Pittsburgh Symphony OrchestraClick here to go back to the home page

Pablo Heras-Casado enjoys an unusually varied and broad-ranging career, encompassing the great symphonic and operatic repertoire, historically informed performances, and contemporary scores. A musical character best reflected by the quality of his long-term relationships nurtured with prestigious orchestras around the world. 

In great demand as guest conductor, Heras-Casado regularly appears in Europe with Philharmonia Orchestra, Orchestre Philharmonique de Radio France, Münchner Philharmoniker, NDR Elbphilharmonie Orchester, Symphonieorchester des Bayerischen Rundfunks, Konzerthausorchester Berlin, Radio Filharmonisch Orkest, Wiener Symphoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, Filarmonica della Scala, NHK Symphony Orchestra in Japan and many others. He maintains a strong relationship with SWR Symphonieorchester, including projects for Festspielhaus Baden-Baden as well as further afield in Germany. 

In North America he is regularly invited by the symphony orchestras of San Francisco, Chicago, Pittsburgh, Minnesota, Philadelphia, the Los Angeles Philharmonic and Orchestre symphonique de Montréal. He has also conducted the Berliner and Wiener Philharmoniker, Staatskapelle Berlin, Koninklijk Concertgebouworkest, Orchestre de Paris, London Symphony and The Mariinsky orchestras. Heras-Casado was Principal Conductor of Orchestra of St. Luke’s in New York between 2011 and 2017, regularly performing together at Carnegie Hall and recording for harmonia mundi. 

His recent opera projects include Mozart’s Don Giovanni at La Scala, a regular relation with Wiener Staatsoper with Concentus Musicus Wien, presenting Monteverdi’s operatic trilogy of L’Incoronazione di Poppea and L’Orfeo, concluding with Il ritorno d’Ulisse in patria in 2023. That same summer, he makes his debut as guest conductor at Bayreuther Festspiele, conducting Wagner’s Parsifal. As Principal Guest Conductor of Teatro Real in Madrid, he recently completed a highly successful Ring Cycle across four consecutive seasons. He has also previously appeared at the Staatsoper Unter den Linden and Deutsche Oper in Berlin, The Metropolitan Opera in New York, Festival d’Aix-en-Provence and Festspiel Baden-Baden. 

He enjoys a fruitful, long-term collaboration with Freiburger Barockorchester, featuring extensive touring and recording projects. In 2023, they tour and record together Mendelssohn’s A Midsummer Night’s Dream. Previously they appeared at Mostly Mozart Festival New York, Festival d'Aix-en-Provence, BBC Proms and Het Concertgebouw in Amsterdam. In summer 2022, he commences a new partnership with Anima Eterna Brugge conducting and recording Bruckner’s Symphony no.7 on historical instruments and appearing at Grafenegg, Schleswig-Holstein, Bremen and Ravello festivals, as well as later performances in Besançon and Bruges. 

An extensive discography for harmonia mundi includes Schumann’s complete symphonies with Münchener Philharmoniker, released in June 2022, and Stravinsky’s Rite of Spring alongside Péter Eötvös Alhambra, with Orchestre de Paris and Isabelle Faust, a work he co-commissioned for the Granada Festival, for which he was Music Director between 2017 and 2019. He also recorded a series of albums celebrating Beethoven’s 250th anniversary in 2020 with Freiburger Barockorchester and featuring Kristian Bezuidenhout, Isabelle Faust, Jean-Guihen Queyras and Alexander Melnikov. 

A developing series entitled ‘Die Neue Romantik’ also features music by Mendelssohn, Schubert and Schumann. Other releases on the label include the music of Manuel de Falla (Mahler Chamber Orchestra), Debussy (Philharmonia Orchestra) and Bartók (Münchner Philharmoniker) as well as DVD releases of Wagner’s Der Fliegende Holländer at Teatro Real and Monteverdi’s Selva morale e spirituale with Balthasar-Neumann-Chor & Ensemble. A recipient of numerous awards, including two Preis der Deutschen Schallplattenkritik, two Diapason d’Or, and a Latin Grammy, he also recorded for Deutsche Grammophon, Decca and Sony Classical. 

