Jeremy Carpenter The English baritone, Jeremy Carpenter, was educated at the Guildhall School of Music and Drama in London and has, since 2016, been closely associated with the Royal Swedish Opera in Stockholm. In Stockholm he has appeared as Germont in La Traviata, the title roles in Don Giovanni and Gianni Schicchi, Danilo in The Merry Widow, Dr. Pangloss in Candide, Zhou Enlai in John Adams Nixon in China, the Protector in Written on Skin, Escamillo in Carmen, Gérard i Andrea Chénier, Judge Turpin in Sweeney Todd, Marcello in La Bohème and the Count in The Marriage of Figaro. Jeremy has also appeared at The Bolshoi Theatre in Moscow, ROH Covent Garden in London, Grand Théâtre de Genève, Opera de Dijon and Angers/Nantes Opera in France and Folkoperan and Malmö opera in Sweden. He is Artistic Advisor to Musikalliansen where he runs their mentorship program for newly graduated opera singers and in 2017 founded Vocal Masterclass Stockholm since when he has created the opportunity for hundreds of young singers to meet and work with some of the world’s foremost artists, vocal coaches and conductors. He is delighted to be a part of this exciting new venture. 

www.jeremyrcarpenter.com 

Patrice Caurier and Moshe Leiser met in 1982 and decided to work as a team. Since then, they have staged more than 140 opera productions in the world’s most prestigious opera houses, which has earned them international recognition and fame. Their work has been seen at the Grand Theatre in Geneva, at the ROH Covent Garden, at the Mariinsky Theatre in St. Petersburg, at the Met in New York, at the Théâtre des Champs Elysées in Paris, at the Staatsoper and at the Theater an der Wien in Vienna, at La Scala in Milan, at the Rossini Festival Pesaro, amongst others. They created the world premiere of Gesualdo by Marc-André Dalbavie at the Opernhaus in Zurich. They collaborated with Cecilia Bartoli over ten opera productions in Zurich and at the Salzburg Festival, including Bellini’s Norma which won them Best lyrical production at the International Opera Awards. Their Italiana in Algeri at the Salzburg Festival, is now in the repertoire at the Zurich Opera, like Madama Butterfly and the Barber of Seville at the Royal Opera House London.
Additionally, Moshe Leiser took the musical direction of Monteverdi’s Poppea at the Nantes Angers Opera. Recently, they staged Pique Dame with Kyrill Petrenko at the head of the Berlin Philharmonic Orchestra at the Baden Baden Festspiele. Their latest creation, Boito’s Mefistofele at the La Fenice in Venice was an immense success and hailed by the critics.

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Daniela Pellegrino attended the “V. Bellini” Conservatory in her hometown Catania (Italy), where she graduated with honors in Piano Studies under the guidance of M° Corrado Ratto. She then continued her studies with M° Vincenzo Balzani, and from 2009 to 2011 she trained and qualified as répétiteur and vocal coach at the “Scuola dell’Opera” of the Teatro Comunale di Bologna. At the Semperoper Dresden in Germany she worked from 2011 to 2016 as a répétiteur and vocal coach. In addition she held the post of “Director of the YoungArtist Program” in that theater, with which she continues to collaborate. Working with young singers is an activity to which she has devoted particular attention and gathered considerable experience. She has also been vocal coach at the Festival de Radio France in Montpellier (2013 – “Madame Sans Gene” by U.Giordano, 2014 – “Gli Zingari” by R.Leoncavallo and 2017 – “I puritani” by V.Bellini). 

During the 2010-11 seasons she was répétiteur at the Festival della Valle D’Itria in Martina Franca, on the following porductions: “Gianni di Parigi” by G.Donizetti, “Il novello Giasone” by F.Cavalli and “Aureliano in Palmira” by G.Rossini – (DVD Edition).

Since 2010 she has regularly been associated with the Teatro Regio in Parma as a part of the “Verdi Festival” for the operas: “Il Trovatore”, “Un ballo in maschera”, “I vespri siciliani”, “Don Carlo”, “Giovanna d’Arco”.

