In the context of the Orléans International Piano Competition dedicated to 20th-century repertoire until today, one of the first three rounds took place on March 28th and 29th in Chicago at Roosevelt University. The first works inspired by Diego Velázquez’s painting, “Saint Thomas,” a gem preserved at the Orléans museum, were heard.
Lorenzo Soulés, Winston Choi, Aline Piboule in Chicago. Photo: OCI.
By Jean-Dominique Burtin.
Adeline Delterme, an administrator of the Orléans International Competition, and Aurélie Thirot, a production manager, traveled and were especially welcomed by Winston Choi, a former laureate of the Orléans competition and a piano professor at the American university. They ensured the smooth running of the event for both artists and hosts.
First Nine Candidates at Ganz Hall in Chicago
Nine candidates from the United States, Canada, and Asia had the opportunity to perform in public at Roosevelt University’s magnificent Ganz Hall during the first round. This round’s jury consisted of pianists Aline Piboule and Lorenzo Soulés.
During this short stay, they also provided masterclasses for university students, and both jury members performed a recital featuring works by Fauré, Dutilleux, Decaux, Debussy, and Michael Levinas. The latter was invited by Orléans International Competition to compose the required piece for the competition’s 2026 finale, titled “Parèidoile.”
Subtle Chevillon-Bonnaud Composition Prize
Alongside the interpretation competition, the André Chevillon & Yvonne Bonnaud Composition Prize, organized since 1998 and associated with Radio France, continues to support young creators. For the 2026 edition, composers were invited to draw inspiration from Diego Velázquez’s painting “Saint Thomas” for a chance at the Chevillon-Bonnaud Prize.
Following the regulations, compositions by selected composers were performed by candidates during the first round in Chicago, Frankfurt, or Shanghai. Among them were Elena Kats-Chernin’s “Butterflying” by Chinese pianist Yungyung Guo, Ryan Senger’s “Velázquez Fantasy,” and Vivian Kok’s “Resolve of St Thomas.”
Fusion of Musical Composition and Pictorial Art
The competition beautifully connects contemporary musical creation with pictorial art or plastic arts. Noteworthy is Hector Parra’s composition “Au cœur de l’oblique,” inspired by the collections of the Fonds régional d’art contemporain d’Orléans, known as “Les Turbulences.”
Participants performed this composition during the 2018 competition finale, leaving a memorable impression. The merging of art forms during these events enriches the cultural landscape of Orléans.
The Apostle Saint Thomas by Velázquez. MBAO Photo JDB.
Velázquez and Musicians of His Time
Challenging the conventions of aesthetics and artistic eras, the competition offers candidates a unique opportunity to draw inspiration from Velázquez’s “Saint Thomas” for the Chevillon-Bonnaud Prize.
The link between music and visual art resonates deeply, creating new compositions that continue to enchant listeners. Through these experiences, the historical and cultural heritage of Orléans remains vibrant.
Conclusion of the Competition
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In Frankfurt, Germany:
- First round on April 11-12, 2026
- 16 candidates participated.
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In Shanghai, China:
- First round on May 16-17, 2026
- 11 candidates participated.
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In Orléans:
- Second round on October 27-29, 2026
- At the Institute Hall.
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In Paris:
- Concert of laureates on November 2, 2026
- At the Théâtre des Bouffes du Nord.
