Yannick Nézet-Séguin

Biography

This biography is for reference only and should not be reproduced.

Yannick Nézet-Séguin became Music Director of The Philadelphia Orchestra at the start of the 2012/13 season and has been Music Director of the Rotterdam Philharmonic Orchestra and Principal Guest Conductor of the London Philharmonic Orchestra since 2008.  He has conducted all the major ensembles in his native Canada and has been Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal) since 2000. 

Since his European debut in 2004, Mr Nézet-Séguin has worked with many fine ensembles, including the Dresden Staatskapelle, Berliner Philharmoniker, Staatskapelle Berlin, Bavarian Radio Symphony, Wiener Philharmoniker, Accademia Nazionale di Santa Cecilia, Royal Stockholm Philharmonic and Chamber Orchestra of Europe.  Following his 2009 BBC Proms debut (Scottish Chamber Orchestra), he returned the following year and more recently this summer with the Rotterdam Philharmonic.  He has also appeared at festivals in Edinburgh, San Sebastian and Grafenegg.  Engagements in summer festivals in North America include the Lanaudiere Festival, Vail Valley Music Festival, Saratoga Festival and Mostly Mozart Festival.

A notable opera conductor, Mr Nézet-Séguin made his Salzburg Festival debut in 2008 with a new production of Roméo et Juliette, returning in 2010 and 2011 for Don Giovanni.  For The Metropolitan Opera, he has conducted Carmen, Don Carlo, Faust and La Traviata and returns for Rusalka this season.  His 2011 debut at Teatro alla Scala (Roméo et Juliette) was followed in 2012 by his Royal Opera House, Covent Garden debut (Rusalka).  For Netherlands Opera, he has conducted The Makropoulos Case, Turandot and Don Carlo (all with the Rotterdam Philharmonic).  In 2011, he embarked on a major Mozart opera series for Festspielhaus Baden-Baden.

Mr Nézet-Séguin’s 2013/14 season opens with concert performances of Der fliegende Holländer with the Rotterdam Philharmonic in Rotterdam, Théâtre des Champs Elysées Paris and Konzerthaus Dortmund, the last inaugurating the start of his term as Artist-in-Residence at the venue.  In addition to his regular orchestral commitments, he returns to the Berliner Philharmoniker and Wiener Philharmoniker and leads The Philadelphia Orchestra on an extensive tour of China.

Recent and forthcoming additions to Mr Nézet-Séguin’s extensive discography include The Rite of Spring with The Philadelphia Orchestra, a Tchaikovsky disc with the Rotterdam Philharmonic and Lisa Batiashvili, Così fan tutte with the Chamber Orchestra of Europe and Don Giovanni with the Mahler Chamber Orchestra, all for Deutsche Grammophon.  With the Rotterdam Philharmonic, he has made recordings for EMI Classics and BIS Records.  He also continues to enjoy a fruitful recording relationship with the London Philharmonic Orchestra and Choir for the LPO label and with the Orchestre Métropolitain for ATMA Classique. 

A native of Montreal, Mr Nézet-Séguin studied piano, conducting, composition, and chamber music at the Conservatoire de musique du Québec in Montreal and choral conducting at the Westminster Choir College in Princeton, New Jersey before going on to study with renowned conductors, most notably the Italian maestro Carlo Maria Giulini.  His honours include a prestigious Royal Philharmonic Society Award; Canada’s highly coveted National Arts Centre Award and the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government.  In 2011, he received an honorary doctorate from the University of Quebec in Montreal and was appointed a Companion of the Order of Canada in 2012.


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  • PROKOFIEV Symphony no.5

Schedule

Verizon Hall, Philadelphia

Strauss: Salome

Philadelphia Orchestra
Yannick Nézet-Séguin, conductor
Camilla Nylund - Salome
John Mac Master - Herod
Birgit Remmert - Herodias
Alan Held - Jokanaan
Andrew Staples - Narraboth

Verizon Hall, Philadelphia

Strauss: Salome

Philadelphia Orchestra
Yannick Nézet-Séguin, conductor
Camilla Nylund - Salome
John Mac Master - Herod
Birgit Remmert - Herodias
Alan Held - Jokanaan
Andrew Staples - Narraboth

