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< Back CARLA AULD Flutist Learn More Videos About CARLA AULDwww.CarlaAuld.com Carla Auld continues to distinguish herself as both a performer and one of the foremost proponents of the flute in the world today. Constantly in demand as a concert artist and teacher, she has also been hailed for her work as a founder and artistic director of organizations specifically related to music and arts administration. Born in New York and raised in New Jersey, Ms. Auld attended Temple University, having studied with Julius Baker, whom she credits with having helped her form the artistic perspective readily apparent in her approach to repertoire, performance, and interpretation, which continues to bring her accolades from critics and audiences alike. She has also coached with such distinguished artists as Michael Parloff, Robert Dick, Bernard Goldberg, Gerardo Levy and Julius Baker. Jerry Dubins of Fanfare Magazine describes Ms. Auld as “beguiling” with a “smooth balanced tone throughout the registers of her instrument,” as well as “marvelous breath control, and [a] technical command distinguishing all of her performances,” while Roger Hits of Highlight Hollywood has proclaimed her “ absurdly talented, creating her own atmosphere with her ethereal flute work.” Auld’s solo performances exist along a broad spectrum of both venues and collaborators, and include engagements with Sante Fe’s Flute Immersion, Orquesta Sinfónica Nacional of Mexico, the Verdi School of Music, Italy, the Saint Paul Festival of the Arts, and the Festival of Strings in Pompton Lakes, New Jersey. She has been invited to perform for numerous flute organizations throughout the United States of America. Well-known for her interest in new music as well as the promotion of works by living composers, she has personally commissioned works from James Cohn and Allen Cohn, while also having had works written especially for her, including "Voyage to a New Land” for flute and orchestra by Steve Giammarino, recorded on the MSR label. Ms. Auld has also commissioned works along with her flute colleagues as a member of the award-winning flute octet, UpTown Flutes. She was featured as both piccolo and flute performer on three of the ensemble’s CDs. As Founder and Artistic Director of From Bach to Broadway, a classical music services company, Auld was responsible for giving audiences the opportunity to engage professional artists on demand for events, combining specific instrumentalists to accommodate the need for solo and chamber ensembles of both new and traditional works to audiences. She is also founder of two other chamber groups, the Auld flute and piano ensemble and the London Trio with cellist Lanny Paykin and violinist Gabriel Schaff. -2- Constantly in demand for her work as an advisor and adjudicator, Auld has served on the boards of both the New York Flute Club, and the New Jersey Flute Society, and has served as an international judge for the Magalif Flute Competition. Previous Next

< Back Carla Algeri Bandoneon Learn More Videos About Carla Algeri was born in Almirante Brown, Buenos Aires, Carla studied with legendary Maestro Osvaldo Pugliese and she is direct disciple of Maestro Rodolfo Mederos and Maestro Néstor Marconi. Carla obtained her Master's Degree in Latin American Composers at UNAM and Conducting Youth Orchestras and Choirs at UNA National University of Arts, in addition to her studies at National University of La Plata UNLP at the Faculty of Engineering. She was also trained in Learning Pedagogy at the Violeta de Gainza and Gladys Esperanza School. Carla is Professor at the Universidad de Artes Network, Colombia, in extracurricular activities of the Faculty of Arts. Carla is Director and founder of Polo Bandoneón a Cultural Center for the preservation and dissemination of the Bandoneón as the axis of the Patrimonial Culture of the Río de La Plata. As a Cultural Advisor of the City of Buenos Aires, she is carrying out important concerts, museum activities, master classes at Universities in Colombia and Portugal about the language of Tango. Carla is member of the International Arts Council and in charge of the Bandonium Foundation and responsible for the Patrimonialization of Tango at UNESCO. Outstanding personality of the culture of the City of