Thomas Sanderling, conductor. APA Artists' Management Alexandra Mercer -

Maria Bulgakova
Simge Büyükedes
Scilla Cristiano
Elena Kelessidi
Hyuna Ko
Dimitra Kotidou
Julie Martin du Theil
Julia Sitkovetsky
Evgeniya Sotnikova
Anna Stylianaki
Elena Zelenskaya

Asude Karayavuz
Larisa Kostyuk
Claudia Marchi
Victoria Yarovaya

Salvatore Cordella
César Gutiérrez
Michael Heim
Francesco Marsiglia
Vadim Zaplechny

Marcin Bronikowski
Davide Damiani
Nikos Kotenidis
Dimitri Platanias

Johannes von Duisburg
Sebastian Holecek

Gary Jankowski
Luiz-Ottavio Faria

Manlio Benzi
Thomas Sanderling
Jonathan Santagada

Dieter Kaegi

Thomas Sanderling


Video (YouTube):
Shostakovich - Symphony No. 2

Shostakovich - Symphony No. 4

Lady Macbeth of Mtsensk - Wedding Scene Bolshoi

Lady Macbeth of Mtsensk - Rape Scene Bolshoi

Lady Macbeth of Mtsensk - Finale - Bolshoi

Brahms - Symphony No. 4

Brahms - Symphony No. 3

Oedipus Rex - Finale

Verdi - Messa da Requiem

R. Strauss - Ein Heldenleben

Bernstein - Symphony No. 3, Kaddish (Russian premiere Moscow)

Mahler - Symphony No. 6

Opera Magazine - Christopher Ballantine
...Orchestral accompaniment – compelling, evocative, strongly delineating - is a vital part of the dramatic action. An exemplary balance between voices and orchestra is a striking feature of Weinberg’s score, and under Thomas Sanderling’s masterful direction is thrillingly reproduced here.

Wiener Kurier - Wiener Staatsoper - Die Zauberflöte
...a new conductor from Berlin gave us a Mozart full of mysteries... Astonishing!

He grew up in St Petersburg, where his father, the celebrated conductor Kurt Sanderling, was permanent conductor of the St Petersburg Philharmonic Orchestra. He graduated from the Music School of the Leningrad Conservatory and went on to study conducting at the Hochschule für Musik in East Berlin, becoming Music Director of the Halle Opera at 24 years old. By his mid-twenties he was conducting in all East Germany's principal orchestras and opera houses, including the Dresden Staatskapelle and the Leipzig Gewandhaus and won the Berlin Critic's Prize for his opera performances at the Komische Oper Berlin. His CD of Shostakovich's Michelangelo Suite (premiere recording) directly lead to his becoming assistant to both Herbert von Karajan and Leonard Bernstein. In the early 1980s he became permanent guest conductor of the Deutsche Staatsoper Unter Den Linden, which led to his successful debut at the Wiener Staatsoper, conducting Die Zauberflöte. Immediately afterwards the Wiener Staatsoper invited him to conduct Le Nozze di Figaro - the first performance after the death of the great Karl Böhm. He has won many prizes and a competition and is particularly renowned for the German, Russian and French orchestral repertory.

Among the orchestras he has conducted are:

BBC Scottish; Baltimore Symphony; Bayerische Rundfunk Symphony Orchestra; Bergen Philharmonic; Bournemouth Symphony; Czech Philharmonic; Dallas Symphony; Deutsches Symphonie Orchester; Dresden Staatskapelle; Dresden Philharmonic; Gewandhaus Orchestra Leipzig; Halle Orchestra UK; Helsinki Philharmonic; Konzerthausorchester Berlin; London Philharmonic; Montreal Symphony; NDR Hamburg Symphony Orchestra; Oslo Philharmonic; Philharmonia Orchestra; Pittsburg Symphony; Royal Liverpool Philharmonic; Royal Philharmonic; Radio Philharmonic Hilversum; Royal Stockholm; St Petersburg Philharmonic; Tchaikowsky Radio Symphony, Moscow; Vancouver Symphony; WDR Symphony Cologne. He is also a regular guest conductor of radio orchestras in Germany. He is principal guest conductor of the Novosibirsk Philharmonic Orchestra, principal guest conductor of the National Philharmonic Orchestra of Russia and the Osaka Symphony awarded him the title of Music Director Laureate for his Lifetime. With this Orchestra he won the Grand Prix of the Osaka Critics twice in three years.

