Judith Yan, conductor

Equally adept at conducting symphony, opera, and ballet, Judith Yan’s career has taken her internationally, conducting for major companies in Europe, Asia, Australia, and North America. She has held Staff Conductor positions at San Francisco OperaCanadian Opera Company, and National Ballet of Canada.

Her recent debuts were celebrated with critical acclaim: “In her Vancouver Opera debut, Canadian Conductor Judith Yan really shone in the pit, bringing extraordinarily lyrical and expressive playing from the Vancouver Opera Orchestra.” (Vancouver Opera, La Boheme, Opera Canada 2018). “Under the direction of Canadian conductor Judith Yan, the West Australian Symphony Orchestra is simply wonderful.” (West Australian Ballet, Don Quixote, Greg Ross, 2018). “Judith Yan, her Seattle Opera debut, conducted the orchestra with vigour and deep sympathy for the score.” (Seattle Opera, An American Dream, Classical Voice America, 2017). “Under the baton of Judith Yan, the music just came to life.” (Kentucky OperaOrfeo​, Arts-Louisville Reviews). “The Edmonton Symphony played splendidly under Judith Yan…coaxed many vivid, dramatically transparent moments from the players.” (Edmonton OperaLa Traviata, Opera Canada 2019).

While with the San Francisco Opera, she served as Staff Conductor, assistant to Maestro Sir Donald Runnicles, where her performances of Stravinsky’s The Rake’s Progress for San Francisco Opera was included in the San Francisco Chronicle’s Top Ten Classical Performances of the Year. Prior to San Francisco Opera, she served as the first Conductor-in-Residence of the Canadian Opera Company, where she made her debut with Britten’s Rape of Lucretia. As the Principal Conductor of Opera on the Avalon since 2010, she has lead numerous productions including Ours, Shawnadithit, Tosca, La Boheme, Tosca, Suor Angelica, Gianni Schicchi, La Traviata, Albert Herring, and Dead Man Walking.

As a conductor of symphony, she served as the Artistic Director of Guelph Symphony Orchestra for 8 seasons, where she expanded the orchestra’s symphonic and operatic repertoire with works by composers Richard Strauss, Igor Stravinsky, Philip Glass, Francis Poulenc, Leonard Bernstein. Along with new works and premieres, she added operatic repertoire by Puccini, Verdi, Strauss, Humperdinck, and created the unique Triple-Feature “Symphony, Opera, and Ballet” Gala. As a guest conductor, she has collaborated with orchestras such as Auckland Philharmonia in New Zealand, Hong Kong PhilharmonicManitoba Chamber Orchestra and Saskatoon Symphony.

As a conductor of ballet, she has conducted over 90 performances at the Four Season’s Centre for the National Ballet of Canada, working with the world’s foremost choreographers including John Neumeier, Ronald Hynd, and James Kuldelka. With National Ballet of Canada and as a guest internationally, she has conducted the ballets of Balanchine, Cranko, Aldous, Bart, Harvey, Kiliàn, Lander, Stowell, Wright, and Grigorovich. Since 2010, she has had a close association with several ballet companies, including Hong Kong Ballet, conducting the company’s production of Swan Lake as well as premiering four of the company’s productions: Cynthia Harvey’s Sleeping Beauty, Terence Kohler’s The Nutcracker, Nina Ananiashvili’s Don Quixote, and the Asian world-premiere of Anna-Marie Holme’s Le Corsaire. She conducted the Polish premiere of Cranko’s ​The Taming of the Shrew in 2015 for Polish National Ballet, at Teatr Wielki in Warsaw.

In 2014, she made her Seoul conducting debut with Korean National Ballet, conducting the Korean Symphony in Yury Grigorovich’s La Bayadère, returning in 2015, 2016, 2018, and 2019 to conduct Patrice Bart’s Giselle, Grigorovich’s Swan Lake, and a revival of La Bayadère. She made her Australian conducting debut in 2017 with West Australian Ballet, conducting the West Australian Symphony Orchestra in Lucette Aldous’s Don Quixote, returning in 2018 for the world-premiere of Krzysztof Pastor’s Dracula and 2019 for Greg Horsman’s La Bayadère.

Recent performances include 3 critically acclaimed world-premieres: Jack Perla’s An American Dream for Seattle Opera and John Estacio’s Ours for Opera on the Avalon, Krzysztof Pastor’s Dracula for West Australian Ballet, company debuts with National Arts Centre Orchestra for Cynthia Harvey’s Sleeping BeautyTeatr Wielki in Warsaw for the Polish premiere of Cranko’s The Taming of the ShrewWest Australian Ballet and West Australian Symphony for Lucette Aldous’s Don Quixote, and Yury Grigorovich’s La Bayadère for Korean National Ballet and Korean Symphony.

2018/19 season included Vancouver Opera for La Boheme and Edmonton Opera for La Traviata, the season-opening gala concert for the Elora Festival, a revival of the opera Ours at Opera on the AvalonDvorak’s Symphony No. 8 and Beethoven’s Mass in C with Guelph Symphony Orchestra, productions of Greg Horsman’s La Bayadère and the world-première of Krzysztof Pastor’s Dracula for West Australian Ballet.

