WFIMC 2025 Yearbook

The Yearbook of the World Federation of International Music Competitions Final Version

WORLD FEDERATION OF INTERNATIONAL MUSIC COMPETITIONS

Yearbook 2025

WORLD FEDERATION OF INTERNATIONAL MUSIC COMPETITIONS

Yearbook 2025

79 e CONCOURS DE GENE ` VE INTERNATIONAL MUSIC COMPETITION 31 OCT – 12 NOV 2025 Viola & Conducting #1

CONDUCTING COMPETITION 1ST & 2ND ROUNDS: 31 OCT–3 NOV VIOLA COMPETITION SEMI-FINAL & FINAL ROUNDS: 6–12 NOV © CÉDRIC WIDMER

INDEX

ABOUT US / 4 Greetings History General Assemblies Our people

69th GENERAL ASSEMBLY / 14 Harbin, China

FEATURES / 26 Laureates in Focus Shanghai Conservatory of Music Piano Competitions 2025 NEW MEMBER COMPETITIONS / 48 Adelaide Stuttgart New Orleans Daegu MEMBER COMPETITIONS / 57

2024 FIRST PRIZE WINNERS / 209

JUNIOR AND YOUTH COMPETITIONS / 213

ASSOCIATE MEMBERS / 217

INDEX / 227 Region and Country Discipline Prize Winners 2024 CALENDAR / 241 Date Discipline

CREDITS / 254

Beauty

More than ever, the world is in need of beauty.

Talent, perseverance, poetry, seriousness, and aura are the building blocks of a successful artist’s life and, taken together, represent a form of beauty that surpasses all the brutality of today’s world and even puts it in its place. The WFIMC as an institution is ultimately committed to excellence. As its members we should never forget that the artists striving for beauty is at the source of all the efforts we put in supporting and enhancing the countless young talents turning to us. Musical talent, its formation, and refinement in the pursuit of artistic excellence are the real raison d’être for our competitions. We should all uncompromisingly accept this responsibility, which mirrors the great commitment of the young artists themselves. Let us be a compass for them in their first steps as world citizens into a professional musical life. Our own ambition to play an active role in international music life is the best prerequisite for being adequate, progressive companions to those young artists. Fairness, sustainability, socio-political awareness, a feel for the future, new formats of cultural life that are relevant to a global music audience — these are the characteristics of a modern music competition. The WFIMC is highly motivated to take on the next three- year mandate with a new board elected in June 2024, an ever-expanding network thanks to selected associated members and strategic partnerships. These will probably be challenging years for all of us - always being aware of the privilege work that is dedicated to beauty.

Sincerely Yours

Peter Paul Kainrath President

ABOUT US

Dear Friends,

Welcome to the 2025 edition of the World Federation’s Yearbook!

2025 promises to be a busy year for us: several great piano competitions are back offering exciting lineups and many innovative features. In June, we will hold our first ever General Assembly in China, with the northern city of Harbin and the Schoenfeld Competition providing an ideal platform for meaningful dialogue and new opportunities. Like in Parma last year, part of the conference will serve as a forum for marketing and communication, and will be open to the public. Along with our new WeChat and Xiaohongshu social media channels, and with the yearbook being published not only in English, but also in Chinese, we will strive to offer maximum presence and visibility for our member competitions in China. This Yearbook debuts a new format and layout, offering more space to highlight the details of each member competition. We are excited to introduce new features, including interviews with recent laureates who share invaluable advice for younger competitors, and enhanced listings organized by discipline, continent, and country, making it easier to explore the diversity of our Federation. I would like to take this opportunity to thank WFIMC President Peter Paul Kainrath and our board of directors for their support and dedication to the work of the Federation. I also thank the Shanghai Conservatory of Music for their help in publishing the Chinese yearbook and making this year a very special one. Lastly, I am grateful to all of you for your continued interest and support! Let’s continue to use and expand our extraordinary network, sharing expertise and inspiration to shape the future of classical music together.

Sincerely yours

Florian Riem Secretary General

Greetings

MISSION

The WFIMC brings together the world´s most important music competitions, striving for artistic excellence, authenticity, and fairness, to support young artists on the path to their international careers. While denouncing all forms of discrimination, prejudice and partisanship, we aim to share the common values of integrity, equality and artistic freedom with our membership.

Member Competitions Europe and Middle East: 81 Competitions The Americas: 14 Competitions Africa: 1 Competition Australia & New Zealand: 4 Competitions Asia: 22 Competitions

Junior and Youth Competitions 9 members

Associate Members Europe and Middle East: 9 members The Americas: 2 members Asia: 12 members

ABOUT US

When World War II ended, many countries had been deprived of culture, and particularly of music, for several years. Rebuilding musical life from the rubble was not easy, but the process quickly gained momentum due to an incredible need for art, after years of cultural starvation. Music Competitions had existed before the war, of course: the Naumburg in New York was founded in 1926; the Chopin in Warsaw in 1927; the Queen Elisabeth in Brussels in 1937; the Geneva Competition in 1939. But in the 50s, competitions were proliferating at an amazing rate, and some kind of order was urgently needed to mark the difference between serious competitions and those for the tourist industry or those secretly organized by impresarios eager to find new prodigies. Thus, the Swiss Composer and director of the Geneva Conservatory, Henri Gagnebin, along with his friend André-Francois Marescotti, drew up the plans for the World Federation of International Music Competitions. The first meetings seemed more like a club than a committee, and delegates exchanged their views and experiences from around one single table. But soon, a protocol was established and plans for expansion were made.

