Private music patrons aim to raise £2 million to fund 400 scholarships for London children with a talent for music. The aim is to give steady four-year support for disadvantaged children to have Saturday lessons, individual coaching and group tuition to learn a musical instrument. Alongside the scholarships, there is to be a "partnership" scheme whereby professional musicians go into schools to work on music with up to 10,000 schoolchildren.

It's just been crowned the BBC Music Magazine Awards' CD of the Year. But is Valery Gergiev's second complete recording of the 20th century's greatest ballet score, captured live at the Barbican for the LSO's own label, right at the top? In my Building a Library survey for BBC Radio 3, condensed in print for the BBCMM, I suggested it might be the best in state-of-the-art sound - but not the finest overall version of Prokofiev's Romeo and Juliet. That palm went to Rozhdestvensky's much more impeccably paced old Melodiya version, in mono and dating from 1959.

The Sapporo Symphony Orchestra had already scheduled a London appearance as part of its 50th-anniversary tour when the Japanese earthquake and tsunami struck. Now all proceeds from the Royal Festival Hall concert on 23 May will go directly to the Japanese Red Cross Society and the Japan Society Tohoku Earthquake Relief Fund.

Last night the programme for the Royal Opera's current production of Fidelio included a special tribute to that most characterful of tenors, Robert Tear, who died this week at the age of 72. Only once did I have the immense pleasure of spending time in the company of this warm and witty man in a Radio 3 book-review programme, which was funny and easy thanks to his interesting, and interested, conversation. He was, though, a constant presence in my life through his wonderfully interactive response to the performance around him when sitting on a concert platform and the number of precisely observed roles, later cameos, he took on at Covent Garden, English National Opera and Glyndebourne. Few knew him better than his equally distinguished colleague Sir Thomas Allen, whose reminiscence as printed last night the Royal Opera gives us kind permission to reproduce here.

A sliderule of 11-15 per cent reductions in annual grants by 2015, compared with this year, has been applied to Britain's major orchestras, opera, dance, theatre and music organisations. One major gainer is London's Barbican Centre - one major loser is the now world-famous Almeida Theatre, which loses almost 40 per cent of its current annual subsidy despite its reputation for innovation and discovery. However, the Arcola Theatre, another small innovative theatre, gets a big boost. Companies to lose all their grant from next year include Hammersmith's Riverside Studios and Derby Theatre.

Yehudi Menuhin's influence continues to reach out a hand to young instrumentalists. His Menuhin Violin Competition for young players under 22 is internationally known; last weekend in the Waterloo Chamber of Windsor Castle - a staggeringly picturesque setting - some exceptional violinists, violists and cellists sought the laurels at the Windsor Festival International String Competition, Britain's major professional prize for string players set up in Menuhin's honour three years ago.

The beautiful voice is no more. I know the tag has been applied recently to Renée Fleming, but for liquid-gold soprano sound, there has never been anyone to surpass Dame Margaret Price, who died yesterday in her native Wales three months short of her 70th birthday. Few singers have covered a wider range with such poise and style; in the April 2007 edition of the BBC Music Magazine we placed her Number Eight among the Top 20 Greatest Sopranos of All Time (I now recall she was Number Three on my own list, after Callas and Sutherland, of course).

The beautiful voice is no more. I know the tag has been applied recently to Renée Fleming, but for liquid-gold soprano sound, there has never been anyone to surpass Dame Margaret Price, who died yesterday in her native Wales three months short of her 70th birthday. Few singers have covered a wider range with such poise and style; in the April 2007 edition of the BBC Music Magazine we placed her Number Eight among the Top 20 Greatest Sopranos of All Time (I now recall she was Number Three on my own list, after Callas and Sutherland, of course).

No one's saying that the mezzo of the moment, glamorous Latvian Elina Garanca, isn't a very class act indeed when it comes to high-quality opera, song and even zarzuela. But she didn't revert to the Age of Aquarius too successfully in this ill-advised TV show appearance, clearly not having visited Hair when it was on in London. The only protest here might have been from the hapless spectators. And the look makes Kiri as Michael Jackson on her Blue Skies album cover seem dignified.