Nancy Tsou is an Australian pianist, educator, AMEB examiner, and adjudicator based in Melbourne. Described by Kenneth Hince in “The Age” as an artist whose playing possesses “a true vision of the Romantic spirit of the music—its inner poetry as so many people call it”

Nancy began piano studies at the age of five and later completed a Master of Music at the Melbourne Conservatorium of Music. She has taught at the University of Melbourne, Monash University, and the University of Wollongong.

 Her international performing and educational engagements have included highly acclaimed concerts in Houston, as well as solo recitals and masterclasses in China at leading institutions including the

Shanghai Conservatory of Music and the Central Conservatory of Music. She has also performed at the Taipei Arts Centre to packed audiences. In Australia, Nancy has performed extensively in recital tours associated with the Victorian, Queensland, NSW, and ACT Arts Councils, and has appeared regularly at arts festivals and concert series. Her performances at Como House were particularly noted for recreating the intimate atmosphere of 19th-century musical soirées.

In 2025, Nancy was invited to the Tianjin Conservatory of Music to present masterclasses and participate in an educational exchange program, receiving a return invitation for this year.

Nancy’s recordings with Move Records, including Chopin Nocturnes and Latin Muse, are regularly broadcast on ABC Classic FM and regional radio stations. She has also appeared on television in both Australia and China and was a recipient of the Australian Chinese Achievers Award for services to music.

Nancy is currently developing an ergonomic fingering edition of Chopin’s Étude Op.10 No.1 for pianists with smaller hands, drawing upon the historical pianist-editor traditions of Chopin, Cortot, Godowsky, and Rosenthal.

Adelaide-based pianist Yundi Yuan has performed widely across Australia as a soloist, accompanist, and chamber musician. Highlights include a recent performance at the opening concert of the Hong Kong String Orchestra’s Australian Debut Tour in 2025; being a guest artist at the 2022 Freedman Classical Award at the Sydney Opera House; and performing Shostakovich’s Piano Concerto No. 1 in 2019 with conductor Andrew Groch and the Elder Conservatorium Chamber Orchestra.

Other notable concert appearances include Recitals Australia, Urrbrae House Twilight Concerts, Nexus Arts, The PianoLab, Soundstream New Music, and Government House Adelaide.

Yundi studies piano with Mrs Eleonora Sivan and Professor Anna Goldsworthy, and has won the 2018 Recitals Australia Lunch Hour Award and the SA State Final of Young Virtuoso. She was a national finalist in the 2016 Young Virtuosi Award.

A graduate of the University of Adelaide with First Class Honours in 2018, she completed a Master of Philosophy in 2021 and is currently a PhD candidate at the Elder Conservatorium of Music. Yundi has also worked with major music organisations such as the Adelaide Symphony Orchestra, Elder Hall, and the Australian Festival of Chamber Music. She is a board member of Recitals Australia.

Jennifer Chen, an alumna of the Elder Conservatorium of Music completed a BMus Honours in Performance, and is currently advancing her expertise through a research Master’s degree under the mentorship of Prof. Anna Goldsworthy, Mrs. Eleonora Sivan, and Mr. Stephen Whittington. Recognized for her musical excellence, Jennifer has been awarded the Maude Puddy Prize for Piano and the Thelma Dent Memorial Prize from the Elder Conservatorium of the University of Adelaide, as well as the Prize for Certificate of Performance from AMEB.

Jennifer enjoys versatility in her performance career, with appearances in solo recitals, piano duets, and chamber music across venues such as the Ukaria Cultural Centre, Elder Hall and North Adelaide Baptist Church Hall. She has significantly contributed to Adelaide’s music scene, participating in the OzAsia Festival, the Accompanist’s Guild of South Australia’s Festival, and Recitals Australia events. Jennifer’s dedication to the promotion of piano music extends beyond performance. Having participated and received prizes in the Eisteddfod piano competitions during her high school days, Jenniferhas co-convened the event since 2022 and adjudicated this event in 2024. This involvement has deepened her insight into the musical world and the dedication of younger students, their teachers, and families.

Jennifer’s teaching career is distinguished by her students’ achievements, including excellent AMEB exam reports and results, prizes in competitions, and performances at prestigious events such as the Festival Celebrating – The Art of Ensemble Performance and Elder Conservatorium Master Classes. Teaching at the Open Music Academy, Immanuel College, and privately, Jennifer employs a tailored approach, advocating for music as a means of therapy and self-discovery, thereby fostering her students’ musical and personal growth.

Frances Norton graduated from Elder Conservatorium with a B. Mus (Perf.) under the tutelage of Lance Dossor and Stefan Ammer, later studying with Diana Weekes at the Finders St School of Music, where she had completed her Certificate of Music in Accompanying.

Frances was able to pursue her interest and love of early music and the harpsichord and spinet in 1996, when the Marais Trio was formed with well-known violist and educator Richard Hornung and Baroque cellist and musicologist Dr. Mark Smith.

For many years, the Marais Trio played regular concerts in and around Adelaide, including the 2004 Adelaide Fringe Festival, on original and replica instruments.

Upon completion of her official studies, Frances has been a studio piano teacher and enthusiastic accompanist. She has been a member of the Accompanists’ Guild of SA since its first days and council member since 2017.

She was a Convenor of recorder for several years and has been a volunteer and council member of the Adelaide Eisteddfod Society since 2016.

Frances has been an examiner for the AMEB since 2008 and is a passionate supporter of young people and their musical journeys.

In this era of incredible technological advancements, Frances believes that it has never been so important for music learning to be supported as a creative, spiritual and cultural outlet and practice.