< Back Previous Ante Božić-Kudrić Next Gala at Weill Recital Hall at Carnegie Hall April 4, 2024 WATCH VIDEO Ante Božić-Kudrić (Split, 1990) is a composer and pianist. He gained elementary and secondary music education in the music school "Josip Hatze" in Split in the class of professor Valentina Štrbac-Čičerić. Ante earned his bachelor’s and master’s degrees from the Academy of Music of the University of Zagreb in the class of Ante Milić in 2012. He has won awards at several competitions for young pianists in Croatia. During his schooling he attended seminars and distinguished pedagogues (Valdma, Kämmerling, Simone, Bogino, Krpan, Inđić). In addition to composing after his studies, he performed on numerous concerts, he has worked as piano accompanist in the ballet studio and with singers, as a piano teacher both in school and in private, and as piano accompanist for the National Theatre in Split for operas and musicals, also performing with the orchestra. From 2014 Ante is actively engaged in composition. He composed music for the animated short film "From the Depths" in 2014. It won the award for Best Animated Short Film of the children's jury in 2014 at the Olympia International Film Festival. He composed his first major work in 2014 "Suite for two Violins and Piano" which had its premiere in the small Lisniski Hall in Zagreb in 2015. With the commision from the Dutch Grieg Piano Duo in 2018 he composed his "Rhapsody for Piano Duet" which was premiered by the Grieg Piano Duo at the Piano Loop Festival in 2019 in Split. Of his smaller works there is a song "Oblak" for tenor or soprano on the text of Dobriša Cesarić, two colorful vocalizes for soprano, Serenade and Minuet for the double bass. In 2019 he composed Album for the Young which consists of 72 progressive pieces of difficulty intended for the young piano players as well as players that are on intermediate and advanced level of playing. In 2024 Ante made his debut at Carnegie Hall performing his composition Oblak (Cloud) with countertenor Marin Vitas. In 2025 he composed Three Sonatinas in the Classical Style Op. 6 and is currently working on his 6 Moments Musicaux Op. 7.

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< Back Previous Katharina Nohl Next Composer Gala at Weill Recital Hall at Carnegie Hall June 30, 2025 WATCH VIDEO I see music through the lens of a pianist, an audience member, a mother, a mentor, a publisher, and a festival organiser. I established a music career that emphasises inclusivity. My musical activity has spanned across Europe and as far as Russia and the Arabian Peninsula. Katharina credits her first piano teacher with opening her ears to Eastern music and the works of female composers. This early inspiration led to her lifelong determination to champion other composers, culminating in the founding of the Swiss Female Composers Festival—a platform for exchange, networking, and the performance of new compositions. In 2002, Katharina moved to Switzerland, where she built a family and began a new chapter in her life. Although her years of traveling slowed down, another exciting and unpredictable journey began. With her two daughters, family, and cats by her side, she continued to perform across Europe and initiated interdisciplinary art projects for children, combining music and visual arts in live concerts. “I loved giving children the chance to experience classical music firsthand and to create lasting memories—this is beautiful,” she says. Encouraged by fellow musicians, Katharina’s interest in arrangement and composition blossomed naturally. Since then, she has written numerous orchestral and ensemble works, arrangements, and piano compositions. Her music has been performed in Russia, Turkey, the UK, Germany, Switzerland, Albania, and beyond. In January 2019, Katharina realized a long-held idea by founding the Swiss Female Composers Festival, dedicated to connecting and promoting women composers. The first piano book of living female composers of Switzerland was published in April 2023 by Universal Edition, with a violin and piano edition planned for 2024. Her Piano Rhapsody “Spices” received the Global Music Award (Silver) in December 2022 for creativity and composition, and her orchestral composition “Rave” for Hackbrett and Orchestra was awarded the Amadeus Composition Award (Silver, Austria, June 2023). The commissioned premiere of Rave took place earlier that year with the Sinfonieorchester Kanton Schwyz, conducted by Urs Bamert and featuring Olga Mischula on Hackbrett and Cymbal. Her composition “September Tango”, honored with the James Adler Audience Favorite Award (USA, June 2025), captures her signature blend of lyricism and rhythmic vitality. Reflecting on her artistic path, Katharina says: "Music has been a constant companion of my life, in various constellations. However much I love music, without enjoying life, I can't enjoy music. Life is the source for the music I make." Recent Premieres — Carnegie Hall, Weill Recital Hall (New York): La Lacrima – Orchestral work performed by the New York Chamber Players Orchestra, June 28, 2025 September Tango – Performed by the Lehner Quartet, June 30, 2025 By the Baltic Sea – Upcoming premiere with Orchestra Manhattan, November 25, 2025 Katharina continues to compose, perform, and advocate for contemporary music, creating works that resonate deeply with audiences around the world.

