"... a surging and ebbing journey of well-defined musical moments that melded perfectly into one mighty, arching whole."Opera Today
Since 2011 Marc Albrecht is Music Director of the Dutch National Opera, the Netherlands Philharmonic and the Netherlands Chamber Orchestra. In May 2016 the National Opera Amsterdam was awarded with the International Opera Award as “opera house of the year”. Marc Albrecht’s Music Director contract has just been extended until summer 2020.
In the opera house, Marc Albrecht is a highly requested guest. In March 2013 he gave his debut at Teatro della Scala Milano with “Die Frau ohne Schatten” (direction Claud Guth); in August 2017 he was reinvited for “Hänsel and Gretel”. He gave guest performances at the Bayreuth Festival (2003-2006) with “Der fliegende Holländer” as well as Janáček’s “From the House of the Dead” at Teatro Real in Madrid. Marc Albrecht also maintains a close relationship with the Semperoper Dresden, where amongst others he has conducted “Wozzeck”, “La Damnation de Faust” and most recently in 2009 “Elektra”. At the Bavarian State Opera he celebrated a notable success of Henzen’s “Die Bassariden” (direction Christoph Loy) in 2008 and in the subsequent year at the Royal Opera Covent Garden with “Der fliegende Holländer”. Vienna’s Theater an der Wien regularly invites him to conduct, lastly Henze’s “Der Prinz von Homburg” in 2011 and “Elegie für Junge Liebende” in 2017.
Already in 2003 Marc Albrecht debuted at the Salzburg Festival and again led Berg’s “Lulu” with the Vienna Philharmonic in 2010. After spectacular productions of Messiaens “Saint François d’Assise” and Janáček’s “Die Sache Makropulos”, his long-standing relationship with the Deutsche Oper Berlin will open a new chapter in March 2018 with “Das Wunder der Heliane” from Korngold. He also conducts regularly at the Zurich Opera, leading “Tannhäuser” and “Die Soldaten” (direction Calixto Bieito) in 2013 and “Der Freischütz” in September 2016. In 2018 Marc Albrecht will perform in the USA “Arabella” at the San Francisco Opera and “Ariadne auf Naxos” (direction Katie Mitchell) at the renowned opera festival in Aix-en-Provence with the Orchestre de Paris.
Marc Albrecht has appeared with many key orchestras in Europe including the Berlin Philharmonic Orchestra, Royal Concertgebouw Orchestra, Vienna Philharmonic, Staatskapelle Dresden, Munich Philharmonic, City of Birmingham Symphony Orchestra, Orchestre National de France, Danish National Radio Symphony Orchestra, Royal Stockholm Philharmonic and the NHK Symphony Orchestra Toyko. Wonderful annual cooperations connect him with the Orchestra de RAI Torino as well as with the Accademia Nazionale di Santa Cecilia in Rome. He gave guest performances in the USA at Saint Louis and Dallas Symphony and Cleveland Orchestra and in May 2017 at Houston Symphony.
In his symphonic programs Marc Albrecht’s central concern is the integration of modern and contemporary works together with the classics. A unique transparency of sound and definition is a quality not only limited to the great symphonies of Strauss, Bruckner and Mahler. This approach is based on a profound understanding of chamber music, paired with Albrecht’s fine sense of hearing in contemporary music, and combined with unlimited devotion to a passionate performance experience.
In the early years of his conducting career, Albrecht spent several seasons at the opera houses of Hamburg and Dresden, and also was appointed personal assistant to Claudio Abbado at the Gustav Mahler Youth Orchestra in Vienna. In 1995 he embarked on a highly successful 6 year tenure as Music Director of the Staatstheater Darmstadt, and for four further year, he was First Guest Conductor at Deutsche Oper Berlin and went as Artistic Director and Chief Conductor to the Orchestre Philharmonique de Strasbourg.
Marc Albrecht has made a sequence of acclaimed recordings for PentaTone records initially with the Orchestre Philharmonique de Strasbourg, with works from Berg, Korngold and Richard Strauss, the piano concertos of Schumann and Dvořák with Martin Helmchen, as well as with Netherlands Philharmonic, including Mahler’s “Das Lied von der Erde” in 2013. In addition the Netherlands Opera has also released live CD recordings of his performances of “Elektra”, “Der Rosenkavalier”, and “Der Schatzgräber” on the Challenge Classics label.
