Nathalie Stutzmann

Chief Conductor, Kristiansand Symphony Orchestra
Principal Guest Conductor, Philadelphia Orchestra

© Chris Christodoulou


Nathalie Stutzmann has just been announced as the Philadelphia Orchestra’s new Principal Guest Conductor from season 21/22. The three-year tenure will involve a regular presence in the orchestra’s subscription series in Philadelphia and at its Summer festivals in Vail and Saratoga. Nathalie is also entering the third season of a highly successful tenure as Chief Conductor of the Kristiansand Symphony Orchestra, a tenure which has just been extended by a further two seasons, to the end of 22/23.

Nathalie Stutzmann is considered one of the most outstanding musical personalities of our time. Charismatic musicianship, combined with unique rigour, energy and fantasy, characterise her style. A rich variety of strands form the core of her repertoire: Central European and Russian romanticism is a strong focus — ranging from Beethoven, Schumann, Brahms and Dvorak through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss — as well as French 19th century repertoire and impressionism. Highlights from her partnership with the Kristiansand Symphony Orchestra include acclaimed performances of Bruckner’s Symphony No.7, Tchaikovsky’s Symphony No.6 and a complete cycle of Beethoven’s symphonies.

Nathalie was also Principal Guest Conductor of the RTE National Symphony Orchestra of Ireland 2017-2020. Her sold-out performances with the RTE NSO in Dublin attracted outstanding accolades from the press, with particular praise for her performances of Strauss’s Also sprach Zarathustra, Tchaikovsky’s Symphony No.5, and Mahler’s complete Das Knaben Wunderhorn.

As a guest conductor, Nathalie began the season 20/21 with the Royal Stockholm Philharmonic Orchestra and returns to them twice during the season. Other guest conducting highlights over the next two seasons include performances with the Philadelphia Orchestra, Atlanta Symphony, San Francisco Symphony, Minnesota Orchestra, Los Angeles Philharmonic, Seattle Symphony, Pittsburgh Symphony, Orchestre Métropolitain Montreal, NDR Elbphilharmonie, London Symphony, Royal Liverpool Philharmonic, Orchestre National de Lyon, Orquesta Nacional de España and Finnish Radio Symphony.

Nathalie is an exclusive recording artist of Warner Classics/Erato. Her next album, Contralto, will be released in January 2021.

Visit Nathalie Stutzmann’s Contralto page here.

For the full biography, please download the Publicity Pack.


Video & Audio

Performance Schedule

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    20:00 27 Apr 2021 Philharmonie Cologne, COLOGNE

    ANTONIN DVORAK Slavonic Dances Op. 46, No. 1 in C major
    ANTONIN DVORAK Slavonic Dances Op. 46, No. 2 in E minor
    ANTONIN DVORAK Slavonic Dances Op. 46, No. 8 in G minor
    FRANZ SCHUBERT Symphony No. 9 in C major, D. 944 “The Great”

    Ensemble: Gürzenich-Orchester Köln


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    Label: Erato

    Release Date: 15 Jan 21

    Contralto Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini. “We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “and that the voice most closely resembling a castrato is not the countertenor – produced using a falsetto technique – but the contralto, which is a natural voice.” Stutzmann both sings and conducts Orfeo 55, the instrumental ensemble she founded a decade ago.

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    Quella Fiamma

    Label: Erato

    Release Date: 27 Oct 17

    The Arie Antiche compiled by Alessandro Parisotti are known to each and every student of classical singing. But with Quella Fiamma, Nathalie Stutzmann and Orfeo 55 breathe new fire into this primer for the voice, performing these songs and arias with original orchestrations, as they would have been heard in their day. Before they were lessons, they were high art.

    This album is a selection of pieces from Arie antiche, a 19th Century collection of songs edited by Alessandro Parisotti to be a vocal primer. Though now more famous as the editor of Arie antiche, Parisotti was also a composer, and he managed to slip one of his own works into the book by attributing to Giovanni Pergolesi his song “Se tu m’ami”. The collection was very much a part of the trend to rediscover old and forgotten works, and the popularity of the three-volume set has endured to this day.

