conductor

Music and Artistic Director of the Orchestre symphonique de Mulhouse in France, Jacques Lacombe has previously been Principal Conductor of the Bonn Opera in Germany from 2016 to 2018 and Music Director of the Orchestre symphonique de Trois-Rivières from 2006 till 2018. From 2010 to 2016 he was Music Director of the New Jersey Symphony Orchestra and from 2002 to 2006, principal guest conductor of the Orchestre Symphonique de Montréal after being music director of the Philharmonie de Lorraine in Metz, France. Jacques Lacombe is renowned as a “gifted and ambitious” conductor (The New York Times) whose artistic integrity and rapport with musicians and orchestras have propelled him to international stature.

In July 2016, Jacques Lacombe was honored to be reinvited to conduct the opening weekend concerts of the prestigious Tanglewood Music Festival with the Boston Symphony Orchestra where he was a guest for a third consecutive year. In addition, one of the highlights of his past seasons includes his debut with the Orchestre National de France at the Theatre des Champs Élysées in Paris for a concert version of Massenet’s Werther with Joyce Di Donato and Juan Diego Flórez. He also made his debut at the Festival Internacional de Opera Alejandro Granda in Lima, Peru. Symphonic debuts include the Taiwan Philharmonic National Symphony Orchestra as well as orchestras in Dallas, Nancy, Omaha and San Antonio. More recently, he coducted at the Bonn Opera new productions of Holofernes by Reznicek, La Bohème, Lucia di Lammermoor and Peter Grimes with, in the title role José Cura who also staged this new production.

In recent seasons, he has collaborated with renowned soloists such as Emanuel Ax, Joshua Bell, Yefim Bronfman, Sarah Chang, Yo-Yo Ma, Branford Marsalis, Gil Shaham, Jean-Yves Thibaudet, André Watts, Diana Damrau, Joyce DiDonato, Renee Fleming, Angela Gheorghiu, Frederica von Stade, Roberto Alagna, José Cura, Dimitri Hovrostovsky and Bryn Terfel.

In addition to his numerous collaborations with many orchestras in North America such as orchestras in Boston, Cincinnati, Dallas, Edmonton, Montréal, Quebec and Toronto, Jacques Lacombe has worked in Europe among others with the Orchestre National de France, the Orchestre Lamoureux and orchestras in Malaga, Monte-Carlo, Mulhouse, Nancy, Nice, Toulouse as well as many orchestras in Oceania and in Asia.

In other recent highlights, Mr. Lacombe’s work in opera includes all-star productions of La Bohème and Tosca at the Royal Opera House at Covent Garden, the world premiere of Marius et Fanny with the Opéra de Marseille with Roberto Alagna and Angela Gheorghiu, two frequent collaborators, and many productions including Un Ballo in Maschera, Ariadne auf Naxos, Der fliegende Holländer and Eugene Onegin with the Deutsche Oper Berlin where he is a regular guest for over ten years. Mr. Lacombe has also led a number of operatic rarities with the Deutsche Oper, including Zemlinsky’s Der Traumgörge, Die Dorfschule by Felix von Weingartner, Carl Orff’s Gisei – Das Opfer, and Waltershausen’s Oberst Chabert, which have been recorded and produced by the label CPO. He has led productions with Opéra de Monte-Carlo, most recently Lady Macbeth of Mtsensk and La Favorite by Donizetti with the tenor Juan Diego Florez. In addition, Mr. Lacombe has conducted at the Metropolitan Opera House in New York, at the Teatro Regio in Turin, at the Bayerische Staatsoper in Munich, at the Opéra national du Rhin in Strasbourg as well as opera houses in Avignon, Liège, Marseille, Metz, Nantes and Angers, Philadelphia and Vancouver.

As music director of the NJSO, Lacombe has been noticed for his inspirational programming for which League of American Orchestras honored him with an ASCAP award. For his debut at the prestigious Carnegie Hall in New York in 2012 as part of Spring for Music Festival, Mr. Lacombe was a resounding success throughout the United States for the concert he conducted with the NJSO where he led pianist Marc-André Hamelin in the epic Busoni Piano Concerto. Anthony Tommasini wrote for The New York Times,

“It was an honor to be in the hall for the astonishing performance of the Busoni concerto.”

Mr. Lacombe’s outstanding work with the Orchestre symphonique de Trois-Rivières has also been recognized by a recent Juno Award given by the Canadian Academy of Recording Arts and Sciences for Best Classical Album of the Year: Vocal or Choral Performance for his recording of Lettres de Madame Roy à sa fille Gabrielle with renowned contralto Marie-Nicole Lemieux written by André Gagnon and Michel Tremblay.

Jacques Lacombe has recorded for the CPO and Analekta labels, and has recorded Janáček’s Suite from The Cunning Little Vixen, Carl Orff’s Carmina Burana, and the Verdi Requiem on releases with the New Jersey Symphony Orchestra. His performances have been broadcast on PBS, the CBC, Mezzo TV in Europe, France 3 and Arte TV in France and on Hungarian Radio-Television.

Born in Cap-de-la-Madeleine, Québec, Jacques Lacombe received his musical training at the Conservatoire de Musique de Montréal and at the Hochschule für Musik in Vienna. Orchestral conducting teacher at the Conservatoire de Musique de Montréal, he received the Queen Elizabeth II Diamond Jubilee Medal in 2012. He is also a Chevalier de l’Ordre national du Québec and a Member of the Order of Canada, one of the highest civilian honors in the country.

