Following this summer’s long-awaited return to Glyndebourne Festival Opera, where he was Music Director from 2001-2013, leading the world premiere production of Brett Dean’s ‘Hamlet’, received with huge critical and audience acclaim, Vladimir Jurowski has made his debut at the prestigious Salzburg Festival at the head of the illustrious Vienna Philharmonic in the pit of the Haus fur Mozart.

Reviews for the opening night of William Kentridge’s new war-torn production of Berg’s harrowing and seminal ‘Wozzeck’ have praised it as the hit of the Festival so far, “an evening of epic proportions, a work of art across many genres, and a feather in the cap of the Salzburg Festival. […] The Vienna Philharmonic, palpably at home in this repertoire, follows Vladimir Jurowski’s lead to deliver a ‘Wozzeck’ that has all the violence, oppressive weight and terrible grief of Kentridge’s imagery. Jurowski adds both a raw edge and a glassy clarity to his approach, keeping textures open and transparent, drawing out fine detail.” (Financial Times)

Jurowski “delivers a clean, fleet and muscular rendition of the score to take us to the work’s inevitable denouement with inexorable forward drive. Berg’s music seethes and pulses in Jurowski’s hands, and the lushness of sound he evokes in the final interlude, for example, is especially affecting.” (Bachtrack)

“…virtuosity was the means, not the end. Sonic effects didn’t seem detached from what was happening onstage, a vision of the pit as its own private world of hermetic beauties; instead, the orchestra acted as an enhancer and interlocutor. Jurowski resisted the urge to overplay; the emphasis was on guiding a coherent, accumulating drama. Climaxes — like the unison B note that crescendos to full-ensemble fury, and that final D-minor outpouring — earned their impact honestly.” (New York Times)

“All of them are challenged and inspired by the crystalline playing of the Vienna Philharmonic, conducted with ruthless surgical precision by Vladimir Jurowski. No edge is softened, no climax tempered.” (The Telegraph)

“Jurowski interprets Alban Berg’s score as a succession of minutely separated sound events, keenly sharpened, precisely arranged, a compendium of orchestral colours and effects from resonant single tones to glaringly dissonant accents, yes even to sheer noise. This is a miraculous way of understanding the aesthetics of Kentridge’s artistic theatre.” (Die Presse)

For details of the remaining performances, see