Robin Ticciati


Robin Ticciati is Principal Conductor of the Scottish Chamber Orchestra since season 2009/10 and the Music Director of Glyndebourne Festival Opera since Summer 2014. From the 2017-18 season he will assume the Music Directorship of the Deutsches Symphonie-Orchester Berlin for an initial five-year term.
Guest conducting projects over the next two seasons include return engagements with the Symphonieorchester des Bayerischen Rundfunks, Chamber Orchestra of Europe, Staatskapelle Dresden, DSO-Berlin, NDR Sinfonieorchester Hamburg, Wiener Symphoniker, Swedish Radio Symphony, Budapest Festival Orchestra, London Symphony Orchestra, Orchestre National de France and Czech Philharmonic Orchestra. He will embark on an extensive European tour with the London Philharmonic Orchestra and Anne-Sophie Mutter to cities including Vienna (Musikverein), Berlin (Philharmonie), Munich (Gasteig) and Paris (Theatre des Champs Elysees).
For his first two seasons as Glyndebourne Music Director, Robin Ticciati conducted new productions of Rosenkavalier and Finta Giardiniera, Entführung and a revival of a Ravel double-bill with L’Heure Espagnole and L’Enfant et les Sortileges. His third season will see him conduct a new production of La clemenza di Tito. Aside from Glyndebourne, recent opera projects include new productions of Peter Grimes at la Scala Milan, Nozze di Figaro at the Salzburg Festival, Eugene Onegin at the Royal Opera House, and a Metropolitan Opera debut with Hänsel und Gretel. He will return to the Met in Spring 2017 with a production of Onegin.
Robin Ticciati is in his 8th season as Principal Conductor of the Scottish Chamber Orchestra. His season 2016/17 with the SCO will seek to grow their focus on living composers both from Britain and further afield, as well as the music of Mozart, Strauss and Bruckner. This season will see them touring to Europe and Asia and appearing at the Edinburgh International Festival. Their latest recording for Linn Records, which features Haydn symphonies, was released in September 2015 to rave reviews, with particular praise for its energy and the originality of its programming. The other three albums they have recorded for Linn - two Berlioz discs (Symphonie Fantastique; Les Nuits d'Été and La Mort de Cléopâtre) and a double album featuring Schumann’s four symphonies - have attracted unanimous critical acclaim. 
Robin Ticciati’s discography also includes Berlioz Roméo et Juliette and L'Enfance du Christ with the Swedish Radio Symphony Orchestra (Linn), Dvorak’s Symphony No.9, Bruckner’s Mass No.3 and a Brahms disc with the Bamberger Symphoniker and the Chor des Bayerischen Rundfunks (Tudor), as well as a number of opera releases on Opus Arte and on Glyndebourne’s own label.
Born in London, Robin Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when he turned to conducting, aged 15, under the guidance of Sir Colin Davis and Sir Simon Rattle. He was recently appointed ‘Sir Colin Davis Fellow of Conducting’ by the Royal Academy of Music.

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Gramophone Magazine - The Musician And The Score
Ticciati's recording of L'enfance with the Swedish Radio Symphony Chorus and Orchestra was released in December 2013 on Linn Records to critical acclaim.

Robin talks to Rupert Christansen, Telegraph, about his future plans as he gets ready to take up his position as Music Director of Glyndebourne Festival Opera.

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Deusches Symphonie-Orchester Berlin, 13 January 2017

Philharmonie Berlin

Once more it has become evident to what flowering orchestral sounds the young composer inspires his musicians. The beginning of Edward Elgar's overly long, late-romantic Violin Concerto from 1910 also reveals Ticciati's operatic experience. The orchestral exposition is reminiscent of a dramaturgically sharpened overture which is also relishingly set in scene. Flexibility and colour, naturalness and warmth are the tonal virtues the young Briton has forever awakened in the DSO.

