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C A N N O P Y

Art is True North

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Hubs & Huddles column of Cannopy Magazine, which focuses on multi-purpose performance centres
Ensemble column, which highlights classical artists and ensen, which highlights classical artists and ensembles
Ellington column, which features jazz vocalists and instrumentalists
Studio Sessions column, which focuses on in-depth artist profiles — particularly visual artists in their creative spaces
Materials column, which focuses on artists working across various creative media; Profiling Various Creative Media
Spaces column, which highlights galleries anSpaces column, which highlights galleries and exhibit venuesd exhibit venues
Fourth Wall column, which focuses on the global theatre industry
In Motion column, which focuses on the global dance industry
In Focus column, which highlights the global film industry
Alt.itude column, which focuses on global alternative music
Homegrown column, which highlights Canadian alternative music
Arts & Letters column, which focuses on essays, opinions, and ideas related to the arts

Lara St. John’s She, Her, Hers

Lara St. John by Stacy Kendrick

The Celebrated Violinist on Fighting Classical Music’s Toxic Background.

WORDS BY ARLAN VRIENS | NEW YORK | MUSIC

MAR 16, 2023 | ISSUE 10

Canadian-born violinist Lara St. John is a passionate champion of music that challenges the norm. With her 1779 Guadagnini violin in hand, she has appeared at concert halls worldwide, been invested into the Order of Canada, and recently launched her album of solo violin music by women composers, She, Her, Hers.


For all her success, St. John is also all too familiar with classical music’s darker sides. Her 2019 exposé about the abuse she suffered at the Curtis Institute of Music sent shockwaves through the classical music world and continues to embolden victims to tell their stories and challenge institutional powers. St. John joined smART Magazine from New York for a frank discussion tackling some of classical music’s most intractable problems: rampant protection of predators, misogynistic and white-centred repertoire programming, and how to find healing in a marred musical world.

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