Intermusica Artists' Management



Intermusica represent Baldur Brönnimann worldwide

Leyla Güneş

Assistant to Artist Manager:
Hannah Rawson

Other Links:

Baldur Brönnimann's website

Orquestra Sinfónica do Porto Casa da Música

BIT20 Ensemble

Basel Sinfonietta

Baldur Brönnimann


Brönnimann is a conductor of great flexibility with a broad-minded approach to music-making and a particular affinity for the most complex contemporary scores. He shares his time between the concert hall and the opera house, and whenever possible seeks out opportunities for educational and outreach work. In January 2015 he becomes Principal Conductor of the Orquestra Sinfónica do Porto Casa da Música, an orchestra he has enjoyed a long-standing relationship with in a wide variety of standard and contemporary repertoire, collaborating with artists and composers such as Luca Francesconi, Jonathan Harvey, and Håkan Hardenberger.

For many years Brönnimann has been the conductor of choice for high-profile composer projects at the highest level working closely with composers such as John Adams, Saariaho, Birtwistle, Chin, Adès and orchestras such as the Oslo Philharmonic, Royal Stockholm Philharmonic, Britten Sinfonia, London Sinfonietta, Seoul Philharmonic. Whilst contemporary music continues to play a major part in Brönnimann’s work, he is now equally sought after in mainstream repertoire and as such is conducting a wide and eclectic range of repertoire across the globe.

In the 2014/15 season, Brönnimann returns as guest conductor to the BBC Symphony Orchestra to conduct a new multi-media staging of Chin’s Alice in Wonderland at the Barbican Centre, as well as to Klangforum Wien whom he conducts every season, Remix Ensemble and the Helsinki Philharmonic, Copenhagen Philharmonic, Philharmonia, Strasbourg Philharmonic, West Australian Symphony orchestras amongst others. Debuts include orchestras such as the Goteborg Symphony Orchestra, Orchestre National de Bordeaux, and Brussels Philharmonic where he will perform with Lars Vogt as part of Flagey’s Piano Days.

Highlights of Brönnimann’s opera career include La Fura dels Baus’s Ligeti Le Grand Macabre at English National Opera and the Teatro Colón, Argentina, John Adams Death of Klinghoffer (Tom Morris) at ENO, Saariaho L’Amour de Loin at Norwegian Opera and the Bergen International Festival and Romitelli Index of Metals with Barbara Hannigan at the Theater an der Wien. At Argentina’s Teatro Colón he has also conducted Schoenberg Erwartung, Szymanowski Hagith, and Lachenmann The Little Match Girl with the composer as narrator.

In December 2012, Brönnimann completed his four-year tenure as Music Director of the National Symphony Orchestra of Colombia in Bogotá, where he established himself quickly and firmly as a significant and dynamic part of the local cultural scene, devising festivals, educational initiatives and working tirelessly to widen the reach of classical music in the region. In 2011 Brönnimann was appointed Artistic Director of Norway’s contemporary music ensemble BIT20 where his focus is very much on expanding the ensemble’s connection with their audience, building projects with the cultural community in Norway and creating new avenues for the ensemble. Projects so far have included a recording of Ligeti Piano Concerto, various Scandinavian premieres and the Norwegian premiere of Romitelli Index of Metals.

Born in Switzerland, Brönnimann trained at the City of Basel Music Academy and at the Royal Northern College of Music in Manchester, where he was subsequently appointed Visiting Tutor in Conducting.

Baldur Brönnimann is represented by Intermusica.
2014/15 season / 494 words. Not to be altered without permission. Please destroy all previous biographical material.

