Hailed by the BBC as a “talent to watch out for, who conveys a mature command of his forces” American conductor Philip Mann is quickly gaining a worldwide reputation as an artist with a range spanning opera, symphonic repertoire, new music, and experimental collaborations. Under Maestro Mann’s leadership, the Arkansas Symphony Orchestra has seen unprecedented artistic growth, attendance records, three new performance series, an expansion of classical programming weeks, the return of fully staged opera to the metropolitan area, and a major renovation of the Robinson Music Center with a new concert hall.
A winner of the Vienna Philharmonic’s Karajan Fellowship at the Salzburg Festival, Philip Mann conducted performances to sold-out audiences at Avery Fisher Hall in New York and Barbican Center in London. His Canadian debut with L’ Orchestre Symphonique de Québec was dubbed by Le Soleil as a “Tour de Force,” and led to an immediate re-engagement. Other recent engagements include the Grand Rapids Symphony, Phoenix Symphony, Sarasota Symphony, Symphony in C, Tulsa Symphony and the New Mexico Philharmonic. Previously, the music director of the Oxford City Opera and Oxford Pro Musica Chamber Orchestra, he has also held conducting positions with the Music in the Mountains Festival, the Indianapolis Symphony and the San Diego Symphony.
Mann has worked with leading artists such as Joshua Bell, Sharon Isbin, Dmitri Alexeev, Midori, Marvin Hamlisch and given premiers of works by major composers including John Corigliano, Jennifer Higdon, Samuel Adler, Michael Torke, Lucas Richman, Christopher Theofanidis among many others.
Elected a Rhodes Scholar, Mann studied and taught at Oxford, and has served as assistant conductor to Franz Welser-Möst, Simon Rattle, Leonard Slatkin, Jaime Laredo, Mario Venzago, Bramwell Tovey, Pinchas Zukerman and for performances with the Cleveland Orchestra, Berlin Philharmonic, Vienna Philharmonic, and Royal Concertgebouw Orchestra.
Among Philip Mann’s principal teachers are Alan Hazeldine, Colin Metters, Marios Papadopolous, as well as Imre Pallo and David Efron. He worked with Leonard Slatkin and the National Symphony Orchestra at the Kennedy Center’s National Conducting Institute and Michael Tilson Thomas at the New World Symphony; participated in workshops at the Los Angeles Philharmonic, Atlanta Symphony and the Bolshoi Theater in Moscow.
Philip Mann’s first commercial recording, of Brahms Piano Concerto No.2 with the London Symphony Orchestra and pianist Norman Krieger, is due for imminent release.
Philip Mann Conducts the New Mexico Philharmonic in Walton, Prokofiev, Dvorak
“a beautifully sculptured performance”
Philip Mann Conducts Symphony in C in Tchaikovsky, Corigliano
“Mann found a new understanding of this piece”
“…Mann led the performance from memory. Conducting Beethoven’s big, musical gestures with big, musical gestures of his own, Mann, time and again, set off fireworks, and happily stood aside to enjoy the rocket’s red glare. He kindled the flames of the passionate adagio, boosted the vigor of the witty minuet, and charged full bore into the vigorous finale with joyful determination.” [Beethoven 4th Symphony]
“Mann again showed himself to be a skilled musical architect, designing and executing a beautifully paced interpretation, which seemed to spring from somewhere deep within the music rather than superimposed upon it.” [Debussy: La Mer]
San Diego Union Tribune
“Mann’s baton technique reminds me of such conductors as Eugene Ormandy and Fritz Reiner; he has both their showmanship and musicianship. Arkansas is lucky to have his services. And the Arkansas Symphony Orchestra obviously enjoys working under his leadership.”
“For the Mozart concerto, Mann literally put away his big baton and coaxed a warm, genial rendering of the rarely performed concerto. With an animated McGill and a more serious-looking Smith, conductor, soloists and orchestra approached the concerto as if it was chamber music, and it came across as though the occasion was a gathering of close, committed friends making music.”
San Diego Union Tribune
“Mann brought a lot more than just urgency to the piece. (Strauss: Don Juan) Despite his predilection for excitement, Mann kept the tempos flexible, allowed the music to breathe in the more reflective sections, and most impressively, his interpretation was expertly paced. He gestures were so expansive you wondered if he would have anything left for the penultimate section, before the quiet ending, but he showed he still had plenty in the tank for a shattering climax.”
San Diego Union Tribune
“‘From the New World’ is one of the war horses of symphonic music. Yet Mann’s interpretation of it was as fresh as if he were giving it its first performance. The significant themes and motifs in every section stood out.”
“Mann led the orchestra in a deftly controlled yet deeply felt account of the work, marked by a combination of lyricism and strength. They the time the triumphant conclusion was reached, one had the feeling that a world-class conductor had just led a world-class orchestra.” [(Tchaikovsky Symphony #5]
“Mann attacked the piece with a robust, gleeful vigor, and the orchestra responded with tight, bright playing. Mann exhibited absolute technical control tempered with an emotional connection to the music and the players in his expressively graceful yet passionate conducting style.”