​For 2019/20, she opened both Korean National Ballet’s season with Yury Grigorovich’s Swan Lake, and Edmonton Opera’s with Verdi’s Rigoletto, ​Sleeping Beauty ​with West Australian Ballet, and concerts with Guelph Symphony Orchestra.

During the pandemic seasons of 2020/21 and 2021/22, she travelled to Hong Kong Ballet for a production of Don Quixote, made her debut with Saskatoon Symphony in programme of Sibelius, Copland, and Bernstein, and conducted a concert with Opera on the Avalon and Newfoundland Symphony. In 2021/22, she made her debut with Kentucky Opera with Orfeo, and returned to Saskatoon Symphony with a programme of Franklin and Tchaikovsky.

This 2022/23 season includes productions with Opera Omaha for Suor AngelicaNew Orleans Opera for a new production of Madama ButterflyOpera on the Avalon for Jake Heggie’s Three DecembersSan Francisco Opera (Merola) for The Rape of Lucretia, continues her collaboration with Saskatoon Symphony, opening its 92nd season with a Canadian premiere of Gipps’s Symphony No. 2, Forsyth’s Viola Concerto, and a world-premiere SSO commission of Canadian composer, Christos Hatzis. She returns to Saskatoon in November for a programme of De Falla and Ravel, and again in 2023 for a concert of Copland and Wagner.

Also in the 22/23 season is the much anticipated world-premiere of Laura Kaminsky and Lisa Moore’s February for Opera on the Avalon.

Judith is fluent in English and Cantonese. She is a Canadian citizen and American Resident, eligible to work in USA, Canada, and Hong Kong.

https://judithyan.com/

Ryan Davis | Radia

Touted by The WholeNote as a “lovely violist,” Radia, the moniker for Saskatchewan-raised artist Ryan Davis, is swiftly emerging as a singular creative force. Combining his rigorous classical training with the inspiration of folk, electronic, and hip-hop music, he finds himself seamlessly blending in between creative spaces. Using the viola as his voice, his unique sound has garnered attention and has been featured in diverse spaces, including in Toronto’s Koerner Hall, The Violin Channel, in Los Angeles’s Skid Row, and on ABC Channel 7 News LA. Of Glow & Abandon, his debut EP, was released on all major platforms on December 18th, 2021. He was named one of “30 Hot Canadian Classical Musicians Under 30” by CBC Music in 2021.

Some recent highlights include an appearance on former Toronto Raptors forward and NBA Champion Serge Ibaka’s Instagram Live show How Talented Are You?, a performance with The Gryphon Trio and vocalist Patricia O’Callaghan as a featured guest artist in Kingston’s Isabel Bader Theatre, a solo curation called Chromatophores as part of the Banff Centre’s Evolution Classical festival, and a performance of Christos Hatzis’s The Mega4 Meta4 as an invited solo artist as part of 21C Music Festival at The Royal Conservatory of Music. Ryan was chosen as the principal violist of the string ensemble Les Jeunes Virtuoses in Montreal, as part of the Montreal Chamber Music Festival in the fall of 2021.

He had a solo concerto debut with ensemble Prairie Virtuosi in January 2016, and has since returned in that role in 2020. Mr. Davis was the principal violist of the Colburn Orchestra’s 2018 tour of Scotland and Ireland, and was selected by the Lucerne Festival Academy Orchestra as their principal violist for the 2017 summer festival. He has been fortunate to collaborate in chamber music settings with many world-renowned musicians, including Martin Beaver, Jonathan Crow, Steven Dann, Roberto Diaz, Mark Fewer, Matt Haimovitz, Ernst Kovacic, Joel Link, Anthony Marwood, Johannes Moser, Eric Nowlin, Erika Raum, Wolfgang Redik, Lara St. John, and Axel Strauss. Festivals include the Banff Centre for the Arts, Creative Dialogue France, Orford Arts Center, Ottawa Chamberfest, McGill International String Quartet Academy, Napa Valley Music Festival, Ritornello Chamber Music Festival, and the Toronto Summer Music Festival.

Ryan’s passion for community engagement has led to working closely with Street Symphony, focused within the Skid Row neighbourhood of Los Angeles. Along with trombonist Jared Dickerson and violinist Simone Porter, he created the media co-op The Upnote, a platform and podcast focused on the exploration of young artists in an ever-changing music industry. After over 50 episodes, The Upnote was selected as the inaugural Entrepreneurs In Residence at the Colburn School for the 2019-2020 academic year, and were awarded the Grand Prize at the New Venture Competition.
In 2014 Mr. Davis completed a Bachelor of Music degree at McGill University, graduating with “Outstanding Achievement in Viola” as a scholarship student of Andre Roy, and graduated in 2016 with a Master of Music degree from the Yale School of Music as a student of Ettore Causa, and in 2019 graduated from Los Angeles’s The Colburn School, receiving an Artist Diploma under the tutelage of Paul Coletti. Ryan was then chosen as the first ever violist to be selected as a Rebanks Fellow in 2019, in the Rebanks Family Fellowship & International Performance Residency Program in Toronto, where he now calls home.