Principal Conductor – Dresden Philharmonic
Michael Sanderling is currently in his seventh season as Principal Conductor of the Dresden Philharmonic. In April 2017 the orchestra returned to their home in the newly renovated concert hall of the Kulturpalast. Under his tenure, the orchestra has toured to Asia, South America, USA, Spain, United Kingdom, Austria, Switzerland and Germany. The orchestra is currently in the middle of a recording project which combines all the Beethoven and Shostakovich symphonies for Sony Classical: so far three CDs have been released and Beethoven 5/Shostakovich 5 will be released in Spring 2018.Read more
Such is Michael Sanderling’s commitment to the orchestra that in 2017, the “Kurt Masur Academy – the Orchestra Academy of the Dresden Philharmonic” was created, so called because of the close relationship Kurt Masur has with both the Dresden Philharmonic and its Principal Conductor: the aim of this platform is to attract young international orchestral musicians, to ensure the future viability of the orchestra, and to enable the characteristic culture and sound of this special orchestra can be passed on to future generations.
As a guest conductor, his future debuts include Berlin Philharmonic, Orchestre de Paris, Helsinki Philharmonic Orchestra, the Czech Philharmonic, Orchestre National du Capitole de Toulouse, Tchaikovsky Symphony Orchestra of Moscow and the Vancouver Symphony Orchestra whilst regular invitations include Gewandhausorchester Leipzig, Tonhalle-Orchester Zurich, Munich Philharmonic, Konzerthausorchester Berlin, Toronto Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, WDR Sinfonie Orchester and SWR Sinfonie Orchester. Highlights of previous seasons have included Wiener Symphoniker, Dresden Staatskapelle and NHK Symphony.
Michael Sanderling is one of the few people who has managed to achieve a highly successful career as a conductor after first performing as an orchestral player. In 1987, at the age of 20, he became solo cellist of the Gewandhausorchester Leipzig under Kurt Masur and, from 1994 to 2006, he held the same position in the Berlin Radio Symphony Orchestra. As soloist, he has performed with such orchestras as Boston Symphony Orchestra, Los Angeles Philharmonic and Orchestre de Paris. His conducting career was launched with Kammerorchester Berlin in 2000 and his first titles position was as Principal Conductor and Artistic Director of the Kammerakademie Potsdam in 2006. It was perhaps inevitable that, having been familiar with the art of conducting from a young age as son of the legendary Kurt Sanderling, his conducting career would take over!
As an opera conductor, he enjoyed success with Philip Glass’ “The Fall of the House of Usher” in Potsdam, and conducted a new production of Sergei Prokofiev’s “War and Peace” at the Cologne Opera.
Michael Sanderling is passionate about working with young musicians. He teaches at the University of Music and Performing Arts in Frankfurt and regularly works with the Junge Deutsche Philharmonie, Schleswig-Holstein-Festivalorchester, Bundesjugendorchester and Young Philharmonic Orchestra Jerusalem Weimar. From 2003 to 2013, he was the principal conductor for the Deutsche Streicherphilharmonie.
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
… 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. …