Louis Langrée


The French conductor Louis Langrée has been Music Director of the Mostly Mozart Festival at Lincoln Center in New York since 2002 and of the Cincinnati Symphony Orchestra since the 2013/14 season. The Mostly Mozart Festival celebrated its 50th Anniversary in 2016, in a programme including Così fan tutte with the Freiburger Barockorchester, the latter following performances at the Aix-en-Provence Festival.  With Cincinnati Symphony Orchestra, recent and future highlights have included a performance in New York as part of their anniversary season of Lincoln Center’s Great Performers series, a tour to Asia and several world premieres, including three Concertos for Orchestra by Sebastian Currier, Thierry Escaich and Zhou Tian.
Guest conducting projects over the next two seasons include Louis Langrée’s debut with the Philhadelphia and Konzerthaus Berlin Orchestras and return engagements with the Leipzig Gewandhaus, Wiener Symphoniker and Hallé. With the Orchestre National de France he will conduct Debussy’s opera and Schoenberg’s tone poem based on Maeterlinck's Pelléas et Mélisande. He will also return to the Metropolitan Opera in New York, Wiener Staatsoper and Opéra Comique in Paris.
Louis Langrée has conducted the Berliner Philharmoniker, Wiener Philharmoniker (in concert in both Vienna and Salzburg) and London Symphony Orchestra. He has worked with many other orchestras around the world including the London Philharmonic, Orchestre de Paris, Orchestre de la Suisse Romande, Santa Cecilia in Rome, Deutsche Kammerphilharmonie Bremen, Budapest Festival, Sao Paulo and NHK Symphony Orchestras. Festival appearances have included Wiener Festwochen, Salzburg Mozartwoche and Whitsun, BBC Proms and Glyndebourne Festival Opera. He has held positions as Music Director of the Orchestre de Picardie (1993-98) and Orchestre Philharmonique Royal de Liège (2001-06) and was Chief Conductor of the Camerata Salzburg (2011-16).
Louis Langrée was Music Director of Opéra National de Lyon (1998-2000) and Glyndebourne Touring Opera (1998-2003). He has also conducted at La Scala, Bayerische Staatsoper in Munich, the Royal Opera House Covent Garden, Opéra-Bastille and Théâtre des Champs-Elysées in Paris, Lyric Opera of Chicago, Dresden Staatsoper, Grand Théâtre in Geneva and the Netherlands Opera in Amsterdam.
Louis Langrée's first commercial recording with the Cincinnati Symphony Orchestra features Copland’s A Lincoln Portrait (narrated by Dr Maya Angelou) and world premieres by Nico Muhly and David Lang. Louis Langrée’s recordings have received several awards from Gramophone and Midem Classical. He was appointed Chevalier des Arts et des Lettres in 2006 and Chevalier de la Légion d’Honneur in 2014.
July 2016: This biography must not be edited without the permission of Askonas Holt Ltd

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  • CSO presents the Concerto for Orchestra Project - Zhou Tian



Metropolitan Opera Company, NEW YORK

BIZET Carmen

Micaela: Maria Agresta
Carmen: Clémentine Margaine
Don José: Macelo Alvarez
Escamilo: Michael Todd Simpson

Production: Sir Richard Eyre
Set & Costume Designer: Rob Howell
Lighting Designer: Peter Mumford
Choreographer: Christopher Wheeldon

Metropolitan Opera Company, NEW YORK

BIZET Carmen

Micaela: Maria Agresta
Carmen: Clémentine Margaine
Don José: Macelo Alvarez
Escamilo: Kyle Ketelsen

Production: Sir Richard Eyre
Set & Costume Designer: Rob Howell
Lighting Designer: Peter Mumford
Choreographer: Christopher Wheeldon

Taft Theatre, CINCINNATI

STRAVINSKY Symphonies of Winds
MOZART Concerto for 2 Pianos K365 with Labeques
STRAVINSKY Concerto in D
MOZART Smphony No 40 in G minor

Cincinnati Symphony Orchestra
Piano: Katia and Marielle Labèque

Taft Theatre, CINCINNATI

STRAVINSKY Symphonies of Winds
MOZART Concerto for 2 Pianos K365 with Labeques
STRAVINSKY Concerto in D
MOZART Smphony No 40 in G minor

Cincinnati Symphony Orchestra
Piano: Katia and Marielle Labèque

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Cincinnati SO

Louis Langrée is Music Director of the Cincinnati Symphony Orchestra, a position he has held since September 2013.
Recent and future highlights have included a performance in New York as part of their anniversary season of Lincoln Center’s Great Performers series, a tour to Asia and several world premieres, including three Concertos for Orchestra by Sebastian Currier, Thierry Escaich and Zhou Tian.
Louis Langrée's first commercial recording with the Cincinnati Symphony Orchestra features Copland’s A Lincoln Portrait (narrated by Dr Maya Angelou) and world premieres by Nico Muhly and David Lang.
Announcement of 2016-17 season
Watch Louis discuss the Brahms Festival.
One City, One Symphony.
Free download of Tchaikovsky Symphony No 4 and Mozart's Davide Penitente
Lumenocity 2013 and 2014
Free download
Lumenocity, August 2015
Saint-Saëns: Organ Symphony No.3 2nd Mvt
Mosolov: Iron Foundry

