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Time for Change 24th IAMA International Conference 10-12 April 2014 Opera & Media Day 9 April 2014 Milton Court, London

24th IAMA International Conference

welcome, willkommen, bienvenue Aino Turtiainen-Visala, IAMA Chairman We return to London again after an absence of three years. For many of us this will feel like a homecoming, since the Association was rooted here for a long time before it took the steps to internationalise in 1996. We all realise that London has particular problems and that accommodating a Conference of this size and getting an atmosphere of together-ness in such a metropolis is a challenge. Hopefully this time we

have come closer to offering you spaces that are not too far flung and a structure that will allow you to make the most of your time and effort in attending this important meeting. I think the title of the Conference is particularly apt in the present climate and we know how members remain committed yet wary about the future so it is our sincere hope that as a result of your participation, you will feel energised and inspired. I’d like to thank Stephen Wright who is this year’s conference chairman for putting his hand to the wheel. We on the Board have felt for some time that we need to pay more attention to opera and the issues that particular business faces together with our opera managers. We hope that those who attend the first IAMA Opera & Media day will find that not

Stephen Wright, IAMA Conference Chairman

The general background to the 2014 conference is that there is common consensus in the music community that things are changing and sometimes not for the better – but, at the same time, that difficulties and challenges can also generate creativity and solutions. Apart from managements working even harder to represent artists’ interests as well as service the needs of the

promoter, there is also a sense that the classical music establishment is extraordinarily resilient against the backdrop of austere conditions over the last five years. Many of us have felt the pressure to reassess our models of working practice – and perhaps even what we are doing in the music business in the first place – which is why the conference is entitled Time for Change: Rebalancing the Music Business Model. I also strongly believe that it is during such conferences that we need to give delegates the opportunity to come to grips with some key themes, and practical elements of our daily work, and so inspire new ideas and purpose when we return to our desks. Therefore both the themes and the panel debates are intended to help discuss and debate such aspects of our business and its perspectives. We welcome your participation at the 24th IAMA International Conference in the brand new venue of Milton Court next to the Barbican Centre in one of the most artistically dynamic cities in the world.

Stephen Wright, Chairman, International Classical Artists

only new faces but new ideas emerge. Our thanks go to Opera Europa and to the chairman of the day, Kasper Holten of the Royal Opera House, Covent Garden for their commitment and collaboration. We wish you a most enjoyable and rewarding experience.

Aino Turtiainen-Visala, Managing Director, Fazer Artists' Management Inc.

IAMA Opera & Media Day in collaboration with Opera Europa

Kasper Holten, Director of Opera, ROH Covent Garden

Nicholas Payne Director, Opera Europa

Opera Europa, the professional association representing 140 opera companies and festivals throughout Europe and beyond, welcomes the opportunity to team up with IAMA to explore two of the big issues facing opera today: how best to nurture young artists; and how to ride the media tiger without being eaten by it. Working together to find solutions must be the way forward. So, we look forward to the special day when we may argue, network and even agree some common goals. ‘Freundliche Gegner’, as the composer Flamand says in Krauss and Strauss’s Capriccio!





24th IAMA International Conference


24th IAMA International Conference

keynoteaddress Opera & Media Day Keynote Speaker: David Pountney

David Pountney joined Scottish Opera as a production assistant in 1970 and made his professional debut directing The Rake’s Progress for the company in 1972, followed by Janáček’s Katya Kabanova for the Wexford Festival. He became Director of Productions for Scottish Opera in 1976, where he launched a cycle of Janáček operas in partnership with Welsh National Opera. In 1974 David made his American debut, directing Verdi’s Macbeth at Houston Grand Opera followed by many other works for Houston, Chicago, San Francisco and the Metropolitan Opera, New York. He was appointed Director of Productions at English National Opera in 1982, part of a team with Lord Harewood, Mark Elder and later Peter Jonas, during which time the theatre became a powerful engine of radical experiment in opera production and performance. During 11 years at ENO he directed more than 20 operas for the company including several world premieres. David left ENO in 1993 to work as a freelance director in the major opera houses in America, Japan and Europe, including a significant body of work for the Bregenz Festival. This included three productions for the vast outdoor stage on the lake: The Flying Dutchman, Nabucco and Fidelio, as well as other productions by Martinů and Rimsky-Korsakov for the indoor theatre. He is a C.B.E. , a Chevalier in the French Ordre des Arts et Lettres, and a recipient of Janáček and Martinů Medals. David was appointed Intendant of the Bregenz Festival in 2003, and Artistic Director and Chief Executive of WNO in September 2011.


schedule Wednesday 9th April 2014: Opera & Media Day 9:00 Foyer

Registration opens Refreshments will be available

10:00 – 10:45 Theatre

Welcome addresses: Aino Turtiainen-Visala, IAMA Chairman and Managing Director, Fazer Artists' Management Nicholas Payne, Director, Opera Europa Kasper Holten, Chairman, Opera & Media Day and Director of Opera, Royal Opera House, Covent Garden Keynote speaker: David Pountney, Intendant, Bregenzer Festspiele and Chief Executive & Artistic Director, Welsh National Opera

11:00 – 12:30 Theatre

Panel session I – The Next Generation Rejuvenation of the art form depends on those who interpret the canon of repertoire but, despite all the opportunity around for young artists, there are warning signals that all is not well. Whether for the opera house, young artist programme, singing competition, artist manager or the artist, there are new challenges to share in developing the next generation so that the art form has a flourishing future. Join this panel discussion if you think that changes need to happen. Moderator: Eva Kleinitz, President, Opera Europa; Operndirektorin and Deputy Intendant, Oper Stuttgart Speakers: Annilese Miskimmon, General Manager & Artistic Director, Danish National Opera John Berry, Artistic Director, English National Opera Ann Braathen, Director, Ann Braathen Artist Management Brian Dickie, Head of Pre-selection Jury, Neue Stimmen International Singing Competition, Bertelsmann Stiftung

12:30 – 14:00 Foyer


14:00 – 14:45 Theatre

Interview – Barrie Kosky Controversial theatre and opera director Barrie Kosky has been making waves with his flamboyant and often irreverent stagings. Born in Australia, he has forged a high profile international career and continues to inspire, shock and provoke discussion within the music fraternity. Barrie Kosky, Intendant and Chefregisseur, Komische Oper Berlin – voted Opera House of the Year 2013 by Opernwelt – will be interviewed by John Allison, Editor of Opera and classical music critic of The Sunday Telegraph

15:30 – 16:45 Theatre

Panel session II – Media and Opera: damnation or blessing? Exclusivity issues, over-exposure, expense and damage limitation are all part of the mix that cause managements to question why we think opera’s pact with media is important. Whether freely available on the internet, by commissioned public broadcast or sold on DVD, there are issues common to all parties involved. What do the next ten years hold and what lessons can we learn from the last decade? Moderator: Kasper Holten, Director of Opera, Royal Opera House, Covent Garden Speakers: James Conway, General Director, English Touring Opera Peter Maniura, Launch Director, BBC Arts Online Christopher Widauer, Head of Digital Development, Vienna State Opera Matthew Shilvock, Associate General Director, San Francisco Opera

17:00 – 19:00 Foyer

Drinks reception Drinks will be served

24th IAMA International Conference

keynoteaddress IAMA Conference Keynote Speaker: Sir John Tusa Affairs Producer (later Senior Producer) in the then BBC External Services. From 1967 to 1979 he pursued a varied career as a freelance broadcaster, working in all parts of the BBC. John joined Newsnight at its launch in 1979, beginning a long association that lasted until 1986. During that time he was named the Royal Television Society's TV Journalist of the Year in 1983, and received BAFTA's Richard Dimbleby Award in 1984. In 1986, John became Managing Director of the BBC External Services, which he re-named BBC World Service in 1988. Over the next six years John was responsible for setting up BBC World Service Television, celebrating the organisation's 60th anniversary and significantly expanding its reach to a worldwide audience of over 120 million. He returned to journalism in 1993 as presenter of the reformatted BBC TV One O'Clock News.

