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Reginald “Swingdoom” Veal represents the pinnacle of what music should be- balanced extensions of the artist’s aesthetical and spiritual ideas, mixed with a universal awareness for the world that surrounds him. Reginald has a music career that has spanned well over thirty-five years. During these years he has had the pleasure of lending his chops to the Who’s Who among the music world’s luminaries. Reginald’s love and openness for all music that lifts the spirit and touches the depths of the soul, inarguably has contributed to his musical genius and catapulted him among the ranks of the greatest bass players alive today. He believes when music comes from the heart and soul it is real and what comes from the heart reaches the heart. People close to Reginald say he can be a nonconformist. But that is what he thinks his fans love about him the most – the fact that they can depend on him to not follow the norm. Reginald is the alternative to the thing that is so easy to get. He is predictable, but in an unpredictable way. In other words, Reginald “Swingdoom” Veal is “A breath of fresh air.”
A graduate of Thomson High School, Valdosta State University, and The Juilliard School, Christopher Crenshaw started playing piano at three years old and started playing trombone at eleven years old. He grew up playing keyboard with his father Casper in a gospel quartet from Thomson, Georgia, the Echoes of Joy. He has been with the Jazz at Lincoln Center Orchestra with Wynton Marsalis since 2006 and founded The Georgia Horns in 2011. He’s transcribed music and written arrangements for two Tony Award nominated musicals, After Midnight, and Shuffle Along…. He appears on numerous albums including Marcus Printup’s Ballads All Night, Wynton Marsalis and Eric Clapton Play the Blues, Paul Simon’s In the Blue Light, Ted Nash’s GRAMMY award-winning The Presidential Suite, and The Abyssinian Mass. Crenshaw has two albums of his own: The Georgia Horns Live at Dizzy’s Club with Marcus Printup, Thomson native Stantawn Kendrick, Kenny Banks, Jr., Kevin Smith, & Brandon McCrae, and Christopher Crenshaw’s ‘The Fifties: A Prism’ with the JLCO featuring Stantawn Kendrick.
Dan Nimmer was born in 1982 in Milwaukee, Wisconsin. As a young man, Nimmer’s family inherited a piano on which he started playing by ear.
Nimmer studied classical piano and eventually became interested in jazz. At the same time, he began playing gigs around Milwaukee.
Upon graduation from high school, Nimmer left Milwaukee to study music at Northern Illinois University. It didn’t take him long to become one of Chicago’s busiest piano players. Working a lot in the Chicago scene, Nimmer decided to leave school and make the big move to New York City where he immediately emerged on the New York scene. In 2005, a year after moving to New York, he became a member of the Jazz at Lincoln Center Orchestra as well as the Wynton Marsalis Quintet and Septet, all of which he is currently a member.
Nimmer has performed and recorded with Jimmy Cobb, Norah Jones, Willie Nelson, Renée Fleming, Houston Person, Fareed Haque, Ruben Blades, Lewis Nash, and many more.
He has released six of his own trio albums on the Venus label (Japan).
Antoine Jaccoud est né à Lausanne. Formé au scénario par le cinéaste polonais Krysztof Kieslowski, il a notamment coécrit et dialogué les films d’Ursula Meier (« Home », « L’Enfant d’en Haut » -ours d’argent à la Berlinale 2012, et tourné à Verbier !- et plus récemment « La Ligne »). Mais Antoine Jaccoud est également un auteur de théâtre dont le premier monologue « Je suis le Mari de Lolo », inspiré du destin tragique d’une actrice porno, donne en 2001 l’un de ses grands rôles à Roland Vouilloz, prix culturel du Valais 2023. D’autres pièces suivront, tel cet « Au revoir », adieu d’un père à ses enfants partis pour Mars écrit pour Mathieu Amalric, et aujourd’hui traduit et joué aussi bien en Amérique latine qu’en Iran, ou ce « (Juste) avant » qu’il écrit pour Marthe Keller et le même Amalric, dont le rôle est aujourd’hui repris par Arthur Nauzyciel, et que jouaient récemment encore, sur les scènes d’Autriche et d’Allemagne, le regretté Peter Simonischek et sa compagne Brigitte Karner.
