Conductor

Gergely Madaras

Music Director, Orchestre Philharmonique Royal de Liège, Belgium
Chief Conductor, Savaria Symphony Orchestra, Hungary

“…His is a name to watch.”
Financial Times

© Balazs-Borocz

Introduction

Gergely Madaras is Music Director of the Orchestre Philharmonique Royal de Liège and Chief Conductor of the Savaria Symphony Orchestra in his native Hungary. He was previously music Director of the Orchestre Dijon Bourgogne from 2013-2019.

Click here to download Gergely’s full 2019/20 biography.

Gergely regularly appears as a guest conductor on stage and in the recording studio with leading orchestras such as the BBC Symphony, BBC Philharmonic, Hallé, Philharmonia, Filarmonica della Scala, Maggio Musicale Fiorentino, Orchestra Sinfonica Nazionale della RAI, Orchestre Philharmonique de Radio France, Copenhagen and Oslo Philharmonic, Deutsches Symphonie-Orchester Berlin, Scottish Chamber Orchestra, Münchener Kammerorchester and the Academy of Ancient Music. Further afield, Gergely has worked with the Houston, Melbourne and Queensland Symphony Orchestras as well as with the Auckland Philharmonia. He has performed in some of the world’s most prestigious venues like the Barbican and Royal Festival Hall in London, Teatro alla Scala in Milan, Philharmonie de Paris and Suntory Hall in Tokyo.

Equally established in the operatic repertoire, he has appeared at the English National Opera, Dutch National Opera, Hungarian State Opera and Grand Théâtre de Genève.

While grounded in the traditional classic and romantic repertoire, Gergely is an advocate of Bartók, Kodály and Dohnányi, maintaining a close relationship with new music having conducted more than 100 works written after 1970, collaborating closely with composers Pierre Boulez, George Benjamin, György Kurtág and Péter Eötvös.


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  • More info  
    11 Mar 20 Beethoven Hallé Orchestra
    Bridgewater Hall / King George's Hall, Blackburn

    ” [It was] conducted with unaffected straightforwardness by young Hungarian conductor Gergely Madaras. He […] scraped the dust of habit from classical music’s signal masterpiece, and made it glow anew.”
    ★ ★ ★ ★ Ivan Hewitt, The Telegraph, 12 March 2020

    ”Madaras’s confident interpretation of this alluring and enduringly popular score was neat and precise, yet never felt underpowered. Setting the tone was the playing of the bold opening movement that felt focused with an ideal tempo and no shortage of intensity generated. One of my most beloved episodes in all Beethoven’s symphonies is the Andante con moto where Madaras paced the movement impeccably, creating a gratifying level of tenderness. As impressive as I have heard for some time, the playing of the Finale delivered a rewarding sense of resolution to this magnificent symphony.”
    Michael Cookson, Seen and Heard International, 16 March 2020

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    13 Feb 20 Langer, Shostakovich, Dohnanyi BBC Scottish Symphony Orchestra
    City Halls, Glasgow

    ”The conductor Gergely Madaras drew out the details beautifully, then picked up his sculptor’s chisel for the granite architecture of Erno von Dohnanyi’s First Symphony.”
    ★ ★ ★ ★ Simon Thompson, The Times, 17 February 2020

    ”Under Hungarian conductor Gergely Madaras, humour […] and atmosphere […] were vying qualities in an effervescent performance.”
    ★ ★ ★ ★ Ken Walton, The Scotsman, 14 February 2020

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    13 Dec 19 Mahler BBC Symphony Orchestra debut
    The Barbican

    ”…Gergely Madaras proved himself full of imagination in his reading, revelling in the piece’s shifting colours and moods.”
    ★ ★ ★ ★ Rebecca Franks, The Times, 16 December 2019

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    27 Sep 19 Boesmans Orchestre Philharmonique Royal de Liège
    CD Release

    ”From end to end, Gegerly Madaras, the new head of the OPRL excels at capturing the changing atmospheres and giving the works their energetic dynamism. A superb recording!” [TRANSLATION]
    S.M., Le Soir, 26 September 2019

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    27 Sep 19 Season Opening & Inaugural Concert Orchestre Philharmonique Royal de Liège
    Bozar, Brussels

    “…Gergely Madaras; a super-talented conductor with a unique way of captivating the audience and allowing us to see the soul of each piece…” [TRANSLATION]

    Serge Martin, Le Soir, 27 September 2019

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    10 May 19 Handel 'Israel in Egypt' Academy of Ancient Music & BBC Singers
    Milton Court

    ”Madaras successfully drew alert contrasts between Handelian ceremony, narrative impetus, and a rarefied integration of textures for more serious or reflective numbers.

