Pablo González

Pablo González is hailed as one of the most versatile and passionate conductors of his generation, inspiring orchestras and audiences throughout the world.  Pablo has held the positions of Associate Conductor with both the London Symphony Orchestra and Bournemouth Symphony Orchestra.  From 2010 to 2015 he was Music Director of Orquestra Simfònica de Barcelona i Nacional de Catalunya.  Guest conducting appearances in the current season include Orchestre Philharmonique de Radio France, Gürzenich-Orchester Köln, Konzerthausorchester Berlin, The Hallé, Scottish Chamber and Aalborg Symphony Orchestras and Deutsche Kammerphilharmonie Bremen amongst others. Recent highlights received to great acclaim include London Symphony, NHK Symphony, Queensland and Dallas Symphony, BBC National Orchestra of Wales, Royal Liverpool Philharmonic, Scottish Chamber Orchestra and Warsaw Philharmonic.  Also active in opera, Pablo made a highly-successful UK debut conducting L’elisir d’amore for Glyndebourne on Tour which resulted in a reinvitation for Mozart’s Don Giovanni in 2016/17.

Pablo González to appear at Festival Radio France and Orford Music Festival

13 Jul 2016

On 21 July, Pablo González will appear at Opéra Berlioz in Montpellier for Festival Radio France, conducting the Orchestre Philharmonique de Radio France. The programme features Dukas’ La Peri...

Pablo González debuts with Gürzenich-Orchester Köln

06 Jun 2016

At the Philarmonie Hall in Cologne on 12 June, Pablo González will make his debut conducting Gürzenich-Orchester Köln in a performance of De Falla’s The Three Cornered Hat, joined by...

Pablo González debuts with National Symphony Orchestra of Mexico and returns to Scottish Chamber Orchestra

05 May 2016

On 13 and 15 May at the Palacio de Bellas Artes, Mexico City, Pablo González will conduct the National Symphony Orchestra of Mexico for the first time. Presenting two performances of a programme...

Pablo González’s Granados recording enters UK Specialist Classical Chart

09 Mar 2016

The recent Naxos release of Granados’ Orchestral Works, Volume 1 with the Barcelona Symphony Orchestra conducted by Pablo González, has entered the UK Specialist Classical Chart...

Pablo González returns to Spain and debuts in Italy

02 Mar 2016

Folllowing an outstanding start to the year, Pablo González follows with three important engagements in the next month. Firstly, on 17 and 18 March, Pablo returns to the...

Pablo González returns to Nationaltheater Orchester Mannheim

06 Feb 2016

Returning to Mannheim’s Rosengarten on 15 & 16 February, Pablo will conduct the Nationaltheater Orchester Mannheim with a French and Spanish themed programme including Ravel’s Rapsodie...

Pablo González’s outstanding Hallé debut

19 Jan 2016

Following on from his successful debut with The Hallé in Manchester and Sheffield on 14 & 16 January, Pablo Gonzalez has established a sound rapport with this superb group of musicians, which...

Pablo González conducts Netherlands Philharmonic

16 Dec 2015

Returning to Amsterdam after a highly successful collaboration in 2015, Pablo will conduct the Netherlands Philharmonic with a programme to include Brahms’ Academic Festival Overture, Grieg’s...

Pablo Gonzalez conducts Svizzera Italiana and Valencia Orchestras

24 Nov 2015

Following a highly acclaimed concert with Orchestra della Svizzera Italiana in October, Pablo continues his long-standing collaboration with OSI and RSI on 27 November with a live broadcast from...

Pablo González makes his Russian debut and conducts Orchestra della Svizzera Italiana

08 Oct 2015

Pablo will make a welcome return conducting Orchestra della Svizzera Italiana in Ascona on 16 October with soloist Maurice Steger. The programme includes Vivaldi’s Concerto for Recorder in C major...

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“Its rendering [The Firebird] by Pablo González and the musicians from the Orchestre Philarmonique de Radio France (broadcast live on France Musique), will become a landmark. The double basses’ entry was splendidly phrased, which set the tone. Magic, precision, poetry, energy, delicacy, everything was there and the public could not curb their enthusiasm after Katchei’s infernal dance, even if this piece did not end the ballet. The orchestra was galvanized by the maestro’s superb conducting. His delight (noticeable on his face and in his gestures), his attention to every musician, his outstanding technique and his charisma, achieved an extraordinary communion. Supple, challenging, demanding and cheerful, his conducting brings about the best in everyone, in perfect fellowship. All the orchestral sections were outstanding, especially the woodwinds, of which the orchestra can feel legitimately proud, as they are worthy representatives of the best French tradition. It was a great moment for the public and the end of an exceptional day.” - Jul 2016

“González, an energetic and joyful interpreter, set the rhythms alight with aplomb and control.  In Stravinsky’s Firebird, he let the colours come alight with great radiance.  The well-disposed Gürzenich-Orchester followed him with delighted sense, sophisticated dynamics and a bright, focussed tonal sound.”

