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Manfred Honeck is widely regarded as one of the world's leading conductors, celebrated for his distinctive and revelatory interpretations that have garnered international acclaim. As Music Director of the Pittsburgh Symphony Orchestra, where he is now in his 19th season, he continues to shape the orchestra’s artistic identity with a deep sense of purpose and passion. His tenure, recently extended through the 2032–2033 season, has seen the orchestra flourish artistically while strengthening its role as a cultural ambassador for the city of Pittsburgh. Celebrated at home and abroad, the orchestra has appeared at Carnegie Hall and Lincoln Center in New York, as well as at major venues throughout Europe and prestigious festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, and Grafenegg Festival.

Manfred Honeck's acclaimed Pittsburgh tenure is reflected in an extensive discography on the Reference Recordings label, featuring works by Beethoven, Brahms, Bruckner, Shostakovich, Strauss, Tchaikovsky, and others. These recordings have received widespread critical acclaim and multiple GRAMMY® nominations, including a win for "Best Orchestral Performance" in 2018. In August 2025, he and the orchestra released Requiem: Mozart’s Death in Words and Music, an original concept reimagining a funeral mass for Mozart, combining the composer’s Requiem with Gregorian chant, poetry, and other choral works by Mozart. 

Born in Austria, Manfred Honeck completed his musical training at the University of Music and Performing Arts Vienna. His years as a violist with the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor, and his approach to interpretation is rooted in a desire to venture deep beneath the surface of the music. He began his conducting career as an assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was awarded the European Conducting Prize in 1993. He has since served as one of three principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. In 2023, he was appointed Honorary Conductor by the Bamberg Symphony Orchestra, following decades of close collaboration.  

Manfred Honeck also enjoys a distinguished profile as an opera conductor. In his four seasons as General Music Director of the Staatsoper Stuttgart, he conducted premieres of operas by Berlioz, Mozart, Poulenc, Strauss, Verdi, and Wagner. He has also appeared as a guest conductor at major institutions such as Semperoper Dresden, Komische Oper Berlin, the Royal Opera of Copenhagen, and the Salzburg Festival. In 2020, Beethoven’s anniversary year, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. In autumn 2022, he made his much-acclaimed debut at the Metropolitan Opera in New York, leading a revival of Mozart’s Idomeneo. Beyond the podium, Manfred Honeck has created a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra, Dvořák’s Rusalka, as well as Puccini's Turandot, which he regularly performs around the globe. The most recent arrangement, based on Strauss's Arabella, received its premiere with the Pittsburgh Symphony Orchestra in 2025.

As a guest conductor, Manfred Honeck appears regularly with many of the world's leading orchestras, including the Bavarian Radio Symphony Orchestra, the Berlin Philharmonic, the Gewandhausorchester Leipzig, the Staatskapelle Dresden, the Tonhalle-Orchester Zürich, the Royal Concertgebouw Orchestra, the Philharmonia Orchestra London, the Orchestre de Paris, and the Accademia Nazionale di Santa Cecilia. In the United States, he has conducted many of the nation’s most distinguished ensembles. He has also been Artistic Director of the International Wolfegg Concerts in Germany for over three decades. 

In summer 2026, he returns to the Salzburg Festival to conduct Ariadne auf Naxos with the Vienna Philharmonic. He will also lead the Pittsburgh Symphony Orchestra on a European festival tour, with appearances in Salzburg, Lucerne, Amsterdam, Hamburg, and at the opening concert of the season at the Vienna Konzerthaus. In the 2026/27 season, he will commemorate the 200th anniversary of Ludwig van Beethoven’s death with special programs and a new commission from Jüri Reinvere, to be presented worldwide.

Manfred Honeck holds honorary doctorates from several universities in the United States and has been awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him "Artist of the Year." In 2026, he received the Julio Kilenyi Medal from the American Bruckner Society, an honor bestowed on distinguished interpreters of Bruckner.

