: An American Tragedy Ignored and Retold rather than cancelling it, to allow Frank to return at a safer moment. On the night the premiere was scheduled, the orchestra instead performed Frank's Elegía Andina, a 2000 work that explored the multiplicity of Frank's ethnic identity.

Her new work, The Ballad of John James Audubon and the Runaway: An American Tragedy Ignored and Retold, focuses on one of the "founding fathers" of American birding and his legacy of racism. A four-movement song cycle for baritone and chamber orchestra, the work sets text by the ornithologist and poet J. Drew Lanham. 

In a lengthy social media post, Frank described instances where she has been the subject of racial harassment and detailed how these instances have been getting worse over the past few years.

"I'm angry that I now carry my US passport with me everywhere," Frank wrote. "I'm angry that in case I'm taken into custody, I carry in my purse extra hearing aid batteries and medicine I need to stay alive. I'm angry to worry that my mom's decades-old citizenship will be rescinded. I'm angry that I'm exhausted with protesting even as I know that I'll not stop. I'm angry that even with my comparatively privileged status, my family worries that my visible concert life makes me a target for the Latino/latinoamericano stories I tell. I tell my family that our government doesn't pay attention to concert music. They say: Kennedy Center."

"How I regret to pull out of my gig this week with The Saint Paul Chamber Orchestra and their excellent musicians. We were to premiere The Ballad of John James Audubon: An American Tragedy Ignored and Retold with words by the incredible J. Drew Lanham and the charismatic baritone Federico DM. To tell this story of famous, genre-setting "white" men and slavery, it was important to me to have a multi-national, multi-racial team -- A Black writer, a Latina composer, an Argentinian singer, a Taiwanese conductor (the inspiring Mei-Ann Chen) -- because anyone with humanity would feel the story's truth."

"Then with the events unfolding in the Twin Cities, after the murder of Renée Good and before the killing of Alex Pretti, I made the hard realization that I would not be safe. I wrestled and delayed as long as I could, exchanging a multitude of texts with Drew, Mei-Ann, and Federico."

"My gratitude to Mei-Ann and the SPCO for programming my first orchestra work instead, Elegía Andina, when I first began my journey in understanding what it means to be a Latina in America."

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In 2024, Hahn announced that she would withdraw from a number of concerts to heal from a pinched nerve. She took a seven-month hiatus before returning to concert life in February 2025.

Then, in August 2025, Hahn once again had to step away from performing. At that time, she noted that she was planning to pursue "more aggressive treatment."

Hahn has recently announced that she will once again return to the stage, following successful treatment for a herniated spinal disc and the associated recovery period.

"Thank you for your patience and support while I have navigated injury over the past couple of concert seasons," she wrote on social media. "I am still healing in many ways, but I will shortly return to the stage!"

"As I've mentioned, I had pinched nerves that I was trying to preserve and rehabilitate. The first time one of my cervical spinal discs herniated a year and a half ago, I recovered. It was debilitating: I had muscle atrophy as well as ongoing nerve stress. It was not easy to return to performances, but it was the right choice for me, then."

"This past summer, that same disc herniated again; it compressed nearly all of my remaining nerve space. It was immediately clear that I needed to pursue more aggressive treatment. Thanks to a phenomenal surgeon (who used to play the violin!), I am now the proud owner of an artificial disc. My career has a future again, my neck has healthier alignment than before, and I am pain free."

"Surgery brings longer-term recovery consequences, and of course one can't know the future. The prognosis is really good, and I'm grateful to the medical professionals who made this possible. The fact that my quality of life has returned is something I will never take for granted. At this point, I'm working on getting my strength and micro-coordination back while allowing the nerves to get their bearings again."

"You may notice me wearing scarves from time to time; I have a surgical scar on my neck that I want to protect while healing, both in daily life and onstage. Maybe it's a style I'll keep around for a while!"

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"The film includes my story as well as the stories of many others about the scourge of abuse in classical music, whether it's sexual abuse, child sexual abuse, institutional complicity, orchestral experiences, or even the opera world," Lara told The Violin Channel.