HISTORY

“To be truly international, a competition must be open to competitors from all countries, within the prescribed age limit; juries must include more foreigners than nationals, to avoid biased pressure; two competitions in the same branch, residing in the same town or its environs, cannot be part of the federation: one or the other, to cut short local rivalries.” Henri Gagnebin (Duchene-Thégarid: “Une certaine idée de la musique”, 2014)

The first constituent General Assembly of the Federation took place on February 17th, 1957 and was attended by 13 founding member competitions: Bolzano (Busoni), Brussels (Queen Elisabeth), Budapest (Liszt), Geneva, Genoa (Paganini), Liège, Munich (ARD), Naples (Casella), Paris (Long-Thibaud), Poznan (Wieniawski), Prague (Prague Spring), Vercelli (Viotti), and Warsaw (Chopin). Later on, everything was laid out in a set of simple but concise statutes covering but one page. Annual meetings, usually on the weekend after Easter, were alternatingly held in Geneva and a foreign city, each hosted by a different member competition. Once established, the Federation began to grow rapidly. From 13 members in 1957, it expanded to 35 members in 1970, 54 members in 1980, and 83 members in

The World Federation in 1958

The Federation and its history

1990. Today, the number is around 120 competitions worldwide. From time to time some competitions are discontinued, or they simply disappear due to lack of funding, or reorganization of the organizing institution. But on the other hand, there seems to be no lack of newly created competitions either.

Philippe Languin- “Memories of a treasurer”

“It was 1988, 36 years ago, when Aline Vernet, the Secretary General at the time, called me and asked if I would like to be treasurer of the Federation, and part of the committee. I said yes and stayed for 25 years! Mrs. Vernet happened to be an aunt of my wife and lived just down the road from us. The previous treasurer, a notary from Geneva, wanted to step down, and they needed someone to take over. Robert Dunand, who was the president at the time, asked me to come to the next General Assembly to stand for election. The next Assembly was in Tokyo, and unfortunately my banking business took me to the Philippines at exactly the same time, so I could not attend. But Dunand said: “Never mind, we´ll just do it over the phone”. So the General Meeting took place with a conference call between Japan and the Philippines. No Zoom yet in 1988! I could hear the applause through the telephone and I knew I had been elected. After that, I never missed a General Assembly and travelled virtually all over the world. Back in Geneva, the office was still very small. Rue de Carouge came soon after, as part of the support by the City of Geneva. But there was another turning point for the Federation: Dunand died of cancer very suddenly, and we needed new leadership. Thus, the era of Renate Ronnefeld began.

The 1958-1959 “season”of the World Federation

Meeting of the WFIMC in 1962

ABOUT US

Philippe Languin, Lottie Chalut, Renate Ronnefeld, and Jacques Haldenwang

The Nineties were still very different from today. Cell phones did not exist yet, let alone social media. But we wanted to grow, increase our activities and make ourselves known to the outside world. Gradually, the Federation changed, and rules, guidelines and communication developed. When I left in 2013, I think there must have been about 125 members. Back in the days, the majority of competition directors were musicians, who would approach things quite differently from today’s “administrators”. Even in the Federation office, we had Renate Ronnefeld and Marianne Granvig, both violinists! For me, of course, the Assemblies were the most memorable times. To mention just one: Fort Worth in 1990 was a very special and beautifully organized meeting. Richard Rodzinsky, along with lots of volunteers, did a fabulous job preparing a succession of parties and receptions, including an evening at Van Cliburn’s home. Wonderful experiences!”

“Switzerland has an enormous potential to contribute in this kind of setting,. Because we have a deep-rooted tradition of dialogue, of compromise, of participatory democracy. It´s natural in Switzerland. And it’s no coincidence that Switzerland is home to the headquarters of many federations. It’s a quality we’ve built up over time. We’ve been lucky enough to be spared wars, to be a decentralized country where politics has to be very pragmatic: you have to get things in all areas: religions, different cultures….We’re obliged to make it all work together. And it works!”

Didier Schnorhk (Duchene-Thégarid: “Une certaine idée de la musique”, 2014)

The Federation and its history

GENERAL ASSEMBLIES 1957-2026

No.

Year

City

Host Competition

1st

1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991

Geneva

Concours de Genève

2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th 20th 21st 22nd 23rd 24th 25th 26th 27th 28th 29th 30th 31st 32nd 33rd 34th 35th

Liège

Ville de Liège Intl. String Quartet Competition Ferruccio Busoni International Piano Competition

Bolzano Geneva Vienna Geneva Genoa Geneva Munich Geneva Prague Geneva

Concours de Genève

International Haydn-Schubert Competition

Concours de Genève

“Premio Paganini” International Violin Competition

Concours de Genève

ARD International Music Competition

Concours de Genève

Prague Spring International Music Competition

Concours de Genève

Barcelona

Maria Canals International Music Competition

Geneva

Concours de Genève

Budapest

Franz Liszt International Piano Competition Vianna da Motta International Music Competition

