Dudamel’s 2019/20 season will see him enter his second decade as the Music & Artistic Director of the Los Angeles Philharmonic, where his bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America — period.” Other highlights of the season include conducting the New York Philharmonic for a two-week residency at Lincoln Center, touring a concert version of Beethoven’s opera Fidelio throughout Europe with the Mahler Chamber Orchestra, which will incorporate the famed Venezuelan “Manos Blancas” choir, and an Italian tour with the Accademia Nazionale di Santa Cecilia. A lifelong advocate for music education and social development through art, Dudamel himself was shaped by his childhood experience with El Sistema. Inspired by El Sistema, Dudamel, the L.A. Phil and its community partners founded YOLA (Youth Orchestra Los Angeles) in 2007.

In recognition of Dudamel’s advocacy for the proliferation of the arts in the Americas, in 2019, he was honored with a star on the Hollywood Walk of Fame and received the Distinguished Artist Award from the International Society for the Performing Arts (ISPA). He was awarded with the Gish Prize, The PAEZ Medal of Art, the Pablo Neruda Order of Artistic and Cultural Merit in 2018. In 2017, he led the Royal Stockholm Philharmonic in the Nobel Prize Concert in Sweden where he also delivered a lecture on the unity of the arts and sciences. Dudamel was named one of Time magazine’s 100 most influential people in 2009.

Dudamel has reached mainstream audiences and achieved name recognition far beyond the classical concert hall. He will conduct Bernstein’s iconic score for Steven Spielberg’s 2020 adaptation of West Side Story. At John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens and performed with the LA Phil at the 2019 Academy Awards.

He was the first classical musician to participate in the Super Bowl Half Time Show in 2016, leading members of YOLA alongside pop stars Coldplay, Beyonce, and Bruno Mars. Dudamel has been featured several times on CBS’ 60 Minutes, profiled on PBS, and interviewed by Christiane Amanpour on CNN, Conan O’Brian on Conan, Stephen Colbert on The Late Show, and Elmo on Sesame Street.

Inspired by Dudamel’s early musical and mentoring experiences, the Gustavo Dudamel Foundation, a registered charity, was created in 2012 with the goal of promoting access to music as a human right and a catalyst for learning, integration, and social change.

Upon Furtwängler’s death in 1954, Herbert von Karajan became the orchestra’s permanent conductor and artistic director. In the ensuing decades he worked with the orchestra to develop a unique tonal quality and performing style that became the orchestra’s worldwide trademark. Claudio Abbado, appointed the orchestra’s new chief conductor in October 1989, devised a new approach by developing programmes with thematic cycles that included contemporary works alongside traditional repertoire. Additional chamber music series also lent further variety to the orchestra’s programming.

With the appointment of Sir Simon Rattle, who was chief conductor of the orchestra from September 2002 until the end of the 2017/2018 season, the orchestra introduced important innovations. The conversion of the orchestra into the public Berliner Philharmoniker Foundation provided a modern structure allowing more opportunities for creative development while ensuring the ensemble’s economic viability. The Foundation enjoys the generous support of the state of Berlin, the Federal Government and the Deutsche Bank, its principal sponsor. One focus of the sponsorship of the Deutsche Bank is the Education Programme, initiated when Sir Simon Rattle took the helm, through which the orchestra is now reaching an ever wider and, especially, younger audience. For this commitment the Berliner Philharmoniker and their then artistic director Sir Simon Rattle were appointed as international UNICEF Ambassadors in 2007, an honour conferred for the first time on an artistic ensemble.

The Digital Concert Hall video platform was launched in 2009 to give international audiences the opportunity to experience the performances of the Berliner Philharmoniker on a regular basis. The orchestra’s concerts are broadcast live and are also available as recordings in a video archive a few days later. The Digital Concert Hall can be accessed on televisions, computers, smartphones, tablets and streaming devices.

In spring 2012 the Berliner Philharmoniker appeared for the last time at the Salzburg Easter Festival, after performing there for 45 years. In spring 2013 the orchestra launched its new festival, the Easter Festival of the Berliner Philharmoniker in Baden-Baden.

In 2014, the Berliner Philharmoniker formed their own label, Berliner Philharmoniker Recordings, with the goal of documenting outstanding concerts by the orchestra in editions which satisfy the highest technical and editorial demands. The most recent releases include the first historic edition of radio recordings with Wilhelm Furtwängler from 1933 to 1945 and the orchestra’s first CD conducted by Kirill Petrenko, with Tchaikovsky’s “Pathétique”.

