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Artist Management: Who Cares? 27th IAMA International Conference 5-7 April 2017 Philharmonie de Paris


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welcome, willkommen, bienvenue Laurent Bayle, Philharmonie de Paris The Philharmonie de Paris opened in January 2015 and has presented two seasons of diverse concerts, earning an excellent international reputation for the acoustic qualities of its Grande Salle. The project has also reached new audiences by bringing together many different disciplines under one roof, namely concerts, exhibitions, workshops, a digital resource centre and publishing – all tailored to the times in which we live. More than a million people visited in the first year, and this high volume of visitors has been maintained, thanks to the public’s enthusiastic response.


The invitation of the IAMA Conference to the Philharmonie de Paris represents an important milestone. It is also a testament to the great vitality of musical life in France, as well as in several other European countries that have recently inaugurated new concert halls, or which

Aino Turtiainen-Visala, IAMA Chairman

intend to build innovative new music venues (including Germany, Poland and the UK). At a time when such modern facilities are coming into being, a conference of this kind is especially valuable and relevant: the participants in the international music world need to adapt continuously, to understand the role that music can play in our complex world, and to monitor the development of artists so that their concerts continue to convey a form of dream or utopia. Without a clear vision of the purpose that we seek, the concert world would become a market, rendering music banal and reducing it to a mere product. This is the purpose of our actions, whether collective or individual: to shape true acts of culture that link music to the world around it.

Laurent Bayle Président, Philharmonie de Paris

David Sigall, IAMA President

Here we are at the 27th IAMA International Conference and back in the beautiful city of Paris. Those of you attending the 2010 Conference will know the tribulations we had, not with security concerns but with something more natural and unexpected. Eyjafjallajökull was the Icelandic volcano that was fun to try and pronounce but challenging for those trying to attend the meeting. It was a mere 24 hours before the start of the 2010 Conference that the flight ban was lifted. I trust all of you did not have issues this time.


I’m delighted to welcome you all at the Conference which has established itself to be the classical music business meeting of the year in Europe. I’m also pleased to see so many new faces on this year’s delegate list, in particular our colleagues from French companies. We are honoured to be in the wonderful new Philharmonie de Paris, without whose support a visit to Paris would be impossible. Thanks are due to the Conference committee: Gaetan le Divelec (Conference Chair and director, Askonas Holt), Emmanuel Hondré (Philharmonie de Paris), Romain Blondel (Solea Management), Catherine Le Bris (CLB Management) and Enrique Subiela (Duetto Management). IAMA is not just an annual conference. Our daily work deals with self-regulation of the artist management profession, so it is fitting at an event like this to explore issues in the profession from which I’m sure many will learn – not difficult when you think of the hundreds of years of experience and knowledge among all of you at the Conference. We hope you enjoy yourself and have a fruitful few days in Paris.

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

As the newly appointed Honorary President of the International Artist Managers’ Association it gives me great pleasure to add my welcome to this year’s IAMA Conference in Paris. It has been most gratifying for me to see how the international Conference has grown in popularity and importance from its early days when I was involved in its establishment in 1991. It was, at that time, just an experiment, but such was its success that it became an annual event and so it has remained for 26 years. Our work continues throughout the year to ensure the highest possible professional standards amongst our members, and the creation of greater business opportunities for our members. To me the annual IAMA Conference is living proof of these aspirations.

David Sigall HonFTCL


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welcome, willkommen, bienvenue Gaetan Le Divelec, Conference Chairman Welcome to IAMA’s 2017 Conference, in the extraordinary setting of Paris’s new Philharmonie, a facility which in so many ways embodies the vibrant, dynamic, contemporary face of the classical music profession. The classical music world is relentlessly being challenged to re-invent itself. But what if we don’t need to re-invent the wheel? What if all we need to do is simply to do what we do better? I have been keen for this year’s Conference to focus on themes directly relevant to the profession at the heart of IAMA’s raison d’être: artist management. Artists, concert presenters, venues and orchestras are at the coal face. We, artist managers, are one step removed. Our role is fundamentally a supporting role. Our influence on what goes on stage, on how it goes on stage, on how it reaches diverse audiences, is real but indirect. So what does ‘doing what we do better’ mean for us artist managers? How do we support the wider classical music world in meeting its challenges? How are the needs of the people we serve – the artists (our clients), and the presenters we work with – evolving? Are we doing enough to address these needs? If we must raise our game, what exactly does that mean? What are our challenges? For some of the topics we will explore, I have asked presenters to hold a mirror up to us, to offer us their perspective on how we work (‘What makes a good artist manager?’; ‘Who cares about selling?’). Other topics will be explored through peer-to-peer discussions: we will discuss how we can work together better (‘East-West’; ‘Who cares about local management?’), how to combine the complex set of roles involved in being an artist manager into one harmonious whole (‘Who cares about the artist manager?’), and how to adapt our services and our business models to the changing environment and the changing needs of the people we serve (‘Fit for the future’). We will also focus on a topic seldom discussed in our profession yet somehow central to what we do: coaching. The artists we manage are at the top of their game, but they often turn to us for advice and feedback. How do we respond? Are we equipped to respond? How do we manage the boundaries involved? (‘Who cares about coaching?’; ‘What is coaching all about?’). We have a stellar line-up of speakers to help us illuminate these topics through what I hope will be fascinating discussions. Historically, this conference also provides a backdrop for vibrant business meetings. Ultimately, the classical music profession is about human relationships: in our era of electronic communication, the IAMA Conference is a unique opportunity to connect face-to-face with the extraordinary people who make up our industry. Whatever makes you tick, whether it is doing business, networking, or taking part in sessions – hopefully a combination of the three – you will find it here. Happy conference!

Gaeten Le Divelec Director, Askonas Holt



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An intimate 460-seat hall in downtown Montreal, Canada Welcoming the greatest chamber musicians and soloists since 2011 Discover our 7th season on April 21, 2017!



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iamaaward Thur 27 April & Fri 28 April, 2017 »The Limits of Growth« How cultural institutions need to change sustainably and substancially

© Franz Neumayr

Marietta Piekenbrock & Markus Hinterhäuser (Opening Speakers)

© Marco Borggreve

Iván Fischer (Panelist)

Matthias Naske Prof. Dr. Oliver Scheytt Dr. Johannes Bultmann Dr. Martina Steinröder Thorsten Schmidt


Prof. Dr. Hanns-Ferdinand Müller (former RWE) Carsten Cramer (Borussia Dortmund) Karsten Schmidt (Ravensburger AG) Prof. Dr. Wolfgang Welsch (philosopher) A projekt of


(Chairman 2017)

© Thomas Dashuber

© Pascal A. Rest

Benedikt Stampa

Joséphine Markovits Joséphine Markovits is artistic director of the prestigious Festival d’Automne à Paris (Paris Autumn Festival), an event aimed at bringing a truly international perspective to the cultural scene in the French capital. She has been intimately involved with the Festival since its inception in 1972. Markovits’ remit has been to find music that deserves a higher profile in France, and to put together programmes to showcase this music in Paris. She has presented works by outstanding contemporary composers including Luigi Nono, Karlheinz Stockhausen, Mauricio Kagel, Steve Reich and Gérard Pesson. She has also helped to launch the careers of new composers such as Brice Pauset, Mark Andre and Clara Ianotta. Notable commissions for the Festival include the 2005 video installation Fields of Fire by Michal Rovner and Heiner Goebbels. Markovits’ first major programme for Festival d’Automne was the Cycle of Performances at the Sorbonne Chapel in 1979, featuring outstanding artists such as Laurie Anderson, Don Cherry, Sheryl Sutton and Deborah Hay. In preparation for this, she spent two months working in New York, San Francisco and Los Angeles. Her work has taken her all over the world, including India, China, the USA and Mexico, as well as Zululand in South Africa and the Aboriginal lands of Australia.


