Internationally renowned and Olivier Award-winning conductor Mark Wigglesworth is one of the outstanding musicians of his generation, as much at home in the opera house as the concert hall. Recognised for his masterly interpretations, his highly detailed performances combine a finely considered architectural structure with great sophistication and rare beauty. Through a broad repertoire ranging from Mozart to Boulez, he has forged enduring relationships with many orchestras and opera houses throughout the world.
Mark has enjoyed a long relationship with English National Opera (Lady Macbeth of Mtsensk, Cosi fan Tutti, Falstaff, Katya Kabanova, Parsifal, Force of Destiny, Magic Flute, Jenufa, Don Giovanni, and Lulu), and operatic engagements elsewhere include The Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg, Rise and Fall of Mahagonny), The Metropolitan Opera, New York (The Marriage of Figaro) as well as at The Bavarian State Opera, Semperoper Dresden, Teatro Real, The Netherlands Opera, La Monnaie, Welsh National Opera, Glyndebourne, and Opera Australia. In 2017 he received the Oliver Award for Outstanding Achievement in Opera.
On the concert platform, highlights include performances with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, London Philharmonic, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Tokyo Symphony, and the Sydney Symphony. His recordings include a critically acclaimed complete cycle of the Shostakovich Symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler’s Sixth and Tenth symphonies, with the Melbourne Symphony, a disc of English music with the Sydney Symphony, Britten’s Peter Grimes with Glyndebourne, and the Brahms Piano Concertos with Stephen Hough.
He has written articles for The Guardian and The Independent, made a six-part TV series for the BBC entitled Everything to Play For, and held positions as Associate Conductor of the BBC Symphony, Principal Guest Conductor of the Swedish Radio Symphony, Music Director of the BBC National Orchestra of Wales, and most recently Music Director of English National Opera. He is currenty Principal Guest Conductor of the Adelaide Symphony Orchestra. His book The Silent Musician will be published by Faber & Faber later this year.
BBC Symphony Orchestra
Royal Stockholm Philharmonic Orchestra
Netherlands Radio Philharmonic Orchestra
Tokyo Symphony Orchestra
Netherlands Philharmonic Orchestra
New World Symphony Orchestra
Sydney Symphony Orchestra
Melbourne Symphony Orchestra
Gothenburg Symphony Orchestra
Royal Flemish Philharmonic
Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg, Rise and Fall of the City of Mahagonny)
Metropolitan Opera (Le nozze di Figaro)
Glyndebourne (Peter Grimes, La bohème, Le nozze di Figaro)
Bavarian State Opera (Così fan tutte, Mitridate re di Ponto)
Netherlands Opera (Peter Grimes)
English National Opera (Jenůfa, Die Zauberflöte, Macbeth of Mtsensk, La forza del destino, Katya Kabanova, Parsifal)
Welsh National Opera (Elektra, The Rake’s Progress, Tristan und Isolde, Così fan tutte)
The New York Times
And the last word on the music belongs to Mr. Wigglesworth, for whom [The Force of Destiny] represents a second triumph in his new job, after a decisive opening of the season with Shostakovich’s “Lady Macbeth of Mtsensk.” His mastery of the score was total, and his leadership clearly inspiring from the way the orchestra and chorus played and sang.
The Sunday Times
It was the most authoritative conducting, instantly masterly, I’ve witnessed so far at these Proms... it was the conductor from whom I couldn’t take my eyes in this concerto rendering. The opening orchestra stretch was a passionate mini symphony, draining in itself. One knew all would be right about this account because Wigglesworth’s intensity was unanswerable.
Mark Wigglesworth... offers a deeply humane performance. This is Janáček done slowly and lyrically, with the emphasis placed on the score’s dark poetry and depth of musical and psychological detail. The opera’s passion and compassion burn fiercely yet lingeringly: this is an interpretation that seeps under your skin rather than hits you in the solar plexus and is unquestionably all the more powerful for it.