A dedicated educator, Heras-Casado makes a personal commitment to work with young musicians all over the world, regularly leading youth ensembles and projects, such as the Karajan Akademie der Berliner Philharmoniker, Juilliard School of Music Orchestra and Juilliard415 ensemble, RCO Young, Escuela de Música Reina Sofia, Fundación Barenboim-Said, Orquesta Joven de Andalucía, Pan-Caucasian Youth Orchestra and Gustav Mahler Academy. 

2021 Artist of the Year at the International Classic Music Awards, and Musical America’s 2014 Conductor of the Year, Heras-Casado holds the Medalla de Honor of the Rodriguez Acosta Foundation, Medalla de Andalucia 2019 and this region’s Ambassador Award. He is Honorary Ambassador and recipient of the Golden Medal of Merit by the Council of Granada, as well as Honorary Citizen of the Province of Granada, his hometown. In 2018 he is granted the title Chevalier de l’ordre des Arts et des Lettres of the French Republic. 

Highly committed to the Spanish charity Ayuda en Acción as a Global Ambassador, Heras-Casado supports and promotes the charity’s work internationally and conducts an annual charity concert at Teatro Real in Madrid. 

Speaking at a press conference, Yunchan said: “I made up my mind that I will live my life only for the sake of music, and I decided that I will give up everything for music… I wanted my music to become deeper, and if that desire reached the audience, I’m satisfied.” 

In June 2022, Yunchan Lim became the youngest person ever to win gold at the Van Cliburn International Piano Competition; his performances throughout showcased a “magical ability” and a “natural, instinctive quality” (La Scena) that astounded listeners around the world. Marin Alsop expressed: “Yunchan is that rare artist who brings profound musicality and prodigious technique organically together”. The depth of his artistry and connection to listeners also secured him the Audience Award and Best Performance of a New Work. 

Just 18 years old, Yunchan’s ascent to international stardom has been meteoric. His audacious Cliburn Semifinal Round performance of Liszt’s Transcendental Etudes “created a buzz throughout the international piano community”—his “intelligent virtuosity and total immersion into Liszt’s idiom truly defined transcendental” (Gramophone). And his final Cliburn Competition appearance with Rachmaninov’s Piano Concerto No. 3 delivered the defining moment of the three-week event; as one critic noted: “The applause that followed was endless: a star had emerged before our eyes” (Seen and Heard International). The video of that performance trended globally on YouTube in the days after, reaching #24, and has now become the most-watched version of that piece on the platform, amassing more than 5.5 million views in just one month, and almost 9 million views in three months. 

Born in Siheung, Korea, Yunchan Lim began piano lessons at age 7, when it was time to choose an after-school activity; he entered the Music Academy of the Seoul Arts Center the next year and quickly became immersed in his musical studies. He auditioned for and was accepted into the Korea National Institute for the Gifted in Arts at age 13, where he met his teacher and mentor, Minsoo Sohn. Yunchan entered the international music stage a year later, in 2018, winning 2nd prize and the Chopin Special Award in his first-ever competition, the Cleveland International Piano Competition for Young Artists. Also that year, he stood out as the youngest participant in the Cooper International Competition, where he won both third prize and the audience prize, and was provided the opportunity to perform with the Cleveland Orchestra. The next year, 2019, brought more accolades, when, at the age of 15, he was the youngest to win Korea’s IsangYun International Competition, also taking home two special prizes.

Yunchan has since performed across South Korea—including with the Korean Orchestra Festival, Korea Symphony, Suwon Philharmonic, and Busan Philharmonic Orchestras, among others—as well as in Madrid, at the invitation of the Korea Cultural Center in Spain. He also participated in the recording of “2020 Young Musicians of Korea,” organized by the Korean Broadcasting System and released that November. His 2022–2023 inaugural tour as Cliburn winner will take him across four continents, with highlights including the Aspen Music Festival, La Jolla Music Society, and Performing Arts Houston in the United States; Seoul Arts Center, National Concert Hall in Taipei, and the KBS and Korean National Symphony Orchestras in Asia; Wigmore Hall and Fondation Louis Vuitton in Europe. 

He is currently in his second year at the Korea National University of Arts, where he continues to study with Mr. Sohn.

