Portrait Manfred Honeck

Manfred Honeck

Conductor
© Felix Broede
General Management

Manfred Honeck has firmly established himself as one of the world’s leading conductors, renowned for his distinctive and revelatory interpretations that have garnered international acclaim. As Music Director of the Pittsburgh Symphony Orchestra, where he has now started his 18th season, he continues to shape the orchestra’s artistic identity with a deep sense of purpose and passion. His tenure, extended through the 2027–2028 season, has seen the orchestra flourish both artistically and as a cultural ambassador for the city of Pittsburgh. Celebrated at home and abroad, guest appearances under his leadership include Carnegie Hall and Lincoln Center in New York, as well as the major venues of Europe and leading festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, and Grafenegg Festival.  In summer 2024, he led the orchestra in a nine-city European Festivals Tour, beginning with their appearance as the only American orchestra at the prestigious Salzburg Festival and concluding at Vienna Konzerthaus.

Manfred Honeck's successful tenure in Pittsburgh is extensively documented by a series of recordings on the Reference Recordings label, featuring works by Beethoven, Brahms, Bruckner, Shostakovich, Strauss, Tchaikovsky, and others. They have received widespread critical acclaim and multiple GRAMMY® nominations, including a win for  "Best Orchestral Performance" in 2018. In August 2025, he and the orchestra released Requiem: Mozart’s Death in Words and Music, an original concept imagining a Funeral Mass for Mozart, combining the composer’s Requiem with Gregorian chant, poetry, and other Mozart choral music.

Born in Austria, Manfred Honeck completed his musical training at the University of Music in Vienna. His many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor, and his art of interpretation is rooted in a desire to venture deep beneath the surface of the music. He began his conducting career as an assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was awarded the European Conducting Prize in 1993. He has since served as one of three principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. In 2023, he was appointed Honorary Conductor by the Bamberg Symphony Orchestra, following decades of close collaboration. 

Manfred Honeck also enjoys a distinguished profile as an opera conductor. In his four seasons as General Music Director of the Staatsoper Stuttgart, he conducted premieres of operas by Berlioz, Mozart, Poulenc, Strauss, Verdi, and Wagner. He has also appeared as guest at leading houses such as Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, and the Salzburg Festival. In 2020, Beethoven’s anniversary year, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. In autumn 2022, he made his much-acclaimed debut at the Metropolitan Opera in New York, leading a revival of Mozart’s Idomeneo. Beyond the podium, Manfred Honeck has created a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra, Dvořák’s Rusalka as well as Puccini's Turandot which he regularly performs around the globe. The most recent arrangement, of Strauss’s Arabella, was premiered by the Pittsburgh Symphony Orchestra in 2025.

As a guest conductor, Manfred Honeck is a regular presence with all leading international orchestras, including Bavarian Radio Symphony Orchestra, Berlin Philharmonic Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. In the United States, he has conducted all major orchestras from New York to San Francisco. He has also been Artistic Director of the International Concerts Wolfegg in Germany for over three decades.

In the 2025-2026 season, he will record Mahler’s Symphony No. 2 Resurrection, and Bruckner’s Symphony No. 8 with the Pittsburgh Symphony, in addition to leading a variety of American orchestral music as part of celebrations around America’s 250th anniversary. He will continue to have a strong presence in the USA, returning to the Chicago Symphony, New York Philharmonic, San Francisco Symphony  and Los Angeles Philharmonic. Honouring the composer's 200th birthday anniversay, works by Johann Strauß are at the centre of many of his concert programmes from Stockholm to Bamberg, including the jubilee concert at the Vienna Musikverein in October 2025, where he will be joined by world-famous violinist Anne-Sophie Mutter. 

Manfred Honeck holds honorary doctorates from several universities in the United States and was awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him "Artist of the Year".




26. September 2025 - 19:30

Pittsburgh, Heinz Hall

Christopher Theofanidis: Rainbow Body
Jean Sibelius: Konzert für Violine und Orchester d-moll op. 47
Antonín Dvořák: Symphonie Nr. 8 G-Dur op. 88 B 163

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28. September 2025 - 14:30

Pittsburgh, Heinz Hall

Christopher Theofanidis: Rainbow Body
Jean Sibelius: Konzert für Violine und Orchester d-moll op. 47
Antonín Dvořák: Symphonie Nr. 8 G-Dur op. 88 B 163