Audiences and critics alike have praised The Mendelssohn Choir of Pittsburgh’s programming, saying, “EXCEPTIONAL and MEMORABLE… I’m still talking about it,” “One of the finest music events I have ever attended,” and “the Mendelssohn never ceases to amaze me… This city should be proud of its choir” (Pittsburgh Post-Gazette). 

Critically acclaimed as one of the finest choruses in the country, MCP is the “voice of the greater Pittsburgh region” — whether premiering a choral work composed by Stewart Copeland of The Police at a rock venue, or performing Mozart with the Pittsburgh Symphony Orchestra (PSO) at Carnegie Hall in New York City. Unlike other professional arts organizations, MCP is proudly comprised of mostly amateur singers with professional-caliber talent, whose day jobs vary from postal clerk to physician to casino card dealer. MCP singers give generously of their talent, passion, and commitment to share the magic of live music with the widest possible audience, within Heinz Hall and throughout the community. 

For more than a century, MCP has proudly partnered with the PSO as its “chorus of choice,” bringing the joys of symphonic choral music to tens of thousands of people each year. MCP has performed under the batons of world-renowned conductors, including Lorin Maazel, Mariss Jansons, Rafael Frühbeck de Burgos, Michael Tilson Thomas, Claudio Abbado, Mstislav Rostropovich, Leonard Slatkin, Charles Dutoit, André Previn, Sir Neville Marriner, Yan Pascal Tortelier, Helmuth Rilling, Ingo Metzmacher, Richard Hickox, Zdenek Mácal, and Manfred Honeck.

MCP embraces its long legacy of performances, recordings, and commissions that reimagine choral music for today’s audiences and bring bold, unique programming to the Pittsburgh region, such as the recent world premieres of Satan’s Fall by the Police’s Stewart Copeland and The Times They Are A-Changin’ by composer and conductor Steve Hackman. Under the leadership of its new Robert Page Music Director Daniel Singer, MCP looks forward to continuing its tradition of excellence while seeking innovative ways to encourage broader community participation in MCP as singers and as members of the audience. 

MCP fosters the next generation of choral singers and audience members through its educational program, the Junior Mendelssohn Choir of Pittsburgh (JMCP). Founded in 1986, JMCP is the region’s premier high school choral training and performance program. Annually, JMCP attracts singers from more than a dozen school districts, providing youth with a challenging musical environment in which to develop their skills and encouraging them to be lifelong participants in the arts.

Jeanine De Bique has been described as “one of the most exciting sopranos to catch onstage these days. Animated, joyful, and technically flawless, the Trinidadian vocalist with the light, starry voice that soars before landing on audiences’ ears like a musical meteor shower” (Operawire) and a “sheer endless wealth of colour and nuances[…] a radiant, free-floating timbre.” (Opernwelt).  

The past few seasons saw several important role and house debuts: as Isabel in George Benjamin’s Lessons in Love and Violence at Opernhaus Zurich, Alcina in Handel’s Alcina in Robert Carsen’s acclaimed production at l’Opéra National de Paris followed by her return as Susanna/Le nozze di Figaro, Poppea in Monteverdi’s L’Incoronazione di Poppea with the Budapest Festival Orchestra and Iván Fischer, Anaï in Rossini’s Moïse et Pharaon at the Festival d’Aix-en-Provence, Agathe in Weber’s Der Freischütz with Konzerthausorchester Berlin and Christoph Eschenbach, Bess/Porgy and Bess and La Folie in Rameau’s Platée at Theater an der Wien, conducted by William Christie and followed by her return as Nicrotis/Belshazzar. At Houston Grand Opera, she debuted the role of Maria in excerpts from Rodgers and Hammerstein’s The Sound of Music. Most recently she returned to the Salzburger Festspiele for Purcell’s Indian Queen under the baton of Teodor Currrentzis and to the BBC PROMS for Schumann’s Paradies und die Peri with London Symphony Orchestra and Simon Rattle.  