 

Reviews

2014

Opéra national du Rhin: Le Roi Arthus

Under the direction of Jacques Lacombe, the Orchestre symphonique de Mulhouse brought the musically rich and often lyrical, but also highly dramatic score to its sonorous best and was rewarded by the public at the end with rare cheers—seeming particularly impressed by the musical quality of the opera. Udo Pacolt, Der Neue Merker

If there was a good reason to attend this Roi Arthus in Strasbourg, it was certainly to hear the Orchestre symphonique de Mulhouse: a lively orchestra, led by Jacques Lacombe who never let the tension wither – one of the characteristics of this work – thanks to the full and intense texture of the strings, which beautifully rendered the luminosity in places of Chausson’s almost “Fauré-like” score. Clément Rochefort, LaLettreduMusicien

Close your eyes to just listen? For the orchestra, certainly: Jacques Lacombe has done a remarkable job with the Orchestre Symphonique de Mulhouse. Alain Cochard, ConcertClassic

If the performance has merit and can be followed until the end, it is thanks to the passionate conviction of Jacques Lacombe who with continuity and impressive energy, brings the Symphonique de Mulhouse well above what we expected… André Tubeuf, L’oeil et l’oreille

For saving the sinking boat by making the multiple ways of this crossroads of influences heard through leaned down and tightened textures of an Orchestre symphonique de Mulhouse on the rise, as much as a sense for the dramatic progression impervious to the mistakes of the staging, Jacques Lacombe is worthy not only of the unique praises we can sincerely address to this production, but also like Arthus, taken across the blue waters, to “the crowning glory of believing in the Ideal”. Mehdi Mahdavi, Altamusica
March 18, 2014

… l’Orchestre Symphonique de Mulhouse adapts to the acoustics of the hall and gives under the baton of Jacques Lacombe a dynamic and rather nuanced reading, thus reserving for the music lovers the bulk of the satisfaction for this production. Le Melomaner, Jim Le Pariser

The other great satisfaction of the evening comes from the pit, where the Canadian conductor Jacques Lacombe, specialist of forgotten composers (among others, he has recorded the opera Colonel Chabert by Hermann von Walthershausen for CPO in 2010), shows great care to not cover the voices while also controlling the role of the strings to bring out the subtleties of the orchestration. Surely a conductor to follow. Florent Coudeyrat, Les Trois Coups

2013

Opéra de Monte-Carlo: La Favorite
…At the head of a sumptuous Orchestre Philharmonique de Monte-Carlo of recent memory, scrupulous musician Jacques Lacombe brings an excess, a flamboyance, which alone can save the tedium of a concert version… Christian Columbeau, Arts & Spectacles
December 13, 2013

…A strong masterful musical direction […] the Quebecois maestro Jacques Lacombe with precise, lively and energetic gestures tailors each section of the able-bodied Orchestre Philharmonique de Monte-Carlo and restores life, passion and fluid energy to the score.  A conductor in perfect agreement with the singers and musicians as evidenced by the evocative intensity of the overture, the instrumental dialogue in the beginning of Act IV between the divine calling of the church organ and the human desire voiced in the cello or the sound of the harp announcing the prayers of Leonora.

This demanding line of musical direction matched best with the unusually high level of artistry achieved by Juan Diego Flórez throughout the performance Jean-Luc Vannier, Musicologie December 13, 2013

…On their feet cheering for the hero [Juan Diego Flórez] of the evening, the public neglects to fully celebrate as it should Jacques Lacombe, who first modestly invites the orchestra and the impeccable choir to take a bow. One must not forget that the success of such an event is also based on leadership that, while highlighting the performers, knows how to ennoble that in the music which can sometimes be trivial. Great voices of course, but also great conductor. Christophe Rizoud, ForumOpera, December 18, 2013

…Spirited and full of momentum, the direction of Jacques Lacombe highlights the drama contained in the score, and enlivens the Orchestre Philharmonique de Monte-Carlo to a state of grace highlighting excellent solos, including a most beautiful cello.
Ten months after the stage performances in the same place, it is with happiness that one plunges back into La Favorite, and it is without hesitation that one joins in the applause of a public in awe… Nicolas Greinenberger, ClassiqueNews, December 19, 2013

…This concert version benefited greatly from the conductor Jacques Lacombe who knows how to infuse into the excellent Orchestre Philarmonique de Monte-Carlo (as well as the Chorus of the Opéra de Monte-Carlo) a breath-taking rhythm and a drive both passionate and vigorous pulling this “Favorite” towards the impetuous energy of the early works of Verdi. Christian Jarniat, Metamag, December 21, 2013

Orchestre Symphonique de Montréal: Berlioz, Arcuri, Ravel and Dvořák
November 20 & 23, 2013

Lacombe […] has evolved as a communicative and expressive musical personality. Always an admirable and admired technician, Lacombe brought great rhythmic verve and vitality as well as dynamic contrasts… Richard Turp, Bachtrack, November 3, 2013

Lacombe […], comme dans tout ce qui suit, une énergie débordante qu’il communique sans relâche à cet orchestre dont il fut déjà le chef assistant. Il y a là autant de pure poésie que de prodigieux tapage et, partout, une couleur et un relief incroyables…, Claude Gingras, La Presse, November 21, 2013

Angers Nantes Opéra: Dialogues des carmélites
15, 17, et 20 octobre 2013
5, 7, 15 et 17 november 2013

La puissance émotionnelle de la partition est admirablement mise en valeur par Jacques Lacombe qui amène l’Orchestre national des Pays de la Loire au meilleur avec un son sensuel et moelleux, particulièrement flatteur pour les vents. Il évite d’être trop démonstratif en terme de percussion prémonitoire et choisit de graduer ses effets avec beaucoup de raffinement. Tania Bracq, Forum Opera, 15 octobre 2015

