In his sixth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. Following a 34-year tenure as Music Director of Philharmonia Baroque Orchestra and Chorale, he is now Music Director Laureate. He is also Principal Guest Conductor of Hungary’s Capella Savaria. At home in opera houses, McGegan shone new light on close to 20 Handel operas as the Artistic Director and conductor at Germany’s International Handel Festival Göttingen for 20 years (1991–2001), and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s. He was also Principal Conductor of Sweden’s Drottningholm Court Theatre from 1993 to 1996. 

Best known as a Baroque and Classical specialist, McGegan’s approach — intelligent, infused with joy, and never dogmatic, along with an ability to engage players and audiences alike — has made him a pioneer in broadening the reach of historically informed practice beyond the world of period ensembles to conventional symphonic forces. His guest-conducting appearances with major orchestras — including the New York, Los Angeles, and Hong Kong Philharmonics; the Chicago, Dallas, Milwaukee, Toronto, Sydney, and New Zealand Symphonies; the Philadelphia Orchestra; the Royal Northern Sinfonia and Scottish Chamber Orchestras; and the orchestras of London's Royal Opera House and Amsterdam's Royal Concertgebouw — often feature Baroque repertoire alongside Classical, Romantic, 20th-century, and even brand-new works. He has conducted Mendelssohn, Sibelius, Britten, Bach, and Handel with the Utah Symphony; Poulenc and Mozart with the City of Birmingham Symphony Orchestra; and the premiere of Stephen Hough’s Missa Mirabilis with the Indianapolis Symphony Orchestra, paired with Haydn, Brahms, and Mendelssohn. He collaborates frequently with the Mark Morris Dance Group, including the premiere productions of Rameau’s Platée and Handel’s Acis and Galatea, and has led performances at the BBC Proms and the Edinburgh International Festival.

Highlights of his 24/25 orchestral bookings include a return to Disney Hall, conducting the Los Angeles Philharmonic in Vivaldi, Haydn and Mozart; performances of Handel with the Antwerp Symphony Orchestra and the Royal Scottish National Orchestra; conducting the Indianapolis Symphony in performances of Bach, Mozart, and Tchaikovsky; leading Cantata Collective in multiple programs, including the St. Matthew Passion and other works by Bach; engagements with the Baltimore Symphony Orchestra, the Bournemouth Symphony Orchestra, the Chamber Music Society of St. Louis, and the Milwaukee Symphony Orchestra.

On the operatic front, he conducts Mozart’s Le nozze di Figaro at the Royal Danish Opera and with the Curtis Opera Theatre. He will also make a welcome return to the Blackwater Valley Opera Festival in Ireland.

McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums of Handel — two of which received the U.K.’s prestigious Gramophone Award — McGegan has explored the depths of the composer’s output with a dozen oratorios and close to 20 of his operas. Since the 1980s, more than 20 of his recordings have been with Hungary’s Capella Savaria on the Hungaroton label, including groundbreaking recordings of repertoire by Handel, Monteverdi, Scarlatti, Telemann, and Vivaldi. McGegan also released two albums with the Swedish Chamber Orchestra under the BIS label: Josef Mysliveček’s complete music for keyboard with soloist Clare Hammond; and an album of early horn concertos with soloist Alec Frank-Gemmill. His extensive discography with Philharmonia Baroque includes two GRAMMY nominations for Handel’s Susana and Haydn’s Symphonies 104, 88, and 101. Recent releases include an album of Mozart violin concertos with violinist Gil Shaham and the SWR Symphonie Orchester, and a recording of Mozart’s double concertos with violinist Zsolt Kalló and Capella Savaria. 

With Cantata Collective, McGegan has released the first volume in an ongoing initiative to record all of Bach's Cantatas, which received critical praise from Early Music America and American Record Guide. McGegan and Cantata Collective have also announced a new partnership with AVIE Records to record Bach’s six choral masterpieces — the St John and St Matthew Passions, Mass in B Minor, Christmas and Ascension Oratorios, and the Magnificat — over the next five years. The first album in this ambitious project, the St John Passion, was released in May 2023, with the B minor Mass released in Spring 2024. 