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< Back Previous Christina Ebersohl-Van Scyoc Next Gala at Weill Recital Hall at Carnegie Hall July 1, 2024 WATCH VIDEO Violist Christina Ebersohl-Van Scyoc is distinguished for performances that blend fearless creativity with a deep, mature expressiveness. Joël Belgique, principal violist of the Oregon Symphony, has praised her as part of a new generation of musicians: “her talent alone is not enough… she’s inspiring.” Christina made her solo debut following her Honorable Discharge from the U.S. Army, where she served as an Arabic linguist. Since returning to the classical world, she has built a dynamic and multifaceted career—moving effortlessly between solo performance, impassioned advocacy, and cultural diplomacy. Her richly expressive playing and insightful interpretations of the viola repertoire have garnered national and international acclaim. A powerful advocate for accessibility in the arts, Christina draws inspiration from her own experience as a blind musician. She has spoken widely on music education for people with disabilities, with engagements at the New Music Gathering, Music Library Association, College Music Society National Conference, and the 14th International Vision Conference, among others. Her work continues to open doors for musicians of all abilities. Christina is equally devoted to teaching and mentorship. A Licensed Body Mapping Educator, she leads masterclasses and workshops that help musicians develop healthy movement, avoid injury, and build sustainable careers—guiding the next generation with wisdom, empathy, and expertise. Her artistry and advocacy have earned numerous distinctions, including the Gilman International Study Scholarship, National Federation of Music Clubs Scholarship, National Federation of the Blind Pearson Scholarship, and the honor of being named a 2022 Pat Tillman Scholar for her ongoing service to the music community. Beyond the stage, she remains deeply engaged in philanthropic work aimed at broadening access to classical music. Christina has studied with renowned violists Joël Belgique, Kenji Bunch, and Basil Vendryes. She is currently completing her Doctorate in Viola Performance and Literature as an Illinois Distinguished Fellow at the University of Illinois Urbana-Champaign under the mentorship of Liz Freivogel of the Jupiter Quartet. She also serves as Editor for the Journal of the American Viola Society. With every performance, Christina continues to captivate audiences and enrich the cultural landscape—an artist whose voice resonates far beyond the concert hall.

< Back Grzegorz Nowak Conductor Learn More Videos About "[San Diego] Symphony Comes Alive Under Nowak … Nowak elicited a brilliance and depth from the orchestra … restored the magic and innocent ebullience." - Los Angeles Times Grzegorz Nowak is Principal Associate Conductor of the Royal Philharmonic Orchestra, Grand-Prize Winner of the Ernest Ansermet Competition for Conductors and a recipient of the Patek Philippe Award. Maestro Nowak has worked with such prestigious ensembles as the Monte-Carlo Philharmonic Orchestra, Orchestre National de France, Orchestre Lamoureaux in Paris, Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome, the National Orchestra of Spain and the Gulbenkian Orchestra in Lisbon. Mr. Nowak has also performed alongside many of the most widely respected soloists of our time, including Henryk Szeryng, Anne-Sophie Mutter, Pinchas Zukerman, Midori, Nigel Kennedy, and Kathleen Battle. "Outstanding… in every way this matches and even outshines the superb account which Sir Georg Solti recorded with the Chicago Orchestra on Decca… the vitality of the piece is superbly caught."- Gramophone Magazine, London "Nowak … had a firm grip on the score's potential for liquid line and colorful sonority … the performance virtually oozed with excitement." -The Buffalo News ROYAL PHILHARMONIC ORCHESTRA REVIEWS ‘Nowak directed a very fine account of Tchaikovsky’s last symphony… If the Royal Philharmonic hadn’t secured the services of Charles Dutoit I would be demanding that Grzegorz Nowak be immediately appointed chief conductor for he has a rapport with the musicians and they obviously enjoy playing for him. His concerts are always worth attending and with the RPO on top form we have as exciting a combination of musicians as one could hope for in London. I can hardly wait for the next show when they all get together again.’ Bob Briggs, MusicWeb International, London, 2010-10-05 ‘There can be no doubt in anyone’s mind, after hearing this show, that together Grzegorz Nowak and the Royal Philharmonic Orchestra make a truly winning combination. I have heard quite a few performances by these musicians and Nowak always commands playing of the very highest standard from the orchestra. We, the audience, are lucky that the RPO has his services. Tonight’s performance of the 4th Symphony showed all that is best in musical performance. Starting with the richest and most sumptuous declamation of the fate motif from the horns – a real dream team here – Nowak led us through Tchaikovsky’s tortured mind in the first movement, seldom allowing for respite – with only a slight slackening of tension for the second subject – this was highly powered and agonising in its intensity… beautiful… marvellous… delightfully mellifluous… joyous… Nowak… made the final appearance of the fate motif a real event, blowing the roof off our expectations