Praised by the Boston Globe for "a rich, viola-like tone and a rapturous, luminous lyricism”, mezzo soprano Janna Baty’s exceptionally versatile career continues to gather momentum.

Recent engagements include appearances with the Los Angeles Philharmonic, the Daejeon Philharmonic (South Korea), Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá (Colombia), Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera.

Equally at home in standard and contemporary repertory, she appears regularly with such noted new music ensembles as Boston Modern Orchestra Project, Collage New Music, Auros Group for New Music, and Da Capo Chamber Players. She has sung under Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Christopher Lyndon Gee, Dean Williamson, Gil Rose, David Hoose, Shinik Hahm, and Alexander Mickelthwate, among others. She has appeared with the Aldeburgh and Britten Festivals in England, The Varna Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Tanglewood and Norfolk festivals in the United States.

Her opera roles range from the Duchess (Powder Her Face) to Alice Ford (Falstaff), to both Anna and Elvira (Don Giovanni), to Dinah (Trouble in Tahiti) and the Mother (Amahl and the Night Visitors). Winner of several international competitions, most notably the XXI Concurso Internacional de Ejecución Musical "Dr. Luis Sigall” (Chile), Ms. Baty is also an accomplished recitalist and chamber musician, having given concerts across Europe, the U.S. and South America in the company of such distinguished musicians as violist Nobuko Imai, pianists Claude Frank and Peter Frankl, and guitarist Stephen Marchionda.

Ms. Baty has worked alongside many composers, including Bernard Rands, Sydney Hodkinson, Peter Child, Reza Vali, Christopher Lyndon Gee, Fred Lerdahl, Yehudi Wyner and John Harbison on performances of their music. Ms. Baty can be heard with Boston Modern Orchestra Project on Naxos’ critically acclaimed recent release, Vali: Flute Concerto / Deylaman / Folk Songs (Set No. 10); as well as on Chandos’ recording of Lukas Foss’ opera Grifflekin. A third recording with BMOP, featuring Ms. Baty singing John Harbison’s Mirabai Songs, is expected to be released this year.

An alumna of Oberlin College and Yale University, she is married to acclaimed jazz guitarist and singer Doug Wamble and resides in Connecticut.

Acclaimed by the press for her “deeply moving” artistry and a voice that has been lauded as “rich and colorful,” mezzo-soprano Jan Wilson is known for her skilled interpretations of solo orchestral works, choral masterpieces and chamber music. Ms. Wilson has performed with orchestras and choral societies across the US including the symphony orchestras of Pittsburgh, Richmond, West Virginia, Roanoke, Wheeling, Cedar Rapids, Northeastern PA Philharmonic, and as soloist with the St. Patrick’s Cathedral Chorus, New York’s St. Cecilia Chorus and Orchestra, and the State College Choral Society. Her performances have included collaborations with conductors of some of the finest orchestras including Lawrence Loh, Timothy Hankewich, Andre Raphel Smith, Joseph Silverstein, Nicholas Palmer, Barbara Yahr, and Grant Cooper, to name only a few.

This 2007-08 season, Ms. Wilson can be heard in Beethoven’s Symphony No. 9 in two performances with the Longwood Symphony Orchestra, with the Eastern Connecticut Symphony Orchestra on April 5, and with the Lexington Philharmonic on April 25. Ms. Wilson sings Verdi’s Requiem with the Spokane Symphony Orchestra on October 19 and in December two performances of Handel’s Messiah in Manhattan with The St. Vincent Ferrer Orchestra and Chorale on December 2, and The Discovery Orchestra at New Jersey Performing Arts Center on December 23. Ms. Wilson travels to Minnesota to join the Duluth Superior Symphony Orchestra on April 12 to perform Mahler’s Symphony No. 2, and returns to New York for appearances with the Long Island Philharmonic for Mozart’s Requiem on May 17 and 18. She ends the season with a performance of Bach’s Mass in B Minor with musicians of the New Jersey Symphony Orchestra and the Ars Musica Chorale on June 7.

