Vive la Hamilton: A new era for the HPO
At 29, Paris-born James Kahane is the 10th music director of the Hamilton Philharmonic Orchestra. He wants you to know that he finds Hamilton artistically inspiring and that classical musicians party more than you might think.
James Kahane grew up in the 11th arrondissement of Paris, France. As a child he walked these streets, surrounded by cafés and restaurants, concert halls and cultural institutions. The 11th is home to Bastille Opera and the celebrated theatre the Bataclan.
Yet Kahane, 29, has begun to sink his teeth into North American life. Specifically, life in Hamilton, where he will spend the next several years serving as the conductor and artistic director of the Hamilton Philharmonic Orchestra.
Kahane joined the HPO last year, conducting some of the final shows programmed by his predecessor Gemma New. Kahane has been in and out of town since he took the position, but recently secured an apartment in the North End and is, for all intents and purposes, a Hamiltonian. His first impressions are much more complimentary than you might expect from someone who grew up in a city as beautiful and celebrated as Paris.
“I think it's much better than people here think it is,” he says of Hamilton. “The food is really good, which, as a French person who has grown up in Paris, that means a lot.”
“In a weird way, it’s kind of an inferiority complex,” he says. “Like, oh, we don't have as much to offer, artistically speaking, as big cities. So then actually, they try harder; they are more active and a bit more eager to get things moving just to compensate. That's actually really inspiring. It makes me feel like people are really eager to do stuff.”
The congenial atmosphere and friendly, supportive people he has met in our community also make him feel like Hamilton is a good place to call home. “I like, of course, the Canadian vibe, right? That people are just much more friendly than in France or in Finland.”
Born in Paris, Kahane grew up in an arts-friendly family (though not specifically a musical one) in an arts-forward community, and many arts initiatives in the 11th were aimed at youth. Cinema and concerts were affordable, and the quality of music was always world-class. Growing up in Paris, meant that there was never any shortage of good art to experience.
His introduction to classical music was almost a fluke, in a family without much interest in the genre. “I would go as far as to say some of them actively dislike classical music.” Still, there were a handful of classical hits CDs in the house, and these spoke to him.
As was common practice, Kahane took piano lessons. “If you are a child from a good family, you have to learn piano,” he explains. “Not just any instrument; you have to learn piano. So there is always a piano at home.”
He didn’t really enjoy the piano, though. At the time, and for many years, Kahane was more interested in becoming a visual artist than a musician. Eventually, however, he found himself moving back towards music. Little by little, his knowledge expanded outward; an interest in one piece would lead him to the composer’s other works, and eventually, he was a full convert. Once he finished high school, he had an entirely new career goal.
Kahane began his formal education in conducting at the Buchmann Mehta School of Music at Tel Aviv University, a school affiliated with Zubin Mehta, the legendary Indian conductor. Craving more practical experience than the school provided, he then moved to the Sibelius Academy in Helsinki, Finland.
“I was pretty much blown away by the quality of what I was seeing there,” he says of the school that rooted him semi-permanently in the Nordic region. He became Susanna Mälkki’s assistant at the Helsinki Philharmonic Orchestra, then chief conductor of the student-based Polytech Orchestra. He also became the principal conductor of the Helsinki Chamber Orchestra, which had been dormant for decades. He and some compatriots revived the organization together.
When Kahane talks about Finland, he remembers the sheer enjoyment of being a part of the music, being with musicians, and, for lack of a better word, the partying. Kahane recalls that when Polytech would take long bus trips on tour, one bus was reserved for the all-nighter crowd.
“I was always on the bus of people that wanted to party,” he says. Not just party, but host the party and help everyone enjoy themselves. He would host games like trivia and name that tune in something they called, appropriately enough, Games with James.
“There is a perception that classical music people must be a little boring, you know, or must be older,” he says, dismissing the idea. “You hear the craziest stories. They party a lot, they drink a lot. When I was on tour in France, we had some kind of tour with the Helsinki Chamber Orchestra, and we were going to sleep every night at like 4 or 5 a.m. and then being in rehearsal at 9 a.m.”
Despite his profound passion for classical, like anyone, he isn’t always in the mood for it. Kahane’s musical interests run to a variety of styles and genres.
“I don't always enjoy going to a concert, frankly,” he says. “But I know that one thing that will convince me to go is if I know that the whole evening is going to be fun and that going to the concert is part of a broader night's out.”
With that in mind, he hopes – on his own, not necessarily through the HPO organization – to bring a bit of European flavour.
