Karel Mark Chichon O.B.E is Chief Conductor of the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern. In 2016 he was elected a Fellow of the Royal Academy of Music (London) in recognition of his achievements within the profession.
His previous positions include Chief Conductor & Artistic Director of the Latvian National Symphony Orchestra (2009-2012) and Chief Conductor of the Graz Symphony Orchestra (2006-2009).
Chichon conducts at the Wiener Staatsoper, Deutsche Oper Berlin, Bayerisches Staatsoper Munich, Teatro dell’Opera di Roma, Teatro Comunale di Bologna, Teatro Real Madrid, Gran Teatre del Liceu Barcelona and with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Rundfunk-Sinfonieorchester Berlin, Radio-Symphonieorchester Wien, Wiener Symphoniker, Netherlands Radio Filharmonisch Orkest and English Chamber Orchestra, amongst others.
In early 2016 he made a highly acclaimed debut at the Metropolitan Opera New York with Madama Butterfly, which included one broadcast live on HD in 2,000 cinemas in 66 countries throughout the world.
He is currently recording a cycle of the complete orchestral works of Dvořák with the Deutsche Radio Philharmonie for SWR/Naxos, of which volumes 1-3 have been released to critical acclaim.
Video & Audio
From The Green Room
17 Jan 17 Dvorak Complete Symphonies recording Deutsche Radio Philharmonie SaarbrückenMore info
“…of all the more recent recordings I have heard, it strikes me that Chichon is amongst the very best at allowing the fresh and joyful inspiration of Dvořák’s early symphonies to shine through. The excellent playing of his Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, allied to the sophisticated and satisfying engineering of these discs, makes for a thoroughly enjoyable experience.”
Nick Barnard, Music Web International
12 Sep 16 Puccini La bohème Deutsche Radio Philharmonie Saarbrücken KaiserslauternMore info
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26 Oct 16 Gala Concert Prague Philharmonia Smetana HallMore info
Sense and Sensibility
By Olga Janáčková,
“You can hear the softest (sounded) pianissimo,
as well as very powerful… She can totally rely on Karel Mark Chichon.
Their collaboration is perfect and sets a great example how a singer and a
conductor can unite in acoustics and expression, and how to cooperate on the
stage – many of our conductors should follow this example…. Chichon
manifested his works mainly in orchestra pieces; PKF – Prague
Philharmonia was working very hard to meet his requests. The conductor
builds the compositions on unusually swift and contrasting tempos, he is
dynamic, rhythmical, he often emphasizes individual instruments groups, his
demands on the orchestra often border virtuosity… The audience went
wild…….due to her perfect harmony with Karel Mark
Chichon, the evening was an exceptional experience…”
19 Feb 16 Puccini Madama Butterfly Metropolitan OperaMore info
“Ana Maria Martinez’s artful restraint was matched by those around her, including the conductor Karel Mark Chichon, who made his company debut with a performance that kept the drama flowing inexorably forward, cutting the saccharine without stinting on Puccini’s lushness”
Zachary Wolfe, New York Times
“Mr. Chichon’s debut demonstrated he is a very fine artist, able to coax delicate impressionistic tone color from the massive Met orchestra. Madama Butterfly is one of the world’s most popular operas, but it doesn’t play itself; it takes a perceptive maestro like Mr. Chichon to present this score at its best”
James Jorden, New York Observer
“Also making a strong debut was conductor Karel Mark Chichon, who will be leading the orchestra throughout the season”
Joe Mcdonald, New York Sports Day
13 Apr 15 CD Recording DVOŘÁK: Complete Symphonies 1 Deutsche Radio PhilharmonieMore info
21 Oct 14 Grieg & Dvorak Rundfunk Sinfonieorchester Berlin Philharmonie Berlin (with Alice Sara Ott, piano)More info
Der Tagesspiegel, Berlin
09 Jun 13 Mahler Symphony No. 2 Deutsche Radio Philharmonie, Congresshalle SaarbrückenMore info
“Die Spielzeit der Deutschen Radio Philharmonie ist noch nicht zu Ende, doch mit einer überragenden Interpretation von Mahlers Sinfonie Nr. 2 („Auferstehungssinfonie“) krönte Chefdirigent Karel Mark Chichon nun die Saison.”
