Artistic Leadership
A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.
In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Verdi Orchestra. Recent highlights include debuts with Opera de Paris conducting La forza del destino and with Deutsche Opera Berlin conducting Simon Boccanegra; appearances with the Pittsburgh and Toronto symphonies; debuts with the Houston, Dallas, and Minnesota symphonies; Osaka Philharmonic and Yomiuri Nippon Symphony Orchestra in Tokyo; with the Metropolitan Opera, Vienna State Opera, and Dutch National Opera (Madama Butterfly); Bayerische Staatsoper (La traviata); I puritani in Montpellier for the Festival of Radio France; La traviata in Tokyo directed by Sofia Coppola; return engagements with Oper Frankfurt (La forza del destino) and Santa Fe Opera (La bohème); Manon Lescaut at the Bolshoi; La traviata, Madama Butterfly, and Turandot at Arena of Verona; Il trovatore and Aida at Rome’s Teatro dell’Opera; Madama Butterfly, I puritani, and Manon Lescaut at Teatro Massimo in Palermo; Simon Boccanegra and La forza del destino at the Verdi Festival in Parma; Ciro in Babilonia at Rossini Opera Festival and La bohème, Madama Butterfly, and Elisir d’amore at La Fenice in Venice.
When Bignamini leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with his musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.
Lopez-Yañez has conducted concerts with a broad spectrum of artists including: Nas, Patti LaBelle, Itzhak Perlman, Trisha Yearwood, Kenny Loggins, Stewart Copeland, Kelsea Ballerini, Leslie Odom Jr., Renee Elise Goldsberry, Portugal The Man, Ben Rector, Cody Fry, Hanson, The Beach Boys, Kenny G and more. Each year Lopez-Yañez conducts the annual Let Freedom Sing! Music City July 4th fireworks show which is televised annually on CMT reaching millions of viewers across the nation.
This season Lopez-Yañez will collaborate with artists including Dolly Parton, Bernadette Peters, Lyle Lovett, War & Treaty, Ben Folds, Indigo Girls, Joss Stone, Girl Named Tom, Lettuce, and Tower of Power. He will appear with the Los Angeles Philharmonic, St. Louis Symphony, Toronto Symphony as well as make return appearances with the Baltimore Symphony, Houston Symphony, National Symphony, Seattle Symphony, Utah Symphony and more. Previously, Lopez-Yañez has appeared with orchestras throughout North America including the Cincinnati Symphony, Minnesota Orchestra, Philadelphia Orchestra, Pittsburgh Symphony, and the San Francisco Symphony among others.
Lopez-Yañez was the recipient of the 2023 “Mexicanos Distinguidos” Award by the Mexican government, an award granted to Mexican citizens living abroad for outstanding career accomplishments in their field. As an advocate for Latin music, he has arranged and produced shows for Latin Fire, Mariachi Los Camperos, The Three Mexican Tenors, and collaborated with artists including Aida Cuevas, Arturo Sandoval and Lila Downs.
As Artistic Director and Co-Founder of Symphonica Productions, LLC, Lopez-Yañez curates and leads programs designed to cultivate new audiences. Symphonica’s show offerings range from Pops shows to Family and Education productions which have been described as “incredibly special – and something that needs to become the new norm” (Lima Symphony). Symphonica’s productions have been performed by major orchestra across North America including the Baltimore Symphony, Edmonton Symphony, Florida Orchestra, Milwaukee Symphony, North Carolina Symphony, Tucson Symphony and many more.
As a producer, composer, and arranger, Lopez-Yañez’s work can be heard on numerous albums including the UNESCO benefit album Action Moves People United and children’s music albums including The Spaceship that Fell in My Backyard, winner of the John Lennon Songwriting Contest, Hollywood Music and Media Awards, Family Choice Awards and Kokowanda Bay, winner of a Global Media Award as well as a Parents’ Choice Award where Lopez-Yañez was lauded for his “catchy arrangements” (Parents’ Choice Foundation).
Two-time Oscar nominee and six-time Grammy Award-winner Terence Blanchard has been a consistent artistic force for making powerful musical statements concerning painful American tragedies—past and present.