The documentary's creation was a result of Lara's own experience at the Curtis Institute of Music in 1985, when her then 78–year–old violin teacher, Jascha Brodsky, raped her at age 14. In July of 2019, Lara told the Philadelphia Inquirer, which led to a public and personal acknowledgment and apology from Curtis.

Since then, Lara has become an advocate for many in the industry, and hundreds of women, and a few men, have contacted her, sharing their experiences with abuse, assault, and harassment in the classical music industry.

Watch the trailer below:

"When I came out in 2019 with my own story, I thought that was going to be the end of it," Lara said. "But then, I heard from so many people that I realized I needed to get those stories out there. I thought the best way to do it would be to collect everything in a film, and now six and a half years later, here I go to Santa Barbara to see the completed project."

For the documentary, Lara interviewed several of those brave enough to speak out, with many agreeing to be identified after initially wanting to remain anonymous.

"We're breaking a few stories that have not been in the press before," she told us. "I think, for the general public (not necessarily just those in classical music), it's going to be a huge surprise at how prevalent this is in our field."

When asked why she wants to see change in the industry, Lara said, “It is unfair, the incredible amount of brain drain of women who have been abused out of the profession. It's so disheartening, and there are so many incredibly talented women and former children out there who no longer play their instrument, who no longer even listen to music. That's just wrong."

Dear Lara was directed by St. John herself, produced by Patrick Hamm, and edited by Christie Herring. "I hope everyone appreciates the incredible amount that so many people put into this film to make a change for the better," Lara added. "And I hope this film can help children, women, and even people not yet born. I don't ever want this to happen to anyone."

The project was partially funded by a foundation and individual support, but received its primary funding from St. John herself, following the sale of her own Manhattan apartment.

"I used to have a one-bedroom apartment on the Upper West Side," she said. "I don't have that anymore, but I have a full-length documentary film that's about to premiere. I really needed to bring the truth to light because that's the only way we're going to effect change. As some say, 'sunlight is the best disinfectant.'"

Lara hopes for the film to be made available to as many screens as possible. After a film festival circuit, she hopes to see it picked up by a streaming service like Netflix or Hulu.

 

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At the Santa Barbara International Film Festival 2026, Dear Lara will be shown on Friday, February 6, at 5:20 PM. There are additional screenings on February 8 and February 9, and more details are available here.

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The announcement comes in the wake of several cancellations from high-profile artists, including Stephen Schwartz, Béla Fleck, and Philip Glass, who have voiced differences with the administration's political values. In addition, the Washington National Opera announced its departure from the Center after more than fifty years in residence at the venue.

"I have determined that the fastest way to bring The Trump Kennedy Center to the highest level of Success, Beauty, and Grandeur, is to cease Entertainment Operations for an approximately two year period of time, with a scheduled Grand Reopening that will rival and surpass anything that has taken place with respect to such a Facility before," wrote President Trump in his social media post announcing the closing.

The announcement is a reversal of President Trump's previous statement that the Center would remain open throughout the process of the planned renovations. The many cancelled performances received no mention in Trump's most recent announcement.

“Our goal has always been to not only save and permanently preserve the Center, but to make it the finest Arts Institution in the world," said Kennedy Center President Richard Grenell in a social media post. "It desperately needs this renovation and temporarily closing the Center just makes sense–it will enable us to better invest our resources, think bigger and make the historic renovations more comprehensive."

The Center is slated to close on July 4th, 2026. This news comes shortly after Kevin Couch resigned from the role of Senior Vice President of Artistic Program at the venue, less than two weeks after his appointment.

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The full list of classical award-winners is as follows:

Best Orchestral Performance: Awarded to the conductor and the orchestra:

"Messiaen: Turangalîla-Symphonie" — Boston Symphony Orchestra and Andris Nelsons, conductor

Best Opera Recording: Awarded to the conductor, album producer(s), and principal soloists, and to the composer and librettist of a world premiere opera recording only (where applicable)

"Heggie: Intelligence" — Houston Grand Opera, Gene Scheer (librettist), Kwamé Ryan (conductor), Jamie Barton, J'Nai Bridges, and Janai Brugger (cast), Blanton Alspaugh (producer)

Best Choral Performance: Awarded to the conductor, and to the choral director and/or chorus master where applicable, and to the choral organization/ensemble

