Mei Gui Zhang

 by Oliver Pashley  October 1st, 2026

‘Being patient is very important in this business’

Mozart and Chinese folk music surrounded soprano Mei Gui Zhang in equal measure as a child. Growing up in China with singers for parents, one singing opera, the other folk, created an indelible fusion of cultures that she carries with her to this day.

Now based in New York, Mei Gui’s versatility and commitment to a variety of styles and roles have made her a rising star on the opera circuit.

Mei Gui Zhang © Dario Acosta

Mozart is particularly close to Mei Gui’s heart, having sung Despina in Così fan tutte (Tanglewood), Zerlina in Don Giovanni (Atlanta Opera) and Barbarina in The Marriage of Figaro (Metropolitan Opera); having competed in the Glyndebourne Opera Cup in 2020 (winning the audience prize), Mei Gui makes a role debut as Susanna at the Glyndebourne production of Figaro in their autumn festival this year.  

I catch Mei Gui during Glyndebourne rehearsals, and we talk about her love of Mozart, the folk music surrounding her growing up in China, and the one thing from home she never leaves without on her international travels…

You are deep in rehearsals for your upcoming Glyndebourne debut, singing Susanna in The Marriage of Figaro. How’s it going?

I think it’s going to be a wonderful production — I’m really looking forward to it. The cast, the singers, everyone is at such a high level. I really enjoy singing Susanna. It’s a lot of fun.

Are there any challenges unique to this role?

Susanna has so many recitatives, and physically I have to anticipate singing them. It’s a long role — I have to sing from the beginning to the end — I have to tell myself where to save the energy and where to give it more, because it’s a really physical role for me. I’m always on stage!

You are renowned for your interpretations of Mozart — do you remember your first encounters with his music?

Don Giovanni, Guangzhou Opera House © Guangzhou Opera House

My parents were both singers, and I studied with my father from the very beginning. My first aria was actually Cherubino’s Voi che sapete, so The Marriage of Figaro was one of the first things I sang!

I then went to the Lindemann Young Artist Programme at the Metropolitan Opera, where I started singing Barbarina from that opera a lot. I sang it in at least thirty different performances across three productions, so I know The Marriage of Figaro quite well!

I started with Cherubino, moved on to Barbarina, and now I am singing Susanna — hopefully later on I can sing the Countess! So I knew Mozart really well from the very beginning of my training.

What kind of music surrounded you as a child, with both parents as singers?

My mother is a Chinese folk singer, and my father is a classical opera singer. The styles are totally different. Opera singers don’t use a microphone, of course, and Chinese folk singers do, so their projection techniques are very different from those of a ‘classical’ opera singer. That’s why my parents are always disagreeing with each other!

I can sing a little bit of folk music because I always heard my mum singing it, and when I was young, my mum taught me a lot of Chinese folk songs, but opera is my favourite.  

Your connection to your cultural roots has been described as ‘a hallmark of your career’. What do you do to stay connected?

When I was young, I learned so many Chinese traditional songs and folk songs, so I think I have those melodies in my blood. I enjoy singing them, and my classical opera training helps me sing them.

Sometimes, when I have a recital, I’ll put Chinese art songs into my repertoire. The audiences love it, even if they don’t understand the words. I include translations in the programmes, so they can really feel it and love it.

The audience always gives me good feedback when I do that, so that’s why I keep putting these art songs into my programmes.

How much does the fact that Chinese is a tonal language influence things like the melodic contour when set to music?

Chinese is not an easy language to sing, so when I sing and use my opera technique, I need to modify what I’m doing a little bit, because it’s not as easy a language to sing in as, say, Italian.

Composers do think about the tones — spoken Chinese goes up and down — but in the music it’s not as obvious. I think the most important thing for singing in any language is legato. I think that’s true for every instrument. I played the violin and piano as well, and when you think about a phrase, the legato is very important.

Did you always want to be a singer, or were you tempted by the violin or piano as well?

Mei Gui Zhang © Dario Acosta

I always wanted to play the violin when I was very young, but my parents told me that I had to study the piano first. They thought the piano was a necessary instrument not just for singing, but for everything, so they said I had to play the piano first — but they also said that the violin was too difficult!

I started piano when I was seven years old, and my high school major at the Shanghai Conservatory was piano. I started to play the violin only when I was fifteen. I still loved it, so I convinced my parents to let me play it!

