Chief Conductor – Lucerne Symphony Orchestra (from 2021)
Michael Sanderling become the Chief Conductor of Luzerner Sinfonieorchester at the start of 2021/22. This appointment comes after over a decade of close collaboration with the orchestra, most recently including a tour of South Korea performing Brahms, Beethoven, Holliger and Rachmaninoff, followed by subscription concerts in May 2019 performing Shostakovich’s Symphony No. 5.
For eight seasons (2011-2019), Michael Sanderling held the position of Principal Conductor of the Dresden Philharmonic. During his tenure with the orchestra, Michael Sanderling recorded the complete symphonies of Beethoven and Shostakovich for Sony Classical. Of the pairing of Beethoven’s third symphony with Shostakovich’s tenth, MusicWeb International wrote “Characteristically stylish and entirely compelling under Michael Sanderling, the Dresdner Philharmonie demonstrates its prowess in these Beethoven and Shostakovich masterworks.” This album was nominated for an Opus Klassik award in four separate categories.
Michael Sanderling is in high demand as a guest conductor and will make his US debut in May 2021 with San Francisco Symphony. Other upcoming US engagements include Indianapolis Symphony and Seattle Symphony. His European engagements include returns to the Leipzig Gewandhaus, SWR Symphonieorchester, Musikkollegium Winterthur, BBC Scottish Symphony, Dresden Philharmonic, Gürzenich-Orchester Köln, Salzburg Mozarteum, Konzerthausorchester Berlin, Orquestra Sinfónica do Porto Casa da Música, and Aalborg Symphony Orchestra. Michael will also return to Asia to conduct the Hong Kong Philharmonic Orchestra.Read more
Highlights from recent seasons include the Royal Concertgebouw Orchestra (Louis Andriessen’s Mysteriën and Bruckner’s Symphony No. 3), Orchestre de Paris (with whom he conducted Frank Martin’s Six Monologues of Jedermann with Matthias Goerne and Liszt’s Dante Symphony), Berlin Philharmonic (Haydn’s Cello Concerto No. 2 and Shostakovich’s Symphony No. 7), Helsinki Philharmonic Orchestra, Prague Symphony Orchestra, Orchestre Philharmonique de Radio France, St Petersburg Philharmonic, and the NDR Elbphilharmonie. Previous highlights have included Tonhalle-Orchester Zürich, Munich Philharmonic, Toronto Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, and the German Radio Symphony Orchestras of WDR and SWR.
As an opera conductor, he has conducted Philip Glass’ The Fall of the House of Usher in Potsdam and a new production of Sergei Prokofiev’s War and Peace for Cologne Opera. In 2020, he plans to conduct Oper Frankfurt’s festive production of Humperdinck’s Hansel und Gretel.
Michael Sanderling is a passionate supported of worknig with young musicians. He teaches at the University of Music and Performing Arts in Frankfurt/Main, and regularly works with the Bundesjugendorchester (National Youth Orchestra of Germany), the Young Philharmonic Orchestra Jerusalem Weimar, the Junge Deutsche Philharmonie and the Schleswig-Holstein-Festivalorchester.
His discography includes recordings of important works by Dvořák, Schumann, Prokofiev, Tchaikovsky, as well as the complete symphonies of Beethoven and Shostakovich, amongst others.
Michael Sanderling makes his debut with the BBC Scottish Symphony Orchestra on 30 January (Glasgow City Halls) and in Aberdeen the following day. He will conduct Mahler’s hauntingly beautiful Kindertotenlieder, with contralto Claudia Huckle, and Shostakovich’s...
From 2021/22 Michael Sanderling will become the Chief Conductor of the Lucerne Symphony Orchestra. On his future position as Chief Conductor in Lucerne, Sanderling says:"I am delighted to become the Chief Conductor of Lucerne Symphony Orchestra - an...
Continuing the list of major debuts he has made this season (which has included Concertgebouw, Orchestre de Paris, Helsinki Philharmonic, Orchestre Philharmonique de Radio France and Luzerne Symphony), Michael Sanderling will conduct the Berlin...
