Baldur Brönnimann is a conductor of great flexibility with a broad-minded approach to programme-building and music-making. He is deeply committed to making classical music relevant in the 21st century and as such is active as both a commissioner of new works and as a curator of festivals and series. He has a strong commitment to outreach and educational work, working whenever possible with youth orchestras. He is the Principal Conductor and Artistic Director of the Real Filharmonia de Galicia and Escola de Altos Estudos Musicais, the founder of the Desclasficados project in Madrid, a concert series that gives opportunities to young up-and-coming artists, and the course director of the Contemporary-Conducting Program at the Lucerne Festival Academy.
Brönnimann has conducted significant performances of major works by composers such as Saariaho, Romitelli, Boulez, Vivier, Schnebel, Birtwistle and Zimmerman at festivals such as Lucerne, Wien Modern, Darmstadt, Donaueschingen, Grafenegg, Mostly Mozart at Lincoln Center and the BBC Proms, and is held in the highest regard by many of today’s living composers including Chin, Lachenmann and Neuwirth. Brönnimann conducts widely at the highest level across Europe, and in 23/24 his guest conducting highlights include return engagements with the WDR and SWR Symphony orchestras, Orquesta de Valencia and his debut with the Euskadi Symphony Orchestra and Orquesta Sinfónica de Madrid.
In the opera house, Brönnimann has conducted Ligeti Le Grand Macabre at English National Opera, Komische Oper Berlin and Teatro Colón (Buenos Aires) in both the La Fura dels Baus and Barrie Kosky productions, John Adams Death of Klinghoffer at English National Opera, Saariaho L’amour de loin at the Bergen Festival and Norwegian Opera, and Romitelli Index of Metals with Barbara Hannigan at the Theater an der Wien. At Argentina’s Teatro Colón he has also conducted Schoenberg Erwartung, Szymanowski Hagith, and Helmut Lachenmann The Little Match Girl with the composer as narrator and Zimmermann Die Soldaten.
In 2023 Brönnimann was appointed Principal Conductor of Principal Conductor and Artistic Director of the Real Filharmonia de Galicia where he presented his first season titled “Migrations”, focussing on music by composers in exile, the works of Kaija Saariaho and Roberto Gerhard plus new concert formats, reading sessions for young composers, a new historic music series, community projects, works from a large diversity of cultural backgrounds and gender-sensitive programming. He was Principal Conductor of the Basel Sinfonietta between 2016-2023, Principal Conductor of the Orquestra Sinfónica do Porto Casa da Música between 2014-2020, Artistic Director of Norway’s leading contemporary music ensemble BIT20 from 2011–2015 and from 2008–2012 Music Director of the National Symphony Orchestra of Colombia in Bogotá.
Born in Switzerland, Brönnimann trained at the City of Basel Music Academy and at the Royal Northern College of Music in Manchester where he was subsequently appointed Visiting Tutor in Conducting, and he now lives in Madrid.
Contemporary Orchestral Repertoire Highlights
Cobalt, Scarlet (Two Colours of Dawn)
Madonna of Winter and Spring
locus... doublure... solus
Index of Metals
How Slow the Wind
Håkan (Trumpet Concerto)
The Dark Mirror (Schubert's Winterreise)
Selected Repertoire Highlights
The Miraculous Mandarin
Music for Strings, Percussion and Celeste
The Three-Cornered Hat
Three Places in New England
Dances of Galanta
Concerto for Orchestra
Petite Symphonie Concertante
Pictures at an Exhibition (orch. Ravel)
Four Last Songs
Rite of Spring
The Fairy’s Kiss
Tristan and Isolde: Prelude and Liebestod
"Baldur Bronnimann led the orchestra with clear, concentrated gestures and worked out the subtleties of the pieces without loss of sound, dynamism and expressiveness."
"All performed dazzlingly… Baldur Brönnimann, conducting, marshalled these disparate forces with the ease of one taking a stroll."
Seen and Heard International
"Precision and spirit, rhythm and harmony: all contributed, as they might have done under Boulez himself, to a splendid performance... Brönnimann’s strong sense of direction was palpable, as was the security of every performer."