 Rien à redire également de l’Orchestre national des Pays de la Loire, qui n’a pas montré toujours un tel engagement en fosse ces dernières années : les cordes (emmenées par la jeune supersoliste coréenne Ji Yoon Park) sont intenses, les cuivres (presque) exacts, l’ensemble mené de main de maître vers l’issue fatale par le Québécois Jacques Lacombe. La formation fondée par Pierre Dervaux semble parler le Poulenc comme une langue maternelle. Entre les nouveaux spectacles de Lyon et du Théâtre des Champs-Elysées, Angers Nantes Opéra est parvenu à faire de la seconde étape d’une coproduction un événement à part entière, par la valeur sûre d’une mise en scène et la force d’une équipe musicale renouvelée. Alleluia ! Benoit Fauchet, Diapason, 20 octobre 2013

 Si on imagine qu’elle ne fera pas l’unanimité, on doit saluer la direction de Jacques Lacombe, cinglante, dégraissée et d’une ascèse de Carême, dans une veine flagellatoire assez typiquement doloriste que n’aurait pas reniée Bernanos, aux antipodes de la grande ligne larmoyante façon Puccini qu’on insuffle trop souvent à l’orchestre desDialogues. Yannick Millon, AltaMusica, 5 novembre 2013

Quant à  Jacques Lacombe il parvient à la perfection de cette partition flamboyante et d’un tragique antique. L’orchestre national des Pays de Loire se montre une fois de plus comme une remarquable phalange capable de jouer notre répertoire à la perfection. Amalthée, Network Visio France, 18 novembre 2013

 En fosse, l’Orchestre National des Pays de la Loire se surpasse sous la direction mordante de Jacques Lacombe, qui fait sonner l’écriture si singulière de Poulenc avec une rare poésie sans jamais en relâcher la tenson dramatique. Soirée magnifique et assez inoubliable. Jean-Charles Hoffelé, ConcertClassic.com, 19 novembre 2013

 A la tête de l’Orchestre National des Pays de Loire, Jacques Lacombe fait superbement vibrer le mélange de mysticisme et de sensualité de la musique de Poulenc, dosant ses effets – cordes et cuivres – avec pudeur et raffinement. Jef Rebillon, Webthea, 22 octobre 2013

2012

New Jersey Symphony Orchestra, Carnegie Hall – Spring For Music Concert mai 2012
Though somewhat amorphous, the music is engaging, and the piece hangs together, perhaps because of the pulsing performance Mr. Lacombe drew from the orchestra. It was an honor to be in the hall for the astonishing performance of the Busoni concerto… Anthony Tommasini, NY Times, mai 2012

Anthony Tommasini, NY Times, mai 2012

It has been six years since Carnegie Hall was a place for Jersey pride, but the New Jersey Symphony Orchestra more than made up for lost time, playing at the Spring for Music festival on Wednesday. The festival awards North American orchestras for adventurous programming, and for his Carnegie Hall debut, music director Jacques Lacombe delivered not only bold, intelligent choices, but also sure-handed performances. Ronni Reich, NJ Star Ledger, mai 2012

The New Jersey Symphony, under their splendid Quebec-born conductor Jacques Lacombe, not only showed up at Carnegie Hall, but their choices satisfied every requirement for great programming … Musically, the three works had three totally diverse styles. And audiences looking for imagination found (as is the rule in ‘Spring For Music’) music rarely performed in New York. Even better, it gave the New Jersey Symphony Orchestra all the space they needed to show how deft they are. [W]e were offered intensity, stolidity, innovation-and enough percussion to make that Shostakovich 11th Symphony Monday night sound like a Telemann flute concerto. Harry Rolnick, Concertonet.com, mai 2012

A gripping performance of Ferruccio Busoni’s mammoth Piano Concerto brought the Spring for Music festival to the halfway point Wednesday night at Carnegie Hall. It was the New Jersey Symphony’s turn in the spotlight at the six-day festival … [The] NJSO is led by Jacques Lacombe, a conductor who molds a rich sonic palette with precise and economical gestures. Few pianists have taken [the Busoni concerto] on … [but Marc-André Hamelin] mastered its rising and falling cascades of scales, biting rhythms and thunderous textures as though he was Busoni himself. Cadenzas occur unexpectedly, and he made them part of the work’s overall drive. The partnership he forged with Lacombe was remarkably unified, never lagging despite the lulls in the score. Michael Huebner, The Birmingham News, mai 2012

New Jersey Symphony Orchestra, Concert avril 2012
Prokofiev’s Symphony No. 3, if less explicitly linked to the theme, had a powerful impact. Lacombe paced and balanced the boldly colored and often harsh work so that it never became overblown. Instead, the NJSO thrilled as piercing wails, oppressive walls of sound and demonic dances escalated, staggered forward and roared through the hall. Ronni Reich, NJ Star Ledger, avril 2012

Deutsche Oper-Berlin, Un ballo in maschera, février 2012
The young conductor Jacques Lacombe enjoys building contrasts. Together with the Deutsche Oper Berlin orchestra he shakes up the audience at the beginning of some scenes with a clap of Thunder and particularly emphasizes the tragic depths in the numerous minor key passages. Ursula Wiegand, Der Neue Merker, février 2012

Orchestre symphonique de Montréal, Concert février 2012
Jacques Lacombe gets the classic OSM sound. (…) On Sunday he showed how well he remembers the extrovert style the orchestra once was famous for, and how capable he is of rekindling it on demand. Arthur Kaptainis, Montréal Gazette, février 2012

