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Stéphane Denève is Music Director of the Brussels Philharmonic, Principal Guest Conductor of The Philadelphia Orchestra and Director of the Centre for Future Orchestral Repertoire (CffOR). From 2011-2016, he served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and from 2005-2012 as Music Director of the Royal Scottish National Orchestra. Recognised internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for new music. Recent engagements include appearances with the Royal Concertgebouw Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Vienna Symphony, Munich Philharmonic, Orchestre National de France, London Symphony Orchestra, Philharmonia Orchestra, Bavarian Radio Symphony, Czech Philharmonic, Chicago Symphony, and NHK Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with whom he has been a frequent guest both in Boston and at Tanglewood, and he appears regularly with The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, and Toronto Symphony. He made his New York

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Stéphane Denève is Music Director of the Brussels Philharmonic, Principal Guest Conductor of The Philadelphia Orchestra and Director of the Centre for Future Orchestral Repertoire (CffOR). From 2011-2016, he served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and from 2005-2012 as Music Director of the Royal Scottish National Orchestra.

Recognised internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for new music.

Recent engagements include appearances with the Royal Concertgebouw Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Vienna Symphony, Munich Philharmonic, Orchestre National de France, London Symphony Orchestra, Philharmonia Orchestra, Bavarian Radio Symphony, Czech Philharmonic, Chicago Symphony, and NHK Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with whom he has been a frequent guest both in Boston and at Tanglewood, and he appears regularly with The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, and Toronto Symphony. He made his New York Philharmonic debut in 2015.

He enjoys close relationships with many of the world's leading solo artists, including Jean-Yves Thibaudet, James Ehnes, Leif Ove Andsnes, Yo-Yo Ma, Leonidas Kavakos, Frank Peter Zimmermann, Nikolaj Znaider, Gil Shaham, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, Vadim Repin, and Nathalie Dessay.

In the field of opera, Stéphane Denève has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Saito Kinen Festival, Gran Teatro de Liceu, Netherlands Opera, La Monnaie, Deutsche Oper Am Rhein, and at the Opéra National de Paris. In the 16/17 season, he makes his debut at Deutsche Oper Berlin with Berlioz’s Roméo et Juliette.

As a recording artist, he has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson.  He is a double winner of the Diapason d’Or de l’année, has been shortlisted for Gramophone’s Artist of the Year Award, and has won the prize for symphonic music at the International Classical Music Awards. His most recent release is a disc of the works of Guillaume Connesson with Brussels Philharmonic, for Deutsche Grammophon. 

A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa. He is committed to inspiring the next generation of musicians and listeners, and works regularly with young people in the programmes of the Tanglewood Music Center and New World Symphony.

For further information, please visit www.stephanedeneve.com

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Reviews

"It might seem reductive to limit a musician to national specialities, but having heard Denève’s Berlioz, Debussy and Roussel in concert, his captivating disc of Poulenc with the Stuttgart orchestra he commands and now his Ravel, I can honestly say there’s no conductor alive I’d rather hear in French music."

TheArtsDesk.com

"Ending with colossal energy accumulated throughout the four movements, and then exploding in the final bars, Denève captured the most propitious moment, the one we looked forward to since the beginning of the concert. [Roussel, Symphony No.3]"

BachTrack

"This is what going to the symphony should be like. Hearing a live orchestra has the potential to illicit visceral reactions, to make your hair stand on end, to give you goose bumps, to make you teary-eyed. Based upon the roaring ovation that Denève received at the end of 'The Firebird', which concluded the entire program, Philadelphia seems to know how lucky it is to have him, even if only for a couple of weeks."

BachTrack

"'The Firebird'… brought out the best in the orchestra and reaffirmed Deneve's status as a master colorist with music."

Philadelphia Daily News

"…main observations must centre on two elements: first, Denève's maturity in penetrating the core of [Mahler’s Sixth] symphony with his realising in sound that, musically, the symphony is all about the semitone: a single step between major and minor; a mere blink between joy and heartbreak; an intake of breath that signals a transformation of mood and emotional temperature; the infinitesimal difference between a smile and a tear. And second, the rock solid structure and immensely expressive variation the conductor released from the score, all played with amazing integrity and balance by his stunning orchestra."

Herald Scotland

"Stephane Denève’s Stuttgart Radio Symphony Orchestra make an astonishing rich, dark sound… In a great performance [of Mahler’s Sixth Symphony], the minutes fly by… Denève’s tempi were well-chosen in the extreme – the first movement’s march theme never feeling rushed, the glorious second subject’s ebb and flow beautifully caught. The pastoral idyll at the centre was sublime… Denève’s first movement coda was brazenly exultant, the Scherzo’s opening bars consequently more oppressive. The Trio’s rhythmic quirkiness was nicely caught, and the movement’s deathly, exhausted winding down was sheer perfection. Performances this good lead you to believe that a triumphant ending could just be within reach, making the last minute collapse that more alarming… the stunned silence which greeted the last note spoke volumes. Unmissable."

TheArtsDesk.com

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Discography