The daughter of Hungarian exiles, Markovits’ formative musical influences ranged from her uncles’ informal violin performances to jazz broadcasts on the radio. Her first experience of listening to Wagner’s Ring cycle made her decide to devote her career to music.

– working language is German –

Markovits worked closely with Michel Guy, founder of the Festival d’Automne à Paris, until his death in 1990 left the future of the Festival in doubt. Another moment of crisis for the event occurred at the death of Guy’s successor, Alain Crombecque, in 2009. Since then, Markovits and her fellow artistic director, Marie Collin, have succeeded in preserving the Festival’s unique identity. A strong team is now in place, led by Emmanuel Demarcy-Mota, and with firm support from its public, Markovits is optimistic about the future of the Festival.

Prof. Dr. Holger Hettinger Prof. Dr. Holger Noltze

Further information:


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2017 13:31

Schedule/HORAIRE Wednesday 5 April 2017 / Mercredi 5 Avril 2017

27th IAMA International Conference


IAMA Meeting Point sponsored by StillArt Le « Meeting Point » IAMA est commandité par StillArt Time /Heure

Activité / Event

09:30 Level 2 / Niveau 2

Registration opens / Accréditation

10:00-17:00 Level 2/3 / Niveaux 2/3

Business areas open / Ouverture des espaces affaires

09:30-12:30 Salle du conseil – Level 7 / Niveau 7

IAMA Board Meeting / Réunion du Conseil d’administration IAMA

10:30-11:30 Meet at the registration desk / Rencontre au bureau d’accréditation

Tour of the Philharmonie de Paris / Visite de la Philharmonie de Paris

11:30-12:00 Salon de réception (area outside the Studio) – Level 2

Informal introduction to the Conference for new delegates Do you want to know how to use the conference effectively and need background to the Association? Catherine le Bris, Managing Director, CLB Management Romain Blondel, Managing Director, Solea Management

12:00-12:30 Salon de réception (aire voisine du Studio) – Niveau 2

Présentation informelle du programme de la conférence pour les nouveaux/nouvelles délégué(e)s Voulez-vous savoir comment tirer le meilleur parti de la conférence et en savoir plus sur l’Association? Catherine Le Bris, Directrice générale, CLB Management Romain Blondel, Directeur général, Solea Management

12:30-13:00 Salon Jardin – Level 5 / Niveau 5

Meet the IAMA Board – new members and delegates / Rencontre du Conseil IAMA - pour nouveaux/ nouvelles membres et délégué(e)s

13:00-14:30 Salon Jardin – Level 5 / Niveau 5

Lunch / Déjeuner

14:30-14:45 Studio – Level 2 / Niveau 2

Welcome addresses / Allocutions de bienvenue


Laurent Bayle, Président de la Philhamonie de Paris

15:30-17:00 Studio – Level 2 / Niveau 2

IAMA Non-profit showcase presented by Young Classical Artist Trust / Vitrine IAMA à but non lucratif IAMA Non-profit showcase presented by Young Concert Artist Trust / Vitrine IAMA à but non lucratif présenté par Young Classical Artist Trust présenté par Young Concert Artist Trust

Aino Turtiainen-Visala, IAMA Chairman / Présidente, IAMA; Chairman / Directrice générale, Fazer Artists Gaetan Le Divelec, IAMA Conference Chairman / Président de la conférence IAMA; Director / Directeur, Askonas Holt Emmanuel Hondré, Directeur de la production, Philharmonie de Paris

Castalian Quartet / Quatuor Castalian Castalian Quartet / Quatuor Castalian Works by / oeuvres de Haydn and Brahms (details on page 23) / (détails en page 23) Works by / oeuvres de Haydn and Brahms (details on page 23) / (détails en page 23) Panel session I What makes a good artist manager? / Qu’est-ce qu’un bon agent d’artiste? Moderator / Modérateur  Andrew Green, Writer, Broadcaster, Producer, Reviewer / Auteur, Communicateur, Producteur, Critique Speakers / Panélistes Emmanuel Hondré, Directeur de la production, Philharmonie de Paris Joel Ethan Fried, Director of Artistic Administration / Directeur de l’administration artistique, Royal Concertgebouw Orchestra  Annette Wolde, Artistic Consultant / Conseiller artistique


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Schedule/HORAIRE Wednesday 5th April 2017 / Mercredi 5 Avril 2017

IAMA Meeting Point sponsored by StillArt Le « Meeting Point » IAMA est commandité par StillArt Time /Heure

Activité / Event

17: 30-19:30 Studio – Level 2 / Niveau 2

Presentation of the IAMA Award / Présentation du Prix IAMA – Josephine Markovitz

Ice-Breaker venue tba / Réception informelle (lieu à déterminer)

Ice-Breaker Reception / Réception informelle Sponsored by / Commanditée par Intermusica


Free evening / Soirée libre

Bureau Export presents / présente Camille Thomas, cello / violoncelle; Shani Diluka, piano Works by / oeuvres de Bloch and Fazil Say (details on page 23) / (détails en page 23)

Need a place to eat and connect with delegates? / Besoin d’un endroit pour manger et échanger avec des délégué(e)s? Dine-arounds: Sign up at the registration desk before 5pm to find a restaurant and join your colleagues / Dîners à proximité: Enregistrez-vous au bureau d’accréditation avant 17h pour des suggestions de restaurants où retrouver vos collègues

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Schedule/HORAIRE Thursday 6 April 2017 / Jeudi 6 Avril 2017

27th IAMA International Conference


IAMA Meeting Point sponsored by StillArt Le « Meeting Point » IAMA est commandité par StillArt Time /Heure

