Live Mahler Two Fri 4 – Sat 5 October

Danish conductor Thomas Søndergård is the Music Director of the Royal Scottish National Orchestra, following six seasons as Principal Guest Conductor. The 2023:24 season also sees Thomas start his tenure as Music Director of the Minnesota Orchestra. Between 2012 and 2018, he served as Principal Conductor of BBC National Orchestra of Wales (BBC NOW), after stepping down as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra.

He has appeared with many notable orchestras in leading European centres, such as Berlin (including Berliner Philharmoniker, Rundfunk-Sinfonieorchester Berlin, Mahler Chamber Orchestra, Konzerthausorchester Berlin), Munich (Symphonieorchester des Bayerischen Rundfunk), Leipzig (Gewandhausorchester), Paris (Orchestre National de France), London (London Philharmonic, BBC Symphony, London Symphony and Philharmonia Orchestra), Amsterdam and Rotterdam (Royal Concertgebouw Orchestra, Netherlands Philharmonic, Rotterdam Philharmonic) and is a familiar figure in Scandinavia, with such orchestras as Oslo Philharmonic, Gothenburg Symphony, Danish National Symphony, Royal Stockholm Philharmonic, Swedish Radio Symphony, Finnish Radio Symphony and Helsinki Philharmonic. North American appearances to date have included the symphony orchestras of Chicago, Cleveland, Cincinnati, Baltimore, St Louis, Toronto, Atlanta, Montreal, Vancouver, Houston and Seattle. He has made highly successful tours to China, Korea, Australia and New Zealand.

The 2023:24 season marks the beginning of Thomas’ tenure as Music Director of the Minnesota Orchestra. With the RSNO this season, in addition to their subscription series, Thomas will lead the orchestra’s residency at the Grosses Festspielhaus in Salzburg, joined by Lise de la Salle, as well as an extensive European tour with Ray Chen. This season sees Thomas make his return to the London Symphony Orchestra, as well as his debut with the New York Philharmonic, where he will perform the US premiere of Olga Neuwirth’s Keyframes for a Hippogriff. Thomas also makes regular guest appearances throughout Scandinavia this season, debuting with Iceland Symphony and the Bergen International Festival, where he leads a full staging of Ibsen’s Peer Gynt to Grieg’s complete incidental music. Return visits include Bergen Philharmonic, a joint collaboration with Aalborg and Aarhus Symfoniorkesters, and the Danish National Symphony Orchestra, celebrating his receipt of the Carl Nielsen and Anne-Marie Carl Nielsen’s Foundation award for his outstanding contribution to Danish musical life.

As part of the 2015 anniversary celebrations of both Sibelius and Nielsen, he conducted a wide variety of their works with many leading orchestras. A passionate supporter of the music of Carl Nielsen, his performances with the Swedish Radio Symphony of his Symphony No. 5 was praised as “equal of the great pioneers of Nielsen interpretation… It’s hard to imagine a finer performance of this remarkable symphony.” (Dagens Nyheter); and in 2019 participated in a special concert to celebrate Nielsen’s works with the Royal Danish Academy of Music Copenhagen.

Following his acclaimed debut for Royal Danish Opera (Kafka’s Trial), he has since returned regularly to conduct a broad repertoire, including Die Walküre, which won the 2022 Reumert Award for Best Opera Production, Elektra, Le nozze di Figaro, Il barbiere di Siviglia, La bohème, Cunning Little Vixen, Il viaggio a Reims; and has also made short concert tours with the Royal Danish Orchestra. He has also enjoyed successful collaborations with Norwegian Opera and Royal Swedish Opera. His Stockholm productions of Tosca and Turandot (both with Nina Stemme) led to his Bayerische Staatsoper debut, conducting main season and Opera Festival performances of Turandot with her and he most recently returned to for the Opera’s Akademiekonzert series. He made his Deutsche Oper Berlin debut with the World premiere of Scartazzini’s Edward II and has since returned for Berlioz’s Romeo and Juliet.

His discography covers a broad range of contemporary and mainstream repertoire, including Poul Ruders (Arhus Symphony, Norwegian Radio, Royal Danish Opera (Kafka’s Trial) for Da Capo and Bridge Records); Sibelius symphonies and tone poems with BBC NOW and Prokofiev and Richard Strauss with RSNO for Linn Records; Lutoslawski and Dutilleux concertos with ‘cellist Johannes Moser and Rundfunk Sinfonieorchester Berlin (Pentatone); and Vilde Frang’s celebrated debut recording (WDR Koln for EMI).

