She was born in Saint-Petersburg. She graduated from Saint Petersburg State Conservatory and training assistantship (class of the professor A. M. Vavilina-Mravinskaya, 1996). Since 1991 she is a soloist of Tchaikovsky Grand (Bolshoi) Symphony Orchestra conducted by V.I. Fedoseyev. She played with such orchestras, as Tchaikovsky Grand (Bolshoi) Symphony Orchestra, The Saint Petersburg Philharmonic Orchestra conducted by Yu.Temirkanov, Lithuanian State chamber orchestra conducted by  S.Sondeckis, Musika Viva orchestra conducted by A.Rudin, Kremerata Baltika orchestra conducted by G.Kremer, Moscow Soloists orchestra conducted by Yu.Bashmet, Metropolitana de Lisboa symphonic orchestra, conducted by M. Mour, Klassik Philarmonie Hamburg orchestra conducted by R.Stehli and others. She has taken part in compact disc record Maria de Buenos Aires by Ástor Piazzolla and in the world tour with the program tango-operita around Europe, America and Japan. She took part in the festivals in Gstadt (Switzerland), Lockenhaus (Austria), Snow and Simphony (St. Moritz), December evenings (Moscow), Palaces of St.-Petersburg, Bach in transcriptions, the international youth festival in Kaunas (Lithuania), in Yokogama School (Japan). She has given a master class in Academia Metropolitana de Lisboa (Portugal). She played in ensemble with G.Kremer, Yu.Bashmet, T.Grindenko, M.Burg and others. Since 2000 she is a soloist of Moscow State Academic Philarmonia, where she played a cycle of concerts with participation of young musicians and Moscow theater actors.

Petr Belyakin was born in 1971 in Novosibirsk. He studied in the Novosibirsk Musical College at the theoretical Faculty and the Faculty of wind instruments (clarinet) from 1986 to 1990. From 1990 to 1995 he was a student of the Novosibirsk State Conservatory named after M. Glinka (clarinet). From 1991 to the present day he has been working at the Novosibirsk State Academic Opera and Ballet Theatre, since 1999 as concertmaster of clarinets. He graduated the Novosibirsk State Conservatory, the Faculty of opera and symphony conducting in 2004. Since 2004 to the present day he is a conductor of the Novosibirsk State Academic Opera and Ballet Theatre. He conducts such performances as Aida by Verdi, Tosca by G. Puccini, Carmen by G. Bizet, Eugene Onegin by Tchaikovsky, Katya Kabanova by Janacek (first performance in Russia), Spartacus by Khachaturian, The Nutcracker by Tchaikovsky, The Fairy's Kiss by Igor Stravinsky and so on. With the theater's orchestra as concertmaster of clarinets he was on tour in Moscow, St. Petersburg, in foreign countries. He participated as music director of the ballet Spartacus in a joint project of the Novosibirsk State Academic Opera and Ballet Theatre and the National Ballet of Korea (2007, Seoul). He is a regular assistant conductor of international projects of Chief Conductor of the Novosibirsk Opera and Ballet Theater Teodor Currentzis. As a conductor and assistant of Music Director T. Currentzis he participated in such projects as Don Carlo by Verdi (2008), Macbeth by Verdi (co-production of the Novosibirsk State Opera and Ballet Theatre and the Paris National Opera, 2008-2009), Wozzeck by A. Berg at the Bolshoi Theatre of Russia (2009).

