Yiguo Yan is a composer, poetess and playwright, her music has been played in more than 30 cities across the world in the US, China, Europe and Asia with conductors Mahir Cetiz, Jeffery Means, Zsolt Nagy, Noah Sivan, David Dzubay, Peter Lillpopp, Ben Byard, Fan Tao, Zhang Chengjie, Zhang Xujia and Fang Zixiang. She has won more than 20 composition prizes, including The First Prize of “Artino International Chamber Opera Composition Competition”, The Winner of “The American Prize” in Professional Category, “Miriam Gideon Prize” by the International Alliance for Women in Music, The First Prize of “Vienna International Opera Composition Competition”, The First Prize of “Shanghai New Music International Call for Score”, The First Prize of “Shanghai Chamber Music Festival Composition Competition, The Second Prize of “Artino International Orchestra Composition Competition” Etc. Yan has collaborated with more than 20 professional orchestras, ensembles and soloists such as Beijing Dahua City Performing Arts Center, Jack Quartet, Divergent Trio, Iris Duo, Zhejiang Symphony Orchestra, Beijing Film Symphony Orchestra, BMC Symphony Orchestra, Lydian Quartet, Brevard Music Center, Brandeis New Music Center, Israel Contemporary Players, International Contemporary Ensemble, Shanghai New Music Ensemble, Opera 180, pianists Jihye Chang Sung, Michelle Nam Etc. She earned her DMA, Master, Bachelor and high school degrees in composition from UMKC, Brandeis University, Mannes College of Music and the Middle School affiliated to Shanghai Conservatory of Music, studied composition with Deqing Wen, Chen Yi, Zhou Long, James Mobberly, Eric Chasolow, Yu-hui Chang, Mario Davidovsky, David Loeb, Lv Huang, Yue Miao and Ding Ying. Her received fellowships including Snow Foundation, China National Arts Foundation, Fontainebleau-American Academy Fellow, Cortona New Music Session’s Fellow, Brevard Music Center Found, Thailand International Composer’s Festival Fellow, Indonesia International Young Composers’ Week Fellow, Hangzhou Modern Music Festival Composer in Residence, Shanghai International Arts Festival Found. Yan’s Poems have won 10 prizes in literature in China and abroad, and her four original librettos in Chinese and English for her operas have been awarded the first prizes by international composition competitions in China, Vienna and USA.

Innovative Voice

Never define a composer by her nationality, gender and age.

歌剧创作简历

    严亦果8岁开始学习钢琴，15岁对作曲萌生兴趣，独自前往上海，向时任上音附中作曲学科主任丁樱教授学习作曲，三个月后，考入上海音乐学院附属高中作曲专业。2008-2019年留学美国，获本、硕、博各个阶段的全额奖学金和优秀学生奖学金，取得了作曲专业的学士、硕士和博士学位。2019年回国在上海音乐学院工作，2023年起在上海歌剧院工作。

     严亦果共获得海内外作曲比赛奖项、基金20余项，包括美国大奖歌剧创作专业组第一名、艺创奖国际室内歌剧创作比赛一等奖、维也纳国际歌剧创作比赛第一名，布雷瓦尔德音乐中心基金第一名、上海当代音乐周国际大师班作品征集第一名、法国枫丹白露室外行为艺术音乐创作第一名、艺创奖国际管弦乐作曲比赛二等奖、美国斯诺基金等。

     严亦果对歌剧创作的兴趣萌芽于高中时期，她的五部室内歌剧和剧场作品都基于自己的剧本而作。2006年，基于尼采《查拉图斯特拉如是说》、索福克勒斯《俄狄浦斯王》和主权主义，并将三者进行结构、重组的中文独白剧本《生命是命运的奴隶》被谱写成室内独白歌剧，获上音附中重奏作曲比赛第一名（评委：赵晓生、丁樱、尹明五、陈强斌），首演获得上音附中师生的一致好评。决赛音乐会由上音附中学生首演于上音附中小音乐厅，获奖音乐会由时任上音附中校长赵晓生教授和女高音费悦等演出于贺渌汀音乐厅。