"Ortiz: Yanga" — Los Angeles Philharmonic & Tambuco Percussion Ensemble, Los Angeles Master Chorale, Gustavo Dudamel (conductor), Grant Gershon (chorus master)

Best Chamber Music/Small Ensemble Performance: Awarded to the ensemble and conductor

"Dennehy: Land of Winter" — Alan Pierson, Alarm Will Sound

Best Classical Instrumental Solo: Awarded to the instrumental soloist(s) and to the conductor

"Shostakovich: The Cello Concertos" — Yo-Yo Ma (cello), Andris Nelsons (conductor), Boston Symphony Orchestra

Best Classical Solo Vocal Album: Awarded to vocalist(s) and collaborative artist(s) (e.g. pianists, conductors)

"Telemann: Ino - Opera Arias For Soprano" — Boston Early Music Festival Orchestra, Amanda Forsythe (soloist), Robert Mealy, Paul O'Dette, and Stephen Stubbs (conductors)

Best Classical Compendium: Awarded to the artist(s) and to the album producer(s) and engineer(s) of over 50% playing time of the album, and to the composer and librettist (if applicable) with over 50% playing time of a world premiere recording only

"Ortiz: Yanga" — Gustavo Dudamel (conductor), Dmitriy Lipay (producer)

Best Contemporary Classical Composition: A composer's award for a contemporary classical composition composed within the last 25 years, and released for the first time during the eligibility year

"Ortiz: Dzonot" — Alisa Weilerstein (cello), Gustavo Dudamel (conductor), Los Angeles Philharmonic, Gabriela Ortiz (composer)

Best Engineered Album, Classical: An engineer's award (artists' names in italics)

"Cerrone: Don't Look Down" — Mike Tierney (engineer), Alan Silverman (mastering engineer), Sandbox Percussion

Producer Of The Year, Classical: a producer's award

Elaine Martone

For the full list of GRAMMY winners, click here.

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The withdrawal is the latest in a series of cancellations by high-profile artists scheduled to perform at the Kennedy Center. Many of these cancellations were prompted by President Donald J. Trump's decision to rename the venue after himself in December 2025.

The premiere of Glass's Symphony No. 15, "Lincoln," was scheduled to take place in June 2026. The work was slated to be performed by conductor Karen Kamensek and the National Symphony Orchestra, for whom the piece was commissioned. The orchestra has been in residence at the Kennedy Center since 1971.

In a letter posted to social media, Glass wrote that he did not feel that the symphony, which is based on Abraham Lincoln's 1838 Lyceum Address, could be performed at the venue, given its current political climate.

“Symphony No. 15 is a portrait of Abraham Lincoln, and the values of Kennedy Center today are in direct conflict with the message of the symphony,” he said. "Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership."

Roma Daravi, the Kennedy Center's Vice President for Public Relations, criticized Glass's decision in a statement. “We have no place for politics in the arts, and those calling for boycotts based on politics are making the wrong decision,” she wrote. “We have not cancelled a single show."

Since President Trump renamed the center, numerous artists, including Stephen Schwartz, Béla Fleck, and Renée Fleming, have cancelled their appearances at the Kennedy Center. Additionally, the Washington National Opera left the venue, which had been the company's home since 1971.

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First prize with €25,000 went to Alexander Kashpurin, who was also awarded the €2,000 Audience Award. Second prize with €12,000 went to Thomas Kelly, and the €8,000 third prize was awarded to Kang Tae Kim. 

The finalists performed Liszt’s First or Second Piano Concerto with the Netherlands Radio Philharmonic Orchestra and conductor Stéphane Denève. The final round of the competition is now available to watch here on The Violin Channel! 

As the Grand Prize winner, Kashpurin will be performing a concert at the Concertgebouw in Amsterdam. 

The three laureates will also receive an extensive Career Development Program, involving professional coaching, website and press kit development, album recording opportunities, and continuing mentorship. 

Chaired by Cynthia Wilson, the international jury comprised Andrea Bonatta, Suzana Bartal, Mariam Batsashvili, Severin von Eckardstein, Janina Fialkowska, Saskia Giorgini, Pierre van der Westhuizen, and Yingdi Sun. 