Considered one of the most promising voices on the international opera and concert circuit, the Austrian tenor Nikolai Schukoff started his career as a lyric voice, but has since developed towards heavier roles. He sang Don José (Carmen) and Siegfried (Götterdämmerung) at the Théâtre musical du Châtelet in Paris. He also performed Beethoven’s Ninth Symphony with such prestigious orchestras and conductors as the Orchestra dell’Accademia di Santa Cecilia under Gustavo Dudamel, the Orchestre de Paris under Christoph Eschenbach, the Leipzig Gewandhaus Orchestra under Riccardo Chailly, the London Philharmonic Orchestra under Eschenbach and the Orchestre de la Suisse Romande under Marek Janowski. Furthermore, Mahler’s Eighth Symphony at the San Sebastian Festival, Mahler's Das Lied von der Erde at the Concertgebouw in Amsterdam under Jaap van Zweden, with the Philadelphia Orchestra under Eschenbach at the Lucerne and Berlin festivals and with the Orchestre de Paris under Christoph Eschenbach in Paris, followed by Siegmund in a concert version of the first act of Die Walküre at the Philharmonie in Berlin and with the Orchestre de la Suisse Romande in Geneva. He scored his operatic successes as Sergey (Lady Macbeth of the Mtsensk District) at the Grand Théâtre de Genève, Parsifal and Erik (Flying Dutchman) at the Bayerische Staatsoper in Munich, Pollione (Norma) in Paris, Missa Solemnis in Lisbonne, Verdi Requiem in Washington DC, Parsifal in Dresden as well as Zemlinsky's Florentinische Tragödie in Rome.

Received his first musical training as a member of the Vienna Boys’ Choir and at the Bruckner Konservatorium in Linz, Austria, where he studied voice, oboe and piano. As a teenager  Gerald Wirth already conducted a childrens choir and was the founder of a Youth Choir and a TrioSonata Ensemble. He was one of the choir directors of the Vienna Choir Boys and Chorus Director at the Salzburg Opera company “ Landestheather”. In 1991 he was asked to become the Artistic leadership of the Calgary Boys Choir. In Calgary, Canada he also was the Music Director of the Civic Symphony and the Vocal Ensemble Sangita as well as Associate Conductor of the Calgary Philharmonic Orchestra. He has conducted choirs and orchestras in many countries, and sings and plays himself in a number of ensembles. Gerald is regularly invited throughout the globe as a clinician and to conduct workshops about choral pedagogy and all performance aspects of choral music. In 2001, Gerald Wirth became the artistic director of the Vienna Boys’ Choir. While he is keenly aware of the choir’s rich tradition, Wirth also explores new ways to create and make music. He has instigated a number of projects involving world music, a cappella pop and film music. Wirth’s first love is the voice; as is evident from his own compositions: He has written two children’s operas, oratorios, motets and countless arrangements for choirs. His works are performed internationally. He finds much of his inspiration in myths and philosophical texts and likes to combine Gregorian works with rhythmic components and elements of ethnic music.

Angelica Voje made her British operatic debut earlier this season in English Touring Opera’s production of Flavio as part of the ETO Handelfest. She also makes her debut at the Bregenzer Festspiele in Das Portrait - a new opera by Mieczyslaw Weinberg and her recital debut at the Festspillene Nordiske Impulser I Bergen. Next season sees her debut with Den Norske Opera in a new production of Lulu. Other operatic roles to date include The Fox - The Cunning Little Vixen, Cherubino - Le nozze di Figaro and the title role in Handel’s Teseo. Last season she performed the roles of Waltraute in Wagner’s Die Walküre, and both Waltraute and Wellgunde in Nibelungen for Children at Opernhaus Zurich. She has worked with the conductors Eivind Gullberg Jensen, Philippe Jordan, John Fiore and Peter Szylway; and recent concert performances include Rossini’s Petite Messe Solennelle, Haydn’s Missa in tempore belli with the Bath Philharmonia, Grieg’s Peer Gynt in a ballet version for Opernhaus Zurich, and the Aftenpostens New Year Concert at The Opera House, Oslo. Angelica Voje studied with Neil Mackie and Poul Erik Hansen in Norway, Henning Vilén at Bel Canto Scandinavia in Denmark, and Francisco Araiza at International Opera Studio Zurich. In London she studied with Katheleen Livingstone at the Royal College of Music and at the Benjamin Britten International Opera School. In 2006/07 she was the first recipient of the Opperby-Stokowski Scholarship and at the same time was given the Young Musician of the Year award from the Odd Fellow Slagelse, Denmark. In 2009 Angelica was awarded two special prizes at the Queen Sonja International Music Competition for best Norwegian performer and best interpretation of Edvard Grieg's music.

