Latest news with #EdwardGardner
Times
24-04-2025
- Entertainment
- Times
Daphnis and Chloe review — an eye-popping circus version of Ravel
Roll up, roll up? With its ambitious Multitudes festival, the Southbank Centre is on a mission to prove that it can put on a show and put orchestral music at the centre of it. It's a welcome commitment to a genre that the arts centre has sometimes seemed worryingly diffident about, despite the world-class ensembles that rely on the Royal Festival Hall to show off their talents. So, we went to the circus — sort of. Rarely if ever has a conductor surely been as close to whirring bodies as Edward Gardner was to the acrobats of Circa, an Australian troupe invited to collaborate with the London Philharmonic on an eye-popping presentation of Ravel's ballet score, Daphnis and Chloe — with another choreographic number by
The Independent
19-02-2025
- Entertainment
- The Independent
Conductor Edward Gardner says he ‘regrets' calling Italian opera singers mafia
British conductor Edward Gardner has said he 'regrets' making comments about the singers of an Italian opera house. The London Philharmonic Orchestra principal conductor was speaking about his debut at the Teatro San Carlo in Naples when he said the 'chorus is made up of two rival mafia families – who after one performance put each other in A&E'. In a statement, Gardner said: 'I would like to sincerely apologise to the members of the chorus of the San Carlo Opera House, Naples for my recent comments in an interview with The Times. 'I have deep respect and appreciation for the choir and its members. Shortly before my arrival in Naples I was informed that two members of the chorus had a public fight just outside the theatre resulting in one person being hospitalised. 'I was very surprised by this. However I did not intend to suggest that the choir were members of the mafia, and I am more than happy to retract that allegation. 'Performing Beethoven's 9th together in Ravello last summer was a meaningful experience that highlighted the talent, dedication, and hard work of this group. 'I regret that anything I said may have suggested otherwise because I have experienced first-hand the professionalism and excellence of this choir and I want to make it clear how much I value and respect everyone involved.' This follows Mayor of Naples and chairman of the San Carlo Foundation board, Gaetano Manfredi, reportedly saying he would sue Gardner. He called his comments 'very serious allegations that are completely unfounded', according to Italian reports. ' These are very serious allegations that are completely unfounded. We will act to protect the reputation of the San Carlo Theatre and its employees,' he said, according to Bachtrack. 'The defamatory statements attributed to Gardner undermine the prestige of a cultural institution of worldwide importance,' lawyers Angelo and Sergio Pisani, speaking on behalf of the theatre, said. 'Unfounded attacks such as these risk undermining the credibility of an institution that has made an important contribution to the dissemination of art and music for centuries.' Gardner is a former director of the English National Opera (ENO), and since last year been a musical director at the Norwegian National Opera and Ballet. He was made an OBE in 2012 for services to music, and won the Outstanding Achievement In Opera Oliver award in 2009. Gardner has conducted Riders To The Sea at the London Coliseum, and Punch And Judy at the Young Vic as well as the BBC Proms.
The Independent
18-02-2025
- Entertainment
- The Independent
Conductor Edward Gardner ‘regrets' mafia comments about Italian opera singers
British conductor Edward Gardner has said he 'regrets' and apologises for making comments about the singers of an Italian opera house. The London Philharmonic Orchestra principal conductor was speaking about his debut at the Teatro San Carlo in Naples when he said the 'chorus is made up of two rival mafia families — who after one performance put each other in A&E'. In a statement, Gardner said: 'I would like to sincerely apologise to the members of the chorus of the San Carlo Opera House, Naples for my recent comments in an interview with The Times. 'I have deep respect and appreciation for the choir and its members. Shortly before my arrival in Naples I was informed that two members of the chorus had a public fight just outside the theatre resulting in one person being hospitalised. 'I was very surprised by this. However I did not intend to suggest that the choir were members of the mafia, and I am more than happy to retract that allegation. 'Performing Beethoven's 9th together in Ravello last summer was a meaningful experience that highlighted the talent, dedication, and hard work of this group. 'I regret that anything I said may have suggested otherwise because I have experienced first-hand the professionalism and excellence of this choir and I want to make it clear how much I value and respect everyone involved.' This follows Mayor of Naples and chairman of the San Carlo Foundation board, Gaetano Manfredi, reportedly saying he would sue Gardner. He called his comments 'very serious allegations that are completely unfounded', according to Italian reports. Gardner is a former director of the English National Opera (ENO), and since last year been a musical director at the Norwegian National Opera and Ballet. He was made an OBE in 2012 for services to music, and won the Outstanding Achievement In Opera Oliver award in 2009. Gardner has conducted Riders To The Sea at the London Coliseum, and Punch And Judy at the Young Vic as well as the BBC Proms.
Yahoo
18-02-2025
- Entertainment
- Yahoo
Conductor sorry for calling Italian singers Mafia
A British conductor has apologised for likening singers at one of Italy's leading opera houses to warring Mafia families. Edward Gardner, who is principal conductor of the London Philharmonic Orchestra, was threatened with a defamation action for his comments about chorus members at the Teatro San Carlo in Naples. Speaking to the Times last month about a recent appearance at the venue, Gardner said: "The chorus is made up of two rival Mafia families - who after one performance put each other in A&E." In a statement issued by the opera house, he said he wanted to "sincerely apologise to the members of the chorus of the San Carlo Opera House". Gardner explained: "Shortly before my arrival in Naples I was informed that two members of the chorus had a public fight just outside the theatre resulting in one person being hospitalised. I was very surprised by this. "However I did not intend to suggest that the choir were members of the Mafia, and I am more than happy to retract that allegation." Gardner said he had "deep respect and appreciation for the choir and its members", and his appearance in Naples last summer was "a meaningful experience that highlighted the talent, dedication, and hard work of this group". "I regret that anything I said may have suggested otherwise because I have experienced firsthand the professionalism and excellence of this choir and I want to make it clear how much I value and respect everyone involved," he continued. His original comments angered the mayor of Naples, who said they were "very serious allegations that are completely unfounded".
The Guardian
30-01-2025
- Entertainment
- The Guardian
Brahms: Ein Deutsches Requiem album review
Edward Gardner and his Bergen Philharmonic forces offer a detailed, considered performance of Brahms's humanist masterpiece. Tempos are steady and sombre, the playing full of warmth, and there are heartfelt vocal solos from Johanna Wallroth and Brian Mulligan. The tone in the first movement is beautifully dark, the lower strings (the violins are silent in this movement) taking the music down into a velvety blackness, the wind soloists lavishing care on every line. It's a highly promising start. Yet while the attention to detail continues, so does the carefulness, and the latter is perhaps too dominant. The work's sense of consolation is captured more convincingly than its suggestion of release: the culmination of the penultimate movement loses its joyous momentum and remains earthbound. That said, there's much to enjoy. Mulligan's baritone solo in the third movement conveys tension and desperation while still sounding beautiful, and is answered by choral singing that's impressively agile and secure of pitch. However, although the large choral forces comprise three massed choirs, one isn't often struck by their power: there's not much space in the recorded sound between voices and orchestra, leaving the chorus feeling a little far back in the mix. The result is that, Mulligan excepted, the words don't leap out quite as they should in this of all Requiems.