From his expansive work composing the scores for almost 20 Spike Lee projects over three decades, ranging from the documentary When the Levees Broke to the latest Lee film, Da 5 Bloods, Blanchard has interwoven beautiful melodies that created strong backdrops to human stories. Blanchard received an Oscar nomination for his original score for Da 5 Bloods in 2021 which marked his second nomination. Blanchard previously received an Oscar nomination for his original score for Spike Lee’s BlacKkKlansman. Blanchard becomes only the second Black composer to be nominated twice in the original score category, duplicating Quincy Jones’s feat from 1967’s In Cold Blood and 1985’s The Color Purple.
For One Night in Miami, which marked Regina King’s feature directorial debut and premiered at the Venice International Film Festival, the Academy Award-winning actress tapped the talents of Blanchard as did Gaz Alazraki, the director of Father of the Bride which debuted on HBO Max. Some of Blanchard’s other film and television credits include Spike Lee’s Malcolm X, 25th Hour, and Inside Man; Kasi Lemmons’s films Eve’s Bayou and Harriet; George Lucas’s Red Tails; the critically acclaimed drama series Perry Mason starring Matthew Rhys with episodes directed by Tim Van Patten which debuted on HBO in June 2020, the National Geographic limited series Genius: Aretha which premiered in March 2021, HBO’s NYC Epicenters 9/11—2021 ½ documentary miniseries produced and directed by Spike Lee which premiered in August 2021, the Apple TV+ series Swagger which debuted in October 2021, and Apple TV’s docuseries They Call Me Magic which debuted on April 22, 2022 and for which Blanchard received his second Emmy nomination.
More recently, Blanchard wrote the original score for The Woman King directed by Gina Prince-Bythewood starring Viola Davis which premiered on September 16, 2022. Blanchard also arranged and produced songs for the upcoming feature A Jazzman’s Blues written, directed, and produced by Tyler Perry. In addition, Blanchard wrote the original score for the upcoming Apple TV+ documentary Louis Armstrong’s Black & Blues directed by Sacha Jenkins and produced by Ron Howard and Brian Grazer's Imagine Documentaries, released in September during the Toronto International Film Festival.
Blanchard has composed his second opera, Fire Shut Up in My Bones, based on the memoir of celebrated writer and The New York Times columnist Charles Blow. The libretto was written by Kasi Lemmons and commissioned by Opera Theatre of Saint Louis where it premiered in June 2019. The New York Times has called Blanchard’s opera “inspiring,” “subtly powerful” and “a bold affecting adaptation of Charles Blow’s work.” The Metropolitan Opera premiered Fire Shut Up in My Bones on September 27, 2021 to open their 2021-22 season in New York, making it the first opera composed by an African American composer to premiere at the Met. Blanchard’s first opera, Champion, also premiered to critical acclaim in 2013 at OTSL and starred Denyce Graves with a libretto from Pulitzer Prize winner Michael Cristofer. Champion was staged at the Met in April 2023, followed up a restaging of Fire Shut Up In My Bones in May 2024 due to record-setting box office & huge critical acclaim.
With his current jazz quintet, The E-Collective, featured on the score to BlacKkKlansman with a 96-piece orchestra, Blanchard delivered “a soaring, seething, luxuriant score” (The New York Times). In Vice Magazine, Blanchard elaborates, “In BlacKkKlansman it all became real to me. You feel the level of intolerance that exists for people who ignore other people’s pain. Musically, I can’t ignore that. I can’t add to that intolerance. Instead, I have to help people heal from it."
In his thirtieth year as a recording leader, Blanchard delivers Absence, a masterwork of sonic zest in collaboration with his longtime E-Collective band and the acclaimed Turtle Island Quartet which received Grammy Award nominations in November 2021 for Best Instrumental Jazz Album and Best Improvised Jazz Solo for Blanchard in 2022. It may seem like an irregular pairing, but Blanchard discovered that the quartet proved a perfect fit. “Obviously I’ve worked with strings in my career,” he says. “But Turtle Island has reimagined the language for the string quartet. It’s extremely unique, and what they do is brilliant. Playing together, it’s like a chamber jazz ensemble.”
Recorded in February 2020 just before the Covid-19 lockdowns, Absence started out as a project to show gratitude to Wayne Shorter. “I knew that Wayne wasn’t feeling well at the time, so I wanted to honor him to let him know how much he has meant to me,” says Blanchard who today lives in Los Angeles as well as in his native New Orleans. “When you look at my own writing, you can see how much I’ve learned from Wayne. He mastered writing compositions starting with a simple melody and then juxtaposing it against the harmonies that come from a different place to make it come alive in a different light."