Selected Repertoire

BARTóK Bluebeard’s Castle
Concerto for Orchestra
Music for String Instruments, Percussion and Celeste
The Miraculous Mandarin, Op.19
Symphonies Nos.2, 3, 4, 7
Chamber Concerto
Drei Orchesterstücke, Op.6
Violin Concerto
Harold en Italie, Op.16
Les nuits d'été, Op. 7
Symphonie Fantastique
Ein deutsches Requiem, Op.45
Symphonies Nos.1, 2, 3, 4
Variations on a Theme by Joseph Haydn, Op.56a

La mer
Le martyre de Saint Sébastien
: Fragments Symphoniques
Prélude a l'après-midi d`un faune

Symphony No.7
El amor brujo
El sombrero de tres picos

The Creation
Symphonies Nos.6, 7, 8, 99, 102, 103
Central Park in the Dark
Three Places in New England
Taras Bulba

Symphonies Nos.1, 5
A Midsummer Night‘s Dream
Symphonies Nos.38, 39, 40, 41
Pictures at an Exhibition (orch. RAVEL)
Romeo and Juliet
Symphonies Nos.1, 2, 3, 5
Symphonic Dances, Op.45
Symphony No.2
Daphnis et Chloé
La valse
Ma mère l`Oye
: Suite
Rapsodie espagnole
Verklärte Nacht, Op.4
Symphony No.7
Symphonies Nos.4, 5, 7
Pohjola s Daughter, Op.49
Symphonies Nos.1, 2, 5
The Oceanides, Op.73
Don Juan, Op.20
Eine Alpensinfonie Op. 64
Till Eulenspiegels lustige Streiche, Op.28
Jeu de cartes
L'Oiseau du feu
Le baiser de la fée
Le sacre du printemps
Oedipus Rex
Pétrouchka (1911)
Symphonies of Wind Instruments (1920)
Symphony No.5
VARÈSE Amériques

Tristan und Isolde: "Vorspiel" & "Liebestod"
Symphony No.1
WEBERN Passacaglia, Op.1
Symphony, Op.21

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Danish National Chamber Orchestra / Ultima Festival, Oslo
"Conductor Baldur Brönnimann brought out some wonderfully aggressive sounds, especially from the low strings."
Askel Tollåli, Bachtrack, September 2014

Philharmonia Orchestra / Three Choirs Festival: Worcester Cathedral / Elgar, Vaughan Williams, Rasch
“Under Baldur Brönnimann’s direction, the Festival Chorus, the combined Three Choirs’ choristers, the Philharmonia Orchestra and two fine soloists – Yeree Suh and Roderick Williams – gave a superbly assured first performance.”
Richard Morrison, Times, August 2014

Royal Northern College of Music Symphony Orchestra / RNCM, Manchester / Shostakovich, Tchiakovsky
“After the brisker middle section, pianissimo strings and soft chords in the piano interacted with striking sensitivity, well controlled by conductor Baldur Brönnimann. The strings frequently demonstrated a wonderfully soft-edged legato throughout the concerto, from their soaring melody at its outset to the climactic ‘big tune’ of the finale… Brönnimann led a charge to a thrilling finish…

Brönnimann’s account of the Leningrad symphony was compelling listening, intelligently and effectively paced and shaped into a colossal whole, peaking with possibly the loudest sound I have heard in the concert hall. He began proceedings with a busy, bustling opening, in blissful denial of the horrors to come… Only when the brass entered did Brönnimann allow dynamics to creep up in earnest. Great attention was paid to string articulation, giving the melody some superbly detailed character… Brönnimann moved directly into the finale, neatly adding to the breathless tension of the opening… When it came, the end was shattering... closing a very memorable performance.”
Rohan Shotton, Bachtrack, June 2014

Britten Sinfonia / Milton Court, Barbican Centre / Birtwistle, Vaughan Williams, Holst
The layers of Birtwistle's magical, interlocking network of musical mobiles – with its choirs of woodwind, chiming pianos and percussion, as well as a solo horn, underpinning the choir and its antiphonal solo sopranos – were all balanced with great care by Brönnimann.
Andrew Clements, Guardian, May 2014

Britten Sinfonia / Barbican Centre / Birtwistle Yan Tan Tethera
“Baldur Brönnimann took good care conducting the orchestra, whose sounds spread like a carpet of repeating patterns, glinting with flecks of harp, percussion and pirouetting violins.”
Geoff Brown, Times, May 2014

