Case Scaglione


MD and Principal Conductor, Orchestre national d’Île de France
Chief Conductor, Württembergisches Kammerorchester Heilbronn


Case Scaglione is currently in his sixth season as a Chief Conductor of the Württembergisches Kammerorchester Heilbronn in Germany and in his fifth season as a Music Director of Orchestre national d’Île de France. He has previously served as Associate Conductor with the New York Philharmonic and as Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles. Case was the driving force behind the artistic growth and diversification of the organisation, founding their educational outreach initiative ‘360° Music’.

Whilst working with Orchestre national d’Île de France, Case has explored a plethora of repertoire. Across 2021/22 season, Case’s repertoire focus was predominantly on music by Strauss, Wagner, Mahler, Dvořák and Béla Bartók, which then developed for the 2022/23 season to focus on Beethoven, Ravel, Mahler, Sibelius, Britten and Anna Clyne. 

During the 2022/23 season Case and Württembergisches Kammerorchester Heilbronn continued to appear regularly at Stuttgart’s Liederhalle, Kloster Schöntal, Ludwigsburg, Queen Elisabeth’s Hall in Antwerp, Munich’s Prinzregententheater, Forum am Schlosspark in Ludwigsburg. Composers of classical and early Romantic periods, as well as 20th Century and contemporary ones featured prominently throughout Case’s 2022/23 season with the Württembergisches Kammerorchester Heilbronn.

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Recent News


“Succeeding Semyon Bychkov and for his debut at the Paris Opera, Case Scaglione, music director of the Orchestre national d’Île-de-France, visibly convinces the audience with an attentive musical direction, giving pride of place to expressiveness and feeling.”

José Pons


“The credit goes to Scaglione, an unstoppable guide who imposes a flawless discipline on this reading of Ravel’s Bolero.”

“The firmness of the soloists’ interventions in the Rhapsodie espagnole, showed notable diversity of moods, stemming directly from Scaglione’s sensitivity and stylistic ease, qualities already noted on other occasions.”

Emmanuel Dupuy


“Energised by a probing and teasing spontaneity that readily mined both Classical or Romantic genres, Case Scaglione and Federico Colli generated a confidently shared profile and personality pulling the music out of the air with improvisational ease.”

Ian Julier

The Arts Desk

The ability of Case Scaglione’s direction to take care of the nuances of dynamics, clarity and relationships of the different voices of the orchestra, from the desks to the instrumentalists (all magnificent), is verified in the Prelude of “Tristan und Isolde”.  Although it is given to us here to hear only extracts from the works, we feel that the inspiration of the conductor is nourished by a noble general formal vision of these… We will therefore be impatiently awaiting the reopening of the concert halls in order to follow ONDIF’s exciting adventure with Case Scaglione – a passion and an ambition that can be clearly understood here.

Christine Ducq

La Revue du Spectacle

“Scaglione unfolds the great architecture of the piece with breadth and admirable clarity. His affinities with the Wagnerian universe are illustrated once again here and make us all the more impatient to see him again soon at the Massy Opera (November 12 and 14).”

“The poetic force of the Prelude to Lohengrin is made all the more striking by the conductor’s lack of narcissism. He knows how to make the music speak, to brighten up the timbres without ever reflecting on the result obtained. The remark is equally valid for Also Sprach Zarathustra, the listener’s attention never wavers for a moment, so much so that the maestro strives to bring the musical text to life from within.”

Alain Cochard

Concert Classic

“Case Scaglione and the RTVE Symphony Orchestra came together in a magnificent performance, which was full of contrast and intensity. Case Scaglione gave the orchestra the true prominence it deserved with his outstanding conducting. His interpretation of this symphony fuelled the imagination of his listeners and was applauded by the audience.”

Michael Thallium


Follow this Conductor … Scaglione is truly a deeply musical musician, which is no redundancy – A Musician’s Musician, as the Anglo-Saxons say. 

Rémy Louis

Diapason Magazine

Case Scaglione is relaxed, likeable, unpretentious, reflective, clear-cut – and is highly inspiring and demanding of his musicians. With Schönberg’s Verklärte nacht one could close their eyes for half an hour and dive into Vienna in 1900. 

Südwest Presse

If the OP seeks its leader, another formation has found it: it was the first time that we heard the Orchestre National d’Île-de-France (Ondif) with its new musical director, Case Scaglione. Listening to a programme of selected Wagner songs with two solid-sounding singers (Michelle DeYoung and Simon O’Neill), reminiscent of the olden symphonic associations, the least we can say is that we were favourably impressed. The 37-year-old American chef has a clear and fluid body language, never ostentatious, and keener to help the orchestra and the singers rather than to put himself in the spotlight. The musicians and him are only at the beginning, but the way in which he has modelled a balanced, warm and homogeneous sound in the strings, whilst paying special attention to the legato and progressions, is already more than promising. The winds did not always show the same cohesion throughout the evening, but we still came out invigorated from this exciting concert, and made the promise of not waiting too long before going back to hear the Ondif in this form again.

Christian Merlin

Le Figaro

More Reviews

” The young maestro on the podium, Case Scaglione, was flexible and empathetic with the Württembergisches Kammerorchester. The ensemble from Heilbronn, which sees itself as an “international sound manufactory” and travels a lot, was then able to show its own profile in Beethoven’s “Pastorale”. Chief Conductor Scaglione, Associate Conductor of the New York Philharmonic Orchestra, unites American looseness with a highly sensitive musicality. Although he bought the intimacy of his interpretation of Beethoven with extreme pianissimi and much ritardandi, he brought the sound culture of the orchestra to best advantage. ” 

(Süddeutsche Zeitung)