I started singing when I was three, just as a hobby, and singing has been in my blood since childhood. My experience with instruments has been really helpful.  

You are known for your versatility across different styles and operatic roles. What’s the key to maintaining that versatility?

I’ve sung Mozart a lot, and I also recently sang a lot of Verdi, like Gilda in Rigoletto and Oscar in Un ballo in maschera, so I think my repertoire is quite wide.

It’s wide, but not aggressive. I like to take my time. That’s why I still sing a lot of Mozart. Mozart is very essential for young opera singers, so I keep his repertoire close.

Mozart is like school for me. It’s like when kids play outside and have fun, but then have to come back in for some discipline! It feels like a safe area [for my voice].

What would you like to sing in the future?

I would love to sing Lucia from Lucia di Lammermoor, Liù from Turandot, and maybe, when I’m older, Madame Butterfly. I’d also love to sing Mimi from La Bohème — I think my voice is growing more and more as time goes on, so there are so many more roles I’d like to sing.

I think in the opera world, you have a long way to go — you have to be patient before singing everything. I feel like I’m on the right track, moving slowly! I think being patient is very important in this business. I have to grow myself and let people see me grow.

What do you do in your spare time?

For sports, I love to do scuba diving. I love the ocean, so that’s my favourite thing to do. I like swimming and being in the water. Apart from that, I like to watch movies. I get a lot of inspiration from films, which I can then use on the opera stage. Any kind of movie — Chinese, Korean, American — but not horror movies!

I also like to cook, especially Chinese food. I’m from Southwest China, so I enjoy cooking Sichuan food, which is very spicy. The red spicy peppers are one of the most important ingredients for me, so I always carry chillies with me when I travel — chilli powder, spicy sauce, anything. My fiancé, however, cannot eat spice — he says it’s pain rather than a flavour!

Why Do We Feel Good Listening to Classical Music?

 by Joanna Latala  December 4th, 2025

Music has the power to move us, inspire us, and even heal us. Among all musical genres, classical music holds a unique place in influencing our emotions and cognitive functions. But why does listening to composers like Mozart, Beethoven, or Bach make us feel good? Is there scientific evidence that supports the claim that classical music improves our mood and intelligence? This article delves into the psychological and neurological effects of classical music, exploring how it impacts our emotions, brain waves, and overall well-being.

The Science Behind Classical Music and the Brain

Music, in general, has profound effects on the brain, but classical music is often credited with unique benefits. Studies show that listening to classical compositions can stimulate neural activity, enhance memory, and even aid in mental health treatment.

1. Impact on Brain Waves Classical music has been shown to influence brain wave activity, particularly in promoting relaxation and focus. The human brain operates on different frequencies, such as:
   • Beta waves (14-30 Hz): Associated with active thinking and problem-solving.
   • Alpha waves (8-14 Hz): Linked to relaxation and a meditative state.
   • Theta waves (4-8 Hz): Related to creativity and deep relaxation.
   • Delta waves (0.5-4 Hz): Common during deep sleep.
2. Classical music, especially compositions with slow tempos and harmonious structures, tends to encourage the production of alpha and theta waves. These states help with stress reduction, creativity, and overall mental clarity.
   
   
3. Neurotransmitter Release and Emotional Regulation Listening to classical music can trigger the release of important neurotransmitters, such as:
   • Dopamine: The “feel-good” chemical associated with pleasure and motivation.
   • Serotonin: Linked to mood regulation and reduced anxiety.
   • Oxytocin: Often called the “love hormone,” which fosters feelings of connection and trust.
4. These biochemical responses explain why many people experience a sense of calm and happiness when listening to classical music.

Does Mozart and Bach Really Improve Mood and Intelligence?

The idea that listening to classical music, particularly Mozart, can enhance intelligence has been popularised through the term “The Mozart Effect.” This theory suggests that listening to Mozart’s compositions can temporarily boost cognitive abilities.

© learning-mind.com

1. Origins of the Mozart Effect The concept gained traction in 1993 when a study conducted by Rauscher, Shaw, and Ky reported that students who listened to Mozart’s Sonata for Two Pianos in D Major performed better on spatial reasoning tasks. However, the effects were temporary and did not indicate a lasting increase in intelligence.




2. Criticism and Further Research While the original study sparked public interest, later research found that the Mozart Effect is more about enhancing mood and focus rather than directly increasing IQ. Listening to enjoyable music, regardless of genre, has been linked to improved concentration and cognitive function.