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3. October 2025 - 20:00

Bamberg, Konzerthalle Bamberg

Franz von Suppè: Ouvertüre zu "Leichte Kavallerie"
Robert Stolz: Du sollst der Kaiser meiner Seele sein aus "Der Favorit"
Johann Strauß (Sohn): Kaiserwalzer op. 437
Franz Lehár: Wär es auch nichts als ein Traum vom Glück (aus "Eva")
Johann Strauß (Sohn): Ouvertüre zur Operette 'Der Zigeunerbaron'
Franz Lehár: Meine Lippen, sie küssen so heiß (aus "Giuditta")
Johann Strauß (Sohn): Eljen a Magyar op. 332
Johann Strauß (Sohn): Ouvertüre zur Operette "Waldmeister"
Johann Strauß (Sohn): Banditen-Galopp op. 378
Johann Strauß (Sohn): Arie 'Mein Herr Marquis' (Adele) aus Die Fledermaus
Johann Strauß (Sohn): Wiener Blut
Johann Strauß (Sohn): Sängerslust op. 328
Johann Strauß: Tritsch-Tratsch-Polka op.214
Johann Strauß (Sohn): "Spiel ich die Unschuld vom Lande" aus "Die Fledermaus"
Johann Strauß (Sohn): Unter Donner und Blitz op. 324

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  • Yet this new account is of another stature, as if Honeck’s earlier interpretation were a first draft, and this the finished masterpiece — and make no mistake, it is a masterpiece, a dark psychological thriller that soars and scars and ends up being rather unnerving. Drawing on Tchaikovsky’s sketches and personal biography, Honeck writes in the album’s booklet that the work is in some respects a portrayal of depression. But he offers neither a cold, clinical analysis of the score nor the complacent, simplistic narrative of triumph over disaster that so many of his colleagues are content to find in it. Securing orchestral playing of unrelenting intensity and utmost exactitude, Honeck instead gives the symphony all the harrowing drama — the dread, the instability, the vertiginous sense of being on the edge — of a mental breakdown. It is not easy to listen to at times, and there is scant resolution at the close. But this Fifth, one of the greatest ever recorded, does make one conclusion inescapable, though it is more of a confirmation by now: There has not been a conductor like Honeck in a long time.
    New York Times
    David Allen: Tchaikovsky: Symphony No. 5; Schulhoff, Five Pieces, in: New York Times, 31. August 2023
  • Der letzte Abend der Salzburger Festspiele wird zum Triumph für Manfred Honeck und das Pittsburgh Symphony Orchestra ... In der langsamen Einleigung von Mahlers Erster könnte man eine Stecknadel fallen hören. Man merkt Honeck die Leidenschaft für diese Musik an, mit der er den Kopfsatz bis ins letzte Details modelliert ... Dynamische Kontaste werden zugespitzt, die Rubati lustvoll ausgekostet. ... Ebenso detailgenau wie in der Mahler-Interpretation führt Honeck sein Orchester auch durch Ligetis "Lontano", das sich in der dynamischen Feinarbeit zu einem faszinierend schillernden Klanggebilde formt.
    Salzburger Nachrichten
    Florian Oberhummer, Salzburger Nachrichten, 01.09.2022
  • In Mahler’s first symphony, Pittsburgh showed that it can be at least Viennese as it is American. Honeck, conducting without a score, shows more interest in Mahler’s black, biting humour than he does in anything numinous. His Mahler, attentive to the score’s many tempo indications, has both velvet delicacy and sledge-hammer violence. It is spectacular without being cultish; Honeck revels in the score’s sardonic moments, but also lets us glimpse vulnerability between the bar-lines. ... Together, they can find depth and nuance in a score, and explore the acoustic vagaries of the world’s leading concert halls.
    slippedisc.com
    Shirley Apthorp, slippedisc.com, 25.08.2022
  • Honeck, ein österreichischer Gentleman mit einem Orchester in Pittsburgh, wirft sich in das Werk ohne jede Zurückhaltung, glättet nach einigen Minuten die Wogen, liefert mit den Philharmonikern einen ungeheuer klaren Bruckner ab, geht mit der alpenländischen Star-Wars-Musik des Schlusssatzes an die Grenzen der Akustik, erschafft im Adagio eine Schönheit, in der man verloren gehen möchte.
    Süddeutsche Zeitung
    Egbert Tholl, Süddeutsche Zeitung, 19.03.2022
  • • „Of course the performance of the concerts’s three works, led with great elan and specificity by guest conductor Manfred Honeck […] was superb. […] A complex, dreamy ache marked the start of the third movement with its superbly subtle musical shadings overseen by Honeck and all sections of the orchestra before a sense of frantic nervousness spread through the music. […] Stunning, from start to finish.”
  • Manfred Honeck has already released Bruckner’s Fourth and Ninth symphonies with the Pittsburgh Symphony Orchestra, to widespread acclaim. This new Seventh ups the ante further: it’s undoubtedly one of the best recordings of the symphony in the digital era. The Pittsburgh cellos exude a wonderfully reassuring confidence in the expansive opening theme, and the violins display a similar savoir-faire on taking it over a page later. This is an orchestra by now deeply acculturated to the Austrian conductor’s essentially old-school style of Bruckner interpretation, with warmly blended tones and a meticulously gradated approach to the music’s architecture.
    Best Classical Music Album of 2024



Lothar Schacke

Lothar Schacke

Director, General Management
e-mail
+49 89 44488790
Eva Oswalt

Eva Oswalt

Head of Artist Operations
e-mail
+49 89 44488796

  HIGHLIGHTS 2023/2024