Highlights of the two most recent seasons include multiple engagements as a soloist for the Bach St. Matthew Passion, more than 20 performances of Beethoven’s Symphony No. 9, Mahler’s Symphony No. 2, Handel’s Messiah featuring Ms. Wilson’s Carnegie Hall debut, Mozart’s Coronation Mass, and Mass in C minor, the Raminsh Magnificat, and Verdi’s Requiem.

Ms. Wilson received her Bachelor of Music Education from Westminster College, her Master’s in Voice Performance from The Pennsylvania State University and was a recipient of a Rotary Foundation Fellowship for voice study at the Royal College of Music, London. A Regional Finalist and District winner of the Metropolitan was Opera National Council Auditions, she made her debut solo recital at Weill Recital Hall at Carnegie Hall in 1994. Ms. Wilson resides in Manhattan, New York.

Ray Bauwens is well known to audiences in the New England area.  His musicianship, acting and vocal skills have drawn praise from audiences and critics alike.  Some of Mr. Bauwens’ recent performances have included such roles as Jean in Massenet’s Le Jongleur de Notre Dame, Cavaradossi in Tosca, Dick Johnson in La Fanciulla del West, Riccardo in Un Ballo in Maschera, Enzo in La Gioconda and Turiddu in Cavalleria Rusticana.  He is equally at home in oratorio and concert works as his permances of Beethoven’s Ninth Symphony, Bach’s St. Matthew Passion, Verdi’s Requiem and Benjamin Britten’s War Requiem among others will attest.

Mr. Bauwens has performed with the National Symphony of the Ukraine, the Mexico State Symphony Orchestra, Boston Academy of Music, Connecticut Concert Opera, Opera Providence, Boston Landmarks Orchestra, Warren Symphony, the New Bedford Symphony, the Rhode Isaland Philharmonic, the Concord Orchestra, the New Philharmonia Orchestra, the Handel and Haydn Society, Symphony Pro Musica and even the Boston Ballet in Lila York’s staging of the final movement of Beethoven’s Ninth Symphony.

His operatic roles have also included Anatol in Samuel Barber’s Vanessa, Rinuccio in Gianni Schicchi, Edgardo in Lucia di Lammermoor, Matteo in Strauss’ Arabella, the title role in Donizetti’s Roberto Devereux, Canio in I Pagliacci, Don Alvaro in Giuseppe Verdi’s original St. Petersburg version of La Forza Del Destino, Leicester in Donizetti’s Mari Stuarda, Pollione in Norma, Ferrando in Mozart’s Cosi Fan Tutte and Don Jose in Bizet’s Carmen.

Mr. Bauwens’ concert and oratorio performances include Elijah, Messiah, the Petite Messe Solenelle of Rossini, J.S. Bach’s B-minor Mass, Mozart’s Solemn Vespers, Requiem, and Mass in C, La Vida Breve by Manuel de Falla, Hector Berlioz’ Romeo et Juliette, St. Paul by Felix Mendelssohn, and the Evangelist in Bach’s St. John Passion.

Mr. Bauwens traveled to Kiev in order to record Samuel Barber’s Vanessa, which has been released by Naxos Records.

A recipient of the Boston Globe's Musician of the Year award in 1995, Robert Honeysucker has performed such roles as Count di Luna, Germont, Ford, Iago, Amonasro, Rigoletto, and Renato with companies in Boston, Philadelphia, Sacramento, Salt Lake City, Tulsa, and Fort Worth. He has also sung Don Giovanni, Figaro, Sharpless, Porgy and Jake in opera houses in Auckland, NZ, Berlin, and Linz, Austria. Orchestral performances have included Beethoven’s Ninth Symphony with the Boston Symphony Orchestra (Seji Ozawa) and with the Atlanta Symphony (Roberto Abbado); All Rise with the Boston Symphony Orchestra (Kurt Mazur); Vaughn Williams’s Hodie with Salt Lake Symphony (Keith Lockhart); and Charles Ives’ General William Booth Enters into Heaven with the Pittsburgh Symphony (Michael Tilson Thomas).  In addition, Mr. Honeysucker has performed with symphonies in St. Louis, Sacramento, Omaha, Roanoke and Flagstaff, AZ. He has also appeared with orchestras in Tokyo, Osaka, Nobeoka and Sapporo, Japan.

