American conductor Anthony Parnther is in his sixth season as Music Director of California’s San Bernardino Symphony Orchestra. As conductor of the Gateways Music Festival Orchestra, whose members hail from leading orchestras nationwide, it was Parnther who led its sold-out Carnegie Hall debut, showcasing the world premiere of I Can by five-time GRAMMY-winner Jon Batiste.

A master of multiple genres, Parnther has conducted many of the world’s preeminent artists, from Joshua Bell, Lynn Harrell, Jessye Norman, and Frederica von Stade to Imagine Dragons, Wu-Tang Clan, John Legend, Metro Boomin, Avenged Sevenfold, and Rihanna. The L.A. Times hailed Anthony as “The quintessential L.A. musician of our day.” Parnther’s recent conducting engagements include the New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, Philadelphia Orchestra, The Cleveland Orchestra, San Francisco Symphony, Cincinnati Symphony, National Symphony Orchestra, Atlanta Symphony, Houston Symphony, St. Louis Symphony, Detroit Symphony, Pittsburgh Symphony, Baltimore Symphony, Royal Scottish National Orchestra, Vancouver Symphony, Calgary Philharmonic, Los Angeles Opera, Music Academy of the West, Sydney Symphony in Australia, and the Chineke! Orchestra, with whom he debuted at the BBC Proms.

Dedicated to amplifying traditionally underrepresented voices, Parnther has reconstructed and performed orchestral works by Margaret Bonds, Duke Ellington, Zenobia Powell Perry, Florence Price, William Grant Still, and Samuel Coleridge-Taylor. As well as leading LA Opera’s world premiere of Tamar-kali Brown’s oratorio, We Hold These Truths, and Long Beach Opera’s revival of Anthony Davis’s Pulitzer Prize-winning Central Park Five, Parnther has premiered and recorded works by Jon Batiste, Kris Bowers, Chanda Dancy, Philip Herbert, Daniel Kidane, George Lewis, James Newton, George Walker, and Errollyn Wallen. For his extensive championing of works by Black, Latino, and women composers, Parnther was profiled as a “Local Hero” by Los Angeles’ KCET/TV.

As one of today’s foremost film conductors, Parnther helms recording sessions for many of the world’s top international feature films and television series, working in close collaboration with some of the most decorated media composers in the industry. On the scoring stages of Los Angeles, San Francisco, Nashville, Budapest, Glasgow, and London, he has led the scoring sessions for projects like the Oscar-winning score for Oppenheimer, GRAMMY-winning Encanto, Emmy-winning The Mandalorian, Avatar: The Way of Water, Black Panther: Wakanda Forever, Transformers: Rise of the Beasts, Ghostbusters: Afterlife, Diary of a Wimpy Kid: Rodrick Rules, Ice Age: Adventures of Buck Wild, Creed III, PAW Patrol: The Mighty Movie, and League of Legends.

Soprano Holly Sedillos is a Los Angeles native who has been praised for her versatility and her “seductive, siren-like charm.” She splits her time between the studio and the stage.

Stage highlights include several solo performances with the Los Angeles Philharmonic, including John Adams’ Grand Pianola Music (once with Gustavo Dudamel, once with the composer at the helm), Gabriela Ortiz’s GRAMMY-nominated Revolución Diamantina, Steve Reich’s A Traveler’s Prayer, and Tomasi’s Fanfares Liturgiques. Holly’s Hollywood Bowl solo features include Danny Elfman Live, various Disney shows, and running across the Bowl stage in a plush tiger suit. Holly played Maria in West Side Story in Helsinki, Jasmine in Aladdin: A Musical Spectacular! at Disney’s California Adventure, and Anaïs Nin in Cindy Shapiro’s Anaïs: A Dance Opera in France, Morocco, and California. She has soloed at Carnegie Hall with Christopher Tin, The Soraya with Marco Beltrami, on Kraków and Lucerne stages with John Powell, and Walt Disney Concert Hall with Jeff Beal and the Los Angeles Master Chorale. Holly loves to sing with conductor Anthony Parnther, having performed the solos in Carmina Burana, West Side Story, James Newton’s The King’s Way, and Bernard Herrmann’s Salaambo’s Aria, under his leadership.

In the studio, Holly has sung on over 150 projects. Recent solo highlights include recording Richard Sherman’s final cinematic song called “Mushka’s Lullaby,” providing the many eerie solo vocals for John Powell’s score to Don’t Worry Darling, a soaring soprano line over the floating poppies in Wicked, and vocals in Michael Abels’ opening and end credits in an HBO documentary called Fake Famous. Holly is a proud member of SAG-AFTRA and AGMA, and holds a B.A. from Dartmouth College.