Maike Charlotte Fuchs
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In just a few years, Jonathan Stockhammer has succeeded in making a name for himself in the world of opera, the classical symphony, and contemporary music. He first studied Chinese and political science before moving on to studies in composition and conducting in his hometown of Los Angeles. During his studies, he filled in for a series of concerts with the Los Angeles Philharmonic, after which he was asked to become chief conductor Esa-Pekka Salonen’s assistant. After completing his studies, Jonathan Stockhammer moved to Germany where he formed close relationships with well-known European ensembles such as Ensemble Modern, musikFabrik and Ensemble Resonanz.
Opera is central to Jonathan Stockhammer's work. The operas he has conducted, including Die Dreigroschenoper, Zemlinsky‘s Eine florentinische Tragödie, Sciarrino‘s Luci mie traditrici and Monkey: Journey to the West by Damon Albarn, identify him as a conductor who welcomes and masters the difficulties presented by complex scores and special, cross-categorical productions. He has been a regular guest at the Opéra de Lyon since first appearing there in 1998, where he has since conducted the successful French premiere of Dusapin’s Faustus, the Last Night. In 2009, he premiered Wolfgang Rihm’s Proserpina with the Stuttgart Radio Symphony Orchestra, and also conducted the orchestra in Rihm’s Deus Passus. In 2010, he conducted the Orchestre Philharmonique de Radio France in a production of Sondheim’s A Little Night Music at the Théâtre du Châtelet Paris. In February 2013, he made his debut at the New York City Opera in Thomas Adès’ Powder Her Face. This production, which received great acclaim by audience and press alike, was immediately invited for further performances at the Festival d’opéra de Québec in August 2013.
Jonathan Stockhammer has worked with numerous renowned orchestras such as the Oslo Philharmonic, NDR Symphony Orchestra Hamburg, Czech Philharmonic Orchestra and the Sydney Symphony Orchestra, and has appeared at the Salzburg Festival, Lucerne Festival, Donaueschingen Music Days and Wien Modern.
Aside from conducting classical and romantic masterpieces, and classical contemporary works, Jonathan Stockhammer enjoys delving into music that blurs the boundaries between classical, rock, pop, and hip-hop. His CD Greggery Peccary & Other Persuasions with Ensemble Modern (RCA, 2003), featuring works by Frank Zappa, won an Echo Klassik Award. He also recorded a new soundtrack to Sergei Eisensteins’s 1925 film The Battleship Potemkin, composed and performed by the Pet Shop Boys. The live recording of The New Crystal Silence that he conducted with Chick Corea, Gary Burton and the Sydney Symphony Orchestra won a Grammy in 2009. His collaboration with spoken word artist Saul Williams on Said the Shotgun to the Head, featuring music composed by Thomas Kessler, has also been particularly successful. To date, he has conducted the work with the WDR Cologne, Stuttgart Radio Symphony Orchestra and the Oslo Philharmonic.
In the 2014/2015 season, he will make his debut at the Biennale in Venice. Other highlights of the season include re-invitations to perform with the Orchestre National de France, Munich Symphony, Stuttgart Radio Symphony Orchestra, NDR Symphony Orchestra Hamburg and with Ensemble Modern at the Donaueschingen Music Days. Jonathan Stockhammer has been Conductor in Residence of Collegium Novum Zurich since the renowned Swiss ensemble’s anniversary season in 2013/2014. Their first season together, which was enthusiastically received, will now be followed by a season with numerous world premieres and Swiss premieres as well as a spectacular work of the recent past: in vain by Georg Friedrich Haas.
|Mauricio KAGEL||10 Märsche, um den Sieg zu Verfehlen (10 Marches to Miss the Victory)|
|Francis POULENC||Les Biches|
|Kurt WEILL||Die Sieben Todsünden (The Seven Deadly Sins)|
|Frank ZAPPA||I Was in a Drum|
|Pierre BOULEZ||Dérive 2|
|Georg Friedrich HAAS||in vain|
|Charles IVES||Symphony No. 3|
|Saul WILLIAMS / Thomas KESSLER||Said the Shotgun to the Head|
|Igor STRAVINSKY||Symphony of Psalms|
|Carl NIELSEN||Symphony No. 4 The Inextinguishable|
|Leonard BERNSTEIN||Serenade after Plato’s “Symposium”|
|Alban BERG||Lyric Suite (Lyrische Suite)|
|Edward ELGAR||Enigma Variations|
|Miloslav KABELÁČ||Overture No. 2 for large orchestra, Op. 17|
|György LIGETI||Violin Concerto|
|Antonín DVOŘÁK||The Water Goblin, Op. 107|
|Leoš JANÁČEK||Taras Bulba|
|Darius MILHAUD||La Création du Monde|
|Philip GLASS||Yorùbá Songs|
|John ADAMS||Naïve and Sentimental Music|
|Igor STRAVINSKY||Symphonies of Wind Instruments|
|Claude VIVIER||Zipangu for 13 strings|
|Henri DUTILLEUX||Mystère de l’Instant|
|Joseph HAYDN||Symphony No. 20 in C major, Hob. I:20|
|Robert SCHUMANN||Violin Concerto in D minor, WoO 23|
|Wolfgang RIHM||Verwandlungen für Orchester|
|Johannes BRAHMS||Variations on a Theme by Haydn, Op. 56a|
Jonathan Stockhammer, the conductor, supervised a vibrant, exacting account of this complex, haunting work.
New York Times, 17/02/2013
Stockhammer exerted an iron control over the proceedings, so you could hear plenty of detail, even when the music was at its most violent.
The Guardian, 4/3/2012
Jonathan Stockhammer conducted the Orchestre Philharmonique de Radio France with a refinement of sound and ethereal sweetness.
Die Welt, 17/2/2010