©Photo: Rodrigo Levy

©Photo: Royal Albert Hall/Andy Paradise

©Photo: Rodrigo Levy

©Photo: Royal Albert Hall/Andy Paradise

Eduardo Strausser

Conductor

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“…a real force of nature. His conducting is imbued with charisma, stage presence, and good chemistry with the orchestra …”
(Daily Revolution)

“…the scene enables the music to fly, we can hear how this wonderful score is so inspiring and playful. Eduardo Strausser conducts a lightly accentuated Rossini enriched with generous pianissimi.” (Il Barbiere di Siviglia, Opernwelt, February 2020)

The charismatic Brazilian conductor, Eduardo Strausser has gained a reputation for his intelligent programming and powerful style on the podium. Highlights of the first part of the 2021/22 season include a new commission, Odyssee for Zurich Opera as well as performances with violinist Augustin Hadelich at the Musikkollegium Winterthur and a delayed debut with the City of Birmingham Symphony Orchestra. He will join Collegium Musicum Basel in the Spring as well as making debuts with Kansas City Symphony and Indianapolis Symphony Orchestra and returning to Venezuela to conduct the El Sistema Orchestra.

Successes of the season included debuts with Detroit Symphony Orchestra as well as Handel’s Messiah with the Royal Philharmonic Orchestra at the Royal Albert Hall in London. Other highlights included concerts with Oulu Symphoniker and a mixed programme of Liszt and Schumann for Dubrovnik Summer Festival.

Previous European symphonic highlights include engagements with Orchestre Philharmonique du Luxembourg, Deutsche Sinfonie Orchester Berlin, Prague Radio Symphony Orchestra, Tampere Philharmonic and Oslo Philharmonic as well as Orchestre de Chambre de Lausanne. Elsewhere he has made debuts in previous seasons in Australia with Queensland Symphony Orchestra, and South America with Orquestra Sinfonica Nacional de Mexico.

Eduardo Strausser QSO03 (c) Peter Wallis — Eduardo Strausser

Formerly Resident Conductor at the Teatro Sao Paolo from 2014 – 2016, Eduardo has conducted several operas including Elektra and Carlos Gomes´ Fosca, as well as performances of The Nutcracker with the Balé da Cidade de São Paulo, and a Stefano Poda production of Mahler Symphony No.1. Other highlights include Tosca for Theater Magdeburg which he also conducted for Staastheater Hannover alongside several other productions including; Il Barbiere di Siviglia, Hansel and Gretel and Die Zauberflöte. Elsewhere he has conducted La bohème for Teatro Municipal do Rio de Janeiro and Teatro Verdi di Padova.

Besides his studies at the Zurich University of Arts, Eduardo has worked with the visionary composer Karlheinz Stockhausen as part of a two-month course in Kürten, Germany. He has also participated in masterclasses with Bernard Haitink and David Zinman in Switzerland and with Kurt Masur in New York. In 2008 Eduardo was selected to take part in the prestigious International Forum for Conductors at the Ferienkurse für Neue Musik in Darmstadt, where he had the chance to work closely with composers György Kurtág and Brian Ferneyhough. He is now based in Berlin.

Eduardo has worked with a number of top soloists, including Isabelle Faust, Richard Galliano, Steven Osborne, Barnabas Kelemen and Sergei Krylov among others. A multi-linguist, Eduardo can speak eight languages fluently including; German, Italian, French, Spanish and Hebrew.

HarrisonParrott represents Eduardo Strausser for worldwide general management.

Oulu Sinfonia: Pieni on suurta – The Great In The Small © Oulu Sinfonia

The First Romantics © Detroit Symphony Orchestra

Eduardo Strausser - Brahms: Symphony No.4

Eduardo Strausser - Strauss: Elektra © Teatro Municipal de São Paulo

“The opening of this work was spine-tinglingly effective, showcasing WASO’s ever-impressive collective sense of drama as an ensemble, led most effectively by the flamboyant and impressively physical style of Brazilian conductor, Eduardo Strausser. Their creation of a long and gloriously rich crescendo, leading to a draw-droppingly virtuosic opening cadenza by Jumppanen, was everything that live classical performance should be.”

