nicholas kraemer

conductor

biography

Having been at the forefront of the  early music revolution Nicholas Kraemer has established an enviable reputation for directing period-informed-performances with modern orchestras. He began his career as a harpsichordist, quickly moving from playing continuo at the back of the orchestra to directing from the harpsichord at the front. In the 1970s, his repertory widened and he conducts repertoire from the classical, early romantic, modern and contemporary eras.

Kraemer is currently Principal Guest Conductor of Music of the Baroque, Chicago. During his long and distinguished career he has held the positions of Artistic Director of the Irish Chamber Orchestra, the London Bach Orchestra and the Bath Festival music programme; Permanent Guest Conductor of the Manchester Camerata; Principal Guest Conductor of the Kristiansand Symphony Orchestra and Musikkollegium Winterthur and Associate Conductor of the BBC Scottish Symphony Orchestra. He was the first Music Director of Opera 80, now English Touring Opera and founder of The Raglan Baroque Players.

Appearing worldwide with many prestigious ensembles Nicholas Kraemer has conducted the Berlin Philharmonic, Chicago Symphony, Rotterdam Philharmonic, Bergen Philharmonic, BBC Philharmonic, BBC National Orchestra of Wales, The Hallé, Gothenburg, City of Birmingham, Detroit, Houston, Toronto, West Australia and Colorado Symphony Orchestras and the Minnesota Orchestra. In addition, he has directed specialist ensembles such as the Orchestra of the Age of Enlightenment, Philharmonia Baroque and Birmingham Contemporary Music Group. He has conducted Ensemble Kanazawa in Japan, Bournemouth Symphony Orchestra, the London Mozart Players and is regularly invited to perform with the Scottish Chamber Orchestra, Northern Sinfonia and Musikcollegium Winterthur.

read more...

Kraemer’s Opera engagements have taken him to Paris, Lisbon, Amsterdam, Geneva and Marseilles with repertoire ranging from Monteverdi’s L’Orfeo and L’Incoronazione di Poppea to nineteenth- and twentieth-century works including Strauss’s Ariadne auf Naxos; Britten’s Albert Herring, Noye’s Fludde and Paul Bunyan. He has conducted many Handel operas including Arianna in Creta, Lotario, Tolomeo, Arminio, Ariodante, Il Pastor Fido, Rinaldo, and Orlando, as well as the major Mozart operas. He has conducted The Magic Flute and Handel’s Jeptha at English National Opera, Agrippina for Theater Aachen, Le Nozze di Figaro for Den Nye Opera, Bergen, Idomeneo for Grange Park Opera, La Finta Giardiniera at the Buxton Festival and Ariodante for Scottish Opera.

Nicholas Kraemer’s recordings include Vivaldi concertos with City of London Sinfonia for Naxos; Locatelli Concerto Grossi, Tartini violin concertos, and concertos by Durante, Pergolesi, and Leo with Elizabeth Wallfisch and Raglan Baroque Players for Hyperion; Handel Rodelinda for Virgin Classics; Handel Oratorio Duets with Carolyn Sampson, Robin Blaze and the OAE for BIS and works by Thea Musgrave with the Scottish Chamber Orchestra for Collins Classics. He has contributed to several feature films, most notably as Baroque Music Director for The Madness of King George.

Nicholas Kraemer is represented for General Management. For all enquiries please contact Caroline Phillips cphillips@caroline-phillips.co.uk

reviews

Handel, Locatelli, Telemann & Vivaldi Concertos – Music of the Baroque

The stylish and trusty hand of principal guest conductor Nicholas Kraemer was evident in the symmetry of the programming as well as in the invigorating musical results. Kraemer saw to it that everything was neat, tidy and properly propulsive, that no texture was under-articulated, no dance movement under-characterized. Kraemer has a special feel for Handel, making him one of the most authoritative Handelians in today’s early-music world.

Chicago Classical Review, 10 May 2021

Pulpit and Playhouse – Music of the Baroque

Kraemer, MOB close season with the sacred, secular and spectacular

Nicholas Kraemer rang the curtain down on Music of the Baroque’s season Monday night at the Harris Theater. The vehicle was “Pulpit and Playhouse,” a typically enterprising Kraemerian program of rarities, both sacred and secular… There is striking contrapuntal confidence displayed in No. 131, and skillful balancing by MOB’s principal guest conductor ensured that the vocal soloists, chorus, orchestra and instrumental lines all registered.