The jury described Kashpurin as a pianist with “a completely unique view on everything he touches,” playing “as if he had written the music himself,” and that it was “moving to see someone so in love with the music.”

A graduate of St. Petersburg Music Lyceum and the Rimsky-Korsakov St. Petersburg State Conservatory, Alexander Kashpurin also studied at the Queen Elisabeth Music Chapel in Waterloo, Belgium, in 2021-2022.

His accolades include prizes at the International Čiurlionis Piano Competition in Lithuania, Russian Music Piano Competition, and the ‘Les Étoiles Du Piano’ competition in France.

He also has degrees in conducting and leads his own orchestra, Infinitum, which is featured on his debut album "In Search of Eternity." He is currently the musical director Replica Theater.

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Tune in at 2 PM (ET) on January 24 to watch the competition's final round live on The Violin Channel!

The three finalists are:

• Thomas Kelly
• Kang Tae Kim
• Alexander Kashpurin 

Finalists were selected by the competitions' international jury, which consists of Andrea Bonatta, Suzana Bartal, Mariam Batsashvili, Severin von Eckardstein, Janina Fialkowska, Saskia Giorgini, Pierre van der Westhuizen, Yingdi Sun and chair Cynthia Wilson.

The winner of the Grand Prize will perform on January 25 at the Concertegebouw in Amsterdam. They will also receive an extensive Career Development Program, which consists of professional coaching, website and press kit development, album recording opportunities, and continuing mentorship.

Additionally, the competition offers the following cash prizes:

• First prize: €25,000
• Second prize: €12,000
• Third prize: € 8.000
• Audience prize: €2,000

The post Finalists Announced At 2026 Liszt Piano Competition Utrecht appeared first on World's Leading Classical Music Platform.

As reported by the New York Times, 22 layoffs have been made among the company’s 284 administrative staff, and other cuts include salary reductions from 4% to 15% for 35 executives earning more than $150,000. 

The salary cuts also affect senior figures at the organization, including Music Director Yannick Nézet-Séguin and General Manager Peter Gelb.

Additionally, the Met Opera is reducing next season’s productions from 18 to 17, with a further postponement of a planned staging of Mussorgsky’s 19th-century opera Khovanshchina. Before the pandemic, the Met had programmed about 25 productions per season.

Gelb told NYT that employees at the Met have been informed that their full pay would be restored by August 2027, or sooner if the company’s financial situation improves.

“These staff reductions, combined with some temporary salary reductions and other cost-cutting measures, will reduce the Met’s expenses by $15m for the remaining six months of the Met’s fiscal year, and by another $25m in the Met’s following fiscal year,” a Met Opera representative told the Guardian. 

“The cuts are necessary while the Met awaits its pending agreement with Saudi Arabia and the implementation of other revenue-generating initiatives. The Met is committed to maintaining the highest artistic standards while ensuring its present and future financial sustainability.”

This news comes following a tentative agreement made last September between the Met Opera and Saudi Arabia. The lucrative deal would see the Met perform each winter for five years at the Royal Diriyah Opera House and provide training to Saudi artists in return for Saudi subsidies.

“I understand the Saudis have had to recalibrate their budgets because of their own economic concerns,” Gelb acknowledged. “I’ve been assured that it’s going to go forward. But we have been waiting for some time.”

To further safeguard the budget for future seasons, Gelb is considering the sale of two Chagall murals valued at a total of $55 million. Commissioned in the 1960s to hang in the Met Opera’s Grand Tier, the murals, if sold, would remain in place but fitted with a donation plaque.

More considerations include leasing the Met’s 3,800-seat theater for pop artists while not in use — this June, Sting’s musical, “The Last Ship,” will be presented at the Met for nine performances. 

“We are being as entrepreneurial as possible,” Gelb said. “What is clear is that we have to come up with new business models. It’s true for all performing institutions, but the costs are so great for running an institution like the Met, that it is necessary to find new ways to fund it.”

“I have to show we can finance the Met going forward and at the same time demonstrate that we can cut the costs that we can cut without undermining our artistic results,” he added. “What we are trying to do is make sure we do not have a deficit.”

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All competition rounds are available for playback here on The Violin Channel!

