Quickly establishing himself as a significant interpreter of orchestral and operatic music, Canadian conductor Julian Kuerti has combined a confident style, artistic integrity and passion for collaboration to position himself at the forefront of the international music scene. Having been Principal Guest Conductor of the Orchestre Métropolitain de Montreal and Principal Conductor of the Orquesta Sinfónica Universidad de Concepción in Chile, Kuerti has made a reputation for himself both in the Americas and abroad.
During his time with Orchestre Métropolitain de Montreal, Kuerti lead numerous subscription concerts including performances of Schubert’s “Great” Symphony and an all-Pelleas & Melisande programme (Faure/Sibelius/Schoenberg) at the Maison Symphonique de Montréal. In Chile, he conducted a wide variety of programmes, including staged operas, which have included Mozart’s Die Zauberflöte, Verdi’s La Traviata, and Bizet’s Carmen, as well as various symphonic programmes including a Beethoven marathon, Mahler’s Das Lied von der Erde and Verdi’s Grand Messa di Requiem.
The upcoming 17/18 season will see Kuerti conduct Vasteras Sinfonietta, in a programme of Tally, Haydn and Mozart with Cellist Jakob Koranyi; a new production of Rusalka with Teatro Colon; Hindemith, Barber and Beethoven with Deutsche Radio Symphony with Violinist Nemanja Radulovic; an epic concert of Beethoven’s Triple concerto and Prokofiev 5th Symphony with Kalamazoo Symphony; concerts with Tasmanian and Sydney Symphony Orchestras with Symphonies by Ross Edwards, Mendelssohn and Rachmaninov Paganini variations with Stephen Hough.
In 16/17 Kuerti enjoyed further concerts with Orchestre Metropolitain de Montreal, conducting Tchaikovsky, Glière, Morel and Haydn’s large-scale work, The Seven last Words of Christ. Kuerti continued to be a global presence, conducting the Kristiansand Symphony Orchestra in Norway, with pianist Leif Ove Andsnes, symphonic performances in Teatro Colon, Buenos Aires and a re-invitation to Fundación Excelentia to conduct Beethoven’s Symphony No.9.
In Europe, Kuerti’s guest engagements have brought him on numerous occasions to the Deutsches Symphonie-Orchester Berlin, Frankfurt Radio Symphony, and Stavanger Symphony of Norway. He has also enjoyed concerts with the Royal Concertgebouw Orchestra, Aarhus Symphony, Orchestre Philharmonique du Luxembourg, Het Gelders Orchestra, Fundacion Excelentia in Madrid, Opera Toulon Provence Mediterranée, Bournemouth Symphony, RTE National Orchestra of Dublin, The National Philharmonic Orchestra of Russia, Monte Carlo Philharmonic and the Swedish Chamber Orchestra.
Closer to home, Kuerti also works with the Civic Orchestra of Chicago, the symphony orchestras of Dallas, Cincinnati, New Jersey, Quebec, Utah and Vancouver, and the St. Paul and Los Angeles chamber orchestras. In 2011, he made his New York City Opera debut at Lincoln Center leading Oliver Knussen’s “Where the Wild Things Are.”
In Asia and Australasia, Julian has worked with the Malaysian Philharmonic and the New Zealand Symphony. Being described as the “Epitome of cool graciousness” by The New Zealand Herald for his interpretation of Berlioz’s Symphonie Fantastique, Kuerti’s appeal obviously extends much further than the performance platform.
In 2014, Kuerti began extensive research into the work of Chilean composer Enrique Soro, culminating in the preparation of a critical edition for performance of his Sinfonica Romantica. He led concerts featuring this work with the Orquesta Sinfonica de Concepcion in November 2015, which were recorded for television broadcast. The months of work preparing this symphony for publication and the final performance itself is the subject of an upcoming documentary film, Recording Romantica by Chilean filmmaker Carlos Pérez.
Kuerti was born in Toronto into one of Canada’s most distinguished musical families; his father is famed pianist Anton Kuerti. He began his instrumental training on the violin, studying with some of Canada’s finest teachers. While completing an honors degree in engineering and physics at the University of Toronto, Kuerti kept up the violin, performing as concertmaster and soloist with various Canadian orchestras. After taking a year off and touring Brazil with Kahana, a Toronto-based world-music band, Kuerti began his conducting studies in the year 2000 at the University of Toronto. That summer he was accepted as a student at the renowned Pierre Monteux School for Conductors in Maine, where he studied for two years with Michael Jinbo and Claude Monteux.
