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Mark Wigglesworth


Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London. While still a student, he formed the Premiere Ensemble, an orchestra committed to performing a new piece in every programme. A few weeks after leaving the Academy, he won the Kondrashin International Conducting Competition in the Netherlands, and since then has worked with many of the leading orchestras and opera companies of the world.

In 1992 he became Associate Conductor of the BBC Symphony Orchestra and further appointments included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales. Highlights of his time with BBC NOW included several visits to the BBC Proms, a performance of Mahler's tenth symphony at the prestigious Amsterdam Mahler Festival in 1995, and a six-part television series for the BBC entitled Everything To Play For.

In addition to working with most of the UK's orchestras, Mark Wigglesworth has guest conducted many of Europe's finest ensembles, including the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Amsterdam, La Scala Filarmonica, Milan, Accademia Nazionale di Santa Cecilia Orchestra, Rome, Stockholm Philharmonic, Gothenburg Symphony, Oslo Philharmonic, Finnish Radio Symphony, Salzburg Mozarteum Orchestra, Salzburg Camerata and the Budapest Festival Orchestra.

He has been just as busy in North America, having been invited to the Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Orchestre Symphonique de Montreal, the Toronto Symphony, and the Boston Symphony. He regularly visits the Minnesota Orchestra and has an on-going relationship with the New World Symphony.

Equally at home in the opera house, Mark Wigglesworth started his operatic career with a period as Music Director of Opera Factory, London. Since then he has worked regularly at Glyndebourne (Peter Grimes, La bohème, Le nozze di Figaro), Welsh National Opera (Elektra, The Rake's Progress, Tristan und Isolde, Così fan tutte) and English National Opera (Lady Macbeth of Mtsensk, Così fan tutte, Falstaff, Katya Kabanova, Parsifal). He has conducted at the Netherlands Opera (Peter Grimes); La Monnaie in Brussels (Mitridate, Wozzeck, Pelléas et Mélisande); the Sydney Opera House (Peter Grimes); the Metropolitan Opera, New York (Le nozze di Figaro); and the Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg).

In the studio, Wigglesworth's recordings have centred around a project with BIS Records to record all the symphonies of Shostakovich. This cycle has received critical acclaim throughout the world. Other recordings include live performances of Mahler's sixth and tenth symphonies issued by the Melbourne Symphony on the MSO Live label, Peter Grimes from the Glyndebourne Festival, Don Giovanni from the Sydney Opera House, a disc of English music with the Sydney Symphony, and most recently the two Brahms Piano Concertos, played by Stephen Hough and the Mozarteum Orchestra, Salzburg.

Highlights of the 2014/15 season and beyond include returns to the Royal Opera House, Covent Garden (Weill Rise and Fall of the City of Mahagonny), a new production of Owen Wingrave for the Aldeburgh and Edinburgh Festivals, a BBC Prom with the BBC National Orchestra of Wales, Netherlands Radio Philharmonic, Sydney and Adelaide symphony orchestras, as well as debuts with the Royal Flemish Philharmonic and Orquestra Sinfônica do Estado de São Paulo.

Mark Wigglesworth will be Music Director of English National Opera from September 2015.

September 2014 / 536 words. Not to be altered without permission. Please destroy all previous biographical material.

Vaughan Williams / Britten
'Arcadia Lost'
Vaughan Williams: Lark Ascending, Flos Campi and On Wenlock Edge
Britten: Sinfonia da Requiem
With Sydney Symphony Orchestra
Melba Recordings
Symphonies Nos. 1, 2, & 3
With Netherlands Radio Philharmonic Orchestra
and Netherlands Radio Choir
Peter Grimes
Glyndebourne Festival Opera 2000
London Philharmonic Orchestra
Symphony No. 11
With Netherlands Radio Philharmonic Orchestra
Symphony No. 4
With Netherlands Radio Philharmonic Orchestra
Symphonies Nos. 9 and 12
With Netherlands Radio Philharmonic Orchestra
Symphony No. 6
With Melbourne Symphony Orchestra
ABC Classics
Symphony No. 13
With Netherlands Radio Philharmonic Orchestra
Symphony No. 8
With Netherlands Radio Philharmonic Orchestra
Symphony No. 14
With BBC National Orchestra of Wales
Symphonies Nos. 5, 6 and 10
With BBC National Orchestra of Wales
Symphony No. 7
With BBC National Orchestra of Wales
Symphony No. 10
With BBC National Orchestra of Wales
Suite from Die Meistersinger von Nürnberg
With BBC National Orchestra of Wales

Skempton, Howard
With BBC Symphony Orchestra
NMC D005
Mahler (arr. Schoenberg)
Das Lied von der Erde
With The Premiere Ensemble
Jean Rigby (mezzo soprano), Robert Tear (tenor)

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BBC National Orchestra of Wales / Elgar
“From the opening prelude, Wigglesworth created the mystic aura that surrounds the dying Gerontius, his frailty and his doubts, as though dipping in and out of consciousness. In the process, Wigglesworth established the basis of a colour palette – almost Turneresque in its balance of clarity and haze, and implicitly connected to Elgar’s harmonic language – that he then deployed with masterly control over the whole span of the work. The misty sheen of the BBC NOW strings was notable throughout.”
Guardian, November 2014

BBC Prom / National Orchestra of Wales / Wagner, Mathias, Elgar
“There are many big orchestral beasts still to appear in this Proms season, but when the summer’s highlights are recalled this superlative performance of Elgar’s First Symphony by the BBC National Orchestra of Wales under Mark Wigglesworth will surely be near the top. It had everything.

Wigglesworth’s pacing was spot on. The first movement was expansive enough for Elgar’s profuse thickets of detail to be disclosed, yet never grandiose. The second movement was ferociously precise and pointe, the sublime adagio beautifully tranquil and the finale gradually more fervent until the big tune returned replete with what always reminds me of a 21-gun salute.

The orchestra rose fabulously to this epic challenge. The string sound in particular was rich and full in the loud bits and stunningly diaphanous during the hushed adagio ending. And Wigglesworth drew such lyrical playing for a work that can sound a little bombastic. His Wagner expertise certainly helped, but it was more about treating the symphony as a subtle personal document, not an Edwardian swagger.”
Times, five stars, August 2014

“For Wigglesworth, conducting from memory, the symphony is something altogether more troubling – a work with deep turmoil at its core, in which both tranquillity and exaltation must be fought for and won. A powerhouse performance of great integrity, it was superbly played and often overwhelming in its impact.”
Guardian, August 2014

“Wigglesworth’s highly original and deeply satisfying account of Elgar’s First Symphony was on another level altogether, however. Tempi were again brisk here but in the first movement used to generate drama and urgency. The Scherzo took things further, its ferocious intensity becoming positively demonic. If the Adagio was a haven of serenity, the finale gathered all the threads for a final assertion of confidence.

