“I am happy to return to Paris, where the public has always welcomed me”

The Swiss conductor Philippe Jordan, who was, for twelve years, musical director at the Paris National Opera (appointed in 2009, at the age of 35, he remained there until 2021), will take charge of the National Orchestra of France from 2027. He will succeed the Romanian Cristian Macelaru, who will leave his post after a seven-year mandate.

Son of conductor Armin Jordan (1932-2006) promoted Bandmaster at the prestigious Vienna State Opera in 2020, announcing however, from October 2022, that he would not renew his contract after 2025. At 50, the man who was also conductor of the Wiener Symphoniker from 2014 to 2020, is back in France, this time at the head of a large symphony orchestra, determined, after two positions with major operatic institutions, to shed the “heaviness” linked to opera. We interviewed, via WhatsApp, the maestro a few days before his concert with the National Orchestra of France, Thursday November 21, at the Maison de la radio et de la musique, in Paris.

What were the reasons that led you to accept the position of musical director with the Orchester national de France?

After two experiences in major opera houses – my twelve years at the Paris Opera then my five years at the Vienna Opera, the last season of which will end in the summer of 2025 – it was obvious to me that I wanted to turn to the symphonic field.

From my first concert with the Orchester national de France, on October 3, 2022, I understood that I had found a partner who suited me in his way of making music. A feeling that increased during our second meeting, on October 14, 2023. I said to myself: “Finally! » Everything then came together naturally.

You made your debut with the Orchester de Paris in December 2023. Were you in the running to succeed Klaus Mäkelä, who will also leave in 2027?

No, although my experience with the Orchester de Paris was also a very good experience. But the question did not arise, to the extent that negotiations with the Orchester national de France had already begun.

You are therefore moving from the Paris Opera orchestra to the “National”, the oldest of the two Radio France orchestras. What can you say about their respective identities?

When I discovered the “National”, I was very surprised to note many similarities with the Opera orchestra. Each of course has their own personality, if only because of the repertoires they serve, but both have this flexibility and clarity of sound, as well as the finesse of playing, which characterize French orchestras. This corresponds to my own sound design. I also like their curiosity, the way they always seek to deepen their work.

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