The holiday spirit resonated powerfully at the Elbphilharmonie’s recent Christmas-themed concert, a year-end highlight crafted by the Monteverdi Choir and the English Baroque Soloists. Christophe Rousset’s much-anticipated debut as guest conductor, stepping in after Sir John Eliot Gardiner’s departure as artistic director, brought a fresh sense of artistic renewal and festive splendor. Drawing from the rich traditions of French and German Baroque music, Rousset and the ensemble took the audience on an enchanting musical journey, showcasing their exceptional artistry and energy. 

By pairing Charpentier’s “Messe de Minuit” with “Noëls sur les instruments,” Rousset crafted a well-balanced first half through thoughtful programming. The graceful carols served as a charming prelude, while faster-paced pieces after the mass added a spirited finale. This structure not only created a satisfying musical arc but also subtly referenced the tradition of earlier parody masses, where compositions were built on pre-existing tunes. 

Rousset’s direction emphasized dynamic interplay between choir and instruments, highlighting Charpentier’s masterful use of Baroque orchestration. The orchestra’s jubilant tones—especially from the violins, flutes, and basses—captured both the spiritual depth and intricate beauty of the Baroque style. While the positive organ was more limited in tonal range than a grand organ, its rich resonance filled the acoustically stunning Elbphilharmonie. 

Standout Vocalists

The vocalists were standout, blending clarity and expressiveness with remarkable finesse. Their “Kyrie” and “Gloria” radiated festive joy, with soprano lines soaring above the rich choral harmonies. The soloists brought dramatic contrast to the following movements, their voices intertwining with heartfelt precision. A particularly striking moment came with the soprano’s tender “Quoniam tu solus Sanctus,” full of lyrical warmth. The choir’s dynamic control and nuanced articulation shifted the mood effortlessly from the solemn “Crucifixus” to the exuberant “Agnus Dei,” leaving the audience deeply moved by Charpentier’s seamless blend of sacred and popular traditions. 

The second half showcased the young soloists’ brilliance. It opened with Bach’s “Schwingt freudig euch empor,” BWV 36c, a cantata bursting with joy and energy. The oboe d’amore’s lively solo set a cheerful tone, seamlessly leading into the choir’s bright and powerful entrance. Soprano Hilary Cronin’s aria offered a moment of contrast; her voice diverged from the ascending melody, followed by a thoughtful pause that highlighted the interaction with the instruments. Tenor Ruairi Bowen, warmly supported by the oboe d’amore, delivered an emotionally resonant performance. Each soloist sang with clarity and expression, balancing introspective passages with jubilant outbursts.

Rousset’s Inspiring Interpretation

The concert concluded with Bach’s “Unser Mund sei voll Lachens,” BWV 110, a festive cantata composed for Christmas Day 1725. The French-style overture, featuring flute, trumpet, and timpani, set a celebratory tone from the first bar. The choir’s fugal entry filled the hall with joyous energy, drawing appreciative murmurs from the audience. The young soloists embraced a more operatic style in this secular cantata, vividly portraying characters from the joyful to the contemplative while maintaining a dynamic connection with the listeners. Mezzo-soprano Rebecca Leggett conveyed deep introspection and doubt in her aria, offering a reflective counterpoint to the exuberant bass aria. In the latter, Florian Störtz’s commanding voice soared over bold trumpet fanfares and dazzling coloraturas, stirring the crowd. The final triumphant chorale faded, the concert hall erupted with enthusiastic cries of “Merci!” from Rousset’s devoted French fans, adding a heartfelt and spontaneous touch to the evening’s celebration. 

Though the concert faced a conductor change, Mr. Rousset’s debut with the English Baroque Soloists more than made up for any initial disappointment. For devoted Baroque enthusiasts who might have attended Sir Gardiner’s performance with his newly formed ensemble, The Constellation Orchestra, just a week earlier—featuring a similar program—this was a rare opportunity to compare the artistry of two distinguished early music specialists. Ultimately, Rousset’s interpretation stood out for its vitality, elegance, and emotional depth, leaving a lasting impression on all present.