Helen Field remains one of the most versatile and distinguished artists of her generation. Recent roles include Marcellina Le nozze di Figaro at La Monnaie, Salome for Welsh National Opera and Gräfin (Soldaten) in Germany and New York. Her international appearances have included the Governess in Britten The turn of the Screw in Cologne, Dresden, Montpellier, Amsterdam, Schwetzingen and Barcelona; Gilda Rigoletto at the Metropolitan Opera House, New York; Cio-Cio San Madama Butterfly at the Deutsche Oper Berlin; Desdemona Otello in Brussels; Aithra (Aegyptisch Helena) at Avery Fisher Hall and Jenufa in Liege, Düsseldorf and Toronto. Born in North Wales, Helen Field studied at the Royal College of Music, London. She began her career as a recitalist and in operatic roles including, "Vixen", Mimi, Tatyana, Jennifer (Midsummer Marriage) and Marguerite (Faust). She received 2 Olivier nominations for outstanding operatic achievement. She has sung Salome in Brussels, Santa Fe, Los Angeles, Covent Garden, Hamburg, Hong Kong, Nürnberg, Scottish Opera, Holland, Frankfurt and Toronto. As a keen contemporary music artist she has been involved in many significant world-premieres, including Tippet New Year, Birtwistle The second Mrs Kong for Glyndebourne, James McMillan Ines de Castro. Elsewhere on the concert platform, she has appeared with many of the world's major orchestras, including Strauss Vier Letzte Lieder with Gunther Wand in Hamburg and at the BBC Proms and Mahler Symphony No. 4 at the Schauspielhaus in Berlin opening.

Richard Angas studied in London and Vienna. He worked for many years in Germany and at English National Opera where he was a company principal for fifteen years. Roles included Don Alfonso, Osmin, Bartolo, Sarastro/Speaker‚ König Marke‚ Daland‚ König Heinrich‚ Ochs‚ Pimen, Doctor (Wozzeck)‚ Kecal‚ Mephistopheles‚ Jupiter (Orpheus)‚ and Arkel. More recently he has been seen as Pistol (Garsington)‚ Angelotti and The Bonze (Royal Albert Hall/Gubbay)‚ Doctor (Vanessa) (Lyric Hammersmith)‚ title roles in The Mikado and Don Pasquale (ENO)‚ Jakovlevich The Nose (Netherlands Opera)‚ The Commander From the House of the Dead (Opéra du Rhin) and Aga A Greek Passion (Bregenz Festival and ROH). Recent and future plans include Swallow (Opera North and Zurich)‚ Drebyednyetsov Cheryomushki (Opera North and Bregenz)‚ Basilio‚ Waldner Arabella‚ Cook Love for Three Oranges‚ Tree/Armchair L'enfant et les Sortilleges, Old Adam Ruddigore and Water Sprite Rusalka (Opera North)‚ Pooh-Bah and Private Willis (Grange Park Opera), Count Luisa Miller and Dikoj Kat'a Kabanova (Opera Holland Park), Mikado (ENO)‚ and roles in The Passenger and The Portrait at Bregenz.

