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.
2013/14 guest conducting engagements included debuts with the Symphonieorchester des Bayerischen Rundfunks, the Tonhalle Orchester Zürich and return engagements with the London Symphony Orchestra, Swedish Radio Symphony Orchestra, Rotterdam Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic and Bamberger Symphoniker.
In season 2014/15 Robin Ticciati looks forward to a major residency project at Vienna's Konzerthaus which will feature the Concertgebouw Orchestra, the London Symphony, the Scottish Chamber Orchestra and the Wiener Symphoniker. Guest conducting projects within the next two seasons include a European tour with the Royal Concertgebouw Orchestra, return engagements with the Gewandhaus Orchester Leipzig, Staatskapelle Dresden, Swedish Radio Symphony, London Philharmonic, Rotterdam Philharmonic, Cleveland Orchestra, Philadelphia Orchestra and Los Angeles Philharmonic as well as debuts with the DSO-Berlin, Budapest Festival Orchestra, Czech Philharmonic, NDR Hamburg and Orchestre National de France.
For his first season as Glyndebourne Music Director, Robin Ticciati conducted new productions of Rosenkavalier and Finta Giardiniera. In 2015, he will conduct a new production of Mozart’s Entfuhrung and a revival of a Ravel double-bill with L’Heure Espagnole and L’Enfant et les Sortileges. 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 which led to an immediate re-invitation.
Robin Ticciati is in his 6th season as Principal Conductor of the Scottish Chamber Orchestra. His season 2014/15 with the SCO will feature a twin focus on Mahler and Haydn. Together they have toured extensively in Europe and Asia, and their three recordings for Linn Records so far - 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 L'Enfance du Christ with the Swedish Radio Symphony Orchestra (Linn), 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.
October 2014

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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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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