Kölner Stadt-Unzeiger - Jun 2016

“Enrique Granados died in 1916, returning to Europe from the New York premiere of his opera Goyescas, when his ship was torpedoed by a German U-boat. A hundred years later he is still best known for his piano music; the three early orchestral works included by the Barcelona Symphony Orchestra and conductor Pablo González on this, the first of a series of Granados discs, are all billed as premiere recordings. The performers bring lots of character and warm yet agile playing to the Suite Sobre Cantos Gallegos, a lushly scored, sometimes piquant evocation of Galicia, with the oboe doing duty for the traditional bagpipes. There is also the incidental music to Torrijos, in which you can imagine how Granados’s imaginatively coloured interludes and choruses would have enhanced Periquet’s play, and the defiant yet consolatory March of the Defeated, which occupies a spot pleasingly situated somewhere between Wagner and Ennio Morricone.”

Guardian, Naxos CD Vol.1 - May 2016

“With the greatest respect to Nationaltheater Orchester Mannheim and guest conductor Pablo González who, with immense plasticity, brought out the colourful details of the vibrant score [Ravel: Rapsodie Espanole] through every gesture, every phrase and every note… In González’s hands the baton turned into a fine brush, painting pastel-like, fragrant little sound paintings [Debussy’s “Images pour Orchestre”]... But the best was saved for last: Ravel’s famous symphonic poem “La Valse” exploded in a rousing interpretation which left you with even more goose bumps.  What Pablo González drew from the orchestra was pure adrenaline! ”

Die Rheinpfalz - Feb 2016

“The third movement [Mahler: Symphony No. 3] was wonderfully controlled even in its more rousing moments, aided by González’s light conducting.  González began the final movement exquisitely softly. Wonderfully together strings made the music come alive – I could almost hear it breathing, and the quietness made it even more magical. This endless beauty never lost its way, despite the length of the movement, and the triumphant conclusion was one of the most emotionally charged and overwhelming experiences I have had in a concert hall.”

Bachtrack - Jan 2016

“... there was something slightly different here, not quite exactly as I remember it; and this is due to the extremely passionate and zealous conducting by Pablo Gonzalez. He exacted absolute maximum value from each dynamic change and made maximum effect of every pause. The conducting was in danger of becoming slightly self-indulgent, but never actually was... teetering on the edge so to speak, which made his conducting alive and dangerous, but exciting!”

North West End - Jan 2016

“The Spanish conductor structured this characterful youth-symphony [Shostakovich Symphony No. 1] with discipline and great care for detail and got the orchestra to give their absolute best.”

Nordjyske Stiftsidende - Oct 2015

“Pablo González’s conducting was fervid, elegant and well-balanced, with great concentration and passion. He led the orchestra to remarkable results, guaranteeing the lyric-melodic accents, the rhythmic vividness and the brilliance of colours. He dealt with the pieces with taste and expressiveness, with an excellent sense of rhythm and careful dynamics.”

Corriere del Ticino - Oct 2015

“Thursday evening’s symphony concert was one of those events that lift you and make you happy, because everything fell into place to a blissful whole. The programme of two modern Russian symphonies – i.e. from the start of the 20th century – and Beethoven’s Piano Concerto in G all circled around the same fundamentally light and clear character. And both the evening’s conductor, Pablo González, and its piano soloist mastered this musical expression to the core and, together and with the orchestra, took to it like ducks to water.       ”

Nordjyske Stiftsidende - Oct 2015

“Guest conductor Pablo Gonzales from Spain, clearly an experienced and conceptually clear-thinking conductor, brought out the melancholic undertones of Brahms' Symphony No. 2, not taking them too lightly, and varied the tempo and expression, resulting in a constant tension throughout the performance. ”

FAZ Rhein Main Zeitung - Sep 2015

“In the Academic Festival Overture by Brahms, the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, under the baton of Pablo Gonzales, played on its strengths as interpreters of 19th century works with conviction. There was much opulence of sound, strength of character, expression, and in-depth interpretation with the moulding of thematic material and a tendency towards the monumental. A view much in accordance with the circumstances of the creation of the work, since the composer wrote it on being awarded an honorary degree by the University of Breslau. ”

Rheinpfalz - Sep 2015

“The Academic Festival Overture really did come across as academic. Everything was in the right place, the Burschenlieder and their artfully contrapuntal workmanship were performed effortlessly.”

