As an Artistic Partner of Southbank Centre’s year-long festival The Rest Is Noise – a cultural and musical history of the 20^th century told through 250 events – the BBC Concert Orchestra gives nine concerts exploring key classical works of the last century in the social and political context which shaped their composition.

The BBC Concert Orchestra’s involvement forms part of a BBC partnership with Southbank Centre for the festival which sees BBC Four screen a new landmark three-part documentary series and BBC Radio 3 offering a complementary programme of broadcasts.

From Kurt Weill to Frank Zappa, and Berlin in the 1930s to Britain in the 1980s, the BBC Concert Orchestra travels through time to tell the tales behind the music that helped define the last hundred years, under the baton of its Principal Conductor Keith Lockhart and guest conductors including André de Ridder and Charles Hazlewood.

The journey starts in Britain at the beginning of the century, exploring the cultural resonances of the First World War. In a programme of music and poetry from before, during and after the conflict, the orchestra conveys a nation’s yearning for its unrecoverable past (Death of Nostalgia, 24 February).

Two concerts profile Kurt Weill, creator of some of the most popular and daring musical theatre of his day. Weill’s work is put under the spotlight in performances of his sung ballet The Seven Deadly Sins (3 March) featuring My Brightest Diamond’s lead vocalist Shara Worden conducted by André de Ridder, and a concert highlighting the range of his musical output, from his Symphony No. 2 to a selection of theatre songs (Kurt Weill Berlin to Broadway, 12 April).

The orchestra is joined by the Nu Civilisation Orchestra as it delves into the cultural melting pot of 20^th century America with music from William Grant Still, Henry Gilbert and Duke Ellington. The blues meets orchestral tradition in Still’s “Afro-American” Symphony, which became the first symphony by an African American composer to be performed by a leading American symphony orchestra (Hidden Voices, 24 March).

The role of BBC Radio and British cinema in boosting morale on the Home Front during the Second World War is championed in a programme which includes music from two BBC Radio programmes of the time; Sincerely Yours presented by Vera Lynn and Music While You Work, designed to keep factory workers motivated. Other works include Ireland’s Epic March commissioned by BBC Radio in 1942 and Walton’s Henry V: A Shakespeare Scenario (The Home Front, 7 June).

In the twentieth year since his death, the lasting legacy of rock icon Frank Zappa is celebrated in a UK premiere performance of 200 Motels – The Suites, the orchestral score for his 1971 musical surrealist film about life on the road with a rock band. The music which, according to Zappa, was mostly written in motel rooms whilst on tour with The Mothers of Invention, is given this rare performance by the BBC Concert Orchestra, members of Southbank Sinfonia and conductor Jurjen Hempel (200 Motels – The Suite, 29 October).

The orchestra gives a weekend of concerts in November dedicated to musical theatre legend Stephen Sondheim (Sondheim, 9 & 10 November) and rounds up its journey through the musical life of the 20^th century with a profile of 1980s Britain’s musical landscape (Britain in the 80s, 30 November).

Sunday 13 January

RINCK (1770-1846): Nine Variations & Finale on “Ah, vous dirai-je, Maman”

DANDRIEU (1682-1738): Noël ‘Quand le sauveur Jesus-Christ’
BUXTEHUDE (1673-1707): Prelude, Fugue & Ciacona, BuxWV137
S. S. WESLEY (1810-1876): Holsworthy Church Bells
CHARPENTIER (b.1933): L’Ange à la Trompette

WIDOR (1844-1937): Allegro (from Symphonie No.6 in G minor, Op.42)
JONGEN (1873-1953): Menuet-Scherzo, Op.53
ALAIN (1911-1940): Litanies

CAMIL VAN HULSE (1897-1988): Christmas Rhapsody, Op.103 No.2

Sunday 27 January

J. S. BACH (1685-1750): Toccata & Fugue in D minor BWV565

IVES: Variations on ‘America’

