ThomasAdès CBE

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Conductor & Piano
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Ignatius Sokal

Ignatius Sokal

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Representation

General management with Askonas Holt, in collaboration with Angela Dixon Partner Managers: Alec Treuhaft (North America) Publisher: Faber Music

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About Thomas

Thomas Adès' compositions include three operas: he conducted the premiere of the most recent, The Exterminating Angel, at the 2016 Salzburg Festival and subsequently at the Metropolitan Opera, New York and the Royal Opera House, London. He conducted the premiere and revival of The Tempest at the Royal Opera House, and a new production at The Metropolitan Opera, Wiener Staatsoper and in November 2022 at La Scala, Milan. Thomas led the world premiere of his full-evening ballet , The Dante Project , at Covent Garden and conducted it in May 2023 at the Opéra Garnier, Paris. He conducted a new production of The Exterminating Angel, featuring a critically acclaimed staging from Calixto Bieito, in spring 2024 at the Opéra Bastille in Paris.

October 2024 sees Thomas conduct the Leipzig Gewandhausorchester as part of his two-season residency with the ensemble, which sees him appear as conductor, pianist and composer in various concert formats. Last autumn Thomas also began a two-season residency with the Hallé orchestra – for the first appearance this 24/25 season, on 21 November 2024, Thomas conducts Aquifer, alongside his Air – Homage to Sibelius for violin and orchestra, which received its UK premiere with the London Symphony Orchestra in May 2024. Further 24/25 highlights include Thomas’ concerts with the Orchestre de l'Opéra national de Paris, London Symphony Orchestra, Deutsche Kammerphilharmonie Bremen and Rundfunk-Sinfonieorchester Berlin.

The world premiere recording of Thomas Adès’ Dante from Gustavo Dudamel and the Los Angeles Philharmonic won the Grammy Award for Best Orchestral Performance at the 66th Annual Grammy Awards in February 2024.

In September 2024, Thomas received the Royal Philharmonic Society Gold Medal, presented live onstage at the BBC Proms by conductor Sir Simon Rattle – himself a recipient of the RPS Gold Medal in 2000.

Thomas is based in London, UK

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Representation

General management with Askonas Holt, in collaboration with Angela Dixon Partner Managers: Alec Treuhaft (North America) Publisher: Faber Music

Follow Thomas

Season Highlights

Sep 2024
Queen Elizabeth Hall, London
Fairy-Tale Dances Thomas Adès (piano) Lawrence Power (viola, violin) Purcell: Full fathom five from The Tempest arr. Thomas Adès Adès: Berceuse No.2 from The Exterminating Angel arr. viola & piano Britten: Waltz from Suite, Op.6 arr. viola & piano Tippett: Come unto these yellow sands from Songs for Ariel Dowland: If my complaints could passions move Britten: Lachrymae (Reflections on a song of Dowland) for viola & piano, Op.48 Adès: Märchentänze for violin & piano Berio: Naturale for viola, percussion & recorded voice Stravinsky: Divertimento from The Fairy's Kiss arr. Stravinsky & Dushkin for violin & piano
Oct 2024
Gewandhaus zu Leipzig
Ravel: La Valse Liszt: Mephisto Waltz no. 1 Tchaikovsky: Francesca da Rimini Adès: Totentanz Gewandhausorchester Thomas Adès (conductor) Jess Dandy (mezzo) Mark Stone (baritone)
Oct 2024
Barbican, London
Beethoven: Symphony No 1 Adámek: Follow Me (Concerto for Violin and Orchestra) Beethoven: Symphony No 4 London Symphony Orchestra Thomas Adès (conductor) Isabelle Faust (violin)

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  • Adès, Leith, Tippet / Hallé

    Bridgewater Hall, Manchester
    Apr 2024

    • Adès prefaced Tevot with Elgar’s Sospiri, drawing almost symphonic intensity from what is at first sight just a salon piece, but then demonstrated that his own work has a power that really deserves the word symphonic. Played as magnificently as this, Tevot becomes an immense statement, whichfollows its own irrefutable musical logic while also seeming – for me at least – to conjure up echoes of late Mahler (of the 10th symphony especially); it’s undoubtedly one of Adès’s finest achievements.

    • Conducted by Thomas Adès, the Hallé Orchestra threw everything at this concert — and I don’t just mean the huge array of bells, vast and small, assembled for Oliver Leith’s new piece. That came as the climax to a stupendous first half that must have left the players gasping for their interval beverage. And they still had an intense miniature by Elgar (the tiny but tragically hued Sospiri) and Adès’s own 2007 masterpiece Tevot to come. Concerts like this renew one’s faith in the ability of British orchestras not just to survive but to flourish, startle and exhilarate even in these problematic times. Adès’s Tevot also requires a vast orchestra, especially in the jangling percussion department, but it’s a very different piece: a 20-minute epic in which a dark mass of sound seems to journey through storms of high-frequency, high-velocity clouds before reaching a point of ethereal beauty and comparative repose. The title has Hebrew biblical connotations, referencing Noah’s ark and the infant Moses’s basket; hearing it at the present time certainly made one reflect on the need for safe passages through times of turmoil.

Discography