"Charming. Enthralling. Phenomenal."Süddeutsche Zeitung
Andris Nelsons is Music Director of the Boston Symphony Orchestra and is the designated Gewandhauskapellmeister of the Gewandhausorchester Leipzig, with the appointment commencing in the 2017/18 season. With these positions, and in leading a pioneering alliance between these two esteemed institutions, Grammy Award winning Nelsons is firmly underlined as one of the most renowned and innovative conductors on the international scene today.
Nelsons made his Boston Symphony (BSO) debut in March 2011, leading Mahler’s Symphony no. 9 at Carnegie Hall. In summer 2012, Nelsons made his debut in Tanglewood, and in 2013 at Boston Symphony Hall. Nelsons began his tenure as Music Director of the BSO in the 2014/15 season and after one year his contract was extended through the 2021/22 season. In summer 2015 and spring 2016, the BSO and Nelsons embarked on their first European tours, receiving widespread critical acclaim. Nelsons gave his debut performance with the Gewandhausorchester with works by Richard Strauss, Beethoven and Sibelius in 2011, followed by regular performances at the Gewandhaus throughout the following years. In 2016/17 Nelsons returns to the Gewandhaus to conduct Beethoven 9 at the prestigious Silvesterkonzert performances and returns for a focused month of preview concerts with the Gewandhausorchester in May 2017 ahead of his inaugural season beginning.
In the 2016/2017 season, Nelsons is Artist in Residence at the Konzerthaus Dortmund and Nelsons continues collaborations with Berliner Philharmoniker, Wiener Philharmoniker, Het Koninklijk Concertgebouworkest and Philharmonia Orchestra. Nelsons is a regular guest at the Metropolitan Opera New York, the Bayreuther Festspiele and in December 2016, he returns to the Royal Opera House conducting Rosenkavalier, in a new production directed by Robert Carsen.
Andris Nelsons and Deutsche Grammophon recently announced an exclusive audio agreement, representing a milestone in Nelsons’ recording profile, paving the way for three landmark projects. Nelsons and the BSO partner on recording the complete Shostakovich symphonies, and the opera Lady Macbeth of the Mtensk District, and already the first disc of this exciting collaboration received a Grammy Award for Best Orchestral performance. The second instalment of the cycle, a 2-album set with Shostakovich’s Symphony Nos. 5, 8, and 9 has just recently been released. Nelsons and the yellow label also embark upon a collaboration with the Gewandhausorchester that will shed new light on the symphonies of Bruckner, redefining Bruckner’s very distinctive sound world. In addition, Nelsons will record Beethoven’s complete symphonies with the Wiener Philharmoniker between 2016-2019, and Nelsons returns to perform the complete cycle in 2020, celebrating the 250th anniversary of the composer’s birth. Nelsons also has an exclusive audiovisual relationship with Unitel GmbH.
Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was Music Director of the City of Birmingham Symphony Orchestra from 2008-2015, Principal Conductor of Nordwestdeutsche Philharmonie in Herford, Germany 2006-2009 and Music Director of Latvian National Opera 2003-2007.
“Shostakovich: scandalously successful. [about the recording of Shostakovich’s Symphony No. 10 with the Boston Symphony Orchestra]”The Times "Album of the Week", Hugh Canning, 12.8.15
“Nelsons leaned forward into the sound, sculpting the music with surpassing tenderness.”The Boston Globe, Jeremy Eichler, 8.8.15
“Nelsons’s performance [Shostakovich’s Symphony No. 10] is mighty, marked by a wonderful nose for atmosphere [...] What makes Nelsons so lethally impressive here is the precision with which he addresses every accent, every ferocious sforzando. He is the most rhythmic of conductors. [...] Be in no doubt that this is one of the finest performances that I have ever heard of this great piece (it must surely bid fair for ‘best in catalogue’) and to say that it augurs well for Nelsons’s future with the Boston Symphony is an understatement and then some.”Gramophone Magazine Editor's Choice recordings, Edward Seckerson, 1.8.15
“This [Shostakovich’s 10th Symphony] is thrilling music-making, already whetting the appetite for the next instalment: Symphonies 5, 8, and 9 next spring [Deutsche Grammophon].”The Times, Neil Fisher, 31.7.15
“Additionally Andris Nelsons has the charismatic “jump jet” that every leading orchestra needs […], he has the potential to drive younger people as classical music audiences. Something that appears very clear is his kind and liking personality.”Die Welt, Peter Krause, 3.6.15
“Mr. Nelsons has brought a jolt of youthful energy, along with charisma and accomplishment [to the Boston Symphony Orchestra at Carnegie Hall]. The audience gave Mr. Nelsons and the players an enormous ovation. Whatever the future, for now the Boston Symphony has placed its trust in a young dynamo.”New York Times, Anthony Tommasini, 19.4.15
“This was a persuasive account [of Bruckner’s Symphony No. 7]: texturally vital, musically alert, and sonically rich. […] Nelsons’s interpretation found a charismatic balance between weight and transparency of detail, from the diaphanous sheen of the pianissimo tremolos to the radiant brass-heavy climaxes of the first and second movements.”Boston Globe, Jeremy Eichler, 16.1.15
“Every time I’ve seen him conduct—in Boston, Tanglewood, New York, and Bayreuth—he has set off brushfires of intensity. […] Nelsons produces full-body impact: instead of shattering about your ears, the sound engulfs you. He is a master at controlling dynamics to create a kinetic, fluctuating mass.”The New Yorker, Alex Ross, 1.12.14
“Nelsons’s Brummies [the CBSO] pump fresh air through the notes. […] His sunrise is sublime in the original, uncorrupted meaning of that word – an unfathomable beauty so awe-inspiring that it terrifies with the same intensity it beguiles. [...] I’m handing the ultimate accolade to Andris Nelsons, whose version embodies many of Karajan’s qualities while telling us lots we didn’t already know about this inscrutable, endlessly fascinating score. Nelsons is Superman.”Gramophone, Philip Clark, 24.11.14
“Andris Nelsons conducted with keen focus and vigor, eliciting tonal beauty, technical precision and obvious engagement from the orchestra.”Wall Street Journal, David Mermelstein, 18.11.14
“With an unusually large audience, the Boston Symphony Orchestra was engaged and the conductor infectiously dynamic with performances of Beethoven, Bartok and Tchaikovsky. It was just his fourth concert in his new role, but it felt as if Mr. Nelsons had been working under Symphony Hall’s golden proscenium arch for years. The orchestra already sounds cleaner, more unified and more focused than I have heard since James Levine’s departure in March 2011.”New York Times, David Allen, 5.10.14
“Nelsons’ treatment of the Fourth [Symphony of Beethoven with the CBSO] was startling. Like all outstanding conductors, he has the precious ability to conjure something unexpectedly brilliant out of thin air. [...] Its slow introduction seemed pregnant with dramatic possibilities, and what followed exploited most of them, with every rhythm sprung, every chord perfectly balanced, the perpetuum mobile of the finale fabulously precise.”The Guardian, Andrew Clements, 19.9.14
“For his part, Nelsons has deeply internalized this score [of Salome by Strauss], its idiom, and its pacing, to the point of almost dancing along on Thursday during his delicately shaped Dance of the Seven Veils. [...] During the famous kiss chords near the end the sound seemed to take on an almost physical quality, hanging in the air like a vapor.”Boston Globe, Jeremy Eichler, 7.3.14
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