“Michael Sanderling clearly understands the cinematic disposition of the music that swings from the frivolous to a near constant state of unsettling anxiety that develops to fever pitch. Powerfully driven and penetrating, Sanderling’s performance maintains relentless tempi and forward momentum… To sum up, throughout this epic cycle with its gamut of intense emotions, Michael Sanderling conspicuously demonstrates his perception and maturity, blended with conviction and controlled power. With outstanding command of tempi and dynamics, Sanderling shuns the use of excessive weight and thick and abrasive textures unless it is completely necessary… Michael Sanderling and the Dresdner Philharmonie have put heart and soul into this Shostakovich cycle and the result is worthy of considerable acclaim. If I had to choose a single set it would be this.”
“This week marked Michael Sanderling’s debut with the Berliner Philharmoniker, with this programme, here played for the third and final time, giving ample opportunity to display his considerable talents… In the coda Sanderling (the youngest son of Kurt) urged the players towards a conclusion that felt outwardly triumphant, yet had something caustic about it. Most impressive was the way in which he welded all the constituent parts of the Symphony into a cohesive whole, here more than eighty minutes; a sense of architecture informed the performance, with never a hint of longueur… Sanderling – a one-time cellist – was admirably supportive, especially in a very touching account of the Adagio [of Haydn’s Cello Concerto in D]. Sanderling was especially attentive to the dynamics of the finale”
“Sanderling does not shy away from tenderness, nor does he attempt to tease out the last horror of infernal clusters of sound. His interpretation unfolds with dignity and integrity, which the [Berliner] Philharmoniker delivers in great unity.”
“The dialogue between the woodwinds and the strings (and this first violin tuned a higher tone) is continuous, and very rich: the dissonant intervals do not interfere with the fluidity of the phrases… under the baton of the chef Michael Sanderling.”
“This inspiring Dresden cycle from Michael Sanderling can stand proudly alongside the above recordings and unless you need big-band Beethoven, this is one of the finest of the newer sets. In what feels like a labour of love, the Dresdner Philharmonie provide characteristically stylish and penetrating performances that are entirely compelling.”
“For over an hour, the Orchestre National de Capitole de Toulouse was unsurpassed under the leadership of Michael Sanderling… the symphonic structure was well-shaped, with a particular care taken to highlight the details of Bruckner’s rich sound palette… A revelation.” [Translated from French]
“Sanderling develops an energetically driven forward momentum and I felt a shiver run down my spine as the music rushes impetuously to an awe-inspiring conclusion of outward triumph. More than a match for most, Michael Sanderling and Dresdner Philharmonie give a performance that feels totally sincere with a marvellous sound.”
“Sweeping melodic lines were carefully nurtured, supported sympathetically and attentively by Sanderling…a very fine orchestral display under a conductor who really brought out the best of the “Dresden sound”.”
“Conductor Sanderling both conveyed and embodied the piece’s contained power, while the orchestra revelled in its drama and angst, rising to each of its magnificent climaxes.”
…The defining feature of Sanderling’s performance was his patience with Bruckner’s characteristic stop-go style, letting the work breathe, appreciating the beauty in the composer’s lyrical paragraphs, and allowing the huge climaxes to build out of a natural preexisting flow… The conducting always found telling musical space, keen detailing and a sense of architecture. The conductor’s assimilation of Ländler style also secured dividends in many places, cultivating a natural lyrical pacing and eloquence… it was the contrasting sense of lyrical intimacy and the conductor’s unerring pacing throughout the movement that made the final brass statements so commanding and spiritually uplifting.
… Michael Sanderling setzte mit dem russisch singenden Männerchor des Philharmonischen Chors im Gasteig nicht auf großes Pathos, auch nicht auf die grelle Groteske, sondern führte die Symphonie mit bewundernswertem, großformalem Überblick und handwerklicher Souveränität in ihr Zentrum: die Klage um unwiederbringlich verrinnende Lebenszeit in der Diktatur. …
In this Lukaskirche, Dresden recording it is evident how Sanderling fully appreciates that this progressive score is music of extensive concentration, intensity and—as the designation—might suggest heroic power… With striking immediacy in the Finale, it feels as if the spirit of life has broken free with Sanderling’s swirling and dramatic power… Sanderling’s account of the Tenth Symphony is one of the finest I know. It can join the ranks of recommendable recordings that I most admire… Characteristically stylish and entirely compelling under Michael Sanderling, the Dresdner Philharmonie demonstrates its prowess in these Beethoven and Shostakovich masterworks.
Beethoven 3rd Symphony & Shoshtakovich 10th Symphony, Sony Classical