Equally sought after in concert, Ms. De Bique gave her solo recital debut at New York’s Carnegie Hall, appeared at Lincoln Centre at the Mostly Mozart Festival and at the Orchestre Symphonique de Montréal’s summer festival and performed with the Los Angeles Philharmonic and Gustavo Dudamel, Pittsburgh Symphony Orchestra and Manfred Honeck, London Symphony Orchestra and Sir Simon Rattle, Martin Fröst and the Swedish Chamber Orchestra, the Vienna Philharmonic and Herbert Blomstedt, the Dallas Symphony, New World Symphony Miami, St Louis Symphony Orchestra, WDR Symphony Orchestra, as well as the Rotterdam Philharmonic and the Orchestra of the Accademia Nazionale di Santa Cecilia in Rome, both conducted by Wayne Marshall.  

Mirrors, Ms. De Bique’s first solo-CD with Concerto Köln, was released by Berlin Classics in 2021 to outstanding reviews. The album received the 2022 Opus Klassik Award for best solo recording Vocal, a Diapason d’Or découverte, the Edison Klassiek award as well as the Editor’s Choice award in Gramophone, Fono Forum and Opera Magazines. The program was presented throughout Europe and the US, including Carnegie Hall in New York.  

Previous opera highlights include Annio in Peter Sellar’s production of La Clemenza di Tito at the Salzburg Festival and De Nationale Opera Amsterdam, Susanna/Le Nozze di Figaro at San Francisco Opera, Helena/A Midsummer Night’s Dream at Deutsche Oper Berlin, the title role of Handel’s Rodelinda at Opéra de Lille, conducted by Emmanuelle Haïm and released on DVD by Erato (winner of the Opus Klassik Award 2020) and Aida in the world premiere of Caruso a Cuba by Micha Hamel at De Nationale Opera Amsterdam.  

Early on in her career, she had the pleasure to perform Brahms’ Ein deutsches Requiem and Mahler’s Symphony No. 8 with the late Lorin Maazel in Munich and New York respectively. Consecutive concert invitations in repertoire ranging from Handel to Beethoven, Mahler and Arvo Part have lead to appearances at the Aspen and Ravinia Festivals, Lincoln Centre New York, Philharmonie de Paris, Hollywood Bowl et al with a diverse list of conductors and ensembles such as Raphaël Pichon, Richard Egarr, Marin Alsop, Tughan Sokievh, the Atlanta Symphony Orchestra, the Royal Liverpool Philharmonic, the Melbourne Symphony, Orchestre National du Capitole de Toulouse as well as the Chicago Symphony Orchestra.  

Reflecting her versatility and artistic curiosity, Ms. De Bique is featured on Joachim Horsley’s album and video release Caribbean Nocturnes with the single "Le M’ouri,” which fuses classical sound and Latin Caribbean Afro rhythm. She also made a guest appearance in season 2 of the Netflix series The OA.  

Ms. De Bique holds a master's degree from the Manhattan School of Music. Notable awards include the Arleen Auger Prize at the Hertogenbosch International Vocal Competition and Third Prize in the Viotti International Music Competition. She is a recipient of the Youth Ambassador for Peace, awarded by the National Commission of UNESCO, Trinidad and Tobago. 

Admired for his interpretive depth, vocal strength and range of expressivity, rising star tenor Paul Appleby is one of the sought-after voices of his generation. A versatile artist, Appleby is equally in demand on the world’s leading concert, recital, and opera stages.