Mr. McGegan is committed to the next generation of musicians, frequently conducting and coaching students in residencies and engagements at Yale University, the Juilliard School, Harvard University, the Colburn School, Aspen Music Festival and School, Sarasota Music Festival, and the Music Academy of the West. He has been awarded the honorary degree of Doctor of Music by the San Francisco Conservatory of Music; an honorary professorship at Georg-August University, Göttingen; and in 2016 was the Christoph Wolff Distinguished Visiting Scholar at Harvard. McGegan’s fun and informative lectures have delighted audiences at Juilliard, Yale Center for British Arts, American Handel Society, and San Francisco Conservatory.

English-born, McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” Other awards include the Halle Handel Prize; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen; and a declaration of Nicholas McGegan Day by the Mayor of San Francisco in recognition of his work with Philharmonia Baroque.

Baltimore Symphony

Every detail, every gesture in the concert revealed a seriousness of purpose essential to deliver delight, and a vivid musical experience…It was an uplifting and revitalising concert, reminding us that extraordinary music making has no fixed age, and classical music is as varied as it vital. — Chris Williams, MD Theatre Guide

Handel and Haydn Society

“…from the moment that Nicholas McGegan took the podium to conduct the Handel and Haydn Society at Symphony Hall Friday night, it was evident that a more playful approach had come to visit. More than once I was tempted to pull the nearest person into a dance, so infectious was the pulse at times. Heads bobbed, feet tapped, and hands instinctively beat time as this music leapt from the instruments and crackled in the air.”

— Zoë Madonna, The Boston Globe

Oulu Sinfonia (Finland)

"Rarely have I heard such a clear orchestral sound in Oulu Cathedral, and this is probably thanks not only to the chosen music but also to some of McGegan's magic tricks." -- Kaleva

Santa Barbara Symphony

"Years of experience leading many of the world’s greatest orchestras through the music of the 18th century have given maestro Nicholas McGegan perfect pitch when it comes to speaking from the podium. His introductory remarks at this recent Sunday matinee performance with the Santa Barbara Symphony were models of balance — equal parts erudition, wit, and warmth." – Santa Barbara Independent

Seattle Symphony

“ One of Nicholas McGegan’s many talents is the ability to transform a standard symphony orchestra into a reasonable facsimile of a Baroque and Classical Era ensemble….His conducting style, without baton, is unorthodox, but effective. As he conducted, he caressed phrases, communicating with players through his eyes. With the flick of a finger or two he indicated the speed of ornaments. The result was a highly integrated, almost vocal, performance, with the conductor intimately involved, not just an emperor of the podium. “ – Bachtrack

J.S. BACH || Brandenburg Concertos Nos. 1-4, Orchestral Suite No. 3 | Philadelphia Orchestra

“McGegan was full of smart touches, encouraging breaths in unexpected places and molding phrases in ways that put an entirely new meaning on music I've heard for ages.”

— David Patrick Stearns, The Philadelphia Inquirer

J.S. BACH | Brandenburg Concerto No. 3 | Cleveland Orchestra

“Only one word can be used to describe completely the effect Nicholas McGegan has at the helm of the Cleveland Orchestra this weekend: transformative.” — Zachary Lewis - Cleveland Plain Dealer

J.S. BACH | Mass in b minor | Cantata Collective

"The Cantata Collective’s choral forces shine in their expressive use of color and dynamic shading in the long arching lines of “Et incarnatus est” and “Crucifixus” and are able to hold their own in “Et resurrexit” — due, in part, to McGegan’s careful balancing and phrasing.... The “Dona nobis pacem” is as ideally performed as the preceding aria, benefiting from an understated beginning that is carefully paced by McGegan to a triumphant end....” -- EMAg