Born in Czechoslovakia in March 1936, John Tusa moved to England with his family in 1939. They stayed in Britain after the end of the war. Educated at St Faith's School, Cambridge, and Gresham's School, Holt, he did his National Service in the Royal Artillery in West Germany as a Second Lieutenant. After taking a First Class Honours Degree in History at Trinity College, Cambridge, John joined the BBC as a General Trainee in 1960. He became a Current

From 1995 to 2007, John was the Managing Director of London's Barbican Centre. He was awarded the Freedom of the City of London in 1997, and in 1998 was conferred the Order of the White Rose of Finland, Knight First Class, by the President of Finland. John was recognised in the 2003 Queen’s Birthday Honours list. Sir John has been Chairman of the Wigmore Hall Trust, Chairman of the Government Art Collection, Vice-Chairman of the British Museum Trustees, and has sat on the Boards of the National Portrait Gallery and English National Opera. His books on the arts include Art Matters: Reflecting on Culture and Engaged with the Arts: Writings from the Front Line. He publishes Pain in the Arts in 2014.

special guestinterview Sir Neville Marriner Like his mentor and hero, Pierre Monteux, Sir Neville Marriner began life as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra, during which period he founded the Academy of St Martin in the Fields. After his studies in America with Maestro Monteux, Sir Neville began his conducting career in 1969 when he founded the Los Angeles Chamber Orchestra. He also continued to develop and extend the size and repertoire of the Academy, and made appearances as a guest conductor with orchestras all over the world. In 1979 he became Music Director and Principal Conductor of both the Minneapolis Symphony Orchestra and the Südwest Deutsche Radio Orchestra, Stuttgart, positions he held until the late into the 1980s. Sir Neville has subsequently continued to work with orchestras round the globe – Vienna, Berlin, Paris, Milan, Athens, New York, Boston, San Francisco and Tokyo. His recording career is well documented and his touring schedule extensive. Sir Neville made his opera debut conducting Le nozze di Figaro at the Aixen-Provence Festival and his US debut in Los Angeles with La Cenerentola. He opened the new opera house in Athens in 2005 with a production of The Magic Flute. Twice honoured for his services to music in his own country, Sir Neville has recently been awarded honours in France, Germany and Sweden.


schedule Thursday 10th April 2014 9:00 Foyer

Registration opens Refreshments will be available. Coffee breaks during Thursday are sponsored by IMG Artists Business meetings throughout the day will take place in Rehearsal Room 3

10:00 – 12:30 Concert Hall

International Music + Media Centre IMZ – International Music + Media Centre in collaboration with IAMA presents: The future is audio-visual!

The IMZ session will give you a compact overview of best practice of recent audio-visual music productions e.g. performance recordings, transmissions and documentaries, including the presentation of clips. Curated and discussed by Hazel Wright, Hazel Wright Media Ltd, Bernhard Fleischer, Moving Images and Franz Patay, Secretary General, IMZ, who will analyse: • What the usual as well as alternative financing models for audio-visual programmes of

various sorts look like • What economic impact these productions can have

Open to all delegates of the Opera & Media Day and IAMA International Conference

12:30 – 13:00 Foyer 2

Welcome drinks for first-time delegates, sponsors and new members All first-time delegates and new members at the conference are welcome to join the board for a drink before lunch and introduce yourselves

13:00 – 14:30 Foyer 1 & 2


14:30 – 14:35 Concert Hall

IAMA Conference Fanfare FANFARONADE – A Royal Philharmonic Society and IAMA commission sponsored by the delegates of the 23rd IAMA International Conference in Vienna, Austria

Composer: Tom Harrold, performed by Status Brass. This composition was premiered at IAMA Montreal 2013 on 7 November

14:35 – 15:15 Concert Hall

Welcome Aino Turtiainen-Visala, IAMA Chairman and Managing Director, Fazer Artists' Management Presentation of the IAMA Award 2014, introduced by David Sigall, Director, Ingpen & Williams and IAMA Board member Stephen Wright, IAMA Conference Chairman and Chairman, International Classical Artists Keynote address: Sir John Tusa, Chair, Clore Leadership Programme

15:30 – 17:00 Concert Hall

Panel session I – The Future: Education, Audience Development and Business Sustainability Increasing responsibilities for managements, educational needs to develop audiences and a shrinking and competitive global market make up the complex nature of the music business today. What qualities and issues must become the fabric of the everyday music business so that there will be a future? What can each sector contribute and to what degree is this happening so far? Moderator: Sir Nicholas Kenyon, Managing Director, Barbican Centre Speakers: Helena Wessman, General Manager and Artistic Director, Gothenburg Symphony Orchestra Angela Dixon, Director, Saffron Hall Trust Tuomas Auvinen, Dean, Sibelius Academy Matthias Naske, Intendant, Wiener Konzerthaus, Vienna James Brown, Managing Director, Hazard Chase Ltd

17:30 - 20:30 Barbican Centre Conservatory

Ice Breaker Sponsored by Askonas Holt

schedule Friday 11th April 2014 9:00 Foyer

Registration opens

10:00 – 11:30 Milton Court Concert Hal

Panel session II – The Sustainability of Artist Management

Refreshments will be available. Coffee breaks during Friday are sponsored by PPL UK Business meetings throughout the day will take place in Rehearsal Room 3

Different models of sustaining a business in classical music are a challenge for all – whether the artist management company is large or small. Circumstances have changed, and are changing, through the pressure to take on ever-increasing demands of promoting an artist, and the administration that accompanies servicing an engagement. Can the commission model continue to sustain this business? What areas may need to be re-examined, and do we need to be more realistic about what services are practical – and indeed affordable – in today’s business climate, and in the context of current commission structures? Moderator: Evans Mirageas, Harty T. Wilks Artistic Director, Cincinnati Opera and Vice-President for Artistic Planning, The Atlanta Symphony Speakers: Sonia Simmenauer, Director, Impresariat Simmenauer GmbH David Sigall, Director, Ingpen & Williams Elaine Lipcan, National Booking Director, Opus 3 Artists

11:45 – 13:00 Concert Hall

Young Artist Showcase • Philip Higham, cello and Tom Poster, piano presented by Young Classical Artist Trust, UK • Masataka Goto, piano presented by the International Franz Liszt Piano Competition, The

Netherlands A programme for the accredited non-profit members of IAMA introduced by Monica Felkel, IAMA Board Member and Director of Artist Management, Young Concert Artists, New York 13:00 – 14:30 Foyer 1 & 2

Lunch Sponsored by Keynote Artists

13:00 – 14:00 Concert Hall

ECHO Rising Stars Juliette Bausor, flute with Alasdair Beatson, piano Works by Prokofiev, Poulenc, Messiaen, Dutilleux and Charlie Piper Presented by the European Concert Hall Organisation (ECHO) Use your delegate badge to obtain a free ticket at the registration desk beforehand

14:00 – 17:00 Foyer

Tax & Immigration Helpdesks • USA (GG Arts Law, Brian Taylor Goldstein) • Europe (Smith & Williamson, Mark Wingate)


Peer-to-Peer Meetings Open to all delegates, these parallel sessions will provide opportunities for discussion between those in the business

14:30 – 15:30 Concert Hall

Peer Group 1 – Artist Management Perspectives: Effective Artist Promotion Management Today Come and share your experiences and get to know other delegates Moderator: Helen Sykes, Helen Sykes Artists’ Management and IAMA Deputy Chair

14:30 – 15:30 Studio

Peer Group 2 – Today’s Hurdles in Orchestral Touring Meet your colleagues in the sector and bring your problems to the table – this session might help! Sponsored by Rock-It Cargo Moderator: Carola Reul, Senior Project Manager, Konzertdirektion Schmid and IAMA Board Member

16:00 – 17:00 Studio

Peer Group 3 – Publishing and Composers Today How does it all work and what do artist managers need to know? Moderator: Emma Kerr, Head of Promotions, Boosey & Hawkes

16:00 – 17:00 Studio

Peer Group 4 – What Stories Matter? Public relations and Artists – what lessons can we learn? Moderator: Ben Rayfield, Director, Rayfield Allied and IAMA Board Member

schedule Saturday 12th April 2014 9:00 Foyer

Registration opens Refreshments will be available Business meetings throughout the day will take place in Rehearsal Room 3