Und einmal mehr is auffällig, zu welch blühendem Orchesterklang der junge Dirigent die Musiker in der Philharmonie inspiriert. Zu Beginn von Edward Elgars überlangem, spätromantischen Violinkonzert von 1910 offenbaren sich nicht zuletzt auch Ticciatis Opernerfahrungen: Die Orchesterexposition erinner an eine ebenso dramaturgisch zugespitzte wie geniesserisch inszenierte Ouvertüre. Flexibilität und Farbigkeit, Natürlichkeit und Wärme sind klanglichen Tugenden, die der junge Brite beim DSO dauerhaft weckt. Berliner Morgenpost, 15 January 2017

London Philharmonic Orchestra European tour

10-20 November 2016

Das Holz: eine Pracht. Die Streicher: reinstes Tonen. Das Blech: ein Fest. Und Ticciati gebietet mit seinen 33 Jahren souveran uber ein Werk mit all seinen Verwerfungen und dynamischen Extremen, dass selbst erfahrene Kollegen den Hut ziehen. Tonhalle Düsseldorf Armin Kaumanns, Rheinische Post, 14 November 2016
Wien – Sie ist einer der All-Time-Hits klassischer Wunschkonzerte – Antonín Dvoráks 9. Symphonie Aus der Neuen Welt mit ihren vielfach abgedroschenen Melodien. Dabei kann sie dank ihrer origineller Gedanken noch immer unerhört frisch wirken, wie sich am Sonntag im Musikverein zeigte. Doch eigentlich förderte Dirigent Robin Ticciati gemeinsam mit dem London Philharmonic Orchestra noch wesentlich mehr zutage – nämlich einen großen Anspruch, der sich mit den Symphonien der deutsch-österreichischen Tradition unbedingt messen möchte.

Ticciati ist ein erfreuliches Gegenbeispiel zu seinen Dirigentenkollegen, die den optischen Eindruck ihrer kommunikativen Bemühungen weniger auf das Orchester als auf das Publikum zu münzen scheinen. Seine Zeichen sind sparsam wie effizient, dabei so elastisch, um stets für lebendige Linienführung und ausgeglichene Transparenz zu sorgen.

Der Chefdirigent des Scottish Chamber Orchestra und Musikdirektor der Glyndebourne Festival Opera schien bei Dvorák beide Seiten der Medaille gleichermaßen ernst nehmen zu wollen: sowohl das Füllhorn kompositorischer Einfälle als auch den Ernst, jeder Stimme im Orchestergewebe einen Sinn geben zu wollen. Somit gab es neben dem perfekten Glanz und der Phrasierungskunst plastische Tiefenstrukturen und motivische Verbindungen zu ergründen, über die sonst gerne hinweggehuscht wird.  Musikverein Vienna 
Daniel Ender, der Standard, 21 November 2016

London Philharmonic Orchestra, 9 November 2016

Royal Festival Hall

Sweet, fresh and supple, powered by muscular brass and cooled by scissoring strings, the London Philharmonic Orchestra’s performance of Dvorák’s Ninth Symphony under Robin Ticciati was revelatory in its beauty and seriousness.

Ticciati has an incredible gift for tenderness, sharp nuances of colour and articulation and bold alterations of tempos. The LPO played Dvorák as though they were the same size as the Scottish Chamber Orchestra, with silky portamenti, vivid woodwind, precise horns and thrilling trombones. *****
Anna Picard, The Times, 11 November 2016


Mozart's last symphonies, Scottish Chamber Orchestra, 6 October 2016

Usher Hall

Always bright-eyed, the playing made us hear the final symphony afresh: not just looking back to Mozart's beloved Bach and his counterpoint, transfigured through the later composer's dazzling individuality, but also forward to the primal energy of Beethoven's Seventh, which Ticciati will be conducting next May. More Mozart's to come, too, in the shape of four masterly piano concertos; but already Ticciati and the SCO have done enough at the start of this season to show that they remain one of the best musical partnerships in the world. David Nice, The Arts Desk, 07 October 2016


Roméo et Juliette

Swedish Radio, Linn Records

' orchestrally superb new version of Berlioz’s 'dramatic symphony'. The sound pictures are precise and subtle in the 'serene night', Juliet’s funeral cortege, and the fizzing fireworks of the Queen Mab scherzo." Nicholas Kenyon, The Guardian, 11 September 2016

Scottish Chamber Orchestra, 15 January 2016

City Halls, Glasgow

As a musical dramatist [Robin Ticciati] excelled in his interpretation of Brahms’ Tragic Overture, with which he opened the programme: it’s too dark; it’s too heavy; it doesn’t establish any comfort zone for the listener; and, though we don’t hear it often these days (the very title is not exactly good box office) it’s often too fat. Ticciati and the SCO, in splendid form, stripped it to the bone, made it lean, low-calorie and very Beethovenian in its drama and excitement, and delivered an account of the Overture that seemed whiplash and incisive in its immediacy. 

