Galina Bezuglaya graduated from Mussorgsky College of Music in Leningrad (1979), as well as from Glazunov Conservatory in Petrozavodsk (1984) as a pianist, accompanist and teacher. Furthermore she studied at St. Petersburg Institute of Art History under the guidance of professor S. Maltzev and received her Ph. D. in musicology in 1998. She has been working at the Vaganova Ballet Academy for over 25 years. She worked partnering ballet masters such as N. Dudinskaya, I. Zubkovskaya, V. Desnitzki, l. Kovaleva.
In 1995 Galina took the position as Associated Professor and Chair of Departments of Music in Vaganova Academy. Galina established and provided a method for the higher education of ballet pianists. She published several articles and books based on her research on the relationship of music and dance.
Galina has carried out several workshops for ballet pianists in Russia, Finland, Sweden, Austria, Germany, Japan and Korea.
In 2016 Galina Bezuglaya was the recipient of the International Competition “Vaganova Prix” as “The Best Ballet Accompanist”.
Alberto Bologni graduated from Conservatorio Cherubini, Florence as well as Rotterdam Conservatoire.
His training benefited from three of the most celebrated European violin-playing traditions: Sandro Materassi provided a link with the Venetian school of Giulio Pasquali and the German-Hungarian school of Jeno Hubay, while Stephan Gheorghiu and Ilya Grubert transmitted the teachings of the Russian-Soviet school of Oistrakh and Kogan.
An enthusiast of art, cinema and literature, Alberto Bologni’s intellectual curiosity has made him one of the most versatile violinists of his generation. His solo and chamber repertoire combines, in fact, well known masterworks with rarities and rediscoveries, as well as a substantial series of contemporary compositions, many of them dedicated to him or commissioned by him. He appears regularly at the major Italian and European centres.
He is the author of the theatrical dialogue “Goldoni e Haydn ovvero dell’arte della conversazione” and has composed cadenzas for violin concertos by Mozart, Haydn, Viotti (no. 22) and Paganini (no.1). His recordings have been highly praised by the Italian and Anglo-Saxon specialized press.
He teaches violin at the ISSM Luigi Boccherini, Lucca and collaborates on a regular basis with several American and English Universities.
He plays a Santo Serafino of 1734, formerly belonging to Cesare Ferraresi.
Robert Boston is a pianist who regularly performs free jazz, contemporary classical, and electronic music.
He has recorded and performed with numerous groups, from free jazz icon Daniel Carter, to the new music group SEM Ensemble, to experimental performance artists Dirty Churches.
As a composer and improviser, Boston fuses his eclectic experience, finding form within mechanical noise and functionality of harmony/melody for each specific dance piece or instrumentation. He has scored dances by Korhan Basaran, Diane Coburn Bruning, Giada Ferrone, Loni Landon, Lone Larsen, Jodi Melnick, Pietro Pireddu, Caitlin Trainor, and the Martha Graham Dance Company.
Boston has appeared on NPR’s Front Row and in New York City venues including the Prospect Park Bandshell, the Joyce Theater, The Knitting Factory, The Stone, Rockwood Music Hall and Music Hall of Williamsburg. Formerly Principal Pianist for the Mark Morris Dance Group, he helped create and currently teaches the Mark Morris Dance Accompanist Training Program and is Music Director at Barnard College Department of Dance.
Christian Cherry is a multi-instrumentalist and composer whose output of some 200 pieces in dance, theatre and collaborative performance includes work with diverse artists in the U.S., Canada, Finland, France, Italy, Japan and Korea. He has been teaching music to dancers for 36 years, first at Ohio State University and then at the University of South Florida and the University of Illinois. He also participated in prominent dance festivals including the American Dance Festival and the Bates Dance Festival. Christian is an Associate Professor and the Music Director in Dance at the University of Oregon. His research is centered on music and dance interaction. He teaches: Dance Aesthetics, Contact Improvisation, Dance Composition, Music for Dance, and Looking at Dance.