Regarding his consistent attachment to artistic works of conscience, Blanchard confesses “You get to a certain age when you ask, ‘Who’s going to stand up and speak out for us?’ Then you look around and realize that the James Baldwins, Muhammad Alis and Dr. Kings are no longer here...and begin to understand that it falls on you. I’m not trying to say I’m here to try to correct the whole thing, I’m just trying to speak the truth.” In that regard, he cites unimpeachable inspirations. “Max Roach with his ‘Freedom Now Suite,’ John Coltrane playing ‘Alabama,’ even Louis Armstrong talking about what was going on with his people any time he was interviewed. Herbie Hancock & Wayne Shorter who live by their Buddhist philosophy and try to expand the conscience of their communities. I’m standing on all their shoulders. How dare I come through this life having had the blessing of meeting those men and not take away any of that? Like anybody else, I’d like to play feel good party music but sometimes my music is about the reality of where we are.”
Berglund commences 2025–26 with Dresdner Philharmonie’s season-opening concerts—her inaugural engagement as the orchestra’s new Principal Guest. Notable debut appearances across the season include Deutsches Symphonie-Orchester Berlin, Staatskapelle Berlin, Cincinnati Symphony Orchestra, St. Louis Symphony, hr-Sinfonieorchester Frankfurt, NDR Elbphilharmonie Orchester, Sydney and Melbourne symphony orchestras, while returns include Dallas Symphony Orchestra, Gothenburg Symphony, Bergen Philharmonic Orchestra, Lahti Symphony Orchestra, Düsseldorfer Symphoniker, Tonkünstler-Orchester Niederösterreich, and Trondheim Symphony Orchestra. Among the highlights of Berglund’s second season in Detroit is a specially curated two-week Northern Lights Festival.
Berglund regularly collaborates with leading international soloists; recent and forthcoming partnerships include Jean-Yves Thibaudet, Hélène Grimaud, Pekka Kuusisto, Leila Josefowicz, Augustin Hadelich, Truls Mørk, Kirill Gerstein, Nicolas Altstaedt, Håkan Hardenberger, Alexander Malofeev and Camilla Tilling, to name a few. Her 2025–26 programming reflects her breadth of repertoire interests, from Mozart and Schubert to Tchaikovsky, Scriabin, Mahler, Schoenberg, Bartók, and Lutosławski, among others, and continues her championing of Nordic compatriots such as Thorvaldsdottir, Sibelius, and Irgens-Jensen.
Recent engagements include Los Angeles Philharmonic, Minnesota Orchestra, Houston Symphony, Tokyo Metropolitan Symphony Orchestra, Bamberger Symphoniker, Gürzenich-Orchester Köln, Royal Stockholm Philharmonic Orchestra, Philharmonia Orchestra, Orchestre de chambre de Paris, Polish National Radio Symphony Orchestra, and Iceland Symphony Orchestra, among others. Among Berglund’s past festival appearances are Festival Internacional de Música y Danza de Granada and Grafenegg, while recent opera and ballet productions include Mozart’s Le nozze di Figaro (Garsington Opera, 2024) and Tchaikovsky’s The Nutcracker (Norwegian National Opera and Ballet, 2024). In Summer 2024 Berglund chaired the jury for the grand finale of the Eurovision Young Musicians competition, broadcast live on television throughout Europe via the major networks.
Berglund studied at the Norwegian Academy of Music, first as a cellist with Truls Mørk and later orchestral conducting with Ole Kristian Ruud. She played regularly with the Oslo and Bergen Philharmonic orchestras as well as the Trondheim Soloists before conducting became her main focus. Her first titled position was as Principal Guest Conductor of Kristiansand Symphony Orchestra (2021–2024). Her debut CD, with Oslo Philharmonic and violinist Sonoko Miriam Welde, was released in 2021 (LAWO) and nominated for a Norwegian GRAMMY® (Spellemann) in the 2022 Classical Music category.