Shostakovich Premieres he has conducted:

He has enjoyed a close relationship with Shostakovich and his family for many years and still works in close collaboration with Irina Shostakovich. He originally met Dmitri Shostakovich whilst making his Moscow debut, conducting the State Orchestra of Russia, on the invitation of Evgeny Svetlanov, as a result of winning a conducting competition in East Germany. Greatly impressed, Shostakovich entrusted him with the translation into German of the texts of the 13th and 14th Symphonies and he conducted the German premieres of both works. He also conducted the world premiere recording of the Michelangelo Suite followed by a concert of the premiere of two British song cycles for which he was responsible for setting the original English text: Six Romances on Verses of British Poets and Anglo-American folk Songs, with the Symphony Orchestra of the Bavarian Radio in Munich, both recorded live and to be released on the Orfeo Label in 2012. At the instigation of Irina Shostakovich he made an Italian original version of the Michelangelo Suite, which is dedicated to her.

Shostakovich Premiers he has recorded:

(Deutsche Grammophon)
Two CD recordings for Deutsche Grammophon with Shostakovich Premieres, which became The Editor's Choice in the September 2006 issue of the Gramophone in London
Original Suite from Lady Macbeth of Mtsensk
Eight Waltzes
(Orchestration Boris Tishchenko)
Verses of Captain Lebyadkin Op. 146
Satires {Pictures of the Past) Op. 100
Five Romances on Words from Krokodil Magazine Op. 121
(Orchestration Leonid Dessyatnikov)
Preface to the Complete Edition of My Works, Op. 123
Sergei Leiferkus and the Russian Philharmonic Orchestra
Six Romances on Verses by English Poets with the Helsinki Philharmonic – soloist Gerald Finley

Opera Houses where he has conducted include:

Wiener Staatsoper; Deutsche Oper Unter den Linden; Deutsche Oper Berlin; Bayerische Staatsoper; Hamburgische Staatsoper; Komische Oper Berlin; Bolshoi Theater; Mariinsky Theater; Det Kongelige Teater Denmark; Finnish National Opera; Teatro La Fenice di Venezia; Opéra de Nice.

Operas include:

Beethoven: FIDELIO







Puccini: LA BOHEME




Tchaikovsky: PIQUE DAME

Verdi: AIDA








Weinberg: THE IDIOT

Opera Halle - new production
Oper Franfurt - staging Christoph von Dohnany
Gala in Moscow - Concert performance
London Weekend Television

Kansai Opera Osaka - new production

Komische Oper Berlin - new production (Berlin Critics' Award for Conducting)

Kansai Opera Osaka - new production

Finnish National Opera - new production;
Opera Graz - new production (Axel Corti);
Royal Danish Opera;
Kansai Opera - new production.

Opéra de Nice;
Deutsche Oper Berlin (staging by Götz Friedrich);
Oper der Stadt Bonn;
Wiener Staaatsoper;
Berlin Staatsoper;
Opera Halle - new production;
Kansai Opera Osaka - new production.

Teatro La Fenice di Venezia - new production (Jean-Pierre Ponnelle);
Wiener Staatoper (debut);
Hamburgische Staatsoper;
Bayerische Staatsoper;
Berlin Staatsoper;
Halle Opera - new production;
Kansai Opera Osaka - new production;
Bolshoi Theatre - revival of Graham Vick production (subsequent revivals).