Lisbon Geneva

Concours de Genève

Paris

Long- Thibaud International Piano and Violin Competition International Johann Sebastian Bach Competition

Leipzig Geneva Tel Aviv Toulouse Geneva

Concours de Genève

The Arthur Rubinstein International Piano Master Competition

Ville De Toulouse Intl. Singing Competition

Concours de Genève

Leeds

Leeds International Piano Competition

Warsaw Geneva Lisbon Munich Geneva Tel Aviv

Frédéric Chopin International Piano Competition

Concours de Genève

Vianna da Motta International Music Competition

ARD International Music Competition

Concours de Genève

The Arthur Rubinstein International Piano Master Competition “Anton Bruckner” International Organ Competition Paloma O´Shea International Piano Competition International Music Competition of Japan Van Cliburn International Piano Competition Finnish Foundation for Culture/ Competitions of Helsinki

Linz

Santander

Tokyo

Fort Worth

Helsinki

ABOUT US

General Assembly, Parma, 2024

No.

Year

City

Host Competition

36th 37th 38th 39th 40th 41st 42nd 43th 44th 45th 46th 47th 48th 49th 50th 51st 52nd 53rd 54th 55th 56th 57th 58th 59th 60th 61st 62nd 63rd 64th 65th 66th 67th 68th 69th 70th

1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025 2026

Genoa

“Premio Paganini” International Violin Competition “Dr. Luis Sigall” International Music Competition Vianna da Motta International Music Competition “Premio Rodolfo Lipizer” International Violin Competition Vienna Competitions and Budapest Competition

Viña del Mar

Lisbon Grado

Vienna/Budapest

Odense

Carl Nielsen Intl. Competition

Sydney/Melbourne

Melbourne and Sydney Competitions

Dublin

Guardian Dublin International Piano Competition

Pretoria

Unisa International Music Competition

Washington Reggio Emilia

University of Maryland International Competitions, College Park Intl. String Quartet Competition “Premio Paolo Borciani” International Henryk Wieniawski Violin Competition Joseph Joachim International Violin Competition Hannover

Poznan

Hannover Bordeaux

Bordeaux International String Quartet Competition

Geneva

Concours de Genève

Terni Tbilisi

Alessandro Casagrande International Piano Competition

Tbilisi International Piano Competition

Melbourne

Melbourne International Chamber Music Competition Banff Intl. String Quartet Comp./ Honens Intl. Piano Comp. Frédéric Chopin International Piano Competition International Vocal Competition ‘s-Hertogenbosch The Arthur Rubinstein International Piano Master Competition

Banff

Warsaw

‘s-Hertogenbosch

Tel Aviv

Tongyeong Bolzano Yerevan Montréal Glasgow Norrköping

ISANGYUN Competition

Ferruccio Busoni International Piano Competition Aram Khachaturian International Competition Concours musical international de Montréal Scottish International Piano Competition Wilhelm Stenhammar International Music Competition

online

Virtual General Assembly due to Covid 19

Reggio Emilia Bydgoszcz Hamamatsu

“Premio Paolo Borciani” International String Quartet Competition

Paderewski International Piano Competition Hamamatsu International Piano Competition

Parma Harbin Vilnius

Arturo Toscanini International Conducting Competition Schoenfeld International String Competition Lithuanian Intl. Professional Music Competitions

The Federation and its history

The WFIMC is a member of the International Music Council at UNESCO in Paris. Based in Geneva, Switzerland, the Federation is supported by the Department of Social Cohesion of the Canton of Geneva.

Presidents

1957-1969 1969-1979 1979-1988 1988-1991 1991-2000 2001-2009 2009-2015 2015-2021

Henry Gagnebin

André-François Marescotti

Pierre Colombo Robert Dunand Renate Ronnefeld Marianne Granvig

Glen Kwok

Didier Schnorhk Peter Paul Kainrath

2021-

Secretaries General

1957-1979 1979-1988 1988-2000 2001-2009 2009-2016 2016-2019

Dr. Frédéric Liebstoeckl

Aline Vernet

Jacques Haldenwang Renate Ronnefeld Marianne Granvig Benjamin Woodroffe

2019-

Florian Riem

ABOUT US

Board

Vice-President Sisi Ye, Harbin

President Peter Paul Kainrath, Bolzano

Vice-President Elisabeth Kozik, Munich

Treasurer Ariel Cohen, Tel Aviv

Nicolas Dernoncourt, Brussels

Glen Kwok, Indianapolis

Päivi Pousar, Helsinki

SoHyun Kim, Tongyeong

Kristin Reigstad, Trondheim

Artur Szklener, Warsaw

Secretariat

Executive Assistant Sarah Bétrisey, Geneva

Manager Jinyoung Kim, Seoul

Secretary General Florian Riem, Geneva

Manager Hana Saito Kantová, Geneva

Honorary Members

Lottie Chalut

Michael Frischenschlager

Marianne Granvig

Philippe Languin

Richard Rodzinski

Renate Ronnefeld

Dame Fanny Waterman

Idith Zvi

People

69th GENERAL ASSEMBLY IN HARBIN

Harbin, China, 25 – 29 June 2025 Hosted by the Alice and Eleonore Schoenfeld International String Competition