BEETHOVEN  | Symphony No. 7 | Bournemouth Symphony Orchestra

“Conductor Nicholas McGegan expertly egged everyone on with schoolboy glee throughout this rich performance, especially in the crisp third movement and exhilarating finale. He seemed to sense something special was in the air.” — Phil Dennett, The Argus

“Surely one of the most exuberant and joyful conductors, his whole body infectiously brought the programme to life - clearly this is a man who really loves his work.” — Stephanie Hall, Daily Echo

BEETHOVEN | Symphony No. 9 | Royal Northern Sinfonia

“Conductor Nicholas McGegan's gestures were economic, but each counted as he kept an eye on the bigger picture…the audience leapt to its feet at the climax. It was a breathtaking performance that fulfilled every expectation. — Gavin Engelbrecht, The Northern Echo

BERLIOZ | Symphonie Fantastique | Milwaukee Symphony Orchestra

“McGegan narrated like a master storyteller…his light touch made the music clear, with playful sharp contrasts and overall restraint. The result was orchestral balance and sensitive ensemble playing. ”

— Rick Walters, Express Milwaukee

BRAHMS | Symphony Number 3 | Sarasota Music Festival Orchestra

“McGegan, who’s obviously done a lot of research into the composer’s style, pared down the sound and came out with a Third Symphony that was as clear as a mountain brook and just as refreshing ”

— June LeBell, The Observer

GYROWETZ | Symphony in F, Op. 6, No. 3 | Philharmonia Baroque Orchestra

“Even if the headliners made Gyrowetz the forgotten man at the front end of the bill, McGegan deserves credit for expanding the 18th-century envelope. Newcomers from the past, no matter how modest their contributions, are always welcome. — Steven Winn, San Francisco Classical Voice

HANDEL | Acis and Galatea | Philharmonia Baroque Orchestra / Mark Morris Dance Group | Cal Performances at                                 Berkeley

“the enormous pleasure of this production is in the effusively engaging conducting of McGegan and his fine period instrument orchestra and chorus.” — Mark Swed, Los Angeles Times

“Mr. McGegan and the Philharmonia forces were a constant source of life and sensuous color.”

— Alastair Macaulay, New York Times

HANDEL | Admeto, Re Di Tessaglia | FestspielOrchester Göttingen

“McGegan is a world authority on all things Handel” — Anna Burnside - The Times

HANDEL | Concerto Grosso in G Major, Opus 6, No. 5 | St. Paul Chamber Orchestra

"in McGegan's relaxed grip the music attained an almost wild grandeur, with the SPCO players happily swept up in the gale-force winds the diminutive conductor unleashed.” — Larry Fuchsberg,Star Tribune

HANDEL| Deborah | NDR Radiophilharmonie

         "Handel at his best. At the helm is yet again Nicholas McGegan who has already done so much for Handel.... and – not only here – has led performances that set the standard. As well on this evening in the completely sold-out Galerie McGegan, with a red flower in his buttonhole, swings through the score, dances on the podium and batonless gives the cues with exuberant movements. There it is again, the McGegan-Sound, noble, as much historically informed as needed, as grand as possible. No speed records are set, the music pulses in beautiful and strong simplicity, the brass shines, the timpani are not restrained at dramatic passages.” -- Hannoversche Allgemeine Zeitung.

HANDEL | Giulio Cesare | Blackwater Valley Opera Festival

         “A superlative cast…McGegan’s musical direction was superb throughout” – Opera (with Opera News)

HANDEL | Messiah | Royal Scottish National Orchestra

“The faster the music became, the lighter was McGegan's touch, with lots of detached notes, scrupulously-placed accents to articulate pulse and rhythm, and a delivery at high speed that was pristine in its clarity. Nothing was exaggerated; everything was intimate and understated. It winged by and, quite exceptionally, was a genuinely enthralling Messiah.” — Michael Tumelty - The Herald

HANDEL | Messiah | Toronto Symphony Orchestra

“McGegan brought the sort of subtlety that usually comes from a resident conductor’s years of work with an orchestra…There was also a lightness about it that could convey deep drama one moment and blessed relief the next. The music danced, it breathed - and, best of all, it was alive with light and immediacy.”