De Doelen, Rotterdam

Verdi: Requiem

Rotterdam Philharmonic Orchestra
Yannick Nézet-Séguin, conductor
Camilla Nylund, soprano
Karen Cargill, alto
Bryan Hymel, tenor
Mikhail Petrenko, bass
Collegium Vocale Gent

De Doelen, Rotterdam

Verdi: Requiem

Rotterdam Philharmonic Orchestra
Yannick Nézet-Séguin, conductor
Camilla Nylund, soprano
Karen Cargill, alto
Bryan Hymel, tenor
Mikhail Petrenko, bass
Collegium Vocale Gent

Festspielhaus, Baden-Baden

MOZART: Die Entführung aus dem Serail 

Diana Damrau, Konstanze
Rolando Villazón, Belmonte
Thomas Quasthoff, Bassa Selim (Sprechrolle)
Anna Prohaska, Blonde
Paul Schweinester, Pedrillo
Franz-Josef Selig, Osmin

Yannick Nézet-Séguin, conductor
Vocalensemble Rastatt
Chamber Orchestra of Europe

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Press

London Philharmonic Orchestra

Royal Festival Hall (London), March 2014

Under the meticulous direction of Yannick Nézet-Séguin, the London Philharmonic Orchestra’s strings formed a pale gold halo around the organ as James O’Donnell navigated the crazy-mirror harmonies of Poulenc’s concerto with brisk, unflappable agility. [...]

In the Saint-Saëns, Nézet-Séguin’s talent for managing thematic development came to the fore. It’s a splendidly profligate exercise in orchestration, now with one pianist (Catherine Edwards), now two (John Alley), now with the organ (O’Donnell); a hymn to the age of industrial progress and Great Exhibitions. Anna Picard, The Times, 28 March 2014

CD: Mozart - Così fan tutte

Deutsche Grammophon

Perfect listening for a late summer, Mozart's comedy (albeit with very dark undertones) fairly fizzes with life in this concert performance from Baden-Baden. Yannick Nézet-Séguin's conducting is buoyant and forward-moving, but with romantic touches like the voluptuous flutes in the first-act finale. Nicholas Kenyon, The Observer, 1 September 2013
Times Critics’ Favorite Classical Recordings of 2013
The superb young conductor Yannick Nézet-Séguin draws a dynamic, nuanced and miraculously natural performance of Mozart’s “Così Fan Tutte” from the excellent Chamber Orchestra of Europe and an impressive cast, including Miah Persson as Fiordiligi, Angela Brower as Dorabella, Rolando Villazón as Ferrando, Adam Plachetka as Guglielmo, and Mojca Erdmann as Despina.
Anthony Tommasini, New York Times, 19 December 2013

Rotterdam Philharmonic Orchestra

BBC Prom, August 2013

[...] an absolutely sizzling account of Prokofiev’s 5th Symphony. What Nézet-Séguin brought to this piece was a wonderfully spontaneous fluidity, ever responsive to the tiny shifts of pulse in the first movement which combined songfulness with an epic reach. The great ice-breaking climax here was ferociously impressive, the Rotterdam brass regaining their power and poise, the strings their darkest saturation.

I loved the suaveness of that pink Cadillac of a trio in the scherzo while the shot-silk fabric of the slow movement duly brought a return of Verona’s star-crossed lovers in those exquisitely pained dissonances. What a cry from the heart in the climax, too.

The Rotterdam woodwinds were a terrifically spry chorus of disapproval throughout scherzo and finale but one of their number – the first clarinet, Julien Hervé – was a feline star with a touch of Gershwin in his soul. And that amazing coda, like a dog chasing its own tail, brought clockwork percussion (let’s hear it for the wood-block) and Red Army brass to a cheer-worthy pay-off.

Nice, too, that the encore – “Folk Festival” from Shostakovich’s The Gadfly (with its tantalising burst of Festival Overture in its tail) – brought Prokofiev’s great compatriot to the party.

