In June 2016 he debuted with the Rotterdam Philharmonic Orchestra as conductor and solo pianist. No less than two months later, his appointment as Chief Conductor was announced and he became the youngest conductor to hold the position in the orchestra’s history. The Rotterdam Philharmonic with Shani have an exclusive recording contract with Warner Classics.

Shani’s close relationship with the Israel Philharmonic Orchestra began well over 10 years ago. He debuted with the orchestra aged sixteen, and in 2007 performed Tchaikovsky Piano Concerto under the baton of Zubin Mehta aged eighteen. He then went on to play regularly with the orchestra as a double bassist. In 2013, after winning the Gustav Mahler International Conducting Competition in Bamberg, the orchestra invited him to step in to conduct their season-opening concerts. Since then, he has returned to the orchestra every year as both a conductor and pianist.

Recent and upcoming guest conductor highlights include engagements with Wiener Philharmoniker, Berliner Philharmoniker, Gewandhaus Orchester, Münchner Philharmoniker, Symphonieorchester des Bayerischen Rundfunks, London Symphony Orchestra, Filarmonica della Scala, Boston Symphony Orchestra, Chicago Symphony Orchestra, Royal Concertgebouw Orchestra, Philadelphia Orchestra, Budapest Festival Orchestra, Orchestre de Paris and Philharmonia Orchestra. In March 2022 Lahav Shani conducted Munich’s Benefit concert in aid of Ukraine at the Isarphilharmonie with Anne-Sophie Mutter and the three orchestras of the city, Bayerisches Staatsorchester, Symphonieorchester des Bayerischen Rundfunks and Münchner Philharmoniker. In the 2022/2023 season, he began his 3-year residency at the Konzerthaus Dortmund.

Born in Tel Aviv in 1989, Shani began his piano studies aged six with Hannah Shalgi, before continuing with Prof. Arie Vardi at the Buchmann-Mehta School of Music. He went on to study conducting under Prof. Christian Ehwald and piano with Prof. Fabio Bidini at the Academy of Music Hanns Eisler, Berlin and was mentored by Daniel Barenboim during his time there.

As a pianist, Shani has performed as a soloist with Daniel Barenboim, Zubin Mehta and Gianandrea Noseda. He has play-directed piano concerti with many orchestras including the Vienna Philharmonic, Philharmonia Orchestra, Filarmonica della Scala, Staatskapelle Berlin and Royal Concertgebouw Orchestra. Shani also has considerable experience performing chamber music and in recital and is a regular performer at the Verbier Festival, and has also appeared at the Aix-en-Provence Easter and Jerusalem Chamber Music Festivals, and in duo recitals with Martha Argerich.

Liv Redpath is quickly becoming a leading soprano leggero on the opera and concert stage. She has been engaged by the Metropolitan Opera, Deutsche Oper Berlin, The Santa Fe Opera, Edinburgh International Festival, Los Angeles Philharmonic, Bregenzer Festspiele, Seattle Symphony, LA Opera, Lyric Opera of Chicago, Radio Filharmonisch Orkest, and Aspen Music Festival, among others, and has collaborated with conductors Yannick Nézet-Séguin, Gustavo Dudamel, Vasily Petrenko, Andrés Orozco-Estrada, William Christie, James Conlon, Emmanuel Villaume, Barbara Hannigan, and Christophe Rousset. Her wide-ranging operatic repertoire includes Le nozze di Figaro, Der Rosenkavalier, Hänsel und Gretel, L’elisir d’amore, Ariadne auf Naxos, Les Huguenots, The Golden Cockerel, A Midsummer Night’s Dream, Cendrillon, and Lakmé. She is a graduate of Harvard University and The Juilliard School.

Julien Quentin’s remarkable musical depth, clear and distinct sound, combined with flawless technique, make him a highly sought-after artist as both a soloist and chamber musician worldwide. Born in Paris, the French pianist began his studies at the Geneva Conservatory, then at Indiana University and the Juilliard School. He created “Musica Litoralis,” a concert series in the spirit of the Roaring Twenties that is enjoying growing success. He regularly explores new art forms and other musical genres with numerous visual artists, with pianists Kelvin Sholar, Kaan Bulak, and Francesco Tristano, as well as producers Adrien de Maublanc and Cesar Merveille, in projects ranging from improvisation to electronic music.

For nearly four decades, Thomas Quasthoff has established himself on the international stage, overwhelming countless listeners with his art. He completed his outstanding singing career in 2012, earning multiple titles and awards However, the German bass-baritone has kept close links with singing and music as a professor at the Hochschule für Musik Hanns Eisler Berlin and in various masterclasses. This dedication led him to found the International Singing Competition Das Lied in the German capital in 2017. He has explored many other fields, revealing his talents as a conductor, jazz singer, actor, narrator and actor, from Shakespeare’s works to the colourful world of cabaret.

