Jacob Niemann on Mentorship and Mastery
Interview by Maryam Ali
October 6, 2026
New York, NY—For rising conductor Jacob Niemann, growth has often come with performing under pressure. Having studied under giants such as Yannick Nézet-Séguin and Robert Spano, and performing on stages from London to Tokyo, he has quickly established himself as one of his generation’s most promising conductors. Speaking with us ahead of his October 17 and 18 performances with the New Conductors Orchestra, Niemann reflects on the pivotal role of early-career support in his development, and how stepping into high-stakes arenas has challenged him to grow as both an artist and a leader.
Jacob Niemann is a three-time recipient of the Solti Foundation U.S. Career Assistance Award. He recently graduated as the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music, studying under Yannick Nézet-Séguin. He also studied at the Aspen Music Festival & School with Robert Spano, becoming Assistant Conductor in 2023. Recent engagements include Riccardo Muti’s Italian Opera Academy in Tokyo, conducting Simon Boccanegra; a residency with Lyric Opera of Chicago on Cavalleria Rusticana & Pagliacci; and the 18th Donatella Flick Conducting Competition, where he led the London Symphony Orchestra.
Niemann combines top-tier pedigree with proven professional reliability and international acclaim, all while still being in the early stages of his career. He represents the next wave of conductors who are already operating at a global level.
For those meeting you for the first time, could you share a bit about what initially drew you to conducting?
Niemann: My interest in conducting began in high school when I was studying trombone at Juilliard Pre-College. Orchestra rehearsal was always my favorite part of the day. As a trombonist, I had plenty of rest, so I often used that time to follow along in the full score and watch how the conductor worked with the orchestra. I became fascinated by how all the parts fit together and the decisions that went into shaping a performance. Over time, I wanted to be more involved in that process and connect with the music beyond my own part. Conducting grew naturally out of that curiosity.
You’ve been recognized three times by the Solti Foundation U.S. What does it mean to receive such sustained support at an early stage in your career?
Niemann: I am very grateful to the Solti Foundation U.S. for their support over the past three years. These awards have helped cover practical expenses like scores, auditions, and language lessons, which really add up early in a conducting career. They have also opened doors professionally, including the opportunity to work on Cavalleria Rusticana & Pagliacci at Lyric Opera of Chicago last season. Beyond those opportunities, having the organization’s continued belief in my development has been incredibly encouraging.
You recently performed Verdi’s Simon Boccanegra with Riccardo Muti in Tokyo and were a quarter-finalist at the Donatella Flick Competition in London. How do these high-pressure, international environments challenge your growth as a conductor?
Niemann: Those experiences have pushed me to expect more of myself. Preparing so much repertoire under intense time pressure is demanding, and knowing I will be working alongside world-class musicians motivates me to keep studying beyond the point where I might otherwise feel ready. Once I am in rehearsal, the challenge is to stay flexible and respond naturally to what I hear from the musicians. It can be intense, but I always come away grateful for what I have learned. This deeper understanding of the music stays with me long after the experience is over.
Your repertoire spans opera, symphonic works, and contemporary pieces. Which area of music excites you most right now?
Niemann: I love all three, but I have a particular soft spot for music written for solo voice and orchestra. Works like Mahler’s Fourth Symphony and Strauss’s Four Last Songs are especially close to my heart. I love the intimacy of a single voice within an orchestral sound, and how much the orchestra can express alongside the words. This is one reason I am so excited to perform Barber’s Knoxville: Summer of 1915 with Sydney Kucine and the NCO. This work is a magnificent pairing of text and tone, and bringing it to life so close to where my conducting journey began makes this performance especially meaningful to me.
What do you enjoy doing most?
Niemann: Outside of music, I find great solace in hiking, especially in the mountains. I enjoy the quiet and the chance to take in the sounds of nature along the way. Add a good trail and a beautiful view, and it is hard to beat!
Jacob Niemann will be conducting for the New Conductors Orchestra’s in our “ORCHESTRAL VOICES” concert series, leading the orchestra in selections from Mozart’s Gran Partita (Wind Serenade No. 10) and Barber’s Knoxville: Summer of 1915. The complete concert program is as follows:
Paul Dukas Fanfare from La Péri
Giovanni Gabrieli Canzon Septimi Toni No. 2 and Canzona per Sonare No. 2
Billy Joel And So It Goes (arr. Gareth Lewis)
W.A. Mozart selections from Gran Partita (Wind Serenade No. 10)
Edvard Grieg Holberg Suite
Samuel Barber Knoxville: Summer of 1915 (featuring Sydney Kucine as soprano soloist)
Joel Toews Mirrors in Haida Gwaii (2022) (U.S. premiere)
Tickets to the concerts are now available for purchase.
About New Conductors Orchestra
Founded in 2019, the New Conductors Orchestra (NCO) is a unique community ensemble that champions the next generation of musical leaders. With no set conductor, NCO engages emerging talent from the conducting world, offering them the opportunity to lead dynamic, high-level performances. Through these concerts, NCO bridges the gap between formal conducting education and the professional world, while also featuring works by both classical and living composers. Under the guidance of Lead Conductor Mark Powell, NCO is determined to nurture a collaborative environment where conductors and musicians alike can shape their musical journey.
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Maryam Ali | business.maryamali@gmail.com
