Titus Engel



Kerstin Alt


+49 30 214 594-235

Heike Wilms


+49 30 214 594-236

General Management

CR Kaupo Kikkas


23.01. 19:00
Radialsystem, Berlin

Emre Dündar,  Récit Ductile for clarinet and string quartet
Emre Dündar,  Vagabond III for flute, accordion and violoncello
Emre Dündar,  Parergon to De Vulgari Eloquentia
Emre Dündar,  Soirée Gothique for soprano and ensemble

Eva Resch, soprano
Kammerensemble Neue Musik Berlin
Titus Engel, conductor

22.02. 19:30
Frankfurt Opera

Unsuk Chin,  Gougalon

Titus Engel, conductor
Ensemble Modern

12.03. 20:00
Opéra de Lyon

Béla Bartók,  Bluebeard's Castle

Karoly Szemeredy, baritone
Eve-Maud Hubeaux, mezzo-soprano
Victoria Karkacheva, mezzo-soprano
L'Orchestre de l'Opéra de Lyon
Titus Engel, conductor
Andriy Zholdak, stage direction

14.03. 16:00
Opéra de Lyon

Béla Bartók,  Bluebeard's Castle

Karoly Szemeredy, baritone
Eve-Maud Hubeaux, mezzo-soprano
Victoria Karkacheva, mezzo-soprano
L'Orchestre de l'Opéra de Lyon
Titus Engel, conductor
Andriy Zholdak, stage direction

16.03. 20:00
Opéra de Lyon

Béla Bartók,  Bluebeard's Castle

Karoly Szemeredy, baritone
Eve-Maud Hubeaux, mezzo-soprano
Victoria Karkacheva, mezzo-soprano
L'Orchestre de l'Opéra de Lyon
Titus Engel, conductor
Andriy Zholdak, stage direction

20.03. 20:00
Opéra de Lyon

Béla Bartók,  Bluebeard's Castle

Karoly Szemeredy, baritone
Eve-Maud Hubeaux, mezzo-soprano
Victoria Karkacheva, mezzo-soprano
L'Orchestre de l'Opéra de Lyon
Titus Engel, conductor
Andriy Zholdak, stage direction

26.03. 20:00
Opéra de Lyon

Béla Bartók,  Bluebeard's Castle

Karoly Szemeredy, baritone
Eve-Maud Hubeaux, mezzo-soprano
Victoria Karkacheva, mezzo-soprano
L'Orchestre de l'Opéra de Lyon
Titus Engel, conductor
Andriy Zholdak, stage direction

28.03. 16:00
Opéra de Lyon

Béla Bartók,  Bluebeard's Castle

Karoly Szemeredy, baritone
Eve-Maud Hubeaux, mezzo-soprano
Victoria Karkacheva, mezzo-soprano
L'Orchestre de l'Opéra de Lyon
Titus Engel, conductor
Andriy Zholdak, stage direction


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

An openness to innovative concert formats combined with unparalleled technical precision distinguish Titus Engel as one of the leading creative minds among conductors of his generation. Born in Zurich and now based in Berlin, Engel - named Conductor of the Year 2020 by Opernwelt magazine - is a frequent guest of major European orchestras and leading contemporary music ensembles. In addition to his fascination for symphonic repertoire of the 19th and 20th centuries, he has a deep passion for baroque music and historically informed performance. Ever ready to tread new paths when handling scenic concepts from the podium, he sees musical theatre in particular as an experimental field in which societal utopias can also flourish.

The Orchestre de l’Opéra de Paris, Orchestra of the Deutsche Oper Berlin, Konzerthausorchester Berlin, Mozarteum Orchestra Salzburg, SWR Symphony Orchestra, Mahler Chamber Orchestra, Philharmonia Orchestra as well as the Chamber Orchestras of Basel, Zurich, Stuttgart, 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, the Collegium Novum Zürich, Remix Ensemble and the 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 (Radialsystem Berlin, Theater an der Wien), Wagner’s The Flying Dutchman, Berg’s Wozzeck and Béla Bartóks Herzog Blaubarts Burg (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) and Verdi´s La Traviata (Theater Basel). He has also led numerous world premieres (Sergej Newski, Leo Dick, Olga Neuwirth, Michael Wertmüller, Rebecca Saunders, Bernhard Gander) at the Salzburg Festival, Ruhrtriennale, Berliner Festspiele, Lucerne Festival, Hamburg State Opera, and the Wiener Konzerthaus.

