“Watanabe’s strongest suit is the elegant lyricism with which he infuses long musical lines.”
Robert Markow, Bachtrack
Kensho Watanabe is currently Assistant Conductor of The Philadelphia Orchestra and was the inaugural conducting fellow of the Curtis Institute of Music from 2013 to 2015, under the mentorship of Yannick Nézet-Séguin. In April 2017, he made his critically acclaimed subscription debut with the Philadelphia Orchestra with pianist, Daniil Trifonov, and recently conducted the Orchestra for his debut at the Bravo! Vail Festival and concerts at the Mann and Saratoga Performing Arts Centres.
Recent highlights have included his debuts with the Houston Symphony, Rotterdam Philharmonic and his Japanese debut at the Matsumoto Festival. Highlights of the 2018-19 season include his debuts with the Royal Scottish National Orchestra, Detroit Symphony and the BBC National Orchestra of Wales, plus a return visit to the Orchestre Metropoltain in Montreal. He will also return to the podium in Philadelphia to conduct three subscription concerts with the Philadelphia Orchestra in January 2019.
Equally at home in both symphonic and operatic repertoire, Mr. Watanabe has led numerous operas with the Curtis Opera Theatre, most recently Puccini’s La Rondine in 2017 and La bohème in 2015. Additionally, he served as assistant conductor to Mr. Nézet-Séguin on a new production of Strauss’s Elektra at Montreal Opera.
Video & Audio
Kensho Watanabe conducts Korngold’s Violin Concerto with Hyun Jae Lim and the Philadelphia Orchestra, November […]
Kensho Watanabe conducts Saint Saëns Organ Symphony Finale with the Philadelphia Orchestra, November 2017.
27 Oct 17 Burhans, Strauss, Mozart & Schumann Alys Stephens Center, Alabama
with Andrew Bains, Alabama Symphony Chorus and Alabama Symphony Orchestra.
“A staunch new music advocate, the 30-year-old native of Yokohama, Japan, deftly guided the orchestra and ASO Chorus through the premiere of “Psalm 23,” by New York composer Caleb Burhans … Watanabe’s rendering of Schumann’s Symphony No. 4 struck an elegant mix of lightness, lucidity and lyricism. He allowed the orchestra to breathe freely in the opening movement, each string, wind and brass entry clearly in focus. Spirited exchanges among sections, both understated and refined, marked the Scherzo. The finale gathered urgent momentum while allowing the strength of the brass section to form a counterweight rather than dominating. It further cemented Watanabe’s ability to foster energy while allowing orchestral color to emerge.”
30 Apr 17 Puccini's 'La Rondine' Curtis Opera Theatre, Philadelphia
“If the production boggled the mind, at least there were musical virtues to savor. These primarily came from the pit, where conductor Kensho Watanabe—an alumni of Curtis’s conducting fellowship, who recently made a splash subbing for Yannick Nezet-Seguin at the Philadelphia Orchestra—perfectly accentuated the lush lyricism of Puccini’s score. The players of the pit were small in number, but under Watanabe’s precise yet passionate directorship, they produced enveloping waves of sound that rivaled orchestras twice their size.”
08 Apr 17 Beethoven, Bates, Mozart & Liszt Verizon Hall, Philadelphia
with the Philadelphia Orchestra & Daniil Trifonov.
“Kensho Watanabe ended up as practically the star of the show … The Philadelphia Orchestra must count itself fortunate in the possession of this young Japanese-American Curtis graduate as its assistant conductor. Now serving his first season in that post, Watanabe covered himself with glory, and as it turned out, the Beethoven and Liszt segments of the program made the strongest impression. Led with a combination of authority, charisma, and technical aplomb rarely found in a young conductor, the main Allegro of Beethoven’s Prometheus overture zipped along with crisply zestful clarity of articulation, and Liszt’s treatment of the same subject—no less powerful in expression—was revealed as one of that composer’s most firmly and economically constructed symphonic poems.”
04 Nov 16 Mendelssohn Maison Symphonique de Montreal
with the Orchestre Métropolitain.
“Watanabe’s strongest suit is the elegant lyricism with which he infuses long musical lines. Particularly memorable were the second theme of the first movement and the entire slow movement of the “Scottish” Symphony. He also knows how to shape a movement’s architecture so that the key climactic moment truly stands out, then how to disperse the accumulated tension with careful pacing. This quality was in evidence on several occasions, including the Overture to The Fair Melusina, the first movement of the symphony, and the transition to the symphony’s finale.”