CONDUCTOR
This week, Jonathan Stockhammer will return to the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern. Stockhammer will conduct Tchaikovsky’s Symphony No. 3 in D major ‘Polish’, his Overture from Romeo and Juliet, and new-commission Marc-Aurel Floros’s ‘Manchmal’, a poem for soprano and baritone with text by Elke Heidenreich and solos by Chelsea Zurflüh and Valentin Ruckebier. The…Read more ›
Congratulations to the three JBM artists who have been nominated for the International Classical Music Awards 2026 in the Solo Instrument, Chamber Music, and Contemporary recording categories. In the Solo Instrument category, Yevgeny Sudbin is nominated for his album ‘Vers la flamme’. The album showcases Alexander Scriabin’s ‘Vers la flamme’, Piano Sonata No.4, and Fantasie…Read more ›
Jonathan Stockhammer takes to the podium in Oslo tonight with the Norwegian Radio Orchestra at Ultima Festival. Tonight, the festival, a celebration of cutting-edge contemporary music, will see the world premiere of Norwegian composer Henrik Hellstenuis’ “ ..and fear of loss will not oppress your heart” for orchestra, with Ellen Ugelvik on piano and Jennifer…Read more ›
Jonathan Stockhammer will open the renowned Music in PyeongChang Festival with a performance of Gustav Mahler’s monumental Symphony No. 2 in C Minor “Resurrection”, conducting the Seoul Philharmonic Orchestra, the National Chorus of Korea, and soloists Sunyoung Seo and Jungmi Kim on Wednesday. The following week, Jonathan will be giving the Korean premiere of Benjamin…Read more ›
Jonathan Stockhammer makes his debut with the Yomiuri Nippon Symphony Orchestra this week, conducting a concert as part of Tokyo Opera City’s Composium 2025, which focuses on the music of Austrian composer Georg Friedrich Haas. The programme includes the Japanese premieres of the Haas’ Concerto Grosso No. 1 for four alphorns and orchestra (2014) and…Read more ›
JBM is delighted to welcome the Berlin-based conductor Jonathan Stockhammer to its roster of distinguished artists for general management. The LSO was on electrifying form for Stockhammer in Adams, Debussy, and Ravel. The playing had an extraordinarily clean, gleaming, pristine quality, so that every fleck of sound told. It yielded nothing to Adams’s own performance…Read more ›