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Biography highlights

Argentinean-Dutch conductor Hernán Schvartzman is a versatile and awarded artist that feels
equally at home conducting top historically informed ensembles, cuAng edge contemporary music groups as well as leading international big scale opera productions and symphonic concerts.

 

Hernán is the musical leader of Dutch foundation OPERA2DAY and works as regular guest
conductor for Argentinean opera association Juventus Lyrica. For these organisations he has conducted - among others-: Mozart’s Così fan tuRe, Don Giovanni, Le Nozze di Figaro and Zauberflöte (Argentinean “Opera of the year” 2013), Cherubini’s Médee, Charpentier’s La Troupe d’Oprhée (Dutch Opera of the Year 2014) a world premiere tour of Tsoupaki ’s “Mariken in the garden of delights” (2015), Gluk’s Orfeo ed Euridice (2016) and the music theatre piece Dr Miracle (2016).

 

Hernán Schvartzman has worked with ensembles such as Vox Luminis, ASKO|SCHOENBERG,
Gelders Orkest, Dortmunder Philharmoniker, Orchestra of the Early Music department of the Royal
Conservatoire, Holland Symfonia, Residentie Orkest, Netherldands Chamber Choir, Dutch Radio Choir, Capella Amsterdam, Tetraktys and the New European Ensemble.

 

Hernán Schvartzman graduated “Cum Lauda” from the Masters in Orchestral Conducting and Early
Music opera conducting at the Royal Conservatoire of The Hague. His teachers and coaches were Jac van Steen, Kenneth Montgomery, Jos van Veldhoven, Ton Koopman, Reinbert de Leeuw, Peter van Hegyen and Michael Chance. Hernán has participated in masterclasses given by Neeme Järvi, Frans Bruggen and Simon Halsey and worked as assistant conductor for Reinbert de Leeuw, Jac van Steen, Richard Egarr and Gabriel Garrido. He has also followed the Ligeti Academy and assisted various productions at the Dutch National Opera Academy.

 

Hernán Schvartzman was part of the selection committee for the “Composers Showcase” organised
by the BBC National Orchestra of Wales (BBC NOW) where he recorded the awarded chamber pieces with the wind soloists of the BBC NOW. Hernán teaches “Ensemble Leading” at the Royal Conservatoire of The Hague and worked as the main classical music advisor of the Argentinean Ministry of Culture for the opening of the Centro Cultural Kirchner, where he also gave masterclasses to Argentinean conductors together with the National Youth Orchestra.

 

Hernán Schvartzman has been awarded by the Dutch Government with the “Huygens Scholarship”
an has been selected as a “Musical Top Talent”, “Creative top Talent” and “Cultural ambassador of the City” by the municipality of The Hague. 

 

Hernán was nominated as best Argentinean conductor of the year 2014 by the Argentinean Association of Musical Reviewers.


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Предстоящие события

Апрель 2018
0215:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

0319:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1019:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1119:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

Прошедшие события

Март 2018
0719:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

0820:00

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1020:00

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1419:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1719:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2019:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2220:15

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2819:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

3020:15

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

Февраль 2018
0619:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

0719:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1519:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2019:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2320:00

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2719:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

Январь 2018
0715:00

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1719:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

1819:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

2619:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

3019:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

3119:30

Ambroise Thomas - Hamlet - Conductor

Opera2day

Serge van Veggel, Режиссер

Ноябрь 2017
0319:00

El Conde Ory

Juventus Lyrica | Teatro Avenida

María Jaunarena, Режиссер

0519:00

El Conde Ory

Juventus Lyrica | Teatro Avenida

María Jaunarena, Режиссер

0919:00

El Conde Ory

Juventus Lyrica | Teatro Avenida

María Jaunarena, Режиссер

1119:00

El Conde Ory

Juventus Lyrica | Teatro Avenida

María Jaunarena, Режиссер

Апрель 2017
0720:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Nijmegen, Stadsschouwburg

1220:15

Dr. Miracle's Last Illusion - Conductor

Opera2day | Groningen, Stadsschouwburg
Март 2017
0120:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Utrecht, Stadsschouwburg