Born in Lorsch (Germany) he studied voice, transverse flute, piano and accordion at the academy of Tonkunst in Darmstadt. He got an engagement as the youngest tenor of Germany at the state theatre of Oldenburg immediately. 1990 he got an engagement at Vereinigte Bühnen Graz. Since 1991 he is a member of the Vienna State Opera and the Vienna Volksopera. He appeared in guest performances in: Barcelona, Mailand, Rom, Palermo, Catania, Neapel, Genf, Chile, Basel, Bern, Frankfurt, Düsseldorf, München, Wuppertal, Wiesbaden, Ruhrtriennale Bochum, Bregenz Festival, Mörbisch, Wiener Festwochen, Alte Musik Innsbruck, Ossiach, Metropolitan Opera and Lincoln Center New York, Hongkong, Singapur and Jakarta. Film productions: 2008 Robert Dornhelm`s screen adaption of La Bohème in the part of Parpignol; Anna (World Tour Winner/Best Foreign Thriller 2007); Bell Canto (Thriller 2010). TV productions: Gesamtring der Nibelungen (Mime); Israel TV Zauberflöte; UA. Rattenfänger; Liebesverbot; Beiden Blinden; Pitzelberger; UA Propheten; UA Orpheus ex machina; UA Auszählreim; UA Esels Schatten; Hoffmans Erzählungen; Bettelstudent; Fledermaus; Die Feuersbrunst u. a. 2008 he directed Zar und Zimmermann. He worked with numerous conductors such as H. Stein, N. Harnoncourt, M. Rostropowitsch, S. Young, M. Viotti, D. Runnicles, P. Schneider, Bertrand de Billy, Fabio Luisi and U. Schirmer as well as the directors J. Flimm, H. Neuenfels, H. Hollmann, Ch. Miliz, P. Konwitschny, O. Fritz Schuh, D. Pountney and R. Dornhelm.

A former Head Chorister of Westminster Abbey, David studied Zoology at Durham University, sang with the choir of St. John’s College, Cambridge and studied on the Opera Course at the Guildhall School of Music and Drama.

His extensive oratorio repertoire includes Bach St. John and St. Matthew Passion (both Salisbury Cathedral), B Minor Mass and Haydn Nelson Mass (Orchestra of St. John’s Smith Square), Mozart Requiem (Sir Roger Norrington and the Orchestra of the Age of Enlightenment), Verdi Requiem and A Child of Our Time (both King’s College, Cambridge), Carmina Burana (Snape Maltings), A Sea Symphony (Bach Choir), a new CD recording of The Creation with New College Choir and the Oxford Philomusica, Messiah and Die Matthäus Passion with the Hallé.

His operatic roles include: Angelotti Tosca and Mick Playing Away for the Bregenzer Festspiele; Don Juan The House of the Dead for the Teatro Massimo, Palermo; Schaunard La Bohème for English National Opera; Schaunard, Speaker The Magic Flute, Le Dancaïre Carmen for Welsh National Opera; Harasta The Cunning Little Vixen and Papageno The Magic Flute for Grange Park; Marcello La Bohème for Mid-Wales Opera; Aeneas Dido and Aeneas for English Touring Opera.

Current season/future plans: Flemish Deputy Don Carlos, Manz A Village Romeo and Juliet for the Royal Opera House, Nachtigall Die Meistersinger, Papageno, Falke Die Fledermaus, Ping Turandot for Welsh National Opera, Roucher Andrea Chenier for the Bregenzer Festspiele.

Finn trained at Central School of Speech and Drama and designs video and projection for all forms of live performance, with a special interest in Opera. Future work: Don Giovanni (ENO), Sunset Boulevard (Gothenburg Opera) Recent design work: The Dog’s Heart (Complicite and DNO & ENO), The Gods Weep (RSC) Knight Crew (Glyndebourne), MICroscope (Saddlers Wells), Mr Broucek (Opera North), Beggars Opera (Vanishing Point), Girls of Slender Means (Stella Quines, Assemly Rooms), Serious Money (Birmingham Rep), Interiors (Vanishing Point, touring), Shun-Kin (Complicite & Setagaya Public Theatre, Tokyo and Barbican, London), Simon McBurney’s All My Sons (Broadway), Three Zero (Touring), A2K (Touring), Little Otik (Vanishing Point & National Theatre of Scotland), Orlando (Sadlers Wells), Sugar Mummies (Royal Court), Face of (Dublin RDS), An Audience with William Barlow (Deceased) (London Architecture Biennale), Silverland (Arcola).