3. Why Bach and Mozart Are Special Despite the controversy, composers like Bach and Mozart are known for their structured, harmonious compositions, which have a soothing and stimulating effect on the brain. Their music is often used in therapy sessions, workplaces, and schools to improve focus, creativity, and relaxation.   

Scientific Studies on Classical Music’s Benefits

Research has continually reinforced the positive effects of classical music on mental and physical well-being. Some notable findings include:

1. Stress and Anxiety Reduction
   • A study published in Psychoneuroendocrinology found that classical music significantly lowers cortisol levels (the stress hormone), helping individuals relax and cope with anxiety.

   • Another study demonstrated that patients who listened to classical music before surgery experienced lower blood pressure and reduced preoperative anxiety.
2. Improved Memory and Learning
   • Research conducted by the Stanford University School of Medicine found that classical music helps the brain absorb and interpret new information more effectively. This is particularly useful for students and individuals engaging in complex learning tasks.

   • Classical compositions with a moderate tempo can aid in memory retention, as they provide an ideal background for studying and problem-solving.
3. Pain Management and Healing
   • Hospitals have incorporated classical music into recovery programs, as studies suggest it can help reduce pain perception and enhance the healing process.

   • Patients recovering from surgery have reported experiencing less discomfort when exposed to soothing classical pieces.
4. Better Sleep Quality
   • Classical music, particularly pieces with a slow tempo and minimal percussion, can help individuals fall asleep faster and achieve deeper sleep cycles.

   • A study conducted by researchers at the University of Toronto found that listening to classical music before bed improved sleep patterns and overall sleep quality.

Why Does Classical Music Feel So Good?

There are multiple reasons why classical music has a uniquely positive effect on our emotions and mental state:

© hub.yamaha.com

1. Predictable Structure and Harmony Classical compositions often follow well-defined structures that create a sense of balance and order. This predictability can be soothing to the brain, reducing mental fatigue and stress.




2. Lack of Lyrics Unlike pop or rock music, classical music is predominantly instrumental. The absence of lyrics allows the brain to focus without distraction, making it an excellent aid for concentration and meditation.




3. Richness in Sound and Complexity Classical music contains intricate harmonies and dynamic contrasts that engage different parts of the brain. This complexity can be mentally stimulating while simultaneously providing relaxation.




4. Timeless Beauty and Emotional Depth From the gentle melodies of Chopin’s nocturnes to the grandeur of Beethoven’s symphonies, classical music evokes a wide range of emotions, providing listeners with deep emotional experiences and a sense of catharsis.

The Power of Classical Music in Everyday Life

Listening to classical music is more than just an auditory pleasure; it is a scientifically supported method for improving mental health, cognitive abilities, and emotional well-being. Whether you are seeking relaxation, focus, or inspiration, incorporating classical compositions into your daily routine can provide lasting benefits.

While the “Mozart Effect” may not permanently raise IQ levels, classical music remains one of the most effective tools for enhancing mood, reducing stress, and fostering mental clarity. The next time you need a boost in concentration or a moment of peace, consider turning on a piece by Mozart, Bach, or Beethoven—you may be surprised at just how much it transforms your state of mind.

David Oistrakh (Born on September 30, 1908) Teaching the Musician

 by Georg Predota  September 30th, 2026

For many historians and critics, David Oistrakh was one of the preeminent violinists of the 20th century. To be sure, Oistrakh made playing the violin look easy, and many considered him the ideal violinist, combining fingers of steel with a heart of gold.

David Oistrakh, 1956

Isaac Stern considered him a giant among violinists, and his recordings continue to be studied and admired for their interpretive depth. Yet he was no aloof virtuoso; his legacy also includes his role as a teacher and mentor to countless young musicians.

To celebrate Oistrakh’s birthday on 30 September, let us look at Oistrakh the pedagogue as he shaped generations of violinists at the Moscow Conservatory, beginning in 1934.  

Teaching the Next Generation

David Oistrakh and Gidon Kremer

At the initiative of the pianist and pedagogue Alexander Goldenweiser, David Oistrakh was invited to teach at the Moscow Conservatory in 1934. At 25, he was already a highly accomplished violinist, but his international breakthrough was still three years away.

By 1939, after winning first prize at the Ysaÿe Competition in Brussels, Oistrakh was appointed professor, and in 1950 he became head of the violin department. Maintaining an active performing career, Oistrakh invited Yulia Brodskaya to assist him in teaching solo and chamber music, and Rosa Fain to assist him with solo students in the 1950s.

