Olivier Doise, is a french oboist. He is soloist at Radio France Philharmonic Orchestra.
He studied in Douai, then became Maurice Bourgue and David Walter’s student at Paris CNSMDP. He then obtained oboe and music chamber first prices unanimously.
He is chosen by the very appreciated M-W Chung at the age of 23. He is nominated as Paris Opera soloist. In 2010, he obtains the same post at Radio France Philharmonic Orchestra.
He undertakes his orchestra activities with a chamber musician career together. With his colleague François Leleux, he is a member of Paris-Bastille wind octet, who receives a first price at Paris Interna-tional Competition. He gives worldwide performances.
Concerned by the development of new perspectives, he is involved in the making of several works dedicated to him: "Concerto Sacra" (Richard Dubugnon), "L’Ange double" (Laurent Cunio).
Since 2009, he is a professor at Boulogne-Billancourt High School of Music and he teaches at several international academies and gives masterclass around the world.
Meghan Meisters (professionally known as iskwē) is a multidisciplinary artist and cultural leader whose work moves at the intersection of story, sound, identity, and community. A JUNO Award recipient and two-time nominee, as well as a Johanna Metcalf Performing Arts Prize laureate, she is known for weaving Indigenous perspectives into contemporary forms with a voice both fierce and intimate.
In 2025, Meghan joined the National Arts Centre Orchestra as Senior Manager, Community Partnerships, leading a national portfolio rooted in relationship-building, trust, and the belief that artistic excellence grows through connection. She works across disciplines to nurture collaborations, expand access, and support NACO’s evolving role as a cultural partner. Her approach blends strategic clarity with an artist’s instinct for listening, creating space, and illuminating what lies between the lines.
Meghan brings more than a decade of executive experience as CEO of Littlebit Records, where she leads strategic planning, touring, partnerships, digital growth, and the production of award-winning projects. Mentorship is a defining throughline in her artistic and professional path. She has worked with emerging artists through Mikw Chiyâm, Outside Looking In, and Keychange, nurturing creative confidence, artistic agency, and long-term capacity in the next generation of artistic and cultural leaders.
A proud Red River Métis woman, her leadership is shaped by a deep sense of belonging and responsibility. Her contributions include serving as a juror for the Glenn Gould Prize, participating in residencies at the Banff Centre for Arts and Creativity and Stanford University, and building partnerships across Canada, the U.S., France, Germany, the U.K., and Mexico.
Meghan recently completed the Ch’nook Management Program at UBC Sauder School of Business, strengthening her grounding in Indigenous leadership, business strategy, and governance. She is actively preparing for senior executive roles within Canada’s cultural landscape, guided by a vision of arts leadership that is relational, imaginative, and transformative.
“I could still feel there was more. The world just kept spinning… My body was still. But inside, I kept tumbling.”
These words come from Laura Hickli’s therapy sessions, not lyrics. Her album dark secrets—the first of three—is anchored in a traumatic 24-second moment in 2023. While touring the U.S., her van skidded off the road, rolled three times down a slope, and left her confronting mortality in a surreal blur of slow-motion chaos. Though no one was seriously injured, the crash left a lasting physical and psychological mark, sparking a deep exploration of trauma, fragility, and meaning.
For Laura, who is autistic, the aftermath was particularly intense. PTSD, hyper-awareness, and sensory overload made recovery a daily challenge: “Sometimes I genuinely don’t know how I made it through the day,” she says. The songs on dark secrets reflect this struggle—raw, unsettling, and painfully human. Tracks like “Wanting” and “Little Girl” confront existential questions and past trauma, blending confessional reflection with attempts at acceptance.
Laura’s resilience is rooted in music. Raised in a highly religious household, she learned early to navigate complex belief systems, a theme explored in her previous release, Both Feet In The World, At Least I Can Stand. Touring and performing have long been her outlet, a way to process the battles in her mind. After the accident, she returned to music through exposure therapy, gradually reclaiming the stage and her creative voice.
dark secrets marks a step in Laura’s ongoing journey toward reconciliation with those 24 seconds. Recovery is non-linear, but through creation, performance, and connection, she finds a sense of understanding and communion. Her music is not just art—it is survival, witness, and a bridge to the world beyond trauma.
She previously served as a School and Public Programs Educator at The National Music Centre and brings over nineteen years of private music teaching experience to her practice. Beyond her solo work, she is a member of the Western Canadian Music Award-winning art rock band 36?, and co-owner of the boutique guitar pedal company 36? Circuits. Her expansive career embodies the transformative power of vulnerability, experimentation, and artistic risk-taking.
Alex Clark is a composer, arranger, and creative producer whose work bridges orchestral tradition, digital media, and interdisciplinary collaboration. Drawing on a background in composition, conducting, and multi-instrumental performance, Alex creates music that moves fluidly between concert hall and studio, blending acoustic craft with contemporary production.
Through Aseosa Productions, he develops original works and arrangements for orchestras, chamber groups, and cross-disciplinary projects, often integrating technology and visual elements to expand the concert experience. His career has evolved from orchestral librarianship into a broader creative practice encompassing concert design, digital performance, and new music development. Alex’s recent work focuses on immersive, collaborative approaches to composition
that invite dialogue between artists, audiences, and environments.