Johann Stuckenbruck is a young American/British conductor of exceptional promise and a regular assistant at Glyndebourne Opera House. In demand across the UK, Mr. Stuckenbruck has conducted the Hallé Orchestra, the Royal Northern Sinfonia and at Glyndebourne.
Recipient of the ASRAM Prize, Mr. Stuckenbruck graduated with distinction in Orchestral Conducting from the Royal Academy of Music in 2017. Shortly after graduating, Mr. Stuckenbruck was second conductor to Sir Mark Elder and the Hallé performing Berlioz’s La Damnation de Faust at the Edinburgh Festival and made successive debuts as a guest conductor with the Hallé Orchestra at Bridgewater Hall and the Royal Northern Sinfonia at the Northern Aldborough Festival.
In opera, Mr. Stuckenbruck made his Bloomsbury Theatre debut conducting Kurt Weill’s The Tsar Has His Photograph Taken and was assistant to Rafael Payare on Rossini’s Il barbiere di Siviglia at the Glyndebourne Festival and Leo McFall on Opera North’s acclaimed production of Britten’s Turn of the Screw. He also conducted in the world premieres of Joanna Lee’s vast community opera No Sound Ever Dies at the Brooklands Museum and Glyndebourne’s production of Lewis Murphy’s Belongings. Further afield, Mr. Stuckenbruck was rehearsal conductor for Mathieu Herzog at the inaugural Blaricum Festival in the Netherlands, and he has acted as cover conductor for the San Diego Symphony.
Future engagements include concerts with the San Diego Symphony, Blaricum Festival Orchestra and the Salomon Orchestra and, as well as assisting Robin Ticciati on Poulenc’s Dialogues des Carmélites at the Glyndebourne Festival and the BBC Proms. Mr. Stuckenbruck will make his Glyndebourne debut conducting Mozart’s Die Zauberflöte on tour and a house debut in the world premiere of The Pied Piper in 2020.
In their June 2019 review of Bloomsbury Theatre’s production of Kurt Weill’s The Tsar Wants His Photograph Taken, Opera Magazine stated, “Johann Stuckenbruck directed his large, virtuoso orchestra with inspirational drive, maintaining strict, rhythmic unanimity between stage and pit.”