— John Terauds, Musical Toronto

...the finest Messiah I have experienced…Indeed, with a balance between all sections that was astonishingly even, and a tonal freedom that was hair-raising, this was like a familiar painting freshly cleaned. Of course, Nicholas McGegan is one of the great conductors of the baroque/classical period and his unerring sense of style and a cleverly judged increase in tension as the drama of Handel's collaboration with Charles Jennens gathers pace, kept the packed house spellbound. — John Button, Dominion Post News

“The orchestra, not to be outdone, played with particular focus on the transparency of the sound...Even with our modern-day penchant for the huge, dense explosions of sound that Roy Thomson Hall was acoustically built for, McGegan has become a serious and convincing voice for the baroque approach to Messiah...In a sentence, this year’s TSO Messiah was about the collective soloists, orchestra, choir, and one conductor, McGegan, with the vision to put them all together—just so.” — Michael Vincent, Musical Toronto

HANDEL | Opera Arias | New York Philharmonic

“When it comes to conveying the vital spark in Handel’s music, Mr. McGegan has few peers.”

— Steve Smith, New York Times

HANDEL | Rinaldo | Adelaide Symphony Orchestra

“He livened up both his audience and the ASO with sheer energy and elan, his interpretations…open-hearted and sometimes boisterous, emphasizing the fun and color of this music.”

— Rodney Smith, The Advertise

HAYDN | The Creation | St. Paul Chamber Orchestra

“Who else to lead the year’s most uplifting concert but a man who exudes the joy of music-making every time he steps to the podium? McGegan’s coup de grace was this performance of Haydn’s career-crowning magnum opus.” — Rob Hubbard - St. Paul Pioneer Press

HAYDN | Symphony No. 100, “Military” | Chicago Symphony Orchestra

“McGegan is a gifted Haydn conductor and clearly knows what he is about in this music. [He] led a well-balanced and enjoyable performance, bringing out the quicksilver energy of the outer movements.”

— Lawrence A. Johnson, Chicago Classical Review

“McGegan gets the job done with a crisp musicality that elicited splendid playing…”

— John von Rhein, Chicago Tribune

HAYDN | Symphony No. 30, “Alleluia”, Symphony No. 103, “Drumroll” | Los Angeles Philharmonic

“Everything sounds natural; every part tells. And throughout is music-making shot through with a radiant affirmation of life. The way McGegan shaped Haydn’s Symphony No. 30 “Alleluia” and Symphony No. 103 “Drumroll” evinced a deep sympathy and love for the music...In his hands the scent of the Serbian countryside of Haydn’s youth was never far away. The earthy, peasant humor of his music was given full voice, with the gurgling clarinets in the trio of the “Drumroll’s” scherzo providing one of the many indications of the conductor’s deep love and sympathy for this music.”  — Ted Ayala, Bachtrack

HAYDN | Symphonies Nos. 57, 67 and 68| Philharmonia Baroque Orchestra (recording)

“McGegan clearly knows when to sound “authentic” and when to let his players sing. The solo winds and horns are excellent, ensemble balances invariably what they ought to be to let each work communicate vividly. The live sonics, a touch close and maybe very slightly edgy, actually suit the boldness and panache of the music. Haydn lovers rejoice.” — David Hurwitz, Classics Today

These are among the finest Haydn performances you'll find, and even if you are unfamiliar with the material, you'll probably enjoy them under McGegan's always charismatic guidance. And, also as always, the Philharmonia Baroque play with an exacting refinement beyond reproach.