“Baldur Brönnimann struck an ideal balance between lyrical flow and dramatic momentum."
John Allison, Daily Telegraph, May 2014

“It certainly allowed all the beauties of Birtwistle's glistening, mysterious score, with its constantly shifting "music of the hill" underpinning everything, to be appreciated in all its detail under Baldur Brönnimann.”
Andrew Clements, Guardian, May 2014

Royal Scottish National Orchestra / Beethoven Symphony No.5
“Beethoven's Fifth Symphony, with the RSNO completely collaborative under Swiss conductor Baldur Bronnimann (it was he who conducted an amazing performance of Shostakovich Four with the RCS Symphony Orchestra some years ago) and his full performance of Beethoven Five in the second half of Naked Classics on Saturday was taut and gripping.”
Michael Tumelty, Herald, May 2014

"In the second half of the concert, conductor Baldur Bronnimann skilfully guided the orchestra through the symphony without interruption.

They were firing on all cylinders, especially the cello section who carry the lyrical andante as well as the mysterious cat-and-mouse theme which kicks off the scherzo, with all sections coming together for the triumphant finale."
Susan Nickalls, Scotsman, May 2014

Teatro Colón / Lachenmann The Little Match Girl
“The complex orchestral sonorities of Lachenmann’s work exceed the normal standards of a common opera theatre. It is truly moving that the Colon Theatre and its Orquesta Estable have embarked in this marvellous adventure; once again, the direction was trusted to the brilliant strategist Baldur Bronnimann…”

“…the cold, the wind, the snow, the light, the flame, the stars, the ascension; it was all filtered by the orchestra and the electronic sounds. With the upper balconies occupied by performers and speakers, the music surrounds the audience in an evolving arch; some kind of gigantic glissando graduated to perfection by Bronnimann.”
Federico Monjeau, Clarín, March 2014

“…director Baldur Bronnimann, leading a very committed Orquesta Estable, proved once more his ability to sort out the most arduous challenges; in this case, it wasn’t only about the technical difficulties of Lachenmann’s musical language for each instrument, but the incessant changes in meter resolved with precision by the director.”
La Nacion, March 2014

London Sinfonietta / The New Music Show: The Rest Is Noise Festival / Queen Elizabeth Hall
“conductor Baldur Brönnimann held its iridescent surface up to the light in what proved to be a compelling reading.”
George Hall, Guardian, December 2013

Colón Contemporáneo, London Sinfonietta, Experimental Studio SWR Freiburg, Orquesta Juvenil del Bicentenario, Coro Diapasón Sur / Nono Promoteo / Teatro Colón
Directed impeccably by Brönniman and Urdampilleta, the soloists, the different groups of instrumentalists and the singers gave an absolutely outstanding performance in this Argentine show. It was without a doubt a good decision to combine the musicians of the London Sinfonietta, important Argentine players and a youth orchestra – Brönniman highlights that this was a way of being true to Nono’s philosophy. Together, those who could teach and those who wanted to learn produced an aesthetic work of singular transcendence."
Diego Fischerman, Página 12, November 2013

Dusapin / Oporto Symphony Orchestra Live Disc
“Baldur Brönnimann’s accounts are highly convincing and bookend a disc which is as good an introduction to the composer as any available. The sound has both detail and impact.”
Richard Whitehouse, Gramophone, November 2013

London Sinfonietta / Stockhausen Gruppen / Royal Festival Hall
“The London Sinfonietta and the Royal Academy of Music’s Manson Ensemble, with three conductors — Martyn Brabbins, Baldur Brönnimann and Geoffrey Paterson — pulled off a remarkable feat of ensemble, precision and sheer virtuoso performing skills.”
Hilary Finch, Times, October 2013

“Augmented by players from the Royal Academy of Music Manson Ensemble, the London Sinfonietta under Baldur Brönnimann, Martyn Brabbins, and Geoffrey Paterson offered perhaps the finest ‘live’ performances I have yet heard”
Mark Berry, Seen and Heard International, October 2013

