July 26-AUGUST 26, 2026
Wagner Festival, Bayreuth / Wagner's Rienzi
“Nathalie Stutzmann has already become an established figure at the festival, one
from whom it is now impossible to imagine the festival without.”
Süddeutsche Zeitung
“Nathalie Stutzmann does not seek to smooth over the diverse influences in Wagner’s early work; instead, she brings them into sharp relief with genius insight and utilises the Bayreuth acoustics with dreamlike mastery.”
Concerti
“Nathalie Stutzmann’s conducting, having firmly established her place among Bayreuth’s conductors, bordered on perfection.”
El Periódico
“Nathalie Stutzmann… made her debut in the orchestra pit at the Festspielhaus in July 2023, conducting Tannhäuser… Today, her place is assured following several impressive performances.”
Scherzo
“Nathalie Stutzmann delivers an unstemmed tide of glorious sound from the Bayreuth orchestra, full of voluptuous colour.”
Financial Times
“Stutzmann found moments of pure chamber-music tenderness, majestic poise
and vast surges of bass amid the military marches and rousing choral outbursts.”
The Guardian
“Nathalie Stutzmann’s conducting is the highlight of this premiere.”
nzz
“Conductor Nathalie Stutzmann does a magnificent job. She creates sweeping, clearly defined lines, spurs the performers on, provides firm guidance and treats the singers with the utmost care.”
BR-KLASSIK
“Standing ovations for Nathalie Stutzmann.”
Die Welt
“Steady and powerful – conducted by Stutzmann with a prudence worthy of Knappertsbusch.”
ABC
“This woman is a marvel. As a conductor, she literally carries the voices, allowing the entire orchestra to breathe in unison with the singing.”
Bayerische Staatszeitung
June 4, 6 & 7 2026
Atlanta Symphony Orchestra, Robert W. Woodruff Arts Center / Gustav Mahler - Symphony n°2 Resurrection
“Stutzmann is a vivid storyteller, and that is the approach she brought to the sprawling opening movement.”
Seen and Heard International
“From the opening bars, the sheer physicality of the work was evident – it was hard not to have a visceral reaction. The music was bursting at the seams with wound-up intensity, and gritty strings were articulated with crisp precision. Though under taut control, it never felt too cautious and measured, but with raw energy as Stutzmann and the Atlanta musicians grappled with the larger-than-life questions the symphony posits. Deftly sculpted climaxes crested in outbursts from the brass and percussion, culminating in a chilling descent to close the first movement which can broadly be conceived as a funeral march. The extended pause Mahler requested in the score was observed, allowing musicians and audience alike a moment to collect themselves.”
Bachtrack
“Stutzmann brought an extraordinary dynamic range to bear : electrifying, full-tilt orchestral force at one extreme, sustained hushes at the other, so soft and concentrated that Mahler’s chamber-like textures became newly legible.”
Classical Voice North America
May 14, 2026
London Symphony Orchestra, London Barbican Center
“Superlative Stutzmann’s conducting of Strauss Rosenkavalier suite […] was, for me, on par with Carlos Kleiber’s legendary interpretations of the opera, matching his signature approach with its infectious sense of lilting-grace, incandescent elastic élan, and rhythmic sensuousness.”
Seen and Heard International
“In Rienzi ouverture with this single, structurally immaculate performance, Stutzmann proved herself to be a pre-eminent Wagner conductor of today, effortlessly steering the overture’s notoriously wide-ranging dynamics from its hushed, prayer-like string opening to the terrifyingly precise, explosive fortissimo climaxes with absolute clarity.”
Seen and Heard International
May 7, 8 & 10, 2026
Concertgebouw Orchestra, Amsterdam Concertgebouw
“one already knows in advance that the evening will be filled with love, warmth and sincerity.”
De Nieuwe Muze
“Stutzmann experiences music from the deepest part of her soul. With a remarkable empathy for the spiritual meaning of every single note in the score.”
De Nieuwe Muze
“Nathalie Stutzmann’s impassioned reading of Brahms’ Fourth Symphony went some way to explain why she is a revered presence on both sides of the Atlantic.”
The Spidy Editor
“The Amsterdam musicians rewarded Stutzmann’s implicit trust with a performance to remember.”
The Spidy Editor
February 8-27, 2026
Bayerisches Staatsorchester, Munich Bayerische Staatsoper / Gounod's Faust
“The conductor is the star of the Staatsoper’s new production of Faust”
Abendzeitung
“Nathalie Stutzmann works her magic with a sure instinct for the grand romantic arc, conjuring up rich timbres full of nuance.”
BR-KLASSIK
“The secret star of the evening is conductor Nathalie Stutzmann.”
Süddeutsche Zeitung
“Stutzmann makes a promise that will be fulfilled over the three hours of the performance: that it will be a musically magnificent evening – on all fronts.”
Donau Kurier
“And Stutzmann leads the dance! Symphonic ecstasy”
Diapason
“Conductor Nathalie Stutzmann… was greeted with rapturous applause from the audience.”
Die Zeit
“Stutzmann uses amorous fervour and exuberant dynamism sparingly, without losing momentum.”
Concerti
“Precise, nimble, delicate.”
Frankfurter Allgemeine
“Sovereignly and cleverly Nathalie Stutzmann seeks to establish Gounod as a storyteller.”
Welt
“It is precisely because of this conductor that it is worth making a pact with the devil for the new Munich Faust.”
Augsburger Allgemeine