The post HamburgMusik 2024-25 Review: English Baroque Soloists / Monteverdi Choir / Christophe Rousset appeared first on OperaWire.

This week audiences will get to hear and see new holiday albums, a Puccini album, and rarely performed works. Here is a look at what to buy this season.

Puccini

The celebrated tenor Freddie De Tommaso celebrates Puccini in a new album with the London Philharmonic Orchestra and Edward Gardner. The album features music from “Manon Lescaut,” “Le Villi,” La Boheme” and La Fanciulal del West.” Decca Classic releases.

Die Fledermaus

The Bayerische Staatsoper releases its 2023 production of “Die Fledermaus.” Barrie Kosky directed with General Music Director Vladimir Jurowski conducting. The cast includes Diana Damrau in her role debut as Rosalinde, Georg Nigl as Gabriel von Eisenstein, Katharina Konradi as Adele, and Martin Winkler as Frank.

Past Life / Lifeline

Medtner

Mezzo-soprano and harpist Ekaterina Levental and pianist Frank Peters release a new album on Brilliant Classics dedicated to Russian composer Nikolai Medtner. This fifth CD of this edition is titled “Geweihter Platz” (‘Sacred Space’) featuring more of the composer’s lied.

Would That Loving Were Enough

The first album devoted to music by Lee Kesselman, “Would That Loving Were Enough” is released on Blue Griffin Records. The collection of world premiere recordings is performed by HAVEN comprised by Soprano Lindsay Kesselman, clarinetist Kimberly Cole Luevano and pianist Midori Koga.

George Frideric Handel: Brockes Passion

Naxos will release Handel’s Oratorio in two parts. The DVD was recorded on April 26 and 27, 2023 at Oper Halle, Germany, and features Robert Sellier, Vanessa Waldhart, Yulia Sokolik, Romelia Lichtenstein, Michael Zehe, Jorge Navarro Colorado, Franziska Faust, Christina Mattaj, Leandro Marziotte, and Ki-Hyun Park. The Chorus of Oper Hallea and Händelfestspielorchester Halle is conducted by Michael Hofstetter.

Ferrum Splendidum

Florian Sempey returns to the Alpha label for an album of works by Grétry, Donizetti, Tchaikovsky, Orff, and Wagner. The baritone teams up with the Orchestre National Bordeaux Aquitaine and maestro Victor Jacob.

The Song of Songs, The Poet in Exile

Signum Classics releases an album of works by Walter Arlen, a Jewish composer, originally from Austria, who escaped the country when Hitler invaded Vienna. The album features Anna Huntley, Gwilym Bowen, and Thomas Mole alongside the English Symphony Orchestra and conductor Kenneth Woods.

La Comédie Humaine: Chansons Balzaciennes

Alpha releases an album featuring Arnaud Marzorati and his singers, “Les Lunaisiens.” The album contains musical settings of a wide selection of witty and satirical verse, reflecting all the Parisian themes that obsessed Balzac. Jérôme Varnier, Lucile Richardot, and Cyrille Dubois participate in the album.

Adèle Hugo: Mélodies sur des Poèmes de Victor Hugo

Karine Deshayes, Sandrine Piau, Isabelle Druet, Axelle Fanyo, Anaïs Constans, and Laurent Naouri record an album that pays homage to the composer Adèle Hugo (1830-1915), the fifth child of the great poet Victor Hugo. The Choeur de l’Opéra de Dijon and Orchestre Victor Hugo are led by Jean-François Verdier.

Žibuoklė Martinaitytė: Aletheia

The Latvian Radio Choir and Sigvards Kļava release an album of four choral works that explore the direct emotional expression of singing voices without a text

Monteverdi Testamento: Vespro della Madonna

Perrine Devillers, Éva Zaïcik, Paco Garcia, Cyril Auvity, Romain Bockler, and Viktor Shapovalov perform works by Monteverdi with conductor Vincent Dumestre.