10:00 – 11:30 Concert Hall

Panel session III – Media and Artist Career Development: Understanding Interactivity with Old and New Media YouTube casting for opera and digital environments are all new ‘problems’ to be understood and managed, but do companies need to drive content more deliberately to ensure their artist is fairly represented both in the digital domain or through other media channels? What factors should managements consider when investing in a media strategy for their artists and when/what is appropriate? Moderator: Stephen Wright, IAMA Conference Chairman and Chairman, International Classical Artists Speakers: Hervé Boissère, Founder and Managing Director, Pierre Olivier Bardet, CEO, Idéale Audience International Jo Johnson, Senior Marketing Manager, Digital, London Symphony Orchestra Lydia Connolly, Joint Managing Director, HarrisonParrott Lucy Maxwell-Stewart, Director, Red House Productions & Tonhalle-Orchester Zürich

12:00 – 13:00 Concert Hall

Young Artist Showcase • Lemberg Piano Quartet, presented by Young Artist Platform, Switzerland • Alec Frank-Gemmill, horn, presented by the Borletti-Buitoni Trust, UK

A programme for the accredited non-profit members of IAMA introduced by Monica Felkel, IAMA Board Member and Director of Artist Management, Young Concert Artists, New York

13:00 – 14:30 Foyer 1 & 2


14:30 – 15:30 Concert Hall

Special Guest Interview – Sir Neville Marriner Sir Neville Marriner, who celebrates his 90th birthday this month, joins us for a special interview conducted by the journalist Andrew Green

15:45 – 17:00 Concert Hall

Members Annual General Meeting and Extraordinary General Meeting: Special focus on European Tax and Armenia • Special feature panel on problems of European VAT/Tax applications • Responding to members' trouble in the area of tax and the performer, a session featuring

French, EU social security and taxes Speakers: Mark Wingate, Partner, Private Client Tax Services, Smith & Williamson Inez Anderson, Partner, Smith & Williamson Brigitte Potts, Associate Director, Smith & Williamson Yves Sevestre, Cabinet Sevestre PLUS Focus on Armenia: Armenian State Youth Orchestra and Cadence Music Centre 19:30 – 23:00 LSO St Luke’s

Gala Dinner Presentation of the IAMA Honorary Life Membership Award Delegates are invited to meet at Bar120 in the Barbican Thistle Hotel for a farewell drink after dinner


24th IAMA International Conference

IAMAaward Myrna Bustani Myrna Bustani founded the Al Bustan Festival in 1994, motivated by the desire to revive Lebanon’s cultural life as the country re-emerged after 17 years of war. The Festival now presents a major season of performances over five weeks each February and March, including chamber music, opera, orchestral and choral concerts, dance, puppetry and theatre. The Festival also organises masterclasses and workshops at the National Conservatoire in Beirut, and has commissioned works by contemporary composers such as John Taverner, Naji Hakim and Roxanna Panufnik.

In addition to her role as founder of the Al Bustan International Festival of Music, Ms Bustani has held trusteeships with the American University of Beirut, Lebanon’s Heritage Foundation and the Emile Bustani Foundation. She is the founder of British Lebanese Association and a member of the country’s Civic Influence Hub. Ms Bustani is an officer of Lebanon’s Order of the Cedar and a recipient of Poland’s Mérite Culturel, the Golden Insignia of the Republic of Austria and the Order of Isabella the Catholic, Spain.

Myrna Bustani continues to be the driver behind the success of the Festival. Born in 1937, Ms Bustani was the first woman to become a Member of the Lebanese Parliament (1963-1964). She has also been the Director and President of several businesses in Lebanon including the Banque de l’Industrie et du Travail, Hotel Al Bustan and Jamyco Holdings.

IAMAhonorary life membership John Willan John Willan is one of the founding partners of Percius. Launched in October 2012, the artist and project management company represents I Fagiolini, Alamire and Rachel Podger, amongst others. A fellow of the Institute of Chartered Accountants and the Royal Society of Arts, John began his music career as a producer at EMI working with high profile artists such as Tennstedt, Muti, Rattle (producing his first record), Eschenbach, Munrow, Ozawa, Sawallisch, Jochum, Gavrilov and Kremer.

Chairman of Hazard Chase for eleven years and of IAMA for seven years, John is now a governor of the Royal Academy of Music (where he chairs the Audit Committee), chairman of the Two Moors Festival, a Professor at the Lord Ashcroft International Business School in Cambridge and a tutor in business and accountancy for BPP University.

He went on to become the managing director of the London Philharmonic, where his successes included securing the first ever single orchestral residency at the Royal Festival Hall. John then joined BBC Worldwide to build a music business, BBC Music, which by the time he left was turning over £6.5 million. Its publishing division was sold shortly afterwards for £13 million.



24th IAMA International Conference

conferencepartners Opera Europa Opera Europa is the leading service organisation for professional opera companies and opera festivals throughout Europe. It currently serves 135 member companies from 36 different countries. Its main office is in Brussels, where it is registered as a cultural organisation in compliance with Belgian law. Its governing Board is made up of 15 members chosen from the general membership and elected for 3 year terms. An executive director, a manager and two coordinators are responsible for managing the organization and for responding to members’ needs. Director, Nicholas Payne

IMZ International Music + Media Centre The IMZ is the global association for all those involved in any aspect of audio-visual music and dance. Its 150+ members include all the key players involved in the creation and dissemination of music in the media: broadcasters; performing arts companies and venues; programme producers and distributors; record and DVD labels; and cinema and new media specialists. The largest are international brands like the BBC, Metropolitan Opera New York and Universal Music; the smallest are individual composers, choreographers, musicians or directors. Since it was founded in 1961 under the aegis of UNESCO the IMZ has dedicated itself to the worldwide development and promotion through audio-visual media of all forms of classical, jazz, world and contemporary music, as well as classical and contemporary dance. Secretary General, Franz Patay

Bureau Export Day: 10 April bureauexport is a French non-profit organisation and network created in 1993. We help French and international music professionals to work together on developing French-produced music around the world, promoting professional exchange between France and other territories. How can bureauexport help you? We can provide you with: • French artist and label contacts for putting together exclusive programmes • Newsletters with information about the French music industry, including the latest concerts and projects • Access to Diaphonique, the Franco-British fund for contemporary music that supports and promotes collaborations between the UK and France



24th IAMA International Conference

speakersOpera & Media Day John Alison John Allison is editor of Opera magazine and music critic of The Sunday Telegraph. He was born in Cape Town, South Africa, and studied for his BMus and PhD degrees while playing the piano and working as assistant organist at Cape Town cathedral. Since moving to London 25 years ago he has written for publications around the world, authored two books and contributed chapters to many other volumes. Before working on The Sunday Telegraph, he spent 10 years on The Times.

John Berry John Berry has been the Artistic Director of English National Opera since 2005, having initially joined the company in 1995 as Casting Director before taking up the position of Director of Opera Planning. He has served as an Artistic Consultant to the Royal College of Music and Manchester’s Hallé Orchestra, as well as consulting for the BBC and Channel 4 on several major opera

film projects. Before ENO, John spent several years as an artist manager working both independently and with the London agency HarrisonParrott, focusing his work on composers and special projects in the fields of jazz and classical music.

Growing up in Stockholm, Ann Braathen regularly attended the Royal Swedish Opera, where she heard performances by singers such as Birgit Nilsson, Elisabeth Söderström and Nicolai Gedda. Ann went on to study at Stockholm University and in the mid 1980s she joined Rikskonserter, a Swedish government foundation that was setting up a new agency department to promote young Swedish musicians abroad. The agency department was subsequently sold and renamed Svenska Konsertbyrån; Ann stayed on and took over running the singers’ department.

She left Konsertbyrån in 2001 to set up Ann Braathen Artist Management with Kristian Holstein. The agency offers a responsible, exclusive international management for opera singers. Ann has personally been highly influential in the development of the agency business in Sweden, and has launched the careers of a number of young Swedish singers. Her current artist list includes Peter Mattei, Malin Byström, Kerstin Avemo, Daniel Johansson and Katija Dragojevic.

