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https://www.linkedin.com/in/segordon1
Sarah Gordon Vice President at Opus 3 Artists (formerly ICM) Greater New York City Area 500+ connectionsTitle: Vice President at Opus 3 Artists …
https://www.opus3artists.com/contact-us/
SARAH GORDON Vice President Manager, Artists & Attractions Phone: 212-584-7529 Email: [email protected]. JULIJANA MIJALKOVIĆ Associate Manager Phone: 323-954-1776 Email: [email protected] ——————————————— MATTHEW OBERSTEIN Vice President Manager, Artists & Attractions Phone: 212-584-7576 Email: [email protected]. TOM …
https://www.linkedin.com/company/opus-3-artists
Sarah Gordon Vice President at Opus 3 Artists (formerly ICM) Earl Blackburn. ... Opus 3 Artists is a leading company managing the careers and touring activities of many of the world's greatest ...
https://www.opus3artists.com/artists/sarah-chang/
The New York Times. “The first of two appearances at this year’s festival, the Wednesday night program had Chang featured as soloist for a new orchestral suite based on Leonard Bernstein’s enduring 1950’s Broadway score for “West Side Story”…Chang, in a dazzling 15-minute performance, all …
https://www.aarondiehl.com/contact
Sarah Gordon. Opus 3 Artists. 470 Park Avenue, 9th Floor. New York, NY 10016. 212-584-7529. [email protected]. opus3artists.com.
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North America. Suite 282 348 West 57th Street New York, NY 10019 . 212.584.7500
https://www.opus3artists.com/artists/alexi-kenney/
The recipient of a 2016 Avery Fisher Career Grant and a 2020 Borletti-Buitoni Trust Award, violinist Alexi Kenney has been named “a talent to watch” by the New York Times, which also noted his “architect’s eye for structure and space and a tone that ranges from the achingly fragile to full-bodied robustness.”His win at the 2013 Concert Artists Guild Competition at the age of nineteen ...
https://www.opus3artists.com/artists/joshua-roman/
https://www.opus3artists.com/artists/tony-siqi-yun/
https://www.opus3artists.com/artists/aaron-diehl/
The Cleveland Plain Dealer. “Diehl’s rendition of Etude No. 3, following directly after the composer’s first appearance, hit a delightful rhythmic groove and showed wonderful balance of the hands and voicing. Glass’s music often demands a sort of affectless sheen, which Diehl caught perfectly in Etude No. 4.
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