Daniel Harding

Introduction

Daniel Harding is one of the brightest of a new generation of conductors.

Born in Oxford, he began his career assisting Sir Simon Rattle at the City of Birmingham Symphony Orchestra, with whom he made his professional debut in 1994. He went on to assist Claudio Abbado at the Berlin Philharmonic and made his debut with the orchestra at the 1996 Berlin Festival. He is Principal Guest Conductor of the London Symphony Orchestra, Music Director of the Swedish Radio Symphony Orchestra, and Music Partner of the New Japan Philharmonic. He was recently honoured with the lifetime title of Conductor Laureate of the Mahler Chamber Orchestra, where he previously held the positions of Music Director and Principal Conductor. He is Artistic Director of the Ohga Hall in Karuizawa, Japan.

He is a regular visitor to the Dresden Staatskapelle, the Vienna Philharmonic (both of which he has conducted at the Salzburg Festival), the Berlin Philharmonic, Royal Concertgebouworkest, Bavarian Radio Symphony Orchestra, Leipzig Gewandhausorchester and the Orchestra Filarmonica della Scala. In the U.S. and in Canada he has performed with the Philadelphia Orchestra, Los Angeles Philharmonic, Chicago, Atlanta, Baltimore, Houston and Toronto Symphony Orchestras.

In 2005 he opened the season at La Scala, Milan, conducting a new production of ‘Idomeneo’. He returned in 2007 for ‘Salome’ and in 2008 for a double bill of ‘Bluebeard’s Castle’ and ‘Il Prigionero’ and most recently in 2011 for a double bill of ‘Cavalleria Rusticana’ and ‘Pagliacci’, for which he was awarded the prestigious Premio della Critica Musicale “Franco Abbiati”. His operatic experience also includes ‘The Turn of the Screw’ and ‘Wozzeck’ at the Royal Opera House, Covent Garden, and at the Theater an der Wien, and ‘Don Giovanni’ and ‘Le nozze di Figaro’ at the Salzburg Festival with the Vienna Philharmonic. Closely associated with the Aix-en-Provence Festival he has conducted new productions there of ‘Così fan tutte’, ‘Don Giovanni’, ‘The Turn of the Screw’, ‘La Traviata’, ‘Eugene Onegin’ and, most recently, ‘Le nozze di Figaro’. Future operatic engagements include new productions at La Scala and the Deutsche Staatsoper, Berlin.


For an up-to-date biography, please contact Gavin Bates

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Schedule

Berwaldhallen, Stockholm

Programme

HINDEMITH: Violin Concerto
BRITTEN: Spring Symphony

Sophie Bevan, sopran
Anne Sofie von Otter, mezzosopran
Mark Padmore, tenor

Frank Peter Zimmermann violin

Daniel Harding, dirigent
Sveriges Radios Symfoniorkester & Radiokören
Adolf Fredriks Gosskör

Berwaldhallen, Stockholm

Programme

HINDEMITH: Violin Concerto
BRITTEN: Spring Symphony

Sophie Bevan, sopran
Anne Sofie von Otter, mezzosopran
Mark Padmore, tenor

Frank Peter Zimmermann violin

Daniel Harding, dirigent
Sveriges Radios Symfoniorkester & Radiokören
Adolf Fredriks Gosskör

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Press

Bruckner

Symphony No.6

London Symphony Orchestra, Barbican Hall, London

A remarkable performance.... one of the most dramatic and unexpected readings of a Bruckner opening movement most of us are likely to hear. But Harding was not impulsive for the sake of it. The long paragraphs of the adagio, some of the most expressively lonely pages that even Bruckner ever penned, with the plangent oboe solo beautifully played by Juan Pechuan Ramirez, were given plenty of room to breathe. The symphony's underlying insecurity can never be fully quieted, however, and Harding racked up the tension once more in the nightmarish contrasts and fragmentary writing of the short (by Brucknerian standards) scherzo and finale Martin Kettle, The Guardian, 13 April 2012
Harding laid the whole thing out before us, plain and unexaggerated. If that makes it sound dull, it wasn’t. There were moments that came at us with the power and menace of a galloping horse; elsewhere, notably at the beginning of the second movement, the sound seemed to well up from somewhere deep and dark. Hard against long interludes of rapt contemplation came passages in which the tension seemed about to burst. Without interfering with the forward momentum or the solidity of Bruckner’s structure, Harding and his players made the contrasts count. Nick Kimberley, The Evening Standard, 13 April 2012

Richard Strauss

Don Juan

London Symphony Orchestra, Barbican Hall London

...a performance that was often magnificent. The piece itself admirably suits Harding's slightly detached way with Strauss, which allows him to be sensuous yet never cloying. The mix of bitonal harmonies and exquisite textures was superbly negotiated and displayed. And the playing was glorious. Tim Ashley, The Guardian, 13 February 2011

Berio: Sinfonia; Liszt: Piano Concerto no. 1; Berlioz: Harold in Italy

London Symphony Orchestra, Barbican Hall London

Daniel Harding has, I suspect, done little finer than this extraordinary LSO concert about iconoclasm. His programme on this occasion (Berio's Sinfonia, Liszt's First Piano Concerto and Berlioz's Harold in Italy) consisted of works that rewrite rules, and you couldn't help but feel that their rebellion provoked him to give of his best.
Harding's conducting was all monumentality and fire – it felt a bit superhuman, as Liszt always should… The LSO is rarely bettered in Berlioz, and Harding, whether summoning up the sound of distant bells or presiding over the frenzy of the brigands' orgy, was electrifying. Tim Ashley, The Guardian, 10 November 2010

Recordings