    Grandeur and breadth were by no means missing from this account […] but it was the unusually alive aspect of Madaras’s re-telling that stood out.”
    Curtis Rogers, Classical Source, 10 May 2019

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    11 Oct 18 Dohnanyi, Kodaly, Borodin BBC Scottish Symphony Orchestra
    Glasgow City Halls

    “…Madaras drew every ounce of gypsy passion and rustic nuance from Kodaly’s Dances of Galánta, a work defined by its infectious rhythmic kicks, characterising wind solos and a blistering sense of Magyar zeal…”

    Ken Walton, The Scotsman, 13 October 2018

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    14 Sep 18 Stockhausen 'Inori' Lucerne Festival Academy Orchestra
    Paris Philharmonie

    [TRANSLATION]”…The enthusiastic public long applauded the performance of the dancers, the Lucerne Festival Academy Orchestra and Gergely Madaras, imperturbable/unflappable in his clockwork-precise gestures…”

    Patrick Jézéquel, ResMusica, 17 September 2018

    [TRANSLATION]”…With a straight and precise gesture the conductor opens the piece, as it would already have begun a long time ago, with an eternal and unique resonance…”

    Manuel Gaulhiac, Bachtrack, 17 September 2018

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    24 May 18 'Music of Today', Christian Mason World Première Philharmonia Orchestra
    Royal Festival Hall

    “…Earlier in the evening, and just as rewarding, the Philharmonia’s invaluable Music of Today series continued, the spotlight this time on Christian Mason, a Londoner born in 1984. Diverse instrumentation and placement of them (shades of Berio) informed the two works programmed […] Gergely Madaras conducted both works with unflappable dedication, played with equal distinction.”

    Colin Anderson, Classical Source, 24 May 2018

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    28 Apr 18 Programme including Ross Harris 'FACE' European Première BBC Symphony Orchestra
    Barbican

    “…Gergely Madaras, [who had] already demonstrated his considerable talent elsewhere in the programme. He brought real transparency to Vaughan Williams’s Fantasia on a Theme by Thomas Tallis, real delicacy to Ravel’s Le Tombeau de Couperin, chiselling out each motif with a jeweller’s precision. And in John Adams’s The Wound-Dresser […] Madaras found a poise to match this restrained, eerie work about a nurse’s experience in the American civil war. His is a name to watch.”

    Hannah Nepil, Financial Times, 30 April 2018

    “…the meditative aspects made the deepest impression in this performance under Gergely Madaras, a young Hungarian conductor very much at home in new music […] Le Tombeau de Couperin finds Ravel paying homage not only to an earlier composer but to friends killed in the war, and Madaras stamped his mark on it with fluency and warmth, drawing a halo of sound from the BBCSO. Madaras’s quietly authoritative presence was also telling in the Fantasia on a Theme by Thomas Tallis…”

    Ivan Hewitt, The Telegraph, 28 April 2018

    “…All spring and snap, Madaras’s reading highlighted the casual elegance of the orchestra’s woodwind section [Le tombeau de Couperin]…”

    Anna Picard, The Times, 1 May 2018

    “…Gergely Madaras had very clear, elegantly expressed ideas of phrase and rubato, and the BBCSO offered a sequence of lovely woodwind solos and, from the strings, finely judged weight and tone. The music is much more than a retreat down memory lane, and it was fascinating to hear how Madaras balanced its artificiality against its surprising robustness, while making room for moments of enchantment…”

    Peter Reed, Classical Source, 28 April 2018

     

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    08 Jun 17 Mendelssohn RAI Orchestra Turin
    Auditorium RAI Turin