The symphony, completed in 1908, expressed “a massive hope in the future”, according to Elgar himself. Wigglesworth’s reading was all the more potent an assertion of humanistic optimism for being forged in the fires of conflict.”
London Evening Standard, August 2014

“[Elgar’s First Symphony] needs a lift and a shape, which it got in excelsis from the consummate Mark Wigglesworth… Wigglesworth’s ardent sensibility brushed the pomp off the great motto theme, making it sound fresh but not rushed, guiding the conflicting angst with absolute certainty of purpose to its final climax and extinction, a shattering, extended apocalypse brilliantly capped by BBCNOW principal trumpet Philippe Schartz…

There could be no better demonstration of Wigglesworth’s crystal-clear art than the way he shaped the opening reverie in one supple paragraph... Once the clarinet had signed off with infinite tenderness on the most inward slow-movement coda in the repertoire, we were off without a break… into the conflicted adventure of the finale, again winging its way to a fast, exultant triumph.”
The Arts Desk, August 2014

Aldeburgh Festival / Britten Owen Wingrave
“The score is full of fractured fanfares, bitonal unease and eerie textures, and the excellent Britten-Pears Orchestra brings out all this aural neurosis in a precise, perfectly paced performance under Mark Wigglesworth…

It’s great, too, to hear a cast enunciating English so clearly without surtitles: an encouraging sign of Wigglesworth’s priorities when he becomes music director at English National Opera.”
Times, June 2014

“What a red letter day it is when a work you’ve always thought of as problematic seems at last, if only temporarily, to have no kind of fault or flaw. That was the case for me on Sunday afternoon with Britten’s penultimate opera, Owen Wingrave, launching this year’s Aldeburgh Festival with an ideal cast fused as one with the young Britten-Pears Orchestra thanks to the self-evidently intensive collaboration of director Neil Bartlett and conductor Mark Wigglesworth…

Wigglesworth conducts a pared-down but never thinner-sounding chamber version by David Matthews… with unerring turns of the screw from the first stunning gamelanish tattoo of the prelude through to interludes of surprising if always eerie beauty.

The highlight of those, exquisitely played and paced, comes before the disastrous supper party at the Wingraves’ haunted house Paramore, and the denouement is almost blinding in its oddly cathartic magnesium flare. Wigglesworth’s Peter Grimes from Glyndebourne is the deepest I know on disc, Britten’s own Decca version included, and here he puts not a foot wrong. The young Britten-Pears Orchestra musicians, capped by a trumpeter playing a characteristically uncompromising, barbed part as fanfarer, are simply stupendous.”
David Nice, The Arts Desk, June 2014

Recording: Shostakovich Symphonies Nos 1 & 15 / Netherlands Radio Philharmonic Orchestra (BIS)
“As in previous recordings in this fine Shostakovich cycle, Mark Wigglesworth provides compelling and insightful interpretations that keep you transfixed, a quality highlighted by my colleague Daniel Jaffé in his review of the First, which has been previously released. Apart from the uniformly high quality of orchestral playing and the outstandingly brilliant SACD sound, the great strength of Wigglesworth’s interpretations lies in the keenly articulated response to every inflection, without ever sounding cerebral or lacking in emotional heft. Wigglesworth adopts expansive speeds for the outer movements of the Fifteenth, but he keeps a tight grip on the structure, building up climaxes of awesome power in the few passages where Shostakovich unleashes the full might of the orchestra. Likewise, the pacing is immaculate in the ominous funereal tread of the Adagio.”
BBC Music Magazine, five stars, August 2014

“The performance by the Netherlands Philharmonic is excellent and played with precision. The recording is really a fine one, with very strong instrumental definition and positioning…

Wigglesworth gets an aggressive and fine performance from the orchestra, especially the percussionists who are spotlighted in the work. The recorded sound is first rate, and while the recording itself is not new, dating from 2006, it is faultless.

BIS has what I consider to be the finest recorded series of the Shostakovich symphonies so far… the full set is as much as any aficionado of the composer could hope for in performance and recording quality.”
Audiophile Audition, July 2014

“Mark Wigglesworth has an excellent nose for this music. His cycle of the symphonies – split between Wales and the Netherlands – has thrown up some top contenders and even first choices, and this recoupling and the first and last of them conveys a satisfying sense of both the journey and its completion…

Everything from slapstick to melodrama is embraced and vividly chronicled in Wigglesworth’s performance… I love Wigglesworth’s characterful handling of the passage coming out of the Trio where a grumpy bassoon laboriously tries to get the movement up to speed again. The intrigue, the thematic sleight of hand, the dazzling accomplishment of this piece never fails to amaze (the composer was 18) – but this Wigglesworth performance, with cracking playing from the Netherlands Radio Philharmonic Orchestra, must be one of the best.

The slow movement turns the tomfoolery and melodrama on its head and glimpses the soul of a teenager who is already experiencing anger and disillusionment. Wigglesworth digs deep here and his attention to dynamics has us breathing a different kind of air at the heart of the movement. The intimations of mortality which haunt the Fifteenth and last symphony are much less than a lifetime away…

Wigglesworth’s performance [of the Fifteenth symphony] has a perverse logic to it and he’s so good at making a kind of sense of those passages that drift into the no-man’s-land of the composer’s imagination – like that strange meandering string fugue at the heart of the first movement.

The irony is, of course, writ large here; and, quite apart from the big rhetorical gestures that Wigglesworth’s orchestra and engineers deliver with such force, there is a quiet wryness in moments like the flippant redirection of the Tristan quotation away from the indeterminacy of Wagner’s famous chord. This piece knows exactly where it is going: towards the ticking percussion motif from his once outlawed Fourth Symphony. It’s a last laugh that is not lost on Wigglesworth.”
Gramophone, July 2014

“There's something about Wigglesworth's approach to the First that seems determined to link it with the mainstream of Shostakovich's symphonic writing, rather than treating it as a brittle example of his early flirtation with neoclassicism… Wigglesworth shows that some of the qualities he finds in his delicate, almost balletic treatment of the first movement – and especially the weighty elements he unearths in its lento and finale – can be transferred directly across almost half a century to the 15th.