of a mere repeat of earlier music, and bringing a kind of Armageddon to the work. A towering interpretation and as fine a piece of orchestral playing as I have heard all year… splendid concert’ Bob Briggs, MusicWeb International, London, 2010-06-08 ‘Grzegorz Nowak Excels in Tchaikovsky with the RPO …he is a conductor of great ability… His performance of Romeo and Juliet was outstanding: he secured immaculate playing, with particularly sharp, brilliant attack; he generated high tension in the Montague and Capulets episode and he inspired beautiful, atmospheric warmth of phrase in the love musicĺ… Nowak directed a cheerful, highly rhythmic performance of the Polonaise from Eugene Onegin , and a deliciously pointed, characterful account of seven numbers from The Nutcracker – the familiar suite, that is to say, less the opening Miniature Overture. What a wonderful ballet conductor he must be (or maybe would be) with his acute sense of rhythm and pulse. Finally, we heard a finely shaped, urgent performance of 1812 that made it seem like a dramatic masterpiece: maybe it is when it is allowed to flower as it did here…And so the hero of the evening was undoubtedly Grzegorz Nowak, who thoroughly deserved the standing ovation that was given to him at the conclusion of the programme.’ Alan Sanders, Seen and Hear International, Royal Albert Hall, London, 2017-06-22 ‘The RPO always plays well for Nowak… brilliant… Nowak succeeded magnificently… With the RPO on top form, utterly responsive to their conductor’s demands, this was a great performance of a great Symphony, an evening which will remain long in the memory.’ Bob Briggs, Musical Pointers, London, 2010-04-09 ‘ Grzegorz Nowak impresses … a very accomplished conductor. The Mozart overture was played in a very lively, vivacious fashion and then there was a complete change of mood for Delius’s intermezzo. The performance of this exquisite piece left nothing to be desired, for Nowak kept the music flowing forward in just the right fashion, and his judgment of its natural ebb and flow and turns of phrase was immaculately sympathetic… The Tchaikovsky ballet numbers were played with imagination and in a rhythmic style that reflected their dance origins rather than their use as concert fare. And in the Bizet suites there was much to admire in the character and zest of the RPO’s playing and the composer’s wonderful orchestration, which came across more vividly in this live performance than in even the finest recordings.’ Alan Sanders, MusicWeb International, London, 2015-02-14 'Nowak did a good job in bringing out the richness of the romantic textures while at the same time ensuring they remained clear… excellent… played with vigour and gusto bringing the piece to its triumphant conclusion… Nowak and the RPO did an excellent job… wonderfully atmospheric. The RPO brought a wide range of colour… and succeeded in bringing out the sense of wonderment and emotional engagement… pointed phrasing… expressive… restrained sensuality… delightful playing… nicely shaped and crafted… Nowak and the RPO performed it with lightness and grace, while there was some deft orchestral colouring… Nowak brought immense clarity to the contrapuntal elements… extremely well articulated and voiced… delivered with an emotional charge and punch. Robert Beatle, MusicWeb International, London, 2012-03-14 ‘neat and graceful… the tone quality was penetrating yet sparkled with finesse, cutting and beautiful at the same time. There was always a tremendous buoyant enthusiasm in the dance rhythms… The interpretation was faultlessly enthusiastic… the orchestra came to life, boiling over with enthusiasm and excitement… perfectly poised and yet heartfelt, a truly touching rendition… handled with dignity and emotion… the music was freshly and emotionally presented, an immense pleasure to listen to… clearly enjoyed by audience and players alike… enjoyably bewildering, the cheekiness of phrase after phrase bickering with each other… exuberant’ Madelaine Jones, Bachtrack.com , 2012-11-07 ‘Symphony No 5 earned lengthy applause and rightly so. The impressive dynamic shaping and clarity of phrasing were particularly powerful… the unity of this huge orchestra, the playing from all sections… ensured a gripping mix and balance of emotion and mood throughout: pain, restlessness, conflict, demented obsession, sneering cynicism, humour and defiant exuberance were all there, though under control… spell-binding… keeping listeners suspended in a magical, emotional flow.’ Eileen Caiger Grey, DigYorkshire, Leeds, 2010-04-21 ‘Nowak's energetic conducting and attention, especially to dynamic detail, was abundantly evident… admirably captured in tonight's performance… Nowak and the orchestra were superb… Nowak moulded an intense musical line, a kind of great arc of symphonic drama which also projected the difference, diversity of each movement - indeed the diversity within each movement… It was in the 'Largo' in particular that Nowak found an almost unbearable dramatic/brooding quality. I have seldom heard the development of unbroken cadences, after the first impassioned D minor climax, mutating into regions of ill - defined tonality captured with such conviction… inspired event’ Geoff Digginess, MusicWeb International, London, 2010-04-09 ‘one of the greats… exciting… heavenly… under the spell… dazzling… livid colours… I appreciated that I have had the privilege of being there, it is one of the music world’s great shows… The evening was enhanced by being in such capable hands. Grzegorz Nowak took the fractions of a stripped down orchestra and edited versions of the pieces and made them add up to a larger number than the sum of their parts.’ Melanie Gow, Beat, London, 2010-09-25 ‘high standards… a refined handling of the romantic tragedy with some truly ecstatic moments. Here the interpretive skills of Nowak were well shown, to produce a deep and satisfying performance… splendid… vivid rendering’ Stan Mears, Bucks Free Press, High Wycombe, 2010-02-21 ‘compelling account… outstanding… achingly intense in climaxes… a thought-provoking performance’ Colin Anderson, ClassicalSource, London, 2010-04-09 ‘The musicians of the Royal Philharmonic Orchestra were at their best… The orchestra was led by… Grzegorz Nowak who is Principal Associate Conductor of the RPO. Nowak is an energetic conductor with an exquisite presence… his enthusiasm for the music is intense and contagious; at times he almost appears to grow, towering above the orchestra, like a Nordic god commanding a storm; his hair swirling around his head as if taken by a sudden, furious wind! He led the RPO in a vibrant but romantic rendition of Tchaikovsky’s Romeo and Juliet Fantasy Overture… his and the orchestra’s greatest moment came with the final piece: the composer’s magnificent Symphony No. 5… the music was delivered with great technical precision and well judged passion… leading the orchestra in an exceptionally fine, exciting interpretation of Tchaikovsky’s music. Nowak’s and the RPO’s performance was excellent throughout and one of the best that I have so far seen and heard’ Margarida Mota-Bull, MusicWeb International, London, 2010-02-18 ‘An evening of music-making I shall never forget.‘ Jeffrey Taylor, Express, London, 2010-10-05 ‘Grzegorz Nowak, a supremely musicianly conductor… drew a magnificent Shostakovich Fifth Symphony from his marvellously pliant orchestra’ Bernard Lee, Sheffield Telegraph, 2010-04-22 ’Grzegorz Nowak, the RPO's Principal Associate Conductor, brought masterly expression to the performance, a shining example of his highly acclaimed and award-winning interpretations… the RPO and Grzegorz Nowak rendered one of the most memorable performances of Antonin Dvorak's Symphony No 9 in E minor.’ Simon Ames, Croydon Today, 2011-01-28 ‘this was as sprightly a performance as you could have wished for… I loved every second of it… The Royal Philharmonic played expertly and obviously appear to enjoy working with Nowak. Long may this collaboration continue!’ Bob Briggs, MusicWeb International, London, 2009-11-25 ‘quite exquisite… a delight… Nowak directed a very dramatic performance, full of fire and spirit, relishing every twist and turn of the music… Here was a New World full of drama, tension, passion and tragedy… the music held together better than I have ever heard it. With playing of the utmost excitement and refinement, this was a performance to savour.’ Bob Briggs, MusicWeb International, London, 2009-10-13 ‘Nowak demonstrated exactly how to play Mozart without relegating all responsibility to the original instruments brigade… Nowak directed both Concertos in a spritely manner, full of bounce and spirit… But, to be honest, it was the Dvořák I wanted to hear… The music moved forwards at a very nice pace… This was a superb performance… and made this glorious Symphony into a real Symphonic experience rather than just a pleasant walk in the country… handled with aplomb, the tension never dropped, the drama, rather than tragedy, was well handled and we were kept on the edges of our seats as the music progressed from one highpoint to the next… superb’ Bob Briggs, MusicWeb International, London, 2009-10-06 'A robust reading… Judiciously played… tenderly phrased… beautifully played… every delicate nuance detectable… an excitingly-paced accelerando bring it all to a thrilling conclusion… the music is nicely paced as it builds seamlessly to the Allegro. Nowak keeps the development from wandering too far from the main path… The scherzo is the nearest Schumann gets to Mendelssohnian lightness of touch… brilliant.… ensemble is immaculate and the final chords are crisply punctuated to thrill. The slow movement is expressively warm, in which the woodwinds shine. Passion builds in the strings… a broad reading… excellent… very fine… Nowak coaxes some impressively quiet playing at pianissimo moments' Christopher Fifield, MusicWeb International, 2010-03-10 “Explosive.” This concert certainly lived up to its title… thanks to the conducting of Grzegorz Nowak and the magnificent orchestra… displayed the full force and talents of the orchestra’ Bella Bartock, Croydon Today, 2011-04-08 ‘the Royal Philharmonic Orchestra, conducted by Grzegorz Nowak… were on fine form at the Cadogan Hall… fantastically colourful… Brahms’s Symphony no. 1 in C minor… rich string section… exciting… The beautiful pastoral theme was also a breath of fresh air in the midst of the building tension… a rousing ending’ Emily Owen, BachTrack.com , 2013-10-11 ‘Grzegorz Nowak… a commanding figure on the podium… stimulating introduction… Fantastic sound… Gorgeous… It was all very enthralling and enjoyable… the audience responded most warmly and with great respect.’ Classical, The Real Chirsparkle, Northampton, 2011-05-09 Previous Next

