MartaGardolińska

/
  • Conductor
Marta Gardolinska
Marta Gardolinska

About Marta

Music Director: Opera National de Lorraine

Marta Gardolińska is currently Music Director of Opera national de Lorraine.

Marta came to international attention in 2018 as Young Conductor in Association at the Bournemouth Symphony Orchestra where she conducted two highly successful subscription weeks. This led to a Dudamel Fellowship with the Los Angeles Philharmonic which included an invitation to be second conductor to Gustavo Dudamel for their Grammy award-winning live Deutsche Grammophon recording of Ives' Symphony No.4. Marta then returned to Los Angeles to make her debut with the Orchestra at the Hollywood Bowl followed by an immediate re-invitation.

She has since worked with orchestras including the London Symphony Orchestra, Swedish Radio Symphony Orchestra, Orchestre national du Capitole de Toulouse, City of Birmingham Symphony Orchestra, Rundfunk-Sinfonieorchester Berlin, Danish National Symphony Orchestra, Toronto Symphony, RAI Torino Orchestra, Minnesota Orchestra and Frankfurt Radio Symphony Orchestra.

This season Marta makes her subscription debut with the New York Philharmonic, plus further debuts with Gothenburg Symphony, Orchestre National de Lyon, Kammerorchester Potsdam and returns to Bournemouth Symphony Orchestra and Sinfonia Varsovia at the Enescu Festival. Marta will also make her debut at Opera de Paris conducting La Traviata and conducts La Boheme at Opéra National de Lorraine.

Download programme biography   

Contact

Hannah Bishay

Hannah Bishay

Associate Artist Manager

Representation

Worldwide general management with Askonas Holt

Follow Marta

Season Highlights

Aug 2025
Sinfonia Varsovia at Enescu Festival
Grażyna Bacewicz – Overture Frédéric Chopin – Piano Concerto in E minor Op. 11 Wojciech Kilar – Krzesany George Enescu – Vox Maris Op. 31 Rafal Blechacz (piano) Radio Hall, Bucharest, Romania
Sep 2025
Orchestre de I' Opera national de Lorraine
Mel Bonis – Salomé Karol Szymanowski – Concerto for violin No. 2 Nikolai Rimsky-Korsakov – Scheherazade Leila Josefowicz (violin) Salle Poirel, Nancy
Sep 2025
New York Philharmonic Orchestra
Bates Devil’s Radio Szymanowski Violin Concerto no. 2 Lutosławski Concerto for Orchestra Leila Josefowicz (violin) David Geffin Hall, New York
Jan 2026
Kammerakademie Potsdam
Mozart Ouvertüre zu “Le Nozze di Figaro” KV 492 Saint-Saëns Cellokonzert Nr. 1 a-Moll op. 33 Ibert Hommage à Mozart Poulenc Sinfonietta FP 141 Jean-Guihen Queyras (cello) Nikolaisaal Großer Saal, Potsdam
Jan 2026
Bournemouth Symphony Orchestra
Tchaikovsky Polonaise from Eugene Onegin Chopin Piano Concerto No.1 Mendelssohn Symphony No.3 ‘Scottish’ Vadym Kholodenko (piano) Lighthouse, Poole
Feb 2026
Orchestre national de Lyon
Tchaïkovski «Polonaise», extraite de Eugène Onéguine Szymanowski Concerto pour violon n° 2, op. 6 Lutosławski Concerto pour orchestre Auditorium Orchestre national de Lyon
Apr 2026 - Apr 2026
Gothenburg Symphony Orchestra
Mel Bonis Femmes de legende Lutosławski Concerto for Orchestra Dvorak Cello Concerto Claes Gunnarsson (cello) Göteborgs Konserthus, Sweden
Jun 2026 - Jul 2026
Opera de Paris
La Traviata Opéra Bastille, Paris
Marta Gardolinska
Marta Gardolinska
Marta Gardolinska
Marta Gardolinska
Marta Gardolinska

News

Press

  • Beethoven Symphony No 4 Orquestra Sinfonica de Barcelona

    L'Auditori Barcelona
    Nov 2023 - Nov 2023
    • "Gardolińska mostró su vitalidad desde la tarima, con rápidos y elegantes gestos que la los del atril parecían seguir con gusto." "Gardolińska showed her vitality from the stage, with quick and elegant gestures that those at the lectern seemed to follow with gusto."