“In Finland, I wouldn't say they necessarily have huge parties after each concert,” says Kahane, “but at least most orchestra musicians go for a beer. That’s harder with the HPO, because a lot of our musicians live in Toronto and have to drive home. Still, I’m hoping to bring the tradition here and use my own time to plan and organize, at least after each of my concerts, a big after-party where audience and musicians alike would be invited. I hope that this makes it also more enticing for younger audiences, maybe.”
One has to note that at 29, Kahane is part of that young audience, and in Canadian minds, he is young for a conductor. When he met former HPO conductor Gemma New and learned about the HPO in 2017, he couldn’t help but note that she was only in her early 30s. “I thought that it speaks a lot to her talent, of course, but also of the personality of the orchestra. That they entrust a young person with musical leadership probably says that the orchestra might be a bit more open-minded.”
He also noted, following along on socials, that the HPO had both conventional and unconventional ways of serving the community. He continued to pay attention to this former steeltown across the Atlantic, until the day when the call went out for a new conductor and artistic director at the HPO. When New announced she was stepping down after nine years at the helm, Kahane chose to throw his hat into the ring.
After an 18-month search, 115 applicants were narrowed down to seven candidates who auditioned. In May 2024, Kahane was named the 10th musical director since the HPO was founded in 1949.
New and Kahane were virtually the same age when they each joined the HPO, but that’s just a coincidence, says executive director Kim Varian. Music directors are chosen by a committee of musicians, board members and community members who are guided by the HPO's strategic plan, mission, vision and values. They saw in Kahane artistic leadership, an innovative approach to programming, and a commitment to community engagement and music education.
“James shares many of the remarkable qualities of the HPO music directors before him, while bringing new perspectives and insights to the orchestra,” says Varian.
The HPO’s last season was programmed by New, and Kahane has enjoyed conducting the pieces selected by her and the artistic team. Now, however, he is eager to conduct his own programs, building on what New, the board of directors and the artistic team have done in recent years. Though he will program music in which he believes, he says he will take no sharp, radical turns, lest he alienate the audience. Moving slowly and wisely is the way to establish the trust he hopes to have with Hamilton audiences.
“I want to be sure that when the audience goes to a concert, they know that they might enjoy some things more, they might enjoy some things less,” he says. “But I want them to know that I have designed the program with the idea that they should be able to enjoy everything.” This way, if there are programs down the line that seem a little bit more daunting, audiences will know that if they’ve enjoyed the programs in the past, they’re in good hands and will likely be satisfied.
The program for 2025/2026 reflects his tastes – some Sibelius, some French composers, too. The composers are familiar, but the pieces might be lesser known. It’s the way he learned about the music himself as a youth; find the entry points, then delve deeper.
Concert themes are a good way to tie composers to a program. “That can be a nice way to bring up music that the audience is not familiar with or less familiar with,” he says, laying out some of the programs and themes coming in the 2025/2026 season, such as The Journey Begins, which will feature important breakthrough works by various composers.
One of those works is Sibelius' “En Saga,” the composer’s lesser-performed first symphonic work. Kahane is excited to present works such as this, or Hindemith’s “Amor and Psyche.” Of the latter he says, “I'm sure almost no one in the concert hall will have heard it ever, but I do think it's as enjoyable as a Brahms symphony. Sincerely.”
Canadian content will still feature in the program, of course, including the work of HPO composer-in-residence Abigail Richardson-Schulte. Kahane gave himself a crash course in Canadian classical, an education he hopes to continue, especially when he has settled into the city of Hamilton.
Running an orchestra in Canada, of course, means Canadian composers. It also means doing things in ways that will suit the Canadian audience. Some classical fans might believe that Europe is the ultimate place for the music and, in many ways, they may be right. Indeed, Kahane looks forward to bringing some of that European approach, while recognizing the limits and, indeed, the advantages that being in Canada can bring.
“I wouldn't want to make Canada an exact replica of Europe because that would also mean taking the things that are not always so great,” he says. “I do think one thing that I have noticed in North America is that classical music is approached much more in the scope of entertainment rather than art – and sometimes entertainment at the expense of art. I think music directors always try to make sure that we remember that music is art, maybe more than it is entertainment, but at least as much as it is entertainment. I hope to make people feel that good art is entertaining.”
Kahane’s artistic vision, energy and commitment to grow the HPO in size and stature is evident in new concert experiences and programs this season that are designed to engage people with music on another level, says Varian.
