About the Maestro:
Constantine Kitsopoulos has established himself as a dynamic conductor known for his ability to work in many different genres and settings. Equally at home with opera, symphonic repertoire, film with live orchestra, music theater, and composition, his engagements have led him to conduct worldwide, appearing with major orchestras in North America as well as the Hong Kong and Tokyo Philharmonic Orchestras. 

The 2025–26 season includes Kitsopoulos’s return to the New York Philharmonic, Dallas Symphony, and New Jersey Symphony, among others. In the past two seasons he has also returned to The Philadelphia Orchestra and Pacific, New Jersey, Toronto, Detroit, Chicago, Santa Barbara, and San Francisco symphony orchestras, as well as the New York Philharmonic. Past highlights have also included appearances with the Dallas, Detroit, Houston, Phoenix, New Jersey, San Francisco, Houston, Toronto, and Vancouver symphony orchestras.

Kitsopoulos served as music director of the Festival of the Arts Boca (2010–23), general director of Chatham Opera (2005–15), and assistant chorus master at New York City Opera 1984–89). He has developed semi-staged productions of Mozart’s The Magic Flute (for which he penned a new translation) and Don Giovanni, and Puccini’s La Bohème. He conducted Indiana University Opera Theater’s productions of Sondheim’s Sweeney Todd, Bernstein’s Mass and Candide, Verdi’s Falstaff, J. Strauss II’s Die Fledermaus, William Bolcolm’s A View from the Bridge, Gilbert & Sullivan’s H.M.S. Pinafore, Loesser’s The Most Happy Fella, Rodgers & Hammerstein’s South Pacific and Oklahoma, Wilson’s The Music Man, and Menotti’s The Last Savage.

On Broadway, Kitsopoulos has been music director of Rodgers & Hammerstein’s Cinderella, The Gershwin’s Porgy and Bess (cast album on PS Classics), Harvey Fierstein and John Buccino’s A Catered Affair (cast album on PS Classics), Adrian Sutton’s music for Coram Boy, Baz Luhrmann’s production of La Bohème (cast album on DreamWorks Records), Tchaikovsky’s Swan Lake, and Claude-Michel Schönberg’s Les Misérables. He was music director of ACT’s production of Weill / Brecht’s Happy End and conducted its only English-language recording for Sh-K-Boom Records.
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Constantine Kitsopoulos studied piano with Marienka Michna, Chandler Gregg, Edward Edson, and Sophia Rosoff. He studied conducting with Semyon Bychkov, Sergiu Commissiona, Gustav Meier, and his principal teacher, Vincent La Selva.

Competition Guidelines:

                                     The Matteo Giammario Concerto Competition is open to current members in good
                                                                                 standing of GPYO ensembles.
Some Notes:

• Participants may compete on any instrument.
• The winner of the competition will perform as a soloist with the GPYO Symphonic Orchestra at the
  Spring Concert at Richardson Auditorium.
• Concerto selections should be approximately 10 minutes in length. (Five (5) minutes is the minimum, 15 minutes is the maximum.) Students may combine two or more shorter concerto movements.
  "Ensemble passages" in long single movements may be omitted during the competition.
• Repertoire must be suitable for performance with the GPYO Symphonic Orchestra, both in terms of difficulty and instrumentation (at the discretion of the conductor).
• Repertoire must be published and "in print"/available.
• Memorization is optional.
• The repertoire performed in the Preliminary Round video must be the same as the Final Round.
• A piano accompanist is optional for the Preliminary Round video, however, it is required for competing in the Final Round Live Competition. Students are responsible for finding and scheduling their own accompanist.
• There is no charge to compete in the Concerto Competition.
• Past winners of the GPYO Concerto Competition are not eligible to compete again.
• The preliminary round submission should demonstrate your ability and command of the piece at the current time. This does not have to be perfect! It also does not have to be your full 10 minute performance. 
• At minimum, please make your video 3 minutes and a maximum 7-10 minutes depending on if you want to submit your whole piece. If you have any questions on length or want to ask for an exception, please email [email protected].

Please submit your registration and prescreen video by midnight, NOVEMBER 24, 2025. Videos received after November 24, 2025 will not be reviewed.
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​It is highly recommended that you contact Mr. Pucciatti  ([email protected]) to confirm the eligibility of your choice of repertoire.
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