All posts by City of London Sinfonia

We create dynamic and engaging musical experiences for people of all ages and backgrounds, performing throughout London and the UK in concert halls, schools and hospitals, alternative venue spaces and diverse community settings.

The influence of Absolute Bird

Our three Absolute Bird programmes in the spring are influencing the majority of the work we’re doing in 2019, challenging and marvelling audiences and project participants alike. As our chairman, John Singer explains in our participation brochure, our artistic programmes – such as Absolute Bird and, previously, Bach and the Cosmos – are not limited to our concert series. We also explore the relative themes, music techniques and pieces from these programmes to enthuse participants’ enjoyment in our daily activities in hospitals, hospices, specialist care centres, care homes and schools.

In Absolute Bird, we’re performing a vast range of birdsong- and nature-inspired repertoire, from medieval rounds and canons such as Summer is icumen in to modern-day naturalistic sounds of the Outback by Hollis Taylor – some of the music being used to inspire multiple age groups in our wellbeing and education projects.

Here is just a taster of how we are using nature, namely birdsong, to inspire creative music-making beyond our concert series this year.

How birdsong is inspiring our projects

In our music-making workshops at St Christopher’s Hospice, patients are drawing inspiration from bird-related classical repertoire such as Couperin’s Le Rossignol en amour (featured in Absolute Bird: Flocks of Europe) and Les coucous benevoles, and excerpts of Stravinsky and Vivaldi to from their own creations of music and word with CLS musicians and workshop leader Sam Glazer.

St Christopher's Hospice visit January 2019
CLS musicians at St Christopher’s Hospice, Jan 2019

The young people at Bethlem and Maudsley Hospital School get to create something a bit special with Sound Artist Gawain Hewitt and CLS musicians this term: they’ll leave a legacy of birdsong-inspired sounds in the form of an interactive sonic tree sculpture. “How?” we hear you gasp. Well, the plan is to create a tree as large as six feet tall to house 24 interactive birds that, when touched, play back music composed during the sessions. “Naturific!” And audience members at our Queen Elizabeth Hall and Southwark Cathedral concerts in May will get to see this in action.

The “nature-niche” continues with members of Headway East London, a centre for survivors of brain injuries, who will create and perform music composed in response to Absolute Bird repertoire during their five-week project in March. Imagine a sonic flotilla of these recorded creations, shaped as river birds, floating down the canal – this is what Gawain is aiming to construct for a Headway EATS event.

Recently, our participation dream-team met with vocal leader and workshop facilitator Jessie Maryon Davies to get the creative juices flowing for our summer term Creative Primaries projects in Tower Hamlets and Harrow. There are lots of possibilities for bird-related stories and repertoire for pupils and our musicians to collaborate on in Key Stage One classrooms, so watch this space for their new music.

Creative Primaries Dec 2018 Suzi Corker
Primary schools engaged in Bach and the Cosmos in Dec 2018 (image: Suzi Corker)

We’re in the thick of creative music sessions at University College London Hospital (UCLH). In the first session this term, guitarist Jack Ross led the session with clarinettist Mel Henry and CLS Violin Clare Hayes, trying out some trios with bass clarinet, violin and guitar. They based the session on the story of a little chick, about which, with the help of our musicians, the young people created an original piece in response. Staff were loving it and people were passing by the classroom often – hopefully it brightened up their Monday morning!

Where else are we using birdsong?

The subjects of nature and birdsong are also at the centre of our Comfortable Classical concerts in February and March at the Albany, Deptford, and Canada Water Theatre. Our wind and string ensembles are going to be playing and introducing the music in three relaxed lunchtime performances for anyone and everyone, from young children to older adults. Audience members are also encouraged to take up other relaxing activities (such as drawing, colouring or knitting!) while listening to the music.


Be sure to keep up to date with all our activities on Twitter @cityldnsinfonia, and on Facebook and Instagram (@cityoflondonsinfonia). You can also visit our website for information on our wellbeing and education projects, and our upcoming performances.

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“From Bingo to Bartok”: Creative and Innovative Approaches to Involving Older People with Orchestras

On 25 January 2019, we published “From Bingo to Bartok”: Creative and Innovative Approaches to Involving Older People with Orchestras, a free online publication with Orchestras Live and commissioned by the Baring Foundation.

