“George Jackson conducted the full ENO orchestra in a magnificent account of the score, sparkling with playful humour in the dialogues and exultantly romantic in the interludes.”

Rupert Christiansen, The Telegraph (Hänsel und Gretel / Grange Park Opera)


“The City of London Sinfonia, meanwhile, play superbly for Jackson, an excellent conductor, wonderfully alert to the sadness as well as the humour that permeates the score.”

 Tim Ashley, The Guardian (The Marriage of Figaro / Opera Holland Park)


“Les musiciens de l’EIC, comme l’excellent George Jackson – qui, sauf erreur, faisait ses débuts à leur tête – ont semblé très à l’aise dans ces jardins anglais aux esthétiques somme toute dissemblables.”

Ensemble Intercontemporain, Benedict Mason: drawing tunes and fuguing photos; Rebecca Saunders: Scar; James Dillon: Tanz/haus: triptych 2017

Concerto Net (Jérémie Bigorie)


“Conductor George Jackson coaxes much lithe and springy playing from the orchestra, ensuring that what the audience hears is magically in tune with that they see in this inventive, energetic and frequently revelatory production.”

William Ruff, Opera North / The Magic Flute, Nottingham Post


“Viel Anteil am Gelingen des Abends hatte Dirigent George Jackson mit den Musikern von Chor und Orchester der Kammeroper. Ein ausdrückliches, melodisch aufblühendes Klangbild.”

Bernhard Uske, Kammeroper Frankfurt / Pagliacci, Frankfurter Rundschau


George Jackson is quickly making a name for the breadth and commitment of his work, whether in opera, symphonic repertoire or contemporary scores, building strong relationships with orchestras and houses everywhere he goes.

Recent opera appearances include a critically acclaimed Hänsel und Gretel at Grange Park Opera and the world premiere of Tscho Theissing’s Genia at Theater an der Wien in 2020, an opera inspired by events from Beethoven’s life in Vienna. In 2022 Jackson returns there with Il barbiere di Siviglia, as well as conducting Le nozze di Figaro at Opera Holland Park in 2021.

Equally at home in symphonic repertoire, he drew widespread attention when he stood in at short notice for Daniel Harding in Ives’s Fourth Symphony with Orchestre de Paris. He works with orchestras such as RTÉ National Symphony Orchestra, Nordwestdeutsche Philharmonie, Opéra Orchestre national Montpellier Occitanie and the orchestra of Opéra de Rouen.

“Tout aussi stupéfiante est cette partition, que George Jackson dirige avec beaucoup de souplesse, car elle relève à la fois du retour aux sources (les variations infinitésimales deMusic for 18 Musicians, en 1976) et du renouvellement (motifs orientalisants, faux prélude de Bach)pour témoigner d’une véritable régénérescence, tant de la musique que du compositeur.”

Pierre Gervasoni, Ensemble Intercontemporain, Steve Reich: Reich/Richter, Philharmonie de Paris, Le Monde


“The acoustics of this endearingly quirky opera house are excellent and the ENO orchestra sounded radiant under the accomplished direction of George Jackson. Textural detail emerged clearly and the dramatic momentum was unfaltering.”

***** Barry Millington, Evening Standard


“Humperdinck’s debt to Wagner is inescapable in this score, and George Jackson and the ENO Orchestra draw it out in a way that adds to the music’s stature without sounding merely derivative.”

***** Peter Reed, Classical Source

“Da groovt und jazzt es, klassische Klänge stehen neben einem frei melodischen Spiel der Kräfte. Diese Musik überzeugt auch dank Dirigent George Jackson und des recht groß besetzen Wiener Kammerorchesters.”

Peter Jarolin, Theater an der Wien, Tscho Theissing: ‘Genia’ (World Premiere), Kurier

“The full-scale ENO Orchestra under George Jackson makes the late-Romantic score sound marvellous.”