Nestled in the far North-East of China, Harbin, the capital of Heilongjiang Province, is a city that fascinates with its blend of rich history, diverse culture, and natural beauty. With its unique geographic position near the Siberian border and its frosty winter temperatures, Harbin is known as “Ice City” and attracts millions of visitors every year at the world-famous Harbin Ice and Snow Festival, where intricate ice sculptures transform the city in a winter wonderland. Once a small rural fishing village on the Songhua River, Harbin was founded in 1898 with the coming of the Russian-built Chinese Eastern Railway- a shortcut from the Trans-Siberian Railway across northern Manchuria to the Russian port of Vladivostok. In the early 20th century, Harbin became not only a bustling commerce and transport hub, but also a melting pot of cultures, hosting Chinese, Russian, Jewish and Japanese communities. Landmarks like St. Sophia Cathedral or the Jewish- built New Synagogue emerged as symbols of this multicultural legacy, while in the 1920s, the city was considered China´s fashion capital: new creations and designs from Paris and Moscow reached Harbin before arriving in Shanghai. One of China´s largest cities today, Harbin remains proud of its history, its architectural treasures, vibrant museums and festivals: a city with a unique, almost European, character and heritage.

HARBIN Paris of the East

« Harbin Opera House ©Adam Mork

Harbin, China

Harbin Grand Theatre interior ©Archive

69TH GENERAL ASSEMBLY

CITY OF MUSIC

Harbin is not only known as Ice City, but also as UN City of Music, since its vibrant music scene reflects a unique cultural blend. Russian immigrants first brought classical music to the city in the early 20th century: Harbin Symphony Orchestra, led today by Muhai Tang, was founded in 1908 and is one of the oldest orchestras in China. But the city is also home to numerous folk music ensembles and orchestras that showcase traditional Chinese instruments such as the Guzheng, Pipa, and Erhu. Harbin Concert Hall, a masterpiece of contemporary design with state-of-the-art facilities, is located right in the center of the city. Even more futuristic is the impressive Harbin Grand Theatre, located along the picturesque Songhua River. Its avant-garde design is a testament to Harbin´s commitment to arts and culture. At the heart of city’s music education and artistic development lies the Harbin Conservatory of Music. Founded in 2018, this prestigious institution has played a pivotal role in nurturing musical talent in the region and beyond. The conservatory offers comprehensive programs in classical, traditional Chinese, and contemporary music.

HARBIN ARTISTS

Numerous musicians and actors were born or lived in the city of Harbin, among them Chinese-American violinist Suli Xue, soprano You Hongfei, Chinese vocal professor Jin Tielin, American composer Benjamin Lees, Russian-American Bass Nikita Storojev, Russian violinist Vladimir Trachtenberg, and French pianist Simon Kaspé, an accomplished musician who was the son of Joseph Kaspé, owner of the iconic Harbin Hotel Moderne. Another illustrious artist living in Harbin was Hellmut Stern, a German-Jewish violinist whose family fled Nazi Berlin in 1938 and stayed in China for 11 years. After immigrating to Palestine in 1949, Stern became a member of the Israel Philharmonic; ultimately he returned to Berlin and became concertmaster of the Berlin Philharmonic. In his autobiography “Saitensprünge” (2000), Stern gives a vivid account of postwar Harbin and its colorful music scene.

« Harbin Grand Theatre interior ©Archive

Harbin, China

1 St. Sophia Church ©WFIMC 2 Harbin´s Baroque Quarter ©WFIMC 3 Street in the Baroque Quarter ©WFIMC

4 Old Synagogue (1909), renovated 2014 and made into a concert hall ©WFIMC 5 Chinese lanterns and Russian Dolls: Harbin´s Baroque Quarter ©WFIMC

THE SCHOENFELD SISTERS AND HARBIN

Born in Maribor (in what was the Kingdom of Yugoslavia at the time) in the 1920s, Alice and Eleonore Schoenfeld grew up in Berlin and came to prominence at a young age. After the Second World War, they emigrated to the United States, where they settled in Los Angeles and restarted their performing careers. At the same time, they began to teach at the University of Southern California, alongside iconic artists such as Jascha Heifetz, Gregor Piatigorsky and William Primrose. A distinctive feature of the Schoenfeld sisters’ careers was their interest in China. Following the visits of Isaac Stern and Yehudi Menuhin in 1979, the sisters began to travel to China as well, establishing many contacts while performing and teaching in Shanghai, Beijing and other cities. They also invited countless Chinese students to the US and later helped them build their careers. One of them was the Chinese violinist Suli Xue, who came to study with Alice Schoenfeld in 1986 and later became a member of the Los Angeles Philharmonic and the first Chinese American violin professor at USC. Today, Xue is also President and Artistic Director of the Schoenfeld International String Competition. He was instrumental in bringing the competition to his hometown Harbin, thus making it part of a growing number of musical institutions of this Chinese “City of Music”.

69TH GENERAL ASSEMBLY

Harbin, China

6 Harbin Ice and Snow World (inside) ©WFIMC 7 The Songwha River 8 Old and new: Railway bridges crossing the Songwha River @WFIMC 9 Harbin Concert Hall ©visitheilongjiang

SCHOENFELD INTERNATIONAL STRING COMPETITION

The Schoenfeld International String Competition was founded in 2013 in honor of the violinist Alice Schoenfeld and the cellist Eleonore Schoenfeld, both legendary performers and pedagogues. First held in Hong Kong and later settled permanently in Harbin, the Schoenfeld aims to build a multi- faceted platform for gifted violinists,

cellists, and chamber music performers all over the world.