Recently Ms. Pellegrino has been invited as répétiteur by Teatro Regio in Turin, Spoleto Festival dei due mondi, Wexford festival and the Rossini Opera Festival (Pesaro), where she was involved in their production of “La donna del Lago”, conducted by M° Michele Mariotti and directed by Damiano Michieletto, and also for the productions of “La pietra del paragone”, “Ricciardo e Zoraide”, “Demetrio e Polibio” and “La cambiale di matrimonio”. 

2018 saw her at the Teatro Bolshoi in Moscow for the production of Verdi’s “Un ballo in maschera “ and the Teatro Liceu in Barcelona for the operas : “Manon Lescaut “ by G. Puccini and “L’Italiana in Algeri” by G. Rossini, also playing cembalo during the performances. Most recently, her collaborations include· Cartagena Festival in Columbia for Mozart’s “Così fan tutte“, the Semperoper Dresden for “Don Giovanni” by W. A. 

Mozart and “Il viaggio a Reims“ by G. Rossini, the Spoleto Festival dei due Mondi for the contemporary Operas “Il Minotauro” and “Proserpine” by S. Colasanti, and the Donizetti Opera Festival In Bergamo for “ Lucrezia Borgia” “Marino Faliero”, “L’elisir d’amore”, “La Favorite”, “Il Diluvio Universale” and “Roberto Devereux. 

In January 2020 she began a collaboration with the Teatro Massimo in Palermo as Musical Assistant of Maestro Omer Meir Wellber, opening the season with a production of “Parsifal” by R. Wagner directed by Graham Vick. In 2021 she has started a collaboration with Teatro Real di Madrid as Piano Coach and Continuo Player for the recits in the Season Opening Production “La Cenerentola” under the baton of M.o Riccardo Frizza while continuing to work as Piano Coach at Gran Teatre del Liceu in Barcelona in 2023 “Macbeth” production conducted by Musical Director M.o Josep Pons followed by “La Cenerentola” with M.o Giacomo Sagripanti in 2024. 

Among other engagements as Concert Pianist she has been at Festival d’Aix en Provence and recently (February 2024) at the Theatre du Capitole in Toulouse in a Rossinian Concert with Karine Deshayes and Florian Sempey. 

Ms. Pellegrino also holds a Doctorate Degree in Foreign Languages and Literature from the University of Catania, where she graduated with honors. In addition to her native Italian, she is fluent in French, English and German. She considers the command of these languages fundamental to her skills as a Vocal Coach and teacher of young singers. 

Elena Postumi works internationally as a music director, coach, pianist, and composer. She studied solo piano, composition, and linguistics in her hometown, Rome, along with training as an opera coach. She then specialized in German song accompaniment through a Master’s and Meisterklasse program in Leipzig, while also pursuing conducting studies. Awarded the prize for Best Accompanist at the Lortzing Competition in 2020, she is an enthusiastic collaborative pianist who has performed on stages across Europe, the USA, and South America. 

As a repetiteur and Italian coach, she has worked with Oper Leipzig, Staatstheater Darmstadt, Staatstheater Nürnberg, the National Opera in Bergen, the Icelandic Opera, and the National Opera of Uruguay. Combining a vocal, musical, and linguistic approach, Elena has developed a unique coaching method for Italian repertoire, focused on intertwining precise subtext analysis with clear articulation of the language. 

An active composer and expert in modern repertoire, Elena specializes in the training of contemporary works and is familiar with modern vocal techniques. She has coached works by composers such as B.A. Zimmermann, Ligeti, Reimann, Berio, among others. 

She currently works as an Italian and song coach at the Darmstadt Conservatory (Akademie für Tonkunst), where she also conducts major orchestra and opera productions. 

Camilla Tilling is undoubtedly one of Sweden’s most accomplished talents. Her beguiling tone and unfailing musicality have made her a firm favourite with conductors, audiences and critics alike. 