Kuerti studied with David Zinman at the American Academy of Conducting at Aspen in 2004, and with acclaimed Finnish Maestro Jorma Panula at the NAC Conductors Programme in Ottawa. In 2005, he was one of two conducting fellows at Tanglewood, where he had the opportunity to learn in masterclasses from James Levine, Kurt Masur, Stefan Asbury and Rafael Frühbeck de Burgos, performing with the TMC orchestra and fellows throughout the summer. That same year, Kuerti also finished his work with Lutz Köhler at the University of the Arts Berlin, whom he had studied with since 2001.
Kuerti served as assistant conductor to James Levine at the Boston Symphony, completing his three-year tenure in 2010. During the 2006-07 season, he was assistant conductor to Ivan Fischer at the Budapest Festival Orchestra, which he led in performances of Viktor Ullmann’s opera “Der Kaiser von Atlantis” the following season. From 2005 to 2008, he was founding artistic director and principal conductor of Berlin’s Solistenensemble Kaleidoskop, with whom he recorded the album “When We Were Trees” by Italian cellist and composer Giovanni Sollima for Sony/BMG. Kuerti conducted the Boston Symphony Chamber Players in music by Golijov and Foss on “Plain Song, Fantastic Dances,” released in 2011 on the BSO’s own label.
“From the downbeat, one was immediately struck by Kuerti’s natural, genuine musicianship that encouraged musicality as well as precision from his players … the orchestra was in very good hands.”
“Under the baton of Julian Kuerti, the orchestra produced a stirring finale which had the audience…stamping their feet in appreciation.”
“The Frankfurt Radio Symphony Orchestra under the direction of the Canadian conductor Julian Kuerti won the audience over in the twinkling of an eye with a folkloristic programme in the utterly sold out Stadttheater. Kuerti and the Orchestra kept the bigger picture in mind and offered delightful music-making with many beautiful details. The contrasting, nearly chamber-like Adagio, in which flute, cor anglais and solo violin emerge preeminent, was adorable. The musical ideas sparkled like small jewels; Kuerti held their fast succession up to the jubilant Finale, announced with trumpet blasts. Gigantic applause.”
“Perhaps it takes a degree in physics, like the one held by guest conductor Julian Kuerti, to create intelligible interpretations of the work of Messaien and Prokofiev. On Thursday night, the [Rochester Philharmonic Orchestra’s] performance was of such artistry of phrasing that the case was made for the proper interpretation of those composers … Kuerti brought phrasing to the lovely, haunting, seemingly random rhythms and apparently wandering notes of the Concerto [Prokofiev Violin Concerto No. 2] … I should hope that we will see more of Kuerti, paired to our RPO.”
“From the downbeat, one was immediately struck by [Kuerti’s] natural, genuine musicianship that encouraged musicality as well as precision from his players. He opened with Mozart’s Overture to ‘Cosi fan tutte,’ leading with fleet tempos and bringing out the work’s witty character…[Kuerti’s] view was rich with drama, energy and unflagging inspiration. The slow introduction was full of mystery, and exploded onto the allegro with timpani crashes, like a sudden summer storm…Sparks flew in the finale, and Kuerti brought out the contrasts between its delicate and powerful moments. Through it all, his communication with the musicians was confident, and they responded with fine playing. The impression given was that the orchestra was in very good hands.”
“Berlioz still makes us think, a factor that Julian Kuerti brought convincingly to his interpretation… Kuerti shaped it brilliantly, ensuring that each of the five clearly defined parts plays its role to the maximum, allowing fantasy to explode in the right place and to the right degree of fireworks in the witches’ Sabbath.”
“Kuerti’s gestures were precise and clear – an open-handed invitation to the contrabassoon, an abrupt karate chop in the air for the violins – as he steered his [Royal Conservatory] orchestra through [Petrouchka’s] tricky changes in tempo and dynamics.”
