George Jackson



“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

Winner of the 2015 Aspen Conducting Prize, London-born conductor George Jackson came to international attention after stepping in at short notice with the ORF Vienna Radio Symphony Orchestra, conducting the Austrian premiere of Michael Jarrell’s Ombres. An assistant and protégé of both Yves Abel and Robert Spano, George has worked on opera productions across the world, most recently at the Metropolitan Opera New York, the Opéra National de Paris, and the Aspen Opera Theater Center. George has conducted the RTÉ Concert Orchestra, Nordwestdeutsche Philharmonie, Sibiu State Philharmonic (Romania), and Vienna Chamber Orchestra. This season, he is a regular guest of the Haydn Orchestra di Bolzano e Trento and will make his Hamburg State Opera debut, conducting the premiere of Immer weiter by Irene Galindo Quero. Deepening his experience of Romanian orchestras, he has been invited to conduct the Transylvania State Philharmonic Orchestra and the Craiova Philharmonic Orchestra. Later in the year, he will be involved in Vienna’s Theater an der Wien Wozzeck production.


“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, Seen and Heard International

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.

George participated in international master classes, where his teachers included Bernard Haitink, Michael Tilson Thomas, Kurt Masur and David Robertson. 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, and the Roderick Brydon Memorial Trust. He is a graduate of the Deutsche Bank Stiftung’s ‘Akademie Musiktheater heute’ scheme for young opera professionals and held the Sir Charles Mackerras Fellowship in Conducting at London’s Trinity Laban Conservatoire.


July 7, 8, 9, 11, 12, 14, 15 2017


July and August 2017

Haydn Orchestra di Bolzano e Trento

Mikhail Ivanovič Glinka: Ruslan e Ludmilla: Ouverture
Giuseppe Verdi: La traviata: Preludio
Franz Schubert: Rosamunde, D 797: N. 5 –  Entr’acte
Otto Nicolai: Die lustige Weiber von Windsor: Ouverture
Ludwig van Beethoven: Egmont: Ouverture
Felix Mendelssohn-Bartholdy: Sinfonia n. 3 in la minore, op. 56 “Scozzese”: Secondo movimento (Vivace ma non troppo)
Béla Bartók: Danze popolari rumene, SZ 68
Franz von Suppé: Leichte Kavallerie: Ouverture
Gioachino Rossini: Il barbiere di Siviglia: Sinfonia
Felix Mendelssohn-Bartholdy: Sinfonia n. 4  in la maggiore, op. 90 “Italiana”: Quarto movimento – Saltarello
July 26: Trento
July 28: Cavalese
July 29: Rovereto
July 31st: Tione di Trento
August 1st: Bolzano
August 2nd: Pinzolo
August 4th: Dobbiaco
August 5th: Caldonazzo
August 7th: Merano


“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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A P Wilding