YannickNézet-Séguin

Press

• Maestro; New York Philharmonic | David Geffen Hall

  • The New York Met’s musical director Yannick Nézet-Séguin serves as advisor, meaning not just an accuracy in the way Cooper conducts, and conducts himself, but also in the glorious way his music is used throughout.

    • Fionnuala Haligan, Screen Daily
    • 02 September 2023

  • The tour de force of the Mahler 2 in Ely Cathedral was well done, and Cooper’s performance as Bernstein was remarkable, coached by the New York Met’s musical director, Yannick Nézet-Séguin. … I found ‘Maestro’ a refreshing novelty, a film about a world I have worked in for over 40 years and which I recognised clearly.

    • Brian Bannatyne-Scott, Edinburgh Music Review
    • 28 December 2023

  • As Cooper’s conducting consultant, Nézet-Séguin was an indispensable part of the film’s success. He knows a thing or two about what goes into making a master.

    • Katie Underwood, Maclean's
    • 31 January 2024

  • His wild conducting style is passionate and highly energetic, and his seasonal programming jumps across all musical genres. it’s Nézet-Séguin’s guiding hand and spirited interpretation that gives Maestro its verity and lusty cinematic thrill. Along with conducting orchestras with his wild physicality of thrusting arms, exaggerated expressions and fleet, flying fingers, Nézet-Séguin is behind the recent resurgence of the Metropolitan Opera

    • A.D Amorosi, The Spin
    • 20 December 2023

  • the revolutionary artist whose intense conducting techniques are terrifically recreated by Cooper, aided by Yannick Nézet-Séguin, to bring the spirit of Bernstein back to life.

    • Maxance Vincent, Film Speak
    • 01 December 2023

  • The orchestra performed the passage under the baton of both Cooper and Yannick Nézet-Séguin, the movie’s conducting adviser, who worked with Cooper for several years, not only teaching him to conduct but to conduct convincingly as Lenny.

    • Imogen Tilden, The Guardian
    • 13 November 2023

• Bates, Peña Laguna, Brahms | Philadelphia Orchestra

  Verizon Hall, Philadelphia

  Jan 2024 - Jan 2024

  • Nézet-Séguin opened the floodgates of the heart. Here, Nézet-Séguin, the Philadelphia Orchestra, and Philadelphia Symphonic Choir maintained the stalwart underpinnings of classical tradition while releasing the emotional energy pent up in the human experience of grief and the yearning for transformation. What a staggering revelation!

    • Linda Holt, Broad Street Review
    • 30 January 2024

  • It could well be one of the big statements of Nézet-Séguin’s tenure so far. The last movement arrived like a salve — made all the more rich by Holly Blake’s big contrabassoon foundation, Nézet-Séguin’s sweet and expressive phrasing, and the inner glow of winds and harps gently cradling the work to a close.

    • Peter Dobrin, The Philadelphia Inquirer
    • 27 January 2024

• Stravinsky, Weill, Gershwin | Philadelphia Orchestra

  Verizon Hall, Philadelphia

  Jan 2024 - Jan 2024

  • Nézet-Séguin surrounded Rhapsody in Blue with two pieces composed more or less contemporaneously. A zesty rendition of Stravinsky’s Petrushka showed the orchestra off to its full massed glory.

    • Cameron Kelsall, BachTrack
    • 21 January 2024

  • Yannick Nézet-Séguin drew a vivid account that successfully conveyed the currents of despair and flashes of light in the ballet’s twisted tale of a puppet love triangle.

    • Susan Stempleski, Classical Source
    • 23 January 2024

• Rachmaninov | Philadelphia Orchestra

  Elbphilharmonie, Hamburg

  Nov 2023

  • He was a firecracker of energy on the podium, coaxing, moulding and urging his string players on, shaping the long lyrical lines with a sure sense of direction. Many details impressed.

    • Alexander Hall, BachTrack
    • 02 November 2023

• Heggie | Dead Man Walking

  Metropolitan Opera Company, New York

  Oct 2023

  • Nézet-Séguin seemed to delight in showing that his Cadillac of an orchestra could take the corners fast, and accelerate down the straightaway to an exciting coda.

    • David Wright, New York Classical Review
    • 18 October 2023

• Puccini | La Bohème

  Metropolitan Opera, New York

  Apr 2023

  • In ‘La Bohème’ at the Met, the Star Is in the Pit... All in all, it was clear who the central figure of this “Bohème” was: the man waving the baton. These days, splashy contemporary operas and new productions get the spotlight — and get the music director. But for the sake of the company’s artistic health and vibrancy, it’s important to also have Nézet-Séguin in the pit for titles that too often get taken for granted.

    • Zachary Woolfe, The New York Times
    • 23 April 2023

  • The musical draw this time was the Met’s music director Yannick Nézet-Séguin conducting the opera for the first time in the house. His appearance on the podium garnered an ovation that surpassed that of the audience’s first sight of nearly 240 people filling the streets of Paris in Act II. Nézet-Séguin conducted Puccini’s beloved in his much-appreciated manner – a detailed, meticulously prepared approach to the score, emotion motion drawn from every measure, shimmering pianissimi as well resounding fortes from the orchestra—yet all at the service of the drama.

    • Rick Perdian, New York Classical Review
    • 22 April 2023

• Blanchard | Champion

  Metropolitan Opera, New York

  Apr 2023

  • In the pit, Yannick Nézet-Séguin once again proved why he’s one of the best at taking on newer works... The orchestra sounded steady throughout and you could tell he had a solid grasp on the balance required between pit and stage.

    • David Salazar, OperaWire
    • 11 April 2023

  • Yannick Nézet-Séguin conducts the score with fiery intensity...

    • Gabrielle Ferrari, Observer
    • 13 April 2023

• Puts | The Hours

  Metropolitan Opera, New York

  Nov 2022

  • Yannick Nézét-Seguin, finally on the Met podium two months into the season, had the complete scope of the show in his baton and the Met Orchestra, of course, played gorgeously.

    • Robert Levine, Bachtrack
    • 25 November 2022

  • Yannick Nézet-Séguin, the Met’s musical director, revels in the plush orchestration, full of sumptuous strings and crisp percussion.

    • Kevin Ng, The Times
    • 23 November 2022

  • Yannick Nézet-Séguin, in the pit, luxuriated in Puts’s orchestral colors without overwhelming the singers.

    • Alex Ross, The New Yorker
    • 07 December 2022

• Ravel, Price, Rachmaninov | The Philadelphia Orchestra

  Verizon Hall, Philadelphia

  Oct 2022

  • Nézet-Séguin bookended the program with two grand statements on European musical virtues. In remarks from the stage, he described Ravel’s La Valse as “opulence verging on decadence” – but here, it emerged with almost impenetrable brawn.

    • Cameron Kelsall, Bachtrack
    • 07 October 2022