Home > Artists > Christoph von Dohnányi


Honorary Conductor for Life: Philharmonia Orchestra
Music Director Laureate: The Cleveland Orchestra


Christoph von Dohnányi became Honorary Conductor for life of the Philharmonia Orchestra, having served as their Chief Conductor since 1997. Christoph von Dohnányi served as the sixth Music Director of The Cleveland Orchestra from 1984 and was named Music Director Laureate in 2002. European guest engagements include the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, Orchestre de Paris, Tonhalle-Orchester Zürich, and the Israel Philharmonic Orchestra. In North America he conducts the Boston and Chicago Symphony orchestras and the New York Philharmonic.

The short biography displayed on this page is for information only. For concert programmes and promotional materials please use the downloadable versions.


“I cannot recall a finer recording of any music conducted by Dohnányi than this. His tempos are perfect for the music...which enable this great and original symphony [Bruckner 4] to unfold naturally, at its own unhurried pace, consistently relaxed yet powerful...such is Dohnányi’s impressive grasp of the vast structure of this work, a grasp to which the outstanding musicians of the Philharmonia instinctively responded.” (International Record Review, July 2012)

“In von Dohnányi's conducting – never remotely showy – it is the clarity of his approach and his inclination to underline the natural democracy of Brahms's orchestral writing that is absorbing. A restrained but highly atmospheric Mendelssohn's Hebrides overture was a pointer to this concern for capturing the timbre and finesse of the early Romantic colour palette, even in mature Brahms. It made the major-minor ambiguity of the symphony all the more carefully poised. The heroism sometimes perceived in this score was clearly less important to von Dohnányi than the integrity of the musical argument, right through to the warm conviction in the return of the opening theme in the final bars.” (The Guardian, October 2009)