Moritz Gnann


"The Boston Symphony Orchestra has appointed German Moritz Gnann as the orchestra's new assistant conductor beginning with the 2015-16 season for a two-year term." Boston Symphony Press release

 "Gnann has worked with BSO music director Andris Nelsons at the Bayreuth Festival, where he assisted on a new production of "Lohengrin." He has also collaborated with conductors Sir Simon RattleDonald Runnicles, and Christian Thielemann. Gnann, who studied orchestral conducting at the Berlin University of the Arts and at the Dresden School of Music, will make his first podium appearance with the BSO during the 2016 Tanglewood season. "  Boston Globe

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Boston Symphony Orchestra, Nov 22 2016
Tanglewood Debut
Conducting debut, Pressler performance make for a BSO night to remember
2016-11-23 Boston Globe, Boston

Boston Symphony Orchestra assistant conductor Moritz Gnann made his Symphony Hall debut Tuesday with an enticing program of Romantic music: Mendelssohn's "Hebrides" Overture, Mozart's Piano Concerto No. 27 (K. 595), and Dvorák's Symphony No. 9, "From the New World." It was a night to remember (...)

The "Hebrides" Overture (Mendelssohn also called it "Fingal's Cave") was inspired by the composer's 1829 visit to a cave of basalt columns on the Inner Hebrides isle of Staffa. Under Gnann's baton, the tranquil opening phrase was the calm before the storm; there was thunder and lightning to follow, but also frolicking sea birds, before the tempest blew itself out. (...)

After intermission, Gnann offered a distinctive reading of the Dvorák.(...) Gnann let it all unfurl without pushing too hard. The first movement (whose exposition repeat he omitted) was full of contrasts, with a tender second theme and dramatic climaxes. The conclusion was ferocious, but all the more transparent for not being whipped into a frenzy. (...)

He saved the best for last: The dirge-like coda built very slowly, creating suspense, and the climax didn't explode so much as bloom.

Throughout the performance, Gnann made you stop, think, and reconsider. No small achievement in such a familiar symphony.


(Jeffrey Gantz)
REVIEW from 2016-11-23  
ORCHESTRA:Orchester der Deutschen Oper Berlin
CONDUCTOR:Moritz Gnann
PERFORMERS:Katarina Bradic, mezzo-soprano; Simon Pauly baritone; By and with Nico and the Navigators: Patric Schott, Annedore Kleist, Anna-Luise Recke, Ioannis Avakoumidis, Frank Willens
EuroArts Music & RBB in collaboration with ARTE 
At Tanglewood: A Young Conductor's Marvelous Mahler
2016-08-08 Ionarts, Washington, D.C.

The concluding work, Mahler's youthful first symphony, was where Gnann's interpretative talents and energy shone. (..) From the first bars, where Gnann had urged the orchestra in rehearsal the day before to play the opening dominant A pitch as softly as possible, there was promise that this performance might be special. It was that and more.
(..) As the work progressed, Gnann's attention to detail became apparent. He masterfully weaved the threads of Mahler's music, allowing parts rarely heard clearly, such as those from the harp and bass drum, albeit played softly, to contribute to the sonority. (..)
Movement two begins with a peasant-like Austrian Ländler. A trio in F follows it. In a lifetime of listening to Mahler performances, I've never heard it played more beautifully or sound more Austrian. (..)
The final climax called for the brass players to deplete their reserves, playing as loudly as they could (..) 
That the conductor and players had modulated their sound beautifully throughout the work made the final, boisterous climax much more effective. It was a fantastic ending to a rousing performance and the audience recalled the young conductor to the stage thrice. Gnann is an animated conductor and he was spent by the symphony's end, as were his players. It was a triumphant exhaustion that reminded one of Mahler's assessment that a symphony "must be like the world.

(Seth Arenstein)
REVIEW from 2016-08-08  
Boston Symphony Orchestra, Nov 22 2016
with Menahem Pressler 
Oresteia – alles nur Demokratietheater?
2014-09-12 Wirtschaftswoche, Berlin
"Aber Xenakis kann auch anders. Man vernimmt Fanfaren, Glissandi, durch Halb-. und Vierteltöne erzeugte Reibungen und Passagen mit einfachen Chorsätzen, man lässt sich willig Wallung versetzen durch langsam sich auftürmende Klangwellen, die den Blutrausch vertonen – und wird zum Abschluss bei treibenden Rhythmen förmlich eingeladen, in den wilden Jubelchor einzustimmen – wobei man jederzeit den Eindruck hat, dass Xenakis in Dirigent Moritz Gnann und seinen Orchestermusikern begeisterte Anwälte seiner Musik gefunden hat."
(Dieter Schnaas)
REVIEW from 2014-09-12  
Tanglewood Debut
Athene fährt im Dienst-Mercedes durchs Parkhaus
2014-09-10 Berliner Zeitung, Berlin
"Am Pult führt Moritz Gnann die Musiker des Orchesters der Deutschen Oper durch die Partitur und sorgt für die Leucht- und Schlagkraft ihrer Farben und die zuweilen schwierige Koordination mit den Chören."
(Volker Blech)
REVIEW from 2014-09-10  
Opernwelt Year book 2015
50 journalists pick their favorite Opera productions, houses, singers, conductors... Moritz got nominated by Albrecht Thiemann from Opernwelt for Conductor of the Year 2015 !  (congratulations to Kirill Petrenko who ended up winning this prestigious title) 
Iannis Xenakis: ORESTEIA - DeutscheOperBerlin 9.9.2014
Musikalische Leitung: Moritz Gnann; Inszenierung: David Hermann; Bühne, Kostüme: Christof Hetzer; Video: Clara Pons; Licht: Ulrich Niepel; Chöre: William Spaulding; Kinderchor: Christian Lindhorst; Athene: Michael Hofmeister; Kassandra: Seth Carico; Choranführer: Andrew Harris; Solo-Schlagzeug: Björn Matthiessen; Orest: Aristoteles Chaitidis, Spyridon Markopoulos, Eleftherios Veniadis; Elektra: Despina Bibika, Dimitra Thomaidou, Alexandra Zoe; Orest (Tänzer): Alexander Fend; Elektra (Tänzerin): Sofia Pintzou; Klytämnestra (Tänzerin): Jennie Gerdes; Agamemnon: Raffael Hinterhäuser; Chor, Kinderchor und Orchester der Deutschen Oper Berlin 
Boston Symphony Orchestra, Nov 22 2016
with Menahem Pressler