And Ticciati’s forensic account of Brahms’ Third Symphony, played with stunning responsiveness by an SCO in mind-bendingly innovatory mode (chamber music and symphonic drama to the life) demonstrated an altogether-fresh approach to one of classical music’s most familiar and taken-for-granted evergreens.
Michael Tumelty, Herald Scotland, 16 January 2016

NDR Hamburg, 19 December 2015

Laeiszhalle Hamburg, Germany

Schumann strahlt. Seine Musik leuchtet. Und Robin Ticciati lässt seinen Schumann am Pult des NDR Sinfonieorchesters mit einer so glänzenden Animiertheit strahlen, dass sein Debüt beim designierten Residenzorchester der Elbphilharmonie einer Erweckung gleicht. Der gebürtige Londoner mit italienischen Wurzeln lässt schon nach den ersten fein modellierten und im frischen Tempo angegangenen Phrasen des mit "lebhaft" überschriebenen ersten Satzes vergessen, wie schwer Schumanns Sinfonien eigentlich zu knacken sind. Denn allzu viele Dirigenten finden den rechten Schlüssel nicht, der all die Innenräume einer feingliedrig versponnenen Poesie ohne Worte mit der Großform des fünfsätzigen sinfonischen Gebäudes verbinden könnte.

Bei Ticciati sind diese Pole ganz natürlich und harmonisch versöhnt. Da sind auf der einen Seite die Details mit Liebe ausgearbeitet, zumal die Ländleridylle des Scherzo, das oft mit den Wellen des Rheins assoziiert wurde, gewinnt mit ihren hell singenden Holzbläsern herrlich luzide Farbwerte und damit die Imaginationskraft einer Musik, die stets über sich selbst hinausweisen will, die uns hinter der wohl organisierten schwingenden Luft ihre dichterische Bedeutung enthüllen möchte. Auf der anderen Seite aber stärkt Robin Ticciati den organischen Fluss, formt herrlich logische Übergänge, disponiert das große Ganze mit überlegenem Weitblick.

Von Peter Krause, Die Welt, 21 December 2015

London Philharmonic Orchestra, 11 November 2015

Royal Festival Hall

In the surrounding all-French programme, Robin Ticciati proved his own points. In Fauré’s orchestral suite for Pelléas et Mélisande, which predates Debussy’s opera, Ticciati immediately announced his quality by drawing refined and restrained playing from the London Philharmonic. Yet he never allowed the music to lose its inner pulse, with the rippling violin figurations of the second movement beautifully integrated with the pizzicato cellos and the sinuous flute solo.

Ravel’s Valses Nobles et Sentimentales revealed a similar attention to clarity of texture and well-paced rhythmic grace. These waltzes really danced. But it was in Debussy’s La Mer, a symphony in all but name, that Ticciati displayed a sense of structure to go with his manifest ability to manage orchestral sound. The opening movement had a particularly firm sense of evolution as well as an ear for instrumental balance and effect, while the second movement play of waves was ideally impulsive and the final maritime surges were so atmospheric that one could almost feel the spray.