— John J. Puccio, Classical Candor

Three symphonies from Haydn’s early, mature period of the 1770s receive expert realization in virile and “authentic” colors…The Philharmonia Baroque negotiate the whirlwind string triplets with a deft, breathless savoir faire that more often than not sends the roosters scampering for cover…As a showpiece for the string and woodwind components of this gifted ensemble, the finale [Of Symphony No. 68 in B-flat Major] has served well to impress us with controlled fervor, expertly balanced.

— Gary Lemco, Audiophile Audition

“…the delicacy of this newcomer’s instrumental textures puts it in a class of its own. Every admirer of Haydn’s music should want to give this a listen…this is Haydn that makes you stop, think, and want to listen again.” — Raymond Tuttle, Fanfare Magazine

HUMMEL et al | “Romanza” | Toronto Chamber Orchestra | Guy Few, trumpet,corno da caccia

                     Nadina Mackie Jackson, bassoon | MSR Classics (recording)

“The Andante is particularly luscious and lingers in the senses like the memory of a gourmet meal long after it has been consumed…. To McGegan's credit, the maestro's fingerprint is nowhere too distinct—the immensely capable soloists constantly shine through the even texture….Everyone seems to expect nothing but the best from McGegan, and thanks to the wonderful soloists this recording certainly lives up to that standard.” — Lorin Wilkerson,  Northwest Reverb

MAHLER | Symphony No. 4 | Pasadena Symphony Orchestra

“McGegan did some wonderful things — overall, the freshest live performance I’ve heard of this in some time…” — Richard S. Ginell, Los Angeles Times

MENDELSSOHN | Violin Concerto | Aspen Chamber Symphony | Aspen Music Festival

“Some sort of magical aura surrounded Bell, McGegan, the Aspen Chamber Symphony…the music pulsed with life, danced ever-so-lightly and seduced with its finesse and attention to the delicate details. Bell and McGegan created a palpable sense of intimacy that held a capacity audience breathless.”

— Harvey Steiman, The Aspen Times

|Die Schöne Melusine | Utah Symphony

“McGegan’s nuanced direction brought youthful flair and exuberance to the piece…His expressive gesturing on the podium elicited an incredibly colorful and vibrant performance out of the orchestra.”

— Edward Reichel, Reichel Recommends

                         | Violin Concerto in e., Symphony No.4 | Zsolt Kalló, violin | Capella Savaria

“McGegan is one of those very rare conductors, like Minkowski and Norrington, who know how to make a period orchestra "speak," to give it nuance and expression.” — Lynn Rene Bayley, Fanfare

                            | Symphony No. 2, “Lobgesang” | Philharmonia Baroque Orchestra

“In a performance of remarkable power and tonal beauty, McGegan and his crew of musicians — including the excellent Philharmonia Chorale and a lineup of first-rate vocal soloists — unveiled an expansive and eloquent masterpiece, one that belongs by rights on the repertoire list of every orchestra in the country.”

— Joshua Kosman, San Francisco Chronicle

MOZART | Le Nozze di Figaro | Royal Danish Opera

Conductor Nicholas McGegan brings it all together like a true master through his well-considered choice of tempi, whereby the Mozartian sound unfolds in the orchestra and the acoustics of the entire room. McGegan's handling of the score resulted in more than great interaction for all actors, which the Opera here at home can really be proud of. May he return as soon as possible. - Knud Arne Jürgensen, POV International

Nicholas McGegan takes credit for his musical direction, and both choir and orchestra contribute to making this afternoon at the Opera a complete pleasure. - Michael Søby, CPH Culture

Conductor Nicholas McGegan lures high musical quality out of Det Kgl. Kapel, which is a delight all the way through Anne Barslev's new staging of Mozart's 1786 classic, which is still one of the opera repertoire's most beloved comedies. - Det Sku' Du Se

