One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the Musikhochschule of Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House Covent Garden with Nabucco. Vladimir Jurowski has been Music Director of Glyndebourne Festival Opera since 2001 and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the orchestra's Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper Berlin (1997-2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000-2003), and Principal Guest Conductor of the Russian National Orchestra (2005-2009). Vladimir Jurowski is a regular guest with many of the world's leading orchestras in both Europe and North America, including the Berlin and Oslo Philharmonic Orchestras, the Royal Concertgebouw Orchestra, Philadelphia Orchestra, Chicago Symphony, Tonhalle Orchester Zurich, Bavarian Radio Symphony Orchestra, Gewandhausorchester Leipzig, Mahler Chamber Orchestra and the Dresden Staatskapelle. Highlights of the 2012/13 season and beyond include his debuts with the Vienna Philharmonic, Boston Symphony, New York Philharmonic, NHK Symphony Orchestra Tokyo and San Francisco Symphony, and return visits to the Chicago Symphony, Chamber Orchestra of Europe, Royal Concertgebouw Orchestra, St Petersburg Philharmonic, Tonhalle Orchester Zurich, Accademia di Santa Cecilia and the Philadelphia Orchestra.

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""Vladimir Jurowski conducts magnificently: aside from Mackerras himself, I've never heard [The Cunning Little Vixen] conducted with such colour, wit, detail and dramatic urgency; but there is also such tenderness and flexibility [...] there's not a single musical judgement that left me unconvinced.""

Nigel Simeone, International Record Review, May 2013

""Mahlerians know well the disjunction, sometimes dysfunction at work in [the Fifth] symphony. Jurowski’s genius was to enable some sort of connective narrative, which he did with visceral, incandescent brilliance, reflected in the LPO’s thrilling playing. Full of character and insight, this was a gripping performance. "

Peter Reed, www.classicalsource.com

"Jurowski's Shostakovich was one of the most thrilling BSO performances I've ever heard. [He] kept us totally riveted, even when we couldn't possibly predict where the next musical turn would abruptly take us. [...] Jurowski not only played the score, he played the orchestra; he even played the hall itself. Everything reverberated (in every sense). [...] Even in the most frenzied sections, you could hear every detail. The playing was magnificent, and precise. All of this was accomplished by Jurowski with unshowy, minimal, efficient gestures, yet you were never in doubt about his emotional intensity and commitment. "

Lloyd Schwartz, The Boston Phoenix Oct 18th 2012

"Quite simply the most insightful, illuminating and uplifting performance that Mahler's Resurrection has enjoyed in a generation. You may think you know how Mahler's Second Symphony goes. Think again."

Edward Seckerson, Gramophone

"Keeping [Shostakovich Symphony No. 4] on track is an unenviable task and it’s clear that Jurowski scored an unqualified triumph in his BSO debut. The young Russian conductor had the full measure of this sprawling, unkempt yet consistently compelling work and motivated the Boston musicians to playing of a corporate power and intensity that literally had Symphony Hall’s wooden floors trembling. While Jurowski and the BSO punched across the untrammeled climaxes with tremendous force, it was the conductor’s taut yet flexible control in maintaining structural cohesion and the long view that was consistently impressive. Textures were remarkably transparent for all the massive forces and, individually and collectively, the musicians played for Jurowski with roiling commitment and often startling sonic fury. "

Lawrence A. Johnson, Boston Classical Review

"Jurowski was attentive to minute details in the score, creating a sense of riveting local drama, but also projected a vision for the broad arcs. The climaxes he built in the outer movements raged with an almost disconcertingly meticulous fury. The orchestra met him at every turn, and delivered some of the most forceful playing of the year, the sound balanced just right between fullness and bite, in the way that Shostakovich’s music demands. "

Jeremy Eichler, Boston Globe

"Surely the most interesting conductor of his generation."

James Inverne, Gramophone

"Vladimir Jurowski's subtle conducting elevates humanity above grandiose posturing."

Barry Millington, Evening Standard

"Looking around me at this point during the London Philharmonic's season-opening, Mahler cycle-launching performance under Vladimir Jurowski, I noticed almost everyone was wearing the same expression: open-mouthed but with fully alert, searching eyes. Not even halfway through this often bewildering work, such levels of engagement are a considerable achievement. You could have heard a pin drop. The performance was everything we've come to expect from the LPO and Jurowski: precise gestures, judiciously paced movement and wonderfully balanced sound. [...] As ever, though, it was the final movement – unfolding like an eternity captured in a single breath – that lingered, spreading its serene and supremely compassionate gaze long after the rapturous applause had died away."

Guy Dammann, The Guardian

"Electrifyingly done, The Rite of Spring was so engrossing that by the end we felt we were involved in something thrilling yet truly horrible. This was a great interpretation that added immeasurably to Jurowski's reputation as one of the leading Stravinskyans of our time. "

Tim Ashley, The Guardian

"As one now expects from Jurowski, the string sound was lighter and less searingly intense than maestros of an older generation tended to encourage in Tchaikovsky. Instead, there was a white-knuckle tension and a real sense of a wild and tragic story recounted with enthralling detail, vivid colour and pace"

Richard Morrison The Times