Following a summer season that introduced Paul Appleby to Glyndebourne in a new production by Barrie Kosky of Händel’s Saul, the tenor’s 2015-2016 season included a return to the Metropolitan Opera stage as Belmonte in Die Entführung aus dem Serail conducted by James Levine and a San Francisco Opera debut as Tamino in The Magic Flute.  Concert performances featured collaborations with Manfred Honeck and the Pittsburgh Symphony in Händel Messiah and Mozart’s Coronation Mass, Gustavo Dudamel and the Los Angeles Philharmonic with performances of the Mozart Requiem, and with Jane Glover and the New York Philharmonic in Händel’s Messiah.  Profoundly committed to the art of song, the tenor makes a Wigmore Hall recital debut accompanied by Malcolm Martineau and tours North America with pianist Ken Noda presented in performances by Carnegie Hall, Boston’s Celebrity Series, Friends of Chamber Music of Miami, and the University of Notre Dame.  With Steven Blier, Appleby serves a unique program at the New York Festival of Song offering the exquisite lyricism of Franz Schubert and The Beatles.

Appleby closed his 2014-2015 season “in spectacular form” (The New York Times) as Tom Rakewell in the Metropolitan Opera’s production of The Rake’s Progress(Stravinsky) conducted by James Levine. Earlier in the season, Appleby was seen and heard there as David in Wagner’s Die Meistersinger von Nürnberg.

Additional engagements included his role debut as Don Ottavio with the Milwaukee Symphony Orchestra in concert, his San Diego Opera debut in the same role in Don Giovanni, and performances with the Chamber Music Society of Lincoln Center on tour, and with the National Symphony Orchestra in Mendelssohn’s Lobegesang at the Kennedy Center.

Other recent performance highlights include the lead role of Brian in the Metropolitan Opera’s 2013-2014 North American premiere of American composer Nico Muhly’s Two Boys conducted by David Robertson, and Ferrando in Mozart’s Così fan tutte with Oper Frankfurt.  Company debuts included the Santa Fe Opera singing Fritz in Offenbach’s The Grand Duchess of Gerolstein, the Canadian Opera Company in Così fan tutte, and Washington National Opera as Tamino in Mozart’s The Magic Flute.  Concert appearances include performances of works by Benjamin Britten as part of Carnegie Hall’s “Britten Discovery Day,” an art song recital with the Voce at Pace recital series in New York City with pianists Ken Noda and Brian Zeger, and a joint recital with baritone Joshua Hopkins and pianist Natalia Katyukova presented by the Washington National Opera at the Kennedy Center for the Performing Arts.

Appleby’s discography includes albums for Delos, Virgin Classics, EMI’s Juilliard Sessions and Nonesuch.  Nico Muhly’s opera, Two Boys, released by Nonesuch was recorded live during the Metropolitan Opera’s 2013 production with conductor David Robertson and mezzo-soprano Alice Coote.  In April 2014, Delos released Dear Theo; the first album dedicated solely to works by American composer Ben Moore features Appleby’s performance of the song cycle from which the album takes its name accompanied by Brian Zeger, as well as the bonus track, Mr. Mooore’s widely performed setting of W.B. Yeats poem, “The Lake Isle of Innisfree.”

Appleby is a graduate of Metropolitan Opera’s Lindemann Young Artist Development Program and received the 2012 Leonore Annenberg Fellowship in the Performing and Visual Arts.  Other awards include the 2012 Top Prize by the Gerda Lissner Foundation, 2012 Martin E. Segal Award from Lincoln Center, 2011 Richard Tucker Career Grant and George London Foundation Award, and National Winner of the 2009 Metropolitan Opera National Council Auditions.  A recipient of an Artist Diploma in opera studies at The Juilliard School, he has also received a master’s degree from Juilliard and a bachelor’s degree in English literature and in music from the University of Notre Dame.