Mr. Honeysucker is a member of Videmus, as well as member and co-founder of the Jubilee Trio, which presents American art songs, including those of under-performed African American composers.

Discography includes performances on four Videmus discs:  "Music of William Grant Still" (New World), "Watch and Pray" (Koch International), "More Still" (Cambria), and "Highway 1, USA” (Wm. Grant Still) recently released by Albany Records.  Mr. Honeysucker is also featured on the Centaur, Ongaku and Titanic labels.

New World Chorale was founded in 1999 by Holly MacEwen Krafka and John Zielinski with the mission of performing the best American choral music and, particularly, to commission the composition and performance of new music for chorus. The Chorale’s membership comprises some of the Boston area’s most experienced choral singers and soloists who have performed both locally and internationally with the world’s major orchestras.

The Chorale has performed world premieres encompassing a wide range of musical styles. Pieces commissioned and performed include: Opening Day, written for them by Tom Hojnacki to texts about baseball by Bill Littlefield, host of the National Public Radio program "Only A Game”; How Sweet the Sound, an arrangement of hymns and spirituals for chorus and organ by John Zielinski; Mass by Gregory Short for chorus, percussion, and audience participation; and Infelix Ego for organ, percussion, brass quartet, and chorus, also by Mr. Zielinski.

The New World Chorale is one of the most in-demand choruses in the greater Boston area. The Chorale has performed major choral works with the Longwood Symphony Orchestra, the Boston Landmarks Orchestra, the Claflin Hill Symphony Orchestra, the Rhode Island Philharmonic, and the Greater Boston Youth Symphony Orchestra (GBYSO). In May 2006, the New World Chorale was featured with the Boston Ballet in its production of Igor Stravinsky’s Les Noces at the Wang Theatre in Boston. In summer 2006, the New World Chorale performed in concerts at the Hatch Shell on the Charles River Esplanade with both the Boston Landmarks Orchestra and the Longwood Symphony Orchestra. Showcasing its versatility, the Chorale performed South Pacific in Concert with the Claflin Hill Symphony Orchestra in March 2007, providing the leads and dancing choruses from its own membership.

Soprano Marjorie Elinor Dix was acclaimed by Opera News for her portrayal of the Composer in excerpts from Richard Strauss’s Ariadne auf Naxos performed in concert with the Metropolitan Opera Orchestra. Leighton Kerner wrote "Dix was on emotional fire, and she made ‘Musik ist eine heilige Kunst’ the evening’s most exultant moment.”  Reviewing her first performances as Isolde in Tristan und Isolde, OperaOnline wrote "Ms. Dix was, in a word, exceptional. She maintained the difficult, long and vocally tasking music right up to her beautiful finale…. At no point did she appear stretched or tired. Indeed, even in the final moments of the opera her voice was strong; her delivery poignant; and her stage presence, commanding.”  The combination of her impressive instrument, musicianship and theatrical instincts are bringing Miss Dix to the attention of opera companies and orchestras worldwide.

A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Miss Dix has been re-engaged by the Metropolitan Opera each season since completing the program. In the 2004-2005 season Miss Dix was responsible for the role of Ortlinde in Die Walküre.  As a guest artist in the 2003-2004 season, she performed Falcon in Die Frau ohne Schatten in performances conducted by Phillipe Augin. In the 2002-2003 season, she appeared as the Second Maid in Elektra in performances conducted by James Levine.  She was also responsible for the roles of Composer in Ariadne auf Naxos and Didon in Les Troyens.  In the 2001-2002 season, while a member of the Lindemann Young Artist Development Program, she performed the role of Dunyasha in Prokofiev’s epic opera War and Peace conducted by Valery Gergiev.  She was also responsible for the leading role of Helena in Britten’s A Midsummer Night’s Dream. In the 2000-2001 season the soprano performed the High Priestess in Aida in performances conducted by James Levine and Paul Nadler and covered the role of the Composer in Ariadne auf naxos.  In addition to covering the role of Axinia in Lady Macbeth of Mtsensk, in 1999 Miss Dix made her debut at the Metropolitan Opera as Gerhilde in performances of Die Walküre conducted by James Levine.