    For this album the musicians of Orfeo 55 have worked painstakingly to source original scores and to edit the parts as necessary. While the instrumental works are not part of Parisotti’s primer, they provide brief musical interludes between the songs to enhance the overall listening experience and bring these works together into a coherent programme.


    “One has to admire […] Stutzmann’s rich, wine-dark voice, noble emotional articulation and, when required, flashy virtuosity. Some of these arias are simply ravishing in her hands”

    “One of the great baroque singers of our day.”

    Lindsay Kemp, Gramophone, Jan 18

    “Die von dieser Altistin interpretierten antiken Arien sind allesamt ein Hörgenuss.”

    Dirk Kruse, BR Klassik, 21 Jan 18

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    Handel: Heroes from the shadows

    Label: Erato / Warner Classics

    Release Date: 14 Nov 14

    Heroes from the Shadows makes stars of the unfairly overlooked roles. Stutzmann conducts her superb musicians playing on Baroque instruments, while singing some of Handel’s most virtuosic arias, all with a rare mastery of both arts – neither one in the shadow of the other.

    conductor/contralto: Nathalie Stutzmann

    Orfeo 55

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    Bach - Une Cantate Imaginaire

    Label: Deutsche Grammophon

    Release Date: 05 Nov 12

    Une Cantate Imaginaire
    conductor/contralto: Nathalie Stutzmann
    Orfeo 55

    “Stutzmann performs as soloist and director, imbuing these accounts with personality and vision. Her contralto is distinctive -at once voluptuous and androgynous, with an impressively wide range and sure technique . . . Stutzmann really captures the sublime quality of Bach’s sacred music, and the instrumentalists of Orfeo 55 shape the contours and paint the colours of his counterpoint with eloquent grace. The pristine recording throws the details into high relief.”

    Kate Bolton, BBC Music Magazine, March 2013

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    Vivaldi: Prima Donna

    Label: Deutsche Grammophon

    Release Date: 27 Jun 11

    Prima Donna
    conductor/contralto: Nathalie Stutzmann
    Orfeo 55



    “Stutzmann’s heady mixture of raw energy, high-octane passion and stunning vocal acrobatics works marvellously in this imaginatively planned recital . . . It’s a “tour de force” not only for singing – Stutzmann also shows great prowess as a conductor, inspiring her ensemble Orfeo 55 in vibrant and expressive performances throughout.”

    Erik Levi, BBC Music Magazine, 2011


    “It is one thing to be eclectic, it is entirely another to show the same talent in all fields. Moving to Deutsche Grammophon, with bag and baggage, not to mention a baton, Nathalie Stutzmann certifies that everything she does, she does well.  Under her leadership, the orchestra imposes itself in exemplary manner. The timbres are fruity, the cantabile delicate, the attack free.  The colors vary wonderfully, and she draws from the instruments a wealth of shades.”

    Sylvain Fort, Classica, May 2011

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    09 Jan 20 London Symphony Orchestra

    “Stutzmann injected a jolting spring and bounce into the LSO’s measured tread that left you suspecting that this pilgrim was en route to a happy ending. Her crescendo worked its proper magic, too.”

    “Stutzmann’s nuanced teamwork with the LSO proved a cross-channel partnership well worth celebrating – and repeating very soon.”

    Boyd Tonkin, Arts Desk, 10 Jan 20

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    31 Dec 19 Bamberg Symphony Orchestra
    Konzerthalle Bamberg

    “Nathalie Stutzmann, Dirigentin ebenso wie Sängerin, gelang die perfekte Verschmelzung poetischer und gefühlvoller Momente mit markanten, hoch eruptiven Passagen. So viel Kraft und feinfühlige Eleganz, so starke Werkverinnerlichung und Gestaltungssouveränität gingen von ihr aus!”