Christopher Ventris is one of the world’s leading Heldentenors and the pre-eminent Siegmund and Parsifal of his generation. From his acclaimed Bayreuther Festspiele debut as Parsifal in Stefan Herheim’s new production (Daniele Gatti), he went on to innumerable appearances in the role including at Wiener Staatsoper (under both Franz Welser-Möst and Semyon Bychkov), Bayerische Staatsoper (Kent Nagano), Royal Opera House, Covent Garden (Bernard Haitink), Opéra national de Paris (Hartmut Haenchen), San Francisco Opera (Donald Runnicles) and at Opernhaus Zürich (Haitink), the latter portrayal immortalised on DVD. As Siegmund (Die Walküre), Ventris has appeared at Wiener Staatsoper (Sir Simon Rattle), Bayreuther Festspiele, (Marek Janowski), Semperoper Dresden (Christian Thielemann), Washington National Opera (Philippe Auguin), Dutch National Opera (Marc Albrecht) and features on a live recording from Wiener Staatsoper (Thielemann).
Elsewhere in the Wagner repertory, Ventris joined Philippe Jordan at Salzburger Festspiele in the title role Rienzi, made his role debut as Tannhäuser under Sir Mark Elder at Opéra national de Paris, and appeared as Lohengrin at Grand Théâtre de Genève, Teatro Real Madrid and The Dallas Opera. His role debut in Tristan und Isolde at Théâtre de la Monnaie under Music Director Alain Altinoglu, was met with great acclaim: “In the love duet, he sang with honeyed warmth, blending handsomely with Isolde and the orchestra below …” and was followed by concert performances at Royal Danish Opera under Lothar Koenigs.
While Wagner’s music has played a key role in the development of his international career, Ventris’ repertoire flexibility has been pivotal to his enduring success: he has been seen as Peter Grimes at Opernhaus Zürich and Deutsche Oper Berlin, Florestan (Fidelio) at Washington National Opera, Sergei (Lady Macbeth of Mtsensk) in Geneva, Madrid, London and Brussels, and Jimmy Mahoney (Aufstieg und Fall der Stadt Mahagonny) at Berliner Staatsoper, Opernhaus Zürich and Wiener Staatsoper. Števa in Janáček’s Jenůfa marked his debut at the Metropolitan Opera and he more recently sang Laca in Dmitri Tcherniakov’s production at Opernhaus Zürich. Max (Der Freischütz) marked his debut at Teatro alla Scala, he appeared as Pfitzner’s Palestrina at Bayerische Staatsoper and one of his many roles at the Royal Opera House, Covent Garden was Manolios in Martinů’s The Greek Passion. His role debut as Prince Andrey Khovansky (Khovanshchina) at Wiener Staatsoper conducted by Semyon Bychkov, was subsequently seen at London’s Royal Albert Hall as part of the 2017 BBC Proms and he returned to the Metropolitan opera in the 2019/20 season in his role debut as Tambour’ Major (Wozzeck), conducted by Yannick Nézet-Séguin and in William Kentridge’s acclaimed production.
Last season, Ventris revisited his success as Tambour’ Major both in production at the Palau de les Arts Reina Sofia under James Gaffigan and in concert with the Boston Symphony Orchestra and Andris Nelsons in Boston and at Carnegie Hall. The current season includes a return to the role of Erik (Der fliegende Holländer) for both Canadian Opera Company under Johannes Debus and Vancouver Opera, and Parsifal with Orquesta de Extremadura under Pablo Heras-Casado.
Hannah Stone, former Harpist to H.R.H. the Prince of Wales, studied at the Guildhall School of Music and Drama, London where she gained a B.Mus. and M.Mus. degree. As part of her Master’s degree, she accepted an Erasmus Exchange place at the Universitat Mozarteum, Salzburg, to study with Professor Helga Storck.