Barbara Cocconi earned her graduation in Piano, Music teacher education and Vocal chamber music at the Arrigo Boito conservatory in Parma.
Since 2000 she works as a ballet pianist: from 2000 to the present with Professione Danza Parma; from 2004 to 2009 with Teatro alla Scala Ballet School and then with many other dance institutions and during international workshops and intensive progammes, as well as for RAD, ISTD and ABT dance exams.
Barbara has been music and choir teacher at the Professional Training Course for Musical theatre artists Professione Musical in Parma from 2004 to 2018.
From 2005 to 2010 she has worked with the choreographer Francesco Ventriglia, as a piano accompanist and stage assistant, partecipating in important festivals like AddaDanza and Biennale di Venezia.
Since 2012 he has been working as a teacher and a ballet pianist at the Liceo Coreutico Matilde di Canossa di Reggio Emilia. Since October 2018 she has been working with Fondazione Nazionale della Danza and for Aterballetto dance company.
Paolo Demitry is a pianist and a composer. After having graduated from "Conservatorio di Santa Cecilia", Rome, he started to explore the relationship between acoustical instruments and electronic music, focusing on the interaction between sound and image.
In 1990 he won the Trento Cinema - La Colonna Sonora contest, chaired by Ennio Morricone, for a work on some unpublished fragments of Roberto Rossellini's movie.
In 1997 he joined the Compagnia CMP Michele Pogliani as project creator and composer of several works commissioned by Romaeuropa Festival, Montpellier Danse, deSingel Antwerp, The Place London, Suzanne Dellal Center Tel Aviv, Festival Internazionale Inteatro Polverigi, AddaDanza, La Versiliana Festival, Civitanova Danza.
Furthermore he composed music for Balletto di Toscana, Teatro Nuovo Torino and for the choreographer Adriana Borriello.
In 2004 he was a co-founder of the PIDYEFFE Coolective, a musicians and dancers' collective, whose goal is the merger of the hip hop underground culture and the contemporary dance.
Besides his work as composer Paolo Demitry collaborated as accompanying pianist with such choreographer as Ismael Ivo, Birgit Cullberg, Adriana Borriello, Cristiana Morganti, Beatrice Libonati, Nina Watt, Susana Hayman.
Since 2001 he has been lecturer at the Accademia Nazionale di Danza, Rome.
Arkadiy Figlin was born in 1963 in Saratov, Russia.
In 1987 graduated from Moscow Gnessin Institute with a Master degree in piano performance and pedagogy. Shortly after moving to US in 1991 obtained a position of accompanist at the School of American Ballet where continues to work presently. Throughout the years he worked with Stanley Williams, Antonina Tumkovsky, Andrei Kramarevsky, Violette Verdy, David Howard, Kay Mazzo, Richard Rapp, Olga Kostrizky, Peter Boal, Julie Kent, Damian Woetzel, Jonathan Stafford, Nikolai Hubbe, Jean Pierre Bonnefoux, Patricia McBride, Marcelo Angelini, Benjamin Millepied and Azariy Plisetsky, just to name a few.
He recorded a number of ballet class CD's. He performed as the soloist with the number of symphony orchestras in piano concertos by Prokofiev, Gershwin, Emerson, Rachmaninoff in various ballet productions under baton of such conductors as Hugo Fiorato of NYCB and Akiro Endo of ABT. Toured US with the various All Stars ballet ensembles.
In 2010 he was cast in the Oscar-winning film Black Swan directed by Darren Aronofsky starring Natalie Portman. In 2016 co-wrote the score for Peter Walker's ballet Ten in seven, performed at the Lincoln Center's Koch Theater by the NYCB.