Co-edited by our very own CEO Matthew Swann and Orchestras Live CEO Sarah Derbyshire, From Bingo to Bartok illustrates some of the best examples of orchestral work engaging older people from many classical music organisations around the UK.

The publication’s case studies cover projects in communities where classical music is supporting older people living better lives and meeting the challenges of health and loneliness – about which Matthew says:

“These projects show how orchestras can bring huge societal benefit in an area of growing need. They also show how these same projects can deliver enormous artistic and organisation benefits to orchestras through developing the skills of our musicians, creating performance opportunities and opening income streams.”

Download From Bingo to Bartok

You can view our own case studies in chapters five and seven, detailing our approach to sharing music experiences with older people in care homes and to intergenerational concerts through Relaxed performances.

Find out more about our Wellbeing work

The CLS team’s 2018 highlights

There have been so many great moments at City of London Sinfonia in 2018. Our team have been reflecting on some of their participation and performance highlights – enjoy the read!

Headway East London
Headway East London

Headway East London

Fiona: Working with members of Headway and CLS musicians, led by Gawain Hewitt, to create music using a range of instruments including music technology to make it an accessible experience for everyone, and resulting in interactive ‘music boxes’ containing music samples from the project that remained at Headway. Headway had seen Gawain speak at a conference about inclusive and accessible music-making so were thrilled when we brought him in to lead the project – and it also linked well with our Modern Mystics concert series. There were some wonderful moments in this project including Waffy, our principal clarinettist, playing her clarinet into the canal and it being recorded on a hydrophone and a performance at Headway EATS (Headway’s monthly supper club) that included a member talking about the science of sound over the top of an improvisation.

Catherine: The project is great! I loved creating music with the members and helping out with the planet installations. There’s such a creative atmosphere there, it was great to see their art room and chat to Headway members.

Bethlem and Maudsley residency in Camberwell and Beckenham

Fiona: Creating music with young people from eight to 18 who are being treated for a broad range of psychiatric illnesses. It’s a highlight as a result of the growing relationship that we’ve established with the school; the number of CLS musicians who have been involved in the creative teams and making music alongside the young people; and the body of work that has been produced in the moment – some of which had been shared in our podcasts and performed at the QEH as part of The Hexagon installation, designed and created by Gawain Hewitt.

October 16, 2018_Reception-QEH_054bw
30 years of participation work celebration at the QEH

St Christopher’s Hospice workshop in Sydenham

Zak: Music is a way of living, and the people in this workshop were testament to that. The term ‘hospice’ comes with connotations of sadness, sickness and loss – but were you to walk into this brightly lit cottage at St Christopher’s, you’d be faced instead with instant new friends who represent a pure, focused way of living. And laughing. Channelling all that into music and hearing their composition lifted me up spiritually, a feeling the whole group must’ve shared.

Creative Primaries in Harrow

Fi: During the sharing of our Creative Primaries project in Harrow, I loved listening to our ensemble play Trisch-Trasch Polka whilst the Year-2 pupils and their parents/carers listened, and some of the children showed their enjoyment by miming playing the violin and dancing.

Zak: In the workshop, John made me feel like a kid again. I felt the sheer joy of learning about music in an immersive and playful way. The way the kids jumped at the chance to compose music, the way they laughed and cheered in unison, that’s how I felt on the inside.

Lullaby Concerts with Orchestras Live

Fi: A memorable moment in the Lullaby Concerts tour in October was when one toddler was so involved, he decided to invade the stage – man, that kid was a fast runner!

City of London Sinfonia.
Bach and the Cosmos: Bach Remixed. Queen Elizabeth Hall. Tuesday 16 October 2018.

Bach and the Cosmos series

Matthew: My highlight of the year was Bach’s Goldberg Variations at the Oxford University Mathematical Institute, with Professor James Sparks, that started our Bach and the Cosmos series. It was one of those moments where years of planning came together and worked perfectly – James was insightful and inspiring in explaining how and why Bach is such a mathematical composer and being so close to our musicians’ incredible playing of the Bach was thrilling. Just as wonderful was the next performance we did of that piece to an audience of older adults and very young children – with some of the latter deciding to wander through the orchestra to listen!