In January 2022, Thomas was decorated with a prestigious Royal Order of Chivalry – the Order of Dannebrog (Ridder af Dannebrogordenen) by Her Majesty Margrethe II, Queen of Denmark.

As the First Prize winner at Operalia 2023 and Grand Winner of the 2022 Metropolitan Opera Laffont Competition, Julie Roset has quickly established herself as one of the finest coloratura sopranos of her generation. Her performances as Zémire (Zémire et Azor) last season at Opéra Comique garnered unanimous acclaim, Le Figaro writing “the young soprano catches the light with her singing as natural as it is intelligent”.

Performance highlights of Roset’s 2023/24 season include her debut at Opéra de Paris as Amour in a new staging by David McVicar of Charpentier’s Médée under William Christie, a European concert tour of Mendelssohn’s Elijah with Ensemble Pygmalion and Raphaël Pichon, a curated programme of baroque arias entitled Elemental with ensemble Twelfth Night at Carnegie Hall, and a staged version of Die Schöpfung at Opéra de Lorraine with Music Director Marta Gardolińska.

Already making her mark on the operatic landscape, Julie Roset recently appeared at Festival d’Aix-en-Provence as both Valletto and Amore in Ted Huffmann’s inspired staging of L’incoronazione di Poppea under the baton of Leonardo García Alarcón, joined Sasha Waltz & Guests acclaimed production of L’Orfeo at Teatro Real Madrid as Euridice and La Musica, and sang Amore in L’incoronazione di Poppea at Opéra du Rhin under Raphaël Pichon. Roset made her Paris debut as Amour in Mondonville’s Titon & l’Aurore with Les Arts Florissants and William Christie at Opéra Comique, sang Papagena in Die Zauberflöte at Opéra de Toulon, joined Les Arts Florissants and Paul Agnew as Amour in Gluck’s Orfeo ed Euridice at the Philharmonie de Paris and, at Festival d’Aix-en-Provence, sang Clorinde in Il Combattimento, la théorie du cygne noir, a musical journey through the Italian baroque conducted by Sebastien Daucé.

As a concert performer, Julie Roset is in high demand with recent debuts including concert performances of Il re pastore at the Salzburg Festival with Mozarteum Orchestra conducted by Adam Fischer, Christmas Oratorio with Stavanger Symphony Orchestra under Ottavio Dantone, Haydn’s La Création with Julie Chauvin and Le Concert de la Loge at Festival de Saint-Denis and Acis and Galatea with l’Orchestre Philharmonique de Radio France under Alarcón. Julie Roset has formed strong connections with several ensembles including Leonardo Garcia Alarcón’s Cappella Mediterranea with whom her performances include Sacrati’s La Finta Pazza at Concertgebouw Amsterdam and, during her residency at the Aix Académie, she joined Ensemble Pygmalion and Raphaël Pichon for a programme of Mozart and contemporaries and she appeared as the Philistine Woman in Handel’s Samson with CAV&MA’s Millenium Orchestra at the Beaune and Namur Festivals.

On disc, Julie Roset can be heard in her solo recording of works by Handel entitled Salve Regina, with Millenium Orchestra and released on the Ricercar label. Other recent recordings include Sigismondo d’India’s Lamenti e Sospiri with Capella Mediterranea on Ricercar, Brabant with Holland Baroque released on Pentatone and Dido and Aeneas with Les Argonauts released on the Aparté label.

Julie Roset began her vocal studies at an early age joining the Conservatoire du Grand Avignon going on to graduate with honors from the Haute Ecole de Musique de Genève in 2019 and she was awarded her artist diploma in Opera Studies from the Juilliard School in 2022.

Linda Watson is an American dramatic soprano. She made her career based in Germany where she began as a mezzo-soprano at the Theater Aachen. She has performed worldwide, including at the Vienna State Opera, La Scala, the Metropolitan Opera and the Bayreuth Festival. She focused on dramatic roles by Wagner and Strauss, as well as Turandot. She was awarded the title Kammersängerin in Germany in 2004 and in Austria in 2020. Watson began her stage career as a mezzo-soprano at the Theater Aachen in 1992, followed by an engagement at the Aalto Theatre in Essen in 1995, combined with a guest contract at the Leipzig Opera, where she performed Wagnerian roles such as Brangäne in Tristan und Isolde and Venus in Tannhäuser. She became a member of the Deutsche Oper am Rhein in 1997. The same year, she first appeared as Venus at the Vienna State Opera, and a year later as Kundry in Parsifal at the Bayreuth Festival, conducted by Giuseppe Sinopoli. From 2000 to 2005, she portrayed Ortrud in Lohengrin at Bayreuth.

