Manoj Kamps






Conductor and theatre maker Manoj Kamps opened 2020/21 with the newly created piece FAUST [working title] for Dutch National Opera. As musical director and co-creator of this work, Manoj is part of a strong team of young Dutch theatre makers alongside director and co-creator Lisenka Heijboer Castañón, conducting the Netherlands Philharmonic Orchestra in seven sold-out performances. FAUST [working title] opened up the space of Dutch National Opera to other sounds, music and languages, and explored the abundance of voices that are present in the world. Together with inspiring composers, arrangers and musicians from all around the world, the team imagined new landscapes in the world of music theatre as a reflection of the events of 2020.

Manoj’s planned debuts this season include Phion (formerly Het Gelders Orkest/Het Orkest van het Oosten) in a series of 16 staged performances across the Netherlands of a new work by Corrie van Binsbergen based on stories by Toon Tellegen; and I SOLISTI at the De Bijloke Muziekcentrum, featuring a new work by Daan Janssens alongside works by Alberto Posadas and Georg Friedrich Haas. Other planned engagements include Ziggo NL’s Requiem project featuring movements by seven composers performed by Nederlands Kamerkoor and Vocaal Talent Nederland at TivoliVredenburg Utrecht.  Following the Dutch première in 2019 of Philip Venables’ The Gender Agenda with Asko|Schönberg, Manoj will conduct further performances in May 2021.

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Recent News


“As soon as the musicians earnestly begin the first notes of Farrenc’s Third Symphony, led by the graceful, dancing hand movements of queer conductor Manoj Kamps, you realize that a brave statement is being made here against conservatism and for more femininity and individual expression in the concert hall. (…) Kamps invites the orchestra to play gracefully and lightly, but to go all out at precisely the right moments, so that the listener is entranced. The message of freedom, self-confidence and emancipation reaches us unfiltered.” [translated from Dutch]

Myrthe Meester

Trouw ****

Phion was guided through it tightly and sensitively by Manoj Kamps.” (Louise Farrenc’s Symphony No. 3)

Guido van Oorschot

de Volkskrant

“Perhaps the success is primarily due to Kamps. He is frail and elegant in appearance, almost like a ballet dancer as he conducts. He gets a beautiful sound from the Netherlands Philharmonic Orchestra. The orchestra members are spaced apart, but still produce a homogeneous sound. On stage, in addition to four young soloists (sopranos Olga Busuioc and Fang Fang Kong, mezzo-soprano Polly Leech and baritone Martin Mkhize), there are two choirs at work: the Choir of the National Opera and a large children’s choir. But the sound comes all the way around. Part of the opera choir is located on the second balcony across the entire width of the hall, with wind instruments on the left and right. Kamps knows how to keep it all together and make it sound great.” [translated from Italian]

Max Arian

De Groene Amsterdammer

“The Nederlands Philharmonisch Orkest sat in the pit, appropriately spaced and visibly enthusiastic after months of forced inactivity, under the careful guidance of Manoj Kamps, a promising young Dutch conductor who conducts with a confident attitude and whom we would like to listen to again in another context.” [translated from Italian]

Edoardo Saccenti


“Kamps’ delicate figure radiates tranquility, with a simultaneously graceful and powerful way of conducting that makes the transitions between completely different music styles feel entirely natural.” [translated from Dutch]


“Despite the distance rules, the orchestra pit is well filled with musicians from the Netherlands Philharmonic Orchestra. Manoj Kamps brings them all together with graceful gestures. This is not an easy task due to the distances and because some instruments are placed on the side panels or the balconies (harp, grand piano, wind instruments).” [translated from Dutch]

Jordi Kooiman

Place de l'Opera

“Beautifully sung by the children’s choir, the large choir at the top of the theater, and compellingly conducted by Kamps. Then: a parade of joyful associations with music and stories from all corners of the world. Kamps keeps everything together amazingly well and wonderfully leads the Netherlands Philharmonic Orchestra through what is very atypical material for them. The highlight of the evening was the performance of Vivier’s “Lonely Child”” [translated from Dutch]

Peter van der Lint


“Musical director Manoj Kamps reigns supreme, which is an exceptional accomplishment with so many transitional moments to navigate in this collage piece. The Netherlands Philharmonic Orchestra played with agility and discipline in equal measure under Manoj’s direction. Kamps is an extraordinary talent.” [translated from Dutch]

Erik Voermans

Het Parool

“…Stravinsky [The Rite of Spring] with remarkable authority and panache… you were nevertheless asked what a highly regarded young conductor would make of the Stravinsky cornerstone in the large repertoire. I didn’t think it would be so good. Kamps wants to relive the primal experience. It was lightning and hunting, devouring and swearing roughly moved but crystal clear, a remarkable synthesis of action painting and fine painting. There is certainly more talent, but this performance was impressive proof that symphony orchestras should ask Kamps for the prestige pieces as soon as possible before he leaves for countries where they can.” [translated from Dutch]

Bas van Putten

De Groene Amsterdammer

“…conductor Manoj Kamps is consistently clear and successfully maintains the musical tension [in Stravinsky’s The Rite of Spring with Nederlands Studenten Orkest].” [translated from Dutch]

Joep Stapel

“The main thing is: you hear and see that Manoj Kamps is a great talent.” [translated from Dutch]

Bas van Putten

De Groene Amsterdammer

“Paredes’s score remains bright and surprising over the 90 minutes, as Manoj Kamps and HERMESEnsemble weave guitar, violin and a battery of percussion into the electronic web designed by Monica Gil Girardo.”

Amanda Holloway

Opera Now Magazine (Feb 2019)

“The chamber orchestra The Knights, wielding not just Western instruments but a variety of jangly Tibetan ones, realized Clearfield’s ever-changing orchestral textures superbly under the attentive direction of Manoj Kamps.”

David Wright

New York Classical Review

“With the ensemble led assiduously by the conductor Manoj Kamps… creating an atmosphere both immersive and insidious.” (Review of Harriet at Huddersfield Contemporary Music Festival 2018)

Charlotte Armstong

Opera Magazine

“The score is intensely detailed and challenging… The execution was guided with precise and attentive baton of Manoj Kamps” [Translated from Spanish]

Iván martínez