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Concert 05 January 2017

With the Cincinnati Symphony

Webern’s “Passacaglia,” Op. 1 [...] surprised listeners who only know the composer’s 12-tone output.... Langrée brought inventive character to each of its variations and swept up his forces in its majestic peaks.
Janelle Gelfand, Cincinnati.com, 6th January 2017

Concert 03 November 2016

With The Philadelphia Orchestra

"Langrée delivered a rugged antiethereal first movement [Brahms Symphony No 2]; a brisk, crisp third movement; and a blazing, exuberant final movement -- though always with close attention to how orchestration creates well-defined coloristic shifts. He encouraged a saturated string sound that was so echt-Philadelphia he seemed to channel Eugene Ormandy.

Langrée has emerged as a major personality in recent years, so it's no wonder that he was able to persuade the Philadelphia Orchestra to go his way so completely."

David Patrick Stearns, Philadelphia Enquirer, 4th November 2016

Concert 01 October 2016

With the Cincinnati Symphony

"In the program’s first half, Langrée perfectly caught the languid, sensuous mood of Debussy’s “Prelude to the Afternoon of a Faun” (again featuring Bowman as flute soloist). The hallmarks of Debussy’s “Nocturnes” included transparency and subtlety of expression. The musicians played superbly." Janelle Gelfand, Cincinnati.com, 1st October 2016

Concert 21 September 2016

With the Cincinnati Symphony

"...nothing short of electrifying....Langrée led a nuanced performance [of Saint-Saëns Symphony No. 3] and also managed to elicit expressive color from the players... The most ravishing moment came in the lovely “Poco Adagio,” warmly underscored by organ. The orchestra’s ensemble was clear and precise, and finale’s majestic, brass-filled build-up was a thrilling conclusion to the program."

Janelle Gelfand, Cincinnati.com, 22nd September 2016

Concert 08 September 2016

With the Cincinnati Symphony

"The brass of the Cincinnati Symphony Orchestra burst upon the finale of Shostakovich’s Symphony No. 5 with electrifying power. It was the summit of a gripping performance led by Louis Langrée to open the orchestra’s season" Janelle Gelfand, Cincinnati.com, 9th September 2016

Concert 19 August at Mostly Mozart Festival

With the Mostly Mozart Festival Orchestra

**** "Langrée drew spirited...responses from his resident orchestra.... In all, a good night at Geffen Hall." Martin Bernheimer, The Financial Times, 22nd August 2016

Concert 29 July at Mostly Mozart Festival

With the Mostly Mozart Festival Orchestra

"This orchestral program, heard in the second of three performances, on Friday, was a gem in its simplicity and symmetry.... Mr. Langrée and the orchestra rendered [the works] in fine fashion"

James R. Oestreich, The New York Times, 31st July 2016

Cosi Fan Tutte

With the Freiburg Baroque Orchestra, Aix-en-Provence Festival

...the Freiburg ensemble played with crisp, light energy under Mr. Langrée Zachary Woolfe, The New York Times, 1st July 2016

Concert 06 May 2016

With The Cincinnati Symphony

"Louis Langrée’s program featuring Beethoven’s “Eroica” Symphony and a world premiere by Chinese-born composer Zhou Tian was nothing but celebratory. It was a splendid send-off before the orchestra decamps to a temporary home at the Taft Theatre. Both performances were inspired, and listeners were on their feet  twice, with enthusiastic and lengthy ovations." Janelle Gelfand, Cincinnati.com, 14 May 2016

Concert 11 March 2016

With The Cincinnati Symphony

"Langrée is the 13th music director to put his personal stamp on Brahms’ Second Symphony in D Major, which came after intermission. It was a performance of extraordinary warmth and lightness, and the conductor’s pacing was spacious. Yet there was also plenty of drive and intensity in Brahms' majestic buildups. The orchestra responded with glowing playing..." Janelle Gelfand, Cincinnati.com, 11 March 2016

Concert 19 February 2016

With The Cincinnati Symphony

"Langrée led warmly, and the atmosphere he inspired was memorable, helped by Music Hall’s resonant acoustics. He communicated with vivid detail but also breadth, from the sustained, quiet opening through the suite’s energized dance sections. The climax on “Simple Gifts” was expansive, with a lively variation for the trumpets and trombones. The closing section, played pianissimo, was quite beautiful."

