One of the inaugural Dudamel Conducting Fellows at the Los Angeles Philharmonic, Perry So received the first and special prizes at the Fifth International Prokofiev Conducting Competition (held in St Petersburg) in 2008. Recent engagements include the London Philharmonic, Singapore Symphony, Japan Philharmonic, Milwaukee Symphony, Australian Youth, Tasmanian Symphony and Cape Philharmonic orchestras. This season he makes his debuts with the Florida and Tivoli Symphony orchestras, the Norwegian Radio Orchestra and the Zürcher Kammerorchester. He will also return to the Zagreb Philharmonic Orchestra, Orquesta Sinfónica del Principado de Asturias and the Royal Danish Opera.
Perry recently concluded a two year period as Associate Conductor of Hong Kong
Philharmonic Orchestra in which he redesigned and spearheaded the orchestra’s outreach and educational programmes. He also maintains a close relationship with the State Hermitage Orchestra of Russia. Other orchestras he has worked with include the St Petersburg Academic Philharmonic Orchestra, the State Academic Symphony Orchestra (Moscow), the Queensland Orchestra and Staatskapelle Weimar. His first CD (Violin Concertos of Barber and Korngold with Alexander Gilman and the Cape Town Philharmonic) was released in
January 2012 on Oehms Classics and received the prestigious Diapason D’Or award.
“His conducting was assured, elegant and animated at the same time, with broad, expressive gestures.” (John Fleming, Tampa Bay Times, April 2013)
“Young conductor Perry So made a very good impression in his appearance with the OSPA orchestra in both concerts, showing his intelligence and musicality from the conductor’s podium once again … It became clear that his youth is not at odds with his maturity and professionalism.” (La Nueva España, April 2012)
“[In] Tchaikovsky's Serenade for Strings, [he got] a ripe, clear, cohesive string sound [from the Los Angeles Philharmonic]." (The Los Angeles Times, August 2011)
“Gilman and So give [the Korngold Violin Concerto] a stature that makes it fit right in with the Barber. This is not merely a “good” performance…this is a moving, resplendent performance, with the right balance of lyricism and introspection and plenty of virtuosity. Finally, a recording of this concerto that I’ll listen to because I want to, not because I have to for a review!” (Lawrence Hansen, American Record Guide)
“An articulate, precise conductor... So gave individual players within the orchestra the freedom they needed to shape the haunting melodies of Pavane pour une infante défunte without letting the expressive playing tug at the tempo. He conducted Stravinsky's Firebird Suite with the piece's complex rhythms firmly in hand and a clear understanding of the constantly shifting layers of sound... Their take on the final movement was clean, disciplined and crackling with energy.” (Milwaukee Journal Sentinel)