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The decision of the Finnish National Opera to produce The Phantom of the Opera turned out to be an opinion-divider. Musicals are a genre popular with the public at large, but many still do not consider them a serious art form.

"In diving into the world of microtones, I tried to make musicality my priority, listening as carefully and acutely as possible, in a natural relationship with other elements of music. A whole new world of harmony unfolded before me!"

"The best thing about the Finnish public grant system is the very existence of it. Even if the amount allocated for the arts in the state budget is minute, it has nevertheless been clear to the political decision makers for a long time that public funds must be invested in supporting the arts."

"The Émilie Suite is a half-hour condensation, to a 2011 commission, of Saariaho’s monologue opera Émilie of 2007–8, reduced to three vocal numbers separated by two orchestral interludes – a dramatic cantata in all but name, alternately formal and beguiling, intimate and angry, almost from gesture to gesture."

Composer, musicology Professor emeritus Mikko Heiniö's article on Jean Sibelius's historical significance was first published in FMQ in 1990.

"Pianist Kari Ikonen fuses fresh elements. On this second outing with bassist Ara Yaralyan and drummer Markku Ounaskari, not only Scandinavian and American sounds are heard. As the title reveals, this record has two distinctive sides: beautiful composed pieces and spontaneous collective takes."

Finns have long had a deep affinity for music of Russian origin. Perhaps that says something about the Finnish mental landscape or “national psyche”. But it should also be noted that the status of Russian music in Finland has fluctuated over time and according to political circumstances – musical trends echoing trends in society at large.

"...it’s another cross-country ramble, concerned more with the detail of the surrounding vistas than any ultimate goal, but even as it takes its time to unfold, its casual strength, flaring up as unpredictably as coastal weather, holds the interest."

"Traditional, academic criticism is giving way to a more collective and democratic form of criticism: we are today perhaps more interested than ever to learn what other people think of their musical experiences and how they choose to express their thoughts."