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Mark Wigglesworth

Conductor
Principal Guest Conductor, Adelaide Symphony Orchestra (from 2018)

Mark Wigglesworth to conduct the Royal Opera House's first production of Janáček From the House of the Dead at Covent Garden

29 September 2017

Mark Wigglesworth conducts Janáček’s final work, From the House of the Dead, in its Royal Opera House premiere in March 2018. The production is directed by Krzysztof Warlikowski.


Wigglesworth is renowned for his powerful interpretations of Janáček’s work:


“Mark Wigglesworth... offers a deeply humane performance. This is Janáček done slowly and lyrically, with the emphasis placed on the score’s dark poetry and depth of musical and psychological detail. The opera’s passion and compassion burn fiercely yet lingeringly: this is an interpretation that seeps under your skin rather than hits you in the solar plexus and is unquestionably all the more powerful for it.”
Guardian, 2016


The premiere is on March 7, 2018, with further performances on March 10, 14 19 and 22.

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2017 marked another highly successful summer for Intermusica's artists, who gave critically acclaimed performances at festivals all over Europe. Read a small selection of reviews below.


Brett Dean's Hamlet received its world premiere at Glyndebourne in June and was greeted with universal acclaim. The Sunday Times called it "the operatic event of the year", while in a five star review the Times wrote that “Dean’s skill at creating a supercharged orchestral subtext to each scene is matched by his immense theatricality. Quite apart from his unerring pacing of the story, he also creates at least a dozen moments where sheer sonority alone sends shivers up the spine… The overall impression is of a richly imaginative composer at the top of his game.”


Lise Davidsen made a critically acclaimed UK operatic debut in the title role of Ariadne auf Naxos at Glyndebourne Festival Opera in June. Described as possessing "one of the greatest voices I have ever head" by the Observer, Davidsen's debut was described as "one of those 'I was there' moments" by the Times.


Joshua Weilerstein made an "auspicious" debut at the Proms on 19 July, conducting the BBC Symphony Orchestra and his sister Alisa Weilerstein in a programme of Rebel, Berlioz and Pascal Dusapin. Classical Source praised his "admirably prepared and presented" Symphonie fantastique.


Nicholas Collon and his Aurora Orchestra returned to the Proms to perform another symphony from memory on 22 July. This time, they performed Beethoven Symphony No.3 ‘Eroica’, preceded by Strauss Metamorphosen. The Times called it “gripping stuff… an astonishing feat of concentration. With Nicholas Collon favouring speeds ranging from zippy to hair-raising, there was virtuosity all around the band too…an impassioned account of Strauss’s desolate but gorgeous Metamorphosen.”


The Pavel Haas Quartet made a stellar return to the Verbier Festival on 22 July, with Bachtrack praising the quartet for their "old-fashioned virtues of watchfulness, aural alertness and intense concentration... From the micro-perfection of its opening chord to an ethereally feathered final note, this was an Allegro con brio of unfolding joys."


Michel van der Aa was the Composer in Residence at this year's Lucerne Festival, with his works performed throughout the festival. The Luzerner Zeitung praised his "easy handling of current technological possiblities", while the Neue Zurcher Zeitung wrote that his "music theatre of beguiling opulence... might offer a view of the future of opera".


Mark Wigglesworth was joined by pianist Stephen Hough and the BBC Philharmonic at the Royal Albert Hall on 29 July to perform Brahms Piano Concerto No.1, David Sawyer The Greatest Happiness on Earth and Haydn Symphony No.99. The Sunday Times claimed that Wigglesworth demonstrated "the most authoritative conducting, instantly masterly, I’ve witnessed so far at these Proms, Bernard Haitink’s appearance apart. And Wigglesworth seems close to Haitink’s level... One knew all would be right about this account because Wigglesworth’s intensity was unanswerable.”


Sir John Eliot Gardiner had a busy summer, performing twice at the Proms as well as continuing the Monteverdi Trilogy tour at the Salzburg, Edinburgh and Berlin festivals. His Proms performance of Berlioz La damnation de Faust with the Orchestre Revolutionnaire et Romantique was described as "thrilling" by the Observer in a five star review, while the Salzburger Nachrichten praised the Monteverdi Trilogy performances at the Salzburg Festival: "The harmony and the symbiotic relationship of the performers and their conductor has reached a degree of perfection, which shows style, form awareness and playful freedom."