Ce concert marquait aussi le retour de Jacques Lacombe au pupitre de cet OSM où il fut l’assistant de Dutoit et le «premier chef invité» à une époque glorieuse et révolue. Les meilleurs moments de ce concert, on les doit d’ailleurs au chef trifluvien de 48 ans qui, on s’en souvient, avait ouvert la saison passée de l’OSM – et sa dernière à W.-P. – avec un fracassant Carmina Burana. Claude Gingras, La Presse, février 2012

2011

Opera Company of Philadelphia, Roméo et Juliette, février 2011
Also worth singling out were the powerful chorus scenes, particularly the Act III confrontation between the Montagues and the Capulets, and the restraint of the sparkling orchestra conducted by Jacques Lacombe that conveyed Gounod’s evocative music without overpowering the soloists. Gale Martin, Oportoonity WordPress, février 2011

Conductor Jacques Lacombe displayed a good feel for the piece’s style and kept the pace moving nicely, especially in the final scene, where other performances have bogged down. Steve Cohen, Broad Street Review, février 2011

Jacques Lacombe drew solid, stylistically responsible playing from the pit. David Patrick Stearns, Philadelphia Inquirer, février 2011

Conductor Jacques Lacombe shows a nice feel for the French style, bringing out the sweetness in Gounod’s lush score without letting it turn syrupy. Mike Silverman, Associated Press, février 2011

If the production confuses, the musical values are very strong, Maestro Jacques Lacombe steering orchestra and chorus and Stephen Costello and Ailyn Perez as the star- crossed lovers, make this production finer than worthwhile. Critic At Large, Temple Radio – WRTI. org, février 2011

New Jersey Symphony Orchestra, Concert janvier 2011
The first piece ends with a flourish. From here it’s not too difficult to believe Conductor Jacques Lacombe when he says man and the music he makes has been forever influenced and inspired by water. After simple consideration it’s all so clear. Intentional or not, the comparisons are obvious. The way music develops slow, languishing textures like a still pond or violent crescendos like waves crashing on a beach, it’s a perfect fit. The bows of two-dozen violinists glide up and down over their instrument strings, all of them uniform, like ripples over water. It’s something more than interpretation. Edward Van Embden, Red Bank Shrewsbury Patch, janvier 2011

Continuing with Handel’s iconic “Water Music,” Lacombe explained that he would be changing the configuration of the orchestra to give us more of the experience King George I may have had with his royal guests on one barge, while the musicians played on another. At different points, the barges would be close, and the musicians would play the more subtle movements, and when farther apart, would play the louder ones. The Maestro set the French Horns on audience left and the trumpet and piccolo trumpet to the right. In an unwitting battle of the sexes-women on French horns, men on trumpets-we had a delightful call and response, then the orchestra jumping into the mix-pure delight! Sherri Rase, Q onStage, janvier 2011

New Jersey Symphony Orchestra, Concert 7 janvier 2011
The young Québecois conductor Jacques Lacombe, who took over as music director last fall, led with a confident, swinging beat, showing a particularly keen ear in Fauré’s “Pelléas et Mélisande” Suite. Alex Ross, The New Yorker, janvier 2011

“He [Tan Dun] sounds like a conductor,” Lacombe says. “A conductor must be able to hear with his eyes when he reads a score, and see with his ears when he’s on the podium. The ‘Water Concerto’ is scored more or less conventionally for a classical orchestra, with winds, brass, tympani, harp, percussion, and strings.” Still, special techniques are called for: winds and brasses must produce sliding pitches; mouthpieces of wind instruments are used by themselves as an instrument; trumpeters make percussion sounds by beating their mouthpieces. Elaine Strauss, US1, janvier 2011

“He [Tan Dun] sounds like a conductor,” Lacombe says. “A conductor must be able to hear with his eyes when he reads a score, and see with his ears when he’s on the podium. The ‘Water Concerto’ is scored more or less conventionally for a classical orchestra, with winds, brass, tympani, harp, percussion, and strings.” Still, special techniques are called for: winds and brasses must produce sliding pitches; mouthpieces of wind instruments are used by themselves as an instrument; trumpeters make percussion sounds by beating their mouthpieces. Elaine Strauss, US1, janvier 2011

2010

Classics Today CD Review – Carmina Burana – NJSO- NJSO2010(CD)
I never thought I’d find myself wanting to review a recording of Orff’s Carmina Burana, but this one with the New Jersey Symphony Orchestra caught my ear and is so superb–so lively, accurate, cleanly recorded, and handsomely played–that its action-movie, apocalyptic aspects are matched by its introspective moments.

The soloists act out their parts splendidly–in the case of Vale Rideout, the tenor in the ultra-high “Roasted Swan” episode, almost too well. He never resorts to falsetto and winds up sounding like he’s about to be murdered. Soprano Sarah Coburn, a fine Lucia, has no difficulties with the stratospheric high notes, but she surprises in the tender “In trutina” section, which sits in the middle of her range: she is as lovely as Lucia Popp in the same music. Baritone Stephen Powell’s falsetto is as solid as his baritone, even as he reaches to the high Gs and A-flats; “Omnia sol temperat” is properly adoring and dreamy.
Canadian conductor Jacques Lacombe, who has since been named the Symphony’s music director, leads the work–it is taken from two performances in November, 2008–as if it were a masterpiece, and the huge forces–more than 250 strong–are out to impress, playing and singing with marvelous attention to dynamics. Stabbing rhythmic attacks are the norm–this Carmina moves without rushing.
The hour-long work is complemented by (and preceded by) the Suite from Janácek’s The Cunning Little Vixen (in Václav Talich’s arrangement), which gives us a cleaner idea of what the orchestra can do, and it’s mighty impressive: lovely strings (and solo violin); delightful winds (listen to “Blanziflor et Helena” in the Orff), with no astringency from the oboes, and a fine sense for Janácek’s language. And what a stunning Suite it is! Throughout, every instrument is audible–love those tam-tams!; love those bells! This gets a top recommendation, up there with the Ozawa on RCA. The CD is available through the NJ Symphony Orchestra