Zak: I’d never heard the B Minor Mass before. But it starts with an epic beginning, as if the heavens were opening, and even more appropriate then that it was in Southwark Cathedral. The beauty of this piece was not only the music, but the way you could actually see the audience thinking about the piece. They could walk around the cathedral whenever they pleased, as if they were admiring a sculpture and wanting to catch the sound from every possible angle, the way that Bach might’ve wanted it.

Catherine: Bach and the Cosmos was my first time seeing a concert at Southwark Cathedral. It’s an amazing venue and I loved seeing everyone move around during the performance and take it all in.

Tasha: Our Goldberg Variations University Tour was amazing. We got to road-trip to Oxford, Cambridge and Bristol, to venues and lecture theatres that the Orchestra had never performed in before. I loved the last concert in Bristol – rather than being on box office, I got to sit at the back of the auditorium and take it all in. Joely, one of our incredible cellists, started the concert with a beautiful solo version of the Bourrée from one of Bach’s Cello Suites before the rest of the strings joined in with Roderick Williams’ arrangement of it. It was such a powerful and moving concert – I definitely had tears at the end, and in between! As a marketer, seeing a brilliantly programmed concert series that you have been working on for the last few months come to fruition, and with great audiences, is incredibly rewarding.

City of London Sinfonia.
WW1 Centenary: Fauré Requiem. Southwark Cathedral. Saturday 10 November 2018.

WWI Centenary concert at Southwark Cathedral

Elaine: At the opposite end of the emotional spectrum, I sang in the performance of the Fauré Requiem at Southwark Cathedral to commemorate the end of World War one. It was intensely moving experience – especially listening to Bill Barclay’s emotive script.

La traviata at Opera Holland Park

Tasha: La traviata at Opera Holland Park was, without a doubt, the best opera production I’ve ever seen live. Lauren Fagan was just incredible as Violetta. There was one point during the first half – during the Sempre libera, I think – where she walked slowly forward towards the audience singing, just completely captivating us and owning the stage. OHP operas really show our Orchestra at their best too.

Concerts at St Paul’s Cathedral

Elaine: The May Organ Gala at St Paul’s included the mighty Saint-Saëns Organ Symphony. When the organ enters in the last movement the sheer noise and exuberance of the organ is thrilling and never fails to make me grin.

Alison: I’d have to say the St Paul’s Christmas concert was a highlight because it was one of my first concerts both in St Paul’s and with the full orchestra, plus it was really lovely getting to join in and have a sing-along. Nothing puts you in the festive spirit like belting out some descants!

Fi: Sitting behind the percussion during Sleigh Bells in the Christmas Celebration was so much fun!

CLS team in December 2018

Bethlem and Maudsley Hospital School Residency

In 2016, the Bethlem and Maudsley Hospital School invited our musicians to bring their creative, responsive approach to its young people, leading to our current three-year residency. The School, based at two sites in Camberwell and Beckenham, Kent, is attended by young people aged 8-18 from across London and the South East, all of whom are living with severe mental health and psychiatric conditions.

Mental health is a crucial issue for today’s young people with more than one in ten having a diagnosable condition, and more than half of adult mental health problems beginning in childhood. Presenting a broad range of conditions including anorexia and psychosis, the young people at Bethlem and Maudsley need transformational opportunities during a difficult time in their lives. Continue reading Bethlem and Maudsley Hospital School Residency

WWI Centenary concert in pictures

On Saturday 10 November 2018, we held a performance of words and music at Southwark Cathedral​ in commemoration of 100 years since the end of World War I. City of London Sinfonia also gave this performance in memory of their founder Richard Hickox CBE, who died 10 years ago in November.

Bill Barclay, narrator
Bill Barclay in WW1 Centenary: Fauré Requiem. (c) James Berry Photography

All the words narrated by Bill Barclay and Emma Pallant were collaged specifically for our concert, by Bill, from hundreds of memoirs and letters written by survivors of the Great War, including soldiers, officers, doctors, factory workers and family members. These documents can be found in the Imperial War Museum.

Baritone Stephen Whitford delivered expressive solo lines in the Offertoire and Libera me, and Southwark Cathedral Girls’ Choir sang the Pie Jesu prayer, originally written for solo soprano. Combined with Fauré’s orchestration and chamber textures, realised in this instance by conductor Paul Brough, these passages produce the special atmosphere of the Fauré Requiem, which enables the music to serve as a prayer for the dead to receive eternal rest.

Also featured in this commemorative performance were All Saints Kingston and St John the Divine Kennington choirs.