As Wigglesworth points out in his own thoughtful sleeve notes, that's partly because Shostakovich set out in his final symphony to trace his own biographical journey in music, with a liberal use of allusions and direct quotations, not only from his own works but from a host of other composers... hearing how the energy of the opening movement of the First translates into the more sardonic mechanics of the same movement in the 15th, and how the tragedy that the second movement of the 15th confronts what was already lurking in the 1920s, suggests that the real foundations of his symphonic thinking were laid right at the start of his composing career.

Now that it is complete, Wigglesworth's cycle emerges as one of the finest of recent times, far more consistent and considered than its most recent rival.”
Guardian, April 2014

“I find Mark Wigglesworth one of the more interesting conductors on the international circuit and his Shostakovich cycle has been distinguished. This release is a popular combination of Shostakovich’s symphonic Alpha and Omega – his First and Fifteenth symphonies…

The composer burst on the scene with his First Symphony, written at 18, with staggering assurance. It’s an engaging blend of youthful cheekiness and subversion with darker undercurrents. Wigglesworth and his Dutch orchestra handle the kaleidoscopic orchestration and signature moods – humour, wit, agitated energy – deftly, though tempi are measured.

The Fifteenth, composed when Shostakovich was already ill, is one of music’s great enigmas bya composer who raised enigma to an art form. The opening, whose first notes we hear on a glockenspiel, was meant to portray a toyshop. Only Shostakovich could conjure up an atmosphere so sinister conveying innocence. The first climax doesn’t occur until the second movement. Here we are in familiar desperation territory and Wigglesworth gives it the appropriate heft. In the finale he paces the bleak passacaglia perfectly.”
Limelight Magazine, April 2014

New World Symphony Orchestra / Stravinsky, Wagner
“Wigglesworth drew a performance of rich color and drama from the orchestra. The music symbolizing Isolde’s desire for Tristan had a delirious, almost out-of-control feeling. The great climactic moments, such as the foreshadowing in the Prelude and Isolde’s Liebestod, weren’t just loud—any conductor can accomplish that. Wigglesworth built them with such skill that just when you thought the intensity had peaked and couldn’t go any higher, he would pull back on the tempo and draw even more power from the orchestra.”
South Florida Classical Review, December 2013

Recording: Brahms Piano Concertos Nos 1 & 2 / Mozarteumorchester Salzburg / Stephen Hough (Hyperion)
“Mark Wigglesworth leads the Mozarteum Orchestra of Salzburg in a trajectory that, from the timpani thunderclap punctuating the pedal-point surge that launches the D minor Concerto, enacts the relentless unfolding of an implacable tragedy. This is undoubtedly young Brahms, but without a trace of reticence or ambivalence. Towering, angular chords have edges that could slice stone and the strings’ high-register trills shriek in recoiling alarm. .. through the accretion of another two dozen instances of close reading, intelligent contrasts and eloquent rhetoric, do Hough, Wigglesworth and the Salzburgers construct a towering edifice, conjuring waves of power and tapping veins of poetry from the depths of this perhaps least guarded of Brahms’s creations…

Significant credit is due to Wigglesworth, whose close attention to balances [in Concerto No.2] render the orchestral choirs luminous, and whose wonderfully coaxing, elastic beat never becomes ponderous… There’s nothing to argue with in either the conception of execution of these stimulating, heartfelt performances.”
International Record Review, December 2013

“Mark Wigglesworth scrupulously prepared his musicians, and their medium-weight sound offersthe best of both worlds: chamber intimacy if needed, but also clear textures whenever the notes thicken… both concertos are marvels of the repertory and Hough and the Mozarteum players polish their wonders anew.”
Times, November 2013

Recording: Shostakovich Symphony No. 11 / Netherlands Radio Philharmonic Orchestra (BIS)
“I've always been impressed with British conductor Mark Wigglesworth... I've heard some mighty broadcasts of performances with the Royal Concertgebouw Orchestra, Amsterdam and he shows the same strengths in his distinguished series of all of the Shostakovich symphonies recorded for BIS with the Netherlands Radio Philharmonic. This new issue of the powerful Symphony No. 11 is among the finest you will ever hear, and the intense reading and superlative playing by the Dutch orchestra are captured with remarkable fidelity by the BIS engineers… Those who love this symphony surely should investigate this new version with Wigglesworth.”
Classical CD Review, November 2012

BBC Symphony Orchestra / Tippett &Wagner
“Frankly, had Mark Wigglesworth only conducted Siegfried’s Funeral March in this concert’s second half, he would have consolidated an already glowing reputation as a top-notch Wagnerian. That he and the BBC Symphony Orchestra burned their symphonic way through Dutch percussionist Henk de Vlieger’s audacious, unbroken “orchestral adventure” turned this from an odd-looking programme on paper into a great one in practice.

Wigglesworth conjured a watery luminescence at the start as well as searing brilliance for the air through which the Valkyries fly, and there was a breathtaking transition from magic fire to forest murmurs.

Liberation from the pit helped make Wagner’s selective orchestral genius visible. Throughout, stage spotlights on the strings made you appreciate just how much he asks of every desk… It was tempting to spring up and proffer the missing soprano lines for her [Brünnhilde’s] immolation, but once she’d leapt into the flames, Wigglesworth did not disappoint in pacing the final cataclysm and unfurling the last great theme with all the assurance of a Knappertsbusch or a Furtwängler. No doubt about it, this was the white heat which has mostly eluded Haitink and Pappano, for all their sterling virtues, at Covent Garden. Wigglesworth should be the house’s next choice of Ringmeister, by which stage there may be a production worth looking at too.”
The Arts Desk, October 2012

“A Wagner conductor of distinction, Wigglesworth held it together skilfully, finessing its changes of tempo perfectly. With the BBC strings and brass on wonderful form, the last 30 minutes were Wagnerian bliss.”
The Guardian, October 2012

“You wouldn’t automatically fit Wagner and Michael Tippett into the same basket. Trust [the BBC Symphony Orchestra] to programme a concert against the grain. Trust them too, along with the generously gifted conductor Mark Wigglesworth, to play Tippett and Wagner with equal heat and make the pair boon companions.