Opera Forum Holland - new production

Bolshoi Theatre - many revivals;
Göteborg Opera

Opera Halle - new production

Opera Halle - new production

Opera Halle - new production

Opera Halle

Opera Halle - new production

Opera Halle - new production

Auditorio Nacional de Música Madrid

Wiener Staatsoper

Mariinsky Opera

Perm Theatre

Opera Halle - new production

Nationaltheater Mannheim - World premiere;
White Nights Festival, St Petersburg


He has recorded for many companies including: Deutsche Grammophon, Sony Classical International, Naxos, BIS, Chandos; Audite, Berlin Classics and Ondine, winning many prizes - amongst them are:

Mahler SYMPHONY NO. 6 - St Petersburg Philharmonic (Cannes Classical Award)
COMPLETE BRAHMS SYMPHONIES - Philharmonia Orchestra London (Salzburg Prize)
KLETZKI'S PIANO CONCERTO IN D MINOR, OP. 22 with Joseph Banowetz, (Grammy Nomination)

Most recently - he recorded for Ondine:

SHOSTAKOVICH Six Romances on Verses by English Poets
Scottish Ballad
Suite on Poems by Michelangelo
With Gerald Finley soloist and the Helsinki Philharmonic Orchestra
WEINBERG The Idiot for Pan Classics - Nationaltheater Mannhim

Recent engagements include:

The Russian premiere of Leonard Bernstein's Symphony No. 3 (Kaddish) at the Grand Festival of the Russian National Orchestra in Moscow. Concert appearances in Berlin, Vienna, Japan Virtuoso Symphony, The St Petersburg Philharmonic and the Tchaikovsky Symphony Moscow, the Helsinki Philharmonic , Svetlanov State Orchestra, recordings with the London Symphony Orchestra and the Stuttgart Chamber Orchestra. At the White Nights Festival in St Petersburg he conducted Weinberg’s THE IDIOT for its Russian premiere.

Among future plans:

Concerts with: the Staatskapelle Dresden, the National State Philharmonic in Budapest, the Radio Philharmonish at the Concertgebouw Amsterdam, the Stuttgart State Orchestra, the Tokyo Kosei, the 1.Philharmonic Orchestra St.Petersburg, the Tchaikovsky Symphony Orchestra Moscow, the Russian National Orchestra - concert tour in China. He will conduct a revival of DER ROSENKAVALIER at the Bolshoi Theatre Moscow.

Recent Reviews:

The Idiot - Mieczyslaw Weinberg - Nationaltheater Mannheim - Live Premiere Recording - PANCLASSIC SWR2

Opera Magazine - Christopher Ballantine – July 2016
...Orchestral accompaniment – compelling , evocative, strongly delineating - is a vital part of the dramatic action. An exemplary balance between voices and orchestra is a striking feature of Weinberg’s score, and under Thomas Sanderling’s masterful direction is thrillingly reproduced here.

Gramophone - David Fanning  - February 2016
…Thomas Sanderling’s unhurried, solicitous conducting pays handsome longterm dividends.

Diapason - Benoit - Janvier 2016
Surtout Weinberg assigne  à l´orchestre, qu´il   chérissait au point de lui destiner vingt-deux symphonies, un rôle monteur que Thomas Sanderling nígnore pas, dans une facture globalement marquée par le grand lyrisme de l´écriture vocale.

Frankfurter Allgemeine Zeitung - Trauer und Hoffnung - Eleonore Büning - 10.1.2016
...Das Nationaltheater Mannheim konnte, als man sich vor drei Jahren dazu entschloss, ausgerechnet hier die Uraufführung der letzten , vollendeten Oper Mieczyslaw Weinbergs in Angriff zu nehmen, keinen Berufeneren ans Pult dieses Projektes einladen, als Thomas Sanderling. ...das groß besetzte, mit Klavier, Celesta  und Schlagzeug angereicherte Mannheimer Orchester agiert elastisch und farbig wie nie zuvor. Wer die hypnotisierende Intensität dieser vier Stunden währenden Aufführung live miterlebt hat, wird das nicht so leicht vergessen... Sanderling hat ganze Arbeit geleistet.