…it is worth sticking with Det Kongelige Kappel under the baton of Nicholas McGegan , who had chosen a very transparent interpretation of the score, which, like the scenography, gave optimal space to the many good singers. In addition, McGegan had contributed some contemporary ornamentation from Haydn's hand to the various arias, e.g. in Cherubino's canzone Voi che sapete – it was then normal for the singers to add extra notes and cadences to the arias not recorded in the score by the composer's hand. A welcome refreshment to rediscover that tradition. - aarsskriftet

Nicholas McGegan conducted brilliantly and gave plenty of room for the singers. - sklassisk

It is a scoop for the Royal Theater to have had the British conductor Nicholas McGegan conduct this new production of Mozart's The Marriage of Figaro . McGegan is not just one of the grand old men of historical construction practice . He is also – in the best sense of the word – a classical opera conductor who serves the singers, the orchestra and Mozart without putting himself at the center. Here he stands in contrast to some of today's star conductors, who would rather attract attention by means of furious tempos and exaggerated accents than they would support the other actors. …The humor and darkness that McGegan brings out of the score is only exceptionally realized on stage.…The Marriage of Figaro is worth experiencing for Nicholas McGegan's masterful direction and for the young team of singers who give the performance energy and a tone of irresistible freshness. - Magnus Tessing Schneider, Peripeti

MOZART | “Chaconne” from Idomeneo | Cleveland Orchestra

Not only did McGegan do justice to the music’s form, underscoring the theme at its foundation. He also gave it theatrical life, treating it to a vibrant, dramatic reading fully suited to the stage.

— Zachary Lewis, Cleveland Plain Dealer

| Piano Concerto No. 9 in E-flat major | St. Louis Symphony | Orli Shahm, piano

Conductor Nicholas McGegan adds an extra dimension to any performance in the palpable joy he brings to his music-making, from the moment he bounces to the podium until the final bows. McGegan, renowned as a Baroque and Classical specialist, turns the members of the St. Louis Symphony Orchestra into a fine facsimile of a period band, dishing up stylistically impeccable and utterly committed music-making.”

— Sarah Bryan Miller, St Louis Post-Dispatch

             | Magnificent Mozart Tour (2013) | New Zealand Symphony Orchestra

“Maestro McGegan is skilled at bringing a work to life, and he did so here, injecting a welcome freshness and verve into the serenade… McGegan extracted a triumphant performance from the orchestra."

— Roger Buchanan, The Tribune, Palmerston North

"Nicholas McGegan - both a renowned authenticist and a right proper live wrist - would be the man to demonstrate Beethoven's inspiration…Purposefully paced and crisply enunciated, the music bristled with energy...It felt like a dark veil had been drawn aside. Suddenly, in music that had seemed luxuriant, I could see all the hard edges….superlatively stirring." — Paul Serotsky, Northern Advocate

“Conductor Nicholas McGegan is internationally recognized for concerts that are infused with sheer joy…with a superb sense of momentum, an outstanding attention to detail…McGegan is a very expressive conductor, who obviously had great confidence in, and a superb relationship with, the orchestra.”

— Stephen Fisher, Manawatu Standard

                | Eine Kleine Nachtmusik | Atlanta Symphony Orchestra

"McGegan, who is noted for his expertise in 18th-century music, conducted about two dozen strings in a completely gorgeous, utterly placid recitation of the Mozart composition...Aside from being a masterful conductor, McGegan is a joy to watch." — Jon Ross, Atlanta Journal Constitution

| Mozart & Haydn | Orchestra of St. Luke’s |

“One of the most appealing, satisfying performances I have heard this season….A magical moment arrives in every concert I have seen involving the conductor Nicholas McGegan, and it comes before any music has been made…there is something about his abundant zeal and affection that seems to enhance his work in the Baroque and Classical repertory he favors….Mr. McGegan again elicited superb work from his players, earning a loud, long ovation.” — Steve Smith, New York Times

             | Mozart & Haydn | Hollywood Bowl

McGegan was his usual enlivening, effervescent, engaging self, spreading good cheer with his wiggle-waggle motions on the podium…The Mozart and Haydn symphonies,,,went by with zesty tempos, robust textures, contrasting shadings and high spirits from the chamber-orchestra-sized version of the Los Angeles Philharmonic. No late-summer doldrums here. — Richard S. Ginell, LA Times