John Wilson gave two performances at the BBC Proms this year, with the BBC Scottish Symphony Orchestra and his John Wilson Orchestra. This year, Wilson led the JWO in two critically acclaimed performances of Rogers & Hammerstein Oklahoma! on 11 August: "no conductor appreciates the importance of an orchestration’s inner voices like Wilson, or is more adept at caressing a countermelody without letting it get in the way." (Spectator)


Andreas Haefliger returned to the Edinburgh International Festival this year, giving an "inspiringly commanding" solo recital in August: "Haefliger the thinker is also the pianist who held this audience enthralled until they leapt to their feet at the end, cheering." (Herald Scotland)


Also in Edinburgh, Richard Egarr led Iestyn Davies and the Academy of Ancient Music in two performances of Bach and Telemann. The Scotsman praised the performances, which were "delivered with a style and panache that lifted the notes clean off the page with their precisely pointed rhythms."


Chicago Symphony Orchestra’s Beyond the Score® was presented at the Proms on 23 August in “an excellent evening of innovation” (Bachtrack), with a a multi-media exploration of the symphony directed by Beyond the Score founder Gerard McBurney presented alongside a performance of Dvorák Symphony No.9 ‘From the New World’ from the Hallé Orchestra and Sir Mark Elder.  


Leonidas Kavakos reunited with Riccardo Chailly on 25 August, as Intermusica brought the conductor and his Filarmonica della Scala to the Proms to perform Brahms and Respighi. Kavakos performed the Brahms Violin Concerto, a performance which was praised for the "the way he made the music breathe and sing in lyrical, expansive paragraphs while remaining continuously alert both to subtleties of meaning and absolute directness of expression." (Guardian)


Kirill Gerstein continued his partnership with Semyon Bychkov on 31 August, joining the conductor and the BBC Symphony Orchestra to perform Rachmaninov Piano Concerto No.1:
"[Gerstein] delivered the slow movement with improvisatory freedom and dazzled with crystalline virtuosity in the finale." (Daily Telegraph)

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Mark Wigglesworth conducts BBC Philharmonic & Stephen Hough at the BBC Proms

15 July 2017

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BBC Proms

Mark Wigglesworth returns to the BBC Proms on 29 July 2017, when he is joined by his long-time collaborator, pianist Stephen Hough, and the BBC Philharmonic to perform Brahms Piano Concerto No.1 alongside Haydn Symphony No. 99 and David Sawyer The Greatest Happiness Principle. Wigglesworth conducted the 1997 world premiere of The Greatest Happiness Principle with the BBC National Orchestra of Wales.


Wigglesworth is returning to the Proms after last year's critically acclaimed performance of Wagner and Tippett with the BBC National Orchestra of Wales:


"The winds’ introduction to Brünnhilde’s first line here were beautiful, such detailing representative of Wigglesworth’s approach: he worked with the orchestral tapestry like a master craftsman... Wigglesworth’s mastery of the score [Tippett] was never in doubt, the pacing perfect, and that way of his with linear clarity was heard to full impact."
Classical Source, July 2016

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Mark Wigglesworth returns to conduct Malaysian Philharmonic

27 May 2017

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Malaysian Philharmonic

Mark Wigglesworth returns to the Malaysian Philharmonic Orchestra on 9 and 10 June 2017 to conduct them in concert at Kuala Lumpur’s Petronas Filharmonik Hall. Wigglesworth conducts a programme of Stravinsky Petrushka, Ravel Mother Goose Suite and Tchaikovsky Violin Concerto with violinist Nemanja Radulović.


Wigglesworth most recently appeared with the orchestra in March for two concerts presenting a programme of Beethoven Piano Concerto No.4 in G major (with pianist Stephen Hough) and Brahms Symphony No.2.


Wigglesworth conducts two further performances with the orchestra on 17 and 18 June, presenting a programme of Bizet, Verdi and Wagner. The orchestra are joined by soprano Tamara Wilson for Verdi Willow Song.

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The BBC announced the line-up for the 2017 Proms on 20 April 2017, and as ever Intermusica artists and orchestras play a leading role in the festival. Every Prom is broadcast live on BBC Radio 3 and on the BBC website, with select concerts broadcast on BBC television live or at a later date.