Titus Engel’s debut at the Teatro Real Madrid conducting the world premiere of Pilar Jurado’s La página en blanco in February 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. In 2018 as a guest at the Ruhrtriennale he conducted music by Charles Ives for Chriszoph Marthaler’s staging of Universe, incomplete, and in 2019 he conducted the world premiere of Michael Wertmüller’s opera Diodati. Unendlich in Basel to critical acclaim. Titus Engel kicked off the 2019/20 season with the Swiss premiere of Philip Glass's opera Einstein on the Beach at the Grand Théâtre de Genève. He then travelled to Oman and Lyon with Ravel's L'Enfant et les Sortilèges for his debut with the Opéra de Lyon, before conducting Mussorgski's Boris Godunov in Stuttgart in Paul-Georg Dittrich’s new staging, which dovetails with the world premiere of Sergei Newski's Secondhand-Zeit.

In the 2020/21 season he will guest conduct the Opéra de Lyon (Bartók’s Herzog Blaubarts Burg) and with the SWR Symphonieorchester to the Donaueschinger Musiktage. He will also conduct the Slovenian Philharmonic Orchestra with works by Ramovš, Bach and Zimmermann.

After studying musicology and philosophy in Zurich and Berlin he learned his conducting trade 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.

2020/21 Season

This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.


Element downloaden
to Article zum Beitrag


Opening Festival Klangspuren Schwaz, Sept. 2020
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, 13/09/2020

On BORIS (Staatsoper Stuttgart)
It is brilliant how the famous conductor Titus Engel relates the strings to each other without convulsive 'assertion'.
Salzburger Nachrichten, Karl Harb, 23/02/2020

Titus Engel's conducting, as well as the soloists, were strong.
Neue Zürcher Zeitung, Marco Frei, 07/02/2020

Conductor Titus Engel avoids soppy Romanticism, presenting a multifaceted, interwoven score full of regret and longing.
Süddeutsche Zeitung, Reinhard J. Brembeck, 04/02/2020

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 great ease.
BR Klassik, Peter Jungblut, 04/02/2020

All around, from the pit under the direction of Titus Engel, it sounded 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 in Basel
At the premiere on February 21, the soloists, musicians, choir – and, above all, conductor Titus Engel – mastered the highly virtuoso requirements of the score fantastically.
SWR 2, Karsten Umlauf, 23/02/2019

An astounding achievement [of the conductor Titus Engel] to bring together and develop this with such complexity, such multiplicity.
Deutschlandfunk Kultur, Franziska Stürz, 21/02/2019

Titus Engel holds the numerous threads and lines of the score together perfectly; the ensemble is simply phenomenal.
BR Klassik, Jörn Florian Fuchs, 22/02/2019

On the concert in Saarbrücken

Conductor Titus Engel was a competent helmsman as he guided the musicians of the DRP joyfully through the ups and downs of the extensive scores.
Saarbrücker Zeitung, Helmut Fackler, 29/04/2018

On Herzog Blaubarts Burg in 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, 03/11/2018

Engel lets Bartók's lush, colourfully eruptive music unfold in all its grandiose facets, from seductive splendour to menacing glory.
Swabian newspaper, Werner M. Grimmel, 05/11/2018

Titus Engel and the Staatsorchester Stuttgart manage to fully embody this tonal balance, bringing the many different musical facets to the surface.
SWR 2, Monika Kursawe, 03/11/2018

On La Traviata in Basel

Verdi at its best. Through providing panache, momentum and a driving rhythmic sense, Engel gets right to the heart of the composer’s intentions.
Opernwelt, Heinz W. Koch, 12/2017

… Engel, who drew muscular playing from the orchestra and paced each scene with complete security.
Opera Magazine, John Allison, December 2017

Musically the best is the Sinfonieorchester Basel conducted by Titus Engel. You know that it will be a great evening already after the prologue. Rarely can this work be heard so subtly yet meaningfully conducted, so precise and energetic but without being stereotypical.
NZZ, Christian Berzins, 29/10/2017

The conductor Titus Engel makes La Traviata in Basel an experience. Musically the production completely depends on the man with the baton in front of the Basel Symphony Orchestra.
FAZ, Lotte Thaler, 25/10/2017

The orchestra plays flawlessly, even brilliantly, under his baton [Titus Engel], the conductor gave clear indication of tempi, never letting the orchestra play too loudly and coaxed a springing string sound from the pit.
BaZ, Sigfried Schibli, 23/10/2017

On Betulia liberata in Frankfurt

Musically, it was admirably executed. The control and good humour of the conductor Titus Engel, who is an expert in new music, was a marvel. He coordinated the disparate sound sources, some of which were situated far away, with a relaxed and light hand.
Frankfurter Rundschau, Hans-Klaus Jungheinrich, June 2017

