NathalieStutzmann

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  • Conductor

About Nathalie

Music Director: Atlanta Symphony Orchestra

Nathalie Stutzmann is the Music Director of the Atlanta Symphony Orchestra.

Recent conducting highlights have included engagements with the Munich Philharmonic, New York Philharmonic, Orchestre de Paris and the London Symphony Orchestra. The current season includes several notable debuts including Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra and Berlin Staatskapelle; and also features returns with the London Symphony Orchestra, Oslo Philharmonic and Swedish Radio Symphony Orchestra.

A rich variety of strands form the core of her repertoire: Central European and Russian Romanticism is a strong focus — ranging from Beethoven, Schumann, Brahms and Dvořák through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss — as well as French 19th century repertoire and impressionism.

Having also established a strong reputation as an opera conductor, she will debut at Dutch National Opera for Tosca and at the Bayerische Staatsoper for a new production of Faust. Nathalie will also return to the Bayreuth Festival for Rienzi.

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Contact

Mathieu Levan

Mathieu Levan

Assistant Artist Manager

Representation

General Management with Askonas Holt

Japan: M. Hirasa Ltd (Moto Hirasa and Ken Matsubara)

Season Highlights

Sep 2025
Dutch National Opera
Puccini - Tosca Netherlands Philharmonic Elena Stikhina / Natalya Romaniw (Tosca) Joshua Guerrero (Cavaradossi) Gevorg Hakobyan (Scarpia)
Oct 2025
Atlanta Symphony Hall
Muller - “The Star Spangled Banner” Copland - Fanfare for the Common Man Elgar - Cello Concerto in E minor Op. 85 Strauss - Ein Heldenleben, Op. 40 Atlanta Symphony Alisa Weilerstein (cello)
Oct 2025
Staatsoper Unter den Linden / Philharmonie Berlin - Großer Saal
Glinka - Ruslan & Ludmilla 'Overture' Beethoven - Piano Concerto No. 1 in C major Op. 15 included in artist Tchaikovsky - Symphony No. 5 in E minor, Op. 64 Berlin Staatskapelle Lise de la Salle (piano)
Oct 2025
Herkulessaal
Wagner - “Tannhauser”: Overture Strauss - “Tod und Verklärung” (“D Mozart - Requiem in D minor, KV 626 Symphonieorchester des Bayerischen Rundfunks Erika Baikoff (soprano) Fleur Barron (mezzo-soprano) Lunga Eric Hallam (tenor) Lawson Anderson (bass-baritone) Bavarian Radio Chorus
Feb 2026
Bayerische Staatsoper
Gounod - Faust Bayerisches Staatsorchester Lotte de Beer (Director) Olga Kulchynska (Marguerite) Jonathan Tetelman (Faust) Kyle Ketelsen (Méphistophélès) Emily Sierra (Siebel) Florian Sempey (Valentin)
May 2026
Het Concertgebouw
Glinka - Ruslan & Ludmilla 'Overture' Tchaikovsky - Violin Concerto in D major, Op. 35 Brahms - Symphony No. 4 in E minor Op. 98 Royal Concertgebouw Orchestra Augustin Hadelich (violin)
May 2026
The Barbican Centre
Beethoven - Piano Concerto No. 3 in C minor Op. 37 Wagner - Rienzi Overture Strauss - Rosenkavalier Suite London Symphony Orchestra Leif Ove Andsnes (piano)
Jul 2026
Bayreuth Festival
Wagner - Rienzi

News

Press

  • Carmen, La Monnaie

    La Monnaie
    Jun 2025
    • “Stutzmann's direction is ideally sensitive and lively

    • The energy radiated from the pit, filling the hall with a perfectly mastered sonority… The score is magnified: natural, subtle and incisive.

    • The highest praise must go to Nathalie Stutzmann's conducting, which opts for an approach that is both warm and analytical.

    • Nathalie Stutzmann's direction restores all the power of Bizet's masterpiece with force, voluptuousness and finesse

    • Nathalie Stutzmann, this exceptional conductor who led with her usual verve an orchestra only too happy to have fun

  • Boston Symphony Orchestra debut

    Symphony Hall Boston
    Feb 2025
    • Stravinsky's 1919 Suite from The Firebird provided a stunning mix of focused, quiet intensity and pummeling energy. It's songful moments beguiled: the various solos in “The Princesses’ Round Dance” were enchanting, the “Lullaby” was beautifully shaped, and the noble melodic lines of the “Finale” soared. At the same time, its vigorous spots—be they light-footed (“The Firebird and its Dance”) or slashing (“Infernal Dance”)—were both thrillingly full-bodied and precisely balanced.