Simon Halsey’s Proms Youth Choir give the opening concert of the Proms on 14 July, performing John Adams Harmonium alongside the BBC Symphony Chorus and BBC Symphony Orchestra conducted by Edward Gardner.


Joshua Weilerstein makes his debut at the Proms on 19 July, conducting the BBC Symphony Orchestra at 7.30pm the Royal Albert Hall. Weilerstein conducts a programme of Rebel Les élémens – le chaos, Berlioz Symphonie fantastique and Pascal Dusapin’s cello concerto Outscape, for which he is joined by his sister, cellist Alisa Weilerstein.


Nicholas Collon and his Aurora Orchestra return to the Proms to perform another symphony from memory at 7.30pm on 22 July. This time, they perform Beethoven Symphony No.3 ‘Eroica’, preceded by an introduction from Tom Service accompanied by excerpts from Collon and the orchestra. The programme for the concert also includes Strauss Metamorphosen.


John Wilson makes the first of two appearances at this year’s Proms at 6.30pm on 25 July when he performs with the BBC Scottish Symphony Orchestra. Wilson, the orchestra’s Associate Guest Conductor, leads the orchestra in a programme of Vaughan Williams Symphony No.9 and Holst The Planets.


Christopher Purves also makes two appearances at the Proms this year, with his first coming on 27 July. Purves joins Juanjo Mena, the BBC Philharmonic and the Crouch End Festival Chorus to perform the London premiere of Mark Simpson The Immortal, an oratorio inspired by Victorian séances.


Mark Wigglesworth is joined by pianist Stephen Hough and the BBC Philharmonic at 7.30pm on 29 July to perform Brahms Piano Concerto No.1, David Sawyer The Greatest Happiness on Earth and Haydn Symphony No.99.


Sir James MacMillan’s European Requiem receives its European premiere at the Proms at 7pm on 30 July from the BBC National Orchestra of Wales and conductor Xian Zhang, with Jacques Imbrailo performing as the baritone soloist. 


Sir John Eliot Gardiner returns to the Proms on 2 August with the Monteverdi Choir and English Baroque Soloists, this time for a late night Prom at the Royal Albert Hall at 10.15pm. Gardiner conducts his ensembles in a performance of cantatas by Bach and Schütz.


David Butt Philip joins Kirill Karabits and the Bournemouth Symphony Orchestra for the first Proms performance of Prokofiev’s cantata Seven, They are Seven at 7.30pm on 7 August.


Sir John Eliot Gardiner makes his second Proms appearance of the year at 7.30pm on 8 August, this time conducting the Orchestre Révolutionnaire et Romantique in a performance of Berlioz La damnation du Faust.


Lise Davidsen makes her debut at the Proms at 7.30pm on 10 August with the BBC Philharmonic and John Storgårds. Davidsen joins the orchestra to perform Sibelius Luonnotar and extracts from Grieg Peer Gynt.


John Wilson’s second Proms appearance this year comes on 11 August when his John Wilson Orchestra returns for its annual concert. This year, Wilson leads the orchestra in two performances of Rogers & Hammerstein Oklahoma!, at 2pm and 7.30pm.


Christopher Purves joins the London Symphony Orchestra and Sir Simon Rattle for a performance of Schoenberg Gurrelieder at 7.30pm on 19 August. Also performing are three of Simon Halsey’s choruses – City of Birmingham Symphony Chorus, London Symphony Chorus and Orfeó Català. Halsey also leads a Gurrelieder Proms Extra Sing Day at London Imperial College earlier that day.


Tim Mead returns to the Proms alongside John Butt and the Dunedin Consort for the third concert of the Proms’ Reformation Day at 7.45pm on 20 August. Mead follows last year’s Bach Mass in B minor with Bach St John Passion, singing alongside a cast that also includes Sophie Bevan, Nicholas Mulroy, Matthew Brook and Andrew Tortise.


Chicago Symphony Orchestra’s Beyond the Score® appears at the Proms at 7.30pm on 23 August, with a performance of Dvorák Symphony No.9 ‘From the New World’ given by the Hallé Orchestra and Sir Mark Elder alongside a multi-media exploration of the symphony directed by Beyond the Score founder Gerard McBurney.


