5 Qs for Christiane LeBlanc, executive and artistic director of the MIMC

Published: May 27, 2015

For classical music fans, few things match the excitement of an international competition. First, there's the pure joy of hearing talented young musicians from around the world. Then there's the celebrity factor supplied by the classical music legends who make up the jury. And above all, there's the suspenseful atmosphere as the public speculates about who will emerge victorious and walk away with a big cheque and a major career boost.

Canada is host to four major international music competitions: the Honens International Piano Competition, the Banff International String Quartet Competition, the Canadian International Organ Competition, and the Montreal International Musical Competition, or as we like to call it, the MIMC, happening now.

What does it take to organize and run an international music competition? What are the risks and rewards? We asked Christiane LeBlanc, executive and artistic director of the MIMC. She answered our questions via email:

What's your biggest challenge as executive and artistic director of an international music competition?

I think it is making sure we are recruiting the best candidates because they are the raison d'être of the competition. More and more international music competitions are developing, especially in Asia, so we need to have the right elements to attract the best: a strong jury, competitive cash prizes, impeccable organization and a good dose of hospitality! It always helps when candidates know they will be well taken care of.

What role do competitions play in the advancement of a young musician's career?

Participating in a competition is a stepping stone in more than one way. Just preparing and learning the required repertoire forces the candidates to push themselves one step further, sometimes out of their comfort zone. Then of course there is the public exposure. Whether you win or not, you get to perform for eminent jury members, music critics, agents and festival directors: a choice audience!

What do you admire most about the young musicians entering international competitions?

Their determination and stamina. They are under a lot of pressure and sometimes they are so young. And the environment is not like in sports competitions where athletes are surrounded by their coaches, physiotherapists, doctors, etc. Most often candidates travel alone, some hardly speak French or English, arriving in North America for the first time. But I guess it's good preparation for an international career as a touring soloist.

How would you respond to people who say competitions are unhealthy for young musicians?

I don't believe challenging oneself is ever unhealthy. And that is what's most important here. It's less about competing one against the other, but rather trying to be the best you can be and working hard to achieve excellence. Winning a competition has do to with so many factors: the jury, your performance on a certain day of your life — it's anything but scientific. But surpassing yourself, according to your own personal standards, that has to be healthy.

For you, what is the most satisfying moment of the competition?

Seeing the audience relate to the talent on stage is tremendously satisfying. For me, a competition without an audience wouldn't make sense. Music is all about communication, and when I see a young unknown artist reach out to the crowd and connect with that audience, it makes all those months of work worthwhile. Truly, there is no better reward!

Related

Voice 2015: complete coverage of the MIMC

Follow CBC Classical on Twitter: @CBCClassical

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