    Elke Tober-Vogt, Mainpost, 1 Jan 20

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    07 Nov 19 Minnesota Orchestra
    Orchestra Hall

    “Throughout Thursday’s midday concert, Stutzmann exhibited strong interpretive ideas and a grace and fluidity that fit well with the fare. And the orchestra responded to her leadership very well, especially on a bright, high-energy Brahms Second.”

    Rob Hubbard, Pioneer Press, 7 Nov 19

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    31 Oct 19 Seattle Symphony
    Benaroya Hall

    ” Stutzmann conducted throughout with a sense of lyricism and drama”

    “Her clarity of gesture, her careful cueing and close communication with the players, all contribute to a clear vision of the music and an ability to make her interpretation happen. The Brahms performance had lots of expressive details and dynamic contrasts, as well as the surging romanticism that infuses this score. Many principal players rose to the occasion with beautiful and compelling solo work.”

    Melinda Bargreeen, The Seattle Times, 1 Nov 19

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    24 Oct 19 Philadelphia Orchestra
    Verizon Hall

    ” […] certain nights cry out for [the return of the orchestra’s encore tradition], such as Friday’s led by conductor Nathalie Stutzmann. For one thing, if the audience’s enthusiasm could be interpreted as a wish, people seemed to be asking for more.”

    “I loved the way Stutzmann gave gestures and melodies in the last movement an inevitable drive toward the very last note.”

    Peter Dobrin, The Philadelphia Inquirer, 26 Oct 19

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    07 Aug 19 Mozart Requiem BBC Proms
    Royal Albert Hall

    “Yet the conductor who vigorously steered this evening of luxurious period drama, Nathalie Stutzmann, would have made news even a decade ago. Some overdue revolutions soon become almost unnoticeable.

    She led a trio of works [Brahms’ Tragic Overture, Wagner’s Prelude and Liebestod from Tristan und Isolde and Mozart’s Requiem] that painted the Royal Albert Hall in ever-deeper layers of heroic grief and epic sorrow. It built into an emotional blow-out, or grande bouffe, in which the individual ingredients never lost their flavour or the chef her tight control. […] Stutzmann coaxed some fine, forest-dark sonorities from the all-important lower woodwinds (such as Lenny Sayers’s bass clarinet), and the Prelude crested and broke with a jolting force. As for the Liebestod, it lacked for nothing in swelling intensity, and Stutzmann throughout emphasised the drama rather than the languor as we rose inexorably towards its peaks. The cellos, led by Alice Neary, purred, glowed and pounced. After the earth duly moved, Stutzmann rightly stretched out the enraptured silence for the span of a long sigh. An old-fashioned spell of bliss, perhaps, but still an utter treat.

    Let’s hope she returns soon.”

    Boyd Tonkin, Arts Desk, 8 Aug 19

    “Nathalie Stutzmann really is an impressive conductor. The sheer elegance she brings to her formidable technique, the effortless drive towards making much of the music she conducts sound so passionate and the ability to shock us into hearing something quite new in music we think we know is really rather refreshing.”

    Marc Bridle, Opera Today, 9 Aug 19

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    23 Nov 18 Tchaikovsky Violin Concerto (Ray Chen) & Symphony No. 5 RTÉ National Symphony Orchestra
    National Concert Hall

    “Stutzmann shaped each [fortissimo] lovingly, on the principal that less is indeed more.”

    “There was an instinctive chemistry between Chen and Stutzmann”

    ★★★★★ Andrew Larkin, Bachtrack, 25 Nov 18


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    27 Sep 18 Beethoven Symphony No. 5 Kristiansand Symphony Orchestra
    Kilden Performing Arts Centre

    “Met så kommer Nathalie Stutzmann med den. Tar den så utrolig pa alvor. Skaper noen øyeblikk der orkesterklangen nærmer seg stillhet. Og andre der alt får love å tute av full kraft.”