During an orchestra assembly on 21 June 2015 Kirill Petrenko was elected as the new chief conductor of the Berliner Philharmoniker by a large majority. He takes up his position at the beginning of the 2019/2020 season. Since his debut in February 2006, he has conducted eight programmes with the orchestra, including concerts at the Easter Festival in Baden-Baden in 2017 and 2019, the opening concert of the season in 2018 and the Festival tour to Salzburg, Lucerne and London.

From 2009 to 2015 Anett Fritsch was part of the ensemble of the Deutsche Oper am Rhein Düsseldorf/Duisburg where she sang among others Pamina, Blanche/Dialogue des Carmelites, Konstanze/Entführung aus dem Serail and Marie/Fille du Régiment.

Anett Fritsch had a great success at her debut at the Glyndebourne Festival with the part of Almirena in Händel’s Rinaldo and with the part of Merione in Gluck’s Telemaco at the Theater an der Wien. She also made a triumphant debut as Fiordiligi in Cosi fan tutte at the Teatro Real Madrid, a production which was also very successful at the Théâtre de la Monnaie in Brussels and in 2014 appeared at the Wiener Festwochen. The tour through Europe Figaro/Cherubino with René Jacobs and the Freiburger Barockorchester received a great international response.

In 2014 Anett Fritsch made her debut at the Salzburg Festival as Donna Elvira in Don Giovanni, in 2015 she returned to Salzburg as Contessa in Figaro. In Munich she sang Figaro/Susanna.

At the Teatro Real in Madrid she appeared as Contessa/Figaro and Marzelline/Fidelio. To Santiago de Chile she was invited for Pamina/Magic Flute, at the Theater an der Wien she sang Figaro/Contessa and Ms. Ford in Salieri’s Falstaff.

2016 opened with Ginevra/Ariodante in Amsterdam, followed by Nozze/Susanna in Toulouse and Donna Elvira/Giovanni again in Amsterdam. The artist returned to Salzburg for Figaro/Contessa, she sang the same role at the Liceo Barcelona. The Berlin State Opera invited her for their new production in King Arthur. At the Scala Milan she debuted as Donna Elvira/Giovanni and appeared as Emma in Fierrabras and as Arminda in Finta Giardiniera. In Bilbao Anett Fritsch sang Marzelline in Fidelio, in Madrid Ilia in Idomeneo.

Further future projects include: Cosi fan Tutte/Fiordiligi and Carmen/Micaela in Amsterdam, King Arthur at Staatsoper Berlin, Magic Flute/Pamina and Don Giovanni/Donna Elvira at the Teatro Real Madrid, Rinaldo/Almirena in Lausanne.

A former member of the Atelier Lyrique at Opéra National de Paris and Salzburg Festival Young Singers Program, Kolosova came to international attention in 2010 at Salzburg Whitsun Festival, performing in the acclaimed production of Mozart’s La Betulia liberata under the baton of Riccardo Muti. Between 2011 and 2014 she was a member of the ensemble of Wiener Staatsoper, where her roles included Polina in Pikovaja Dama, Olga in Eugene Onegin, Fenena in Nabucco, Annio in Clemenza di Tito, Suzuki in Madama Butterfly and Bersi in Andrea Chenier.

Kolosova has collaborated with such conductors as Riccardo Muti, Ivor Bolton, Vasily Petrenko, Alain Altinoglu, Andris Nelsons, Gianandrea Noseda, Franz Welser-Möst, William Christie, Marin Alsop, Sir Andrew Davis, Lothar Zagrosek and Sir John Eliot Gardiner.

Recent highlights include a critically acclaimed Isoletta in La Straniera by Bellini at Concertgebouw Amsterdam, her debut as Dalila in Saint-Saëns’ Samson et Dalila at Theater Basel, Maddalena in Rigoletto at Bayerische Staatsoper and at Teatro dell’Opera di Roma, her Dutch National Opera debut in a new production of Berlioz’s Romeo et Juliette, The Glagolitic Mass with Sir John Eliot Gardiner at the Tonhalle in Zurich, and Foreign Princess in Rusalka at Opéra National de Paris under the baton of Sir Andrew Davis.