General Director of English Touring Opera (ETO), James Conway has directed 24 new productions and four revivals for the company, including Donizetti’s The Siege of Calais (to be revived in 2015), Maria Stuarda and Anna Bolena, and Handel's Alcina, Ariodante, Teseo, Tolomeo, Flavio, Xerxes and Agrippina. Other notable ETO productions include Eugene Onegin, A Midsummer Night’s Dream, Simon Boccanegra, The Emperor of Atlantis and the world première of Alexander Goehr’s Promised End. For London’s Royal College of Music he has directed L'incoronazione di Poppea and Le nozze di Figaro, and for the Canadian Opera Company Don Giovanni. His production of The Cunning Little

Vixen is in repertory at the Moravian National Theatre in Janáček's home city of Brno. James has written original libretti for two operas and translations for five others, as well as several works of fiction; his most recent translation was last season's Agrippina. Upcoming productions include Giulio Cesare (Lucca) and Ottone (ETO).

Ann Braathen

James Conway


speakersOpera & Media Day Brian Dickie Brian Dickie has worked in opera for more than 50 years and stepped down in 2012 as General Director of Chicago Opera Theater, where he had been since 1999. Brian began his opera career at the Glyndebourne Festival in 1962, when Vittorio Gui was Music Director, and remained there for 27 years. During this time he worked closely with a series of Glyndebourne Music Directors including John Pritchard and Bernard Haitink. Brian was the first administrator of Glyndebourne Touring Opera before becoming General Administrator of the festival in 1981. He served as Artistic Director of the Wexford Festival 1967-1973, as General Director of the Canadian Opera Company 1989-1993 and General Director of the European Union Opera project 1996-98.

In addition to his work in the management of opera companies, Brian is an immensely experienced jury member for vocal competitions. He has been Chairman of the Pre-selection Jury for the biennial Neue Stimmen Competition since 1999, and has been a regular jury member for the Metropolitan Opera National Council auditions, including adjudicating the final that was the subject of the documentary film Audition in 2007.

Kasper Holten was appointed Director of Opera for London’s Royal Opera in 2011. An internationally acclaimed director of opera and theatre, he has directed 65 productions, including an award-winning Ring cycle for Royal Danish Opera. He made his directorial debut at the Royal Opera House with Eugene Onegin in 2013.

Major events during his tenure involved supervising the company's 2005 relocation to a new theatre. In addition to his Ring cycle, significant productions for Royal Danish Opera include Le Grand Macabre, Tannhäuser, Le nozze di Figaro, Don Carlos and Die Frau ohne Schatten. Productions elsewhere include Lohengrin for Deutsche Oper Berlin and Béatrice et Bénédict for Theater an der Wien. In 2010 he adapted Don Giovanni for the cinematic screen in his film Juan.

Kasper Holten

Holten was born in Copenhagen in 1973. His passion for opera began at the age of nine after he saw a performance of Carmen; he went on to build his own opera house out of Lego (mounting a puppet Ring cycle aged 12) and after leaving school volunteered at the Royal Danish Opera, on a production of Ariadne auf Naxos. He was appointed artistic director of Royal Danish Opera in 2000 at the age of 26, a post he held for 11 years.

At the Royal Opera House, Holten is devoted to promoting new operatic commissions both on the main stage and in the Linbury Studio Theatre, and in 2013 announced with Music Director Antonio Pappano a schedule of 15 new commissions up to 2020.

Evan Kleinitz Eva Kleinitz is the Deputy Director of Stuttgart Opera and President of Opera Europa. She is also an opera director in her own right, and a regular juror at international singing competitions. Born in Germany, Eva began her career as an assistant director at a number of European festivals including Bregenz, Avignon, Nîmes, Paris, Strasbourg, Spoleto, Cologne and Schwetzingen. From 1998, as artistic administrator of the Bregenz Festival, she became Project Leader of ‘Opera on the Lake’ and ‘Opera in the Festspielhaus’ with responsibility for casting, dramaturgy, contracts and opera workshops.

Eva was the Deputy Director at Bregenz Festival from 2003 to 2006 under the artistic directorship of David Pountney. She went on to become the Artistic Director for planning and production of La Monnaie / De Munt in Brussels (2006-10), and has held her current position at Stuttgart Opera since the beginning of the 2011/12 season.

Barrie Kosky has been the Intendant and Chefregisseur of the Komische Oper Berlin since 2012. At the end of his first season the Komische Oper was voted Opera House of the Year by 50 international opera journalists. His work with the company has included The Monteverdi Trilogy, The Magic Flute, Ball im Savoy, Rusalka, Iphigénie en Tauride,, Kiss Me Kate, Rigoletto, Le nozze di Figaro, Seven Deadly Sins, West Side Story and Le Grand Macabre. Upcoming productions include his Olivier Award-winning production of Castor et Pollux, Moses und Aron conducted by Vladimir Jurowski and new productions of The Tales of Hoffmann and Eugene Onegin.

Barrie Kosky was Artistic Director of the Schauspielhaus Vienna from 2001 to 2005 and Artistic Director of the 1996 Adelaide Festival. He has also staged productions for the Bavarian State Opera, Berlin Staatsoper Unter den Linden, Netherlands Opera, Oper Frankfurt, Los Angeles Opera, English National Opera, Vienna Staatsoper and Schauspielhaus Frankfurt. Future plans include productions at London’s Royal Opera House, Glyndebourne, Teatro Real Madrid, Oper Zürich and Finnish National Opera.

Barrie Kosky


24th IAMA International Conference

Peter Maniura Peter Maniura is the newly appointed Launch Director of BBC Arts Online, having served as the Curator of the BBC/Arts Council England digital online arts service ‘The Space’, which promotes digital innovation and creativity across the art forms. Prior to this he was the BBC’s Head of Television for Classical Music and Performance from 1998 to 2012. Passion and professionalism are the hallmarks of Peter's approach to the arts and to his own work. He strives to bring the widest possible audience to the arts through projects like Maestro, the prime-time conducting competition screened on BBC2. He was part of the launch team for BBC4 and continues to champion new work in his current role for The Space.

Peter has over 20 years’ experience as a director and producer of both documentary and live event programmes. Many of his programmes have won major awards, including a Bafta and an International Emmy in 2006 for Holocaust: A music memorial film from Auschwitz, which he produced for BBC2. Peter is VicePresident of the European Broadcasting Union’s Music and Dance experts group. He recently joined Opera North as a member of their Board.

Annelise Miskimmon Annilese Miskimmon became the Artistic Director and General Manager of Den Jyske Opera (Danish National Opera) in May 2013. Born in Belfast, she holds an MA in English Literature from Christ’s College, Cambridge, and graduated in Arts Management from City University at the Barbican, London. Annelise was a Consultant Associate Director at Glyndebourne from 2002 to 2005, and since 2005 has been the Artistic Director of Opera Theatre Company – the National Touring Opera of Ireland.

Annelise still maintains a freelance directing career. Future directing plans include shows for Scottish Opera and Welsh National Opera, The Turn of the Screw for Opera Holland Park, and Don Quichotte and Jenůfa for Danish National Opera.

Matthew Shilvock Matthew Shilvock is an Associate General Director of San Francisco Opera (SFO). As part of the executive management team of SFO, he manages departments totalling over US$25m in annual expenses. His direct areas of responsibility include: all music departments (orchestra, chorus, ballet, music staff, commissions); relationships and negotiations with the performing unions; oversight of the company’s ground-breaking media department; a new education department delivering a vanguard approach to education programming; and SFO’s young artist training programme. Matthew also oversees the functioning of the 80-person board of directors and, works

closely with General Director David Gockley on strategic issues facing the company. Born in the UK, Matthew holds a first class honours degree in music from Christ Church, Oxford, and a master’s degree in public administration from the University of Massachusetts. Prior to working for SFO, he was a fellow with OPERA America, working in four different American companies over the course of a year including Houston Grand Opera, where he went on to serve as General Director’s Associate.