“(…) the glorious sounds emanating from the pit. (…) Such an exalted level, this was a Parsifal for ages; gloriously sung, played and conducted. (…) Music director Marc Albrecht conducted a propulsive and perfectly-judged account of the work, aided and abetted by faultless playing by the Netherlands Philharmonic Orchestra. (…) Act III attained musical Nirvana, taking us to another plain that felt unworldly due to its transcendental beauty, whilst the choral singing was superb. Magnificent, sublime and extremely moving, this is a Parsifal that demands to be heard and seen.”musicOMH.com, Keith McDonnell, 6.12.2016
“Don’t miss Mahler with Marc Albrecht: visionary Almost imperceptibly Marc Albrecht, chief conductor of the Netherlands Philharmonic, is working on a Mahler cycle about which one would want to write in capital letters. Earlier Albrecht conducted the symphonies 1 to 4 and 6, the Ninth follows next season and this week sees the Fifth. Planning of the remaining works is in progress: Albrecht’s contract runs until at least 2020. What makes Albrecht’s Mahler so unique? His approach has integrity, is intelligent and sensitive – and never schwärmerisch, despite the dynamic extremes between roaring fff and the almost inaudible ppp (Adagietto) he achieves. It resulted Saturday in a performance of the Fifth that was moving but also striking because of the significance he gave to certain accents. The erratic was highlighted, the Stürmisch bewegt sounded energetic and potent but impressed especially by the way Albrecht made the vitality swell from the lower strings by one sweep of his arm. Just as clever and tasteful: how in the Scherzo he let the strings hang back (with a deeply melancholy effect) Albrecht conducts a Mahler that makes you love Mahler! Raw emotions never change into hysteria and the visionary of the score is underlined throughout.”NRC Handelsblad, Mischa Spel, April 2016
“Strauss, Richard – Arabella Those key moments register with the necessary emotional power, but conductor Marc Albrecht never feels indulgent (…) Albrecht’s orchestra (…) revealing a great deal of the score’s bustling inner detail and melismatic counterpoint.”Gramophone, Hugo Shirley, February 2016
“Mahler, Gustav – Symphony No. 4 Conductor Marc Albrecht makes his points without exaggeration, revealing personal touches in his care for proper observance of Mahler’s dynamics and his concern for textural clarity.”classictoday.com, David Hurwitz, January 2016
“Der Rosenkavalier – Amsterdam It is rare to hear a terzetto so excellently balanced and emotional. And it was greatly due to Marc Albrecht and the Netherlands Philharmonic Orchestra […] Albrecht pushed the music to an unbelievable peak.”Trouw, Peter van der Lint, 8.9.2015
“It couldn’t have been so overwhelming if it weren’t be supported by the Netherlands Philharmonic Orchestra and its conductor Marc Albrecht, an ideal couple […]”De Volkskrant, Frits van der Waa, 7.9.2015
“The achievements of the Netherlands Philharmonic Orchestra were phenomenal. […] Marc Albrecht knew like no other how to give space to the music by leading the orchestra tightly and to make the underlying tensions of Strauss’s music tangible.”Theaterkrant, Oswin Schneeweisz, 7.9.2015
“[…] in a virtuously adaptive way, Marc Albrecht led the Netherlands Philharmonic Orchestra at their best […] Albrecht gives the music space and velvet grandeur where it needs it.”NRC Handelsblad, Mischa Spel, 7.9.2015
“The orchestral playing simply leaves its rivals lying in the dust. […] The strings, full and romantic in tone, play the glorious melodies with ecstasy; and Marc Albrecht paces the score with understanding and passion, making one realise how advanced the supposedly ‘conservative’ Rimsky-Korsakov - at the end of his career - could be when he had something to get his teeth into. Sections of Fevronia’s final vision even pre-echo the final scenes of Strauss’s Die Frau ohne Schatten. In short, this is quite simply the best recording of the music of this opera to be had in any medium.”www.musicweb-international.com, Paul Corfield Godfrey, 28.02.2014
“Mitreißend, suggestiv und spannend klang dieser Beethoven, auch weil die Wiener Symphoniker unter Marc Albrecht so sensibel wie akzentuiert begleiten.”Kronen Zeitung Steiermark, Martin Gasser, 29.01.2014