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Biography

Chief Conductor: Tonhalle-Orchester Zürich
Music Director: Tonhalle Gesellschaft

 

David Zinman’s Music Directorships, first in Baltimore and now in Zurich, have been distinguished by his programming of an extraordinarily broad repertoire, his strong commitment to the performance of contemporary music and his introduction of historically informed performance practice.

His guest-conducting engagements include the Boston Symphony, Chicago Symphony, The Cleveland and Philadelphia orchestras, the New York Philharmonic, as well as the Berliner Philharmoniker, Orchestre de Paris, Royal Concertgebouw Orchestra, Wiener Symphoniker, London Philharmonic Orchestra, and Orchestre National de France. His most recent opera performance was a production of Offenbach’s The Tales of Hoffmann at Geneva Opera, revived in December 2011.

David Zinman was appointed Music Director and Chief Conductor of the Tonhalle-Orchester Zürich in 1995, where his creative programming, successful tours to Europe, North America and Japan, and recording cycles of Mahler, Brahms, Beethoven, Strauss and Schumann for Arte Nova have made a considerable impression. His current project for Sony/BMG is a recording of all the Schubert Symphonies.

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Reviews

"At 75, David Zinman is one of the greatest living conductors – something which we probably only really appreciate when he is gone. This man, of a universal background and a vivacious curiosity, cast a new light onto the repertoire he tackled, not by bringing his ego on stage, but by relentlessly questioning the text, with humility and without showing off. A master, hailed as such by the musicians of the ONF who were touched and full of admiration." (Le Figaro, October 2011)

“Zinman’s Mahler cycle – proceeding in chronological order – is emerging as something rather special...  The recording has marvellous clarity, and the Tonhalle sounds as if discovering the music anew, making it sound both fresh and innovative.” (The Times, August 2009)

“It was beautifully paced by Zinman….the way that he switched from Classical reserve for Brahms to full-on Romanticism for Mahler was masterly.” (The Times, August 2009)