In conducting the Basel Symphony Orchestra, Jonathan Stockhammer accomplishes the remarkable feat of bringing forth from a large apparatus a broad range of tones. The choir of the Theatre Basel, in their supporting role as a collective, was also a tour de force.
Neue Zürcher Zeitung, Martina Wohlthat, 16/9/2019
The Basel Symphony Orchestra plays with utmost focus and reveals the full range of musical extremes, in part accompanied by Nono’s prescribed tape recordings. The end result, as conjured by conductor Jonathan Stockhammer, are sonic clouds that rise again and again to the threshold of pain and then blaze gently into the ether.
Deutschlandfunk, Franziska Stürz, 16/9/2019
Each note, phrase, and beat was carefully thought out, the pauses employed as they should be, true to form and making music in such a way that even those who despise Elgar were moved. When it comes to inspiring and rousing orchestral effects, the graceful, younger-than-his-fifty-years [conductor Jonathan Stockhammer] is surpassed by no one.
Die Rheinpfalz, Sigfrid Feeser, 18/01/2019
Jonathan Stockhammer made sure the music – equally complex on stage, in the orchestra pit, and from the speakers – was balanced throughout the auditorium. Both the two instrumental soloists and the divided Wuppertal Symphony Orchestra… had a firm grip on the music.
Westdeutsche Zeitung Wuppertal, 31/01/2017
His interpretation was compelling and dramatic... It was clear that Stockhammer knew what to do with the quality of the Wuppertal musicians. He broadened the horizons of the ensemble’s already lofty artistic plane and delivered taut and rich musical episodes.
WAZ, Dagmar Zschiesche, 14/12/2016
This music is rhythmically intricate, but uses standard harmony. It has a beat, it swings, and is highly infectious. One cannot understand this music through listening – rather, one deeply experiences it.
Exceptional. Excellent. Bold. An hour and ten minutes later, one leaves the opera different to how one came in, somewhat wiser and more unsettled.
RP online, 23/09/2016
Reich’s music, performed by only eight musicians under the baton of Jonathan Stockhammer, had a terrific unity with the narrated tales.
The distant reminiscence of Wagner’s Nibelheim motif in “Hindenburg”, the swan song of the industrial age, was exceptionally handled by Jonathan Stockhammer. (…) The musicians responded with remarkable enthusiasm.
Die deutsche Bühne, 19/09/2016