Robert Istad is beginning his inaugural season as Artistic Director of Pacific Chorale. Mr. Istad’s 2016-2017 season included debuts with the Long Beach Symphony Orchestra, and return engagements with Pacific Chorale, Pacific Symphony Orchestra, Musica Angelica Baroque Orchestra, Sony Classical, and Long Beach Camerata Singers. He is also Dean of Chorus America’s Academy for Conductors. In June 2016, Istad made his debut with Berkshire Choral International and Santa Rosa Symphony Orchestra.

Istad has prepared choruses for a number of America’s finest conductors and orchestras, including: Gustavo Dudamel and the Los Angeles Philharmonic, Carl St.Clair and the Pacific Symphony Orchestra, as well as conductors Esa–Pekka Salonen, Keith Lockhart, Nicholas McGegan, Vasilly Sinaisky, Sir Andrew Davis, Bramwell Tovey, John Williams, Eugene Kohn, Eric Whitacre, Giancarlo Guerrero, Marin Alsop, George Fenton, and Robert Moody.

Istad is former Artistic Director of Long Beach Camerata Singers and Long Beach Bach Festival. Under his leadership, Long Beach Camerata Singers became recognized as one of the leading arts organizations of the Long Beach Performing Arts Center, created a performing partnership with Long Beach Symphony Orchestra and Musica Angelica Baroque Orchestra, as well as performed with Pacific Symphony Orchestra, and Long Beach Opera.

Istad is also Professor of Music and Director of Choral Studies at California State University, Fullerton. He was recognized as CSUF’s 2016 Outstanding Professor of the Year.  At CSU Fullerton, Istad conducts the University Singers and Women’s Choir in addition to teaching courses in conducting, performance practice and literature. Recently, he and the University Singers performed with the Los Angeles Philharmonic, Pacific Symphony Orchestra, Andrea Bocelli, Kathleen Battle, recorded albums with Yarlung Records and with composer John Williams and Sony Classical.

He and his singers performed a concert of Tarik O’Regan’s music for Distinguished Concerts International New York at Carnegie Hall in November 2015.  They performed at the 2013 ACDA National Conference in Dallas, Texas and the 2012 ACDA Western Division Conference in Reno, Nevada. They also performed for the 2013 National Collegiate Choral Organization National Conference in Charleston, SC. Istad and the CSUF University Singers have performed all over the world, including a 2015 residency and performances in Paris, France, engagements at the 2012 Ottobeuren Festival of Music in Germany, the 2012 Eingen Festival of music in Germany, a 2010 performance for UNESCO in Pisa, Italy, and in 2008 at the Liszt Academy of Music in Budapest, Hungary.

Istad received his Bachelor of Arts degree in music from Augustana College in Rock Island, Illinois, his Master of Music degree in choral conducting from California State University, Fullerton and his Doctor of Musical Arts degree in choral music at the University of Southern California. He studied conducting with Dr. William Dehning, John Alexander, and Dr. Jon Hurty.

Istad is President of the California Choral Director’s Association and is in demand as an adjudicator, guest conductor, speaker and clinician throughout the nation.

Matt Catingub wears many hats: saxophonist, woodwind artist, conductor, pianist, vocalist, performer, composer, and arranger. Matt is the Artistic Director and co-founder of the Macon Pops in Macon, Georgia, and recently the Artistic Director and Conductor of the Glendale Pops in Los Angeles, the Hawaii Pops in Honolulu, Hawaii, as well as the Festival Pops Conductor of the New Hampshire Music Festival. He has also held the Principal Pops Conductor positions of the Honolulu Symphony, the Hawaii Symphony, and the New Mexico Symphony.

