James Feddeck
Conductor

“Musicians of this calibre are gold dust.” (The Herald)

Contacts

Linda Marks +44 (0)20 3725 9120
Ed Milner +44 (0)20 3725 9178
Marie Strube +44 (0)20 3725 9120

Biography

Last season, James Feddeck made his subscription series debut with Chicago Symphony Orchestra; “James Feddeck: a gifted conductor who's clearly going places … a model of firm musical purpose on the podium” noted the Chicago Tribune.

Winner of the prestigious Solti Conducting Award in 2013, and a former Assistant Conductor at The Cleveland Orchestra, the 2016/17 season sees him return to the Residentie Orkest, Royal Scottish National, Rochester Philharmonic, Hallé, RTÉ and BBC Symphony orchestras.

Last season, James Feddeck made his subscription series debut with Chicago Symphony Orchestra; “James Feddeck: a gifted conductor who's clearly going places … a model of firm musical purpose on the podium” noted the Chicago Tribune.

Winner of the prestigious Solti Conducting Award in 2013, and a former Assistant Conductor at The Cleveland Orchestra, the 2016/17 season sees him return to the Residentie Orkest, Royal Scottish National, Rochester Philharmonic, Hallé, RTÉ and BBC Symphony orchestras.

An impressive list of upcoming debuts include the Royal Stockholm Philharmonic, Seattle Symphony, Royal Liverpool Philharmonic, BBC Philharmonic, Bournemouth Symphony, New Zealand Symphony and Tasmania Symphony orchestras, as well as with Radio-Symphonieorchester Wien and Orchestre National de France.

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Contacts

Linda Marks +44 (0)20 3725 9120
Ed Milner +44 (0)20 3725 9178
Marie Strube +44 (0)20 3725 9120

Reviews

“Feddeck carried [the] programme from A to Z as if it had been flowing through his own veins for a long time. He showed himself inspired and, above all, rightful, as the three works deployed different orchestral textures and colours.” (Christophe Huss, Le Devoir, February 2017) 

“James Feddeck… seemed to have the work in his little finger, and conducted the RSO Vienna with precision and dynamism.” (Der Standard, October 2016)

“The conductor showed with elegance and transparency the dancing optimism of this free and entertaining Haydn Symphony, perfectly supported by the orchestra.” (La Voz de Galicia, March 2016)

“Feddeck knew how to constructively overcome the difficulties of the work and received magnificent response from the orchestra and soloist […] everyone kept standing while he was warmly received - a conductor to keep in mind.” (La Opinion, March 2016)

“Feddeck carried [the] programme from A to Z as if it had been flowing through his own veins for a long time. He showed himself inspired and, above all, rightful, as the three works deployed different orchestral textures and colours.” (Christophe Huss, Le Devoir, February 2017) 

“James Feddeck… seemed to have the work in his little finger, and conducted the RSO Vienna with precision and dynamism.” (Der Standard, October 2016)

“The conductor showed with elegance and transparency the dancing optimism of this free and entertaining Haydn Symphony, perfectly supported by the orchestra.” (La Voz de Galicia, March 2016)

“Feddeck knew how to constructively overcome the difficulties of the work and received magnificent response from the orchestra and soloist […] everyone kept standing while he was warmly received - a conductor to keep in mind.” (La Opinion, March 2016)

Without gestural excess, with sobriety and open expressivity, he accentuated the contrasts of dynamics to achieve a real pianissimo.

“Feddeck provided strong leadership in a difficult work steeped in the hallmarks of Romanticism, including ever-shifting tempos and lush textures to mold. ... Feddeck was particularly effective in the driving moments of the symphony, conducting crisply and engaging each appropriate orchestral section.” (bachtrack.com, October 2015)

“James Feddeck: a gifted conductor who's clearly going places … a model of firm musical purpose on the podium. His lucid beat and articulate gestures reflected an insightful understanding of the three stylistically disparate scores and a vigorous, but not ostentatious, manner of getting his ideas across to the players. The admirable results made clear why American orchestral managements such as Chicago's are placing such high faith in Feddeck and his burgeoning career... Feddeck presented this hourlong Russian masterpiece [Rachmaninov's Second Symphony] note-complete, pacing everything knowingly, allowing the lush melodies enough room to sing and sigh without bogging down the momentum to mawkish effect. His canny application of sonic weight, rhythmic urgency and emotional intensity made certain that the music spoke with a sustained degree of color and excitement throughout. The Adagio, expansively paced without ever surrendering a sure sense of direction, was the pivot point of the interpretation… The CSO players gave Feddeck everything he asked for, and then some. (John von Rhein, Chicago Tribune, October 2015)