     2008年，基于中文荒诞派戏剧而作的室内歌剧《镜子》（聚焦于性别和跨性别议题，为美声女中音、京剧男高音和室内乐团而作），获维也纳国际歌剧创作比赛第一名。组委会在颁奖词中写到：“《镜子》因其高度的原创性，从来自四大洲九个国家、不同语种的参赛歌剧中脱颖而出”。严亦果在获奖时为当届比赛年龄最小的参赛者（19岁）。获奖报道：https://www.iaml.info/sites/default/files/newsletter/IAML-NL-30.pdf

     2011年，受法国枫丹白露学院委约，严亦果创作的舞台作品《彩色的诗》分八个乐章，以中、英文双语朗诵的八首原创诗歌为蓝本，由茱莉亚音乐学院、柯蒂斯音乐学院和哥伦比亚大学的优秀学生联袂首演于枫丹白露城堡。首演音乐会获法国观众及巴黎音乐学院作曲教授的一致好评。

     2013年，受布兰戴斯大学音乐中心委约，严亦果的首部英文歌剧《色彩偏执狂》在布兰戴斯大学完成首演。该剧的剧本取自严亦果的原创剧本《紫罗兰狂想》三部曲中的第二部，聚焦于一个作家内心的真实写作状态，展现了创作本身的焦虑、恐惧、未知、激情、自我怀疑乃至精神崩溃，为“元诗”的剧本化外延，即，“诗是关于写诗本身的”。《色彩偏执狂》作为一个剧本，也是基于“剧本写作本身的”。《色彩偏执狂》于2015年获“美国大奖”歌剧创作专业组第一名。“美国大奖”分三轮进行，只针对已有专业录音的新作品进行评选。《色彩偏执狂》因其“真实和原创”从众多美国作曲教授级别的决赛者中脱颖而出。该组别历年获奖者包括纽约大学作曲教授、茱莉亚音乐学院兼职教授Justin Dello Joio（2016）、两获艾米奖提名的美籍非裔作曲家Dave Ragland（2021）等。严亦果为迄今为止唯一一位获得该奖项首奖的亚裔作曲家。获奖报道：http://theamericanprize.blogspot.com/2015/11/composer-winners-operatheaterfilm-2015.html?m=1

     2018年，受时任博士生导师周龙和陈怡的推荐，严亦果获得美国斯诺基金和180歌剧公司的联合委约，与剧作家、诗人、美国奥克拉荷马大学语言学教授、北京大学诗歌学会唯一外籍专家Jonathan Stalling合作，创作中英文双语歌剧《莺歌鹂诗》，并在美国堪萨斯城的斯诺基金会员筹募会上成功完成了第一幕的首演。

     2023年7月，严亦果创作了她的第二部英文室内歌剧，该剧基于自己的原创英文剧本《戴面具的斯芬克斯》。剧本综合、解构、重组了古希腊神话中“说谜语的、人面狮身的怪物”斯芬克斯、《爱丽丝梦游仙境》中的梦幻女主角爱丽丝，和智利诗人聂鲁达的《疑问集》，探讨了存在于现代人内心深处的精神危机。《戴面具的斯芬克斯》由易立明导演、大华城市表演艺术中心制作，首演于第四届杭州现代音乐节，获“艺创奖”国际室内歌剧创作比赛一等奖。乐评请参见：https://mp.weixin.qq.com/s/NDtkIS8viDcouG2endcknQ

     2022年，严亦果完成上海音乐学院博士后出站报告《当代先锋文学对查娅.捷诺文两部歌剧创作的影响》，获优秀评级。报告聚焦于当代先锋文学对歌剧创作的深远影响，弥补了国内对先锋歌剧研究的薄弱环节。报告中的一章，论文《双剧本拼贴的新歌剧》发表于《中央音乐学院学报》。论文可下载：https://wap.cnki.net/touch/web/Journal/Article/ZYYE202103010.html

     除歌剧创作外，严亦果在管弦乐、民乐重奏、西洋乐重奏和独奏等其他音乐体裁的创作上也均有获奖记录，作品在美国多所高校演出过，包括UC Berkeley, University of Maryland, Colorado University, New York University, Bowdoin College, Bard College of Music, Mannes College of Music, Brandeis University, UMKC, University of Washington, Florida State University。美国弗洛里达和奥古斯丁广播电台在2016年专场广播了严亦果两个小时的音乐作品。严亦果的管弦乐队作品《一半深蓝、一半深灰》由中国电影交响乐团首演于国家大剧院，《光的裂变》由浙江交响乐团首演于第三届杭州现代音乐节（浙江音乐学院交响音乐厅），多部小交响乐团和重奏作品首演于世界各地的国际音乐节上。

