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For more than three decades, Jean-Yves Thibaudet has performed world-wide, recorded more than 50 albums, and built a reputation as one of today’s finest pianists. He plays a range of solo, chamber, and orchestral repertoire – from Beethoven through Liszt, Grieg, and Saint-Saëns; to Khachaturian and Gershwin, and to contemporary composers Qigang Chen and James MacMillan. From the very start of his career, he delighted in music beyond the standard repertoire, from jazz to opera, which he transcribed himself to play on the piano. His profound professional friendships crisscross the globe and have led to spontaneous and fruitful collaborations in film, fashion, and visual art.
Thibaudet begins the Seattle Symphony's season with Khachaturian's Piano Concerto. In the summer of 2018, he toured Taiwan, China, and South Korea with Michael Tilson Thomas and Carnegie Hall's National Youth Orchestra. He also expresses his passion for education and fostering young musical talent as the first-ever Artist-in-Residence at the Colburn School in Los Angeles, where he makes his home. The school has extended the residency for an additional three years and has announced the Jean-Yves Thibaudet Scholarships to provide aid for Music Academy students, whom Thibaudet will select for the merit-based awards, regardless of their instrument choice.
As one of the premiere interpreters of the solo part in Bernstein's Age of Anxiety, Thibaudet continues to perform the piece around the world as the composer's centennial year comes to a close. In addition to playing it with the Baltimore Symphony Orchestra and Marin Alsop at the orchestra's first-ever appearance at the BBC Proms, he plays it with the Los Angeles and Brussels philharmonics and the Detroit Symphony Orchestra.
In 2018-19 he renews many longstanding musical partnerships, including touring a program of Schumann, Fauré, Debussy, and Enescu with Midori, touring the great concert halls of Europe with Lisa Batiashvili and Gautier Capuçon, and performing chamber music with brothers Renaud and Gautier Capuçon. With Gautier he also premieres Richard Dubugnon's Eros Athanatos, a fantaisie concertante for cello and piano, with the West Australian Symphony Orchestra. They go on to perform it with the Antwerp Symphony Orchestra across Belgium, at the Klavier-Festival Ruhr, and with the Orchestre Philharmonique de Radio France. With the Cleveland Orchestra and Iceland Symphony Orchestra, Thibaudet plays another piece that he introduced to the world: James MacMillan's Piano Concerto No. 3.
Other highlights include beginning 2019 with Messiaen's Turangalîla-Symphonie with Marin Alsop and the Baltimore Symphony Orchestra, then with Susanna Mälkki and the LA Phil. With Kent Nagano and the Montreal Symphony Orchestra, he takes Saint-Saëns' fifth piano concerto on tour to the Elbphilharmonie Hamburg, the Philharmonie Essen, and the Berliner Philharmonie.
Thibaudet’s recording catalogue has received two Grammy nominations, the Preis der Deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, and Gramophone awards. In 2017 he released to great acclaim Bernstein's Age of Anxiety with the Baltimore Symphony Orchestra and Marin Alsop, with whom he previously recorded Gershwin, featuring big jazz band orchestrations of Rhapsody in Blue, variations on “I Got Rhythm,” and the Concerto in F. In 2016, on the 150th anniversary of Erik Satie's birth, Decca released a box set of Satie's complete solo piano music performed by Thibaudet – one of the foremost champions of the composer's works. On his Grammy-nominated recording Saint-Saëns, Piano Concerti Nos. 2&5, released in 2007, he is joined by Charles Dutoit and Orchestre de la Suisse Romande. Thibaudet's Aria–Opera Without Words, which was released the same year, features aria transcriptions, some of which are Thibaudet's own. His other recordings include the jazz albums Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington and Conversations With Bill Evans.
Thibaudet has also had an impact on the world of fashion, film and philanthropy. He played Aaron Zigman’s soundtrack for Wakefield, a drama by Robin Swicord, which was the first time that the composer had allowed a pianist other than himself to perform his film work. Thibaudet was soloist in Dario Marianelli’s award-winning scores for the films Atonement (which won an Oscar for Best Original Score) and Pride and Prejudice, and recorded Alexandre Desplat’s soundtrack for the 2012 film Extremely Loud & Incredibly Close. He had a cameo in Bruce Beresford's film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout. In 2004 he served as president of the prestigious charity auction Hospices de Beaune. His concert wardrobe is designed by Dame Vivienne Westwood.
Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age fifteen, he won the Premier Prix du Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. Among his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012.