Buenos Aires, Carla received the Order of the Mano Blanca Mailbox and also awarded the key to the City of Miami from Miami’s Mayor Office for her work in Culture. The municipalities of Santuario, Medellín, Pereira, Andes, Jericó, Buga, Santa Fé de Antioquia, Bucaramanga, and other cities in Colombia, offered her different recognitions. Tango Cultural Ambassador of the City of Buenos Aires and her native municipality Almirante Brown and currently Member of the International Academy of History and Communication Sciences. Among her recordings can be mentioned: Rodolfo Mederos Typical Orchestra 2006; “Gardel's Seventy” together with Juanjo Domínguez 2007; Carla Algeri Quintet “Tribute Album” 2012; “Balada del Alba” with Chico Novarro 2013; “Response” for bandoneon, piano and symphony orchestra. “Tribute to Aníbal Troilo” 2015; “When you are not here” , bandoneon and string orchestra, “Tribute to Carlos Gardel” 2015; “Memories of a Bandoneón” 2016 a symphonic recording nominated for the “Buenos Aires Gardel Awards”. “Together 20 years” , 2019 with Armando de la Vega. “Two and two are three” 2020, Trio with Armando de la Vega and Rafael Gintoli. “Testament of a Mozart Milonguero” 2021 with bandoneon octet. “Tribute to Piazzolla” 2022 for Trio with Rafael Gintoli and Armando de la Vega. “Gray of Absence” 2022. Duet with Leonardo Marconi. “Song of October” 2022 with bandoneon Octet, music by Piazzolla. Previous Next

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

Selected Soloists will be presented at the colORCHESTRA concert series with the Paducah Symphony Orchestra, at the Carson Center under the baton of Maestro Raffaele Livio Ponti. Concert dates Saturday, September 13, 2025 Saturday, November 15, 2025 Saturday, February 21, 2026 Rehearsal Schedule Fridays: Rehearsal 1. 15:00 - 17:30 Rehearsal 2. 18:30 - 21:00 Saturdays: Rehearsal 3. 14:00 - 16:30 Performance: 19:30 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. 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. Any instrumental Concerto, a single movement, or any Aria accepted. < Back Application Deadline May 26, 2025 Previous Apply Next Paducah Symphony Orchestra Selected Soloists will be presented at the colORCHESTRA concert series with the Paducah Symphony Orchestra, at the Carson Center under the baton of Maestro Raffaele Livio Ponti. Concert dates Saturday, September 13, 2025 Saturday, November 15, 2025 Saturday, February 21, 2026 Rehearsal Schedule Fridays: Rehearsal 1. 15:00 - 17:30 Rehearsal 2. 18:30 - 21:00 Saturdays: Rehearsal 3. 14:00 - 16:30 Performance: 19:30 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. 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. Any instrumental Concerto, a single movement, or any Aria accepted. Standard Concertos and Arias Meet the Orchestra The Paducah Symphony Orchestra (PSO) was founded in 1979 when a number of area musicians performed at the city's Summer Festival. That concert created enough enthusiasm to bring together a small group of founders who organized additional concerts. During the first two years, concerts were planned and performed one at a time as funds were raised. In the years since, the PSO has expanded its concert season to include seven classical concerts, and has grown its subscriber base to include over 700 patrons. Most PSO concerts now feature internationally recognized guest artists. Dr. Jordan Tang conducted the Orchestra for the twenty-three seasons from 1987 to 2009. In the spring of 2010, the PSO appointed Raffaele Ponti as its new Artistic Director & Conductor. The mission of the PSO is to bring the rewards of great music to a growing and diverse regional audience. As the orchestra-in-residence at the Carson Center for the Performing Arts, the PSO encompasses a wide range of ensembles, including a professional orchestra, an auditioned adult chorus, a youth and children's chorus, as well as other music education programs and services. The orchestra members, all paid professionals, are drawn from over 30 communities in Kentucky, Illinois, Missouri, Indiana, Ohio, Tennessee, and Alabama. The audience is even more diverse, representing over 60 communities in a five state area. As the scope and quality of the organization's programs have grown, so has its operating budget. From a $45,000 budget in 1981-82, the