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All images © James Berry Photography for City of London Sinfonia, 2018.

WWI Centenary: Fauré Requiem

On Saturday 10 November (7pm), we’re holding a WWI Centenary performance of Fauré’s Requiem at Southwark Cathedral, in which the beautiful and consoling music will be interspersed with original readings, written by the Globe’s Director of Music, Bill Barclay. These texts, written to commemorate the end of the Great War 100 years ago, have been drawn from testaments of both people fighting and awaiting the return of loved ones at home.

Joining City of London Sinfonia in this special performance of words and music are narrators Bill Barclay (pictured middle) and Emma Pallant (pictured left), baritone Stephen Whitford (pictured right), conductor Paul Brough, and the choirs of Southwark Cathedral (Girls), All Saints Kingston and St John the Divine Kennington.

Tickets are available via the CLS Box Office online at cls.co.uk and by phone (020 7621 2800; Mon-Fri, 10-6). Tickets are also available on the door on the night of the concert from 6.15pm – subject to availability.

WWI Centenary Faure Requiem

Bach Remixed in pictures

On 16 October 2018, we presented our second performance in Southbank Centre’s newly refurbished Queen Elizabeth Hall. This time, in Bach Remixed, we turned our attention to JS Bach and his love of maths and numbers – the language of the cosmos. Take a look at our performance in pictures, captured beautifully by James Berry Photography.

From Komm, süßer Tod, Epiphoni Consort broke into Knut Nystedt’s contemporary reworking of the piece, Immortal Bach, in surround sound.

Epiphoni Consort
James Berry Photography. Epiphoni Consort in Bach and the Cosmos: Bach Remixed, 2018

Following four performances exploring notions of beauty and creativity in Bach’s Goldberg Variations, Professor James Sparks from the University of Oxford shared his knowledge on geometry, topology and symmetry in relation to Bach’s Musical Offering and Brandenburg Concerto No.3. We also learnt that cup = doughnut.

James Sparks Bach Remixed
James Berry Photography. James Sparks in in Bach and the Cosmos: Bach Remixed, 2018

Baritone Roderick Williams opened the second half by directing Singet dem Herrn, one of Bach’s most famous motets, from within the choir.

Roderick Williams and Epiphoni Consort
James Berry Photography. Roderick Williams and Epiphoni Consortin Bach and the Cosmos: Bach Remixed, 2018

Our audience enjoyed some unexpected and welcomed comedy from our Principal Oboe, Dan Bates, who starred in Roderick Williams’ modern interpretation of Ich habe genug for solo oboe. The end of the piece dovetailed effortlessly into the full cantata – a piece that Roderick champions and which we all delighted in watching.

City of London Sinfonia.
James Berry Photography. Ich habe genug with Roderick Williams and City of London Sinfonia in Bach and the Cosmos: Bach Remixed, 2018

All images in this blog post are © James Berry Photography for City of London Sinfonia, 2018. You can view more photos of this concert below and learn more about how our Bach and the Cosmos series unfolding on Twitter, Facebook and Instagram.

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The only way is up: Bach, Singet and B Minor Mass

Written by Andrew Dickson (Bass, The Epiphoni Consort)

Singing Bach is a little like mountaineering, I sometimes think. Not only is Johann Sebastien Bach (JSB) the greatest musician of all time (sorry, Mozart), but no other composer requires so much energy and concentration to rehearse, or so much balance and nerve to perform. The arcing lines and dancing rhythms, the switches from darkest tragedy to wild joy, the sheer muscular athleticism and dexterity required… you can ascend to dizzying heights, but only if you use all your muscles, including some you didn’t know you had. It’s upwards, always upwards.

To make things even more challenging, we in the Epiphoni Consort are scaling two pinnacles of the repertoire in CLS’s Bach and the Cosmos series. The first is the 1727 double-choir motet Singet dem Herrn (Sing Unto the Lord), with its delicate balance between exuberance and pathos, which we sing with the superb baritone Roderick Williams. The second is the real biggie – the mightiest, meatiest choral piece of them all: the Mass in B Minor, sometimes described as the summation of JSB’s career, in which we’re conducted by one of the greatest Bach interpreters alive, John Butt. As one of my fellow singers commented at a rehearsal the other night, “there really are a lot of notes”. Not so much mountaineering as marathon mountaineering, if that’s a thing.