Catingub has guest conducted for some of the most significant Symphony Orchestras in the country, including the Nashville Symphony, the Saint Louis Symphony, the Florida Orchestra, the Pacific Symphony, the Cincinnati Pops, and the Symphonies of Columbus, Hartford, Omaha and throughout Canada and Japan. Catingub has conducted for artists such as Diana Krall, Yes, Al Jarreau, Gladys Knight, Kenny Rogers, and numerous others. And significantly Matt has arranged the music in the orchestra libraries for diverse artists such as Kenny Loggins, James Ingram, Boz Scaggs, the Righteous Brothers, Rosemary Clooney, Vertical Horizon, Natalie Cole, Toni Tennille, Michael McDonald, Dave Koz, Toto, Pat Benatar, and many many others.

The son of the great jazz vocalist and “Polynesia’s First Lady of Song,” Mavis Rivers, Catingub regularly performed with his mom. In 2007 Matt, a proud Pacific Islander was handed the Samoan Chief’s title of La`auli by King Malietoa Tanumafili II, the final title issued before his death. As a young man, he played a variety of instruments, conducted his first orchestra at age 15, focused on Alto sax at 16, and at age 17 played his sax at the Monterey Jazz Festival, and from there toured Japan playing with jazz legends including Dizzy Gillespie, and Ruth Brown. From there Catingub joined the Louie Bellson Big Band and a couple of years later joined the Toshiko Akiyoshi / Lew Tabackin Big Band as the lead alto saxophonist. In 1983, Catingub formed the Matt Catingub Big Band, with Rivers as a vocalist, and recorded several critically acclaimed jazz albums with his mom.

Matt had made his solo singing debut at the Frank Sinatra Celebration at New York City’s legendary Carnegie Hall and as a result of his performance there, the Concord Jazz CD Gershwin 100 was conceived. Catingub also wrote and performed the music for the George Clooney film, Goodnight and Good Luck, made an onscreen appearance as the leader of the band, created all of the arrangements and played tenor sax in the movie and on the CD. The Soundtrack for Goodnight and Good Luck, featuring Matt and vocalist Diane Reeves won a GRAMMY. Catingub has also enjoyed success as the leader of his Big Band, Big Kahuna and the Copa Cat Pack touring the world with Rosemary Clooney, and backing notable artists such as Michael Feinstein, Linda Eder, Lionel Hampton, and many others. Today Matt is considered to be at the forefront of a new and innovative movement to reinvent Pops into a more fun and accessible format, encouraging dancing (when the venue allows) and loose fun, within a more informal and contemporary setting.

Sean O’Loughlin (b.1972) is the Principal Pops Conductor of Symphoria, the exciting new symphony in Syracuse, NY and the newly appointed Principal Pops Conductor of the Victoria Symphony in Victoria, B.C. Canada. He is a fresh voice and a rising name in the music world. His music is characterized by vibrant rhythms, passionate melodies, and colorful scoring. Commissions from the Boston Pops Orchestra, the Los Angeles Philharmonic and the Hollywood Bowl Orchestra highlight and showcase his diverse musical abilities. As a conductor, he has led performances with the Boston Pops Orchestra, the San Francisco Symphony, the Chicago Symphony, the Hollywood Bowl Orchestra, the Minnesota Orchestra, the Dallas Symphony, the Vancouver Symphony, the Atlanta Symphony, the Baltimore Symphony, the Houston Symphony, the Victoria Symphony and the Seattle Symphony amongst others. He was the assistant conductor and arranger for a production of Sgt. Pepper Live in Las Vegas featuring the band Cheap Trick. He has served as conductor for national and worldwide tours with Josh Groban, Sarah McLachlan, and the Jerry Garcia Symphonic Celebration. He has also appeared on ABC’s Good Morning America with Josh Groban and NBC’s “A Very Pentatonix Christmas.”

Recent collaborations include such artists as Sarah McLachlan, Adele, Josh Groban, Pentatonix, Steven Tyler and Joe Perry, Kelly Clarkson, Diana Ross, Journey, Melissa Etheridge, Blue Man Group, Janelle Monáe, Audra McDonald, Hall and Oates, Gloria Estefan, the Indigo Girls, Diana Krall, Itzhak Perlman, Natalie Merchant, Chris Isaak,  Pink Martini, Brandi Carlile, The Decemberists, Martina McBride, Josh Ritter, Gloria Gaynor and others. The Los Angeles Times calls his orchestrations “…magnificent and colorful” while adding “…even more dimension…” to the compositions. Daily Variety heralds Sean’s writing as “most impressive …” with a “wide range of coloring in the orchestra…” that “…adds heft and rolling energy.