Paducah Symphony's operating budget has grown to over $1 million. For over 40 years, the PSO has served as the premier musical organization in Paducah and the surrounding region, expanding its appearances through collaborations with community partners and enhancing the area's cultural reputation. Meet the Conductor Previous Next "Internationally recognized Italian Conductor, Raffaele Livio Ponti is one of the most exciting, and popular conductors of his generation." An artist of Dynamic Personality, Charismatic Performances, and Superb Musicianship, known for his powerful musical interpretations, rich and unique quality of sound, and breath of colors that he inspires, and draws from every orchestra he conducts. Making his mark as a model for today’s conductors, Raffaele Ponti is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. https://www.priceattractions.com/raffaele-ponti-conductor Raffaele Livio Ponti is the Music Director of Paducah Symphony Orchestra. Maestro Ponti maintains an active worldwide conducting schedule with the Lviv National Philharmonic of Ukraine, Sofia Symphony of Bulgaria, and multiple return engagements with the orchestras of Roma, Pescara, Siena, Arezzo, Pistoia, Lucca, Pisa, Firenze, Grosseto, Venezia, Padova, Pienza, Treviso, Spello, Milano, Perugia, Massa, Terni, Bologna, Ferrara, Ripatransone, Pesaro, Civitavecchia, San Gimignano, Genoa, Sinalunga, Cortona, Tocco da Casauria, Montepulciano, Montacatini Terme, Bagno Vignoni, and Prato. In the United States the Buffalo Philharmonic, Elgin Symphony, Rochester Philharmonic, Austin Symphony, Youngstown Symphony, Paducah Symphony, Billings Symphony, Binghamton Philharmonic, Charlotte Symphony, Orchestra of the Southern Finger Lakes, Utica Symphony, and Schenectady Symphony. 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 Standard Concertos and Arias About PSO The Carson Center for the Performing Arts Welcome! We are glad you are here! The Carson Center for the Performing Arts , also known as The Luther F. Carson Four Rivers Center, is your regional, multiple-use facility with beautiful spaces for public and private events of all types. Enjoy superb staging and near-perfect acoustics for a wide variety of entertainment, cultural, and education programming. The Carson Center is located in downtown Paducah, Kentucky, and overlooks the confluence of the Ohio and Tennessee Rivers. It is a significant component of Paducah’s downtown area revitalization and serves a diverse population from a four-state region and beyond. The stage tower is ten stories tall and can house performance equipment necessary for staging large productions, including 63 line sets for scenery, lighting, and curtains. The main theatre hall seats 1806 people, with the farthest seat only approximately 112 feet from the stage. The Paxton Family Foundation Lobby features terrazzo flooring, two sweeping staircases on either side, a stunning view from the balcony overlook, food/beverage areas, and cloakrooms. A commissioned hand-painted mural spans the entire back wall of the lobby that depicts the four rivers region on a quilt backdrop. (Home of the American Quilt Museum, Paducah is known as “Quilt City, USA”.) The Myre River Room overlooks the confluence of the Ohio and Tennessee rivers and provides an ideal space for small performances, dinners, dances, corporate training seminars, and other events. Adjacent to the River Room is the Williams Family Terrace. This second-story patio overlooks the Ohio and Tennessee rivers and can be used for receptions, dinners, and medium-sized get-togethers. The Ingram Founder’s Room, located on the 2nd floor, offers an intimate space for small receptions, lunches, private meetings, and more. The Carson Center is a not-for-profit organization (501(c)(3).

