Claus Peter Flor

Musical Director


Acknowledged worldwide as a conductor with an instinctive and incisive musical talent, Claus Peter Flor maintains a prestigious international career. He is renowned for his mastery and interpretation of the Austro-Germanic repertoire
(Bruckner, Mahler, Strauss, Brahms, Schumann, and Mendelssohn), as well as of Shostakovich’s works, and he has a particular affinity for the Czech repertoire of Dvorak and Suk, whose pieces he has recorded several times during his tenure as the Music Director of the Malaysian Philarmonic. M° Flor initiated his musical career studying violin in his hometown and in Weimar, before concentrating on conducting with Rolf Reuter and later with Rafael Kubelik and Kurt Sanderling.
In 1984, he was appointed to Chief Conductor of the Konzerthausorchester in Berlin and at the same time started regular collaborations with the other main German orchestras: the Gewandhaus in Leipzig and the Staatskapelle in Dresden. In 1988, he debuted with the Berlin Philarmonic, which he also returned to on two other occasions. Throughout his career, he held several posts in a large number of important orchestras worldwide: the Philharmonia Orchestra, the Dallas Symphony Orchestra, the Zürich Tonhalle Orchestra, and the Malaysian Philharmonic Orchestra, where he operated as Principal Conductor from 2008 to 2014. 

Upon a personal invitation by Riccardo Chailly (Principal Conductor at the time), Claus Peter Flor was appointed to Principal Guest Conductor of the Symphonic Orchestra Giuseppe Verdi in Milan (2003-2008), with which he developed an intense and in-depth work on the Central European repertoire. His long relationship with the Milanese orchestra culminated with his appointment to Music Director starting from January 2018. In the most recent seasons, he obtained important appraisals from the audience and the critics directing the London Symphony Orchestra (Bruckner’s 4 th Symphony) and the Orchestra of the Accademia Nazionale di Santa Cecilia in Rome with a programme entirely dedicated to
Mozart. In the 15/16 season, M° Flor was once again invited by the Tonkünstler Orchestra with concerts at the Grafenegg Festival, by the Singapore Symphony Orchestra, and by the Osaka Philharmonic. Important appointments in the 16/17 season and in the following season include concerts in Europe with the Symphonic Orchestra Giuseppe Verdi from Milan, the RAI in Turin, the Het Gelders Orkest, and the RTE National Symphony in Asia (Japan and China) and the United States (Aspen). As an opera conductor, M° Flor maintains his close collaboration with the Theatre du Capitole in Toulouse. Last season, he conducted a revival of Gounod’s Faust and Wagner’s Tristan und Isolde. 

During his long collaboration with the Theatre du Capitole, Claus Peter Flor conducted several opera titles, among which were Madama Butterfly by Puccini, Die Zauberflöte  by Mozart, and Hansel und Gretel by Humperdinck. He will return next season for a new production of Meyerbeer’s Le Prophète  and Wagner’s  Die Walküre . His previous collaborations in the field of opera include a production of Wagner’s Siegfried directed by David McVicar at the Strasbourg Opera, and a large number of titles at the Staatsoper in Berlin, the Deutsche Oper Berlin, and the theatres of Munich, Dresden, Hamburg, and Cologne. He conducted Mozart’s Le Nozze di Figaro and Wagner’s Die Meistersinger at the La Monnaie theatre in Brussels, and has taken the Wagnerian opera on tour to Tokyo, Mozart’s Die Zauberflöte  to the Grand Opera in Houston, Weber’s Euryanthe to the Netherlands Opera with the Royal Concertgebouw Orchestra, and Puccini’s La Bohème to
the Dallas Opera. Claus Peter Flor has an extensive and varied discography, including recordings with the Bamberg Symphony dedicated to Mendelssohn, which received particular appreciation, and which Sony/BMG recently decided to republish. Among the recordings performed with the Malaysian Philharmonic for the record company BIS, the most noteworthy are no doubt Suk’s Asrael Symphony (2009) and Dvorak’s Symphonies no.7 and n.8 (2012).


This appointment to Music Director is a great honour and a pleasure for me. After all these years of collaboration where we have gotten to know each other, my relationship with the laVerdi Orchestra and Choir has become very strong. Being granted the chance to explore this bond even further and to fully develop my choices of language and artistic repertoire in an intense working process ranging from sound production to sharing the meanings and interpretations of these works, is a commitment I will dedicate myself to with all my strength. Our relationship started in December 1999, when I was called to substitute a colleague in conducting Beethoven’s IX Symphony: that concert opened the road that allowed us to
explore a large part of the symphonic and symphonic-choral repertoire together: from Gabrieli’s music to Mahler’s symphonies, from Haydn’s classicism to Berlioz’ decadentism. We now have a chance to build an even deeper mutual understanding and to create a sound with the orchestra that can shape a unique and recognisable identity for each composer we will meet along our musical journey. Starting an experience as Music Director is always a challenge and an important occasion. In this case, the deep accord I feel with the Foundation and its management, as well as with all the musicians, will allow us to dedicate ourselves, from the very beginning, to the core of the musical work, with an enthusiasm which, already in the past, lead us to highly satisfying results. The first step in this new role as Music Director is already the sign of the relationship of profound trust that has been established between the orchestra and myself: in fact, in July of this year, we performed the cycle of Beethoven’s nine symphonies. Nothing like these symphonies can so clearly express the quality of an ensemble and the interpretative choices of its Music Director. My desire is also to launch a line of international tours to intensify laVerdi’s relations with the world and to let the world experience the value of these artistic groups, one further image of Milan’s cultural wealth.
                                                                                                                                                                                                                                                       Claus Peter Flor