Martin Kettle, The Guardian, 13 November 2015

Philadelphia Orchestra, 5 November 2015

Verizon Hall, Philadelphia

Using period-instruments concepts, such as a leaner sound, the 32-year-old British conductor favored very fast tempos and lean textures. Rather, he used these ideas, where applicable, to underscore expressive details that might otherwise go unnoticed.
The piece rolled through like a storm - the driving intensity and probing of the first movement, the selective suspending of string vibrato in the second, the accent on violent rhythms in the scherzo, and a fearsome building of momentum at the end. 
In terms of dynamic individualists who lead the orchestra on a regular basis, Ticciati with this Schumann joins an exclusive club.
Schumann: Symphony no. 4

Ticciati was clearly unspooling the story, a quality that grew only stronger when he developed a middle-portion lull to the short piece that has rarely been accentuated so beautifully.
Schumann: Manfred Overture
Peter Dobrin, Philadelphia Inquirer, 7 November 2015


Symphonies nos. 31, 70, 101

Scottish Chamber Orchestra

'...cleverly chosen and done with such brimming fizz and fun...'  Nicholas Kenyon, The Observer, 20 September 2015
'Drei Faktoren wirken in optimaler Weise zusammen: Robin Ticciatis untrügliches Gespür für die Musik, die Reaktion des ‘Scottish Chamber Orchestra’ auf eben diese dirigentische Inspiration und ein Toningenieur, der die Musik in eine wunderbar ausgeglichene Aufnahme gebracht hat. Dies ist ein kleines Wunder musikalischer Ästhetik' Remy Franck, Pizzicato, 28 August 2015
Ticciati achieves a fusion of modern and historical performance not quite like any other achieved elsewhere, with vividly sculpted internal lines (especially important in the contrapuntal Symphony No. 70), a good deal of energy, and a great feel for the humour and sparkle of the late Symphony No. 101.'  James Manheim, AllMusic
'The three D major symphonies on this generously-filled disc bubble with originality ... The big fanfares impress, played on natural horns, but it's the trickier quiet moments which amaze ... All thought-provoking and highly enjoyable – Ticciati's best disc so far.' Graham Rickson, The Arts Desk, 26 September 2015


L'Enfant & L'Heure

Glyndebourne Festival Opera

Robin Ticciati drew fine playing from the London Philharmonic Orchestra, defining the habanera Spanish rhythms well in L’heure espagnole, grumpy contrabassoon and silvery flute to the fore in L’Enfant, but also great string delicacy in the score’s softer moments. The final “Maman!” brought a lump to the throat and rightly so, a sure indication that Ravel’s little masterpiece had worked its magic once again. A perfect summer evening entertainment. ***** Mark Pullinger, Bachtrack, 8 August 2014
Glyndebourne's music director Robin Ticciati draws exquisitely detailed playing from the London Philharmonic, languid in the first opera and wonderfully alert to Ravel's inventive night music at the end of the evening.
John Allison, The Telegraph, 9 August 2015


Symphony No. 9

Bamberg Symphony Orchestra, Tudor Records

'A big, bold New World this, with a strong bass-line and a winning approach to the first movement's second subject, where Ticciati eases the pulse and has the Bamberg Symphony Orchestra's strings smile gleefully on a warming glissando .. Most important, Ticciati appreciates the scale of the piece, allowing it to build naturally, patiently and powerfully, and with due appreciation of Dvořák's translucent orchestration. 

A super CD, the symphony a fair match for Sir Colin Davis and the LSO, the Suite making it for me a digital front-runner. More of the same please.'
Rob Cowan, Gramophone Magazine, August 2015
'The is a 'New World' of tiny shudders and tremolos, hidden chamber-music-like swoops and swerves, small cello fluctuations, and hushed expectations. What I enjoy about Ticciati is that once achieving a transparent sound picture, he moulds something within it. And far from eliminating lyricism and fascination, his approach finds it in unexpected places ... This exceptional recording manages what everyone attempts but seldom achieves - a genuine new take on a warhorse.'
Steven Kruger, Fanfare Magazine, 19 July 2015
Nimmt man dann noch die in allen Stimmgruppen bewunderungswert ausgeprägte Klanglichkeit und
Spielkultur der Bamberger hinzu, dann steht als Endresultat eine Interpretation, die dem Ideal ziemlich
nahe kommt – ohne dabei die zahlreichen Referenzeinspielungen zu entwerten. Der 32-jährige
Ticciati, der den Status des hochbegabten Newcomers bereits hinter sich gelassen hat, könnte, wenn er
sich zukünftig auf gleichem Niveau bewegt, in die allererste Riege vorrücken.