On the concert platform recent successes of Kolosova include her Carnegie Hall debut with performances of Scriabin’s Symphony No.1 and Prokofiev's Alexander Nevsky with Riccardo Muti and the Chicago Symphony Orchestra, Mozart’s Requiem and Vivaldi’s Magnificat at the Teatro dell’Opera di Roma, Schubert’s Mass No.5 with Symphonieorchester des Bayerischen Rundfunks, Vivaldi’s Magnificat with the Chicago Symphony Orchestra and Verdi’s Messa da Requiem with the Orchestre National de Paris conducted by Jérémie Rhorer and with the Orchestra of the Age of Enlightenment at the BBC Proms.

LATEST PERFORMANCES: Verdi’s Messa da Requiem with Oslo Philharmonic Orchestra; Elgar’s The music maker with Orquestra Nacional de Espana in Madrid; Rigoletto at Teatro dell’Opera in Rome; Boris Godunov (Marina) at Concertgebouw in Amsterdam; Schubert’s Mass in E flat major, conductor Riccardo Muti, at Salzburg Festival; Rigoletto at Bayerische Staatsoper Munich; Francesca da Rimini di Zandonai (Samaritana) at Teatro alla Scala; Madama Butterfly at Staatsoper Hamburg; Beethoven’s 9th Symphony with the Orchestre Philharmonique de Radio France conducted by Mikko Franck; Carmen (title role) at Teatro Coccia di Novara and on tour in China; The Glagolitic Mass conducted by Gustavo Dudamel with the Los Angeles Philarmonic Orchestra; Eugene Onegin at Lyric Opera of Chicago and at Polish National Opera.

FORTHCOMING PROJECTS: Médée (Neris) at Salzburg Festival; Luisa Miller (Federica) at Lyric Opera of Chicago; Nabucco (Fenena) at Palau de les Arts in Valencia and at De Nationale Opera in Amsterdam; Evgenj Onegin and Rigoletto at Bayerische Staatsoper in Munich; Evgenj Onegin at Théâtre des Champs Elysées in Paris.

The young soprano performed in various concerts and international festivals, above all at the Elbphilharmonie in Hamburg under Sir Simon Rattle as Une chasseresse in Rameau´s Hippolyte et Aricie, at the “Rheingau Music Festival”, in the Konzerthaus Berlin, at the “Festspiele Mecklenburg-Vorpommern” as well as at the “Galina Vishnevskaya Opera Festival” in Sochi in the Mozart’s Requiem. She also made her debut at the “Prague Spring Festival 2018” in Mahler’s Symphony No.4 with the Warsaw National Philharmonic Orchestra.

Slávka Zámečníková has already appeared on stage as Pamina (Die Zauberflöte), Contessa (Le nozze di Figaro), Fiordiligi (Così fan tutte), Musetta (La Bohème), Frau Fluth (Die lustigen Weiber von Windsor) and Woglinde (Das Rheingold) and has made appearances around the world in countries including Brasil, Australia, China, South Korea, Monaco, Norway, France, Italy, Russia, etc.

The soprano has been recently awarded Third Prize at the prestigious international competition Neue Stimmen 2019 in Gütersloh as well as at the renowned International Hans Gabor Belvedere Competition in Villach. She has also been awarded Second Prize at the greatest Polish competition – International Stanislaw Moniuszko Competition in Teatr Wielki in Warsaw and the Second Prize at the German national competition – Bundeswettbewerb Gesang Berlin 2018. She received First Prizes in the International Competition Accademia Belcanto 2018 in Graz, in the International Antonín Dvořák Competition 2016 in Carlsbad, in the International Mikulas Schneider-Trnavsky Competition 2017 as well as in the International Iuventus Canti Competition 2015 in Slovakia. In the summer 2016, she received Third Prize, the Audience Award and the Daegu Opera House Award in the Otto Edelmann International Competition in Vienna as well as a Special Award of Eva-Maria Wieser in the Concorso lirico Internationale di Portofino in Italy.

Slávka Zámečníková graduated from the Bratislava Conservatory and finished her Master degree at the Hochschule für Musik Hanns Eisler in Berlin under the tutelage of Anna Samuil. In addition, she has participated in various master-classes and workshops with renowned KS Anna Tomowa-Sintow, KS Brigitte Fassbaender, KS Francisco Araiza, Patricia McCaffrey, Neil Shicoff, Renée Morloc, Thomas Quasthoff, Gregory Lamar and Luciana D’Intino. She has also been mentored by Deborah Polaski, KS Julia Varády, Matthias Samuil and Wolfram Rieger.

