Introducing: Amanda Smith

Distinguished Arts and Non-Profit leader has been appointed President and CEO of the Honens International Piano Competition

WFIMC: Please tell us a little about your background and what brought you to Honens.

Amanda Smith: My journey in the arts and non-profit sector has been driven by a love of music, a deep passion for sustainability in the non-profit sector, and a commitment to making the arts accessible to all. With a Bachelor of Music from Queen’s University and an MBA in Non-Profit and Charitable Organization Management from Trinity Western University, I began my career in Marketing and Communications, later expanding into Sales and Development roles, throughout focused on developing strategic initiatives, fostering collaborative teams, and championing financial sustainability for organizations.

I joined Honens nearly eight years ago as Director of Marketing & Communications, and later served as Interim President & CEO before being appointed Chief Executive Officer at the end of 2024. My deep love for piano music and admiration for Honens’ commitment to excellence drew me to the organization, which has upheld the highest standards in piano artistry for over 30 years. Discovering that such an extraordinary organization was based in the city I call home felt like kismet.

What resonated with me most was Honens’ unique vision—supporting pianists beyond technical excellence to become thoughtful, expressive artists who meaningfully engage with audiences. I was inspired by its holistic approach to nurturing musicians, ensuring they are equipped for sustainable and impactful careers.

Amanda Smith

Amanda Smith, new President and CEO at Honens

You have been with the organisation for a long time. Can you tell us a little about the years you spent there and how Honens changed with the recent leaders? What is your vision, and what are your plans for the future?

Over the years, Honens has evolved significantly, with an increasing focus on artist development, community engagement, and equity, diversity, inclusion, and belonging (EDIB). While the organization has long been recognized for its world-class competition and festival—thriving under previous leadership, including Stephen McHolm, who served on the board of WFIMC—recent leadership has expanded programming to enhance accessibility to music education, performance opportunities, and community engagement.

One initiative I am particularly proud of is Keys for Newcomers, which provides accessible music education for immigrants and refugees while also creating employment opportunities for newcomer piano teachers. This initiative reflects our commitment to using music as a tool for integration and empowerment.

Looking ahead, my vision for Honens is to further establish it as a leader in artist development and community engagement. We aim to deepen our impact through expanded programming, local and international collaborations, and innovative educational initiatives that support young pianists and diverse audiences alike. Honens will continue to champion inclusivity, ensuring that the joy of music—and a deeper appreciation for the piano—reaches as many people as possible.

What sets Honens apart from other major piano competitions?

Honens stands apart through its Complete Artist philosophy, which goes beyond technical brilliance to seek pianists who demonstrate artistic integrity, communication skills, and the ability to connect deeply with audiences. We are committed to finding artists who are not just exceptional musicians but also compelling storytellers, collaborators, and cultural ambassadors.

Our competition provides one of the most comprehensive artistic and career development packages in the industry. Beyond the competition itself, Honens offers Laureates extensive mentorship, professional engagements, and recording opportunities, helping them navigate the complexities of a professional career in music.

Additionally, our commitment to accessibility and community outreach, including Keys for Newcomers and our partnership with Xenia Concerts to create inclusive performances for neurodiverse and disability communities, underscores our broader mission of making music a transformative force in society.

Amanda Smith with Catherine McClelland (Director, Artistic Planning), Jennifer Weihmann (Director, Audience & Donor Engagement), and Nadia Riterman (Community Engagement & Administration Coordinator)

What would you like the WFIMC to provide, and how would you like the Federation to interact with your competition?

The WFIMC plays a crucial role in elevating the visibility and credibility of its member competitions worldwide. I would love to see the Federation continue fostering collaborations between competitions, providing platforms for knowledge-sharing, and supporting innovative approaches to artist development.

One area of opportunity is enhancing the network’s collective advocacy for greater accessibility in the competition landscape. By sharing best practices in inclusivity—whether through outreach initiatives, diverse jury representation, or career support for laureates—we can collectively ensure that international competitions are reflective of today’s global and diverse artistic community.

I also see potential for WFIMC to facilitate more direct engagement between laureates and member competitions, possibly through digital platforms or cross-promotional opportunities that offer young artists broader performance and mentorship prospects.

At Honens, we value the Federation’s leadership in upholding excellence and integrity in the world of competitions, and we look forward to contributing to its continued growth and impact.

 

Top Image: Pianist Illia Ovcharenko at Honens in 2022
Images ©Honens Intl. Piano Competition

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