Camille Pépin
Born in 1990, Camille Pepin is one of the most successful rising young composers of her generation. At the crossroads of French impressionism and the American repetitive music, her distinctive sound-world finds its inspiration in nature or painting. Her art of color is expressed with as much science of orchestration as poetic imagination.

Her music is regularly played by numerous orchestras (BBC Symphony Orchestra, Frankfurt Radio Symphony, Sydney Symphony Orchestra, West Australian Symphony Orchestra, Houston Symphony Orchestra, Toronto Symphony Orchestra, Brussels Philharmonic, Orchestre Philharmonique de Radio France, Orchestre national de France, Orchestre national de Lyon, Orchestre du Capitole de Toulouse, Orchestre national d’Île de France) and conductors such as Alain Altinoglu, Mikko Franck, Fabien Gabel, Ben Glassberg, Leonard Slatkin, Arie Van Beek and Simone Young.

She won numerous prizes such as the Île de Créations competition and the Sacem’s Prize in 2015, as well as a prize from the Académie des Beaux-Arts in 2017. The following year, she is one of the 30 Éclaireurs Vanity Fair. In 2020, she is composer of the year at the Victoires de la Musique Classique. She is made Knight of the Order of Arts and Letters in 2022. Her first album released by NoMadMusic in 2019 is unanimously praised by the press. ​

In 2023, Renaud Capuçon will premiere her violin concerto with the Orchestre national de France and Simone Young. The Hr-Sinfonieorchester Frankfurt will also premiere one of her new works with Alain Altinoglu. Her new album with the Orchestre national de Lyon & Ben Glassberg will be released by NoMadMusic in April.

After studies at the Amiens Conservatoire, she obtained five first prizes in Conservatoire National Supérieur de Musique et de Danse de Paris (orchestration, analysis, harmony, counterpoint and fugue & forms). She studied notably with composers such as Guillaume Connesson, Marc-André Dalbavie and Thierry Escaich, drawing from the French line.

Connection to nature is essential for Camille. She also likes cooking, Harry Potter, and her favorite color is blue.

Ben Glassberg
Glassberg's direction combines the tension of the subject and the clarity of Britten's sublime score, where each instrument punctuates the twists and turns of history. He carries out a work of goldsmith with the instruments of this small orchestra designed by the composer to bring colors, sometimes light, sometimes dark, to this story that the contrasts sometimes make asphyxiating." toutelaculture.com, May 2021

“The British conductor Ben Glassberg in his element here between Shakespeare and Britten, and under his baton, the house orchestra of which he is the Musical Director easily finds the colours and the mystery that befits here - from the first bars evoking the forest, up to the final chorus of blessing from the palace of Theseus.” ConcertClassic.com, February 2023

'If there's a reason to see this revival, it's for conductor Ben Glassberg, who drew out a truly glorious performance from the ENO Orchestra. He's a natural fit for this repertoire, with just the right amount of rubato to avoid sounding sentimental. I've rarely heard the orchestra sound this luxuriant, undoubtedly helped by the fact that the lead couple could sail over the deceptively heavy orchestration with ease. Let's hope ENO brings him back' - Kevin Ng, Bachtrack

"Glassberg conducts with irresistible panache, and there’s some fabulously detailed playing from the Orchestra of the Age of Enlightenment. Immensely enjoyable, and the best Don Pasquale I’ve ever heard." - The Guardian, July 2022

"Musically, things are in the expert hands of Ben Glassberg, a recent principal conductor of the Glyndebourne Tour, now in demand here, there and everywhere. He brings spirit and flexibility to every bar of Donizetti’s score – from the helter-skelter brilliance of the opening to the joyous end." - The Stage, July 2022

'But the biggest cheer deservedly went to the orchestra and its conductor Ben Glassberg, in whose hands this huge-hearted score bounded to life, roaring and soaring' - Jessica Duchen, iNews

'The musical performance is impressive. Indeed under the baton of Glyndebourne Tour’s music director, Ben Glassberg, it sounds more viscerally theatrical and he manages to reignite the drama [...] He gets terrific playing from the Glyndebourne Tour Orchestra and coaxes the fine young cast to surpass themselves in Beethoven’s demanding music' - Hugh Canning, The Times

'The other major factor is the revelatory conducting of Ben Glassberg and the response he got from the ENO Orchestra. Glassberg allowed the music to settle and thrive and made Puccini’s brilliantly organised score tell the story like reading a book. The sounds he drew for the opening to Rodolfo’s ‘O soave fanciulla’ – all depth and glow – was just one instance of having the illusion of hearing the opera for the first time' - Peter Reed, Classical Source

'One of the most impressive aspects was Ben Glassberg’s conducting, which revelled in Puccini’s Wagnerisms, memories of Tristan evoked quite magically in the first act, without taking for something they were not. The sounds extracted from the ENO Orchestra were often magnificent: a great dynamic range, from moments of hushed intimacy, to grand, declamatory gesture. But it was Glassberg’s pacing and his reconciliation of vocal and orchestral demands that marked this out most strongly' - Mark Berry, Opera Today

"And Ben Glassberg, 28, the young music director of the Opéra de Rouen Normandie, is reconnecting the Arts Theatre with its prestigious history.... Magnificent interpretation without pathos; powerful, sensitive, quivering, tragic... A triumph!" - Bachtrack, October 2022