Ms. Zámečníková is a scholarship recipient of the Liz Mohn Kultur- und Musikstiftung, the Junge Musiker Stiftung and the Deutschlandstipendium.

Born in Brazil, Josy Santos received her Bachelor at University Cruzeiro de Sul in Brazil in December 2009, joined the opera studio of Music School Tom Jobim EMESP in Brazil in 2012. From 2013 up to 2016, she refined her studies with a Master at Hochschule für Musik und darstellende Kunst in Frankfurt with Ursula Targler-Sell and in master classes with Marjana Lipovšek, Rudolf Piernay, Andreas Scholl and Helmut Deutsch.

In 2013, Josy Santos was awarded the First Prize at the 11° Concurso Brasileiro de Canto Maria Callas. In 2017, she was awarded the Principal Prize at the International Vocal Competition Oper Schloss Hallwyl (Switzerland) and the Anneliese Rothenberger Prize of the European Kulturforum Mainau and was one of the 15 finalists of Belvedere Singing Competition in Moscow. In 2018, she was awarded with the 14th Emmerich Smola Förderpreis and the CulturArte Prize at Operalia – The World Opera Competition in Lisbon, followed by the Deuxième Grand Prix at the 52e Concours International de Chant de Toulouse 2019.

Josy Santos, a member of Oper Stuttgart’s opera studio in 2016 until the summer of 2017, where she was singing Siebel in a new production of Gounod‘s Faust, Oberto in Handel’s Alcina, Cherubino in Mozart’s Le nozze di Figaro and covered parts including Mercédès in Bizet’s Carmen, Das süße Mädchen in Boesmans‘ Reigen as well as Enrichetta di Francia in Bellini’s I puritani.

The multi-lingual mezzo-soprano performed, amongst others, Dardano in Handel‘s Amadigi di Gaula at Kammeroper Schloß Rheinsberg, Germany, Cherubino in Mozart‘s Le nozze di Figaro and Second as well as Third Lady in Mozart’s Die Zauberflöte at Pinacoteca in São Paulo, Zita in Puccini’s Gianni Schicchi at LAB Frankfurt, Germany, Angelina in Rossini’s La cenerentola at Teatro São Pedro in São Paulo and Pagen in Strauss‘ Salome at Teatro da Paz in Pará, as well as Maddalena in Verdi’s Rigoletto at Teatro Municipal in Jacarei, Brazil. In 2015, she made her debut at the Rheingau Musik Festival in Haydn‘s L’ isola disabitata and will join Théâtre Royal de la Monnaie Bruxelles in November 2019 for a Mozart-Da Ponte-Workshop directed by Le Lab.

Josy Santos performed at festivals including Festival Música Trancoso and Rheingau Musik Festival. As concert soloist, Josy Santos has sung Bach’s cantata N° 76, Garcia’s b-minor Mass, Haydn’s Requiem, Pergolesi’s Requiem and Saint-Saëns‘ Oratorio de Noël. In 2020, she will make her debut in the concert series “Paradisi Gloria” with Münchner Rundfunkorchester.

Josy Santos has worked with producers Frank Castorf, Ingo Kerkhof, Peter Konwitschny, Bernd Mottl, Jossi Wieler and performed under the baton of conductors including Howard Arman, Stefan Blunier, Sylvain Cambreling, Christian Curnyn, Placido Domingo, Ben Gernon, Marko Letonja, Valtteri Rauhalammi, Ivan Repušić, Ulf Schirmer, Marc Soustrot, Lorenzo Viotti.

In the year 2011, he was finalist of the renowned international singing competition “Neue Stimmen” of the Bertelsmann Foundation in Gütersloh and won the third prize. The following year, he debuted at the Wiener Staatsoper where he has been a member of the ensemble since 2014/15, appearing as Nemorino (L’Elisir d‘amore), Don Ramiro (La Cenerentola), Ernesto (Don Pasquale), Malcolm (Macbeth), Gaston (La Traviata), Ein Italienischer Sänger (Der Rosenkavalier), Stimme eines jungen Seemanns (Tristan und Isolde), Rodrigo (Otello), Abdallo (Nabucco), Un messaggero (Aida), Fetodik (Tri Sestri) und Ruiz (Il Trovatore).