Baritone Alexander Birch Elliott continues to garner praise for his “heated intensity and beguiling timbre of mahogany.” (New York Times) Alexander made major debuts last season at both The Metropolitan Opera and Houston Grand Opera singing the role of Zurga in Les Pêcheurs de Perles. In the 2019-2020 season he debuts at Carnegie Hall with the American Symphony Orchestra for Elgar’s The Kingdom, as well as with New York’s PROTOTYPE Festival as Lucifer in Rev 23, directed by James Darrah and conducted by Daniela Candillari. He returns to Tulsa Opera for performances of Carmen, as well as to the Pittsburgh Symphony for Fidelio. (103)

Alexander made two significant festival debuts in the summer of 2018, both in celebration of Leonard Bernstein’s centennial. He appeared with the Ravinia Festival in June under the baton of Marin Alsop as a Street Singer in Bernstein’s Mass, followed by performances of Maximilian, the Sea Captain, and the Grand Inquisitor in Candide at the Tanglewood Festival. Recent operatic appearances include as Sonora in La fanciulla del West in his debut with New York City Opera; Figaro in Il barbiere di Siviglia with Opera Santa Barbara; Anthony in Sweeney Todd and the title role of Eugene Onegin with Portland Opera; and as Guglielmo in Cosi fan tutte with Opera Omaha. A proponent of contemporary works, he appeared as John Brooke in Little Women with Madison Opera and Annapolis Opera; Edward Kynaston in Carlisle Floyd’s Prince of Players with the Florida State Opera; Opera Omaha for his role debut as Silvio in Pagliacci; and in the role of Doug Hansen in Joby Talbot's Everest at The Dallas Opera. A frequent performer on concert stages around the United States, Alexander makes his debut with the Cleveland Youth Orchestra for Vaughan Williams’ Five Mystical Songs, in addition to returns to the Pittsburgh Symphony Orchestra in performances as Brander in Berlioz’s La Damnation de Faust and the Indianapolis Symphony Orchestra for Bruckner’s Te Deum. (220)

On the concert stage Alexander has appeared with The Knights for Master Peter's Puppet Show at the Brooklyn Academy of Music; Marcello in La boheme and Escamillo in Carmen with the Rochester Philharmonic Orchestra; Marcello with the Greater Bridgeport Symphony; Papageno in Die Zauberflöte with the Orlando Philharmonic; Haydn’s Creation, Handel’s Messiah, and Bach’s St. Matthew Passion with the Pittsburgh Symphony Orchestra; and in a concert of operatic and holiday duets with acclaimed soprano Leona Mitchell under the auspices of the Tulsa Opera. (83)

As a young artist with Portland Opera he performed the roles of Belcore in L'elisir d'amore, Le Dancaïre in Carmen, Frank in Die Fledermaus, and Sam in Pirates of Penzance. Other young artist performances include Il barbiere di Siviglia as Figaro and Rorem’s Our Town as Frank at Central City Opera, as well as the Captain in Eugene Onegin and Périchaud in La Rondine at Des Moines Metro Opera. In the 2013-14 season Alexander made his principal artist debut as Count Almaviva in Le nozze di Figaro with Tulsa Opera, having previously sung the roles of the Corporal in La Fille du Régiment and the Postman in Loesser’s Most Happy Fella as a 2012-13 studio artist. (116)

Alexander is a graduate of the prestigious Merola program at the San Francisco Opera, and is the recipient of the 2013 John Moriarty Award for his outstanding contribution to Central City Opera. (32)

Alexander attended Florida State University where he studied with David Okerlund. (11)

French-Canadian mezzo-soprano Julie Boulianne is acclaimed for the vocal agility and expressive power of her dark-hued tone, focusing on the works of Berlioz, Mozart, and Rossini. The Independent recently said, “Julie Boulianne’s Marguerite is gloriously sung, her sound replete with grace and power.” In the 24/25 season Ms. Boulianne returns to the Royal Opera House, Covent Garden for Nicklausse in Les contes d’Hoffmann, Marguerite in Berlioz’ La damnation de Faust with Opéra Royal Wallonie-Liège and Juliette in Berlioz’s Roméo et Juliette with the Chamber Orchestra of Europe with Robin Ticciati. In concert, she will return to the Montréal Symphony Orchestra for Mozart’s Requiem with Rafael Payare, and Beethoven’s Symphony No. 9 with the Québec Symphony Orchestra. This season is also the beginning of Ms. Boulianne’s residency with L’Orchestre national de Bretagne, which consists of several appearances throughout the season, including concerts with the orchestra in Rennes, performing Ravel’s Mélodies populaires grecques, selections from Canteloube’s Chants d’Auvergne, Mahler’s Kindertotenlieder, Wagner’s Wesendonck Lieder and de Falla’s El Amor brujo, as well as recitals with pianists Malcolm Martineau and Nicolas Ellis.

