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Congratulations to Titus Engel on his appointment as the new Principal Conductor of the Basel Sinfonietta!
Outrage is not enough: Titus Engel talks to the FAZ about conducting Bartók's only opera and about cultural politics in Corona times.
We congratulate Titus Engel on being named Conductor of the Year 2020 by Opernwelt magazine!
Tigran Mansurian, Requiem für Sopran, Bariton, gemischten Chor und Orchester
Camerata Salzburg
Arnold Schoenberg Chor, choir
Titus Engel, conductor
Johannes Brahms, Rhapsodie für Alt, Männerchor und Orchester
Johannes Brahms, Nänie Op. 82
Johannes Brahms, Symphony No. 1 in C minor Op. 68
Zanda Švēde, mezzo-soprano
Chor der Tiroler Festspiele Erl, choir
Johannes Brahms, Symphony No. 2 D major Op. 73
Johannes Brahms, Symphony No. 3 in F major, Op. 90
Johannes Brahms, Gesang der Parzen
Johannes Brahms, Schicksalslied Op. 54
Johannes Brahms, Symphony No. 4 in E minor, Op. 98
Carl Maria von Weber, Der Freischütz
Kammerorchester Basel
Christoph Marthaler, stage direction
Charlie Mingus, Epitaph
BigBand der Deutschen Oper Berlin, BigBand
Studierende des Jazz-Instituts Berlin
Friedrich Cerha, Concerto
Witold Lutoslawski, Mi-Parti
Alexander von Zemlinsky, Sinfonietta op. 23
Vivi Vassileva, percussion
National Polish Radio Symphony Orchestra Katowice
Friedrich Cerha, composition
Thoroughly surprising and differentiated music emerged from the orchestra pit under the direction of Titus Engel: clear in tone, never too loud or coarse but always finely and sharply cut, and, in the chamber music accompanying figures in ‘Secondhand-Zeit’, both richly coloured and precisely executed.Die Deutsche Bühne, on BORIS in Stuttgart
In 2020 Titus Engel was named Conductor of the Year by Opernwelt magazine. With his comprehensive view of repertoire from a wide range of musical eras, he consistently grasps works in their multifaceted relationality. Respected for his expertise in the field of historical performance practice as well as for his precise conducting of complex contemporary projects, the Berlin-born Zurich native can also be seen regularly performing central works of opera literature - most recently he thrilled audiences with Lohengrin at the Tiroler Festspiele Erl. Always ready to break new ground in his exploration of staged concepts on the podium, he sees music theatre as a field of experimentation in which social utopias can flourish.
As of the 2023/24 season, he will take over as Principal Conductor of the Basel Sinfonietta. The Konzerthausorchester Berlin, Mozarteum Orchestra Salzburg, SWR Symphony Orchestra, WDR Symphony Orchestra, Philharmonia Orchestra, Slovenian Philharmonic Orchestra, Mahler Chamber Orchestra, as well as the Chamber Orchestras of Basel, Zurich, and Munich count among the many renowned orchestras Titus Engel has conducted. As a guest conductor he also regularly works with ensembles such as Ensemble Modern, Ensemble musikFabrik, Collegium Novum Zürich, Remix Ensemble, and Klangforum Wien, among others.
He made his opera debut with the premiere of Schweitzer’s Jakob von Gunten in Dresden in 2000. Since then, he has conducted Monteverdi’s L’Orfeo (Theater an der Wien); Wagner’s The Flying Dutchman, Berg’s Wozzeck, and Béla Bartóks Blue Beard’s Castle (Stuttgart Opera); Offenbach’s Fantasio (Komische Oper Berlin); Telemann’s Orpheus and Mozart’s Betulia Liberata (Frankfurt Opera); Humperdinck’s Hansel and Gretel (Hamburg State Opera), Glass‘s Akhnaten (Opera Vlaanderen Antwerp/Ghent), Nunez’s La Douce (Staatsoper Berlin); Ravel’s L’Enfant et les Sortilèges (Opéra de Lyon); Glass’ Einstein on the Beach (Grand Théatre de Genève) and Verdi´s La Traviata (Theater Basel). Titus Engel’s debut at the Teatro Real Madrid conducting the world premiere of Pilar Jurado’s La página en blanco in 2011 was widely praised by the press and audiences alike. He followed this with triumphant world premieres of Charles Wuorinen’s Brokeback Mountain (2014) and Elena Mendoza’s La ciudad de las mentiras (2017). In 2016 together with Lydia Steier he brought the Swiss premiere of Stockhausen's Donnerstag to the stage at Theater Basel – Opernwelt magazine named the production “Performance of the Year”. The premiere of Chaya Czernowin's opera Infinite Now took place in 2017, which he conducted at the Opera Vlaanderen, the Nationaltheater Mannheim, and the Philharmonie de Paris. He has also led numerous world premieres (Sergej Newski, Leo Dick, Olga Neuwirth, Michael Wertmüller, Rebecca Saunders, Bernhard Gander) at the Salzburg Festival, Berliner Festspiele, Lucerne Festival, and the Wiener Konzerthaus.