Christopher Widauer Born 1961, Christopher Widauer is currently a member of the Department of Philosophy at Salzburg University. He worked in arts management from 1986 to 2009, with roles held during this period including Director of Graz’s Styriarte Festival alongside Nikolaus Harnoncourt. Christopher developed ticketing software that was installed in several major venues during the early 1990s, for example the Wiener Konzerthaus. He also founded a puppet theatre for contemporary literature and music in 1989, touring internationally to important music and theatre festivals such as Venice Biennale, Bregenz, Lucerne, Kiev, Warsaw and Paris. He was

Head of the Theatre Department for Vienna and City Councillor of Cultural Affairs 2010-13. Since 2013, Christopher has been the Head of Digital Development at Vienna State Opera, where he developed and implemented the company’s live broadcast programme that was launched last autumn.



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speakersthursday Tuomas Auvinen Tuomas Auvinen heads the Sibelius Academy in Helsinki, where he manages its daily operations, strategic planning and the development of the organisation and its policies. Tuomas holds a PhD in Arts Management and an Executive MBA qualification. He has experience in academic and cultural management as the CEO of the Association of Finnish Theatres and as the Executive Director of the Finnish National Theatre. Tuomas started as the rector of the Sibelius Academy in 2012 and became Dean following the launch of the University of the Arts Helsinki.

James Brown James Brown studied the viola with Frederick Riddle at the Royal College of Music and was a member of the London Philharmonic Orchestra for five years. James founded Hazard Chase in 1990 and in 1997 was responsible for the company’s acquisition of Magenta Music International. Two years later, as Managing Director, he led a management buy-out of Hazard Chase. James is now Chairman of Orchid Classics, the record label in which Hazard Chase is a shareholder. He represents Hazard

Chase on the board of Ekkehard Jung Artists and Projects GmbH, the Berlin-based agency in which Hazard Chase is also a shareholder. James was IAMA Chairman from 2003 to 2005 and in 2012 was made an Honorary Life Member of the Association. He received the 2012 Association of British Orchestras/Rhinegold Publishing award for Artist Manager of the Year and has been an Honorary Member of the Royal College of Music since 2007.

Angela Dixon Angela Dixon studied music at the Junior Royal Academy of Music and University of London. She began her career in the music business at Harold Holt (now Askonas Holt) and from there moved to Van Walsum Management, where she handled orchestral tours and major projects. Angela was a classical music programmer at London’s Barbican Centre for seven years before becoming a consultant in 2006, specialising in contemporary music festivals, commissioning projects and major orchestral residencies. In 2007 her festival ‘Traced Overhead – The Musical World of Thomas Adès’ won a South Bank Show Award, and her festival ‘Phases: Steve Reich at 70’ was nominated for a Royal Philharmonic Society Award.

Angela became Head of Music at the Barbican Centre in 2011, heading up three major Cultural Olympiad projects in 2012 and leading on ‘Barbican Britten’ in 2013. Earlier this year, Angela was appointed Director of Saffron Hall Trust and is based at the new 800-seat venue in Essex. She also continues to work with Thomas Adès, managing his performing engagements worldwide and project-managing his major festival appearances.

Bernhard Fleischer Bernhard Fleischer is the founder and director of Bernhard Fleischer Moving Images (BFMI), an independent production company for audio-visual performing arts programmes, including documentaries, portraits of artists, adaptations of music and dance, and renditions of live performances by leading artists. His largest projects include Anna Netrebko: The Woman, The Voice, Kent Nagano Conducts Classical Masterpieces, The Promise of Music with Gustavo Dudamel and The Most

Beautiful Song with Thomas Quasthoff. In 2009, Bernhard Fleischer expanded his activities to the U.S. where he works with local partners to develop global TV co-productions.



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speakersthursday Sir Nicholas Kenyon Sir Nicholas Kenyon became Managing Director of the Barbican Centre in October 2007. He was Controller, BBC Radio 3 1992-8, and Director of the BBC Proms from 1996 to 2007. At Radio 3 he was responsible for the award-winning seasons Fairest Isle and Sounding the Century. He oversaw the BBC’s programming for the Millennium, and went on to run the BBC’s Live Events and TV Classical Music departments, including the Queen’s Jubilee Concerts of 2002.

Sir Nicholas was formerly a music critic for The New Yorker, The Times and Observer, and editor of Early Music 1983-92. He has lectured widely and published books on Bach, Mozart, Simon Rattle, the BBC Symphony Orchestra and early music. He is a member of Arts Council England, a board member of Sage Gateshead, and a Trustee of the Dartington Hall Trust. Sir Nicholas was knighted in the 2008 New Year Honours, and in 2011 received the British Academy President’s medal for outstanding service to the arts and humanities.

Matthias Naske Matthias Naske was appointed as the Director General of the Philharmonie Luxembourg in 2003, taking charge while the building was still under construction. Following the venue’s inauguration in June 2005, he sought to establish it as a boundary-breaking space for music of all kinds. Under Matthias’ direction, the Philharmonie became an important driver of musical culture in Luxembourg, and in 2010/11 he oversaw the merger of the venue with Luxembourg’s Philharmonic Orchestra.

Matthias became the new Intendant of the Wiener Konzerthaus in 2013 – the year of its 100th anniversary – as well as president of the contemporary music festival Wien Modern. He works regularly as consultant for new concert venues and the development of arts organisations.

Franz Patay has for the past two decades been Secretary General of the IMZ – International Music + Media Centre, Vienna. In 2013, he was also appointed as Director of the Konservatorium Wien University. Franz was Executive Director of Vienna Mozart Year 2006, Managing Director of the Kunsthaus Wien 2007-13, and Managing Director of the Haydn Jahr 2009/Josef Haydn Burgenland GmbH.

Academy of the Austrian federal government. He is active as a lecturer at universities worldwide as well as holding membership of several renowned international cultural organisations such as the International Academy of Television Arts & Sciences, International Music Council, ‘Golden Prague’ International Television Festival and World Culture Forum Corporation.

Franz Patay

Franz holds a Doctorate in Law from the University in Vienna and a diploma in European Integration from the European

Helena Wessman Helena Wessman is General Manager and Artistic Director at the Gothenburg Symphony Orchestra, Sweden. A former trombone player, she has held various administrative positions within Swedish cultural organisations over the past 20 years, most recently as Principal of the Academy of Music and Drama at the University of Gothenburg. In August she will take up the position of General Manager at Stockholm’s Berwaldhallen, the home of the Swedish Radio Symphony Orchestra and Choir.

Hazel Wright Hazel has worked in the broadcast industry for many years, mostly within music and arts. She began her career in production with the BBC before moving into the commercial business of investment and distribution of cultural TV properties for BBC Enterprises. Further experience in this field with NVC Arts and IMG Artists led her back to the BBC, where she continued to develop international distribution of BBC music and arts programmes for BBC Worldwide.

Royal Opera House and its media distribution company Opus Arte, particularly in the development and presentation of cinema screenings. She is currently consulting with Leopard Films on their new music productions and Argonon International for selling the titles internationally. Hazel is a recent Vice President of the IMZ and continues to serve on the IMZ Board. She is also a media consultant to San Francisco Opera.

In 2006 Hazel left the BBC to start her own company – Hazel Wright Media. She has worked as a consultant with London’s



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speakersfriday Elaine Lipcan Elaine Lipcan is the National Booking Director and Manager for Artists & Attractions with Opus 3 Artists in New York. Now in her sixteenth year in the performing arts field, Elaine has worked in both the non- and for-profit sectors of the industry. She began her career at New York’s Nikolais Louis Dance Company before moving to Micocci Productions as an Associate in 2000. Elaine was an integral part of Micocci's management, producing and booking North American performances for a roster of acclaimed avant-garde theatre directors and international companies. At Opus 3 Artists, Elaine was the east coast agent from 2004 to 2013, where she handled negotiations with presenting

organisations and symphony orchestras on behalf of classical musicians, performing artists and ensembles. In 2013 she assumed the role of National Booking Director. Elaine directs personnel and strategic planning aspects of the company’s North American booking department and is responsible for oversight of the marketing department. In addition she manages the international touring careers of the Parker Quartet, Jamie Bernstein and Tomàš Kubínek. Elaine holds a BA in Fine Art Fibre Sculpture and regularly teaches graduate classes in Arts Management at the University of Buffalo.

