The Melbourne Symphony Orchestra has appointed Jaime Martín as its Chief Conductor.

The London-based Spanish conductor's extensive orchestral background lies both on the podium and among players, his career including spells as principal flute with the Royal Philharmonic Orchestra, Chamber Orchestra of Europe, English National Opera, Academy of St Martin the Fields and London Philharmonic Orchestra. As soloist, Martín has also recorded Mozart flute concertos with Sir Neville Marriner, made the premiere recording of Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge, and recorded Bach works for flute, violin, and piano with Murray Perahia and the Academy of St Martin in the Fields for Sony Classical.

But its to the role of conductor that Martín turned full-time in 2013, becoming Artistic Director and Principal Conductor of the Gävle Symphony Orchestra, an ensemble he's recorded with for Ondine Record, attracting praise in Gramophone's pages. Most recent was a recording of Brahms and Parry (04/19); of Parry's Elegy for Brahms, reviewer Andrew Farach-Colton wrote: 'I believe this to be the finest recorded interpretation thus far … In the exquisite final pages (starting around 9'58"), the elegiac radiance of the orchestra’s performance feels positively transfigurative.'

In 2019 Martín was appointed Music Director of the Los Angeles Chamber Orchestra (his appointment recently extended to 2027) and Chief Conductor of Ireland’s RTÉ National Symphony Orchestra. From the 2022/23 season he will also become the Principal Guest Conductor of the Orquesta y Coro Nacionales de España.

Martín's first Melbourne season will begin with a concert next February, after which he's scheduled to spend 12 weeks a year in Melbourne, as well as lead the orchestra on tour and in recordings. Prior to that, in August Martín will work with the orchestra and chorus and lead a project with its youth orchestra.

As to what repertoire the initial season will hold, Martín hopes it will be able to respond to cultural currents and the challenges of the day. 'Covid has been terrible in so many ways and for so many people,' he said. 'But it has taught us to be more flexible as musicians and take account of what’s happening in the wider world. There’s something liberating about building programmes just a few months or weeks before you perform them rather than planning everything three years in advance. I think it’s so important that we remain flexible, stay connected to what’s happening and be open to new opportunities. I want to see what we can do in future with this greater freedom.'