0720:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Bosch, Theater aan de Parade
0820:15

Dr. Miracle's Last Illusion - Conductor

Opera2day | Amersfoort, Flint Theater
1919:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Amsterdam, Koninklijk Theater Carré
2320:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Emmen, Atlas Theater
2520:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Enschede, Wilminktheater
2620:15

Dr. Miracle's Last Illusion - Conductor

Opera2day | Tilburg, Theaters Tilburg
3020:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Drachten, De Lawei
3120:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Assen, Theater De Nieuwe Kolk
Февраль 2017
0320:15

Dr. Miracle's Last Illusion - Conductor

Opera2day | Schiedam, Theater aan de Schie

0516:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Maastricht, Theater aan het Vrijthof
0820:15

Dr. Miracle's Last Illusion - Conductor

Opera2day | Arnhem, Stadstheater
1120:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Zwolle, De Spiegel
1219:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Alkmaar, TAQA Theater De Vest
1420:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Eindhoven, Parktheater
1520:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Deventer, Schouwburg
2320:15

Dr. Miracle's Last Illusion - Conductor

Opera2day | Rijswijk, Rijswijkse Schouwburg
2420:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Gouda, Schouwburg
Сентябрь 2016
0520:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg

0620:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
0720:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
0820:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
0920:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
1020:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
1114:00

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
Июнь 2016
2320:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg

2420:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
2520:30

Dr. Miracle's Last Illusion - Conductor

Opera2day | Den Haag, Koninklijke Schouwburg
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Juventus Lyrica - Gluck - Orfeo ed Euridice

Hernán Schvartzman is an excellent conductor, we had already had chance to hear him on a brilliant “Medea” by Cherubini. His work has been impecable and always in style and with an orchestra that responded him constantly. A real excellent job.

- Dr Alberto Leal, Opera in the world

Hernán Schvartzman showed his talent with a rich and full of colours reading of the score, harmonising with great precision the pit with the stage. A work deserving the maximum recognition and applause.

- Prof. Christian Lauria, Operaworld

Gluck’s Orfeo and Eurydice, a brilliant version by Juventus Lyrica. Great work on the podium by Maestro Hernán Schvartzman.

- Sergio sosa Battaglia , Desde la Platea

The music sounded exquisite.

- Fernando Johann, Geoteatral

Young maestro Hernán Schvartzman has a vast experience in the music both the 17th and 18th Century. A smaller and more intimate sound and a constant work on the dynamics, with fidelity to the style of the time, that priorities the beauty of the sound, allowed us to appreciate the orchestra.

- Eduardo Balestena, Argentinean Association of Musical Reviewers

Hernán Schvartzman conducted the orchestra with fluent tempi and a great sense of integrity, intelligence, inspiration and good technique. He allowed a rich and colourful sound world.

- Graciela Morgenstern, Argentinean Association of Musical Reviewers


Mozart - Cosi fan tutte

“Così fan tutte” has been staged repeatedly in recent seasons, but Juventus Lyrica came up with a rather interesting version, where the young Argentine Hernán Schvartzman, who lives in Holland, led an orchestra made up of a mixture of students of The Hague´s Conservatory and of local players; they played well under the conductor´s alert indications…

- Pablo Bardin, Buenos Aires Herald

Argentinean conductor Hernán Schvartzman concerted with rich dinamycs and beautiful colors and especially was able to get from the orchestra, reinforced by musicians from The Hauge Conservatoire a uniform and compact sound…

- Ramon Jaques, Una voce poco fa

on Sunday’s performance Cosi fan Tutte was excellent […]. The conductor Hernán Schvartzman, naturally the pilar of the opera as a musical form, was in a certain way the main figure of this version, that allowed him to obtain an academic degree in The Netherlands, especially on the second performance achieved a clean Mozartian discourse, delicated and in concordance with the actual revisionist tendency that intedns to reproduce the sonority of the composer’s period…

