Louis Langrée


The French conductor Louis Langrée is Music Director of the Cincinnati Symphony Orchestra, Chief Conductor of the Camerata Salzburg and Music Director of the Mostly Mozart Festival at Lincoln Center in New York. During his second season with the Cincinnati Symphony Orchestra he will conduct gala concerts with both Lang Lang and Yo Yo Ma and lead the orchestra in world premiere performances by Caroline Shaw, Daniel Bjarnason and André Previn.
His collaboration with the Camerata Salzburg will include concerts in Cologne, Salzburg, Vienna and on tour to South America.  During the 2014/15 season Louis will also return to the Orchestre de Paris and continue his regular appearances with the Wiener Staatsoper (Eugene Onegin) and the Metropolitan Opera in New York (Carmen). 
For full biography click here.

Read More >

News & Features

Media Player


  • Hallowed Ground CD



Load More

Cincinnati SO

Louis Langrée is Music Director of the Cincinnati Symphony Orchestra.
During his second season as Music Director he will conduct gala concerts with both Lang Lang and Yo Yo Ma and lead the orchestra in world premiere performances by Caroline Shaw, Daniel Bjarnason and André Previn.

Information about the 2014/15 season here.
One City, One Symphony.
Free download of Tchaikovsky Symphony No 4 and Mozart's Davide Penitente here.
Lumenocity, August 2014


Read More >

Camerata Salzburg

Louis Langrée has been Chief Conductor of Camerata Salzburg since September 2011.
He has conducted the orchestra regularly in Salzburg, in the orchestra's own subscription series and at the Mozartwoche. Elsewhere they have performed to great critical acclaim in Paris, Munich, Budapest and at the Aix-en-Provence Festival.  This season their concerts will include Cologne, Salzburg, Vienna and a tour to South America.

Read More >




Metropolitan Opera

Louis Langrée...conducted a brisk, crisp performance. New York Times


Symphony No 2

With the Cincinnati Symphony Orchestra

In many ways, it was a remarkable performance. The orchestra's attack was crisp and precise, and Langrée's tempos were brisk, even in the "Adagio" introduction. Textures were transparent, and the winds and horns contributed gently lyrical playing...Besides precision, there was also warmth, and the congeniality between players and conductor was evident. If there was a highlight, it was the scherzo, with its light articulation offset by Beethoven's heavy, offbeat accents. The finale was as quick as I've ever heard, yet it never seemed rushed. The conductor was attentive to the shape of every phrase, and led his musicians to a driving finish. Listeners were on their feet in an instant. Cincinnati.com, 10 January 2015


Concert 28 November 2014

Cincinnati Symphony Orchestra

Langrée led a majestic performance of Tchaikovsky’s Symphony No. 5 in E Minor...Langrée’s reading was both exhilarating and warm-hearted. Leading without a score, the conductor was an involved, animated leader, who lingered on the big romantic melodies. Yet he never lost the dramatic arc of the whole symphony. Cincinnati.com 29 November 2014


Symphony No 1

Cincinnati Symphony Orchestra

The hero of Mahler’s Symphony No. 1 is the composer himself. Langrée laid it out masterfully, with scrupulous attention to detail and astonishing transparency. Music in Cincinnati.com, 15 Nov 2014
Now in his second season as music director, Langrée was an animated leader who drew glowing, inspired playing from his musicians. Cincinnati Enquirer, 14 Nov 2014

Opening Concert in Cincinnati

Cincinnati Symphony Orchestra

Louis Langrée, entering his second season as the Cincinnati Symphony's music director, was on the podium for the all-Beethoven program. His galvanizing leadership in Beethoven's Symphony No. 7 brought out the best in his players and offered an example of the chemistry he is already developing with them...Without a score, Langrée led a bracing and detailed performance, and the musicians played wonderfully.

Cincinnati.com 14 September 2014

Mostly Mozart Festival 2014

Avery Fisher Hall, New York

Langrée is a musician who has attained a delicate balance of efficiency and sensitivity... the Festival Orchestra demonstrated equal parts bravado and suavity. 
Financial Times (5 stars)
Mr. Langrée and the festival orchestra came through with an impressive Mozart program, culminating with a bracing, urgent account of the mighty “Jupiter” Symphony. Mr. Langrée opened with the Overture to “Don Giovanni” in a keenly dramatic performance. He conducted the grim, slow introduction in long-arced, lean-textured phrases. The main fast section was pulsing and incisive, without being driven.  New York Times, 30 July 2014

The orchestra and Langrée opened the second half with terrific playing of Haydn’s quirky, excellent Overture to his opera L’isola disabitata. The playing was refined and effectively objective in the eerie, quiet stretches, intense and muscular in the dramatically fast passages...The orchestra had a full, colorful sound for the overture and the concluding work, Mozart’s Symphony No. 38, “Prague.”

