"McCreesh leads an electrifying and fastidiously detailed account of the Britten"
Dallas Morning News
"How do you keep Handel’s great oratorio sounding fresh and relevant..? Hiring Paul McCreesh is one solution."
"The profundity and coherence of McCreesh’s recording sets a new standard"
BBC Music Magazine*****
"McCreesh’s fresh new translation animates the top-class solo singing, while the massed choruses blow the roof off. Glorious"
Paul McCreesh has guest conducted many of the major orchestras and choirs across the globe, including most recently the Leipzig Gewandhaus, Bergen Philharmonic, Royal Northern Sinfonia, Tokyo Metropolitan Symphony, Hong Kong Philharmonic, Sydney Symphony, Verbier Festival orchestras, and Berlin Konzerthausorchester. McCreesh also enjoys regular and ongoing collaborations with Saint Paul and Basel Chamber Orchestras.
From 2013-2016 he was Principal Conductor and Artistic Adviser of the Gulbenkian Orchestra (Lisbon) with whom he conducted a wide range of music from the classical period through to the nineteenth and twentieth century, focusing in particular on symphonic repertoire, oratorio and opera in concert, working closely with the world-renowned Gulbenkian Choir.
McCreesh has established a strong reputation in the opera house and has conducted productions at the Teatro Real Madrid, Royal Danish Opera, Opera Comique, Vlaamse Opera and at the Verbier Festival, and most recently he conducted Britten’s A Midsummer Night’s Dream at Bergen Opera, and returned to Vlaamse Opera for a production of Idomeneo.
In 2011 McCreesh launched his own record label, Winged Lion, in collaboration with the Gabrieli Consort & Players, Signum Classics and the Wratislavia Cantans Festival, where he was Artistic Director between 2006 and 2012. To date they have made seven recordings, most recently Haydn Seasons, released in spring 2017 and lauded by critics: “the communal sense of joy is infectious” (Financial Times) and “Glorious” (Guardian). Other highlights include Britten War Requiem (BBC Music Magazine Award 2014), Mendelssohn Elijah (Diapason d’Or Award 2013), Berlioz’s gargantuan Grande Messe des Morts (BBC Award 2012), and a reworking of his earlier Gabrieli disc, A New Venetian Coronation 1595 (Gramophone Award 2013). The Winged Lion recordings build on his large catalogue of recordings with Deutsche Grammophon, which includes the Gramophone Award-winning Haydn Creation.
Last season, he made his debut with the Vienna Chamber Orchestra at the Haydn Festival Burgenland, and with the Bremen Philharmonic in a programme of Mozart and Britten. He returned to the Royal Northern Sinfonia for two programmes including works by Mozart, Haydn, Elgar and Mendelssohn, as well as to the Prague Philharmonia and the Arctic Chamber Orchestra.
In 2018/19, he conducts works by Elgar, Haydn and Brahms with the Kammerakademie Potsdam, a programme of Elgar, Britten and Mendelssohn with the Bamberger Symphoniker, he returns to the Filharmonia Poznanska for some Rossini and Britten, and conducts performances with the MDR Sinfonieorchester at the Leipzig Gewandhaus, the Montreal Symphony Orchestra, and the Basel Chamber Orchestra.
This biography is for information only and should not be reproduced.
Handel Messiah, Orchestre Symphonique de Montreal
… the delivery of the singers and instrumentalists of the OSM led by Paul McCreesh was quite exceptional … Like that of Nikolaus Harnoncourt, and others, the Messiah of McCreesh is not one to exhaust itself in the first part, that devoted to the prophecy of the coming of the Messiah and the Nativity. It reveals itself and is consumed in the second part, that of Passion and triumph, with a radiance that lasts in the third, that of life after death. … With high demands, Paul McCreesh went almost as far as Trevor Pinnock with the Violons du Roy four years ago. And the OSM has been admirable of precision, proving that the eloquence in this repertoire is more a question of rhetoric than of instruments.
Christophe Huss, Le Devoir
Elgar, Britten and Mendelssohn, Bamberg Symphony Orchestra
Margravial Opera House (September 2018)
…the Bamberg [Symphony Orchestra] played the [Mendelssohn Scottish] symphony with a beautiful sound and buoyantly; it makes sense that the conductor contorted himself into the shape of a question mark for the doleful rising cadences; depth, beauty, Scottish fog, dance – the Bamberg [SO] resonated all this
Michael Weiser, Nordbayerischer Kurier
Recording CD: A Rose Magnificat, Gabrieli Consort
Signum Classics SIGCD536, May 2018
Paul McCreesh’s choir is in superlative form for this well-varied programme … The transitions from introspection to elated confidence in Howell’s Salve Regina are beautifully managed by McCreesh and his singers
Terry Blain, BBC Music Magazine*****
...this exquisitely crafted recital of English Marian motets and Magnificats from the Gabrieli Consort and Paul McCreesh. Performances are pristine: carefully balanced and always cleanly tuned, and a more muscular, characterful top line offers a welcome contrast to some of the ensemble’s English rivals. McCreesh’s ear for a contemporary classic is unerring
Alexandra Coghlan, Gramophone
The radiant purity of the singing is framed by the depth and clarity of the recording, and the choral virtuosity in the title track at the end of the album is breathtaking.
BBC Music Magazine Awards 2019: Choral Nomination
Bach B Minor Mass, Gabrieli Consort & Players, Holy Week Festival
St John’s Smith Square, April 2018
Paul McCreesh and his Gabrieli Consort and Players brought period-instrument intimacy and chamber-sized vitality to Bach’s B minor Mass.
Fiona Maddocks, The Times
Recording CD: Silence & Music, Gabrieli Consort
Signum Classics, October 2017
The Gabrieli Consort, conducted by Paul McCreesh, sings Stanford’s “The Blue Bird” with such abstracted beauty that enchantment sets in from the opening minutes.
