Geoffrey Paterson is represented by Rayfield Allied worldwide.

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Geoffrey Paterson

Conductor

  • 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
  • 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

  • Geoffrey Paterson is an alumnus of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, where he worked as assistant and répétiteur for conductors including Sir Antonio Pappano, Daniele Gatti and Andris Nelsons. His numerous projects at the ROH included conducting staged excerpts from Death in Venice with the Orchestra of the Royal Opera and the world première of the opera Hot House by Julian Grant, both on the main stage, as well as working on the music staff for Die Meistersinger von Nürnberg and Der Ring des Nibelungen.

    In 2010 he made his début at Opera North conducting La bohème. In 2011 he conducted Don Giovanni for Iford Opera as well as the world première of Julian Philips’ Followers at Glyndebourne.

    His concert débuts have included the Manchester Camerata’s New Year’s Gala at the Bridgewater Hall and two performances of George Benjamin’s Into the Little Hill with the Hamburg Symphony Orchestra, leading to an immediate re-invitation for the following season to conduct two programmes featuring the music of Luciano Berio. He acted as assistant conductor for the Devils of Loudon at Royal Opera Copenhagen, and is currently touring Firework Maker’s Daughter with the Opera Group.

    Future engagements include performances of Porgy and Bess at the Royal Danish Opera and a tour of HK Gruber’s Gloria von Jaxtberg with The Opera Group, culminating in a début at the Bregenz Festival.

    Geoffrey Paterson is represented worldwide by Andrew Rosner at Rayfield Allied.
    This biography is for information only and should not be reproduced.

    • 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
      It’s very well played, each twist and turn skilfully negotiated by the ensemble Chroma under Geoffrey Paterson.
      Graham Rickson, The Arts Desk

    • Le Portrait de Manon
      Jette Parker Young Artists at Royal Opera House

      The Massenet was very ably and sensitively conducted by Geoffrey Paterson
      Miranda Jackson, Opera Britannia
      The young players of the Southbank Sinfonia offer a sensual glow in the Massenet under Geoffrey Paterson
      Richard Russell, What’s on Stage
      Geoffrey Paterson...drew a transparent French sound from the impressive Southbank Sinfonia.
      Peter Reed, Classical Source

    • 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

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