< Back Galina Ivannikova Dramatic Mezzo-Soprano Learn More Videos About Ukrainian-American dramatic mezzo-soprano Galina Ivannikova is hailed by critics and audiences alike for her rich, lustrous voice as well as for her passionate dramatic portrayals. Bruce Michael Gelbert of NY Art Review raved “ Ivannikova's timbre was ruby in color, her chest register aptly gutsy, and her emotion pitch-perfect. She possessed a big glorious Verdi voice reminiscent of the Golden Age tradition.” She kept busy during the pandemic, performing online concerts, judging competitions, and recording several works by modern composers. The 2019-2020 season successfully kicked off with such performances as Brangäne in Wagner's Tristan and Isolde with Connecticut Lyric opera, as well as an acclaimed aria concert with Northern Art Center, Yellowknife, NT, Canada. During the 2018-2019 season, Ivannikova performed the roles of Amneris in Verdi's Aida with Gateway Classical Opera society, as the Mezzo Soloist in Mahler's Das Lied von Erde, Eboli in Verdi's Don Carlo with Connecticut Lyric Opera, Waltraute in Wagner's Götterdämmerung with NYVWOG, Azucena in Verdi's Il Trovatore and The Witch in Humperdink's Hansel and Gretel with Regina Opera, Ulrica in Verdi's Un Ballo in Maschera with Amore Opera, in addition to numerous concert appearances. The 2017-2018 season included engagements as Carmen in Bizet's Carmen with Lyric Theater D'Europa, Waltraute in Wagner's Götterdämmerung, Leonora in Donizetti's La Favorite with NYWSO, and Amneris with both Connecticut Lyric Opera and West Side Opera Society. In 2016-2017, Ivannikova appeared as La Cieca in Ponchielli's La Gioconda with NJ Verismo Opera, Amneris with Lyric Theater D'Europa, Odarka in Hulak-Artemovsky's The Cossack beyond the Danube, Inkeeper/Marina Mnishek in Mussorgsky's Boris Godunov with Commonwealth Opera Theater of Boston, of which Opera Magazine(London) said, "Ivannikova has an imposing instrument and passion!" In previous seasons, she brought critical acclaim to the roles Amneris in Verdi's Aida, Azucena in Verdi's Il Trovatore, Ulrica in Verdi's Un Ballo in Maschera, Maddalena in Verdi's Rigoletto, Marta in Tchaikovsky's Iolanta with VP NYC, Principessa in Cilea's Adriana Lecouvreur, Nicklausse/Muse in Tales of Hoffmann, Waltraute in Wagner's Götterdämmerung, Fricka in Wagner's Die Walküre, Olga/Nurse/Larina in TchaikovskyEugene Onegin, the Mezzo Soloist in the Verdi Requiem, Santuzza in Mascagni's Cavalleria Rusticana, and Fricka in Wagner's Die Walküre. Previous Next

< Back Previous Roland Schlieder Next Gala at Weill Recital Hall at Carnegie Hall April 4, 2024 WATCH VIDEO Roland Schlieder is a renowned guitarist, conductor, and music educator who has toured extensively throughout Latin America, Germany, and the United States. He began learning guitar by ear at age 14, inspired by recordings of Narciso Yepes and Pepe Romero. After completing his studies in mechanical engineering and business administration in Munich, a personal encounter with Maestros Leo Brouwer and David Russell in 1995 inspired him to pursue classical guitar in the United States. Schlieder participated in masterclasses with Costas Cotsiolis, Andrew York, Manuel Barrueco, David Russell, and Leo Brouwer. In 1996, he received a scholarship to Butler University, where he studied guitar with Brett Terrell, choral conducting with Dr. Eric Stark, and orchestral conducting with Stanley DeRusha. He concurrently studied at Indiana University with Maestro Petar Jankovic. After graduating from Butler University, he pursued a master’s degree at San Diego State University (2000–2003), studying under Celin Romero of the famed Los Romeros guitar family, who guided him in developing his unique technique and musical expression. From 2000–2003, Schlieder was artist-in-residence at San Diego State University and assistant conductor under Dr. Donald Barra, combining his musical and administrative skills as orchestra manager. In 2003, funded by the Fulbright Program, he founded the Youth Symphony Orchestra of Santa Cruz, Bolivia, serving as artistic director and principal conductor. He led major performances including the CAF Anniversary Concert in La Paz (2005) with 300 voices and 150 musicians, Handel’s Messiah at the VI International Baroque Festival in Santa Cruz (2006), and premiered a rediscovered work by Domenico Zipoli, Te Deum laudamus, which he published with critical notes in 2007. Schlieder was awarded Bolivia’s “Man of the Arts” prize and nominated for the TOYP Prize (The Outstanding Young Professional in the Arts). After leaving the Santa Cruz Symphony in 2011, Schlieder devoted himself fully to classical guitar performance and pedagogy, focusing on his technical method “Control Technique”, which emphasizes finger independence and advanced technical repertoire. He has performed at the San Agustin International Chamber Music Festival in Florida, the Chamber Music Summer Festival at the University of Osnabrück, Germany, and with the University of Palm Beach Symphony Orchestra (performing Concierto de Aranjuez, 2016). He has collaborated with musicians including Roberto Sechi, Felix Olschofka, Alexander Schimpf, Eugenio Urrutia, Jorge Pena, and William Grub, with a strong focus on chamber music, particularly works by Niccolò Paganini. Since returning to Germany in 2019, Schlieder has performed solo recitals and Concierto de Aranjuez with the Mainz Sinfonietta (September 2023). He is a faculty member for classical guitar at the Montabaur School of Music and teaches specialized technique masterclasses, continuing to develop his Control Technique method.

