Daniela Musca


Acclaimed for the individuality and passion of her interpretations, her dedication to the sound and attention to detail, Italian conductor Daniela Musca is sought after as both a symphonic and an operatic conductor.

This season she will make her debut with the Philharmonic Orchestras of Malmö, Turku and Luxembourg; Wermland Opera in Karlstad, and the Stockholm and Östgöta Wind Orchestras. She will return to conduct the Trondheim Symphony Orchestra, Norwegian Radio Orchestra, and the Recreation Großes Orchester Graz. Firmly committed to developing new generations of artists, she will be working with the orchestras of the music academies in Malmö, Gothenburg and Copenhagen, and will conduct at the international youth music camp Side by Side in Gothenburg in 2022.

In 2021 she made her debut at the Royal Opera in Stockholm, conducting Rigoletto, and at Malmö Opera with Out of the Blue, a new work for dancers and orchestra including music by Bach, Stravinsky and Björk, choreographed by Anouk Van Dijk. 2021 also saw her debut with the Royal Stockholm Philharmonic, and she conducted the Odense Symphony Orchestra at the winners’ concert of the Carl Nielsen International Competition in April 2022.

Her first recording, with the Norrköping Symphony and harpist Delphine Constantin-Reznik, was released on the BIS label in October 2021.

From 2014-18 Daniela was associated with the Hessisches Staatstheater Wiesbaden, where she conducted production premieres of L’elisir d’amore, The Count of Luxembourg and Eugene Onegin as well as revivals of Don Pasquale, The Threepenny Opera, La Traviata, Norma and Otello. Her debut at the International May Festival in Germany, conducting Otello and L’elisir d’amore, was critically acclaimed, as was her Austrian debut at the Lehar Festival in Bad Ischl in 2018 where she led a new production of The Land of Smiles. Her interpretation of Eugene Onegin at the Staatstheater Darmstadt in 2017 was awarded the prize for the best Musical Interpretation at the Hessian Theater Days.

She has conducted orchestras including the Gothenburg Symphony, Norrköping Symphony, Trondheim Symphony, Casco Phil, Frankfurt Opera and Museum Orchestra, Würzburg Philharmonic and Oulu Sinfonia.

Born in Rome, she studied piano and chamber music at the Conservatorio Santa Cecilia, followed by a master’s degree at Basel Music Academy. She was a student of pianist Lazar Berman until his death in 2005. In 2006 she moved to Berlin to study orchestral conducting at the Hanns Eisler Hochschule, where she received a prize for conducting contemporary music, and subsequently attended masterclasses with Gianluigi Gelmetti at the Accademia Chigiana in Siena. In 2017 she was a semi-finalist at the Georg Solti Conducting Competition in Frankfurt.

As an assistant conductor she has worked at the Staatsoper Berlin, Bavarian State Opera, Deutsche Oper Berlin and Salzburg Festival. As a pianist, she has accompanied Júlia Várady, Dietrich Fischer-Dieskau, Cecilia Bartoli and Silvana Bazzoni Bartoli. She recorded the documentary Le passage du Flambeau with Júlia Várady, directed by Bruno Monsaingeon.


"Daniela Musca brought clarity to Ravels orchestration, ensuring the Philharmonic to shine brightly, without compromising the piano version expressive narrative."

"Musca is also a pianist and as such certainly well acquainted with modest Musorgsky's iconic piano suite “Paintings on one exhibition ”. Here she led Maurice Ravel's equally legendary orchestral version, a show in stunning and colorful instrumentation."

Den italienska dirigenten Daniela Musca debuterade med Kungliga Filharmonikerna i en flott och färgstark instrumentation.
Fri, 2021-08-20
It is a strange feeling to enter Stockholm's concert hall and find half the parquet occupied by the orchestra's stage. Then it has seen throughout the past season - in streamed, audience-free version. But now, in place, with sparse seats also on the podium, the effects of the pandemic are also becoming acoustically obvious. At best, the musicians have pricked up their ears to chamber musical sensitivity, at worst with a scattered sound and rhythm balance. Difficult to polish to a smooth carpet of strings and sharpen the intonation of the woodwind, something that was felt in the concert's opening number: suite from Bizet's "Carmen". But Daniela Musca compensated with resilient and creative gestures. An Italian conductor, mainly active at German opera houses and appreciated by Scandinavian orchestras. Musca is also a pianist and as such is probably well acquainted with Modest Musorgsky's iconic piano suite "Paintings at an Exhibition". Here she led Maurice Ravel's equally legendary orchestral version, a performance in classy and colorful instrumentation. Musorgsky's harsh tonal language, at one time perceived as primitivist Russian exoticism, particularly inspired French composers a hundred years ago. Daniela Musca nicely balanced the piano original's narrative expressive power against the sound finesse of the Ravel version, and made sure that the Philharmonic was allowed to excel. Still, the concert treasure's greatest treasure was the young Swedish cellist Kristina Winiarski's philharmonic debut in a lovely, basically forgotten French cello concerto. She has really made this gem her own, and she should be given many opportunities to play it with many orchestras. Marie Jaëll was at one time an upbeat pianist and theorist with Franz Liszt as mentor. As a composer, he was often praised for his supposed "virility" - so it could be called in the 19th century for a woman. Kristina Winiarski gave her cello concerto all the elegance, lyricism and brilliance one could wish for.
Ud af det blå Björk og Bach mødes i et farverigt kunstværk
Svenska Dagbladet
Sun, 2021-12-05
“Out of the Blue is a performance that combines pictures with a children's choir, which together with 16 dancers from Skåne's dance theater creates a very vivid work of art. The music has just as significant a place as the choreography in this performance, as Björk's pop songs are used to comment on what is happening on stage. The contrast to the first three movements of Bach's Brandenburg Concert No. 3 is an example of the dynamics of this work which in all its aspects aim to be eclectic and ever-changing; choreographically, musically, and visually.”
Press Service