“Conductor Julian Kuerti drew a predictably brilliant response from the players[…] The richness of sound, along with Kuerti’s attention to the smallest detail, fuelled the almost cinematic narrative that the composer lays out. ”
“Julian Kuerti, son of the well-known pianist [Anton Kuerti], on Thursday night led Orchestre Métropolitain in their first concert at Centre Pierre-Charbonneau. One detail that was not mentioned in the programme leaflet was that the 36 year old musician is now Principal Guest Conductor of Orchestre Métropolitain. … He is certainly a good choice. Mr Kuerti had made a good impression at his concerts with the OSM and OM, in Montreal and Lanaudière, and it was the same this week … His leadership is very energetic, very warm and very detailed. … The evening’s main event was Dvorak’s New World Symphony. [Kuerti’s] in-depth understanding of the score is obvious. Dazzling counterpoint gave the famous slow movement an unusual air of gravitas; strings sang out leaving full freedom of expression for the first desks, leading to the exhilarating conclusion of the finale.”
“Kuerti’s highly charged and exceptionally precise conducting style drove the performance, sharp accents combining with plaintive lyricism and a fired-up brass section. Urgency and tight ensemble marked Dvořàk’s Symphony No. 6. With Kuerti’s clearly defined gestures to guide them, the orchestra had an unusual sweep and presence. He is a commanding conductor who puts his mark on the orchestra, the Alabama Symphony serving as a supple receptor of his ideas. The Scherzo was particularly exciting, the score’s cross-rhythms generating a kinetic impulse, the strings taking full advance of its lyrical warmth.”
“In his interpretation of Dvorák’s Symphony No.8, G Major, op. 88 Kuerti shaped the catchy themes with visible and technically great sovereignty – including a lot of fine-tuning in the arrangement of the dynamics. The Frankfurt Radio Symphony Orchestra followed – visibly inspired – and made Kuerti’s debut to an absolute success.”
“Young Canadian conductor Julian Kuerti made his debut with the Frankfurt Radio Symphony Orchestra at their broadcasting centre [with Dvorak’s Symphony No.8]. Kuerti presented the piece with consistency and the appropriate evocativeness of the internal structures with clear, economical gestures. The tempo of the final coda had a successful surprise effect. In the first half he already impressionably facilitated the gory saga of Sárka’s thirsting for revenge (Symphonic Poem No.3 of the cycle “Má vlast” by Bedrich Smetana). ”
“Kuerti gave the four movements [Dvorak’s Symphony No.8] opulent musical strains, provided the Allegro opening with tense fire, the rising triad in effective contrast of minor and major, and let the instrumental groups project radiance, especially the celli. The Allegretto Grazioso evoked pleasure with light passages played by the woodwind section and the violins in elegant style. Kuerti’s energised conducting manner enabled him to present contrasts … there was excitement from the audience; many curtain calls for the Frankfurt musicians. ”
“The Frankfurt Radio Symphony Orchestra under the direction of the Canadian conductor Julian Kuerti won the audience over in the twinkling of an eye with a folkloristic programme in the utterly sold out Stadttheater… Kuerti and the Orchestra kept the bigger picture in mind and offered delightful music-making with many beautiful details. The contrasting, nearly chamber-like Adagio, in which flute, cor anglais and solo violin emerge preeminent, was adorable. The musical ideas sparkled like small jewels; Kuerti held their fast succession up to the jubilant Finale, announced with trumpet blasts. Gigantic applause. ”
“In his City Opera debut Julian Kuerti, a rising Canadian conductor who was an assistant to James Levine at the Boston Symphony Orchestra, drew a bustling, moody and colorful performance of Mr. Knussen’s 50-minute score from the impressive City Opera Orchestra.”
“Kahane selected a first-rate conductor to step in for him with the Los Angeles Chamber Orchestra … Kuerti confidently led Kahane’s band in works representing a broad stylistic range.”
“Kuerti drew sumptuous sounds from the Boston Symphony Orchestra.”
“Kuerti drew ultra-articulate and smoothly integrated playing from the chamber orchestra.”
“Guest conductor Julian Kuerti demonstrated a grace and interpretive confidence that showed why his star is on the ascent.”
Twin Cities Pioneer Press
“He clearly is on a career journey with an upward trajectory.”