< Back Apply Previous Next Orquesta Filarmónica Municipal de Guayaquil Selected Soloists will be presented at the colORCHESTRA concert with the Orquesta Filarmonica de Municipalidad de Guayaquil on December 5, 2024 at 8pm in Teatro Centro de Arte Leon Febres-Cordero in Guayaquil, Ecuador, under the baton of Maestro Gevorg Sargsyan. ~~~~~~~~ Only ONE Soloist will be selected. ~~~~~~~~ Soloists will participate in interviews for media and other activities associated with the event. ~~~~~~~~~~~ Important dates: Application deadline - see dates on the website. October 2024, January 2025 - Live Auditions Finals. Broadcast on video and social platforms. Meet the Judges and the Conductors. Streaming technology seminar in preparation for Live Audition - prior to performing LIVE. ~~~~~~~~~~~ No age restrictions. INSTRUMENTAL REPERTORY ONLY – No singers. ~~~~~~~~~~~ The concert will be Broadcast Live by Virtual Concert Halls on various public channels on YouTube, Vimeo, Facebook, LinkedIn, Twitter, Twitch, among other platforms Video of the concert will stay available for playbacks on the channels. Instrumental Concertos Meet the Orchestra Orquesta Filarmonica de Municipalidad de Guayaquil offers concerts in the churches of Guayaquil, at the Teatro Centro de Arte and in various parts of the city with the purpose of bringing music and art closer to citizens. Since its founding in 2017, the orchestra was instrumental in diversifying and enriching cultural landscape of the city of Guayaquil and positioning Ecuador as a destination for serious classical music. The orchestra worked with such great names as soloists Alexander Markov, Nancy Zhou, conductor Enrique Perez Mesa and more. Meet the Conductor Previous Next Hailed as "...one of the most inspiring artists of his generation..." Gevorg Sargsyan is a Singapore based conductor and music director from Armenia. Recipient of Sir Georg Solti Award he has been guest-conducting in various venues around the world with different orchestras including Orquesta Joven de Valencia, Singapore Camerata Chamber Orchestra, Czech Chamber Philharmonic Orchestra, Pescara Philharmonic Orchestra, Lviv Symphonic Orchestra and worked full time at the Armenian National Opera & Ballet Theatre. Gevorg studied in his native Armenia at the Yerevan State Conservatory and later continued in Vienna Conservatory and Goldsmiths College of Music (UK). After moving to Asia, he is combining his career between conducting and running masterclasses and lectures. Gevorg has been a visiting professor at University of Philippines College of Music, Manila, and guest lecturing in various educational establishments across South East Asia. Gevorg is a "Master Class" labled artist of AMC recordings (USA) and has recorded several CD’s with Yerevan Chamber Orchestra under the label. He is a wanted guest artist at various festivals such as Gergetown Festival, Malaysia, Fête de la Musique and Rhythm Festival among others. As Artistic director Gevorg has masterminded several highly successful music productions including ¡Piazzolla! Not Only Tango, GlobMus & Symphony of Motherhood. He has been recently appointed as a music director of Madison Academy of Music Singapore. Gevorg is also a member of adjudication panels of various festivals and music competitions and worked as a music director of Madison Academy of Music and SCGS String Orchestra. He has recently been appointed an Artistic Director of Music Hubs with Ministry of Culture of Kingdom of Saudi Arabia. Gevorg's upcoming engagements include concerts in Czech Republic and Germany, followed by South East Asian tour. Learn More Application and Audition Process Application form is DUE by the posted DEADLINES throughout the season. Upload video of any piece (with or without accompaniment). YouTube or Google Drive links are accepted Application fee $75 Selected musicians will be invited to audition live on a public Internet TV Broadcast* and will receive a preparation tech session with VCHS Broadcast Engineers. You will meet the Judges during Live Audition. Live Auditions are held virtually. Live Auditions are judged in real time. Judges provide participants with immediate on-air feedback. During the live audition participants will be able to speak with Judges. • The judges’ decisions are final and may not be contested. • To participate in the live online auditions, each musician must prepare required technical setup Live Audition Fee - $250 *Fee includes the Technology Preparation session with A/V and Broadcast engineers You will be notified about your acceptance into the colORCHESTRA program Fees