From 2006 to 2010, she sang all three Brünnhilde roles in Ring des Nibelungen at the Bayreuth Festival, and also performed these roles in the new production at the Vienna State Opera, earning a solo Grammy Nomination. She subsequently appeared as Brünnhilde at many of the world’s great opera houses, including at the Teatro Colón in Buenos Aires, even in a nine-hour compilation of all the Ring in one day. She added more dramatic roles to her repertoire, including Isolde, Elektra, and both the Dyer’s Wife and the Nurse in Die Frau ohne Schatten. The credibility of her portrayals and her vocal bravura led to engagements worldwide, in Munich, Berlin, Paris, Madrid and Barcelona, at La Scala in Milan, Florence, Bologna, Amsterdam, Los Angeles and at the Metropolitan Opera in New York City. She has worked with a conductors including Claudio Abbado, Leonard Bernstein, Daniele Gatti, Valery Gergiev, Daniel Barenboim, James Levine, Zubin Mehta, Kent Nagano, Antonio Pappano, Esa-Pekka Salonen, Philippe Jordan, Ricardo Chailly, Axel Kober and Christian Thielemann. In 2013 and 2014, the singer returned to the ensemble of the Deutsche Oper am Rhein to perform as Isolde, Marschallin, Elektra, Ariadne and Brünnhilde. At the Vienna State Opera, she was appointed Kammersängerin in January 2020. At La Scala in Milan, Linda Watson could be seen and heard in the 2020/21and 22/23 season as Herodias in Salome. In June of 2023 she sang the Amme in the San Francisco premiere of Hockney’s Frau Ohne Schatten under Donald Runnicles.

In addition, Linda Watson is a professor of voice at the Music and Arts University of the City of Vienna, and performs master classes worldwide.

The RSNO Chorus performs in around six different programmes in up to twenty concerts across Scotland with the Royal Scottish National Orchestra each year. The RSNO Chorus has also had great success in recording with the Orchestra. Its recordings, amongst others, of Prokofiev’s Alexander Nevsky, conducted by Neeme Jӓrvi, and Holst’s The Planets, conducted by David Lloyd-Jones, have both attracted high critical acclaim.

In addition to its commitment to the Orchestra, the RSNO Chorus performs independently and has been invited to perform with orchestras in many parts of the world, establishing an international status and touring to Copenhagen, Hong Kong, Israel, Germany, Belfast, Australia, Trondheim and most recently, Amsterdam and Prague. In 2018 it performed Britten’s War Requiem with the RSNO at the BBC Proms.

The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, it is one of the most successful choruses in the UK. In recent years, it has performed practically every work in the standard choral repertoire along with contemporary works by renowned composers, including John Adams, Magnus Lindberg, Howard Shore and James MacMillan.

Stephen Doughty is Chorus Director of the RSNO Chorus and enjoys a varied career as a freelance musician. Commencing his appointment of the RSNO Chorus in September 2022, he previously spent 13 years as the Chorus Master of Belfast Philharmonic Choir who, in addition to their regular performances with the Ulster Orchestra, have given a number of world premieres. He particularly enjoys working with amateur singers and is Musical Director of Edinburgh Bach Choir (since 2017) and has been Musical Director of the Garleton Singers since 1994. Over the years he has also run several, highly-successful ‘come & sing’ events raising funds for a number of charities.

Stephen held the position of Director of Music of St. John’s Episcopal Church, Edinburgh for 18 years, directing the 30-voice choir through the full range of sung services which also included large-scale, orchestrally-accompanied services during the Edinburgh Festival.

As a keyboard player, he plays harpsichord/organ continuo and orchestral piano with all the Scottish orchestras as well as the Ulster Orchestra and has given frequent organ recitals including several four-star recitals on the grand Mulholland Organ in the Ulster Hall, Belfast.

He has compiled a large portfolio of arrangements and orchestrations, particularly for young voices and has received commissions from Children’s Classic Concerts, Ulster Orchestra and the Royal Scottish National Orchestra. Recent orchestrations include the premiere of Jonathan Dove’s Seek him that maketh the seven stars and a classical/folk crossover with award-winning band Dallahan marking the anniversary of the Battle of Loos. In addition, the BBC have commissioned a number of arrangements which have been performed at Proms in the Park and BBC Alba and his pieces feature on several recordings.

Finally, he is an Examiner for the Associated Board of the Royal Schools of Music.