Activité / Event

09:00 Level 3 / Niveau 3

Registration opens / Accréditation

09:00-17:00 Level 2/3 / Niveaux 2/3

Business areas open / Ouverture des espaces affaires

10:00-11:30 Studio – Level 2 / Niveau 2

Panel session II Who cares about selling and why do artist managers need to care? The promoters/presenters’ perspective / Le gérant d’artiste et les « affaires »: pourquoi et comment? Le point de vue des promoteurs/diffuseurs Moderator / Modérateur Sam Rigby, Managing Director / Directeur général, Schott Music Ltd Speakers / Invités Sonja Epping, Head of Artistic Planning / Directrice, planification artistique, Gewandhaus zu Leipzig Cristina Rocca, Vice President for Artistic Planning / Vice-présidente, planification artistique, Chicago Symphony Orchestra Alexander Steinbeis, Managing Director / Directeur général, Deutsches Symphonie-Orchester Berlin


Simultaneous peer-to-peer sessions / Sessions simultanées en pair à pair

1 | Studio

1 | East-West: What can Asian and Western artist management agencies learn from each other? / EstOuest: Quelle expertise les agences d’artistes asiatiques et occidentales pourraient-elles partager? Moderator / Modératrice Barbara Scales, Director / Directrice, Latitude 45 Arts Promotion  Lead participants / Principaux participants Shohei Abe, Executive Vice President / Vice-président exécutif, Amati   Yong K Kim, CEO / Chef de la direction, Mastmedia  Sunny Park, Director / Directrice, Kumho Asiana Cultural Foundation  Kexin Zhang, Director / Directeur, Standard Artists 

2 | Salon de réception (area outside the Studio) – Level 2 / (aire voisine du Studio) – Niveau 2

2 | Fit for the future: Help us to tease out the answers to twenty fundamental questions about sustainable artist management / Pensons l’avenir: Aidez-nous à répondre aux vingt questions fondamentales concernant la gestion durable d’artiste Leader / Animateur Peter Martin, Director of Finance & Operations / Directeur des finances et des opérations, Intermusica; Chair / Président, IAMA Finance committee / Comité des finances IAMA

13:00-14:30 Level 5 / Niveau 5

Lunch / Déjeuner Sponsored by / Commandité par HEED! Event Logistics


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27th IAMA International Conference

Schedule/HORAIRE Thursday 6th April 2017 / Jeudi 6 Avril 2017

IAMA Meeting Point sponsored by StillArt Le « Meeting Point » IAMA est commandité par StillArt Time /Heure

Activité / Event

14:30-15:45 Studio

Peer-to-peer session / Session en pair à pair Who cares about the artist manager? / La gérance d’artiste: pourquoi et comment? Being an artist manager draws on a complex set of skills and personal qualities, sometimes experienced as conflicting: how do the roles of selling, promoting, strategising, pastoral care, coaching, organising, negotiating cohabit harmoniously under one roof? This session will aim to identify and understand the different roles that we hold under the umbrella term of artist manager. / La gérance d’artiste sollicite un vaste éventail de compétences et de qualités personnelles dont la pratique peut s’avérer conflictuelle: comment faire coexister harmonieusement chez une seule personne les rôles liés à la vente, la promotion, la stratégie, le soutien bienveillant, l’accompagnement professionnel, l’organisation et la négociation? Leader / Animateur Ian Holder, Executive & Leadership Development Coach, Founding partner / Coach en perfectionnement du leadership pour les cadres, Associé fondateur, 3C Partners


Tax helpdesk for drop-in advice provided by Smith & Williamson / Clinique-conseil pour des questions liées à la fiscalité offerte par Smith & Williamson Immigration & US tax helpdesk provided by Goldstein & Guilliams / Clinique-conseil sur l’immigration et la fiscalité américaine offerte par Goldstein & Guilliams

16:00-17:00 Studio

Expert clinic / Conseils d’experts Building an online strategy for artists / Implanter une stratégie en ligne pour des artistes Leader / Animatrice Caroline Henne, Strategic Business Incubator / Incubateur stratégique d’entreprises, Google


Optional activities / Activités optionnelles 16:00 / 16:45 Tour of the Philharmonie / Visite de la Philharmonie de Paris Meet at the registration desk / Rendez-vous au bureau d’accréditation 16:30 Music Making & Learning Workshop – Gamelan of Java / Atelier de jeu musical et de vulgarisation Le gamelan javanais The Indonesian archipelago has many traditions of collective musical practice, including the Gamelan of Java. Gamelan is still commonly played on formal occasions and in many traditionnal Indonesian ceremonies. Participants learn to play different repertories of the Javanese tradition through oral instruction. / L’archipel indonésien est le foyer de nombreuses pratiques musicales collectives, dont le gamelan javanais. On joue encore le gamelan lors d’événements officiels et au cours de cérémonies indonésiennes traditionnelles. Les participants apprendront par des consignes orales à jouer différents répertoires de la tradition javanaise. The session lasts 90 minutes and a maximum of 18 people can be accommodated on a first come, first serve basis. / La session de 90 minutes peut accueillir un maximum de 18 participants selon la règle du premier arrivé, premier servi. Meet at / Rencontre à la Salle 6 – Cité de la Musique


Free evening / Soirée libre Need a place to eat and connect with delegates? / Besoin d’un endroit pour manger et échanger avec des délégué(e)s? Dine-arounds: Sign up at the registration desk before 5pm to find a restaurant and join your colleagues / Dîners à proximité: Enregistrez-vous au bureau d’accréditation avant 17h pour des suggestions de restaurants où retrouver vos collègues.


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27th IAMA International Conference


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Schedule/HORAIRE Friday 7 April 2017 / Vendredi 7 Avril 2017

27th IAMA International Conference


IAMA Meeting Point sponsored by StillArt Le « Meeting Point » IAMA est commandité par StillArt Time /Heure

Activité / Event

09:00 Level 3 / Niveau 3

Registration opens / Accréditation

09:00-17:00 Level 2/3 / Niveaux 2/3

Business areas open / Ouverture des espaces affaires

10:00-11:30 Studio – Level 2 / Niveau 2

Panel session III Who cares about coaching – is there (and should there) be a coaching dimension to the work we do as artist managers? / Le coaching: pourquoi et comment? Y a-t-il, ou devrait-il y avoir, un rôle de coach lié au travail de gérance d’artiste? Moderator / Modérateur Alasdair Tait, Chief Executive & Artistic Director / Directeur général et artistique, Young Classical Artists Trust Speakers / Panélistes Ian Holder, Executive & Leadership Development Coach, Founding Partner / Coach en perfectionnement du leadership pour les cadres, Associé fondateur, 3C Partners Jonathan Groves, Director / Directeur, Groves Artists Michael Brearley, OBE, Psychoanalyst and writer / Ordre de l’Empire britannique, psychanalyste et auteur


Simultaneous sessions / Sessions simultanées

5 | Studio

Expert clinic / Conseil d’experts 5 | What is coaching all about? / Le coaching: comment et pourquoi? Ian Holder, Executive & Leadership Development Coach, Founding partner / Coach en perfectionnement du leadership pour les cadres, Associé fondateur, 3C Partners 

6 | Salon de réception (area outside the Studio – Level 2 / (aire voisine du Studio) – Niveau 2

