It was a debut that will long be remembered. It was in October 2006 that Yannick Nezet-Seguin first conducted the Dresden Staatskapelle, which with its invitations to younger conductors in particular was increasingly emerging “as a talent scout for the next generation of baton-wielders” (German daily Die Welt). The 31-year-old newcoming, whose very name was a tonguetwister for most, had hitherto attracted the most attention in his native Canada; since 2000 he had been directing the Orchestre Metropolitain, little brother of the Orchestre Symphonique in his birthplace of Montreal. After debuts with orchestras in Toulouse, Goteborg and Birmingham, he was now in the Semperoper, standing for the first time in his life before one of Europe’s long-established, tradition-steeped orchestras. Nezet-Seguin was no disappointment. In fact, he was just the opposite. Straight away at rehearsals, it was obvious that this young man knew exactly what he wanted in works by Britten, Ravel and Shostakovich; in concerts, he was in full command of musicians and audience alike with his energetic and precise conducting manner, his sens of sound and rhythmic structures. Word soon got around that news of “the Great Canadian Conductor for whom this country’s classical music buffs have been waiting” (Toronto Star) was more than a mere marketing device. And people believed him when he admitted that conducting had been “like a vocation” for him ever since he was ten years old. “Today I have the feeling that I am living the dream I had as a little boy,” he confessed.