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The Latest Breaking News from Edward Gardner

Conductor Edward Gardner ‘regrets’ mafia comments about Italian opera singers

The London Philharmonic Orchestra principal conductor was speaking about his debut at the Teatro San Carlo in Naples.

Evening Standard

Conductor Edward Gardner says he ‘regrets’ calling Italian opera singers mafia

Mayor of Naples called Gardner’s comments ‘completely unfounded’

The Independent UK

The week in classical: Festen; Das Rheingold review – a dark, jubilant, five-star Turnage triumph

Daring, lyrical and brilliantly achieved, Mark-Anthony Turnage’s new opera is his best work yet. Plus, knockout Wagner on a shoestring

The Guardian - UK

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Brahms: Ein Deutsches Requiem album review – humanist masterpiece remains earthbound

Baritone Brian Mulligan impresses in Edward Gardner’s recording that is stronger on the work’s consolation than its celebration

The Guardian - UK

Tippett: Piano Concerto; Symphony No 2 album review – the energy of the music is irrepressible

Edward Gardner conducts first-rate performances of two rarely recorded works, bringing Tippett’s musical language into sharp focus

The Guardian - UK

LPO/Gardner/Ólafsson review – fierce Brahms and a rich Waley-Cohen premiere

Vikingur Ólafsson’s performance of Brahms’s first piano concerto was the evening’s main attraction, but those who left at the interval missed the world premiere of Freya Waley-Cohen’s ambitious and rich Mother Tongue

The Guardian - UK

Joyce DiDonato sings Berlioz review – you could almost feel the asp’s poison seeping into her veins

The mezzo-soprano’s hair-raising performance of The Death of Cleopatra was a tour de force, a suitable curtain-raiser for the LPO’s new season, with Edward Gardner and orchestra on fine form

The Guardian - UK

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Prom 23: Benjamin Grosvenor/LPO/Gardner review – heroically committed extreme pianism

Grosvenor’s special performance of Busoni’s Piano Concerto made vivid its sheer profusion of musical ideas and ferociously difficult solo part with immense skill

The Guardian - UK

Prom 23: Busoni's Piano Concerto at the Royal Albert Hall review – Benjamin Grosvenor's playing rippled and thundered

This was the first performance of the fiendishly difficult concerto at the Proms in 36 years

Evening Standard

Gardner/LPO review – tautly controlled Tippett, and whoops for Seong-Jin Cho’

The starry Korean pianist’s account of Beethoven’s Fourth Piano Concerto was joyous and compelling, while Gardner made a persuasive case for Tippett’s divisive second symphony

The Guardian - UK

The Seven Deadly Sins review – LPO play Brecht and Weill with bite and swing

Danielle de Niese took on twinned roles of dancer and singer Anna with great style, the evening introduced by João Barradas’s fiery accordion

The Guardian - UK

Dance Reimagined review – LPO and Wayne McGregor are a dream team, but AI lets them down

Tonight’s Tania León premiere and reconceptualised Szymanowski ballet made a heady combination, with no need for technical trickery

The Guardian - UK

English National Opera cuts risk ‘killing off of art form’, warn prominent music directors

Former ENO conductors Edward Gardner, Sir Mark Elder and the Royal Opera House’s Sir Antonio Pappano said cuts would make company ‘an empty shell of its former self’

The Independent UK

Prom 36 A Space Odyssey: LPO/Gardner review – unsettling and awesome

Intense and finely focused performances of the Ligeti and Strauss pieces used in Kubrick’s sci-fi epic revealed every detail of their unearthly majesty and awesome extremes

The Guardian - UK

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The Guardian - UK

Turbocharge philanthropy, conga to Beethoven, ditch the ukuleles: 10 ways to save classical music

After cuts by Arts Council England and the BBC, Simon Rattle says UK opera houses and orchestras have never faced greater peril. How can they fight back? Top musicians outline their battle plans

The Guardian - UK

LPO/Gardner review – Brett Dean provides tantalising prelude to cool Mahler

World premiere of this extract from Dean’s ‘planned opera’ was full of vivid colour and ear-catching textures. The Mahler that followed was stylish and unsentimental

Evening Standard

LPO/Gardner at the Royal Festival Hall: Brett Dean’s premiere showed a right royal row (again)

This new work by the orchestra’s composer-in-residence oscillated between the dramatic and the contemplative

The Guardian - UK

The Damnation of Faust review – Berlioz’s exemplary evocations of heaven and hell

Edward Gardner and the London Philharmonic offered a timely reminder of Berlioz’s astonishing gifts as a choral and orchestral writer

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The Guardian - UK

LPO/Gardner review – magical outing for Tippett’s ‘unplayable’ piano concerto

Coleridge-Taylor’s stately, long-lost Solemn Prelude and a crisp, exploratory interpretation of Elgar’s first symphony completed a trio of English compositions

Chicago Sun-Times

Avalon Regal Theater: What’s up with old movie palace with glorious past?

Despite a history of nearly a century of cultural significance, the theater has sat mostly empty since 2003.

The Guardian - UK

Quirky, revelatory, intimate … the best classical releases of 2022

From live Tippett, locked-down Debussy and luminous Charles Koechlin to dazzling Szymanowski and dextrous Beethoven, we pick the outstanding releases of the past 12 months

The Guardian - UK

The week in classical: It’s a Wonderful Life; A Child of Our Time; IMS Prussia Cove – review

ENO’s warm-hearted production of Jake Heggie’s operatic take on the classic Frank Capra film is full of poignant ironies

Evening Standard

A Child of our Time/Serenade to Music, LPO/Gardner at the Royal Festival Hall concert review - inspired

These two pieces are rarely played together but it turned out to work perfectly

The Guardian - UK

The Midsummer Marriage review – Tippett’s heady mix has the recording it deserves

Gardner captures perfectly the overflowing exuberance of Tippett’s score, with Toby Spence and Jennifer France an ideal Jack and Bella

The Guardian - UK

Gurrelieder review – Schoenberg’s soundworld thrills under Gardner’s baton

Conductor Edward Gardner opened the London Philharmonic’s season with a detailed and focused performance of Schoenberg’s formidable cantata.

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