Born in Dresden, Pape has been a member of the Berlin State Opera since 1988, but considers New York’s Metropolitan Opera his operatic “home away from home.” Since his house debut in 1995, he has appeared at the Met in 18 roles and more than 160 performances, including four major debuts: Méphistophélès in Faust, Gurnemanz in Parsifal, Escamillo in Carmen, and the Old Hebrew in Samson et Dalila. But it was at the famous Unter den Linden – home of the Berlin State Opera – where Pape honed most of the great roles of his career.

Music Director Daniel Barenboim was an early supporter, and the Berlin State Opera has played host to Pape’s performances as King Marke in Tristan und Isolde; King Heinrich in Lohengrin; Sarastro in Mozart’s Die Zauberflöte; Pogner in Die Meistersinger; Rocco in Beethoven’s Fidelio; Fasolt in Das Rheingold; Hunding in Die Walküre; and the title role in Don Giovanni. The opera house was also the venue for Pape’s appearances as Ramfis in Verdi’s Aida; Figaro in Mozart’s Le nozze di Figaro; Leporello in Don Giovanni; and Orest in Strauss’s Elektra. In 2006 he expanded his repertoire to include the title role in Boris Godunov, which won him the title “Artist of the Year” from the German Critics Association.

Mr. Pape’s 2019/20 season highlights include Don Carlo and Parsifal at the Wiener Staatsoper; Don Carlo and Boris Godounov for Opéra national de Paris, Tristan und Isolde at the Staatstheater Wiesbaden, Die Lustigen Weiber von Windsor, Die Zauberflöte, the New Year’s Concert Galas singing Beethoven’s Symphony No.9 at the Staatsoper Berlin.

He also sings two Lieder recitals with pianist Camillo Radicke: at Graz’s Musikverein and at the Wiener Staatsoper, where he will also perform at the Europäische Kulturpreis Pro Europa.

His 2018/19 season included Tristan und Isolde at the Opéra Bastille, Elektra, Die Zauberflöte and Parsifal at the Wiener Staatsoper, Fidelio, Elektra, Die Zauberflöte, Macbeth and Tristan und Isolde at the Staatsoper Berlin, a new production of T.H.A.M.O.S. in Salzburg and Parsifal at the Bavarian State Opera.

In recent seasons, Pape has also starred in the title role of Mussorgsky’s Boris Godunov, and has increased his recital activities around the world. Anthony Tommasini of the New York Times praised Pape’s role debut as Boris at the Metropolitan Opera: “With his towering physique and unforced charisma, Mr. Pape looks regal and imposing. Yet with his vacant stare, the haggard intensity in his face, his stringy long hair and his hulking gait, he is already bent over with guilt and doubt. Mr. Pape has vocal charisma as well, and his dark, penetrating voice is ideal for the role. Not knowing Russian, I cannot vouch for the idiomatic quality of his singing. But his enunciation was crisp and natural. And in every language, Mr. Pape makes words matter.”

Of his Wigmore Hall recital in 2018, Peter Reed from Classical source stated “Pape has the gift of reeling you in with his focus and stillness, and gestures such as one warning finger (in the Mozart) or both arms expansively raised in just one of his Sibelius set were more or less it in terms of dramatic emphasis. It was all down to the authority and intensity of his singing that leaves you with the impression that his voice is inexhaustible, with colour, substance, imagination and nuance to spare from pitch-black to a quietness of exceptional delicacy.”

Camilla Nylund, born in Vaasa (Finland), first studied with Eva Illes, later in the opera and song class at the Mozarteum in Salzburg. In December 1995 she was awarded the Lilli Lehmann Medal by the International Mozarteum Foundation.

After permanent engagements in Hanover and at the Semperoper Dresden, Camilla Nylund is now one of the internationally most sought-after singers in her field and is a regular guest at all major opera houses – at the Vienna State Opera, the Bavarian State Opera in Munich, the Metropolitan Opera New York, La Scala di Milano, the Paris Bastille, the Berlin and Hamburg State Operas, the Deutsche Oper Berlin, at the Bayreuth and Salzburg Festivals, in Barcelona, Valencia, Zurich, Helsinki, Cologne, Frankfurt, Amsterdam, Tokyo, San Francisco.