MENDELSSOHN (1809-1847): War March of the Priests (arr. W. T. Best)
HOLLOWAY: Molto vivace (from Symphony in C minor, Op.47)
LISZT (1811-1886): Fantasia & Fugue on B.A.C.H. (arr. Guillou)

MADER (1904-1971): Afternoon of a Toad

DUPRÉ (1886-1971): La Fileuse (from Suite Bretonne, Op.21)

GRIEG (1843-1907): Letzer Frühling (Last Spring), Op.34 No.2 (arr. DT)
SOWERBY (1895-1968): Pageant

Concerts start at 3pm; there is a pre-concert talk before each at 2pm.

Tickets are £14.50 – available at the box office on the day, and via the Fairfield website in advance: http://www.fairfield.co.uk/showHome.php

Box office telephone: 0208 688 9291

Shortly before Christmas Valery Gergiev was in London to discuss the opening of Mariinsky II in May 2013. This project marks the completion of the development of the cultural centre of St Petersburg, adding a new 2000 seat opera house to the original Mariinsky Theatre built in 1860 and the more recent concert hall.

He stressed the importance of education for all of the venues, and the number of performances which will be available free of charge to school pupils and students. On most days of the week there will be at least three public performances, with six available on Sundays. There will also be accommodation provided as part of the project, to assist young musicians to live close to the venues where they are performing.

The opening will mark the 25th anniversary of the leadership of Artistic and General Director Valery Gergiev, taking the Mariinsky Theatre from the closing years of the Soviet era, when it had been renamed the Kirov, to a modern 21st-century lyric arts company, enhancing and underlining the Mariinsky as a centre of artistic excellence and innovation and creating one of the largest, most acclaimed and most dynamic performing arts institutions in the world.

Designed by Diamond Schmitt Architects in collaboration with acousticians Müller-BBM, Mariinsky II is situated on Dekabristov Street and connected to the historic Theatre by a pedestrian bridge over the Kryukov Canal. Mariinsky II will have state-of-the-art facilities that will enable the Mariinsky to present the most ambitious, technically-demanding productions, beyond what is currently possible on the historic stage.

The opening weekend will include a gala concert and ballet and opera performances, followed by Mariinsky’s XXI ‘Stars of the White Nights’ Festival which will run from 24 May to 14 July with performances in all three venues—the Mariinsky Theatre, Mariinsky II and the Mariinsky Concert Hall.

Valery Gergiev said,“These past 24 years have seen a wonderful flourishing of the Mariinsky Theatre in both its artistic programme and its institutional achievements, as we have brought the Opera, Ballet, Orchestra and Chorus—our entire extraordinary Company— into the 21st century with a more active and outgoing engagement with the world. We are carrying forward our progress in every way in 2012/2013, including the opening of our magnificent new opera house. Mariinsky II will provide abundant resources for our artists and audiences, and will ensure that the Mariinsky remains one of the most vital performing arts institutions in the world.”

2013 will also feature a series of multimedia projects captured in the historic Mariinsky Theatre including two Mussorgsky operas co-produced by the Mariinsky and Telmondis; Graham Vick’s production of Boris Godunov, and Leonid Baratov’s production of Khovanshchina, filmed in May 2012 and September 2012 respectively. Both programmes are scheduled for international distribution in partnership with audiovisual producer Telmondis, and Russian television channel Kultura in January 2013. Additional programmes include the Mariinsky Ballet performing Prokofiev’s Romeo & Juliet, with choreography by Leonid Lavrovsky, to be captured on 28 February, 2013, Alexei Ratmansky’s Cinderella, to be captured in May 2013; and the Mariinsky Orchestra performing the first installment of Shostakovich’s complete symphonies, to be captured at La Sal le Pleyel in Paris, on 7 and 8 January 2013.

In a partnership with 3D movie makers Cameron Pace Group, RealD 3D and Glass Slipper Live Events, the Mariinsky Ballet’s performance of Swan Lake will be broadcast live from St Petersburg in 3D and simultaneously in 2D to cinemas around the world on 14 February, and details will be announced in early 2013.

