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Named “a born bel canto tenor” by the New York Times, Guatemalan tenor Mario Chang’s 2021 – 2022 season includes his house debut with Palm Beach Opera as Nemorino in L’elisir d’amore conducted by music director David Stern, and an appearance as a featured performer on the Bolshoi Theater’s 2022 gala alongside René Pape, Placido Domingo, Angela Gheorghiu, Eva Maria Westbroek, and Marco Armiliato. Orchestral engagements include Verdi’s Messa da Requiem with the Washington National Cathedral, and Beethoven’s Symphony Number 9 with San Francisco Symphony conducted by Daniel Stewart and with San Diego Symphony conducted by music director Rafael Payare.

The 2020 – 2021 season saw Mr. Chang make his house and role debuts as the title role in Massenet’s Werther with Opéra Orchestre National Montpellier, his house debut at Norwegian National Opera as the Duke in Rigoletto, and at Arizona Opera as Rodolfo in La bohème. Orchestral engagements included Beethoven’s Symphony Number 9 with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel.

Operatic highlights include multiple performances at the Metropolitan Opera including as Nemorino in L’elisir d’amore, the Italian Tenor in Der Rosenkavalier opposite Renée Fleming, Arturo in Lucia di Lammermoor, and the Fourth Squire in Parsifal. Additional operatic highlights include Rodolfo in La bohème conducted by Gustavo Dudamel and Ismaele in Nabucco at Los Angeles Opera, Rodolfo in La bohéme and Edgardo in Lucia di Lammermoor at Santa Fe Opera, and Alfredo in La Traviata with Washington National Opera, Atlanta Opera, Oper Frankfurt, and North Carolina Opera. Highlights at Oper Frankfurt include performances as Lenski in Yevgeny Onegin, the Italian Singer in Capriccio, Cassio in Otello, the Italian Tenor in Der Rosenkavalier, the Duke in Rigoletto, the title role in Roberto Devereux, and Rodolfo in La Bohème.

Orchestral highlights include Mr. Chang’s Hollywood Bowl debut as Cassio in Otello with the Los Angeles Philharmonic Orchestra, conducted by Gustavo Dudamel, the Italian Tenor in Der Rosenkavalier with the National Symphony Orchestra, Mozart’s Requiem with the Orquesta Sinfónica Nacional de Guatemala, Beethoven’s Symphony Number 9 with the Orquesta Sinfónica Centroamericana in Nicaragua, a concert in Puerto Rico honoring Giuseppe Verdi with Teatro de la Opera, his debut with the Orchestre Symphonique de Bretagne in Rennes, France, and as a guest soloist with the St. Petersburg State Capella Symphony Orchestra.  Mr. Chang made his Carnegie Hall debut in a concert with the Musical Olympus Foundation, and then returned to appear in recital as part of the Marilyn Horne Song Foundation.

Honors and awards include First Prize, Zarzuela Prize, and audience favorite at the 2014 Operalia Competition, Top Prize in the 2014 Gerda Lissner Foundation competition, a Festival Musique et Vin au Clos Vougeot career grant in 2013, a 2012 Hildegard Behrens Foundation Award grant for promising Young Classical Artists, and the 2011 overall First Prize, Plácido Domingo Prize, and ‘Amigos de Sabadell’ Prize in the Francisco Viñas Competition at the Teatro del Liceu, Barcelona. He has also received awards from the Concurso de Canto Lírico de Trujillo, Perú, and the Asociación Artista del Año and Asociación Dante Alighieri in Guatemala.

Mr. Chang is alongside his wife, guatemalan Soprano Maria José Morales, is founder and director of Querido Arte Opera de Guatemala, the first opera company in Guatemala, a Center for the Development of the Arts (Centro de Perfeccionamiento para las Artes), and a youth orchestra and chorus program, creating a platform for the development and promotion for the arts and supporting hundreds of young musicians and emerging artists to reach their dreams. In recognition of this work, he was appointed with the ‘Medalla del Quetzal’ and ‘Cambio de la Rosa de la Paz’ by the Ministry of Culture and Sports of his country, making him ambassador of peace and culture in Guatemala.

He was a member of the Lindemann Young Artist Development Program at the Metropolitan Opera and the Advanced Diploma in Opera Studies program at the Juilliard School.

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London-based Australian conductor Scott Wilson held the positions of Zander Fellow with the Boston Philharmonic Orchestra, Artist in Residence at the Guildhall School of Music and Drama, and Conducting Fellow at the Guildhall School. His musicianship is founded on the pedagogical traditions of Ilya Musin and Nadia Boulanger, which he received under the mentorship of his principal teachers Sian Edwards and Norman Beedie. He studied with Maestro Kurt Masur in Sweden, Gianluigi Gelmetti in Italy, Johannes Fritzsch in Australia, and Ed Spanjaard in Hungary. As an Irish, British, and Australian citizen, and also a holder of a US Speciality Visa, he has been fortunate to work in the United Kingdom, Europe, North and South America, and Australia.

Scott Wilson is passionate about promoting the works of Australian composers, especially Peter Sculthorpe and Carl Vine. In addition to performing numerous European premieres by Australian composers, he regularly collaborates with the British composer John Woolrich.

Informing Scott Wilson’s musicianship is his previous career as a percussionist specialising in contemporary solo and chamber repertoire. He founded the ensemble Sankorfa, with whom he released a CD - in between instruments - which featured performances of his compositions. In addition, he worked with the Birmingham Contemporary Music Group, Philharmonia Orchestra, Royal Shakespeare Company, and at the Royal National Theatre, recorded chamber music for the BBC, and performed at contemporary music festivals throughout Europe.

Scott Wilson is Head of Orchestra Learning for the Youth Orchestras of the Americas’ OAcademy, director of the OAcademy’s Conducting Fellowship, and a conducting teacher within the Youth and Adult Learning Department at the Guildhall School of Music and Drama. He has taught at the Royal College of Music, Trinity College of Music Junior Department, and the Aldeburgh Young Musicians Programme, and he has led workshops for the Southbank Centre, Barbican Centre, and Glyndebourne Festival Opera. He maintains an online studio, teaching students from across the world.

It is Scott Wilson’s belief that a thriving classical music industry can only be achieved once there is a gender balance amongst conductors. He has a long history of achieving an even balance of male and female students who approach him for lessons and who participate in his conducting courses.

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