    • To watch Stutzmann is to experience in Ravel’s Alborada del gracioso a canvas drawn before your own eyes in Mediterranean colors, flamenco outlines, jocular play, sensual signaling, all unveiled by way of an orchestra that seems to be able to do just about everything.

  • New York Philharmonic debut

    David GeffenHall
    Jan 2025
    • ...crystal-clear in her intentions, the French singer turned conductor sustained a performance of Maazel’s artfully stitched score that swept the listener along in an uninterrupted flow of music, so that when the last chord died away one could hardly believe 75 minutes had passed.

  • Dvorak: Symphony no. 9

    Warner Classics recording
    Aug 2024
    • This bold, punchy account of the New World, captured live in a pair of concerts, grips like a great concert performance should.

      • Gramophone
      • 17 September 2024
    • Stutzmann has no trouble teasing out the sweeping lyricism of the Largo or tapping into the folksy lilt of the Scherzo's Trio.

  • Metropolitan Opera debut

    New York
    Jun 2023
    • Stutzmann, the music director of the Atlanta Symphony orchestra, is making a splashy Met debut (...). The orchestra sounded polished for her, weighty without being too heavy, the winds beautifully present in the textures from the overture on, the singers never covered. There was no sense of rushing as a lazy way of conveying liveliness, but neither was the tenderness ever bogged down.

    • In the pit, Nathalie Stutzmann put on a fine display in the first of two Mozart operas that she will essentially author this month. (…) Throughout the night, Stutzmann’s interpretation was on point. This orchestral texturing remained consistent throughout, always beautifully intertwined with the singers. This push-pull connection that was so plain to see in the staging was similarly felt in the music-making with the singers given ample space to add ornamentation in arias and even expand recitative passages.

    • Stutzmann was game for anything that McBurney threw her way, but the score emerged in all of its beauty and brilliance. The spoken dialogue was amplified throughout the house, but the singing was not. Stutzmann got the balance just right, as she did between orchestra and singer... As in Don Giovanni, which Stutzmann is also conducting at the Met this month, she intuitively knows how to showcase a singer to their best advantage.

    • A splendid cast led by Nathalie Stutzmann in an impressive Met debut makes Don Giovanni a must-see... Stutzmann’s striking command of the musical side reveals an exciting new opera maestro... From the first thundering chord of the overture, her orchestra responds with exceptional precision and transparency—particularly the winds.

  • London Symphony Orchestra

    Barbican Centre, London
    Jan 2022
    • Stutzmann’s conducting is fascinating. As a singer she thinks in long musical phrases and of controlling the breath accordingly and this is replicated in her conducting style – her left hand is extraordinarily expressive in its indications of dynamic precision and minute changes of pace. The Ravel was full of airy textures and all the Baroque and Classical allusions were deftly coloured in by the players. The same was true of the Tchaikovsky, taken at a brisk lick throughout, with a refreshing lack of over-romanticisation and great subtlety at times. Stunning playing by all the principals. It felt like viewing a beloved painting after a very thorough and precise renovation process – familiar and yet with colours seemingly intensified – and therein lay the emotion.

  • Verdi, Tchaikovsky

    Atlanta Symphony Orchestra
    Oct 2021
    • The most elegant and articulate words fail to do justice to Stutzmann’s performance. She is a consummate rock star on the podium. With her precise, yet large and wild articulations, she doesn’t “conduct” so much as she seizes the full potential of every note and wrenches it loose from the silence that preceded it. The boon of that fiery summons was evident throughout the orchestra, with each section finding a new depth and life in its sound." "If last night’s performance was any indication, she will guide the ASO to new heights, revitalize its sound and recast it from a respectable purveyor of the classics to a formidable force to be reckoned with.

  • Bamberg Symphoniker

    Konzerthalle Bamberg
    Dec 2019
    • "Nathalie Stutzmann, Dirigentin ebenso wie Sängerin, gelang die perfekte Verschmelzung poetischer und gefühlvoller Momente mit markanten, hoch eruptiven Passagen. So viel Kraft und feinfühlige Eleganz, so starke Werkverinnerlichung und Gestaltungssouveränität gingen von ihr aus!"

  • BBC Proms

    Royal Albert Hall
    Aug 2019
    • The sheer elegance she brings to her formidable technique, the effortless drive towards making much of the music she conducts sound so passionate and the ability to shock us into hearing something quite new in music we think we know is really rather refreshing.

      • Opera Today
      • 08 August 2019