Gustavo Gimeno has been Music Director of the Orchestre Philharmonique du Luxembourg (OPL) since 2015.
During the past season Gustavo Gimeno and the OPL extended their contract for three more years until 2022. Gustavo Gimeno conducts the OPL in various concert formats and plans to expand the orchestra’s touring activities as well as its discography. In the current season he will share the Philharmonie stage with such artists as Daniel Barenboim, Krystian Zimerman, Khatia Buniatishvili, Sir Bryn Terfel and Frank Peter Zimmermann. He will again present an opera production in Luxembourg, Mozart’s Don Giovanni.
Gustavo Gimeno is in great demand worldwide as a guest conductor. In 2017/18 he has been invited back to the Boston Symphony Orchestra, the Cleveland Orchestra, the Dallas Symphony Orchestra, the Royal Concertgebouw Orchestra Amsterdam, the Orchestre National de France, the Wiener Symphoniker and the Philharmonia Zurich. He will also conduct the Mariinsky Orchestra, the Toronto Symphony Orchestra, the Houston Symphony Orchestra, the WDR Sinfonieorchester Cologne, the Orchestra Sinfonica Nazionale RAI and the Royal Stockholm Philharmonic Orchestra for the first time. In addition, he will return to the Orchestra of the Eighteenth Century, which specialises in historically informed performance practice.
Highlights of the past season included debuts with the Chicago Symphony Orchestra, the Boston Symphony Orchestra, the National Symphony Orchestra Washington, the Philharmonia Orchestra, the Wiener Symphoniker and the Orchestra dell’Accademia Nazionale di Santa Cecilia.
Gustavo Gimeno made his opera debut in 2015 with Bellini’s Norma at the Valencia Opera House. During the past season he conducted Verdi’s Simon Boccanegra with the OPL at the Grand Théâtre in Luxembourg.
In 2017 the classical label PENTATONE, the OPL and Gustavo Gimeno announced a multiple-release collaboration. Recordings of the First Symphonies by Dmitri Shostakovich and Anton Bruckner and, most recently, Maurice Ravel’s complete Daphnis et Chloé have been released thus far.
Born in Valencia, Gustavo Gimeno began his international conducting career in 2012, when he was a member of the Royal Concertgebouw Orchestra Amsterdam, as assistant to Mariss Jansons. He also gained significant experience as assistant to Bernard Haitink and Claudio Abbado, mentors who actively nurtured his talent and influenced him in many ways.
“That Gimeno is a Musician-Conductor is clearly apparent. Not only is his precision unmatched, he demonstrates a subtle ear for detail and excellently manages to achieve the balance of sound between the sections.”Deutschlandfunk, Georg Waßmuth, 23.07.2017
“a most promising podium talent on the rise. [...] Gimeno knew what he wanted from the music and he got it in a robust and exciting reading that was ever mindful of the rich lode of lyricism in this masterpiece.”Chicago Tribune, John von Rhein, 03.08.2016
“Gimeno showed a precise, clear beat with gestures responsive to the shaping of the musical phrases in mood and color and character, building very satisfying performances of two Russian works from the beginning of the 20th century [...]. I’d welcome Gustavo Gimeno back any time.”The Boston Musical Intelligence, Steven Ledbetter, 20.07.2016
“Conductor Gimeno was fully inside the work, drawing from the players vibrant playing of precision and real excitement.”Stuff.co.nz, John Button, 15.05.2016
“Gimeno’s view of the work, was both powerful and vivid, seeking clarity of texture, and revealing as much as possible of the characteristics mentioned above.”Middle C, Lindis Taylor, 13.05.2016
“This was an interpretation of power and insight which illuminated the full luxuriant brilliance of Rimsky's orchestration as well as the élan of the performers. [...] Rapturously received by the audience, it was quite simply one of the most ravishing renditions of Scheherazade one could ever hope to hear, and one which may secure its place in the heart and memory for a while to come.”Bachtrack, Pamela Nash, 18.10.2015
“Mr. Gimeno, with the grace and elegance of a ballet dancer, indicated each detail clearly, eliciting some of the evening's best orchestral effects.”Pittsburgh Post-Gazette, Robert Croan, 10.10.2015
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