New York City–based dancer, performer, teacher, Limón reconstructor and coach Kristen Foote is originally from Toronto and joined the Limón Dance Company in 2000 – where she was a principal dancer until 2017 – and Dance Heginbotham in 2011. Hailed by the New York Times as “marvelously versatile” and "especially captivating,” Foote has been recognized by Dance Magazine as a “Featured Artist” during 2011 and 2016, selected as one of the “Most Amazing Performers” of 2010 and one of their “Top 25 To Watch” in 2005. Foote staged Limón’s Missa Brevis on the Limón Dance Company, marking the work’s 60th anniversary celebrations during the company’s 2018 Joyce Theater Season in New York. Her first article, published by Dance Magazine, describes her experience dancing the work and reconstructing the piece for the Company.
Foote has performed as a soloist in roles by many noted choreographers including: José Limón, Isadora Duncan, Doris Humphrey, Anna Sokolow, Jiří Kylián, Donald McKayle, Lar Lubovitch, Rodrigo Pederneiras, Susanne Linke, Murray Louis and John Heginbotham. In 2015, she developed a solo dance project, The History of Her, that was lauded as “imposing, musical and subtle.” The project had its international premiere in Paris and the U.S. premiere at Jacob’s Pillow. She has since performed Lar Lubovitch’s solo Scriabin Dances at the Chicago Dancing Festival, the American Dance Festival and at Lincoln Center in New York; plus Isadora Duncan’s Revolutionary Etude with Catherine Gallant/DANCE at St.Mark’s Church in New York. Other solos from the project have been featured as part of the Limón Dance Company’s 70th Anniversary Season: Limón International Dance Festival and Dance Heginbotham’s New York City debut season as well as during the U.S. State Department & Brooklyn Academy of Music’s DanceMotion USA tour throughout South East Asia.She was a Radio City Rockette, has performed with Mark Morris Dance Group, been featured as a lead dancer in music videos; was a guest artist with Rashaun Mitchell + Silas Riener’s 3D Dance on Film project Tesseract directed by Charles Atlas and was a featured dancer in An Ode To, a performance piece created, composed, choreographed and performed by Solange Knowles for The Red Bull Music Academy Festival at the Solomon R. Guggenheim Museum in New York. Also in New York Foote recently appeared in Megan Williams’ One Woman Show, with Molissa Fenley and Dancers, in Daniel Fish’s production of Oklahoma!, and appeared as part of the 73rd Annual Tony Awards. She will be returning, for the third year, to her role as “The Cat” in Isaac Mizrahi’s production of Peter and the Wolf as part of the Guggenheim Works & Progress Series. Foote is a teacher of Limón Masterclasses and Workshops, through the Limón Dance Foundation and also independently. She re-stages Limón repertory across the U.S., Canada and Europe. Foote staged Limon‘s Psalm at SUNY Purchase Conservatory of Dance, for their 2019 Spring Concert to live orchestra and chorus. She continues to work with Dance Heginbotham as a performer and rehearsal director. In addition to teaching Limón classes, Foote has taught warm-up classes for Gallim Dance; and improvisation and composition to the Tisch School of the Arts’ Future Dancers and Dancemakers Company. Foote is also a certified Pilates teacher, and incorporates somatic conditioning into her teaching.