Peer-to-peer / Pair à pair 6 | Artist management and PR media relations: complement or conflict? / La gérance d’artistes et les relations publiques & médias: en complémentarité ou en conflit? Facilitator / Animatrice Kathrin Hauser-Schmolck, Director / Directrice, Musik & Public Relations

13:00-14:30 Level 5 / Niveau 5

Lunch / Déjeuner Sponsored by / Commandité par Konzertdirektion Schmid & Dr Rudolf Goette Konzertdirektion Hamburg

14:30-16:00 Studio – Level 2 / Niveau 2

IAMA Non-profit showcase presented by PLMF Music Trust / Vitrine IAMA à but non lucratif présenté par PLMF Music Trust


Andrei Bogatš, tenor / ténor Works by / oeuvres de Tosti, Bizet and Verdi (details on page 24) / (détails en page 24) Panel session IV Who cares about Local Management? Passion and prejudices and a discussion in how we can optimise the General Management/Local Management relationship / La gérance en mode local: comment et pourquoi? Entre passion et préjugés: comment optimaliser la relation entre la gérance mondialisée et la gérance locale? Moderator / Modérateur Gaetan le Divelec, Director / Directeur, Askonas Holt Speakers / Panélistes Eugénie Guibert, Director / Directrice, Sartory Artists Sonia Simmenauer, Director / Directrice, Impresariat Simmenauer GmbH Enrique Subiela, Director / Directeur, Duetto Management


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27th IAMA International Conference

Schedule/HORAIRE Friday 7th April 2017 / Mercredi 5 Avril 2017

IAMA Meeting Point sponsored by StillArt Le « Meeting Point » IAMA est commandité par StillArt Time /Heure

Activité / Event

16:00-17:00 Studio – Level 2 / Niveau 2

IAMA Annual General Meeting and Extraordinary General Meeting / Assemblée générale annuelle et Assemblée extraordinaire IAMA All welcome / Tout le monde est bienvenu

19:00-23:00 Le Pavillon du Lac 

Conference closing party / Réception de clôture de la conférence The venue for the closing party is in Parc des Buttes Chaumont, approximately 15-20 minutes’ walk from the Philharmonie / La salle désignée pour la réception de clôture est située au Parc des Buttes Chaumont, à une vingtaine de minutes à pied de la Philharmonie


Barbara Scales

Catherine Le Bris


Managing Director

Latitude 45 Arts Promotion

CLB Management

Romain Blondel Managing Director Solea Management


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speakers Shohei Abe

Joel Ethan Fried Shohei Abe was a founding board member of the Tokyo based company AMATI Inc in 2009, following many years as a director responsible for artist manager and touring at Kajimoto Concert Management. Abe studied music at Showa University of Music and went on to study languages at Universita Stranieri in Perugia, Italy.

AMATI Inc continues to grow and now represents more than 100 leading Japanese and overseas artists as well as successfully leading projects such as the tour of MTT/San Francisco Symphony, Dutoit/ Boston Symphony, Dudamel/Los Angeles Philharmonic, Fedoseyev/ Tchaikovsky Symphony Orchestra and Ono/Opéra de Lyon.

Michael Brearley Michael Brearley taught philosophy at the University of Newcastle upon Tyne before turning to professional cricket, captaining Middlesex for 12 years and England for three. He led England in 31 of his 39 Test matches, winning 17 and losing only four. He was president of the MCC in 2007-8, and retires as chair of MCC’s World Cricket Committee, a think-tank on international cricket issues, in September 2017. After leaving professional cricket, Brearley pursued a career as a psychoanalyst, qualifying in 1985. He spent a four-year stint as a psychotherapist with Camden Psychotherapy Unit and was a school counsellor for 10 years. He is now a Fellow of the British Psychoanalytical Society. Brearley was president of the British Psychoanalytical Society from 2008 to 2010 and is chair of the Section for the Application of Psychoanalysis. He has given talks on leadership and motivation and has taught and written on a range of psychoanalytic topics. In 1985 he published The Art of Captaincy and has also written as a cricket journalist, most recently for the Times. He is currently working on a book with the working title On Form.

Sonja Epping Sonja Epping was born in 1970 in Siegburg, Germany. She studied musicology and German literature in Bonn and London, followed by a degree in arts administration at the VWA (Administration and Business Academy) in Cologne. She started her professional career at the orchestra office of the WDR (West German Broadcasting Cologne), followed by a job in artist management in Munich. In 2000 she became head of the orchestra office with the Frankfurt Radio Symphony Orchestra, and in 2004 was appointed chief executive of the Junge Deutsche Philharmonie. Epping took on the artistic management of the Deutsche Kammerphilharmonie Bremen in 2006. Since 2010, she has been head of concerts at the Leipzig Gewandhaus, responsible for the programming of the Gewandhaus Orchestra and events promoted by the Gewandhaus.

Joel Ethan Fried has been the director of artistic administration for the Royal Concertgebouw Orchestra (RCO) since 1999, responsible for programming. Born in Berkeley, California he completed his studies in piano and opera at the University of Southern California (USC) School of Music. He launched his career as assistant conductor with the New York City Opera and has had an extensive conducting career across Europe and the United States. From 1994 to 1999 he was artistic manager of the Bochum Symphony in Germany. At the Concertgebouw, Fried conceived and developed projects focusing on Shostakovich, Messiaen, ‘Bach meets Brahms’ and Bernstein. He has also cast the RCO’s vocal productions, including the critically acclaimed concert performances of Wagner’s Lohengrin in December 2015. While maintaining the RCO’s commitment to the core repertoire, Fried has developed and strengthened the orchestra’s unique contemporary music series which has seen the commissioning of more than 50 new works. His audience-building initiatives have included the RCO Club Night, the successful ‘Essentials’ series, the RCO Artist in Residence, and post-concert ‘Meet the Artists’ events. His programming has received awards in the United States and in Europe.

Andrew Green Andrew Green has been writing and broadcasting about music for over three decades. He launched his career as an artist manager for Ibbs & Tillett in London, where his client list included Mitsuko Uchida, Shura Cherkassky and the Alban Berg Quartet. His broadcasting began in 1985 with a radio feature about contralto Clara Butt. Since then, Andrew has gone on to present and produce some 300 music programmes for BBC networks, including a stint as a regular presenter of In Tune and BBC Proms broadcasts on Radio 3, and of Music Review on the World Service. As a journalist, Andrew has written for many of the UK’s newspapers and most leading musical journals, including Classical Music, Early Music Today and BBC Music, covering subjects as diverse as JFK and music, Vaughan Williams’ Great War, the history of harmoniums and music heard at the Battle of Waterloo. Andrew is also a long-term visiting research fellow at the University of Hertfordshire in the UK, where he teaches and devises projects in the area of oral history – work featured in a recent BBC radio documentary, Instant History.


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speakers and panelists Jonathan Groves

Caroline S. Henne Jonathan Groves received his formative musical training as a chorister at King’s College Cambridge under Sir David Willcocks. He returned to Cambridge as an undergraduate, studying history at Trinity College, and serving as president of the Cambridge University Music Club.