    Emil Otto Syvertsen, Fædrelandsvennen, 28 Sept 2018

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    09 Jul 18 Mefistofele
    Chorégies d'Orange

    “Le véritable ‘maître’ de la soirée n’est autre que Nathalie Stutzmann, à la tête d’un Orchestre philharmonique de Radio France littéralement emporté par l’engagement de sa direction fougueuse et précise, sensible et contrastée.”

    Marie-Aude Roux, Le Monde, 13 July 18

    “La révélation de la soirée est pour nous sans conteste la direction de Nathalie Stutzmann, que nous voyions diriger pour la première fois. Si la voix de la chanteuse ne nous a jamais séduit (rien de plus subjectif!), la chef a tout pour elle: une technique appréciable dans une oeuvre où il faut coordonner un orchestre wagnérien, des choeurs considérables et des fanfares de coulisse, une gestuelle fluide et souple, un véritable lyrisme.”

    Christian Merlin, Le Figaro, 10 July 18

    “Le plus grand plaisir de cette soirée est venu de l’Orchestre Philharmonique de Radio-France, magnifiquement dirigé par Nathalie Stutzmann. Pour ses débuts à Orange, où les conditions acoustiques ne sont pas des plus confortables, la contralto et cheffe d’orchestre s’impose en grande prêtresse de l’art lyrique, maintenant avec souplesse les équilibres entre les imposantes masses chorales et orchestrales, travaillant chaque tableau comme une toile de maître, ciselant les détails, prenant soin d’accompagner les chanteurs en les valorisant (extraordinaire duo d’amour Lontano, lontano de Faust et Marguerite, avec des voix-bijoux serties dans un luxueux écrin orchestral).”

    Sophie Bourdais, Télérama, July 18

    “Mais puisque nous en sommes à distribuer des lauriers, tressons une couronne pour Nathalie Stutzmann, dont la direction musicale a soulevé l’enthousiasme. Pas un instant elle ne relâche la ligne de son parcours : tout y est d’une fermeté et d’une clarté qui trouvent une réponse adéquate dans le jeu des musiciens. Aucune nuance n’a échappé à sa lecture, et l’orchestre les restitue, révélant Boito témoin de son époque, de Berlioz à Rossini, et précurseur de nombre d’Italiens, de Puccini à Mascagni. Le son peut devenir dense, il ne cesse pas d’être transparent, et ce sont des foules de détails qui saisissent tandis que le mouvement nous emporte. Entre finesse et énergie, la direction de Nathalie Stutzmann, fruit d’une maturation méditée et d’une compréhension profonde des enjeux, est un travail d’orfèvre!”

    Maurice Salles, Forum Opera, July 18

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    25 May 18 Beethoven Symphony No. 9 RTÉ National Symphony Orchestra
    National Concert Hall

    “There was something life affirming about the RTÉ National Symphony Orchestra’s season-ending programme”

    “Stutzmann went for the inner workings of the piece, bringing out a wealth of detail in the woodwinds and the brass.”

    “A night to remember”

    ★★★★ Michael Roddy, Backtrack, 26 May 18

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    20 Apr 18 Rachmaninov / Brahms RTÉ National Symphony Orchestra
    National Concert Hall

    “What never ceases to impress me with Stutzmann at the helm is her passionate attachment to the music as she urges every musician to give of their best. And what a tremendous effect.”

    “In the muscular coda which concludes the work, Stutzmann coaxed ever more fervour and energy from the NSO making this a rendition of thrilling intensity.”

    ★★★★★ Andrew Larkin, Bachtrack, 23 April 18

    “Stutzmann brought both weight and persuasive fire to Brahms’s First Symphony. You can expect Stutzmann’s last concert of the season […] to be a sellout, too.”

    Michael Dervan, The Irish Times, 25 April 18

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    13 Apr 18 Verdi / Wagner / Dvorak / Brahms Royal Liverpool Philharmonic Orchestra
    Liverpool Philharmonic

    “Stutzmann […] assuredly conducted the Prelude and Liebestod, drawing as much passion and sheer drama as she was able from the players who responded quite magnificently.”