His period of employment lasted until 1974, essentially until his death from a heart attack. Oistrakh taught some of the most prominent violinists of the 20th century, including students from outside the Soviet Union, and the Moscow Conservatory still describes his pedagogy as a “fruitful union of intellect and intuition, precise knowledge and freedom of artistic creativity.”  

Teaching Individuality

Rimma Sushanskaya

In a 2015 interview with LA Opus, Gidon Kremer was asked directly what it was like to study with Oistrakh, to which he replied: “His main quality towards students was probably generosity; that was literally towards everybody, not so often seen among musicians and especially teachers. David Oistrakh encouraged me a lot to search (for) my own voice.” (Miner, LA Opus, 2015)

It becomes obvious that Oistrakh was not interested in producing “little Oistrakhs,” and that imitation was not his pedagogical ideal. He recognised early that Kremer was a highly individual musician, whose interpretive personality was unlike his own.

Essentially, Oistrakh did not impose a rigid technical teaching system because he wanted to develop the complete musician. In the wonderful Oistrakh documentary by Bruno Monsaingeon, Kremer remembers his teacher telling him, “I would never do what you are doing, but you are right, and you have to go your own way.”   

Discipline, Humour, and Humanity

Igor and David Oistrakh

For Gidon Kremer, Oistrakh was one of the greatest violinists of the century, and also a great teacher. He let each student develop in their own way, encouraging their unique talents.

This is not to say that Oistrakh did not have very definite ideas about playing the violin and passing on his knowledge. He was very demanding and firm, and rather than explaining an interpretive problem in words, he picked up the violin and demonstrated it.

His son Igor gave a first-hand account of his father’s teaching. “Father had many different students in his class, not just prize winners. Despite this, the atmosphere never changed. He never got tired of teaching. He was always alert and awake, as were his receptivity and friendly humour, which were occasionally coloured with a touch of friendly irony.” (Yuzefovich, Conversation with Igor Oistrakh, 1979)  

Beyond the Violin

Igor and David Oistrakh

In her Memories of David Oistrakh, his last student, Rimma Sushanskaya recalled that Oistrakh did not teach his students how to play the violin, but how to become better musicians and artists. He worked with her on bowing and fingering, but his greatest happiness was helping young musicians. (Sushanskaya, Memories of David Oistrakh)

As a final thought, Oistrakh would tell his students: “Try to know more. The limitations of one’s horizons, a narrowing of one’s interests lead to a decline, even of a strong talent. Avoid any way of restricting the repertoire.” (Yuzefovich, Conversation with Igor Oistrakh, 1979)

2026 Trinity International Music Competitio

 

2026 Trinity International Music Competition

Applications are now open for the FIRST ROUND!

Deadline for the first round: November 20, 2026

https://www.trinityinternationalmusiccompetition.org

We invite musicians and music students from around the globe to participate, whether you are a soloist, duo, trio, or part of an ensemble.

Special awards and prizes are available, including the chance to be featured on major news networks.

Top winners will be showcased on major music distribution platforms such as Apple Music, Spotify, Amazon Music, Deezer, and more!

We are accepting applications now, so don't miss this opportunity to showcase your talent in this prestigious competition!

We welcome all instruments and voices, covering all genres of music—from classical to jazz, pop, contemporary, traditional, or ethnic music. Whether you're performing solo, as a duo, in an ensemble, choir, or orchestra, there are no age restrictions.

We look forward to your participation!

Celebrate Your Talent!

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Celebrate Your Talent!

Apply now

Violins and Synagogues: The Story of Salamone Rossi

 by Mengguang Huang  September 27th, 2026

Salamone Rossi was born around 1570 into a prominent Jewish family in Mantua, a busy city in Northern Italy. During this period, life for Italian Jews was shaped by tight legal restrictions and social isolation. European rulers often viewed Jewish populations with suspicion, and Mantua followed suit. By 1612, the local authorities forced the city’s Jewish residents to live inside a gated ghetto and made them wear a yellow badge on their clothes whenever they walked through the streets. Yet, beyond these harsh laws, Mantua was also a place where art, theatre, and music flourished under the rule of the wealthy Gonzaga family.

Bird’s-eye view of Mantua, from Civitates Orbis Terrarum, vol. II, 50, published 1575, edited by Georg Braun and engraved by Franz Hogenberg.