Thomas Schulz, Klassik Heute, 23 July 2015

Scottish Chamber Orchestra, 22 March 2015

Wiener Konzerthaus

'Unbeschreiblich war die Eindringlichkeit und Hingabe, mit der sich das Scottish Chamber Orchestra und sein Chefdirigent des Violinkonzerts Ludwig van Beethovens annahmen. Beschreibbar wären die pulsierenden, flexiblen Tempi, der transparente, durchartikulierte Klang, die sinnigen Phrasen - Ingredienzien, die Ticciati hinreißend zusammenfügte.'
Beethoven: Violin Concerto

'Ungemein packend war Ticciatis Zugriff jedenfalls in solchen Details wie auch im großen Ganzen - bitte unbedingt mehr davon!' 
Daniel Ender, Der Standard, 23 March 2015

Scottish Chamber Orchestra, 5 March 2015

Usher Hall, Edinburgh

Schubert’s glorious hour-long symphony was a revelation. The string sound was more robust, with the violins bouncing their way with alacrity through the first movement. There were lots of opportunities for the horns, with their declamatory statements, and the mellifluous oboes to shine. Together with some wonderful trombone contributions, this characterful performance gave the symphony a whole new lease of life. Schubert Symphony no. 9 The Scotsman, 7 March 2015

London Symphony Orchestra, 25 January 2015

Barbican Centre

Under Ticciati, who premiered the work in 2011, the music seemed to hang in the air above the orchestra and really breathe. As an evocation of something coming imperceptibly to life, it was very effective and beautiful.
Toshio Hosokawa’s Blossoming II
Erica Jeal, The Guardian, 27 January 2015

Scottish Chamber Orchestra, 18 December 2014

Queen's Hall, Edinburgh

The programme as a whole drew brilliantly on the SCO’s clarity, precision and refinement, and on conductor Robin Ticciati’s seemingly instinctive sense for sculpting meaningful lines and textures, yet not playing around with things too much – a lot of the time, simply letting the music speak for itself. David Kettle, The Telegraph, 19 December 2014

Cleveland Orchestra, 30 October 2014

Severance Hall, Cleveland

The most savory aspects of Ticciati's performance were the fresh musical personalities he discovered. In the shorter inner movements, he offered music that teased and music of rare intimacy. Between the sonorous, intricate work of all the strings, his account of "Feierlich" conjured a sensation close to suspense.
Schumann: Symphony no. 3

Zachary Lewis, 31 October 2014

Scottish Chamber Orchestra, 18 October 2014

Queen's Hall, Edinburgh

Ticciati, who seemed almost to be sculpting the score, ensured that Haydn's humanity shone through on every page. Genial high spirits and impassioned outbursts jostled up against each other all the way to the finale.
Haydn Symphony no. 104
John Allison, The Telegraph, 19 October 2014


Symphony no. 1, 2, 3, 4, Linn Records

Scottish Chamber Orchestra

'Every bar in these urgent performances with the Scottish Chamber Orchestra seems alive and full of interest ... in each symphony there is the sense of careful consideration and total absorption in the music so that not a detail of Schumann’s scoring goes missing. Everything flows with total naturalness, yet tiny contrapuntal phrases that are often hardly noticeable are allowed to make their points here without a trace of mannered emphasis ... hearing these symphonies in such superbly played, convincingly Schumannesque performances is irresistible.' Andrew Clements, The Guardian, 17 September 2014


Der Rosenkavalier

Glyndebourne Festival Opera

Without hysteria or grandstanding, he [Ticciati] moves through the Straussian thickets with unfailing clarity of purpose and a keen ear for detail, bringing to the music a humanity and charm sometimes absent from the production. Of him the ghost of George Christie would certainly approve. Rupert Christiansen, The Telegraph, 18 May 2014

Scottish Chamber Orchestra, 27 March 2014

Usher Hall, Edinburgh

Ticciati teased out the silken fibres Ligeti’s Melodien with a masterly mix of delicacy and precision, achieving a timeless and gently euphoric effect. ken Walton, The Scotsman, 29 March 2014

Scottish Chamber Orchestra, Asian Tour, 21 February 2014

Hong Kong Cultural Centre

[Mendelssohn The Hebrides]  Ticciati was riveting in his fresh perspective on its twists and turns ... the strings' steely timbre, aptly suggestive of grey northern waters, gave early notice that less vibrato meant more scope for variety in colour.