Through his growing number of commissioned and published works, Sean is excited to continue contributing to the rich history of orchestral and wind band literature. His music is published by Carl Fischer and Hal Leonard. He is a frequent guest conductor with professional orchestras and honor bands around the country. An annual ASCAP Special Awards winner, Sean was a composition fellow at the Henry Mancini Institute in Los Angeles and holds composition degrees from New England Conservatory and Syracuse University.

Renowned for her insightful interpretations and thrilling performances, New Zealand-born conductor Gemma New currently serves as Music Director for the Hamilton Philharmonic Orchestra in Ontario, Canada, Associate Conductor for the New Jersey Symphony Orchestra, and Founder and Director of the Lunar Ensemble, a contemporary music collective in Baltimore, Maryland. For the 2015-16 season, Ms. New has additional engagements with several ensembles, most notably the Long Beach and Toledo Symphonies, and the Chamber Orchestra of San Antonio.

As one of two Dudamel Conducting Fellows with the Los Angeles Philharmonic for the 2014-15 Season, Ms. New led nine LA Phil ‘Symphonies for Youth’, ‘Symphonies for Schools’, and ‘Community’ concerts and covered frequently for their Music Director, Gustavo Dudamel, Conductor Laureate Esa-Pekka Salonen and other guest conductors. For the month of September 2014, at the invitation of Maestro Kurt Masur, Ms. New resided in Leipzig, Germany as a Felix Mendelssohn-Bartholdy Fellow, where she studied Mendelssohn’s music under Maestro Masur and led the Leipziger Symphonieorchester in the historic Lindensaal of Markkleeberg.

In recent seasons Ms. New has guest conducted several orchestras, including the Atlanta and Miami Symphonies in the USA, as well as the Christchurch Symphony and Opus Orchestras in New Zealand. In 2013 Ms. New made her Carnegie Hall conducting debut, leading works by Adams, Norman and Ives on the American Soundscapes series. That same year she was selected as the David A. Karetsky Conducting Fellow at the American Academy of Conducting at the Aspen Music Festival. One year prior Ms. New was awarded the Ansbacher Fellowship, in which she was selected by members of the Vienna Philharmonic to take up residence at the Salzburg Music Festival.

Under her leadership, the Lunar Ensemble has premiered almost 40 works since 2011 and held composition residencies at several US universities, including the Peabody Conservatory in Baltimore MD, Frost School of Music in Miami FL and Tulane University in New Orleans LA. Another Lunar Ensemble highlight was the Pierrot Centenary Project, which united all fifty poems of Albert Giraud’s Pierrot lunaire through commissioned works by selected composers, culminating in the release of Lunar’s first album, featuring those works alongside Schoenberg’s seminal Pierrot lunaire.

Ms. New’s operatic conducting focuses on contemporary repertoire by composers such as Jake Runestad, Emily Koh and Joanna Lee. She has also worked on several operas by Wolfgang Amadeus Mozart, as well as Giuseppe Verdi’s Il Trovatore and L’enfant et les sortilèges by Maurice Ravel.

Passionate about music education, Ms. New has enjoyed working with the NJSO Academy Orchestra and New Jersey All State Orchestra during her time as Associate Conductor for the NJSO. Between 2007 and 2009, Ms. New conducted the Christchurch Youth Orchestra, which grew from 40 to 70 players under her leadership and performed upwards of nine concerts a year.

Ms. New holds a Master of Music degree in orchestral conducting from the Peabody Institute in Baltimore, where she studied with Gustav Meier and Markand Thakar. She graduated from the University of Canterbury, New Zealand with a Bachelor of Music (Honors) in violin performance.

