June 3-25, 2025
Orchestre symphonique de La Monnaie, Bruxelles La Monnaie De Munt / Bizet's Carmen
“Stutzmann’s direction is ideally sensitive and lively.”
La Libre
“The energy radiated from the pit, filling the hall with a perfectly mastered sonority… The score is magnified: natural, subtle and incisive.”
Ôlyrix
“The highest praise must go to Nathalie Stutzmann’s conducting, which opts for an approach that is both warm and analytical.”
Bachtrack
“Nathalie Stutzmann’s direction restores all the power of Bizet’s masterpiece with force, voluptuousness and finesse.”
Le Soir
“Nathalie Stutzmann, this exceptional conductor who led with her usual verve an orchestra only too happy to have fun.”
L’Echo
“In the pit, Nathalie Stutzmann, a passionately analytical conductor, reveals the score’s spellbinding power with rare dramaturgical intelligence.”
Classique News
“The music does not accompany, it shapes. It does not underline, it reveals.”
Eco Italiano
“An exceptionally slender overall sound rises from the orchestra pit. Poetic where possible, quick when necessary: the conductor propels the action forward with unceasing energy, without getting bogged down in tearful excess.”
pzazz
“So many details underlining the extreme care taken by the conductor in her reading of the work, but also her real love for the score, a love that she seems to strive to share.”
Première Loge
“Here she is again, conducting this opera with remarkable skill, bringing out the quality of the writing and the beauty of the orchestration.”
ConcertoNet
“Bizet’s melodic magic emerges from the orchestra pit with great craftsmanship and drive.”
De Standaard
“Nathalie Stutzmann conducts this score for the first time: quite simply masterful!”
Le Bruit du off Tribune
“An elegant reading of the score with great attention to detail.”
Giornale della Musica
“Nathalie Stutzmann led the orchestra with great feeling and finesse.”
Place de l’Opéra
March 20, 2025
Orchestre de Paris, Paris Philharmonie
“In her third appearance with the Orchestre de Paris, the conductor impressed, both in Beethoven – formidably served by Emanuel Ax – and in Wagner. Can’t wait for the fourth!
(…) In this Ring without words (Maazel version), (…) Stutzmann – who is now a sensation in Bayreuth – has for her the science of lighting, the art of capturing, focusing and isolating the numbers to give them that immediate dramatic impact (…). Her conducting impresses with its poise, clear-sightedness and elegance.”
Diapason
January 30, 2025
Atlanta Symphony Orchestra, Atlanta Woodruff Arts Center
“Stutzmann’s direction always paid service to the music; she didn’t ask the musicians for anything flashy, or out of character, just to make a musical splash. The result? Beethoven symphonies that had an element of surprise. (…) A performance filled with dazzling moments of music making. The concert highlighted the musicianship of individual sections of the orchestra — a sublime horn chorale here, a tight woodwind passage there — but also showcased how the orchestra has developed a fulfilling and cohesive sound under the delicate but firm control of a conductor who is now fully at home with the ASO.”
Atlanta Journal Constitution
January 16, 2025
New York Philharmonic, New York Lincoln Center
“Crystal-clear in her intentions, [Stutzmann] sustained a performance (…) 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. (…) One hopes she will pass this way again, and soon.”
New York Classical Review
“It was evident that Stutzmann had a clear vision of the work. Her direction did not merely convey the immense drama of the Wagnerian cycle; in her reading there was a genuine search for the humanity that underlies the myth. (…) Her emotional connection to the material was palpable, and the audience, who gave a standing ovation at the end, supported the conductor with sustained interest.”
Opera World
“A mighty force with the baton, stabbing, cueing, holding both hands behind her head in exaltation, Ms. Stutzmann took the Phil through its paces from the rippling of the Rhine through the march to Valhalla, providing countless tunes with light and excitement. (…) [Stutzmann] produced a yes, truncated, but always thundery, thumping good show.”
ConcertoNet