Allen Fogelsanger is a Visiting Assistant Arts Professor in the NYU Tisch School of the Arts Department of Dance. He composes and improvises music for dances, videos, and installations; teaches undergraduate and graduate courses on dance and music; and accompanies dance classes. His music has been used by choreographers Chris Black, June Finch, Alan Good, Lynn Neuman, Katy Orthwein and others. His work, alone and as part of multimedia performances and projects, has been presented in the Americas, Europe and Australia, including at the Bourges Festival of Electroacoustic Music and Festival Synthèse, the Phoenix Experimental Arts Festival, the Cloud Dance Festival (London), the Boston Cyberarts Festival, and in New York including at Performance Space 122, St Mark’s Church in-the-Bowery, The New York Public Library for the Performing Arts at Lincoln Center, and the West End Theatre. Fogelsanger has presented papers and talks on the relationship between dance and music at international conferences and festivals, including Sound Moves (London), the Abundance Festival (Sweden), the Accademia Mobile of ICKamsterdam (France), and I Seminário Internacional de Artes Integradas (Brazil). His published essays include “A Mirror in Which to Dance: Actions and the Audiovisual Correspondences of Music and Movement” (with Kathleya Afanador) in Bewegungen zwischen Hören und Sehen (2012) edited by Stephanie Schroedter, and “On the Edges of Music: Trisha Brown’s Set and Reset and Twelve Ton Rose” in the Proceedings of Sound Moves (2005). From 1988 to 2011 Fogelsanger taught at Cornell University where he was Senior Lecturer and Director of Music for Dance in the Department of Theatre, Film, and Dance. He has also taught for the SUNY Purchase College Conservatory of Dance and for the Marymount Manhattan College Dance Department.
Alan Good danced with the Merce Cunningham company for sixteen years followed by two years in the Wally Cardona Quartet. He has danced nationally and internationally in projects by Rika Burnham, Martha Graham Company, Liz Magic Laser, Tere O’Connor, Ellen Cornfield, Vicky Schick, and in Dialog II with Sasha Waltz in Berlin's Jewish Museum and the story progresses... with Pam Tanowitz at the Joyce Theater. He has presented his own choreography since 1983 and directed AlanGoodDance, a group of three to six dancers, in the early 2000s. For the past three years, he has developed his joint project with musician Allen Fogelsanger, lately featured in David Parker's series Soaking Wet. As a 2019 Merce Cunningham Fellow he staged Native Green in student workshop and coached CRWDSPCR and Beach Birds for the Los Angeles portion of the 100 Solos project. He teaches Cunningham Technique at the Trust, master classes at universities, and guest instructs at El Sistema Greece, a program for refugee children in Athens.
Guy Harries is a composer, sound artist and performer, working with electronics, acoustic instruments, voice and multimedia. He is a senior lecturer and researcher at the University of East London and Trinity Laban Conservatoire, and has a PhD in live electronic performance from City University London. His research explores the use of sound in performance with a focus on dramaturgy, interdisciplinary collaboration and audience participation. His music releases include solo work and collaborations with the POW Ensemble, Meira Asher and Yumi Hara on the labels X-OR, Sub Rosa, Migro. His latest album titled Fault Line was released on the label Sombre Soniks.
He also composes socio-politically engaged opera including Jasser (tour throughout the Netherlands in 2006/07) and Two Caravans (Flourish New Opera Prize winner 2012), and also runs a community opera devising workshop at Theatre Deli studios. He also works as a singer-songwriter under the moniker Guy XY and recently released the album Turing Cabaret inspired by the life of Alan Turing.
Kim Helweg is a danish pianist and composer.
Since 1983 Kim Helweg has been regular supported by the Danish Arts Foundation. His music has been regularly performed in Europe, North America, South America and in South Korea, and since 1992 his works have been commissioned from Italy, Canada, Argentina, Brazil, Finland, Germany, Holland, Sweden, USA and England. The CD-labels are Chandos, Olympia, Rondo, Focus, IRCO and Classico among others.
Collaborations with different choreographers are an important part of his musical activity. He has composed "Eidolon" for Rambert DC, "Cupid and Psyche" for The Royal Danish Ballet and several compositions for the Danish choreographer Jens Bjerregaard: "Divided in three", "Spiri", "Silent Tales", "Nothing Florid" and "The Labyrinth".
Among the later works are: "Nothing Florid" (2005), "RAUM" (2006-07) . for the choreographer Jens Bjerregaard and Ballerina/Danseur Noble" (2009) for The Royal Danish Ballet with choreography by Kim Brandstrup.
Kim Helweg Kim Helweg is the Head of the Musical Accompaniment for Dance education (MAD) at the Scenekunstskole, Copenhagen.