Yiguo Yan

Music Composer

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Chamber Operas

(Stage Design by Yiguo Yan, Painted by Chen Junking)

Life is the Slave of Destiny

Mini Opera in Chinese, 2005

A mini opera based on my original Chinese libretto that deconstructed, reorganized and mixed Nietzsche Thus Says Zarathustra, Sophocles King Oedipus and feminism. Life is the Slave of Destiny was awarded the First Prize of Chamber Music Festivals Composition Competition held by the Middle School Affiliated to Shanghai Conservatory of Music. In it’s award ceremony concert, Life is the Slave of Destiny was performed again by the former president of Shanghai Music Middle School Affiliated to Shanghai Conservatory of Music, Composer and Pianist, Professor Zhao Xiaosheng, with Soprano Fei Yue, Flautist Sui Yi, Cellist Liu Pai in the He Lu Ting Concert Hall at Shanghai Conservatory of Music.

Soprano: Fei Yue, Flute: Sui Yi, Cello: Liu Pai, Piano: Wu Jialiang

(Digital Painting by Yiguo Yan)

Mirror

Chamber Opera in Chinese, 2008

Mirror is a chamber opera based on my original Chinese absurd play, focusing on gender and transgender issues, written for a mezzo soprano, a peking opera tenor, and a chamber orchestra. Mirror was awarded the first prize in Vienna International Opera Composition Competition. The competition committee wrote in the prize citation that “Mirror stands out from applicants of nine countries with operas in different languages due to its highly originality.”

Soprano: Fei Yue, Peking Opera Tenor: Huo Yonggang

Colors of Obsessions

Chamber Opera in English, 2013

Commissioned by Brandeis New Music Center, my first English opera Colors of Obsessions premiered at Brandeis University. The libretto is taken from the second part of my original play Violet Fantasy Trilogy, focusing on the true writing state of a writer’s heart, showing the anxiety, fear, unknown, passion, self doubt, and even mental breakdown of a writer’s inner-self being. It is an extension of “meta poetry”, that is, “poetry is about writing poetry itself”. As a play, Colors of Obsession is also based on “writing plays itself”‘. I was the winner of The American Prize in Professional Category in 2015 for her original English chamber opera Colors of Obsessions.

Brandeis New Music Center, Soprano: Aliana de la Guardian, Conductor: Jeffery Means

(Stage Design by Yiguo Yan, Painted by Chen Junrong, 2014)

(Premiere Photo, Soprano: Wang Aiying)

Masked Sphinxes

Chamber Opera in English, 2023

In 2023, I composed my second English chamber opera, which was based on my original English play Masked Sphinxes. The play synthesized, deconstructed, and reorganized the symbol of “monster who speaks riddles” in ancient Greek mythology, the fairy-tell liked female protagonist Alice from Alice in Wonderland, and the Chilean poet Pablo Neruda’s El libra de las Preguntas, exploring the spiritual crisis that existed deep down in the psychological stage in people in common of our time. Masked Sphinxes was directed by Yi Liming and produced by Dahua City Performing Arts Center. It was premiered in the 4th Hangzhou Modern Music Festival and won the First Prize of “Artino International Chamber Opera Composition Competition”.

Beijing Dahua City Performing Arts Center, Artistic Director: Yi Liming, Director: Peng Wenni, Conductor: Fang Zixiang. Cast: Wang Aiying, Gu Mengmeng, Xu Bowen, Tan Jiacheng, Chen Jialong, Ensemble: Dahua Ensemble

(Photograph by Yiguo Yan, UMKC, 2018)

The Refractions of Light

For Orchestra, 2022

The Refractions of Light was inspired by one of my photographic works Summer Twilight VII: the intense golden light polymerizes in a huge cloud, spits through the refractions of the shadows and spreads out. I was very lucky to witness such a shocking and fleeting phenomenon, as if I had received some enlightenment about modern art, that is, there is an inevitable and inexplicable passion for creation, which is vigorous and bursting from the inside. I must find this passion in myself and use it as the original driving force of my composition.


