LouisLangrée

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  • Conductor

About Louis

Directeur: Théâtre National de l'Opéra-Comique Music Director Laureate: Cincinnati Symphony Orchestra

French conductor Louis Langrée became Director of the Théâtre national de l’Opéra Comique in November 2021, named by the President of France, Emmanuel Macron. Following a successful ten years as Music Director at Cincinnati Symphony Orchestra, Louis has been appointed Music Director Laureate, with his first return to the orchestra in this role in the 2025-26 season.

In the 2024-25 season, Louis brings l’Opera Comique to Lille in a production of Gounod’s Faust. On the symphonic stage, he conducts the Orchestra of St. Luke’s at Carnegie Hall, Orchestre Metropolitain, and NDR Elbphilharmonie Symphonieorchester in concerts in Bremen, Lubeck and Hamburg. He will also conduct the Juilliard Orchestra in a programme of works by Ravel and will return to Interlochen and Ravinia Festival.

Recent highlights include performances of Thomas’ Hamlet, as well as new works by Holland, Dessner (US premiere) and Davis (world premiere) with Cincinnati Symphony Orchestra and production of Carmen at the Edinburgh International Festival with Opera Comique.

A regular presence in New York since his 1998 debut, Langrée has conducted around 250 performances and concerts at Lincoln Center, Mostly Mozart Festival, Metropolitan Opera, and New York Philharmonic. Guest conductor appearances include the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Philadelphia Orchestra, Budapest Festival Orchestra, Czech Philharmonic, NHK Symphony, Orchestre National de France, Orchestre de Paris, and Leipzig Gewandhaus, as well as Orchestre des Champs-Elysées, Freiburg Baroque and the Orchestra of the Age of Enlightenment. In addition to the Met, he frequently conducts at the leading opera houses including Vienna Staatsoper, Teatro alla Scala, Royal Opera House, Covent Garden, Lyric Opera of Chicago, and Bayerische Staatsoper in Munich, and at festivals including Glyndebourne, Aix-en-Provence, BBC Proms, Edinburgh International, the Hong Kong Arts Festival, Wiener Festwochen, Salzburg Mozartwoche and Whitsun.

Louis is based in Paris

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Contact

For availability and general enquiries:

Edward Pascall

Edward Pascall

Associate Director

For contracts, logistics and press:

Joy Pidsley

Joy Pidsley

Associate Artist Manager

Representation

Worldwide General Management with Askonas Holt

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Season Highlights

Nov 2025
Kennedy Centre, Washington DC
Farrenc, Overture No. 1, Op. 23, in E minor Beethoven, Concerto No. 1 in C major for Piano and Orchestra, Op. 15 Saint-Saëns, Symphony No. 3 in C minor, Op. 78, "Organ Symphony"
Nov 2025
Music Hall, Cincinnati
Higdon, Blue Cathedral Mozart, Sinfonia Concertante for Four Winds Stravinsky, Petrushka Cincinnati Symphony Orchestra Dwight Parry, oboe Christopher Pell, clarinet Elizabeth Freimuth, horn Christopher Sales, bassoon
Jan 2026
David Geffen Hall, NYC
Strauss, Serenade in E-flat major, Op.7 Mozart, Serenade No.10, Gran Partita New York Philharmonic Orchestra
Feb 2026 - Mar 2026
L'Auditori, Barcelona
Berlioz, Les Francs-Juges, op. 3 Ravel, Piano Concerto for the Left Hand in D Berlioz, Fantastic Symphony, Op. 14 Barcelona Symphony Orchestra Anna Vinnitskaya, piano
Mar 2026
Music Hall, Cincinnati
Brahms, Piano Concerto No.2 in B-flat major, Op.83 Schumann, Symphony No.4 in D minor, Op.120 Cincinnati Symphony Orchestra Clayton Stephenson, piano
Mar 2026
Carnegie Hall, NYC
Ives, The Unanswered Question Ellington, New World A-Comin' Ellington, Night Creature Gershwin, An American in Paris Bernstein, Symphonic Suite from "On the Waterfront" Orchestra of St. Luke's Gerald Clayton, piano
Apr 2026
Kauffman Centre, Kansas City
Farrenc, Overture Dvorak, Violin Concerto in A minor, OP.53 Schumann, Symphony No.4 in D minor, Op.120 Kansas City Symphony Stefan Jackiw, violin
Jun 2026
Wiener Staatsoper
Mozart, Cosi Fan Tutte

Photos

News

Press

  • New York Philharmonic

    David Geffen Hall
    Mar 2020
    • His approach — lush, flowing, feeling — revealed its payoff in a spectacular finale that deployed the orchestra’s full sound, with an added organ and bells. It was clear that, in the long arc of this impressively cohesive program, his soft-spokenness had been building toward a climax of deafening grandeur.

  • Beethoven Akademie 1808 / Cincinnati Symphony Orchestra

    Music Hall Cincinnati
    Mar 2020
    • Mr. Langrée brought them [Inon Barnatan and the May Festival Chorus] and the orchestra to a swell at the text’s [Ode to Joy] mentions of art, love and power — insisting, to the end, on the Akademie as a tribute not just to a single composer, but all of humanity.

  • Mozart & Brahms

    Mostly Mozart Festival
    Jul 2019
    • In catching the symphony’s [Brahms Symphony No. 3 in F major] kaleidoscopic inventiveness—thrashing, delicate, complex, pastoral, titanic, dancelike, joyful—Langrée, with a vast imaginative sympathy, delivered the composer’s essence.

  • The Magic Flute

    Mostly Mozart Festival
    Jul 2019
    • The conductor Louis Langrée draws a lithe, articulate and elegant performance from the Mostly Mozart Festival Orchestra. NYT Critic's Pick

    • Louis Langrée, conducting the first ever fully-staged Mozart opera in the Festival’s fifty-three-year history, draws a wonderfully supple, elegant and expressive reading of this brilliant and varied score.

    • The Mostly Mozart Festival Orchestra — assembled from some of the country’s top musicians — was as fresh, snappy, and inviting as could be imagined. Conductor Louis Langrée — incredibly, in his first outing with this opera — adopted fleet tempos, and nudged the musicians toward elegance and lightness. The rocketing overture alone foretold a night of fairytale exuberance.

  • Cincinnati Symphony Orchestra

    Music Hall Cincinnati
    Mar 2019
    • Langrée led exuberantly, and gave orchestral soloists the freedom to phrase expressively in the bluesy moments [Gershwin "An American in Paris"]... Just as striking was how Langrée managed to make sense of it all, balancing those moments of quiet serenity until the final, massive onslaught that ended the piece [Varèse “Amériques”].

  • Philadelphia Orchestra

    Verizon Hall
    Oct 2018
    • For most audience members, I imagine, it’s hard to picture this piece [Dukas' The Sorcerer's Apprentice] without seeing Mickey Mouse, but Langrée treated it seriously, drawing richly colored playing in the composition’s distinctive writing for bassoon. The jarring staccato and pizzicato playing in the strings made a nice contrast to the traditionally blended, sweeping Philadelphia sound... Ravel’s sweeping "Suite No. 2" from Daphnis et Chloé concluded the evening on a high. Langrée drew cinematic swells from the strings, richly expressive playing from the percussion section, and an otherworldly contribution from Elizabeth Hainen on the harp.