In 2017/2018, Jinxu Xiahou sang his role debut as Rodolfo (La Bohème) and further performances as Nemorino (L’Elisir d‘amore), Don Ottavio (Don Giovanni), Macduff, Fenton (Falstaff), Cassio (Otello) and Ruiz, as well as Scaramuccio in Richard Strauss‘ Ariadne auf Naxos, Third Jew in Salome and as Italian Singer in Der Rosenkavalier.

2018/2019 included performances as Don Ottavio, Conte Almaviva (Il Barbiere di Siviglia), Fenton, Macduff and Pang (Turandot) and in 2019/2020 he sings Rodolfo in Puccini’s La Bohème Macduff in Verdi’s Macbeth.

In June 2018, Jinxu Xiahou was a soloist at the Vienna State Opera as part of a gala concert by KS Edita Gruberova under the baton of Marco Armiliato. He gave his debut at the Wiener Musikverein in May 2017 as part of a solo recital presenting works by Schubert and Strauss as well as Tosti, Rossini and Leoncavallo.

Dashon Burton’s 19/20 season began with returns to the Carmel Bach Festival and the Salzburg Festival. He sings the world premiere of Caroline Shaw’s The Listeners (a part written by Shaw specifically for Burton), first in a season-opening performance with the Philharmonia Baroque and Nicholas McGegan (frequent partners with Burton), and then with Grant Llewelyn and the North Carolina Symphony, where Burton also sings Beethoven Symphony No. 9. He sings Michael Tilson Thomas’s Rilke Songs with the Cleveland Orchestra (with whom he appears regularly), led by the composer. He reunites with MTT at the San Francisco Symphony in May 2020, and returns to the National Arts Centre Orchestra for Verdi’s Requiem. Other highlights include the Vaughan Williams Dona Nobis Pacem with Osmo Vänskä and the Minnesota Orchestra; Mozart’s Mass in C Minor with the St. Louis Symphony Orchestra, led by Masaaki Suzuki (a former teacher of Burton’s); Shostakovich Symphony No. 14 with A Far Cry; the Mozart Requiem with the Saint Paul Chamber Orchestra; a European tour with the Bach Choir of Bethlehem (including an appearance at the 2020 Bachfest in Leipzig); and Handel’s Messiah for a debut with the New York Philharmonic. Dashon Burton is in the Bay Area throughout 19/20 for the second year of a multi-season stint as a San Francisco Performances Resident Artist.

Widely regarded for his fluency in new music, Burton has sung Michael Tippet’s A Child of our Time at Harvard, performances and the debut recording of Craig Hella Johnson’s Considering Matthew Shepard with Conspirare, Paul Moravec’s Sanctuary Road at Carnegie Hall, and David Lang’s The Little Match Girl Passion at the Metropolitan Museum of Art in New York.

Opera engagements include Sarastro in Die Zauberflöte in Dijon and Paris, and Jupiter in Rameau’s Castor and Pollux with Les Talens Lyriques. He sang Strauss’ Salome at the Salzburg Festival (led by Franz Welser-Möst in a production by Romeo Castellucci), and appeared at Paris’ Théatre de la Ville in Peter Sellars’ production of Claude Vivier’s Kopernikus, un ritual de mort.

Burton’s album, Songs of Struggle and Redemption: We Shall Overcome, was singled out by the New York Times as “profoundly moving…a beautiful and lovable disc.” He has performed a recital program based on the album at the Ravinia Festival, for San Francisco Performances, and this season in Louisville, and at St. Johns College. He is an original member of the groundbreaking vocal ensemble, Roomful of Teeth, with whom he tours internationally, and won a Grammy for their recording of Caroline Shaw’s Pulitzer-Prizewinning Partita for 8 Voices.

