Canadian-born violinist Martin Beaver was First Violin of the world-renowned Tokyo String Quartet from June 2002 until its final concert in July 2013.  As such, he appeared to critical and public acclaim on the major stages of the world including New York’s Carnegie Hall, London’s Wigmore Hall, the Berliner Philharmonie, Tokyo’s Suntory Hall and the Sydney Opera House.

As a member of the Tokyo String Quartet, Mr. Beaver was privileged to perform on the 1727 Stradivarius violin from the “Paganini Quartet” set of instruments, on generous loan to the quartet from the Nippon Music Foundation.  Recordings of the Tokyo String Quartet during his tenure notably include the complete Beethoven string quartets on the Harmonia Mundi label.

Mr. Beaver’s concerto and recital appearances span four continents with orchestras such as the San Francisco Symphony, the Toronto Symphony, l’Orchestre Philharmonique de Liège and the Sapporo Symphony Orchestra and under the batons of Kazuyoshi Akiyama, Raymond Leppard, Gilbert Varga and Yannick Nézet-Séguin among others.  Chamber music performances include collaborations with such eminent artists as Leon Fleisher, Pinchas Zukerman, Lynn Harrell, Sabine Meyer and Yefim Bronfman.

Mr. Beaver is a regular guest at prominent festivals in North America and abroad. Among these are: the Santa Fe Chamber Music Festival, Chamber Music Northwest, La Jolla SummerFest, the Norfolk Chamber Music Festival, the Edinburgh Festival (U.K.) and Pacific Music Festival (Japan).  Additionally, he was a founding member of several notable chamber ensembles including Triskelion and the Montrose Trio.

Mr. Beaver’s discography includes concerti, sonatas and chamber music on the Harmonia Mundi USA, Biddulph, Naim Audio, René Gailly, Musica Viva, SM 5000, Toccata Classics and Naxos labels.  His recorded repertoire ranges from Bach, Beethoven and Brahms to the music of 21^st century composers Alexina Louie, Gerard Schurmann and Joan Tower.

Following his early studies with Claude Letourneau and Carlisle Wilson, Mr. Beaver was a pupil of Victor Danchenko, Josef Gingold and Henryk Szeryng.  He is a laureate of the Queen Elisabeth, Montreal and Indianapolis competitions. Subsequently, he has served on the juries of major international competitions including the Queen Elisabeth and Montreal violin competitions, the Osaka International Chamber Music Competition and the Banff International String Quartet Competition.

Over the course of his career, Mr. Beaver has been the grateful recipient of generous support from the Canada Council for the Arts.  This includes Arts Grants for his studies at Indiana University, Career Development Grants and the 1993 Virginia-Parker Prize.  In 1998, through the generosity of an anonymous donor, the Canada Council awarded Mr. Beaver the loan of the 1729 “ex-Heath” Guarnerius del Gesù violin for a four-year period.

A devoted educator, Mr. Beaver has conducted masterclasses throughout North and South America, Europe, Asia and Australia.  He has held teaching positions at the Royal Conservatory of Music, the University of British Columbia and the Peabody Conservatory.  More recently, he served on the faculty of New York University and as Artist in Residence at the Yale School of Music, where he was awarded its highest honor – the Sanford Medal.

Mr. Beaver joined the faculty of the Colburn School in Los Angeles in August 2013 where he is currently Professor of Violin and Chamber Music.

Icelandic violinist Sibbi Bernhardsson joined the Oberlin Conservatory faculty in 2017 after performing for the previous 17 years with the Pacifica Quartet, with which he won a Grammy Award for Best Chamber Music Performance, Musical America Ensemble of the Year honors, and the Avery Fisher Career Grant.

As a member of the Pacifica Quartet, Bernhardsson appeared in more than 90 concerts worldwide each year, including engagements in Wigmore Hall (London), the Vienna Konzerthaus, Concertgebouw (Amsterdam), Suntory Hall (Tokyo), Alice Tully Hall and Carnegie Hall (New York), and other major venues. He has performed at the Edinburgh Festival, Ravinia, Music@Menlo, and the Reykjavík Arts Festival, and has collaborated with Menahem Pressler, Yo-Yo Ma, Jörg Widmann, Lynn Harrell, Leon Fleisher, the Emerson String Quartet, Johannes Moser, and members of the Guarneri and Cleveland quartets. His television appearances include The Tonight Show, Saturday Night Live, and the MTV Europe Music Awards with Icelandic artist Björk. He appears on 16 recordings with the Pacifica Quartet and has recorded the violin music of Þorkell Sigurbjörnsson and the sonatas for violin and piano by Franz Schubert.

Bernhardsson serves as director of the Cooper International Violin Competition at Oberlin and as artistic director of Iceland’s Harpa International Music Academy. He gives regular concerts and master classes in the United States, Europe, and Asia, and has appeared as a soloist with the Iceland Symphony Orchestra, the Reykjavík Chamber Orchestra, CityMusic Cleveland, and other ensembles.

Bernhardsson is a 1995 graduate of Oberlin Conservatory. His teachers include Guðný Guðmundsdóttir, Almita and Roland Vamos, Mathias Tacke, and Shmuel Ashkenasi. He previously served on the faculty of the Jacobs School of Music at Indiana University.

Violinist Glenn Dicterow has established himself worldwide as one of the most prominent concert artists of his generation.

Mr. Dicterow has enjoyed a storied career. The concertmaster of the New York Philharmonic for 34 years, an all-time record in that major orchestral position, he became the first holder of the Robert Mann Chair in Strings and Chamber Music at the USC Thornton School of Music in 2013. In 2020 he became the holder of the Jascha Heifetz Chair in Violin at the same university. Dicterow performs as a soloist with orchestras around the nation and beyond, while participating in musical festivals and chamber music, teaching in musical academies and leading masterclasses around the world, while adjudicating competitions, among a plethora of musical assignments in a “second act” easily as active as his much lauded years with the Philharmonic.

Glenn Dicterow first came to prominence at the age of 11, making his solo debut in Tchaikovsky’s Violin Concerto with the Los Angeles Philharmonic, where his father, Harold Dicterow, served as principal of the second violin section for 52 years. He first appeared with the New York Philharmonic in 1967, at the age of 18, performing the Tchaikovsky Concerto under the baton of André Kostelanetz.

Dicterow joined the Los Angeles Philharmonic as Associate Concertmaster in 1971, becoming Concertmaster there before turning 25. He came to New York as that orchestra’s Concertmaster in 1980, while soloing annually with the Philharmonic in each of his 34 years. In that time, he served as the orchestra’s “leader” (to use the British term) in collaboration with four very different music directors, Zubin Mehta, Kurt Masur, Lorin Maazel and Alan Gilbert

In a New York Philharmonic concert tour Dicterow was featured as the soloist in Leonard Bernstein’s Serenade After Plato’s Symposium, with Bernstein himself conducting. He performed the Waxman/Bizet Carmen Fantasy under Zubin Mehta as part of the New York Philharmonic’s “Live From Lincoln Center” telecast, and he was a soloist in the orchestra’s 1982 concert at the White House. Another career highlight was his performance of the Barber Violin Concerto at the Great Hall of the People in Beijing, China during the Philharmonic’s 1998 tour of Asia.

His shelf of recordings is endless, as the Philharmonic’s Concertmaster, in a large array of solo assignments, both of the great romantic concerti and of the 20th Century classics that he has championed, and in a wide range of chamber music. He has twice recorded Rimsky-Korsakov’s Scheherazade with the New York Philharmonic, once with Yuri Temirkanov conducting, once with Kurt Masur. He and his wife, violist Karen Dreyfus, have committed Mozart’s Sinfonia Concertante to disc, alongside the Warsaw National Philharmonic Orchestra, led by Carl St.Clair. He has recorded violin sonatas by such heroes of American music as Ives, Copland, Bernstein, and John Corigliano.

“The Glenn Dicterow Collection,” a three-CD set on the New York Philharmonic label, surveys his career with the orchestra, in performances spanning thirty years, from 1982 – 2012, featuring his performances of concerti by Bruch, Bartok, Barber, Korngold, Prokofiev, Shostakovich and Szymanowski, plus the Bernstein Serenade, Kernis’s Lament and Prayer, and John Williams’s Theme From Schindler’s List, among many highlights.

As a sidelight, Dicterow has also provided the violin solos for numerous Hollywood films, including such modern classics as The Turning Point, The Untouchables, Altered States, Beauty and the Beast, Aladdin, and Interview With the Vampire, among others.

A graduate of The Juilliard School, where he was a student of Ivan Galamian, he also studied with Joachim Chassman, Naoum Blinder, Manuel Compinsky, Erno Neufeld, Gerald Vinci, Eudice Shapiro, Jascha Heifetz and Henryk Szeryng.

Today, Dicterow is as committed to passing on the great musical legacy that spurred his own career as he once was in his orchestral duties. Beside his endowed chair at the USC-Thornton School and his innovative work in the Manhattan School’s orchestral program, he is the leader of the String Leadership Program at Santa Barbara’s Music Academy of the West, training new generations of concertmasters and principal second violinists.

Among his many honors, the Young Musicians Foundation, a Los Angeles institution which has spurred the careers of innumerable artists, honored Dicterow in February 2015 with its “Living the Legacy Award.” It should be noted that in his early teens, Dicterow, who is now on the YMF Advisory Board, won that organization’s Debut Concerto Competition in 1963.

Glenn Dicterow and his wife, Karen Dreyfus, are founding members of the Lyric Piano Quartet and the Amerigo Trio, performing, recording, teaching and proselytizing at leading festivals and musical institutions around the world.

He joined the Music Academy faculty in 2014.

Violinist Erin Keefe is the Concertmaster of the Minnesota Orchestra and on the violin faculty of the Curtis Institute of Music. Winner of an Avery Fisher Career Grant as well as numerous international competitions, she has appeared as soloist in recent seasons with the Minnesota Orchestra, New York City Ballet Orchestra, Korean Symphony Orchestra, Iceland Symphony, Lahti Symphony, Sendai Philharmonic, and the Gottingen Symphony and has given recitals throughout the United States, Europe, and Asia.  Ms. Keefe has been performing with The Chamber Music Society of Lincoln Center since 2005, and she has recorded for Naxos, the CMS Studio Recordings label, BIS, Onyx, and Deutsche Grammophon. Her festival appearances have included Music@Menlo, La Jolla SummerFest, Mainly Mozart, Ravinia and the Seattle, Bravo! Vail Valley, Colorado College, Skaneateles, Music in the Vineyards, and Bridgehampton Chamber Music Festivals, and she has appeared as guest concertmaster with the New York Philharmonic, Pittsburgh Symphony, Seoul Philharmonic, and the Sao Paulo Symphony Orchestra.

Praised by the San Francisco Chronicle as “astoundingly gifted”, violinist Helen Kim enjoys a versatile career as performer and teacher. She is the Associate Concertmaster of the Seattle Symphony Orchestra and served as the Associate Principal Second Violin of the San Francisco Symphony from 2016 to 2022. In recent seasons, Kim has made solo appearances with the St. Louis Symphony, the Seattle Symphony, and the Colorado Music Festival Orchestra and performed concertos under conductors Peter Oundjian, Jun Märkl, and Nicholas McGegan, among others. She is a dedicated interpreter of contemporary music and has performed works such as Salvatorre Sciarrino’s Sei Capricci on San Francisco Symphony’s Soundbox series as well as Pierre Boulez’s Anthèmes II and Morton Feldman’s evening-length For John Cage on the Pulitzer Arts Foundation’s contemporary music series. Kim lives in Seattle, Washington with her husband and two sons.

Violinist Bing Wang joined the Los Angeles Philharmonic as Associate Concertmaster in 1994. She previously held the position of Principal Second Violin of the Cincinnati Symphony and has served on the faculty and as concertmaster at the Aspen Music Festival and School since 2003. Since 2009, she has also been Guest Concertmaster of her hometown orchestra, the Shanghai Symphony Orchestra, where her tenure was highlighted by a televised New Year’s concert conducted by Riccardo Muti. 

As a soloist, Wang has won critical praise for her appearances with the Los Angeles Philharmonic. In September 1997, during the Philharmonic’s celebration of the Brahms anniversary year, she performed the composer’s Double Concerto with Music Director Esa-Pekka Salonen at the Hollywood Bowl. She made her Walt Disney Concert Hall concerto debut in May of 2005 and appears annually as both concertmaster and soloist at the Hollywood Bowl under the baton of composer John Williams, performing his signature movie classics such as Schindler’s List and his arrangement of Fiddler on the Roof. Wang has appeared regularly with the American Youth Symphony since 1997, and she has also been featured as a soloist with the Cincinnati Symphony, the Manhattan Symphony, and other orchestras. In 2002, she gave her first performances in China since emigrating to the U.S., touring as a soloist with the Shanghai Symphony Orchestra. 

Active as a chamber musician, Wang has collaborated with such distinguished artists as Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet, among others. Chamber music appearances include performances at the Théâtre du Châtelet in Paris, the Palais des Beaux-Arts in Brussels, and the Sanssouci Palace in Potsdam, Germany. She also performs regularly on the Philharmonic’s Green Umbrella and Chamber Music series. 

Bing Wang began studying the violin with her parents at the age of six. She entered the middle school of the Shanghai Conservatory of Music, where she was concertmaster of the school orchestra, and graduated with highest honors. After coming to the U.S. to study with Berl Senofsky at the Peabody Conservatory, she received her master’s degree from the Manhattan School of Music under the tutelage of Glenn Dicterow. In 2012, Bing Wang was named an Adjunct Associate Professor at the USC Thornton School of Music. 

Karen Dreyfus enjoys a wide-ranging career as a noted soloist, recitalist, and chamber musician and as a pedagogue. She has performed extensively in the United States, Canada, Europe, Asia, and South America, and has toured with the Orpheus Chamber Orchestra, Musicians from Marlboro, and the New York Philharmonic. Her numerous honors include prizes at the Naumburg, Lionel Tertis, Washington International, and the Hudson Valley competitions. Along with her work in the classical music field, Dreyfus has performed on many film scores, pop, jazz, and rock recordings.

The recipient of a National Endowment for the Arts Solo Recitalist Award, Ms. Dreyfus has recorded many CDs as a soloist and chamber musician. Her premiere recording with Bridge Records, Romanze, met with considerable critical acclaim. She has recorded William Walton’s Viola Concerto, Mozart’s “Sinfonia Concertante”, as well as solo works by American composers. Such composers as Ezra Laderman, Jon Deak, George Tsontakis, Paul Chihara, William Thomas McKinley, Elizabeth Brown, and others have written works expressly for her. Dreyfus has toured with jazz pianist/composer Chick Corea and recorded a Grammy- nominated work entitled “Lyric Suite for Sextet.”

In 2014 Ms. Dreyfus was invited to teach on the faculty of the USC Thornton School of Music where she continues to teach viola, chamber music, and orchestral studies. Dreyfus has taught on the faculties of The Juilliard School, Mannes School along with the Manhattan School of Music where she was honored with an Emerita Award in 2022 after more than 30 years on faculty. Many of Karen Dreyfus’ students have gone on to win positions in orchestras, teach on university faculties, as well as play in chamber ensembles.

Karen Dreyfus is a founding member of the Lyric Piano Quartet and the Amerigo Trio.

She has been a Music Academy teaching artist since 2014.

Milan Milisavljević is Principal Viola with the Metropolitan Opera Orchestra. His performances combine intense expression with an immediate and profound link to his listeners and have won much critical acclaim.

The Strad magazine has described his playing as “very imaginative, with a fine, cultured tone.” Milan’s solo album Sonata-Song, released by Delos Music, has received glowing reviews, with the recording of Aram Khachaturian’s solo sonata on the album hailed as “definitive”.

He has won prizes at competitions such as Lionel Tertis and Aspen Lower Strings and has performed at Marlboro, Cascade Head, Classical Tahoe, Mostly Mozart, Josef Gingold, and Grand Teton music festivals.

Milan has appeared as soloist throughout the world, with orchestras such as the Munich Chamber Orchestra, Philharmonic orchestras of Belgrade, Medellín, and Boca del Río, Aspen Sinfonia, New York Classical Players, Classical Tahoe, and others. As a chamber musician, he has collaborated with members of the Guarneri and Mendelssohn String Quartets, as well as Yannick Nézet-Séguin, Joseph Kalichstein, Augustin Hadelich, Cho-Liang Lin, and many others.

Milan has been heard worldwide on countless recordings and broadcasts of the MET. He previously served as its Assistant Principal Viola for 11 seasons. He is a former member of the Royal Concertgebouw Orchestra and has served as guest Principal Viola of many orchestras, such as the Toronto Symphony.

As an educator, Milan has given classes at universities and conservatories worldwide, such as at the Juilliard School and the Rubin Academy of Music, the Verbier Music Festival, Aspen Music Festival and Interlochen Center for the Arts. Milan is on the viola faculty of the Mannes School of Music as well as New York University.

He is also increasingly in demand as a conductor, serving on the conducting faculty of the Manhattan School of Music Precollege Division as head of one of its orchestras.

Deeply committed to music of today, Milan has given the world premiere of Afro-Cuban composer Leo Brouwer’s Solo Viola Sonata, and regularly performs new music by Ana Sokolovic, Jessie Montgomery, and others. One of his recent projects has been Slow Beethoven, collaborating with Lara St. John, Miranda Cuckson and Jeffrey Zeigler, in a unique creation of a lush sonic landscape based on the world of Beethoven’s late string quartets.

Milan’s teachers include Jutta Puchhammer, Atar Arad, James Dunham, Nobuko Imai, and Samuel Rhodes. He holds a Doctor of Musical Arts degree from Rice University.