Both works in this concert took us on magical journeys. Tippett’s Triple Concerto, a product of the late 1970s, led us through day, night and the next day’s dawn with music both curt and florid, laced with the radiant gongs of gamelan ensembles. With Wagner we travelled farther and faster, thanks to The Ring — An Orchestral Adventure, a 60-minute rollercoaster ride through the music theatre cycle usually experienced over four nights …

Wigglesworth’s contribution was just as crucial [as that of the Leopold Trio], maintaining lucid interplay between soloists and orchestra, tying together stretches that can sometimes seem full of loose ends ...

The conductor’s skills at pacing and shaping played a key role in keeping de Vlieger’s breathless “musical adventure” plausible as one bleeding chunk bled into another, eased by pockets of Wagner pastiche. Resplendent brass playing also helped Wagner’s glories to shine. Heard complete in the opera house, The Ring can make me fidgety. But here? Never a dull moment.”
The Times, October 2012

“Moving for me, too, was the journey through The Ring, particularly since it came soon after I lived through the real thing at Covent Garden. Listening to this tumultuous survey of the high points of the four dramas… put me in mind of Homer’s Odysseus, weeping to hear his own epic exploits recounted by the minstrel. The Ring is almost more intense alluded to than directly encountered, but this uninterrupted, wholly liberated, fantastically vivid discourse also suggested the new kind of (giant) symphony that Wagner was planning to write near the end of his life, but never did… And in this account it was utterly compelling.”
Paul Driver, The Sunday Times, October 2012

“Mark Wigglesworth is one who could surely be considered a possible contender for the Royal Opera’s music directorship when it eventually comes up-for-grabs… He seemed to judge each Wagnerian moment perfectly whether it was playful, threatening, heroic, funereal or rapturous.”
Seen and Heard International, Oct 2012

“Mark Wigglesworth and the BBC SO demonstrated a real flair for and affinity with Wagner's music. So much so, that one could imagine them doing a better job in the pit than some of the more established, and complacent, opera house orchestras. Wigglesworth conjured up a murky Rhine at the start, swelling up into the Rhine Maiden's glorious celebration of life and love. The Magic Fire music crackled and dazzled, while the Forest Murmurs section impressionistic in its subtlety.”
Music OMH, October 2012

Recording: Shostakovich Symphonies Nos. 1-3 / Netherlands Radio Philharmonic Orchestra (BIS)
“Wigglesworth’s Shostakovich is deeply satisfying, shedding new light on works we think we know so well…

Firing up the Wigglesworth I was immediately struck by the more equivocal nature of his reading... the real thrill is that Wigglesworth digs so much deeper than most, and sometimes it’s as if we’re hearing this music anew. It’s a defining characteristic of his other recordings in the series and augurs well for the rest…

I’ve rarely heard this symphonic edifice built so carefully, brick by brick, but the effect is utterly compelling. The stereo spread in the BIS recording is very convincing and individual instruments are easy to locate in the soundstage; it certainly has the finest, most throat-grabbing sound of all… that’s Wigglesworth’s way; he really does know how to balance out the banalities in Shostakovich and get the mood of this music just right...

There’s just so much to engage with – and marvel at – in these performances that I must do the same here. The artistic and sonic virtues of this new recording simply blaze forth. It’s a triumph for all concerned and proof, if it were needed, that Wigglesworth’s almost complete Shostakovich cycle is one of the finest – and most consistently satisfying – in the catalogue. Onward the 15th!”
Music Web International, April 2012

“From the perspective of how Shostakovich’s career was to develop, all three [symphonies] offer a fascinating array of might-have-beens, hinting at stylistic directions that were contemplated, but never followed up… Wigglesworth and the Netherlands Radio Orchestra do a fine job in clarifying the tangled textures, and in making their choral finales seems a bit more than just propagandist doggerel”.
The Guardian, June 2012

“Shostakovich’s quirky First Symphony was written as his graduation piece and remains a remarkable achievement for someone who completed its orchestration only two months short of his 19th birthday. Even so, I don’t recall being gripped quite as much by this work as in this present recording by Mark Wigglesworth and his Netherlands forces. Their relish in the Symphony’s vibrant kaleidoscope of characters and colours, all caught in a fine recording, hold your attention – even throughout the passages that sounds less inspired in other hands. Wigglesworth and his musicians are alive to every inflection.”
BBC Music Magazine, five stars, October 2012

Minnesota Orchestra / Ravel & Berkeley
“Conductor Mark Wigglesworth, the Minnesota Orchestra and the Minnesota Chorale gave such an evocative, richly textured interpretation of the ballet's [Ravel Daphnis and Chloe] score that it felt like the most passionate argument for Ravel's greatness that could possibly be made. This was a performance of grand magnitude without grandiosity, a sweeping showcase for not only this orchestra, but for the composer's gift for sculpting sound.”
St Paul Pioneer Press, May 2012

Recording: Arcadia Lost (Melba Recordings)
Sydney Symphony Orchestra / Vaughan Williams The Lark Ascending, Flos Campi & On Wenlock Edge; Britten Sinfonia da Requiem
“This is an exquisitely musical and splendidly atmospheric disc… I have had occasion to praise Mark Wigglesworth previously in these pages for his outstanding recording of the Mahler 10th Symphony, which I believe was only issued as a BBC Music Magazine disc, but which is my all-time favorite performance of that work. This is yet further proof that he is an exceptionally special talent.

Indeed, I would place these performances of The Lark Ascending and FlosCampi as far and away the most exquisite, deeply felt, I would even say spiritual performances of these works I’ve ever heard.Wigglesworth draws such extraordinary playing out of the Sydney Symphony that one is left speechless in trying to describe its effect…

There are many reasons Arcadia Lost is wonderful, but the major factor is Mark Wigglesworth’s brilliant conducting. I first heard him a few seasons ago in performances of The Marriage of Figaro at the Metropolitan Opera. From the first measures of the overture I realized that this was something out of the ordinary… The style is very profound, and the musical heart of the matter brilliantly illumined from beginning to end. The Sydney Symphony Orchestra has had Beecham and Klemperer on its podium, but I hope they know that Mark Wigglesworth is in every way their peer of these two patriarchs… Wigglesworth is an authentic voice in an inauthentic time, and he makes Sydney one of the prominent music centers of the world.”
Fanfare, November 2012