Tilling is one of the world’s most sought-after concert performers with recent appearances including under Gustavo Dudamel with both Royal Concertgebouw Orchestra and Los Angeles Philharmonic Orchestra in Mahler’s Symphony No.4, under Esa-Pekka Salonen with London Philharmonia Orchestra in Schoenberg’s Gurrelieder, with Gianandrea Noseda and Washington’s National Symphony Orchestra in Beethoven’s Symphony No.9 and with Omer Meir Welber and Orchestre national de France in Dutilleux’s Correspondances. She toured extensively in Peter Sellar’s stagings of Bach’s St Matthew Passion and St John Passion with Berliner Philharmoniker and Sir Simon Rattle and had a special connection to the late Sir Bernard Haitink under whose baton she sang her first Beethoven, Missa Solemnis at Teatro alla Scala and in whose historic final concerts with Radio Filharmonish Orkest at Amsterdam’s Concertgebouw in 2019, she was his chosen Strauss soprano soloist. 

Over recent seasons, Tilling has continued to expand an already impressively varied repertoire with such works as Osvaldo Golijov’s Three Songs with David Danzmayr and the Oregon Symphony Orchestra, Irgen-Jensens’ song cycle Japanischer Frühling with Christian Blex and Karajan-Akademie of Berliner Philharmoniker, Janáček’s Glagolitic Mass under the baton of Rafael Payare with Orchestre symphoniquede Montréal and Mendelssohn’s Paulus with Orquestay Coro Nacionales de España under Masaaki Suzuki. 

This season, she reunites with Sir Simon Rattle for performances of St Matthew Passion with Symphonieorchester des BayerischenRundfunks, reprises Solveig in Bill Barclay’s staging of Peer Gynt with St. Louis Symphony under Stéphane Denève, joins Eivind Aadland and Tasmania Symphony Orchestra in Mahler’s Rückert Lieder and Donald Runnicles and Sydney Symphony Orchestra in Debussy’s La Damoiselle élue. She performs Berlioz Les nuits d’été with Norrköpings Symfoniorkester, Britten’s Lesilluminations with the Arctic Philharmonic, Mendelssohn Lobgesang with Netherlands Radio Philharmonic Orchestra and, with Gävle Symfoniorkester, she reprises Daniel Nelson’s Chaplin Songs, a new work she premiered with Swedish Radio Symphony Orchestra under Andrew Manze. Alongside her many concert engagements, she returns to the Royal Swedish Opera as Contessa Almaviva in a new production of Le Nozze di Figaro by Linus Fellbom, conducted by Alan Gilbert. 

Early operatic roles such as Sophie (Der Rosenkavalier), Pamina (Die Zauberflöte), Ilia (Idomeneo), Susanna (Le nozze di Figaro) and Zerlina (Don Giovanni) gave Tilling debuts at Royal Ballet andOpera, Covent Garden, Bayerische Staatsoper, Opéra national de Paris,Teatro alla Scala and The Metropolitan Opera, and as Mélisande (Pelléas et Mélisande) she performed at Teatro Real Madrid, Semperoper Dresden, Finnish National Opera and with Los Angeles Philharmonic Orchestra. More recent highlights include Donna Clara (Der Zwerg) at Bayerische Staatsoper, La Damoiselle élue at Madrid Teatro Real and Blanche de la Force (Dialogues des Carmélites) and Suor Angelica at Royal Swedish Opera. 

Tilling embarked on a North American recital collaboration last season with renowned pianist Emanuel Ax presenting her acclaimed Swedish Nightingale programme ‘Jenny Lind: Love and Lieder’ and this season she joins Håvard Gimse at Troldhaugen as part of the Bergen International Festival with a programme of Edvard Grieg songs. Herimpressive discography includes orchestral works by Haydn with Bernard Haitink, Handel and Purcell with Emmanuelle Haïm, Grieg with Paavo Järvi, Brahms with Marek Janowski and Cherubini with Riccardo Muti in addition to recital collections of Gluck, Mozart, Strauss, Schumann, Grieg and many other composers. 

Anna Tilbrook has been a regular artist at all the major concert halls and festivals since her debut at the Wigmore Hall in 1999 and frequently broadcasts for Radio 3.