    ” [Stutzmann’s Brahms’ Symphony No.2] was an impressively coherent […] account in which Stutzmann unmistakably lavished considerable care and attention. The results were fresh and invigorating, strongly evocative of rustic Alpine scenes.”

    Michael Cookson, Seen and Heard, 13 April 18

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    23 Feb 18 Elgar / Beethoven RTÉ National Symphony Orchestra
    National Concert Hall

    “The RTÉ NSO [is] having a blinder of a season, judging from its regular sold-out Friday night concerts and the quality of the musicianship on offer – particularly under Nathalie Stutzmann. And tonight’s concert was a prime example of that – a sumptuous programme, an exciting soloist, and an orchestra that was utterly sensitive to Stutzmann’s masterful conception of the music.”

    “Stutzmann and the NSO played their hearts out, bringing the concert to a very satisfying conclusion.”

    ★★★★★ Andrew Larkin, Backtrack, 26 Feb 18

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    01 Dec 17 Strauss / Mozart RTÉ National Symphony Orchestra
    National Concert Hall

    “The RTÉ Symphony Orchestra delivered a version of Tod und Verklärung as spectacular as the score”

    “The RTÉ Philharmonic Choir maintained cohesiveness and impressed for the great part of the performance”

    Pia Maltri, Backtrack, 4 Dec 17

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    24 Nov 17 Handel's Messiah Oslo Philharmonic
    Oslo Konserthus

    ” [Stutzmann] oozes music, and embodies both the prophetic gravity of the great tutties and the sensitive sensibility of the more inner arias. It is obvious that she has the orchestra’s trust.”

    Maren Ørstavik, Aftenposten, 25 Nov 17

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    12 Oct 17 Minnesota Orchestra
    Orchestra Hall

    “I was consistently impressed with Stutzmann’s interpretive decisions, graceful clarity of direction, and what seemed to my eyes and ears a strong chemistry with the musicians of the Minnesota Orchestra.”

    “Throughout the symphony, Stutzmann emphasized clean, clear phrasing, smoothly shaping the layered textures like a sculptor on the podium.”

    Rob Hubbard, Pioneer Press, 12 Oct 17

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    29 Sep 17 Brahms / Beethoven / Prokofiev RTÉ National Symphony Orchestra
    National Concert Hall Dublin

    “Stutzmann showed her comic timing with emphasis on laser sharp rhythms and off-beat accents, sharp darts of colour and antiphonal exchanges. At one stage, her evident enjoyment of the music had her bobbing up and down playfully on the podium.”

    “I was most impressed by Stutzmann’s consistent attention to phrasing, even in the most innocuous of moments, she had us listening to every note.”

    ★★★★ Andrew Larkin, Bachtrack, 1 Oct 2017

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    25 Mar 17 Mozart 'Requiem' London Philharmonic Orchestra
    Royal Festival Hall

    “[This was] a performance of great clarity and insight. Speeds were extreme and rhythms precise, which made the opening heartbeat syncopations almost clinically unnerving.”

    “The London Philharmonic Choir sang with great dignity and immaculate dynamic control. Robin Tritschler and the wonderful Sara Mingardo were among the scrupulous solo quartet, their voices exquisitely blended, in the Recordare above all.”

    ★★★★ Tim Ashley, The Guardian, 27 March 2017 

    “[Stutzmann] knows exactly what she wants. This was music-making that inhabited the score from within, eschewing heavy brushstrokes. In what was as fascinating as cohesive a reading, Stutzmann carefully graded the climaxes to bring the work, full-circle, to its quiet close.”

    “There was an indelible impression of Stutzmann generating a single collective will, with the Choir relishing a singer being in charge and an aptly matched quartet of soloists. […] In short this was an account for which every facet had been thought through.”

    “I hope that Nathalie Stutzmann was signed up immediately for return visits to the London Philharmonic.”