“Under the inspired, profound and rigorous direction of English conductor Mark Wigglesworth the works presented in this recording recapture a level of emotion too often masked by a disconcertingly academic approach.”
Opus Haute Définition, Opus d’or: Featured CD of the Month, February 2012

“Mark Wigglesworth's account of the Britten is a slow burner; he resists the temptation to turn it into a virtuoso showpiece for the fine Sydney orchestra from the start, but steadily ratchets up the intensity through the first movement and scherzo, leaving the finale to resolve its tensions.”
Guardian, February 2012

“Wigglesworth paces proceedings to a finessed nicety, drawing out every ounce of rapt languor and tender intimacy from RVW’s yearningly sensuous paean to earthly love”.
The Classical Review (US), February 2012

“Wigglesworth is an excellent conductor who brings out the best qualities of the compositions. He simply has the right feel for the music.”
Audiophile Audition, February 2012

“Mark Wigglesworth… occupies a status that ranks them high in the world of music. Wigglesworth is particularly highly regarded for his conducting of English music in general and of Ralph Vaughan Williams in particular… and brings sumptuous sound from the orchestra, as he does in Britten’s Sinfonia da Requiem.”
Pittwater Life, December 2011

Orchestre Philharmonique de Monte Carlo / Mahler
“The musical direction is all important in a piece such as this, and English maestro Mark Wigglesworth’s lead could hardly be faulted. His conducting was clear-cut, exacting and meticulous; sharply bringing out the nuances, and obtaining an ethereal lightness from the outstanding Orchestre Philharmonique de Monte-Carlo in the second movement. Wigglesworth’s performance surpassed itself in portraying a power beyond the reach of ordinary mortals, when the brass section – located in part off stage, as per the composer’s instructions – rang out with the terrors of the last judgement and the tremors of the, December 2011

“Conductor Mark Wigglesworth launched into the battle with the sincere and fitting commitment so characteristic of his work. It was quickly apparent how thoroughly he had thought through this lush piece, and how he had taken care to avoid the trap of extreme expressionism in order to give the piece a timeless quality. From the very beginning, we were caught up in the exhilarating tempo, the captivating narrative, and the musical landscape, spread out before of us like a powerful river ...

This second symphony was deeply moving, and the performance was a success in every way, quite simply because Wigglesworth’s dedication and enthusiasm were infectious, and we felt the fire in every line of this spiritual and inhuman score. This was the work of a goldsmith, skilfully negotiating every decibel.”, December 2011

Sydney Symphony Orchestra / Lutoslawski, Mozart & Dvorak
“Mark Wigglesworth conducted with familiarity and ease, creating masterfully the scattered structure and subtle colours of the symphony. The orchestra produced magnificent fresh textures... under Mark Wigglesworth the orchestra surpassed expectations with refreshing phrasing and dynamics.”
Australian Stage Online, October 2011

BBC Symphony Orchestra at the BBC Proms / Britten
“Apart from Britten himself, the central figure of the evening was Mark Wigglesworth, deputising for an indisposed Jiri Belohlavek, and proving once again what a very special conductor he is. Wigglesworth's exposition and shaping of the three diverse Britten pieces was extremely fine ... The much earlier Sinfonia da Requiem was no less effective, though in a wholly different way, all tension and drive, appropriate to a work from a less settled part of Britten's evolution.

Wigglesworth's culminating achievement, though, was his compelling grasp of Britten's problematic Spring Symphony … Wigglesworth supplied a control, conviction and coherence that surpassed any previous rendering of the piece in my experience.”
The Guardian, August 2011

“[Sinfonia da Requiem] was the concert’s highlight, in part because of the tight control exerted over the BBC Symphony Orchestra by the conductor Mark Wigglesworth (stepping in for Jiri Belohlavek). How carefully he graded its dynamics in the opening bars, with winds wriggling like earth worms through the lower strings’ anguished tread. Tension built inexorably, further raised in the central movement’s brittle fury, sharply garnished with tutti shrieks and the dry bones of the rattling xylophone (superbly played). Then came the finale’s slow retreat, with a consoling hand offered and wounds licked: very moving.”
The Times, August 2011

“Mark Wigglesworth confidently located the music’s Mahlerian pulse [in the Sinfonia da Requiem] and maintained an edgy, eloquent reading that avoided overstatement and let the notes speak for themselves as they built towards their grand climax. The ensuing ‘Dies irae’ burned its trail with lightning speed, Wigglesworth testing the BBCSO brass to the limit with the force of its fiendish chromaticism. His grip never relented until the music’s rage gave way to the lyrical finality of the closing movement ...”, August 2011

“The combined BBC Symphony, Chorus and Singers under Mark Wigglesworth delivered a performance that grasped not only the casual brilliance of Benjamin Britten’s virtuoso writing, but also the rather more timid sincerity of his politically and emotionally charged music…

A testament to his pacifist beliefs, Britten’s [Sinfonia da Requiem] struggles against itself – the central dance of death with its flutter-tongued sirens and hellish whirrings seems forever in danger of becoming seduced by its own rhythmic urges. Wigglesworth held his forces in check, never quite surrendering to the macabre glee Britten glances toward but ultimately rejects.

The precision of colour (both musical and emotional) that the BBCSO brought to the Sinfonia relaxed into the garden party that is the Spring Symphony. …

As skilful a finale as any Britten achieved, Beaumont and Fletcher’s sweeping vision of London here brought the evening to a vivid and apt close, a joyful release to the tension so carefully fostered by orchestra and singers in the first half.

This may have been one of the Proms’ Choral Sundays concerts, but the argument put forward so eloquently by Wigglesworth and the BBCSO was that even when writing wordlessly for orchestra, Britten was equally capable of articulating his convictions and dramatising his concerns.”
The Arts Desk, August 2011

"The BBC Symphony Orchestra gave a powerful, no-holds-barred performance of the Sinfonia da Requiem under the baton of Mark Wigglesworth."
Financial Times, August 2011

“Most satisfying of all in the concert, however, had been the Sinfonia da Requiem … This was a spell-binding performance, and was a timely reminder of just how excellent a conductor Wigglesworth is – if anyone had been missing Jiri Belohlavek on the podium, this surely would have dismissed those longings.”, August 2011

English National Opera / Wagner Parsifal
“I find it almost impossible to believe that Mark Wigglesworth has never conducted Parsifal before - in this revival of Nikolaus Lehnhoff’s 1999 production, it sounded as though he’d been soaked in the score all his life and thought of nothing else.