From 1976 to 2016 he was a director of Ingpen & Williams, during which time he represented many of the UK’s leading conductors and singers. Since September 2016 he has been managing director of Groves Artists Limited. Groves was a founding board member of the Young Classical Artists Trust, served for many years as Chair of the Opera Committee of the International Artist Managers’ Association and is a Governor of the Royal Northern College of Music.

Eugénie Guibert Eugénie Guibert is a graduate of the Conservatoire National Supérieur de Musique in Lyon and the Royal College of Music, London. She has been a violinist with orchestras including the Orchestre National de Lyon, the Opéra National de Lyon and Les Siècles, touring in Europe, the USA, Japan and China. Following a stint on the administration team of the Long Thibaud International Violin Competition in Paris, she trained as an artist management at CLB Management in London. Her first job as an artist manager was with Couleurs Musicales in Paris. In 2011, Guibert started her own company, Sartory Artists. Her clients range from Anne Queffélec, Abdel Rahman El Bacha and Florent Boffard, to rising stars such as the Bizjak Piano Duo, Trio Karénine and Anaïs Gaudemard.

Kathrin Hauser-Schmolck Kathrin Hauser-Schmolck is a cultural scientist. She studied musicology, political sciences, and is trained in marketing. For many years she has been active as a PR expert in the worlds of music and media. Formerly music adviser to the Goethe Institute, she set up her own agency in 1999, first in Munich and now in Basel. She works for renowned musicians, ensembles and festivals (such as the Munich Biennale), specialising in PR and media relations. Kathrin lectures in Career Development at the universities of music in Frankfurt, Freiburg and Hanover, and at the Kronberg Academy. Invitations to give lectures and workshops include the conductors’ forum of the German Music Council, the Bertelsmann Foundation’s ‘Neue Stimmen’ singing competition and Berne University of the Arts.

Caroline S. Henne is Google and YouTube’s Strategic Business Incubator, with more than a decade of digital marketing experience. She started her career in the television industry at Germany’s biggest private broadcaster RTL, but soon discovered her passion for the digital space. Kick-starting her own digital transformation at Lycos Europe in London, she soon executed the same digital transformations for large corporations across the globe, as a consultant on marketing mix optimisation from Luxury to CPG and Technology clients at market research giant GfK, before arriving at her current destination, Google UK, over two years ago. Henne holds a degree in International Management for Media and is a regular speaker at events across the globe, including Internet Advertising Bureau conferences and other digital, marketing and market research events. She started playing the piano aged five and is still an enthusiastic player as well as singer with the English Chamber Choir and at St Martin-in-the-Fields and other London venues.

Ian Holder Ian Holder’s work at 3C Partners Limited takes coaching, counselling and consulting into the workplace with an emphasis on change management, cross-border dialogue, business development and team building. He is also senior associate for the Good Governance Institute. As an executive coach and psychotherapist for almost 20 years, Holder has worked with a range of clients in many industries. In the entertainment field, his experience includes the performing arts, film, music (both classical and contemporary), radio and television, casting and artist management, enabling individuals to improve their personal relationships and working life to navigate the demands and delivery through the complexity of their chosen career. He is the lay member for Governance and the Audit Chair of the tri-borough NHS Federation of Brent Harrow and Hillingdon Commissioners in London, and was formerly non-executive deputy chair of CNWL NHS Foundation Trust, a position lasting 10 years. Holder has extensive experience as a director and board member of publicly quoted multinational companies, an executive coach and a mentor, and helps organisations and individuals to address their development needs.


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speakers Emmanuel Hondré Emmanuel Hondré studied at the Conservatoire National de Musique et de Danse in Paris, winning first prizes in history of music (1992), aesthetics (1994) and musicology (2000). He taught history of music at the Conservatoire du Centre de Paris, the École Nationale Supérieure des Techniques Avancées and the Centre d’Art Polyphonique de Paris. Following a period as music editor at the Cité de la Musique, he was appointed head of cultural services at the Musée de la Musique. He went on to become director of production at the Cité de la Musique and Salle Pleyel (2005). He is currently director of the concerts department at the Philharmonie de Paris – Cité de la Musique, programming 500 concerts each season. Hondré is regularly invited to give lectures and conduct seminars on programming, management and musical life. He serves as an expert on the French British Committee for Contemporary Music (London), the French German Committee for Contemporary Music – Impuls (Berlin) and the French American Cultural Exchange (New York). He has also been on the jury of the Galina Vishnevskaya International Opera Singers Competition (Moscow 2012), the International Competition of Opera Singers (Saint Petersburg 2015) and the Shanghai Isaac Stern International Violin Competition (2016).

Gaetan Le Divelec Gaetan Le Divelec is a director at Askonas Holt Ltd in London, where he has been managing a roster of conductors and soloists since 1999. He was born in Nantes, France, and has lived in London since 1986. Prior to becoming an artist manager, Le Divelec was a freelance oboist in London, performing as an orchestral musician, chamber musician and soloist. He trained at the Royal Academy of Music, London, and at the Banff Centre for the Arts, Canada. In 2011, he was awarded an ARAM (Associate of the Royal Academy of Music) for his services to music. He is passionate about supporting young talent, and serves as director and trustee of the Young Classical Artist Trust. He is also director of the International Artist Manager’s Association. His hobbies include theatre, cycling and mountain hiking.

Peter Martin Peter Martin studied Music at Churchill College, Cambridge, after which he qualified as a chartered accountant. He has held senior finance roles in arts organisations including the South Bank Centre, Barbican Centre, Askonas Holt and International Classical Artists. He joined the board of Intermusica in September 2016. Martin remains active as a musician, playing lute and classical guitar.

Yong Kim Yong Kim established the Eum Youn Company, a classical concert promotion and magazine publishing enterprise, in 1995. By 2001, the success of this initial venture led him to diversify into jazz and pop, setting up a new company called Mast Media, publishing Korean editions of well-known classical music magazines such as International Piano, The Strad and Gramophone and promoting artists from Korea and abroad. The company handled visits to Korea by international artists such as Lang Lang, José Carreras, Sarah Chang, Evgeny Kissin, Hilary Hahn and András Schiff. In 2006, Kim established Mast Entertainment, expanding into the popular entertainment market. He introduced Cirque du Solei to Korea with their show Quidam. Mast Entertainment continues to promote a number of international block-buster shows (Blue Man, Riverdance), travelling exhibitions (Da Vinci, Bodyworlds) and sports events (Manchester United). It also promotes and produces musicals such as Notre Dame de Paris, Le Roi Soleil, Jersey Boys etc. In 2015, Kim established a joint-venture, Grevin Korea, with the wellknown French company CDA, launching the famous Grevin Wax Museum in Seoul.