For three decades, the GRAMMY®-nominated pianist/composer/ arranger David Benoit has reigned supreme as one the founding fathers of contemporary jazz. But, like an actor who has been known primarily for one role, he wanted to show other dimensions of his artistry, influenced by Stephen Sondheim, Burt Bacharach, Dave Grusin and Leonard Bernstein.

“I’ve done records where I had a token vocal tune, all the way back to my first album,” Benoit says. “But I never did an entire record [with vocals]. So the thought here was to do something really different.”

The result is Benoit’s thirty-fifth recording as a leader and his first with a vocalist. 2 In Love, set for release on June 16, 2015 via Concord Records, features Jane Monheit, the GRAMMY®- nominated, cool-toned chanteuse from New York, who burst on the scene in 1998 as the first runner-up in the Thelonious Monk International Vocalist Competition.

“Concord suggested Jane Monheit,” Benoit says. “She was the perfect vocalist. I like to make records a certain way: I prefer to go in live and record it all at once. And a lot of vocalists can’t do that: they need to edit, fix and use auto-tune. But Jane doesn’t need to do any of those things. Many of the keys were difficult, but she sang everything live. Jane also has a background in Broadway, which is another part of my lexicon that I’ve not explored. She was up to the task and easy to work with. She made it a complete, perfect package.”

Along with Monheit, Benoit also enlisted the help of three lyricists: Mark Winkler, Lorraine Feather and Spencer Day. “Mark is my long-time collaborator,” says Benoit. “And I’ve known Lorraine (daughter of jazz critic Leonard Feather) for thirty-five years. Then, there’s Spencer Day: I was really impressed with him. What a nice, young man and fantastic singer. He brought some new blood to the table.” This terrific triad breathed lyrical life into Benoit’s songs and helped showcase Monheit’s considerable skills as an interpreter. “I met them all,” she says. “They did great work and made it very, very easy for me to do my job.”

Supported by an alternating rhythm section featuring drummers Jamey Tate and Clayton Cameron, percussionist Lauren Kosty, guitarist Pat Kelley and bassists David Hughes and John Clayton (of the Clayton Brothers), Benoit and Monheit swing and sing on ten tracks imbued with, to use Duke Ellington’s elegant phrase, “the feeling of jazz” in ballad, mid-tempo, neo- classical-, Latin-, pop- and Broadway-styled genres that range from the bossa nova-buoyed title track to the optimistic, piano-driven “Love Will Light the Way.” Violinist Michelle Suh and cellist Cathy Biagini add their impressionistic airs to the waltz “Dragonfly,” the evocative, 5/4 time-signatured “Something’s Gotta Give” – originally from a play co-written by Benoit and Winkler about Marilyn Monroe – and “The Songs We Sang,” a beautiful melancholy ballad, originally titled “Out of Tune,” about a couple that wrote hit songs and are trying to reignite their magic.

On the ebullient “Fly Away,” Monheit flexes her considerable vocal muscles. “I had a really great time wailing on that one,” she says, “because it’s a style of music that I don’t often get to sing.”

“Barcelona Nights,” is pulsed by an infectious Latin groove, which was inspired by a visit to Spain by Benoit and his wife. “I talked to Lorraine about it,” Benoit says, “and she came up with a beautiful lyric.” On the Pat Metheny-esque “Love in Hyde,” which was previously published under the title “A Moment in Hyde Park,” Benoit showcases his spirited piano prowess. “I recorded it on my second album, Life Is Like a Samba, with a big orchestra. And I always wanted to redo it,” he says. The album concludes a heartfelt solo piano performance of “Love Theme from Candide”/”Send in the Clowns,” by Leonard Bernstein and Stephen Sondheim, dedicated to the memory of Benoit’s mother, Betty June Benoit (1929–1997).

“Those were my mom’s two favorite songs,” Benoit says. “My friend David Pack (who started the group Ambrosia) introduced me to Lenny, and we worked on a benefit concert at Carnegie Hall. I got to know him a bit. So it was always my destiny to do something with “Candide.” And I felt it would make a nice segue into “Send in the Clowns.”