Christopher Hobson studied at Chetham’s School of Music and the Royal Northern College of Music.
For the last 15 years, Christopher has worked extensively both nationally and internationally in the dance field as an accompanist for ballet and contemporary dance disciplines.
He has been a pianist for Northern Ballet Theatre under David Nixon and Slovenian National Ballet under Irek Mukhamedov. Christopher has accompanied classes and rehearsals for many companies in England including Birmingham Royal Ballet, English National Ballet and Matthew Bournes New Adventures. He is currently Head of Music at English National Ballet School in London.
He has a wealth of experience having played for many international guest artists from all over the world and is in high demand as an accompanist.
Stephanie Jordan is Research Professor in Dance at University of Roehampton where, until 2011, she was Director of the Centre for Dance Research and of student research programmes in Dance.
Her professional and academic experience in both music and dance contributes to her current research in choreomusical studies.
Jordan’s publications include four books: Striding Out: Aspects of Contemporary and New Dance in Britain (1992), Moving Music: Dialogues with Music in Twentieth-Century Ballet (2000), Stravinsky Dances: Re-Visions across a Century (2007, covering modern/postmodern dance as well as ballet), and Mark Morris: Musician-Choreographer (2015), all published by Dance Books.
She has also directed two analytical documentaries, with the George Balanchine Foundation and New York City Ballet, Music Dances: Balanchine Choreographs Stravinsky(2002) and with The Royal Ballet, Ashton to Stravinsky (2004). In 2010, Jordan received the award for Outstanding Scholarly Research in Dance from the Congress on Research in Dance.
Dr. Suzanne Knosp began studying piano at age 5 and has worked in the field of dance for over 30 years. She is a Professor of Dance and Music Director for the School of Dance at the University of Arizona in Tucson, Arizona where she teaches undergraduate and graduate courses in music and dance and accompanies dance technique classes. She has worked with notable artists such as Ben Stevenson, Ben Vereen, Edward Villella, Bill Evans, Basil Thompson, Ann Hutchinson-Guest, Francoise Martinet, Melissa Lowe, Amy Ernst and many others.
In October 2015, she received the Louis Horst Award from the International Guild of Musicians in Dance for outstanding contributions to the fields of music and dance.
Dr. Knosp is recognized as a pianist, composer and collaborative artist in both music and dance. Her work with master teacher Melissa Lowe includes three DVDs distributed internationally on the KULTUR label. Her ballet and contemporary scores and recordings for dance class are available from Princeton Book Company Publishers and on Amazon. For 10 years, she was a member of Crossing Barriers, an experimental improvisational group directed by internationally known double bassist, Patrick Neher.
Dr. Knosp is a specialist in the research, education and training of dance musicians. She created the curriculum for the Master of Music in Dance Accompaniment in both piano and percussion performance. She has lectured and performed at numerous national and international festivals and conferences and is an active member of the National Dance Education Organization (NDEO), Music Teachers National Association (MTNA) and is Past-President of the International Guild of Musicians in Dance.
In 1988, she received a DMA in piano performance and pedagogy from the University of Iowa where she was a student of Kenneth Amada.
From the mid 90′s, Egyptian dance, music and artistic traditions have been the focal point of Annika's work, both as a dancer, teacher and co-choreographer with Dance Company as-Sayf, Stockholm. She is also strongly influenced by Creative Dance, which opens to new experimental and playful ways of creating within and without traditional boundaries. Through her extensive work as a Dance Teacher in community-schools since 1995, combined with continuous teaching of Egyptian Dance to all levels, she meets dancers of all ages, ranging from children of 5 years of age to senior dancers of 75. As an original member from the founding of the Dance Company as-Sayf, Annika has been a part of several productions and tours, both within Sweden and internationally, throughout the years since 1996. She is currently collaborating with choreographers and dancers rooted in Contemporary Egyptian dance as Compagnie Al Fajr (France/Egypt) and Compagnie Tanz-Raum (France/Germany).
