Internationally renowned as an opera and concert conductor of distinction, Harry Bicket is especially noted for his interpretation of baroque and classical repertoire and since 2007 has been Artistic Director of The English Concert, one of Europe’s finest period orchestras. In 2013, following regular guest appearances for Santa Fe Opera, he became their Chief Conductor and in 2018 assumed the Music Directorship. Since taking up his position, he has conducted Cosi fan tutte, Fidelio, La Finta Giardiniera, Romeo et Juliette, Alcina and Candide. In the 2019 season, he also performed Strauss’ Four Last Songs with Renee Fleming. Born in Liverpool, he studied at the Royal College of Music and Oxford University.Plans for the 2019/20 season include return visits to English National Opera (Orphée et Euridice), New York Philharmonic for performances of Messiah, The Metropolitan Opera (Agrippina and Cosi fan tutte) and Royal Northern Sinfonia. The English Concert continues its Handel opera series with performances of Rodelinda in Europe and the US, including Carnegie Hall and LA Opera. He will also conduct the orchestra in Wigmore Hall, the Two Moors Festival at Exeter Cathedral joined by Dame Sarah Connolly, performances of Gabriel with Alison Balsom at Saffron Hall and Barbican Centre, and the orchestra embarks on a tour to Korea and China with Sumi Jo. In summer 2020 he conducts Die Zauberflöte and Rusalka for Santa Fe Opera.
In addition to his regular Santa Fe Opera productions, highlights of recent seasons include acclaimed productions in the United States and Canada for Metropolitan Opera (most recently The Magic Flute, also Le Nozze di Figaro, Rodelinda, La clemenza di Tito, Giulio Cesare), Lyric Opera of Chicago (Ariodante, Orphée et Eurydice, Carmen, Rinaldo), Houston Grand Opera (Le Nozze di Figaro, Rusalka) and Canadian Opera Company (Maometto II, Hercules). Symphonic guest conducting has included Chicago Symphony Orchestra, Cleveland Orchestra, Cincinnati Symphony Orchestra (including Cincinnati May Festival), Los Angeles Philharmonic, Los Angeles Chamber Orchestra, San Francisco Symphony, Detroit Symphony, Houston Symphony, Seattle Symphony, St Paul Chamber Orchestra, NACO Ottawa, Indianapolis Symphony, Minnesota Orchestra and Boston Symphony Orchestra. He has also led masterclasses with the Juilliard School.
Within Europe he has conducted performances at the Liceu Barcelona (including Agrippina, Lucio Silla, A Midsummer Night’s Dream), Opera de Bordeaux (Alcina) and Theater an der Wien (Iphigenie en Tauride, Mitridate,) and concert projects with Prague Philharmonia, RTE National Symphony Orchestra of Ireland, Oslo Philharmonic, Royal Northern Sinfonia, Royal Liverpool Philharmonic Orchestra, Rotterdam Philharmonic, Royal Stockholm Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Orchestre Philharmonique de Monte Carlo, Bayerische Rundfunk, Scottish Chamber Orchestra and Orchestre Philharmonique de Radio France. Recent highlights with The English Concert include his own arrangements of Mozart works for mechanical clockwork organ, Bach Cantatas for Advent and Wayne Eagling’s Remembrance ballet, set to Handel’s Ode to St Cecilia’s Day, for English National Ballet Theatre. Last season the orchestra continued their Handel opera series with performances of Semele in Europe and the United States including Theatre de Champs Elysées, Barbican Centre and Carnegie Hall, following previously performances of Rinaldo and Ariodante featuring Joyce DiDonato. Earlier work outside of Europe included his Japanese debut with Ian Bostridge and the Tokyo Symphony Orchestra and Israel Philharmonic.
Opera has also included Minnesota Opera (Croesus), Opera Australia (Giulio Cesare), Scottish Opera (Orfeo), New York City Opera (Le Nozze di Figaro, Die Entführung aus dem Serail, Clemenza di Tito, Rinaldo), Royal Danish Opera (Orfeo), Glimmerglass Festival (Partenope, Agrippina), New Israeli Opera (L’incoronazione di Poppea), Aldeburgh Festival (Faerie Queen), Edinburgh Festival (Clemenza di Tito), Spoleto Festival (Giasone, Tamerlano, L’ile de Merlin), English National Opera (Orfeo, Ariodante, Semele, Xerxes, Il combattimento di Tancredi e Clorinda), Bayerische Staatsoper (Rinaldo, Ariodante, Serse, Orlando, Orfeo ed Euridice, Il barbiere di Siviglia, Die Entführung aus dem Serail and Die Zauberflöte), Welsh National Opera (Clemenza di Tito), and Opera North (Radamisto, Return of Ulysses, The Magic Flute, Croesus), Los Angeles Opera (Giulio Cesare, L’incoronazione di Poppea).
He made his Glyndebourne Festival debut in 1996 with Peter Sellars’ landmark production of Theodora and returned in 1999 and 2003. In 2004 his first Metropolitan Opera production (an acclaimed new production of Rodelinda with Renée Fleming and David Daniels) was quickly followed by Giulio Cesare (2006/7) and Clemenza di Tito (2008) and he is now a regular guest. In 2001 his first Barcelona production, Giulio Cesare, earned him the Opera Critics’ Prize for best conductor and in 2003 his debut production for the Royal Opera House, Covent Garden (Handel’s Orlando) received an Olivier Award nomination for Best New Opera Production. In the same year he conducted Lyric Opera of Chicago for the first time and has since returned regularly. He was awarded HonRAM in 2018.
Recordings to date with The English Concert include releases for Virgin Classics, Chandos, and Harmonia Mundi featuring Elizabeth Watts, David Daniels, Lucy Crowe, Sarah Connolly and Rosemary Joshua and, most recently, a concerto disc released in September 2018 on Signum. His discography also includes five recordings with the Orchestra of the Age of Enlightenment, among them a collection of Handel opera arias with Renée Fleming (Decca) and Ian Bostridge (EMI), as well as selections from Handel’s Theodora, Serse, and the cantata La Lucrezia with Lorraine Hunt Lieberson (Avie), which was nominated for a Grammy Award. His Gramophone Award-nominated CDs also include Sento Amor with David Daniels featuring arias by Gluck, Handel and Mozart (Virgin Veritas) and Il tenero momento with Susan Graham featuring arias by Mozart and Gluck (Erato).
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