In addition to his obvious skills as a soloist, 2 In Love also highlights Benoit’s overlooked gifts as an accompanist. “He’s a wonderful piano player,” says Monheit. “He has a great understanding of singers, and that makes him a very good accompanist.” When he was coming up, Benoit worked with singers Patti Austin, Connie Stevens, and Ann-Margaret. But he credits Lainie Kazan as his biggest influence in the fine art of vocal accompaniment. “I was twenty-one when I started with her,” he says. “She literally taught me how to accompany singers.”

Benoit’s work with singers is but one more intriguing aspect of his multi-talented musicianship. He was born in Bakersfield, California, and grew up in Los Angeles. Benoit was bitten by the jazz bug after watching a Charlie Brown special on television and listening to the music of Vince Guaraldi in 1965. “I was already a fan of the comic strip,” he says, “but when I heard that jazz piano trio, that was the defining moment when I decided that I wanted to play like Vince Guaraldi.”

At the age of thirteen, Benoit studied privately with pianist Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for famed conductor Arturo Toscanini. He also studied music theory and composition, and later studied orchestration with Donald Nelligan at El Camino Junior College and film scoring from Donald Ray at UCLA. He studied conducting from Heiichiro Ohyama, assistant conductor of the L.A. Philharmonic, and furthered his musical education with Jan Robertson, head of the conducting department at UCLA, and UC Santa Barbara symphony orchestra music director Jeffrey Schindler.

After working with Lainie Kazan as her musical director/conductor in 1976, Benoit released albums on the AVI label from 1977 to 1984. He later released several chart-topping recordings for GRP, including Freedom at Midnight (1987), Waiting for Spring (1989) and Shadows (1991), which both topped Billboard’s Contemporary Jazz Charts at #5, #1, and #2, respectively. His other noteworthy recordings include Letter to Evan (1992), his tribute to another piano influence, Bill Evans, and Here’s to You, Charlie Brown: Fifty Great Years (2000). Benoit also recorded with Russ Freeman on their album The Benoit/Freeman Project (1994), and on their follow-up collaboration, 2 (2004), which was released on Peak Records. His other recordings for the label include American Landscape (1997) and Orchestral Stories (2005), which featured his first piano concerto, “The Centaur and the Sphinx,” and a symphonic work, “Kobe.”. In 2012, he released Conversation on Concord’s Heads Up International imprint.

Benoit received three GRAMMY® nominations in the categories of Best Contemporary Jazz Performance for “Every Step of the Way” (1989), Best Large Ensemble Performance for GRP All-Star Big Band (1996), and Best Instrumental Composition for “Dad’s Room,” the latter from the album Professional Dreamer (2000). In 2010, Benoit received a Lifetime Achievement Award from the American Smooth Jazz Awards, and he’s worked with an impressive potpourri of musicians including the Rippingtons, Emily Remler, Alphonse Mouzon, Dave Koz, Faith Hill, David Sanborn, CeCe Winans and Brian McKnight.

Benoit’s film scores include The Stars Fell on Henrietta (1995), produced by Clint Eastwood, and The Christmas Tree, produced by Sally Field, which was voted Best Score of 1996 by Film Score Monthly. He has served as conductor with a wide range of symphonies including the Los Angeles Philharmonic, Asia America Symphony Orchestra and the London Symphony Orchestra. A long-time guest educator with the Mr. Holland’s Opus Foundation, he received that organization’s Excellence in Music Award in 2001. His musical selections have been featured on The Weather Channel and his version of Vince Guaraldi’s “Cast Your Fate to the Wind” is included on compilation The Weather Channel Presents: Smooth Jazz 11 (2008). Benoit also currently hosts a morning radio show on KKJZ 88.1 FM in Long Beach, CA.

