An award-winning Greek soprano. She graduated from the University of Music and Performing Arts Munich and completed postgraduate studies at the University of Music Würzburg under the guidance of Cheryl Studer. She is based in Germany while maintaining an active artistic presence in Greece, Italy, Switzerland, Austria, Bulgaria, Egypt and Algeria. Her repertoire includes numerous leading roles such as Nedda (Pagliacci), Mimì / Musetta (La bohème), Adina (L’elisir d’amore), Norina (Don Pasquale), Fiordiligi (Così fan tutte), Micaëla (Carmen), Donna Elvira (Don Giovanni), Madama Cortese (Il viaggio a Reims), Pamina (Die Zauberflöte). She also appears regularly as a concert soloist in symphonic works and oratorios by composers including Beethoven, Rossini, Fauré, Vivaldi, Gounod and Handel. The music of Manos Hadjidakis occupies a special place in her artistic career, with performances of the works Magnus Eroticus, The Myths of a Woman, Blood Wedding and Captain Michalis. She has also performed works by Mikis Theodorakis, Ilias Andriopoulos and Athanasios Simoglou. Her first solo recording project, Mosaico Mediterraneo, explores the rich musical traditions of the Mediterranean and has been presented in concerts throughout Europe.  

Greek countertenor, he studied choral conducting for children, school and youth choirs at the Ionian University, obtaining an integrated master’s degree (2021). He received his diploma in classical singing (class of Hera Zerva, 2022) and specialised in vocal interpretation at the Centre of Early Music of the Athens Conservatoire. He was awarded a scholarship by the Maria Callas Scholarships Society (2023–2024), which enabled him to complete his studies at the Centre de musique baroque de Versailles (2025). Since 2023 he has been studying repertoire with Aris Christofellis. He has collaborated with leading conductors (Hervé Niquet, Sébastien Daucé, Damien Guillon) and ensembles (Les Ambassadeurs, Les Ombres) and has attended masterclasses in vocal interpretation with Véronique Gens. He appeared as a soloist at the Athens Epidaurus Festival 2026 (Schliemann III) and was selected by Teatro Regio di Parma to cover the role of Orfeo in Gluck’s Orfeo ed Euridice, conducted by Fabio Biondi. In 2025 he made his debut at the Bayreuth Baroque Opera Festival with Cappella Mediterranea. He has collaborated with the GNO and performed in France and Greece (Pergolesi’s Stabat Mater).

He is a systems artist working across interdisciplinary practices for performance and installation, often combining moving image, sound and computational processes. His practice includes video and sound design, generative animation systems, motion-capture performance and the choreography of animatronic and mechanical elements. He lives and works in South Africa. He studied Information Science (multimedia) at the University of Pretoria (master’s degree with honours). He has collaborated with artists, composers and filmmakers including William Kentridge, Philip Miller, Jason Mitcham, Nhlanhla Mahlangu and Walter Murch. Since 2011 he has been a member of the William Kentridge studio creative team, producing a wide range of stage productions, operas, films and video installations presented internationally.

She is a London-based lighting designer. In 2026 she was selected as the recipient of the ALPD Design Lumière, spending four months at Glyndebourne as an assistant lighting designer working across opera, before continuing as an assistant and associate lighting designer across theatre and musicals. Lighting design credits include Mona Loser, Replica (Southwark Playhouse), Dick (Riverside Studios), Conversations We Never Had, As People We’ll Never Be (Cockpit Theatre), Mulatto Boy (Omnibus Theatre), I Am Gavrilo Princip (Bush Theatre), Enron (Brentwood Theatre), Please Thank You Sorry (Canada Water Theatre), An Orchestral Tribute to Tim Burton (Alexandra Theatre, Birmingham, Opera House Manchester). Associate lighting designer credits include Till the Stars Come Down (Nottingham Playhouse). Assistant lighting designer credits include Rent (The Duke of York’s Theatre, London), When We Are Married (Donmar Warehouse Theatre), The Psychic (York Theatre Royal), Ariadne auf Naxos, L’Orfeo, Die Entführung aus dem Serail (Glyndebourne) and King Lear (Royal Exchange Theatre, Manchester).