Orchestre Philharmonique de Strasbourg / Grieg, Saariaho, Sibelius, Lindberg
“Attentive to nuance, Brönnimann skilfully delivers each work; every feverish murmur, constructivist leap, and restless languor conveyed with balanced suspense.”
Laurent Bergnach, Anaclase, September 2013

Bergen National Opera / Tan Dun Marco Polo
“Conductor Baldur Bronnimann and the Bergen Philharmonic Orchestra brilliantly navigate their way through this musical melange with aplomb, from the tinny saucepan gongs of traditional Chinese opera to Indian sitar and tabla.”
Susan Nickalls, Financial Times, May 2013

Komische Oper Berlin / Ligeti Le Grand Macabre
Le Grand Macabre may well be the key opera of the late 20th century. This production – certainly worth the revival – is probably one of the best interpretations possible, and the commitment of the orchestra of Komische Oper – conducted by one of the best young specialists in this repertoire – confirms the vitality and relevance of opera today.”
Dominique Adrian, Res Musica, May 2013

West Australian Symphony Orchestra / Tchaikovsky, Edwards & Dukas
“There was also a thrilling account of Tchaikovsky's Fifth Symphony with conductor Baldur Bronnimann allowing the darkly sombre essence of the composer's introverted musings to register strongly.”
Neville Cohn, The West Australian, June 2012

English National Opera / Adams The Death of Klinghoffer
“Adams's score is a thing of beauty (and is rendered here with absolute clarity by Baldur Bronnimann).”
Alexandra Coghlan, New Statesman, March 2012

“At ENO the singing and the playing, conducted by Baldur Brönnimann, was formidable.”
Fiona Maddocks, Observer, March 2012

“Meanwhile, Adams’s melismatic choruses unfurl, their blue-gold orchestral accompaniments meticulously balanced by Baldur Bronnimann.”
Anna Picard, Independent on Sunday, March 2012

“Brönnimann, who impressed with Olga Neuwirth’s Lost Highway when the company mounted it at the Young Vic...

Cast, chorus and players all gave much for Bronnimann, and the production shouldn’t be missed.”
Paul Driver, Sunday Times, March 2012

“Baldur Brönnimann conducts with precise elegance”
Paul Levy, The Wall Street Journal, March 2012

“The ENO Chorus and Orchestra offer accomplished performances under Baldur Brönnimann. The Death of Klinghoffer is a brave and important work tackling one of the most intractable issues of contemporary world politics and it’s difficult to imagine it much better done. Not to be missed.”
Barry Millington, Evening Standard, February 2012

“...musical standards under conductor Baldur Brönnimann are very high, with Alan Opie and Michaela Martens outstanding as Mr and Mrs Klinghoffer...this is an opera that nags at the mind long afterwards. It ought to be seen.”
Richard Fairman, Financial Times, February 2012

“...there is much glorious music, especially in the gravely beautiful choruses, and the delicate orchestration is cleanly delineated under Baldur Brönnimann’s gentle baton. Outstanding among an admirable cast are Alan Opie (Klinghoffer) and Richard Burkhard (Mamoud). But this isn’t an opera that offers singers much chance to show off, any more than it offers audiences cheap gratification. The Death of Klinghoffer is serious stuff.”
Rupert Christiansen, Daily Telegraph, February 2012

“Conductor Baldur Brönnimann leads a clean and fluent performance of Adams’ lyrical score... it’s a remarkable evening, reaching an eloquent end as Michaela Martens, as Marilyn Klinghoffer, grieves angrily for her dead husband.”
George Hall, The Stage, February 2012

“What emerges clearly too from the performance under Baldur Brönnimann is the sheer beauty of so much of Adams's score, with its dark-hued sonorities, chromatically inflected harmonies and keening instrumental lines.”
Andrew Clement, Guardian, February 2012