Newly appointed violist of the Takács Quartet, Richard O’Neill has distinguished himself as one of the great instrumentalists of his generation. GRAMMY Award winner for Best Classical Instrumental Solo Performance in 2021, O’Neill is only the second person to receive an award for a viola performance in the history of this category. Also an EMMY Award winner and Avery Fisher Career Grant recipient, O’Neill has appeared as soloist with the world’s top orchestras and conductors including Andrew Davis, Vladimir Jurowski and Yannick Nezet-Seguin. An Artist of the Chamber Music Society of Lincoln Center and Principal Violist of Camerata Pacifica, he also served as Artistic Director of DITTO, his South Korean chamber music project, for thirteen seasons, leading the ensemble on international tours to China and Japan and introducing tens of thousands to music. A Universal Music/Deutsche Grammophon recording artist, he has made 10 solo albums and many other chamber music recordings, earning multiple platinum discs. Composers Lera Auerbach, Elliott Carter, Paul Chihara, John Harbison, and Huang Ruo have written works for him. He serves as Goodwill Ambassador for the Korean Red Cross, The Special Olympics, UNICEF and OXFAM and serves on the faculty of the Music Academy of the West and is an Music Academy alumnus (‘98, ‘99).

Esteemed violist Cynthia Phelps’s wide-ranging career has taken her to stages across the world as soloist, recitalist, chamber musician, and pedagogue. Principal Violist of the New York Philharmonic for over two decades, she is a regularly featured soloist with the orchestra both at home and abroad, in a variety of repertoire, including two world premieres written solely for her. Other concerto appearances have been with the Minnesota Orchestra, Shanghai, Vermont, Santa Barbara, Eastern Music Festival, and San Diego Symphonies, Orquesta Sinfonica de Bilbao, and Rochester and Hong Kong Philharmonics.  Known for her emotional nuance, virtuosic technique, and plush tone, she is a founding member of both the New York Philharmonic String Quartet and Les Amies trio and is a frequent guest with chamber series across the globe. She has been featured in several nationwide “Live from Lincoln Center” telecasts, on National Public Radio, Radio France, Italy‘s RAI, and in regular broadcasts from the 92Y, including collaborations with Emanuel Ax and Daniil Trifonov. She is on the faculty of The Juilliard School Shanghai Academy, Music Academy of the West, and Mannes College of Music.

Ms. Phelps attended the Music Academy in 1979 and 1983, and was named a recipient of the Music Academy’s Distinguished Alumni Award in 2001.

American cellist Julie Albers is recognized for her superlative artistry, her charismatic and radiant performing style, and her intense musicianship. Heralded by the New York Times as being a fantastically eloquent player, with an elegant sound that is full of emotion but without exaggeration or overstatement. Born into a musical family in Longmont, Colorado, she began violin studies at the age of two with her mother, switching to cello at four. She moved to Cleveland during her junior year of high school to pursue studies through the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Aaron. Ms.Albers soon was awarded the Grand Prize at the XIII International Competition for Young Musicians in Douai, France, and as a result toured France as soloist with Orchestre Symphonique de Douai.

She made her major orchestral debut with The Cleveland Orchestra at the age of 17 and thereafter has performed in recital and with orchestras throughout North America, Europe, Korea, Taiwan, Australia, and New Zealand. Past seasons have included performances with the symphony orchestras of Colorado, Grant Park Music Festival, Indianapolis, Munchener Kammerorchester, Rochester, San Diego, Seattle, Vancouver, and St. Paul Chamber Orchestra among others. In 2001, she won Second Prize in Munich’s Internationalen Musikwettbewerbes der ARD, and was also awarded the Wilhelm-Weichsler-Musikpreis der Stadt Osnabruch. While in Germany, she recorded solo and chamber music of Kodaly for the Bavarian Radio, performances that have been heard throughout Europe. In 2003, Miss Albers was named the first Gold Medal Laureate of South Korea’s Gyeongnam International Music Competition.

Ms. Albers was named principal cellist of the St. Paul Chamber Orchestra in 2015, a position she currently holds and in the fall of 2024 she will be joining the esteemed cello faculty at the New England Conservatory. In addition, she regularly participates in chamber music festivals including ChamberFest Cleveland, La Jolla SummerFest, Rome Chamber Music Festival, Seattle Chamber Music Society, and Toronto Summer Music. 2009 marked the end of a three year residency with the Chamber Music Society of Lincoln Center Two. Teaching has also held a very important place in Ms. Albers’ musical life from the age of 12 when she started teaching her first students. She held the position of Assistant Professor at the Robert McDuffie Center for Strings at Mercer University in Macon, Georgia from 2009-2022.

Cellist Ani Aznavoorian has appeared as soloist with orchestras including the Chicago Symphony Orchestra, the Tokyo Philharmonic, the Helsinki Philharmonic, and the Boston Pops. An avid chamber musician and teacher, she is the principal cellist of Camerata Pacifica and appears regularly at chamber music festivals around the world. Additionally, she has served on the music faculty at the University of Illinois in Champaign/Urbana. She received the Presidential Scholar in the Arts Medal from  President Bill Clinton, the Bunkamura Orchard Hall Award, and was a prize winner of the International Paulo Cello Competition. A vigorous proponent of new music, she has premiered concertos by Lera Auerbach, Ezra Laderman, and chamber music by John Harbison, Clarice Assad, David Bruce, and Bright Sheng. This season features her Ravinia debut, along with a tour of Spain and Slovenia. Aznavoorian records for Cedille Records, and proudly performs on a cello made by her father Peter Aznavoorian in Chicago.

Alan Stepansky is recognized as one of the most gifted and versatile cellists of his generation. After a distinguished orchestral career playing with the Boston Symphony Orchestra, serving as Principal Cellist of the Boston Pops, and culminating in a ten-year tenure as Associate Principal Cellist of the New York Philharmonic, he is in demand as a soloist, chamber musician, principal cellist, and recording artist. He is currently Chair of Strings and Professor of Cello at the Peabody Institute of Johns Hopkins University, and cello faculty of the Manhattan School of Music.

Mr. Stepansky has performed as a guest artist of the Chamber Music Society of Lincoln Center, the Mostly Mozart Festival, and Jazz at Lincoln Center, and has appeared in concert with a diverse array of artists including the Takács and American String Quartets. He has recorded a series of chamber music and solo discs for EMI, which were honored by Gramophone Magazine, BBC Magazine, the New York Times, and the British Music Industry Association, and has been engaged as the solo cellist for numerous major motion picture soundtracks. He has also appeared on the albums of many noted recording artists across many genres, including Bruce Springsteen, Natalie Merchant, David Byrne, Audra McDonald, Joss Stone, and Sting, with whom he has also appeared in concert.

Recently, Mr. Stepansky served as the Principal Cellist for six major fund-raising events held in Carnegie Hall, Beethoven’s Ninth for South Asia, Requiem for Darfur, Mahler for the Children of AIDS, Beethoven for the Indus Valley, Shostakovich for the Children of Syria, and the Scheherazade Initiative, which featured an international orchestra drawn from leading symphonic, chamber music, and solo artists from around the world. He has appeared as soloist with many orchestras and frequently as Guest Principal Cellist of the St. Paul Chamber Orchestra. After studies at the Curtis Institute of Music and the University of Pennsylvania, Mr. Stepansky graduated from Harvard University with the Horblit Prize, conferred for his outstanding musical accomplishments.

Mr. Stepansky has been a member of the Music Academy faculty since 2003.

Alexander Hanna is one of today’s leading bassists whose inspiring musicianship has been described as “outrageously talented” (Chicago Tribune). He was appointed Principal Bass of the Chicago Symphony Orchestra by Riccardo Muti in 2012. Prior to his Chicago appointment he served as Principal Bass of the Detroit Symphony Orchestra for four years.

Hanna has appeared as concerto soloist with the Chicago Symphony Orchestra performing Bottesini’s Concerto No. 2 in 2022 with Riccardo Muti, Mazzoli’s Dark with Excessive Bright in 2021 with Edwin Outwater, and Vanhal’s Concerto in 2015 with James Conlon. He has also appeared as concerto soloist with the Bellingham Music Festival Orchestra. Chamber music collaborations include Yo-Yo Ma and Mitsuko Uchida, among many others.

A dedicated teacher, Hanna teaches for the Sphinx Organization, Chicago Musical Pathways, DePaul University, The Civic Orchestra of Chicago, Carnegie Hall’s National Youth Orchestras, and the Pacific Music Festival (Sapporo, Japan).

Scott Pingel has been the principal bass of the San Francisco Symphony since 2004. He has appeared numerous times with the Chamber Music Society of Lincoln Center and at the Music@Menlo and Music in the Vineyards festivals. Versatile in a variety of styles, Pingel has performed in jazz clubs from New York to Stockholm, and his solo work with the iconic heavy metal band, Metallica, was seen by millions worldwide and hailed as “show stopping” by Rolling Stone. He has taught masterclasses throughout North America, Asia, and Europe and was among the first bassists selected to teach for Tonebase, the preeminent online music learning platform. He has served as a tenured Associate Professor at the University of Michigan and is currently a faculty member of the San Francisco Conservatory of Music. His former students have won prestigious international solo competitions and gained employment with major symphony orchestras and conservatories.

Internationally acclaimed artist, Harold Hall Robinson played his last official concert as Principal Bass with The Philadelphia Orchestra in September of 2022.  Prior to this, Mr. Robinson spent ten seasons as principal bassist of the National Symphony Orchestra, eight seasons as associate principal of the Houston Symphony Orchestra and three seasons as principal of the New Mexico Symphony Orchestra.  A prize winner at the 1982 Isle of Man Solo competition, Mr. Robinson has performed concertos with The Philadelphia Orchestra, the National Symphony, Houston Symphony, New York Philharmonic, the Rhode Island Philharmonic, American Chamber Orchestra, and the Greenville South Carolina Orchestra. In addition, Mr. Robinson is known for his outstanding recitals and masterclasses throughout the United States. Mr. Robinson is currently on the faculty of Curtis Institute and Juilliard.

Edward Dusinberre, Harumi Rhodes (violins), Richard O’Neill (viola) and András Fejér (cello)

The world-renowned Takács Quartet is now entering its fifty-first season. Edward Dusinberre, Harumi Rhodes (violins), Richard O’Neill (viola) and András Fejér (cello) are excited about the 2025-2026 season that features varied projects including a new work written for them by Clarice Assad, commissioned by a consortium of North American concert presenters. For Hyperion Records the Takács recently released ‘Flow’ by Nokuthula Ngwenyama, and an album with pianist Marc Andre Hamelin that features quintets by Florence Price and Antonín Dvořák. The Takács maintains a busy international touring schedule. In August 2025 the ensemble performs in New Zealand, and in Australia where the centerpiece of a tour for Musica Viva is a new work by Australian composer Cathy Milliken, inspired by Bertholt Brecht’s ‘Sonnet of an Emigrant’, narrated by Angie Milliken. As Associate Artists at London’s Wigmore Hall, the group will perform and record for Hyperion two viola quintets by Mozart with violist Timothy Ridout. During the season the ensemble will play at other prestigious European series including the Concertgebouw Amsterdam and Konzerthaus, Berlin. The group’s North American engagements include concerts in New York, Boston, Buffalo, Los Angeles, Vancouver, Philadelphia, Washington DC, Berkeley, Ann Arbor, Schenectady, Portland, and at Duke University and Middlebury College, Vermont. The members of theTakács are Artists in Residence at the University of Colorado and during the summer months join the faculty at the Music Academy of the West, running an intensive quartet seminar there.

Timothy Day was appointed principal flute of the San Francisco Symphony in 2006 and occupies the symphony’s Caroline H. Hume Chair. Previously, he served as principal flute with the Baltimore Symphony for 12 seasons.

Mr. Day has served as acting principal flute for the Minnesota Orchestra and the Boston Symphony. In addition to participating in festivals in Moab, Mohonk, and Montreal, he has been a featured soloist during San Diego’s Mainly Mozart Festival and has appeared many times as part of the San Francisco Symphony Chamber Music Series.

A graduate of Oberlin Conservatory, where he studied with Robert Willoughby. Mr. Day taught at the Peabody Conservatory for ten years, and since 1987, he has been on the faculty of the San Francisco Conservatory of Music. He also has served as a wind coach with the New World Symphony.

Mr. Day has been a member of the Music Academy faculty since 1992.

Few flutists in history have made such indelible marks in so many musical circles. From jazz to pop to classical (orchestra, chamber, and solo) to television and film to the concert hall and his teaching studio, Jim Walker has enjoyed tremendous success.

In 1969 he was named associate principal flute in the Pittsburgh Symphony after a stint playing in the U.S. Military Academy Band at West Point. In 1977 he won the principal flute position in the Los Angeles Philharmonic. After seven successful seasons of performing, recording, and touring with the Los Angeles Philharmonic — during which time the New York Philharmonic briefly borrowed him as principal flute for its 1982 South American tour — he left the orchestra to focus on jazz, studio recording, and teaching.

In 1980 he organized his jazz quartet Free Flight, playing jazz-classical fusion (including four appearances on The Tonight Show and 16 recordings). In the 1990s he was a first-call studio flutist prized for his bold, expressive playing; he can be heard on hundreds of soundtracks. Along the way he collaborated with everyone from John Williams and Paul McCartney to Leonard Bernstein, James Galway, and the LA Guitar Quartet.

Mr. Walker is professor of flute, chamber music, and music technology at the Colburn Conservatory of Music, and professor of practice/coordinator of flute studies at the USC Thornton School of Music, where he was awarded with the Mellon Mentoring Award. His summer masterclass, “Beyond the Masterclass,” is now in its seventh year

Eugene Izotov is one of the leading wind players of his generation. His playing continues to receive wide acclaim for its “luminous beauty” (San Francisco Chronicle), “lyrical gold” (Chicago Tribune), and “fiery Russian temperament” (Boston Globe). Appointed by Michael Tilson Thomas in 2014, Eugene Izotov is the principal oboist of the San Francisco Symphony. He previously served as the principal oboist of the Chicago Symphony, appointed by Daniel Barenboim, principal oboist of the Metropolitan Opera, appointed by James Levine, and as guest principal oboist with the New York Philharmonic, Boston Symphony and Los Angeles Philharmonic. Izotov is the first Russian-born musician in history to hold a principal wind position in any major American symphony orchestra. His numerous awards include top prizes at solo competitions in Saint Petersburg (1991), Moscow (1990), New York (1995), and at the Fernand Gillet International Competition (2001).

Izotov has appeared over 70 times as soloist with orchestras such as the Chicago Symphony Orchestra, Boston Symphony, San Francisco Symphony, Pacific Music Festival Orchestra, and has collaborated with Bernard Haitink, Riccardo Muti, Valery Gergiev, James Levine, Nicholas McGegan, Edo De Waart, Ludovic Morlot, Ton Koopman, and Michael Tilson Thomas performing works by Mozart, Strauss, Marcello, Haydn, Martinu, Vivaldi, Carter, Hummel, Krommer and Bach. Eugene Izotov has recorded for Sony Classical, BMG, Boston Records, Elektra, SFSMedia, CSOResond, and was a featured soloist with the Chicago Symphony under the baton of John Williams on the Oscar-nominated recording for Steven Spielberg’s film Lincoln. He has also recently been a guest soloist on NPR’s Live from Here with Chris Thile. A prolific chamber musician, Eugene Izotov has collaborated regularly with the MET Chamber Ensemble at Carnegie Hall, as well as with Yefim Bronfman, Pinchas Zukerman, Jamie Laredo, Yo Yo Ma, Emanuel Ax, André Watts, and the Tokyo String Quartet.

Eugene Izotov teaches at the San Francisco Conservatory of Music and at The Colburn School. He has also served on the faculties of The Juilliard School, DePaul University, and Pacific Music Festival. He regularly presents master classes at conservatories across the nation and abroad, such as Aspen, Oberlin, New World Symphony, Boston University, Juilliard, Manhattan School of Music, Vanderbilt, University of Michigan, Tanglewood, Verbier, Domaine Forget, and Interlochen. Eugene Izotov has served as an oboe mentor for the 2011 YouTube Symphony Orchestra during its residency at the Sydney Opera House in Sydney, Australia, which included a live internet simulcast to over 30 million of worldwide viewers. In 2019 Eugene Izotov was invited by Valery Gergiev to serve on the first-ever woodwind jury of the Tchaikovsky International Competition. Izotov’s former students are enjoying careers in symphony orchestras of Chicago, San Francisco, Saint Louis, Montreal, Kansas City, Buffalo, San Diego, Lexington, Ontario, Atlanta, Osaka, Fort Worth, Jerusalem, and others.

Born in Moscow, Russia, Izotov studied at the Gnesin School of Music with Ivan Pushechnikov, Sergey Velikanov, and Alexander Izotov (his father). After immigrating to the United States, he studied at Boston University with Ralph Gomberg.

Oboist Xiomara Mass was appointed to the position of Second Oboe of the St. Louis Symphony Orchestra in 2020 by Music Director Stéphane Denève. Born and raised in Puerto Rico, Ms. Mass began her musical training at the age of four and made her solo debut with the Puerto Rico Symphony Orchestra when she was 13. Two years later Ms. Mass was accepted into the “Conservatorio de Música de Puerto Rico” where she studied with David Bourns, former Principal Oboe of the Puerto Rico Symphony Orchestra, and Pedro Díaz, solo English Horn of the Metropolitan Opera. Ms. Mass has also worked with such renowned oboists as Elaine Douvas, Hansjörg Schellenberger, and Scott Hostetler.

Xiomara Mass has been invited to participate in many prestigious music festivals, including the John Mack Oboe Camp, “Tercer Festival de Dobles Cañas” in Panama, The Youth Orchestra of the Americas, Domaine Forget, St. Barth’s Music Festival, The Sunflower Music Festival, ChamberFest Cleveland, and The New Hampshire Music Festival. Ms. Mass was selected to participate in the 2011 YouTube Symphony Orchestra during its residency at the Sydney Opera House in Sydney, Australia, which included a live Internet simulcast to over 30 million viewers worldwide.

In 2014, Xiomara Mass won The Jerome and Elaine Nerenberg Foundation Scholarship award at the Musicians Club of Women Competition in Chicago. Ms. Mass is also the first prizewinner of the Tuesday Musical State Scholarship Competition in Akron, Ohio, and the first Chamber Music Competition at the “Conservatorio de Música de Puerto Rico” as a member of her woodwind quintet. Most recently, Ms. Mass was a finalist and winner of the audience choice award in the inaugural Virtual Oboe Competition 2020, an entirely digital contest for oboe players formed in response to the COVID-19 pandemic. Ms. Mass was the only oboist representing the United States in the finals of this global competition.