Chicago Classical Review, 14 May 2019

read more...

Bach Christmas Oratorio – Minnesota Orchestra

the Minnesota Orchestra proved … in an ebullient performance of Cantatas 4, 5 and 6 from Bach’s Christmas Oratorio. The key ingredient was the presence of Scottish baroque specialist Nicholas Kraemer on the conductor’s podium… His influence was strongly felt in the lean, sprightly performance of Bach’s Third Orchestral Suite that opened the concert. ..Once again the key influencer was conductor Kraemer …he coaxed delectably incisive playing from the orchestra and exceptionally vivid singing from the choir.

Star Tribune, 9 December 2018

Vivaldi Four Seasons – Music of the Baroque

Conducting as usual from the harpsichord, Kraemer led these beguiling terpsichorean depictions with ample grace and abundant charm.

Chicago Classical Review, 6 November 2018

The Enchanted Isle – British Youth Opera

There is a glow on the sound of Southbank Sinfonia’s modern instruments and Nicholas Kraemer conducts with flair, ensuring that the string of numbers (more than 20 in Act I alone) retains pace and cohesion.

The Stage, 3 September 2018

L’Incoronazione di Poppea – Trinity Laban Conservatoire, Blackheath Halls

“… elegantly stylish musical preparation; given the direction of Nicholas Kraemer, how could it have been otherwise? The Trinity Laban forces were blessed by his experienced presence”

Opera, September 2017

Ariodante – Scottish Opera

There is a finely-judged balance from the orchestra under the baton of Nicholas Kraemer, and no little amount of drive…

All Edinburgh Theatre, 28 February 2016 

… there were lovely solo passages from the Scottish Opera Orchestra, who played in period style …

The Observer, 21 February 2016

…the gorgeous playing of conductor Nicholas Kraemer’s orchestra …

The Telegraph, 17 February 2016

Bach with Music of the Baroque

Most everything goes right whenever Music of the Baroque presents the music of Johann Sebastian Bach, and that happened again Monday night as principal guest conductor Nicholas Kraemer began the group’s season.

Chicago Tribune, 20 October 2015


Rinaldo
– Opera NEO, San Diego

As Kraemer demonstrated in a fine outing conducting the orchestra of the Bach Collegium San Diego in February, his approach to early 18th century music balances vitality with linear clarity and precise phrasing.

San Diego Story, 16 August 2015


Stamitz, Kreisler & Vittali violin concertos – Hideko Udagawa  & The Scottish Chamber Orchestra,

This is a remarkably fine work brilliantly played by Hideko Udagawa, Nicholas Kraemer and the Scottish Chamber Orchestra

The Classical Reviewer 17 Feb 2015


Chicago Symphony Orchestra – Complete Brandenburg Concertos

… the Chicago Symphony Orchestra is devoting its weekend subscription concerts to all six of the master’s “Brandenburg” Concertos, under Nicholas Kraemer’s discreet but invigorating direction … Kraemer, whose day job is that of principal guest conductor of Chicago’s Music of the Baroque, is as comfortable playing Baroque repertory with symphony orchestras as with period-instrument groups. He had no trouble transferring his ideas about balance, scale, articulation and phrasing to the various CSO soloists and accompanying chamber groups, leaving them free to realize the tonal possibilities of working in their natural musical environment.

Conducting from the harpsichord, Kraemer made adherence to matters of period style a means to an end rather than the end in itself. The end was vigorous and polished Bach playing. His interpretative hand was unobtrusive, nudging a cadence here, a contrasting figure there, keeping things moving along in a bouncy, rhythmically inflected manner.

Chicago Tribune 21 Nov 2014


Haydn, Mozart & Beethoven: Music of the Baroque

…principal guest conductor Nicholas Kraemer[’s] conducting characteristically vital and energetic …  The genial equanimity at the heart of Kraemer’s musical personality is well-suited to much repertory—most Baroque, lighter Bach works, and Haydn especially, a composer in which Kraemer has few peers.

Chicago Classical Review, 21 October 2014

Kraemer’s vision proved powerful and strongly dramatic.

Chicago Tribune, 20 October 2014


Belshazzar
– Trinity Laban Conservatoire, Blackheath Halls

Kraemer drew from them a well-nourished sound, and there was no let-up in the finely-judged pacing and shaping he imposed on the performance.

