Jordan de Souza

Aus meiner Sicht gebührt die Palme des Abend aber dem Orchester der Komischen Oper Berlin und seinem neuen Chefdirigenten Jordan de Souza. In Österreich ist er als Dirigent bei den Bregenzer Festspiele (Carmen) bestens bekannt. Man kann de Souza nur beipflichten, wenn er konstatiert, dass die Musik förmlich aus dem Text sprießt und grünt, in einem Fließen, das alles ins Wanken bringt. „Debussy überführt Maeterlincks Drama in eine höhere Sphäre. Man hat das Gefühl, eine neue Galaxie zu betreten.“ So farbig ausdrucksstark und diszipliniert habe ich das Orchester der Komischen Oper selten gehört. Freilich legt auch er im Sinne des Konzepts weniger Wert auf verschleierte Pastelltöne, die Primärfarben dominieren. „Vieldeutigkeit, Unschärfe, eine Art Nebel, in der man das Wesentliche weniger klar erkennen als vielmehr erspüren kann“, sind de Souza zwar Programm, aber weniger angewandte Interpretation. Und dennoch ist seine Lesart so neu, einzigartig genial und fluoreszierend, dass alleine deshalb schon ein Hingehen lohnt. Es ist nicht schwierig, diesem jungen Dirigenten, der schon bald an der Covent Garden Opera und der MET dirigieren wird, eine große Zukunft vorauszusagen..

Der Neue Merker, Dr. Ingobert Waltenberger

He’d be on the podium and flash his warm radiant smile, and breathe with me as I’d start to sing and I felt as if I was in the most capable hands on earth.

Toronto Star,  Adrianne Pieczonka

 

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Jordan de Souza, “the fast-rising young Canadian maestro with a busy international career” (Ottawa Citizen), is Kapellmeister of the Komische Oper Berlin, joining forces with Barrie Kosky in one of Europe’s most engaging theatres. During the 2017-18 season, he conducts thirteen performances of a new Kasper Holten production of Carmen with the Vienna Symphony at the Bregenz Festival (Austria) as well as a new Barrie Kosky production of Pelléas et Mélisande, and revivals of Petrushka / L’enfant et les sortilègesDie Zauberflöte, and Jewgeni Onegin at the Komische Oper Berlin. On the concert stage, Mr. de Souza debuts with the Victoria Symphony leading Jon Kimura Parker in performances of Brahms’ First Piano Concerto and presides over concerts in Berlin of Tchaikovsky’s Violin Concerto and Romeo and Juliet Fantasy Overture, in Dessau at the Kurt Weill Festival with Beethoven’s Fourth Symphony, and at the Chorin Musiksommerfest in a program to feature Beethoven’s Violin Concerto.

In 2016-17, Mr. de Souza conducted Il barbiere di Siviglia, Don Giovanni, and Jewgeni Onegin at the Komsiche Oper Berlin. In his native Canada, he conducted Don Giovanni with l’Opéra de Montréal and l’Orchestre Métropolitain, symphonic programmes with Symphony Nova Scotia, and his third major world-premiere with Tapestry Opera: The Enslavement and Liberation of Oksana G with music by Aaron Gervais and libretto by Colleen Murphy.

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A highly sought-after collaborator by orchestras and singers, Mr. de Souza has worked with leading international opera directors including Stefan Herheim (Les contes d’Hoffmann), Robert Carsen (Dialogues des Carmélites), Claus Guth (Le nozze di Figaro), John Caird (La bohème), Kirill Serebrennikov (Il barbiere di Siviglia), Tim Albery (M’dea Undone), Olivier Tambosi (Amleto), and Morris Panych (The Overcoat). On the concert stage, he has given performances of Verdi’s Requiem with the Ottawa Symphony at the National Arts Centre, Mozart’s Requiem and “Great” Mass in c-minor, Fauré’s Requiem, and Bach’s Magnificat with the Montreal Symphony Orchestra Players’ Association, and Handel’s Messiah with Symphony Nova Scotia and Ensemble Caprice.

Respected equally for his historically informed and dramatic approach to early music, by the age of 25 Mr. de Souza had conducted the major Bach oratorio-cycle of the St. Matthew Passion, St. John Passion, Mass in b-minor, and Christmas Oratorio; he also participated as a conductor and keyboardist in Bach Cantata Cycles at Trinity Wall Street (NYC) and at Montreal’s Musée des Beaux Arts, often appearing with the Theatre of Early Music in similar repertoire. In the 2007-08 season, he inaugurated Hellmuth Wolff’s Op. 49 chamber organ in Montreal’s Redpath Hall as a soloist in Handel Organ Concerti with McGill’s Baroque Orchestra.

Jordan de Souza was named one of CBC’s Top 30 Classical Musicians Under 30 in 2015, also serving on the faculty of McGill University from 2011 to 2015. He has been a guest coach with l’Atelier lyrique de l’Opéra de Montréal, the Ensemble Studios of the Canadian Opera Company and Houston Grand Opera, and has served as a resident artist of the Banff Centre (Canada) and the Franz-Schubert-Institut (Austria). A prize-winning organist, at the age of 19 Mr. de Souza was the youngest to earn the prestigious Fellowship Degree (FRCCO) from the Royal Canadian College of Organists in the history of the institution. He continues to concertize as a pianist, harpsichordist, and organist and performances, both as soloist and conductor, have been broadcast regularly on the CBC, BBC, and throughout the European Broadcasting Union.

Contact

General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775
Email: bp@etudearts.com