Information available from

Mariinsky Theatre: www.mariinsky.ru

Mariinsky Foundation of America: www.mariinsky.us

Mariinsky Theatre Trust: www.mariinskytrust.org.uk

David McVicar returns to English National Opera to direct a new production of Medea by Charpentier, starring Sarah Connolly in the title role.

Opening Friday 15 February, 7.00pm (9 performances)

Following critically-acclaimed productions of Agrippina, La clemenza di Tito and Der Rosenkavalier, Sir David McVicar returns to English National Opera to direct a new production of Charpentier’s rarely-performed operatic gem, Medea. McVicar is one of the world’s most in-demand opera directors and recently received a knighthood in the Queen’s Jubilee birthday honours. McVicar’s new production of Medea follows on from the success of ENO’s 2011 production of Rameau’s Castor and Pollux which was awarded an Olivier Award.

Playing the barbarian sorceress Medea is internationally renowned mezzo-soprano Sarah Connolly. Connolly’s association with David McVicar stretches back to ENO’s 2006 production of La clemenza di Tito, where she played the role of Sesto, for which she won an Olivier Award for Outstanding Achievement in Opera. More recently, Connolly has performed in McVicar productions of Agrippina and as Octavian in Der Rosenkavelier, “[Connolly]…could hardly be better” (Daily Telegraph). Connolly has been nominated for a TMA Award, two Grammy Awards and won an Edison, Gramophone and South Bank Award.

Teaming up with McVicar is celebrated designer Bunny Christie, making her ENO debut. ENO’s new production of Medea relocates the famous Greek tragedy to the 1940s, setting it against a decadent, hyper-stylised 1940s backdrop which McVicar describes as “styled to within an inch of its life”. Set designer Bunny Christie has worked extensively for the National Theatre, most notably winning Olivier Awards for her work on A Streetcar named Desire and The White Guard and an Evening Standard Award for Baby Doll. Christie’s opera work includes Brief Encounter and Tosca for Houston Grand Opera. Medea marks Christie’s debut at a British opera house.

Leading the ENO Orchestra is period performance specialist Christian Curnyn. Curnyn’s recent appearances at ENO include Julius Caesar where he was praised for his “superb direction” (The Times) and Castor and Pollux “[Curnyn]…relished every moment of the score” (The Guardian).

Completing the creative team is choreographer Lynne Page and lighting designer Paule Constable. Page’s choreographic career includes works for stage, opera, film and television with artists as diverse as Kanye West, Stephen Sondheim and Lady Gaga. In 2010, Page won a What’s on Stage award for her choreography in the West End production of La Cage aux Folles. Multi-award winning lighting designer Paule Constable has worked with McVicar in productions of Der Rosenkavalier and La clemenza di Tito and won Olivier Awards in 2005, 2006 and 2009 and Tony Awards in 2007 and 2011.

Connolly is joined by a stellar British cast, including Jeffrey Francis (Jason), Katherine Manley (Creuse), Roderick Williams (Orontes), Brindley Sherratt (Creon), Olivier Dunn (Arcas), Sophie Junker (Italian Woman) and ENO Harewood Artists Rhian Lois (Nerine) and Aoife O’Sullivan (Cleone).

Medea opens at the London Coliseum on 15 February for 9 performances – February 15, 20, 22, 28 and March 6, 8, 12, 14 at 7.30pm and March 16 at 3.00pm

Pre-performance talk, Wednesday 20 February, 5 – 5.45pm, £5/£2.50 concs

12 April – 20 April 2013 at the Barbican Theatre (7 performances)

Sunken Garden (WORLD PREMIERE)

Composed and directed by Michel van der Aa (Grawemeyer award-winner 2013 Libretto by bestselling author David Mitchell

Conducted by André de Ridder

ENO’s WORLD PREMIERE of Sunken Garden combines live performance with one of the first uses of 3D film in opera to tell the story of the mysterious disappearance of individuals who find themselves in a limbo world between life and death. Composed and directed by Michel van der Aa, with a libretto by bestselling author David Mitchell.

