HankyeolYoon
Contact
For availability and general enquiries:
Jack Haynes
For contracts, logistics & press:
Maya Feldman
Representation
Worldwide general management with Askonas Holt
About Hankyeol
The 2024/25 season sees Korean conductor, Hankyeol Yoon make his debut with Symphonieorchester des Bayerischen Rundfunks, Münchner Philharmoniker, Orchestre Philharmonique de Luxembourg, Nürnberger Symphoniker and Los Angeles Philharmonic.
Winner of the Herbert von Karajan Young Conductors Award at the 2023 Salzburger Festspiele, Hankyeol was subsequently invited to make his festival debut in 2024 conducting ORF Radio-Symphonieorchester Wien. His success also resulted in several high-profile invitations in 2023/24 including from Orchestra del Maggio Musicale Fiorentino who immediately re-invited Hankyeol to return the same year for a staged production of Mendelssohn’s ‘A Midsummer Night’s Dream’.
Hankyeol continues to establish himself in his native Korea having given critically acclaimed performances with Seoul Philharmonic, Korean National Symphony and Hankyung arte Philharmonic, as well as with KBS Symphony for concerts Tokyo.
Other recent highlights include Mozarteumorchester Salzburg, Stavanger Symphony Orchestra, Bern Symphony Orchestra, Münchner Symphoniker, Gstaad Festival Orchestra, Kammerorchester Basel and the George Enescu International Festival.
Also a prize-winning composer, Hankyeol opened his Salzburg Festival debut premiering his own composition and in December 2021 his last work, Grande Hipab, was premiered by Ensemble Modern in Frankfurt.
Representation
Worldwide general management with Askonas Holt
Season Highlights
Video
Mendelssohn Symphony No.3
Hankyeol wins the Herbert von Karajan Young Conductors Award in Salzburg, August 2023 Credit: Mit freundlicher Genehmigung der Salzburger Festspiele / Courtesy of the Salzburg Festival
PlayingBrahms Symphony No.4
Brahms Symphony No.4 in E minor conducted by Hankyeol Yoon with the HK arte Philharmonic Orchestra, 1st July 2022. Credit: HK arte Philharmonic Orchestra
PlayingStrauss' Tod und Verklärung
Hankyeol Yoon conducts Strauss' Tod und Verklärung with the Korean Symphony Orchestra, November 2021 Credit: Korean National Symphony Orchestra
PlayingBrahms Symphony Nos. 1 & 2
Credit: Korea Philharmonic Orchestra
Playing
Photos
News
Hankyeol Yoon debuts with the Symphonieorchester des Bayerischen Rundfunks
Hankyeol Yoon debuts with ORF Radio-Symphonieorchester Wien at Salzburger Festspiele
Hankyeol Yoon debuts in Italy
Hankyeol Yoon debuts with Mozarteumorchester
Hankyeol Yoon wins Herbert von Karajan Young Conductors Award
Hankyeol Yoon debuts with Seoul Philharmonic Orchestra
Askonas Holt welcomes Hankyeol Yoon
Press
ORF Vienna Symphony Radio Orchestra Debut
Salzburg FestivalAug 2024South Korean conductor and composer... programmed the world premiere of his “Gium (Longing),” as well as Bruch’s First Violin Concerto (with Maria Dueñas, another brilliant young artist) and Tchaikovsky’s “Pathétique” Symphony. “Grium” unfolds like a musical scrapbook of Yoon’s memories from Seoul and Europe, of his travels as he was educated and came of age. Its harmonic language may be generically modern, but the piece is skillfully crafted, with an intuitive sense for orchestral writing and subtle nods that avoided being cheaply overt. (The clearest reference, to the chime of Big Ben, got a chuckle of recognition that belied how ambivalently and intelligently it was being used.) A piece so personal could, like the Bruch and Tchaikovsky, easily sink into sentimentality; Yoon, though, kept it all moving with unwavering vitality.
- New York Times
- 20 August 2024
In 'Grium' Hankyeol Yoon made the most of all the instrumental sounds and made them shine with effervescence - an intense stirring orchestral piece.
- Salzburger Nachrichten
- 12 August 2024
Dueñas gently allowed the prelude to blossom, which Hankyeol Yoon matched with accentuated drama in the full sound of the orchestra, before both gave in to the extended vocal lyricism of the Adagio. Yoon let the musicians play to their heart's content, starting with the opening bassoon solo and the waltz, which leads to absurdity with its weightless 5/4 time signature. Then, in the lament that ends everything, he allowed a correspondingly internalized calm to resonate, conveying a farewell. A performance worthy of Karajan!
- drehpunktkultur.at
- 11 August 2024