Xiomara Mass is a former member of the Civic Orchestra of Chicago and was a featured soloist with the Civic Orchestra in J.S. Bach’s Concerto for Oboe and Violin. During her years in Chicago Ms. Mass was an active freelancer in the area and often performed with the Chicago Symphony Orchestra and Chicago Symphony Winds as a substitute oboist as well as with many orchestras in the area, among them Chicago Philharmonic Orchestra and Illinois Symphony Orchestra. Ms. Mass also played as a substitute with the San Francisco Symphony and has performed with them as assistant principal.

In addition to working as a performer, Ms. Mass taught as an adjunct professor at the DePaul University School of Music. Currently, she maintains a small private studio.

Xiomara Mass holds a bachelor’s degree in Oboe Performance and an Artist Diploma from Oberlin Conservatory, where she graduated with highest honors under the tutelage of Alex Klein and Robert Walters. After relocating to Chicago, Ms. Mass studied privately with Music Academy faculty artist Eugene Izotov, principal oboe of the San Francisco Symphony.

Richie Hawley ranks among the most distinguished clarinetists of his generation. As principal clarinet of the Cincinnati Symphony Orchestra (CSO), he impressed audiences around the world with his virtuosity and the velvety, sonorous tone that has become his trademark. The Cincinnati Enquirer has praised him for the “seamless flowing tone so many clarinetists long for and few can achieve.”

In 2011, Mr. Hawley left the Cincinnati Symphony Orchestra and moved to Houston, Texas to become the Professor of Clarinet at Rice University’s Shepherd School of Music. Mr. Hawley appears on stages around the world regularly as a soloist, chamber musician and recitalist. During the summer he is in residence as the clarinet teaching and performing artists at the Music Academy of the West in Santa Barbara. Highlights of this year’s season include the premiere of Georgina Derbez’s Concerto for Clarinet and Orchestra with the UNAM orchestra of Mexico and the debut duo album with Conor Hanick featuring the music of Higdon, Copland, Tower and Jalbert. Mr. Hawley made his debut at the Marlboro Music Festival in 1999 and toured with the legendary “Musicians from Marlboro” for the 50th anniversary performance at Carnegie Hall.

Mr. Hawley has garnered awards as both performer and educator. He won the Coleman-Barstow prize at the Coleman Chamber Ensemble Competition in 1988 with Trio con Brio, and that same year was one of five musicians to receive the Gold Medal as a Presidential Scholar in the Arts from Ronald Reagan in a ceremony at the White House. He has received the Léni Fé Bland Foundation Career Grant twice, and was awarded the 2009 Glover Award for outstanding teaching at University of Cincinnati College Conservatory of Music.

Originally from Los Angeles, Mr. Hawley began his clarinet studies with Yehuda Gilad at the Colburn School of Performing Arts at age 9. He made his orchestral solo debut at age 13 with the Los Angeles Philharmonic, and at age 14 performed as a soloist with the New York Philharmonic. While a student of Donald Montanaro at the Curtis Institute of Music, Mr. Hawley appeared as a soloist with the Philadelphia Orchestra.

As a D’Addario performing artist, Mr. Hawley performs exclusively on a reeds and mouthpieces that he helped to develop. He is also an artist for Buffet Crampon and performs on the Tosca model of clarinet.

He has been a member of the Music Academy faculty since 2005.

Since entering the world of professional music in 1972 as the associate principal bassoonist of the Minnesota Orchestra, Benjamin Kamins has enjoyed a wide-ranging career as an orchestral musician, chamber player, solo performer, and educator. In 1981 he was appointed Principal Bassoon of the Houston Symphony, a position he held until 2003.  He is currently the Lynette S. Autrey Professor of Bassoon at Rice University’s Shepherd School of Music.  In addition, he has served as a guest principal with other major symphony orchestras in Pittsburgh, Los Angeles, Boston, and New York.

Mr. Kamins’ interests have also taken him into the world of historical performance where he performs on baroque bassoon.  He can be heard playing with many fine period instrument ensembles, especially Ars Lyrica Houston. In addition to his musical activities, Ben Kamins is a certified teacher of the Alexander Technique through Alexander Technique International.

An alumnus of the Music Academy (’68, ’69), he has been an Academy faculty member since 1999.

Dennis Michel is the recently retired second bassoonist of the Chicago Symphony Orchestra and was an ensemble artist with the Chicago Chamber Musicians. He served as Artist Teacher of Bassoon at The Chicago College of Performing Arts at Roosevelt University. Prior to establishing his career in Chicago, he was principal bassoonist of the San Diego Symphony Orchestra for 16 years and was a founding member of the Arioso Wind Quintet. Mr. Michel has appeared at Tanglewood, the Grand Teton Festival, the Bard College Festival, San Luis Obispo Mozart Festival, and Summerfest La Jolla. Mr. Michel is a graduate of Yale University, as a student of Arthur Weisberg. As a Fulbright Scholar, he studied with Milan Turkovich at the Hochschule für Musik and performed with the Vienna State Opera. Mr. Michel has served on the faculties of Northwestern University, The University of Southern California, The University of California at San Diego, and San Diego State University, and has been a Music Academy teaching artist since 1988.

William Short was appointed Principal Bassoon of the Metropolitan Opera Orchestra in 2012 and has served on the faculties of The Juilliard School, Manhattan School of Music, and Temple University since 2016. He has performed and taught at the Lake Champlain, Lake Tahoe, Mostly Mozart, Stellenbosch, Strings, and Verbier Festivals. William received his Bachelor of Music from the Curtis Institute of Music, where he studied with Daniel Matsukawa and Bernard Garfield, and his Master of Music at Rice University’s Shepherd School of Music, where he studied with Benjamin Kamins. A Fox Artist, William plays on a Model 750, which he is proud to have helped develop.

Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989 to 2024. Her appointment to the faculty at USC Thornton School of Music began in 2020.

A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the Metropolitan Opera Orchestra in 1985 and held that position until 2010. She has also shared her talent with many other ensembles within the city as a member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra.

She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner’s “Ring” cycle as solo horn with the Met Opera under the direction of James Levine. Landsman has performed as chamber musician at numerous festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center, Orcas Island Chamber Music Festival, and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she currently performs and teaches at the Music Academy of the West, the Sarasota Music Festival, and the Aspen Music Festival.

World renowned as a master teacher, Julie Landsman held faculty positions at The Juilliard School and Bard College Conservatory. Her current position is adjunct professor of music at USC. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She was a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel. In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany.

Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, Auckland Philharmonia, Nova Scotia Symphony, Calgary Philharmonic, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women’s Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. She was featured in the International Musician magazine in February, 2022. She was interviewed by Local 802 in 2013.

Her series of Carmine Caruso lessons on YouTube have led to further fame and renown among today’s generation of horn players. Landsman currently resides in Santa Barbara, CA.

Jennifer Montone joined The Philadelphia Orchestra as principal horn in 2006, and is currently on the faculties of The Curtis Institute of Music and The Juilliard School. She was formerly St Louis Symphony principal horn, Dallas Symphony associate principal horn, New Jersey Symphony third horn, and performer/faculty at the Aspen Music Festival and School. Named the Paxman Young Horn Player of the Year in London in 1996, she won an Avery Fisher Career Grant in 2006 and a 2013 Grammy Award for her recording of Penderecki’s Horn Concerto entitledWinterreise. She has performed with the Berlin Philharmonic, New York Philharmonic, Cleveland Orchestra, WDR Cologne, Orpheus Chamber Orchestra, Metropolitan Opera Orchestra, National Symphony Orchestra, and Saint Paul Chamber Orchestra. She performs regularly at the Santa Fe Chamber Music Festival, Classical Tahoe, La Jolla SummerFest, Strings Festival, and Chamber Music Society of Lincoln Center, and coaches at the New World Symphony. Ms. Montone was in the National Symphony Fellowship Program studying with Edwin Thayer, and is a graduate of The Juilliard School as a student of Julie Landsman.

Barbara Butler is a soloist with Music of the Baroque, Chicago Chamber Musicians, and Grand Teton Music Festival Orchestra. She is a former member of Eastman Brass, Eastman Virtuosi, and the Vancouver and Grant Park Symphony Orchestras. She has performed, recorded, and appeared in broadcasts with the St. Louis, Chicago, and Houston Symphony Orchestras and the New York Philharmonic. She has made solo appearances with many major orchestras and festivals and presented recitals and master classes worldwide. She appears on recordings and international broadcasts with Eastman Brass, Music of the Baroque, Chicago Chamber Musicians, and CBC Radio. Her most recent recordings include “Carmen Fantasia” on Warner Brothers and “With Clarion Voice” on D’Note Records with Charles Geyer. She is a former faculty member of the Northwestern University, Eastman School of Music and University of British Columbia, and studied with Vincent Cichowicz and Adolph Herseth. Ms. Butler began as Professor of Trumpet at Rice University in 2013.

Thomas Hooten is Principal Trumpet of the Los Angeles Philharmonic Orchestra. Hooten began his career in 2000 with a trumpet/cornet position in “The President’s Own” United States Marine Band in Washington, D.C., where he was often a featured soloist. He joined the Indianapolis Symphony as Assistant Principal Trumpet in 2004, the Atlanta Symphony Orchestra as Principal Trumpet in 2006, and the LA Philharmonic in 2012. He released Trumpet Call, his first solo album, in 2011. In 2019, he recorded John Williams’ Concerto for Trumpet and Orchestra, which was conducted by the composer.

Hooten is on the faculty at the University of Southern California where he and his wife, Jennifer Marotta, teach the trumpet studio. A native of Tampa, Florida, he earned his Bachelor of Music degree from the University of South Florida and his Master of Music degree from Rice University. His primary trumpet teachers have included Armando Ghitalla, John Hagstrom, and Don Owen.

Billy R. Hunter, Jr., a native of Austin, Texas, has been the Principal Trumpet of the Metropolitan Opera Orchestra since 2004. With a versatile career encompassing orchestral, chamber, and solo performances nationwide, he is also a sought-after teacher and brass coach who recently rejoined the faculty at the Manhattan School of Music.

In addition to his work with the MET, Mr. Hunter has served as Guest Principal Trumpet with distinguished ensembles such as The Philadelphia Orchestra, the Malaysian Philharmonic, and the Frankfurt Radio Symphony. His impressive performance history includes collaborations with the New York Philharmonic, Saint Louis Symphony, Dallas Symphony, and Boston Symphony, as well as various trumpet positions with the New World, Baltimore, and Grant Park Symphony orchestras.

As a chamber musician, he has partnered with numerous ensembles across the United States, including the Gateways Chamber Ensemble and the MET Chamber Ensemble, and has performed at prestigious festivals such as the Stellenbosch International Chamber Music Festival, Aspen Music Festival, and Walla Walla Chamber Music Festival.

As a soloist, Mr. Hunter has appeared with orchestras including the Classical Tahoe Orchestra, York Symphony, and Chattanooga Symphony, and has given recitals and masterclasses in the U.S., Europe, Africa, and Asia. His accolades include the Roger Voisin Outstanding Trumpeter Prize from the Tanglewood Music Center, first prize in the Kingsville International Solo Competition Brass Division, and multiple Grammy Awards as part of the MET Orchestra. In 2010, he received the University of Texas Outstanding Young Texas-Exes Award, one of the highest honors for alumni.

Mr. Hunter is an esteemed educator, conducting masterclasses and lessons at prestigious institutions such as the Cleveland Institute of Music, Juilliard, and Yale. He frequently coaches the New York Youth Symphony, the New World Symphony in Miami, and the National Youth Orchestra. His previous faculty positions include the Peabody Conservatory, Aspen Music Festival, NJCU, and the University of Texas at Austin. His teachers include legendary trumpeters Raymond Crisara, Raymond Mase, Mark Gould, and hornist Harry Shapiro.

David Rejano is the Principal Trombone of the Los Angeles Philharmonic since 2016. Before that, he served as Principal Trombone with the Orquesta de Navarra, the Barcelona Opera and the Munich Philharmonic. He has also performed with the Berlin Philharmonic, the London Symphony or the Seoul Philharmonic, working with conductors like Simon Rattle, Gustavo Dudamel, Lorin Maazel, and Zubin Mehta. Born in Badajoz (Spain), he graduated from the Paris National Conservatory (France), and he is frequently invited to teach masterclasses all over the world (including the USA, China, Germany, Austria, Japan, South Korea, France, and Spain). Rejano is the Trombone Professor at the Colburn Conservatory in Los Angeles, and he is also the founder of Rejano Mutes; a practice mute company that in a very short time has become a world leader in its field.

David Rejano is a Shires performing artist and plays on his own Rejano artist model, designed by him.

A prominent leader, performer, and educator in classical music, Weston Sprott is Dean and Director of the Preparatory Division at The Juilliard School, a Co-Founder of the Black Orchestral Network, and a trombonist in the Metropolitan Opera Orchestra.

Weston Sprott’s work is based on mission-driven values developed over a twenty-year career in the arts. His approach to all elements of his career is steeped in basic principles—a commitment to excellence and fairness, an abiding sense of kindness and compassion towards others, and an unwavering sense of optimism that is not naive. Sprott grew up in Spring, TX, immersed in the fabric of sports, marching bands, soul and R&B music, hip-hop culture, and the Pentecostal church. From an early age, his parents raised him to take pride in his identity, cultivate an industrious spirit, and embrace the heritage of leaders in arts and culture who speak truth to power and understand the implications of being Black in America. In a visit to his office, one will find photos of several individuals he views as inspirations, like Muhammad Ali, Kobe Bryant, Lebron James, Wynton Marsalis, and Malcolm X.

Following studies at Indiana University and the Curtis Institute of Music, Sprott began a robust performance career that includes orchestral, chamber, and solo performances. Hailed as “an excellent trombonist” with a “sense of style and phrasing [that] takes a backseat to no one,” he has performed throughout the United States, Europe, Asia, and South Africa. In addition to being a member of the Metropolitan Opera Orchestra, since 2005, he has held positions with the Zurich Opera and Philharmonia, Pennsylvania Ballet, and Delaware Symphony. He has performed with several of the world’s leading orchestras, including the New York Philharmonic, Philadelphia Orchestra, Sphinx Symphony Orchestra, Chineke! Orchestra, Dallas Symphony, Atlanta Symphony, West-Eastern Divan Orchestra, and the Oslo Philharmonic. He can be heard on numerous solo, chamber, symphonic, opera, and film recordings, from “Live from Lincoln Center” broadcasts to the recent “Lion King” live-action movie. His chamber music and festival engagements include Chamber Music Society of Lincoln Center, Gateways Chamber Players, Classical Tahoe, Festival Napa Valley, Walla Walla Chamber Music Festival, PRIZM Ensemble, and numerous others.

Growing up in a home of educators, the value and importance of teaching was reinforced from an early age and informs Sprott’s approach to his work. His commitment to working with young people is evidenced by his prolific teaching career. Sprott’s former students hold positions in leading ensembles across the world as well as others who have forged successful careers in other fields. He holds faculty positions at Juilliard, Bard College, and Music Academy of the West. He frequently appears as a guest teacher for the New World Symphony and The Orchestra Now, and has presented over a hundred masterclasses at conservatories and colleges around the world. Previous faculty positions include Mannes College, Rutgers University, Purchase College, Juilliard’s Music Advancement Program (MAP), PRIZM, Curtis Institute of Music’s Young Artist Summer Program, National Youth Orchestra-USA (NYO-USA and NYO2), Aspen Music Festival and School, and Stellenbosch International Chamber Music Festival (SICMF).

The inclusion of arts administration into his career was inspired by a pivotal conversation with mentor Wynton Marsalis, who encouraged Sprott to “switch from the me agenda to the we agenda.” In 2019, Sprott was named Dean of the Preparatory Division at The Juilliard School—comprising the Pre-College and Music Advancement Program (MAP)—becoming the first Black dean in the institution’s history. During his tenure as Dean and Director, Sprott has played a central role in securing multiple transformative gifts for both the Pre-College and MAP, including permanent endowment and episodic funding to increase access to music education and build a more inclusive repertoire for young musicians. With this support, Juilliard’s Music Advancement Program, which actively seeks students historically underrepresented and underserved in classical music, now serves over 50% more students and provides full-tuition scholarships to all students in perpetuity. The Preparatory Division has contributed substantially to the creation of new work, having commissioned over 50 new works and counting—including etudes, solos, chamber, choral, wind ensemble, and orchestral works—with a focus on increasing the diversity of composers introduced to young musicians, creating a more inclusive future, and meaningfully elevating the work of talented creators from every walk of life. In 2020, upon receiving the Sphinx Medal of Excellence—the highest honor bestowed by the organization—and recognizing the importance of year-round educational opportunities, he established the “Weston Sprott and Anthony McGill MAP Summer Scholarship Fund” in partnership with MAP Artistic Director, Anthony McGill. In 2021, he was awarded the Sphinx Venture Fund for “Composing Inclusion,” a partnership between Juilliard, the New York Philharmonic, and American Composers Forum that commissioned and premiered nine new works with flexible orchestration by Black and Latinx composers, performed side-by-side by Preparatory Division students and the New York Philharmonic.

In 2021, Sprott co-founded the Black Orchestral Network (BON), an organization that supports Black orchestral musicians whose mission is “cultivating community, lifting our voices, and telling our stories.” Since its inception, BON has released multiple open letters to the field shedding light on inequitable practices and policies affecting Black musicians in the industry and created the podcast Black Music Seen to capture the stories of important Black figures in classical music. Sprott’s advocacy efforts have also led to the creation of the National Alliance for Audition Support, Sphinx Orchestral Partners Auditions Excerpt Competition, and Classical Tahoe Academy, as well as numerous other initiatives that are shifting the landscape of the industry.