A native of Detroit, Michigan, Damon Gupton held the post of Assistant Conductor of the Kansas City Symphony from 2006-2008. Gupton received his Bachelor of Music Education degree from the University of Michigan. He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. He served as American Conducting Fellow of the Houston Symphony for the 2004-2005 season, and has made conducting appearances with the Cleveland Orchestra (as part of a Blossom program with David Zinman), the Orchestra of St. Luke’s, the National Symphony Orchestra, the Detroit Symphony, the Baltimore Symphony, The San Diego Symphony, The San Antonio Symphony, the Princeton Symphony, the Toledo Symphony, the Monte Carlo Philharmonic, the NHK Orchestra of Tokyo, the Orquesta Filarmonica de UNAM, the New York University Orchestras, the Kinhaven Music School Orchestra, The Vermont Music Festival Orchestra, the Brass Band of Battle Creek, The Michigan Youth Arts Festival Honors Orchestra and the SPHINX Symphony as part of the 12th Annual Sphinx Competition. He led the Sphinx Chamber Orchestra on a national tour, culminating in performances at Carnegie Hall and a well-reviewed recording available at White Pine Music. He is a winner of the Third International Eduardo Mata Conducting Competition, held in Mexico City. Musical collaborations include work with Marcus Miller, Kenn Hicks, Kathleen Battle, and Jamie Cullum.

An accomplished actor, Gupton graduated from The Drama Division of the Juilliard School in New York. He has had roles in television, film, and on stage, including the Broadway production of Bruce Norris’ Pulitzer Prize and Tony Award winning Clybourne Park, Superior Donuts (The Geffen), Christina Anderson’s Inked Baby (Playwrights Horizons), Meg’s New Friend (The Production Company), Wendy Wasserstein’s An American Daughter(Arena Stage), True History and Real Adventures (The Vineyard Theatre), and Treason (Perry Street Theatre). He starred opposite Tony award-winner Phylicia Rashad in the world premiere of Tracey Scott Wilson’s The Story at New York’s Public Theater. He also performed the title role of Academy Award-winner Eric Simonson’s Carter’s Way at Kansas City Repertory Theater. Mr. Gupton was featured in title role in the critically acclaimed Heart of America Shakespeare Festival production of Othello. He received an AUDELCO nomination for Best Supporting Actor for his work in Clybourne Park.

Awards include the Robert J. Harth Conducting Prize and The Aspen Conducting Prize. Mr.Gupton is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society. He was named a Presidential Professor by the University of Michigan in January 2009.

Eckart Preu (Eck-art Proy) began his tenure as Music Director of Long Beach Symphony in 2017. Critics, the orchestra, and audiences alike have celebrated his ability to combine well-loved masterworks with rare or newer works in programs offering dimension, sophistication, and spirit.

Preu also currently serves as Music Director of the Cincinnati Chamber Orchestra (OH) and Portland Symphony Orchestra (ME). Previously, he held the positions of Music Director of the Spokane Symphony (2004–2019) and Stamford Symphony (2005–2017), Associate Conductor of the Richmond Symphony (2001– 2004), Resident Conductor of the American Symphony Orchestra (1997–2004) and of the American Russian Young Artists Orchestra (1999–2004). Other former posts include Music Director of the Norwalk (CT) Youth Symphony and Principal Conductor of the New Amsterdam Symphony (NY). He was associated with the Bard Music Festival from 1997 to 2004 as both Assistant and Guest Conductor. In Europe, Maestro Preu served as Music Director of the Orchestre International de Paris (1993–1995).

As a guest conductor, he has appeared with the Jerusalem Symphony (Israel), Symphony Orchestra of Chile, Auckland Philharmonia (New Zealand), Radio Philharmonic of Slovenia, Pecs Philharmonic (Hungary), Varna Philharmonic (Bulgaria), and in Germany with the Jenaer Philharmoniker. Guest conducting engagements include the Memphis Symphony Orchestra, the Delaware Symphony, the Duluth Superior Symphony, the Fairfax Symphony Orchestra, and the Wichita Symphony. Recent international appearances also include the Philharmonie Baden-Baden in Germany.