She has collaborated with many leading singers and instrumentalists including Lucy Crowe, James Gilchrist, Ian Bostridge, Mary Bevan, Sophie Bevan, Barbara Hannigan, Sir John Tomlinson, Sir Willard White, Roderick Williams. Matthew Rose, Nicholas Daniel, Michael Collins, Natalie Clein, Philip Dukes, Jack Liebeck, Elise Båtnes, Chloe Hanslip, Emily Sun, Louisa Tuck, Sol Gabetta, Guy Johnston, Laura van der Heijden, Jess Gilliam and the Fitzwilliam, Carducci, Sacconi, Elias, Navarra and Barbirolli string quartets. She has also accompanied José Carreras, Angela Gheorghiu and Bryn Terfel in televised concerts. 

Performance highlights include at Concertgebouw Amsterdam and Carnegie Hall New York, Wigmore Hall, St John’s Smith Square, deSingel Antwerp, Alte Oper Frankfurt, Anima Mundi Pisa, Wrocław Cantans, appearances at the Edinburgh, Aldeburgh, Cheltenham, Oxford Lieder, Jersey, West Cork and Savannah (Georgia) Chamber Music festivals and curating a number of series of concerts for the BBC. 

In 2022 Anna and James Gilchrist celebrated 25 years as a duo partnership. They have made a series of acclaimed recordings of English song for Linn and Chandos, the Schubert song cycles for Orchid, Schumann’s cycles, the songs and chamber music of Vaughan Williams with Philip Dukes, “Solitude”, settings of Purcell, Schubert, Barber and a cycle written for James and Anna by Jonathan Dove, Under Alter’d Skies and most recently a disc of songs by Roger Quilter. 

In August 2021 Lucy Crowe and Anna marked 20 years of working together by releasing their disc “Longing” featuring Lieder by Strauss, Berg and Schoenberg on the Linn label.

In 2023 Anna was on the jury for the Song Prize for Cardiff Singer of the World. She is Professor of piano at the Royal Academy of Music and teaches at the University of Oxford. 

If not sitting at the piano, Anna can normally be found watching cricket, playing tennis, having a gin and tonic or eating a curry. 

Jonathan Cameron Kelly is an assistant conductor at The Metropolitan Opera. He has worked in similar capacities at the San Francisco Opera, Glimmerglass Opera, Opera Theatre of Saint Louis, Opera Theater of Lucca, and the Chautauqua Institution.

Praised for his versatility, he is at home in a wide range of repertoire, from the works of Händel, to 20th Century works such as The Rake’s Progress, Nixon in China, and Lulu. He is often found performing in the orchestra pit, whether it be as the continuo for Xerxes or Così fan tutte, or the synthesizer in Akhnaten.

Frequently seen in concert, he has appeared with many of today’s leading performers, including Placido in, Renée Fleming, Elina Garanča, Susan Graham, Hei-Kyung Hong, Ana María Martínez, Anna Netrebko, Ramon Vargas, Rolando Villazon, Joshua Bell, Brian Stokes Mitchell, and Sting.

Formerly a lecturer at Yale University, he is a faculty member at the Manhattan School of Music.

Born in Worcester, Massachusetts, Mr. Kelly spent his formative years in Kentucky. He graduated summa cum laude from the University of Cincinnati College-Conservatory of Music and continued his studies at the Manhattan School of Music under the tutelage of Warren Jones.

Brian Dickie has worked in opera over six decades and stepped down in August 2012 as General Director of Chicago Opera Theatre where he had been since 1999.

After leaving Trinity College Dublin in 1961 he began his opera career at the Glyndebourne Festival in England in 1962, as assistant to the Head of Music Staff, Jani Strasser. He remained at Glyndebourne for twenty-seven years with increasing responsibilities. He was a leading member of the team which established Glyndebourne Touring Opera, and became the company’s first Administrator in 1967, as well as serving as Opera Manager for the Festival. He was appointed General Administrator of Glyndebourne Festival Opera in 1981.

