Nils Schweckendiek studied music at Clare College, Cambridge, and orchestral and choral conducting in Freiburg and Helsinki. In 2006 he made his debut at the Finnish National Opera with Richard Strauss' Der Rosenkavalier and subsequently conducted numerous opera and ballet performances at the same house. Guest performances have taken him to the Leipzig Opera (Der Rosenkavalier), the Savonlinna Opera Festival, Vaasa, Berne and Bielefeld. From 2009-2013 he was the conductor of the Ulm Opera, where he conducted first nights of, amongst others, Don Carlo (Verdi), Ariodante (Handel), Romeo and Juliet (Prokofiev), Der Ring an einem Abend (Wagner) and Le sacre du printemps (Stravinsky).
Madetojan sali, Oulu, Finland
03. November 2016, 19:00
Tuomaankirkko, Helsinki, Finland
10. November 2016, 19:00
Paavalinkirkko, Helsinki, Finland
04. December 2016, 18:00
Mikael Agricolan kirkko, Helsinki, Finland
09. December 2016, 19:30
Tuomiokirkko, Kuopio, Finland
10. December 2016, 19:00
20. October 2016
Embarking on a short Scandinavian tour with the Helsinki Chamber Choir to give concerts in Stockholm and Copenhagen.
Hufvudstadsbladet, 31 October 2015
The Radio Choir had a reputation for exact but slightly clinical performances, but with the Helsinki Chamber Choir this is blown away. The precision is of course still there, but it is combined with real warmth and, when necessary, the volume is more than enough against a medium-sized orchestra. Berlioz' five-minute Meditation, part of the loosely-connected Tristia triptych, was also performed with feeling and finesse and [Beethoven's] Prometheus Overture sounded crisp and alert under Schweckendiek's purposeful leadership.
Südwestpresse, 15 June 2013
The Ulm Philharmonic achieves phenomenal results under the direction of Nils Schweckendiek, who, positioned on the rock of the Valkyrie, conducts with accuracy and succeeds in driving forward the music's ecstasy even with sometimes measured tempi. The brass stood out, so too did the clarinet solos, and the strings with their concertmaster Tamás Füzesi played with commitment and tremendous expression. Even well-travelled Wagnerians marvelled at the performance of the symphonic excerpts: Magic Fire Music, the Prelude to "Götterdämmerung", the Death of Siegfried or the complex web of motifs in Brünnhilde's Final Scene. [...] The opening night was greeted with rapturous applause and cheering, especially for the orchestra. Don't miss this powerful dose of Wagner!