< 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 Giuzeppe Lanzetta Conductor Learn More Videos About GIUSEPPE LANZETTA Permanent Music Director of the FLORENTINE CHAMBER ORCHESTRA, Florence, Italy GIUSEPPE LANZETTA Born in Montecorvino Rovella (SA) in 1960, at the same time as his humanistic studies he graduated in Choral Music and Choral Conducting, Sacred Vocal Polyphony under the guidance of Maestro Pierluigi Zangelmi; in Band Instrumentation with Maestro Lorenzo Semeraro at the “L. Cherubini” of Florence, where he studied Composition with Maestro Franco Cioci. He studied orchestral conducting with Maestro Bruno Campanella and Sir George Solti, of whom he was both assistant, finally perfecting himself with Maestro Franco Ferrara in Rome, Assisi, Verona and at the Accademia Chigiana in Siena and in choral direction with the Bulgarian masters George Robef and Samuil Vidas. He has conducted chamber and symphony orchestras in Italy and Europe, among these we remember the Orchestra Regionale Toscana, the orchestra “I Solisti orentini” of the Maggio Musicale Fiorentino, Ensemble of the Orchestra of the Accademia di Santa Cecilia, the Orchestra dei Solisti della Scala of Milan, the Chamber Orchestra of the Berliner Philharmoniker, the Roma Sinfonietta Orchestra, the Orchestra of the Gioventù musica d'Italia, the Orchestra of the Pomeriggi Musicali of Milan, the Sanremo Symphony Orchestra, the Symphonia Perusina, the Kisiniev Orchestra, of the Russian National Opera, Moscow Symphony Orchestra, Volgograd Symphony Orchestra, Donetzk Ukrainian Philharmonic, Craiova State Orchestra (Romania), St. Petersburg Hermitage Orchestra, Johannes Strauss of Vienna, Moldavian Symphony, Chamber Symphony Orchestra of Israel , Arpeggione of Hohemens, and Chursachsische Philarmonie (Germany), the Virtuosi of Prague, the Cracoviensis Chapel, Debrecen Symphony (Hungary), the Radio and Television Symphony Orchestras of Ljub ljana, of Sacramento Symphony (California), Gothenburg and Stockholm Symphony, of Brasilia, the Symphony of Cordoba, that of Extremadura and of Murcia, the Cairo Symphony Orchestra, Orchestra of Madeira, the Eidelberg Philharmonic, the Edmonton Symphony (Canada), the Atlanta Symphony, the Istanbul Symphony, the Ico Tito Schipa of Lecce, the Symphony Orchestra of the province of Bari, the orchestra of Magna Graecia, the Symphony Orchestra of Bacau and that of Novi Sad on tour in Austria in 2004, the Joensu Philarmonich (Finland) the Aaken Sinfonie Orcheste, Wroclaw Philarmonic (Poland), The Toronto Symphony, The Poznam Philharmonic (Poland) and many others. He made his debut with great success in November 2003 in Berlin with the Berliner Symphoniker in the prestigious Philarmonie Grossen Saal, and that of the Berliner Philharmoniker Chamber Orchester, Baden Baden Philarmoniker made his debut in May 2006 at the Carnegei Hall in New York where he returned in 2008-2009. He participated in the Salzburg Festival in August 1992. Since 1987 he has been guest conductor in the most important orchestras of Mexico City: Ofunan Symphony Orchestra, the Mexico City Philharmonic, the Mineria Symphony Orchestra, the Fine Arts Orchestra, the Toluca Symphony.He directed famous choirs such as that of the Teatro Comunale of Florence and the International Choir of Leuven (Belgium) and the Madrigal Choir of Bucharest. Since 1986 he has conducted the most important American orchestras (in the states of Vermont, California, Wyoming, New York, Georgia, Illinois, Indiana, Pennsylvania) with symphonic repertoire. Since 1981 he has been the permanent musical director of the Florentine Chamber Orchestra with which he has held over 1350 concerts of various repertoire under the aegis of highly prestigious concert institutions and for RAI, with the same Orchestra he has made 20 tours in the USA, Mexico , Malta and in Spain with concerts held in the most important theatres, Coimbra Festival 1998 (Portugal), Ljubljana Festival, in Brazil conducting in the most important theatres, at the International Festival of Krakow, in Heidelberg also performing at the Teatro della Pergola, at the Teatro Verdi and at the Teatro Comunale of Florence as part of various events. He has been a guest several times in Vienna with the Wiener Kammersolisten and the Ungarische Kammerphilharmonie in the splendid hall of the Musikverein and in the Konzert Haus. In America and Europe he has conducted very famous soloists; among these we remember Leon Spierer, Johan Hye, Sergio Fiorentino, Andrej Kalarus, Margarita Hohenrieder, Nicolae Tudor, Augusto Vismara, Martin Dimitri Sgouros, Marie Luise Neunecker, Gary Karr, Eduard Brunner, Rolando Panerai, David Garrett, Andreas Blau, Ilya Grubert, Daniele Damiano, Michele Campanella, Bruno Canino, Giuseppe Andaloro, Giovanni Sollima, Aldo Ciccolini, Giuseppe Andaloro, Eva Mei, Filippo Adami, Roberto