(Classicstoday.com – Robert Levine – octobre 2010)

Orchestre Symphonique de Montréal – Carmina Burana
Jacques Lacombe avait dirigé Carmina Burana à l’OSM en 2005 et le reprend cinq ans plus tard. Dirigeant encore une fois le concert entier de mémoire, il soulève choeur et orchestre avec un dynamisme qui gagne toute la salle et provoque à la fin une ovation fracassante. Encore une fois, Carmina Burana produit son effet. (La Presse – sept 2010)

National Youth Orchestra of Canada
In terms of sheer verve, Maestro Lacombe’s interpretation of Don Juan surpasses every other live performance I’ve ever heard. The youth orchestra examined all the orchestral elements of Richard Strauss’ celebrated oeuvre. Its familiar opening percussive stream had me wanting to crash my imaginary cymbals. (John Jane, Review Vancouver, August 2010)

National Youth Orchestra : brillant retour de Jacques Lacombe
C’est une autre bonne année pour le National Youth Orchestra of Canada, si j’en juge par son concert d’hier soir à la Basilique Notre-Dame. (Claude Gingras, La Presse, July 2010)

Youth and talent – what a winning combination! The National Youth Orchestra of Canada brought tremendous vitality to the opening concert of its 2010 season which began here in London. It is a joy to witness the exuberance and the commitment of highly motivated young people who are all no doubt capable of making careers in music if they have the desire and the opportunity. The entire performance produced a stunning jolt of excitement with the combination of excellent playing and thrilling repertoire. (Renée Silberman, The Beat, July 2010)

New Jersey Symphony Orchestra
From Mozart and Beethoven to a rock inspiration with local ties, when the New Jersey Symphony Orchestra offered a concert called “The Best of … Composers at the Keyboard,” the title fit. The final “Best Of . . .” series concert of the season — and the last we’ll hear of the NJSO until late June — the collection of short pieces interspersed with commentary felt especially right as a prelude to the relaxed summer classical season. (Ronni Reich, The Star Ledger, May 2010)

The New Jersey Symphony Orchestra offered a glimpse of its future on Thursday afternoon at the New Jersey Performing Arts Center here, when Jacques Lacombe, a fresh-faced conductor from the Trois-Rivières Symphony Orchestra in Quebec, led the ensemble for the first time since being chosen to be its next music director. Based on this initial encounter, a program featuring standard works by Brahms and Dvorak, the prognosis is decidedly positive. (Steve Smith, NY Times, April 2010)

Oberst Chabert, Deutsche Oper Berlin
Am Pult des Orchesters der Deutschen Oper Berlin gestaltete Jacques Lacombe die Partitur differenziert, souve­rän und mit spürbarer Hingabe. Die konzentrierte Spannung, mit der das Publikum die Aufführung verfolgt hatte, entlud sich am Ende in begeis­tertem Schlussapplaus; neben allen Mitwirkenden galt dieser nicht zuletzt einem an diesem Abend wiederentdeckten Komponisten. (U. Ehrensberger, Das Opernglas, March 2010)

Eindrucksvolle Impressionen, die trefflich mit der dramatischen Musik korrespondieren, vorzüglich von Jacques Lacombe mit dem hoch motivierten Orchester der Deutschen Oper einstudiert. Rundum eine gelungene Produktion also, die eine Vielzahl von Vorstellungen verdient hätte. Kaum zu glauben, dass gerade noch eine einzige geplant ist… (Kirsten Liese, Giessener Allgemeine, March 2010)

Opera Arias with Roberto Alagna, Orchestre Philharmonique de Nice
Der frankokanadische Dirigent Jacques Lacombe leitete das Orchestre Philharmonique de Nice mit besonderer Empfindsamkeit für die Partitur Gounods, war den Sängern ein aufmerksamer Begleiter und scheute auch for Sentimentalität nicht zurück. (W. Kutzschbach, Das Opernglas, March 2010)

Les Contes d’Hoffmann, Opéra de Monte-Carlo
Un dernier mot sur l’Orchestre Philharmonique de Monte-Carlo dirigé par un Jacques Lacombe en état de grâce. Sa lecture pleine de poésie, de fluidité, de justesse, de lyrisme, mérite tous les éloges. (Christian Colombeau, Podcast Journal, January 2010)

2009-7 Covent Garden – Tosca

“Arguably most impressive of all was the conducting of Jacques Lacombe …. He kept things moving, allowing the music to generate momentum without ever giving the impression of rushing. His ear for orchestration is astonishing. Right from the expertly balanced opening chords, this facet of his direction was in evidence. It was as if Lacombe was out to discredit the Puccinian nay-sayers who insist this music is all splodge. He has a fine sense of the large-scale as well as the moment-to-moment beauty. Moments of subtlety were many and varied, complementing the grand effects of the Te Deum, the stabbing of Scarpia and Cavaradossi’s execution. Lacombe is a significant conductor and Covent Garden would do well to ensure his services in the near future”.(Colin Clarke-Seenandheard.com-july 2009)

“The French-Canadian conduc tor Jacques Lacombe, making his Royal Opera debut, is supportive in pacing his music, and conducts with flair and an eye for detail throughout. He and Barlow draw sharp character from the vividly cast cameos…” (Hilary Finch – The Times – 14 July 2009)