(Emma Jayakumar, Limelight Magazine, April 2022)

“In his ethereal, mercurial way, he seems to be part of the music itself, a kind of other-worldly creature, nimbly alighting from desk to desk, urging more from one, less from another. He was everywhere and nowhere at once, a conductor of the spirit.”

(Bachtrack, February 2022)

“Leading the fun was Brazilian Eduardo Strausser, who almost danced his way through the polkas and waltzes as he conducted from the podium with enthusiastic expression.”

(The Birmingham Press, January 2022)

“But the nicest compliment that needs to be made to the production: the scene enables the music to fly, we can hear how this wonderful score is so inspiring and playful. Eduardo Strausser conducts a lightly accentuated Rossini enriched with generous pianissimi. On the hammer piano, Francesco Greco lets the precisely worked recitatives sparkle with his improvisational free spirit. Great!”

(OpernWelt, February 2020)

“Everything is subject to the smooth sovereignty of the musical direction of Eduardo Strausser: he emphasizes all the details with the Staatsochester, so that brilliant accuracy goes hand in hand with an exhilarating zest for life. It didn’t take a minute for the audience to stand.”

(Neue Musikzeitung, January 2020)

“Strausser had the moment of his life, the best Jupiter Sinfonie in a long time!” ****

(Clemens Goldberg, Kultureradio, November 2017)

“Eduardo Strausser, a revelation of the season.”

(Folha de S. Paulo, December 2016)

“Maestro Strausser is unquestionably one of the new faces in the music world, and part of its exciting future”

(Vecernji list, Zagreb, June 2017)

“Eduardo Strausser holds a light direction, he’s sensible in choosing the timing and dynamics, attentive to the contrast of colors, very expressive. But, most importantly, the direction has a fast paced narrative rhythm and is pervaded by theatricality beauty, able to return to listening all the soft delicacy of Puccini’s score, without never incurring in languorousness.”

(Teatro.it, February 2017)

“The conductor Eduardo Strausser strikes, and the first three chords, solemn, threatening, sound different. Livelier, faster, or more intense. Immediately, everything … electrifies, pardon the pun. (…) Strausser conducts with precision, spirit, energy. The Orquestra Sinfônica Municipal responds magnificently.”

(concerto.com, October 2016)

“A superb Strausser at Teatro la Fenice in Venice” — “The perfection of the Orchestra Filarmonica della Fenice shone in all its grace thanks to young conductor Eduardo Strausser … a real force of nature. His conducting is imbued with charisma, stage presence, and good chemistry with the orchestra …”

(Daily Revolution, March 2016)

“On the podium, the young Brazilian conductor Eduardo Strausser [conducting the Orchestra Filarmonica della Fenice] proves himself a sensitive musician … Strausser has a beautiful gesture that translates into a very organic performance…”

(Operaclick, March 2016)

“Young Eduardo Strausser, the theater’s resident conductor drew out playing that displayed the full spectrum of the Wagnerian instrumental palette, with an expressionist zest spurred on by an all-pervading sense of angst.”

(Opera Magazine, January 2016)

“Everything changed on the second evening [this time under conductor Eduardo Strausser]. The orchestra seemed more confident, and Eduardo Strausser, lyrical and narrative, adjusting the intensity so as to bring out the voices, immediately captured the audience’s attention.”

(Revista Concerto, October 2015)

”Eduardo Strausser brings youthful fire to the work (G. Verdi’s Otello) alongside vigilant attention to accuracy.”

(Opera Magazine, July 2015)

”… the conductor expresses profound and passionate perception [of the opera Eugene Onegin], presenting the inner turmoil of the protagonists and the passions at stake.”

(Ópera Actual Magazine, July 2015)