As the first prize winner, 28-year-old Hyun Jae Lim from South Korea received a $30,000 cash prize provided by the David and Amy Fulton Foundation, a new violin made by Phillip Injeian, a gold-mounted bow by Vladimir Radosavljevic, and an Alexander Plus Carbon Violin Case provided by Bogaro & Clemente. In addition, she will receive recital opportunities in New York sponsored by Tarisio Fine Instruments and Bows, in Boston provided by Carriage House Violins, and in Cremona, Italy, sponsored by Amorim Fine Violins, as well as more than 30 national and international engagements with orchestras, festivals, and concert series over the next three years. She will also receive three years of artist management and PR support.

Hyun Jae Lim also won the $1,500 award for Best Performance of the EOIVC-Commissioned Work, Wood-Sprite by Composer-In-Residence Melinda Wagner, plus the $500 award for Best Performance of an Ysaÿe Solo Sonata.

Second prize winner, 21-year-old Yiyang Hou from China, received a cash prize of a $15,000 provided by Tarisio Fine Instruments and Bows as well as a silver-mounted bow by Vladimir Radosavljevic.

Third Prize Winner, 20-year-old Sameer Agrawal from the United States, received a cash prize of $10,000 provided by Mesirow Wealth Management.

Fourth Prize winner, 21-year-old Julia Jones, also from the U.S., received a cash prize of $5,000 provided by Kenneth Warren & Son, Ltd.

All four 2026 EOIVC Finalists will receive: A NuBow provided by Rodney Mohr, a copy of The Fulton Collection: A Guided Tour by David Fulton, and a copy of The Essential Guide to Bows of the Violin Family by Gabriel Schaff.

The EOIVC 2026 jury included: Andrés Cárdenes (Chairman of the Jury), Ilya Kaler, Ida Kavafian, Irina Muresanu, Philip Setzer, Dmitry Sitkovetsky, and Kyoko Takezawa. Elizabeth Pitcairn served as an alternate judge.

The post Violinist Hyun Jae Lim Wins Elmar Oliveira International Violin Competition appeared first on World's Leading Classical Music Platform.

It was announced that the documentary will receive its World Premiere at the Santa Barbara International Film Festival 2026, which is set to take place between February 4 and 14. Dear Lara will be shown on Friday, February 6, at 5:20 PM. There are additional screenings on February 8 and February 9, and more details are available here.

For the documentary, Lara interviewed several of those brave enough to speak out, with many agreeing to be identified after initially wanting to remain anonymous. The project was partially funded by a foundation and individual support but received its primary funding from St. John herself, following the sale of her own Manhattan apartment. Dear Lara was directed by St. John herself, produced by Patrick Hamm, and edited by Christie Herring.

The documentary's creation was a result of Lara's own experience at the Curtis Institute of Music in 1985, when her then 78–year–old violin teacher, Jascha Brodsky, raped her at age 14. In July of 2019, Lara told the Philadelphia Inquirer of this experience, which resulted in a public and personal acknowledgment and apology issued by Curtis.

Since then, Lara has become an advocate for many in the industry, and she has been contacted by hundreds of women, and a few men, sharing their experiences with abuse, assault, and harassment in the classical music industry.

"The survivors in my film are only a fragment of the legion of stories out there about rampant, unchecked abuse in classical music," Lara today told The Violin Channel. "This has to be known, and it has to be stopped."

"Viewers will be outraged, and certainly non-musicians will be shocked," she added. "For me, the most appalling was the discovery of the enormous amount of institutional complicity with the predators. Almost every music institution puts its own reputation above the safety of women and children."

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The 2026 cohort of Rising Artists — comprised of violinists Bobby Boogyeom Park and Gabrielle Després, violist Katie Liu, and cellist Sydney Lee — will be joined by artist-mentors Arnaud Sussmann and Edward Arron to perform works by Strauss, Beethoven, and Dvořák.

The CMSPB Rising Artists Program provides emerging professional and conservatory-level musicians with performance, career, education, and community engagement development opportunities.

Now entering its second season, the intensive chamber music program will be held in Palm Beach from January 4–11, with a focus on collaboration and mentorship, and culminates with this concert at the Norton Museum.

To learn more about the program and CMSPB, click here.

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