During her studies at the Guildhall Hannah was selected to represent the Guildhall School in collaboration with the Academies Festival Orchestra, Singapore. This project culminated in an opening gala performance for the Singapore Sun Festival at the Esplanade Theatre with Dame Kiri te Kanawa. In 2010 Hannah returned to Wales to further her studies at the Royal Welsh College of Music and Drama, Cardiff, supported by the Victor Salvi Scholarship and graduated in 2012.
A National and International Eisteddfod winner, Hannah was also a major prize winner at the Franz Joseph Reinl Competition in Vienna, the Camac Harp Competition in London and the International Harp Competition in Caernarfon.
Hannah has performed at many notable venues including the Barbican Centre, LSO St Luke’s, St John’s Smith Square, Museum of London, National Concert Hall in Dublin, St David’s Hall and the Wales Millennium Centre in Cardiff. In 2010 Hannah was appointed principal harpist with the Schleswig Holstein Festival Orchestra touring Europe. She has performed as guest soloist with orchestras including the BBC National Orchestra of Wales, Sinfonia Cymru, RTÉ Concert Orchestra, English Chamber Orchestra and Borusan Philharmonic Orchestra, Istanbul.
Hannah has performed for members of the Royal Family on several occasions including performances during the Queen’s Diamond Jubilee tour of Wales. During the 2014 NATO Conference Dinner at Cardiff Castle, Hannah performed for the NATO delegates who included the former President of the United States, Barack Obama, Chancellor of Germany, Angela Merkel and former Prime Minister, David Cameron.
She has given recitals at the Edinburgh International Festival, Litchfield Festival, Kings Lynn Festival, Kings Place, London and at the Chapel Royal, Hampton Court Palace. Hannah gave the World Premiere of ‘St Asaph’s Dance’ by Karl Jenkins in 2012 and ‘Amaterasu’ by Gareth Glyn in 2015 at the North Wales International Music Festival. Abroad, she has given recitals in Italy, Tokyo and Melbourne.
Broadcasts include ‘Bryn Terfel’s Christmas’, ‘Carols from Llandudno’, ‘Noson Lawen’ and ‘Dechrau Canu Dechrau Canmol’ for S4C and ‘In Tune’ for BBC Radio 3. Hannah features on Catrin Finch’s ‘Lullabies’ on the Deutsche Grammophon label.
In 2016 Hannah gave recitals in Toronto and Vancouver and recent engagements include performances at the Verbier Festival, Cardiff’s ‘Festival of Voice’, ‘Alison Balsom and Friends’ concert at the Royal Albert Hall and a memorial service for Lord Snowdon at St. Margaret’s Church, Westminster Abbey.
Après des études d’arts plastiques et de cinéma, Arthur Nauzyciel entre en 1987 à l’école du Théâtre national de Chaillot dirigée par Antoine Vitez.
Il crée ses premières mises en scène en 1999.
Il travaille régulièrement aux États-Unis et également pour la danse et l’opéra. Il dirige le CDN d’Orléans de 2007 à 2016 et est directeur du Théâtre National de Bretagne depuis 2017.
Jian Wang began to study the cello with his father when he was four. While a student at the Shanghai Conservatoire, he was featured in the celebrated documentary film From Mao to Mozart: Isaac Stern in China. In 1981, at 12 years old, Jian made his professional debut playing the Saint Saens cello concerto with the Shanghai Symphony Orchestra at the Shanghai Music Hall. In 1985, with Mr Stern’s encouragement, he entered the Yale School of Music under a special programme where he studied with the renowned cellist Aldo Parisot.