New York Classical Review 6 August 2014

Mr. Langrée steers a steady course between historically informed performance practice and the more expansive sound required to fill a hall like Avery Fisher. The orchestra’s string section seems especially comfortable with this approach, playing with subtlety, flexible expression and radiance. In the Gluck [Dance of the Furies] — a gusty, dramatic reading — the strings produced a satisfyingly robust sound. There were plenty of pretty details in the orchestral passages of Mozart’s smoothly manicured concerto, too [for flute & harp]. It’s not easy to breathe fresh life into such a well-known work, but under Mr. Langrée, the orchestral introduction to the first movement sounded more cheeky than precious. There was an offbeat zing to the grace notes in the third movement; wherever possible he emphasized these little destabilizing touches in the score.

New York Times 17 August 2014

Concert 26 February 2014

Orchèstre de Camps-Elysées

He conducted the Orchèstre des Champs-Elysées with generosity, but without damaging the clarity of sound. The musicians responded to his fervour and produced a Symphony [Chausson] full of zeal, grandeur and wonder (with a magnificent slow movement). Concertoclassic.com

Opéra Comique

Pelléas et Mélisande

From the introduction, the mysterious awakening of the chorus, to the powerful, evocative movement of the sea, Louis Langrée was the magnificent facilitator.

Le Monde 21 February 2014

Concert 11 January 2014

Cincinnati Symphony Orchestra

"The concerto (Brahms Piano Concerto No.1) was also a showcase for the orchestra. The orchestral exposition caught the turbulent emotion of this work, and Langrée drew extraordinary sonorities from his musicians throughout. Phrasing was beautifully shaped in the show movement. The conductor was alert to the pianist’s every move, even in her adrenalin-charged finale."
Cincinnati.Com, Janelle Gelfand 11 January 2014


Rhapsody in Blue

Cincinnati Symphony Orchestra

"But the orchestra was terrific, starting with Jonathan Gunn’s bluesy clarinet smear at the top, answered by slurs in the trombones. Langrée went for a detached, 1920s-jazz style for his players, and it proved to be irresistible.
Cincinnati.Com, Janelle Gelfand 30 November 2013

Inaugural concerts as Music Director

Cincinnati Symphony Orchestra

"Louis Langrée did not have to conduct a note to earn a standing ovation in his inaugural concert as the 13th music director of the Cincinnati Symphony Orchestra on Friday night.

As he walked onto Music Hall’s stage, the French maestro was given a Cincinnati welcome — the first of several times during the evening that listeners were on their feet. You could feel the electricity in Music Hall’s lobbies and the packed, 3,417-seat Springer Auditorium, which was officially sold out.

Langrée’s direction of Copland’s score [A Lincoln Portrait], woven with wide-open harmonies and American folk tunes, was engaging. His direct approach to the music made it that much more gripping.

In the second half, the conductor strode out and plunged quickly into Beethoven’s Fifth. Leading without a score, his direction was adrenalin-charged and propelled by brisk tempos and inner drive.

The musicians responded with energized, precise playing. There was red-blooded sound in the strings and orchestral soloists shone. Most of all, you couldn’t help but notice that Langrée smiled throughout the entire performance. That joy communicated into the hall."
Cincinnati Enquirer, November 2013
"For his inaugural program in Cincinnati, Louis Langrée deftly combined nods to the orchestra’s history, the city’s musical life and new music. Friday’s concert opened with Jennifer Higdon’s On a Wire, a sprightly chamber concerto composed in 2010 for the young sextet called eighth blackbird...

The muscle and emotion of Copland’s Lincoln Portrait, which was commissioned by the orchestra and had its premiere in 1942, highlighted the ensemble’s characteristic sound: the different sections adroitly balanced and focused yet never harsh, with bronzed, burnished brasses infusing a strings section that plays with warm, cohesive bite. Ms. Angelou brought her inimitable combination of majesty and folksiness to the speaking part, drawn from Lincoln’s writings, ferociously digging into the final words of the Gettysburg Address.

...Mr. Langrée’s brisk, tight interpretation [of Beethoven's Fifth Symphony] was reminiscent of many of his performances of the Classical repertory at Mostly Mozart: polished and impressively energetic if somehow weightless, with movements that propelled forward without accumulating intensity. 