Saarbrucker Zeitung - Sep 2015

“It is amazing that Delius’s Walk to the Paradise Garden was written purely to cover a scene change in the Covent Garden performance of A Village Romeo and Juliet, since it seems to be such an essential part of the score – and indeed the most popular section of the opera. Delius’s luscious string lines might have been tailor-made for this orchestra, and they rose to the occasion to thrilling effect. This might seem unlikely territory for a Spanish conductor, but Pablo González – by turns volatile, ecstatic and quietly reflective – achieved a magnificent result without over-heating the subtle tensions of the music.”

Seen and Heard International - Dec 2014

“Brahms' Acedemic Festival Overture was a rousing opener.  González drew a full, celebratory sound from the orchestra, creating a real sense of anticipation as we waited for each well-known tune of this valedictory medley. The first few pages of Brahms' Fourth Symphony found González searching out every inflection...”

Weekend Herold (Auckland Philharmonia Orchestra, Auckland Town Hall) - May 2014

“Pablo González drew sparkling playing on opening night from the Glyndebourne Tour Orchestra…. The music is sunny, the plot frivolous yet gripping and the staging works like a charm.”

What’s On - Oct 2013

“As a remedy for autumn blues, nothing beats L’elisir d’amore... Annabel Arden’s production is played here with just the right blend of laughter and pathos. Though Lez Brotherston’s crumbling, Italianate piazza provides a sunny backdrop, it showcases performances of emotional depth. There are chuckles in the orchestra, of course, yet the excellent, taut conducting of Pablo González ensures that Donizetti’s evergreen score has plenty of soul.”

John Allison, The Telegraph - Oct 2013

“...brilliant conducting by Pablo Gonzalez, whose work in the pit with the Glyndebourne Tour Orchestra gives the evening its comic zing and heart.”

Hugh Canning - Sunday Times - Oct 2013

“Mirroring the January ritual of all who indulge in one final dessert-binge before dieting to honor ill-fated New Year’s resolutions, the Dallas Symphony Orchestra got plenty of Romanticism out of their system this weekend before their Mozart Festival, set to last the remainder of this month. They hosted two young guest artists, conductor Pablo González and violinist Nicola Benedetti, for works by Dvořák, Tchaikovsky, and Brahms. 19th-century enthusiasts will have the memories of a spirited Carnival Overture and Mr González’s epic conception of Brahms’ Symphony no. 1 to hold them over until February; You might not expect a lot of variety among several late-Romantic works written within fifteen years of each other, but this program successfully highlighted unique aspects of all three composers: the jaunty, folk-inspired joie de vivre of Dvořák; Tchaikovsky’s lyrical elegance and naïveté; and those qualities that defined Brahms as symphonic heir to Beethoven, namely motivic manipulation and a clear trajectory in multi-movement works. ………Maestro González, currently Music Director of the Orquestra Simfònica de Barcelona i Nacional de Catalunya, seemed to have the pulse of the DSO in both the Dvořák and the Brahms, realizing highly fluid readings despite, or thanks to, his frequent tempo adjustments. Their Dvořák had all the mischief of the rustic celebration this music loosely depicts. ….. The DSO responded to Mr González’s direction with a robust sound, always just transparent enough for inner voices to cut through the texture while generally leaning toward a more unified, broader tone. Dvořák provides some flashy orchestral writing, but in Saturday’s performance such special effects became more than the sum of their parts, subsumed into a self-effacing, and downright fun, reading. At the opposite end of the spectrum, music as Teutonic and severe as Brahms’ Symphony no. 1 in C minor can be tricky to bring to life, tending as it often does toward squareness. Mr González more than avoided such pitfalls, thrusting his entire being at the orchestra in a powerful interpretation. ... With a freedom of spirit that belied meticulous organization, this tactic worked wonders in the outer movements, and the DSO under this young maestro sounded mature and bold.” - Jan 2013

“The pit was occupied this time by the Barcelona Symphony Orchestra under the baton of its music director, Pablo González, who conducted with fine ear for instrumental detail.”

Opera (Die Zauberflöte, Teatre del Liceu, Barcelona) - Sep 2012

“There was a fleet-footed overture – Los escavos felices – by one Juan Crisostomo Arriaga, better known as the "Spanish Mozart"; and for obvious reasons, given the sleek tunefulness and even proportions that Spanish conductor Pablo González addressed with more than a dash of Iberian panache, recognising too the music's pre-Rossinian theatricality.”

The Scotsman - Sep 2011

“…Stravinsky was also a Rimsky-Korsakov student and it is fascinating to hear how his bending of tonality in The Firebird is similar to his teacher’s in May Night. This detail was apparent because González’s Firebird, like his Prokofiev, had wit, cheek and subtlety rather than the pretentious menace we usually hear.”