“This is especially evident in our new program launching this season, Inside the Orchestra, where audiences sit onstage around our musicians as they rehearse a specific piece featured on the HPO mainstage at the following night’s concert. Hosted by James, audiences gain fascinating insights into the music and the rehearsal process for a richer musical experience. Audiences can enjoy Inside the Orchestra as a more casual and approachable standalone concert experience, or come back the following day for the full performance.”
As the Hamilton Philharmonic passes the literal and figurative baton to a young professional like Kahane, there is acknowledgement that the future of the organization lies with the next generations of subscribers and ticket buyers. Kahane sees this from within the demographic as a peer. From this vantage point, he sees young people finding orchestral music on a regular basis, through a variety of avenues: video games; musical theatre; movie scores and streaming sites.
What he also sees, especially since the pandemic lockdowns, is that young people care about community. Kahane hopes that he and the HPO can properly welcome them.
“I think we're seeing this young generation really want to build community, want to invest in that,” Kahane suggests. “What I find interesting, in the case of classical music specifically, is that we are always mindful that classical music can be a bit elitist and a bit too fancy, and people might be a little bit put off by that. What I have found talking to younger people than me is that actually they kind of like that. If the price is not prohibitive, they sometimes like going to a place where it's going to be a bit fancy. Yeah, they might have to dress up a little bit, but it’s a nice place to bring their boyfriend or girlfriend. It's kind of romantic.”
2025-2026 HPO SEASON
The 2025-2026 season of the Hamilton Philharmonic Orchestra, the first programmed by music director James Kahane, features nine full orchestra concerts in the mainstage series at FirstOntario Concert Hall, along with musical events across the region.
The season includes iconic orchestral works, celebrates Canadian talent, highlights new music by living composers and welcomes acclaimed guest artists.
THE MAINSTAGE CONCERT SERIES
The Journey Begins
The first hits of composers: Roman Rabinovich, “Piano,” Jean Sibelius, “En Saga,” Sergei Prokofiev, “Piano Concerto No. 1,” Abigail Richardson-Schult, “Eris,” Dmitri Shostakovich, “Symphony No. 1.”
Sept. 20, at 7:30 p.m.
James S. Kahane, Conductor
Jurassic Park: Film with Orchestra
Experience the sheer movie magic of Steven Spielberg’s mega blockbuster Jurassic Park like never before, projected in HD with your HPO performing John Williams’ iconic score live to picture! This action-packed adventure, featuring visually stunning imagery and groundbreaking special effects, pits humans against prehistoric predators in the ultimate battle for survival. Welcome to Jurassic Park!
Oct. 18, at 7:30 p.m.
Light Emerges
Travel with the HPO to picturesque destinations and worlds of deep emotion. After Giuseppe Verdi’s tumultuous overture “La forza del destino,” the HPO’s own principal cello Leana Rutt takes the spotlight in Edward Elgar’s passionately brooding “Cello Concerto,” a lament for a lost world. Wojciech Kilar’s “Orawa” then brings you to an exuberant highlanders’ dance in the Tatras mountains, while Felix Mendelssohn’s jubilant “Symphony No. 4 Italian” captures his vibrant impressions of Italy.
Nov. 8, at 7:30 p.m.
Nil Venditti, Guest conductor
Leana Rutt, Cello
’Tis the Season
Celebrate the festive season in a heartwarming concert of music that is sure to get you into the holiday spirit! Hear favourite carols, classic holiday songs and other merry tunes performed in glorious orchestral sound by the orchestra augmented by the young musicians of the HPYO plus the beautiful voices of the Hamilton Children’s Choir, and featuring a cast of local dancers.
Dec. 13, at 7:30 p.m.
James S. Kahane, Conductor
Hamilton Children's Choir
Hamilton Philharmonic Youth Orchestra
Monomyth: The Hero's Journey
Start your new year with the HPO in an invigorating concert for the heroic at heart! Alondra de la Parra conducts the orchestra in three stand-out symphonic classics, including Beethoven’s revolutionary “Symphony No. 3 Eroica,” evoking a hero’s journey of overcoming adversity with courage and optimism. Grazyna Bacewicz’s blazing “Overture” tops the program and Thomas Enhco is the intrepid soloist exploring all the brilliance and beauty of Mozart’s exquisite “Piano Concerto No. 21.”
Jan. 17, 2026, at 3 p.m. (matinee)
Alondra de la Parra, Conductor
Thomas Enhco, Piano
From Hamilton, With Love: HPO & Dwayne Gretzky
Celebrate love and Hamilton as the HPO joins forces with Dwayne Gretzky and conductor Lucas Waldin to perform your favourite hits from the ’60s, ’70s and ’80s! Enjoy electrifying renditions of familiar favourites by “Canada’s greatest party band” with full orchestral sound in a dynamic celebration of the songs we all forgot we loved.