Career highlights include performances at Carnegie Hall, the Sorbonne in Paris, a live broadcast with the Jerusalem Symphony, and his first commercial recording of the world premiere of Letters from Lincoln – a work commissioned by the Spokane Symphony from Michael Daugherty featuring baritone soloist Thomas Hampson. 2012 also saw a live CD recording featuring Paganini’s Violin Concerto No. 2 with Sergey Malov and the New Zealand Philharmonia. Last season he recorded a CD exclusively dedicated to living Mexican composers. His concerts have been aired from coast to coast and on Jerusalem Radio.

Lucas Richman has served as Music Director for the Knoxville Symphony Orchestra since 2003 and as Music Director and Conductor for the Bangor Symphony Orchestra since 2010. Mr. Richman received a GRAMMY Award (2011) in the category of Best Classical Crossover Album for having conducted the Royal Philharmonic Orchestra on Christopher Tin’s classical/world fusion album, Calling All Dawns. He has appeared as guest conductor with numerous orchestras including the New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, Baltimore Symphony, Indianapolis Symphony, New Jersey Symphony, Canada’s National Arts Centre Orchestra and Toronto Symphony Orchestra, the Russian National Orchestra, the Oslo Philharmonic, the SWR Radio Orchestra of Kaiserslautern, the Iceland Symphony Orchestra and the Zagreb Philharmonic.

Benjamin Wallfisch studied conducting in London with Sir Charles Mackerras and Vernon Handley and in Germany with Bruno Weil. He was awarded First Prize in the 2001 British Reserve Insurance Conducting Competition with a unanimous vote from both Jury and Orchestra. At the age of 22, He was appointed Associate Conductor of the English Chamber Orchestra and between 2003 and 2005 was Assistant Conductor of the Netherlands Radio Philharmonic. During this time he assisted Vladimir Ashkenazy, Valery Gergiev, Edo de Waart and Leonard Slatkin and frequently conducted the NRPO in venues including the Concertgebouw, De Doelen Rotterdam and the Muziekcentrum Vredenburg, Utrecht and in numerous studio recordings.

In the UK, Benjamin has conducted the London Symphony Orchestra, BBC Symphony Orchestra, Philharmonia Orchestra, Ulster Orchestra and City of London Sinfonia and has performed in venues such as the Barbican, Cadogan Hall, Royal Festival Hall and St. George’s Bristol. In 2005 he made his Australian debut conducting the Sydney Symphony Orchestra in a series of critically acclaimed live broadcast Gala performances at the Sydney Opera House, and in 2009 he made his debut conducting the Los Angeles Philharmonic at the Hollywood Bowl. Other guest conducting highlights have included the Bavarian Radio Philharmonic, Orchestre de Bretagne, Tivoli Symphony Orchestra, and an appearance in the 2007 Mecklenburg Festival with the Weimar Staatskapelle.

In recent seasons he has conducted the Hamburg Symphony (three times, including their annual New Year performances of Beethoven 9), Zagreb Philharmonic, Netherlands Symphony and RTÉ Concert Orchestras. He has also worked with the SWR Stuttgart Radio Symphony Orchestra, Helsingborg Symphony Orchestra and the orchestra of the Beethoven Academy Krakow as part of Poland’s prestigious Beethoven Easter Festival. Future performances include the Bournemouth Symphony, Slovakian Philharmonic, the Israel Symphony and his debut at the Dvorak Prague Festival, conducting the Prague Philharmonia. In the US he has worked with great success with the Monterey Symphony and the North Carolina Symphony, and in 12/13 he will make his debut with the Los Angeles Chamber Orchestra.

Acclaimed by The Strad as “one of the finest accompanists anywhere on the podium,” Benjamin has performed concerti with some of the world’s finest soloists in including Evelyn Glennie, Pekka Kuusisto, Freddy Kempf, Dame Felicity Lott, Branford Marsalis, Igor Oistrakh, Jean-Yves Thibaudet and John Williams. Alongside a number of his own orchestral works, he has recorded Shostakovich’s First Violin Concerto with Ruth Palmer and the Philharmonia, a disc of bassoon concerti with Karen Geoghegan and the Orchestra of Opera North for Chandos, and concerto recordings with the London Symphony Orchestra and the English Chamber Orchestra.