Miss Dix holds a Bachelor of Music degree from Duquesne University and was a participant in the Pittsburgh Opera Center.  In 2001 she received both the Robert Launch Memorial Grant from the Wagner Society and a William Mattheus Sullivan Foundation Grant.  In 1995 she was the First Prize Winner in The Licia Albanese-Puccini Foundation, a Finalist in the Luciano Pavarotti Competition and the Recital Winner in the Pittsburgh Concert Society Competition.

Acclaimed by Bernard Holland in The New York Times for "the beauty of her voice,” American mezzo-soprano Mary Phillips is in demand by opera, concert and recital presenters worldwide.

A compelling stage presence, Miss Phillips has garnered praise for her performances in a wide range of repertoire.  The mezzo-soprano’s international opera debut took place in Tenerife (Canary Islands) in concert performances of Die Walküre (Rossweise) with Simon Estes, and she has since repeated the role at the Dallas Opera and in her Seattle Opera debut. This past season, she joined the roster of the Metropolitan Opera where she was responsible for Rossweise and she will perform the role on the Metropolitan Opera’s tour to Japan, and cover the role of Fricka adding it to her repertoire for the first time.  Advancing in the Wagnerian repertoire, she gave her first performances as Erda in the Scottish Opera production directed by Tim Albery and conducted by Music Director Richard Armstrong in the 2003-2004 season.  Her appearance in the Scottish Opera Ring Cycle at the Edinburgh International Festival, in Glasgow and in Salford, marked her debut in the United Kingdom. She returned to the Seattle Opera as Wellgunde in the Stephen Wadsworth production of Wagner’s Ring Cycle in summer 2005, and looks forward to her first performances as Waltraute in Canadian Opera’s Ring Cycle to be conducted by General Director Richard Bradshaw.  The Die Walküre production will be directed by Atom Egoyan and open the new Four Seasons Centre for the Performing Arts in Toronto. Götterdämmerung directed by Tim Albery completes the Ring Cycle in autumn 2006 and rounds out her Canadian opera debut.

An accomplished musician, Mary Phillips’s ability to interpret new works led to her New York Philharmonic debut, where she performed the world premiere of Michael Torke’s Four Seasons and Aaron Kernis’s Garden of Light under the leadership of Music Director, Kurt Masur. She performed Leonard Bernstein’s Jeremiah Symphony with the National Symphony Orchestra conducted by Leonard Slatkin this past season at the Kennedy Center for the Performing Arts in Washington, DC. Mahler’s Symphony No. 2 has provided an introduction to the Los Angeles Philharmonic with Zubin Mehta, the Springfield Symphony (MA) with Mark Russell Smith, the Honolulu Symphony Orchestra and the Hong Kong Philharmonic both with Sam Wong, the Phoenix Symphony in Hermann Michael’s final performances as Music Director of the Orchestra, and a return to the Atlanta Symphony with Yoel Levi. Miss Phillips’s performances with the Atlanta Symphony were recorded for release by Telarc.

The young American tenor John Bellemer is quickly gaining a reputation for his strong portrayals in a very wide repertoire. The New York Times calls him "clarion-toned" and, after his Don José in Carmen, the San José Metro wrote that he "gave a powerful and precisely drawn performance, internalizing his characterization with compelling consistency. Be it through mere physical presence, or via his radiant tenor voice, Bellemer evolved in perfect step with Don José's tragic situation."

In the 2006-07 season, Mr. Bellemer performs Macduff in Macbeth with Vancouver Opera, Toni in Henze's Elegy for Young Lovers with Teatro di San Carlo in Naples, and and Roméo in Roméo et Juliette with Opera Grand Rapids. He also joins the roster of San Francisco Opera.

Mr. Bellemer's 2005-06 season included performances of the Duke in Rigoletto with Shreveport Opera, Ernesto in Don Pasquale with Palm Beach Opera, Roméo in Roméo et Juliette with Opera Ontario, and Tamino in Die Zauberflöte with Nevada Opera. In the summer of 2006, Mr. Bellemer performed the role of Andres in Wozzeck with Opéra National de Lorraine, and Pinkerton in Madama Butterfly in his return to Berkshire Opera. He also appeared in recital with the Estonia National Opera with his wife, mezzo-soprano Sarah Blaze.