George Hall, Grange Park Opera / Hänsel und Gretel, The Stage

“George Jackson’s conducting is so idiomatic, drawing first-class playing from the orchestra of English National Opera.”

David Mellor, Grange Park Opera / Hänsel und Gretel, The Mail on Sunday

“Humperdinck’s debt to Wagner is inescapable in this score, and George Jackson and the ENO Orchestra draw it out in a way that adds to the music’s stature without sounding merely derivative. A piercing solo trumpet in the Prelude for a moment stranded you in Parsifal, links between orchestra and singers were expertly and naturally judged, and the music’s abundance of charm, atmosphere and shameless memorability are all there for the hearing. If I were coming to this inexhaustible opera for the first time, this would be a touchstone production.”

Peter Reed, Grange Park Opera / Hänsel und Gretel, Classical Source

English National Opera’s orchestra brought out all that there is in Humperdinck’s music under the nurturing baton of conductor George Jackson.”

Christopher Walker, Grange Park Opera / Hänsel und Gretel, London News Online

“The English National Opera Orchestra plays well for conductor George Jackson and Grange Park’s excellent acoustics are a boon for everybody.”

Richard Fairman, Hänsel und Gretel / Grange Park Opera, Financial Times

“George Jackson conducts the ENO orchestra who play beautifully. The result is a charming and elegant rendition of the score.”

Louise Lewis, Hänsel und Gretel / Grange Park Opera, British Theatre Guide

“The musical delights started with the first notes of the overture as the horn melody rose out of the pit, rich in texture and beautifully shaped. George Jackson and the orchestra brought out the well-made counterpoint which underlies Humperdinck’s score. Yes, the glorious melodies were there, finely phrased and, well, glorious. But weaving them together was a sense of this beautifully made German counterpoint, which showed the work’s complex history […]. And George Jackson, a young conductor to watch, was clearly alive to the various resonances in Humperdinck’s score. Yes it is Wagnerian, but I also heard pre-echoes of Mahler in the Act Two folk-sequences. Throughout the amount of detail was wondrous, yet woven into an enchanting construction which mixed humour with the magical […]. Whatever other musical delights the production offered, and there were plenty, I kept coming back to Jackson and the orchestra.”

Robert Hugill, Hänsel und Gretel / Grange Park Opera, Planet Hugill

“The preponderance of high voice types – with only one male voice on stage – fills the score with lightness and air, as if illuminated from behind. These two components create a woozy, even uncanny, atmosphere, something cemented in the brilliant textural responsiveness of the ENO orchestra under George Jackson.”

Benjamin Poore, Hänsel und Gretel / Grange Park Opera, Bachtrack

“Jennifer Pike delivered a truly spellbinding account, possessing an opulent tone when called for, sensitive and ethereal on other occasions, and rising to considerable heights of virtuosity and musicianship in the first-movement cadenza. She had the inestimable advantage of a conductor who likewise sees the work as genuinely symphonic – for, in those relatively lengthy orchestral passages in the first and second movements, George Jackson raised the stature of the music to a rarely-encountered level, absolutely enthralling from first bar to last.”

Robert Matthew-Walker, Classical Source

“Overcoming the dry and rather forthright acoustics of Covent Garden’s St Paul’s Church with a perfect balance between all parts of the orchestra, up-and-coming young conductor George Jackson coaxed an appropriately dramatic rendering of this overture.”

John Pritchard, London Firebird Orchestra, Seen and Heard International

Jackson’s skill in preparing complex scores has led to an ongoing relationship with Ensemble Intercontemporain. He conducted the group in the French premieres of works by Rebecca Saunders and James Dillon at the 2019 Festival d’Automne à Paris. He was involved in bringing together the premiere of Immer Weiter at Hamburg State Opera, conducting it as well as collaborating with its two young composers, Jesse Broekman and Irene Galindo Quero, and a team of creatives as part of Deutsche Bank Foundation’s Academy Musical Theatre Today. This season he has conducted Noli me tangere, a new work by Isabel Mundry, with Collegium Novum Zürich, and the world premiere of Claire- Mélanie Sinnhuber’s new work, Chahut, with Brussels Philharmonic.