As a soloist, Jian Wang has performed with many of the worlds leading orchestras, including Berlin Philharmonic, Royal Concertgebouw orchestra, New York and Los Angeles Philharmonic, Cleveland and Philadelphia orchestras, Chicago, Boston and Detroit Symphonies, , London Symphony, the Halle, the BBC orchestras, Zurich Tonhalle, Gothenburg Symphony, Stockholm Philharmonic, Santa Cecilia, La Scala, Mahler Chamber, Orchestre National de France, Orchestre de Paris, Czech Philhamonic, and NHK Symphony. These concerts have been with many of the greatest conductors, such as Abbado, Sawallisch, Jarvi, Chailly, Dutoit, Eschenbach, Chung, Gilbert and Gustavo Dudamel. Jian Wang also collaborates frequently with all the major Chinese Orchestras, including Shanghai Symphony, China Philharmonic, China NCPA orchestra, China National orchestra, Guangzhou, Shenzhen symphony orchestras and Hangzhou Philharmonic. These concerts have been with one of his closest musical partners Long Yu, as well as Muhai Tang, Chen Zuo Huang, Lu Jia, Zhang Guo Yong, Yang Yang, Xu Zhong, Lin Da Ye, Jing Huan and Zhang Jie Ming. Jian Wang was appointed as the first ever Artist in Residence by the China National Center for Performing Arts, also by the Shanghai Symphony orchestra. As a jury member, Jian Wang has judged many of the most important competitions, including the Tchaikovsky cello competition, the Queen Elizabeth cello competition, the Weiniawsky Violin Competition, the Isaac Stern violin competition and the Nielsen violin competition. Jian Wang now serves as the International Chair of the Cello for the Royal Birmingham Conservatoire. He also serves as a member of Artistic committee for the Shanghai Symphony and Hangzhou Philharmonic. Since 2022, Jian Wang is a cello professor at the Shanghai Conservatory.
Jian Wang has made many recordings, his latest releases being the Elgar Cello Concerto with the Sydney Symphony and Vladimir Ashkenazy. He has also recorded an album of short pieces for Cello and Guitar titled Reverie, the complete Bach Cello Suites and a Baroque Album with the Camerata Salzburg, Brahms Double Concerto with the Berlin Philharmonic Orchestra, Claudio Abbado and Gil Shaham, the Haydn Concerti with the Gulbenkian Orchestra under Muhai Tang, Messiaen’s Quartet for the End of Time (with Myung-Whun Chung, Gil Shaham and Paul Meyer) and Brahms, Mozart and Schumann chamber music with Pires and Dumay. His instrument is graciously loaned to him by the family of the late Mr. Sau-Wing Lam.
Jing Huan currently serves as Principal Conductor of the Guangzhou Symphony Orchestra and Music Director of the Guangzhou Symphony Youth Orchestra. She also serves on the boards of the China Musicians Association and Jeunesses Musicales International (JMI). In August 2022, she participated in the 2022 National Outstanding Young Artists (Conductors) Showcase organized by the Publicity Department of the Communist Party of China, China Federation of Literary and Art Circles and the China Musicians Association. On that occasion, she was selected among the “Top Ten Young Conductors of China.”
A graduate of Beijing’s Central Conservatory of Music who received her training with Professor Xu Xin, she obtained her Master’s Degree in Orchestral Conducting in 2009 at the University of Cincinnati College-Conservatory of Music (CCM) under the tutelage of Mark Gibson, where she was awarded a full scholarship to continue her doctoral studies, concurrently serving as the Conductor Assistant of the Cincinnati Symphony Orchestra (CSO), including the CSO’s May Festival (2011–2013). During the same period, she was also Assistant Conductor of the Cincinnati Symphony Youth Orchestra and Principal Guest Conductor of the Artaria Chamber Orchestra.
In June 2012, Jing Huan was one of two prizewinners at the inaugural Li Delun National Conducting Competition held in Qingdao, China. In the same year, she participated in the Campos do Jordão International Festival in São Paulo, where her outstanding performance led to an invitation by Maestra Marin Alsop to serve as Assistant Conductor of the São Paulo State Symphony’s 2013 music season. That same year, Jing Huan and her work with the Cincinnati Symphony Orchestra attracted the attention of Maestro Long Yu, which led to her appointment at the GSO.