Beethoven's Fifth Symphony continued in the same vein, breathing life into the most unassuming fragments; but it was the overview of the work that was particularly well judged. Ticciati transformed the menace of the opening motif into an exercise in nervous anxiety, phrases throbbing ominously throughout. The variations of the second movement were sustained by a beautifully judged lilt; the colours Ticciati coaxed from the players hardly had time to dry before another one was slapped on. Those unexpected twists in character continued in the third movement, before a stonking finale that still managed to give the occasional nod to the music's feminine side.

Sam Olluver, South China Morning Post, 25 February 2014

Scottish Chamber Orchestra 40th Birthday Concert, 6th / 7th February 2014

City Halls, Glasgow

With Robin Ticciati at his most succinct, his gestures modest and economic, this was a defining SCO event, an intellectual and musical masterpiece of a concert, outstandingly played by a great orchestra at the top of its game ... Ticciati's freshly thought and blindingly compact Beethoven Five, stripped of excess and indulgence, and strictly following the letter of the score, right down to the precision timing of a quaver rest, was as mind opening as it was breathtaking.
City Halls, Glasgow, 7th February 2014
Michael Tumelty, The Herald Scotland, 10th February 2014
In Chopin's Second Piano Concerto, Ticciati delved into the wistful opening phrase like a series of restless breaths. The sound was searching and translucent, more Mozart than Chopin, and made for some revelatory colours in the orchestral score ... A superb account of Beethoven's Fifth Symphony came after the interval: vivid, exhilarating and full of surprises. Ticciati kept tempos crisp, articulation crystal-clear and textures feather-light. Fortes were little explosions of colour, never bombastic, and pianos were thrillingly whispered. A sense of optimism started brewing long before the triumphant finale – the andante was radiant, and every small phrase in the scherzo bloomed exuberantly at its crest. *****
Usher Hall, Edinburgh, 6th February 2014
Kate Molleson, The Guardian, Friday 7 February 2014


L’Enfance du Christ

Swedish Radio Symphony Choir & Orchestra

With Berlioz’s “Symphonie fantastique” (CKD 400) in 2012 and the coupling of “Les Nuits d’été” with “La Mort de Cléopâtre” (CKD 421) earlier this year, there was clear evidence of Robin Ticciati’s affinity with markedly different facets of Berlioz’s imagination. 
The absorbing impact of this performance lies in the fact that such gripping fervour is balanced and blended with the deliberately archaic style that Berlioz deploys elsewhere. Right from the opening bars, with those strange, harmonium-like sonorities that the woodwind produce, you have complete confidence that Ticciati understands the Berlioz hinterland. 
As the piece proceeds, he negotiates its pacing, its contours, its shifts of emotional emphasis with an assured, evocative hand, the famous “Shepherds’ Farewell” assuming its lyrically tender place in the overall scheme. ***** [CD of the month]

Geoffrey Norris, The Telegraph, 5 December 2013
This is as fine a performance of Berlioz’s triptych as I have heard. Its delicacy of colour is matched by its expressive intensity. Under Ticciati’s direction, the excellent Swedish choir and orchestra capture the essence of the work. The Sunday Times, 27 November 2013
There have been several lovely recordings, dating back to Colin Davis's first account, and this new one is beautifully fluid, flexible and transparent. Robin Ticciati and his soloists shape the lines responsively and warmly. **** Nicholas Kenyon, The Observer, 8 December 2013