All the techniques and rational norms that I have learned in schools for many years should serve as bystanders and observe, interpret, filter and express such passion. 13 nine-tone chords (original, inversion, transposition, partials addiction, excerpt, overlying, transposed excerpts overlying etc.) run though the whole piece, laid a saturated golden tone for the work; a large amount of rising, falling lines (made of pre-composed scales) show the penetrating power of light; a short-long rhythmic motif forms a “hardness and softness” contrast with linear textures; metal keyboard percussion and harp simulate the fleeting auras by fragmentized and short sound flows; the criss-crossed pronunciation points of woodwinds and the dynamic and articulated counterpoints of strings “virtualize” the harmonic columns, and intend to depict the light beams that will disappear in a moment during the twilight.

The Refractions of Light was awarded the second Prize of “Artino International Composition Competition”.

Zhejiang Symphony Orchestra, Conductor: Zhang Chengjie

Photograph by Yiguo Yan, 2017

Half Dark Blue, Half Dark Grey

For Orchestra, 2017

I like to take shots of the intense moments of the huge sky, like the photograph above —— the moment before rain poured, dark colors lean towards the ground, I can almost hear some dissonant chords and musical textures from the moment.

Brevard Music Center Symphony, Conductor: David Dzubay

The Wild Scribble

For 14 Instruments, 2016

This large chamber piece was very complicated and very hard to play, because the music developed in various ways in different dimensions, and dissonant materials were rushing and colliding each others, like the wild scribble. The expressions are rather abstract.

Israel Contemporary Players, Conductor: Zsolt Nagy

Digital Design by Yiguo Yan, 2022

Ladder of Heaven

For Piano Quintet, 2021

This piece was inspired by Cai Guoqiang’s painting The Ladder of Hometown. The painting corresponds to his large-scale explosion performance Ladder of Heaven in Quanzhou, Fujian in the same year. The basic process of the performance is to lay a 500 meter long and 5.5 meter wide ladder on the ground, then pull it up with the help of a hot-air ballon to make it perpendicular to the ground, and than light the rope ladder to form the fireworks to a continuous upward blasting in the huge night sky, at the same time, the fireworks’ ladder continuously disappears. The Ladder in Hometown recorded the moment of the explosion performance on a 4*3 meter white paper by a bomb filled with black ink: ships and mountains are faintly visible in margins, and a looming heavenly ladder in the lower left corner shines like a light from afterlife. Its transiency and loneliness reflect the reality of nothingness, symbolizes the mysterious and unpredictable road to the art paradise in the artist’s heart. The fleeting explosion and disillusionment of gunpowder are fixed as eternity by paper. The traces of its explosion show the most primitive and intense power in the artist’s soul.

The ensemble piece Ladder of Heaven is composed by two sets of highly separated materials: one is “ladder of heaven” composed of overtone chords, and the other is “split and struggle” composed of medium and low ranges’ turbid and thick harmonies and the splicing of cross sound streams in the high range. The continuous integration of high and low dimensions in development symbolizes the mental state of artists’ straggling to climb to their dreams. At the climax of the piece, all five instruments that rose to very high range begin to collapse rapidly, just like a hard-working art disappeared in an instant. Ladder of Heaven is intended to show the psychological dilemma of contemporary artists and the looming “ladder” leading to the artistic ideal country.

Digital Design by Yiguo Yan, 2022

Shanghai New Music Ensemble, Conductor: Zhang Xujia

Break Through the Soil

For String Quartet, 2023

When I started writing a string quartet, my instinctive and intuitive inspiration was “rebellion”. Strings are soft and tender, but I wanted to hear them make violent sounds. Different from brass and percussion, the strength and power on string instruments would give people a kind of contrast beauty, a kind of modern beauty produced by the combination of hardness and softness.
The title of the piece “Break Through the Soil” is not only a miniature of my growing experience over the past years, but also a thematic image that has been running through the music. One motif——the thick and dark- colored harmonies symbolize some difficult feelings inside. The thick and dark-colored harmonies are also not static, they kept making slight changes on bowing positions, dynamics and sliding up and down a quarter tone to depict some hidden pains that seem to erupt out anytime. Another motif is a musical gesture that climb from low to high range, it symbolizes effort and progress, like a seed that needs to break through thick soil to meet the sunlight. The two motifs are both unstable, but they are also highly opposed to each other, and they could together create frictions and tensions. I hope that the performance/realization of the piece will rouse a passionate spark, like the sincerity of youth.

