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On May 17, 2019 Domingo Hindoyan will conduct the Orquesta Filarmónica de Gran Canaría in concert at the Alfredo Kraus Auditorium in Las Palmas. The program, which will feature piano soloist Ingrid Fliter as well as the choir of the Orquesta Filarmónica de Gran Canaría, will include Chopin's Piano Concerto No. 2 in F minor and Ravel's complete ballet Daphnis et Chloé.

[Photo: Curtain call Tosca at the Staatsoper Unter den Linden, May 2019]

Tosca at the Staatsoper Unter den Linden


On May 3, 5, 9 and 12, 2019 Domingo Hindoyan will return to the Staatsoper Unter den Linden in Berlin to conduct Puccini's Tosca. The title role will be sung by Sonya Yoncheva, that of Cavaradossi by Teodor Ilincăi and Andrzej Dobber will be Scarpia. In the past few years Domingo has led various performance series of Tosca for Staatsoper Berlin in Alvis Hermanis' staging, with the latest run having taken place in the 2016/2017 season. He will be back at the Staatsoper Unter den Linden in October 2019 to conduct Rigoletto.

Debut at the Vienna State Opera with "Turandot"


On April 6, 2019 Domingo Hindoyan will make his debut at the Vienna State Opera with Puccini's Turandot. Domingo will conduct a cast featuring Anna Smirnova, Alfred Kim, Dinara Alieva and Dan Paul Dumitrescu in the main roles. There will be a total of four performances with further shows on April 9, 12 and 16.

Concert with the Würth Philharmonic


On March 24, 2019 Domingo Hindoyan will conduct the Würth Philharmonic Orchestra at the Carmen Würth Forum in Künzelsau, Germany. The program will include Benjamin Britten’s Symphony for Cello and Orchestra, op. 68, featuring cello soloist Alisa Weilerstein, and Rimsky-Korsakov’s Scheherazade, op. 35.

Concerts with the Orquesta de Extremadura


On March 14 and 15, 2019 Domingo Hindoyan will conduct the Orquesta de Extremadura in concerts in Badajoz (March 14) and Cáceres (March 15). The program will include W.A. Mozart's "Ch’io mi scordi di te? …non temer, amato bene" sung by soprano Carmen Solís, Mozart's Piano Concerto No. 21 in C major, K. 467 played by Juan Pérez Floristán and Brahms' / Schönberg's Piano Quartet in G minor, Op. 25.

[Photo by Victor Santiago]

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May, 2019



Orchestre de chambre de Paris
Rossini: Stabat Mater
Sonya Yoncheva - Chiara Amarù - Celso Albelo - Roberto Tagliavini
Philharmonie de Paris / Paris, France

June, 2019



Orchestre Philharmonique de Monte Carlo
Bach: Prelude and Fugue in E flat major BWV 552 (arr. Schoenberg), Stravinsky: Violin Concerto in D major, Mahler: Symphony No. 5
Vilde Frang, violin
Auditorium Rainier III de Monte Carlo, Monaco

July, 2019












Gran Teatre del Liceu
Verdi - Luisa Miller
Barcelona, Spain

October, 2019






Staatsoper Unter den Linden
Verdi - Rigoletto
Berlin, Germany

November, 2019





Kungliga Operan
Verdi - La Traviata
Stockholm, Sweden

December, 2019







Kungliga Operan
Verdi - La Traviata
Stockholm, Sweden

January, 2020



Kungliga Operan
Verdi - La Traviata
Stockholm, Sweden

February, 2020




Kungliga Operan
Verdi - La Traviata
Stockholm, Sweden

March, 2020




Wiener Staatsoper
Donizetti - L'elisir d'amore
Vienna, Austria

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In the Press

La bohème

Lyric Opera of Chicago 2018


“Venezuelan conductor Domingo Hindoyan made an impressive Lyric debut in the pit, bringing out the best from the company’s orchestra and vibrantly pacing the action. He was at his best during the Act One duet between the two lovers, as he organically responded to and supported these singers.”
Kyle Macmillan, Chicago Sun Times

“Conductor Domingo Hindoyan made an impressive Lyric debut leading the orchestra in an accompaniment that was responsive to the singers, with vibrant work from the chorus (prepared by Michael Black) and characteristically nimble and exuberant singing from the Chicago Children’s Choir (led by Josephine Lee)”