Regularly sought after as a speaker and panelist, Sprott recently delivered the keynote address for SphinxConnect and the alumni commencement address at his alma mater, the Curtis Institute of Music. He has consulted for various organizations, authored several articles in publications including Local 802’s Allegro, and been featured in the Wall Street Journal and on the cover of the International Musician, the national publication of the American Federation of Musicians. Sprott has been the recipient of the Atlanta Symphony’s Aspire Award and the Community Music Center of Boston’s John Kleshinski Award.

Sprott is the Board Chair of the Friends of Stellenbosch International Chamber Music Festival, a member of the Sphinx National Advisory Board, and the Avery Fisher Artist Program’s Recommendation Board. He has served as an advisory board member for Project STEP, the Community Music Center of Boston, and the Bronx Arts Ensemble. As an artist and clinician for the Antoine Courtois Instrument Company, Sprott performs exclusively on the Creation New York trombone, an instrument he designed.

Jeffrey Anderson joined the San Francisco Symphony as Principal Tuba, occupying the James Irvine Chair, in 2002. He holds a bachelor’s degree and performer’s certificate from Indiana University, where he studied with Harvey Phillips, and he completed his master’s degree at Arizona State University as a student of Daniel Perantoni. As a member of the New Mexico Symphony from 1989 to 1998, he made several solo appearances. Previously a member of the Rochester Philharmonic Orchestra, he was featured as soloist in Vaughan Williams’s Tuba Concerto with that orchestra in 2000. He has also performed with the National Repertory Orchestra and the Santa Fe Opera Orchestra, and he appeared as guest principal tuba with the Chicago Symphony and Los Angeles Philharmonic and in the 2009 Seattle Opera production of Wagner’s Der Ring des Nibelungen. With the SFS, he has been heard as soloist in David Lang’s are you experienced? in the SoundBox series, and in the North American premiere of Robin Holloway’s Europa & and the Bull.

Mr. Anderson is on the faculty of the San Francisco Conservatory of Music where he teaches tuba and coaches chamber music. He is in demand as a clinician and performer, making appearances at International Tuba and Euphonium Association international and regional conferences as well as in master classes at Indiana University, Northwestern University, Manhattan School of Music, and the Shanghai Orchestra Academy. Mr. Anderson is Buffet-Crampon Group artist and exclusively plays B&S tubas.

Mr. Anderson attended the Music Academy of the West in 1982.

Joseph Pereira (1974) enjoys a multi-faceted career as a timpanist/percussionist, composer, conductor, and teacher. His work in all areas has been widely hailed for his creativity and virtuosity, and has been profiled in feature articles in both The New York Times (2006) and The Los Angeles Times in 2012 and 2015. In 2015 Pereira was featured on the PBS series, “Craft in America”.

Pereira has been the Principal Timpanist of the Los Angeles Philharmonic since 2008. As a versatile performer, Pereira is in demand as an orchestral timpanist, studio recording percussionist. He regularly appears as a solo percussionist in the orchestra’s “Green Umbrella” new music series and has also conducted his music and other world premieres on the orchestra’s chamber series. In Los Angeles, he also can be found in the recording studios and can be heard on many major motion pictures. Previously Pereira was a member of the New York Philharmonic from 1997 to 2008, as a timpanist and percussionist. His line of signature timpani mallets by JGPercussion are sold worldwide.

Pereira currently runs the percussion studio at USC Thornton School of Music, and is also on the faculty of the Music Academy, and the Pacific Music Festival in Sapporo Japan. Pereira was previously on the faculty of The Juilliard School, from 2004-2012.

As a composer, Pereira’s music has been described as “restless yet lucidly textured” (The New York Times), “striking atmospherics of colour” (The Guardian), and “one sonic surprise after another” (The Los Angeles Times). His works have been commissioned and performed worldwide, most notably by the Los Angeles Philharmonic with Gustavo Dudamel, the Singapore Symphony, the New York Philharmonic Chamber Series, the Miro Quartet, the San Francisco Contemporary Music Players, percussionist Colin Currie, Duo Harpverk, French Ensemble TM+, and the Los Angeles Percussion Quartet. In 2013 the Los Angeles Percussion Quartet recorded his piece Repousse’ (2009), which was nominated for three 2013 Grammy Awards. The following year LAPQ recorded Pereira’s Mallet Quartet (2013), and it was rated “Best of 2014 Classical Music” on iTunes. Pereira’s works can be heard on Sono Luminus, Yarlung Records, and New Focus Recordings. His works are published in the US by Bachovich Music and Black Dot Press in London.

Before joining the Seattle Symphony as Principal Percussionist in the fall of 2009, Michael Werner was a percussionist with the Metropolitan Opera for 13 years, and Principal Percussionist for the Toronto Symphony Orchestra for two years.

Mr. Werner is currently the Principal Percussionist at the Seattle Symphony, and was also acting Principal for the 2014-2015 season at the LA Philharmonic, including the 2015 Asia Tour. In the spring of 2016 he was invited to perform with the New Zealand Symphony Orchestra as a Percussion Teacher and Guest Artist. In 2014, Michael was the featured soloist at The Seattle Symphony Orchestra where he performed F. Gruber’s “Rough Music Concerto”. Michael has performed with the London Symphony Orchestra, New York Philharmonic, Los Angeles Philharmonic, New Zealand Symphony Orchestra, Auckland Philharmonic, Hawaii Symphony Orchestra, Metropolitan Opera, The Cleveland Orchestra, Pittsburgh Symphony, Seattle Chamber Music Society, Canadian Brass and Empire Brass Ensembles, and at the Santa Barbara International Percussion Festival.

Mr. Werner has been a faculty member at The Mannes School of Music in New York since 2002. He has served as a Clinician and Instructor at the New World Symphony, the University of Toronto, the New Zealand Symphony Orchestra, the Percussive Arts Society, Oberlin Percussion Institute, Juilliard School, Manhattan School of Music, The Cleveland Institute of Music, and The New England Conservatory. He also serves as an Artist and Clinician for Pearl Percussion, Zildjian Symbols, and Freer Percussion.

Michael started his secondary studies at the Eastman School of Music, under John Beck. He holds a Bachelor’s Degree from the Cleveland Institute of Music, where he studied with Richard Wiener. Michael also studied with Tom Freer at Cleveland State University.

An alum of the Music Academy of the West (1990), Mr. Werner has been a faculty member since 2005.

JoAnn Turovsky is principal harpist with the Los Angeles Opera Orchestra, the Los Angeles Chamber Orchestra, and the Los Angeles Master Chorale Orchestra. She also serves as a professor of harp at the USC Thornton School of Music, the Colburn Conservatory, and the Colburn School of Performing Arts.

Ms. Turovsky has received numerous honors for her solo and chamber repertoire interpretations. These include first prize in the American Harp Society National Competition, Young Professional Division; first prize in the Coleman Chamber Music Competition; a prize at the Fifth International Harp Competition in Jerusalem; and numerous local awards from Mu Phi Epsilon, Sigma Alpha Iota, the Etude Music Club, and the Young Musicians Foundation. She serves as chair of the American Harp Society National Competition.

Ms. Turovsky appears frequently as a soloist with musical organizations throughout California and is busy in the motion picture and television industry. The composer John Williams wrote a solo piece for harp that she performed on the Angela’s Ashes soundtrack, while her performances also grace such films as Avatar, Raiders of the Lost Ark, The Karate Kid, Toy Story (plus its sequels), The Kite Runner, and Thirteen Conversations About One Thing, Star Wars, Frozen, and Avatar, among the more than 400 movie soundtracks in which she has participated.

She has received the Schoenfeld Artist Teacher Award for Harp from the California Chapter of the American String Teachers Association and a Lifetime Achievement Award from the American Harp Society.

Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur “Genius” Fellowship and the Avery Fisher Prize, Denk was recently elected to the American Academy of Arts and Sciences. Denk returns frequently to Carnegie Hall and in recent seasons has appeared with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and The Cleveland Orchestra, as well as on tour with Academy of St Martin in the Fields and at the Royal Albert Hall as part of the BBC Proms.

In 2019-2020, until the COVID-19 pandemic led to the shutdown of all performances, Denk toured Bach’s Well-Tempered Klavier Book 1 extensively, and was to have performances culminate with Lincoln Center in New York and the Barbican in London. He returned to Carnegie Hall to perform Beethoven’s Choral Fantasy with Orchestra of St. Luke’s, and made his solo debut at the Royal Festival Hall with the London Philharmonic performing Beethoven’s Piano Concerto No. 4. He also made his solo recital debut at the Boulez Saal in Berlin performing works by Bach, Ligeti, Berg, and Schumann, and returned to the Piano aux Jacobins Festival in France, as well as London’s Wigmore Hall. Further performances abroad included his debut with the Bournemouth Symphony, his returns to the City of Birmingham Symphony and the Piano Espoo Festival in Finland, and recitals of the complete Ives Violin Sonatas with Stefan Jackiw.

Highlights of the previous season included a three-week recital tour, culminating in Denk’s return to Carnegie Hall; play-directing Mozart Concerti on an extensive tour with Academy of St Martin in the Fields; and a nationwide trio tour with Joshua Bell and Steven Isserlis. He also performed and curated a series of Mozart Violin Sonatas (‘Denk & Friends’) at Carnegie Hall.

Denk is also known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” He wrote the libretto for a comic opera presented by Carnegie Hall, Cal Performances, and the Aspen Festival, and his writing has appeared in the New Yorker, the New Republic, The Guardian, and on the front page of the New York Times Book Review. One of his New Yorker contributions, “Every Good Boy Does Fine,” forms the basis of a book for future publication by Random House in the US, and Macmillan in the UK.

Denk’s recording of the Goldberg Variations for Nonesuch Records reached No. 1 on the Billboard Classical Charts. His recording of Beethoven’s Piano Sonata No. 32 in C Minor, Op. 111 paired with Ligeti’s Études was named one of the best discs of the year by the New Yorker, NPR, and the Washington Post, and his account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano. Denk has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two piano sonatas also featured in many “best of the year” lists. His recording c.1300-c.2000 was released in 2018 with music ranging from Guillaume de Machaut, Gilles Binchois and Carlo Gesualdo, to Stockhausen, Ligeti and Glass.

Jeremy Denk graduated from Oberlin College, Indiana University, and The Juilliard School. He lives in New York City, and his website and blog are at jeremydenk.com.

Mr. Denk has been a Music Academy of the West faculty artist since 2015.

Pianist Conor Hanick is regarded as one of his generation’s most inquisitive interpreters of music new and old. A fierce advocate for the music of today, Hanick has premiered over 200 pieces and collaborated with composers ranging from Pierre Boulez, Kaija Saariaho, and Steve Reich, to the leading artists of his generation. He has performed with many of America’s preeminent conductors and ensembles and in 2023 premiered Samuel Carl Adams’ No Such Spring with Esa-Pekka Salonen and the San Francisco Symphony. This season, Hanick presents solo and chamber recitals in the US and Europe, including concerts at The Wallis, Hancher Auditorium, Cal Performances, Segerstrom Center, Stanford Live, Guild Hall, Musikverein, and elsewhere. He appears with the Phoenix and Alabama Symphonies in works by Stravinsky, Gershwin, and a new piano concerto by Carlos Izcaray, one of a handful of premieres this year that also includes pieces by Matthew Aucoin, Nico Muhly, Tania León, and Mathew Rosenblum. A committed collaborative player, Hanick joins Julia Bullock, Seth Parker Woods, Timo Andres, the JACK Quartet, and AMOC* (The American Modern Opera Company) in projects ranging from a US tour of HARAWI to performances of Sufjan Stevens’ two piano ballet Reflections. Hanick teaches at the CUNY Graduate Center, Mannes College, Music Academy of the West, and The Juilliard School.

Recognized worldwide as a leading chamber musician and collaborative pianist, Jonathan Feldman has performed on four continents with some of the world’s greatest instrumentalists, including Nathan Milstein, Itzhak Perlman, Gil Shaham, James Galway, Sarah Chang, Joshua Bell, and Emmanuel Pahud. He also has performed with the New York Philharmonic Chamber Ensembles and the Chamber Music Society of Lincoln Center. He was a featured performer in a recent installment of Live from Lincoln Center with Gil Shaham. A graduate of The Juilliard School, he joined the Juilliard faculty in 1989 and chaired the school’s collaborative piano department for 25 years. A member of the collaborative piano faculty at New England Conservatory since 2011, he has given masterclasses throughout the United States and the Far East and has lectured at international festivals and competitions. Mr. Feldman was a guest artist at the Music Academy from 2001-02 and has been a teaching artist since 2003.

Natasha Kislenko has performed extensively as a soloist and a collaborative pianist across Europe, Middle East and the Americas. A highly sought after collaborator, Ms. Kislenko has enjoyed a varied performing career as an active chamber musician, an orchestral keyboardist with the Santa Barbara and San Diego Symphony, and recitalist with singers and instrumentalists. Her distinguished partners include Michelle Bradley, Leone Buyse, Tadeu Coelho, David Cohen, Marcus Groh, Frank Huang, Chavdar Parashkevov and Zvi Zeitlin.

Natasha gave a solo recital at Carnegie Hall’s Weill Recital Hall and has appeared as a concerto soloist with Orquesta del Congreso Nacional (Paraguay), the Varna Chamber Orchestra (Bulgaria), the Eskisehir Municipal Symphony Orchestra (Turkey), New West Symphony, and the Santa Barbara Symphony.

Ms. Kislenko has been on the piano faculty of UC Santa Barbara since 2007. Previously, she served on the faculties of California State University Fresno and Meadowmount School of Music (New York). An alumna of the Music Academy of the West (2001), Ms. Kislenko has been a member of the faculty since 2004. Ms. Kislenko holds graduate degrees in piano from the Moscow Tchaikovsky Conservatory, Southern Methodist University (Dallas, TX) and Stony Brook University, NY, where she completed her doctorate with Gilbert Kalish.

Pianist Margaret McDonald, a native of Minnesota, is an Associate Professor of Collaborative Piano at the University of Colorado Boulder.  She joined the College of Music keyboard faculty in the fall of 2004. She helped to develop the College’s graduate degree program in Collaborative Piano and the undergraduate collaborative curriculum. Praised for her poetic style and versatility, Dr. McDonald enjoys a very active performing career and has partnered many distinguished artists including the Takács Quartet, Kathleen Winkler, Zuill Bailey, Paula Robison, Carol Wincenc, Ben Kamins, David Shifrin, David Jolley, Ian Bousfield, Joseph Alessi, Steven Mead, and Velvet Brown.  She has performed throughout the United States, Canada, and Europe.

Dr. McDonald received her Bachelor of Music and Master of Music degrees in Piano Performance from the University of Minnesota and a Doctor of Musical Arts degree in Collaborative Piano from the University of California – Santa Barbara.  Her principal teachers include Lydia Artymiw and Anne Epperson.  She received fellowships to study at both the Music Academy of the West and the Tanglewood Music Center where she worked closely with Dawn Upshaw, Robert Spano, and Osvaldo Golijov.

Dr. McDonald is active throughout the country giving master classes at institutions including The Juilliard School, Indiana University, University of Texas at Austin, University of Minnesota – Twin Cities, Arizona State University, University of California – Santa Barbara, and Louisiana State University.  She has released recordings with Velvet Brown, tuba, Aaron Tindall, tuba, and Erika Eckert, viola for Potenza Records and Meridian Records.

Dr. McDonald has been a staff accompanist at the Meadowmount School for Strings in New York and an official accompanist at the Music Teachers National Association competition and the National Flute Association annual convention. McDonald is an alumna of the Music Academy of the West and has been a member of the Music Academy faculty since 2005.

Two-time Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” by the New York Times and “equal parts poise, radiance and elegant directness” by Opera News. Ms. Cooke has sung at the Metropolitan Opera, San Francisco Opera, English National Opera, Seattle Opera, Opéra National de Bordeaux, and Gran Teatre del Liceu, among others, and with over 90 symphony orchestras worldwide frequently in the works of Mahler. In 2022 Ms. Cooke was appointed at the Music Academy of the West as Co-Director of the Lehrer Vocal Institute. Her album how do I find you was nominated for a 2022 Grammy Award for Best Vocal Solo Album.

Ms. Cooke began the 2024/25 season with a return to the Bard Festival as Marguerite in La Damnation de Faust followed by Brangäne in Tristan und Isolde at the Gstaad Festival, conducted by Sir Mark Elder. On the operatic stage, she debuts at La Monnaie de Munt as Emilie Ekdahl in the world premiere of Mikael Karlsson and Royce Vavrek’s Fanny and Alexander and returns to Houston Grand Opera in her role debut as Venus in a new production of Tannhäuser. On the concert stage, Ms. Cooke reprises much of her most celebrated repertoire, singing Mahler’s Second Symphony with Orchestra dell’Accademia Nazionale di Santa Cecilia and Daniel Harding, San Francisco Symphony and Esa-Pekka Salonen in his final performances as music director, and Vienna Radio Symphony and Marin Alsop at the Wiener Konzerthaus. She sings Mahler’s Third Symphony with the Netherlands Radio Philharmonic and Karina Canellakis, the Cologne Philharmonic and Cristian Macelaru, and the Tuscon Symphony Orchestra, where she also performs the Rückert-Lieder. She joins the Los Angeles Philharmonic and Gustavo Dudamel for a program of Alma Mahler, which she also brings to Royal Festival Hall in London with the London Philharmonia and Marin Alsop. Other concert engagements include Mozart’s Requiem with the Oslo Philharmonic and Klaus Mäkelä, Dvorak’s Stabat Mater with the Slovenian Philharmonic Orchestra, Schönberg’s Gurrelieder with the Vienna Symphoniker, Beethoven’s Ninth Symphony with St. Louis Symphony and Gemma New, and a concert with the Brazos Valley Symphony Orchestra featuring Des Knaben Wunderhorn with her husband, baritone Kelly Markgraf. In recital, Ms. Cooke returns to Wigmore Hall for a recital with pianist Malcolm Martineau, and Carnegie Hall for Shostakovitch’s From Jewish Folk Poetry with Susanna Phillips, Brandon Jovanovich, and pianist Evgeny Kissin.

