George Jackson



“George Jackson conducted the full ENO orchestra in a magnificent account of the score, sparkling with playful humour in the dialogues and exultantly romantic in the interludes”.

Rupert Christiansen, Grange Park Opera / Hänsel und Gretel, The Telegraph

Winner of the 2015 Aspen Conducting Prize, London-born conductor George Jackson came to international attention after stepping in at short notice for Daniel Harding at the Philharmonie de Paris, conducting a programme featuring Ives’ Fourth Symphony with Orchestre de Paris. Recent engagements include his company debut as Associate Conductor of Opera Holland Park (Così Fan Tutte) and a new production for Kammeroper Frankfurt (Pagliacci). Highlights in 2018-2019 include concerts with the Opéra Orchestre National Montpellier and the Opéra de Rouen Normandie, Magic Flute with Opera North and his company debut with Grange Park Opera and the Orchestra of ENO (Hansel and Gretel).

In 2017 he made his Hamburg State Opera debut, conducting the world premiere of Immer weiter by Irene Galindo Quero and Jesse Boekman. George has conducted, among others, the London Symphony Orchestra, the ORF Vienna Radio Symphony Orchestra, the Nordwestdeutsche Philharmonie, the Haydn Orchestra di Bolzano e Trento, the RTÉ Concert and Symphony Orchestras, the Vienna Chamber Orchestra, the Transylvania State Philharmonic Orchestra, Orchestre de Paris, Ensemble Intercontemporain, and Les Arts Florissants.

In 2010, George founded the Vienna-based Speculum Musicae Opera Company, conducting new productions of Pergolesi La serva padrona and Charpentier David et Jonathas. He has also conducted performances with the Pro Arte Orchestra Vienna of Die Zauberflöte, Der Freischütz, La Traviata, Fidelio, Turandot, Der Fliegende Holländer and La Bohème.


“Humperdinck’s debt to Wagner is inescapable in this score, and George Jackson and the ENO Orchestra draw it out in a way that adds to the music’s stature without sounding merely derivative. A piercing solo trumpet in the Prelude for a moment stranded you in Parsifal, links between orchestra and singers were expertly and naturally judged, and the music’s abundance of charm, atmosphere and shameless memorability are all there for the hearing. If I were coming to this inexhaustible opera for the first time, this would be a touchstone production.”

Peter Reed, Grange Park Opera / Hänsel und Gretel, Classical Source


“The full-scale ENO Orchestra under George Jackson makes the late-Romantic score sound marvellous.”

George Hall, Grange Park Opera / Hänsel und Gretel, The Stage


“George Jackson raised the stature of the music to a rarely-encountered level, absolutely enthralling from first bar to last.”

Robert Matthew-Walker, Classical Source


“Overcoming the dry and rather forthright acoustics of Covent Garden’s St Paul’s Church with a perfect balance between all parts of the orchestra, up-and-coming young conductor George Jackson coaxed an appropriately dramatic rendering of this overture.”

John Pritchard, London Firebird Orchestra, Seen and Heard International


“Conductor George Jackson coaxes much lithe and springy playing from the orchestra, ensuring that what the audience hears is magically in tune with that they see in this inventive, energetic and frequently revelatory production.”

William Ruff, Opera North / The Magic Flute, Nottingham Post

“Viel Anteil am Gelingen des Abends hatte Dirigent George Jackson mit den Musikern von Chor und Orchester der Kammeroper. Ein ausdrückliches, melodisch aufblühendes Klangbild.”

Bernhard Uske, Kammeroper Frankfurt / Pagliacci, Frankfurter Rundschau

George participated in international master classes, where his teachers included Bernard Haitink, Michael Tilson Thomas, Kurt Masur and David Robertson. He has developed over the years a deep knowledge of the wider opera repertoire by assisting his mentors Robert Spano and Yves Abel in international houses including the Metropolitan Opera New York, the Opéra National de Paris, Theater an der Wien and the Aspen Opera Theater Center, with titles such as Wozzeck, I Capuleti e I Montecchi, Carmen, Billy Budd, La Fille du Régiment, Hänsel und Gretel, Les Contes d’Hoffmann, Madama Butterfly, Il Barbiere di Siviglia and Tannhäuser.

An alumnus of the conservatories of Vienna, Weimar and Trinity College Dublin, George furthered his studies at the Lucerne Festival Academy, Dartington Festival, Bayreuth Festival and the Aspen Music Festival, where he was awarded the Robert J. Harth Conducting Prize and the David A. Karetsky Memorial Fellowship. A prizewinner at the 2012 ‘Jeunesses Musicales’ Conducting Competition in Bucharest, George is a Help Musicians UK ‘Emerging Excellence’ Artist, and has received numerous scholarships from organisations including the Ernst von Siemens Music Foundation, Tillett Trust, Janeczek Foundation, Irish Arts Council, Richard Wagner Foundation, the Roderick Brydon Memorial Trust and the Sir Charles Mackerras Fellowship in Conducting at London’s Trinity Laban Conservatoire. He was a member of the Deutsche Bank Stiftung’s ‘Akademie Musiktheater heute’ scheme for young opera professionals.