Evans Mirageas Evans Mirageas is The Harry T. Wilks Artistic Director of Cincinnati Opera and the Vice-President for Artistic Planning at the Atlanta Symphony Orchestra. He also maintains a roster of private clients, both institutions and individuals. Current client institutions include the Orchestra symphonique de Montréal, the Mann Center for the Performing Arts (summer home of the Philadelphia Orchestra) and Conspirare Vocal Ensemble. Individuals include conductors Sir Roger Norrington, David Charles Abell and Mei-Ann Chen. As an adjudicator, Evans serves on the panels of a range of national and local organisations such as the League of American Orchestras Conductor Fellowship, Palm Beach Opera and the Metropolitan Opera District and Regional auditions. He also produces three or four discs annually-most recently As Long As There Are Songs with mezzo-soprano Stephanie Blythe, Wagner’s

complete Ring cycle derived from performances at Seattle Opera in 2013 (due out later this year on the Avie label) and A Violin’s Life, the third disc of music for violinist Frank Almond. Evans Mirageas was born in Ann Arbor, Michigan and graduated from the University of Michigan in 1976. His varied career in classical music has embraced record retail, radio production with the nationally renowned WFMT in Chicago, symphony administration as Artistic Administrator to Seiji Ozawa at the Boston Symphony and artistic leadership as Senior Vice-President of Decca. While with Decca he signed artists such as Renée Fleming, Angela Gheorghiu, Andreas Scholl and Matthias Goerne and re-signed well known international artists Cecilia Bartoli, Sir Georg Solti and Riccardo Chailly to long-term contracts.

David Sigall David Sigall is a Director of Ingpen & Williams Ltd and was Chairman of the British Association of Concert Agents (BACA) in the late 1980s, having served as a Director and subsequently as President. He has been a Director of IAMA since 1996. David was instrumental in developing the early BACA Conferences and fulfilled the role as IAMA's Conference Chairman in London 2000, Leipzig 2001 and London 2003. He has served as an adviser to the Arts Council and British Council, as a Governor of Trinity

College of Music, on the board of the Young Concert Artists Trust (YCAT) and as Chairman of Dartington International Summer School Foundation, of which he remains a member. David is currently on the board of Henry Wood Hall, the Artistic Advisory Board of Cheltenham International Music Festival and a trustee of the Garrick Charitable Trust. He holds an Honorary Fellowship from Trinity College of Music (FTCL).

Sonia Simmenauer Sonia Simmenauer was born in the USA and grew up in Paris. From 1982 to 2008 she lived in Hamburg, where in 1989 she founded Impresariat Simmenauer – an agency exclusively for string quartets. The Alban Berg Quartet, Cleveland Quartet, Guarneri Quartet and Tokyo String Quartet are among the artists Simmenauer represented through their final days on stage. In 2009, Impresariat Simmenauer moved to Berlin, and today represents a dozen internationally respected string quartets, among them the Arditti Quartet, Artemis Quartet, Hagen Quartet, Belcea Quartet, Quatuor Ebène, Cuarteto Casals and the Jerusalem

Quartet. While string quartets remain a large part of her work, Simmenauer now also represents soloists such as violinists Gidon Kremer and Isabelle Faust, violist Kim Kashkashian, cellist Alisa Weilerstein and pianists Piotr Anderszewski, Louis Lortie and Alexander Melnikov. Sonia is the author of Muß es sein (2008), a widely received book about life in a string quartet, and in 2009 was named Professor at Hamburg’s Musikhochschule where she teaches a new course on ‘Music Transmission’.


speakerssaturday Pierre-Olivier Bardet Pierre-Olivier Bardet studied sciences before joining the Vidéo Ciné Troc association, which he headed for nine years (1977-86). He went on to become one of the first independent French producers for television during the early 1980s. In 1987, Pierre-Olivier began working with Erato to set up the label’s audio-visual production division, and three years later he founded Idéale Audience with Hélène Le Coeur. Their DVD label, established in 2002, initially issued 35 titles in a collection called Classic Archive, followed by the complete filmography of directors Johan van der Keuken and Alexandre Sokourov.

Over the past three decades, Pierre-Olivier has produced more than 100 films with directors such as Bruno Monsaingeon, Frederick Wiseman, Jean-Luc Godard, David Lynch, Werner Herzog, Peter Greenaway and Larry Weinstein. His productions have been screened at key international film festivals (Cannes, Venice, Berlin, Toronto, Rotterdam, Locarno, IDFA, FID, FIPA, FIFA) and won several awards.

Hervé Boissière Hervé Boissière is the Founder and Managing Director of Within a few years of its launch in 2008, became the world’s leading digital platform for classical music audio-visual content. In 2014, will present over 100 live events and a video on demand library with more than 1,400 programmes featuring the greatest musicians of our time.

Patrick Zelnik in 1998. From 1990 to 1997, Hervé occupied various executive positions at Warner Music France and Warner Classics. He has produced over 500 projects, including winners of many international awards, and is a recipient of the Chevalier des Arts et Lettres from the French Ministry of Culture.

Prior to setting up, Hervé was Managing Director of the French indie label naïve, having created naïve classique with

Lydia Connolly Lydia Connolly has over 25 years’ experience in the international classical music business specialising in the career management of instrumentalists, conductors and composers. She has been Joint Managing Director of HarrisonParrott since January 2013.

spokesperson and negotiator in the area of artist media rights. Lydia is a former member of the National Youth Orchestra of Great Britain and has a music degree from New College, Oxford, as well as being an alumna of the Oxford Strategic Leadership Programme at the Saїd Business School.

Lydia is responsible for the international performance and recording profiles of artists such as Pierre-Laurent Aimard, Nikolai Lugansky, Lisa Batiashvili, Osmo Vänskä, Pablo HerasCasado and Peter Eötvös. She is a member of the IAMA Broadcasting and Media Committee and is a regular front-line

Andrew Green Andrew Green has been writing and broadcasting about music for almost three decades, interviewing along the way many of the best-known performers of the day. His first connection to the music business was as an artist manager for the Ibbs & Tillett office, where he looked after the likes of Mitsuko Uchida, Shura Cherkassky and the Alban Berg Quartet. Following an initial radio feature about contralto Clara Butt in 1985, Andrew has gone on to present or present/produce some 300 music programmes for BBC networks – Radio 3, Radio 4 and


the World Service. Andrew’s parallel career as a journalist has seen him writing for a string of UK newspapers and most of the leading musical journals, including Classical Music, Early Music Today and BBC Music, for whom he has written on subjects as diverse as JFK and music, the history of applause and Sir Malcolm Sargent. Andrew is also a long-term visiting research fellow at the University of Hertfordshire, where he teaches and devises projects on oral history.

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Jo Johnson Jo Johnson is the London Symphony Orchestra’s Senior Marketing Manager, Digital, with overall responsibility for the LSO’s website, e-marketing, social media, mobile website, apps, ringtones and digital content production. Since 2005 when she took up this post, Jo has seen the digital landscape expand beyond all recognition. She often speaks on the subject of digital strategy and content at seminars, lectures and conferences, most recently the Asociación Española de Orquestas Sinfónicas, L’Association Française des Orchestres, London’s City University and the Arts Marketing Association.

Jo consults with orchestras and arts organisations around the world including the Sydney Symphony and Exeter Northcott Theatre. She also chairs the Association of British Orchestra’s Digital Managers’ Forum and in 2012 she was a judge for the Digital Innovation Awards. Jo plays the violin and viola and holds a Music degree from the University of Hull. She has previously worked with the BBC Concert Orchestra and Orchestra of St John’s Smith Square.

