Pablo González

Conductor

Principal Conductor Designate – Spanish Radio and Television Symphony Orchestra (RTVE) and Artistic Adviser to the Orchestra and Choir (from 19/20)

Biography

Hailed as one of the most versatile and passionate conductors of his generation, Pablo González is an inspirational musician to orchestras and audiences throughout the world, attentive to every silence and every clue for the entire symphony orchestra, weaving and managing this tonal revolution (Opera World). Pablo González is a Designate Principal Conductor of the Spanish Radio and Television Symphony Orchestra (RTVE) and Artistic Adviser to the Orchestra and Choir (19/20).

Highly sought-after as a guest conductor across Europe, 18/19 season is dominated by strong German presence including return visits to Konzerthausorchester Berlin and Gürzenich-Orchester Köln as well as a debut with Frankfurt Radio Symphony.  Recent debut with Dresden Philharmonic was met with high acclaim, leading to an immediate re-invitation. Sächsische Zeitung wrote that both orchestra and conductor transform Manuel de Falla’s ballet suites into a brilliant and richly contrasting declaration of love to happiness, cheerfulness and fearlessness. For his return to Gürzenich-Orchester Köln, Kölner Stadtanzeiger commented that Pablo González rendered Schumann’s filigrane score with equal precision and expression and Opernfreund noted that Pablo González’s vehement conducting was effectively accurate and succeeded in getting across a wide variety of emotions, bewitching the audience. In Germany, Pablo also enjoys a special relationship with The Deutsche Radio Philharmonie Saarbrücken Kaiserslautern with whom he has many successful symphonic and recording projects to his acclaim. Their Schumann CD with Lena Neudauer was awarded the prestigious International Classical Music Award. Further significant collaborations in 18/19 season include return visits to Helsinki Philharmonic, Orchestre Philharmonique de Liége and a debut with Lahti Symphony.

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Reviews

“With his virtuosic baton technique, impulsive sign language, and evident empathy, Gonzalez made a convincing contribution to this music. Russian themes, along with those of dreams, were the headline. Moody expanse was created in the Adagio, with a folk-like horn sound, followed by the darting, graceful Scherzando and a sweeping waltz. Even the final, counterpoint-adorned, rapid dance with its banal closing bars came together, under Gonzalez’s direction, in harmonious unity. A perfect Russian evening.”

Saarbruecker-Zeitung

“[Pablo González] provided the score [Madama Butterfly] with a symphonic feel that greatly benefited the musical discourse. Ample and varied dynamics, richness in timbre and a deep engagement from the Oviedo Filarmonía were all key elements”

Ramón Avello

El Comercio

More Reviews

“The man on the podium quickly became united with his Rhineland musicians through an exposition of powerfully emphatic and accentuated manoeuvres. He struck into the orchestra with his beats, ducked as smoothly as the springing sound of his strings – a successful warm-up for the orchestra.”

— Kölnische Rundschau (January 2019)

“The Spanish conductor, Pablo Gonzáles, rendered Schumann’s filigrane score with equal precision and expression.”

Kölner Stadtanzeiger (January 2019)

“Pablo González’s vehement conducting was effectively accurate and succeeded in getting across a wide variety of emotions, bewitching the audience.”

— Christoph Zimmermann, Opernfreund, (January 2019)

“Following intermission, in Manuel de Falla’s ballet suite “El sombrero de tres picos”, Gonzalez unleashed an impassioned and temperamental conducting style that enticed the essential tonal nuances and rich palette of orchestral colours out of the Philharmonic.”

—  Mareile Hanns, Dresdner Neueste Nachrichten (January 2019)

“A successful debut… Both orchestra and conductor transform Manuel de Falla’s ballet suites into a brilliant and richly contrasting declaration of love to happiness, cheerfulness and fearlessness.”

— Rainer Kasselt, Sächsische Zeitung (January 2019)

“Here, guest conductor Pablo Gonzalez also proved his qualities: in the Scherzo movement, he kindled southern heat, sharply emphasising the rhythms and dances, as if these were actually Finnish pieces from Spain, and in the finale you could feel the atmospheric timbre with your hands. Nerve-shattering tremolo were followed by relentless beats, sudden crashes, and dark tones. In a wide arc, and with a long breath, the musicians and conductor created a colourful and captivating interpretation, which once again clarified why this concert by the Wüttembergischen Philharmonie Reutlingen has been sold out for so long. Orchestral music is such a pleasure.”

— Susane Eckstein, SWP.de (March 2018)

“…González gave the CBSO its head in an account as attentive to detail as to the fantasia-like structure. Not its least attraction was a thoughtful approach to the coda, tender and affecting without a hint of that sentimentality such as Mussorgsky would have abjured.(…) González (conducting without score) audibly enjoyed conducting it in the acoustic of Symphony Hall. (…) the music’s unity and cumulative impact was never in doubt as it took in (inter alia) an irascible ‘Gnomus’, seismic ‘Bydlo’ and plangent ‘Catacombae’ prior to a vaunting ‘Baba Yaga’ then a ‘Great Gate of Kiev’ that built steadily and securely to its resplendent close. Job well done.”

— Richard Whitehouse, Classical Source (February 2017)

“Splendid job, that of Pablo González (Oviedo, 1975) during the first of the two concerts of this season’s 5th programme of the ROSS (Royal Symphony Orchestra of Seville). The Asturian conductor succeeded in molding the orchestra according to each composer’s style, offering a compelling performance of the three pieces”.

— Pablo J. Vayón, Diario de Sevilla

(English translation by Covadonga González Bernardo)

“And last, but not least, on the honour roll, the extraordinary work of the Oviedo-born conductor Pablo González (1975). To each his own, and in this concert, and for the whole programme, he gets the highest place on the podium. It’s just fair”.

JOSÉ LUIS LÓPEZ LÓPEZ (ABC, Seville).

(English translation by Covadonga González Bernardo)

“González conducted Richard Strauss’s spectacular tone poem [Thus spoke Zarathustra] with an eloquent narrative thrust, elegant phrasing and a solid understanding of the composer’s architecture”

— Javier Pérez Senz, El País (October 2014)

“González instilled greatness into a work [Verdi’s Requiem] that combines, in equal percentages, lyric emotion, expressive sincerity and spirituality void of rapturous mysticism”

— Javier Pérez Senz, El País (April 2013)

“González approached Bartók’s Concerto for Orchestra successfully and in a very unique way”

— Manel Cereijo, El Periódico de Catalunya (January 2013)

“Pablo González, receptive, flexible, gave the reins to the soloist [Arcadi Volodos] but he remained attentive and close […] A vigorous reading by Pablo González […] Little by little the work that this tenacious and patient conductor has been doing with this orchestra ever since he arrived is showing. It won’t be long before it shines through in all its glory.”

— Xavier Chavarria, Revista Musical Catalana (October 2012)

“A calm and paused, yet unstoppable career””

— José Luis Pérez de Arteaga, Beckmesser (February 2011)

“He has a clear idea about where he wants to go and he communicates it effectively and through limpid language”

— Xavier Pujol, El País (January 2011)

“The London Symphony Orchestra weekend in Madrid had a protagonist: Pablo González”

— Luis Suñén, Scherzo (July 2010)