On the international stage, Mr. Bellemer's highlights include performances of the Duke in Rigoletto and Alfredo in La Traviata at Idée Fixe in Belgium, Macduff in Macbeth and Ferrando in Così fan tutte with Opéra National de Bordeaux, and Pinkerton in Madama Butterfly with Opéra de Rennes. He was Almaviva in Il Barbiere di Siviglia with Stadtteater Giessen, Don Ottavio in Don Giovanni with Opéra Royal de Wallonie, and Tamino in Die Zauberflöte and Sali in Delius' A Village Romeo and Juliet with Teatro Lirico di Calgiari. Other past engagements include the role of Steuermann in Die Fliegende Holländer at Erfurt Festival, the Younger Seaman in Tristan und Isolde with Opéra de Nancy et de Lorraine, and Don José in Carmen with Estonian National Opera.

North American highlights include performances of Alfredo in La Traviata with Cleveland Opera, Opera Theatre of St. Louis, Arizona Opera, Berkshire Opera, and Calgary Opera. With Arizona Opera he also appeared as the Duke in Rigoletto, and Nadir in Les pêcheurs de perles. With Berkshire Opera he also performed Nemorino in L'Elisir d'Amore, and in St. Louis he appeared as the Duke in Rigoletto and Don José in Carmen. Other engagements as Don José include performances with New York City Opera and Boston Lyric Opera. Mr. Bellemer has performed the role of Almaviva in Il Barbiere di Siviglia with Minnesota Opera, Hawaii Opera Theatre, and Eugene Opera. He has performed Don Ottavio in Don Giovanni with Hawaii Opera Theatre and Dayton Opera. Other engagements include performances of the title role in Faust with Austin Lyric Opera, Roméo in Roméo et Juliette with Tacoma Opera, and Ferrando in Così fan tutte with Opera Santa Barbara.

Mr. Bellemer has performed in gala concerts presented by the Richard Tucker Foundation, Arizona Opera, Nevada Opera, and San Jose Symphony. His interest in contemporary repertoire extends to recent performances of the Ballad Singer in Of Mice and Men with San Diego Opera, the world premiere of Patience and Sarah at Lincoln Center, Elliot Carter's What Next?, and the American premiere of 60th Parallel with Kent Nagano and the Berkeley Symphony Orchestra.

A gifted concert artist, Mr. Bellemer has appeared with the New York Choral Society at Avery Fisher Hall performing Rossini's Petite Messe Solennelle with Jack Goodwin, with the Calgary Philharmonic in Beethoven's Symphony No. 9 conducted by Hans Graf, with the Oakland East Bay Symphony performing the Mozart Requiem and Beethoven's Symphony No. 9 with Michael Morgan, the Danville Symphony singing Beethoven's Choral Fantasy, and as soloist in Handel's Messiah with both the Reno Chamber Orchestra under Vahe Khochayan and the Fresno Philharmonic Orchestra with Raymond Harvey. He joined the American Symphony Orchestra for Beethoven's Missa Solemnis in a performance conducted by Music Director Leon Botstein. The tenor made his Carnegie Hall debut with the New England Chamber Ensemble performing the Mozart Requiem. He has appeared at the Anchorage Festival of Music where he was heard as the Evangelist and in the tenor arias in Bach's St. John Passion, and at the Massachusetts International Festival of the Arts where he repeated his Lincoln Center performance in Patience and Sarah.

Committed to the art of the vocal recital, John Bellemer toured with pianist John Wustman from 1992-1998 in a program titled "The Songs of Franz Schubert." He was invited to give a recital under the auspices of the Estonian National Opera marking his European recital debut. He also appeared in recital at Stone Cellar Vineyards in California as a benefit for the Napa Valley Symphony.

Mr. Bellemer is the recipient of the American Opera Project's Brian Scott Memorial Award. He also won both the Grace Elizabeth Wilson Memorial Award for Excellence in Singing and the Dorothy Gonzelas Memorial Award from the University of Illinois. The tenor was also a winner of the Illinois Opera Guild Competition in Chicago. He holds a Bachelor of Music degree from James Madison University and a Masters of Music degree from the University of Illinois.