Katarina Lundmark is assistant professor and head of Jazz Dance at School of Dance and Circus, a part of Stockholm University of the Arts. She is program coordinator for the Bachelor Programme in Dance Pedagogy and associated to the Institution for Circus as teacher and mentor.
For a long time Katarina combined teaching with freelancing as a dancer in many types of projects. The projects were created in a variety of artistic contexts, were presented nationally and internationally and were aimed at different target groups.
As a teacher, she has worked in many contexts:. at artistic universities like The Royal Academy of Music and The University of Performing Arts in Stockholm and at colleges like The Royal Swedish Ballet School. Furthermore she has had a wide international experience as a dance teacher, lecturer, subject expert, expert, mentor and examiner. Some of the institutions are Palucca Schule (Germany), ArtEZ (The Netherlands) Royal Academy of Music (Denmark), Moving into Dance Mophatong (South Africa) and also Accademia Nazionale di Danza.
Katarina works in artistic contexts with professional circus artists, collectives and projects as a choreographic outside eye.
Her work with Jazz Dance is based on a contemporary approach and with a strong focus on the relationship with music and especially with rhythm. Katarina's master thesis was on embodied rhythm and how it can be understood, articulated and conceptualized. This is still a focus point for her ongoing artistic and didactic work.
Karen has spent the major part of her professional career encouraging excellence in music for dance. She has worked for most of the UK Ballet companies whether as a staff member, freelance musician or contract player. Her work with Scottish Ballet has spanned over 20 years and in the past 10 years has been coaching young musicians coming into the world of dance, in a unique postgraduate Master of Music Piano for Dance programme in association with the Scottish Ballet company and the Royal Conservatoire of Scotland.
Karen worked as a contract musician with Birmingham Royal Ballet and a freelance player with The Royal Ballet. She has worked as freelance Class musician for visiting dance companies at the Edinburgh Festival where, over the years, she played for American Ballet Theatre, Mark Morris Group and Rambert Dance Company. Internationally she has worked with Houston Ballet and Staatstheater Nurnberg.
He began his musical studies at the age of eight with Adela Mascaraque, disciple of Pablo Sorozábal, and obtain his Degree at the Real Conservatorio Superior de Música de Madrid. Scholarship by the AIE expands his studies in Jazz and Improvisation at the School of Creative Music, he studies music pedagogy at the Complutense University of Madrid, and works for the SGAE (Sociedad General de Autores) in computer-music and musicology.
As an interpreter and composer he works for RTVE and Telecinco, and also collaborates in outstanding productions such as the Ensemble Español of Northeastern Illinois University of Chicago, the feature film “Rotas", or the ballet of Carmen Roche and Ballet Nacional de España, among others. Like a Faculty member of the University URJC of Madrid, he had developed a dedicated teaching job and obtains his Ph. D. in Arts with his thesis titled "Analysis, Study and Musical Proposal for Dance" in 2017, with the qualification "Sobresaliente" Cum Laude.
He has worked as a specialist Pianist for Ballet class, Character Dance, Spanish Dance (Bolero School and Stylized Dance), and Contemporary Dance in: the Víctor Ullate Ballet, the "Alicia Alonso" Dance Institute, The Ballet Nacional de España, The Russian Masters Ballet Camp, The Central School of Ballet, and the English National Ballet School.
Hjalmar Öhrström is a swedish musician and lecturer.
He is a composer as well as pianist and percussionist in the field of improvisation, partnering both musicians and performing artists. He is an original member of several orchestras, with a range of genres from fusion to jazz, afro, free improvisation, rock, pop, blues, latin, soul, balkan, klezmer, carribean, funk and more.
For over 30 years he has been working as a musician for dance in modern/contemporary dance classes, as well as in jazz dance and dance improvisation classes at University of Dance and Circus (Stockholm University of the Arts), Stockholm Academy of Dramatic Arts and Balettakademien, Stockholm.