One of the leading collaborative pianists of his generation, John Churchwell enjoys a career on the concert stage as well as in the nation’s leading opera houses.

In August 2011, John was named Head of Music for San Francisco Opera. Previously, he was an assistant conductor for both the Metropolitan Opera and the San Francisco Opera for 14 years. He has assisted on more than 140 productions and has collaborated with some of the world’s leading conductors including James Levine, Nello Santi, Nicola Luisotti, James Conlon, Donald Runnicles, Sir Charles Mackerras, Marco Armiliato, Fabio Luisi, and Eun Sun Kim. John Churchwell has been a Music Academy teaching artist since 2000.

A champion of American music, John was involved in the world premieres of John Harbison’s The Great Gatsby and Jake Heggie’s Dead Man Walking. In recent seasons, he has prepared the world premieres of Mark Adamo’s The Gospel of Mary Magdalene, Christopher Theofanidis’ Heart of a Soldier, as well as the Philip Glass opera Appomattox, the Stewart Wallace/Amy Tan collaboration The Bonesetter’s Daughter, Tobias Picker’s Dolores Claiborne, as well as the world premiere of Girls of the Golden West by John Adams, all for San Francisco Opera. From 2005-2008 John was the official accompanist for the Metropolitan Opera National Council auditions.

This summer saw John appear in recitals with Renée Fleming, Sasha Cooke, and Susanna Phillips. He has partnered with some of today’s most sought-after vocalists including Joyce DiDonato, Susan Graham, Diana Damrau, Larry Brownlee, Lisette Oropesa, Isabel Leonard, Frederica von Stade, Dawn Upshaw, and Carol Vaness. Recent appearances include San Francisco’s Davies Symphony Hall and the Mondavi Center for the Performing Arts in Davis, California with tenor Michael Fabiano and the Hollywood Bowl for Prairie Home Companion with soprano Ellie Dehn. In addition to song recitals, John is an active chamber musician and has appeared regularly with members of the Metropolitan and San Francisco’s Opera Orchestras.

A native of Knoxville, Tennessee, John studied at the New England Conservatory of Music and Tufts University where he earned a Bachelor of Music in Piano and a Bachelor of Arts in French, respectively. He continued his studies at the University of Minnesota where he earned a Master of Music and a Doctorate of Musical Arts in Accompanying. John studied song literature at the Banff Centre for the Arts and remains the only pianist to be invited for three summers as a Tanglewood Fellow. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and the San Francisco Opera’s Merola Program.

Equally devoted to instrumental chamber music as he is to art song and operatic repertoire, César Cañón alternates his activity as a pianist with vocal coaching, teaching and conducting. He has performed in his native Colombia, Brazil, Mexico, Canada, Italy, Norway and across the United States. His concert appearances include the Kennedy Center, the Norwegian National Opera, Detroit Symphony, and San Francisco Opera’s Taube Atrium Theatre at the Diane B. Wilsey Center for Opera. He has been a guest performer and lecturer at Michigan State University, University of Michigan, Emory University, San Francisco Conservatory of Music, University of Texas at Austin, Universidad Central de Colombia, Universidad Sergio Arboleda, and Universidad Nacional de Colombia.

Cañón is an alum of the Aspen Opera Theatre Center and the Merola Opera Program. He has also been a vocal coach and repetiteur for the Ad Astra Music Festival; assistant conductor and pianist for Opera de Colombia, the Bogota philharmonic, Teatro Colón de Bogotá and Festival Amazonas de Opera in Manaus, Brazil. Cañón was an Adler Fellow with the San Francisco Opera in 2018 and 2019. As a fellow, he was featured in the Schwabacher recital series, in which he performed Johannes Brahms’ Die Schöne Magelone alongside baritone Christian Pursell and soprano Felicia Moore. In the summer of 2019, he conducted Mozart’s La Finta Giardiniera with Accademia Europea dell’Opera in Lucca, Italy. While in San Francisco, Cañón worked with several Bay Area cultural institutions. He was music director for productions of Pocket Opera in their 2019 and 2020 seasons, pianist for the 2019 and 2022 James Toland Vocal Competition, and rehearsal pianist in selected projects with the San Francisco Symphony and Opera Parallèle. In 2021 he was awarded a Bayreuther Festspiele Stipendiat by the Wagner Society of Northern California, allowing him to attend the prestigious festival in Bayreuth. As a staff pianist, Coach and conductor for the San Francisco Conservatory of Music, he closely collaborated with mezzo soprano Frederica von Stade.

Cañón holds a Bachelor of Music degree from Universidad Nacional de Colombia, and a Master of Music and Doctorate in Collaborative Piano from the University of Michigan, where he studied with Martin Katz. He is currently part of the music staff of the San Francisco Opera and the Norwegian National Opera, where he works as staff conductor, repetiteur and assistant chorus master.

Jane Dutton has sung in many of the top opera houses in the world, including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, English National Opera (London), Gran Teatre del Liceu (Barcelona, Spain), and New York City Opera—first as a mezzo-soprano and then as a dramatic soprano.

A native of Indiana, Ms. Dutton made her European opera debut at Barcelona’s Gran Teatre Del Liceu as Anne Boleyn in Saint-Saëns’ Henry VIII and was reengaged by the theater for ten seasons. Other roles at the Liceu included Adalgisa/Norma, La Reine Gertrude/Hamlet, Polina/Pique Dame, La Nourrice/Ariane et Barbe-Bleue, Suzuki/ Madama Butterfly among others. She sang several seasons at London’s English National Opera (Amneris/Aida, Santuzza/Cavalleria Rusticana) eventually appearing as Kundry in Parsifal. That appearance marked the start of her career as a Wagnerian soprano, and she has since sung many of the major Wagnerian roles (Isolde, Brünnhilde, Senta) in the United States, England, Germany, and Hong Kong.

In the United States, she sang Jordan Baker in John Harbison’s The Great Gatsby and Stéphano in Roméo et Juliette, as well as numerous other roles for the Metropolitan Opera. In addition to her appearances in major U.S. opera houses, she has sung with more than 25 U.S. regional opera houses, in more than 30 different major roles.

Dutton’s orchestral work highlights include appearances with the New York Philharmonic, BBC Scottish Symphony, RTE National Symphony (Ireland), Prague Radio Symphony, Seattle Symphony, Houston Symphony, Indianapolis Symphony, and the Korean Broadcast Symphony at the United Nations General Assembly. She has recorded under the Chandos and Albany Records labels. She has been awarded prizes in many competitions, including Placido Domingo’s Operalia. She earned her Bachelor of Music and Master of Music degrees from Indiana University, where she studied with famed Wagnerian Margaret Harshaw. Dutton earned an Artist Diploma from Yale University studying with Doris Yarick Cross.

For the past decade, Ms Dutton has been a voice professor at the famed Indiana University Jacobs School of Music. Many of her students have been invited to participate in the top young artist training programs in the US including Washington National Opera, Santa Fe Opera, Minnesota Opera, Wolf Trap Opera, Glimmerglass Opera, and Central City Opera to name a few. Ms. Dutton has taught at the San Miguel Institute of Bel Canto in San Miguel, Mexico and the Interlochen Arts Center.

Soprano Christine Goerke has appeared in many of the most prestigious opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, Paris Opera, Teatro alla Scala, Deutsche Oper Berlin, Teatro Real in Madrid, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, beginning with the Mozart and Handel heroines and now moving into dramatic Strauss and Wagner roles.

Ms. Goerke has also appeared with leading orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Radio Vara, the BBC Symphony Orchestra at the BBC Proms, and both the Hallè Orchestra and the Royal Scottish National Symphony at the Edinburgh International Festival. She has worked with some of the world’s foremost conductors including James Conlon, Sir Andrew Davies, Sir Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Andris Nelsons, Seiji Ozawa, David Robertson, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Patrick Summers, Jeffery Tate, Christian Thielemann, Michael Tilson Thomas, and Edo de Waart.

Ms. Goerke’s recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings included the Brahms’ Liebeslieder Waltzes, Poulenc’s Stabat Mater, Szymanowski’s Stabat Mater, and the Grammy-nominated recording of Dvorak’s Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 Grammy Award for Best Choral Performance.

Ms. Goerke was the recipient of the 2001 Richard Tucker Award, the 2015 Musical American Vocalist of the Year Award, and the 2017 Opera News Award.

“Martin Katz must surely be considered the dean of collaborative pianists,” said the Los Angeles Times, and Musical America magazine created an award expressly for him: Accompanist of the Year. One of the world’s busiest collaborators, he has been in constant demand by the world’s most celebrated vocal soloists  for more than five decades. He was fortunate to accompany Marilyn Horne for almost all of that time. He has also appeared and recorded regularly with Frederica von Stade, David Daniels, Jose Carreras, Karita Mattila, Cecilia Bartoli, Kiri Te Kanawa, Kathleen Battle, Piotr Beczala, Joseph Calleja to name just a few. Season after season, the world’s musical capitals figure prominently in his schedule. 

Mr. Katz is a native of Los Angeles, where he began piano studies at the age of five. He attended the University of Southern California and studied the specialized field of accompanying with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the classes and lessons of such luminaries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac, and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the US Army Chorus in Washington, D.C. for three years, before moving to New York where his international career began in earnest in 1969.     

In more recent years, invitations to conduct orchestral evenings and operas have come with increasing frequency. Mr. Katz has partnered several of his soloists on the podium for orchestras of the B.B.C., Houston, Washington, D.C., Tokyo, New Haven and Miami. He has also been pleased to conduct several staged productions for the University of Michigan’s Opera Theatre, the Music Academy, and San Francisco Opera’s prestigious Merola program. 

Finally, the professional profile of Martin Katz is completed with his passionate commitment to teaching. For four decades, the University of Michigan has been his home, where he has been happy to chair the School of Music’s program in collaborative piano, and also play an active part in operatic productions. He has been a pivotal figure in the training of countless young artists, both singers and pianists, who are now working  all over the world. The University of Michigan has recognized this important work, awarding him the first Artur Schnabel professorship, and more recently named him a Distinguished University Professor. He chose to name this award after his teacher, Gwendolyn Koldofsky, herself a cornerstone at the Music Academy for many decades. In addition to his work at his home school, he is a regular guest teacher at Helsinki’s Sibelius Academy, Songfest, Chicago College of Performing Arts, Canadian Operatic Arts Academy, and the New National Theatre of Tokyo.  

Mr. Katz’s comprehensive guide for accompanists, “The Complete Collaborator,” published by Oxford Press, is widely seen as the seminal work on this subject.

Mr. Katz attended the Music Academy in 1964, and was named a recipient of the Academy’s Distinguished Alumni Award in 1999.

London-based conductor William Long continues to showcase his “masterful command of challenging, multi-stylistic works” (Opera News) with some of the world’s premier musical institutions. Recent highlights include his debut with the London Symphony Orchestra at The Barbican, conducting Washington National Opera’s production of Carmen and the world premiere of Terence Blanchard’s Fire Shut Up In My Bones with Opera Theater Saint Louis and the Saint Louis Symphony Orchestra.

This upcoming season, Long returns to The Metropolitan Opera to cover Terence Blanchard’s Champion, San Francisco Opera for the world premiere of John Adams’ Antony and Cleopatra and concerts with the San Francisco Opera Orchestra & Chorus, and Washington National Opera for La bohème. Long will also continue his relationship with the London Symphony Orchestra as a Cover Conductor where he has assisted in a wide variety of programs since 2020, working with Sir Simon Rattle, Gianandrea Noseda, and John Wilson. He also continues his posts at the prestigious Music Academy in Santa Barbara, California.

Long’s previous work has included appearances as Cover Conductor at the Kennedy Center for productions of Eugene Onegin, Candide, and the world premieres of Missy Mazzoli’s Proving Up and Terence Blanchard’s Champion. A native of California, he has worked extensively with San Francisco Opera as Assistant Conductor on productions of Arabella, Hänsel und Gretel, Così fan tutte, Le nozze di Figaro, and with Los Angeles Opera as Cover Conductor for Gordon Getty’s Usher House and The Canterville Ghost.

From 2013-2018 Long served as Assistant Conductor at San Francisco’s Opera Parallèle, where he prepared productions of Jake Heggie’s Dead Man Walking and At the Statue of Venus, Leonard Bernstein’s Trouble in Tahiti, Jonathan Dove’s Flight, Tarik O’Regan’s Heart of Darkness, and Philip Glass’ Les enfants terribles, among other projects.

Long holds a B.A. in Piano Performance and an M.A. in Conducting from the University of California, Santa Cruz, where he studied with Maria Ezerova and Nicole Paiement. He also studied with Harold Farberman at the Conductor’s Institute at Bard College and Vance George at Westminster Choir College.

Italian-American pianist, coach, and conductor, Mario Antonio Marra currently serves as the Head of Music and Director of the Resident Artist Program at Minnesota Opera. He has served on the music staff at the Lyric Opera of Chicago, San Francisco Opera, and Oper Frankfurt, among others. Recent conducting credits include gala concerts with Opera San Antonio, CMI San Antonio, and Minnesota Opera’s production of Don Giovanni. Passionate in his work nurturing and coaching the next generation of singers and pianists, Marra has served on the faculties of numerous summer training programs including the Merola Opera Program in San Francisco where he returns for his fourth summer in 2025.

An active recitalist, he has recently performed with many of today’s most sought-after singers, including Željko Lučić, Eric Owens, Quinn Kelsey, Ramón Vargas, David Leigh, and Stephanie Blythe. He has been presented at prestigious venues internationally, including Carnegie Hall in New York, Auditorium Parco della Musica in Rome, The Kennedy Center in Washington D.C., Palazzo Davanzati in Florence, Oper Frankfurt, and the Civic Opera House in Chicago.

Lauded by the legendary Marilyn Horne for his “superb technique,” Marra was a winner of the Marilyn Horne Song Competition at Music Academy where he was a fellow in 2013 and 2014. He is a graduate of the Patrick G. and Shirley W. Ryan Opera Center young artist program at the Lyric Opera of Chicago. His mentors and teachers include Norma Verrilli, Marilyn Nonken, and Warren Jones.

Kristine McIntyre has directed more than 100 operas with a focus on new, contemporary and American works, including the world premieres of Laura Kaminsky and Kimberly Reed’s Hometown to the World at the Santa Fe Opera and Town Hall NYC, Kristin Kuster and Mark Campbell’s A Thousand Acres for Des Moines Metro Opera based on the Pulitzer-Prize winning novel by Jane Smiley, the planetarium opera Galaxies in Her Eyes by Mark Lanz Weiser and Amy Punt, and the opera film Unknown for UrbanArias based on the song cycle by Shawn Okpebholo and Marcus Amaker. Her recent technologically innovative immersive production of Bluebeard’s Castle, a collaboration with world-famous visual composer Oyoram, was met with great critical and audience acclaim. Her new production with Oyoram of The Cunning Little Vixen will premiere at Des Moines Metro Opera in the summer of 2025, the first in a multi-year series of planned works together.

Other recent productions include Moby Dick, Dark Sisters, Flight, Wozzeck, Dead Man Walking, Billy Budd and Manon (regional Emmy awards), the world premieres of The Place Where You Started, Mirror Game, Jane Eyre and John Brown; new productions of Peter Grimes, Jenüfa, Sweeney Todd, Trouble in Tahiti, The Seven Deadly Sins, Street Scene, As One, Glory Denied, Soldier Songs, Florencia en el Amazonas, The Coronation of Poppea, Semele, Vanessa, Of Mice and Men, The Human Voice, The End of the Affair, Three Decembers, The Turn of the Screw, Eugene Onegin, La bohème, Lucia di Lammermoor, La cenerentola, Cosi fan tutte, Un ballo in maschera, Il ritorno d’Ulisse in patria, Werther and Les Contes d’Hoffmann, as well as the world premieres of Louis Karchin’s Jane Eyre for the Center for Contemporary Opera, The Place Where You Started by Mark Lanz Weiser and Amy Punt at Art Share LA, Mirror Game by Celka Ojakangas and Amy Punt, Sherlock Holmes and the Case of the Fallen Giant by Evan Meier and E.M. Lewis and Kirke Mechem’s John Brown for Lyric Opera of Kansas City

Upcoming projects include a revival of her film-noir inspired Don Giovanni, the world premiere of Woman With Eyes Closed by Jennifer Higdon and Jerre Dye, La bohème at Opera Colorado, and a new co-production of Of Mice and Men led by Houston Grand Opera and her first engagement with Music Academy in Summer of 2025.

In addition to her opera film Unknown, Kristine has directed many other projects for the digital realm, including the Studio Artist Showcase for Houston Grand Opera in 2020 and 2021, a recital series for the Portland Opera’s Resident Artist program and the Women in Politics recital featuring works by Stacey Garrop and Jake Heggie for Portland Opera at Home. She collaborated with several companies on the filming of her bilingual Spanish-English adaptation of The Barber of Seville, one of the many operas she has adapted and directed for education and community opera programs throughout the country.

Passionate about the training of the next generation of opera artists, Kristine has also taught and directed in many young artist programs, including those at Houston Grand Opera, Chicago Lyric Opera, San Francisco Opera, Portland Opera, Pittsburgh Opera and The Santa Fe Opera. She regularly mentors young directors, composers and librettists and serves on the steering committee of the Women’s Opera Network at Opera America.

Kristine began her opera career at the San Francisco Opera and then spent eight years on the directing staff of the Metropolitan Opera where she directed numerous revivals. With a background in theater, Kristine founded and was the artistic director of everyman, a San Francisco-based theater company. She also collaborated with Rebecca Salzer Dance Theater with whom she co-created pieces of dance / spoken word theater including Skywatch! and Bird Lady, which explores the life and work of street photographer Vivian Maier. For many years, she was a reader and educator for the Playwrights Project, critiquing plays as part of their California-wide playwriting competition. Kristine holds a B.A. in English Literature from Georgetown University, spent her junior at Oxford University studying and directing Shakespeare and has an M.A. in Theatre from the University of Hull in England.