John Rutter: Brass at Christmas

Arranged by Luc Vertommen, the Naxos recording features a selection of John Rutter’s most famous Christmas carols. The  Black Dyke Band and Sheffield Philharmonic Chorus are led by Nicholas Childs and Darius Battiwalla.

The post Freddie De Tommaso, Diana Damrau, Florian Sempey & Karine Deshayes Lead New Holiday CD/DVD Releases appeared first on OperaWire.

Fabio Luisi NHK Symphony Orchestra is set to join perform Haydn and Mahler with Ying Fang and Jan Vogler.

Performance Date: May 18, 2025

The works by Arvo Pärt will be performed by Kadri Toomoja and the Estonian Philharmonic Chamber Choir under Tonu Kaljuste.

Performance Date: May 20, 2025

The Sächsisches Vocalensemble performs Bach Motets.

Performance Date: May 25, 2025

Rolando Villazon performs “Viaggio dell’anima,” a journey of the soul, with music by Claudio Monteverdi and his contemporaries alongside Lautten Company Berlin and Wolfgang Katschner.

Performance Date: May 31, 2025

“Der Ring,” a piece for children based on Richard Wagner’s work, will be performed by the vocal ensemble of the Taschenoper Lübeck and conductor Carl Augustin.

Performance Date: June 1, 2025

Alumni of the Dresdner Kreuzchor and the Dresdner Philharmonie perform Mozart’s “Requiem” with Martin Lehmann conducting.

The post Rolando Villazon, Ying Fang, Fatma Said, Benjamin Appl & Lea Desandre Lead Dresdner Musikfestspiele’s 2025 Season appeared first on OperaWire.

As the holiday arrives, audiences will be able to experience a Puccini extravaganza as well as world premiere recording and debut albums. There are also two DVDs that should be seen.

Giacomo Puccini – The Warner Classics Edition

Celebrated for his masterful compositions and poignant storytelling, Giacomo Puccini remains one of the most beloved opera composers of all time. Warner Classics releases a collection, designed for opera enthusiasts and newcomers alike and brings together his most renowned masterpieces alongside lesser-known gems. The operas are presented in performances by world-class orchestras, conductors, and singers, alongside Puccini’s Messa di Gloria and five CDs of recitals, including the iconic 1954 performance by Maria Callas.

The Romance of the Rose

Pulitzer Prize finalist composer, performer, and writer Kate Soper releases the world premiere recording of her critically acclaimed opera “The Romance of the Rose,” featuring the dynamic Wet Ink Ensemble. The new recording is released on New Focus Recordings.

The cast includes Soper alongside Phillip Bullock, Anna Schubert, Devony Smith, Ariadne Greif, Ty Bouque, and Lucas Steele.

Fra l’ombre e gl’orrori

Argentinian opera bass Nahuel Di Pierro joins Ensemble Diderot for its debut orchestral recording, bringing the baroque operatic bass
voice out of the shadows and into the light through 100 years of orchestral opera history. Audax Records releases the album which includes music by Monteverdi, Cavalli, Sartorio, Ziani, Giannettini, Bononcini, Scarlatti, Vivaldi, and Handel.

Credo

Airs sérieux of Joseph Chabanceau de La Barre

Les Épopées presents the two-part Airs by Joseph Chabanceau de La Barre. This new recording sees the renowned Les Épopées, led by Stéphane Fuget, join forces with the acclaimed vocalists Claire Lefilliâtre (soprano) and Luc Bertin-Hugault. Ramée label releases.

Two Orchestras, One Symphony,

The post Nahuel di Pierro, Mikheil Sheshaberidze & Stanislas de Barbeyrac Lead New CD/DVD Releases appeared first on OperaWire.

But it all changed at age 13 when he started to learn how to play the trumpet. From there, his love for music was irresistible and he would eventually make his way to the Tbilisi Conservatory where he would graduate with a degree in composition. Bardanashvili would hold the office of the Deputy Culture Minister in the Adjaria region from 1993-95 before heading to Israel where painting would return to his life. He has since been the composer-in-resident with the Raanana Symphonette orchestra between 1996-99 and the Jerusalem Camerata in 2009. Bardanashvili has taught at the Camera Obscura College, Bar Ilan University, and Jerusalem Academy of Music & Dance.

