Nicholas McGegan

Conductor

"The performance was outstanding, with the SCO alert and responsive to McGegan throughout"

Tim Ashley, The Guardian

"Nicholas McGegan can always be relied upon to awaken fresh thoughts in music from the Baroque or classical periods"

Kenneth Walton, The Scotsman

"McGegan presided with genial vigor, encouraging and enjoying the extravagance"

Matthew Guerrieri, Boston Globe

Music Director Laureate Philharmonia Baroque Orchestra and Chorale
Principal Guest Conductor Capella Savaria

In his sixth decade on the podium, Nic McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. Following a 34-year tenure as Music Director of Philharmonia Baroque Orchestra and Chorale, he is now Music Director Laureate. He is also Principal Guest Conductor of Hungary’s Capella Savaria. At home in opera houses, McGegan was previously the Artistic Director and conductor at Germany‘s Göttingen Handel Festival for 20 years (1991-2001), and Principal Guest Conductor at Scottish Opera in the 1990s. He was also Principal Conductor of Sweden’s Drottningholm Court Theatre from 1993-1996.

Best known as a baroque and classical specialist, Nicholas McGegan’s ability to engage players and audiences alike has made him a pioneer in broadening the reach of historically informed practice beyond the world of period ensembles to conventional symphonic forces. His guest-conducting appearances with major orchestras — including the New York, Los Angeles, and Hong Kong Philharmonics; the Chicago, Dallas, Utah, Indianapolis, Milwaukee, Toronto, Sydney, and New Zealand Symphonies; the Philadelphia Orchestra; the City of Birmingham Symphony Orchestra; the Royal Northern Sinfonia and Scottish Chamber Orchestras; and the Amsterdam Concertgebouw — often feature Baroque repertoire alongside Classical, Romantic, 20th-century and even brand-new works.

His discography includes more than 100 releases. His recordings with PBO have received two GRAMMY nominations and a Gramophone Award. His other recordings include more than 20 recordings with Hungary’s Capella Savaria and two recent albums with the Swedish Chamber Orchestra under the BIS label.

Highlights of his 21/22 guest bookings in North America include appearances with the National Symphony Orchestra at both the Kennedy Center and the new Capital One Hall; the New Jersey Symphony Orchestra; a string of Messiah engagements with the Chicago Symphony Orchestra and Chorus, and Apollo’s Fire; the Santa Barbara Symphony; Pasadena Symphony; a return to St. Louis Symphony Orchestra; and the Van Cliburn International Piano Competition in the all-Mozart semi-final round. In Europe, he appears with the NDR Radio Philharmonie in Handel’s Acis and Galatea HWV 49 (Mendelssohn’s version); the RTÉ National Symphony Orchestra; and several performances with Capella Savaria.

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Early Horn Concertos (CD)

Swedish Chamber Orchestra/Alec Frank-Gemmill (BIS)

Nicholas McGegan is equally at home in this repertory, meanwhile. The Swedish Chamber Orchestra play with wonderful freshness and finesse, and there’s a flawless sense of ensemble between Frank-Gemmill and the solo strings in the Sinfonia da camera. An exceptional disc.

Tim Ashley, Gramophone

This is an outstanding collection, in which Frank-Gemmill’s stratospheric virtuosity, on three different instruments, is elegantly counterpointed by Nicholas McGegan’s buoyantly sympathetic direction.

Julian Haylock, BBC Music Magazine

La Gloria di primavera (CD)

Philharmonia Baroque Orchestra

Nicholas McGegan leads his chorus and period orchestra in nicely polished, stylistically assured performances

George Loomis, Opera Magazine

The Seven Ages of Shakespeare with the City of Birmingham Symphony Orchestra and Chorus

Birmingham Symphony Hall, June 2016

If any conductor can make a programme like this fly, it’s Nicholas McGegan. [...] He opened Nicolai’s Merry Wives of Windsor overture with a radiant sweep of sound, drawing the string tone up from the basses with a batonless wave of the hand, then bouncing up and down like he was mounted on springs as the Allegro hurtled away. [...] Sullivan’s bubbly Merchant of Venice suite was cut down to a mere three movements, and McGegan positively supercharged them. [...] McGegan [...] can hold an audience breathless. [...] McGegan, beaming with enjoyment and looking at times as if he was about to start bodypopping, draped violin lines artlessly over Purcell’s [excerpts from The Fairy Quuen] melancholy plaints, detonated volleys of trumpets and timpani, and shaped big, dramatic dynamic contrasts.

Richard Bratby, theartsdesk.com

Haydn, Mozart and Leclair with the BBC Scottish Symphony Orchestra

City Halls Glasgow, January 2016

I have never known conductor Nicholas McGegan turn out a dull, lifeless or routine performance with an orchestra. It’s simply not in his nature. He’s a dynamo, a true animator, an energiser and an ignition point from which music can take off and take wing. McGegan and his orchestra, absolutely flying and in terrific form, roared through Leclair’s Scylla et Glaucus and a fabulous account of Haydn’s Military Symphony, with nice musical control of the seismic percussiveness that can be too-easily overwhelming.

The Herald

It required a change in game plan for an orchestra more used to the opulence of later music, evident in a scaled-down string section that embraced the required style – clean, gutsy playing from front desk to back that gave buoyancy and precision, in particular to Haydn’s Symphony No 100 (the Military), which oozed wit, theatre and charisma. Thrusting exuberance ignited the percussive eccentricities of the Haydn symphony, and brought thrills and spills to Jean-Marie Leclair’s music from Scylla et Glaucus, tightly packaged in McGegan’s own concert arrangement.

The Scotsman

Beethoven’s Ninth Symphony with the Royal Northern Sinfonia and Chorus

The Sage Gateshead, April 2015

Conductor Nicholas McGegan's gestures were economic, but each counted as he kept an eye on the bigger picture [...] It was a breathtaking performance that fulfilled every expectation.

Gavin Engelbrecht, The Northern Echo

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