Gergely Madaras


Fast gaining an international reputation as one of the most exciting European conductors of his generation, in 2013 Gergely Madaras was appointed Music Director of the Orchestre Dijon Bourgogne. From September 2014 he also took up the post of Chief Conductor of the Savaria Symphony Orchestra in his native Hungary. 

Orchestral highlights of the 2015/16 season include Gergely’s debuts with the Deutsche Symphonie Orchester Berlin, RAI Orchestra Turin and BBC Symphony Orchestra as well as a return to the Munich Chamber Orchestra where he will be joined by revered violinist Carolin Widmann in a mixed programme including Dieter Ammann’s concerto ‘Unbalanced instability’. 

Notable engagements of the previous season included concerts with the Academy of Ancient Music, Janáček Philharmonic and Scottish Chamber Orchestra, plus his North American debut with the Houston Symphony. The 2014/15 season also saw Gergely Madaras make his Australasian debut conducting the Melbourne Symphony, Queensland Symphony and Auckland Philharmonia orchestras. 
Gergely Madaras is also establishing a fine reputation as an opera conductor: in 2012 he was appointed as the inaugural recipient of the Charles Mackerras Fellowship at the English National Opera. During this two year appointment he worked on productions of The Barber of Seville, Benvenuto Cellini, The Pilgrim’s Progress, Rigoletto and Wozzeck, and in Autumn 2013 was invited by ENO to conduct Simon McBurney's new production of Magic Flute in London.  He reprised this production for his debut at De Nederlandse Opera Amsterdam in Spring 2015. Other opera engagements have included Peer Gynt in Dijon, Bluebeard's Castle in concert at the 30th International Bartok Festival, semi-staged performances of La traviata and Lucia di Lammermoor in Szombathely and Magic Flute with Hungarian State Opera in Budapest. In 2015/16 he makes his debut at the Grand Théâtre de Genève with another new production of Magic Flute and will return to the Hungarian State Opera for performances of Mozart's Marriage of Figaro and Verdi's Otello.

Click here to download Gergely's full 2015/16 biography.

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  • Savaria Symphony Orchestra, Hungary - BEETHOVEN Symphony No 3 [excerpt]



BIZET Extraits de l’Arlésienne
RAVEL Tombeau de Couperin
OFFENBACH Extraits de La Vie parisienne, La Fille du tambourmajor, La Grande Duchesse de Gérolstein Souvenir des Bouffes Parisiens pour orchestre

Orchestre Dijon Bourgogne

Cour d’honneur Mairie de Dijon, DIJON

BIZET Extraits de l’Arlésienne
RAVEL Tombeau de Couperin
OFFENBACH Extraits de La Vie parisienne, La Fille du tambourmajor, La Grande Duchesse de Gérolstein Souvenir des Bouffes Parisiens pour orchestre

Orchestre Dijon Bourgogne

Lac Kir, DIJON

BIZET Extraits de l’Arlésienne
RAVEL Tombeau de Couperin
OFFENBACH Extraits de La Vie parisienne, La Fille du tambourmajor, La Grande Duchesse de Gérolstein Souvenir des Bouffes Parisiens pour orchestre

Orchestre Dijon Bourgogne

Leeds Town Hall, LEEDS

MUSSORGSKY/RIMSKY-KORSAKOV Night on a Bare Mountain MOZART Flute and Harp Concerto K299
- Interval -
BARTOK Hungarian Sketches
BORODIN Symphony No 2

Hallé Orchestra
Flute: Catherine Baker


SCHUBERT "Rosamunde” overture
GRIEG Piano concerto

Piano: Ozgur Aydin

Bursa State Symphony Orchestra

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Click here to download Gergely's 2015/16 Concert Schedule as a PDF. 

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Ibert, Hindemith, Orff

BBC Symphony Orchestra Debut

Nottingham Royal Concert Hall

"...Conductor Gergely Madaras handled the vast choral and orchestral forces with great panache, digging out fine detail from Orff's score and adding some of his own (such as the raucously entertaining crowd noises in 'In Taberna'). He also brought energy and insight to the first half programme: Ibert's sensuously dynamic Bacchanale and Hindemith's Technicolor orchestral showpiece Symphonic Metamorphosis on Themes by Weber. The BBC Symphony Orchestra, percussion well to the fore, was on sparkling robust form throughout."
Rachel Gorman, Nottingham Post - March 13th 2016

'Un Noël hongrois'

Orchestre Dijon Bourgogne

A Hungarian Christmas helped the Orchestre Dijon Bourgogne public become more acquainted with the person who is their principal conductor since spring 2013: Gergely Madaras [...] Gergely Madaras reveals the three essential qualities needed as precision, clarity and energy, as well as the gift of capturing the attention of the musicians. His beat is straight forward and his tempi perfectly mastered. As for his vision of the works, he remains very respectful, being perhaps a footprint with a welcome freshness [...] A nice Christmas present which will be followed, it is promised, many others! [TRANSLATION]

Click on the link below to read the full article in French.
Isabelle Truchon, Le Bien Public


The Magic Flute

English National Opera, The Coliseum

"...Spirited conducting from Gergely Madaras ensures that everything works musically as it should;"
Michael Church, The Independent
"...The first [magical moment] is apparent before a note is heard: the orchestra has been raised out of the pit, placing it closer to the drama. Two players actually take part in the action. With Gergely Madaras making a promising Coliseum debut, the results are both transparent and vibrant..."
Nick Kimberley, London Evening Standard
"...The next thing you notice is the young conductor, Gergely Madaras, striding to the podium and launching straight into the overture, even before the lights have gone down. The impact is immediate, carrying us into Mozart's magical world without delay or time to settle into the usual audience lethargy..."
William Hartston, Express
"...The conductor Gergely Madaras was terrific, I admit - energizing an orchestra in a raised pit..."
Rupert Christiansen, The Telegraph
"...Musically there is magic too, for the orchestra has been rescued from the aurally murky depths of the pit and raised to a level in full view of the audience. This completely transforms the sound, the clean, spirited playing under Gergely Madaras delivered crisply and directly..." Keith Clarke, Musical America


Albert Herring

RNCM Opera, Manchester

"In his debut conducting of Albert Herring, Hungarian conductor Gergely Madaras greatly impressed with his reading of Britten’s delightful chamber opera score. Madaras clearly knows the piece, and his control over his performers was admirable. He carefully supported each and every member of his team, whether the thirteen singers on stage or the twelve-piece instrumental ensemble in the orchestra pit. Madaras demonstrated admirable skills which enabled him to elicit the lyrical as well as dramatic sections of the score. The Threnody for nine solo singers (and orchestra) towards the end of the opera was deeply moving, while Madaras kept the momentum going even during the orchestral interludes…” Agnes Kory, Opera World

Mariss Jansons/Royal Concertgebouw Orchestra Masterclass

Concertgebouw, Amsterdam

"...Madaras beats professionally, communicating visually and very directly with the orchestra..."  [translation from Dutch]  Volkskrant
"...Hungarian Gergely Madaras (1984) is the more experienced. In front of 900 visitors, he makes the second movement, Un Bal, float through the concert hall. With confidence, he instructs the orchestra: 'More crescendo, please'..." [translation from Dutch] Parool