Stuart Hutchinson has worked in association with many eminent directors and choreographers including Sir Trevor Nunn, Jonathan Miller, David Pountney, Ian Judge, Sir Peter Ustinov, Francesca Zambello, George Abbott, George Ballanchine, Gillian Lynne, Donald Saddler and Sir Kenneth MacMillan.
For English National Opera he has conducted Carmen; for Scottish Opera Weill's The Threepenny Opera; in Berlin, the Houston Grand Opera production of Weill's Street Scene; for the London International Opera Festival La Rappresentazione di Anima e di Corpo (Cavalieri) and the British premiere of Dominick Argento's Postcard From Morocco; he conducted the world premiere of Stephen Oliver's opera Tables Meet (Royal Festival Hall); for New Sadler's Wells Opera Ian Judge's production of Bitter Sweet and The Mikado; as guest conductor at the Royal Academy of Music he conducted Cimarosa's Il Matrimonio Segreto. From 1986 to 1990 Stuart held the post of Music Director to Morley Opera, for whom he conducted the standard repertoire and notable productions of Britten's Paul Bunyan, Les Deux Journees (Cherubini), Our Man in Havanna (Williamson), Dunstan and the Devil (Williamson), Weill's The Rise and Fall of the City of Mahagonny (UK premiere of the complete work), Haydn's Il Mondo della Luna and Frank Martin's Le Vin Herbe (Martin centenary production).
As Guest Musical Director to Scottish Ballet he has conducted productions of Giselle, I Vespri Siciliani, Ballanchine's Concerto Barocco and the contemporary ballet Troy Game. He has also conducted for the Russian prima ballerinas Natalia Makarova and Galina Panova.
Stuart Hutchinson is respected as a musicologist. He is a member of the editorial team for the complete Walton Edition (William Walton Trust/Oxford University Press). His edition of Walton's Troilus and Cressida, based on the composer's unfulfilled intentions, was staged by Opera North (1995), published by OUP (2003) and the Chandos recording won a Gramophone Award (1995).
Stuart Hutchinson received press acclaim for his conducting of Kurt Weill's Street Scene in Francesca Zambello's production (Houston Grand Opera/Theater im Pfalzbau, Ludwigshafen) at the Theater des Westens, Berlin.
Other engagements include Deborah Warner's production of Janacek's The Diary of One Who Vanished (Music Advisor – ENO/Royal National Theatre/Dublin/Paris Bobigny) and conducting a studio workshop of David Blake’s opera Scoring A Century (directed by Keith Warner) and an Offenbach Gala for the Barbican Centre's festival Images de France.
STREET SCENE (Weill) - Theater des Westens, Berlin
'Music and drama were drawn together with clarity by
Stuart Hutchinson who obtained disciplined but passionate playing
from the orchestra...'
IL MONDO DELLA LUNA (Haydn) - Morley Opera, London
'Stuart Hutchinson works wonders with the London Haydn
Orchestra, whose crisp and spirited way with the score keeps
events on the boil.'
IL MATRIMONIO SEGRETO (Cimarosa) - Royal Academy of Music, London
'Stuart Hutchinson conducted with laudable brio and
'... fizzing ensembles... the orchestra played creditably
for their demanding conductor Stuart Hutchinson...'
'If the Royal Academy took a calculated risk, it paid
off most handsomely last night. Few excuses needed to be made
for immaturities of singing or playing. Stuart Hutchinson, the
conductor and his coaches, had insisted upon style.'
'Stuart Hutchinson conducts a lively band of players
and wisely makes no concessions.'
THE THREEPENNY OPERA (Weill) - Scottish Opera
'... the punchy playing of Mr. Hutchinson's excellent
'Simply, it's terrific. A superb overture opens...
the cabaret style is in tact. Orchestra, bristling with sax
and guitar necks, produce a spot-on sleaziness that is a start-to-finish
delight. Stuart Hutchinson conducts the style shifts with apparent
ease, providing solid support for the singers...'
THE RISE AND FALL OF THE CITY OF MAHAGONNY (Weill) - Morley Opera
'It was a good punchy production, as was the music
itself, conducted by Stuart Hutchinson with good, firm, springy
rhythms and a sure feel for the way in which Weill absorbs cafe-like
intonation into this fully-fledged operatic span.'
'The score... is vividly projected under Stuart Hutchinson’s
POSTCARD FROM MOROCCO (Dominick Argento) - British Premiere
'Stuart Hutchinson conducted with effective force.'
LES DEUX JOURNEES (Cherubini) - Morley Opera,
'... a lively performance... the orchestra played
supportively under the conducting of Stuart Hutchinson.'
SLAUGHTER ON TENTH AVENUE (Ballanchine Ballet - ON YOUR TOES)
'Stuart Hutchinson conducted a bracing performance...
lively and intelligent.'