Digital Design by Yiguo Yan, 2022

Jack Quartet

Sacrifice of Freedom

For Clarinet, Harp and Percussion, 2017

At my late 20s’, the anxiety, expectation and fear to marriage reached to a highest point of my life. So I had a nightmare about being in a wedding that I were forced to marry to a father-liked figure, he supposed to be very powerful, but a strong power dynamic between me and the man sounded not so friendly. In Sacrifice of Freedom, I wrote mournful melodies that ranging from singing to screaming across all octaves of a clarinet(doubled with bass clarinet), with sparkling harp timbres that mimic the starry decorations of a wedding, and the funeral marching beats by drums.

I wrote the piece very fast (almost like a sketch) in order to catch the fleeting inspirations I caught from the dream.

Digital Design by Yiguo Yan, 2022

International Contemporary Ensemble

The Transparent Poem

For Soprano, Viola and Piano(2023)

I’ve been working on the art of catharsis for so many years, writing intense librettos and wild music, now I want to go to the opposite, to explore the power of silence and lightness, to capture the transient beauty, and some free-floating flows of consciousness. Since I started to write poems 4 years ago, I looked back to music composition sometimes and I find that music has such advantage of using the power of silence, exclusively. In any forms of literature, there is not much space for silence, words are always full for decoration or logic establishment. In this year, I expected to create a musical world where has the evacuation of time, the lightness of poetic meanings, and the massive power of emptiness.


In the trio The Transparent Poem, I tried to depict the flashing laser light, the shapeless wind and glitters hung in the air on the piano, and I wrote deep-breathed sustained lines for viola and soprano to thin the musical texture. In the end, soprano recites a poem lightly, to connect the poem with music.

Digital Design by Yiguo Yan, 2022

Divergent Trio

The Fate of a Poet

For Piccolo, Clarinet, Violin, Cello and Piano (2012)

The Fate of a Poet was dedicated to one of my favorite modern Chinese poet Haizi. He created many shock scenes in his verse, mixed violence and softness perfectly in a very original way that also fits the rhythm of modern Chinese.

In this pirrot ensemble, I designed three center pithes: D for delusion, C for Catharsis, and A for abandon. These are the three key words I can abstract from Haizi’s poetry.

Most part of the music is driven by compound rhythmic forces, like a wild modern dance.

Digital Design by Yiguo Yan, 2022

Brandies New Music Center

Seven Poems

For Two Narrators, String Quintet, Piano and Six Wind Bells (2011)

Commissioned by the Fontainebleau-American Academy, stage/theatrical work Seven Poems consists of seven movements that are based on seven original short poems recited synchronously in Chinese and English. It was co-performed by outstanding students from the Juilliard School of Music, Curtis Institute of Music, and Columbia University at Chateau de Fontainebleau.

Digital Design by Yiguo Yan, 2022

Fontainebleau-American School fellows from Juilliard School of Music, Curtis Institute of Music and Columbia University, Conductor: Mahir Cetiz

Almost Transparent Lilac

For Violin, Clarinet and Piano, 2016

Almost Transparent Lilac was written based on one of my poems from Thirteen Poems of Purple. Purple is the most intimate and personal color for me, it symbolized the extremes of sorrow and artistic beauty in my poetic world. Purple is the purity overflowed from the boundaries of sorrow. Like a butterfly flutters its lilac wings under the sunshine. Such a poetic picture……so transparent and so sad that language is already powerless, only music can explain what it is.

Photograph by Yiguo Yan, 2022

Violin: Cheng-hao Kuo
Clarinet: Trevor Stewart
Piano: Yiguo Yan

The Fragments of Light

Piano Etude, 2017

The Fragments of Light was selected (along with Luke Haaskma’s “Crystal Murk”) from the first BMC Etude Project, a collaboration project between pianists and composers at the Brevard Music Center initiated by pianist Jihye Chang Sung. She took the two etudes in her world tour recitals.

As a very short piano etude, I saw it as a short poem, and it’s mainly driven by the fleeting inspirations. Looking back to the passing time, some beautiful and unforgettable moments glimmer colorful lights, like the shinning fragments collide each other gently or heavily. The music box tune in the beginning and the end was taken out from my Chamber Opera Mirror, and it symbolizes the most cherished naiveness in life.