John Bellemer lives in New York with his wife, mezzo-soprano Sarah Blaze.

Acclaimed by The New York Times for his "big-toned bass voice” in the review of his New York opera debut, Norwegian-American bass Gustav Andreassen is in demand by opera companies and orchestras across the United States and in Europe.

As an ensemble member of the Deutsche Oper am Rhein for two years, Gustav Andreassen’s repertoire grew from The Bonze in Madama Butterfly (which served as his debut role), to his first performances of King Philip II in Verdi’s Don Carlos, conducted by Music Director John Fiore. He also performed Sarastro in Die Zauberflöte, Sparafucile in Rigoletto, the First Soldier in Salome, the King in Aida, Ferrando in Il Trovatore, the Commendatore in Don Giovanni, Hermann, Landgrave of Thuringia in Tannhäuser, Pistola in Falstaff, and the Hermit in Der Freischütz.  He returned to Düsseldorf as a guest artist for the revival of Don Carlos.  He made his Hamburg Staatsoper debut in the 2002-2003 season as King Philip II, performing the 1867 version, in a Peter Konwitschny production conducted by Ingo Metzmacher.

Praised for his "assured sable-black voice,” the bass made his San Francisco Opera debut performing Gremin in Eugene Onegin last season. The Johannes Schaaf production was conducted by Ilan Volkov.  He returned to the San Francisco Opera later in the season for the role of Sourin in Richard Jones’s production of Pique Dame which was conducted by Music Director Donald Runnicles. His first experience in the Russian repertoire was as Varlam in the Stein Winge production of Boris Godunov at the Deutsche Oper am Rhein (conducted by John Fiore), followed by a performance of Boris Godunov excerpts with James Conlon at the 2003 Cincinnati May Festival. In 2006, Mr. Andreassen will repeat the role of Gremin in Eugene Onegin in the Opera Theatre of St. Louis production which will be directed by Jonathan Kentand conducted by George Manahan.

Recipient of the 2002 Avery Fisher Career Grant, Meng-Chieh Liu first made headlines in 1993 as a 21-year-old student at The Curtis Institute of Music when he substituted for André Watts at the Academy of Music in Philadelphia. The concert earned high acclaim from critics and audience alike, and was followed by a succession of widely praised performances, including a recital at the Kennedy Center and a concert on the Philadelphia All-Star Series; a Philadelphia Orchestra appearance was also scheduled. Already an accomplished artist, Mr. Liu had made his New York orchestral debut two years earlier.

The stellar beginning of Meng-Chieh Liu’s career was abruptly halted by a rare and debilitating illness that affected his connective tissues. Hospitalized and almost immobile for a year, doctors believed his chances for survival were slim and, should he survive, playing the piano would be "absolutely impossible.” With arduous determination and relentless physical therapy, Mr. Liu was restored to full health and embarked again on his concert career. During the 2003-4 season his performance schedule included U.S. appearances in New York, Philadelphia, Baltimore, Seattle and San Diego. He concertized internationally in Taiwan, Korea, Japan, Bulgaria, Spain and Venezuela. This season Liu will be touring extensively in Taiwan, Japan, and Spain in addition to traveling throughout North America and performing in Australia and New Zealand for the first time.

A dedicated chamber musician as well as solo artist, he has collaborated with musicians in North America, Europe and Asia. Mr. Liu’s creative collaborations include partnerships with artists in varied disciplines. In the year 2000 Meng-Chieh performed with Mikhail Baryshnikov, who invited Mr. Liu to work with his White Oak Dance Project. Liu’s concerts have been heard over the airwaves around the world, and a biography on his life was broadcast on Taiwanese National Television.

Born in Kaohsiung, Taiwan, Meng-Chieh Liu began his piano studies at an early age. At 13 he was accepted by The Curtis Institute of Music to study with Jorge Bolet, Claude Frank, and Eleanor Sokoloff. He has received The 2002 Philadelphia Musical Fund Society Career Advancement Award and first prizes in the Stravinsky, Asia Pacific Piano and Mieczyslaw Munz competitions. Mr. Liu has been a member of The Curtis Institute’s faculty since 1993, the year he graduated.