Opera, 1 September 2014


Music for the Royal Fireworks – Music of the Baroque

There was ample energy and vivacity in this season-closing concert led by Nicholas KraemerKraemer led an exhilarating performance.

Chicago Classical Review, 20 May 2014

Bach and Handel – Music of the Baroque

Kraemer brings a zest and exuberance to even the most familiar works and the reading was delightful, deftly balanced and rhythms pointed with lilting flair.

Chicago Classical Review, 23 April 2014

Bach  – Music of the Baroque

Nicholas Kraemer is in charge, balancing historical awareness with communicative expression.

Chicago Tribune, 8 October 2013

Nicholas Kraemer direct[ed] with characteristic insight and ebullience.

Chicago Classical Review, 8 October 2013


La Finta Giardiniera
– Buxton Festival

On the rostrum Nicholas Kraemer conducted with a nice balance of Mozartian taste to match his overall pacing and support for the singers.

Seen and Heard International, 9 July 2013

authoritatively conducted by Nicholas Kraemer,

5 stars The Guardian, 9 July 2013   
 

Auckland Philharmonic Orchestra – Heroic Classics

Haydn’s 85th Symphony is nicknamed La Reine, having received the royal nod from Marie Antoinette. Kraemer’s finely gauged take made one realise the French Queen certainly knew her music better than her politics. The delights were in the details.

Kraemer and the orchestra uncovered new worlds in Beethoven’s Eroica. The opening Allegro unlocked dances that can remain a mystery to some conductors and, among Kraemer’s many daring touches, a dramatic rubato in the movement’s second subject stood out.

The New Zealand Herald, 6 April 2013


Music of the Baroque, Chicago – Haydn & Handel

for those who love Haydn, the chance to once again hear two of the Austrian composer’s symphonies under the inimitable direction of Nicholas Kraemer was all the incentive needed…

[Kraemer] is masterful in this repertoire…

Kraemer made child’s play out of the musical hurdles.

Kraemer and company largely served the music well with trim, graceful playing, impeccably balanced by the conductor.

Chicago Classical Review, 23 February 2013


Collegium Musicum, Bergen – Dvorak & Handel

When Collegium invites to Bergen the charismatic conductor Nicholas Kraemer, the result is an experience characterised by quality and enthusiasm.

From the very onset, Maestro Kraemer released vibrant dynamics …

it was obvious that Maestro Kraemer had trust in the singers, and he did not shy away from quick tempi and bold accentuation.

It seems clear that the choice of conductor was a success. Nicholas Kraemer brings out the very best in the choir and the orchestra.

Birgens Tidene, 29 October 2012


Idomeneo
– Grange Park Opera

Conductor Nicholas Kraemer demonstrates Mozartean affinity, whipping up spine-tingling excitement in the splendidly-sung chorus scenes.

The Stage, 06 June 2012


St John Passion –
Kristiansand Symphony Orchestra

Conductor Nicholas Kraemer does Bach in an extremely inviting way. It is as though Baroque music’s tendencies to exaggeration are swept away and the musical texture, tight and intricate as it is in Bach, is brought to the fore in an incredibly refined way. When orchestra, choir and soloists all adopt the same style, the result is close to perfection.

Fædrelandsvennen, 30 March 2012

 

Music of the Baroque, Chicago – Telemann, Purcell, Corelli & Rameau

Conductor/harpsichordist Nicholas Kraemer mixed it up nicely, with four nations, five composers (and their respective national styles), and two concertos. As usual the ensemble’s principal guest conductor brought a knowing, authoritative air to the performances, with tempos that seemed consistently “right,” no easy feat in an era when such basic decisions involve plenty of educated guesswork.

Chicago Classical Review, 27 February 2012


Music of the Baroque, Chicago – Handel & Vivaldi

It has been nearly a decade since Music of the Baroque named Jane Glover and Nicholas Kraemer as its music director and principal guest conductor, respectively. Since 2002, these superb British musicians have expanded the repertory while infusing their interpretations with bracing vigor and a keen sense of style that makes early music leap off the page in a wonderfully immediate manner.