Leonidas Kavakos reunites with Riccardo Chailly at 6.30pm on 25 August, as Intermusica bring the conductor and his Filarmonica della Scala to the Proms to perform Brahms and Respighi. Kavakos joins the orchestra for Brahms Violin Concerto, which is followed by Respighi Fountains of Rome and Pines of Rome.


Joélle Harvey returns to the Proms as Glyndebourne’s production of Mozart La clemenza di Tito comes to the Royal Albert Hall at 7pm on 28 August. Harvey takes the role of Servilia, with accompaniment from the Orchestra of the Age of Enlightenment and Robin Ticciati.


Intermusica is delighted to bring the Oslo Philharmonic and Vasily Petrenko to the Proms at 7.30pm on 29 August. Petrenko conducts the orchestra in an all-Russian programme of Stravinsky The Firebird (1919 version), Rachmaninov Piano Concerto No.4 and Shostakovich Symphony No.12.


Kirill Gerstein continues his partnership with Semyon Bychkov at 7.30pm on 31 August, joining the conductor and the BBC Symphony Orchestra to perform Rachmaninov Piano Concerto No.1.


The Freiburg Baroque Orchestra bring an all-Mendelssohn programme to the Proms this year from 1pm on 3 September. Conducted by Pablo Heras-Casado, the orchestra perform Mendelssohn Hebrides Overture, Violin Concerto with Isabelle Faust and Symphony No.5


Ben Johnson joins Sakari Oramo, the BBC Symphony Orchestra and an international cast of soloists for the Last Night of the Proms on 9 September. The Last Night begins from 7.15pm and will be broadcast live on BBC Two, and Johnson sings Kodály Te Deum.

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Mark Wigglesworth wins Olivier Award for Outstanding Achievement in Opera

10 April 2017

External Links:
Olivier Awards

Mark Wigglesworth has been announced as the winner of the Olivier Award for Outstanding Achievement in Opera, it was announced at the Royal Albert Hall on 9 April 2017. Wigglesworth was chosen in recognition of outstanding conducting of English National Opera's Don Giovanni and Lulu, for which he received widespread critical acclaim (see below).


The Olivier Award is Wigglesworth's second honour of the season, following his award for Outstanding Contribution to the UK Opera Scene at the What's on Stage Opera Poll in January.


The Olivier Awards are Britain's foremost theatrical honours, recognising excellence in professional theatre over the last year. The awards ceremony was held at the Royal Albert Hall and will be broadcast on ITV on 11 April. The other nominees for the award were Renée Fleming for Der Rosenkavalier at the Royal Opera House and Stuart Skelton for Tristan und Isolde at ENO.


"At ENO, [the score] is most sensitively and lovingly conducted by Mark Wigglesworth, who draws playing of echt Viennese creaminess from his orchestra, making it sound as good as any in London."
Lulu - Daily Telegraph


"The seal is set on a fine performance by the subtle and well-balanced playing of the ENO Orchestra conducted by Mark Wigglesworth, who holds back so as not to drown the singers. Words and music work as one."
Lulu - Financial Times 


"[Mark Wigglesworth] gives us a taut, dramatic account of this great score. He has inspired the orchestra and singers to produce one of the most gripping ENO Mozart performances in living memory."
Don Giovanni Sunday Times 


"Mark Wigglesworth conducts with elegance, drama and warmth, making some unusual tempo choices that are insightful."
Don Giovanni Guardian 

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Mark Wigglesworth returns to Australia for concerts with Sydney Symphony Orchestra

Mark Wigglesworth ends March with a return to Australia for two weeks of concerts with the Adelaide and Sydney Symphony orchestras, beginning at Adelaide Town Hall on 31 March 2017.


Wigglesworth conducts the Adelaide Symphony at the Adelaide Town Hall in a programme of Strauss Emperor Waltzes, Korngold Violin Concerto with soloist Akiko Suwanai and Brahms Symphony No.2. They repeat the programme the following day.


He then continues to Sydney for two concerts with the Sydney Symphony at the Sydney Opera House on 5 and 6 April. Wigglesworth conducts a programme of Rachmaninov Symphony No.3 in A minor, Carl Vine Five Hallucinations for trombone and orchestra with trombone soloist Michael Mulcahy and Wagner Suite from Die Meistersinger von Nürnberg.