In the 23/24 season, Julie Boulianne returned to the Wiener Staatsoper to sing Mère Marie in Dialogues des Carmélites, performed Irene in Theodora in a new production with Theater an der Wien, Nicklausse with Opéra Royal Wallonie-Liège, Métella in Offenbach’s La vie parisienne with Opéra de Québec, and Roméo in Bellini’s Capuleti e i Montecchi with Opéra national de Lorraine. In concert, she returned to the Orchestra Symphonique de Montréal for Berlioz’s L’enfance du Christ, Mozart’s Mass in C with the Orchestre Philharmonique de Strasbourg, the Requiems of Fauré and Duruflé with Les violons du Roy, Mahler’s Symphony No. 3 with Seattle Symphony, and Chausson’s Poème de l'amour et de la mer with the Gulbenkian Orchestra in Lisbon.

In past seasons, Julie Boulianne has appeared as Marguerite in Berlioz’ La Damnation de Faust (Glyndebourne Festival, Norwegian National Opera, San Sebastián Music Festival, Orchestre National du Capitole de Toulouse, Festival Opéra de Québec) Dorabella in Così fan tutte (Royal Opera House, Covent Garden, Théâtre du Capitole de Toulouse, Glyndebourne Festival), Charlotte in Werther (Wiener Staatsoper, Oper Frankfurt, Opéra de Québec, Ópera de Colombia), Iphigénie in Gluck’s Iphigénie en Tauride (Opéra national de Lorraine), Juliette in Berlioz’ Roméo et Juliette (Opéra national de Paris, Hallé Orchestra, Deutsches Symphonie-Orchester with Robin Ticciati, l’Orchestre National du Capitole de Toulouse, BBC Proms with Sir John Eliot Gardiner), Siébel in Faust (Metropolitan Opera, Royal Opera House, Covent Garden in Japan), the title role in Mignon (Oper Frankfurt), Mère Marie in Dialogues des Carmélites (Opéra Royal de Wallonie-Liège), Robin-Luron in Le Roi Carotte (Opéra de Lyon), the title role in Béatrice et Bénédict (Théâtre du Capitole in Toulouse), Aloès in Chabrier’s L’Étoile (Royal Opera House, Covent Garden, Dutch National Opera), Annio in La Clemenza di Tito (Opernhaus Zürich with Ottavio Dantone, Théâtre des Champs-Élysées, Théâtre du Capitole in Toulouse), Cherubino in Le nozze di Figaro (Vancouver Opera, Opéra de Montréal), the title role in La Cenerentola (Opéra-Théâtre de Limoges, Opéra de Montréal), the title role in Cendrillon (Metropolitan Opera, Opéra de Montréal, l’Opéra de Marseille), Sesto in Giulio Cesare (Théâtre des Champs-Elysées, Theater an der Wien, Aalto-Musiktheater, San Sebastián Music Festival), Donna Elvira in Don Giovanni (Opéra de Québec, Théâtre des Champs-Elysées), Rosina in Il Barbiere di Siviglia (Vancouver Opera, Opéra de Québec), The Cabaret Singer and Bad Pupil in Philippe Boesmans Pinocchio (Festival Aix-en-Provence, La Monnaie de Munt, Opéra de Dijon), Giunone in Legrenzi’s La divisione del mondo (Opéra National du Rhin, Opéra National de Lorraine, Opéra Royal de Versailles), and Concepción in L’Heure espagnole (Angers Nantes Opéra, Orchestre National des Pays de la Loire).