A naturally gifted singer noted for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim.  During the 2018-2019 season, she returns to The Metropolitan Opera as Emilia in Otello and Meg Page in Falstaff and makes her role debut as Offred in Poul Ruders’s The Handmaid’s Tale with Boston Lyric Opera.Ms. Cano’s orchestral engagements include Bernstein’s Jeremiah Symphony with the Pittsburgh Symphony Orchestra, Mahler’s Das Lied von der Erde with the Colorado Springs Philharmonic, and Beethoven’s Ninth Symphony with the Pittsburgh and Cincinnati Symphonies.  A dedicated recitalist and chamber musician, she joins tenor Matthew Polenzani and pianist Julius Drake at Carnegie Hall for an evening of Schubert, Beethoven, Brahms and Janáček’s The Diary of One Who Disappeared.  She will return to Chamber Music of Lincoln Center’s Alice Tully Hall for a performance of Ravel's Sheherazade and Falla's Psyche.  Ms. Cano will also be part of two world premiere performances this season; Paul Moravec’s A New Country and  Gregg Kallor’s Sketches from Frankenstein Suite.

Ms. Cano has given over 100 performances at The Metropolitan Opera, with recent roles including Bersi, Emilia, Hansel, Meg Page, Mercedes, Nicklausse, Wellgunde and Waltraute. Other operatic appearances have included Donna Elvira in Don Giovanni with Boston Lyric and Arizona Operas, The Sharp Eared Fox in Janáček’s Cunning Little Vixen with the Cleveland Orchestra, Carmen in Bizet’s Carmen with Boston Lyric Opera, Orphée in Orphée et Eurydice with Opera Theatre of Saint Louis and Des Moines Metro Opera, Diana in La Calisto with Cincinnati Opera, and Marguerite in Berlioz’s La Damnation de Faust with the Tucson Symphony.  She has recently worked with an impressive array of conductors, such as Yannick Nézet-Séguin, Franz Welser-Möst, Gustavo Dudamel, Manfred Honeck, Marin Alsop, Robert Spano, Louis Langrée, Osmo Vänskä and Sir Andrew Davis.  Ms. Cano made her European debut on tour with John Adams’s El Niño including performances in London and Paris with the London Symphony Orchestra conducted by Mr. Adams, and The Radio Filharmonisch Orkest conducted by Markus Stenz at The Royal Concertgebouw. Additionally, she performed this work with the Los Angeles Philharmonic under Grant Gershon.

In addition to her continued relationship with The Metropolitan Opera, New York Philharmonic and The Cleveland Orchestra, Ms. Cano has appeared with such esteemed orchestras as the Los Angeles Philharmonic, Atlanta, San Francisco, Pittsburgh, Baltimore, San Diego and Utah Symphonies and Orchestra of St. Luke’s. She toured with Musicians from Marlboro singing Respighi's Il Tramonto and Cuckson's Der gayst funem shturem, recorded live for the Marlboro Recording Society. A live recording of Mahler’s Das Lied von der Erde featured conductor George Manahan, tenor Paul Groves and St. Luke’s Chamber Ensemble in a rare arrangement by Arnold Schoenberg and Rainer Riehn. At the invitation of Mrs. Carol Armstrong, Jennifer Johnson Cano was particularly honored to sing the Anderson/Weill September Song at the private funeral for American icon and astronaut Neil Armstrong. In 2014, she released her debut recital recording with pianist Christopher Cano,  Unaffected: Live from the Savannah Voice Festival, recorded completely live and unedited.  Her most recent recording of Bernstein’s Symphony No. 1: Jeremiahwith Marin Alsop and the Baltimore Symphony Orchestra on Naxos received high praise from critics. “Jennifer Johnson Cano brings depth of tone and a noble resolve to the concluding Lamentation and just for once Lenny’s cathartic pay-off is deafeningly quiet.” (Gramophone)

Ms. Cano is a native of St. Louis, Missouri and made her professional operatic debut with Opera Theatre of St. Louis. She has earned degrees from Webster University and Rice University and was honored as a distinguished alumna and commencement speaker at Webster University last May.  Ms. Cano joined The Lindemann Young Artist Development Program at The Metropolitan Opera after winning the Metropolitan Opera National Council Audition, and made her Met debut during the 2009-2010 season. Among her honors are a First Prize winner of the Young Concert Artist International Auditions, Sara Tucker Study Grant, Richard Tucker Career Grant and George London Award.   www.jenniferjohnsoncano.net