Sunny Park Sunny Park joined South Korea’s Kumho Asiana Cultural Foundation in 2002, where she is involved in planning and developing support strategies for classical music and cultural activities. Her role includes the promotion of talented young Korean instrumentalists. She also presents classical music concerts and manages Kumho Art Hall in Seoul, one of Korea’s finest chamber music venues. Her diverse experience in the classical music sector in South Korea has led her to take up positions as a member of Arts Council Korea’s grant-making committee and on the Review Committee for Culture and Performing Arts Organisations, part of the Korea Arts Management Service.


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speakers Sam Rigby

Sonia Simmenauer Sonia Simmenauer was born in the USA and grew up in Paris. From 1982 to 2008 she lived in Hamburg, where she founded Impresariat Simmenauer in 1989 as an agency exclusively for string quartets. The Alban Berg Quartet, the Cleveland Quartet, the Guarneri Quartet and the Tokyo String Quartet are among the artists Simmenauer represented in the latter stages of their careers.

Sam Rigby joined artist management agency Intermusica in 2003, reaching the position of associate director and managing a varied list of artists such as Daniil Trifonov, Francesco Piemontesi, Midori, Renaud Capuçon and the Pavel Haas Quartet. He also managed concert series at London’s Southbank Centre and St Petersburg’s Mariinsky Concert Hall. In 2013 Rigby was appointed creative director of Schott Music, London, with responsibility for promoting the publisher’s catalogue of 20thcentury and contemporary composers. He became managing director of Schott Music, London in 2015.

Cristina Rocca Cristina Rocca joined the Chicago Symphony Orchestra in 2015 as vice president for artistic planning (the Richard and Mary L Gray Chair). She is responsible for the design and execution of all the Chicago Symphony Orchestra Association’s (CSOA) artistic plans, working closely with CSO music director Riccardo Muti and CSOA president Jeff Alexander to develop innovative programmes and to engage guest artists. Her role also includes supervision of the Symphony Center Presents and MusicNow series. Born in Bologna, Italy, Rocca was appointed artistic director of the Orchestre National de France, where she worked alongside music director Daniele Gatti to enhance the orchestra’s position nationally and internationally. During her time as director of artistic planning with the Cleveland Orchestra, her knowledge of and experience in the European music world helped contribute to the diversification of the orchestra’s programming at home and on tour. She has also held senior artistic posts with the Orchestre Philharmonique de Strasbourg, the Bournemouth Symphony and the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome.

Barbara Scales Barbara Scales is the founder of Latitude 45 Arts Promotion Inc, founded in 1981 and based in Montreal. An internationalist by principal, her company has represented artists from Australia, Japan, Korea, Iran, Israel, Mexico, Argentina, France, the United Kingdom, Russia, South Africa, the United States and Canada, who tour on five continents.

In 2009, Impresariat Simmenauer moved its offices to Berlin, and today it represents a dozen internationally respected string quartets, among them the Arditti, Artemis, Hagen, Belcea, Quatuor Ébène, Cuarteto Casals and Jerusalem Quartets. Simmenauer also manages individuals such as violinists Gidon Kremer, Isabelle Faust and Vadim Gluzman, violist Kim Kashkashian, cellist Alisa Weilerstein, pianists Piotr Anderszewski, Louis Lortie, Alexander Melnikov, and more. Simmenauer is a professor at the Musikhochschule in Hamburg, teaching a new area of studies called ‘Music Transmission’. She has written a book about life in a string quartet entitled Muss es sein? Leben im Quartette.

Enrique Subiela Enrique Subiela and his bother Jose are founders of Duetto Management, an artist management office established in Spain. He is also co-founder of the PR agency Impacta. Duetto represents artists in Spain and Latin America, including Gustavo Dudamel, Lang Lang, Cecilia Bartoli, Juan Diego Flórez, John Eliot Gardiner, Grigory Sokolov and Yuja Wang. The company’s touring department has collaborated with international orchestras and ensembles that include the Vienna Philharmonic, Bavarian Radio Symphony Orchestra, English Baroque Soloists and the Orchestra de Paris. A self-styled non-conformist, Subiela believes in the need to search for new professional tools that transcend the comfort zone created by traditional business approaches. Beginning with local management, he has evolved structural strategies for artists, agreements with media and record companies, alliances with corporations and a PR office with creative vision. His work as a concert promoter integrates these elements. Subiela’s professional and personal ideals are defined by social commitment, disruption and cooperation or co-management.

Scales’ academic studies were in philosophy, with a master’s thesis on the question: ‘What does it mean to say that art belongs to its time?’ This work inspires her collaboration with performers, composers and presenters. Originally from New York City, Scales has made her home in Montreal since 1968. She was appointed president of the board of directors of the Canadian Music Centre in Quebec in 2014, and has served on the board for more than 20 years. She has also served on the boards of CINARS, NAPAMA, ISPA and several other organisations.


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speakers Alexander Steinbeis

Annette Wolde

Alexander Steinbeis was appointed managing director of the Deutsches Symphonie-Orchester Berlin (DSO) in 2007, having already been engaged as director of artistic planning by Ingo Metzmacher, the orchestra’s principal conductor and artistic director at the time. His current contract runs through to 2021. Born in Munich in 1974, Steinbeis grew up in Germany and the UK. He studied management and arts administration in London, Paris, Oxford and Berlin. In 1999 he was engaged by Seiji Ozawa as assistant artistic administrator for the Boston Symphony Orchestra, where he remained until 2005, planning concerts at Boston’s Symphony Hall and the Tanglewood Festival. Steinbeis has raised the DSO’s profile by taking programmes to new and unusual venues. Initiatives such as ‘Casual Concerts’ have attracted new audiences in Berlin. Meanwhile, the chamber concert series ‘Notturno’, which the DSO has been presenting since 2010 in cooperation with the Stiftung Preußischer Kulturbesitz, promotes partnerships with Berlin’s other cultural institutions. As well engaging a raft of prominent conducting luminaries for the DSO, Steinbeis played a key role in securing Tugan Sokhiev (201216) and Robin Ticciati (from 2017) as music directors. The orchestra’s concerts at the Philharmonie are enjoying attendance rates averaging around 90 per cent.

Alasdair Tait Alasdair Tait studied cello at the Royal Northern College of Music in Manchester with Emma Ferrand and Ralph Kirshbaum, and in Basel with Thomas Demenga. He was cellist of the award-winning Belcea Quartet until 2006, including a five-year residency at London’s Wigmore Hall. The Quartet were twice recipients of the prestigious Royal Philharmonic Society Award and were the first BBC New Generation Artists.

Annette Wolde completed her studies in 1983 with a doctorate in art history, which took her from Bonn to Vienna, Paris and London. She worked for the Fondation Jean Arp and Sophie TaeuberArp and, while freelancing for TV and exhibition organisation, helped create and organised a chamber music festival near Bonn. In 1987 Wolde became managing director of the self-governed Junge Deutsche Philharmonie in Frankfurt. In 1993 she was asked to take over the concert management and later the programme planning of the Kölner Philharmonie, a position she held until March 2017. She is currently pursuing creative projects in the arts world, including those which support young musicians.