1 June –28 June 2013 (9 performances)

The Perfect American (UK PREMIERE)

Composed by Philip Glass      Directed by Phelim McDermott

Conducted by Gareth Jones

UK PREMIERE of Philip Glass’s new opera The Perfect American, a factional story about Walt Disney during the final years of his life, directed by Phelim McDermott and starring Christopher Purves.

7 June – 11 July 2013

7,9,15,19,22,25 June, 1,6 July 6.20pm

DIE ENTFUHRÜNG AUS DEM SERAIL

Wolfgang Amadeus Mozart

Conductor William Lacey  Director Daniel Slater  Designer Francis O’Connor

Cast

Norman Reinhardt, Rebecca Nelsen, Mark Wilde, Susanna Andersson, Matthew Rose

8,10,16,20,26,28 June, 4,10 July 5.45pm

BRITISH STAGE PREMIERE

MAOMETTO SECONDO

Gioacchino Rossini

Conductor David Parry  Director Edward Dick  Designer Robert Innes Hopkins

Cast

Darren Jeffery, Paul Nilon, Siân Davies, Caitlin Hulcup, Christopher Diffey, Richard Dowling

 23,27,29 June, 2,5,7,9,11 July 6.35pm

HÄNSEL UND GRETEL

Engelbert Humperdinck

Conductor Martin André, Director Olivia Fuchs, Designer Niki Turner

Cast

Claudia Huckle, Anna Devin, Yvonne Howard, Sophie Junker, Ruth Jenkins, Susan Bickley. Sophie Junker

Trinity Choir

 GARSINGTON OPERA ORCHESTRA AND CHORUS 

Garsington Opera at Wormsley General enquiries 01865 361636

www.garsingtonopera.org

Brighton Festival is delighted to announce that the 2013 Guest Director of Brighton Festival is the celebrated poet, writer, broadcaster and previous Children’s Laureate

 Michael Rosen.

Brighton Festival – three weeks of unrivalled arts celebration across the city ofBrightonandHove– will take place from 4 – 26 May 2013. Full programme details will be announced on Wednesday 27 February 2013.

Andrew Comben, Chief Executive of Brighton Dome & Festival said, “We are delighted to welcome Michael Rosen on board as Guest Director for 2013. For the past five years we have invited a Guest Director to bring their knowledge and experience of the arts to this Festival, which has helped us to nurture and grow an extraordinary range of art and ideas appealing to our local, regional, national and international audiences. For several decades Michael Rosen has entertained, educated and moved audiences of all ages. He has the infectious energy of a polymath and is curious about and interested in everything – perfect for such an eclectic and wide-ranging festival as ours. I am looking forward to another fantastic Festival here inBrighton.”

Michael Rosen said, “It’s a wonderful opportunity for me to be involved with Brighton Festival. It’s exciting but it’s also going to be a challenge! I am a great believer in festivals – they are an informal college of the arts for everyone. There’s been a big change since I was a child when the arts were tucked away in theatres and galleries and Brighton Festival takes cultural activity and brings it to many different audiences across a whole city.”

Thursday 30 May to Sunday 2 June 2013

Ludlow Assembly Rooms

The fifth triennial Ludlow English Song Weekend, under the artistic direction of Iain Burnside, will run from 30 May to 2 June and will include a wide range of English songs in nine recitals by some of the country’s leading singers. There will be premieres of works by Julian Philips and Brian Elias and performances of two previously unpublished works by Finzi, written for baritone and organ. The weekend will be packed with events including Master Classes, Young Musicians Recitals, talks, films, discussions and performances by the winners of the national young composers’ competition.

Events take place in the elegant Assembly Rooms as well as the Parish Church in this beautiful border town, where A.E. Housman’s ashes are buried.