Chamber music ensembles include: string quartet, piano trio, and piano quartet. Among the laureates of the last decade are Jinjoo Cho, Bomsori Kim, Jiwon Song, Anastasia Kobekina, Zlatomir Fung, Jérémy Garbarg, the Goldmund, Notos, and Ulysses Quartets as well as Trio Concept (formerly Trio Chagall). Held every two years, the next edition of the Schoenfeld Competition will take place from 11-25 July, 2025.

69TH GENERAL ASSEMBLY

WFIMC 2025 GENERAL ASSEMBLY Preliminary Schedule

Wednesday, 25 June 2025

17:30~19:30

Mayor´s Welcome Reception

Thursday, 26 June 2025

09:30~15:00

Marketing & Communication Forum Classical Music in China Online promotion and marketing strategies WFIMC General Assembly / General Meeting Part I Visit to Harbin Baroque Quarter and Dinner

15:00~17:30

18:00

Friday, 27 June 2025

09:30~15:30

Marketing & Communication Forum Music education Career support Round tables Visit to Harbin Ice and Snow World River Cruise (with Dinner)

16:30~20:30

21:00

Movie “The Spirit of Strings” – a documentary on Alice and Eleonore Schoenfeld

Saturday, 28 June 2025

09:00~11:00 11:00~13:00

Visit to Harbin Grand Theatre

WFIMC General Assembly / General Meeting Part II Harbin Concert Hall (Chamber Hall)

15:00-16:00

WFIMC Dialogue

16:00 16:30

Transfer to Old Synagogue

Performance at Old Synagogue Concert Hall Visit to Central Street, St. Sophia Cathedral etc

17:30-20:00

Sunday, 29 June 2025

Optional Tour: Beijing / Transfer to Airport Harbin-Beijing Daxing Airport (Flight CA8384) Transfer to Hotel

10:00~12:15

14:30~17:00

Tour of Beijing Forbidden City Visit to NCPA Concert Hall

20:00

Dinner

Optional Tour-Great Wall Daytrip to Mutianyu-Great Wall of China

Monday, 30 June 2025

09:00

Harbin, China

“To get students in the right frame of mind before a competition, I tell them that all music making is a joyful experience. Mixing with like- minded people and performing in front of them is an opportunity that they can treasure.” “Every country has its own songs, art forms and modes of expression, and musicians can learn so much from each tour and competition they travel to. But two things are universal: the enthusiasm they have for the music and the pleasure they take in playing it.” Alice Schoenfeld, 2014

TRAVEL

Detailed information will be sent with the registration form in early 2025

Conference Venue & Hotel in Harbin: Songbei Shangri-La Hotel

Sitting with a view of the Songhua River, Shangri-La Songbei, Harbin is located on the charming north bank of the Songhua River, with 344 guest rooms and suites. The hotel is located at the intersection of Jiangnan and Jiangbei, with convenient transportation and easy access to commercial and scenic areas. 3 Restaurants, 24 hour room service; Spa and Healthclub with infinity pool www.shangri-la.com/harbin/songbeishangrila/ (special conference rates will be available soon)

FLIGHTS TO HARBIN (HRB)

Travel to Harbin from overseas requires a transfer in China (usually Beijing or Shanghai), South Korea or Japan. Airport transfers from Harbin Taiping Airport to and from the Songbei Shangri-La Hotel will be provided.

BEIJING CAPITAL AIRPORT Air China (Star Alliance, many intl. connections)

SHANGHAI PUDONG AIRPORT Air China, China Southern, China Eastern, Shanghai Airl, Juneyao Up to 12 daily flights; flight time 3 hours

TOKYO-NARITA China Southern Direct flight on 25 June, flight time 3 hours

Up to 8 daily flights; flight time 2 hours

BEIJING DAXING AIRPORT Air China, China Southern, China Eastern Up to 11 daily flights; flight time 2 hours

SEOUL INCHEON Asiana Airlines, China Southern 2 flights per day, flight time 2:20 hours

OSAKA-KANSAI China Southern Direct flight on 24 June, flight time 3:10 hours

69TH GENERAL ASSEMBLY

HARBIN FOOD

HARBIN DUMPLINGS Dumplings play an important role for Harbin Cuisine. To some extent, a daughter-in-law must be able to make dumplings to be considered part of the family. During Chinese New Year, some also insert a coin inside one of the dumplings, and it is believed that whoever gets this lucky dumpling will be rich in the coming New Year. On the menu of dumpling restaurants, you could find various types of dumplings, but two that are always ordered are the Pork and Chive Dumplings and Pork and cabbage dumplings.

HARBIN SAUSAGE In Harbin, sausage with irresistible European flavor is sure not to be missed. This widely available specialty is called Red Sausage because of its purplish red skin. It is made of flour, lean pork, a layer of casing, starch, salt, garlic and spices and can be found at almost every market and restaurant in Harbin.

