Christopher Seaman was Music Director of the Rochester Philharmonic Orchestra (New York) until 2011 and was subsequently named Conductor Laureate. Previous positions include Music Director to the Naples Philharmonic Orchestra (Florida) for ten years, Conductor-in-Residence with the Baltimore Symphony Orchestra and Artistic Adviser of the San Antonio Symphony.
Recognised for his wealth of repertoire, which ranges from baroque to contemporary and in particular for his Bruckner, Brahms and Sibelius and British works, Christopher is also highly regarded for his work with younger musicians. He held the post of Course Director to the Symphony Services International Conductor Development Programme for many years.
Christopher has recently performed with the Aspen Music Festival, Detroit, Houston, St Louis, Cincinnati, Milwaukee and Seattle symphony orchestras, the Warsaw Philharmonic Orchestra, Kristiansand Symphony Orchestra, Orchestra of Opera North and Orquestra Filarmônica de Minas Gerais in Brazil. He frequently visits Australia and Asia where he has conducted the Hong Kong Philharmonic Orchestra and the National Taiwan, Sydney, Melbourne, Adelaide, and Singapore symphony orchestras, amongst others.
In the 2018/19 season, Christopher conducted the Britten Sinfonia and Guy Johnston for a recording of Howells’ Cello Concerto in the chapel of King’s College, Cambridge with Hyperion Records. He also recorded Malcolm Arnold’s Bridge on the River Kwai Suite with the BBC Concert Orchestra for a television broadcast on the BBC’s ‘Our Classical Century’ documentary in April 2019.
“Throughout this symphony, bolstered by sweeping precision in the violins and juicy tremolos in the cellos, the orchestra gave Seaman precisely what he asked of them — big, lush playing that created music that satisfies.”
(October 2016, Jann Nyffeler)
“Seaman’s magnificent Mahler…the composer’s symphonic world was laid out with all the dramatic contrasts that one could wish for… the ever-calm Seaman creating a marvelous mélange of sound during the denser mixes … The Adagietto, tightened to a crisp eight minutes, revealed the APO strings in excellent form, catching all the subtle inflections of Mahler’s intricate voicings … The symphony’s final glorious affirmation of life, in and beyond the concert hall, was a thrilling conclusion after the particularly fragmented writing in the Finale.”
(New Zealand Herald, February 2016)
“Seaman and the orchestra gave a beautifully textured performance of the piece [Elgar In the South], moving convincingly from bold statements to dreamy interludes, making room for tender, lullaby-like viola solo lines played by principal violist Robert Levine. The concert ended with a tightly executed performance of Stravinsky’s 1919 revision of his Suite from ‘The Firebird’. Bringing musical fire to their polish and precision, the players sent the audience out the door with many patrons quite literally humming the bars from the piece’s iconic finale.”
(Elaine Schmidt, Milwaukee Journal Sentinel, January 2016)
“The connection between Seaman and his players was palpable. Seaman has a knack for eliciting a sound from his ensemble that is direct and conversational in its delivery, but with a full, nuanced and romantic tone… At the conclusion, Thursday’s audience responded to Seaman with overwhelming warmth and adoration.”
(Daniel J. Kushner, Rochester Democrat & Chronicle, May 2015)
“The orchestra exuded intensity and energy, at the height of musicality, showing a renewed sense of purpose… With Seaman at the helm, the listener could hear the import inherent in every note.”
(Daniel J. Kushner, Rochester Democrat and Chronicle, March 2014)
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