Brian was appointed Artistic Director of the Wexford Festival at the age of 25 in 1967 and served there until 1973 when his Glyndebourne and family responsibilities became too onerous. In 1989 he left Glyndebourne to become General Director of the Canadian Opera Company in Toronto.

He was Artistic Adviser to the Opéra de Nice 1994-97, and General Director of the European Union Opera project 1996-98, recruiting singers for the company from each member country of the European Union.

He has been Chairman of the Jury for Pre-selections for the Bertelsmann Foundation’s biennial Neue StimmenCompetition since 1999. In this capacity he has been responsible for auditioning singers in Asia, Europe, South Africa, Australia, and both North and South America.

Between 1999 and 2012 was a regular jury member for the Metropolitan Opera National Council auditions, at both district and regional level. He was a member of the jury the final stage in 2007 that was the subject of the Metropolitan Opera’s documentary film Audition.

In addition to serving on juries for singing competitions he was a jury member for the Carl Nielsen Flute competition in Odense, Denmark in 2014 and the Nikolai Maiko conductors’ competition in Copenhagen.

Paul Max Edlin has established himself as a preeminent composer, educator, music director and artistic director.

His compositions have been performed by many leading artists, ensembles and orchestras including London Sinfonietta, Arditti Quartet, Alison Balsom OBE, Dame Sarah Connolly, Dame Evelyn Glennie, Nicholas Daniel OBE, John Wallace CBE, Psappha, Britten and Southbank Sinfonias. His works have been recorded and broadcast on BBC 2, BBC Radio 3, as well as on radio & television overseas. He has a particular interest in opera, and his first opera, The Fisherman, was premiered to wide critical acclaim in a production for the London International Opera Festival. His most recent performed opera, Frida, which sets the diaries of Frida Kahlo, was premiered to much acclaim at 2019 Oxford Festival of the Arts

Edlin’s music ranges from opera to electronic music.  It explores symbolism and often derives its inspiration from extra musical material. From the mid 80’s to mid 90’s many works were inspired by the art and architecture of South-East Asia, especially Indochina. From 2000 onward symbolism of a wider range of sources has guided his music, from the chiastic structures of J.S. Bach to the writings of Gabriel García Márquez and Federico García Lorca and visual work of Frida Kahlo. More recent works have been performed by Arditti Quartet (Frida Sketches), London Sinfonietta (Érendira Dances), London Chamber Orchestra (Simple Gifts), Olga Pasiecznik with the Silesian Quartet and Maciej Grzybowski (Ô saisons, ô châteaux), Gabriella Swallow and Southbank Sinfonia conducted by Nicholas Cleobury (Don – a cello concerto and Three Old Gramophones), Johannes Möller (Momentary Horizons), Cantus Ansambl (A Chain of Wonders) and East London Music Group (Frida).

Edlin studied with Edwin Roxburgh, Richard Blackford and Joseph Horowitz (Royal College of Music, London) and Michael Finnissy (University of Sussex). He has won many prizes including Premio Internazionale Ancona, Harriet Cohen Memorial Award and United Music Publishers Prize.

Edlin was elected President of the Independent Society of Musicians (2011/2012).  From 2008 to 2012 he was Artistic Director of Sounds New Contemporary Music Festival and Director of the International Composer Pyramid, both organisations giving platforms to literally hundreds of outstanding contemporary composers.  From 2004 to 2010 and again from 2014 to 2022 he was Artistic Director of Deal Music & Arts, where he established a series of arts education programmes to support schools in East Kent.  He retired as Director of Music at Queen Mary University of London following 39 years’ work in higher education.  Having served on many arts organisation boards, he is now Executive Chair of W.E. (West East) International Music and Arts, and a member of the advisory board of City Music Foundation.

Paul Max Edlin lives in Montepulciano in Italy. His music is published by Composers Edition

Corrado Rovaris is the Music Director of Opera Philadelphia and Music Director of the Artosphere Festival Orchestra, founded in 2011 by the Walton Arts Center. Celebrated for his vibrant style, especially in the bel canto repertoire, Rovaris’s warm presence at the podium has made him a favorite among opera’s greatest stars.