The TOS went on to perform in Oedipus Rex at the first Saito Kinen Festival Matsumoto, and the Japanese performance of Der Fliegunde Hollander by the Bavarian State Opera (conductor W. Sawallisch), to be appraised again. Performing regularly since 1993, the TOS have regularly appeared at the Saito Kinen Festival Matsumoto (present Seiji Ozawa Matsumoto Festival) and the Spring Festival in Tokyo series. They have also contributed to the vitalization of the music scene by performing with the Kirov Orchestra (conductor Valery Gergiev), St. Petersburg Philharmonic Orchestra (conductor Yuri Temirkanov), Barcelona Symphony and Catalonia National Orchestra (Conductor Kazushi Ono), and RAI National Symphony Orchestra in their Japanese appearances. For the opening ceremony of the 1998 Winter Olympics in Nagano, the singers represented Japan and sang the chorale from Beethoven’s 9th Symphony with other groups from six different countries. In 1999, they made their appearance at Edinburgh Music Festival, one of the major music festivals in Europe, with Turandot produced by Tokyu Bunakmura and garnered international acclaim. For two consecutive years, 2000 and 2001, they collaborated with the Vienna Philharmonic (conductors Seiji Ozawa and Sir Simon Rattle), by whom they have been highly praised. The TOS have performed at each of the Spring Festival in Tokyo to date from the very first time it was held as “Tokyo Opera Nomori”. They have been highly regarded by Riccardo Muti when they first performed with him in Verdi’s Messa da Requiem in 2006 and have appeared on his stage five times thereafter. In the Spring Festival in Tokyo, they will also sing in the Tokyo-HARUSAI Wagner Series, which started from 2010, and in the Japanese Songs Series started by main members of Tokyo Opera Singers in 2011. They appeared in the Relief Aid Charity Concert for Victims of the Great Eastern Japan Earthquake (Beethoven’s 9th, conductor Zubin Mehta) held on April 11, 2011 only a month after the disaster struck Japan and inspired the hearts of many people. Most recently, they took stage in the Shanghai International Arts Festival in October 2018, and a concert by the Shanghai Symphony Orchestra in March the next year, and also performed with the Chicago Symphony Orchestra (conductor R. Muti) in January 2019.

Matthias Brauer continuously conducts national as well as international Radio Choirs, e.g. in France, Italy, Germany, the Netherlands, Hungary, Czech Republic, China and Switzerland. Furthermore, he worked and still works together with internationally significant conductors as Kurt Masur, Daniele Gatti, Myung-Whun Chung, Bernard Haitink, Semyon Bychkov, Kent Nagano, Sir John Elliot Gardiner, Sir Collin Davis, Toni Pappano, Maris Jansons, Simon Rattle and other known persons.

He holds positions across the UK and Europe as Choral Director of London Symphony Orchestra and Chorus, Chorus Director of City of Birmingham Symphony Orchestra Chorus, Artistic Director of Orfeó Català Choirs and Artistic Adviser of Palau de la Música, Barcelona, Artistic Director of Berliner Philharmoniker Youth Choral Programme, Creative Director for Choral Music and Projects of WDR Rundfunkchor, Director of BBC Proms Youth Choir; Artistic Advisor of Schleswig-Holstein Musik Festival Choir, Conductor Laureate of Rundfunkchor Berlin and Professor and Director of Choral Activities at University of Birmingham.

He is also a highly respected teacher and academic, nurturing the next generation of choral conductors on his post-graduate course in Birmingham and through masterclasses at Princeton, Yale and elsewhere. He holds four honorary doctorates from universities in the UK, and in 2011 Schott Music published his book and DVD on choral conducting, Chorleitung: Vom Konzept zum Konzert.

Halsey has worked on nearly 80 recording projects, many of which have won major awards, including the Gramophone Award, Diapason d’Or, Echo Klassik, and three Grammy Awards with the Rundfunkchor Berlin. He was made Commander of the British Empire in 2015, was awarded The Queen’s Medal for Music in 2014, and received the Officer’s Cross of the Order of Merit of the Federal Republic of Germany in 2011 in recognition of his outstanding contribution to choral music in Germany.

Born in London, Simon Halsey sang in the choirs of New College, Oxford, and of King’s College, Cambridge, and studied conducting at the Royal College of Music in London. In 1987, he founded with Graham Vick the City of Birmingham Touring Opera. He was Chief Conductor of the Netherlands Radio Choir from 1997 to 2008 and Principal Conductor of the Northern Sinfonia’s Choral Programme from 2004 to 2012. From 2001-2015 he led the Rundfunkchor Berlin (of which he is now Conductor Laureate); under his leadership the chorus gained a reputation internationally as one of the finest professional choral ensembles. Halsey also initiated innovative projects in unconventional venues and interdisciplinary formats.