Spanish-born Jesús Lopez Cobos’s illustrious career has taken him to centers of music around the world. Mr. López-Cobos recently completed a seven year tenure as Music Director of the Teatro Real in Madrid. He maintains the title of Conductor Emeritus of the Cincinnati Symphony Orchestra, having served as the orchestra’s Music Director from 1986-2001. Mr. López-Cobos previously served as General Music Director of the Deutsche Oper Berlin and Music Director of Switzerland’s famed Lausanne Chamber Orchestra.
— 3 January 2017
Jesús López-Cobos leads the acclaimed Chicago Symphony Orchestra in a three-concert series this spring, featuring Turina's Danzas fantásticas, Gershwin's Piano Concerto in F with pianist Inon Barnatan, and Dvořák's Symphony No. 6. Performances take place May 25, 27 & 30; please note that on May 30 a post-concert QnA with the artists will be open to all ticket holders.
— 1 January 2017
Jesús López-Cobos conducts the NHK Symphony Orchestra this month in concerts featuring works by Respighi. The Tokyo concerts take place January 18 & 19 at Suntory Hall, followed by engagements in Nagoya and Osaka. Violinist Albena Danailova joins for all performances, with a programme that includes Respighi's Concerto gregoriano, Vetrate di chiesa and Feste romane.
— 27 October 2016
Jesús López-Cobos received tremendous critical acclaim for his "immaculate" interpretation of Verdi's Un ballo in maschera, featured in a new production at the Teatro dell'Opera di Roma:
"It would only be a slight exaggeration to say that tonight’s performance belonged to him. And that it quite an achievement with three accomplished singers distinguishing themselves ... The balance within the orchestra was as finely tuned as any conductor I ever heard. The overture, you may remember, begins with the conspirators music passed between wind and pizzicato strings, with each section thoughtfully placed at the opposite sides of the orchestral pit. And so, echoey and beautifully eerie.
Every crescendo from the orchestra was also managed with immaculate timing. Under the wrong baton these frequent passages can become vulgar and meaningless. Carlo Enrico Macalli’s flute gave us the first hint of Amelia’s Act Two great aria with extraordinary gradations of tone ... I don’t want to diminish Maestro Macalli’s accomplishment, but he was sitting right under the conductor’s baton. Moving too, even when almost imperceptible, were Ignacio Ceballos’s carefully measured timpani interventions, sometimes chilling, sometimes thrilling. Congratulations to the orchestra as a whole as well as their admirable conductor." (Seen and Heard International)