Application and video pre-screening - $75 Live Audition - $250 Performance - NO FEE ($0) Selected soloists are expected to cover their own travel expenses. Upon request colORCHESTRA provides supporting documentation for selected soloists' visa applications. Selected soloists may request press releases, letters of recommendation, confirmations of their participation in the concert, in support of the soloist's grants applications. Apply Instrumental Concertos The León Febres-Cordero Art Center The León Febres-Cordero Art Center Theater The León Febres-Cordero Art Center Theater (TCA) is the main theater of the city of Guayaquil. The theater sits on a total area of 9,000 m². Its activities take place in a main building with five floors and 3,000 m² of construction. The capacity of the Teatro Principal is 869 seats: 578 in the lower stalls and 291 in the upper stalls. History In 1976, the Fundación Sociedad Femenina de Cultura launched a preliminary project to build the theater. To this end, the foundation managed, through various administrations, the donation of the land for its construction, located at kilometer 4.5 of the road to Daule.23 National ad-honorem advisors supported the project, contacting the team of advisors from Yale University, United States, with renowned experience, who in turn proposed that in addition to theater, a center for artistic activities be complemented that would give continuity to the project. the work. The project received financial aid, both public and private, however it was not enough to achieve the objective of the artistic center proposal. The income tax was exempted for private companies that donated to the project and the budget allocation of sufficient resources for the work by the National Government under the command of León Febres-Cordero Ribadeneyra in 1986, the work could be completed and the On January 20, 1988, the León Febres-Cordero Art Center Theater was inaugurated. Thanks to the initiative of Ecuadorian and foreign women residing in Guayaquil led by Mrs. Inge Brückmann de Hollihan, in 19886 the Women's Culture Society inaugurated the first Theater and Art Center in Guayaquil. Since then, the Art Center Theater has maintained various Free Admission programs within its regular programming with the purpose of disseminating and supporting arts and culture in the city. The free programming is made up of: Meetings: Talks, panels and artistic presentations on different art and culture topics. First Tuesday of every month, at 7:00 p.m. Opera Greats: Conversations about the life and work of the most emblematic artists of that musical genre. Third Thursday of each month at 7:30 p.m. Sound Art: Academic music concerts. First Wednesday of every month at 7:30 p.m. Exhibitions: Exhibitions open to the public of plastic arts and jewelry. Available for 15 days Literature and Wine: Analysis of the most important works of prominent contemporary writers. Last Thursday of each month at 7:00 p.m. Semilleros Free Art School: The theater offers free training programs for children in the morning. Registration takes place every year in the months of May, June and July. Young Values: Annual contest held by the Fundación Sociedad Femenina de Cultura, so that artists who are entering the world of art can participate in a call aimed especially at this. See more: https://www.teatrocentrodearte.org/ https://es.wikipedia.org/wiki/Teatro_Centro_de_Arte_Le%C3%B3n_Febres-Cordero

< Back Previous Lisa Leak Next American vocalist Gala at Weill Recital Hall at Carnegie Hall June 30, 2025 WATCH VIDEO Lisa Leak was raised in Columbia, MD, by parents who embraced the arts. Her mother was a classically trained vocalist and music educator in the DC public school system, and her father was a jazz enthusiast. They passed down this passion for music by encouraging her to take advantage of opportunities to participate in extracurricular activities that were offered in school, including singing in choirs, joining bands, participating in talent shows, and performing in school plays. While in grade school she participated in many musicals, including “The Wizard of Oz”, “The Music Man” and “Joseph and the Amazing Technicolor Dream Coat”. After completing high school, she knew she wanted to continue studying music and went on to pursue a Bachelor of Arts degree with a concentration in voice from Hampton University. Upon graduation, she continued studying voice privately and also started taking theatre classes, as her ultimate goal was to become a Broadway performer. She continues to study both voice and theater in pursuit of her dream.