Chicago Tribune

“The Lyric Opera Orchestra sounded marvelous under the idiomatic and nuanced baton of Maestro Hindoyan. His sensitive support of the singers brought out the treasures in the score, revealing the joie de vivre of the Bohemians, supplying tight crispness to the opening of Act Two, poignant desperation in Act Three, and ephemeral orchestral textures underlying Mimi’s last moments.”
Buzz Center Stage

Domingo García Hindoyan hace historia dirigiendo en la Opera Metropolitana de Nueva York

Venezuela Sinfónica


Conducirá a un elenco de estrellas en la ópera Elisir d’amore de DonizettiVenezuela Sinfónica | EspecialLos  directores venezolanos siguen haciendo historia en el mundo, sin duda puede decirse que Venezuela se ha convertido en una especia de fábrica de estrellas de la dirección orquestal. Llueven las noticias en distintos lugares del mundo sobre las hazañas de los criollos y esta vez le tocó al caraqueño Domingo García Hindoyan. 

El arte y la diplomacia corren por las venas de este joven formado en su niñez como violinista en El Sistema. Su padre fue presidente de la Orquesta Sinfónica Venezuela y su madre fue una conocida ex – parlamentaria. Domingo, luego de su temprana formación musical, decidió ir al exterior para profesionalizar sus estudios y consiguió el título universitario de Director de Orquesta en la prestigiosa  Haute Ecole de Musique de Genova.   

Formó parte de la West-East Divan Orchestra, fundada y dirigida por uno de sus mentores, Daniel Baremboin, y conformada por un grupo de músicos musulmanes, judíos y católicos, como una iniciativa de paz y convivencia. Luego se convirtió en primer asistente del maestro Barenboim en la Berlín State Opera Orchestra llevando varias presentaciones de La Traviatta.  

Más adelante, ya como director música, el maestro García – Hindoyan dirigió algunas de las óperas más famosas como Turandot, El Barbero de Sevilla, La Traviata y una renovada versión de Hänsel y Gretel.  

Ahora vive uno de sus mejores momentos y se convertirá en el primer venezolano en dirigir nada menos que en un escenario de fama y prestigio mundial como lo es la Opera Metropolitana de Nueva York (The Metropolitan Opera House).  

García Hindoyán levantará su batuta para conducir a un elenco de estrellas internacionales en la ópera  Elisir d’amore de Donizetti, como lo son Matthew Polenzani (Nemorino), Pretty Yende (Adina), Davide Luciano (Belcore) e Ildebrando D’Arcangelo (Dulcamara).  

El Elixir del Amor ( Elisir d’amore) fue compuesta por Gaetano Donizetti y estrenada en Milano, Italia en 1832. Ha sido una de las obras más versionadas de su autor, así como una de las óperas que cuenta con el mayor número de grabaciones discográficas. García Hindoyan ha manifestado su satisfacción y entusiasmo por tomar las riendas de este proyecto que será estrenado en febrero de 2018.

Tour Concert / Philharmonia Orchestra


"... I was impressed by conductor Domingo Hindoyan’s attention to the details of the score, and his confident gestures were expressive.  A product of the now legendary El Sistema project in Venezuela, Hindoyan sought to emphasise the melodic qualities of the overture, and as the players settled we enjoyed some broad-breathed phrasing from the woodwind in particular.  The conductor increasingly stirred up a wind-swept energy, culminating in the violin sections’ perfectly co-ordinated surge through a rising diminished seventh arpeggio, triggering an explosive coda which had real sonic lustre.

Hindoyan’s performance was similarly self-assured when the Philharmonia accompanied violinist Michael Barenboim in a pristine performance of Prokofiev’s first violin concerto of 1917.  If conductor and soloist seemed surprisingly relaxed, then their regular appearances together with the West-Eastern Divan Orchestra – of which Hindoyan has been a standing member since 2006, and Barenboim Concertmaster since 2003 – probably helped.

Hindoyan was determined to highlight the work’s orchestral delicacies, leaving Barenboim to reveal the virtuosity of its technical acrobatics – which he did with nonchalant effortlessness and calm focus ...