In 2025, Martin joins the Detroit Symphony Orchestra as Assistant Conductor and Phillip and Lauren Fisher Community Ambassador. She also debuts with the Adelaide Symphony Orchestra and Orchestra Victoria, and leads the Louise Crossley Conductor Training Program for the Tasmanian Symphony Orchestra. She returns to conduct the Auckland Philharmonia, Christchurch Symphony Orchestra, Queensland Symphony Orchestra, and Melbourne Symphony Orchestra, following her 2024 tenure as New Zealand Assistant Conductor in Residence.
Martin loves championing new repertoire, and bringing audiences closer to music through thoughtfully curated experiences. She has commissioned 15 works for youth orchestras, conducted 20 world premieres, and recorded over 50 student compositions. Through her original orchestral shows, Martin invites audiences of all ages to explore unexpected connections between music and other disciplines, from physics to painting.
Martin was the first Australian admitted to the Taki Alsop Conducting Fellowship Mentoring Program (2024–2025). She was also a fellow of the Australian Conducting Academy (2023–2024) and the Carlos Miguel Prieto Conducting Fellowship with the Orchestra of the Americas (2022).
Before pursuing conducting professionally, Martin worked for a decade in emergency medicine then retrained as a teacher. Her approach to music and leadership is deeply informed by the skills she developed in these careers: listening closely, thinking clearly under pressure, and communicating complex ideas.
Martin has built a global following for Conducting Artistry, her platform for practical resources, podcasts, books, and online tools that empower teachers and students to deepen their artistry. She is a sought-after speaker and clinician at international music education conferences including the Midwest Clinic and Texas Music Educators’ Association and her book Planning Effective Rehearsals is required reading for university music education programs worldwide.
At home, she’s rarely far from a craft project and a strong black coffee.
2
Abels’s creative output also includes many concert works, including the choral song cycle At War With Ourselves for the Kronos Quartet, the GRAMMY-nominated Isolation Variation for Hilary Hahn, and Omar, an opera co-composed with GRAMMY-winning recording artist Rhiannon Giddens. The New York Times named Omar one of the 10 Best Classical Performances of 2022 and said, “What Giddens and Abels created is an ideal of American sound, an inheritor of the Gershwins’ Porgy and Bess but more honest to its subject matter, conjuring folk music, spirituals, Islamic prayer and more, woven together with a compelling true story that transcends documentary.”
Abels’s other concert works have been performed by the New York Philharmonic, the Chicago Symphony, the Los Angeles Master Chorale, and many others. Some of these pieces are available on the Cedille label, including Delights & Dances, Global Warming, and Winged Creatures. Recent commissions include Emerge for the National Symphony and Detroit Symphony Orchestra, and a guitar concerto Borders for GRAMMY-nominated artist Mak Grgic.
Abels is co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming, and streaming media.
Slatkin has received six Grammy awards and 35 nominations. Naxos recently reissued Vox audiophile editions of his SLSO recordings featuring the works of Gershwin, Rachmaninov, and Prokofiev. Other Naxos recordings include Slatkin Conducts Slatkin—a compilation of pieces written by generations of his family—as well as works by Saint-Saëns, Ravel, Berlioz, Copland, Borzova, McTee, and Williams.
A recipient of the National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has been awarded the Prix Charbonnier from the Federation of Alliances Françaises, Austria’s Decoration of Honor in Silver, and the League of American Orchestras’ Gold Baton. His debut book, Conducting Business (2012), for which he received the ASCAP Deems Taylor Special Recognition Award, was followed by Leading Tones (2017) and Classical Crossroads: The Path Forward for Music in the 21st Century (2021). His latest books are Eight Symphonic Masterworks of the Twentieth Century (spring 2024) and Eight Symphonic Masterworks of the Nineteenth Century (fall 2024), part of an ongoing series of essays that supplement the score-study process, published by Bloomsbury. For more information, visit leonardslatkin.com.
Neeme Järvi, the DSO's celebrated Music Director for 15 years, is the Music Director Emeritus of the orchestra. Following his appointment in 1990, Maestro Järvi led the DSO to new artistic and institutional heights, attracting audiences in record numbers, leading acclaimed concerts, national and international tours, radio broadcasts and award-winning recordings. Under his leadership, the DSO became a symbol for the rebirth of Detroit. Järvi is the second-longest serving music director in the organization's history (famed Russian conductor Ossip Gabrilowitsch led the DSO from 1918 to 1936).
Learn more at neemejarvi.ee.