Sir John Eliot Gardiner stands as an international leader in today's musical life, respected as one of the world's most innovative and dynamic musicians, constantly at the forefront of enlightened interpretation. His work as Artistic Director of hisMonteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique has marked him out as a central figure in the early music revival and a pioneer of historically informed performance. As a regular guest of the world's leading symphony orchestras, such as theLondon Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra and Gewandhausorchester Leipzig, Gardiner conducts repertoire from the 17th to the 20th century.
The extent of Gardiner's repertoire is illustrated in the extensive catalogue of award-winning recordings with his own ensembles and leading orchestras including the Vienna Philharmonic on major labels (including Decca, Philips, Erato and 30 recordings for Deutsche Grammophon), as wide-ranging as Mozart, Schumann, Berlioz, Elgar and Kurt Weill, in addition to works by Renaissance and Baroque composers. Since 2005 the Monteverdi ensembles have recorded on their independent label, Soli Deo Gloria, established to release the live recordings made during Gardiner’s Bach Cantata Pilgrimage in 2000, for which he received Gramophone’s 2011 Special Achievement Award and a Diapason d’or de l’année 2012. His many recording accolades include two GRAMMY awards and he has received more Gramophone Awards than any other living artist.
Gardiner's long relationship with the LSO has led to complete symphony cycles and numerous recordings onLSO Live, most recently of Mendelssohn concluding in 2017, and beginning this season of Schumann, which they take on a ten-concert tour of Europe. Other guest conducting highlights this season include Schumann with the Symphonieorchester des Bayerischen Rundfunks and Verdi Requiem with theTonhalle-Orchester Zürich and Monteverdi Choir. He returned in 2016 to theBerliner Philharmoniker for semi-staged performances of StravinskyOedipus Rex.
Alongside performances at the Salzburg Mozartwoche, Concertgebouw, Barbican Hall and Bachfest Leipzig, Gardiner and the Monteverdi ensembles this autumn conclude their celebration of the 450th anniversary of the birth of Monteverdi with staged performances of his three surviving operas at the Berlin Festival, Paris Philharmonie, Harris Theater Chicago and Lincoln Center. Gardiner has conducted opera at the Wiener Staatsoper, Teatro alla Scala, Milan, Opéra national de Paris and Royal Opera House, Covent Garden, where he has appeared regularly since his debut in 1973. From 1983 to 1988 he was artistic director of Opéra de Lyon, where he founded its new orchestra.
Gardiner’s book, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach, was published in October 2013 by Allen Lane, leading to the Prix des Muses award (Singer-Polignac). In 2014 Gardiner became the first ever President of the Bach-Archiv Leipzig. Among numerous awards in recognition of his work, Sir John Eliot Gardiner holds honorary doctorates from the Royal College of Music, New England Conservatory of Music, the universities of Lyon, Cremona, St Andrews and King’s College, Cambridge where he himself studied and is now an Honorary Fellow; he is also an Honorary Fellow of King’s College, London and the British Academy, and an Honorary Member of the Royal Academy of Music, who awarded him their prestigious Bach Prize in 2008; he became the inaugural Christoph Wolff Distinguished Visiting Scholar at Harvard University in 2014/15 and was awarded the Concertgebouw Prize in January 2016. Gardiner was made Chevalier de la Légion d'honneur in 2011 and was given the Order of Merit of the Federal Republic of Germany in 2005. In the UK, he was made a Commander of the British Empire in 1990 and awarded a knighthood for his services to music in the 1998 Queen’s Birthday Honours List.
"It was Gardiner’s own galvanising approach that mattered most. A score sometimes dismissed as diffuse and uneven suddenly seemed like one of the mightiest cornerstones of romanticism." The Times, July 2016
Text courtesy of Intermusica