GUOBAOROU Guobaorou, or known as Crispy Sweet and Sour Pork, is another famous member of northeastern style food (known as Dong Bei). This dish uses a special sauce called tangcuzhi, which literally means “sugar and vinegar sauce” and is mostly just a combination of sugar and vinegar.

DONGBEI-STYLE LARGE HOT POT Typically only one kind of meat or seafood would be served, and an entire party of four up to eight would sit round the large metal pot waiting for the food to be cooked (traditionally under a wooden or bamboo lid). This requires patience, as it takes around 40 to 80 minutes to finish. The flesh absorbs all of the soup’s goodness and are super satisfying, especially in wintertime. Corn dough are sometimes stuck on the sides of the large pot for some seriously fluffy corn buns.

CHARCOAL-GRILLED SKEWERS (CHUAN-SHAO) Chargrilled skewers are one of the most iconic foods of northeast China. While Russian restaurants serve them in larger sizes and more kebap-like, local Chinese restaurants tend to prefer mini- sized skewers and a minimum order of 10 for each variety. Most popular are beef and lamb skewers, often seasoned with cumin and chilli, but you can also find grilled bone marrow, grilled oysters, seafood as well as quail and bird eggs.

DALIEBA (BIG BREAD) DaLieba is a kind of sourdough bread that is larger than your face. Its name Lieba (khleb) in Russian means bread. “Da” in Chinese means big. So, Dalieba literally means “Big Bread”. Malt in the recipe of Big Bread gives it the peculiar sour sweet taste and delicate flavor. With more than one hundred years of history, Dalieba (Big Bread) is considered to be a Russian heritage in Harbin now.

Harbin, China

ILLIA OVCHARENKO First Prize, Honens International Piano Competition 2022 First Prize, International Competition for Young Pianists in Memory of Vladimir Horowitz 2019

FEATURES

How did you/ do you decide whether to do a competition, and how did you choose which competition to try? Deciding whether to enter a competition is truly a big commitment. In my personal view, what matters most is whether a competition has a reputable stance, if it supports future prize winners, and serves in a way as a trampoline to launch one’s career. One of the most important things is whether the repertoire suits a musician’s personality well. Honens is a very special competition that allows competitors to express themselves from many different angles. Moreover, the support it provides for artists is very caring and enriching. What is your biggest motivation while preparing for a competition? What are you aiming for? First of all, it is the feeling on the stage, the audience that surrounds you in the hall. I believe being honest in your playing makes a crucial role for the jurors and the audience. Being authentic, having your personal and recognisable voice is something that I am aiming to achieve while competing. How long before a competition do you begin to prepare? Do you change your practice habits and practice hours? Sometimes it varies on the schedule you have. I have experienced both short preparations and long ones. Being prepared and feeling confident while performing in the competition is definitely needed, however some freshness, in my opinion, also wouldn’t hurt. What I also tried to manage timing-wise, was to have a possibility

to perform the program before the competition in a concert atmosphere, so then, once you go on stage of a competition you can let yourself go and have a similar feeling. How do you mentally prepare? What would your advice be to younger colleagues? I would say that focusing on expressing the music and leaving aside thoughts of judgment is crucial. At the same time, I always loved to dream big, but never let the results disappoint me. After all, we gain tones of experience, that sometimes matters more than a prize. Are there any special things (food, drink, meditation, mental or breathing exercises etc.) you do before you go on stage?

I really enjoy drinking coffee before going on stage!

What is most important for you in winning a competition (i.e. money, concerts, recordings, meeting other artists etc)? I met many of my good friends during competitions and we stay close nowadays. Appreciation of your fellow colleagues playing is always benefiting for us as artists. Some of the jurors you meet, might become your mentors whose trust in you will be priceless. Exposure, that many competitions provide is another important aspect of winning a competition.

Laureates in Focus

CHELSEA ZURFLÜH First Prize, Concours de Genève 2024

FEATURES

How did you/ do you decide whether to do a competition, and how did you choose which competition to try? Firstly, I check where and when the competition takes place and if I am fully available for the time period without any stress or concerts in between. Afterwards, I have a look at the required repertoire of the competition. Does it include Lied or only Opera? Does it require to sing mandatory pieces or new music? I ask my coaches and people who know me well about their opinions. Depending on the requirements, the gathered opinions and by knowing exactly where my strengths lay, I decide whether or not I take part in a competition. What is your biggest motivation while preparing for a competition? What are you aiming for? My biggest motivation is to present myself as good as possible to important people of the world of music. There are always agents, directors and conductors in the jury or in the audience, who might hire me for some role or concert. Sometimes one does not necessarily need to win a competition to get hired or asked to audition. I also take this as a chance to widen my repertoire and to try out new things on stage. And if I am honored with a prize in the end, that makes me happy as well!

Are there any special things you do before you go on stage?

I do not have any special habits before going on stage. What I need however, is a good and filling meal Pasta at least two hours before singing. It gives me a lot of energy and keeps me full for the whole evening. I also like to take a moment to mentally read through the music and texts once again. How long before a competition do you begin to prepare? Do you change your practice habits and practice hours? It depends on the demanded repertoire. If I have to sing music that is in my repertoire already and only needs to be freshened up, I start at least two weeks before the competition. If it is more repertoire and also new pieces, I start 1 to 2 months before.