Janelle Gelfand, Cincinnati.com, 20 February 2016


Concert 14 January 2016

With The Cincinnati Symphony

"The playing was electric, the conducting was heartfelt and the string sound in Music Hall’s glowing acoustical
space was unforgettable." Janelle Gelfand, Cincinnati.com, 15 January 2016


Concert 6 January 2016

Lincoln Centre, New York

"In the Fifth Symphony, Mr. Langrée, conducting from memory, brought weighty depth to the grim Andante opening of the first movement. The animated main section was at once purposeful and restless. He sometimes pushed the music to compelling extremes for expressivity... The finale was the highlight, played with fiery intensity and excitement" Anthony Tommasini, New York Times, 7 January 2016
"Two standing ovations for a program of symphonic warhorses is not what you’d expect from New York audiences, who regularly see the world’s most inventive musical offerings. But Louis Langrée and the Cincinnati Symphony Orchestra brought New Yorkers cheering to their feet – twice – for their all-Tchaikovsky program on Wednesday night at Lincoln Center." Janelle Gelfand, Cincinnati.com 7 January, 2016

Concert 19 November 2015

With the Cincinnati Symphony

"The finale was a vibrant mix of episodes, underscored by jazzy pizzicatos in the basses. The busy dialogue across the orchestra rose to a peak, only to be stopped by a whistle. Despite the complexity, the musicians played with remarkable precision. Langrée took care with each phrase, finding nuance in even the smallest motive... Langrée was an excellent partner, in complete synch with the soloist. Langrée's view of Tchaikovsky’s “Romeo and Juliet” Overture-Fantasie was romantic, from the full-blown love theme to the dramatic music of the Capulets and Montagues." Janelle Gelfand, Cincinnati.com, 21 November 2015


Symphony No. 9 “From the New World”

With The Cincinnati Symphony

"The conductor’s warm view of this symphony was evident from the opening. Bold themes in the brass were clipped and superbly executed, and Langrée allowed the music to breathe in the more lyrical moments... The delicate aura that Langrée achieved in the orchestra was something to behold. Langrée’s tempos throughout were unrushed. Yet he knew just how to bring out the moments of drama, and the orchestra rose to the occasion with exciting playing." Janelle Gelfand, Cincinnati.com,13 November 2015


Pelleas und Melisande

With The Cincinnati Symphony

"Langrée found the delicacy and nuance of the richly-varied score, while propelling its climactic moments to magnificent heights. Orchestral soloists, especially those performing the themes representing the central characters, were expressive and flawless. The expanded brass section rang out impressively, and the vast section of strings created a glowing canvas...Langrée captured the dark, Nordic atmosphere of this music from the first, shivering notes in the violins." Cincinnati.com, 3rd October 2015


Symphonie fantastique

Cincinnati Symphony Orchestra - Season Opener

"Langrée, now starting his third season as music director, has proven to be a leader of both subtlety and musicality. Both were evident in these five movements. One was struck off the bat by the lightness and nuance of “Reveries, Passions.” Despite huge orchestral forces, its hallmarks were clarity, transparency and precision. Scenes were vividly depicted, such as the whirling waltz of “A Ball,” and the pastoral “Scene in the Country.” Cincinnati.com, 25 September 2015

Concert 1 August at Mostly Mozart Festival

With the Mostly Mozart Festival Orchestra

"Mr. Langrée led a spirited, polished performance whose dramatic heft and attention to detail made it easy to forget that this is a freelance ensemble."

Vivien Schweitzer, New York Times, 2 August 2015

Mostly Mozart Festival Opening Concert

With the Mostly Mozart Festival Orchestra

Under the elegant direction of Louis Langrée, the festival orchestra sounded splendid, its approach to the music stylistically assured, lithe and humming with energy right from the first bar of the Overture to “The Impresario,” which opened the concert. Tina Fineberg, New York Times, 29 July 2015

Concert 16 May 2015

With The Cincinnati Symphony

The evening's tour-de-force, though, came in the second half, when music director Louis Langrée led a dazzling performance of Rimsky-Korsakov's orchestral showpiece based on the tales of 'The Arabian Nights'. Nothing was routine about this performance. It was as fresh and brilliantly played as one could wish for...Langrée's reading captured both the drama and the romantic color of each of the four movements, which unfolded vividly. Cincinnati.com 17 May 2015

MusicNOW, 13 & 14 March 2015

Cincinnati Symphony Orchestra

Shrieking fans, long lines snaking to the bars, a crush of people surrounding a band in the lobby – those are things you wouldn't expect at a concert of the 120-year-old Cincinnati Symphony Orchestra.

Cincinnati Enquirer, 14 March 2015
The CSO performed in a precise and compelling manner despite the challenges presented by so much new music, earning a unanimous standing ovation.

Music in Cincinnati, 16 March 2015



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