Daniel Harding


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 Henry Lindsay

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Salle des Combins, Verbier

PUCCINI: Il tabarro

Alexey Markov (Michele), Baritone
Barbara Frittoli (Giorgetta), Soprano
Thiago Arancam (Luigi), Tenor
Ekaterina Semenchuk (La Frugola), Mezzo-soprano
Christina Gansch (Lover), Sopprano
VERDI: Don Carlo, acts III & IV

Vittorio Grigolo (Don Carlo), Tenor
Lianna Haroutounian (Elisabetta),Soprano
Daniela Barcellona (Eboli), Mezzo-soprano
Alexey Markov (Rodrigo), Baritone
Ildar Abdrazakov (Filippo II), Bass
Mikhail Petrenko (L'Inquisitore), Bass

Verbier Festival Orchestra 
The Collegiate Chorale
Daniel Harding, Conductor

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Piano Concertos 3 & 4

Maria-João Pires & Swedish Radio Symphony Orchestra

The cleanliness of these interpretations is reinforced by the sounds of Daniel Harding conducting his Swedish Radio Symphony Orchestra - smooth, suave, lightly sprinkled with aftershave.  Geoff Brown, The Times, 18th July 2014

Watkins & Mahler

London Symphony Orchestra


'a spectacular concert, superbly directed by Daniel Harding.' ... 'Vividness and freshness are just two qualities the orchestra, under Harding, brought out in Mahler’s score too. The whole orchestra combined to produce an astonishingly colourful sound, positively teeming with life in the dew-filled morning mist and cuckoo calls of the first movement, brimming over with excitement.' David Fay, Bach Track, 25th February 2014
'Mahler's First Symphony, coolly appraised by Harding until he reached the finale, which he launched with such violence that we were completely knocked off balance. Up to that point everything had been super-subtle, from the gradual erosion of the pastoral calm of the opening, to the elegiac mockery of the funeral march. Thereafter, visceral emotion predominated until we reached the exhilarating conclusion.' Tim Ashley, The Guardian, 25th February 2014
'Under Daniel Harding’s direction the London Symphony Orchestra cast a matching spell, at one point answering the flute’s busy monologue with a ravishing blend of high strings, woodwind, and harp.' ... 'Mahler’s First Symphony was a perfect sequel, and, in their precision of detail and command of big forms, Harding and the LSO made this a worthy tribute to their concert’s dedicatee, Claudio Abbado.' Michael Church, The Independent, 26th February 2014
'Harding’s Mahler was more virile than neurotic in its oxygenated panorama of sky and forest, village and city, funeral procession and lovers’ clinch. His tempi were brisk, lightly dressed with portamenti from the strings, the colours bright and alive.' Anna Picard, The Times, February 25th, 2014

Schubert & Mahler

London Symphony Orchestra


'Harding’s aristocratic phrasing felt more as though a maid was gently drawing aside satin curtains on a sunny morning. The unanimity of the LSO strings (violins divided antiphonally) was exquisite.'...'Harding teased and cajoled the feather-light orchestration with gestures as graceful as the music itself. In the second movement’s opening figure he wrought a delicious tenuto just before the descending phrase, and the subtly ornamented repeat had a special charm.' Mark Valencia, The Arts Desk, November 21st 2013
'The performance was sheer delight. If the first movement was taken a little faster than traditionalists might expect, it was light and airy, beautifully poised, and gently phrased with the utmost affection. In less skilled hands the longish slow movement can sometimes outstay its welcome, but not here, since under Harding’s eloquent direction it floated elegantly and charmingly by. A rhythmically buoyant Minuet, with the Trio section convincingly taken at the same tempo, was succeeded by a deliciously pointed finale. There was no self-conscious ‘interpretation’ in Harding’s performance: warmth and direct expression were at its core.'...'He [Harding] had been the guiding light and the hero of the evening.' Alan sanders, Classical Source, November 22nd 2013


London Symphony Orchestra


Piloted this time by Daniel Harding, Stravinsky’s extravagantly orchestrated complete score (which would later be filleted to become three suites) was airborne again, scene-setting and vivid narrative at the forefront of Harding’s conception, subtle enough to be a fairy-tale, sufficiently edgy and dramatic to be a Russian Grand Opera in the Rimsky-Korsakov mould. Harding exploited a wide dynamic and expressive range and there were many ear-grabbing textures (antiphonal violins an aural plus-point, and Edward Vanderspar’s viola was miraculously clear in ‘Round Dance of the Princesses’), all worked through as Fine Art, and with much sensuality. Colin Anderson, Classical Source, October 2013,


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