Perry So returns to Spain to conduct again the Navarre Symphony Orchestra, the Symphony Orchestra of the Principality of Asturias and the Tenerife Symphony Orchestra. In Navarre, he will also have the participation of the Orfeón Pamplonés in a program including works for choir and orchestra by Brahms and the rarely programmed Symphony in C by Paul Dukas. Immediately after Navarre, Perry will join the OSPA, an orchestra with which he has a long history of collaborations, where he will conduct Nikolai Luganski in Medtner’s Concerto No. 3 and Tchaikovsky’s Pathetic Symphony. He will finish his Spanish tour in Tenerife, where he will conduct Pablo Ferrández with Tchaikovsky’s Rococó Variationsand Borodin’s Symphony No. 2. Perry should be conducting these days the Tucson Symphony Orchestra and then what would be his second appearance with the San Francisco Symphony, but both commitments postponed due to the COVID19 restrictions.
Perry So has worked, among others, with the Cleveland and Minnesota Orchestras, the Houston, Detroit, New Jersey, Israel and Shanghai Symphony Orchestras, the Chinese Philharmonic and the Residentie Orkest in The Hague. He has been a frequent guest at the Walt Disney Hall and the Hollywood Bowl as a Dudamel Conducting Fellow at the Los Angeles Philharmonic. He conducted the Hong Kong Philharmonic with Lang Lang in celebration of the 15th anniversary of Hong Kong’s return to China at the closing of his four-year term as Associate Conductor, and led a tour of the Zagreb Philharmonic in the Balkan Peninsula.
Perry So received the First Prize and the Special Prize at the 5th Prokofiev International Conducting Competition in St. Petersburg. His recording of the Barber and Korngold violin concertos with Alexander Gilman and the Cape Town Philharmonic received the Diapason D’Or in January 2012. He has done many recordings with the BBC National Orchestra of Wales and the BBC Concert Orchestra. He is known for the enormous variety of repertoire that he conducts, including numerous world premieres on four continents. He has directed productions of Cosí fan tutte, The Magic Flute, The Turn of the Screw, Giulio Cesare, Gianni Schicchi, and Die Fledermaus. His commitment to young people has led him to work with the Australian Youth Orchestra, the Round Top Festival, the Manhattan School of Music, the Hong Kong Academy of Performing Arts and the Yale School of Music. He has also been assistant to Edo de Waart, Esa-Pekka Salonen, Gustavo Dudamel, Lorin Maazel and John Adams. Born in Hong Kong, he holds a Degree in Comparative Literature from Yale University.
At the request of the Fundación Juan March, the Bretón Quartet will perform Conrado del Campo’s quartets No. 1 and 4 next Wednesday, 17 February. For the declamation of the text in Quartet No. 4, the poem A buen juez, mejor testigo by José Zorrilla, they will have the special collaboration of the actress Clara Sanchís. The Bretón Quartet is the Spanish quartet that has paid the most attention to Conrado del Campo in modern times, performing some of his quartets throughout the Spanish, French and German geography. Its commitment with the Spanish repertoire, and with Conrado del Campo in particular, has led some of the members of the Bretón Quartet to take care of the necessary transcriptions of the manuscripts so as to be able to perform them, in particular of quartets number 1 and 8. The work with No. 8 is a critical edition that resulted in an article written by cellist John Stokes and presented at the congress El Cuarteto de Cuerda en España de finales del s. XVIII a la actualidad, organized by the University of Granada.
This initiative involving the Bretón Quartet was developed by the Fundación March in collaboration with the CEDOA/SGAE, keeper of the Conrado del Campo fund, and the Spanish Society of Musicology. It entails, as above mentioned, the previous transcription and editing of the materials by a team of musicologists, and will result in the publication of all quartets composed by Conrado del Campo, thus remaining accessible to interpreters, since Conrado del Campo’s notation and, in some cases, the state of the materials, have often been a deterrent. This situation has led to one of the most important, if not the most important, legacy of a Spanish composer for string quartet being practically unknown not only to the general public but to the interpreters as well.
Upcoming engagements of the Breton Quartet include its participation as resident quartet in the Piano Competition “Premio Jaén”, in which they will accompany the semifinalists at the chamber repertoire; a concert in quintet together with the guitarist Miguel Trápaga at the Teatro Bulevar in Torrelodones; and a return to an important Spanish festival whose programme has not yet been announced. Its latest album is the one dedicated to Tomás Bretón’s Quartets No. 1 and 3, released by NAXOS last March.
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