“The main Friday concert was a winner. The American conductor James Feddeck and the RTÉ NSO were muscular and persuasive in Hindemith’s once-popular, but now too-rarely-heard symphony Mathis der Maler and in Stauss’s Der Rosenkavalier Suite.” (Martin Adams, The Irish Times, October 2015)

“From the consistently first-rate work shown by Feddeck in Boettcher Hall on Oct. 2-3, it was obvious that he is a talent to watch. The future seems bright for the American… it’s hard to remember the orchestra sounding as polished and energetic as it did at the second of the conductor’s weekend appearances in Denver… How could an orchestra not give its all under a conductor who so visibly loved the music in his care?… Every phrase sounded spontaneous and achingly lovely… Feddeck’s pacing was ideal, causing the flow of variations to emerge as an unfolding drama that moved inexorably to those final stern chords” (Marc Shulgold, Classical Voice America, October 2015)

“Displaying the keen sense of pacing that has earned him plaudits in lengthier works, Feddeck built and sustained a regal drama, all while drawing forth saturated colors and elfin lightness” (Zachary Lewis, The Plain Dealer, August 2015)

“Best of all was the expansive slow movement, where Feddeck drew on wells of deep, luxuriant orchestral color while always keeping the rhythmic impulse from lagging. The movement’s patient march to a long deferred climax made for a superb dramatic arc.” (San Francisco Chronicle, March 2015)

“The result could not have been more impressive… the greatest virtue of Feddeck’s approach to conducting Bruckner was his ability to establish a sense of where the listener was over the course of the journey of each movement. He knew how to clarify the traditional concepts of exposition and recapitulation; and, perhaps even more importantly, he knew how to realize that sense of an ending that the coda heralds…we should all hope that we shall be seeing more of him [Feddeck] in Davies.” (San Francisco Examiner, March 2015)

“But in a fantastic debut with the San Francisco Symphony, the young American conductor James Feddeck […] reached deep inside the Eighth, and brought out the wealth of wonderful detail that lies just below its seemingly impenetrable surface…What Feddeck did with Bruckner’s Eighth Symphony during last Friday’s concert was phenomenal. The way in which he made sense of the composer’s doleful thematic imagery and the colossal architecture belies the notion that musical maturity only comes with age.” (San Francisco Classical Voice, March 2015)

"[…] he worked up a real heat, inhabiting every bar of Beethoven’s Fifth Symphony as if it were a second skin. The first movement hurtled through like the Feddeck express, and he handled the jack-in-the box dynamics of the scherzo with such composure that the forte explosions had the force of genuine surprise." (The Guardian, March 2015)

"The Milwaukee Symphony Orchestra and guest conductor James Feddeck provided [...] a spellbinding performance of Franz Liszt's symphonic tone poem 'Les Preludes,' which won a vigorous standing ovation [...], balancing powerful, broad passages with intimate, tender writing throughout the piece. They took artful time in spots to allow the piece to unfold gracefully but never crossed the line into melodramatic overstatement." (jsonline.com, January 2015)

“… the HPO sound truly glowed in places. Feddeck’s conducting is consistent, and the ensemble work in the quick twists of the symphony’s finale was admirably precise and spirited.” (Samuli Tiikkaja, Helsingin Sanomat, November 2014)

“Feddeck’s emphasis on Rachmaninoff’s colourful woodwind and percussion writing was memorable....under Feddeck’s direction the Helsinki Philharmonic played brilliantly.” (Derek Ho, ResMusica, November 2014)

“The Orchestra of the Deutsche Oper Berlin under James Feddeck knows how to captivate their audience.” (Elena Philipp, Berliner Morgenpost, October 2014)

"I have to acknowledge the tremendous find by the orchestra of American conductor James Feddeck, a late substitue, but a conductor who is organised, confident, expert in direction and accompaniment, lets the band play and who, on Saturday, produced wonderful performances....  Musicians of this calibre are gold dust. Listen to the roar of the crowd."  (Michael Tumelty, The Herald, April 2014)

"The performance was stunning…. James Feddeck cheerfully encouraged Clyne's soaring lyricism and just as cheerfully her violent interruptions." (Mark Swed, Los Angeles Times, March 2014)

"Feddeck chose not to take the safe and easy way out; instead he totally rethought Carmina Burana and came up with a strikingly fresh and exciting reading." (Timothy Robinson, Bachtrack, April 2013)
 
"He brought Mendelssohn's charming Midsummer Night's Dream entr'actes to life with warm, expansive gestures […] waxed subtle and poetic in Berlioz's Love Scene from Romeo and Juliet, and opened his arms wide to embrace the sensual exuberance of Ravel's second Daphnis and Chloé suite." (Daniel Hathaway, Cleveland Classical, October 2012)