  • Los Angeles Philharmonic

    Hollywood Bowl
    Sep 2022
    • Beethoven’s Seventh after intermission had arresting power. Gardolinska got the strings to dig in as though they were preparing for a hurricane. They had to; Gardolinska’s rhythmic impetus proved ferocious. Yet through it all, she gave definition to inner and outer lines while remaining in the thrall of Beethovenian magnificence around every corner.

  • Paderewski Manru

    Opera National de Lorraine
    May 2023
    • L'Orchestre et le Chœur de l’Opéra national de Lorraine sont placés sous la direction véhémente et précise de Marta Gardolińska. Déjà remarquée dans Der Traumgörge de Zemlinsky et Carmen à Strasbourg, la directrice musicale livre du chef d'œuvre de Paderewski une lecture puissamment engagée, capable d'en rehausser par la seule force de la musique The Opéra national de Lorraine Orchestra and Chorus are under the vehement and precise direction of Marta Gardolińska. Having already made a name for herself in Zemlinsky's Der Traumgörge and Carmen in Strasbourg, the musical director delivers a powerfully committed reading of Paderewski's masterpiece, capable of heightening its impact through the sheer force of the music.

  • Bournemouth Symphony Orchestra

    Poole Lighthouse
    Mar 2022
    • On this showing she is very much an artist to be reckoned with. Both were superbly done. Gardolińska’s understanding of the balance between grace and energy in Schubert’s Third was wonderfully acute, as she propelled the first movement, with its gleeful clarinet solos, excitedly forward and brought out the nostalgic undertow of the slow Allegretto and the elan of the scherzo-cum-waltz. The tarantella finale, with its whirling, almost obsessive rhythmic figurations, was thrilling in its precision, really sweeping you away. That same exactitude and exhilaration characterised Shostakovich’s Ninth. Gardolińska’s interpretation emphasised its lurching contrasts and disarming ambiguities of mood.

  • Bournemouth Symphony Orchestra

    Poole Lighthouse
    Mar 2022
    • Gardolinska bought an invigorating light touch to Schubert's symphony and an exact sense of tempo proportions, finding precisely the contrasting tempo for the swaying, bucolic middle section of the hearty third movement

  • London Symphony Orchestra

    Brighton Festival
    May 2023
    • While heavy brass and percussion stood ready-armed as the aggressor, Gardolińska focused on the sound and presence of her strings – surely Tchaikovsky’s own voice in this drama. Gardolińska’s profoundly unsettling first movement and her disconsolate second were both applauded. The symphony conclusion was noisily greeted. The audience had seen a conductor new to them in action with an economy of flowing gesture

  • Zemlinsky Der Traumgorge

    Opera national de Lorraine
    Sep 2020
    • Le chef, c'est aussi I'atout maître à Nancy : la Polonaise Marta Gardolinska est une révélation, tant par son bras souple et sûr que parson don pour marier voix et instruments, avec un sens inné des couleurs sonores. The conductor is the master in Nancy: the Polish Marta Gardolinska is a revelation, as much by her flexible and sure arm as by her gift for marrying voice and instruments, with an innate sense of sound colours.

  • BBC Scottish Symphony Orchestra

    City Halls, Glasgow
    Dec 2023
    • Gardolínska harnessed all of that impressively. This performance had mischief, pathos, melting eloquence and outright joy, and a level of precision and attack to fully sustain its enjoyment. Gardolínska again elicited an appealing response from the SSO, in the concerto’s toy box opening, its rhapsodic surges and sumptuous textures.