Kexin Zhang Kexin Zhang was born in Beijing. He launched his career in business, working with firms such as Mitsui, IBM China and Focus Trading. In 1999, he decided to turn to his first love, music, and with a group of business partners founded Chanson Arts Management. From 2007-08, Zhang was executive director of external liaison for the opening and closing ceremonies of the Beijing Olympics. He went on to become music production manager for the filmmaker Zhang Yimou. In 2014, he created Standard Artists Management, which quickly established itself as one of China’s leading artist management firms. Zhang’s passion for classical music is demonstrated in his private collection of more than 30,000 CDs, records and DVDs. He has written for publications including Philharmonic, Gramophone, Opera, Capital Culture and Music Lover. He has also contributed to journals such as the Beijing Youth Daily and Music Weekly. His writings on music were selected for inclusion in a collection entitled Essays by 40 Critics of China. As a broadcaster, Zhang guest-hosts the programme Classical and Popular, live on Beijing Music Radio; and Music Life on China Central Television’s Music Channel.

Alongside his now full-time role as chief executive of Young Classical Artists Trust (YCAT), Tait was head of chamber music at Guildhall School of Music and the RNCM. He taught at the Reina Sofia in Madrid and is a regular professor on the European Chamber Music Academy (ECMA) and at Aldeburgh Music. He is frequently invited as a jury member on international competitions such as Banff, Melbourne, Wigmore Hall and Vienna/Haydn. In 2016, he was named the Association of British Orchestras’ Artist Manager of the Year. Tait also works as a psychodynamic psychotherapist in private practice in London.


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Laurence Cummings David Hill Julia Jones Nicholas Kok Gianluca Marcianò Nicholas McGegan Europe Andrew Parrott David Parry Ari Pelto Raphaël Pichon UK & USA Tobias Ringborg ex. Scandinavia Gennady Rozhdestvensky ex. CH Yuri Simonov Pierre-André Valade Antony Walker

Christian Blackshaw Ya-Fei Chuang UK & various Federico Colli Robert Levin ex. N. America & Italy Louis Lortie UK, Ireland & Scandinavia Viktoria Postnikova Sergio Tiempo

HARPSICHORD Mahan Esfahani




Ekaterina Bakanova ex. Italy Janai Brugger Francesca Chiejina Venera Gimadieva Soile Isokoski UK Dame Emma Kirkby recitals only Mhairi Lawson Julia Sporsén Gemma Summerfield Talise Trevigne Fflur Wyn

Benjamin Bevan John Chest Ronan Collett Grant Doyle Omar Ebrahim Nmon Ford Peter Harvey Scott Hendricks Alexey Lavrov Europe Alan Opie Brett Polegato Phillip Rhodes Peter Savidge Dan Shelvey Peter Sidhom Olafur Sigurdarson David Stout Michael Volle recitals, UK David Wilson-Johnson Yuriy Yurchuk

MEZZO-SOPRANO Elizabeth Bishop Katie Bray Anne Marie Gibbons Annie Gill Anna Harvey Rowan Hellier Caitlin Hulcup Ronnita Miller Sandra Piques Eddy Jessica Walker

Elizabeth Kenny COUNTERTENOR

COMPOSER Michael Berkeley Harrison Birtwistle Daniel Kidane Steve Reich ex. N. America David Sawer

VIOLIN Peter Herresthal Jennifer Pike Sonoko Miriam Welde

CELLO STAGE DIRECTOR Jack Furness Stephen Langridge Orpha Phelan James Robinson

Natalie Clein ex. N. America Isang Enders ex. Japan & Korea Pieter Wispelwey


Borodin Quartet Leonore Piano Trio Navarra String Quartet Quatuor Mosaïques UK & various Sō Percussion Europe

MOVEMENT Jane Gibson opera

VOCAL ENSEMBLE The Cardinall’s Musick Gothic Voices

EARLY MUSIC ENSEMBLE Theatre of the Ayre

Member of the International Artist Managers’ Association


Christopher Ainslie Robin Blaze Gerald Thompson William Towers

TENOR Peter Auty Andrew Bidlack Luciano Botelho ex. Brazil Peter Bronder Eric Cutler Andrej Dunaev Adrian Dwyer Joshua Ellicott Hubert Francis Sam Furness Gwyn Hughes Jones Nicholas Mulroy James Oxley Nick Pritchard Sergey Romanovsky Boris Rudak Gerard Schneider

BASS-BARITONE Tiziano Bracci Matthew Brook Bradley Smoak Paul Whelan ex. N. America

BASS Mats Almgren Joshua Bloom Wojtek Gierlach Goderdzi Janelidze René Pape UK Barnaby Rea David Shipley

Southbank House Black Prince Road London SE1 7SJ Tel: 020 3176 5500 Fax: 0700 602 4143 E-mail:

22 23/03/2017 12:40

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Castalian Quartet

Camille Thomas

Presented by the Young Classical Artists Trust

Presented by Bureau Export de la Musique Française

Haydn String Quartet in G major, Op 76, No 1 I Allegro con spirito

Wednesday 5th April, 15:30

Brahms String Quartet No 3 in B-flat major, Op 67 III Agitato (Allegretto non troppo) – Trio – Coda

Sini Simonen violin Daniel Roberts violin Charlotte Bonneton viola Christopher Graves cello Formed in 2011, the Castalian Quartet studied with Oliver Wille (Kuss Quartet) at the Hanover University of Music, Dance and Theatre, graduating with a Masters. They have also worked with Thomas Brandis, Levon Chilingirian, Simon Rowland-Jones and members of the Endellion String Quartet. In 2015 the Quartet won first prize and three special awards at the Lyon International Competition. It also took first prize and the audience prize at the Kammermusik Hannover Next Generation Competition. They were selected as YCAT artists in 2016, and were the only European quartet to progress to the live rounds of the Banff International String Quartet Competition where they won third prize.

Bloch From Jewish Life I Prayer II Supplication III Jewish Song

Wednesday 5th April, 17:30

Fazil Say Sonata for Cello and Piano ‘Dört Şehir’ (Four Cities) I Sivas II Hopa The Franco-Belgian Camille Thomas was born in Paris in 1988 and began studying the cello at the age of four. After working with Marcel Bardon and Philippe Muller in Paris and Stephan Forck in Berlin, she studied with Frans Helmerson and Wolfgang-Emmanuel Schmidt at the Hochschule für Musik Hanns Eisler in Berlin. Thomas has been the recipient of numerous prizes at national and international competitions, and was nominated Newcomer of the Year 2014 at Les Victoires de la Musique (the French Grammys). She was chosen to represent Belgium at the European Broadcasting Union Competition, where she was awarded first prize and named New Talent of the Year 2014. Thomas is a regular guest at leading concert venues such as the Salle Gaveau, Théâtre des Champs-Élysées, Victoria Hall in Geneva, Palais des Beaux-Arts in Brussels, Jerusalem Music Center and Berlin Konzerthaus. As well as her recital work, she is an accomplished chamber musician and regularly performs concertos with leading orchestras around the world.

