Danae Venson’s music begins where language fails—shaped by jazz, gospel, classical tradition, and the vivid colours of her synesthesia. In this conversation with TWoA, the Juilliard-trained composer reflects on her artistic beginnings, composing through trauma, and discovering a musical vocabulary entirely her own. Read on to discover how she’s shaping the music she always longed to hear.

Balancing a dance career with an academic degree sounds impossible until you hear Anastasia Cheplyansky explain how she did both. In this article, TWoA looks at her path from Atlanta Ballet to Dutch National Ballet, and how studying psychology reshaped her approach to training, pressure, and performance.

What really shapes an opera—is it simply the music, or also the eye that decides how a performance should be seen? Stage director Gilles Rico sits down with TWoA to explain how ideas, images, and instincts give a production its spine. Read on.

For many years, Zenaida Yanowsky was one of The Royal Ballet’s most singular principals—rigorous, magnetic, impossible to forget. Now a coach shaping dancers across major companies, she speaks with TWoA about precision, presence, and the quiet authority behind great performance. Read on.

Lea Brückner is a violinist, moderator and climate ambassador who has carved out a unique career for herself, combining her passion for music with her commitment to sustainability. TWoA talked to Lea about the role culture can play in the battle against climate change, and about the specific steps cultural organisations can take towards becoming more sustainable.

Paris Opera Ballet’s Chun-Wing Lam is probably the only dancer in the world to combine a successful dance career with running his own wealth management firm. TWoA talked to Chun about moving from Hong Kong to Paris when he was fourteen, about the unique promotion system at the Paris Opera Ballet, and about the artistic and mental benefits of having two careers at the same time.

Rhyuhn Green is an 18-year-old composer and pianist on a mission to turn classical music into a true cultural melting pot. In this conversation, the Juilliard Kovner Fellow shares his journey from rock stages to Carnegie Hall, the ideas behind his debut album ph3onix3s, and his hopes for the future of the classical arts.

Fifteen-year-old Chloe Helimets, a third-generation ballet dancer and two-time YAGP Youth Grand Prix winner, is one of just eighteen Americans selected for the Prix de Lausanne 2025. In this interview, she speaks about growing up in a ballet family, preparing for the world’s most prestigious competition, and learning to balance artistry, pressure, and passion.

Fedor Dostoevsky’s dark psychological novel Crime and Punishment is a masterpiece of world literature. Last autumn, you could find it in the dance bags of many dancers at American Ballet Theatre: choreographer Helen Pickett and co-director James Bonas were turning the book into a ballet for American Ballet Theatre. The company will perform the production at the John F. Kennedy Center for the Performing Arts ins Washington on 12-16 February 2025. TWoA talked to ABT dancer Joseph Markey, who created the part of Luzhin, and who will have his debut as Raskolnikov in Washington.

Rae Yue Pung, a 21-year-old Singaporean pianist who has just released her debut album Piano Sonatas, speaks to TWoA about growing up in Singapore’s young classical-music scene, her unconventional path through elite training abroad, and the complex journey from precocious child musician to independent, mature artist.

Former Royal Harpist Alis Huws has played for kings, emperors, and global audiences—but her most meaningful performances often happen far from the spotlight. Raised in Welsh-speaking Wales, where the harp is woven into daily life, Huws reflects on blind medieval bards, royal tradition, and the instrument’s quiet power to heal. From the coronation of King Charles III to dementia care homes and special-needs schools, she makes a compelling case for a 21st-century classical musician: one who doesn’t wait for audiences to come to the concert hall, but brings music directly to the people who need it most.

How does a 19-year-old dancer navigate the leap from international competition to professional life? Prize-winning ballerina Paloma Livellara Vidart reflects on her journey from Buenos Aires to Monaco and New York, her award-winning performance at the Prix de Lausanne 2024, and her first weeks dancing with American Ballet Theatre Studio Company, sharing thoughtful insights on growth, self-belief, and finding joy in the early stages of a professional career.

What happens when a classical composer reimagines a familiar sound through centuries of musical style? Pianist and content creator Nahre Sol discusses her project of composing variations on the iPhone ringtone “Opening,” created during her residency at Hamburg’s Elbphilharmonie, and reflects on musical style, composition, and why listening closely matters more than ever.

Crystal Huang, 15, is having a remarkable year. Until just two years ago, she was training primarily in commercial dance—but in 2024 she emerged as a prize winner at the Prix de Lausanne, one of the world’s most prestigious international ballet competitions. She also claimed top awards at Youth America Grand Prix 2024, YoungArts (Dance/Ballet), and the Grand Prix at the South Africa International Ballet Competition. TWoA spoke with Crystal about her unconventional journey and the lessons she’s learned about succeeding at competitions—onstage and beyond.