Prosseda, Igor Hoistrach, Jorge Demus, Ivan Zenati, Turibio Santos, Cristiano Rossi, Alessandro Carbonare, Alessio Allegrini , Francesco di Rosa, Francesco Bossone, Sergei Nakariakov, Oleg Marchev, Anner Bylsma, Igor Oistrach, Sergey Krilov, Ton Kopman. He also worked with Roberto Benigni in a memorable concert in Piazzale Michelangelo as well as conducting the New Year's concerts of the Municipality of Florence in the same square, in Piazza Signoria, Piazza Pitti and Piazza Santa Croce. He is also artistic director of the Musical Wednesdays of the Ente Cassa di Risparmio di Firenze and of the Music and Art project of the CR Firenze bank, Intesa San Paolo. He has chamber and symphonic compositions to his credit, performed and broadcast several times by RAI, and numerous recordings. Due to his intense activity at the helm of authoritative chamber and symphony ensembles, international critics have defined him as one of the most brilliant conductors of the young generation. In 2005 he was awarded the Beato Angelico Medal, in 2006 he received the Firenze prize for Music and Art, in 2010 the prestigious “Una vita per la Musica” prize, in 2013 the Galileo prize for Musical Entrepreneurship and in 2015 the Bel San Giovanni award for his international career. He holds the Chair of Orchestral Practice at the Santa Cecilia Conservatory of Music in Rome. In 2012 he was awarded the honor of Official Knight of the Order of Merit of the Italian Republic by President Giorgio Napolitano. He was recently named Principal Guest Conductor of Mid-American Productions, which plays concerts at Carnegie Hall and Lincoln Center in New York. Previous Next

< Back Elizabeth Mann Flute Learn More Videos About Elizabeth Mann is a Solo, Chamber, and Orchestra musician, Principal Flute with Grammy Award winning Orpheus Chamber Orchestra, member of Pulitzer Award winning ensembles, adjudicator, guest Principal flutist with NY Phil, Boston Symphony. Elizabeth Mann has been highlighted in many concerts as principal flute of Orchestra of St. Luke’s and St. Luke’s Chamber Ensemble since 1983. She has toured the United States performing the Mozart Flute Concerto under the baton of André Previn; traveled throughout Spain and Japan performing the Brandenburg Concertos with violinist/conductor Jaime Laredo; and was guest artist at the Lochenhaus Festival in Austria under the direction of Gidon Kremer. In 1998 Ms. Mann and Mr. Kremer played the U.S. premiere of Sofia Gubaidulina’s Concerto for Flute and Violin with the Orpheus Chamber Orchestra at Carnegie Hall. She has appeared in recital at the Aldeburgh Music Festival in England, the Library of Congress, and Carnegie Hall. Other solo performances include concertos with the Boston Symphony Orchestra, Buffalo Philharmonic Orchestra, and National Chamber Orchestra. She has performed with artists including Samuel Ramey, Joan Sutherland, and Victoria de Los Angeles, among others. She has played principal flute with the Minnesota Orchestra and New Jersey Symphony Orchestra, and was acting associate principal flute with Boston Symphony Orchestra. She performs regularly with Orpheus Chamber Orchestra. Ms. Mann began studying flute at age eight. She won the Boston Young Artist Concerto Competition at age 12, performing as soloist with the Boston Symphony Orchestra. She is a graduate of The Juilliard School, where she was a student of Julius Baker. She can be heard on recordings by CBC Master works, Deutsche Grammophon, Angel Records, MusicMasters, and New World Records. Along with Deborah Hoffman, principal harpist of the Metropolitan Opera, she released Reflections: Transcriptions for Flute and Harp on Arabesque Records. https://nyphil.org/about-us/artists/elizabeth-mann ~~~~~~~~~~~~~~~~~~~~~~~~ ORCHESTRAL EXPERIENCE Orpheus Chamber Orchestra, Principal Flute 2000-Present Orchestra of St. Luke’s, Principal Flute 1986-Present Mostly Mozart Festival Orchestra 2015 Rotterdam Philharmonic, Guest Principal Flute 2011 New York Philharmonic, Guest Principal Flute 2010-2012 Stamford Symphony, Principal Flute 2007-Present Santa Fe Opera Orchestra, Principal Flute 1998-2001 Boston Symphony Orchestra, Guest Principal Flute 1990 Minnesota Orchestra, Guest Principal Flute 1989-1990 New Jersey Symphony, Principal Flute/Substitute 1988-Present SELECT SOLO PERFORMANCES W.A. Mozart