At the Metropolitan Opera, Julie Boulianne has appeared as the title role in Cinderella, Siébel in Faust, Stéphano in Roméo et Juliette conducted by Plácido Domingo, Diane in Stephen Wadsworth’s production of Iphigénie en Tauride, the Kitchen-Boy in Rusalka with Renée Fleming, and Ascanio in Francesca Zambello’s production of Les Troyens conducted by Fabio Luisi. 

Recent orchestral engagements have included Berlioz’ The Childhood of Christ with Royal Albert Hall, Toronto Symphony Orchestra and Orchestre Metropolitain in Mozart’s Mass in C minor, San Francisco Symphony and Orchestra of St. Luke’s in Beethoven’s Missa Solemnis, Cleveland Orchestra singing the title role in The Cunning Little Vixen conducted by Franz Welser-Möst, Charles Dutoit and the Boston Symphony in L’enfant et les sortilèges, the Baltimore Symphony singing Mendelssohn’s A Midsummer Night’s Dream with Marin Alsop, Cinq poèmes de Charles Baudelaire at the Berlin Philharmonic with the Deutsches Symphonie-Orchester Berlin, Saito Kinen Festival in Honegger’s Jeanne d’Arc au bûcher, Mostly Mozart Festival in Haydn’s Lord Nelson Mass conducted by Yannick Nézet-Séguin at Lincoln Center, Honegger and Ibert’s L’Aiglon with Kent Nagano at the Orchestre symphonique de Montréal, Schéhérazade and 5 mélodies populaires grecques with the Essen Philharmonic and Hans Graaf, Ravel’s Shéhérazade with Emmanuel Villaume and the Utah Symphony, Les Nuits d’été at the Concertgebouw with the Netherlands Philharmonic Orchestra and with Yannick Nézet-Séguin and the Orchestre Métropolitain, Beethoven’s Symphony No. 9 with the National Arts Centre Orchestra in Ottawa, performances of Bach’s Magnificat and select Bach cantatas with I Musici de Montréal, and Handel arias with Les Violons du Roy at Domaine Forget in Montréal, Chausson’s Poeme de l’amour et de la mer and Beethoven’s Egmont Schauspielmusik with the Bamberg Symphony, Handel’s Messiah with the Colorado Symphony and National Arts Centre, Netherlands Radio Philharmonic in César Franck’s Redemption, conducted by James Gaffigan, Haydn’s Theresienmesse with Les Violons du Roy, Haydn’s Harmoniemesse with the Orchestre Symphonique de Québec and Grant Park Music Festival in Chicago Janáček’s Glagolitic Mass with Yannick Nézet-Séguin and the Orchestre Métropolitain, Gulbenkian Musicá in Lisbon, Portugal in the Pergolesi Stabat Mater, Bach’s Mass in B minor with the Atlanta Symphony, Mahler’s Symphony No. 3 with the Calgary Philharmonic and Mozart’s Requiem with the San Antonio Symphony.

Naxos Records released a recording of Shéhérazade and L’enfant et les sortilèges featuring Julie Boulianne and the Nashville Symphony, which was nominated for the Grammy® Award for Best Classical Album. Ms. Boulianne can also be heard on an ATMA Classique release of Mahler’s Lieder eines fahrenden Gesellen and Kindertotenlieder. She recorded L’Aiglon by Ibert and Honegger under the baton of Kent Nagano released by Decca in 2016, and two CDs with Luc Beauséjour released by Analekta: “Handel & Porpora – The London Years,” and recently, “Alma Opressa, Vivaldi – Handel: Arias”.

A graduate of McGill University’s Schulich School of Music, Julie Boulianne won the First Prize in both the Canadian Music Competition and the Joy of Singing Competition in New York. She has been awarded the International Vocal Arts Institute’s Silverman Prize, and in 2007, the Prix de la Chambre des Directeurs for Most Promising Career at the Concours International de Chant de Montréal. She splits her time between Montréal and London, England.