He is a lighting programmer and designer with over two decades of international experience. Based in the UK, he has developed a strong specialism in opera, working extensively with Glyndebourne. While primarily a programmer, his approach is shaped by practical production experience and his own theatrical design work, which earned him a recent Victorian Theatre Guild award in Australia. Having first worked with Urs Schönebaum at the 2022 Glyndebourne Festival, Tom programmed this original production of L’Orfeo alongside him earlier this summer. Appreciating Schönebaum’s distinct visual style, he is now re-lighting the production for the Greek National Opera, adapting the original design for the Athens stage alongside Harriet White, who also returns from the summer run.

Lighting designer for opera, theatre, dance, art installations and performances. He has participated in over 200 productions at major theatres and has collaborated with such stage directors as Thomas Ostermeier, Sasha Waltz, Damien Jalet, Michael Haneke, Pierre Audi, Claus Guth, Laurent Pelly, Barbara Lluch, Barrie Kosky, Deborah Warner, the theatrical group La Fura dels Baus, whilst being a long-time collaborator of Robert Wilson. His work also includes lighting designs for art projects with Vanessa Beecroft, Anselm Kiefer, Dan Graham, Taryn Simon, Soundwalk Collective, William Kentridge, Anne Imhof and Marina Abramović. Since 2012 he has also been working as a set designer. His set and lighting designs include Bomarzo (Teatro Real, Madrid), aus Licht (Holland Festival, Amsterdam), L’Apocalypse arabe and Il ritorno d’Ulisse in patria
(Aix-en-Provence Festival), Klangwolke 22 (Linz), Inside Light (Park Avenue Armory, New York), Bastarda! (La Monnaie, Brussels), La Regenta (Matadero, Madrid), Tristan und Isolde (Gran Teatro del Liceu, Barcelona).

South African performing artist, choreographer and dancer based in Johannesburg. In 2009 he joined Moving into Dance Mophatong as trainer and company member. In 2014 he created his first solo work Black Dog, performed at several festivals, followed by Swan Late and The Letter. In 2017 he co-founded Broken Borders Arts Project, a performing arts company. He has collaborated with William Kentridge and ‘The Centre for the Less Good Idea’ on History of the Main Complaint (2017), The Head & the Load (2017, 2018, 2019), Waiting for the Sibyl (2019), and has performed works by internationally acclaimed choreographers. In 2025 he created the immersive film installation The Shadow of Space, transforming shadow and silhouette theatre into a living performanceenvironment. He is now developing UM[LAND]O, a one-hander contemporary dance-theatre work. Blending traditional and contemporary movement, live music and spoken word, it explores severance from soil and identity. He recently completed research residencies at ‘The Centre for the Less Good Idea’ and the University of Johannesburg.

An internationally acclaimed dancer, choreographer, stage director, teacher and author, he became interested in dance in the late 1980s. In 1990 he joined the Moving into Dance company, where he became associate artistic director in 2002. He studied at the Performing Arts Research and Training School in Belgium, under the direction of Anne Teresa De Keersmaeker, and in 1999 founded the Vuyani Dance Theatre company. He has collaborated with leading choreographers and stage directors, including Akram Khan, Sidi Larbi Cherkaoui, James Ngcobo as well as with the London Sinfonietta. In 2010 he choreographed the opening ceremony of the FIFA World Cup in Soweto, and that same year choreographed Hugh Masekela’s musical Songs of Migration. In 2018 he collaborated with William Kentridge as a choreographer and performed in Kentridge’s music-theatre production The Head & the Load, which premiered at Tate Modern in London. He has received numerous distinctions, including the title of Knight of the Order of Arts and Letters, awarded by the French
Government in 2017.

She studied costume design at the Royal Academy of Fine Arts Antwerp and set design at the Theatre Institute of Barcelona. Since 2001 she has collaborated with stage director Johan Simons, designing costumes for Fidelio (Paris), Bluebeard’s Castle (Salzburg), Alceste (Ruhrtriennale), Don Carlo, Wozzeck (with Flora Kruppa, Opera Ballet Vlaanderen) as well as for theatre and music theatre productions for companies and venues including ZT Hollandia, Münchner Kammerspiele, Vienna Festival, Vienna Burgtheater, Schauspielhaus Bochum, Athens Epidaurus Festival. She also designed costumes for Les Indes galantes (dir. Sidi Larbi Cherkaoui, Bavarian State Opera) and The Shell Trial (with Flora Kruppa, Dutch National Opera). She has collaborated with stage directors Pierre Audi, Karin Beier, Ivo van Hove, Josse De Pauw, Peter Verhelst, Jacques Delcuvellerie. The production Die Zauberflöte (La Monnaie, 2005) marked the start of her collaboration with William Kentridge, which has continued with the operas The Nose (MET), Lulu (Dutch National Opera, MET, ENO), Wozzeck (Salzburg, MET, Sydney Opera), installations and music theatre productions.