MOB’s performance of Handel’s psalm setting “Dixit Dominus,” paired with Vivaldi’s better-known “Gloria” on Tuesday’s concert at the Harris Theater for Music and Dance, gave Kraemer a chance to revisit cherished haunts. The Handel was his audition piece – the first work he conducted at his MOB debut nine years ago this month. This remarkable choral masterpiece came off well then, but Tuesday’s reading was altogether more confidently realized.

Kraemer‘s reading was exact of execution, alive to the spiritual drama. Tempos proved to be on the brisk side, and there was plenty of spring to the rhythms. Kraemer reminded us that period forces are not needed as long as period manners are so faithfully observed.

The most famous of Vivaldi’s three settings of the “Gloria” also came off well under Kraemer‘s enlivening direction.

Chicago Tribune, 11 November 2010

Kraemer led the orchestra and chorus in a vividly dramatic, richly characterized performance that consistently put across the imagination and audacity of Handel’s music.

Kraemer showed a fine hand, bringing expressive poise to the Largo movements, stately poise to the Andante and avoiding the temptation to inflate the closing Hornpipe, keeping it in scale with lightly sprung rhythms.

Kraemer led a lively performance, with notably fleet, virtuosic choral singing in the opening Gloria enhanced by Barbara Butler’s gleaming trumpet and a notably thrilling account of the fugal finale.

Chicago Classical Review, 08 November 2010


RTE National Symphony Orchestra & Philharmonic Choir Bach: C Minor Mass

Nicholas Kraemer is clearly a man with definite ideas about the Bach Mass … He favoured brisk speeds and pointed energy. Kraemer’s was a performance which, at its best, achieved considerable expressive traction.

The Irish Times, 19 October 2010


Aspen Festival Orchestra

Kraemer got lively, idiomatic playing in Rodrigo’s marvelous 1954 suite Fantasia para un gentilhombre.

Aspen Times, 12 August 2010


Chicago Symphony Orchestra – Mozart, Haydn, Telemann, Strauss

At the Symphony Center, Nicholas Kraemer led the CSO in a deeply expressive rendition of Richard Strauss’s tragic Metamorphosen for 23 solo strings. A man sitting in front of me shed a tear …

Time Out Chicago, 31 December 2010

Under Kraemer, CSO ensembles entertain at a convivial musical soiree

Kraemer kept everything animated, transparent and well-balanced in the Mozart as well as in Haydn’s Symphony No. 88. Here tempos were judicious, rhythms nicely sprung and witty asides deftly projected

Chicago Tribune, 12 December 2009

Kraemer proves man for all seasons

Nicholas Kraemer led a breezy and often hilarious night of wildly inentive period works by Vivaldi, Jean-Fery Rebel and Telemann … the orchestra sounded beautifully echoic and full-bodied in Harris’ cavernous theatre, lending a distinct dreamlike flow to Telemann’s 10 movement suite.

Chicago Sun-Times, 18 November 2009

But Kraemer and his players truly pushed the envelope in their program’s wildly dramatic depiction of the earth’s basic elements.

Chicago Classical Review, 17 November 2009


Northern Sinfonia – Theodora

Nicholas Kraemer, directing from the harpsichord, demonstrated that every bar is suffused with drama …

Not for the first time, a performance of Theodora seemed to make the earth move.

The Guardian, 03 November 2009


Haydn’s Oxford in Edinburgh

Kraemer and the SCO flirted and danced their way to the last giddy bar in this thrilling performance.

The Scotsman, 17 January 2008

Chicago Symphony début

We know from Nicholas Kraemer‘s work with Chicago’s Music of the Baroque these past several seasons that he knows his way around the 17th and 18th Century orchestral repertory so well that it doesn’t matter whether period or modern instruments are used — the music lives, breathes and dances just as stylishly.

Chicago Tribune, 16 November 2007


Philharmonia Baroque, San Francisco

…a program of Vienna’s heavy hitters led with spirit and polish by guest conductor Nicholas Kraemer … Mozart, Haydn and Beethoven have rarely sounded so novel and, well, funky.

San Francisco Classical Voice, 12 October 2006

Under Kraemer’s assured, energetic direction, each work benefited from the orchestra’s characteristically tight ensemble playing.

San Francisco Times, 12 October 2006


Judas Macc.
in Chicago

…he [Kraemer] tapped into the composer’s dynamism, and the music moved forward with a swift inner energy.