What is most important for you in winning a competition?

What is important for me is the possibility to be heard and seen by many people. Competitions often have a big audience and through this, more people might offer potential jobs for the future. In some competitions the finals take place with orchestra and are also being filmed. So, you don’t only get the chance to sing arias with orchestra, but you also get great new videos and professional photos that you can use to advertise yourself.

Laureates in Focus

MICHIAKI UENO First Prize, Concours de Genève 2021

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How did you/ do you decide whether to do a competition, and how did you choose which competition to try? I consider competitions primarily as a platform for exposure. Today, major competitions offer global reach through online streaming, allowing anyone worldwide to listen. The Geneva Competition stood out to me because of its emphasis on originality in musical interpretation and programming. This focus on artistry rather than just technical skill was something I found fascinating. What is your biggest motivation while preparing for a competition? What are you aiming for? My main objective is to achieve a performance quality on stage that I can be happy with. The competition itself serves as a motivation, but ultimately, my goal is a sense of growth as a musician. How long before a competition do you begin to prepare? Do you change your practice habits and practice hours? Preparation time depends on my concert schedule and the demands of the repertoire, but starting early is ideal. If time is limited, I have to push myself to the limit, which is of course, stressful.

How do you mentally prepare? What would your advice be to younger colleagues? Playing the program repeatedly in front of others was very important for me. My mentor, Pieter Wispelwey, gave me opportunities to perform for classmates, allowing me to build confidence and improve my performance. Are there any special things (food, drink, meditation, mental or breathing exercises etc.) you do before you go on stage? I find that a small amount of sugar, like chocolate, helps me focus before a performance. When I’m nervous, deep breathing also helps steady my heart and center my mind. What is most important for you in winning a competition (i.e. money, concerts, recordings, meeting other artists etc)? For me, the preparation process itself is the most important part, as it improves my technical skills and deepens my understanding of the repertoire. Winning provides wonderful opportunities, like concerts and recordings, which further contribute to my growth and development as an artist.

Laureates in Focus

HAESU LEE First Prize, ARD Intl. Music Competition 2023 First Prize, Primrose Intl. Viola Competition 2018

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How did you/ do you decide whether to do a competition, and how did you choose which competition to try? I believe that music and art cannot be easily graded. However, competitions are an inevitable part of our careers. Personally, I view competitions as opportunities for self-improvement. They allow me to set goals and work toward them within a specific timeframe. Choosing which competition to enter depends on timing and where you are in your life. For example, some competitions might occur when you’re not available or ready. Most importantly, it’s essential to feel excited and willing to commit to the journey ahead. What is your biggest motivation while preparing for a competition? What are you aiming for? Preparing for a competition is a long and exhausting process. It is impossible to feel energetic and motivated the whole time. My biggest goal was to be able to feel good and ready no matter the circumstances. What helped me the most was focusing on and visualizing the time at the competition. Imagining myself enjoying my time on stage made every minute of practice feel worthwhile. How long before a competition do you begin to prepare? Do you change your practice habits and practice hours? Once the repertoire list was announced and I’d chosen which pieces to play, I began reading through most of the selections. Some pieces were new to me, while others

I’ve already played, so I prioritized the newer ones first. My practice habits and hours hadn’t changed much from my usual routine, but I tried to plan out my remaining time before the competition. I believe it’s crucial to map out how I’ll use that time, so I’m not caught off guard by a piece I haven’t practiced until two weeks before the competition! Also, I made sure to go through the entire program at least once every couple of days! How do you mentally prepare? What would your advice be to younger colleagues? Two things I find crucial are visualization and run-throughs. In our practice rooms, we often get so caught up in the details that we forget to consider the piece as a whole. From my experience, after working on the details, it’s essential to visualize performing on stage. It is really important to have a confident and welcoming presence on stage. And I think that comes from experience. What helps even better is the opportunity to play for an audience— whether it’s colleagues, teachers, or family. It’s incredibly important to perform every piece at least once under pressure!

What is most important for you in winning a competition?

While career achievements, prize money, concerts, and recordings are undoubtedly important, for me, the greatest reward has been the feeling of confidence. Knowing that so many people enjoy listening to my music motivates me to keep moving forward and pursuing what I love.

Laureates in Focus

ZHICHENG JIN First Prize, Prague Spring Intl. Music Competition 2024

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How do you mentally prepare? What would your advice be to younger colleagues? I will be a little nervous, but the hardest part for me is about two days before the competition. I usually rely on eating desserts to relieve my own anxiety and mood. I suggest that young players must maintain good living habits and mental health before the competition. It sounds funny, but when you are anxious, a piece of candy sometimes helps… Are there any special things (food, drink, meditation, mental or breathing exercises etc.) you do before you go on stage? Before going on stage, I will slowly move my mouth. I won’t blow particularly tiring exercises until my mouth vibrates fully. I will meditate before going on stage, think about where I am prone to mistakes, and try to reduce mistakes on the stage. What is most important for you in winning a competition (i.e. money, concerts, recordings, meeting other artists etc)? Winning the game can help me make more friends! I want to get more recognition from friends and professors by winning the competition, which will give me more opportunities to take the stage!