“The conductor, Jacques Lacombe, was making his Royal Opera debut, and it was an auspicious one. His tempi were broad with a grand romantic sweep which made for a traditional Tosca in the best sense of the word. The orchestral timbre was bright and full, and if he was holding the players back to allow the voices to come across in certain places, he did so with the kind of deft artistry that retained the ful l colour and impact of the score, making one unaware it was happening.”(John Woods –MusicalCriticism.com – July 2009)

“Under Canadian conductor Jacques Lacombe, making his Royal Opera debut, the orchestral response is atmospheric, with luminous strings, sensitive woodwind, bells tolling evocatively, and canon fire subtly integrated into the overall texture”. (Christian Hoskins – musicomh.com-July 2009)

2009-11 – Monte Carlo Opera – Turandot

“Osant Puccini aux dimensions d’une cérémonie funèbre, tragique, lunaire, Jacques Lacombe révèle un Puccini nouveau ! il y a bien longtemps que la finesse, la richesse orchestrale et chorale de l’ouvrage n’avaient été aussi somptueusement exaltées. A la tête du Philarmonique de Monaco, des Choeurs Maison renforcés par la phalange montpelliéraine, le chef québécois donna une lecture spectaculaire mais toujours respectueuse des nuances diaphanes d’une partition magique, unique, surnaturelle “(Christian Colombeau – novembre 2009 –  arts et spectacles.com)

Les vraies stars de cette performance ont sans aucun doute été l’Orchestre Philharmonique de Monte-Carlo et le chef canadien Jacques Lacombe. Sous sa direction inspirée, l’orchestre a exalté de manière fracassante les accords incandescents et cruels de la partition, comme il est parvenu à rendre avec beaucoup de subtilité et de précision les passages délicats et virtuoses” (concertonet – Philippe van den Bosch)

2009-02 Ariadne auf Naxos – Deutsche Oper Berlin

Jacques Lacombe, à la tête d’un orchestre admirablement disposé, épouse le propos de la mis en scène avec un élan enthousiasmant, ciselant la couleur et la matière sonore avec un brin d’emphase pour donner tout leur poids dramatique aux instruments. Au final, le spectateur est conquis par ce pot-pourri de styles n’entrant jamais en conflit, et par l’élégance souveraine d’une direction sachant garder la mesure.

Éric Pousaz, Opéra Magazine, April 2009

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The major reason for this success was Jacques Lacombe, who already proved his qualities as a sensitive conductor here before. With Strauss now he brought out all colours of this precious score, transparent and always vivid, but also with high-spirited outbursts when needed. The huge applause for Lacombe was not surprising with such an impressive musical performance. 

Käthe Wegler-Heinze, Orpheus, March 2009

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This new triumph of the current Richard Strauss festival is due to a teamwork of highest skill, lead by stage director Robert Carsen and conductor Jacques Lacombe with his passionate orchestra. 

Klaus Geitel, Berliner Morgenpost, February 2009

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Conductor Jacques Lacombe points out all the subtleties of this finest of all Strauss operas: the smooth mysticism of Ariadne’s monologues as well as the friendly humanity of the comedian’s songs. Sharp wind passages are realized with the same quality as the orchestral tension of the final scene where Strauss evokes the oceanic flow of his tone poems. 

Jan Brachmann, Frankfurter Allgemeine, February 2009

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Jacques Lacombe conducted the orchestra with a nearly narcotic sense for Strauss’ music. Satisfaction and enthusiasm at the Deutsche Oper, how wonderful! 

Joachim Lange, Wiener Zeitung, February 2009

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This is, without any doubt, a complete artistic success, coherent, suggestive and felicitous in every way. This was especially due to Jacques Lacombe, who animated the orchestra to a light, transparent and colourful, dazzling sound and flowing tempo. 

Wolfgang Fuhrmann, Berliner Zeitung, February 2009

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The orchestra conducted by Jacques Lacombe played the dignified music with greatest pleasure. 

Irene Constantin, Neues Deutschland, February 2009

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„Under Jacques Lacombe’s baton the orchestra of the Deutsche Oper demonstrates the luminous colours it actually has for Strauss.” 

Jörg Königsdorf, Der Tagesspiegel, February 2009

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The orchestra conducted by Jacques Lacombe performed a sensuous and opulent Strauss with many subtle nuances. 

Ingrid Wanja, Orpheus, February 2009

2008-11 Concert New Jersey Symphonic Orchestra

Too many middling performances can turn a frequent concertgoer off a classical warhorse, leaving one to wonder why all the time and talent are accorded pieces that had their day long ago. But go to enough concerts with open ears, and there might be one that changes your mind.

Friday’s performance of Carl Orff’s 1930s dramatic cantata “Carmina Burana” at NJPAC in Newark was such a revelatory event.

Thanks to an inspired team — the New Jersey Symphony Orchestra, Montclair State University Chorale, Moscow Conservatory Chorus and an excellent trio of vocal soloists — this neo-primitive celebration of spring fever that has so often seemed kitschy was entertaining, even touching.

Guest conductor Jacques Lacombe, a 45-year-old French Canadian, galvanized the 266 performers for a communal experience. “Carmina Burana” can seem longer than its usual hour, but Lacombe’s dynamic subtlety and zest made it fly by. He is a musician’s conductor, the rapport he achieved in rehearsal coming through on stage; blessed with a rare memory, he worked without a score, maximizing his eye contact with the orchestra and chorus, the intimacy aurally apparent.