The artist’s repertoire includes all major parts of the classic-romantic repertoire. Especially with her interpretation of Richard Wagner – Elisabeth, Elsa, Sieglinde, Senta, Isolde, Brünnhilde- and Richard Strauss – Marschallin, Arabella, Gräfin (Capriccio), Chrysothemis, Kaiserin (Frau ohne Schatten), Ariadne, Salome – Camilla Nylund is always anew setting artistic standards.

In addition to her active work on the international opera stages, she is also a regular guest in all major concert halls – Konzerthaus and Philharmonie Berlin, Herkulessaal Munich, “Isarphilharmonie” Munich, Gewandhaus Leipzig, Concertgebouw Amsterdam, Wiener Musikverein, Wiener Konzerthaus, Elbphilharmonie Hamburg, Tonhalle Zürich, in Rome, at the BBC Proms, in Philadel-phia, Cleveland, Boston.

Both within the opera and concert field Camilla Nylund is working with all major Maestri of our time – such as Zubin Mehta, Sir Simon Rattle, Esa-Pekka Salonen, Christian Thielemann, Andris Nelsons, Daniel Barenboim, Simone Young, Carina Kanellakis, Vladimir Jurowski, Gianandrea Noseda, Riccardo Muti, Marek Janowski and Susanna Mälkki.

For many years Camilla Nylund has been giving distinction to the Bayreuth Festival. In 2011 the artist made her debut on the “Green Hill” as Elisabeth in Tannhäuser. In the following years she appeared as Sieglinde (Walküre), Eva (Meistersinger), as well as in the role of Elsa (Lohengrin), in which she could also be heard at the Bayreuth Festival 2022.

In 2017 Camilla Nylund added an exciting new part to her repertoire: Marie in Wozzeck (Deutsche Oper am Rhein Düsseldorf). 2021 saw her first Jenufa (Berlin State Opera). In January 2022 she celebrated an acclaimed debut at the Frankfurt Opera in the part of Eine Frau in Arnold Schönberg’s monodrama Erwartung. The highlights of the 2021/22 season were her debuts as Isolde (Tristan und Isolde) and Brünnhilde (Walküre) at Zurich Opera. Her interpretation of Katerina (Lady Macbeth of Mzensk) in a new production at the Hamburg State Opera in January 2023 was enthusiastically received by audiences and press alike. The debuts of the Siegfried and Götterdämmerung Brünnhilde will follow in the next seasons also in Zurich.

Camilla Nylund also pays a particular attention to the genre of the recital. Together with Helmut Deutsch she is dedicating her recital programs to the romantic German songs as well as to the composers from her Scandinavian homeland, especially Jean Sibelius.

The versatile artist showed previously unknown facets during the Corona pandemic. Following an idea by André Heller, whom she met during a new production of Der Rosenkavalier at the Berlin State Opera, the project “Great American Songbook” was born. In this concert film recorded for ORF III, she interprets love songs in the spirit of US show business from the 1930s to the 1970s together with the ORF Radio Symphony Orchestra Vienna conducted by Marin Alsop in varied arrangements ranging from “combo” to large symphonic orchestra. A DVD and CD of the project has been released in December 2022 by Naxos.

In recognition of her artistic achievements, Camilla Nylund has received numerous awards. In November 2022, she was presented with the Lotte Lehmann Memorial Ring – one of the world’s most prestigious awards for female opera singers. In September 2022, she was awarded with the European Culture Prize alongside other high-profile laureats in the Zurich Tonhalle. To honour Camilla Nylund’s long and successful artistic relationship with the Vienna State Opera, the artist was awarded the title of Austrian Kammersängerin (2019). The Semperoper Dresden has also appointed Camilla Nylund as Saxon Kammersängerin. She is also recipient of the Christel Goltz Prize of the Semperoper (2000), the Culture Prize of the Swedish Cultural Fund in Finland, the Pro Finlandia Medal, awarded by the Finnish President (2013), and the Finnish State Prize for Music (2019).

Recognised as one of the leading accompanists of his generation, he has worked with many of the world’s greatest singers including Sir Thomas Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, Susan Graham, Thomas Hampson, Della Jones, Simon Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Solveig Kringelborn, Jonathan Lemalu, Dame Felicity Lott, Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade, Sarah Walker and Bryn Terfel.

He has presented his own series at the Wigmore Hall (a Britten and a Poulenc series and Decade by Decade – 100 years of German Song broadcast by the BBC) and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughout Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera House; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie and Konzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein), North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia (including the Sydney Opera House) and at the Aix en Provence, Vienna, Edinburgh, Schubertiade, Munich and Salzburg Festivals.

Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel (for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI); recital recordings with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena (for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (for NMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and Tom Krause; the complete Britten Folk Songs for Hyperion; the complete Beethoven Folk Songs for Deutsche Grammophon; the complete Poulenc songs for Signum; and Britten Song Cycles as well as Schubert’s Winterreise with Florian Boesch for Onyx.

This season’s engagements include appearances with Simon Keenlyside, Magdalena Kozena, Dorothea Röschmann, Susan Graham, Christopher Maltman, Thomas Oliemanns, Kate Royal, Christiane Karg, Iestyn Davies, Florian Boesch and Anne Schwanewilms.

He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm was the Artistic Director of the 2011 Leeds Lieder+ Festival.

Daniel Lozakovich, whose music-making leaves both critics and audiences spellbound, was born in Stockholm in 2001 and began playing the violin at the age of seven. He made his solo debut two years later with the Moscow Virtuosi and Vladimir Spivakov.

Lozakovich opened the current season with his debut appearance at the BBC Proms, performing Brahms with BBC Symphony Orchestra and Fabien Gabel in Royal Albert Hall.

He is the season’s Artist in Residence with Orchestre Philharmonique de Monte-Carlo, performing concertos and recitals across the season.

This season dates includes Oslo Philharmonic under Klaus Mäkelä, Subscription series debut with Filarmonica della Scala in Teatro Alla Scala conducted by their Music Director Riccardo Chailly, Singapore Symphony, Royal Stockholm Philharmonic, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg, Seoul Philharmonic Orchestra.

Lozakovich now regularly performs with leading orchestras and the world’s eminent conductors including Adam Fischer, Semyon Bychkov, Christoph Eschenbach, Neeme Järvi, Cristian Măcelaru, Kazuki Yamada, Vasily Petrenko, Lahav Shani, Tugan Sokhiev, Dina Slobodeniouk and Lorenzo Viotti.
As a touring artist he has undertaken engagements in Japan with the hr- Sinfonieorchester under Andrés Orozco-Estrada and Asia with Valery Gergiev.

Highlight performances in North America are with the Chicago Symphony Orchestra, Cleveland Symphony Orchestra conducted by Klaus Mäkelä, Pittsburgh Symphony Orchestra and The Philadelphia Orchestra led by Nathalie Stutzmann, Boston Symphony Orchestra under Andris Nelsons and Los Angeles Philharmonic conducted by Esa-Pekka Salonen.

A highly sought-after recitalist, Lozakovich performs his recital debut at the Grand Hall of The Concertgebouw this season and next season in Carnegie Hall.
He has made appearances in historical theatres and halls as a recitalist at the Théâtre des Champs-Élysées, Fondation Louis Vuitton, Tonhalle Zürich, Victoria Hall Geneva, Conservatorio G. Verdi Milan, Mariinsky Theatre and more. On tour he has regularly appeared in esteemed concert halls as the Elbphilharmonie Hamburg, The Concertgebouw Amsterdam and the Konzerthaus Wien.

A regular at international music festivals, including the Verbier Festival, the Gstaad Menuhin Festival, Sommets musicaux de Gstaad, Baltic Sea Festival, White Nights Festival, Festival de Pâques – Aix-en-Provence, Tanglewood Music Festival, Blossom Music Festival, Pacific Music Festival, Corinthian Summer Music Festival in Austria, Colmar Festival, Festival de Saint-Denis, Tsinandali Festival and many more.

As a chamber musician, he has collaborated with such artists as Emanuel Ax,
Ivry Gitlis, Mikhail Pletnev, Sergei Babayan, Martin Fröst, Renaud Capuçon, Mischa Maisky, Alexandre Kantorow, Behzod Abduraimov and David Fray.

Aged 15, Lozakovich signed an exclusive recording contract with Deutsche Grammophon, and in 2018 released his debut album of Bach’s two violin concertos in collaboration with the Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks together with the solo Partita No. 2. The album reached number 1 in the all music category of the French Amazon charts and the classical album charts in Germany.
“None but the lonely heart”, Lozakovich’s second album, was released in 2019. Dedicated to Tchaikovsky, it includes the Violin Concerto, and the disc was recorded live with the National Philharmonic of Russia and Vladimir Spivakov. “Grammophone“ Magazine named this recording as “Top choice” spanning 70 years of best recordings of Tchaikovsky Violin Concerto.
Lozakovich’s third album, released in 2020, centres on the Beethoven Violin concerto, again recorded live, with the Münchner Philharmoniker under Valery Gergiev, and released as an audio album and e-video, in the 250th Beethoven anniversary year. An incredibly significant project to Lozakovich, who regards the concerto as one of the all-time greatest concerti ever written.