DOUGLAS BOYD BECOMES ARTISTIC DIRECTOR

The Chairman of the Board of Directors of Garsington Opera Bernard Taylor announced, following Anthony Whitworth-Jones’ retirement today, that conductor Douglas Boyd has been appointed as Artistic Director with immediate effect. He will join Nicola Creed who becomes Executive Director having worked for the company since 1999.

Bernard Taylor also announced that Professor Jonathan Freeman-Attwood, Principal of the Royal Academy of Music, has been appointed to the Board and will chair the Garsington Opera Artistic Committee and that Brian Dickie will join the Artistic Committee.

Douglas Boyd is an internationally recognised conductor. He is currently Chief Conductor of Musikkollegium Winterthur in Switzerland, was Music Director of the renowned Manchester Camerata, Principal Guest Conductor of the Colorado Symphony Orchestra, Artistic Partner of the St. Paul Chamber Orchestra, Minnesota, Principal Guest Conductor of the City of London Sinfonia. He was a founder member and Principal oboist of the Chamber Orchestra of Europe for 21 years. As well as his work for Garsington Opera, his fast developing conducting career in opera at home and abroad has included Glyndebourne Opera on Tour, Zurich Opera and next year Opera North.

Douglas Boyd said: “I am thrilled to become Artistic Director of Garsington Opera. I am passionate about the ethos of the Company and have enjoyed wonderful collaborations in the past few years, conducting Fidelio, Figaro and Don Giovanni. I hope to be able to continue the brilliant and extraordinary work of Anthony Whitworth-Jones and to live up to the vision of Leonard Ingrams – putting fine music at the heart of Garsington Opera. We now have a new home of which we can be very proud and which offers us a great opportunity to expand our season, develop our profile nationally and internationally and to stage opera of the highest possible quality for our dedicated supporters. I believe we have a very exciting future.”

Announcing the appointment Bernard Taylor said: “Douglas Boyd is a perfect choice for Garsington Opera and his work is already well known to our audiences through his conducting of our recent Mozart and Beethoven productions. We had a strong field of candidates from which to choose, but Dougie’s real passion and vision for the future of the company, combined with his strong musical talent won through. I am very pleased to welcome Nicky into the newly created Executive Director role and she, together with Dougie, will manage the company. Dougie will take responsibility for the artistic vision, standards and programming and Nicky will be responsible for the financial performance and will run the operations on a day to day basis. I am also delighted that Jonathan has agreed to join us as a Trustee and, with Brian, to join our already distinguished artistic committee. These four appointments made today are very exciting and secure the musical, artistic and organisational strength of our company for the future.”

The Dome, 11 November 2012

On paper this seemed a very conventional offering but in execution it proved to be highly stimulating. Verdi’s anniversary was celebrated by a rousing, not to say rumbustious, rendition of the Overture to La Forza del Destino. The brass were splendid and how often can one hear the harps so clearly?

After the stridency of the Verdi, Mozart could have seemed rather too relaxed but Richard Uttley brought a crispness and classical finesse to his playing of the Piano Concerto No23 which was completely convincing. What a pleasure to find a performer who simply plays the music exquisitely without histrionics or showmanship. It was a model of what professional music-making should be. Clarity, precision and rationalism where finely blended to give a reading which held our attention throughout. The second movement was particularly effective in its hints of an inner life and soul which can so easily be missed in a more superficial reading.

It is twenty years since BPO played a Sibelius Symphony. Why, given the popularity of the composer and the fire which Barry Wordsworth brings to his handling of the score? If there were occasional moments of apparent indecision in the opening movement it gathered assurance as it proceeded, with the final movement blazing into life. The third movement climax was built with complete confidence leading to one of the most exciting conclusions of any symphony. The final six chords, I’ve always thought, are as powerful for the silences in between as for the chords themselves, and they certainly were here.BH

Next concert with guest conductor Howard Shelley in works by Weber, Beethoven and Brahms on Sunday 25 November.  www.brightonphil.org.uk