Jordan de Souza

Maestro Jordan de Souza leads a sprightly orchestra that sparkles in innocence then roars with vengeance. Everything is taut and finely honed, diaphanous, then thick. The singers blossom under him.

Houston Press,  D. L. Groover

Si nous étions responsables du comité de sélection de l’OSM, nous convoquerions illico les membres dudit comité en délégation à assister ce soir à la Maison symphonique de Montréal au concert de l’Orchestre Métropolitain afin de superviser Jordan de Souza.

À 30 ans, le Torontois formé à l’Université McGill oeuvre comme Kapellmeister de l’Opéra comique de Berlin, l’institution la plus innovatrice et dynamique de la capitale allemande. La fulgurance et la lumineuse intelligence de son interprétation de la Symphonie « Le printemps » de Schumann prouvent une fois de plus que les musiciens d’ici savent « donner la note », comme disent certains, même sur le podium.

Le mélomane ne peut que rester pantois devant la somme de grands talents révélés récemment. Jordan de Souza possède pour le moment, en plus, ce zeste de saine folie et cette hardiesse qui parviennent à provoquer des étincelles musicales.

Le Devoir,  Christophe Huss


While the cast worked wonders collectively, the star may have been maestro Jordan de Souza. The Kapellmeister at KOB guided a Komische Oper orchestra that formed a luminous sound with Tchaikovsky’s score. One’s heart was pulled along with every melody under the baton of de Souza, who should be heard from in the future.

Opera Wire, Santosh Venkataraman

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



Canadian conductor Jordan de Souza is currently Erster Kapellmeister of the Komische Oper, Berlin. Following a highly successful collaboration with director Barrie Kosky in a new production of Pelléas et Mélisande in 2017, he joined forces with him again in the 2018-19 season in new productions of Candide and La Bohème. This season, in addition to conducting Don Giovanni and La Traviata, he will collaborate with Kosky again in Berlin in his new production of Weinberg’s Frühlingsstürme and with Kirill Serebrennikov in Stravinsky’s The Rake’s Progress.

Other highlights of the 2019-2020 season include debuts with Houston Grand Opera in Rigoletto and at the Staatsoper Hannover in La Bohème. Also in Hannover he will conduct Zemlinsky Lyric Symphony, Debussy La Mer, and Ravel Menuet Antique and later in the season will make his debut with the London Philharmonic Orchestra in the final of the Glyndebourne Cup. Future seasons will see him make debuts at the Gran Teatre del Liceu, Barcelona and Deutsche Oper, Berlin.

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In the 18-19 season Jordan toured Australia and New Zealand with Die Zauberflöte, conducting the Auckland Philharmonia, West Australian Symphony, and Adelaide Symphony Orchestras. On the concert platform he made his debut with the Orchestre Symphonique et Lyrique de Nancy in a Mozart and Mendelssohn programme, resulting in an immediate re-invitation, and returned to the Orchestre Métropolitain in Montreal with a programme featuring Schumann, Sibelius and Delius.

Born in Toronto, Jordan studied conducting at McGill University, Montreal, and made his conducting debut aged 20 with Bach’s St John Passion. After graduating, he was a member of the McGill faculty from 2011 to 2015 and went on to conduct several important choral works including the St. Matthew Passion, Christmas Oratorio, Mass in B-Minor, and the Requiems of Verdi, Mozart, and Fauré. During this time, he was also Conductor in Residence of Tapestry Opera in Toronto, conducting the world premieres of three full-length operas.

Jordan made his debut in 2015 for the Canadian Opera Company, conducting their Claus Guth production of Le Nozze di Figaro. The following year he was invited to join the staff of the Komische Oper, Berlin where he has conducted Petrushka, L’enfant et les sortilèges, Eugene Onegin and Il Barbiere di Siviglia whilst in their concert series, he has also conducted Beethoven’s Fourth Symphony, Emperor Concerto and Violin Concerto, Tchaikovsky’s Violin Concerto and Romeo and Juliet Fantasy Overture, and Schreker’s Kammersymphonie. In 2017-18, Jordan conducted 28 performances of Carmen with the Vienna Symphony Orchestra in a highly successful production at the Bregenzer Festspiele.



Komische Oper Berlin, Pelléas et Mélisande


Bregenzer Festspiele, Carmen


Ensemble Caprice, Bach Mass in b minor


General Management
Maxine Robertson Management Ltd.
Shakespeare House, 168 Lavender Hill
London SW11 5TG UK
Tel: +44 20 7993 2917

Management (North America)
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775