    Nick Breckenfield, Classical Source,  March 2017



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    28 Feb 17 WAGNER Tannhäuser
    Monte Carlo Opera

    “Was ein Glücksfall am Pult möglich gemacht hat. An der Spitze des mit gallischem Esprit spielenden Orchestre Philharmonique de Monte Carlo steht nämlich die Altistin Nathalie Stutzmann. Die singt zwar immer noch, hat sich in den letzten Jahren aber auch eine Dirigentinnenkarriere aufgebaut. Und dieses Wagner-Debüt ist Wucht und Wonne zugleich. Weil es Stutzmann vom ersten Ton an versteht, dieser Musik einen ganz anderen, eben nicht teutonischen Klang zu geben. (…) Und Stutzmann lässt das jetzt mit einer delikaten Sinnlichkeit, mit sirrenden Streichern und wollüstigen Holzbläsern erklingen. Dieser Wagner klingt erotisch ohne Schwulst, er tänzelt und lockt, setzt auf Intensität und Pianoverführung, liebt helle Farbe, leichte Rhythmen. Das Deutsche, Dunkle, Schwerfällige, mit dem es hier sonst gern durchs Bacchanale stampft, es fehlt völlig. (…) Somit ist diese „Tannhauser“-Sensation am Mittelmeer perfekt. Und Bayreuth für 2019 wirklich im Zugzwang.”

    Manuel Brug, Die Welt, 11 March 2017

    “Là, on ne peut que louer la direction de Nathalie Stutzmann, parfaite de style, de couleurs, de dramatisme, de sens de l’architecture wagnérienne, superbement tendue par une battue attentive qui marque avec bonheur le détail instrumental d’un orchestre visiblement heureux de sa confrontation à Wagner (…).”

    Pierre Flinois, L’Avant-Scène Opéra, 26 February 2017

    “Saluons d’emblée la baguette réellement enchantée de Nathalie Stutzmann, extraordinaire magicienne, qui galvanise ses choeurs, son orchestre et ses solistes par une direction inspirée, exaltante, large de souffle tragique, enthousiaste. Energique et nuancée, selon les circonstances, sa direction a mis habilement en lumière la vraie nature de cet opéra de transition, annonçant ouvertement au troisième acte, l ‘ « impressionnisme » de Parsifal.”

    Christian Colombeau, Sortir Ici Et Ailleurs, 20 February 2017

    “Enfin, on saluera la direction passionnante de Nathalie Stutzmann à la tête d’un Philharmonique de Monte-Carlo en forme olympique. Dès l’entrée des cordes sans vibrato de
    l’Ouverture, le ton est donné: on aura droit à une lecture «historiquement informée» sur instruments modernes, à l’image de ce qu’ont fait Abbado, Rattle ou Jansons dans Beethoven. Fort heureusement, cette option sera défendue sans dogmatisme, avec une conception très chambriste pour mieux faire ressortir les dialogues entre pupitres et les alliages de timbres inédits de l’orchestre.”

    Eric Forveille,, February 2017

    “Am Pult – die nächste Überraschung des Abends – die als Altistin berühmt gewordene Nathalie Stutzmann. Sie dirigiert nun und nimmt Wagners musik mit Elan, bedacht auf den Zusammenhalt großer melodischer Bögen. Und sie gönnt sich einige RitardandoAuftakte, die man gern als unidiomatisch bezeichnen würde; allein: Man singt den „Tannhäuser“in Monte Carlo nicht auf Deustch, sondern in französischer Sprache !”

    Die Presse, February 2017

    “Nathalie Stutzmann, qui revient pour la deuxième fois à l’Opéra de Monte-Carlo en tant que chef d’orchestre, est très applaudie. Attentive aux chanteurs, elle rend cependant l’orchestre plus présent que de coutume par un son exceptionnel. Sa direction est vivante et contrastée, plus narrative que psychologique. Elle arrive à créer des atmosphères bien différenciées et à maîtriser les ensembles, en évitant la pompe wagnérienne exagérée. Les cuivres de l’Orchestre Philharmonique de Monte-Carlo ont un niveau sonore noble et plein, sans jamais forcer. Les cornistes sont remarquables dans la musique de chasse à la fin du premier acte.”

