Another young male conductor gets signed

Another young male conductor gets signed


norman lebrecht

January 13, 2022

The Glyndebourne assistant conductor Johann Stuckenbruck, 32, has been taken on by HarrisonParrott for global management.

He is described as British/American.




  • Rob Keeley says:

    Excellent news. I was privileged to have worked with this very talented young man when he was a student at King’s College London. Also a very fine double-bass player.

  • PianistW says:

    That is what should be when the immense majority of conducting students are males. The problem is that the number of signings etc. of female conductors is MUCH higher than the percentage of conducting students and graduates, which of course is unfair and discriminatory and angers many, both female and male.

    Why not analyse the signings, hirings etc. of harpists? I would not be surprised in 99% of them are female and no-one says nothing.

    • Achim Mentzel says:

      The harp comparison is a great idea and almost a statistical-scientific approach. It’s just that harps don’t interest anyone because they are not associated with any position of power, because they have nothing to say, and because, with one or two exceptions, you can’t make as agent any money with them, unlike a stick in the hands of a person standing in front of an orchestra.

      • Alexy says:

        you probably never worked with a harp player. They are generally women of much power! 🙂 And have a lot to say…

    • Rita says:

      Do you have statistics to prove your (false) declaration? Female conductors are just as 1 digit percent of guest conductors and music directors around the world, and you claim the opposite? What are you afraid of? It’s time for the talent to take place instead of favoring one gender (male) whether talented or mediocre.

    • Connie Wang says:

      Agree. Why not just hire based on the best qualifications rather than identity factors? It is not helpful to the underrepresented to be promoted based on factors other than merit. IMHO that only perpetuates the problem.

  • Corno di Caccia says:

    As that lady said about an Election, ‘Not another one?!’ Brilliant news and good luck to him. Good to read also that he is at least part-british. I do wonder where our young british conductors are within the profession. There don’t seem to be that many. It’s just a shame that Glyndebourne remains a cultural playground for the rich and well-to-do.

  • Olio says:

    Won’t be long before the musicians call him Maestro Stenkendrunk.

  • Manny_Balestrero says:

    Sexist, ageist headline. What does it matter if he’s male and young? As long as he’s the best qualified for the job. If we’re going to get sexist, let’s not forget that classical music was invented by white males. Bach and Gluck are considered founders of the Classical style. The first great master of the style was Joseph Haydn. In the late 1750s he began composing symphonies, and by 1761 he had composed a triptych (Morning, Noon, and Evening) solidly in the contemporary mode.

    Opera is also an art form invented by white males, it originated in Italy at the end of the 16th century (with Jacopo Peri’s Dafne, produced in Florence in 1598) especially from works by Claudio Monteverdi, notably L’Orfeo, and later spread through Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, and Henry Purcell in England, all white males. All masters of opera are male and white, Mozart, Wagner, Verdi, Puccini, Donizetti, Rossini, Bellini, etc.

    Companies can commission works by female composers and conductors if they so choose. But what have female composers have offered classical music and opera that can be compared to Beethoven, Mozart, Bach, Wagner, Verdi or Puccini and can guarantee females EQUITY of any sort? Same when we address conducting, which female has ever come close to Toscanini, Karajan, Serafin, Kleiber or Stokowski?