Tech CEO Pays Half a Million to Conduct Mahler’s “Resurrection,” Receives Standing Ovation

Written by Chantal Gapato  |  November 17, 2025

On June 25, 2025, Mandle Cheung, the 78-year-old tech CEO of ComputerTalk Technology, paid roughly US 400,000 to lead the Toronto Symphony Orchestra in a performance of Mahler’s Symphony No. 2, the Resurrection, at Roy Thomson Hall.

Cheung covered about US 337,000 for the orchestra, US 45,000 for the venue rental, and roughly US 15,000 for the soloists. The performance included the Amadeus Choir and two soloists, soprano Kirsten LeBlanc and mezzo soprano Krisztina Szabo. He also held more than 10 rehearsals in preparation.

Reactions to the concert were deeply mixed. Some members of the orchestra expressed concern about an untrained conductor leading such a technically demanding and emotionally complex piece. Bridget Hunt, violinist and chair of the TSO’s artistic advisory committee, said it was hard when you have someone on the podium that does not have the experience. A conductor evaluation survey distributed after the concert showed that a majority of musicians were worried about the quality and risk of the event.

Others in the classical community praised Cheung’s financial contribution to the arts. TSO CEO Mark Williams defended the engagement and noted that ticket sales cover only part of the orchestra’s annual budget. The arrangement was described by the administration as a fee-for-service opportunity that provided valuable revenue.

Critics of the performance noted that Cheung’s conducting appeared mechanical at times and heavily dependent on the score, with limited nonverbal communication with the musicians. Some reviews mentioned awkward tempo transitions and extended pauses in the final movement. Despite this, many acknowledged that the Toronto Symphony Orchestra and the choir delivered a performance of emotional weight and clarity.

Audience response was notably positive. Reports described a nearly full hall and a standing ovation at the end of the performance. Cheung later said the concert was the culmination of a lifetime of listening and learning and that it reflected his belief that it is never too late to follow one’s passion.

The event sparked debate about whether wealthy individuals should be able to buy access to the podium of major orchestras. Some musicians and observers worry that engagements like this could influence artistic standards and set a precedent for future fee-based appearances. Others argue that in the current financial climate, unconventional funding sources can help sustain orchestras and allow ambitious projects to move forward.