Scottish Chamber Orchestra, Schumann Cycle II, 29 November 2013

City Halls, Glasgow

I do not exaggerate when I say that the producer and engineer from Linn Records, who has been busy these past two weeks recording Robin Ticciati's Schumann symphony cycle with the SCO as the orchestra has been playing the four symphonies in concert, was cock-a-hoop on Friday night. And no wonder. This has been a ground-breaking series, the results of which will be in evidence when the recordings are released in just five months (start saving now).
Above all it was the performance of the allegedly "difficult" Second Symphony on Friday that totally ignited my imagination. The light streamed through this piece, with Ticciati neither overdoing nor underlining its restless, mercurial qualities. 
The structure of the concert, with the double interval separating symphony, concerto and symphony again, was of Ticciati's own devising, was extremely novel and very stimulating; and pairing the music of those two great friends and fundamentally different intellects, Brahms and Schumann, was exhilarating.
Michael Tumelty, The Herald Scotland, 2 December 2013

Scottish Chamber Orchestra, Schumann Cycle I, 21 November 2013

Usher Hall, Edinburgh

It was the first concert in the Scottish Chamber Orchestra’s ambitious Schumann symphony series. And right from the start, you could feel how much this music meant to conductor Robin Ticciati. 
He crafted the evening’s two Schumann symphonies, Nos 1 and 4 (2 and 3 are to come next week), with impeccable care, even shaping their resolute final chords with thoughtful expression.
Melodies were beautifully moulded, rhythms brisk yet supple, orchestral balance – within the band’s period-influenced playing – expertly judged, with bright natural trumpets cutting nicely through the SCO’s velvety strings. It was all exquisitely stylish, yet it seldom seemed calculated – and most importantly, Ticciati never lost sight of the music’s wide-eyed spontaneity.

David Kettle, The Scotsman, 25 November 2013

Scottish Chamber Orchestra, 3 October 2013

Usher Hall, Edinburgh

Berlioz’s Beatrice and Benedict might not be the first operatic work to spring to many people’s minds – it’s a concise, light-hearted rethink of Shakespeare’s Much Ado about Nothing with all the serious stuff taken out. But it drew a crowd nonetheless – and, more importantly, it played to the SCO’s strengths under principal conductor Ticciati: lightness, transparency, precision and inner power. And, indeed, to Ticciati’s feel for Berlioz’s distinctively lyrical brand of Romanticism. There was a gentle sparkle to the amiable Overture as it bounced along under Ticciati’s encouraging direction, and he had a remarkable ear for the striking detail of Berlioz’s good-natured score – a gentle scurry from the strings here, a sudden blaze of trumpets there, all put to good dramatic effect. ****

David Kettle, The Scotsman, 4 October 2013

BBC Proms, Scottish Chamber Orchestra, 19 August 2013

Royal Albert Hall

With the opening chords of Eroica the programme came together with Beethoven as the culmination of the tradition that originated with Bach and as the stepping-off point for romanticism. Ticciati's vision of the symphony aspired to greatness: this was not a pared-down historical performance with driven tempi, but something altogether more majestic. Yet, with grandeur tempered by the timbre of the natural brass and the lithe, clean sound of the SCO strings, the performance never felt weighed down. Ticciati's assured shaping of the work combined by the warmth of the SCO sound for a most effective, individual performance. Rowena Smith, The Herald, 21 August 2013
The Scottish Chamber Orchestra, conducted by Robin Ticciati, tickled the ribs of the score with glee, the strings spare of vibrato, the natural horns and trumpets cackling with delight. **** Hilary Finch, The Times, 21 August 2013

Edinburgh International Festival, Scottish Chamber Orchestra, 17 August 2013

Usher Hall, Edinburgh

What I loved about Ticciati’s take on this [Schoenberg’s 1943 enlargement for string orchestra of his 1899 string sextet work,  Verklärte Nacht (“Transfigured Night”)] were the tiny breaths between question and answer phrases, suggesting a couple really listening to one another in considered dialogue. The dynamic control of this hugely varied work about longing and moonlit resolution was very impressive. **** Alan Coady, bachtrack, 19 August 2013


Peter Grimes

Chorus and Orchestra of La Scala, Milan

An outstanding Grimes and the clearest evocation of the scares and terrors that lie beneath the work.
*Reissue/Archive Choice*
Gramophone, July 2013

Scottish Chamber Orchestra, 5 April 2013

Glasgow City Halls

The SCO's ensemble-playing was alluring and enthralling. And of course principal conductor Robin Ticciati's stylish, understated and economic direction, which eschews exaggerated expression, magnetically draws the ear to the music rather than its presentation.