Miraculously, he struck the fine balance between the music’s unique translucency (Debussy said it was 'lit from behind’) and its depth, weight and intensity. Each act was confidently shaped through one organically growing curve, within which the whispered pianissimi, the shimmering stillnesses and the dramatically pregnant pauses were as masterfully calculated as the stupendous climaxes.

The orchestra was inspired to playing of a smoothness and security which would not have disgraced the Berlin Phil. To ENO’s Wagnerian pantheon, occupied only by Reginald Goodall and Mark Elder, the name of Mark Wigglesworth must now be added.”
The Telegraph, February 2011

“Mark Wigglesworth’s lovingly-crafted Wagner conducting is one of the revelations of recent years, and the ENO orchestra and thrillingly augmented chorus perform brilliantly.”
The Times, February 2011

“Mark Wigglesworth and the ENO orchestra, magnificent throughout the evening, now achieve a truly rarefied beauty, strings whispering a barely audible benediction before the solo oboe announces the new dawn.”
The Independent, February 2011

“The accomplished British conductor Mark Wigglesworth, in his first performance of “Parsifal,” drew warm, plush and sensitive playing from the orchestra”
New York Times, February 2011

“Mark Wigglesworth conducts superbly, generating momentum and purpose while creating moments of softness, stillness and sexiness – above all in the flowermaidens’ chorus. The orchestra responds with exceptional refinement, and a long evening flies past.”
Financial Times, February 2011

Recording: Britten Peter Grimes 
Glyndebourne / London Philharmonic Orchestra / Glyndebourne Chorus 

“This is the greatest conducting and playing – LPO on top form – of Britten’s first operatic masterpiece I’ve ever heard, by quite some way (including both the composer’s own focused Decca interpretation and Edward Gardner;s recent account at English National Opera). It’s agile, fleet and sharp in the choral ensembles – no doubt helped by a relatively slimline ensemble of top young voices – and searingly weighty in the interludes: the crucial central Passacaglia catches fire and blazes … this is an ideal presentation of a masterpiece at its unrelenting best”.
BBC Music Magazine, December 2010

“Mark Wigglesworth’s conducting has remarkable moments: the various threads and textures in the scene at the Boar are clearer and easier to follow that I’ve ever heard; the slashing of the strings goes straight to the heart in the recitative moments before ‘We shall be there with him’. There’s a jollity to the early moments of Act 3 and a mania to the build-ups to the grand hunt-for-Grimes scenes that really catch fire, and he pays attention to Britten’s bass lines, always an undercurrent of evil. The London Philharmonic and Glyndebourne forces play and sing with accuracy and focus to all of Britten’s mood changes. The penultimate scene of the opera is as frightening as it should be.”
International Record Review, November 2010

“Under Mark Wigglesworth’s assiduous baton, there’s scarcely a moment where ensemble is less than flawless, while the rough splendour of the LPO’s playing highlights the intermittent expressionism of the piece through an intense concern with orchestral sonority. The storm carries a thrilling electrical charge.”
Opera Magazine, January 2011

Minnesota Orchestra / Wagner & Brahms
“From the meticulously balanced opening bars, Wigglesworth's touch was sure; frenzied sections were propulsive, languorous passages glowed. …

As late Haydn symphonies go, No. 90 is obscure. Yet it offers abundant formal felicities, captivating solo turns for flute and oboe and, in the finale, a musical joke worthy of PDQ Bach…Wigglesworth was in his element; the band played with articulate gusto”
Star Tribune, May 2010

English National Opera / Janacek Katya Kabanova
"The production’s triumph is primarily musical, however. Mark Wigglesworth ... proves a worthy successor to Mackerras in this repertoire. Indeed, I don’t recall playing as beautiful and powerful as this in Janacek’s score before. Wigglesworth emphasises Janacek’s lyricism — the prelude representing the Volga, the heart-stopping music announcing Katya’s first appearance, the ecstatic climax as Boris and Katya meet for the last time — without sacrificing its rhythmic pungency and dramatic momentum. It’s a theatrical bonus that the 100-minute opera proceeds without a break. Wigglesworth, Alden and Racette rack up the tension to the last. This is another memorable Janacek night at the Colly."
Hugh Canning, The Sunday Times, March 2010

"But the protagonist of the evening is the ENO orchestra attending to every facet of Janacek's painfully beautiful and brutal score. Mark Wigglesworth conducts it magnificently, with passion and a quiet understanding,. where silences become prophecies and a solo string bass line can unlock all the sorrows in the world in Katya's final moments."
Edward Seckerson, The Independent, March 2010

"Mark Wigglesworth unfolds the aching rapture of the score with consummate authority. In their final meeting, Boris and Katya reels perilously along the banks of the Volga and a sense of being on the brink is miraculously conveyed too in Wigglesworth's reading. His conducting and Alden's direction make for a powerful conjunction of drama and music, constantly engaging the emotions, frequently lacerating."
Barry Millington, Evening Standard, March 2010

"The remainder of the cast is quite exceptionally good and Mark Wigglesworth's conducting is even better than that. I can't think when I last heard ENO's orchestra play with such sumptuous richness of texture, with rhythms kept electrifyingly tense and the pacing perfectly judged. Wigglesworth may be a hard taskmaster, but golly, does he get results. "
Rupert Christiansen, The Telegraph, March 2010

"the music is stunningly delivered - and often beautifully delineated - by the ENO Orchestra under Mark Wigglesworth's direction. It's all over in 100 minutes with no interval. But I'm still shuddering from the impact."
Richard Morrison, The Times, March 2010

"Everything about this performance is first rate - from Mark Wigglesworth's beautifully detailed and expansive conducting, through Alfie Boe's Kudriash, Anna Grevelius's "Varvara and Clive Bayley's Dikoy to the leading roles, with Racette and Skelton counterpointed with Susan Bickley's Kabanicha, as monstrous of character as of coiffeur"
Andrew Clements, The Guardian, March 2010

"It's amazing how much you can tell of what lies ahead from the way a conductor handles a master composer's first chord. Katya Kabanova's opening sigh of muted violas and cellos underpinned by double basses should tell us that the Volga into which the self-persecuted heroine will eventually throw herself is a river, real or metaphorical, of infinite breadth and depth. And that was exactly what Mark Wigglesworth conjured from the ENO strings in a performance more alert to the value of every note and colour in Janacek's lightening-flash score than any I've heard.

