Judith Yan is a Canadian conductor. Equally adept at conducting opera, ballet, and symphony, her career has taken her internationally, conducting for major companies in Europe, Asia, and North America. She has held Staff Conductor positions at San Francisco Opera, Canadian Opera Company, and National Ballet of Canada.
Her recent debuts were celebrated with critical acclaim: “In her Vancouver Opera debut, Canadian Conductor Judith Yan really shone in the pit, bringing extraordinarily lyrical and expressive playing from the Vancouver Opera Orchestra.” (Opera Canada 2018) “The Edmonton Symphony played splendidly under Judith Yan...coaxed many vivid, dramatically transparent moments from the players.” (Opera Canada 2019) “Judith Yan, her Seattle Opera debut, conducted the orchestra with vigour and deep sympathy for the score.” (Classical Voice America, 2017). “Under the direction of Canadian conductor Judith Yan, the West Australian Symphony Orchestra is simply wonderful.” (Greg Ross, 2018)
While with the San Francisco Opera, she served as Staff Conductor, assistant to Maestro Donald Runnicles, where her performances of Stravinsky’s The Rake’s Progress for San Francisco Opera was included in the San Francisco Chronicle’s Top Ten Classical Performances of the Year. Prior to San Francisco Opera, she served as the first Conductor-in-Residence of the Canadian Opera Company. As the Principal Conductor of Opera on the Avalon since 2010, she has lead numerous productions including Tosca, La Boheme, Tosca, Suor Angelica, Gianni Schicchi, La Traviata, Albert Herring, and Dead Man Walking.
As a conductor of ballet, she has conducted over 90 performances at the Four Season’s Centre for the National Ballet of Canada, working with the world’s foremost choreographers including John Neumeier, Ronald Hynd, and James Kuldelka. With National Ballet of Canada and as a guest internationally, she has conducted the ballets of Balanchine, Cranko, Aldous, Bart, Harvey, Kiliàn, Lander, Stowell, Wright, and Grigorovich. Since 2010, she has had a close association with several ballet companies, including Hong Kong Ballet, conducting the company’s production of Swan Lake as well as premiering all four of the company’s most recent productions of Cynthia Harvey’s Sleeping Beauty, Terence Kohler’s The Nutcracker, Nina Ananiashvili’s Don Quixote and the Asian world-premiere of Anna-Marie Holme’s Le Corsaire.
In 2014, she made her Seoul conducting debut with Korean National Ballet, conducting the Korean Symphony in Yury Grigorovich’s La Bayadère, returning in 2015, 2016, and 2018 to conduct Patrice Bart’s Giselle, Grigorovich’s Swan Lake, and a revival of La Bayadère. She made her Australian conducting debut in 2017 with West Australian Ballet, conducting the West Australian Symphony Orchestra in Lucette Aldous’s Don Quixote, returning in 2018 for the world-premiere of Krzysztof Pastor’s Dracula. She looks forward to Greg Horsman’s La Bayadère in 2019.
Recent performances include 3 critically acclaimed world-premieres: Jack Perla’s An American Dream for Seattle Opera and John Estacio’s Ours for Opera on the Avalon, Krzysztof Pastor’s Dracula for West Australian Ballet; and company debuts with National Arts Centre Orchestra for Cynthia Harvey’s Sleeping Beauty, Teatr Wielki in Warsaw for Cranko’s The Taming of the Shrew, West Australian Ballet and West Australian Symphony for Lucette Aldous’s Don Quixote, and Yury Grigorovich’s La Bayadère for Korean National Ballet and Korean Symphony.
2018/19 season included debuts with Vancouver Opera with La Boheme and Edmonton Opera with La Traviata, the season-opening gala concert for the Elora Festival, a revival of the opera Ours at Opera on the Avalon, Dvorak’s Symphony No. 8 and Beethoven’s Mass in C with Guelph Symphony Orchestra, productions of Greg Horsman’s La Bayadère and the world-première of Krzysztof Pastor’s Dracula for West Australian Ballet.
For 2019/20, she looks forward to opening Korean National Ballet’s season with Yury Grigorovich’s Swan Lake and Edmonton Opera’s with Verdi’s Rigoletto, two productions with West Australian Ballet; the revival of Dracula and a new production of Sleeping Beauty, and a return to the National Arts Centre Orchestra for Opera on the Avalon’s critically acclaimed opera, Ours.
Judith is fluent in English and Cantonese.