Concerti - Überfällig - Andreas Falentin - January 2016
Mit dem Mannheimer Uraufführungsmitschnitt von DER IDIOT liegt endlich die letzte Weinberg-Oper auf CD vor. Seit dem Sensationserfolg der szenischen Uraufführung der PASSSAGIERIN im Jahr 2010 gilt Mieczyslaw Weinberg (1919-1996) allgemein als wichtiger zeitgenössischer Musiktheaterkomponist…. In dem , von wenigen Bühnengeräuschen abgesehen, auch klanglich hervorragenden Live-Mitschnitt gelingt es Thomas Sanderling und dem Ensemble und Orchester des Nationaltheaters, den Zuhörer über drei Stunden lang in  dieses komplexe Musik-Drama hineinzuziehen.

Opernglas - M.Wilks - January 2016
...während Fjodor Dostojewski in seinem großen Roman "Der Idiot" eine ausgefeilte Darstellung russischer Lebens-und Gefühlswelten angefertigt hatte, hat Mieczylaw Weinberg (1919-1996) die Vorlage zu einer packenden, rund 200 Minuten langen Oper verdichtet, die der Größe  und Vielschichtigkeit der Thematik gerecht wird. 1985/86 entstanden und danach  lediglich in einer stark reduzierten Fassung zu hören, ist "Der Idiot" 2013 im Nationaltheater Mannheim uraufgeführt worden .  Von zwei Aufführungen im Januar 2014 ist nun ein CD-Mitschnitt erstellt worden... THOMAS SANDERLING und das Orchester des Nationaltheaters  leisten Großartiges bei der Umsetzung der komplexen Partitur... - Robert Hugill - 13th December 2015
What transforms it is the performance from Thomas Sanderling and the orchestra. He clearly has a strong command of the sprawling idiom of the piece, and his orchestra plays superbly for him. This is very much a symphonic opera, and the orchestra is frequently to the fore. Weinberg produces some wonderfully magic moments and some dazzling orchestration. This set is well worth listening to for Sanderling and the orchestra, and he is clearly a talent to watch.

BBC Music Magazine – July 2014
The great if under-recorded conductor Thomas Sanderling discovered that the manuscript [to the Romances] had only recently come to light, and the result is this superlative document…Everything here works beautifully.

Sinfini Music - Norman Lebrecht - April 2014
The conductor Thomas Sanderling, son of Shostakovich’s close friend and interpreter, has come up with three huge finds from the archive—a set of English-sung romances to poems by Shakespeare, Walter Raleigh and Robbie Burns; an original Scottish ballad; and an Italian version of the Michelangelo songs. His singer on this world-premiere set is the brushed-velvet bass-baritone Gerald Finley, backed by a Helsinki Philharmonic on pure silk. This is an hour of Shostakovich heaven.

Frankfurter Allgemeine Zeitung - Christian Wildhagen
Bei Sanderling überzeugt dagegen der weite symphonische Atem, die Souveränität des Uberblicks, die vor allem im geradezu euphorisch gesteigerten Adagio zum Tragen kommt.  Diese Hochstimmung trägt auch den Finalsatz, ohne dass Sanderling – was bei einem Konzert zum Tag der Deutschen Einheit “gefährlich nahe lagje einem plakativen Versöhnungs – und Feiertagsjubel Raum gegeben hätte. Dergleichen verbietet dieser Ort, verbietet erst recht Beethovens hoher, durch keine politische Zweckentfremdung zu zerstörender Idealismus.  Er allein bewirkte, dass das Peenemünder Raketenkraftwerk einige musikalisch entrückte Momente lang weniger duster und zwiespältig wirkte.