Feb. 14, 2026, at 7:30 p.m.
Lucas Waldin, Conductor
Dwayne Gretzky
Dancing Through Life
Enjoy the elegance and energy of the HPO performing dance-inspired music! Canadian violinist Susanne Hou melds dazzling technique with gorgeous tone in Camille Saint-Saëns’ fiery, Spanish-inflected “Introduction et Rondo Capriccioso,” while Philippe Hersant’s “Rondes de Nuit” evokes the bustling nightlife of Madrid, past and present. These pieces are framed by Maurice Ravel’s modern take on 18th-century dances in “Le Tombeau de Couperin” and Antonín Dvořák’s dance-infused “Symphony No. 8” that is a splendid showcase for the musicians of the orchestra.
March 21, 2026, at 7:30 p.m.
James S. Kahane, Conductor
Susanne Hou, Violin
Myth & Memory
Immerse yourself in the rich symphonic sound of three distinguished orchestral works performed by the HPO. Beethoven’s sole violin concerto, starring the HPO’s own concertmaster Stephen Sitarski, is an expansive epic of lyrical beauty, while Brahms’ powerful “Symphony No. 3” is a finely wrought musical drama of intense feelings in a restless search for inner tranquility. Raphael’s vivid frescoes depicting the story of Cupid and Psyche shine in Paul Hindemith’s score inspired by his visit to Rome’s Villa Farnesina.
April 18, 2026, at 7:30 p.m.
James S. Kahane, Conductor
Stephen Sitarski, Violin
Tchaikovsky’s Fate
Don’t miss the HPO’s gripping season finale concert as James Kahane and the orchestra plumb the depths of emotion in Arvo Pärt’s haunting musical memorial for English composer Benjamin Britten. Pianist Anna Fedorova brings her consummate artistry to Rachmaninoff’s scintillatingly inventive variations on Paganini’s famous theme. The journey culminates with Tchaikovsky’s Symphony No. 5, wrestling with Fate’s mysterious ways—from solemn submission to passionate desire to triumphant hope.
May 2, 2026
James S. Kahane, Conductor
Anna Fedorova, Piano
OFF-THE-MAINSTAGE CONCERT SERIES
Considering Matthew Shepard
The HPO is proud to present Considering Matthew Shepard, featuring The Elora Singers. Composer Craig Hella Johnson’s moving fusion oratorio is a reflection and response to the life, legacy and tragic death of Matthew Shepard, a young gay man whose murder in 1998 became a catalyst for change. Johnson’s composition weaves together poetry, personal reflections and historical texts to create a profound musical journey with soloists, choir and chamber orchestra. This performance will share a hopeful message of love over hate and light over darkness.
Nov. 26, at 7:30 p.m.
McIntyre Performing Arts Centre
Handel’s Messiah
The HPO and the Bach Elgar Choir come together for Handel’s monumental work Messiah. From the soft beauty of the opening notes to the resounding joy of the “Hallelujah Chorus,” this performance promises to uplift and delight audiences during the festive season.
Dec. 5, 2025, at 7:30 p.m.
Dec. 7, at 3 p.m.
St. Catherine of Siena, Roman Catholic Church
Mozart’s Don Giovanni
One of Mozart’s masterpieces, Don Giovanni combines comedy and tragedy in the retelling of the Don Juan legend. The HPO is thrilled to collaborate with COSA on sharing the magic of opera with Hamilton.
Feb. 7, 2026, at 7:30 p.m.
Ancaster Memorial Arts Centre
Intimate & Immersive: Earth Songs
The HPO Intimate & Immersive series draws audiences into an atmospheric journey that blurs the lines between performer and spectator in one of Hamilton’s most inspiring and historic venues, the Cotton Factory. Hear the music unfold all around you while the space is visually transformed with a multimedia artistic installation designed to respond to and elevate the sonic experience. HPO Intimate & Immersive is not just a concert, it’s a deep sensory encounter. Whether you're a lover of contemporary art, classical music or unforgettable spaces, this concert conducted by James Kahane promises a night of bold creativity and connection.
April 8, 2026, at 7:30 p.m.
The Cotton Factory
Subscription packages are on sale now at hpo.org or by calling the box office at 905-526-7756. Single tickets to off-the-mainstage concerts are available now. Single tickets for all mainstage concerts at FirstOntario Concert Hall go on sale Aug. 14.
