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On the musical side the orchestral playing under Jonathan Santagada was quite outstanding. His tempi and modulation of the orchestral forces, and support for his singers, could hardly be better. [Tosca]
Robert J Farr - Seen and Heard International

The fine singing was complemented by the crisp playing of the ROH Orchestra conducted by Jonathan Santagada [Eugene Onegin]
Claire Seymour - OperaToday

La parte musicale riserva vere e proprie sorprese a partire dalla direzione briosa e scattante del giovane Jonathan Santagada, alla guida dell’Orchestra Senzaspine, da cui ottiene un suono compatto e levigato. I tempi serrati non fanno passare in secondo piano un discreto approfondimento della partitura, e sono sempre ben calibrati per non mettere in difficoltà gli interpreti. Il direttore sa anche distillare con cura le oasi liriche, contribuendo a creare una lettura di notevole passo teatrale, che valorizza appropriatamente l’opera mozartiana.★★★★ [Le nozze di Figaro]
Filippo Antichi - Connessi all'Opera

Die fulminanten Gesangsleistungen werden getragen und befördert durch Jonathan Santagada. Der Assistent von Sir Antonio Pappano am Opernhaus von Covent Garden sorgt am Pult des seinerseits jung besetzten Orchestra Senzaspine für den idealen Mozart-Puls, in dem sich die klare Artikulation der Klangrede wunderbar in den emotional empfundenen Phrasierungssog einbettet [Le nozze di Figaro]
Peter Krause -

The Southbank Sinfonia under Jonathan Santagada played with virtuosic clarity.★★★★★ [The Lighthouse]
Rupert Christiansen - The Telegraph

Conductor Jonathan Santagada did full justice to the ebb and flow of Puccini’s lavish score [Tosca]
Gavin Engelbrecht - The Northern Echo

The orchestra of Opera North, under the baton of Jonathan Santagada, provides wonderful support for the singers and, when the ten-strong brass section comes thundering in, the audience experiences more than a frisson! [Tosca]
Peter Lathan - British Theatre Guide

Christopher Palmer’s arrangement of Walton’s [Henry V] film treatment was the one used here...and with the orchestra under Jonathan Santagada’s direction it worked a treat. ★★★★
Michael Church - Independent

Maxwell Davies´s supremely atmospheric 75-minutes score was punchily played by the Southbank Sinfonia under Jonathan Santagada´s direction.
Richard Morrison - The Times

The music, under the baton of Jonathan Santagada, was authentic in style and paired perfectly with the interpretations of the singers on stage while also colouring the emotions of the various scenes effectively. [Tosca]
Aaron Loughreyon - Number 9

The Southbank Sinfonia, conducted by Jonathan Santagada and playing in the presence of the composer, evoke all the moods of this demanding score. ★★★★ [The lighthouse]
Charlotte Valori - Bachtrack

Southbank Sinfonia conducted by Jonathan Santagada gave a brilliant performance of a remarkable and challenging score dominated by wind instruments and percussion. [The lighthouse]
Wendy Hiscocks – British Music Society

The rhythm of the closing automation – ‘The lighthouse is now automatic', we hear at the end of the Prologue – sounded as stubbornly memorable as ever in this performance from the Southbank Sinfonia and Jonathan Santagada. [The lighthouse]
Mark Berry - Seen and Heard International

Otto Nicolai’s overture to The Merry Wives of Windsor was given an ebullient account, the Orchestra of Welsh National Opera conducted by Jonathan Santagada. Strings swaggered and it was good to hear brass playing of such precision from the pit.
Mark Pullinger, Bachtrack, 18 July 2015

Betrothal and Betrayal began with the Overture to Nicolai’s Die lustigen Weiber von Windsor ... this overture from his last opera is just about all that we now regularly hear of Nicolai’s music: it had much of the requisite romantic spirit under Jonathan Santagada
Jim Pritchard 20 July 2015

It was nice to hear the Overture to The Merry Wives of Windsor, well shaped by young conductor Jonathan Santagada (who will conduct Maxwell Davies’ The Lighthouse next season). It was a wonderful performance, full of mystery juxtaposed with sprightliness. Long, lyrical basslines sang magnificently, while shades of Mendelssohn (Midsummer Night’s Dream) were palpable.
Colin Clarke

The Welsh National Opera Orchestra provided admirable support and gave a delightful account of Nicolai’s Merry Wives with Jonathan Santagada in confident charge of the tricky changes of tempo and colour.
Stephen Mead, Der Neu Merker

Jonathan Santagada conducted the Southbank Sinfonia in a lithe account of the score. Strings negotiated the twists, turns and tricky cornering safely, while woodwinds lent characterful support, not least in the limpid cor anglais introduction to Giulia’s aria 'Il mio ben sospiro e chiamo'. ★★★★ [La scala di seta]
Mark Pullinger - Backtrack

There was fine sparkle to the well-known overture under the baton of Jonathan Santagada with the Southbank Sinfonia, who produced lively playing throughout. [The Merry Wives of Windsor]
Mark Ronan

Jonathan Santagada conducted the lean and nimble Southbank Sinfonia. This sunny Meet the Young Artists week event lifted the spirits. ★★★★ [La scala di seta]
The Guardian

Jonathan Santagada in the pit also supported the cast well and the Southbank Sinfonia was characteristically polished.
Simon Thomas [La scala di seta]

The Southbank Sinfonia is strongly conducted by Jonathan Santagada ★★★★ [La scala di seta]
Sam Smith - Musichomh

Jonathan Santagada conducted with an eye for fast tempos and as much idiomatic colours as he could achieve from the small but valiant Southbank Sinfonia ensemble. He was attentive to his singers’ needs making sure he did not rush ahead and leave them behind, and to his credit the frantic tutti passages made a significant impact. [La scala di seta]
Jim Pritchard - Seen and Heard International