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Olivier Awards 2017: the Intermusica nominees

Nominees at this year’s Olivier Awards have been announced and several Intermusica names are featured, with Mark Wigglesworth’s work at ENO being recognised with a second consecutive nomination.


Mark Wigglesworth has been nominated for Outstanding Achievement in Opera, a year after ENO won the same award in 2016 for productions including The Force of Destiny and Lady Macbeth of Mtsensk conducted by Wigglesworth. This year Wigglesworth is nominated for his conducting of Don Giovanni and Lulu at ENO after outstanding reviews:


"The ENO orchestra was on exhilarating form… under the confident guidance of the conductor, Mark Wigglesworth."
Guardian on Lulu, November 2016


“He has inspired the orchestra and singers to produce one of the most gripping ENO Mozart performances in living memory."
Sunday Times on Don Giovanni, October 2016


Susanna Hurrell was one of the six starring singers in 4.48 Psychosis by Philip Venables, nominated for Best New Opera Production. 4.48 Psychosis was a co-production between the Royal Opera House and the Guildhall School of Music & Drama.


Also nominated for Best New Opera Production is Lulu at English National Opera, with Sir Willard White, Rebecca de Pont Davies and Michael Colvin, conducted by Mark Wigglesworth and directed by William Kentridge.


The Olivier Awards are the highest honour in British theatre, recognising excellence in professional theatre over the last year. Read the full list of nominees on the Olivier Awards website. The winners will be announced in a ceremony at the Royal Albert Hall on 9 April.

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Mark Wigglesworth returns to the Malaysian Philharmonic Orchestra

10 March 2017

External Links:
Malaysian Philharmonic Orchestra

Mark Wigglesworth returns to the Malaysian Philharmonic Orchestra this month to conduct two concerts at Kuala Lumpur’s Petronas Filharmonik Hall on 25 and 26 March 2017. He conducts a programme of Beethoven Piano Concerto No. 4 in G major (with pianist Stephen Hough) and Brahms Symphony No. 2.


Following the concerts in Malaysia, Wigglesworth continues on to Australia where he conducts two weeks of concerts with the Adelaide and Symphony Symphony Orchestras.

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Mark Wigglesworth returns to the National Symphony Orchestra at Kennedy Center

17 February 2017

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Kennedy Center

Mark Wigglesworth returns to the Washington D.C. this month to conduct the National Symphony Orchestra, stepping in for three concerts at Kennedy Center on 2, 3 and 4 March 2017. The programme includes Shostakovich Violin Concerto No. 1, performed by violinist Simone Lamsma, who makes her debut with the orchestra, and Brahms Symphony No.2. 


Wigglesworth is a noted interpreter of Shostakovich, conducting an acclaimed production of Lady Macbeth of Mtsensk at English National Opera as well as highly-praised recordings of four of the composer's symphonies with the Netherlands Radio Philharmonic:


"Wigglesworth leaves no doubt as to just how extraordinary so much of the score is, and how seditious it."
Guardian 


"This new issue of the powerful Symphony No. 11 is among the finest you will ever hear"
Classical CD Review


"Wigglesworth’s almost complete Shostakovich cycle is one of the finest – and most consistently satisfying – in the catalogue.” 
MusicWeb International 

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Mark Wigglesworth returns to the BBC National Orchestra of Wales for concerts in Cardiff & Swansea

26 January 2017

External Links:
BBC National Orchestra of Wales

Mark Wigglesworth returns to the BBC National Orchestra of Wales this month for concerts in St David’s Hall, Cardiff, on 9 February 2017 and Swansea’s Brangwyn Hall the following evening. He conducts the orchestra in a programme of Wagner Tannhäuser Overture, excerpts from Mahler Des Knaben Wunderhorn with baritone soloist Roderick Williams and Stravinsky Petrushka.