How did you/ do you decide whether to do a competition, and how did you choose which competition to try? Before deciding to participate in the competition, I will first consider the time and the pieces that need to be prepared. If there are multiple competitions, of course, I will choose the larger one to participate in. What is your biggest motivation while preparing for a competition? What are you aiming for? The biggest motivation for me to compete is to better show myself internationally, because I like the stage, and I enjoy the fun brought to me by the stage. How long before a competition do you begin to prepare? Do you change your practice habits and practice hours? I will start practicing around 6 months before, that is, after the competition announces the repertoire. I will not change my practice routine and time. Instead, I will be more strict with my own practice requirements to ensure that I don’t hurt my mouth while practicing.

Laureates in Focus

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SHANGHAI CONSERVATORY OF MUSIC

Liao Changyong, President of the school and a renown artist himself, talks about challenges and opportunities at this great Chinese institution

President Liao, you are an internationally well-known Baritone, and at the same time you are running one of the most important music schools in the world. How do you manage? Please tell us a little about your background! For me, managing an institution, teaching in the classroom, and performing on stage are equally important. I believe that a good vocal teacher should not only focus on classroom instruction but also remain active on stage. This is crucial because the stage is the frontier of performing arts. Despite my busy administrative responsibilities, I give much priority to stage practice. In 2024, I presented a recital at the Elbphilharmonie Hall, and starred in Verdi’s opera Un Ballo in Maschera in Oman. Most recently, I completed an Australia-New Zealand tour, performing in Sydney, Auckland, and Melbourne. I also have a series of performance plans for the upcoming year. This approach will help realize our integrated talent training model which combines teaching, creation, performance, and research. You won three international competitions yourself. What importance do they have for you personally and what difference did they make for your career? In 1996 and 1997, I had the honor of winning top prizes in three highly esteemed international competitions, namely, the 41st Toulouse International Singing Competition, the Operalia founded by Placido Domingo, and the Queen Sonja International Music Competition.

« Shanghai Conservatory of Music

Shanghai Conservatory of Music

Winning prizes in these competitions has earned me international recognition, leading to invitations from many prestigious opera houses and music schools. However, I believe it’s important to stay connected to my roots and develop a global vision that can benefit my home country. I feel that my motherland, China, needs me more. Therefore, I made the thoughtful decision to work as a vocal teacher at my alma mater, the Shanghai Conservatory of Music. At the beginning of my teaching career, I was fortunate to receive generous support from the SHCM, which allowed me to continue my artistic journey on stage both in China and internationally. I believe that a music performance teacher cannot truly inspire students without rich stage experience.

Young Chinese artists rank among the top countries in winning international competitions today- having more opportunities and better education than ever before. How did this develop during the last 20 years, and what were the main factors to bring China to the top?

In recent years, China’s music talent training has improved a lot and is increasingly recognized by the international community. Our students have won numerous awards in major international competitions. This progress can largely be attributed to our country’s growing emphasis on preserving and developing our rich cultural heritage and has contributed to a more meaningful and vibrant image of China. The improvement in international exchange and cooperation at our Conservatory has also made a big difference. With an expanded network of partnerships, we are now able to involve more internationally renowned musicians and leading figures in our talent training programs. For instance, we appointed world-famous cellist Wang Jian and renowned French horn player Han Xiaoming, among others, to teach at the SHCM. We also welcomed esteemed international music masters such as Plácido Domingo and Dang Thai Son for exchange visits at our Conservatory.

Could you introduce the Shanghai Conservatory, its history and facilities?

Shanghai Conservatory of Music, originally known as the National Conservatory of Music, was founded

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in 1927 as the first independent music institution of higher education in China. With the strategic vision of developing Chinese music by learning from the West, the Conservatory has laid the basis for professional music education in China with its distinctive, multidisciplinary structure. In 1956, our Conservatory became a key university under the direct administration of the Ministry of Culture of China and adopted its current name. Today, it is jointly administered by the Ministry of Culture and Tourism of China and the Shanghai Municipal Government. We have two campuses that cover a total construction area of 238,100 square meters. Our Conservatory has developed a comprehensive disciplinary system bolstered by music creation, music performance, music theory, and applied music. Currently, our Conservatory employs 317 full-time teachers and serves 3,100 students. Moreover, there are 720 students enrolled in our affiliated secondary school and elementary section.

Can you give us a few numbers about SHCM to put the school in an international context?

In the QS World University Rankings by Subject 2024, the Shanghai Conservatory of Music is ranked No. 10 for music and No. 30 for performing arts. We have implemented several effective initiatives to enhance our global engagement, including: - Establishing strategic partnerships for joint talent training with over 50 leading music schools across more than 30 countries and regions; - Serving as an executive or council member in eight internationally influential organizations, including the International Music Council (IMC) and the International Council for Traditional Music (ICTM); - Continuously working to build the International Artists’ Advisory Council; - Setting up four Chinese music culture centers in collaboration with international partner institutions to promote Chinese culture globally; and - Producing more than 10 operas through our world-class Shangyin Opera House in collaboration with prestigious art troupes and institutions such as Teatro alla Scala. Our Conservatory now regularly organizes four competitions. One of these is the 4th Chinese Art Song International Singing Competition, which recently saw an impressive 2,362 applications from 35 countries

Shanghai Conservatory of Music

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