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Performer: Kent Nagano

Kent Nagano © Anna Hult
Kent Nagano
© Anna Hult

Born in California, Nagano maintains close connections with his home state and has been Music Director of the Berkeley Symphony Orchestra since 1978. His early professional years were spent in Boston, working in the opera house and as assistant conductor to Seiji Ozawa at the Boston Symphony Orchestra. He played a key role in the world premiere of Messiaen’s opera Saint François d’Assise at the request of the composer, who became a mentor and bequeathed his piano to the conductor. Nagano’s success in America led to European appointments: Music Director of the Opéra National de Lyon (1988-1998), Music Director of the Hallé Orchestra (1991-2000). In September 2006 he became Music Director of both the Bayerische Staatsoper and the Montreal Symphony Orchestra.

As a much sought-after guest conductor he has worked with most of the world’s finest orchestras including the Vienna, Berlin and New York Philharmonic Orchestras and the Chicago Symphony Orchestra. He has recorded for Erato, Teldec, Pentatone and Deutsche Grammophon as well as Harmonia Mundi, winning Grammy awards for his recordings of Busoni’s Doktor Faust with Opéra National de Lyon, and Peter and the Wolf with the Russian National Orchestra.

Kent Nagano is one of the world’s most respected conductors of his generation and has worked with the Gothenburg Symphony Orchestra since the 1990s. In August 2012, he was appointed as the artistic advisor and principal guest conductor of Gothenburg Symphony Orchestra, beginning in autumn 2013. Speaking about the appointment, he said:

“Gothenburg Symphony Orchestra is an outstanding orchestra, not only technically brilliant but an orchestra of deep timbre, personality and style which reflects its importance and solid Nordic tradition. I am delighted and honored to have been asked to join the long list of famous conductors forming part of the orchestra's heritage, among them Jean Sibelius, Carl Nielsen, Wilhelm Furtwängler, Pierre Monteux and Herbert von Karajan, as well as Wilhelm Stenhammar, Charles Dutoit, Neeme Järvi and, recently, Gustavo Dudamel.”

Weekly concerts reflect the curiosity and breadth Kent Nagano is known for: he adds something unexpected that gives extra luster to the program.

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MontrealSchubert's Unfinished Symphony

Orchestre symphonique de Montréal; Kent Nagano; Dietrich Henschel

MontrealVienna, by Rossini and Schubert

Rossini, Schubert, Bellini
Orchestre symphonique de Montréal; Kent Nagano; Rihab Chaieb; Dietrich Henschel

MontrealVienna, the Space of a Waltz

Schubert, Lanner, Strauss II
Orchestre symphonique de Montréal; Kent Nagano; Ian Bostridge

MontrealViennese Classicism

Schubert, Mozart
Orchestre symphonique de Montréal; Kent Nagano; Angela Hewitt; Paul Lewis

MontrealSchubert's Late Masterpieces

Orchestre symphonique de Montréal; Kent Nagano; Ian Bostridge; Angela Hewitt
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Orchestre symphonique de Montréal premieres Moussa's Violin Concerto

Kent Nagano © Antoine Saito
Native sons Samy Moussa and Andrew Wan combine their considerable talents for a sensational world premiere of a violin concerto that was commissioned by the Orchestre symphonique de Montréal.
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Olfactory and ocular obfuscation: The Nose in Hamburg

Bo Skovhus (Kovalyov) and Bernhard Berchtold (The Nose) © Arno Declair
Kent Nagano and the forces of Staatsoper Hamburg launch their new season with a production of Shostakovich's very first opera in which the ears are beguiled but the eyes are not.
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Jean-Philippe Collard excels in Messiaen and Ravel in Montreal

Jean-Philippe Collard © Seldy Cramer Artists
Three contrasting 20th-century masterworks were judiciously crafted and insightfully honed by the Orchestre Symphonique of Montreal and their music director Kent Nagano.
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A majestic Boris Godunov in Stockholm

Alexander Tysmbalyuk © Henriette Mielke
The Stockholm Concert Hall hosts the Göteborg Symphonic Orchestra and Opera Chorus for a concert performance of Mussorgsky's Boris Godunov.
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From femme fatale to angel: Lulu in Hamburg

Barbara Hannigan (Lulu), Sylvana Seddig and Begoña Quiñones © Monika Rittershaus
An uncompromising approach to the unfinished score of Berg's opera results in a compelling musical and dramatic interpretation.
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