Available languages: EnglishThrough working with many of the leading orchestras and opera companies in Europe and beyond, Jun Märkl has established himself as a world-class conductor. Best known for his interpretations of the German repertoire, he also has a deep regard for the French impressionists. Märkl was born on February 11, 1959, in Munich. His father was a violinist, and his mother was a pianist. He took to music at an early age, studying both violin and piano. In 1978, he enrolled at the Hannover Musikhochschule, where he studied violin and piano, as well as conducting with Sergiu Celibidache. He then went on to study conducting with Gustav Meier at the University of Michigan. His first big break came in 1986 when he won the Deutsche Musikrat conducting competition. In 1987, he won a scholarship from the Boston Symphony Orchestra to Tanglewood, where he studied with Leonard Bernstein and Seiji Ozawa. Following several appearances in European opera houses, Märkl received his first music director appointment in 1991 with the Saarbrücken Staatstheater. After leaving Saarbrücken in 1994, he became the music director at Mannheim Nationaltheater, where he worked until 2000. Märkl made his Royal Opera House debut in 1996 with Wagner's Götterdämmerung, and in 1998, he made his Metropolitan Opera debut with Verdi's Il Trovatore. During this time, Märkl also became a regular guest at opera houses in Vienna, Berlin, Munich, and Dresden. He has conducted Wagner's complete Ring Cycle with the Deutsche Oper in Berlin and Tokyo's New National Theatre. In 2005, Märkl became the music director of the Orchestre National de Lyon, where he went on to record the complete orchestral works of Debussy. He led the Orchestre National de Lyon on tours throughout Europe and to Japan. He remained in this post until 2011. In 2007, while also leading Lyon, Märkl was named the principal conductor of the MDR Symphony Orchestra; he left this position in 2012. He then served as the principal conductor of the Basque National Orchestra from 2014-2017. He was named the principal guest conductor of the Residentie Orchestra in 2018, with the appointment to begin in 2021. He has been a regular guest conductor of major orchestras in Europe, the U.S., Australia, and Japan. These have included the Oslo and Helsinki Philharmonics, orchestras in Boston, Philadelphia, Montreal, Melbourne, and the NHK Symphony. With the NHK Symphony, Märkl recorded the complete symphonies of Robert Schumann. Märkl has recorded more than 50 albums, primarily for the Naxos label. He has also recorded for MDR and Altus, among others. Besides his surveys of Debussy and Schumann, he also began a survey of Toshio Hosokawa's orchestral music in 2014. In 2019, Märkl released two albums on Naxos: the opera overtures of Albert Lortzing with the Malmö Opera Orchestra and the Saint-Saëns ballet, Ascanio with the Malmö Symphony Orchestra.
20 albums gesorteerd op Meest aanbevolen
Mijn zoekopdracht verfijnen
Klassiek - Verschenen op 22 november 2019 | Naxos
The Malmö Symphony Orchestra and its conductor Jun Markl uphold a repertoire which is rarely heard live, specifically French music from the turn of the nineteenth and twentieth centuries. After Albéric Magnard (BIS in 1999 and 2000) and Vincent d’Indy (Naxos, 2019), they have published a Camille Saint-Saëns album (once again for Naxos). An untiring globe-trotter, Saint-Saëns peppers his music with effects which create a background of different sounds. As opposed to Louise by Gustave Charpentier or Pelléas by Debussy, Les Barbares by Saint-Saëns (conceived in 1901) is a new example of the purest tradition of of French lyricism. The harmonic richness of the score, its bountiful melodies and the opulence of its orchestration do not break any new ground. Indeed, it seems Saint-Saëns is more inventive when composing within a more classic framework. However, despite the anachronistic nature of this work, which is also identified in Ascanio, La princesse jaune, Jota aragonese, Andromaque and Ouverture d’un opéra-comique inachevé, the listener savours every note. The programme, which combines the orchestral pages of these scores (ballet, opera and other lyrical tragedy), allows the Malmö Symphony Orchestra to show the full range of their musical colour: sumptuous strings, soaring harps and an irresistible harmony make them sound like one lone supermusician. Indeed, Jun Markl sculpts the MSO with uniformity in mind - the sound recording sticks to this approach as well - highlighting the the powerful lyrical dimension of this repertoire. An inspiring and necessary account of the genius of French orchestration. © Elsa Siffert/Qobuz
Newsfeed Vor. Volg.
vr Qobuz | Tom Misch - Yussef Dayes, London Jammingvr Qobuz | Lucinda Williams, Back in Bluedi Qobuz | In the Studio with Parcels
di Qobuz | 75 Years of Keith Jarrettvr Qobuz | Cabasse the Pearl Akoya: testing a Qobuz Hi-Res-compatible connected high-fidelity mini-speakerdo Qobuz | Wallace Roney: a legend leaves us
wo Qobuz | Bongeziwe Mabandla, solar afro-folkdi Qobuz | Avishai Cohen: This Time It's Different
za Qobuz | Initials B.D.vr Qobuz | Sorry, the best excusedo Qobuz | Dana Gavanski: new star of the folk scene