Bradley Bambarger/The Star-Ledger/November 09, 2008

2008-10- Bluebird castle & Erwartung – Quebec Opera

L’orchestre symphonique de Québec sous la direction de Jacques Lacombe, démontre une grande maitrise de deux oeuvres jugées difficiles. La direction précise du maestro assure une cohésion entre orchestre et voix  (Resmusica-Jacques Hétu-octobre 2008)

2007-11 Der Fledermaus – Opéra de Monte Carlo

Au pupitre Jacques Lacombe donna aux valses toutes la légèreté d’une crème chantilly et à la partition un vertige réjouissant. (www.lepetitjournal.com, Christian Colombeau, 11/2007)

2007-10 Concert – Montreal Symphony Orchestra

De retour à l’OSM hier après-midi, Jacques Lacombe a injecté au tapageur Carnaval romain de Berlioz une énergie qui rappelait Dutoit dans ses plus grands élans (La Presse, Claude Gingras, 10/2007

2007-09 Marius et Fanny/Alagna-Gheorghiou – Opéra de Marseille

L’orchestration est superbe et la direction de Jacques Lacombe passionnée. (sept 07 – La Provence)

Jacques Lacombe’s meticulous conducting  (sept 07- Francis Carlin- Financial Times)

L’orchestre de l’opéra a semblé prendre un très grand plaisir à jouer cette partition sous l’éminente baguette de Jacques Lacombe – (sept 07 – Concertonet)

Conduit par un Jacques Lacombe à l’attention infatigable l’orchestre de l’Opéra de Marseille sert le lyrisme et le dynamisme de la partition – (sept 07- Forum Opera)

2007-05 Der Traumgorge – Deutsche Oper Berlin

Le chef d’orchestre canadien Jacques Lacombe obtient de l’orchestre un accompagnement riche de couleurs somptueuses : et c’est finalement aux musiciens de la fosse que revient le privilège de raconter l’histoire en délimitant, par l’abondance des changements de rythme comme par la subtilité des contrastes d’atmosphère, les sphères dévolues au rêve et celles qui s’ancrent dans le monde du quotidien (Scènes Magazine/Genève– Eric Pousaz – 10/2007)

2007-01 Colombe – Opéra de Marseille

l’excellente distribution, dirigée par Jacques Lacombe, qui semble avoir fait du Damase toute sa vie…(Le Monde, Renaud Machart, 01/2007)
Jacques Lacombe la dirige avec verve et poésie, conscient de son chic et de sa fragilité.(Les Échos, Michel Parouty, 02/007)

2006-10 The tales of Hoffmann – Minnesota Opera

while conductor Jacques Lacombe enforced not only shrewd pacing on this imaginative
production but, from the singers, including the fine chorus, a rare sense of French style.
Startribune, Michael Anthony, 10/2006

2006 – Concerts – Montreal Symphony Orchestra

Mai 2006-Concert Wilfried Pelletier – Montréal
Chopin: Concerto pour piano n° 1. Chostakovitch: Symphonie n° 13 «Babi Yar». Lang Lang (piano)
C’est avec ce dernier concert de la saison régulière 2005/06 que prend fin l’interrègne entre Charles Dutoit et Kent Nagano. Il faut tirer un grand coup de chapeau à Jacques Lacombe pour avoir maintenu la cohésion de l’orchestre et assumé, sans dommage de part et d’autre, cette lourde charge.
…On attendait donc impatiemment de connaître sa vision de «Babi Yar», la 13e Symphonie de Chostakovitch… Le concert d’hier soir restera dans les mémoires et marque, pour Jacques Lacombe, un départ glorieux de ses fonctions auprès de l’OSM. Ironie du calendrier, cette Treizième de Chostakovitch venait quelques mois à peine après l’insignifiante (dans le sens le plus profond du terme) Huitième du même compositeur par Kent Nagano. À distance, l’humble travailleur de la musique a donné une vraie «leçon de Chostakovitch» à la star internationale ! Tout ce qui manquait au Chostakovitch bruyant mais vain de Nagano illuminait la vision musicale de Jacques Lacombe hier : timbres profonds (cordes graves) et saturés (vents); forte explosifs; saillances instrumentales (trompettes); richesse des percussions, avec un sublime tam-tam; incarnation musicale du texte et des non-dits.

Servi par un orchestre d’une discipline extrême, un choeur engagé et juste, un soliste rigoureux et habité, le chef québécois a traduit avec une tension jamais relâchée et des coloris très justes le cynisme, la peur et la transe. L’orchestre était comme nourri de l’intérieur, dans les tourments comme dans la tendresse, à l’image de cette symbiose des violons et des harpes sur l’ode aux mères russes à la fin du 3e mouvement.
(Le Devoir,Christophe Huss , 05/2006)

C’est avec ce dernier concert de la saison régulière 2005/06 que prend fin l’interrègne entre Charles Dutoit et Kent Nagano. Il faut tirer un grand coup de chapeau à Jacques Lacombe pour avoir maintenu la cohésion de l’orchestre et assumé, sans dommage de part et d’autre, cette lourde charge.…On attendait donc impatiemment de connaître sa vision de «Babi Yar», la 13e Symphonie de Chostakovitch… Le concert d’hier soir restera dans les mémoires et marque, pour Jacques Lacombe, un départ glorieux de ses fonctions auprès de l’OSM. Ironie du calendrier, cette Treizième de Chostakovitch venait quelques mois à peine après l’insignifiante (dans le sens le plus profond du terme) Huitième du même compositeur par Kent Nagano. À distance, l’humble travailleur de la musique a donné une vraie «leçon de Chostakovitch» à la star internationale ! Tout ce qui manquait au Chostakovitch bruyant mais vain de Nagano illuminait la vision musicale de Jacques Lacombe hier : timbres profonds (cordes graves) et saturés (vents); forte explosifs; saillances instrumentales (trompettes); richesse des percussions, avec un sublime tam-tam; incarnation musicale du texte et des non-dits.