Mr. Langrée has thrown himself into life with the orchestra; buying a home in the city, as he has, is no longer a guarantee for globe-trotting music directors. In August, he and the ensemble drew 35,000 people over two performances to LumenoCity, an outdoor concert and light show in Washington Park."
New York Times, November 2013


Dialoges des Carmélites

Metropolitan Opera New York

"The Met has always focused Poulenc’s musings on martyrdom and the crisis of faith in revolutionary France with tragic intensity. This performance, the first of only three as the season nears its end, upheld the noble tradition. Louis Langrée reinforced both introspection and propulsion in the pit."  Finnancial Times 7 May 2013 (5 Stars)
"Last seen there 10 years ago, the production returned on Saturday afternoon for a three-performance run. It was as austerely powerful as ever, ennobled by an exceptional cast and the purposeful conducting of Louis Langrée...The harmonic language combines tart modern, milky Impressionist sonorities with echoes of modal French sacred music from earlier times. All of these qualities were brought out in the urgent and nuanced performance Mr. Langrée drew from the Met orchestra."  New York Times 6 May 2013


Symphony No 9

Cincinnati Symphony Orchestra

"you couldn’t miss the joy in Louis Langrée’s performance of Beethoven’s Symphony No. 9 with the Cincinnati Symphony Orchestra on Thursday in Music Hall.The orchestra’s music director-designate brought a distinctly
personal view to this monumental work...this was Beethoven that was clear, measured and deeply felt."

Cincinnati.com, 16 November 2012.


Symphony in D Minor

Cincinnati Symphony Orchestra

"Lyrical melodies breathed and were phrased with moving beauty as the music moved from darkness to light.
It was clear, too, that he felt the three-movement symphony in one great arc. Tempos were unhurried and Langrée expertly balanced its many moods. Yet he also led with intensity, joy and a momentum that swept the listener along. The sound that Langrée cultivated in the orchestra was warm, with organ-like sonorities in the basses and low brass. Brass chorales were noble and refined. Even the pizzicato strings and harp in the slow movement had remarkable color."

Cincinnati.com, November 2012


Clemenza di Tito

Wiener Staatsoper

"Under his baton, the Vienna State Opera orchestra straddled with aplomb a score that moves from the staid pomp of the
imperial palace to the passionate tempos of love and betrayal. The music can flow slowly here, tripped up by the many recitative passages, but Langree managed to avoid the orchestral stagnation that often characterizes the first act."

Huffington Post, 21 May 2012.

Verdi La Traviata DVD

Recorded at Aix-en-Provence Festival 2011. Released on Virgin Classics.

"Conductor Louis Langrée delivers a sensitive musical performance. Altogether an outstanding
production of La traviata."
BBC Music Magazine, May 2012

Concert: 16 March 2012

St Louis Symphony Orchestra

"Langrée, working without scores for the evening, brought a spirit of youthful freshness and energy to the proceedings, and led with an appealing clarity throughout." St. Louis Today, 17 March 2012


La Traviata


"There’s also plenty to relish in the bloom and finesse of the London Symphony Orchestra, as conducted by Louis Langrée; the sound’s especially succulent in the Act III prelude." EMI Classics


La Clemenza di Tito

Barbican, London

"Much of the performance's force, however, was ultimately due to Langrée, who has a wonderful understanding of the tricky balance between majesty and urgency that characterises the score." Guardian, 23 February 2012


Leonore Overture

Mostly Mozart Festival Orchestra, Avery Fisher Hall, New York

"Mr. Langrée elicited sharply etched phrasing and plenty of tension in the strings in a convincingly dramatic interpretation of this moody piece" New York Times, 14 August 2011


Symphony No 7

Cincinnati Symphony Orchestra

"The conductor brought out the drama in this score, leading with a sharp ear for detail as well as for the work’s overall scope. The finale was electric. Langrée pulled back in the sweeter moments, yet he kept the undercurrent of tension, always communicating the joy as well as the drama of Beethoven’s music." Cincinnati.com, 8 August 2011


La Traviata

London Symphony Orchestra, Aix-en-Provence Festival

"Louis Langrée had dramatic tension, he breathed with the singers and under his direction the LSO gave much elegance to the production."

Le Figaro, 8 July 2011


Pelléas et Mélisande

Barbican, London

“Louis Langrée conducted the Orchestre de Paris here, establishing at the outset the mood of threatening beauty on which the piece depends.  Textures were exquisite yet dangerous inhabiting borderline territory between sensuousness and sensuality.” The Guardian, 26 April 2011


Tragic Overture

Cincinnati Symphony Orchestra

"Langree's fastidious yet emotional direction explored the intricate details and the soaring phrases of this microcosm of Brahms' orchestral writing style. The ability to harness emotion and reason in elegant fashion is a rare but necessary quality for a world-class conductor. Langree showed he is such an artist." Cincinnati.com, 11 March 2011