Lucy Maxwell-Stewart Lucy Maxwell-Stewart has been working in the music business for over two decades. She moved into the field of classical music press in 1996 and five years later founded her own public relations company, Red House Productions, which specialises in European classical music press. Amongst Lucy MaxwellStewart’s current clients are Leif Ove Andsnes, Pierre-Laurent Aimard, Martin Fröst, the Birgit Nilsson Prize, Swedish Chamber Orchestra and festivals such as Aldeburgh, Stavanger and Vinterfest.

Previous projects have included the Bamberg, Cleveland, Los Angeles, Cincinnati and Minnesota Symphony Orchestras. For Deutsche Grammophon Lucy has coordinated and managed three major releases with Sting and two Tori Amos releases.

Stephen Wright Having left Cambridge University where Stephen studied Law and Modern Languages, he co-founded the Oxford and Cambridge Shakespeare Company. Stephen then set up and ran the European office of an American concert management agency, Shawconcerts Ltd, after which he joined Harold Holt Ltd, later becoming Managing Director. Among the artists he managed were Mariss Jansons, Neville Marriner, John Eliot Gardiner and Seiji Ozawa.

Stephen left Harold Holt with his division to set up IMG Artists Europe in 1991 where he became Managing Director with responsibility for developing the business internationally. Stephen also established an audio-visual department at IMG Artists, setting up the BBC Legends CD label and producing a number of television and DVD programmes.



Friday 11th April, 11:45-13:00

Masataka Goto Presented by: International Franz Liszt Piano Competition Beethoven/Liszt Adelaide, S466 Liszt Valse de l'Opera Faust de C. Gounod, S407

Philip Higham Presented by: Young Classical Artist Trust Schumann Drei Fantasiestűcke, Op.73 i. Zart und mit Ausdruck ii. Lebhaft, leicht iii. Rasch und mit Feuer

Described by the Strad in 2012 as having ‘all the qualities of a world-class artist’, Philip Higham is rapidly emerging as one of the most prominent young cellists from the UK. At the opening of the 2013/14 season he made his debut in the Wigmore Hall Series and took part in the Britten Centenary in Aldeburgh (broadcast by BBC Radio 3). Future engagements include his USA debut at the Phillips Collection in Washington DC, and a performance of the complete Bach Suites in Tokyo. During 2013 Philip appeared as soloist with the Philharmonia Orchestra, the Hallé Orchestra at Bridgewater Hall (broadcast by BBC Radio 3), the Northern Sinfonia and Bournemouth Symphony Orchestra. He gave recitals at Wigmore Hall, the Brighton, City of London, Gower and Lichfield Festivals, and in Germany and Istanbul. In January 2013, Delphian Records released Philip’s recording of the Britten Solo Suites to critical acclaim. Philip is one of the first British cellists in generations to have won top prizes at three major international competitions including 1st Prize in the 2008 Bach Leipzig and 2009 Lutoslawski Competitions, and 2nd Prize in the 2010 Feuermann Competition. Born in Edinburgh, he studied at the RNCM with Emma Ferrand and Ralph Kirshbaum. He was selected for representation by YCAT in 2009 and plays a Tecchler cello c.1730.

In 2011, Masataka Goto was awarded First Prize at the 9th International Franz Liszt Piano Competition, Utrecht. The jury compared him to ‘a young samurai defending the honour of music’. He also received the Van Lanschot Bankiers Audience Award as well as the Prize of the Junior Jury. Born and raised in Japan, Masataka Goto has been playing the piano since the age of four. He went on to study with Fumiko Eguchi at the Showa Graduate School of Music, Shin-Yurigaoka, where he has been a professor at the Piano Department since 2012. As part of his career development programme offered by the Liszt Competition, Masataka has already given over 100 performances in 25 countries. The morning following the Competition’s finals, he made his debut in the main hall of Amsterdam’s Concertgebouw with the Netherlands Radio Philharmonic Orchestra under Jaap van Zweden. He has also appeared in concert in Russia (with the State Hermitage Orchestra), Germany (Berlin International Music Festival), Poland (at the Duszniki Festival and with the Krakow State Philharmonic Orchestra), China (including the main hall of Beijing NCPA and Shanghai Concert Hall), Indonesia, Brazil, Argentina, the United States, Belgium (at the Festival of Flanders), Latvia (with the Latvian National Symphony Orchestra) and Japan (with the Japan Philharmonic Orchestra). In 2013 Masataka appeared with a number of orchestras including Rachmaninoff’s Paganini Rhapsody with the Rotterdam Philharmonic Orchestra, Beethoven’s Piano Concerto No. 3 with the Tokyo Philharmonic Orchestra and Rachmaninoff’s Piano Concerto No. 2 with the Kawasaki Symphony Orchestra, as well as solo recitals in Europe, Asia, North and South America. Upcoming performances include two appearances with the Netherlands Philharmonic Orchestra in May 2015 as the soloist for J.S. Bach’s Keyboard Concerto in D major. Philip Higham will be accompanied by pianist Tom Poster


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Saturday 12th April, 12:00-13:00

Lemberg Piano Trio Presented by: Young Artist Platform Brahms Piano Quartet in C minor, op. 60 i. Allegro non troppo ii. Scherzo: Allegro iii. Andante iv. Finale comodo

The Lemberg Piano Quartet was formed in 2013 by Andriy Dragan (piano), Chouchane Siranossian (violin), Lech Antonio Uszynski (viola) and Astrig Siranossian (cello). All four artists are prizewinning and internationally successful as soloists and chamber musicians. Their ensemble is named after the multicultural and cosmopolitan city Lviv (Lemberg) in southwestern Ukraine, to which all four members have a personal connection. Andriy Dragan studied at the Basel Music Academy in Switzerland, and has taken lessons with leading soloists such as Alfred Brendel, Zoltan Kocsis, Piotr Anderszewsky and Elisabeth Leonskaja. He has been the recipient of several awards, including the Prix Credit Suisse Jeunes Soloistes, and appears regularly with orchestras in Europe as well as further afield in the US and Japan. The French-Armenian violinist Chouchane Siranossian is equally adept as a soloist of the modern and Baroque violin. She has appeared as a soloist and concertmaster with orchestras such as the Staatskapelle Dresden, Basel Chamber Orchestra, Budapest Festival Orchestra, Concerto Köln and the Deutsche Kammerphilharmonie Bremen. Chouchane records for the labels Oehms Classics and Sony DHM. Lech Antonio Uszynski is the violist of the Stradivari Quartet and has performed with artists such as Dmitri Sitkovestky, Antoine Tamestit and Julian Rachlin. His solo appearances to date have included high profile venues such as the Konzerthaus Berlin, Laieszhalle Hamburg, Liederhalle Stuttgart and London’s Wigmore Hall. A graduate of the Basel Musikhochschule, Astrig Siranossian’s repertoire spans the entire spectrum from traditional to contemporary works. She won last year’s Penderecki Cello Competition and, together with pianist Andriy Dragan, took 1st Prize at the 2013 Basel Duo Competition. The musicians’ string instruments are also worthy of note: Chouchane’s violin by Giuseppe Guarnerius dates from 1697 and Astrig plays a Francesco Ruggieri cello of 1676, both on loan from F and C Bodin. Lech Antonio uses the ‘Gibson’ viola by Antonio Stradivari from 1734, on loan from the Habisreutinger-Stradivari Foundation.