- Juan Carlos Montero, la Nacion

The musical work done by Hernán Schvartzman -Argentinean musician living in The Netherlands and studying in the prestigious Royal Conservatoire of The Hague- was the guider of this version in the task of reconstructing with fidelity the historical sound. And he did it not only with original instruments but also with a team of Argentinean and Foreigner musicians that came especially to Buenos Aires invited by Juventus Lyrica. The musical result was detailed and respectful…

- Néstor Echevarria, La Prensa

Die Zusammenarbeit von Musikern aus Argentinien und ande- ren Ländern war überaus fruchtbar und das ungewöhnlich homogene, jugendlich- spielfreudige Ensemble argentinischer Sänger derart perfekt, dass diese „Così“ sehr wohl eine beispielhafte Produktion für das Teatro Colón hätte sein können…

- Josef Oehrlein, Frankfurter Allgemeine

The musical leading of Hernán Schvartzman was very solid…

- Laura Novoa, Clarin

The performance was exellent as a whole and Mozart’s spirit was always present. From the musical point of view, Argentinean maestro Hernán Schvartzman, nowadays living in The Netherlands, did and excellent job in the coordination between the orchestra and the stage. He was always faithful to the style, with perfectly chosen tempi, delicated sound and the revisionist spirit that tryes in every moment to recreate the original sound concivied by the composer…

- Alberto Leal, Opera in the World

Hernán Schvartzman handled the forces under his baton with good command and a great knowledge of the score: I was sitting in the first row and could see him all the time taking care alternately of the main characters, the choir or the orchestra, he accompagnied them almost whispering their parts or giving clear cues. He achieved a good balance and ensemble between the pit and the stage and at the same time provided the piece with lively tempi, a good frasing and great expressivity. The group responded very well being well in tune and trustable: I was especially surprised by the natural trumpets and horns that although there are even more exposed than the modern instruments, they had a very solid performance…

- Carlos Singer, Mundoclasico.com


Juventus Lyrica - Rossini - Le Comte Ory

Verdaderamente destacable la dirección del Mtro. Hernán Schvartzman quien impuso tempos, ritmos y líneas tan congeniales con una obra del más puro bel canto conjugados con la elegancia del estilo francés. Para este n, contó con una orquesta con instrumentos historcistas lo que acompañó el deseo de recrear el sonido del comienzo del S. XIX.


Juventus Lyrica, con esta coproducción con la compañía holandesa Opera2Day, nos devolvió felices a la noche porteña y ansiosos por conocer los títulos que nos entregará en la temporada entrante.

 

Excelente dirección musical de Schvarztman, con una muy buena dirección escénica de Jaunarena.
Muy bien la orquesta y el coro con un punto altísimo en el coro femenino que abre el segundo acto, que sirve de marco al dueto de Adele y Ragonde, que resultó ser uno de los momentos más logrados de la noche.  ES UN ESPECTACULO PARA NO PERDERSE

- Opera Desde Hoy, Enrique Sirven

Thanks to the individual task, the malleability and the performers the teamwork was enhanced, getting to give with mastery a septet without accompaniment that made clear the qualtity of the preparation.


The work of Hernán Schvartzman in the reconstruction of a complex period sound with the orchestra paid off handsomely. For this he used the collaboration of musicians specialized in historicist interpretation, who used instruments that replicate those used in the nineteenth century.


This version of El Conde de Ory was overwhelming for the uniformity of its great quality on all fronts. The update of the humor through the histrionics of the performers, a colorful palette of scenic contraptions and the choreographies were the key to express the humor with enormous wit.


This without losing for a moment the musical nobility that Rossini's score deserves. Because in the end the comedy, if it is well done, is a serious thing.

- La Nación, Virginia Chaconn Dorr

Desde el punto de vista orquestal se utilizaron instrumentos similares a los de época, para recrear el sonido justo en su afinación y concepto. Trabajo que el empeñoso investigador que es Hernán
Schvartzman llevo a cabo con hidalguía, recreando la curiosa ambivalencia que el talentoso músico manifiesta en esta ópera. Vale decir, la faceta italiana en el primer acto y la francesa en el segundo.
Por su parte, los cantantes convocados tuvieron una actuación de mérito. Muy buen cierre de temporada para Juventus Lyrica entonces, en esta coproducción con la compañía holandesa Opera2Day.

