Laurence Cummings is represented by Rayfield Allied worldwide.

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Laurence Cummings

Conductor

  • Graciously conducted by Laurence Cummings, it sounds good. The London Handel festival has done this work proud
    Tim Ashley, The Guardian
  • Conductor Laurence Cummings sets about every number with almost breathless enthusiasm
    Richard Fairman, Financial Times
  • Vivaciously conducted by Laurence Cummings. The performance had the infectious advocacy of Cummings and his orchestra
    Andrew Clark, Financial Times
  • Cummings has emerged as one of his generation's leading baroque-era specialists, at home in both opera house and concert hall
    Larry Fuchsberg, Star Tribune
  • Laurence Cummings's conducting is witty and compassionate...
    Tim Ashley, The Guardian
  • Artistic Director International Handel Festival Göttingen
    Artistic Director London Handel Festival
    Music Director Orquestra Barroca Casa da Musica

    Laurence Cummings is one of Britain’s most exciting and versatile exponents of historical performance both as conductor and harpsichord player. He has been Artistic Director of the London Handel Festival since 1999 and of the Internationale Händel-Festpiele Göttingen since 2012, as well as acting as Music Director for Orquestra Barroca Casa da Musica Porto and as a trustee of Handel House London. He is the William Crotch Professor of Historical Performance at the Royal Academy of Music.

    He has conducted productions for English National Opera, Opera North, Glyndebourne Festival Opera, Gothenburg Opera, Opernhaus Zurich, Opera de Lyon, Garsington Opera, English Touring Opera and at the Linbury Theatre Covent Garden. He regularly conducts the English Concert and the Orchestra of the Age of Enlightenment and has worked with the Hallé, Bournemouth Symphony, Britten Sinfonia, Royal Northern Sinfonia, Royal Liverpool Philharmonic, Ulster Orchestra, Royal Scottish National Orchestra, Handel and Haydn Society (Boston), St Paul Chamber Orchestra (Minnesota), Wiener Akademie, Musikcollegium Winterthur, Zurich Chamber Orchestra, Jerusalem Symphony and Basel Chamber Orchestra.

    His numerous recordings include the first recording of Handel’s newly discovered Gloria with Emma Kirkby, and Handel Arias with Angelika Kirschlager and the Basel Chamber Orchestra for Sony BMG.

    Current engagements include King Arthur for Opernhaus Zurich as well as collaborations with the English Concert at the Buxton Festival, London Handel Players, the Orchestra of the Age of Enlightenment and St Paul Chamber Orchestra in the US together with his commitments at Casa da Musica in Porto and the London and Göttingen Handel Festivals.

    • Imeneo
      Göttingen Handel Festival (May 2016)

      …thanks to Cummings’ perfect pacing and the infectiously catchy phrasing he draws from his excellent orchestra and cast.
      Shirley Apthorp, The Financial Times ****
      Laurence Cummings has spent a career with this music, and his affection, understanding and excitement radiates out through the dancing energy of his instrumentalists and the emotional pitch of his singers.
      Alexandra Coghlan, The Spectator
    • Ariodante
      London Handel Festival (March 2016)

      As always, the strength of the festival’s opera offerings is found down in the orchestra pit, where Laurence Cummings and the London Handel Orchestra broughtAriodante to life with vitality and emotional depth.
      Richard Fairman, The Financial Times
    • King Arthur
      Opernhaus Zurich (February 2016)

      The Overture had a completely different tint: led by Laurence Cummings, La Scintilla Orchestra played it with the warmth and softness that makes Purcell’s music come alive.
      Susanne Kübler, Tages Anzeiger
    • Saul
      Glyndebourne on Tour (October 2015)