NIELSEN | Flute Concerto | Sarasota Music Festival | Carol Wincenc, flute

 “Here, Nic McGegan was the perfect foil, accompanying like the master conductor/mentor he is, allowing his young orchestra to revel in the odd sounds called for by the composer, and letting Wincenc fly like the beguiling sorceress of the flute she is.” — June LeBell, YourObserver.com

RAMEAU | Suite from Dardanus | Columbus Symphony Orchestra

“Guest conductor Nicholas McGegan, a versatile British maestro, surely brought the creations of these composers to vivid life last night. McGegan manifested a gift for drama and excitement, animating works that — in less talented hands — might have yielded more yawns than yippees.”

— Barbara Zuck, The Columbus Dispatch

            | Suite from Dardanus | Baltimore Symphony

McGegan is as charming a speaker as he is a conductor and sculpted the sound with a precision and transparency that perfectly illuminated the music. He is capable of both joking with the audience, and clearly playing with the musicians during the performance. — Chris Williams, MD Theatre Guide

             | Suite fromNais | Baltimore Symphony Orchestra

“The Rameau suite proved to be a highlight of the evening. McGegan brought plenty of rhythmic drive to score, but abundant nuance as well, and he drew lively, attentive playing from the ensemble.”

— Don Ciccio, The Baltimore Sun

SAINT-GEORGE | Violin Concerto in A Minor/Overture to “L’amante anonyme” | New Jersey Symphony

“This work was right in McGegan’s wheelhouse….the two pieces performed by McGegan and the NJSO are really worth hearing, and Hadelich and McGegan were really in sync. Bravo to NJSO, Hadelich, and McGegan for finally bringing us Maestro Bologne’s music.” – NJ.com

SCHUBERT | Symphony No. 4 | Milwaukee Symphony Orchestra

“McGegan drew a gleaming, precise reading, warmed throughout by an acute awareness of the melodic curve, from the ever more brilliant MSO. The pliant beauty of the Andante melody had special charm.”

— Tom Strini, Third Coast Digest

SCHUMANN | Cello Concerto in A minor, Op. 129 | Philharmonia Baroque Orchestra

“Yet with McGegan leading the kind of crisp, rhythmically buoyant performances that characterize his exploration of Baroque operas and oratorios, these Romantic works sounded newly minted and surprisingly weighty.” — San Jose Mercury News

​​SHAW | Is A Rose; The Listeners | Philharmonia Baroque Orchestra PBP-12 (Recording)

“Composed for PBO, The Listeners is the young composer’s first large-scale composition. The oratorio recalls Handel’s works in the genre scored for soloists, chorus and period-instrument orchestra. Shaw may be the ideal living composer to write for such forces….This live recording, conducted by music director laureate Nicholas McGegan, makes palpable Shaw’s sense of awe, futility, and ultimate optimism….Throughout, McGegan leads vibrant readings that allow the details of these works to flower.” – EMAg

VIVALDI  | The Four Seasons | Pittsburgh Symphony Orchestra

“Mr. McGegan’s good humor was endearing and lent itself to a vivacious performance.…most important was Mr. McGegan’s attention to clean, individual lines, particularly in the winds and brass, that together lent the performance added intensity.” — Pittsburgh Post-Gazette

“Nicholas McGegan is widely acknowledged to be an expert in 18th century performance style, but he's much more than that. His appearance as guest conductor of the Pittsburgh Symphony Orchestra Friday night was a reminder of the rare vitality that he brings to music making….McGegan led a joyously musical performance combining a stylishly rich sonority, beautifully judged tempi and a naturally expressive style which was free of eccentricity.” — Pittsburgh Tribune-Review