But what mattered on Friday was the fact that Ticciati and the SCO, in these works from composers all in their thirties, revealed in the Weber the seeds of German Romanticism from which so much grew; and in the Schumann, with its playfulness and expressivity, the uniqueness of this composer, so different from his near-contemporaries ; and in Berlioz's anti-concerto, the blindingly-original conception of this Gallic magician who accepted no-one's templates or structures and forged his own path, as monumentally influential as it was seminal.

This wasn't merely a powerful concert: it was a lesson to all of us who love music; I loved every minute of it, from the thrill of the performance to its provocative impact on the mind. *****
Michael Tumelty, The Herald, 8 April 2013

Concert:5 December 2012

London Symphony Orchestra

"conductor Robin Ticciati, with a generosity and wisdom beyond his 29 years, raised this orchestral masterpiece to the universal level it deserves. Elgar’s "friends pictured within" trod air and revealed every aspect of their often shy, beautiful souls." The Arts Desk

Cleveland Orchestra

Severance Hall

"Nowhere were Ticciati’s talents more apparent than in the Second Symphony of Sibelius, a well-known score that for all its familiarity can still easily come across as a string of disconnected episodes in the wrong hands... Time and again in the symphony, the conductor, leading from memory, managed to draw together ranges of seemingly disparate elements and fuse them into cohesive, hard-hitting musical arguments." 25 10.2012


Nozze di Figaro

Glyndebourne Festival Opera

"He drives the Orchestra of the Age of Enlightenment with a wonderful sense of dramatic lightness, allowing the period instruments to determine the natural pace. But he can be assertive, ensuring that the recitatives move with theatrical energy." Rupert Christiansen,Sunday Telegraph June 2012
"There was real sophistication to Ticciati's interpretation. Using every textural possibility that the Orchestra of the Age of Enlightenment afforded him, he revelled in the musical detail, emphasising psychological nerviness by bringing out chromatic instabilities." The Arts Desk, June 2012


Symphonie Fantastique

Scottish Chamber Orchestra

"The reveries at the start are aptly shrouded in a brooding atmosphere; the ebb and flow of dynamics, tempo and temperament as the movement progresses are handled in a masterly manner... The clarity, coordination and spectrum of colour in the orchestra are spot-on for Berlioz." Gramophone, May 2012
"It is an awesome performance. Ticciati doesn't go for the jugular, nor does he wring the neck of Berlioz's wonderful masterpiece. He's a man for detail and, with the SCO in formidable shape, this account of the symphony is detail upon detail, revealing new perspectives at every turn." The Herald, April 2012
"He has been at the helm of the Scottish Chamber Orchestra since 2009, and this first collaboration on disc captures all the energy, the finesse and the sheer panache with which he invests his live concerts." Telegraph, April 2012




Messe Nr. 3 f-Moll

Bamberger Symphoniker 
Robin Ticciati
Hanna-Elisabeth Müller
Anke Vondung
Dominik Wortig
Franz-Josef Selig
Chor des Bayerischen Rundfunks

Tudor Records

SCO 40th Anniversary Edition

Robin Ticciati, Conductor*~
Sir Charles Mackerras, Conductor*
Joseph Swensen,Conductor*~
Scottish Chamber Orchestra

Richard Wagner, Conducted by Robin Ticciati*
Siegfried Idyll, WWV. 103 (19:09)
Jean Sibelius, Conducted by Joseph Swensen.*
Wolfgang Amadeus Mozart, Conducted by Sir Charles Mackerras.*
Symphony No. 41 in C Major, K. 551 'Jupiter'
Linn Records


Variations on a theme by Haydn, Op.56
Serenade No.1 in D, Op.11
Bamberger Symphoniker 


Nänie Op.82, Gesang der Parzen Op.89, Alto Rhapsody Op.53, Schicksalslied Op.54 
Alice Coote
Bavarian Radio Chorus
Bamberger Symphoniker