Gold medalist of the 2006 International Violin Competition of Indianapolis, Augustin Hadelich has established himself as a commanding and unique voice among the new generation of violinists. Articulate and stylistically convincing throughout the Baroque, Classical, Romantic, and Contemporary repertoires, his versatility is astonishing. In the words of The Strad magazine, "Thankfully the evening closed with a performance worth waiting for… Hadelich showed his superlative musicianship in a daring performance of Mozart’s lesser-known Concerto No. 2, in which he presented cadenzas of striking originality.”

The Indianapolis competition’s first-prize package included $30,000, a four-year loan of the 1683 ex-Gingold Stradivari violin and Tourte bow, a Naxos label compact disc recording contract, and more than forty concert engagements worldwide, including a U.S. and international tour entitled "Pure Gold” with Chinese pianist Yingdi Sun, winner of the 2005 International Franz Liszt Piano Competition of Holland. Mr. Hadelich also received special awards for best performances of a Romantic concerto, Classical concerto, Beethoven sonata, violin sonata other than Beethoven, Bach work, commissioned work, encore piece and Paganini caprice.

In January 2008, Augustin Hadelich will make his Carnegie Hall orchestral debut, performing Brahms Double Concerto under Miguel Harth-Bedoya, with cellist Alban Gerhardt and the Fort Worth Symphony. This will be followed by his Carnegie Hall solo recital debut on March 28, 2008 in Stern Auditorium. At Lincoln Center in November 2007, Mr. Hadelich will present a solo recital at the Reade Theater followed by a collaboration with Midori at the Rose Theater in May 2008.

Other upcoming and recent performances include appearances with the symphonies of Charlotte, Chautauqua, Columbus (OH), Fort Worth, Grand Rapids, Greenville, Indianapolis, Kansas City, Louisiana, Louisville, Portland (ME), and Santa Barbara, as well as the Iris Chamber Orchestra (TN) and the Saarbrücken Radio Symphony Orchestra. Mr. Hadelich will be collaborating with renowned conductors such as Miguel Harth-Bedoya, Gunter Herbig, Christoph Poppen, Stefan Sanderling, Michael Stern and Mario Venzago. Outside the U.S., engagements have included the Capetown Philharmonic, Dresdner Philharmonie, Museumsorchester Frankfurt, Orquestra Sinfônica do Teatro Nacional Claudio Santoro (Brazil), Staatsorchester Stuttgart, Südwestdeutsche Philharmonie Konstanz, and the chamber orchestras of Bavaria, Berlin, Hamburg, Kiel, Lucerne, Pforzheim and Toulouse.

The 2007/08 season will also mark Mr. Hadelich’s professional recording debut with three orchestral CDs: the complete solo violin sonatas of Telemann and the complete violin concerti of Hadyn for Naxos; the Tchaikovsky concerto for and with the Saarbrücken Radio Orchestra under Christoph Poppen; and a recital CD with pianist Robert Kulek on the award-winning label AVIE.

Born in Italy in 1984, the son of German parents, Augustin Hadelich holds a diploma (summa cum laude) from the Instituto Mascagni in Livorno, Italy, and a graduate diploma from The Juilliard School, where he was a student of Joel Smirnoff. He has been a participant at the Marlboro and Ravinia festivals and in numerous master classes with renowned violinists such as Uto Ughi, Christoph Poppen, Norbert Brainin, Pinchas Zukerman, Zacher Bron, Yehudi Menuhin and Miriam Fried.

In 1999, Mr. Hadelich almost lost his life in a fire at the family's farm in Italy. His successful return to the concert stage after many operations and months of painful recovery is a testament to his remarkable talent and indomitable spirit.

"Hadelich’s performance…combined virtuosic technique with dependable intonation, a captivating stage presence, a singing style that transcended dissonant harmonies and a sound that could stand up to the full forces of the Indianapolis Symphony Orchestra [Bartók Concerto No. 2].
-- INDIANAPOLIS STAR