© Annelies van der Vegt
© Annelies van der Vegt
© Annelies van der Vegt
JOSÉ MIGUEL ESANDI
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Born in Bahía Blanca, Argentina, José Miguel Esandi started out as a horn player in the National Youth Orchestra before he enrolled with the New World School of the Arts, in Miami, Florida, where he graduated with a Bachelor degree. He holds a Master’s degree with honors from the University of Music in Vienna.

Between 1999 and 2007 he tought conducting at the Royal Conservatory in The Hague was a répétiteur of vocal repertoire. During this time he assisted renowned maestros such as Hartmut Haenchen, Carlo Rizzi and Yannick Nézet-Séguin on numerous opera productions at De Nationale Opera Amsterdam, De Vlaamse Opera, Opéra National de Paris and at the Salzburg Festival, among others.

José Miguel Esandi has been a regular guest at Opera Graz, where he conducted new productions of L’elisir d’amore, Liebe einer Königin, ballet music by Rachmaninov and Malambo!, a ballet with music by Piazzolla and Ginastera, as well as performances of Manon Lescaut, La bohème and Die Zauberflöte and concert programs.


Other recent engagements include La traviata and Die Zauberflöte at Oper Leipzig, La rondine at the Teatro São Carlos and productions of Sacre du printemps, La valse, and Nutcracker with the National Ballet Company of Portugal, the Messiah with the Stavanger Symphony Orchestra, Così fan tutte at the Stadsschouwburg in Amsterdam, La bohème at La Monnaie, Brussels, Rigoletto, Otello and Carmen at the Opéra National de Lorraine, Nancy, and La bohème at the Los Angeles Opera and symphonic programmes, L’elisir d’amore at the One Asia Festival in Busan, Korea, as well as concert performances of Lucia di Lammermoor and L’elisir d’amore at Seoul Arts Centre and Lotte Concert Hall.

In concert, José Miguel Esandi has conducted the Orchestre Philharmonique de Marseille, Rotterdam Philharmonic, The Hague Philharmonic ‘Residentie’, Radiosinfonieorchester Wien, Orchestre Symphonique et lyrique de Nancy, the National Philharmonic of Mexico OFUNAM, Orchestra Sinfonica Portuguesa, Graz Philharmonic Orchestra, Helsingborg Symphony, the Orchestra of Teatro Argentino and the Orchestra of Teatro Colón in Buenos Aires.

This season, José Miguel Esandi will join the Bühnen Halle as First ‘Kapellmeister’ of the Staatskapelle, conducting new productions of Un Ballo in Maschera and Rusalka, the world premiere of Marc Sinan’s opera Chaosmos, as well as Ariadne auf Naxos, Hänsel und Gretel, Der Freischütz, a series of New Year’s concerts and symphonic programmes featuring works by Mendelssohn, Grieg and Tchaikovsky. He will also perform excerpts from Cosi fan tutte with the Orchestre Symphonique de Mulhouse and studio singers from the Opera National du Rhin.
 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.

José Miguel Esandi: Trailer, various works

"Den Platz am Pult der Staatskapelle [...] füllt erneut José Miguel Esandi ganz vorzüglich aus. Mit viel Lust darauf, hinter jedem Baumstamm eine Wagneranspielung zu entdecken und die Sänger mit der traurig schönen Musik zu umhüllen."
nmz.de, A. Dvorak, Rusalka - Oper Halle, January 2020
"Die musikalische Leitung hatte José Miguel Esandi inne, der ein großartiges Orchester durch die emotionale Achterbahn von Dvořáks Musik führte. Rein musikalisch also schon ein Genuß."
hallespektrum.de, A.Dvorak, Rusalka - Oper Halle, January 2020
"Die Oper Halle beginnt die neue Spielzeit mit einem „Maskenball“, der [...] musikalisch begeistert.[...] nutzt der Argentinier José Miguel Esandi seine Chance. Mit einer sich beherzt und mit Verve in den Verdi werfenden Staatskapelle führt er sich als 1. Kapellmeister bravourös ein."
concerti.de, G. Verdi, Un ballo in maschera - Oper Halle, September 2019
“From the overture onwards, it was clear that the conductor José Miguel Esandi was completely at home in this repertoire; he kept a close rapport with singers and orchestra and expertly juggled the score’s humour.”
 
Opera Magazine, Rossini, Le Comte Ory - Dorset Opera, October 2017

José Miguel Esandi

Bio English

José Miguel Esandi

Photo Credit: Annelies van der Vegt

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