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Además del humor escénico general hay buenas voces, empezando por la soprano Jaquelina Livieri en el rol de Adèle, objeto de deseo del Conde Ory y figura central de la ópera. La actuación de Livieri es excepcional; su voz corre en todos los registros con naturalidad, fluidez, perfecta afinación, chispa. Livieri sobresale vocalmente del resto, pero aún así está bien secundada por Sebastián Russo (Conde Ory), María Goso (Ragonde) y Natalia Salardino (Alice) y muy especialmente Victoria Gaeta en el rol de Isolier, impecable en el gran terceto del segundo acto. El Corodirigido por Hernán Sánchez Arteaga cumplió su exigido rol sobradamente.


La dirección quedó a cargo del competente Hernán Schvartzman, al frente de un ensamble de perfil historicista integrado por músicos locales y extranjeros. Lo que impresionó muy especialmente de la parte orquestal fue la sutil y expresiva graduación de la dinámica.

 

Estupenda la dirección musical de Hernán Schvartzman, que utilizó en esta versión instrumentos de época con el objetivo de reproducir el paradigma sonoro que el compositor tenía cuando la concibió y estrenó, y tuvo a su cargo un elenco de excelentes intérpretes. 

- Críticos musicales de la Argentina, Diario La Prensa

En el cierre de su temporada 2017, Juventus Lyrica apostó por un título menos conocido de la producción rossiniana. En un mundo lírico en el que cada vez son más escasos los riesgos y las sorpresas, siempre son bienvenidos estos aires renovados.


La posibilidad de disfrutar de una ópera de Rossini fuera del canon habitual de Il barbiere di Siviglia, L’italiana in Algeri y La Cenerentola, constituye de por sí un motivo de interés. Si bien el nombre de Hernán Schvartzman está asociado a obras del barroco y clasicismo con criterios historicistas, resultó interesante su mirada sobre la partitura rossiniana, de la que hizo emerger esa profunda admiración que el compositor tenía por Mozart, admiración que le valió, en su época, el apodo de “Il Tedeschino” (El alemancito). La dirección musical —refinada y ligera— sostuvo esa efervescente energía teatral rossiniana y, junto a la eficacia en la concertación —particularmente compleja en esta obra—, el arco dramático se desarrolló sin altibajos.


Una muy bienvenida apuesta de Juventus Lyrica por obras menos conocidas, permitió al público
argentino disfrutar de esta comedia francesa rossiniana en la que sobresalió la musicalidad de Jaquelina Livieri. La sólida dirección de Schvartzman permitió apreciar los bellísimos momentos musicales de esta obra escasamente programada, mientras que un eficaz trabajo de conjunto liderado por Jaunarena aportó una comicidad franca y genuina.

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This production is a coproduction with Opera2Day, marking a continuation of the partnership with this Hague based foundation led by Hernán Schvartzman, which aims to present works with instruments replicating the sound of the time. Schvartzman led an energetic reading with the ‘mixed’ orchestra with members from various parts of the world in addition to Argentina. 

- Seen and heard international, Jonathan Spencer Jones

From the orchestral point of view, instruments similar to those of the period were used to recreate the sound just in its tuning and concept. Work that the hardworking researcher that is Hernán Schvartzman carried out with nobility, recreating the curious ambivalence that the talented composer manifestó in this opera. 

 

That is, the Italian facet in the first act and the French in the second. For their part, the singers summoned had a merit performance. Very good season closing for Juventus Lyrica then, in this co-production with the Dutch company OPERA2DAY.