“Adams’s music, efficiently delivered under Baldur Brönnimann, is far more than a glorified soundtrack to a true-life drama. The beautiful double-chorus of lamentation at the opening; the meditative arias entwined with instrumental obbligatos (often given a sensuous Middle Eastern twist); the way the music ritualises the action: all this suggests Adams aspiring to write a modern-day Bach Passion, and his achievement doesn’t fall far short.”
Richard Morrison, Times, February 2012

“Adams’ uneven score - soundly attended by Baldur Brönnimann - is at its best when it embraces the personal as opposed to the political. The big arias are truly showstopping: the Palestinian mother (Clare Presland) whose son takes the life of Klinghoffer (the excellent Alan Opie) in an unflinching double-perspective which horrifically puts us right there in the moment. And who could not be moved by Michaela Martens’ storming final aria in memory of her husband.”
Edward Seckerson, Independent, February 2012

Philharmonia Orchestra (Music of Today) / Kurtág Messages of the Late Miss R.V. Troussova
“…the work’s desperate intensity was palpably conveyed in a fine account directed by Baldur Brönnimann.”
Richard Whitehouse, Classical Source, June 2011

London Sinfonietta (Meltdown, Southbank Centre) / Harrison Birtwistle & Peter Maxwell Davies
“Conducted by the excellent Baldur Brönnimann, the London Sinfonietta paired sharply contrasted but iconic works by the two most significant British composers of that period, Harrison Birtwistle and Peter Maxwell Davies.”
Andrew Clements, Guardian, June 2011

“… Birtwistle's Secret Theatre (1984) and Maxwell Davies's infamous mini-opera Eight Songs for a Mad King (1969) - delivered with dramatic flare by the London Sinfonietta under the baton of Baldur Brönnimann - displayed the visceral stamp that made [the composers] enfants terribles.”
Igor Toronyi-Lalic, The Arts Desk, June 2011

“Swiss-born Baldur Brönnimann led a brilliant performance.”
Colin Anderson, Classical Source, June 2011

Scottish Chamber Orchestra / Glass Icarus at the Edge of Time (Scottish premiere)
“A significantly augmented Scottish Chamber Orchestra under Baldur Brönnimann produced two top drawer performances”
Keith Bruce, Herald, five stars, October 2010

“[The concert] featured the Scottish Chamber Orchestra under Swiss conductor Baldur Brönnimann, who served up the heavily laden score with brittle efficiency.”
Kenneth Walton, Scotsman, October 2010

Scottish Chamber Orchestra / Ives, John Adams & Ingram Marshall
“… with an engaged Baldur Brönnimann at the helm — a conductor able to count both stoically and with some flair in the face of potential orchestral chaos — this was an evening of fruitful echoes.

Adams’s jokily-titled Son of Chamber Symphony (2008)…was well done and impeccably sculpted by Brönnimann and the SCO.”
Sarah Urwin Jones, Times, October 2010

“… every note of the Three Places In New England, magnificently played by the SCO and conductor Baldur Brönnimann, trumpeted his singularity, his brashness, his nostalgia, his warmth and his sheer rambunctiousness.”
Michael Tumelty, Herald, October 2010

London Sinfonietta / Rolf Wallin Strange News
“Baldur Brönnimann, conducting, held together fine individual and ensemble performances of a work that raised unsettling questions about the roles of both creator and spectator.”
Hilary Finch, Times, October 2010

Auckland Philharmonia Orchestra / Beethoven, Nielsen & Bartók
“From Beethoven's opening orchestral statement, with finely-nuanced woodwind, conductor Baldur Bronnimann looked set to be hero of the evening. And he maintained this status throughout; he was always perceptive in underlining formal issues, and often cast new light on familiar passages by gauging orchestral emphasis and phrasing.”
William Dart, New Zealand Herald, June 2010

Auckland Philharmonia Orchestra / Bizet, Lalo & Ravel
“[T]he nuanced textures of the Intermezzo showed the admirable discipline that conductor Baldur Bronnimann demands when he stands in front of the orchestra.”
William Dart, New Zealand Herald, June 2010

London Sinfonietta / Wolfgang Rihm
“The Concerto Seraphim (2006-2008) is a lusty work, moving like an enormous Baroque concerto, the activity passing from small ripieno groups, who sing out plangently, to tutti busyness. It's long and complex and handled with extraordinary ability by the London Sinfonietta and conductor Baldur Brönnimann.”
Igor Toronyi-Lalic, The Arts Desk, March 2010

English National Opera / Ligeti Le Grand Macabre
“…a musical performance, under the tight baton of Swiss contemporary music specialist Baldur Brönnimann, that was never short on vigorous attack.