Servi par un orchestre d’une discipline extrême, un choeur engagé et juste, un soliste rigoureux et habité, le chef québécois a traduit avec une tension jamais relâchée et des coloris très justes le cynisme, la peur et la transe. L’orchestre était comme nourri de l’intérieur, dans les tourments comme dans la tendresse, à l’image de cette symbiose des violons et des harpes sur l’ode aux mères russes à la fin du 3e mouvement. (Le Devoir,Christophe Huss , 05/2006)

2005-12 Die Flerdermaus – Metropolitan Opera – New York

…And the Quebec-born conductor Jacques Lacombe elicits a lithe, crisp and refreshingly unmannered performance of Strauss’s beguiling and sophisticated score… (New York Times, Anthony Tommasini, 12/ 2005)

2005-06 Les Huguenots – Opéra Royal de Wallonie

…Direction très intéressante de Jacques Lacombe, qui propose des Huguenots légers et vifs, évitant toute surcharge dans une musique qui flirte souvent avec les limites du pompiérisme. Evitant les décalages, le chef ne couvre jamais son plateau : de la belle ouvrage pour un chef lyrique…(Res Musica, Richard Letawe, 06/2007)

…La direction de Jacques Lacombe est efficace et bien dans le style : (Forum Opera, Placido Carrerotti, 06/2007)

2004-01 Werther/Metropolitan Opera

“…Finally, amid all these singers, I should make a conductor note: Michel Plasson, the veteran French maestro, was supposed to lead that Werther. But in his place came a French-Canadian, Jacques Lacombe, who made one of the most successful Met debuts in recent memory. He had full control of that orchestra, and full control of the score, lending it intelligence and vibrancy. Nothing was frivolous or insipid about the music. It was the kind of performance that gives you a new appreciation of the work in question, so, hats off…” (The New Criterion – New york Chronicle – Jay Nordlinger- 03/2004)

“… an appealing young Canadian conductor, Jacques Lacombe, in his Met debut……Mr. Lacombe led a surely paced and rhapsodic account of the score, replacing the veteran French conductor Michel Plasson..” The New York Times – (01/2004)

“…in his Met debut, Jacques Lacombe conducted a supplely-paced and colorful performance…”(The New York Times – January 2004)

” …Giving pride of place to singers, I have waited too long to mention Jacques Lacombe, the conductor making his Met debut. It was he, as much as anyone, who made the evening, with his intelligent and vibrant leadership. A Canadian, Mr. Lacombe is principal guest conductor of the Montreal Symphony and works elsewhere in the world. By evidence of Friday night, he should have a big career.
Under his baton, every page of the score seemed alive. Nothing was corny or frivolous. This conductor seemed rather to elevate Massenet (no offense to the many fans of the divine Jules). Mr. Lacombe’s sense of pace was excellent, and his authority over his forces almost total. Tender moments were exceptionally tender, and tumultuous moments were exceptionally so – reflecting the storms in the minds of the principals. Orchestra players in the pit applauded Mr. Lacombe heartily when he appeared onstage for his bow, an uncommon sight.
And those players had done extremely well, both as a group and individually. Noteworthy solo turns were too numerous to list – although I should mention the cello, for “Werther” sometimes seems a cello concerto, and this part was magnificently filled…” (The New York Sun – 01/2004)

“….The Québécois conductor Jacques Lacombe made a valuable Met debut, bringing a Gallic sound to a company that until recently tended to approach French opera as a slightly distasteful chore…” (New York nynewsday.com – 01/2004)

“…conductor Jacques Lacombe, in his Met debut, conducted idiomatically and with sympathy for the score, making the success complete on the musical side…” (Saint Louis dispatch – 01/2004)

“…Jacques Lacombe led the Met orchestra with true French grace and style…” “Classics today .com – January 2004)

“… an appealing young Canadian conductor, Jacques Lacombe, in his Met debut……Mr. Lacombe led a surely paced and rhapsodic account of the score, replacing the veteran French conductor Michel Plasson..” The New York Times – (01/2004)

“…in his Met debut, Jacques Lacombe conducted a supplely-paced and colorful performance…”(The New York Times – January 2004)

” …Giving pride of place to singers, I have waited too long to mention Jacques Lacombe, the conductor making his Met debut. It was he, as much as anyone, who made the evening, with his intelligent and vibrant leadership. A Canadian, Mr. Lacombe is principal guest conductor of the Montreal Symphony and works elsewhere in the world. By evidence of Friday night, he should have a big career.
Under his baton, every page of the score seemed alive. Nothing was corny or frivolous. This conductor seemed rather to elevate Massenet (no offense to the many fans of the divine Jules). Mr. Lacombe’s sense of pace was excellent, and his authority over his forces almost total. Tender moments were exceptionally tender, and tumultuous moments were exceptionally so – reflecting the storms in the minds of the principals. Orchestra players in the pit applauded Mr. Lacombe heartily when he appeared onstage for his bow, an uncommon sight.
And those players had done extremely well, both as a group and individually. Noteworthy solo turns were too numerous to list – although I should mention the cello, for “Werther” sometimes seems a cello concerto, and this part was magnificently filled…” (The New York Sun – 01/2004) “….The Québécois conductor Jacques Lacombe made a valuable Met debut, bringing a Gallic sound to a company that until recently tended to approach French opera as a slightly distasteful chore…” (New York nynewsday.com – 01/2004)

“…conductor Jacques Lacombe, in his Met debut, conducted idiomatically and with sympathy for the score, making the success complete on the musical side…” (Saint Louis dispatch – 01/2004)

“…Jacques Lacombe led the Met orchestra with true French grace and style…” “Classics today .com – January 2004)