Conductor

Adrien Perruchon

Biography – about the artist.

Following his extraordinary debut with the Orchestre Philharmonique de Radio France at Paris’s l'Auditorium de la Maison de la Radio, the young Frenchman Adrien Perruchon left no doubt that he is a major talent with the ability to lead his fellow musicians to achieve extraordinary musical results. Since then, Perruchon has worked with such orchestras as L’Opéra Orchestre national de Montpellier, Orchestre national de Lorraine, Orchestre de Chambre de Lausanne, WDR Funkhausorchester, Mozarteum Salzburg as well as the Wiener Symphoniker for his debut at Vienna’s prestigious Musikverein as well as on tour throughout Germany with violinist Hilary Hahn. He has also enjoyed collaborations with soloists such as Pierre-Laurent Aimard, Gautier Capuçon, Augustin Hadelich, Edgar Moreau and Jean-Yves Thibaudet.

Recent highlights have included a major European tour with Gautier Capuçon and the Orchestre de Chambre de Paris, as well as debuts with the Los Angeles Philharmonic, Orchestre Philharmonique de Luxembourg, Orchestre de l’Opéra Nice Côte d’Azur, Orchestre national de Lyon, NDR Radiophilharmonie Hannover, as well as further afield with the Tokyo Philharmonic and his debut with the Cleveland Orchestra at their annual Blossom Music Festival in August 2018. In the 2018/19 season Perruchon will give his debut with the Orchestre national d’Île de France, Orchestre Lamoureux, Bilkent Symphony Orchestra as well as the Antwerp Symphony Orchestra, conducting the Belgian premiere of a new arrangement of Debussy’s Pelléas et Mélisande Suite, arranged by Alain Altinoglu.


Following his work with François-Xavier Roth at Oper Köln where he conducted performances of Benvenuto Cellini (Berlioz), La Bohème (Puccini), Don Giovanni (Mozart) and the L’Heure Espagnole / L’Enfant et les Sortilèges (Ravel) double bill productions, Perruchon continues his opera involvement this season with the Théâtre des Champs-Elysées’ Opéra Jeune Public’s adaption of Rossini’s Il Barbiere di Siviglia, directed by Damien Robert, taking it on tour to the Opéra de Reims and Opéra de Nice. At Opéra de Dijon he will conduct a new Florentine Klepper production of Bizet’s Carmen.  

Prior to taking up conducting, as a percussionist Perruchon collaborated with such distinguished artists such as Daniel Barenboim at La Scala in Milan, and the late Claudio Abbado with the Orchestra Mozart in Bologna. As a conductor, he assisted at various European festivals and opera houses including Alain Altinoglu both in Paris and for the Salzburg Festival production of Don Giovanni with the Wiener Philharmoniker. Perruchon also regularly works with Esa-Pekka Salonen, at Festival d’Aix-en-Provence (Pélleas et Mélisande), Swedish Radio Orchestra, Philharmonia Orchestra as well as Chicago Symphony Orchestra.

Born in 1983, Adrien Perruchon began his musical training on the piano before moving on to bassoon and percussion later on in his career. Appointed Principal Timpanist with Orchestre Philharmonique de Radio France by Myung-Whun Chung in 2003, and subsequently with Seoul Philharmonic Orchestra, he held both positions until 2016. In the 2015/16 and 2016/17 seasons, Perruchon held the position of Dudamel Conducting Fellow with the Los Angeles Philharmonic Orchestra.

SEASON 2018/2019

The next dates:

17.05.2019

Opéra de Dijon

Dijon

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19.05.2019

Opéra de Dijon

Dijon

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21.05.2019

Opéra de Dijon

Dijon

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23.05.2019

Opéra de Dijon

Dijon

> more about the promoter

25.05.2019

Opéra de Dijon

Dijon

> more about the promoter

Your contact persons:

General Management:

Kellie Mills

+44 20 7395 09-12

kellie.mills@kdschmid.co.uk

Sian Watson

Senior Artist Coordinator

+44 20 7395 09-13

sian.watson@kdschmid.co.uk

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Sian Watson

Senior Artist Coordinator

+44 20 7395 09-13

sian.watson@kdschmid.co.uk

Discography and quotes.

Discography

Nino Rota - Works for Harp

Brussels Philharmonic, Anneleen Lenaerts, Emmanuel Pahud

03.2019, Warner Classics, CD

> Amazon

Reviews and quotes.

„Perruchon […] proved to be a conductor of striking talent, bringing clarity to Copland's complex miniatures and treating "Carmina" to a refreshingly crisp and spacious performance.“

Zachary Lewis, cleveland.com, 27.08.2018