Of course, it’s also a pleasure, and none of us would be doing it if it weren’t. Singet I first sang at university, and it’s a delight to reencounter it (though it’s more fiendish than I remember: apparently I’m not as athletic as I was). As well as drilling those notes, we’ve spent a long time focusing on the Lutheran text, which is deeply poignant, especially during the chorale section in the middle of the work: “Gott weiß, wir sind nur Staub. Gleich wie das Gras vom Rechen, Ein Blum und fallendes Laub…” (“God knows we are but dust. Just as the grass that is mown, a flower or falling leaf…”). Singing it is a powerful experience.

The B Minor Mass I first heard in my teens (in that legendary John Eliot Gardiner recording), but I’ve never actually sung it before – more reason our concert on Saturday feels special. This work, which Bach assembled from a collage of cantata movements he’d composed in Leipzig, was intended to show off his skills and catch the attention of a new employer across in Saxony. In that way, I suppose, it’s the greatest job application of all time. (Not that it worked: Bach spent the rest of his life grinding away in Leipzig.)

The Mass is utterly encyclopedic: from elaborate fugues and dizzying double-choir counterpoint to the simplest, slenderest solo arias and plainchant. Singing it, you feel like you’re exploring the furthest reaches of Bach’s architectural imagination. The way he builds the opening cries of “Kyrie”, like placing the great foundation stones of a cathedral, to the filigree of the Sanctus, where we in the bass section sing a joyous, swaying melody that descends through the octaves while the higher voices make shimmering patterns up in the heavens. Encyclopedic though it is, after a while you don’t see the individual textures or effects: you just feel the heft of the whole structure, its solidity and profundity. That, too, is rather moving.

As I hope is clear, it’s tricky, learning to keep your head at these altitudes, but it’s also hugely rewarding. Hopefully we’ll make it all the way to the top.

Bach and the Cosmos: B Minor Mass

The Epiphoni Consort perform Bach’s B Minor Mass with City of London Sinfonia, John Butt, Roderick Williams, Joanne Lunn, Rowan Pierce, Robin Blaze and Charles Daniels at Southwark Cathedral on Saturday 20 October 2018, 7.30pm. Tickets available via the CLS Box Office online, on the phone (020 7621 2800; M-F, 10-6) or on the door.

Your guide to Bach and the Cosmos

How do maths and music link together? In Bach and the Cosmos, we’ll explore the answer through music for orchestra and voice by JS Bach in concerts in London, Oxford, Cambridge and Bristol in October 2018.

Curated in collaboration with Roderick Williams OBE, our London series and University Tour feature some of Bach’s most numerical compositions, including the Goldberg Variations, Musical Offering, Brandenburg Concerto No.3 and B Minor Mass.

Who better to delve into all the mathematical structures and patterns in Bach’s music than a Professor of Mathematical Physics at the University of Oxford? Professor James Sparks joins our musicians at four of the top UK universities for maths and the Queen Elizabeth Hall to do just that in performances described as “TED talks…but with a live orchestra”.

Roderick Williams
(Image: Benjamin Ealovega) Roderick Williams directs and performs in Bach and the Cosmos

Our series bears three distinctive programmes of Bach’s music. In our Goldberg Variations tour (dates and venues below), Orchestra Leader Alexandra Wood directs the title piece alongside mathematical discovery with James Sparks.

You can see James again in Bach Remixed at Southbank Centre’s Queen Elizabeth Hall with a focus on different pieces and musical-methodological revelations. Baritone Roderick Williams and the Epiphoni Consort (pictured below) also join our line-up in vocal music including Ich habe genugSinget dem Herrn and Komm, süsser Tod. You can also see Roderick’s contemporary piece Enough for solo oboe performed by our very own Dan Bates.

Following their incredible performance in Modern Mystics last November, we’re excited to perform with the Epiphoni Consort at Southwark Cathedral again on Saturday 20 October in an immersive performance of Bach’s monumental B Minor Mass, conducted by renowned conductor and Bach interpreter John Butt.