In a conversation with Spencer Rubin, TWoA explores the realities of building a contemporary classical career around one of music’s most demanding instruments. A student at The Juilliard School, Rubin reflects on his musical journey, from competition stages and solo appearances with orchestras to the painstaking craft of reed-making. Beyond the concert hall, TWoA also looks at how Rubin uses social media to demystify the oboe and open classical music to new audiences, navigating tradition, visibility, and virtuosity in equal measure.

In the second part of its conversation with performance psychologist Noa Kageyama, TWoA turns to the quieter work behind strong performances: practicing confidence, reframing anxiety, and learning how to stay resilient over the long arc of a musical life. Drawing on sport psychology and lived experience, Kageyama reflects on growth, patience, and what it really means to become “bulletproof.”

Performance psychologist Noa Kageyama, who teaches at The Juilliard School, reflects on how performers can work with pressure rather than against it, drawing on sport psychology to rethink anxiety, confidence, practice, and mental resilience. Read on for more.

When a last-minute casting upends months of preparation, TWoA explores how Yuka Iwai, principal soloist at K-Ballet Tokyo, prepared to step into Giselle with just two weeks’ notice—reflecting on pressure, partnership, and the fragile balance between instinct and control in an unexpected debut.

How does a composer find her voice between cinema, concert hall, and social media? TWoA explores how Eunike Tanzil draws inspiration from Star Wars and John Williams, turns hummed melodies into symphonic music, and carves out a distinctive artistic path following her signing with Deutsche Grammophon.

How do you prepare for a Swan Lake debut—one of classical ballet’s most demanding double roles? TWoA talks to Mariko Sasaki, First Soloist with The Royal Ballet, about stepping into Odette and Odile for the first time, shaping character and partnership with Joseph Sissens, and navigating the emotional and technical marathon of Swan Lake.

For Tiffany Poon, music is a space for thinking as much as feeling. In conversation around her new album Diaries: Schumann, the pianist reflects on childhood, philosophy, and the value of daydreaming — tracing how Robert Schumann’s music became a framework for questions about identity, creativity, and what it means to grow into oneself as an artist.

For pianist and educator Benal Tanrısever, music is not about flawless execution but imaginative communication. Trained at The Juilliard School and shaped by an international performing career, Tanrısever speaks with TWoA about education, ambition, and why music should belong to everyone—not just professionals.

What does it mean to dance an instrument rather than a character? In this TWoA interview, Marcelino Sambé discusses creating the role of “The Instrument” in The Royal Ballet’s The Cellist, choreographed by Cathy Marston. Reflecting on loss, embodiment, and musical intimacy, Sambé reveals how movement, sound, and emotion merge in this haunting tribute to cellist Jacqueline du Pré.

What does it take to follow a dream—especially when it begins far from home? In this TWoA interview, Viviana Durante, Artistic Director of English National Ballet School, reflects on her journey from Rome to the world’s leading stages and her philosophy of dance education today. From resilience and homesickness to interpretation, individuality, and collaboration, Durante shares what it means to build artists—not just dancers.

Ahead of the 2023 Cliburn Junior Competition, TWoA speaks with rising pianists Saehyun Kim and Seokyoung Hong about moving from Seoul to the US, artistic individuality, and finding freedom beyond competition.

How much should you really practise? How do you stay calm on stage? In this TWoA expert guide, Cliburn Junior pianists Seokyoung Hong and Saehyun Kim share honest advice on competition pressure, mental practice, and trusting the music—cloud-gazing included.

What happens when classical ballet collides with hip hop culture? In Dorian, Dutch National Ballet and ISH Dance Collective reimagine Oscar Wilde’s The Picture of Dorian Gray for an image-obsessed, social-media age. Through structured improvisation, live illustration, and sharply contrasting movement styles, the production pushes dancers—and audiences—far beyond their comfort zones. Read on for more.

There is no single route to becoming a musician — and Elaina Spiro knows this better than most. From discovering the cello by chance to finding purpose through illness, practice, and performance, her story challenges the myth of the “perfect” musical path. In conversation with TWoA, the Boston Conservatory cellist reflects on resilience, mentorship, mental health, and the healing power of music.

How do young musicians practice smarter — and dress for the stage without distraction? In this practical Q&A, Boston Conservatory cellist Elaina Spiro shares her method for turning lessons into focused, efficient practice. From recording strategies to cultivating positive self-talk, her approach puts the mind at the centre of musical growth. She also breaks down the often-overlooked art of concert wear — thoughtfully, honestly, and with performer-tested insight, exclusively for TWoA.

Cuba is world-famous for its rhythms, but its classical music tradition is just as rich. Cuban violinist Amelia Febles Díaz reflects on growing up in Cuba’s rigorous music schools, blending Mozart with mambo, and why reconnecting with her own musical roots ultimately made her a stronger artist.