After the world premiere of Michael Wertmüller's D.I.E. at the Ruhrtriennale, he conducted a new production of Nielsen's Maskerade in a production by Tobias Kratzer in addition to a revival of Strauss' Salome in the current season at Oper Frankfurt. He made his house debut at the Bavarian State Opera with Lehar's Giuditta (Christoph Marthaler), to which he returns in May 2022 with Haas' Bluthaus (Claus Guth). In Stuttgart he appeared in the revival of BORIS - Mussorgsky's Boris Godunov interwoven with Sergej Newki's Secondhand-Zeit. Concerts take him to Wien Modern (Klangforum), the SWR Symphony Orchestra (100 years of Donaueschingen Music Days), the WDR Symphony Orchestra (Musik der Zeit), and the Hanover State Orchestra with Mahler's Symphony No. 7. Further concerts with the Camerata Salzburg at the Salzburg Festival and at the Tiroler Festspiele Erl conclude the season.
After studying musicology and philosophy in Zurich and Berlin he studied conducting in Dresden with Christian Kluttig. This training was supplemented by support from the Conductors Forum of the German Music Council and David Zinman's American Academy of Conducting at Aspen, as well as assistantships with Sylvain Cambreling, Marc Albrecht, and Peter Rundel. Titus Engel has recorded numerous works for radio and CD and is the founder of the Akademie Musiktheater Heute, in addition to having edited several books on contemporary opera.
Season 2021/22
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Programme Samples
Flowing
Titan & Tragic Hero
Islam in contemporary music
On Bluthaus at the Bayerische Staatsoper"A stylist, no matter what era. Effortlessly he switches from Monteverdi to Haas with the small ensemble of the Staatsorchester. It is thanks to Engel and the musical faction that this score is understandable."
Merkur, Markus Thiel, 22/5/2022
On the concert at the Staatsoper Hannover"Titus Engel seems to have Mahler in his DNA: He knew how to correctly place the typical breaks, to create a balance between heaviness and suspension."
Cellesche Zeitung, Jörg Worat, 2/3/2022
On Lehár's Giuditta at the Bayerische Staatsoper"Engel loves modern scores – and is capable of making them crackle attractively while being unassailably painfully explicit. It bubbles delightfully."
Opernwelt, Arno Lücker, February 2022
"The evening has one strength and his name is Titus Engel. The Swiss conductor conducts classical modernism with devotion. But he also knows how to conduct snappy marches and a cultivated bliss in operetta."
Abendzeitung Munich, Robert Braunmüller, 20/12/2021
"Titus Engel is one of the production's greatest assets, a polyglot conductor who thinks his way into Lehár as well as Shostakovich or Schönberg and actually conducts the mix of styles as such. The Bavarian State Orchestra can be profitably challenged here."
Münchner Merkur, Markus Thiel, 19/12/2021
On Nielsen's Maskerade at Frankfurt Opera"Titus Engel, as conductor, balances alertly and confidently between burlesque and kind-heartedness in tone. He has a sense for the sinewy linearity of Nielsen's orchestral sound, for the tonally and syntactically slipped cadences, which move some emphases into the inauthentic without denouncing them."
FAZ, Jan Brachmann, 2/11/2021
"What conductor Titus Engel conjures out of the Frankfurt Opera and Museum Orchestra sets an absolute benchmark for this opera."
SWR, Bernd Künzig, 2/11/2021
"Titus Engel conducts this music with delightful vividness, precisely bringing out its wit. He conducts the Frankfurt Opera Orchestra very briskly, very transparently."
Süddeutsche Zeitung, Egbert Tholl, 1/11/2021
"Titus Engel revels with relish in the changing temperaments and styles of this great national opera of the Danes with the Frankfurt Opera and Museum Orchestra."
concerti, Joachim Lange, 31/10/2021
On Wagner's Lohengrin (Tiroler Festspiele Erl)“Titus Engel on the podium celebrated serious and beautiful lightness instead of myth-steaming force.“
Donaukurier, Roland H. Dippel, 27/7/2021
“Titus Engel knows how to achieve rich facets, tonal beauty, the finest subtlety and arcs of tension from the musicians without covering up the singers."