Digital Design by Yiguo Yan, 2022

Jihye Chang Sung

Almost Transparent Blue

For Nine Instruments, 2011

Almost Transparent Blue shows my early explorations on the concept of “transparent”, including harmonies, textures and phrasing.

Digital Design by Yiguo Yan, 2022

Mannes College of Music Ensemble, Conductor: Noah Sivan

Performances and Rehearsals

How to transfer my music from score to real sound? Thank for conductors, performers and concert organizers full heartedly.

Rehearsal Half Dark Blue, Half Dark Grey with Beijing Film Symphony Orchestra, Conductor: Fan Tao, National Center for the Performing Arts, Beijing, China. (2019)

Premiere talking (The Wild Scribble) with Israel Contemporary Players, Conductor: Zsolt Nagy, Shanghai Conservatory of Music, China.(2016)

After the premiere of Seven Poems with players, Chateau de Fontainebleau, France. (2011)

Rehearsal The Refractions of Light with Zhejiang Symphony Orchestra, Conductor: Zhang Chengjie, Zhejiang Symphony Hall, Hangzhou, China. (2022)

Curtain Call Photo after the premiere of Masked Sphinxes, Grand Theater, Zhejiang Conservatory of Music, Hangzhou, China. (2023)

Yiguo Yan, playing her piano solo Lilac, Lavender, Purple in the Jakarta Center Theater, Jakarta, Indonesia. (2019)

Premiere of Love, Cello: Zhang Hui, Gu Zheng: Zhou Xuan, Piano, Yiguo Yan, Jewish Center, New York City, USA. (2014)

Premiere of Ladder of Heaven with Shanghai New Music Ensemble, Conductor: Zhang Xujia, Standard Concert Hall, Hangzhou, China. (2021)

Premiere talking, Purple, Cortona, Italy. (2013)

More Performances and Rehearsals

Unforgettable memories of my musical journey.

Premiere Concert of bilingual opera Ying Ge Li Shi, produced by Opera 180, Conductor: Ben Byard, in partnership with Edgar Snow Memorial Foundation and Symposium, the Diastole Scholar Center, Kansas City, Missouri, USA. (2018)

Pianist Jihye Chang Sung’s Piano Recital at UC Berkeley, USA, including The Fragments of Light in her program. (2019)

Premiere photo of Colors of Obsessions, Brandeis University, Boston, USA. (2013)

After the premiere of Sacrifice of Freedom, with International Contemporary Ensemble, Brevard College, North Carolina, USA. (2017)

Second rehearsal of The Fate of a Poet, Conductor: Jeffery Means, Brandeis University, Boston, USA. (2013)

Rehearsal of Half Dark Blue, Half Dark Grey, Brevard Symphony, Conductor: David Dzubay, Brevard Music Center, North Carolina, USA. (2017)

Premiere photo of Flower’s Words by Iris Duo, Longy School of Bard College, Cambridge, USA. (2023)

Premiere photo of Break Through the Soil by Jack Quartet, Bowdoin College, Brunswick, Maine, USA. (2023)

Online rehearsal of The Transparent Poem with Divergent Trio. The players were in Boston and I was in Shanghai. (2023)

Performance, Rehearsal, Posters, Lectures, Interviews, Commencement

More about Music

Interview by Johnson County Library with Bryan Voell, Johnson County, Kansas, USA. (2016)

Interview by Professor Deqing Wen at Chen Yi and Zhou Long’s House in Kansas City, Missouri, USA. (2016)

DMA Commencement at University of Missouri, Kansas City with my mentors Chen Yi and Zhou Long, Kansas City, Missouri, USA. (2019)

Rehearsal view from the backstage, Yiguo Yan’s Masked Sphinxes, in which four singers’ faces were fully covered. Grand Theater, Hangzhou, China. (2023)

Lecture in Shanghai Conservatory of Music, Shanghai, China. (2021)

Keynote Speech in “China Harmony Symposium”, Tianjin Conservatory of Music, Tianjin, China. (2023)

Performance of Purple, Fixed Media Controller: Kyo Shimizu, Piano: Yiguo Yan, Brandeis University, Boston, USA. (2012)

Poster of the First Beijing Chamber Opera Festival, listing 8 chamber operas including Masked Sphinxes.

Lecture Poster, Zhejiang Conservatory of Music, Hangzhou, China. (2021)

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poppy_guo@hotmail.com

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