Richard Fairman, The Financial Times****
The Gabrieli's latest themed CD, beautifully produced in all respects, celebrates the concision and intensity of 20th-century British part songs, from Elgar and Warlock to James MacMillan and Jonathan Dove, from the stark (Grainger’s The Three Ravens) to the ethereal (Vaughan Williams’s Rest). The opening song, Stanford’s The Blue Bird, uses a group of sopranos on the top line – apparently as the composer intended – instead of the usual soloist. The effect is arresting, and typical of the attention to text and score demonstrated by Paul McCreesh and his singers in each of these songs ... These miniatures are rich, each in need of proper savouring.
Fiona Maddocks, The Guardian****
The musical care and the easy, unforced shaping of lines from the Gabrielis is all the ornament works like Elgar’s There is sweet music and Howells’s The summer is coming need, and the two Vaughan Williams settings – Silence and Music and the expansive Rest – sit just the right side of sentimentality…The result is a clever mixture of moods – a disc that takes the part-song into the 21st century not only in repertoire but also in style
Alexandra Coghlan, Gramophone
Sometimes the best discoveries in music aren’t pieces that you’ve never heard before, but those you have, made new by remarkable interpretations. That’s certainly the case with Stanford’s The Blue Bird, long a staple of the English Choral Repertoire, as sung by the Gabrieli Consort on this new recording. The feeling of partial, hovering detachment conductor Paul McCreesh creates between the gently lapping four-part underlay, and the five sopranos gliding ‘across the waters’ in unison, is magical, creating the special frisson intended by Stanford as he translated a fleetingly wonderful scene from nature into music. Sometimes similar happens in Elgar’s Owls, where McCreesh and his super-sensitive singers distil a gripping sense of mysterious nocturnal rustlings. […] This is a beautifully constructed programme, sung with consummate assurance and self-effacing artistry.
Terry Blain, Choral and Song Choice *****
Mendelssohn Elijah, Sydney Symphony Orchestra, Sydney Philharmonia Choir
“[The performance] brought the scale and force of Mendelssohn's gestures into spectacular focus. After a portentous opening, the angular orchestral fugue of the Overture led in a straight line to a startling, thrilling choral outburst Help Lord, which certainly gets straight to the point. In the hours that followed the musical precision and balance made absorbing listening… The Sydney Symphony Orchestra bristled and glowed with finesse."
Sydney Morning Herald
Recording: Haydn The Seasons, Gabrieli Consort & Players, Wrocław Baroque Orchestra, National Forum of Music Choir
“…this recording brings [The Seasons] thrillingly to life… Paul McCreesh assembles a massive throng of singers and players, the numbers that might have performed the piece in 1801. And what a noise they make! McCreesh’s fresh new translation animates the top-class solo singing, while the massed choruses blow the roof off. Glorious.”
“This recording is well worth acquiring, to get to know one of Haydn’s most treasurable works
“For the first time this recording aims to present a period performance on an authentically grand scale… Paul McCreesh conducts his own English version, perfectly enunciated by the British/Polish choir, and the communal sense of joy is infectious. The three soloists are first-rate. So is the recording. An uplifting performance all-round.”
The Financial Times
"Substantial choral and orchestral forces captured in sound that is both expansive and immediate."
Recording of the Month, ClassicalMusic.com
“McCreesh clearly relishes the sheer range of colours which the period instruments are able to bring to Haydn's music, this is a recording which is full of colour … by rediscovering the work's essential qualities and not trying for portentousness, McCreesh has enabled me to enjoy the work far more for its own qualities … some period instrument performances simply re-work a piece into a pre-conceived image, but here McCreesh has enabled us to listen to Haydn's The Seasons with new ears.”
“A musical hit from McCreesh”
J.S. Bach Easter Oratorio, Gabrieli Consort & Players
“[the performance] acquired exceptional energy and zest. Every line, every texture could be heard... all felt natural and alive, as if this had to be the sound Bach wanted, on these exact instruments. We can never know absolutely, but if a performance convinces you, the musicians have done their job.
Handel Messiah, Saint Paul Chamber Orchestra
"How do you keep Handel’s great oratorio sounding fresh and relevant..? Hiring Paul McCreesh is one solution. The English conductor is a choral specialist, and he brought a rare clarity and dynamism to the Saint Paul Chamber Orchestra’s Messiah...McCreesh’s take on Handel’s masterpiece was bracingly direct and free of pomposity."
Recording: Britten War Requiem, Gabrieli Consort & Players
"McCreesh leads an electrifying and fastidiously detailed account of the Britten. Both choruses and orchestra are absolutely first-rate, and the recording, from performances in three different venues, is almost freakishly lifelike.”
Dallas Morning News
Wagner, Britten, Mozart, Saint Paul Chamber Orchestra
“McCreesh was a joy to watch, coaxing a dancing quality from the music at every opportunity, floating in place on the first movement and turning the minuet into a foot-stomping mazurka… this Mozart performance bore the earmarks of the kind of fresh, enthusiastic perspective that evangelists for the early often bring to their interpretations."
Symphonies 1-4, 6-9
Serenades 1 & 2
Interludes from Peter Grimes
Cello Concerto in B minor
Cello Concerto in E minor
Seven last words from the Cross
Das Knaben Wunderhorn song cycle
Piano Concertos 1 & 2
Ballet music from Idomeneo
Symphony No. 1 (‘Classical’)
Overture in the Italian style
Cello Concerto in A minor
Cello Concerto No. 1 in E-flat major
Four last Songs
Concerto in E-flat major (‘Dumbarton oaks’)
Romeo and Juliet
Fantasia on a Theme by Thomas Tallis