Kurier, Helmut Christian Mayer, 26/7/2021
On Bluebeard's Castle (Opéra de Lyon)“Under the baton of Titus Engel both orchestral accounts were polished and full of richness.”
Opera, John Allison, June 2021
“Titus Engel demonstrates familiarity with the work and with contemporary repertoire. Together with an Opéra de Lyon orchestra gleaming with timbres and colours, he brings to the fore the entire sound palette of the score, flamboyant, smooth, jagged, incisive, and insinuating in turn.”
Forumopera.com, Charles Sigl, 30/3/2021
“Although the conductor remains the same, the interpretation of the opera in these two versions is rather different. In the first, Titus Engel focuses on the dynamics and contrasts present in Bartók's score, while in the second he renders beautifully the colours of the orchestra, drawing out exquisite impressionistic nuances and evocative shadings."
Giornaledellamusica.it, Mauro Mariani, 29/3/2021
“Titus Engel seizes this unique opportunity to deliver two musical interpretations of one operatic work in the same evening. He demonstrates how even a score with exacting performance instructions can sound remarkably different.”
Concerti, Peter Krause, 28/3/2021
“In the pit, the highest precision prevailed, paired with elegance and transparency. A merit above all to conductor Titus Engel and his detailed and finely balanced conducting.“
Opernwelt, Jürgen Otten, Yearbook 2020
On the opening of the Festival Klangspuren Schwaz“At the podium, Titus Engel, repeatedly indispensable when it comes to difficult contemporary music, is superior in technical matters and in the translation into music.“
Tiroler Tageszeitung, Ursula Strohal, 13/9/2020
On BORIS (Staatsoper Stuttgart)“Renowned conductor Titus Engel's ability to relate the strings to each other without convulsive 'assertion' is just brilliant.“
Salzburger Nachrichten, Karl Harb, 23/2/2020
“Both Titus Engel's conducting and the soloists were strong.“
Neue Zürcher Zeitung, Marco Frei, 7/2/2020
“Conductor Titus Engel avoids soppy Romanticism, presenting a multifaceted, interwoven score full of regret and longing.“
Süddeutsche Zeitung, Reinhard J. Brembeck, 4/2/2020
“Moving from Mussorgsky’s score to the interspersed sections of Nevsky’s work was no small task, but conductor Titus Engel directed the music with tremendous ease.“
BR Klassik, Peter Jungblut, 4/2/2020
“From the pit under the direction of Titus Engel, everything sounded thoroughly convincing and very differentiated: always transparent, always finely and sharply cut.“
Die Deutsche Bühne, Klaus Kalchschmid, 03/02/2020
On Einstein on the Beach (Grand Théâtre de Genève)“Titus Engel’s thoughtful conducting brought out the best of the Geneva Conservatory of Music’s choir and orchestra.“
Opernglas, Stephan Burianek, December 2019
On Diodati.Unendlich (Theater Basel)“At the premiere [...] the soloists, musicians, choir – and, above all, conductor Titus Engel – did a fantastic job of mastering the highly virtuoso requirements of the score.“
SWR 2, Karsten Umlauf, 23/2/2019
“An astounding achievement [of the conductor Titus Engel] to bring together and develop this with such complexity, such multiplicity.“
Deutschlandfunk Kultur, Franziska Stürz, 21/2/2019
“Titus Engel holds the numerous threads and lines of the score together perfectly; the ensemble is simply phenomenal.“
BR Klassik, Jörn Florian Fuchs, 22/2/2019
“Conductor Titus Engel was a deft helmsman as he guided the musicians of the DRP joyfully through the ups and downs of the extensive score.“
Saarbrücker Zeitung, Helmut Fackler, 29/4/2018
On Bluebeard's Castle (Staatsoper Stuttgart)“Titus Engel renders the impenetrable bright and clear while still allowing the music to radiate into fullness. Excellent precision coupled with a gripping sensuality.“
Stuttgarter Zeitung, Susanne Benda, 3/11/2018
Bluebeard's Castle - Trailer
Candide – Avant-goût
Titus Engel talks about his love for (music) theatre (in German)
Trailer: Universe Incomplete, Ruhrtriennale 2018
Trailer LA TRAVIATA
Theater Basel | Donnerstag aus Licht
Crescendo-Podcast with Arnt Cobbers
Conductor Titus Engel about the appeal to conduct new music, the differencees between the freelance scene and the gib opera houses, and why music theatre is so current again. He also gives tips how to use the lockdown to approach the music of the 20th and 21st century. (Interview in German)
Agata Zubel, Klangforum Wien, Titus Engel
Kairos, 2021, KAI0015109