Chief Conductor of the Gävle Symphony Orchestra, GRAMMY® Award-winning artist Christian Reif has established a reputation for his natural musicality, innovative programming and technical command.

Since 2022, Reif has served as Music Director of the Lakes Area Music Festival, a month-long summer festival in Minnesota featuring the nation’s top classical performers in programming that ranges from opera and chamber music to symphonic performances along with commissioned new works. LAMF believes that high quality arts experiences should be accessible to all and operates on a name-your-price ticket model.

Highlights of Reif’s 2024/25 season include debut performances with the Los Angeles Philharmonic at the Hollywood Bowl, Phoenix Symphony, Detroit Symphony, and Canada’s National Arts Centre Orchestra. He leads the Cincinnati Symphony in the world premiere of Fantastica, a newly commissioned work by composer Jimmy López Bellido dedicated to Reif based on The Neverending Story, originally a fantasy novel by the German writer Michael Ende and later a major motion picture. He returns to SWR Symphony Orchestra and Royal Northern Sinfonia and conducts his own arrangement of John Adams’ El Niño with the Münchner Rundfunkorchester, Gävle Symphony, and the American Modern Opera Company in December 2024. Reif and his wife, soprano Julia Bullock, also bring Bullock’s original program History’s Persistent Voice to performances at Lincoln Center and Yale University’s Schwarzman Center in February 2025.

In 2024, Reif won a GRAMMY® for the Nonesuch Records album Walking in the Dark, the debut solo album of classical singer Julia Bullock in which he accompanied her on piano and led London’s Philharmonia Orchestra. The album was praised by Gramophone Magazine as “illuminating” and described Reif as providing “excellent support” for Bullock. In 2020 during the pandemic, Reif and Bullock recorded a series of at-home virtual “Songs of Comfort”, ranging from Carole King’s classic “Up on the Roof” to Schubert’s Wanderers Nachtlied. NPR Music featured the duo in a “Tiny Desk Concert” for their special quarantine edition of the series, and The New York Times highlighted them on their “Best Classical Music of 2020” list.

From 2016 to 2019, Christian was Resident Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra, after being the Conducting Fellow at the New World Symphony from 2014 to 2016 and at Tanglewood Music Center in 2015 and 2016.

Prior to joining the prestigious Shepherd School of Music as Artist Teacher of Opera Studies in the fall of 2023, Georgian pianist Nino Sanikidze spent nearly two decades at Los Angeles Opera (LAO) – both as a Head Coach for the renowned Domingo-Colburn-Stein Young Artist Program, and as a principal coach, pianist, and prompter for LAO’s main-stage productions.

Highly in demand as a guest coach, pianist, and prompter, Dr. Sanikidze has been engaged for numerous productions at Teatro Real in Madrid, Spain; Teatro di San Carlo in Napoli, Italy; Royal Opera House Muscat, Oman; Teatro Municipal di Santiago, Chile; Bard Summerscape Festival in New York; Wichita Grand Opera, and Cleveland Opera.

A frequent collaborator with the Broad Stage in Santa Monica, her notable concert appearances include recitals with tenor Marcelo Álvarez and mezzo-soprano Elina Garanča. She has also performed in recital with world-renown guitarist Ángel Romero at “Palm Springs Life Festival”, mezzo-soprano Nancy Fabiola Herrera on Canary Islands’ “Zarzuela en el Mundo” recital tour and, most recently, with superstar tenor Joseph Calleja at “Festival del Sole”. Since 2008 Dr. Sanikidze has been an official pianist for the “Operalia” World Opera Competition and in this capacity has performed on some of the world’s most celebrated stages.

Dr. Sanikidze serves on a judging panel of the Metropolitan Opera Laffont Competition and Richard Tucker Music Foundations’ Study and Career Grant Auditions, as well as the Daegu International Opera Awards, Palm Springs Opera Guild Competition, Classical Singer Convention, Music Center Spotlight Awards, and Center Stage Opera Competition. A sought-after clinician, she regularly visits Universities and Conservatories for masterclasses and residencies. She has served on the faculty at the Music Academy of the West since 2014.

Dr. Sanikidze is the recipient of numerous honors, including the Marilyn Horne Foundation Award for Excellence in Vocal Accompanying.

“Technically nimble and supportive pianist” (New York Times), “Accompanist with wondrous tact and virtuosity” (San Francisco Chronicle), “Vigorous and versatile” (Washington Post) and “Extraordinarily sensitive collaborative synch throughout the evening” (VOICE Magazine) Tamara Sanikidze gave her first performance with the Georgian Symphony Orchestra at age eight and has since appeared as soloist and chamber musician throughout the Republic of Georgia, Russia, Europe, Asia and the Americas.

Since 2009, in capacity of an official pianist for Plácido Domingo’s annual World Opera Competition “Operalia” Dr. Sanikidze has performed in such renown opera houses as Hungarian State Opera house in Budapest, La Scala in Milano, Galina Vishnevskaya’s Opera Centre in Moscow, Teatro Filarmonico in Verona, Royal Opera house in London, Dorothy Chandler Auditorium in Los Angeles, Teatro Degollado in Guadalajara, São Carlos in Lisbon, and National Theater in Prague.

As a winner of the Marilyn Horne Foundation Award for Excellence in Vocal Accompanying she has performed regularly in the Marilyn Horne Foundation’s “The Song Continues…” and “On the Wings of Song”. Active Song Recitalist she has partnered with such luminaries as Thomas Hampson, Nino Machaidze, Isabel Leonard, Quinn Kelsey, Marjorie Owens, Elizabeth Futral, Nicole Cabell, Leah Crocetto, Nadine Sierra and Amanda Majeski in New York City’s Carnegie Hall, Steinway Hall and other prestigious venues including the Kennedy Center in Washington, DC. By the special invitation, she has traveled to Beijing, China to perform with Mo. Plácido Domingo and also has performed at the White House for President George W. Bush and First Lady Laura Bush.
In May 2019 Sanikidze joined the much acclaimed Camerata Pacifica ensemble for a concert tour throughout South California.

Between 2007- 2012 Ms. Sanikidze was a Young Artist Coach at the Domingo-Cafritz Young Artist Program at Washington National Opera and an Adler Fellow at San Francisco Opera, where she served as an Assistant Conductor and Coach for productions of Don Giovanni (Mo. Plácido Domingo), Rigoletto (Mo. Giovanni Reggioli), Hansel and Gretel (Mo. Steven Gathman), La Traviata (Mo. Plácido Domingo and Mo. Dan Ettinger), Carmen (Mo. Julius Rudel), Turandot(Mo. Keri-Lynn Wilson), Falstaff (Mo. Sebastian Lang-Lessing), La fanciulla del West (Mo. Nicola Luisotti), Aida (Mo. Nicola Luisotti), The Makropulos case (Mo. Jiří Bělohlávek), Die Walküre (Mo. Donald Runnicles), Carmen (Mo. Nicola Luisotti), and Xerxes (Mo. Patrick Summers).

Upon finishing the prestigious Adler Fellowship Program, Sanikidze joined the Music Staff at both San Francisco Opera and Los Angeles Opera where she works closely with Mo. Plácido Domingo, Mo. James Conlon and Mo. Nicola Luisotti. In the capacity of a Pianist, Prompter, Coach and an Assistant Conductor she has prepared and performed a wide range of operatic repertoire, including Simon Boccanegra starring Plácido Domingo, Tosca, Der fliegende Holländer, La Cenerentola, Falstaff, Evgeny Onegin, Die Zauberflöte, Billy Budd, Lucia di Lammermoor, Madama Butterfly, Un ballo in maschera, Le nozze di Figaro, Il barbiere di Siviglia, Aida, Turandot, Wagner’s Ring Cycle, Rusalka, and Manon Lescaut.

Ms. Sanikidze is a prize-winner of numerous national and international piano competitions. She has received top scholarships, including a personal scholarship from the former president of the Republic of Georgia Edward Schevardnadze. She has also received the Vocal Piano Fellowship Award from the Music Academy of the West in Santa Barbara and participated in summer programs at Wolf Trap Opera Company, Merola Opera Program at San Francisco Opera, SongFest, Cleveland Art Song Festival and Aspen Music Festival. She has made several recordings for the Excelsior label and her performances have been broadcast on NPR, as well as Georgian and Russian National Television and Radio.

Sought after for her coaching skills and extensive experience, Ms. Sanikidze has been invited to work with young singers at the Merola Opera Program, Wolf Trap Opera Center, and the Young Artist Programs both at Washington National Opera and Los Angeles Opera.

In 2015 Tamara joined faculty of Butler School of Music at University of Texas, Austin and Music Academy of the West.  In January 2019 Ms. Sanikidze became Director of Butler Opera Center.

Tamara Sanikidze holds a Doctor of Musical Arts Degree from the University of Maryland, College Park.

Nicolò Sbuelz is a pianist, vocal coach, educator, and assistant conductor from Udine, Italy. Based in New York City, he is currently an Italian diction coach, as well as Staff Music Coach for the Lindemann Young Artist Development Program, at The Metropolitan Opera. Mr. Sbuelz taught at the Manhattan School of Music from 2018 to 2022. In 2021, he joined The Juilliard School’s Vocal Arts faculty. Previously, he has worked with Teatro alla Scala, Opéra National de Lyon, Holland Festival, Wiener Festwochen, Houston Grand Opera, Charleston Opera Theater, Sarasota Opera, Opera Theater of Saint Louis, and Santa Fe Opera. A sought-after coach, he has been on staff at several Young Artist Programs, such as Wolf Trap Opera, Calgary Opera, Maryland Opera Studio, and joined the faculty of Aspen Music Festival in 2022 after being a coaching fellow in 2015. Mr. Sbuelz is a graduate of the Accademia del Teatro alla Scala and received undergraduate degrees in piano and composition from the Conservatorio Giuseppe Tartini in Trieste, Italy. He has a Master’s Degree in Musicology with a concentration in Aesthetics and the Cross-Cultural Reception of Music and Languages from the University of Pavia, and was an Apprentice Coach with the Merola Opera Program in San Francisco, California.

Bill Schuman is internationally celebrated as one of the world’s leading teachers of singing. His students represent some of the most important names in the music world.

A native of Portland, Oregon, Mr. Schuman began his vocal studies under B. Gibner King, the coach of such Met luminaries as Ezio Pinza and Margaret Harshaw. Following his studies with Margaret Woodward at Brigham Young University and with Rita Streich at the Conservatory of Music in Vienna, he became a protégé of the famed vocal pedagogue, Luisa Franceschi Verna, herself the teacher of Zinka Milanov, among others. He finished his studies in New York, studying Italian style and repertory with Rita Saponaro Patanè.

Since beginning his teaching career, Mr. Schuman’s success has been completely unique in the opera world. His operatic students are not only major stars in the great opera houses around the world, but they have won an unprecedented number of international vocal competitions and awards. For four years in a row, his students were honored with the Richard Tucker Award, America’s most prestigious award for opera singers. Three of his students were also consecutively bestowed the Beverly Sills Award.

Over the years, Mr. Schuman has also maintained his work with non-classical singers, where his students have included some of the biggest stars from the Broadway, film, TV and popular music worlds and have included numerous Tony, Grammy and Emmy award winners and Academy Award nominees.

Mr. Schuman has been associated with the Metropolitan Opera Young Artist Program, the Curtis Institute of Music and was personally invited by Placido Domingo to be one of the inaugural teachers at the Washington Opera Young Artist Program. Since 1989, Mr. Schuman has been on the faculty of the Academy  of Vocal Arts in Philadelphia, where he has exclusively based his academic career.

Mr. Schuman is in demand worldwide for master classes and lectures. He has been featured in numerous articles and books on the art of singing and has been the subject of articles in various publications including Opera News and the Wall Street Journal. In 2008, Mr. Schuman was honored by the Licia Albanese-Puccini Foundation, becoming the youngest voice teacher to ever receive their coveted Lifetime Achievement Award.

American pianist Howard Watkins is a frequent associate of some of the world’s leading musicians on the concert stage and as an assistant conductor at the Metropolitan Opera.   His appearances throughout the Americas, Europe, Asia, Russia, and Israel have included collaborations with Renée Fleming, Joyce DiDonato, Lawrence Brownlee, Diana Damrau, Thomas Hampson, Kathleen Battle, Grace Bumbry, Mariusz Kwiecien, Anna Netrebko, and Matthew Polenzani at such venues as the Metropolitan Museum of Art, Spivey Hall, Kennedy Center, the United States Supreme Court, Alice Tully Hall, the three stages of Carnegie Hall, the Elbphilharmonie in Hamburg, and the Bolshoi Theater in Moscow.

His current and former faculty affiliations include The Juilliard School, the Bard College Conservatory of Music, the Merola Opera Program, the Santa Fe Opera Apprentice Program, the Yale School of Music as a Visiting Presidential Fellow, the Tanglewood Music Center, the Aspen Music Festival, the Mannes School of Music, the North Carolina School of the Arts, the International Vocal Arts Institute (Israel, Japan, and China), IIVA in Italy, the Brancaleoni Music Festival in Italy, the Tokyo International Vocal Arts Academy (TIVAA) as a founding member, and VOICExperience in Orlando, Tampa, and Savannah.  Currently a guest Master Coach for the Cafritz Young Artists of Washington Opera and the Opera Theater of St. Louis, Mr. Watkins has worked on the music staffs of Palm Beach Opera, the Washington National Opera, and the Los Angeles Opera.

A native of Dayton, Ohio, Mr. Watkins completed the Doctor of Musical Arts degree in Accompanying and Chamber Music at the University of Michigan.  Honored as the 2004 recipient of the Paul C. Boylan award from the University of Michigan for his outstanding contributions to the field of music, he is also the 2019 recipient of the Lift Every Voice Legacy Award from the National Opera Association.  He was recently recognized as one the 2022 Top Professionals of the Year by Musical America in part for his work to celebrate the music of Black composers and singers.

Mr. Watkins appears courtesy of the Metropolitan Opera.

Chinese-born stage director Mo Zhou is a visionary force in opera and theater, celebrated for her innovative and dynamic productions that transcend traditional boundaries. As a faculty member at University of Michigan – Ann Arbor, she revitalizes the classical canon while championing cutting-edge projects. Her work has graced esteemed stages worldwide, including Staatsoper Unter den Linden, Elbphilharmonie, and the National Centre for the Performing Arts in China.

The 2024-2025 season showcases Ms. Zhou’s versatility and ingenuity with several exciting company debuts. These include directing the Butler Studio Showcase at Houston Grand Opera, reviving her acclaimed “Madama Butterfly” with Florentine Opera and Kentucky Opera, directing Così fan tutte at The Juilliard School, La Bohème at Arizona Opera, and returning to Virginia Opera for a new production of Così fan tutte. She will also make her Canadian directing debut with Madama Butterfly at Vancouver Opera.

Her 2023-2024 season featured the world premiere of The Big Swim at Houston Grand Opera and Asia Society Texas Center, a reimagined Madama Butterfly set in post-WWII Allied-occupied Japan at Virginia Opera, Tosca with the Kalamazoo Symphony Orchestra, and La Calisto at Glimmerglass Festival. Previous highlights include a sold-out Rinaldo at Minnesota Opera and the critically acclaimed Iphigénie en Tauride with Boston Baroque, praised by Forbes for its digital innovation. She is a recipient of the OPERA America Grants for Women Stage Directors and Conductors as well as OPERA America Robert Tobin Director-Designer Prize.

An advocate for young talent, Ms. Zhou has taught at the University of Michigan and the University of Missouri-Kansas City Conservatory, and has served as guest dramatic faculty at prestigious programs like the Ryan Opera Center at Lyric Opera of Chicago, Butler Studio at Houston Grand Opera, and Music Academy of the West in Santa Barbara.

Ms. Zhou received her training at The Juilliard School, Merola Opera Program, Wolf Trap Opera, and Glimmerglass Festival. She has also worked on the directing staff at Lyric Opera of Chicago, Houston Grand Opera, and Dallas Opera. She holds an MFA in Stage Directing from Columbia University, where she studied under Anne Bogart, and a BA in English and Theater from Bowdoin College.

Collaborative pianist Maureen Zoltek enjoys a diverse career working with leading vocalists, instrumentalists, orchestras, and opera companies across the United States.

Dr. Zoltek currently serves as the Music Director of the Houston Grand Opera Studio. She was previouly an assistant conductor, vocal coach, and orchestral keyboardist on the staff of San Francisco Opera and as a member of the Vocal Institute Faculty at the Music Academy of the West. Her 2020-21 scheduled engagements (pre-Covid cancellations) included a return to San Francisco Opera for productions of Ernani, Rigoletto, The Handmaid’s Tale, and Der Zwerg, to Opera Omaha for Eugene Onegin, and to the Music Academy of the West for Ellen Reid’s Odysseus Cycle and Philip Glass’ Les Enfants Terribles. An active proponent of new music, she recently served on the music staff for the world premieres of Mark Adamo’s The Gospel of Mary Magdalene, Bright Sheng’s Dream of the Red Chamber, and John Adams’ Girls of the Golden West, as well as the west coast premiere of Jake Heggie’s It’s a Wonderful Life.

Dr. Zoltek is a graduate of the Patrick G. and Shirley W. Ryan Opera Center and has collaborated with the Lyric Opera of Chicago on several productions, including La clemenza di Tito, Tosca, Idomeneo, and the world premiere workshop of Jimmy López and Nilo Cruz’s Bel Canto. At the Opera Theatre of Saint Louis she served as music staff, pre-concert lecturer, and keyboardist for Puccini’s La rondine, as well as a coach for Tobias Picker’s Emmeline. Dr. Zoltek has also been an assistant conductor at Canadian Opera Company (Elektra) and Opera Omaha (Les enfants terribles, Die Enfürung aus dem Serail).

As an orchestral keyboardist, Dr. Zoltek has performed with the Chicago Symphony Orchestra with major conductors including Boulez, Salonen, Conlon, Dudamel, Gilbert, and Gergiev, in addition to premiering works by composers-in-residence of the CSO Augusta Read Thomas and Marc Anthony Turnage. She has appeared with the Civic Orchestra of Chicago, the Elgin Symphony Orchestra, Chicago’s Latino Music Festival, and at the 2010 Fischoff Competition, in which she was a semi-finalist.