Learn More < Back Career Coaching A six month membership to Fast Forward, from The Fearless Artist Mastermind Our membership for classical musicians at The Fearless Artist Mastermind will allow you to meet musicians from around the world who understand you and the unique challenges you face on a daily basis. You'll be included in our amazing community and get feedback on your most important career topics to help propel you forwards. With twice a month Zoom calls and an active community on Slack, you'll also be able to set clear goals and get the accountability you need to reach them. The Fearless Artist Mastermind is based in Netherlands and works with clients globally This Award is Sponsored by The Fearless Artist Mastermind The Fearless Artist Mastermind was created in 2020 by Michelle Lynne and Deanna Petre in order to empower musicians to create their own careers and take advantage of opportunities by providing them with real world skills, education and support. We offer workshops and group coaching to help them succeed and know that they have every capacity to find their unique spot in today's world and be a contribution, creating a fulfilling career. View More Visit The fearless Artist Mastermind Website Previous Next

< Back Previous Alon Goldstein Next WATCH VIDEO Alon Goldstein is one of the most original and sensitive pianists of his generation, admired for his musical intelligence, dynamic personality, artistic vision and innovative programming. He has played with the Philadelphia orchestra, the Chicago Symphony, the San Francisco, Baltimore, St. Louis, Dallas, Houston, Toronto and Vancouver symphonies as well as the Israel Philharmonic, London Philharmonic , Los Angeles and Radio France Orchestra. He played under the baton of such conductors as Zubin Mehta, Herbert Blomstedt, Vladimir Jurowski, Rafael Frübeck de Burgos, Peter Oundjian, Yoel Levi, Yoav Talmi, Leon Fleisher and others. This upcoming season Mr. Goldstein will be performing in cities across the world including New York (Merkin Hall, Rockefeller university and Baruch College), Vienna (Musikverein), Ravinia Festival, Washington DC (Cosmos Club), Berlin (Salon Christophori), and Beijing (Forbidden City Concert Hall), including return engagements with the Jerusalem Symphony, Filarmonica George Enescu in Bucharest, Beijing Symphony, and Mercury Period Instruments Orchestra in Houston. This season will also see the release of two CDs on the Naxos label: Mozart Piano Concerti Nos. 9 and 17 with the Fine Arts Quartet (a follow-up to their two critically acclaimed recordings of Nos. 20 & 21 and Nos. 23 & 24) and Scarlatti Piano Sonatas. Last season Mr. Goldstein performed with the Kansas City, Ann Arbor, Illinois, Spokane, Bangor, Augusta, and Pensacola Symphony Orchestras, as well as a performance of Beethoven’s Emperor Concerto on fortepiano with Mercury Houston. He played Bernstein’s “Age of Anxiety” with the Jerusalem symphony as well with the Xalapa Symphony in Mexico to celebrate the composer’s centennial, and performed the New Year’s concert with the Beijing symphony in China. He gave recitals and chamber music, including tours with the Goldstein-Peled-Fiterstein Trio, the Tempest Trio, and the Fine Arts Quartet at the Mendelssohn International festival in Hamburg Germany, as well as in Cleveland, Washington DC, New York, Burlington, Key West, Sarasota, Melbourne, Duluth, and other cities. Other recent highlights include appearances with the Indianapolis Symphony as part of a Prokofiev Festival performing the composer’s Piano concerti nos.1&4, as well as a 17-concert Latin American tour with the Israel Chamber Orchestra including concerts at Teatro Colón in Buenos Aires, Teatro de Bellas Arts in Mexico city, Teatro Nacional in San Jose, Teatro Solis in Montevideo etc. He also played with the Chicago Symphony at Ravinia, and at the prestigious Ruhr Piano Festival in Germany performing Mozart, Britten and Poulenc in one evening with Leon Fleisher, his former teacher, conducting. He gave the premiere of Lost Souls with the Kansas City Symphony and Michael Stern written for him by the noted Israeli composer Avner Dorman and debuted with the London Philharmonic Orchestra and Vladimir Jurowski. A passionate advocate for music education, his recent teaching engagements have included the Steans Institute of the Ravinia Festival, International Keyboard Festival and Institute in New York, Music@Menlo, The Gilmore Festival, Piano Texas, PYPA in Curtis, International Piano Festival in Gijon Spain, and “Tel Hai” masterclasses in Israel. Mr. Goldstein was recently honored with the “Society of Scholars” award given to him by his alma mater – the Johns Hopkins University. This was given in recognition of his accomplishments and contributions over the years. He serves as the Artistic Director for The Distinguished Artists Concert & Lecture Series in Santa Cruz, CA and was recently named the Artistic Director of the Mt. Angel Abbey Bach Festival in Oregon. He created the Emerald Coast Music Alliance, whose annual festival in Florida is devoted to sharing the beauty of classical music to under-served communities, free of charge. He graduated from the Peabody Conservatory of Music studying with Leon Fleisher and received scholarships from the America Israel Cultural Foundation. Following his graduation he became a “Performer Fellow” at the Guildhall School of Music and Drama in London where he initiated chamber music concerts involving staff and students, as well as an annual festival dedicated to the piano duet repertoire. He was an artist in residence at the “Theo Lieven” piano academy in Como Italy. He currently holds the position of “Distinguished Visiting Professor” at the University of Missouri – Kansas City.