The hushed tenderness of the ENO's Orchestra's phrasing under Wigglesworth is almost too painful to bear here. Either side of it as single clarinet note seems to come from the depths of Katya's tormented spirit and an oboe wails an unearthly threnody over her drowned body. Janacek who insisted upon the expressive significance of every tone from voices and instruments, would surely have approved. And Wigglesworth understands the unbearable tension of silence. What is unsung or unplayed is as vital as what we see."
David Nice, The Art's Desk, March 2010

Netherlands Radio Philharmonic Orchestra / Shostakovich Symphony No. 11 (BIS)
“Mark Wigglesworth's attention to detail is apparent from the first movement. The music seems to stand still as Wigglesworth stakes everything on the most important element: the instrumentation. He doesn't hurry his way through the movement, but waits until every detail emerges out of the haze of the strings. This has a most unusual effect. On the one hand, the performance seems almost too slow and sluggish; on the other hand it is perhaps precisely this lethargic, pale coolness (demonstrated to perfection in the trumpet's reveille) that is the essence of this piece. It could quite appropriately be compared to a menacing military march.

The same applies to the rest of the recording: the tempo is on the whole slow, giving space to every phrase and every tonal nuance. The subtly planned corollary is that the fast sections of movements 2 and 4 are performed at a tempo just quick enough that none of the lines become blurred. The orchestra's virtuosity is apparent in the extreme precision and excitement of the playing. (...) The performance of the whole symphony is eloquent in its narrative, and coherent in its expression.”, April 2010

“… This could be the most important Shostakovich cycle of recent times. […]

[Wigglesworth] takes a broader, more purposeful view of these scores than most, uncovering a wealth of hidden detail and sonorities along the way. This wouldn’t count for much if the results weren’t so compelling. For instance, I was quite sure the gaunt 8th wouldn’t survive Wigglesworth’s measured pace, only to discover that those great climaxes sound all the more powerful for being so doggedly pursued. In particular, the 12th which, like the 11th, is often considered a Cinderella symphony, emerges as a far better work than I had first imagined. Indeed, if anyone can be said to have rehabilitated that neglected work it must be Mark Wigglesworth.

So, how does the 11th fare? As with all iconoclasts - and I’d say that’s a fair description of this conductor - first reactions are likely to be mixed. His tempi and phrasing in the first movement, ‘In the Palace Square’, are very deliberate indeed - just listen to those dark opening chords - yet the music retains a surprising degree of tension. […]

The second movement, ‘The Ninth of January’, is similarly low-key to begin with, but Wigglesworth soon ratchets up the tension, restless brass baying above insistent drums. And despite the work’s obvious programme, Wigglesworth focuses more on the subtleties and nuances of the score, all of which are projected with striking clarity and implacable logic. That may translate into ‘too cool and detached’ for some, but aided and abetted by a warm, detailed recording Wigglesworth and his Dutch forces can be as ferocious as any when required. […]

After that heat and turmoil Shostakovich strikes a note of utter desolation, the music leached of all warmth and drained of all momentum. Wigglesworth captures that chill as few others have done, ushering in the third movement, ‘In memoriam’, with the softest string playing imaginable. Indeed, the ear-pricking realism of this disc is a perfect complement to the conductor’s passion for detail; many of those barely audible string passages - a distant keening, perhaps - are often lost on less analytical recordings. Just as impressive is the amplitude and weight of the pounding theme that emerges at 7:57, less gritty than some yet no less powerful for that. And listen out for the spectral figure that flickers into life at 10:15; it may be short-lived, but in Wigglesworth’s hands it takes on a frisson all of its own.

The last movement, ‘The Tocsin’, is apt to sound rhetorical at best and bombastic at worst, and it’s a measure of Wigglesworth’s skill that he manages to avoid both pitfalls. There’s plenty of thrust here, the playing as keenly focused as ever. […] But it’s that juggernaut of a finale that draws together all the strengths of Wigglesworth’s vision, combining raw power with a remarkable degree of refinement, yet without sacrificing momentum or excitement.

And that’s the nub of it; Wigglesworth’s musical judgment is impeccable, the results invariably illuminating. Yes, the young pretender Vasily Petrenko’s recent recording of the 11th might offer more ‘bang for your buck’, but if you want a deeply satisfying performance of this symphony - and an unrivalled recording - then Wigglesworth’s is the one for you.”
Recording of the Month, March 2010

New World Symphony / Berg, Ravel & Strauss
“[Wigglesworth] drew gorgeous string textures from the eager young players and provided a soaring wave of orchestral luminescence beneath Brueggergosman’s vocal velvet …

Wigglesworth emphasized instrumental transparency and magical impressionistic colours in a luminous reading of Ravel’s Mother Goose Suite. The conductor found the perfect sound for each movement [ …] Wigglesworth’s lucid conducting produced an enchanted performance of a masterpiece taken too easily for granted.

Wigglesworth commanded the lilt and orchestral shimmer of Strauss’ Suite from Der Rosenkavalier, op. 59. The Viennese waltzes danced in felicitous syncopation. […] The Presentation of the Rose music glowed in lush, captivating sounds.”
Music & Vision, December 2009

Opera Australia / Britten Peter Grimes
“Conductor Mark Wigglesworth and the orchestra's swift tempos, razor-sharp attack and incisive rhythmic bite propel the music forward with urgent momentum and irresistible energy. By contrast, their piquant sonorities and sensitive phrasing achieve aching poignancy in passages of contemplative lyricism.”
The Australian, October 2009

“Wigglesworth led the company through an outstanding performance of Britten's score, varying tempos and moods appropriately to reflect the beauty and power of nature as well as the dramatic tensions, gentle tenderness and rollicking humour of human relationships.

[…] this is a superb production, both musically and dramatically, and the first-night audience enthusiastically applauded both the performers and the production team.”, October 2009

"Wigglesworth leads a compelling reading of Britten's unsettling score, navigating its many layers with precision and an ear for its poetry. He strikes a robust balance between pit and stage, supporting his singers while remaining unafraid to raise the orchestra's own voice as forcefully as required."
The Opera Critic, October 2009

“The result of so much perfection is that the evening is satisfying in every way. Wearing a blindfold one could simply enjoy the wonderful orchestra and orchestration […]

It is difficult to think of anything to complain about in this production, except the fact that only six performances will be given in Sydney.”
Timeout Sydney, October 2009

Netherlands Radio Philharmonic Orchestra / Shostakovich Symphony No. 4 (BIS)
“This is one of those symphonies, like Mahler’s Seventh, which demands so much orchestral preparation that you rarely hear a less than compelling interpretation. Recently we’ve had top-notch discs from Gergiev, Jansons, Barshai and Haitink. For me, Wigglesworth’s latest instalment in his long-term Shostakovich cycle goes even deeper […] Climaxes here are comparably weighty, but there’s a clarity and an expressive care throughout which inform even those first-movement passages where Shostakovich seems suspended in a pale kind of purgatory.