As the son of actor parents, Jackson began inventing theatrical entertainments with his sister at an early age, as well as learning the violin, and later served as a drummer and guitarist in post-punk, rock and Irish folk bands, developing broad musical tastes that he retains to this day.

Jackson’s formative experiences include his participation at Lucerne Festival Academy and at Aspen Music Festival, where he was awarded the Aspen Conducting Prize in 2015. He is passionate and informed about the art and traditions of conducting, and regularly passes on his enthusiasm through podcasts on the subject.



June 2021

Opera Holland Park

WA Mozart: Le Nozze di Figaro

Conductor: George Jackson

Director: Oliver Platt

Designer: Takis

Lighting Designer: Rory Beaton

Movement Director: Caitlin Fretwell-Walsh

Orchestra: City of London Sinfonia

Count Almaviva: Julien Van Mellaerts

Countess Almaviva: Nardus Williams

Susanna: Elizabeth Karani

Figaro: Ross Ramgobin

Cherubino: Samantha Price

Marcellina: Victoria Simmonds

Bartolo: James Cleverton

Basilio/Don Curzio: Daniel Norman

Barbarina: Claire Lees

18th June 2021

Recording for BBC Radio 3

BBC Symphony Orchestra

Jessie Montgomery: Banner

Mozart: ‘Linz’ Symphony

Delius: ‘On Hearing the first Cuckoo in Spring


21st July 2021

Studio Session, Howard Assembly Rooms

Orchestra of Opera North

Wagner: Overture to ‘Die Meistersinger’

Mendelssohn: ‘Italian’ Symphony


8 – 19

August 2021

Royal Concertgebouw Orchestra: ‘Young’ Project

Brahms: Symphony No. 2 

Beethoven: Piano Concerto No. 4

Jörg Widmann: ‘Echo Fragments’

18th September 2021

Islington Festval, London

Haydn Chamber Orchestra

Schubert: Symphony No. 6

Beethoven: Piano Concerto No. 3

Beethoven: Overture to ‘Creatures of Prometheus’

21st November 2021, 9:00pm

Parco della Musica, Rome, Italy

Ensemble Intercontemporain

Steve Reich: Reich/Richter (Italian Premiere)

Steve Reich: Eight Lines


5 / 7 / 10 / 13 / 18 / 20 / 23 / 25 / 27  March 2022, 7pm

Wiener Kammeroper, Fleischmarkt 24, 1010 Wien, Austria

Theater an der Wien

Rossini: Il Barbiere di Siviglia

Conductor: George Jackson
Director: Christoph Zauner
Designer: Nikolaus Webern
Costumes: Mareile von Stritzky
Lighting: Franz Tscheck
Orchestra: Vienna Chamber Orchestra

IL CONTE D’ALMAVIVA: Andrew Morstein

FIGARO: Timothy Connor
ROSINA: Sofia Vinnik
DON BASILIO: Ivan Zinoviev
DON BARTOLO Dumitru Madarasan

BERTA: Miriam Kutrowatz


July 2022 (dates tbc)

Grange Park Opera

The Theatre in the Woods

West Horsley Place KT24 6AN

Grange Park Opera / Orchestra of English National Opera

Janáček: The Excursions of Mister Brouček

Conductor: George Jackson
Director: David Pountney

MALINKA: Fflur Wyn




Jordi Martin Mont / jordi@maestroarts.com / +44 7934 568677
Sophie Farrell / sophie@maestroarts.com / +44 7788 284615

Silvia Paolucci / spaolucci@melosopera.com / +39 349 3002723
Markus Laska / mlaska@melosopera.com / +39 348 5278616

Website photography by:

Tim Dunk – A.P. Wilding – Maria Bachmann – Clive Barda

George Jackson