UK young conductor upgrades to French music director

If the name Marta Gardolińska sounds familiar it’s because the Polish musician, 32, has served for the past three years as Young Conductor in Association at the decidedly unglitzy Bournemouth Symphony Orchestra.

Two years ago, she was talent-spotted by a London management company.

This morning she was announced as music director of the Opéra national de Lorraine, starting in September.

She will conduct there ten weeks a year. Marta says: ‘It fills me with pride that I will get to shape the cultural life of a place that was strongly shaped by a former Polish king, Stanisław Leszczyński. I hope to give the best possible representation of Polish culture here in Nancy.’

Before joining Bournemouth Marta was a singer in Vienna’s Arnold Schoenberg Chorus.

News of her appointment is making headlines in Poland.

It’s a lovely story, worthy of the Netflix series Call My Agent (Dix Pour Cent).

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  • I see the Ochsentour is well and truly dead. No need to prove yourself in opera over a number of years à la Julia Jones any more. I wish her well but can’t help but think she’d be better served garnering experience elsewhere and working her way up to an MD position.

    • At least she has one (1) opera in her repertoire.
      Yes, Julia, the répétiteur of many years did it the correct way, but that’s not what matters any more…

      • You know how these millennials are. They all want to jump into the big league, bring their pets to work, 3 weeks vacation, Etc. without having earned it first.

        • Ah yes, those pesky millennials, how dare they be talented AND demand better working conditions?

          Who decides what constitutes the “correct way” btw?

    • “…can’t help but think she’d be better served garnering experience elsewhere and working her way up to an MD position” — probably true, but if you were in her position, can you imagine saying no?

  • You mean the France 2 public broadcasting network series Dix Pour Cent which Netflix picked up. Credit where credit’s due.

  • I don’t know — and am not sure I wish to know — what constitutes a “glitzy” orchestra. But Bournemouth is a good ‘un. Just look who has run it, and who is running it now. Silvestri, Litton, Alsop, Karabits — to name only a few. If the BSO has been this young woman’s springboard, I would think, on past performance, she is likely to jump very high.

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