Concerto For Flute, Harp & Orchestra 2017 ■ Emmanuel Ceysson, Harp & Bernard Labadie ■ Orchestra of St. Luke’s | Caramoor Music Festival Pierre Boulez Mémoriale ( ... explosante-fixe ... Originel) 2014 ■ Pablo Heras-Casado ■ Orchestra of St. Luke’s | NY PHIL BIENNIAL Melinda Wagner Little Moonhead (World Premiere) 2011 ■ Orpheus Chamber Orchestra | Carnegie Hall Joan Tower For Marianne (World Premiere) 2010 ■ Orchestra of St. Luke’s Commission | The Morgan Library Peter Maxwell Davies Sea Orpheus (World Premiere) 2009 ■ Christopher Taylor, Piano ■ Orpheus Chamber Orchestra | Carnegie Hall Sofia Gubaidulina Impromptu (U.S. Premiere) 1998 ■ Gidon Kremer, Violin ■ Orpheus Chamber Orchestra | Carnegie Hall H.W. Henze I sentimenti di C.P.E Bach (N.Y. Premiere) 1998 ■ Deborah Hoffman, Harp & Christopher Hogwood ■ Orchestra of St. Luke’s | Carnegie Hall 15 West 72nd Street, Apt. 24-C New York, NY 10023 ■ (646) 489-2693 ■ lizflute@aol.com ELIZABETH MANN, FLUTE CHAMBER MUSIC & FESTIVALS Orpheus Chamber Ensemble 1990-Present St. Luke’s Chamber Ensemble 1988-Present Dorian Wind Quintet 1984-1994 NY PHIL BIENNIAL 2014 CONTACT! The New-Music Series (New York Philharmonic) 2012 Portland Chamber Music Festival Chamber 2004-Present Santa Fe Chamber Music Festival 1998-2001 Tanglewood Music Festival 1995-2012 Lockenhaus Chamber Music Festival (Austria) 1990-1992 Caramoor Music Festival 1990-Present Blossom Music Festival 1990-Present White Light Festival (Lincoln Center) 1988-Present Aldeburgh Festival (U.K.) 1988-Present PEDAGOGY Mannes School of Music | The New School 2019-Present NY02 | Carnegie Hall 2016 Access Orpheus | Orpheus Chamber Orchestra 2015-Present Ensemble Connect | Carnegie Hall 2013-Present Orpheus Leadership Institute | Orpheus Chamber Orchestra 2012-Present Colorado College Summer Music Festival 1988-Present Masterclasses: The Juilliard School, Stony Brook University, Princeton University, Indiana University, The Paris Conservatory, University of Illinois, Montclair State University ADJUDICATION The Juilliard School Flute Competition, The Juilliard School Concerto Competition, The Juilliard School Pre-College Competition, Manhattan School of Music, Ensemble Connect | Carnegie Hall EDUCATION The Juilliard School, Bachelor of Music New England Conservatory Preparatory School Teachers: Julius Baker & James Pappoutsakis Previous Next

Narodytska < Back Maria Narodytska Jan 29 at 10:00am EST (26+) F. Schubert: Valses Nobles D. 969; M. Mussorgsky: Pictures at an Exhibition Maria Narodytska is a pianist of Ukrainian origin. Her international concert activity includes such venues as Laeiszhalle in Hamburg; Sala Maffeiana in Verona; Casa da Musica in Porto; Ruth Taylor Recital Hall in San Antonio; Hylton Performing Arts Center in Virginia as well as theaters and concert halls all over the world. In 2019 an album with Maria Narodytska playing Brahms was released under the label OnClassical for further worldwide distribution by Naxos of America. This work has already got a positive review at Rai Radio 3 – one of the most important radio stations in Italy, devoted to classical music. Her second album for Nationalux as a winner of “The most beloved artist” prize at Richter IPC was released on the 18th of September 2020. Her third album devoted to Schubert appeared under OnClassical, published by Naxos of America in March 2021. The next two albums are planned for release in 2022. Maria Narodytska is a winner of over 40 international piano competitions including over 15 first prizes won only during the last two years. Previous Next

< Back David Wroe Conductor Learn More Videos About Maestro Wroe is Music Director of the New Jersey Festival Orchestra, Principal Conductor at Phoenicia International Festival of the Voice in New York, and a frequent conductor of L’Orchestre Régional de Normandie in France. From 2000-2014 he was a regular conductor with New York City Opera, leading and assisting in numerous productions. Orchestras conducted include the Boston Symphony Orchestra, Saint Louis Symphony, Royal Scottish National Orchestra, L’Orchestre National de Lille, Opera de Toulon, New Jersey Symphony L’Ensemble de Paris, Symphony Nova Scotia, Kansas City Symphony, Santa Fe Symphony, New York City Ballet, Neue Brandenberg Symphony, L’Orchestra Lamoureux with cellist Mstislav