Titus Engel is actually a new music specialist, but his foray into Mozart was a great success. Everything sounded powerful, weighty and gripping, and it swung as if in a jazz club. Engel could rely on the excellent musicians of the Frankfurt Opern- und Museumsorchester and a well-composed soloist ensemble.
Deutschlandfunk, Jörn Florian Fuchs, June 2017

On the Klangrede 4 recording

What makes this production so extraordinary is not just the rich variety in the six compelling compositions, but also the uncompromising interpretation by the Zafraan Ensemble under the direction of Titus Engel, which explores sonic extremes and is captured on disc with a depth of focus.
Das Orchester, Stefan Drees, June 2017

On Infinite Now (Chaya Czernowin) in Mannheim

The fantastic work of conductor Titus Engel ensured an incredible intensity, propelling the performance with exact co-ordination and almost overflowing energy.
Die deutsche Bühne, Andreas Falentin, 28/5/17

On La ciudad de las mentiras (E. Mendoza / M. Rebstock) in Madrid

The conductor Titus Engel did an excellent job of coordinating the pit, stage and other musicians throughout the theatre.
Opera Magazine, Victoria Stapells, April 2017 

On Donnerstag by Karlheinz Stockhausen, Theater Basel, Performance of the year 2016:

In the pit, instead of the usual specialists, were the musicians of the Sinfonieorchester Basel. Titus Engel held everything together perfectly (as with “Greeting” in the foyer beforehand), bringing Stockhausen home, so to speak, from the colourful life.
Opernwelt August 2016, Albrecht Thiemann

The conductor Titus Engel, who played along with wonderful eccentricity in “Greeting,” created a masterpiece from this production. Everything was clear, nothing lumpy, and the lyrical emphasis always shone through. The dramatic power and visual effect of this enormous construction was never lost.
Die deutsche Bühne, 27/6/16

Titus Engel’s performance was a great and admirable achievement. He co-ordinated the production with precision and security, and immersed the whole theatre in Stockhausen’s sound-world – supported by the composer’s muse, sound director Kathinka Pasveer. A genuine musician, he brought out the music’s rarely shown sensuality and lyricism, but above all its dramatic power.
Concerti, 25/6/16

On Fantasio by Jacques Offenbach, Komische Oper Berlin:

The Orchestra of the Komische Oper under the Swiss conductor Titus Engel ensures that there is a refreshing contrast between brisk and ceremonial sounds, stiff curtsies and wistful waltzes. Sometimes there is even the suspicion of a catchy melody. Musically the best Offenbach – lively and sentimental, and with an entertaining bounce.
Berliner Morgenpost, 15/2/16

Passionate conducting by Titus Engel who silently sings all of the parts and captivates the orchestra of the Komische Oper Berlin, the choir rehearsed by David Cavelius and the excellent team of soloists to produce this top performance.
NMZ, 15/2/16

Conductor Titus Engel throws himself into Offenbach’s sometimes sumptuously lyrical, sometimes glitteringly crisp kingdom of melodies with palpable enjoyment. He savours the instrumental finesse with the orchestra of the Komische Oper, which reacts flexibly, and emphasises both the prominent accents and subtle sound development.
Opernnetz.de, 15/02/2016

One is indeed in a class of his own: the conductor Titus Engel, who leads all the singers and actors, as well as the four e-instrumentalists of Ensemble Resonanz and the three jazz musicians of the ensemble Steamboat Switzerland by dint of Wertmüller’s breakneck rhythmic rapids, still managing to keep the actors in tow, dancing like a conducting dervish. Well done!
Die Deutsche Bühne, 20/9/15

Titus Engel, the conductor, also joins in, incidentally, complete with costume and mask. This might not be a new statement, but one rarely experiences such virtuosic and natural music. Instead of a baton, Engel holds a glow stick in his hand; he is like an adjudicator between the characters, the dervish and warlock himself.
Die Zeit, 24/9/15

This has to be one of the most exciting productions of the season in terms of dramatic performance and musicality (…).
omm.de, May 2014 (on G. P. Telemann's opera Orpheus at the Frankfurt Opera)

The young Swiss conductor Titus Engel animated the Teatro Real orchestra to achieve an astonishingly nuanced and developed richness of tone.
Opernwelt, March 2014

to Article zum Beitrag

Programme Samples

C. M. V. WEBER Overture to Oberon
G. KURTÀG Grabstein für Stephan
L. V. BEETHOVEN Symphony No. 3
A. DVORÁK Vodnik op. 107
W. RIHM vers une symphonie fleuve III
A. ZEMLINSKY The Mermaid - Fantasy for Orchestra
R. WAGNER Prelude to Tristan a. Isolde + Liebestod
A. BERG Lyrische Suite
G. MAHLER Symphony No. 1 D-major Titan
to Article zum Beitrag

media centre

to Article zum Beitrag