Dr. Zoltek attended both the Aspen Music Festival and School (2009) and Music Academy of the West (2010, 2012). During her second summer as a fellow at the Music Academy, she won first prize in the pianist division of the Marilyn Horne Song Competition. Her association with Marilyn Horne also includes participation in the legendary mezzo-soprano’s series “The Song Continues” (2011, 2012), with performances and masterclasses held through Carnegie Hall’s “Marilyn Horne Legacy” program. Among the other star performers with whom Zoltek has recently collaborated are mezzo-soprano Joyce DiDonato, soprano Patricia Racette, bass-baritone Eric Owens, and Welsh singer-songwriter Katherine Jenkins. Ms. Zoltek is also featured alongside mezzo-soprano J’Nai Bridges in Nicole Miller’s new commission and installation, “To the Stars,” a multi-sensory work that weaves together film, sound, and laser light at the San Francisco Museum of Modern Art’s Phyllis Wattis Theater.

Dr. Zoltek completed her D.M.A. degree at the Manhattan School of Music, and holds a master’s degree in piano performance and musicology from Roosevelt University in addition to a bachelor’s degree in piano performance from DePaul University. Her teachers include Mary Sauer and Warren Jones. When she is not in rehearsal, Zoltek enjoys true crime podcasts, baking various and sundry desserts, and going out and about with her standard poodle and travel companion, Henry.

Conductor Daniela Candillari brings her “confidence and apparently inexhaustible verve” (The New York Times) to opera houses and concert stages throughout North America and internationally. She is renowned for guiding groundbreaking world premieres to the stage “with a sure hand” (The New York Times) as well as her “incisive leadership” (Wall Street Journal) of classical music’s most frequently performed masterpieces.

Candillari’s exciting 2024-2025 season of orchestra and opera engagements includes two world premieres in St. Louis, where she enters her fourth season as Principal Conductor at Opera Theatre of Saint Louis. In celebration of their 50th anniversary season, she conducts the company’s 44th world premiere, This House, with music by Ricky Ian Gordon and libretto by Pulitzer Prize-winner Lynn Nottage and her daughter, Ruby Aiyo Gerber. Earlier in the year, she leads the St. Louis Symphony Orchestra in the world premiere of Nina Shekhar’s Accordion Concerto, an SLSO commission, featuring accordionist Hanzhi Wang, on a program with Samuel Barber’s School for Scandal overture and Antonín Dvořák’s “New World” symphony.

As a composer, Candillari has been commissioned by established artists including instrumentalists from the Boston, Cleveland, Detroit, and Pittsburgh Symphonies, as well as the three resident orchestras of Lincoln Center: the Metropolitan Opera Orchestra, the New York Philharmonic, and the New York City Ballet. An avid educator, she is deeply involved with Music Academy’s programming for young artists, and has recently participated in master classes and discussions at DePaul University, Chicago Humanities Festival, and Valissima Institute.

Candillari grew up in Serbia and Slovenia. She holds a Doctorate from the Universität für Musik in Vienna; a MM from the Indiana University Jacobs School of Music; and a MM and Bachelor’s degree from the Universität für Musik in Graz.

Equally devoted to instrumental chamber music as he is to art song and operatic repertoire, César Cañón alternates his activity as a pianist with vocal coaching, teaching and conducting. He has performed in his native Colombia, Brazil, Mexico, Canada, Italy, Norway and across the United States. His concert appearances include the Kennedy Center, the Norwegian National Opera, Detroit Symphony, and San Francisco Opera’s Taube Atrium Theatre at the Diane B. Wilsey Center for Opera. He has been a guest performer and lecturer at Michigan State University, University of Michigan, Emory University, San Francisco Conservatory of Music, University of Texas at Austin, Universidad Central de Colombia, Universidad Sergio Arboleda, and Universidad Nacional de Colombia.

Cañón is an alum of the Aspen Opera Theatre Center and the Merola Opera Program. He has also been a vocal coach and repetiteur for the Ad Astra Music Festival; assistant conductor and pianist for Opera de Colombia, the Bogota philharmonic, Teatro Colón de Bogotá and Festival Amazonas de Opera in Manaus, Brazil. Cañón was an Adler Fellow with the San Francisco Opera in 2018 and 2019. As a fellow, he was featured in the Schwabacher recital series, in which he performed Johannes Brahms’ Die Schöne Magelone alongside baritone Christian Pursell and soprano Felicia Moore. In the summer of 2019, he conducted Mozart’s La Finta Giardiniera with Accademia Europea dell’Opera in Lucca, Italy. While in San Francisco, Cañón worked with several Bay Area cultural institutions. He was music director for productions of Pocket Opera in their 2019 and 2020 seasons, pianist for the 2019 and 2022 James Toland Vocal Competition, and rehearsal pianist in selected projects with the San Francisco Symphony and Opera Parallèle. In 2021 he was awarded a Bayreuther Festspiele Stipendiat by the Wagner Society of Northern California, allowing him to attend the prestigious festival in Bayreuth. As a staff pianist, Coach and conductor for the San Francisco Conservatory of Music, he closely collaborated with mezzo soprano Frederica von Stade.

Cañón holds a Bachelor of Music degree from Universidad Nacional de Colombia, and a Master of Music and Doctorate in Collaborative Piano from the University of Michigan, where he studied with Martin Katz. He is currently part of the music staff of the San Francisco Opera and the Norwegian National Opera, where he works as staff conductor, repetiteur and assistant chorus master.

Described by The Herald as “extremely good, concise, clear, incisive and expressive,” David Danzmayr is widely regarded as one of the most talented and exciting European conductors of his generation.

Danzmayr is Music Director Designate of the Oregon Symphony, starting his tenure there in the 2021-22 season. He holds the title of Honorary Conductor of the Zagreb Philharmonic Orchestra, where he was serving as Chief Conductor in prior seasons. In addition David is Music Director of the ProMusica Chamber Orchestra. Previously David Danzmayr had served as Music Director of the Illinois Philharmonic Orchestra in Chicago.

Danzmayr has quickly become a sought after guest conductor for orchestras around the globe, having worked with the Symphonies of Minnesota, Indianapolis, Detroit, Houston, North Carolina, San Diego, Colorado, Utah, Milwaukee and New Jersey, the Pacific Symphony, Chicago Civic Orchestra, and in Europe the Deutsche Kammerphilharmonie Bremen, City of Birmingham Symphony Orchestra, Bamberg Symphony, Sinfonieorchester Basel, Mozarteum Orchester, Essener Philharmoniker, Hamburger Symphoniker, Iceland Symphony Orchestra, Odense Symphony Orchestra, Salzburg Chamber Philharmonic, Bruckner Orchester Linz, and the Radio Symphony Orchestras of Vienna and Stuttgart to name a few.

David frequently appears in the world´s major concert halls, such as the Musikverein and Konzerthaus in Vienna, Grosses Festspielhaus Salzburg, Usher Hall Edinburgh and the Symphony Hall in Chicago. He also served as Assistant Conductor of the Royal Scottish National Orchestra.

Stéphane Denève is Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and from 2023 will also be Principal Guest Conductor of the Netherlands Radio Philharmonic. He recently concluded terms as Principal Guest Conductor of The Philadelphia Orchestra and Chief Conductor of the Brussels Philharmonic, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra.

Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century.

Recent engagements include appearances with the Royal Concertgebouw Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Vienna Symphony, DSO Berlin, NHK Symphony, Munich Philharmonic, Orchestre National de France, Czech Philharmonic, and Rotterdam Philharmonic. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with whom he has appeared several times both in Boston and at Tanglewood, and he regularly conducts The Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Toronto Symphony. He is also a popular guest at many of the US summer music festivals, including Bravo! Vail, Saratoga Performing Arts Center, Hollywood Bowl, Blossom Music Festival, Festival Napa Valley, Grand Teton Music Festival, and Music Academy of the West.

He enjoys close relationships with many of the world’s leading solo artists, including Jean-Yves Thibaudet, Yo-Yo Ma, Nikolaj Znaider, James Ehnes, Leif Ove Andsnes, Leonidas Kavakos, Nicholas Angelich, Lang Lang, Frank Peter Zimmermann, Gil Shaham, Emanuel Ax, Renaud and Gautier Capuçon, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, and Augustin Hadelich.

In the field of opera, Stéphane Denève led a new production of Pelléas et Mélisande with the Netherlands Opera at the 2019 Holland Festival. Elsewhere, he has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro de Liceu, La Monnaie, Deutsche Oper Am Rhein, and at the Opéra National de Paris.

As a recording artist, he has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson. He is a triple winner of the Diapason d’Or of the Year, has been shortlisted for Gramophone’s Artist of the Year Award, and has won the prize for symphonic music at the International Classical Music Awards. His most recent releases include a live recording of Honegger’s Jeanne d’arc au bûcher with the Royal Concertgebouw Orchestra, and two discs of the works of Guillaume Connesson with the Brussels Philharmonic (the first of which was awarded the Diapason d’Or de l’année, Caecilia Award, and Classica Magazine’s CHOC of the Year).

A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners, and has worked regularly with young people in programmes such as those of the Tanglewood Music Center, New World Symphony, the Colburn School, the European Union Youth Orchestra, and the Music Academy of the West.

Miguel Harth-Bedoya, Emmy award-winning and Grammy-nominated conductor, is a master of color, drawing idiomatic interpretations from a diverse and wide range of repertoire in concerts across the globe.

Celebrating 35 years of professional conducting, and with a deep commitment to passing his experience on to the next generation of musicians, he has been appointed Distinguished Resident Director of Orchestras and Professor of Conducting at the Shepherd School of Music at Rice University, a position that will start in the 2025-2026 school year. Currently, he is on faculty at Baylor University, where he is the Mary Franks Thompson Director of Orchestral Studies and Music Director of the Baylor Symphony Orchestra through the 2024-2025 school year.

Harth-Bedoya has amassed considerable experience at the helm of orchestras, including tenures as Chief Conductor of the Norwegian Radio Orchestra and as Music Director of the Fort Worth Symphony Orchestra, where he now holds the title of Music Director Laureate. Previously he also has held Music Director positions with the Auckland Philharmonia in New Zealand and the Eugene Symphony in Oregon, the Lima Philharmonic Orchestra in Peru, and the New York Youth Symphony at Carnegie Hall. He also held the Director of Orchestral Studies position at the University of Nebraska, Omaha.

Harth-Bedoya guest conducts with orchestras around the world. In the United States, he has conducted the Atlanta Symphony, Baltimore Symphony, Boston Symphony, Cleveland Orchestra, Chicago Symphony, Dallas Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, and St. Louis Symphony, among others. Worldwide he is a frequent guest of the Helsinki Philharmonic, MDR Sinfonieorchester Leipzig, National Orchestra of Spain, New Zealand Symphony, and Sydney Symphony Orchestras, and has appeared with the Melbourne Symphony, London Philharmonic, Munich Philharmonic, Dresden Philharmonic, NDR Sinfonieorchester Hamburg, Zürich Tonhalle Orchestra, Danish National Symphony, Royal Stockholm Philharmonic, Bilbao Symphony and Barcelona Orchestras, among others.

With a passionate devotion to unearthing new South American repertoire, Miguel Harth-Bedoya is the founder and Artistic Director of Caminos del Inka, a non-profit organization dedicated to researching, performing, and preserving the rich musical legacy of South America.

Ben Palmer is Artistic Director of Covent Garden Sinfonia and Chief Conductor of the Orchestra da Camera di Pordenone and Babylon Orchester Berlin. From 2017-24 he was Chief Conductor of the Deutsche Philharmonie Merck. As a guest he works with orchestras such as the Aalborg Symphony Orchestra, Antwerp Symphony Orchestra, City of Birmingham Symphony Orchestra, the Hallé, Hong Kong Philharmonic, London Symphony Orchestra, Orchestre symphonique de Montréal, Rotterdam Philharmonic, Royal Northern Sinfonia, Royal Scottish National Orchestra, and the five BBC Orchestras. Forthcoming debuts including the London Philharmonic Orchestra, Odense Symphony Orchestra and San Francisco Symphony Orchestra. Personally authorised by John Williams to conduct his film scores in concert, and acclaimed as “a masterclass in conducting” by Hans Zimmer, he is one of the world’s most sought-after specialists in conducting live to picture.

American conductor, Anthony Parnther, has forged a singularly unique career that melds his love for the music of all genres with his prowess as a conductor, producer, bassoon soloist, recording artist, opera singer, storyteller, comedian, voice-over artist, and activist.

Anthony is the Music Director of the San Bernardino Symphony Orchestra in San Bernardino, California. He was appointed Music Director of the historic Los Angeles-based Southeast Symphony & Chorus in 2010. In 2020, Anthony was appointed Conductor of the Gateways Music Festival Orchestra, succeeding its longtime founding conductor, Michael Morgan. He has conducted a long list of the world’s greatest artists in virtually every genre, including Joshua Bell, Jessye Norman, Yundi Li, Lynn Harrell, Frederica von Stade, Roderick Williams, The Canadian Brass, Rihanna, Jennifer Holliday, Kanye West, Imagine Dragons, Omar Apollo, Ry X, Zedd, and Alan Walker.

Parnther is in demand to conduct symphonic, opera, contemporary, avant-garde, popular music, and film scores internationally. His recent guest appearances include the Los Angeles Philharmonic, Atlanta Symphony Orchestra, National Symphony Orchestra, Calgary Philharmonic Orchestra, Los Angeles Opera, Chineke! Orchestra, Long Beach Opera, Mann Center Festival Orchestra, The Philly Pops, Simfònica de Barcelona i Nacional de Catalunya, Jacaranda – Music at the Edge, Hear Now Music Festival, Pittsburgh Microtonal Festival, BrightworkNewMusic, and the World Opera Forum in Madrid, Spain.

In the 2021-22 season, Anthony will premiere Kris Bowers’ Concerto for Horn with the Los Angeles Philharmonic and Tamar-kali Brown’s We Hold These Truths with the Los Angeles Opera. Anthony will also lead the Long Beach Opera as they record Anthony Davis’ Pulitzer Prize-winning opera The Central Park Five. In April of 2022, he will lead the Gateways Festival Orchestra at Carnegie Hall as they premiere I Can for Piano and Orchestra, composed by and featuring Oscar and Grammy-winning Jon Batiste.

In addition, Anthony will also appear with the San Francisco Symphony, Seattle Symphony, Detroit Symphony, Baltimore Symphony, Cincinnati Symphony, Sydney Symphony, Hawaii Symphony, San Diego Symphony, Buffalo Philharmonic, Long Beach Symphony, Cleveland Institute of Music, Rochester Philharmonic, Phoenix Symphony, Vermont Symphony, Richmond Symphony, Austin Symphony, Grant Park Music Festival, and Charlotte Symphony.

He has premiered and recorded works by Anthony Davis, George Walker, Tamar-kali Brown, Florence Price, Adolphus Hailstork, Zenobia Powell Perry, Errollyn Wallen, John Wineglass, Gary Powell Nash, Marian Harrison, Samuel Coleridge Taylor, James Wilson, Phillip Herbert, Daniel Kidane, Chanda Dancy, and James Newton. In 2015, Anthony was profiled by Los Angeles’ KCET/TV as a “Local Hero” for his extensive community outreach and advocacy for the performance of works by Black, Latino, and Women artists.

On the scoring stages of Los Angeles, London, Nashville, Budapest, and San Francisco, Anthony has led and conducted recording sessions for many of the top international feature films, television series, and video game franchises in the world.

Recent films include Black Panther: Wakanda Forever, Avatar: The Way of Water, Tenet, Ghostbusters: Afterlife, The Adam Project, Slumberland, The Way Back, Cheaper By The Dozen, Lost City, Little, The Hunt. He has conducted the scoring sessions for animated features Encanto, Turning Red, Ice Age: Adventures of Buck Wild, Diaries of a Wimpy Kid: Roderick Rules. His television series credits include Star Wars: The Mandalorian, Star Wars: Book of Boba Fett, Fargo, The Night Of, 4400. He led the sessions for video games League of Legends, The Lamplighters League, Guild Wars, and animated series like American Dad, Arcane, and many more.

Anthony studied at Northwestern University and Yale University and resides in Los Angeles.

Chief Conductor of the Gävle Symphony Orchestra, GRAMMY® Award-winning artist Christian Reif has established a reputation for his natural musicality, innovative programming and technical command.

Since 2022, Reif has served as Music Director of the Lakes Area Music Festival, a month-long summer festival in Minnesota featuring the nation’s top classical performers in programming that ranges from opera and chamber music to symphonic performances along with commissioned new works. LAMF believes that high quality arts experiences should be accessible to all and operates on a name-your-price ticket model.

Highlights of Reif’s 2024/25 season include debut performances with the Los Angeles Philharmonic at the Hollywood Bowl, Phoenix Symphony, Detroit Symphony, and Canada’s National Arts Centre Orchestra. He leads the Cincinnati Symphony in the world premiere of Fantastica, a newly commissioned work by composer Jimmy López Bellido dedicated to Reif based on The Neverending Story, originally a fantasy novel by the German writer Michael Ende and later a major motion picture. He returns to SWR Symphony Orchestra and Royal Northern Sinfonia and conducts his own arrangement of John Adams’ El Niño with the Münchner Rundfunkorchester, Gävle Symphony, and the American Modern Opera Company in December 2024. Reif and his wife, soprano Julia Bullock, also bring Bullock’s original program History’s Persistent Voice to performances at Lincoln Center and Yale University’s Schwarzman Center in February 2025.

In 2024, Reif won a GRAMMY® for the Nonesuch Records album Walking in the Dark, the debut solo album of classical singer Julia Bullock in which he accompanied her on piano and led London’s Philharmonia Orchestra. The album was praised by Gramophone Magazine as “illuminating” and described Reif as providing “excellent support” for Bullock. In 2020 during the pandemic, Reif and Bullock recorded a series of at-home virtual “Songs of Comfort”, ranging from Carole King’s classic “Up on the Roof” to Schubert’s Wanderers Nachtlied. NPR Music featured the duo in a “Tiny Desk Concert” for their special quarantine edition of the series, and The New York Times highlighted them on their “Best Classical Music of 2020” list.

