John Barry created some of the most memorable and recognisable film scores of the 20th century, such as Midnight Cowboy, Out of Africa, Dances with Wolves, Zulu and of course much of the music from the James Bond series; his versatility and originality were peerless. His death in 2011 deprived cinema of a true musical…
Bang on a Can was started in 1987 by co-artistic directors Michael Gordon, David Lang and Julia Wolfe. Since its first Marathon concert, Bang on a Can has been creating an international community dedicated to innovative music, wherever it is found.
An evening of music and words inspired by the First World War, with music by Debussy, Janacek and Elgar.
Renowned for his innate affinity for the most intricate and demanding works Clark Rundell has established himself as a highly sought-after guest conductor. The contemporary music specialist has some interesting projects coming up this season: he will perform Notes from Underground, a new work by Augustin Fernandez with the Royal Northern Sinfonia and a programme including Anna Clyne, Pärt and Richter with Britten Sinfonia in October. November sees him working with Ensember 10/10, with whom he is Director, and Ensemble BIT20 in Bergen for some John Adams and Webern.
Fergus Macleod is the current Charles Mackerras Fellow at English National Opera, and as part of his Fellowship will conduct a production of Gilbert & Sullivan’s The Mikado at the London Coliseum this autumn and winter, making him the youngest conductor at the head of an ENO production since Mackerras himself. Former Assistant to Donald Runnicles at the BBC Scottish Symphony Orchestra and Leverhulme Conducting Fellow at the Royal Conservatoire of Scotland, Fergus is also a keen performer of new music and has given numerous world premieres.
“…The musical japes and textural sophistication of the Third [Zemlinsky quartet] bring out the best in the Brodsky’s playing – wry, playful, and rhythmically taut. And there’s plenty of suavity and emotional depth in its account of the more lyrical Fourth…”
Matthew Rye, The Strad, June 2015
The Brodsky Quartet are known for their profound accounts of complete cycles. Their latest Chandos release is the complete quartets of Zemlinsky, which has met great critical acclaim worldwide. It is, however, the Shostakovich cycle which is perhaps most widely associated with the Brodsky name, the quartet having performed the project across the globe throughout their 40 year existence. 2016 will mark the release of the Brodsky Quartet’s second recording of this seminal cycle, recorded live at the Muziekgebouw, Amsterdam.
‘Their singing produces music-making of intimate, aching beauty.’
Vox Luminis return to the UK this autumn with a programme of Purcell, Locke and Blow in Leeds’ Howard Assembly Room and at the Wigmore Hall. Prior to this comes their release of a CD of works by Roland de Lassus, following hot on the heels of a disc of Motets by members of the Bach family.
Joshua Owen Mills has recently joined the Opera Studio of the Bayerische Staatsoper in Munich, where his roles on the main stage this season include Nerèo Mefistofele, Parpignol La bohème, 1st Prisoner Fidelio, Messenger Il Trovatore, Brabantian Count Lohengrin, Vitelozzo Lucrezia Borgia, Giuseppe La Traviata and Mr Upfold Albert Herring.
The Opera Studio program runs one to two seasons and consists of role studies, vocal lessons, acting and movement classes as well as language training. The young artists are cast for small roles in productions on the main stage and take part in several concert projects.
Katherine Manley repeats her searing performance as Wife in Donnacha Dennehy’s THE LAST HOTEL (libretto by Enda Walsh) that has a run of eight performances at St Ann’s Warehouse in New York in January. The opera has its world premiere at the Edinburgh International Festival earlier this year.
“By far the best singing, and the only three dimensional characterization, came from Katherine Manley as the Wife: her succulent, soulful soprano made the most of Dennehy’s lines and, like many a tragic woman in a love triangle, she convinced us she would rather not be there” Andrew Clark, Opera Magazine (October 2015)