The Quartet has performed widely throughout Europe. Engagements this season include recitals at Wigmore Hall, the Aldeburgh and East Neuk Festivals, Sommerliche Musiktage Hitzacker, the Sparkassenforum Mittagskonzerte in Hanover, Quartetaffairs in Frankfurt (broadcast by NDR), the Festival de Musique de Conques in France, Festival Autunno Musicale Naples and the Turin Chamber Music Series. In 2018, they will perform the complete Haydn Quartets Op 76 at Wigmore Hall.

Her debut album, A Century of Russian Colors, on Outhere Music’s Fuga Libera label, was released in May 2013. Her latest recording, Réminiscences, with pianist Julien Libeer and dedicated to French music, was released last autumn on the La Dolce Volta label.

Thomas plays the ‘Château Pape-Clément’ cello, a magnificent instrument by Ferdinand Gagliano (Naples 1788), generously loaned by Bernard Magrez.


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TOURS MARTIN STADTFELD Münchner Streichquartett Tour Apr 2018 JOSEPH CALLEJA Prague Philharmonia Conductor: Ramon Tebar Tour Jun 2018 NOBU TSUJII Recitals Tour Aug 2018

Nobu Tsujii

ORCHESTRE PHILHARMONIQUE DE STRASBOURG Soloist Francesco Tristano Tour Nov 2018 MIDORI Munich Chamber Orchestra Tour Mar 2019

Andrei Bogatš

ALISON BALSOM Munich Chamber Orchestra Tour Dec 2019

Presented by the PLMF Music Trust Tosti Marechiare Bizet

Friday 7th April, 14:30


SINGERS / CHOIRS MOSCOW CATHEDRAL CHOIR** EU Russian Christmas Tours – Dec 2017 & 2019 Rachmaninov Vespers – Mar 2019

‘La fleur que tu m’avais jetée’ from Carmen



CANADIAN BRASS** EU Tours autumn 2017, summer 2018, Feb 2019

‘Di’ tu se fedele’ from Un ballo in maschera

Joseph Calleja

CANADIAN BRASS** EU with Hanover Boys Choir - Folk Songs Tour Jul/Aug 2019 TINE THING HELSETH & TENTHING Tours summer 2017, Dec 2018

Andrei Bogatš is one of Estonia’s leading operatic tenors. Born in Ukraine, he studied singing at the Estonian Academy of Music and Theatre and at the Giuseppe Verdi Conservatory in Milan. He has also participated in masterclasses with maestro Giacomo Aragall.

FEDERSPIEL D/L Brass in new definition

Bogatš was the first-prize winner at the Estonian Young Singers Competition (2004, 2005) and the Mart Saar Song Contest (2007). He was also a prize-winner at the IV International Alda Vane Young Opera Singers Competition (2007).


Bogatš’s repertoire includes Don José in Carmen; Lensky (Eugene Onegin); Alfredo (La traviata); Pinkerton in Madama Butterfly; and Nemorino in L’elisir d’amore. He has sung the role of II Principe in Respighi’s rarely staged La

bella dormente nel bosco.

Lead roles in contemporary opera include Luis in the world premiere performances of Giuseppe Raffa’s Gitana in Italy as well as the role of Pascalino in Nino Rota’s Napoli Milionaria. Bogatš has performed at several international festivals, including the Tallinn Winter Festival, Tallinn Chamber Music Festival and the Rapla Church Music Festival. His concert repertoire encompasses solo tenor roles in works such as Saint-Saens’ Christmas Oratorio and Gretchaninov’s Liturgia Domestica, and he has given recitals in Estonia, Finland, Sweden, Germany and Italy, among others.

Canadian Brass



Tine Thing Helseth


* Generalmanagement ** Exclusive Management EU Management in Europe D Germany A Austria CH Switzerland BE Belgium L Luxembourg

Tel. +49 (0)89-94 38 96-44

Ksenija Sidorova


musik 24


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27th IAMA International Conference

nextevents Safe travels home and we hope to see you at another IAMA event in the future

23-25 April 2018 28th IAMA International Conference Kings Place, London

specialthanks Laurent Bayle, President, Philharmonie de Paris Emmanuel Hondré, Directeur de la production, Philharmonie de Paris IAMA President David Sigall HonFTCL IAMA Board of Directors The Executive Chairman Aino Turtiainen-Visala (Fazer Artists’ Management, Finland) Deputy Chairman Helen Sykes (Helen Sykes Artist Management, UK) Honorary Treasurer Christian May (Melos Konzerte, Austria)

Board Members Carlo Cavalletti (CavArtists – Cavalletti Artists Management, Italy) Hannes de Vries (GE#Sharp Artists Events, Netherlands) Monica Felkel (Young Concert Artists Inc., USA) Maike Fuchs (Karsten Witt Musik Management, Germany) Gaetan le Divelec (Askonas Holt, UK) Carola Reul (Konzertdirektion Schmid, Germany) Victoria Rowsell (Victoria Rowsell Artist Management, UK) Jacob Soelberg (Nordic Artists Management, Denmark) Rog Thomson (Hazard Chase, UK) IAMA Staff Atholl Swainston-Harrison, Chief Executive Michael Robson-Kiernan, Manager – Administration and Operations Marlena Radaschitz, Manager – Membership and Projects

Office West Wing, Somerset House Strand, London, WC2R 1LA T: +44 20 7379 7336 Conference Staff Helen Pearce, Registration Desk Manager Luke Bell Oliver Haines Angelina Mery Thanks also to: Marie-Catherine LaPointe, Boulev’Art inc (dine-arounds); Owen Mortimer (brochure editing, advertising and production); Marc Hyland and James Taylor (translation services); Adrenaline Creative (brochure design and printing) C








The Intermusica difference: not just representing the world’s leading artists, but inspiring them to new creative heights

Artist Management Imaginative, personalised management for 120+ artists

International Touring Over 30 years’ expertise with an emphasis on new territories and innovative partnerships

Communications & Marketing The only dedicated four-person team in the industry

inspiring creativity

Film & Multimedia in Performance A rapidly expanding portfolio of multimedia products for the concert hall

Special Projects New commissions, residencies, recordings and more

London. Berlin. Beijing.


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Now, 10 000 visits a day all over the world. OPERA MUSICA will stay free for artists, agencies and all professionals. Would you like to update your information and promote your offers and services on our platform? Please send us an e-mail to: NEW NEW FINAL IAMA.indd 28 ANNONCE PRESSE IAMA 2017.indd 1

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27th IAMA International Conference 'Artist Management: Who Cares?'  

27th IAMA International Conference | 5-7 April 2017 | Philharmonie de Paris, France

27th IAMA International Conference 'Artist Management: Who Cares?'  

27th IAMA International Conference | 5-7 April 2017 | Philharmonie de Paris, France