Chicago Sun Times, 20 September 2006


Central City’s Poppea

…helmed by first-rate baroque conductor Nicholas Kraemer. The effort paid off with authentic accompaniment that greatly enhances the performance.

The Denver Post, 14 July 2006


Agrippina
in Aachen

The guest conductor Nicholas Kraemer obviously relished his task and achieved dynamic variety, lively phrasing and a transparent sound from the orchestra.

Opera, June 2006


Handel’s Belshazzar with the Berlin Phil.

… the triumph of Nicholas Kraemer, an early music expert making his Berlin Philharmonic début. He produced a light, radiating sound from the harpsichord, directing elegantly and precisely. The effect was like shining a torch into the darkness of mankind.

Der Tagesspiegel, 28 May 2004

Kraemer achieved an almost classical and finely delineated dynamic treatment rather than the vast sequences of loud and soft passages which tend to predominate in poor interpretations of baroque music.

Berliner Zeitung, 29 May 2004


St John Passion
at The Barbican

Kraemer was faultless, finding violence as well as pity in the score, as the protracted dissonances that sting like lash strokes gave way to mementos of timeless serenity

The Guardian, 12 April 2004

A St John Passion that was as richly satisfying, various and yet sharply focused as could be … From a properly urgent, anxious start with opening chorus, Kraemer sustained both dramatic tension and musical meaning throughout. It would be years before we hear another St John Passion as scrupulously illuminating and balanced.

The Financial Times, 13 April 2004


The Magic Flute
at ENO

Nicholas Kraemer serving up a delicious, limpid stream of rushing strings, woodwind striving towards the 19th century and a barely suppressed awareness of the Romantic revolution round the corner … Kraemer gives Mozart’s simplest truths the headroom they want.

The Times, 23 March 2004

cholas Kraemer,

5 stars The Guardian, 9 July 2013

Auckland Philharmonic Orchestra – Heroic Classics

Haydn’s 85th Symphony is nicknamed La Reine, having received the royal nod from Marie Antoinette. Kraemer’s finely gauged take made one realise the French Queen certainly knew her music better than her politics. The delights were in the details.

Kraemer and the orchestra uncovered new worlds in Beethoven’s Eroica. The opening Allegro unlocked dances that can remain a mystery to some conductors and, among Kraemer’s many daring touches, a dramatic rubato in the movement’s second subject stood out.

The New Zealand Herald, 6 April 2013


Music of the Baroque, Chicago – Haydn & Handel

for those who love Haydn, the chance to once again hear two of the Austrian composer’s symphonies under the inimitable direction of Nicholas Kraemer was all the incentive needed…

[Kraemer] is masterful in this repertoire…

Kraemer made child’s play out of the musical hurdles.

Kraemer and company largely served the music well with trim, graceful playing, impeccably balanced by the conductor.

Chicago Classical Review, 23 February 2013


Collegium Musicum, Bergen – Dvorak & Handel

When Collegium invites to Bergen the charismatic conductor Nicholas Kraemer, the result is an experience characterised by quality and enthusiasm.

From the very onset, Maestro Kraemer released vibrant dynamics …

it was obvious that Maestro Kraemer had trust in the singers, and he did not shy away from quick tempi and bold accentuation.

It seems clear that the choice of conductor was a success. Nicholas Kraemer brings out the very best in the choir and the orchestra.

Birgens Tidene, 29 October 2012


Idomeneo
– Grange Park Opera

Conductor Nicholas Kraemer demonstrates Mozartean affinity, whipping up spine-tingling excitement in the splendidly-sung chorus scenes.

The Stage, 06 June 2012


St John Passion –
Kristiansand Symphony Orchestra

Conductor Nicholas Kraemer does Bach in an extremely inviting way. It is as though Baroque music’s tendencies to exaggeration are swept away and the musical texture, tight and intricate as it is in Bach, is brought to the fore in an incredibly refined way. When orchestra, choir and soloists all adopt the same style, the result is close to perfection.

Fædrelandsvennen, 30 March 2012

 

Music of the Baroque, Chicago – Telemann, Purcell, Corelli & Rameau

Conductor/harpsichordist Nicholas Kraemer mixed it up nicely, with four nations, five composers (and their respective national styles), and two concertos. As usual the ensemble’s principal guest conductor brought a knowing, authoritative air to the performances, with tempos that seemed consistently “right,” no easy feat in an era when such basic decisions involve plenty of educated guesswork.