The composer, who notes Monteverdi, Bach, Mahler, Ravel, Schoenberg, Shostakovich, Takemitsu and Gia Kancheli, as his favorites, is among four laureates of the 2024 Azrieli Music Prizes, taking home the award for Jewish Music for his piece “Light to My Path,” a choral fantasy for mixed choir, saxophone, percussion, and piano. It is described as a reflection upon the Book of Psalms. OperaWire recently spoke to Bardanashvili about his composition and its inspiration.

OperaWire: Tell me about “Light to My Path” and what inspired it.

Josef Bardanashvili: “Light to My Path” is a reflection on the Book of Psalms, its emotional depth, and its sonic potential. Each movement emerges from one of the various states of faith—supplication, ecstasy, doubt, gratitude—which shape the Book of Psalms as a whole.

Accordingly, each movement of the work draws upon a different segment of the ensemble—a mixed choir and a unique instrumental trio consisting of saxophone, piano, and percussion—to create a choral commentary on a particular psalm. The poetic features of the psalms, including their parallel structure, prominent use of similes, and direct address to God, serve as the main unifying force, allowing the music to explore diverse stylistic paths.

OW: How did you arrive at the musical language for the piece?

JB: Before creating any large-scale work, composers enter a period where we develop a specific concept. Regarding this particular work, I have spent years setting the texts of the Psalms to music, as they have served as an endless source of inspiration over the centuries. Every spiritual condition of a person is brilliantly conveyed within them. This enables me as the composer to translate their feelings into music and present them to the listener with a unique artistic vision.

OW: What inspires your creative process?

JB: That’s a difficult question to answer. The joy of the creative process lies precisely in its sudden bursts of inspiration. After all, we play with sounds like children, and this endless game leads to various conclusions, ultimately culminating in the revelation of encountering a new work. The next stage of composition requires in-depth professional work.

I am originally from Georgia, where vocal and choral music is regarded as one of the nation’s unique treasures. The same can be said about Jewish synagogue music, which has been an important part of my conscious life since childhood. Within the limits of my ability, I strive to add a new impulse and color to this unique musical experience of my nation. Accordingly, “Light to My Path” represents an attempt at a new interpretation of my musical memory.

OW: What were some challenges you experienced while creating this work?.

JB: Composing each new work comes with its own challenges, especially when dealing with literary material like the Psalms. There are many different traditions of reading the Psalms; finding the appropriate form and color during their musical interpretation depends on one’s own aesthetic or creative exploration. Of course, I do not dismiss the possibility that eventually my idea may not even be accepted by the audience. Still, I frequently return to the truth that the creative process is the only space where I am truly free, where I can trust my inner voice.

OW: What do you hope audiences take away from the experience of your piece?

JB: It is very difficult to know how the listener will receive my work. As a composer, I have an objective desire to be truthful to myself and to the listener. In my opinion, the emotion emanating from the music should be sincere and the performance should reflect what’s in the music. I hope the result brings some spiritual joy to the audience. This inspires me to overcome the obstacles ahead as I start on the next work. I will be happy if “Light on My Path” enjoys success and introduces my work to the wider community of music lovers in a new way.

The post Q & A: Composer Josef Bardanashvili on His Azrieli Prize-Winning ‘Light to My Path’ appeared first on OperaWire.

Bayreuth Baroque Festival has been awarded “The Best Festival of 2024” by Germany’s Oper! Awards. The first season began in 2020 with a staged production of Nicola Antonio Porpora’s “Carlo il Calvo”, and an opera in concert version of “Gismondo, Re di Polonia” by Leonardo Vinci and libretto by Francesco Briani’s Il Vincitor Generoso. The orchestras in residence have included Armonia Atenea (2020, 2021), {oh!} Orkiestra Historyczna (2022), Concerto Köln (2023), and this year’s Les Talens Lyriques (2024). 

OperaWire attended this year’s festival and had the opportunity to visit more with Christophe Rousset, the Musical Director and harpsichordist of Les Talens Lyriques, about Bayreuth Baroque’s new production of Porpora’s “Ifigenia in Aulide” and what makes this year most exciting. 

As stated in their bio, the ensemble Les Talens Lyriques takes its name from the subtitle of Jean-Philippe Rameau’s opera Les Fêtes d’Hébé (1739) was formed in 1991 by the harpsichordist and conductor Christophe Rousset. Championing a broad vocal and instrumental repertoire, ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to its renown, is a priority for the ensemble.

Christophe Rousset has been nominated for eight awards in the Opera and Gramophone Awards this 2024-25 season. His musical engagements at both local and international levels feature rare works evolving and baroque as something to be rediscovered and expanded upon today.  

OperaWire: What are you most excited about being here at Bayreuth Baroque Opera Festival?

Christophe Rousset: I have a long story with Max Emanuel Cencic. He says that I introduced him to opera on stage with “L’incoronazione di Poppea” a long time ago in Toulouse and I’ve always had a nice relationship with him and I was very touched when he asked me to do this production. But not only the production of the opera but also all the concerts, including the one with Sandrine Piau and my recital with Anna Prohaska. So it’s a real honor for us. I didn’t know about Bayreuth at all unless I’ve touched Wagner, just very recently, but I never was a devotee to Wagner so I never made the trip to Bayreuth and it’s not that easy to reach, really, as you’ve probably noticed. So that was the opportunity to finally see this historical theater which is absolutely perfect. It’s such a beautiful place. There is kind of a link with this theater through “Farinelli” the film. We’ve (Les Talens Lyriques) done the soundtrack, but the images are from this theater. Unfortunately, I was not asked to conduct in the film, but I did conduct the soundtrack. But, you’ll see how incredible this theater is. It’s a real jewel. It sounds like the historical theaters I know, that’s to say it’s a little dry, but very clear and very inspiring. 

Max created the staging of it and he knows this stage quite well because it’s the fifth year of this festival and he knows that if you put the singer too far away upstage, it doesn’t sound at all. So, mostly the arias are front, downstage, and it helps with the balance with the orchestra. The pit of course is at a fixed level, so you can’t really adapt. You have to adapt with the dynamics of the orchestra.   

OW: How would you musically describe Porpora’s “Ifigenia in Aulide”?

CR: It’s a real rediscovery. It has never been performed in modern times. So, it’s quite an interesting piece based on “Iphigenia in Aulis”. We know this from the Greek tragedy. But the music is sometimes very dramatic and sometimes just bel canto. So you have to accept that opera seria is the place for nice coloraturas and beautiful tunes. This opera was written for London when Porpora was in competition with Händel, at exactly the same year as “Alcina”. People were raving for Porpora, actually, more than for Händel. This is the moment where Porpora took all the star singers of the troupe of Händel. And when Porpora arrived in London they all moved to Porpora’s because Porpora was the singing teacher of all those stars. So it was like a devotion to the master, going back to him. 

“Ifigenia” is quite demanding for singers. It’s difficult to cast. And you can recognize what is for Farinelli with wonderful spinato, with wonderful pieces. So, you have beautiful recits and incredible virtuosi for Diana and she has the biggest part of the arias in the opera. So, you have a trio, you have a duet for bass and a soprano which is quite unusual. You have accompanied recits, as I said, and some incredible numbers. For instance, there is a pastoral in the beginning of the third act sung by Achilles with flutes and oboes. It’s an atmosphere that’s really unique. It’s Porpora genius. So, we don’t know much about operas by Porpora, do we? I don’t know how much you know about Porpora. If you’ve seen the film, “Farinelli”, there’s a wonderful aria “Alto Giove, è Tua Grazia” which is now a hit for all the countertenors. But here you have new hits for the singers. 

The drama is really going towards this terrible end which involves sacrifice, when Diana appears as the ex-machina and she solves the whole thing. But, the tension is quite interesting because the paths of the priests are very important in that piece. It is quite demanding vocally, but also the place in the libretto, that really says that religion should be “the law”, and Achilles is against him and says that reason should be the law. So, it’s a real fit between them and the priest also says we can manipulate the people so easily, with religion. So it’s quite terrible, and this is really what the libretto is about. This fight between religion and reason. Which is quite actual, actually. But, also something important in the 18th century. 

OW: How do you feel that the music accompanies the hall itself? What aesthetically are you discovering while having the music of this opera in the Margravial Opera House Bayreuth? What feels new to you?

CR: What’s new is actually the music because it’s a rediscovery and I’m surprised by every note, even the recitative secco. It’s unusual for us, not exactly what we are used to. But also, of course, performing in that special place really drives you in a special direction. I must say that the staging is quite nice because it doesn’t really give you an idea of time, but it is tribal and gives something very strong. It goes very well with the music and beautiful costumes, and some nudities. Also, the whole thing is done very well.   

OW: What is your story behind creating your ensemble Les Talens Lyriques in 1991? 

CR: We have more than 30 years of existence now, so it’s quite something. We’ve been quite honored this year, especially in Germany. I had a Händel prize in Gotenna. I was the privileged artist in Gertsberg, the Mozart Festspiele. And now here in Bayreuth, it’s quite an achievement. I am very proud of all those honors in Germany. I keep trying my best to find the finest and most honest way of interpreting this music. It’s nice because with age my ideas are very clear. So, we had more than seven days of orchestra for this opera and in two days we were ready. So, the rest was for the staging. The members of my ensemble are used to my way of working and they know exactly where I want them to go. So, it’s very efficient. And this is a big satisfaction.

OW: What educational projects for school children does Les Talens Lyriques offer? How do you feel music education of young persons affects the future of local communities? 

CR: We offer many things, actually. We’ve started the youth educational project because we were looking for places to rehearse in Paris. This is really a difficult matter in Paris, to find places where my group could rehearse. So, I thought maybe let’s go to schools and have the spaces there and make this music exist for those young people. And then the project developed, so they are now participating a lot through education so they can play as an orchestra with tablets. So, one has the violin part, one has the viola part, and they play together along with a conductor giving the top to start. There is also education for composition and improvisation on harpsichord. There are some orchestra classes, too, where we teach them to play and experience the instruments. This is very important so they understand how much you have to be concentrated and devoted to an instrument to be able to produce. They can come to rehearsals, maybe in theaters as well. Some of the young people actually followed us in Vienna, last season. They had contact with the local students. When we performed “The Magic Flute” once, they organized a show with all the figures of the opera with classes in theater as well. They’ve interviewed us and once there was a broadcast on France Musique radio. So, it’s quite rewarding for them. They’ve also filmed us, so there are many possibilities and many collaborations with different classes. Literature of course, and Italian or German classes, history. There is quite a lot of interest in our actions and it’s very touching. Sometimes they come very close to us, so we rehearse and you might have a student right next to the flute or the harpsichord, next to the cellos. And then they have a different way of receiving music, of course. All of these moments are very touching, I must say. And I think they have an impact on those young people as well, so that’s quite nice.

OW: What can you tell us about your experience with music as a child? When did you know that this was for you?

CR: I didn’t start that young. I was ten when I started. But, it was for me more a matter of aesthetics. I’m interested in archaeology. That was my first passion when I was very young. Then I went towards baroque aesthetics. So, it was about painting, theater, architecture and the music came quite late. But it was very clear that the harpsichord was the instrument for me because it was a kind of time machine. I could really dive into this world. 

OW: What projects do you have planned for the remainder of this year?

CR: I’ve been asked to conduct the Monteverdi Choir Orchestra. I was so impressed with this invitation. It was quite unexpected and I’m very enthusiastic about it because I’ve been a big admirer for this group for many years. It has influenced my way of being with this music. So, it’s quite something for me. Plus there are two Bach cantatas and one piece by Charpentier. I am very happy about this! It’s a big tour with seven concerts, including Germany, England, Italy. I have a lot of things to do in the future with Händel, a lot of Händel. And a US tour, along the west coast and then in Canada. It’s also quite varied, sometimes oratorio, chamber music, opera on stage, so it’s a wide panel of activities. Two operas by Händel, “Orlando” and “Giulio Cesare”. It’s one of my first loves in baroque music. I remember when I was a child growing up in Aix-en-Provence and I had the chance to attend the rehearsals and I remember the first Händel piece I heard there and it was a big shock. So I always keep Händel next to my heart. When we travel to the US as an ensemble we also try to give the “French touch” of music. French music is a big part of our activity. This is why when we go to the states we try to put a big part of French repertoire, including Rameau, Lully, and Montéclair. Those composers in the medium sized orchestra with a mezzo. And, we try to make American audiences travel to Versailles with us through the time machine of baroque music.

The post Q & A: Christophe Rousset on Porpora’s ‘Ifigenia in Aulide’ & Les Talens Lyriques Orchestra at Bayreuth Baroque Opera Festival 2024     appeared first on OperaWire.

The new ensemble, The Constellation Choir and Orchestra, will feature some of Europe’s most distinguished musicians and singers alongside special guest soloists.

The ensemble will be led by Gardiner in a series of concerts at five venues in Germany, France, Austria, and Luxembourg this December.

The tour is Gardiner’s response to direct personal invitations from the venues to assemble musicians and singers and the program will open at the Elbphilharmonie in Hamburg followed by concerts at the Wiener Konzerthaus, Philharmonie Luxembourg, Konzerthaus Dortmund, and Chateau de Versailles. There will also be a tour in 2025 and 2026.

In a statement, Gardiner said, “It gives me great pleasure to announce the foundation of Springhead Constellation, a unique new project embodying a vibrant collective of musical ensembles, creative artists and makers. Our flagship groups, The Constellation Orchestra and The Constellation Choir will produce ambitious, multidisciplinary performance projects that tour around the world. Our aspiration is to create accessible, engaging and educational performances that resonate across all generations and geographies. Since my return to conducting in Montpellier in July, I have been deeply moved and inspired by the extremely warm and enthusiastic messages of support I have received from musicians, presenters and promoters alike. I made clear when I parted company with the MCO earlier this summer that I was not in any sense ready to retire. I said I would be focussing on a rich variety of new projects. Springhead Constellation and this tour – which will be the first of many – represents the realisation of that commitment and I am hugely energised about what we can go on to achieve together. More than anything else, I am so excited and grateful to be working with such exceptional musicians once again, not forgetting the important lessons I have learnt and needed to learn from the past year.”

Earlier this summer Gardiner announced his resignation from Monteverdi Choir and Orchestras. The conductor announced in February that he was extending his leave of absence following an August 2023 incident in which Gardiner attacked bass William Thomas backstage during a performance of Berlioz’s “Les Troyens” because he exited the podium on the wrong side after the first part of the opera. The incident caused Gardiner to apologize publicly and cancel all public performances.

The post John Eliot Gardiner Announces Comeback, Launches New Orchestra & Choir appeared first on OperaWire.

The Monteverdi Choir and Orchestras has announced that Christophe Rousset will lead the ensemble MCO for its upcoming Baroque Christmas tour.

Rousset will make his MCO conducting debut this December before leading concerts at the Teatro alla Scala and the ensembles’ home at St Martin-in-the-Fields.

Rousset’s appointment follows the announcement that conductor and MCO founder Sir John Eliot Gardiner would step down from the organization following an assault on bass singer Will Thomas at the Berlioz Festival at La Côte-Saint-André in France in August of 2023.

“I’m very proud to have sung in the choir for the last 23 years and we are really excited that this December the Monteverdi Choir will collaborate with Christophe Rousset,” Choir member Sam Evans said in an official statement. “It is going to be a thrill for the Monteverdi Choir to bring Christophe’s vision for these Christmas masterpieces to life in what is a new chapter for us going forward.”

Rousset added, “I felt very honored to receive the invitation to conduct a Christmas programme with the MCO. From an early age, I have been a great fan of this ensemble and its founder. Having the chance to work with this wonderful ‘instrument’ at my fingertips is a great privilege.”

Rousset specializes in the performance of Baroque music on period instruments and is the founder of the French music ensemble Les Talens Lyriques. He has guest conducted at the Gran Theatre del Liceu, Teatro San Carlo Naples, Teatro alla Scala, Royal Opera House, and the Orchestra of the Age of Enlightenment.

The post Christophe Rousset Joins Monteverdi Choir for Christmas Tour appeared first on OperaWire.

In a recent poll, members of the ensemble were “deeply saddened” by the decision of his exit and had “no desire to sever ties.”

According to the Standard, the musicians polled 173 members (the organization employs 360 in total), and 96 percent of those polled were in favor of Gardiner being reinstated.

The statement read, “Contrary to recent suggestions in the press, we have no desire to sever ties with John Eliot. A recent poll of 173 of our musicians indicated 96 percent support for his return to conducting us. We fully uphold MCO’s commitment to hold John Eliot accountable for his actions and create a safe working environment, but we believe that this was achievable with him returning to the helm.”

The statement added, “However, we regret that, while implementing policy designed to ensure dignity and respect in the workplace, the views of musicians were ignored. We extend our heartfelt gratitude to John Eliot for over 60 years of extraordinary music-making and look forward to many more opportunities to join him in the future.”

Gardiner resigned on July 24 in a statement that noted, “After a long period of deep consideration and reflection, I have decided to step down as leader and Artistic Director of the Monteverdi Choir and Orchestras (MCO) with immediate effect. The MCO, which I founded in 1964, has been the proudest and most inspiring project of my life, and I have arrived at this decision with a heavy heart after six decades of remarkable collaborative achievement.”

In August of 2023, Gardiner hit bass William Thomas backstage during a performance of Berlioz’s “Les Troyens” because he exited the podium on the wrong side after the first part of the opera. The incident caused Gardiner to apologize publicly and cancel all public performances.

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In a statement, he said, “After a long period of deep consideration and reflection, I have decided to step down as leader and Artistic Director of the Monteverdi Choir and Orchestras (MCO) with immediate effect. The MCO, which I founded in 1964, has been the proudest and most inspiring project of my life, and I have arrived at this decision with a heavy heart after six decades of remarkable collaborative achievement.”

He added, “I have done a great deal of soul searching since the deeply regrettable incident at the Festival Berlioz at La Côte-Saint-André last August and have apologised repeatedly and unreservedly for losing control in such an inappropriate fashion. I have undergone extensive therapy and other counselling over the past 11 months and have learned a great deal about myself and my past behaviour, but I have reached the conclusion that the best way forward for both myself and for the MCO is to accept that a clear change in our relationship is necessary now for the good of both parties. After extensive discussions with the MCO board, I, therefore, feel that in the interests of the institution and its richly talented players – many of whom I value as close personal friends – the time has come for us to go our separate ways.”

The statement concluded, “For the avoidance of doubt, I am not in any sense ready to retire. I will be focussing on a rich variety of other activities including guest conducting, recording, writing, creative and education projects (to which I am deeply committed) as part of a lighter, lower pressure schedule. I truly feel energised and excited about the future and fully intend to commit wholeheartedly to carrying on the work that I remain passionate about and which is forever part of my DNA. My profound thanks go to the musicians, singers, sponsors and patrons of the MCO for all of their dedication, creativity and generous support. It has been a magnificent journey.”

The news comes after Gardiner announced in February that he was extending his leave of absence and said, “I am extending my time away from public music-making until later in the year in the wake of last August’s incident – something for which I have accepted full responsibility and profoundly regret.” In August of 2023, Gardiner attacked bass William Thomas backstage during a performance of Berlioz’s “Les Troyens” because he exited the podium on the wrong side after the first part of the opera. The incident caused Gardiner to apologize publicly and cancel all public performances.

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