Hjalmar has been composer and live performer of original music for several dance productions and theatre plays.
Furthermore, over the years he collaborated with Stockholm Improvisationsteater, Circus Skrot, Avart Dance Company, as-Sayf Dance Company.
Andy Teirstein wriites music inspired by the rich and diverse folk roots of modern culture. A student of Leonard Bernstein and Henry Brant, Teirstein composes for the concert hall, film, theater, and dance. His CD, Open Crossings, draws on Balkan and Appalachian influences. The Village Voice wrote that his music “seems to speak in celestial accents of some utopia whose chief industry is dancing,” and he composes often for dance companies, including Stephen Petronio, Donald Byrd, Liz Lerman and others. He has composed film scores for BBC and PBS, the operas Winter Man and A Blessing on the Moon, and a dance theater piece inspired by William Blake, The Vagabonds. As a musician, he has appeared with Paul Simon, Pete Seeger, Arlo Guthrie, and The Vanaver Caravan. As an actor, he has performed in the hit Broadway show, Barnum, the TV series Search for Tomorrow, the film Sophie’s Choice, and Woody Sez, which has toured Poland, Israel, Palestine, Germany, China and other countries. His composition work has been described by The New York Times as “ingenious,” and “superbly crafted.” Andy received a Ph.D from the CUNY Graduate Center in 2010, with his dissertation, Theater Without Words: Music for Movement Theater by Bartók and Milhaud. He has expanded his musical background by learning fiddle tunes in Ireland, performing as a musical clown with a Mexican circus, and journeying to Romania and Bulgaria to collect traditional music. He is currently an Arts Professor at New York University, and director of the NYU Global Institute, Translucent Borders, which looks at the role of dance and music at borders. As part of this project, he initiated collaborations with dancers and musicians in Ghana, Israel/Palestine, Cuba and Greece, produced conferences in Abu Dhabi and New York, directed residencies at the Jacobs Pillow Dance Festival and the Hudson Valley Festival of the Arts, and facilitated performances at Lincoln Center and NYU’s Jack Crystal Theater. Teirstein has received awards from the New York Foundation for the Arts, the National Endowment for the Arts, the ASCAP Foundation, and others. He is also been a fellow of the MacDowell Colony, the LABA Institute and the American Lyric Theater.
Alexandra Time graduated from the Music and Pedagogical College as a pianist in 1993. She started to work as accompanist in several choreographic studios. In 2005 she took up the position of ballet accompanist in St. Petersburg Vaganova Ballet Academy. In 1996 she started to study at the Vaganova Academy Faculty of Music and graduated in 2001.
She got a lot of experience playing ballet classes, lessons of character dance, Pas de deux and historical dance, playing at the rehearsal of The Nutcracker, La Bayadere, Giselle, Fairy Doll, etc. She also gained experience working as a ballet accompanist in KNUA (South Korea), private ballet schools in Japan, Denmark, Italy and Finland.
From 2008 to 2011 Alexandra worked as a pianist at the Eifman Ballet Theater (St. Petersburg). Since 2011, Alexandra has been an accompanist in Vaganova Ballet Academy. In 2016 Alexandra received a diploma of the winner of the Vaganova PRIX VII competition in the nomination “The Best Accompanist”.
Quentin Tolimieri is a composer, pianist and improviser. His music has been presented around the world, and has been recorded on the Wandelweiser Records, pfMENTUM, and Creative Sources record labels.
He holds an MA in composition from The University of Southampton, UK and a BFA in composition and piano from California Institute of the Arts, studying with, among others, Michael Finnissy, Michael Pisaro, and Joe Maneri.
He is particularly active in working with dance, composing music for contemporary choreography, as well as accompanying classes for, among others, the José Limon Institute, the Martha Graham School, and the Merce Cunningham Trust. He lives in berlin and works as a freelance pianist.