Andre­as Hotz is artis­tic direc­tor of Thea­ter Osnabrück. After win­ning pri­zes at the Sir Georg Sol­ti Inter­na­tio­nal Con­duc­tors’ Com­pe­ti­ti­on and the Ger­man Con­duc­tors’ Award, he embark­ed upon a suc­cessful care­er. He took up his post in the 2012/2013 sea­son as one of the youn­gest artis­tic direc­tors in the who­le of Ger­ma­ny. The press prai­se his con­duc­ting for its com­bi­na­ti­on of musi­cal ener­gy and ana­ly­ti­cal pre­cis­i­on, atten­ti­on to detail and trans­pa­ren­cy. His care­er path has been lined with the diver­se experiences of a clas­si­cal Ger­man “kapell­meis­ter”, with spells as assistant con­duc­tor at the Staats­thea­ter Mainz and the Pfalz­thea­ter Kai­sers­lau­tern. He has work­ed for many years with orchestras inclu­ding the Bre­mer Phil­har­mo­ni­ker, Düs­sel­dor­fer Sym­pho­ni­ker and Mel­bourne Vic­to­ria Sym­pho­ny Orches­tra, and enjoys clo­se rela­ti­onships with seve­ral orchestras in Korea. Fol­lo­wing a high­ly acclai­med pro­duc­tion of Mozart’s THE ABDUCTION FROM THE SERAGLIO at the Natio­nal Ope­ra in Seo­ul, he has been invi­ted back regu­lar­ly to con­duct both con­certs and opera.

Along­side a deep com­mit­ment to Clas­si­cal and Roman­tic reper­toire, Andre­as Hotz is incre­asing­ly tur­ning his focus to recent­ly unear­thed works from the ear­ly 20th cen­tu­ry. With ope­ra­tic redis­co­veries of Albé­ric Magnard’s GUERCOEUR (2019), Hans Gál’s LIED DER NACHT (2017), the CD recor­ding of which was nomi­na­ted for the Opus Klas­sik pri­ze, and Man­fred Gurlitt’s SOLDATEN (2015), he is for­ging a wider and endu­ring repu­ta­ti­on for the Osnabrück Sym­pho­nier­or­ches­ter as an excel­lent and dyna­mic ensem­ble for ori­gi­nal musi­cal undertakings.

A vigo­rous cham­pi­on of con­tem­po­ra­ry music, he regu­lar­ly com­mis­si­ons new works, such as tho­se in recent years from Det­lev Gla­nert, Phil­ipp Maintz and Ele­na Firsova.

As artis­tic direc­tor of Thea­ter Osnabrück and chief con­duc­tor of the Osna­brü­cker Sym­pho­nie­or­ches­ter, Andre­as Hotz has been respon­si­ble for over 20 ope­ra pro­duc­tions sin­ce 2012, con­duc­ting over 175 per­for­man­ces. With huge­ly suc­cessful pro­duc­tions such as Busoni‘s DR. FAUST (2018), LOHENGRIN (2016) and a con­cer­tan­te ELEKTRA (2016), he has repea­ted­ly brought the qua­li­ties of Thea­ter Osnabrück to the atten­ti­on of the broa­der musi­cal world.With the Osna­brü­cker Sym­pho­nie­or­ches­ter as ambassa­dors of “Osnabrück — City of Peace”, he has under­ta­ken num­e­rous con­cert tours fos­te­ring inter­na­tio­nal rela­ti­ons to cities inclu­ding Vol­go­grad, Moscow, Kiev and Minsk. This focus will be shar­pe­ned fur­ther in the 2019/2020 sea­son, the 100^thanni­ver­sa­ry of the orches­tra, with works inclu­ding Britten’s War Requi­em. High­lights of the sea­son will be a two-day Beet­ho­ven sym­pho­ny cycle, and Richard Wagner’s Meistersinger.

Born in the cent­re of Ger­ma­ny in the Rhein-Main regi­on, Andre­as Hotz soon expan­ded his con­duc­ting hori­zons. He spent two suc­cessful sea­sons at the Staats­thea­ter Mainz, during which he par­ti­cu­lar­ly  rai­sed the pro­fi­le of the orches­tra in Szymanowski’s KÖNIG ROGER, and direc­ted per­for­man­ces and new pro­duc­tions of TRISTAN UND ISOLDE, TANNHÄUSER and IDOMENEO. Even pri­or to this, he acqui­red a broad spec­trum of ope­ra­tic reper­toire in his post as assistant con­duc­tor at the Pfalz­thea­ter Kai­sers­lau­tern, which laid the foun­da­ti­ons for his care­er. This reper­toire included modern works such as Peter Max­well-Davies’ THE LIGHTHOUSE, redis­co­veries such as Zemlinsky’s KÖNIG KANDAULES, and also clas­sics such as OTELLO, NORMA and IL TROVATORE. At Thea­ter Osnabrück he final­ly embark­ed upon a sus­tained and endu­ring artis­tic deve­lo­p­ment. He invi­go­ra­ted the con­cert pro­gramming by con­sider­a­b­ly diver­si­fy­ing their reper­toire, set up num­e­rous suc­cessful con­cert series, and redou­bled the orchestra’s out­reach work. Fur­ther­mo­re, he has fos­te­red awa­re­ness of his­to­ri­cal­ly infor­med per­for­mance prac­ti­ce and the use of ori­gi­nal instruments.

Andre­as Hotz recei­ved his musi­cal edu­ca­ti­on in Frank­furt, whe­re he was first immer­sed in the world of ope­ra as répé­ti­teur at the Ope­ra House. Soon the­re­af­ter he was appoin­ted pro­fes­sor of con­duc­ting at the Uni­ver­si­ty of Music and Per­forming Arts. A very signi­fi­cant role in his artis­tic deve­lo­p­ment was play­ed by the Con­duc­tors’ Forum of the Ger­man Music Coun­cil, which sup­port­ed him for many years. Through them, he not only for­ged cont­acts with num­e­rous Ger­man ensem­bles, but also recei­ved las­ting inspi­ra­ti­on from emi­nent con­duc­tors. Pierre Bou­lez and Rein­hard Goe­be­l­in par­ti­cu­lar beca­me influ­en­ti­al mentors.

Having suc­cessful­ly repla­ced an indis­po­sed con­duc­tor in a per­for­mance of THE ABDUCTION FROM THE SERAGLIO without rehear­sal at the Staats­thea­ter Darm­stadt, the way was paved for a pro­mi­sing care­er. Guest con­duc­tor invi­ta­ti­ons then fol­lo­wed from a num­ber of Ger­man orchestras, from the ope­ra hou­ses in Wies­ba­den and Nürn­berg, and then from Isra­el, Aus­tra­lia, Pol­and, Rus­sia and Korea. In 2015 he was nomi­na­ted by the publi­ca­ti­on “Opern­welt” for the New Gene­ra­ti­on Con­duc­tor of the Year.

Num­e­rous CD recor­dings under­line his com­mit­ment to for­got­ten orches­tral lite­ra­tu­re. Recor­dings of works by Chris­ti­an Wes­ter­hoff, and the Opus Klas­sik-nomi­na­ted CD of Hans Gál’s LIED DER NACHT testi­fy to this. The DVD recor­ding “Beet­ho­ven in Sta­lin­grad” was award­ed the Ger­man Music Cri­tics’ Award.