01 Dec 10 Debut Concerts Concertgebouw OrchestraMore info“The conductor Antonio Pappano, to whom the disgruntled audience had been eagerly waiting to see, was replaced by Karel Mark Chichon. But their annoyance disappeared instantly at the start of the Overture: there were bold tempo changes, a fine characterization of the pathos in the strings and poignant lines in clarinet and oboe. This man knows what he wants. The Second symphony of Borodin showed that (Chichon) had established an intimate contact with the orchestra in this first encounter.”(Volkstraat ****)
Volkstraat“The extreme contrasts within the overture were dramatic. What is clear: Chichon is a conductor who does not bore the listeners! The beautiful playing of the orchestra’s dialogue with Kavakos was astonishing…”(Telegraaf ****)
Telegraaf“(Chichon’s) talent for musical drama was plain to see in the Verdi Overture; he kept the suspense perfectly…”“In the Borodin, high romantic drama from fairytale Russia, he kept the lines tight…the slow movement was really allowed to sing yet sizzle.”(URC ****)
29 Oct 10 Season Opening Concert Latvian National Symphony OrchestraMore info
BUILDING A NEW WORLD“One of the greatest 20th century composers – Gustav Mahler said, “I mean, write a symphony with all available means of musical expression to build a new world!” His second Symphony is a monumental and programmatic work of the Latvian National Symphony Orchestra Season Opening Concert with Eric Ešenvalds Fanfare Karel Mark Chichon led the orchestra musicians were hand-built in the new world, which thrilled his whole heart to their uniqueness.As the name of the opus, the concert was opened with a fanfare Eric Ešenvalds new works – very fresh, colorful music, footage of a compact (about six minutes), but pleasantly rounded whole in which The Latvian sound code in the world breath precursory framework, while touching something outside spacetime form, common to all mankind. Ešenvalds music I have always found speaks directly to the listener with its simple beauty, which felt a sincere humility and praise the Most High, no less pathos – easy and light, filling the heart and soul with positive energy throughout. Also fanfare is no exception. Ešenvalds Welcomed Orchestra new season with a score in a short time reveals a wide variety of orchestral colors and options, from a saturated string in unison through a small and playful solo wind instrument to gently lyrical melodic which penetrated up the wonderful percussion score, while easy and attractive with its wild- continuous pulse of the musical fabric reinforcements. Ešenvalds with its characteristic reverence and entering into fanfare had placed a message on the band as a whole, which is formed from the vivid personalities and are masters of their instrument playing. Chichon orchestrated fanfare, creating expressive, yet harmonious paintings with bright accents and feel the nuances.Mahler’s Resurrection Symphony in turn (this is the second symphony the other name) was a monumental wealth. To conduct Mahler is an experience, a peculiar initiation, approaching musical maturity and self-consciousness. Mahler himself calls for many literal and specific instructions within a wide range of emotions, where weaker nerves may even be harmful. Karel Mark Chichon in the person of emotionality and temperament are intertwined with the passionate nuances of search and rational, but also with the pragmatic power distribution and the energy to bring this magnificent symphony through to its culmination in the finale. It seems every major form Chichon constructs with great care, leads the orchestra musicians carefully luster of his party and then of those clean shiny bricks in the construction of a new version of its composer-generated world. Both strings and wood and brass, and percussion sounded magnificent balanced. Special mood and contrasts gave the so-called offstage brass and percussion ensembles, which the author meticulously called for, travelled very successfully from on stage to back