- Néstor Echevarría

In addition to the general stage humor there are good voices, starting with the soprano Jaquelina Livieri in the role of Adèle, object of desire of Count Ory and central figure of the opera. Livieri's performance is exceptional; his voice runs in all registers with naturalness, fluency, perfect tuning, spark. She is well supported by Sebastián Russo (Conde Ory), María Goso (Ragonde) and Natalia Salardino (Alice) and especially Victoria Gaeta in the role of Isolier, impeccable in the great trio of the second act . The choir led by Hernán Sánchez Arteaga fulfilled his required role amply.

 

The musical leadership was in charge of the competent Hernán Schvartzman, leading an ensemble of historicist profile composed of local and foreign musicians. What impressed most especially in the orchestral part was the subtle and expressive graduation of the dynamics.

- Diario Clarín, Federico Monjeau

Splendid musical direction of Hernán Schvartzman, who used in this version period instruments with the aim of reproducing the sonorous paradigm that the composer had when he conceived and premiered it, and he was in charge of a cast of excellent performers.

- Musicales Baires Daniel Falcone

To close its 2017 season, Juventus Lyrica opted for a lesser-known Rossini Opera. In an Operatic in
which risks and surprises are increasingly scarce, these renewed airs are always welcome The possibility of enjoying a Rossini opera outside the usual canon of Il barbiere di Siviglia, L'italiana in Algeri and La Cenerentola, is in itself a reason of interest. Although the name of Hernán Schvartzman is associated with works of the Baroque and Classicism with historicist criteria, it was interesting to see his view on the Rossinian score, from which he made emerge that deep admiration that the composer had for Mozart, admiration that earned him, in his epoch, the nickname of "Il Tedeschino" (The German). The musical direction - refined and light - sustained
that effervescent Rossi theatrical energy and, together with the efficiency in the concertation - particularly complex in this work-, the dramatic arc developed without ups and downs.


A very welcome bet by Juventus Lyrica for lesser-known works, allowed the Argentine public to enjoy this French rossinian comedy in which the musicality of Jaquelina Livieri stood out. The solid direction of Schvartzman allowed to appreciate the beautiful musical moments of this work scarcely programmed, while an effective group work led by Jaunarena contributed a frank and genuine comedy.

- Tiempo de Música, Ernesto Castagnino

Excellent musical direction of Schvarztman, with a very good stage direction of Jaunarena.
Very well the orchestra and the choir with a high point in the female choir that opens the second act, which serves as a framework for the duet of Adele and Ragonde, which turned out to be one of the most accomplished moments of the night. IT'S A SHOW NOT TO BE MISSED!

- Luis Bialetti-Blosgspot

Truly remarkable the direction of Mtro. Hernán Schvartzman who imposed tempos, rhythms and lines so congenial with a work of the purest bel canto conjugated with the elegance of the French style. For this, he had an orchestra with historical instruments which accompanied the desire to recreate the sound of the beginning of the 19th century. Juventus Lyrica, with this co-production with the Dutch company OPERA2DAY, gave us a happy return to the “Noche Porteña” (the nightlife of Bueno Aires) and eager to know the titles that it will give us in the coming season.

- Opera World, Prof, Christian Lauria

"LE COMTE ORY", Rossini with HUMOR AND THE GOOD DELIGHT OF A GOOD PROSECCO, EXCELLENT END OF SEASON 2017 of JUVENTUS LYRICA.


The orchestra was brilliant, like a true Italian prosecco, its director HERNAN SCHVARTZMAN knew how to deal with voices and score. At the end of the show the face of happiness of all the spectators was very visible and general approval recommendations 100%. A fantastic closure of Juventus Lyrica Season that went to pure humor and brightness.

- Desde La Platea: Sergio Battaglia


Hamlet

La soirée réserve d’autres surprises.


D’abord, l’on n’y fait pas entendre l’opulente orchestration de Thomas mais une transcription de chambre que signe Daniël Hamburger. À la tête du New European Ensemble, Hernán Schvartzman profite judicieusement de cette saine cure qui lui offre, ainsi débarrassée de tout surpoids, de délicatement ciseler la texture et non seulement les traits solistiques. La symbiose dramaturgique opère avec plus de pertinence que jamais.

- Anaclase, Bertrand BolognesiПрочитать статью


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