      The theatricality of Handel’s score knocks the wind from your lungs. The conductor Laurence Cummings has galvanised Glyndebourne’s touring orchestra into a performance as playful and soulful and stylish as that on stage: acerbic in the opening allegro of the Overture, giddy with invention in the miniature concertos for chamber organ, the musical arguments dynamically phrased and punctuated throughout.
      Anna Picard, The Times *****
      As artistic director both of the London Handel festival and the Internationale Händel-Festspiele Göttingen, he now ranks as one of the composer’s best advocates in the world. Self-effacing on the podium, faithful above all to the score, he matches Handel’s energy and invention with unmistakable lyricism, generosity and dignity. It’s not that others don’t or can’t; rather that Cummings makes it feel the only conceivable approach, drawing the music out, not driving it along.
      Fiona Maddocks, The Observer *****
    • Agrippina
      Göttingen Handel Festival (May 2015)

      Good though the singers are, they are almost eclipsed by the vivid, virtuosic Festival Orchestra. Laurence Cummings keeps rollickingly on track, with unflagging energy and musicality. Well worth the journey.
      Shirley Apthorp, The Financial Times ****
      Laurence Cummings, artistic director of the festival, had lot of fun with the interpretation of this material. Even in the famous overture to his FestspielOrchester did out: Both the tremolos and the unexpected pause in which Handel the dissolution of a final cadence is guilty and subsequently supply only a few bars later, took his ensemble with sensitivity and playfulness.
      Jonas Rohde, Goettinger Tageblatt
    • Giove in Argo
      London Handel Festival (March 2015)

      Conducted by Laurence Cummings, it sounds terrific.
      Tim Ashley, The Guardian ****
      What it does have, however, are excellent musical values. In the pit Laurence Cummings presides over an orchestra that scampers stylishly through Handel’s jaw-droppingly inventive arias.
      Richard Morrison, The Times ****
    • The Indian Queen
      English National Opera (February 2015)

      With outstanding soloists, with the ENO chorus in coruscating form, and with Laurence Cummings and his period instrumentalists generating transcendent beauty in the pit, this is an evening in musical heaven.
      Michael Church, The Independent *****
      Stylishly conducted by Laurence Cummings.
      Rupert Christiansen, The Telegraph ****
      The ENO Orchestra under Laurence Cummings delivered Purcell’s score with the ideal balance of refinement and drama.
      Owen Mortimer, Opera Now
    • The Coronation of Poppea
      Opera North (October 2014)

      Opera North’s gripping new production…. The stage and musical directors, Tim Albery and Laurence Cummings, have devised a bare-essentials edition of Monteverdi’s last opera (first seen in Venice in 1643), an apotheosis of lust and lust for power that seems bang up to date… great ensemble achievements.
      Hugh Canning, Sunday Times
  • Laurence Cummings Repertoire

    ALMEIDA
    • La Guiditta
    • La Spinalba
    BACH
    • B Minor Mass
    • Brandenburg Concerto No. 3 and No. 5
    • Cantatas 36c & 61
    • Magnificat
    • St John Passion
    • St. Matthew Passion
    BRITTEN
    • St. Nicholas
    CAVERLIERI
    • Rap. di Anima e di Corpo
    ECCLES
    • The Judgement of Paris
    HANDEL
    • Aci, Gallatea e Polifemo
    • Agrippina
    • Alceste
    • Alexander Balus
    • Arias
    • Ariodante
    • Atalanta
    • Athalia
    • Deborah
    • Duetti amorosi
    • Esther
    • Ezio
    • Giulio Cesare
    • Gloria
    • Hercules
    • Israel in Eqypt
    • Jephtha
    • Joshua
    • Messiah
    • Ottone
    • Poro
    • Riccardo Primo
    • Rinaldo
    • Rodelinda
    • Samson
    • Semele
    • Solomon
    • Sorsame
    • Tolomeo
    MONTEVERDI
    • Incoronazione di Poppea
    • Orfeo
    • Vespers of 1610
    PURCELL
    • King Arthur
    • The Fairy Queen
    RAMEAU
    • Dardanus
    • Les Palladins (Suite)
    VIVALDI
    • L'incoronazione di Dario
    • L'Olimpiade
    • La Verita in Cimento
  • Photos

    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Robert Workman
      Photographer Credit: Robert Workman
    • Photographer Credit: Anton Säckl
      Photographer Credit: Anton Säckl
    • Photographer Credit: Anton Säckl
      Photographer Credit: Anton Säckl