The Observer - Stephen Pritchard – April 2016
The result, under the careful direction of Thomas Sanderling, is both moving and Profound...

Recording: Shostakovich – Six Romances on Verses by English Poets, Scottish Balade; Suite on Poems by Michelangelo – with Gerald Finley and the Helsinki Philharmonic - Ondine

Pizzicato - Alain Steffen  - 23/05/2014
Wie schon in seinen beiden Shostakovich-Einspielungen für Deutsche Grammphon (mit dem ‘Russian Philharmonic Orchestra’) erweist sich Thomas Sanderling als begnadeter Shostakovich-Interpret, der es versteht, in die seelischen Abgründe dieser Musik einzutauchen. Sanderling ist ein Dirigent, der ohne Effekte auskommt und es nicht nötig hat, durch spektakuläre Klanginszenierungen aufzufallen.

Place de L'Opera - Basia Jaworski - 12 juni 2014
Dat Thomas Sanderling gevoel heeft voor de composities van Sjostakovitsj, is meer dan evident. Samen met het Helsinki Philharmonic Orchestra zorgt hij voor een werkelijk sensationele lezing van de werken: de zwaarmoedigheid en somberheid blijven behouden, zonder dat ze te zwaar op je hart drukken. - Florian Schreiner - 1st July 2014
Das exzellent disponierte Philharmonische Orchester Helsinki ist unter der einfühlsamen Leitung des Schostakowitsch-erfahrenen Dirigenten Thomas Sanderling eher Partner und Mitgestalter denn bloßer Begleiter. Sanderling entlässt die Kräfte, die, im Untergrund schlummernd, den Sänger stützen, an den entsprechenden Stellen an der Oberfläche eruptieren. Die große Orchestrierungskunst Schostakowitschs, der in beiden Zyklen ein großes Orchester einsetzt, die Mittel aber sehr ökonomisch nutzt, um Stimmungen großer Eindringlichkeit zu schaffen, kommt bestens zur Geltung. Die mit wenig Aufwand generierten Färbungen wissen Thomas Sanderling und das Orchester in großartiger und hochspannender Weise in musikalischen Ausdruck zu überführen.

The Observer - Stephen Pritchard - 13th April 2016
The result, under the careful direction of Thomas Sanderling, is both moving and profound.

Miami Clásica - Sebastian Spreng - 16th April 2014
Una de las mejores sorpresas del año de la mano del soberbio Gerard Finley y un estreno mundial discográfico que bien podría convertirse en el disco vocal del 2014: Seis romances sobre versos de poetas ingleses junto a la Suite sobre versos de Miguel Angel Buonarotti de Dmitri Shostakovich dirigidos por Thomas Sanderling, hijo de Kurt Sanderling, recordado colaborador del compositor petersburgués.

Classics Today - David Vernier 2014
This is some of the most deeply personal and strongly affecting music in the vocal/orchestral repertoire, and we couldn’t have a more skilled singer or more authoritative conductor to bring out its drama, its nuances, its humanness. This is one of those recordings that affirms its value not only by presenting something truly new and important from something familiar, but by doing it in such a way that it invites you to listen and then compels you to come back, not for a voice, or a tune, or a message, but to be moved by the whole experience of a great performance of timeless music.

Helsingin Sanomat - Veijo Murtomäki, 12th October 2013
The orchestral version, only recently discovered, was thrilling. It sounded sensitive and strong, military and macabre. In other words, a clear improvement on the chamber version, especially as Thomas Sanderling, who had already internalised his Shostakovich at an early age, succeeded in extracting extreme shades from the Helsinki Philharmonic Orchestra... Sanderling did a grand job with the Symphony No. 4 (1878/80) by Anton Bruckner: the HPO sounded as if it had been born again. After a lucky start, we got some imposing, devout, characterful and rich German romanticism.

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