Jean-Yves Thibaudet, piano
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Performing each season with many of the world’s foremost conductors and instrumentalists, cellist Gautier Capuçon is also founder and leader of the Classe d’Excellence de Violoncelle at the Fondation Louis Vuitton in Paris. Acclaimed internationally for his expressive musicianship, his exuberant virtuosity, and the deep sonority of his 1701 Matteo Goffriller cello, Mr. Capuçon is this season’s artist-in-residence at Lugano Musica. Committed to exploring and expanding the cello repertoire, he performs an extensive array of works each season and regularly premieres new commissions. Current projects include the world premiere of Michael Tabachnik’s cello concerto, Summer, and collaborations with Danny Elfman and Thierry Escaich. In the 2019-20 season he appears as soloist with such ensembles as the philharmonic orchestras of Los Angeles, the Czech Republic, and Rotterdam; the St. Louis Symphony, Singapore Symphony, and Bavarian Radio Symphony Orchestra; and the hr-Sinfonieorchester. He tours Europe and the U.S. with the Gewandhausorchester Leipzig led by Andris Nelsons and the San Francisco Symphony under Michael Tilson Thomas. As a chamber musician, Mr. Capuçon performs on tour this season with Yuja Wang in such venues as the Elbphilharmonie Hamburg, Vienna’s Konzerthaus, London’s Barbican Centre, and the Philharmonie in Paris, as well as with Renaud Capuçon, Frank Braley, Jérôme Ducros, and Leonidas Kavakos. Other regular recital partners include Nicholas Angelich, Martha Argerich, Daniel Barenboim, Lisa Batiashvili, Jean-Yves Thibaudet, and the Artemis and Ébène quartets. Mr. Capuçon records exclusively for Erato (Warner Classics), the most recent addition to his extensive discography being an album of Schumann works recorded live with Martha Argerich. His next album, recorded with Yuja Wang and due in December, features sonatas by Chopin and Franck. Earlier recordings include concertos by Shostakovich and Saint-Saëns, the complete Beethoven sonatas, and Schubert’s String Quintet. Mr. Capuçon also appears on screen and online in programs such as The Artist Academy, Prodiges, and Now Hear This; as of this fall he is a guest presenter on Radio Classique. In 2013, Deutsche Grammophon released a DVD featuring him with the Berlin Philharmonic and Gustavo Dudamel in a live performance of Haydn’s Cello Concerto No. 1. Born in Chambéry, Gautier Capuçon began playing the cello at age five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna.
Gautier Capuçon, cello
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THE TRAINING GROUNDS FOR THE MUSICIANS OF
The Tanglewood Music Center Fellowship Program is the Boston
Symphony Orchestra's summer academy for advanced musical study. The
TMC offers an intensive schedule of study and performance for
emerging professional instrumentalists, singers, conductors, and
composers who have completed most of their formal training in
Serge Koussevitzky, the Boston Symphony Orchestra's music
director from 1924 to 1949, founded the school with the intention
of creating a premier music academy where, with the resources of a
great symphony orchestra at their disposal, young musicians would
sharpen their skills under the tutelage of Boston Symphony
Orchestra musicians and other specially invited artists.
The Berkshire Music Center opened formally on July 8, 1940, with
both speeches (Koussevitzky, alluding to the war then raging in
Europe, said, "If ever there was a time to speak of music, it is
now in the New World") and music, including the first performance
of Randall Thompson's Alleluia for unaccompanied chorus, which was
written for the ceremony and arrived less than an hour before the
event was to begin, but which made such an impression that it is
sung every summer at the TMC's Opening Exercises. The TMC became
Koussevitzky's pride and joy for the rest of his life. He assembled
an extraordinary faculty in composition, operatic and choral
activities, and instrumental performance; he himself taught the
most gifted conductors.
Koussevitzky continued to develop the Tanglewood Music Center
until 1950, a year after his retirement as the BSO's music
director. Charles Munch, his successor in that position, ran the
TMC from 1951 through 1962, working with Leonard Bernstein and
Aaron Copland to shape the school's programs. In 1963, new BSO
Music Director Erich Leinsdorf took over the school's reins,
returning to Koussevitzky's hands-on leadership approach while
restoring a renewed emphasis on contemporary music. The TMC's
annual Festival of Contemporary Music, produced in association with
the Fromm Music Foundation, was begun in 1963.
In 1970, three years before his appointment as BSO music
director, Seiji Ozawa became head of the BSO's programs at
Tanglewood, with Gunther Schuller leading the TMC and Leonard
Bernstein as general advisor. Leon Fleisher served as the TMC's
Artistic Director from 1985 to 1997. In 1994, with the opening of
Seiji Ozawa Hall, the TMC centralized its activities on the Leonard
Bernstein Campus, which also includes the Aaron Copland Library,
chamber music studios, administrative offices, and the Leonard
Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1998,
Ellen Highstein was appointed to the new position of Director of
the Tanglewood Music Center, operating under the artistic
supervision of Seiji Ozawa. Maestro James Levine took over as Music
Director of the BSO in 2005 and has continued the tradition of
hands-on involvement with the TMC, conducting both orchestral
concerts and staged operas, as well as participating in
masterclasses for singers, conductors, and composers.
It would be impossible to list all the distinguished musicians
who have studied at the Tanglewood Music Center. According to
recent estimates, 20 percent of the members of American symphony
orchestras, and 30 percent of all first-chair players, studied at
Today, alumni of the Tanglewood Music Center play a vital role
in the musical life of the nation. Tanglewood and the Tanglewood
Music Center, have become a fitting shrine to the memory of Serge
Koussevitzky, a living embodiment of the vital, humanistic
tradition that was his legacy. At the same time, the Tanglewood
Music Center maintains its commitment to the future as one of the
world's most important training grounds for the composers,
conductors, instrumentalists, and vocalists of tomorrow.
Tanglewood Music Center Instrumental Fellows