Rostropovitch, Opera de Toulon, Jerusalem Symphony Orchestra, Das Loh-Orchester Sondershausen, Philharmonische Orchester der Stadt Heidelberg, Delaware, Harrisburg, Huntsville, De Moines Symphony, and numerous tours of Western Austria with Vorarlberg Symphony and at the Bregenz Frühlings Festival. Maestro Wroe is a preferred conductor in Asia, having directed the Taiwan National Symphony, Pusan Philharmonic, Shenzhen, Macau, Hangzhou, Nanjing, Wuhan, Zhejiang, Guiyang, and The Taipei and Taijung Symphony Orchestras. He was Music Director of Music on the Mountain: Garrett Lakes Arts Summer Festival in Maryland from 2000 – 2006, and Music Director and Founder of the Kansas City Camerata from 1990-1996. Maestro Wroe was Seiji Ozawa’s Assistant Conductor at the Boston Symphony Orchestra, leading the Orchestra in Tanglewood (with Joshua Bell) in Boston’s Symphony Hall (with Horacio Gutierrez), collaborating with Jesse Norman’s recording of “Phraeda”, and Itzhak Perlman’s recording of Benstein’s Serenade, and touring Europe with the Boston Symphony Orchestra Chamber Players. 2007 marked Maestro Wroe’s recording debut with L’Orchestre National de Lille on the TransArt label with pianist Bruno Fontaine, and numerous broadcast recordings, through Austrian Broadcasting Authority (ORF), with the Vorarlberg Symphony. In addition to his residency at New York City Opera, Maestro Wroe was Resident Conductor at Oper der Stadt Heidelberg (1998-2002), Principal Conductor at Opera Delaware (2000 – 2005), and directed the summer ‘Opera Under the Stars’ series at the 7000 seater Garden State Arts Center in NJ. From 2005-10 he was Music Director of Opera Teatro Gratticielo in NY, opened for the newly formed Fresno International Grand Opera, and served as Judge with Anna Moffo for the Metropolitan Opera National Council Auditions. Maestro Wroe, through the NJ Festival Orchestra, has diverse experience in cross-over genres, having collaborated with Kristin Chenoweth, Mannheim Steamrollers, Celtic Women, The 3 Irish Tenors, Natalie Merchant, Joan Rivers, Don Rickles, Bob Newhart, Jackie Evancho and Celtic Thunder, and a return guest at Ocean City Pops Orchestra, to name but a few. Maestro Wroe devotes considerable time to aspiring musicians. In 2014 he held a residency at Brown University Symphony Orchestra (Rhode Island) as its Interim Music Director, was Principal Conductor at N.Y. University Symphony Orchestra (2008-2011), and Director of Orchestras at Montclair State University, NJ (2000-2005). He led the Boston Symphony Orchestra Youth Concerts, the Taipei Symphony Orchestra Summer Youth Festival, given master-classes at New England Conservatory, Harvard University, Rutgers University and University of Alabama. He has served as Judge for the Music Assistance Fund administered by the League of American Orchestras, and was the Chairman of the Jury of the New Jersey MTA State Concerto Competition. Awards are numerous, including the Seiji Ozawa Fellowship at Tanglewood, a citation in United States Congress for community commitment, and finalist in the 1st Bernstein International Conducting Competition. He attended Lancing College, has a BMus from Manchester University (England), a MM from Northwestern (Chicago), and studied with Gustav Meier and Victor Yamposky. Previous Next

< 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 Yael Weiss Piano Learn More Videos About A captivating presence on the concert scene, award-winning Israeli-American pianist Yael Weiss has been hailed by many of today's greatest musicians and critics for visionary interpretations of surpassing depth, immediacy and communicative power. Following a recent recital, the Washington Post portrayed her as “a pianist who delves deeply and tellingly into that cloudy area where fantasy morphs into improvisation, inventiveness being common to both.” Ms. Weiss has performed across the United States, Europe, Japan, Korea, New Zealand and South America at such venues as Carnegie Hall, Lincoln Center, the Kennedy Center, Benaroya Hall, Moscow’s Bolshoi Hall and London’s Wigmore Hall. Her New York recital debut, presented by the Metropolitan Museum, was acclaimed by the New York Times as, "remarkably powerful and intense . . . fine technique and musicianship in the service of an arresting array of music." Ms. Weiss