Rossi was a remarkably gifted violinist and singer. His talent caught the attention of the court early on, and he officially joined the Duke’s musical household in 1587. He was only a teenager then, but he quickly proved himself. Over the next forty years, Rossi worked his way up from a basic performer to the court concertmaster, leading instrumental groups and providing music for every major court occasion. He composed pieces for royal weddings, grand state dinners, theatrical plays, and outdoor celebrations.

His reputation as a musician was so high that Duke Vincenzo I made a rare exception for him. In 1606, the Duke issued an official decree exempting Rossi from wearing the yellow badge. This was a major concession for the time. It meant Rossi could walk freely through the city and perform his duties at the palace without carrying the visible mark of discrimination forced upon his neighbours. His sister, a talented opera singer known as Madama Europa, also performed at court, making their family a central fixture of Mantuan musical life.

Portrait of Duke of Mantua Vincenzo I Gonzaga wearing the collar of the Order of the Redeemer by Frans Pourbus the Younger

Living in the Gonzaga palace put Rossi in direct contact with some of the era’s greatest creative minds, including Claudio Monteverdi. At the turn of the seventeenth century, European music was going through a major change. Composers were moving away from the complex Renaissance style, where many vocal lines sang different parts at the same time, and turning toward the new Baroque style. This new approach focused on a clear, expressive lead melody supported by a continuous bass line.

Bird’s-eye view of Palazzo Ducale Mantua (Credit:https://www.mantovaducale.beniculturali.it)

Rossi became a pioneer of this new musical language. He applied these fresh ideas directly to instrumental playing, which was quite rare then. Up until that point, instrumental music was mostly used to accompany dancers or backup singers. Rossi changed that by writing published collections of standalone sonatas and sinfonias. He usually wrote for two violins playing above a steady bass instrument like the lute or cello. This specific setup became known as the trio sonata. It was a huge success, and it served as the standard format for chamber music across Europe for the next hundred years.   

Even as Rossi climbed the ladder at the Christian court, he never lost touch with his own roots. He remained a devout and active member of the Mantuan Jewish community. This dual identity led to his most famous and daring creation. For centuries, Jewish synagogue music relied on a single cantor singing traditional chants without any backing instruments or complex vocal harmonies. Many rabbis opposed changing this practice because they felt modern theatrical music had no place in sacred worship.

The interior of the only extant Jewish Synagogue in Mantua (Credit:https://www.itinerariebraici.it)

Rossi disagreed and set out to modernise synagogue music. In 1622-3, he published a groundbreaking collection of music in Venice titled Hashirim Asher Li-Shlomo (The Songs of Solomon). The collection contained 33 original choral pieces written for three to eight voices, setting traditional Hebrew prayers, psalms, and hymns to multi-part Western harmonies. To publish the work, Rossi had to overcome real technical challenges. Printers had to align the Hebrew text, which reads from right to left, with European musical notation, which reads from left to right.

The 400th anniversary of Salomone Rossi’s Hashirim Asher LiShlomo (1622)  

Rossi also needed religious backing to protect his project. He worked closely with a prominent Venetian scholar, Rabbi Leon of Modena, who wrote a formal defence explaining why polyphonic music was appropriate for Jewish services. This work was the very first published collection of polyphonic synagogue music in history, bringing the sounds of the Italian Baroque into the sanctuary.

Salamone Rossi, Shir asher lishlomo [Songs of Solomon], ca. 1623 (title page).

Sadly, the world Rossi built came to a sudden, violent end in the late 1620s. A feud over who would rule Mantua triggered the War of the Mantuan Succession. In July 1630, foreign Imperial troops invaded and captured Mantua. The soldiers sacked the city and destroyed the Jewish ghetto, forcing the residents to flee. To make matters worse, a brutal outbreak of the plague swept through the region around the same time.

Historical records regarding Rossi stop after 1628, so we do not know the exact details of his final days. Historians generally believe he died around 1630, killed either during the military attack or by the plague. Most of his friends and family vanished from the record during the same chaotic period.

After his death, congregations largely set aside and forgot Rossi’s synagogue music, mostly because they returned to older traditional chants. However, modern music scholars look at his life with great respect. Without any extant portraits, Rossi built bridges. He navigated two completely different cultural worlds—the courtly world of Renaissance princes and the enclosed world of the Jewish ghetto—and left behind a legacy that transformed both instrumental music and sacred song.