Chicago Classical Review, 27 February 2012


Music of the Baroque, Chicago – Handel & Vivaldi

It has been nearly a decade since Music of the Baroque named Jane Glover and Nicholas Kraemer as its music director and principal guest conductor, respectively. Since 2002, these superb British musicians have expanded the repertory while infusing their interpretations with bracing vigor and a keen sense of style that makes early music leap off the page in a wonderfully immediate manner.

MOB’s performance of Handel’s psalm setting “Dixit Dominus,” paired with Vivaldi’s better-known “Gloria” on Tuesday’s concert at the Harris Theater for Music and Dance, gave Kraemer a chance to revisit cherished haunts. The Handel was his audition piece – the first work he conducted at his MOB debut nine years ago this month. This remarkable choral masterpiece came off well then, but Tuesday’s reading was altogether more confidently realized.

Kraemer‘s reading was exact of execution, alive to the spiritual drama. Tempos proved to be on the brisk side, and there was plenty of spring to the rhythms. Kraemer reminded us that period forces are not needed as long as period manners are so faithfully observed.

The most famous of Vivaldi’s three settings of the “Gloria” also came off well under Kraemer‘s enlivening direction.

Chicago Tribune, 11 November 2010

Kraemer led the orchestra and chorus in a vividly dramatic, richly characterized performance that consistently put across the imagination and audacity of Handel’s music.

Kraemer showed a fine hand, bringing expressive poise to the Largo movements, stately poise to the Andante and avoiding the temptation to inflate the closing Hornpipe, keeping it in scale with lightly sprung rhythms.

Kraemer led a lively performance, with notably fleet, virtuosic choral singing in the opening Gloria enhanced by Barbara Butler’s gleaming trumpet and a notably thrilling account of the fugal finale.

Chicago Classical Review, 08 November 2010


RTE National Symphony Orchestra & Philharmonic Choir Bach: C Minor Mass

Nicholas Kraemer is clearly a man with definite ideas about the Bach Mass … He favoured brisk speeds and pointed energy. Kraemer’s was a performance which, at its best, achieved considerable expressive traction.

The Irish Times, 19 October 2010


Aspen Festival Orchestra

Kraemer got lively, idiomatic playing in Rodrigo’s marvelous 1954 suite Fantasia para un gentilhombre.

Aspen Times, 12 August 2010


Chicago Symphony Orchestra – Mozart, Haydn, Telemann, Strauss

At the Symphony Center, Nicholas Kraemer led the CSO in a deeply expressive rendition of Richard Strauss’s tragic Metamorphosen for 23 solo strings. A man sitting in front of me shed a tear …

Time Out Chicago, 31 December 2010

Under Kraemer, CSO ensembles entertain at a convivial musical soiree

Kraemer kept everything animated, transparent and well-balanced in the Mozart as well as in Haydn’s Symphony No. 88. Here tempos were judicious, rhythms nicely sprung and witty asides deftly projected

Chicago Tribune, 12 December 2009

Kraemer proves man for all seasons

Nicholas Kraemer led a breezy and often hilarious night of wildly inentive period works by Vivaldi, Jean-Fery Rebel and Telemann … the orchestra sounded beautifully echoic and full-bodied in Harris’ cavernous theatre, lending a distinct dreamlike flow to Telemann’s 10 movement suite.

Chicago Sun-Times, 18 November 2009

But Kraemer and his players truly pushed the envelope in their program’s wildly dramatic depiction of the earth’s basic elements.

Chicago Classical Review, 17 November 2009


Northern Sinfonia – Theodora

Nicholas Kraemer, directing from the harpsichord, demonstrated that every bar is suffused with drama …

Not for the first time, a performance of Theodora seemed to make the earth move.

The Guardian, 03 November 2009


Haydn’s Oxford in Edinburgh

Kraemer and the SCO flirted and danced their way to the last giddy bar in this thrilling performance.

The Scotsman, 17 January 2008

 

Chicago Symphony début

We know from Nicholas Kraemer‘s work with Chicago’s Music of the Baroque these past several seasons that he knows his way around the 17th and 18th Century orchestral repertory so well that it doesn’t matter whether period or modern instruments are used — the music lives, breathes and dances just as stylishly.