Lozakovich has been awarded many prizes including 1st prize at the 2016 Vladimir Spivakov International Violin Competition and “The Young Artist of the Year 2017” award at the Festival of Nations, the Premio Batuta Award in Mexico, and the Excelentia Prize under the honorary presidency of Queen Sofia of Spain. Lozakovich studied at the Hochschule für Musik Karlsruhe with Professor Josef Rissin from 2012 and graduated with Master Degree 2021.
From 2015 has been mentored by Eduard Wulfson in Geneva. Daniel Lozakovich plays the “ex-Sancy” 1713 Stradivari generously loaned by LVMH / MOET HENNESSY.LOUIS VUITON

Kyung Wha Chung is recognized throughout the world as one of the finest violinists of her generation. A prolific recording artist, her dazzling and probing artistry has made her a much-acclaimed performer throughout her forty-year career. Lauded for her passion, her musicality, and the intense excitement that she brings to her performances, Chung’s uniquely expressive interpretations of the violin literature have established her as an artist of the very highest stature. Born in South Korea, Chung first heard the violin at the age of six. Instantly mesmerized by its tone, she was swiftly recognized as a child prodigy, making her concert debut aged nine with the Seoul Philharmonic Orchestra, performing the Mendelssohn Violin Concerto. At thirteen, Chung enrolled at The Juilliard School, New York, and began studying with renowned pedagogue Ivan Galamian, and later with Joseph Szigeti.

Christian Tetzlaff has been one of the most sought-after violinists and most exciting musicians on the classical music scene for many years. “The greatest performance of the work I’ve ever heard,” wrote Tim Ashley (The Guardian, May 2015) of his interpretation of the Beethoven Violin Concerto with the London Symphony Orchestra and conductor Daniel Harding.

Concerts with Christian Tetzlaff often turn into an existential experience for both the interpreter and the audience; suddenly old familiar works appear in a completely new light. In addition, he frequently turns his attention to forgotten masterpieces such as Joseph Joachim’s Violin Concerto which he successfully championed, and he also attempts to bring important new works into the repertoire such as Jörg Widmann’s Violin Concerto, which he premiered in 2013. He has an unusually extensive repertoire and performs approximately 100 concerts every year.

Born in Hamburg in 1966 and now living in Berlin with his family, there are three things that make this musician unique, aside from his astounding skill on the violin. He interprets the musical manuscript in a literal fashion, perceives music as a language, and views great works as narratives which reflect existential experiences. As obvious as it may sound, he brings an unusual approach in his daily concert routine.

Christian Tetzlaff tries to follow the manuscript as closely as possible – without regard for “performance tradition” and without indulging in the usual technical short-cuts on the violin – often allowing a renewed clarity and richness to arise in well-known works. As a violinist Tetzlaff tries to disappear from the music – paradoxically this makes his interpretations very personal.

Secondly, Christian Tetzlaff “speaks” through his violin. Like human speech, his playing comprises a wide range of expressive means and is not aimed solely at achieving harmoniousness or virtuosic brilliance.

Above all, however, he interprets the masterpieces of musical history as stories about first-hand experiences. The great composers have focused on intense feelings, great happiness and deep crises in their music; as a musician Christian Tetzlaff also explores the limits of feelings and musical expression. Many pieces deal with none other than life and death. Christian Tetzlaff’s aim is to convey this to his audience.

Christian Tetzlaff played in various youth orchestras for many years. His teacher at the Lübeck University of Music was Uwe-Martin Haiberg, for whom musical interpretation was the key to mastering violin technique, rather than the other way round.

Christian Tetzlaff founded his own string quartet in 1994, and until now chamber music is still as important to him as his work as a soloist with and without the orchestra.

The Tetzlaff Quartett received the Diapason d’or in 2015, and the trio with sister Tanja Tetzlaff and pianist Lars Vogt was nominated for a Grammy award. Christian Tetzlaff has also received numerous awards for his CD recordings, including the “Jahrespreis der Deutschen Schallplattenkritik” in 2018, the “Diapason d’or” in July 2018 and the Midem Classical Award in 2017. The new  Ondine recording of Beethoven and Sibelius violin concertos with the Deutsches Symphonie-Orchester Berlin and Robin Ticciati is highly anticipated in autumn 2019.

Of special significance is his solo recording of Bach’s Sonatas and Partitas, which he has recorded for the third time and was released in September 2017. The Strad magazine praised this recording as “an attentive and lively answer to the beauty of Bach’s solos”.

Christian Tetzlaff plays a violin made by the German violin maker Peter Greiner and teaches regularly at the Kronberg Academy.

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