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For availability and general enquiries:

Jack Haynes

Jack Haynes

Artist Manager
Jo Fry

Jo Fry

Associate Director

For contracts, logistics & press:

Maya Feldman

Maya Feldman

Assistant Artist Manager


Worldwide general management with Askonas Holt

About Hankyeol

Korean Conductor Hankyeol Yoon is the winner of the 2023 Herbert von Karajan Young Conductors Award. As a result, Hankyeol will make his official debut at the Salzburger Festspiele in August 2024 conducting the Vienna Radio Symphony Orchestra. He will also debut with Mozarteumorchester, Fondazione Teatro del Maggio Musicale Fiorentino, and at the George Enescu International Festival, and will return to the Korean National Symphony.

Highlights of the 2022/23 season included debuts with Seoul Philharmonic Orchestra, Stavanger Symphony Orchestra, Bern Symphony Orchestra, and Busan Philharmonic Orchestra and a return to KBS Symphony Orchestra for concerts in Tokyo.

Hankyeol was the youngest ever recipient of the Neeme Järvi Prize at the 2019 Gstaad Menuhin Festival & Academy and was also a finalist at the 2020 Georg Solti Competition and 2021 Deutscher Dirigentenpreis respectively. As a composer Hankyeol has been recognised at several European competitions.

Born in Daegu, South Korea but calling Munich his home since 2011, Hankyeol studied conducting, composing, and piano performance at the Hochschule für Musik und Theater München.

Hankyeol is based in Munich

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Worldwide general management with Askonas Holt

Season Highlights

Jul 2024
Teatro del Maggio Musicale Fiorentino, Florence
Maggio Musicale Open Air MENDELSSOHN: A Midsummer Night's Dream
Aug 2024
Salzburg Festival/Vienna Radio Symphony debut Maria Dueñas, Violin HANKYEOL YOON: World Premiere BRUCH: Violin Concerto No. 1 in G minor, Op. 26 TCHAIKOVSKY: Symphony No. 6 in B minor Op. 74 'Pathétique'
Sep 2024
Herkulessaal Der Residenz, Munich
Bavarian Radio Symphony Orchestra Debut / ARD Competition Conducting: Oboe Final Cello Final Prize Winner's Concert




  • Maggio Musicale Fiorentino Debut

    Florence, Italy
    Feb 2024
    • In the first part of the evening, the programme unfolded through an entirely Brahmsian repertoire, inaugurated with the 'Overture for an Academic Feast', rendered by Yoon particularly effectively in its more triumphalist tones; this was followed by two pieces with the additional contribution of the choir, the 'Lament op. 82' and the 'Song of Destiny op. 54'. While in the first piece, the conductor's ability to recreate the soberly solemn atmosphere emerged, in the second, Yoon outlined its meditative atmosphere with intensity, thanks to the excellent performance of the Maggio choir and an orchestra that was well shaped in terms of dynamics and timbre. There is no doubt, however, that Yoon's talents were fully manifested in Dvorak's Eighth Symphony, tackled by the young Korean conductor with passionate enthusiasm and, at the same time, with firm control of the orchestral masses; we recall, above all, the Adagio, splendidly designed in its expressive country stillness (the woodwinds were excellent here), interrupted by moments of greater dynamic force, and the Allegro finale, in which Dvorak's vitalistic spirit in Yoon's baton exploded in all its intensity, unleashing the enthusiasm of an audience (unfortunately not a large one) present in the Metha hall.

    • Moving but appropriate gestures, he holds the Orchestra and Chorus of the Maggio firmly in place: the former responds to him with polish, fine solo sorties, enthusiasm; the latter with compactness and adhesion. Yoon is finally a conductor who knows how to make the music breathe, not throttle it, and shapes it with a flexibility of accents and dynamics that goes well with the generosity of the resulting sound. As for the results, the evening is a crescendo

      • Corriere Fiorentino
      • 13 February 2024