In December 2013, Jing Huan made her critically-acclaimed debut concert as the Resident Conductor of the Guangzhou Symphony Orchestra, leading soloist Maxim Vengerov in Tchaikovsky’s Violin Concerto. Since then, she has received invitations and collaborated with such orchestras as the China Philharmonic, Shanghai Symphony, Shenzhen Symphony, Hangzhou Philharmonic, Guiyang Symphony, Ningbo Symphony, Xi’an Symphony, Qingdao Symphony, Sichuan Symphony, Shaanxi Symphony, Xinjiang Symphony, Kunming Nie Er Symphony, Shenyang Symphony, Macao Orchestra,Macao Chinese Orchestra and Tianjin Julliard Symphony during their music seasons, garnering much praise. She has collaborated with such renowned soloists as Yo-Yo Ma, Lang Lang, Rudolf Buchbinder, Vadim Repin, Gil Shaham, Midori, Robert Blocker, Noah Bendix-Balgley, Jian Wang, Lü Siqing, Li-Wei Qin, Zhang Haochen, Chen Sa, Warren Mok, Liao Changyong, Liang Ning and Huang Ying.
In 2014, Jing Huan was appointed as Music Director of the Guangzhou Symphony Youth Orchestra (GSYO). Under her leadership, the orchestra charted remarkable progress and made their first tour to Europe, appearing at the Berlin Philharmonie under the auspices of Young Euro Classic in August 2015. Jing Huan’s achievements at the helm of the GSYO attracted the attention of Jeunesses Musicales International, and she was elected to serve on JMI’s Board in July 2016.
In October 2016, Jing Huan presented a concert entitled “In Love with Shakespeare” at the Beijing Music Festival to commemorate the 400th anniversary of Shakespeare’s death. In January 2017, she was appointed Secretary-General of the Artistic Committee of Youth Music Culture Guangdong (YMCG) and conducted its critically-acclaimed opening concert.
In May 2017, Jing Huan conducted the Guangzhou Symphony Orchestra on their European tour to Italy and the United Kingdom. Three months later, she led the GSYO on their Asia tour to Sydney, Jakarta and Singapore for cultural exchange. In late July 2018, she returned with the GSYO to Europe, performing in Lyon (France), Prague (Czech Republic) and the Musica Riva Festival, Lago di Garda (Italy). In July 2019, she led the GSYO on tour to Japan, performing at Tokyo’s Suntory Hall and the Fukuoka Symphony Hall, the latter as part of a cultural exchange commemorating the 40th anniversary of the sister city relationship between Guangzhou and Fukuoka.
Né à Timișoara (Roumanie occidentale) en 1988 dans une famille de musiciens classiques, Dinu Mihailescu est un pianiste roumain qui vit en Suisse depuis 2009. Il a étudié à la Haute école de musique (HEM) de Genève. En 2021, il a obtenu son doctorat en musique à l’Université de l’Ouest à Timișoara. Dinu s’est produit en tant que soliste avec les principaux orchestres de Roumanie ainsi qu’avec l’Orchestre de la HEM de Genève et l’Orchestre du Festival de Gijón-Candás. Il a participé à divers concours et festivals internationaux tels que le Millennium 30 Piano Festival de Gijón (Espagne), Puplinge Classique (Suisse), Les Estivales de Megève (France) et le Concours international de piano de Genève (2012).
En Suisse, il s’est produit dans des lieux importants tels que le Forum Yehudi-Menuhin à Berne, le Studio Ansermet de la Radio et Télévision Suisse (Genève) et la Salle Franz Liszt du Conservatoire de Musique, entre autres. En 2020, il fait ses débuts au Victoria Hall de Genève dans un concert pour un duo à deux pianos appelé OXY MORE, avec le pianiste suisse Philippe Boaron. Dinu Mihailescu a reçu de nombreux prix, notamment le 2e prix du Concours international de piano Béla Bartók (Hongrie, 2017), le 2e prix du Concours international de piano de Nice (France, 2016) et le Prix d’excellence du Rotary Club pour sa participation à l’art et à la culture en Roumanie (Timișoara, 2018). Depuis 2017, Dinu enseigne le piano au Conservatoire populaire de musique, danse et théâtre de Genève (Suisse) et à l’École de musique de Lausanne, et se consacre de plus en plus au mélange des répertoires pianistiques classiques, modernes et contemporains. À cette fin, ses projets les plus récents comprennent un enregistrement audio-vidéo de la musique pour piano de Max Richter complété par des œuvres pour piano de l’ère romantique (Fr. Schubert, F. Chopin et R. Schumann).