    ”And so, Madaras kept Mendelssohn Symphony No. 3 ‘Scottish’ in the programme, another warhorse of Tate’s, in a beautiful performance, nimble in the lively parts and vibrant with great sensitivity in the expressive passages.” [TRANSLATION]
    Giorgio Pestelli, La Stampa, 13 June 2017

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    17 Mar 16 Ibert, Hindemith, Orff BBC Symphony Orchestra Debut
    Nottingham Royal Concert Hall

    “…Conductor Gergely Madaras handled the vast choral and orchestral forces with great panache, digging out fine detail from Orff’s score and adding some of his own (such as the raucously entertaining crowd noises in ‘In Taberna’). He also brought energy and insight to the first half programme: Ibert’s sensuously dynamic Bacchanale and Hindemith’s Technicolor orchestral showpiece Symphonic Metamorphosis on Themes by Weber. The BBC Symphony Orchestra, percussion well to the fore, was on sparkling robust form throughout.”
    Rachel Gorman, Nottingham Post, 13 March 2016 

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    06 Jan 14 'Un Noël hongrois'
    Orchestre Dijon Bourgogne

    A Hungarian Christmas helped the Orchestre Dijon Bourgogne public become more acquainted with the person who is their principal conductor since spring 2013: Gergely Madaras […] Gergely Madaras reveals the three essential qualities needed as precision, clarity and energy, as well as the gift of capturing the attention of the musicians. His beat is straight forward and his tempi perfectly mastered. As for his vision of the works, he remains very respectful, being perhaps a footprint with a welcome freshness […] A nice Christmas present which will be followed, it is promised, many others! [TRANSLATION]
    Isabelle Truchon, Le Bien Public 

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    13 Nov 13 MOZART The Magic Flute
    English National Opera, The Coliseum

    “…Spirited conducting from Gergely Madaras ensures that everything works musically as it should;”
    Michael Church, The Independent 

    “…The first [magical moment] is apparent before a note is heard: the orchestra has been raised out of the pit, placing it closer to the drama. Two players actually take part in the action. With Gergely Madaras making a promising Coliseum debut, the results are both transparent and vibrant…”

    Nick Kimberley, London Evening Standard 

    “…The next thing you notice is the young conductor, Gergely Madaras, striding to the podium and launching straight into the overture, even before the lights have gone down. The impact is immediate, carrying us into Mozart’s magical world without delay or time to settle into the usual audience lethargy…”
    William Hartston, Express

    “…The conductor Gergely Madaras was terrific, I admit – energizing an orchestra in a raised pit…”
    Rupert Christiansen, The Telegraph 

    “…Musically there is magic too, for the orchestra has been rescued from the aurally murky depths of the pit and raised to a level in full view of the audience. This completely transforms the sound, the clean, spirited playing under Gergely Madaras delivered crisply and directly…”
    Keith Clarke, Musical America 

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    01 Feb 13 Mariss Jansons/Royal Concertgebouw Orchestra Masterclass
    Concertgebouw, Amsterdam

    “…Madaras beats professionally, communicating visually and very directly with the orchestra…”  [translation from Dutch]
    Volkskrant

    “…Hungarian Gergely Madaras (1984) is the more experienced. In front of 900 visitors, he makes the second movement, Un Bal, float through the concert hall. With confidence, he instructs the orchestra: ‘More crescendo, please’…” [translation from Dutch]
    Parool

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    01 Feb 13 BRITTEN Albert Herring
    RNCM Opera, Manchester

    “In his debut conducting of Albert Herring, Hungarian conductor Gergely Madaras greatly impressed with his reading of Britten’s delightful chamber opera score. Madaras clearly knows the piece, and his control over his performers was admirable. He carefully supported each and every member of his team, whether the thirteen singers on stage or the twelve-piece instrumental ensemble in the orchestra pit. Madaras demonstrated admirable skills which enabled him to elicit the lyrical as well as dramatic sections of the score. The Threnody for nine solo singers (and orchestra) towards the end of the opera was deeply moving, while Madaras kept the momentum going even during the orchestral interludes…”
    Agnes Kory, Opera World