Wigglesworth has a long association with BBCNOW, conducting critically acclaimed Proms in 2016 and 2014:


"The winds’ introduction to Brünnhilde’s first line here were beautiful, such detailing representative of Wigglesworth’s approach: he worked with the orchestral tapestry like a master craftsman... Wigglesworth’s mastery of the score [Tippett] was never in doubt, the pacing perfect, and that way of his with linear clarity was heard to full impact."
Classical Source, July 2016 


“There are many big orchestral beasts still to appear in this Proms season, but when the summer’s highlights are recalled this superlative performance of Elgar’s First Symphony by the BBC National Orchestra of Wales under Mark Wigglesworth will surely be near the top. It had everything.”
Five stars, Times, August 2014  


“For Wigglesworth, conducting from memory, the symphony is something altogether more troubling – a work with deep turmoil at its core, in which both tranquillity and exaltation must be fought for and won. A powerhouse performance of great integrity, it was superbly played and often overwhelming in its impact.”
Guardian, August 2014

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Mark Wigglesworth wins Outstanding Contribution to the UK Opera Scene at the 2016 What’s On Stage Opera Poll

09 January 2017

External Links:
What's on Stage

Mark Wigglesworth received the award for Outstanding Contribution to the UK Opera Scene at the What’s On Stage Opera Poll on 4 January 2017. What’s on Stage nominated Wigglesworth for his “inspired” conducting of Don Giovanni, Jenůfa, Lulu and The Magic Flute at English National Opera. Lulu was also the runner-up in the Best New Opera Production category; you can listen to the performance on BBC Radio 3, first broadcast on 7 January and available for 30 days.


This latest award is further recognition of Wigglesworth and ENO, following a South Bank Sky Arts Award for Verdi The Force of Destiny in July 2016 and an Olivier Award for Outstanding Achievement in Opera in April 2016.


Wigglesworth’s conducting at ENO has been met with great acclaim, earning rave reviews for his work:


"At ENO, [the score] is most sensitively and lovingly conducted by Mark Wigglesworth, who draws playing of echt Viennese creaminess from his orchestra, making it sound as good as any in London."
Berg Lulu, Daily Telegraph, November 2016


"[Mark Wigglesworth] gives us a taut, dramatic account of this great score. He has inspired the orchestra and singers to produce one of the most gripping ENO Mozart performances in living memory."
Mozart Don Giovanni, Sunday Times, October 2016


"What [Wigglesworth] offers is a deeply humane performance... This is Janáček done slowly and lyrically, with the emphasis placed on the score’s dark poetry and depth of musical and psychological detail. The opera’s passion and compassion burn fiercely yet lingeringly: this is an interpretation that seeps under your skin rather than hits you in the solar plexus and is unquestionably all the more powerful for it."
Janáček Jenufa, Guardian, June 2016


"Mark Wigglesworth’s buoyant, elegant beat...Wigglesworth’s Mozart is sublime."
Mozart The Magic Flute, The Times, February 2016


"I’ve seldom heard the ENO orchestra sound so thrilling: under Mark Wigglesworth’s inspired direction, it rose to all the challenges of this wonderful score."
Verdi The Force of Destiny, Independent, November 2015

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Mark Wigglesworth returns to the Utah Symphony and Colorado Symphony Orchestras

31 December 2016

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Utah Symphony

Mark Wigglesworth returns to the USA at the beginning of 2017, returning to both the Utah and Colorado Symphony Orchestras.


On 13 and 14 January, Wigglesworth conducts the Utah Symphony conducts in a programme of Mozart Piano Concerto No.27 followed by Wagner Tristan und Isolde: An Orchestral Passion (arr. de Vlieger).


The following week sees Wigglesworth giving two performances with the Colorado Symphony at Boettcher Concert Hall on 20 and 21 January, when he conducts a programme of three first symphonies: Mozart Symphony No.1 in E-flat major K.16, Schubert Symphony No. 1 in D major D. 82, and Brahms Symphony No.1 in C minor Op.68.

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Mark Wigglesworth conducts ENO's new Lulu with Sir Willard White, Michael Colvin & Rebecca de Pont Davies

26 October 2016

Related profiles:
Sir Willard White
Michael Colvin
Rebecca de Pont Davies

External Links:
English National Opera

Mark Wigglesworth returns to English National Opera on 9 November 2016 to conduct Berg Lulu in a staging by director William Kentridge. Wigglesworth is joined by fellow Intermusica artists Sir Willard White, Michael Colvin and Rebecca de Pont Davies, who perform alongside Brenda Rae, Sarah Connolly, James Morris and Nicky Spence.


Sir Willard White takes on the role of Schigolch, with Michael Colvin as the Painter and Second Client, and Rebecca de Pont Davis as Girl’s Mother.


