Geoffrey Paterson is represented by Rayfield Allied worldwide.

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Geoffrey Paterson

Conductor

  • it was Geoffrey Paterson’s handling of Britten’s score which pointed towards an accomplished conductor in the making
    Antony Lias, Opera Britannia
  • The Theseus Ensemble, conducted by the impressive Geoffrey Paterson, played with manifest stylish fluency
    Paul Driver, The Sunday Times
  • His handling of the score was remarkable... The storm interlude could hardly have been more terrifying, nor the ending more hauntingly melancholic
    Jo Kirkbride, Opera Magazine
  • Geoffrey Paterson studied at Cambridge University, the Royal Scottish Academy of Music and Drama, with Pierre Boulez in Luzern, and was First Prize winner at the 2009 Leeds Conductors Competition.

    He works regularly at the Royal Opera House, Covent Garden, where he was a Jette Parker Young Artist, and has also conducted at Opera North and Glyndebourne.  He was a musical assistant at Bayreuth in 2013 and 2014 for Der Ring des Nibelungen. Other recent work includes concerts with the Hamburger Symphoniker and Stockhausen’s Gruppen with the London Sinfonietta.

    Current and future engagements include a tour of HK Gruber’s Gloria von Jaxtberg with The Opera Group, culminating in a début at the Bregenz Festival, his debut with the Scottish Chamber Orchestra, the world première of Søren Nils Eichberg’s Glare at the Linbury Studio Theatre, as well as conducting Harrison Birtwistle’s The Cure and The Corridor at Aldeburgh Festival, co-produced by the Royal Opera House.

    • Gloria: A Pigtale
      Mahogany Opera Group (June 2014)

      The highest praise, though, has to be reserved for conductor Geoffrey Paterson, who, on stage throughout and surrounded by mayhem, guided the singers and the ever-admirable CHROMA ensemble through the crackling, kaleidoscopic score with ice-cool assurance.
      Stephen Pritchard, The Observer
      …it is a continual efflorescence of lyric combinations, held together brilliantly by the conductor, Geoffrey Paterson, on stage in his DJ, involved in the action from the start.
      Paul Driver, Sunday Times
    • Gruppen
      London Sinfonietta (October 2013)

      The London Sinfonietta and the Royal Academy of Music’s Manson Ensemble, with three conductors — Martyn Brabbins, Baldur Brönnimann and Geoffrey Paterson — pulled off a remarkable feat of ensemble, precision and sheer virtuoso performing skills.
      Hilary Finch, The Times ****
      Martyn Brabbins, Baldur Brönnimann and Geoffrey Paterson conducted the three groups, sending the music spinning across the hall and occasionally coalescing into intense climaxes.
      Andrew Clements, The Guardian ****
    • La Vie Parisienne
      Iford Opera (July 2013)

      Geoffrey Paterson leads a precise and spirited account of the score.
      George Hall, The Stage
    • The Firework-Maker’s Daughter
      The Opera Group / Opera North

      The ensemble play superbly for music director Geoffrey Paterson, bringing out the wit and sense of fun as well as the drama of the music.
      Ron Simpson, What’s On Stage *****
      …the conductor Geoffrey Paterson keeping this charming score buzzing along.
      Richard Morrison, The Times ****
      Bruce's vivid music, skillfully conducted by Geoffrey Paterson, mixes the colours of snake-charmer piccolo, gamelan and folk-inspired accordion to delicate effect.
      Fiona Maddocks, The Guardian
    • Death in Venice
      Jette Parker Young Artists at The Royal Opera House

      ...it was Geoffrey Paterson’s handling of Britten’s score which pointed towards an accomplished conductor in the making.
      Antony Lias, Opera Britannia
      The Death in Venice excerpt was in one word - stunning. Geoffrey Paterson conducted this extract with real style.
      MusicWeb International
    • Don Giovanni
      Opera della Luna at Iford Arts

      But Don Giovanni still went to hell, not to rehab, and while Geoffery Paterson’s conducting of the Orchestra of the Swan made sure he was ultimately despatched with fire to match the escort of red demons, it was the sensitivity and flair of Paterson’s own continuo playing in the recitatives that stood out.
      Rian Evans, Opera Magazine
    • Peter Grimes
      Cambridge

      A first-rate musician. His handling of the score was remarkable… the musicians’ response to the subtle inflections of Britten’s orchestral colour was superb. The storm interlude could hardly have been more terrifying, nor the ending more hauntingly melancholic.
      Jo Kirkbride, Opera Magazine
  • Geoffrey Paterson’s Repertoire

  • Photos