Belgian stage director and set designer, she graduated from the École nationale supérieure des arts visuels de La Cambre (Brussels). She began her career in the Set Design Department at La Scala, Milan, and worked for seventeen years at La Monnaie (Brussels) as assistant set designer. Since 2002 she has collaborated as a set designer with William Kentridge on productions including Die Zauberflöte (La Monnaie, Brussels), The Nose (MET, Opéra national de Lyon, Aix-en-Provence Festival), Refuse the Hour, The Refusal of Time (Documenta 13, Kassel, Germany), Winterreise (Wiener Festwochen), Lulu (MET, ENO, DNO),
Wozzeck (Salzburg Festival, MET, Sydney Opera House). She has designed major exhibitions and created the Christmas window displays for Hermès in Paris. In 2024 she made her directorial debut with Die Entführung aus dem Serail (Marvão International Music Festival, Portugal) and in October 2025 her production White Box was presented at La Monnaie (Brussels). Since 2016 she has led Le Squatelier, a studio dedicated to research, creation and experimentation.

He is a Brussels-based actor, stage director, drama teacher and Feldenkrais practitioner (awareness through movement). He began his career as an actor and gradually moved into directing, focusing particularly on opera. Since 2005 he has worked as a co-director with William Kentridge and frequently revives his productions at international opera houses and theatres including Die Zauberflöte, Il ritorno d’Ulisse in patria, The Nose, Lulu, Wozzeck. In 2010 he co-directed The Nose with William Kentridge at the Metropolitan Opera in New York, where the production was revived in 2013. The same production was presented at the Festival d’Aix-en-Provence and the Opéra national de Lyon (2011). In 2018 he collaborated again with William Kentridge on the production The Head & the Load, in which he also performed as an actor. In the summer of 2026 he was associate director for the world premiere of this production of L’Orfeo at Glyndebourne. He teaches at drama and music schools across Europe and has led workshops for actors, singers, stage directors and set designers.

Born in Johannesburg, William Kentridge is regarded as one of the most important artists working today, with a unique presence in both the creation of audiovisual works and in opera and theatre performances. His method combines drawing, writing, film, performance, music, theatre, and collaborative practices to create works of art grounded in politics, science, literature and history. His work has been presented in museums and galleries worldwide, including the Museum of Modern Art in New York, Albertina Museum in Vienna, Louvre Museum in Paris and the National Museum Reina Sofía in Madrid. He has directed emblematic opera productions (Die Zauberflöte, The Nose, Lulu, Wozzeck), which have been staged at major opera houses and festivals including the Metropolitan Opera in New York, La Scala (Milan), Salzburg Festival, as well as creating many theatrical productions. In 2016 he co-founded ‘The Centre for the Less Good Idea’, a space for collaborative and experimental artistic practices. He has received several awards for his contribution to the arts and intellectual thought.

American composer and arranger, composes orchestral, chamber, and sacred music, operas, and scores for film, theatre, television and site-specific collaborations. He has been commissioned by the Metropolitan Opera in New York (Two Boys, Marnie), Carnegie Hall, New York Philharmonic, Los Angeles Philharmonic (including a concerto grosso), Philharmonie de Paris (a concerto for two pianos for Katia and Marielle Labèque) and Sidney Sussex College in Cambridge, where he is composer-in-residence. He has collaborated with choreographers Kyle Abraham, Benjamin Millepied and Justin Peck, and his vocal collaborators include Iestyn Davies, Renée Fleming, Nicholas Phan. Among his compositions are works for violin (Pekka Kuusisto, Renaud Capuçon), viola (Nadia Sirota), trumpet (Tine Thing Helseth), organ (James McVinnie) and piano (Alexandre Tharaud). He has been composer-in-residence at Christ Church, Oxford since 2026, and the same year saw single-composer releases from Magdalen College, Oxford, and The Tallis Scholars.