From 2016 to 2019, Christian was Resident Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra, after being the Conducting Fellow at the New World Symphony from 2014 to 2016 and at Tanglewood Music Center in 2015 and 2016.

Soprano Christine Goerke has appeared in many of the most prestigious opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, Paris Opera, Teatro alla Scala, Deutsche Oper Berlin, Teatro Real in Madrid, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, beginning with the Mozart and Handel heroines and now moving into dramatic Strauss and Wagner roles.

Ms. Goerke has also appeared with leading orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Radio Vara, the BBC Symphony Orchestra at the BBC Proms, and both the Hallè Orchestra and the Royal Scottish National Symphony at the Edinburgh International Festival. She has worked with some of the world’s foremost conductors including James Conlon, Sir Andrew Davies, Sir Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Andris Nelsons, Seiji Ozawa, David Robertson, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Patrick Summers, Jeffery Tate, Christian Thielemann, Michael Tilson Thomas, and Edo de Waart.

Ms. Goerke’s recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings included the Brahms’ Liebeslieder Waltzes, Poulenc’s Stabat Mater, Szymanowski’s Stabat Mater, and the Grammy-nominated recording of Dvorak’s Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 Grammy Award for Best Choral Performance.

Ms. Goerke was the recipient of the 2001 Richard Tucker Award, the 2015 Musical American Vocalist of the Year Award, and the 2017 Opera News Award.

Miles Goosby, 24, is a cellist based in New York City. He is currently pursuing his master’s degree at the Juilliard School under the tutelage of Natasha Brofsky. Miles has enjoyed solo, orchestral, and chamber performances at The Perlman Music Program, Norfolk Chamber Festival, Meadowmount, and Music Academy of the West.

As a devoted chamber musician, Goosby has worked with Laurie Smukler, Areta Zhulla, Don Weilerstein, Itzhak Perlman, Takács Quartet, Juilliard Quartet Steve Tennenbaum, Sam Rhodes, and Brentano Quartet. He is a founding member of the BECA Quartet, based at the Juilliard School. They have performed nationally, at the California Festival in collaboration with Kris Bowers, and WQXR at the Greene Space.

Goosby has played in masterclasses for David Requrio, Martti Rousi, Luis Claret, Zlatomir Fung, Alan Stepanaky, and Zvi Plesser. In addition to being an avid performer, Goosby is passionate about teaching. He teaches at the Third Street School of Music, and has been involved with community engagement projects around the city such as monthly visits to Mt. Sinai Hospital performing for rehabilitation patients. In April of 2025, Miles will be collaborating with the Iris Collective alongside his brother, Randall Goosby, to work with young music students and perform in their hometown of Memphis, Tennessee.

“For me, personally, music has been a way to inspire others” – Randall Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference.

Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light.

Highlights of Randall Goosby’s 2024/25 season include debut performances with the Chicago Symphony/Sir Mark Elder, the Minnesota Orchestra/Thomas Søndergård, National Arts Centre Orchestra/Alexander Shelley, Montreal Symphony Orchestra/Dalia Stasevska and Netherlands Radio Philharmonic/Michele Mariotti. He joins the London Philharmonic Orchestra on their U.S. tour led by Edward Gardner.

Goosby returns to the Los Angeles Philharmonic, Philadelphia Orchestra, Cincinnati Symphony, Detroit Symphony and Utah Symphony. He appears in recital across North America and Europe as soloist as well as with the Renaissance Quartet.

Randall Goosby was First Prize Winner in the 2018 Young Concert Artists International Auditions. In 2019, he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London; and in 2020 he became an Ambassador for Music Masters, a role that sees him mentoring and inspiring students in schools around the United Kingdom.

A former student of Itzhak Perlman and Catherine Cho, he received his Bachelor’s, Master’s and Artist Diploma degrees from the Juilliard School. He is an alumni of the Perlman Music Program and studied previously with Philippe Quint. He plays the Antonio Stradivarius, Cremona, “ex-Strauss,” 1708 on generous loan from Samsung Foundation of Culture.

Praised as “especially impressive” and “a thoughtful, sensitive performer” who “balanced lyrical warmth and crisp clarity”(Tommasini–The New York Times), pianist Zhu Wang was awarded First Prize in the 2020 Young Concert Artists Susan Wadsworth International Auditions, Gold Medalist at 2024 New Orleans International Piano Competition. Zhu was one of the finalists in the 2019 Clara Haskil International Piano Competition, and prizewinner of 2024 Cleveland International Piano Competition. The world-renowned pianist Fou Ts’ong recognized Zhu as an “excellent pianist with a natural sense of harmony and imagination,” whose sensitive and engaging performances exhibit a remarkable depth of musicianship and poise beyond his age. Zhu’s Carnegie Zankel Hall debut recital made to New York Times’s “Best of 2021” list.

Recent performances include appearing as soloist with Orchestra of St. Luke’s, New York Youth Symphony at Carnegie Hall Stern Auditorium, Columbus, Kansas City, Spokane, Memphis, and Richmond Symphony orchestras, and a solo recital for Hilton Head International Piano Competition. Highlights of the upcoming season include Rachmaninoff Piano Concerto No. 2 with the Brevard Philharmonic Orchestra and  Rachmaninoff Piano Concerto No. 3 with the Louisiana Philharmonic Orchestra, a solo recital for Ashmont Hill Chamber Music Series, a chamber music concert with members of Orchestra of St Luke’s at Carnegie Hall, and a concert tour in Europe and North America with violinist Randall Goosby in the spring of 2025.

An avid chamber musician, Zhu has appeared on series such as Chamber Music Detroit, Bridgehampton Chamber Music Festival, Vancouver Recital Society, La Jolla Music Society, Stanford Live, Four Seasons Chamber Music Festival, Howland Chamber Music Series, Chesapeake Music, Clarion Concerts, Philadelphia Chamber Music Society, and Chamber Music Society of Lincoln Center. Zhu is an alum of Kneisel Hall Chamber Music School, Caramoor’s Rising Stars, Music@Menlo International Program, , and Music Academy of the West, and he regularly appears in chamber music recitals with violinist Randall Goosby.

A native of Hunan, China, Zhu started learning piano at the age of five. He graduated from Curtis Institute of Music and The Juilliard School and received Gina Bachauer Scholarship, Mieczyslaw Munz Scholarship, and Mehlin Prize. Zhu is pursuing his Master of Music degree at Juilliard, under the tutelage of Emanuel Ax and Robert McDonald. He gratefully acknowledges the support of the Bagby Foundation for the Musical Arts. Zhu currently lives in New York City with his wife Chloe and their beloved two cats, Chaz and Tùzi.

Stewart Copeland has been a pioneering force in contemporary music for over four decades, seamlessly blending rock, classical, opera, and world music. A seven-time Grammy winner, he is best known as the founder of The Police, whose innovative sound defined a generation of rock in the 1980s.

Beyond rock, Copeland’s classical works include Tyrant’s Crush (Pittsburgh Symphony), Poltroons in Paradise (Royal Liverpool Philharmonic), and Gamelan D’Drum (Dallas Symphony). His operatic achievements feature adaptations of Edgar Allan Poe’s The Cask of Amontillado and The Tell-Tale Heart, and The Witches Seed, which premiered in Italy in 2022 and returned for three new productions in 2024.

In 2025, Copeland launches Wild Concerto in collaboration with Martyn Stewart and Platoon (Apple Inc.), premiering on Earth Day at King’s Place, London. He will also debut a percussion commission with The Juilliard School in New York and at the Aspen Festival.

A renowned composer for film and television, his scores include Rumble Fish (Golden Globe-nominated), Wall Street, Four Days in September (Oscar-nominated), and contributions to The Equalizer, Babylon 5, Desperate Housewives, and the video game Spyro the Dragon.

Copeland has presented acclaimed BBC documentaries and the podcast My Dad The Spy. His accolades include induction into the Rock and Roll Hall of Fame, a knighthood from France’s Order of Arts and Letters, and the 2024 Meadows Award for Artistry of International Renown.

inti figgis-vizueta (b.1993) is a composer and educator who works to reconcile historical aesthetics and experimental practices with trans & Indigenous futures. Described as a “rising new music star” (LA Times), with “smooth and serrated melodies” (New York Times) and an “intriguing…highly integrated sound” (Gramophone), “wrought from a language we’d do well to learn” (Washington Post), inti has been commissioned and performed by leading artists including the Los Angeles Philharmonic, Cincinnati Symphony Orchestra, American Composers Orchestra, ensemble reflektor, Kronos Quartet, Attacca Quartet, Roomful of Teeth, violinist Jennifer Koh, and cellists Andrew Yee, Jay Campbell, and Jakob Nierenz, among many others. inti is the recipient of the Lotos Foundation Prize, ASCAP Foundation Fred Ho Award, National Sawdust Hildegard Award, Café Royal Foundation Music Grant and residency fellowships from Dumbarton Oaks, Civitella Ranieri, and Music at Copland House. inti studied with Marcos Balter, Felipe Lara, Donnacha Dennehy, and George Lewis. Her mentors include Tania León, Nico Muhly, Angélica Negrón, and Andrew Norman.

Composer Huang Ruo has been lauded by The New York Times for having “a distinctive style.” His vibrant and inventive musical voice draws equal inspiration from Chinese ancient and folk music, Western avant-garde, experimental, noise, natural and processed sound, rock, and jazz to create a seamless, organic integration using a compositional technique he calls “Dimensionalism.” Huang Ruo’s diverse compositional works span from orchestra, chamber music, opera, theater, and dance, to cross-genre, sound installation, architectural installation, multi-media, experimental improvisation, folk rock, and film.  His music has been premiered and performed by the New York Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, BBC Symphony Orchestra, Netherlands Radio Philharmonic, National Polish Radio Orchestra, Santa Fe Opera, Washington National Opera, Houston Grand Opera, Opera Theatre of St. Louis, Asko/Schoenberg, Ensemble Modern, London Sinfonietta. He has written 8 operas including M. BUTTERFLY, THE RIFT, BOOK OF MOUNTAINS AND SEA, BOUND, ANGEL ISLAND, BETWEEN TWO LIGHTS, PARADISE INTERRUPTED, DR. SUN YAT-SEN, and AN AMERICAN SOLDIER, which was named one of the best classical music events in 2018 by The New York Times.  His new opera THE MONKEY KING will be premiered by the San Francisco Opera in 2025. He served as the first composer-in-residence for Het Concertgebouw Amsterdam. Huang Ruo was born in Hainan Island, China in 1976 – the year the Chinese Cultural Revolution ended. Growing up in the 1980s and 1990s when China was opening its gate to the Western world, his education expanded from Bach, Mozart, Stravinsky, and Lutoslawski, to include the Beatles, rock and roll, heavy metal, and jazz. He earned a BM degree from Oberlin College, and MM and DMA degrees from the Juilliard School. Huang Ruo is a composition faculty at the Mannes School of Music.  Huang Ruo’s music is published by Schott/EAM.

Praised as “one of the most exciting opera composers in the country” (The Washington Post), composer Kamala Sankaram moves freely between the worlds of experimental music and contemporary opera. Recent commissions include works for the Glimmerglass Festival, Washington National Opera, the PROTOTYPE Festival, and Creative Time, among others.

Known for her work pushing the boundaries of the operatic form, recent works include The Last Stand, a 10-hour opera created for the trees of Prospect Park, Brooklyn, Only You Will Recognize the Signal, a serial space opera performed live over the internet, Looking at You, a techno-noir featuring live data mining of the audience and a chorus of 25 singing tablet computers, all decisions will be made by consensus, a short absurdist opera performed live over Zoom, and The Parksville Murders, the world’s first virtual reality opera.

Kamala is the leader of Bombay Rickey, an operatic Bollywood surf ensemble whose accolades include two awards for Best Eclectic Album from the Independent Music Awards, the 2018 Mid-Atlantic touring grant, and appearances on WFMU and NPR.

Dr. Sankaram holds a PhD from the New School and is currently a member of the composition faculty at Mannes School of Music.

She has been called the “Star-Spangled Singer” and “the Heifetz of singers.” In 2002, following a career that had seen her dominate her field for more than four decades, Opera News declared, “Marilyn Horne – whose face and song have been in the light – in so many places, in so many styles, through so many media, for so many years – may be the most influential singer in American history.”

Ms. Horne’s distinguished career has garnered her numerous honors, including a Lifetime Achievement Grammy Award and a Lifetime Achievement Award from Gramophone magazine. She was named a Kennedy Center Honoree in 1995, received the National Medal of Arts in 1992, and has been inducted into the American Classical Music and Hollywood Bowl halls of fame. Among her worldwide prizes are the Commander of the Order of Arts and Letters from France’s Ministry of Culture. She was named a National Endowment for the Arts Opera Honors recipient in 2009.

Ms. Horne began her music studies with her father and first sang in public at age 2. She studied voice and song/recital works at the University of Southern California and participated in many masterclasses conducted by Lotte Lehmann in Los Angeles and at the Music Academy. With her 60th birthday gala at Carnegie Hall in 1994, Ms. Horne launched the Marilyn Horne Foundation, a nonprofit organization devoted exclusively to the art of the vocal recital in the United States. In 2010 the foundation’s programs became part of the Weill Music Institute at Carnegie Hall.

Ms. Horne has performed in more than 1,300 recitals, made well over 100 recordings, and received three Grammy Awards. Her most recent release, Marilyn Horne – Just for the Record: The Golden Voice, is a retrospective of her career and includes classical songs, opera, and American standards. Her autobiography, Marilyn Horne: The Song Continues, written with Jane Scovell, was published in 2004.

Ms. Horne was the Academy’s Distinguished Alumni Award winner in 1995, has been a member of the Music Academy faculty since 1995, and in 1997 was appointed Voice Program director. She transitioned to the role of Honorary Voice Program Director from 2018 to 2021, and is now Faculty Emeritus.

Jerome Lowenthal’s influence on generations of pianists can never be underestimated. In addition to his residency in Santa Barbara each summer, he has been teaching at The Juilliard School since 1991. He brings forward the legacies of his distinguished teachers, William Kapell, Eduard Steuermann, and Alfred Cortot (with coachings from Arthur Rubinstein). Jerry has performed a prodigious amount of repertoire that includes more than 63 different concerti, which he has played and recorded with many of the world’s greatest conductors, including Maurice Abravanel, who was on the faculty of the Music Academy for more than two decades

He’s had a dominant presence at chamber music festivals around the world, and performed in duo concerts with violinist Itzhak Perlman, cellist Nathaniel Rosen, and pianists Ronit Amir, Ursula Oppens, Carmel Lowenthal, Vassily Primakov, and Michael Brown. A frequent adjudicator, Jerry has served on the juries of the Cliburn, Tchaikovsky, Rubinstein, Cleveland, and Leeds piano competitions.

2019 marked his 50th summer at the Music Academy.

Donald McInnes (1939-2024) appeared with the New York Philharmonic, the Boston Symphony, and l’Orchestre National de France, among others, and for many years was a resident member of Camerata Pacifica. His career included associations with many of the world’s major artists, including Leonard Bernstein, Yehudi Menuhin, Lynn Harrell, and Yo-Yo Ma.

Mr. McInnes’s recordings can be heard on the Columbia, RCA, Deutsche Grammophon, Angel/EMI, and Laurel labels. He introduced many new works for viola, including those commissioned for him by William Schuman, Vincent Persichetti, William Bergsma, Robert Suderberg, Paul Tufts, and Thomas Pasatieri.

He was a guest artist and teacher at leading music schools, including the University of Michigan, University of Cincinnati College-Conservatory of Music, and the University of Washington, Mr. McInnes was named the 2004 American String Teachers Association Teacher of the Year. He was associated with the Banff Centre in Canada, the Menuhin Schools in both England and Switzerland, and the Britten-Pears School for Advanced Musical Studies in England, as well as festivals at Interlochen, St. Barts, Marlboro, and Sunflower, and the International String Workshop. He was long associated with the University of Southern California in Los Angeles at the Thornton School of Music.

Mr. McInnes was a guest professor at the Royal Conservatory in Barcelona, the Shanghai Conservatory, and the Central Conservatory in Beijing.

Camerata Pacifica, the Music Academy of the West, and USC honored Mr. McInnes with a Lifetime Achievement Award, and the International Viola Society presented him with the Silver Alto Clef, its highest honor, at the 2007 International Viola Congress in Adelaide, Australia.

Mr. McInnes was an alumnus of the Music Academy (1954 to 1956), was the Distinguished Alumni Award winner in 2012, and was a member of the faculty from 1982 to 2012.

Peter Salaff was director of string chamber music at the Cleveland Institute of Music for 23 years. As a founding member of the Cleveland Quartet he recorded more than 50 chamber works and received a Grammy Award, six Grammy nominations, and Best of the Year honors from Time and Stereo Review. The quartet toured the former Soviet Union, South America, Australia, New Zealand, Turkey, Israel, the United States, Europe, and Canada.

Mr. Salaff has served on the faculties of the University of Concepción (Chile), State University of New York at Buffalo, and the Eastman School of Music. He has also taught at numerous festivals, including Interlochen, Chamber Music in the Mountains at Echo Glen, the Aspen Music Festival and School, and the Schleswig-Holstein Music Festival in Germany, the Perlman Music Program, PhoenixPhest in Ann Arbor, and the Chamber Music Connection in Columbus, Ohio, and has coached chamber music and given masterclasses at conservatories and universities in the United States, Germany, Japan, Israel, and New Zealand.

Mr. Salaff has been a judge at many chamber music competitions, including the Yellow Springs Competition, the London International String Quartet Competition, the Fischoff National Chamber Music Competition, the Plowman Chamber Music Competition, and the Coleman Chamber Music Association Competition.

He has been a member of the Music Academy faculty since 1996.