Edward Seckerson, 23 August 2013

Chamber Orchestra of Europe

Edinburgh International Festival, August 2013

**** Here surely was a prime illustration of why Canadian conductor Yannick Nezet-Seguin is such an admired talent among the younger names on the international concert platform. The Philadelphia's new man took the opening bars of Beethoven's Seventh Symphony--the most rhythmic feast of melody in the great composer's symphonic canon--at such a leisurely pace, it might have sound-tracked the final exhausted moments of a dance marathon. Keith Bruce, The Herald, 20 August 2013
Under Nézet-Séguin, the orchestra generated a sizzling performance of Beethoven’s Seventh 

Nézet-Séguin, the greatest generator of energy on the international podium, shows a subtler appreciation of the music’s tension and relaxation, creating the elastic intensity the slow movement needs but rarely receives, and calibrating the spring-coil effect on which the Scherzo depends. The performance sizzled, not least in the race to the end, where Nézet-Séguin underlined how much the classical era depended on those repeated stamping chords to create momentum.

Andrew Clark, Financial Times, 21 August 2013

Wagner: Lohengrin

Festival de Lanaudiere, August 2013

Above all, Lohengrin is a conductor's opera - with hidden difficulties. While Wagner's Ring operas offer a succession of explosive events behind which an inexperienced conductor can take refuge, Lohengrin has minimal action, unfolding in a contemplative narrative over long spans of music. Despite an occasional slack recitative, Nézet-Séguin sustained everything in masterly fashion. His best moments were intimate ones, in which he drew a sweet glow from the strings, buoyed by subterranean tension. Bigger moments were more thrilling than usual because you knew what they'd grown out of, musically and emotionally.
David Patrick Stearns, Philadelphia Inquirer, 13 August 2013
We never noticed, or I never did: Yannick Nézet-Séguin, in a jet-setting career encompassing Salzburg, the Met and Covent Garden, had not conducted an opera by Wagner. Not before Sunday, when he concluded the Lanaudière Festival with a concert performance of Lohengrin that ranks among the greatest things ever heard in the Fernand Lindsay Amphitheatre.

A Wagnerian is born? More like developed, this native Montrealer having approached Wagner from the platform of his symphonic contemporaries and counterparts. Certainly there was nothing tentative or first-time-like in this masterly presentation, as impressive in arching trajectory as it was vivid in dramatic thrust.

[...]

Nézet-Séguin, as athletic as ever, surely played a role in maintaining audience interest, but his real success was on the other side of the podium. It would be hard to imagine a more radiant treatment of the opening pages or a more electrifying Prelude to Act 3. The Orchestre Métropolitain — at its heart an opera orchestra — was in magnificent form, the strings lustrous, the brass warm, the woodwind chorales rich and lucid. Setting aside a few shaky stage trumpets, this ensemble was every inch a match for the OSM we heard in Mahler the night before. Maybe more than a match.

The problem with a performance like this is the expectations it raises for the next Lanaudière season. Give us Yannick and the OM in The Flying Dutchman. Or else!
Arthur Kaptainis, Montreal Gazette, 12 August 2013

London Philharmonic Orchestra

Royal Festival Hall (London), February 2012

*****

Nézet-Séguin’s Bruckner, and especially this Bruckner, is hugely—some would say controversially—expansive. His fantastic sense of its inevitability and inexorability requires great courage and patience and above all belief from his LPO players. Listening to the string phrasing in the second subject of the first movement one was struck by how personal and intimate it sounded and more than that how it felt illuminated from within.

Nézet-Séguin’s Bruckner sound is blended, never brass dominated, except in key moments of shock and awe like the mocking laughter of the trombones in the scherzo and the howling dissonance of the slow movement’s ultimate climax. He achieves mystery in pause and stasis and the harmonically unexpected in his conviction to “hurry slowly”. I’ve not heard Bruckner quite like this before.

Edward Seckerson, The Independent, 5 February 2012

Gounod: Faust

The Metropolitan Opera, November 2011

Yannick Nézet-Séguin, the much applauded conductor, dared restore passages often cut (including the Walpurgisnacht episode, here mimed rather than danced).  He also managed to enforce unusually broad tempos without compromising sentimental nuances.  He gave his singers steady support and rose gratefully to the gushing climaxes.  The stage may have been cool, but the pit was warm. Martin Bernheimer, Financial Times, 30 November 2011

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