Everything is humanised, so that the conflict of the Finale is a whirlwind battle rather than a grinding mechanism, and even the circus ditties before the final storm have a charm as well as nuance. The end is as mesmerising as it can be, raising parallels with the fading heartbeat of Tchaikovsky’s Pathétique. Is Shostakovich’s Fourth Symphony an equal masterpiece? Mark Wigglesworth and his Dutch players persuade me that it is.”
BBC Music Magazine, Music Choice, five stars, October 2009

“Wigglesworth has the requisite dramatic sweep and staying power for this unusual, large piece; he leaves room for the ambivalent traits, and for the alternation between classical and modern, between rigid and free form. He has a feel for the upturns and the downturns, for the sometimes violent contrasts, for the surprises and for the grotesque and sarcastic elements of the score.

The Netherlands Radio Philharmonie play with precision, flexibility, virtuosity, excitement, and rich contrast. […] The transparency of the playing is perfect; not a single detail is lost.”
Klassik Heute, September 2009

“Mark Wigglesworth and the Netherlands Radio Philharmonic […] deliver a performance of the Fourth that makes a terrific impact, not merely at the weighty climaxes but also in the way that Shostakovich’s material is executed with a sharp ear for detail while at the same time forging appreciable – even if audacious – architectural shape.

Wigglesworth’s long view of where the symphony is heading is a crucial component of this interpretation, but it also embraces a kaleidoscopic variety of character, be it the icy funeral march at the start of the finale, the passages of stirring brilliance in Shostakovich’s orchestral writing, or those moments where the composer seems to be retreating into his own contemplative thoughts. The emotional force is intense."
The Telegraph, July 2009

"Mark Wigglesworth […] has a very real and admirable ability to emphasize detail and rhythmic precision without sacrificing the necessary power. […] the very clarity of texture means that the music loses very little in the way of excitement, and it gains a melodic interest you might never suspect that it has.”, June 2009

New Zealand Symphony Orchestra / Debussy, Rachmaninov & Shostakovich
“If there was humour in Shostakovich's 10th Symphony on Saturday then it had a manic tinge to it; any wayward circus spirits in its fiery second movement were distributing sawdust liberally laced with acid. Wigglesworth's insightful programme note suggested he had thought long and hard about this work, and few conductors could equal his first movement in its balance of the stoic sorrow and repressed anger.”
New Zealand Herald, July 2009

“Conductor Mark Wigglesworth is a master interpreter. It was clear from the start of Shostakovich’s Symphony No 10. The NZSO showed cohesion, the winds and brass were tight, and the percussion was perfectly integrated into the mix. The strings had depth and bite from the merest pianissimos to the raw climaxes. This is a bitter symphony and the ferocious attack of the strings in the “Stalin” scherzo was riveting. Wigglesworth is an acknowledged Shostakovich expert, and conducting without a score, he gave us the best performance of a Shostakovich symphony we are ever likely to hear.”
Capital Times, August 2009

“Precision is not the full deal in the Shostakovich Tenth Symphony, though it surely helps. No, the success of this performance was due to the vision and execution of conductor Mark Wigglesworth. He enjoys a huge reputation in Shostakovich's music. He galvanised his players to produce playing that moved from the sensitive to the sensational; from the superb playing of individual players, to a riveting intensity in climaxes.”
The Dominion Post, August 2009

San Francisco Symphony Orchestra / Wagner & Chopin
“Thursday night's concert by the San Francisco Symphony in Davies Symphony Hall featured some of the most focused, eloquent and ravishingly beautiful music-making local audiences have heard this year.

Also, Lang Lang played the piano. […] On any normal night at the Symphony, this would have been the high point of the evening. But Thursday wasn't a normal night. Guest conductor Mark Wigglesworth made sure of that. […]

Wigglesworth led the orchestra through orchestral excerpts from Wagner's "Tannhäuser" and "Die Meistersinger." The results were heart-stopping, transfixing, almost beyond praise; they created the sort of quasi-religious enchantment that Wagner envisioned at his most grandiose, but that performances of his music provide all too rarely. […]

The magic was twofold. One aspect was the remarkable interpretive assurance that Wigglesworth brought to the music, particularly the way he paced Wagner's musical paragraphs with a combination of expansiveness and rhythmic momentum. The other was the almost unparalleled quality of playing he got from the orchestra. […]

In the end, though, this was Wigglesworth's night. As the "Meistersinger" Prelude came to an end, I felt a sudden pang of disappointment that the entire opera was not coming next..”
San Francisco Chronicle, December 2008

Detroit Symphony Orchestra / Brahms & Wagner
“Friday’s concert was gripping in its focus and execution. Wigglesworth brought a clear-eyed expressiveness to the ‘Overture’ and ‘Venusberg Music’ from Tanhäuser, balancing muscle and delicacy and striking a flowing tempo that pushed ahead while still taking in the expansive vistas.”
Detroit Free Press, December 2008

Melbourne Symphony Orchestra / Mahler Symphony No. 6 (ABC Classics)
“I came to this disk with open ears and a lot of expectations. Let me say right away that I was not disappointed. […]

Mark Wigglesworth … is a great conductor. The power, insight and intelligence he shows in shaping this performance, and bringing it to fruition, proves it. […] This is, without doubt, another Recording of the Month.”

Music Web International, March 2008

These are featured projects related to Mark Wigglesworth:

Shostakovich Recordings Cycle
Shostakovich recordings on BIS Symphony No.11 Symphony No.4 Symphonies Nos. 9 & 12 Symphony No.13 Symphony No.8Symphony No.11Netherlands Radio Philharmonic Orchestra“Mark Wigglesworth's attention to detail is apparent from the first movement. The music seems to stand still as Wigglesworth stakes everything on the most important element: the instrumentation. He doesn't hurry his way through the movement, but...


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