    Jacqueline Letzter & Robert Adelson, Classicagenda, 23 February 2017

    “Placée à la tête de l’Orchestre Philharmonique de Monte-Carlo, la chanteuse et cheffe d’orchestre Nathalie Stutzmann constitue également une excellente surprise : elle s’avère l’efficace ordonnatrice de la soirée. Sa lecture précise, attentive aux chanteurs, rend justice aux richesses d’une partition dont elle fait sonner les moindres subtilités.”

    Emmanuel Andrieu, Opera Online, 28 February 2017

    “Quant à la direction de Nathalie Stutzmann, (…) elle est d’une constante et paisible beauté, avec une très belle gestion des silences, des thèmes (magnifiques échanges Elisabeth/Tannhäuser au début du II), une intégration parfaite de la harpe et même des castagnettes ! Elle séduit dès l’Ouverture (…).”

    Jean-Luc Clairet, ResMusica, 02 March 2017

    “Nous ne tarirons pas en revanche d’éloges sur la direction musicale de Nathalie Stutzmann (…). Son travail sur l’orchestre philharmonique de Monte-Carlo et sur les chanteurs du plateau, plus précis encore que celui réalisé avec son Elisir d’amore, n’obère pas sa patte toute féminine qui devient un atout précieux dans sa lecture, certes adoucie, de la partition : la célèbre ouverture n’en fait pas moins entendre d’émouvantes et d’éclatantes sonorités avec des cuivres rutilants de majesté tout en conservant l’élégance de ces enchevêtrements thématiques repris par les pupitres.”

    Jean-Luc Vannier,, 26 February 2017

    “Bonne surprise, en revanche, avec la direction de Nathalie Stutzmann, que l’on n’attendait certainement pas dans ce répertoire. Imposant des tempos allants, [elle] mène ses troupes à bon port, sans craindre de déchaîner parfois toute la force de l’orchestre, par exemple au final du deuxième acte.”

    Forum Opera, February 2017

    “Dans la fosse Nathalie Stutzmann effectue un très beau travail à la tête de l’Orchestre Philharmonique de Monte-Carlo. Belle énergie et belle écoute avec le plateau sont perceptibles.”

    Sebastien Herbecq, Bachtrack, 20 February 2017

    “Il y a même aussi une contralto, mais dans la fosse : c’est en effet Nathalie Stutzmann qui dirige la soirée, avec un beau mélange d’enthousiasme, de compétence et de sens des couleurs.”

    Nicolas Blanmont, La Libre Belgique, 22 February 2017 

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    13 Jan 17 Beethoven / Brahms RTE National Symphony Orchestra of Ireland
    National Concert Hall, Dublin

    “Two things impressed me with Stutzmann’s conception of Brahms’ Symphony No. 2 in D major: her super sharp rhythmic delineation and these unexpected, unforeseen moments of shy tenderness which I have never witnessed from the NSO or in the context of this piece in any other recording.”

    “[The performance had] all the hallmarks of an extremely fruitful partnership between Stutzmann and the NSO for the next few years.”

    Andrew Larkin, Bachtrack, 15 January 2017

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    24 Nov 16 Brahms Oviedo Philharmonic Orchestra
    Auditorio Principe Felipe

    “Stutzmann consiguió extraer todo el potencial de una Oviedo Filarmonía (…) una dirección rigurosa pero flexible que propició el disfrute intenso de una sinfonía en la que siempre se descubre nueva belleza.”

    Codalario La revista de música clásica, 27 November 2016

    “En esta parte quedó patente la capacidad de esta directora. La Oviedo Filarmonía logró un sonido con mucha potencia y un fraseo muy cuidado. El resultado agradó al público asistente en el Auditorio, que dedicó algunos bravos al término de la interpretación.”