Huddersfield Daily Examiner - Dec 2010

“Asturian conductor Pablo González, who will be the next musical director of Orquesta Sinfónica de Barcelona, was making his debut during in this Oviedo season. He is certainly one of the most promising conductors in Spain. His reading of Don Giovanni was full of energy, maintaining dramatic tension at all times, and yet able to be very flexible in the more comic moments of the opera. Don Giovanni is one of the most difficult operas to conduct and Mr González was particularly successful in this task. The orchestra gave a good performance, significantly better than on previous occasions in this theatre.”

Seen And Heard International

“A VOTE OF CONFIDENCE - Passages such as the change of dynamics in the Adagio [Mahler 10] are key to really understanding and appreciating the excellent work of the conductor. Pablo Gonzalez demonstrated that he has what it takes to draw inspirational playing from the OBC. This was one of the many happy moments in a performance that convinced us that our OBC orchestra is in good shape, conducted by a baton capable of ensuring a safe sailing.”

La Vanguardia - Sep 2010

“A GREAT MAESTRO - The major protagonist of the London Symphony Orchestra’s madrilenian weekend was Pablo González... He provided a memorable evening, making it clear that he is somebody to be taken into account – if the OBC doesn’t know how lucky it is, we hope it will know how to keep him.”

Schezo (London Symphony Orchestra - Auditorio Nacional, Madrid) - May 2010

“Pablo González , an already fully accomplished maestro, surprises at every performance with his musical maturity, his ability to create chemistry with the orchestras he conducts and the vitality of his craftsmanship.”

La Razón - Feb 2010

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Hailed as one of the most versatile and passionate conductors of his generation, Pablo González is an inspirational musician to orchestras and audiences throughout the world and is notably characterised by his intense musicality and assured technique.  Born in 1975 in Oviedo, Pablo studied at the Guildhall School of Music and Drama in London and went on to become winner of the Donatella Flick Competition and the Cadaqués International Conducting Competition.  He has held the positions of Associate Conductor with both the London Symphony Orchestra and Bournemouth Symphony Orchestra, as well as Principal Guest Conductor of the Orchestra of the City of Granada. From 2010 to 2015 he was Music Director of Orquestra Simfònica de Barcelona i Nacional de Catalunya.

Guest conducting appearances in the current season include Orchestre Philharmonique de Radio France, Gürzenich-Orchester Köln, Konzerthausorchester Berlin, The Hallé, Aalborg Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, Orquestra Ciudad de Granada, Mannheim Academy, Spanish National Radio and Television Symphony Orchestra, Orquestra Sinfónica de Madrid and Symphony Orchestra of New Russia.  Reinvitations include Netherlands Philharmonic Orquestra,  Deutsche Radio Philharmonie Saarbrücken Kaiserslautern,  Orchestra della Svizzera Italiana and Simfònica de Barcelona i Nacional de Catalunya.

Recent highlights received to great acclaim include NHK Symphony Orchestra, Queensland Symphony Orchestra and Dallas Symphony Orchestra.  Highlights from previous seasons include appearances with the London Symphony Orchestra, Orchestre National du Capitol de Toulouse, Royal Liverpool Philharmonic Orchestra, BBC National Orchestra of Wales, Scottish Chamber Orchestra, Tonkunstler Orchestra in the Musikwerein, Stuttgart Chamber Orchestra, Musikcollegium Winterthur, Warsaw Philharmonic, Orquestra Nacional de España, Orchestre de Chambre de Lausanne, Sinfonieorchester Basel, Orchestre Philharmonique de Strasbourg, Orchestre Philharmonique de Liége and Kyoto Symphony Orchestra.

Also active in opera, Pablo made a highly-successful UK operatic debut conducting L’elisir d’amore for Glyndebourne on Tour which resulted in a reinvitation for Mozart’s Don Giovanni in 2016/17.  Other recent work has included Carmen in San Sebastian, Don Giovanni, Madama Butterfly and a double bill of Poulenc’s La Voix Humaine and Montsalvatje’s Una Voce in Off for Opera de Oviedo and Die Zauberflöte, Strauss’s Daphne and Wagner’s Rienzi (in concert) at Teatro del Liceu Barcelona. 

Pablo is also very active in the recording studio having recently recorded six new CDs due for release over the  next two seasons, including a monographic three-disc portrait of Granados with the Barcelona Symphony Orchestra,  Prokofiev's "The Prodigal Son" with SWR Sinfonieorchester Baden-Baden und Freiburg and a third disc with the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern with whom Pablo enjoys an ongoing collaboration throughout the years. His Schumann recording with Lena Neudauer and the DRP was awarded the prestigious International Classical Music Award.


July 2016