The overall result was musically and dramatically fun, and visually unforgettable.”
Opera News, December 2009

“… Baldur Brönnimann conducted with committed dexterity and the orchestra shone.”
Fiona Maddocks, Observer, September 2009

“Under Baldur Brönnimann, ENO's orchestra realise the score with vivacity and discipline, while Watts, Andersson, Ablinger-Sperrhacke, Bourne and Bottone make the absurdities, exaggerations, uglinesses and angularities of Ligeti's vocal writing sparkle. A production like this only comes along once a decade... This polyglot extravaganza is a triumph.”
Anna Picard, Independent, September 2009

“Andrew Watts as Prince Go-Go, Pavlo Hunka’s Nekrotzar, Susan Bickley’s Miss Whiplash housewife, Wolfgang Ablinger-Sperrhacke as a pot-bellied lout: these are standout individuals in an excellent ensemble, expertly conducted by Baldur Brönnimann. Rush to see it. After all, you don’t know how long you’ve got.”
Richard Morrison, Times, September 2009

“… an all snorting, all growling orchestra (brilliant under Baldur Brönnimann). Where else will you find a Monteverdian cacophony of motor horns?”
Edward Seckerson, Independent, September 2009

“The production by Alex Ollé and Valentina Carrasco…is spectacular and brought off to what seems perfection. The singers…deal with their many challenges and acting assignments with complete assurance and conviction, and the ENO Orchestra plays brilliantly for Baldur Brönnimann.”
Opera Critic, September 2009

“The ENO Orchestra plays superbly for Baldur Brönnimann, and Ligeti's moments of genius – from the opening car horns to the rapturous closing passacaglia – are as vivid as ever, just as the sly digs at his predecessors, including Monteverdi, Beethoven and Wagner, not to mention the anticipations of Thomas Adès's The Tempest, make their mark, too.”
Andrew Clements, Guardian, September 2009

“Baldur Brönnimann conducts a brilliant musical realisation that jostles constantly with the visuals for the centre of attention.”
George Hall, The Stage, September 2009

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Baldur Brönnimann biography Download
Baldur Brönnimann press quotes Download
Baldur Brönnimann repertoire Download
Baldur Brönnimann, International Arts Manager article, February 2012 Download


Baldur Brönnimann (credit: João Messias/Casa da Música) Baldur Brönnimann (credit: João Messias/Casa da Música) Download
Baldur Brönnimann (credit: João Messias/Casa da Música) Baldur Brönnimann (credit: João Messias/Casa da Música) Download
Baldur Brönnimann (credit: João Messias/Casa da Música) Baldur Brönnimann (credit: João Messias/Casa da Música) Download
Baldur Brönnimann (credit: João Messias/Casa da Música) Baldur Brönnimann (credit: João Messias/Casa da Música) Download
Baldur Brönnimann (credit: Yaniv Cohen Baldur Brönnimann (credit: Yaniv Cohen Download
Artist News

More Baldur Brönnimann news

  • Baldur Brönnimann talks about his programme at Casa da Musica, of music by Schönberg, Handel, Zelenka and Rameau (April 2014):

    Baldur Brönnimann talks about his programme at Casa da Musica, and the music of Beethoven, Lutoslawski and Francesconi (May 2013):

    Watch Baldur Brönnimann conduct the BIT20 Ensemble and students from the Grieg Academy in a performance of music by Edgar Varèse and Frank Zappa in February 2013: