The Seckerson Tapes: Edward Gardner Interview | reviews, news & interviews
The Seckerson Tapes: Edward Gardner Interview
The Seckerson Tapes: Edward Gardner Interview
The English National Opera's whizz-kid chief conductor speaks
Sunday, 20 June 2010
Edward Gardner is no longer English National Opera's best kept secret. The former choral scholar and repetiteur goes from strength to strength helming ENO through productive and interesting times. The world's stages are now beckoning. During a break in final rehearsals for Mozart's great opera seria Idomeneo in a new production from multi-media queen Katie Mitchell he talks informally about what being music director of a company like this entails.
Edward Gardner is no longer English National Opera's best kept secret. The former choral scholar and repetiteur goes from strength to strength helming ENO through productive and interesting times. The world's stages are now beckoning. During a break in final rehearsals for Mozart's great opera seria Idomeneo in a new production from multi-media queen Katie Mitchell he talks informally about what being music director of a company like this entails.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Opera
A Midsummer Night’s Dream, Opera North review - one of the best and funniest
Perspex and Bubblewrap for a Sixties take on Britten's Shakespeare
The Turn of the Screw, English National Opera review - Jamesian ambiguities chillingly preserved
Pity and terror in Ailish Tynan’s anguished Governess and Isabella Bywater’s production
Trouble in Tahiti/A Quiet Place, Linbury Theatre review - top cast plays unhappy families
Mini-masterpiece and splashy sequel carried off with as much conviction as they can take
Blond Eckbert, English Touring Opera review - dark deeds afoot in the woods
Judith Weir’s chamber opera explores Freudian themes through a modern lens
The Marrriage of Figaro, Opera Project, Tobacco Factory, Bristol review - small is beautiful indeed
Mozart opera in the round delivers intimacy and joy
Béatrice et Bénédict, Irish National Opera, National Concert Hall, Dublin review - sung and spoken triumph
Shakespeare from Fiona Shaw ballasts superbly performed Berlioz
Il trittico, Welsh National Opera review - welcome back (but not a good sign)
Cast changes but no drop in quality
The Snowmaiden, English Touring Opera review - a rich harvest with modest means
Human warmth, and musical wealth, in Rimsky-Korsakov's fairy-tale
Suor Angelica, English National Opera review - isolated one-acter lacks emotional inscaping
Annilese Miskimmon’s mix of nuns and girls in trouble isn’t new, and not intense enough
The Magic Flute, Opera North review - a fresh vision of Mozart’s masterpiece
Projected imagery and light sabers in story seen through a child’s eyes
Eugene Onegin, Royal Opera review - the heart left cold
Promising youth trapped between exaggerated conducting and cool production
First Person: soprano Elizabeth Atherton on the decimation of the classical music sector in Wales
Singer who began her career on contract with Welsh National Opera clarifies savage cuts by Welsh and English Arts Councils
Add comment