Sunday 23 June, 6pm
Thursday 27 June, 6pm
Saturday 29 June, 6pm
Tuesday 2 July, 6pm
Friday 5 July, 6pm
Wednesday 10 July, 6pm

The Theatre in the Woods
West Horsley Place
Epsom Road
West Horsley
KT24 6AN

Grange Park Opera

Engelbert Humperdinck: Hänsel und Gretel

Conductor: George Jackson
Director: Stephen Medcalf
Designer: Yannis Thavoris
Orchestra of English National Opera

Hansel: Caitlin Hulcup
Gretel: Soraya Mafi
Witch / Mother: Susan Bullock
Father: William Dazeley

14 September, 2019 7pm
15 September, 2019 11am
Opéra national de Montpellier, 11 Boulevard Victor Hugo, 34000 Montpellier, France

Opéra Orchestre national Montpellier

Concert de rentrée

Ludwig van Beethoven: Overture ‘La Consécration de la maison’
Benjamin Britten: Suite on english folk tunes “A time there was… ”
Felix Mendelssohn: Symphonie n° 3 en la mineur “Scottish”

27 October, 2019 8pm
Teatro Carlo Felice, Genova, Italy

Orchestra della Fondazione Teatro Carlo Felice Genova

Paganini: Violin Concerto no. 1 (Violin: Francesca Dego)
Ludwig van Beethoven: TBC

24 November, 2019 8pm
Philharmonie Luxembourg, 1 Place de l’Europe, 1499 Luxembourg

Ensemble intercontemporain

Rainy Days Festival

Steve Reich: Piano Phase
Steve Reich: Eight Lines
Steve Reich: Reich/Richter (film de Gerhard Richter et Corinna Belz)

27 November, 2019 8:30pm
Cité de la musique – Philharmonie de Paris, France

Ensemble intercontemporain

Paris Autumn Festival

Benedict Mason: drawing tunes and fuguing photos
Rebecca Saunders: Scar pour ensemble (French Premiere)
James Dillon: Tanz/haus : triptych 2017, pour ensemble de chambre (French Premiere)

11 December, 2019 6:00pm
Huddersfield Town Hall, UK
22 December, 2019 6:00pm
Leeds Town Hall, UK

Orchestra of Opera North

Tchaikovsky: The Nutcracker Suite
Howard Blake: The Snowman

10 January, 2019 7:30pm
National Concert Hall, Dublin

RTÉ National Symphony Orchestra

Towards 2022

Boydell: In Memoriam Mahatma Gandhi
Ina Boyle: Psalm for Cello and Orchestra (Cello: Martin Johnson)
Ina Boyle: Elegy for Cello and Orchestra (Cello: Martin Johnson)
Stanford: Symphony No.3, ‘The Irish’

5 / 8 / 10 / 12 / 24 / 29 / 31 March 2020, 7pm
2 April 2020, 7pm

Wiener Kammeroper, Fleischmarkt 24, 1010 Wien, Austria

Theater an der Wien

Tscho Theissing: Genia (World Premiere)

Conductor: George Jackson
Director: Kateryna Sokolova
Designer: Erich Uiberlacker
Costumes: Alexandra Burgstaller
Lighting: Franz Tscheck
Orchestra: Vienna Chamber Orchestra

BEETHOVEN: Kristján Jóhannesson
ELISE: Jenna Siladie
LEONHARD MÄLZEL: Quentin Desgeorges
ANTON SCHINDLER: Johannes Bamberger
GENIA: Ilona Revolskaya

2 May 2020, 8:30pm

St. Malo, Normandy, France

Opéra de Rouen

Festival ‘Classique au Large’, Saint-Malo
Soloist: Paul Meyer
Mozart, Wolfgang Amadeus : Clarinet Concerto in A major, KV.622
Lefrançois, Laurent : Clarinet concerto
Schubert, Franz : Symphony no.3 in D major, D.200


“Jennifer Pike delivered a truly spellbinding account, possessing an opulent tone when called for, sensitive and ethereal on other occasions, and rising to considerable heights of virtuosity and musicianship in the first-movement cadenza. She had the inestimable advantage of a conductor who likewise sees the work as genuinely symphonic – for, in those relatively lengthy orchestral passages in the first and second movements, George Jackson raised the stature of the music to a rarely-encountered level, absolutely enthralling from first bar to last.”

Robert Matthew-Walker, Classical Source



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