Alec Frank-Gemmill Presented by: Borletti-Buitoni Trust Schumann Adagio und Allegro, op. 70 Volker David Kirchner Lamento d’Orfeo Richard Strauss Andante, op. posth. At 28 years old, Alec Frank-Gemmill is already considered one of the foremost exponents of the horn as a solo instrument. Described by the Financial Times as a ‘phenomenon with a tone of golden purity, wraparound warmth and ecstatic afterglow’, he has performed concertos on BBC Radio 3, Deutschlandradio and on the television station Arte in their series Stars von Morgen. His 2012 recording of Weber's Concertino with the Scottish Chamber Orchestra was met with critical acclaim. As well as giving regular solo recitals, Alec is also in high demand to play chamber music (most recently the Brahms Trio and Mozart Quintet at London’s Wigmore Hall). Artist in Residence at the Lammermuir Festival 2013, the Daily Telegraph commented: ‘His unforced, richly responsive playing bloomed magically in the generous acoustics, matched by the touching sincerity of his performance.’ Alec is one of only a few musicians to have mastered both modern and period horns, and is entirely at home in repertoire from the baroque through to the 21st Century. Featured soloist at this year's British Horn Society Festival, he was invited to give his first ever lecture-recital, ‘History and the Horn’. Alec is also becoming recognised in the field of contemporary music, for instance, as an ‘outstanding soloist’ (Observer) and a player of ‘breathtaking precision’ (Scotsman) in performances of Ligeti's Hamburg Concerto. Having himself studied in Cambridge, London and Berlin, he was recently appointed Professor of Horn at the Guildhall School of Music and Drama. Alec Frank-Gemmill will be accompanied by pianist Simon Smith


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24th IAMA International Conference

IAMAfanfare The IAMA Conference Fanfare was commissioned by delegates of the 23rd IAMA International Conference in Vienna and the Royal Philharmonic Society, which celebrated its 200th anniversary in 2013 Royal Philharmonic Society

Tom Harrold

The Royal Philharmonic Society was founded in London in 1813 by a group of professional musicians. From that time it has promoted new music, established orchestral standards and brought some of the greatest musicians to British audiences.

Scottish composer Tom Harrold (b.1991) is a Masters student at the Royal Northern College of Music, where he is a Radcliffe Trust Scholar under the tutelage of Professors Gary Carpenter and Adam Gorb.

The list of premieres includes works by Beethoven, Mendelssohn, Dvořák, Elgar and Vaughan Williams, among many others. For over 200 years it has been at the heart of music: supporting and working creatively with talented young performers and composers, championing excellence, and encouraging audiences to listen to, and talk about, great music. Through the Society’s rich history of music-making it has enjoyed direct links with iconic musicians such as Beethoven, Mendelssohn and Wagner.

Tom's music has been performed worldwide by the BBC Scottish Symphony, Scottish Chamber, Aurora, and Birmingham Festival Orchestras, WorldBrass, Onyx Brass, SuperBrass, Total Brass, the Lancashire Sinfonietta, the Endymion Ensemble and Trinity Boys Choir, with workshops from the BBC Singers and Exaudi. Tom's music has received BBC Proms performances, and has been aired at venues which include the Cadogan and Berlin Philharmonic Halls, the Maison Symphonique de Montréal, Western Australian Academy of Performing Arts, Kings Place, and the Southbank and Barbican Centres. Tom’s work has received broadcasts and recordings with BBC Radio 3, Linn Records and Bayerischer Rundfunk. He has been commissioned by the BBC Proms, and twice by the Royal Philharmonic Society in their bicentenary year.

Tom is also a Guinness World Record holder: his work Ticcatoccatina currently holds the record for the most number of musicians performing on one piano at one time.

ECHOconcert The European Concert Hall Organisation (ECHO) presents their Rising Stars series Rising Stars Each year the European Concert Hall Organisation selects a group of outstanding artists to become its Rising Stars. The selected Rising Stars perform a concert tour across the halls of the ECHO network. The ECHO Rising Stars series has existed since 1995 and has shaped the musical careers of many of today’s world class artists.

Juliette Bausor Juliette Bausor is principal flute with both the Northern Sinfonia and London Mozart Players, and is a member of Ensemble 360. She is also regularly invited to appear as guest principal flute with orchestras across Britain, including the London Philharmonic Orchestra, Philharmonia, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, Scottish Chamber Orchestra, London Sinfonietta and Britten Sinfonia. Juliette began her career with a series of prestigious accolades, including winning the Gold Medal in both the Shell-LSO Competition and the Royal OverSeas League Competition, and reaching the Concerto Final of BBC Young Musician of the Year

2012 as winner of the woodwind final. She has gone on to perform concertos with the London Symphony Orchestra, Ulster Orchestra, Academy of St Martin in the Fields, European Union Chamber Orchestra, Northern Sinfonia and London Mozart Players. She also makes regular recital appearances at major venues and festivals throughout the UK, including London’s Wigmore Hall and Southbank Centre. A keen chamber music player, Juliette has collaborated with many fine musicians, notably with the Coull, Elias, Badke and Carducci String Quartets, Ensemble 360, violinist Thomas Zehetmair, pianist Llŷr Williams, soprano Kate Royal and harpist Catrin Finch. Success on an international scale is reflected in tours around Europe and beyond, to Thailand, Vietnam, the United Arab Emirates, Namibia, Zimbabwe, Australia and New Zealand. Juliette studied flute with Anna Pope at the Purcell School of Music and with Philippa Davies, Paul Edmund Davies and Samuel Coles at the Guildhall School of Music and Drama. She subsequently attended the Conservatoire Nationale Supérieur de Musique in Paris, receiving further tuition from Sophie Cherrier and Vincent Lucas.


nextconferences Safe travels home and we hope to see you at another IAMA conference in the future

17-22 November 2014 UK Trade and Investment and IAMA will be joining CINARS in Montreal

23-25 April 2015 25th IAMA International Conference, Helsinki

Want to host a future conference? Please let us know

specialthanks IAMA Board of Directors The Executive Aino Turtiainen-Visala, Fazer Artists' Management, Chairman Helen Sykes, Helen Sykes Artist Management, Deputy Chair Christian May, Melos Konzerte, Treasurer

Board Members Hannes de Vries, GE#Sharp Artists Events, Netherlands Monica Felkel, Young Concert Artists Inc., USA Véronique Jourdain, Véronique Jourdain Artist Management, France Meghan King, Ibermusica, Spain Ben Rayfield, Rayfield Allied, UK Carola Reul, Konzertdirektion Schmid, Germany David Sigall, Ingpen & Williams Ltd, UK Masami Shigeta, Aspen, Japan Jacob Soelberg, Nordic Artists Management, Denmark Janis Susskind, Boosey & Hawkes, UK Roderick Thomson, Hazard Chase, UK

Office West Wing, Somerset House Strand, London, WC2R 1LA T: +44 20 7379 7336

Conference Staff Jenny Bianco (manager, front desk) Natalia Fedorova Sarah Fradgley Sylvia Wang Haotong Zak Hulstrom Katerina Kanavakí Ed Maclean Lara Marie Mueller Ursula Torjak Suri Xia

IAMA Staff Atholl Swainston-Harrison, Chief Executive Ashley Morris, Manager; Administration and Operations Marlena Schroeder, Manager; Membership and Projects

What is IAMA? The International Artist Managers' Association (IAMA) - is the only worldwide association for classical music artist managements. It is dedicated to serving all its members' needs including Affiliate and Group members and it strives to raise professional standards in the business of music.

Thanks also to: Ashley Morris (conference branding images); Owen Mortimer (media and advertising, brochure production and conference support); Adrenaline Creative (typesetting and setting of the brochure)

members and those as Affiliate members such as orchestras, festivals, PR, travel and publishing. It is an organisation that promotes opportunities for members to meet in many countries including its international conference which is presented every April. By joining, you help a wider community to become more effective.

What is CMA? What membership services are offered? Standard services include those you would expect of an international professional association: International tax and legal helplines, work permits, regular newsletters, an international mediation & arbitration scheme, an international watchlist, discount schemes for publications and world meetings, seminars, social functions, trade missions, an international young artist programme and access to a team of dedicated staff.

This is a term that describes one of the most valuable professional tools to artist managements and promoters. Classical Music Artists - Who Represents Whom is a joint directory with the Association Européenne des Agents Artistiques since 1999. It is a dynamic, interactive international database monitored regularly for security of exclusive artist representation. It is a reliable and comprehensive resource with over 8500 listings. It is published on-line:

Interested? Who should belong and why? If your company is serious about the music business, then you need to belong to a supportive and effective association to assist your plans. IAMA has doubled its membership over the last five years including those in artist management as Full

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Read more about us under our history section or find out more about becoming a member. Contact: Marlena Schroeder

24th IAMA International Conference 'Time for Change'  

24th IAMA International Conference | 10-12 April 2014 | Milton Court, London, UK

24th IAMA International Conference 'Time for Change'  

24th IAMA International Conference | 10-12 April 2014 | Milton Court, London, UK