    La Nueva España, 26 November 2016

    “Stutzmann entendió esta Primera de Brahms en un crecimiento global que tiene un cénit único en tensión y emoción, romanticismo en estado puro. (…) Largamente aplaudida por músicos y publico la directora francesa ha demostrado que encasillarse en ciertos repertorios no suele hacer justicia, y su autoridad en la batuta ha sido corroborada con este Brahms ovetense.”

    La música en Siana, 26 November 2016

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    22 Apr 16 Dvorak: Symphony No. 7 St Louis Symphony Debut
    Powell Symphony Hall

    “It’s easy to see why she’s met with such success. Stutzmann is spirited and engaged, seems easy to follow, and has a good feel for finding the right tempo.”

    “This was a welcome debut in every way.”

    “The second half of the program was a profound reading of Dvorák’s Symphony No. 7 in D minor… The brass and woodwinds were in splendid voice, and the strings of the orchestra had a flowing Middle European richness of sound quality throughout.”

    Sarah Bryan Miller, St. Louis Post-Dispatch, 22 April 2016


    “In the cabaret world we talk a lot about the importance of having a strong emotional connection to the music and lyrics of our songs. That’s the kind of strong connection I heard in Ms. Stutzmann’s approach to the oft-heard works on the program this weekend. It made me hear them in different ways that shed new light on the music.”

    “Maintaining a strong rhythmic pulse and a sense of momentum, then, have always been the hallmarks of a great Dvořák Seventh for me. Ms. Stutzmann’s interpretation had both… it was entirely original and, taken on its own terms, entirely successful.”

    “Ms. Stutzmann’s style on the podium… is as uniquely personal as her conceptualization of the music. She sways and dances with the music, virtually sculpting phrases out of the air with gestures that could be encompass everything from her fingers to her entire upper body. And she does it all with a delighted smile that suggests a real pleasure in the business of making music. That sense of joy on the part of a performer is always infectious and goes a long way towards winning over an audience.”

    Chuck Lavazzi, KDHX, 25 April 2016

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    26 Feb 16 Wagner RTE National Symphony Orchestra
    National Concert Hall Dublin


    “A beloved operatic overture, Wagner’s Tannhäuser is full of glorious tunes which Queen Victoria, when she heard it for the first time, described as “quite overpowering […] and in parts wild”. Stutzmann downplayed the wild parts as she sought to bring out the inner subtleties of the gossamer music of Venus, drawing expressively shaped phrases and warm sounds from the string section.”

    “Stutzmann deliberately held back the crescendos to great effect while the overall lighter texture of the overture allowed the merriment to show through.”

    Prélude and Liebestod – “Stutzmann delicately crafted the musical line as the crescendo ebbed from section of the orchestra to the other. This was a slow, seductive reading with the melody wooing us, overpowering us as it lingered on exquisite dissonances producing a frisson of desire.”

    “I credit Stutzmann with this superlative interpretation as she dared the cellos to take a fraction of extra time and as she drew a smouldering antiphonal response between woodwind and strings.”
    Andrew Larkin, Bachtrack, 28 February 2016

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    24 Sep 14 Handel & Vivaldi Orfeo 55, Philippe Jaroussky
    Dr Anton Philipszaal, The Hague


    “In the words of Sir Simon Rattle: ‘So much love, intensity and pure technique, Nathalie is a true conductor. We need more conductors like her.’ This proved not to be an exaggeration as Stutzmann, conducting with graceful dancing movements, is able to make the essence of the music flow freely to all the corners of the auditorium with liberal musical accuracy, enchanting warmth, endless energy and total abandonment. Like rays of sunlight shining through the stained glass windows of an old cathedral and returning life to the silenced space, Nathalie Stutzmann’s spontaneous inspiration lit up the essence of Vivaldi and Handel’s scores, seen by some as too often reduced to sensible frumpiness and dogmatism in the world of authentic music performance.”

    Wenneke Savenije, Bachtrack, 22 September 2014