Performance dates: London series

Wednesday 10 October, 1.30pm
Goldberg Variations, Relaxed Performance: Canada Water Theatre
Tickets: CLS Box Office | Canada Water Theatre Box Office

Wednesday 10 October, 7.30pm
Goldberg Variations: The Octagon, Queen Mary University of London
Tickets: CLS Box Office

Tuesday 16 October, 7.30pm
Bach Remixed: Queen Elizabeth Hall, Southbank Centre
Tickets: CLS Box Office | Southbank Centre Ticket Office

Saturday 20 October, 7.30pm
B Minor Mass: Southwark Cathedral
Tickets: CLS Box Office

University Tour: Goldberg Variations

Tuesday 9 October, 7.30pm
Mathematical Institute, University of Oxford
Free admission: register by email | More info

Wednesday 10 October, 7.30pm
The Octagon, Queen Mary University of London
Tickets: CLS Box Office

Thursday 11 October, 7.30pm
West Road Concert Hall, Cambridge
Tickets: CLS Box Office

Monday 15 October, 7.30pm
St George’s Bristol
Tickets: St George’s Bristol Box Office

Find out more with CEO Matthew Swann

On a cloudy day in Brixton, we caught up with CEO Matthew Swann who explains all about our Bach and the Cosmos programmes and collaborations.

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OHP 2018: Views from the Pit

It’s been an incredible Season of operas at Opera Holland Park: our fifteenth Season as orchestra in residence. From ‘one of the most moving Traviatas’ (The Mail on Sunday) ever staged to the passionately performed (Opera Today) UK premiere of Mascagni’s Italian verismo, Isabeau, Opera Holland Park’s 2018 Season truly had it all.

‘City of London Sinfonia is getting better year on year’
Seen and Heard International (Isabeau)

Throughout the Season, some of the CLS team have been getting behind-the-scenes insight from City of London Sinfonia musicians, conductors and the Opera Holland Park team, all featured in our Views from the Pit podcast mini-series – available on SoundCloud and Apple Podcasts. There’s talk about the Season’s four productions, insight into the rehearsals and opera experiences over the years, as well as insight into a typical day in the life of a professional musician.

Let us know what you think by giving us a like, leaving a comment or a review. You can also tweet us @CityLdnSinfonia or via Opera Holland Park’s dedicated hashtag for the Season, #OHP2018.

Views from the Pit: episode guide

Episode 1: James Clutton and Matthew Swann

Opera Holland Park’s Director of Opera, James Clutton, and CLS Chief Executive Matthew Swann discuss how Opera Holland Park has evolved over the years, the collaboration between both organisations, making opera more accessible to the widest possible audience and, of course, the four operas performed in the 2018 Season.

SoundCloud | Apple Podcasts

Episode 2: Così fan tutte with the strings

Following 2017’s marvellous interval biscuit talk, violinist Charlotte Reid and violist Matthew Maguire return to our podcast series to talk about Così fan tutte and performing an opera after spending a couple of hours working with children at University College London Hospital. We’re also joined by violinist Gabrielle Painter who describes Isabeau and a typical performance day during an OHP show run.

SoundCloud | Apple Podcasts

Episode 3: La traviata with the brass

Two of the Orchestra’s longest-standing members, French horn Mark Paine and Tuba Stephen Wick talk about the exciting and challenging orchestral moments in Verdi’s La traviata. They also go down memory lane, having both been performing at Opera Holland Park since 2004.

SoundCloud | Apple Podcasts

Episode 4: Ariadne auf Naxos with the woodwinds

The woodwinds are very important in Richard Strauss’ Ariadne auf Naxos – an opera that Principal Oboe Dan Bates has loved for 20+ years. We join Dan and Principal Clarinet Katherine ‘Waffy’ Spencer after a six-hour rehearsal of the opera to find out more about the incredible orchestral and vocal writing in Strauss’ score.

SoundCloud | Apple Podcasts

Episode 5: Opera Holland Park with Brad Cohen

In the fifth and final episode of Views from the Pit, conductor Brad Cohen expresses his excitement about conducting Ariadne auf Naxos at Opera Holland Park, giving insight into the rehearsal process and the challenges of moving Ariadne from Glasgow to London. He also explains what makes opera a unique artform.

SoundCloud | Apple Podcasts


Views from the Pit is presented by Tasha Allery and Gabriele Neuditschko, and features rehearsal footage from OHP 2018 dress rehearsals (Così fan tutte, Ariadne auf Naxos, Isabeau) and OHP 2017 dress rehearsals (Zazà). Images © Ali Wright for Opera Holland Park, 2018.