This short concerto – it’s just over twenty minutes in length – relies for its full expressiveness on a sparking orchestral colour palette and Hindoyan coaxed finely crafted, vivid individual lines and timbres from the Philharmonia.  He was unwaveringly sensitive to his soloist, who was never forced to push his sound.

The grand dramatic trajectory of Beethoven’s Fifth Symphony seemed to suit Hindoyan’s temperament.  This was an interpretation of seriousness, urgency and sweeping vision, especially in the first three movements, which captured the symphonic majesty of the work.  The con Brio which Beethoven appends to the opening movement’s Allegro indication was intently observed: Hindoyan set off at quite a lick, scarcely observing the fermata of the symphony-defining fate motif.  The strings’ counterpoint was crisp and clean, the fast tempo inducing a lightness that was welcome; there was not a single overlooked detail ...

The Scherzo was full of character – notable were the striking rhythmic blasts from the horns, and the dark rumblings in the Trio from the cellos and basses.  The transition to the final movement was skilfully negotiated – both technically and expressively.  Subdued fragments of the Scherzo’s main theme were darkened by the timpani’s portentous pulsing; then the violins scaled their arpeggio arrived at a taut tremolando which Hindoyan released in a blaze of C major brilliance.

Throughout this performance, conductor and orchestra seemed a comfortable fit for each other.  Hindoyan had something fresh to say about Beethoven’s symphony – one of the most familiar compositions in classical music – and the Philharmonia were pleased to have a well-known journey refreshed by unaccustomed vistas and by-ways.  The large Canterbury audience were evidently greatly appreciative."

-Seen and Heard International

New Year's Eve Gala / Festspielhaus Baden-Baden


"The spirited conductor, Domingo Hindoyan, conducted the musical year-end with a lively overture to "Zampa" (Louis-Ferdinand Hérold) and was very clear on the podium with the German Philharmonic Orchestra Saarbrücken Kaiserslautern."

{Spritzig, süffisant wie Champagner leitete der temperamentvolle Dirigent Domingo Hindoyan am Pult der vortrefflich transparent musizierenden Deutsche Radio Philharmonie Saarbrücken Kaiserslautern mit der schwungvollen Ouvertüre zu „Zampa“ (Louis-Ferdinand Hérold) den musikalischen Jahresausklang ein.}

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Domingo Hindoyan

As one of today’s most exciting young conductors, Domingo enjoys a vibrant career leading internationally acclaimed ensembles, including The Philharmonia Orchestra, Polish National Radio Symphony Orchestra, Mozarteumorchester Salzburg, Orchestre Philharmonique de Radio France, Seoul Philharmonic, St. Petersburg Philharmonic, New Japan Philharmonic Orchestra, Orchestre de la Suisse Romande, Orchestre de Chambre de Lausanne, Orchestre Philharmonique Royal de Liège, and Simón Bolívar Symphony Orchestra.

In the 2017/18 season, Domingo conducts renowned symphony orchestras such as the Dresden Philharmonic, Hamburg Symphony, Orchestre National de Bordeaux Aquitaine, Orchestre National de Belgique and Malmö Symphony Orchestra. Equally busy on the opera stage, Domingo makes his debut at the Metropolitan Opera (L’elisir d’amore), Oper Stuttgart (Tosca), Semperoper Dresden (La traviata) and Opéra de Monte-Carlo (I puritani). He returns to Deutsche Staatsoper Berlin to conduct La traviata and Orfeo ed Euridice.

Starting from September 2019, Domingo Hindoyan will serve as Principal Guest Conductor of the Polish National Radio Symphony Orchestre (NOsPR) for an initial period of three seasons.


Video Gallery

Gaetano Donizetti: "L'elisir d'amore" Overture

Metropolitan Opera Orchestra
Domingo Hindoyan, conductor

Richard Strauss: Ein Heldenleben (1)

Seoul Philharmonic Orchestra
Domingo Hindoyan, conductor

Richard Strauss: Ein Heldenleben (2)

Seoul Philharmonic Orchestra
Domingo Hindoyan, conductor

Richard Strauss: Ein Heldenleben (3)

Seoul Philharmonic Orchestra
Domingo Hindoyan, conductor

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