has appeared as soloist with many international orchestras, including the Prague Chamber Orchestra, Jerusalem Symphony Orchestra, the Seattle Symphony, Santa Fe Symphony, Israel Chamber Orchestra, and the Brazil National Symphony, to name a few. She is also in demand at international music festivals, such as Marlboro, Ravinia, City of London, Banff, Parry Sound, Caramoor, Hornby Island Festival, Changwon International Festival, and the Seattle Chamber Music Festival. A significant part of Ms. Weiss’s current touring schedule is devoted to her international commissioning and performance project, “ 32 Bright Clouds: Beethoven Conversations Around the World ” . This groundbreaking endeavor brings together composers from 32 countries of conflict and unrest throughout the world, joined together in sending a message of oneness and peace. Each new composition is inspired by one of Beethoven’s 32 Piano Sonatas, and the entire cycle of new works is unified by a single “peace motif” from Beethoven’s Missa Solemnis. Ms. Weiss has presented “32 Bright Clouds” recitals in Korea, Cuba, Austria, Canada and in venues throughout the US, performing programs that combine Beethoven with new works from around the world. Her 2020 recital for the Smithsonian Institution was featured on NPR’s “All Things Considered” and was attended by audiences internationally via YouTube Premiere. An advocate for the power of music in the service of peace, Yael Weiss has been interviewed on the WWFM Classical Network’s “A Tempo” and “Between the Keys” shows. She has also been a frequent guest on American Public Media’s Performance Today and St. Paul Sunday, on the BBC in London, and on New York’s WQXR and WNYC. Her 2016 recital from the National Gallery was selected for broadcast on WETA’s “Front Row Washington”. She has appeared numerous times on Israeli television, and presented a recital filmed live for NHK television in Japan. Weiss’s discography encompasses piano works by over a dozen composers, with such releases as “Robert Schumann: Piano Works” and “88 Keys to Joy”, on the Koch International Classics label. In 2021, Toccata Classics released her premiere recording of Aviv : Concerto for Piano and Chamber Orchestra, written for her by composer Joel Feigin. Ms. Weiss is also devoted to chamber music, and tours worldwide with violinist Mark Kaplan and cellist Peter Stumpf as the Weiss-Kaplan-Stumpf Trio . Their recordings of complete Beethoven Piano Trios will be released in 2023 on Bridge Records. The Trio’s discography also includes CDs of Brahms, Smetana, Chihara, Lansky and Lerdahl trios, as well as a new-music release, “An American Tour”, featuring world premiere recordings of compositions by American composers Schoenfield, Chen Yi, Auerbach and Newman. Ms. Weiss has been honored with distinguished prizes from the Naumburg International Piano Competition and the Kosciuszko Foundation Chopin Piano Competition. She is a recipient of the Presser Award as well as grants from the America-Israel Cultural Foundation. She studied with Richard Goode and Edward Aldwell at the Mannes College of Music and with Leon Fleisher and Ellen Mack at the Peabody Conservatory. Yael Weiss has presented master-classes for top institutions worldwide and served on the faculties of Indiana University’s Jacobs School of Music, UC Santa Barbara and the Heifetz Institute. Away from the piano, Yael Weiss is an avid runner, regularly taking part in marathons and other long-distance races. Born in Israel, she currently makes her home in New York City. Previous Next

Teresa Laiz < Back Teresa Laiz Previous Next Teresa Laiz 🇪🇸 Spain CASTANETIST Teresa Laiz (Madrid, 1966) Dancer, Teacher, Composer and Castanets Soloist. Director/Founder of the International Castanets Festival. Member of the International Dance Council CID - UNESCO. Orchestra and Band Conducting Studies. Degree in English Philology. Doctoral Courses in Linguistics. Master in Personnel Management. After teaching and performing as a Flamenco dancer, she began her career as a castanets soloist in 2006 composing her own Castanets scores, offering concerts, teaching and writing her own Castanets Method. Discography “Repicando el Alma” (2007). Participation in the Soundtrack of the film The Man Who Killed Don Quixote by Roque Baños, directed by Terry Gilliam 2018.