stage. Surprisingly, given that the concert was held without a break, and Mahler’s symphony is about one and half hours long, the time went by almost unnoticed, as did the attention of musical dynamics to relax for a moment, and keeping your eyes open were like keeping your eyes closed in the beautiful interwoven orchestral textures in display. In the third movement the sympathetic lightness and dynamic pace pleasantly reminded the conductor’s exquisite treatment of the waltz / landler, never allowing a three-four measureto become banal. While the vocal side of the second Symphony added beautiful Russian mezzo-soprano Elena Batoukova’s rendition of Mahler’s song of the 4th movement. Her deep maternal warmth and expressivity added colored orchestral performances, bright contrast to the following French horn fanfare, leading into the symphony finale. The other soloist – the American soprano Karen Slack – sparkled with a rounded, clear, but at the same time fill the sound of a voice, a genuine enjoyment of the ears giving final ensemble with Batoukova (it seems, this time very successfully managed to harmonize the singers voice deepening tonal colors) and the Latvian National Opera Chorus, the final culmination of the spoken resurrection of the idea. I found myself at the thought of comparing this performance with the one a few years ago in Riga under Andris Nelsons’ artistic leadership – at that time Nelsons’ interpretation led critics and public to question the conductor emotional resources (on the border of being burnt out) which reached a definitive interpretation of contrasts, but the performance of Karel Mark Chichon, a deep and mature emotion intertwined with strictly rational direction of directing towards to the peak of the work, allows us to see Mahler’s genius in the directly programmatic symphony of construction and does not tire the listener with neverending emotional excess. With Chichon’s interpretation the listener was allowed to breath repeatedly and at the end of the symphony after the magnificent final chords the conductor himself took an extensive pause of more than two minutes of silence to allow Mahler’s world to disappear into the sea of applause.”
Neatkriga Daily Newspaper, Lauma Mellena
23 Sep 10 Tonhalle Dusseldorf GermanyMore info“……An dem großen Erfolg dieses Abends hatte der Dirigent Karel Mark Chichon, einen gebührenden Anteil.Unter Chichon, der das Lettische Nationale Sinfonieorchester mit Verve zu fein ziselierter Klangarbeit motivierte und die Sängerin sensibel begleitete, verteilte er klug lyrische, dramatische und temperamentvolle Akzente.Chichon, ein Magier am Pult, leitete das blendend disponierte Orchester mit Sicherheit, Temperament und Geschmack. Ihm und dem Orchester kann man nicht genug danken, dass der Abend mit solcher Virtuosität, musikalischer Intelligenz und Hingabe begleitet wurde. Mit hochgepeitschter Dramatik und viel Temperament servierten sie dieses umfassende Programm.Wie Chichon die Tempi voneinander absetzte und immer den richtigen Ton traf, ist bewunderungswürdig. Er riss das Orchester ständig mit und erreichte so ein Optimum an Differenziertheit und Klangfülle. Schmissige Tempi und kraftvolle Ausbüche gaben der Musik den richtigen volkstümlich-spanischen Klang. Man spürte die Liebe des Dirigenten für diese Musik. Sein Dirigat war eine einzige gelungene Pirouette, bei der man andauernd Beifall klatschen möchte, ein reines sinnliches Musikvergnügen. Alles war Bewegung, er wurde niemals derb, blieb immer elegant und natürlich. Er gestaltete dieses Konzert mit minimaler, aber überaus präziser Zeichengebung zu einem beglückenden Erlebnis.Sie erntete heftigen Jubel. Ein hervorragendes Konzert. Wir empfehlen Jedem den Besuch der Habanera Tour.”ioco Kultur im Netz“… Ganrancas Landsleute vom Lettischen Nationalen Orchester gaben unter der Leitung von Karel Mark Chichon ihr Äußerstes. Er forderte heftige Tempi und großes Klangvolumen. Keine Spur von Tournee-Langeweile. Stehende Ovationen am Schluss”.
Rheinische Post, Norbert Laufer