Chicago Tribune, 16 November 2007


Philharmonia Baroque, San Francisco

…a program of Vienna’s heavy hitters led with spirit and polish by guest conductor Nicholas Kraemer … Mozart, Haydn and Beethoven have rarely sounded so novel and, well, funky.

San Francisco Classical Voice, 12 October 2006

Under Kraemer’s assured, energetic direction, each work benefited from the orchestra’s characteristically tight ensemble playing.

San Francisco Times, 12 October 2006


Judas Macc.
in Chicago

…he [Kraemer] tapped into the composer’s dynamism, and the music moved forward with a swift inner energy.

Chicago Sun Times, 20 September 2006


Central City’s Poppea

…helmed by first-rate baroque conductor Nicholas Kraemer. The effort paid off with authentic accompaniment that greatly enhances the performance.

The Denver Post, 14 July 2006


Agrippina
in Aachen

The guest conductor Nicholas Kraemer obviously relished his task and achieved dynamic variety, lively phrasing and a transparent sound from the orchestra.

Opera, June 2006


Handel’s Belshazzar with the Berlin Phil.

… the triumph of Nicholas Kraemer, an early music expert making his Berlin Philharmonic début. He produced a light, radiating sound from the harpsichord, directing elegantly and precisely. The effect was like shining a torch into the darkness of mankind.

Der Tagesspiegel, 28 May 2004

Kraemer achieved an almost classical and finely delineated dynamic treatment rather than the vast sequences of loud and soft passages which tend to predominate in poor interpretations of baroque music.

Berliner Zeitung, 29 May 2004


St John Passion
at The Barbican

Kraemer was faultless, finding violence as well as pity in the score, as the protracted dissonances that sting like lash strokes gave way to mementos of timeless serenity

The Guardian, 12 April 2004

A St John Passion that was as richly satisfying, various and yet sharply focused as could be … From a properly urgent, anxious start with opening chorus, Kraemer sustained both dramatic tension and musical meaning throughout. It would be years before we hear another St John Passion as scrupulously illuminating and balanced.

The Financial Times, 13 April 2004


The Magic Flute
at ENO

Nicholas Kraemer serving up a delicious, limpid stream of rushing strings, woodwind striving towards the 19th century and a barely suppressed awareness of the Romantic revolution round the corner … Kraemer gives Mozart’s simplest truths the headroom they want.

The Times, 23 March 2004

gallery

news

Kraemer – “one of the most authoritative Handelians”

Conductor "[Nicholas] Kraemer has a special feel for Handel, making him one of the most authoritative Handelians in today’s early-music world... The stylish and trusty hand of principal guest conductor Nicholas Kraemer was evident in the symmetry of the programming as...

Kraemer back in Chicago

Nicholas Kraemer, Principal Guest Conductor of Music of the Baroque, directs a programme of Bach Brandenburg Concertos from Harris Theatre, Chicago which is available on demand from April 29. From May 9 their concert of Handel, Locatelli, Vivaldi & Telemann will...

Kraemer’s stunning Messiah online

Nicholas Kraemer's Messiah performance with the English Chamber Orchestra, Voces 8 and stunning soloists is available online at Live From London Christmas. Kraemer introduces the work here.

Kraemer All Stars Messiah live in London

Nicholas Kraemer conducts the English Chamber Orchestra and Voces 8 with Carolyn Sampson, Iestyn Davies, Andrew Staples and Matthew Brook at Cadogan Hall, London. With a reduced running time of 80 minutes the two performances on December 6 with a socially-distanced...

Kraemer directs baroque masterpieces with Chicago Symphony

Conductor Nicholas Kraemer returns to the Chicago Symphony for a gorgeous Bach, Handel and Purcell programme with countertenor Iestyn Davies and Amanda Forsyth, soprano. Performances at Orchestra Hall, Chicago on March 26, 27 and 28

Nicholas Kraemer Lapland debut

Nicholas Kraemer conducts 'the most northerly professional orchestra in the EU' , the Lapland Chamber Orchestra, for the first time this evening. As well as Bach, Handel and Telemann the programme also includes works by Georg Muffat (1653-1704) and Carl Heinrich Graun...

Spine-tingling excitement from Kraemer

"Kraemer demonstrates Mozartean affinity, whipping up spine-tingling excitement in the splendidly-sung chorus scenes ..."  The Stage [Idomeneo at Grange Park]