Lucas Macías Navarro


Lucas Macías Navarro


Principal Conductor, Oviedo Filarmonía (From January 2019).
In June 2018 completed his two years of collaboration as Assistant Conductor of Daniel Harding at Orchestre de Paris. 

Management Territory:

Spain, Portugal & Latin America


Mònica Royuela

(+34) 670 763 223

Lourdes Guillén

(+34) 93 317 4289

Italia: Smile Artistic Management

+34 673 010 278


Lucas Macías Navarro, Principal Conductor of the Oviedo Filarmonía, begins his first full season tenure in 2019-20. Repertoire will range from Mozart to Mendelssohn, as well as Brahms symphonies, Verdi’s Requiem and Mahler’s Ninth Symphony in a concert where the Oviedo Filarmonía joins forces with the Principality of Asturias Symphony Orchestra (OSPA).

His season will begin conducting the Spanish Radio-Television Orchestra in Madrid, and will then see him returning to the Tenerife Symphony in a recording project with Maximiliano Martín. Other forthcoming engagements will take him to the orchestras of Granada and Córdoba with a Mendelssohn programme.

As a regular conductor of the Camerata RCO (Royal Concertgebouw Orchestra) he will lead the ensemble on a five-concert tour in the Canary Islands International Music Festival and concerts in Santander and Bilbao; featuring Bruckner’s Symphony nº 7, Berg’s Seven Early Songs and Mahler’s 4th Symphony. Together they have recorded the Mahler in the Erwin Stein version to great critical acclaim.

This season he will be collaborating with Pacho Flores, Ainhoa Arteta, Simon Orfila, and Lucas and Arthur Jussen. Forthcoming opera commitments include Fidelio and Simon Boccanegra.

Lucas Macías made his conducting debut at the Teatro Colón in Buenos Aires in 2014 following an exceptional career as one of the world’s leading oboists –a former principal of the Royal Concertgebouw Orchestra and the Lucerne Festival Orchestra as well as founding member of Claudio Abbado’s Orchestra Mozart under whose mentorship he gleaned a deep knowledge and understanding of both chamber and symphonic repertoire.


Previous season’s highlights include concerts with Swedish Radio Orchestra, Orchestre de Chambre de Lausanne, Orchestre de Paris –where he worked closely with Daniel Harding for two years as Assistant Conductor,– Orchestre de Chambre de Genève, Filarmónica de Buenos Aires, Orchestre de Cannes, Het Gelders Orkest, Castilla León Symphony Orchestra (OSCyL), Real Filharmonía de Galicia and Lausanne Sinfonietta among others.

Lucas Macías Navarro began his musical studies at the age of 9 and was later accepted in Heinz Holliger's oboe class at Freiburg University. He continued his studies at the Karajan Academy of the Berlin Philharmonic, and in Geneva with Maurice Bourgue. He has won several competitions, including the 2006 International Oboe Competition of Japan. He has made many recordings with Claudio Abbado on Deutsche Grammophon, Claves Music and Euroarts. He studied conducting at the Music University in Vienna with Mark Stringer and he is Professor at the Hochschule für Musik Freiburg.


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eficacia técnica y absoluta entrega a los postulados que se les transmitía desde el pódium: un Beethoven arrebatado lleno de intensidad y fuerza, y un Tchaikovsky que rebosaba emoción

J. A. Cantón, El Mundo, diciembre 2018 - ADDA Simfònica

It is a big treat to listen to the well-known piece in this fragile version in which each single voice is equally important, even though you need musicians of a very high level to make this adventure successful. In the hands of Camerata RCO, led by Lucas Macías Navarro, it is a breath-taking experience.

Het Parool, March 2018, RCO

Lucas Macías considered Schoenberg's Chamber Symphony No. 2 as an exercise in pure, naked music, attentive to sounding like an aesthetic search for abstraction. He was able to amalgamate the interventions of the soloists, certainly all magnificent, with the orchestral part while they played a leading role in the overall construction of the work. Transparency, clairvoyance and a variety of textures marked this version. [...] And those approaches of Macías served to fructify with forcefulness a universe in which the different states of mind were reflected, from guilt to the liberation of it, and in between the disturbing passages, which here so naked sounded very effective, and the expressive response contained.

Agustín Achucarro, Codalario, April 2018, OSCyL

The young director Lucas Macías points very high. His excellent memory and his easy disposition to unravel the structural relations of the musical works were the virtues exhibited in the concert. [...] The composer’s idea of the use of sound space was shown by Lucas Macías in an admirable way [...] Macias carefully observed the moments when the structure is subjected to extreme contradictions.

Emiliano Allende, El Norte de Castilla, April 2018, OSCYL

The work of Macías with the Oviedo Filarmonía gave good results, with a homogenous, filled sound, always paying close attention to the dynamic contrasts. [...] One of the talents of the maestro is that he emphasizes the importance on the directionality of musical phrases to conclude in a sound climax, as could be observed very especially in the fourth movement of this symphony.

Andrea García, La Nueva España, April 2018, OFIL


Oviedo Filarmonía

Auditorio Príncipe Felipe, Oviedo

Orquesta y Coro de Radio Televisión Española

Fundación Juan March, Madrid

Camerata RCO

Palacio de Festivales de Santander

Oviedo Filarmonía

Auditorio Príncipe Felipe, Oviedo

Oviedo Filarmonía

Auditorio Príncipe Felipe, Oviedo

Concierto Nino Rota - Oviedo Filarmonía

Auditorio Príncipe Felipe, Oviedo