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.
His book The Silent Musician: Why Conducting Matters will be published by Faber & Faber in October.
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 currently Principal Guest Conductor of the Adelaide Symphony Orchestra.
BBC Symphony Orchestra
Royal Stockholm Philharmonic Orchestra
Netherlands Radio Philharmonic Orchestra
Tokyo Symphony Orchestra
Netherlands Philharmonic Orchestra
National Symphony Orchestra Washington
New World Symphony Orchestra
Sydney Symphony Orchestra
Melbourne Symphony Orchestra
Gothenburg Symphony Orchestra
Royal Flemish Philharmonic
Royal Philharmonic Orchestra
BBC Philharmonic Orchestra
Royal Opera House, Covent Garden (From the House of the Dead; Die Meistersinger von Nürnberg; Rise and Fall of the City of Mahagonny)
Metropolitan Opera (Le nozze di Figaro; Orfeo ed Euridice)
Semperoper Dresden (Il forza del Destino)
Glyndebourne Festival (Peter Grimes; La bohème; Le nozze di Figaro)
Bavarian State Opera (Così fan tutte; Mitridate re di Ponto)
Teatro Real, Madrid (Dead Man Walking)
Netherlands Opera (Peter Grimes)
English National Opera (Jenůfa; Lulu; 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 Sunday Times
It is Wigglesworth’s conducting of the orchestra, the chorus and his wonderful cast that transports the performance into the realms of greatness…He is already the heir to Charles Mackerras in this astounding music.
[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.
The Sunday Times
It was the most authoritative conducting, instantly masterly, I’ve witnessed so far at these Proms, Bernard Haitink’s appearance apart. And Wigglesworth seems close to Haitink’s level... Wigglesworth’s intensity was unanswerable.