Laurence Cummings is represented by Rayfield Allied worldwide.

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Laurence Cummings


  • Laurence Cummings's conducting is witty and compassionate...
    Tim Ashley, The Guardian
  • 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
  • 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
  • Graciously conducted by Laurence Cummings, it sounds good. The London Handel festival has done this work proud
    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.

    • 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 ****
    • Semele
      London Handel Festival (March 2015)

      Cummings’ London Handel Orchestra soon found their spark, while the London Handel Singers delighted from the start.
      Geoff Brown, 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
    • Faramondo
      Göttingen Handel Festival (June 2014)

      The Festspiel Orchester has reached a peak under the festival director Lawrence Cummings, and it blended smoothly while exuding great energy.
      Sandra Bowdler, Opera Magazine
      The FestspielOrchester Göttingen and conductor Laurence Cummings handled the fireworks of the score with aplomb while also creating numerous moments of crystalline beauty; any drama, however complex, would become completely comprehensible if afforded the dedication of such ardent advocates as in Göttingen.
      Adrian Horsewood, Opera Now
    • Lorraine Hunt Lieberson Memorial Concert at Lincoln Centre
      Orchestra of the Age of Enlightenment (August 2013)

      The concert glowed with the evident joy the musicians brought to Handel’s music. Mr. Cummings conducted from the harpsichord with infectious energy and good humor, rhythmically bouncing in his seat and whipping up breezy crescendos with broad arm gestures. The impression that lingered strongest after the concert was of the freshness of Handel’s music, which these musicians played with an exploratory passion as if it had been written yesterday.
      Corinna da Fonseca-Wollheim, The New York Times
    • Imeneo
      London Handel Festival (March 2013)

      From curtain up, Laurence Cummings and the London Handel Orchestra get the sparks to fly.
      Richard Fairman, The Financial Times ****
      It was a bold stroke for conductor Laurence Cummings to open the London Handel Festival with a production of this rarity by singers from the Royal College of Music. But these singers have excellent comic timing, and under Paul Curran’s direction manage to do full justice both to their characters and to the demands of the score – vintage Handel and, as Cummings and his period-instrument ensemble deliver it, wonderfully rich and varied.
      Michael Church, The Independent
      The evening’s best feature is the playing of the London Handel Orchestra under Laurence Cummings.
      George Hall, The Guardian
      Laurence Cumming’s period London Handel Orchestra gave immense pleasure from the Britten Theatre’s tiny pit, with judicious tempos and forward propulsion where appropriate. All of which meant that Imeneo, in any case one of Handel’s shorter operas, never outstayed its welcome.
      Hugh Canning, Opera Magazine
    • SALE
      Zurich Opera House

      ...Conductor Laurence Cummings (who sings “Comfort Ye” from the podium), is universally excellent. Cummings has style and lets the phrases breathe; his orchestra plays well. For chorus numbers, the singers are joined by the actors, who can all hold a musical line.
      Shirley Apthorp, Financial Times
      …one of the most surprising and flawless performances comes from the conductor, when he turns around to us and sings the Messiah recitative “Comfort ye my people” in a very fine tenor. Laurence Cummings is an important musical figure in London, and has recently taken over the artistic direction of the Göttingen Handel Festival. His direction of the Zurich baroque band La Scintilla inspires SALE. Whether the music is pensive or stormy, the performance is of a high order. The famous “Lascia ch’io pianga” becomes a wonderfully heartfelt chorus and, thanks to Cummings, even the actors have impeccable intonation here.
      Badische Zeitung
      There is much to admire. Not least La Scintilla Orchestra which displayed entrancing sensuality.
      Peter Hagmann, Neue Zürcher Zeitung
      …One is kept awake by the music…and this is Laurence Cumming’s achievement. Under the baton of the musically and energetically vibrant British conductor, La Scintilla plays with wonderful colour, brilliance and intensity.
      Bruno Rauch, Bündner Tagblatt
      Zurich Opera magazine article on SALE.
  • Laurence Cummings Repertoire

    • La Guiditta
    • La Spinalba
    • B Minor Mass
    • Brandenburg Concerto No. 3 and No. 5
    • Cantatas 36c & 61
    • Magnificat
    • St John Passion
    • St. Matthew Passion
    • St. Nicholas
    • Rap. di Anima e di Corpo
    • The Judgement of Paris
    • 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
    • Incoronazione di Poppea
    • Orfeo
    • Vespers of 1610
    • King Arthur
    • The Fairy Queen
    • Dardanus
    • Les Palladins (Suite)
    • 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