Highlights this season for Sir Willard White include Doktor in Wozzeck with the Dutch National Opera and a return to the Salzburg Festival, and for De Pont Davis, highlights include Kabanova in Janáček Káťa Kabanová in Turin and Auntie in Britten Peter Grimes at the Teatro Nacional de São Carlos. Later this season Michael Colvin returns to Canadian Opera Company to sing Monostatos Magic Flute and Thomas Scott Louis Riel. In summer 2017 he makes his debut at the Salzburg Festival.


There are further performances of Lulu at the Coliseum on 12, 14, 17 and 19 November.

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Christopher Purves & Mary Bevan star in Don Giovanni at English National Opera conducted by Mark Wigglesworth

16 September 2016

Related profiles:
Christopher Purves
Mary Bevan

External Links:
English National Opera

Christopher Purves stars in the title role of Mozart Don Giovanni alongside Mary Bevan as Zerlina under the baton of Mark Wigglesworth in Richard Jones' new production for English National Opera, which opens on 30 September 2016.


Purves spent this summer singing the role of Forester in Janacek The Cunning Little Vixen at Glyndebourne, a role that prompted the Guardian to comment:


“Christopher Purves, who in his closing hymn to nature, secures his position as one of our finest British baritones.”


Later this season Purves returns to the Royal Opera House, Covent Garden, in the role of Protector in George Benjamin Written on Skin. The role has recently garnered Purves considerable acclaim throughout Europe and North America.


Previously a Harewood Young Artist, soprano Mary Bevan returns to the ENO after last season’s success as Yum-Yum in The Mikado. This summer she also appeared at Garsington Opera as Elvira in Rossini L’Italiana in Algeri, and later this season headlines a concert tour to Asia alongside Tim Mead with Harry Bicket and The English Concert.


Mark Wigglesworth returns to English National Opera following several triumphant performances last season, which included critically acclaimed interpretations of Lady Macbeth of Mtsensk, The Force of DestinyThe Magic Flute and Jenufa:


"The opera’s passion and compassion burn fiercely yet lingeringly: this is an interpretation that seeps under your skin rather than hits you in the solar plexus and is unquestionably all the more powerful for it."
Guardian (Jenufa)


"Thanks to Mark Wigglesworth and a glowing ENO orchestra... it’s a true company achievement, and a life-enhancing, gloriously creative example of what opera in the 21st-century West End can be."
Spectator (The Magic Flute)


“Mark Wigglesworth, in conjunction with his superb choral and orchestral forces, contributes hugely to the compulsive effect of the drama.”
Five Stars, Evening Standard (The Force of Destiny)


"Mark Wigglesworth conducts them in a masterly interpretation marked by extreme contrasts between silken sensuous pianissimi and boilingly thunderous fortissimi. The playing is as good as anything in London."
Daily Telegraph (Lady Macbeth of Mtsensk).


Don Giovanni runs until 26 October at the London Coliseum. Click here to read more about the production, including an interview with Purves and Jones.

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Mark Wigglesworth conducts A Child of our Time in return to the BBC Proms

09 July 2016

External Links:
BBC Proms

Mark Wigglesworth returns to the BBC Proms on 23 July 2016 to conduct the BBC National Orchestra of Wales in a performance of Wagner Die Walküre (final scene) and Tippett A Child of Our Time with soloists Tamara Wilson, Pamela Helen Stephen, Peter Hoare and James Creswell, as well as the BBC National Chorus of Wales.


Wigglesworth last appeared at the BBC Proms in 2014, a performance which received huge critical acclaim. In a five star review, the Times commented:


“When the summer’s highlights are recalled this superlative performance of Elgar’s First Symphony by the BBC National Orchestra of Wales under Mark Wigglesworth will surely be near the top. It had everything.”

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"An interpretation that seeps under your skin": Mark Wigglesworth & David Alden triumph with Jenůfa at English National Opera

27 June 2016

Related profiles:
David Alden

External Links:
English National Opera

Mark Wigglesworth and David Alden have received rave reviews for their interpretation of Janáček Jenůfa at English National Opera, which opened on 23 June 2016.


Alden directed the revival of his Olivier Award-winning production from 2006, with Mark Wigglesworth again conducting the ENO orchestra following widely-praised performances of The Magic Flute, The Force of Destiny and Lady Macbeth of Mtsensk.


"What [Wigglesworth] offers is a deeply humane performance... This is Janáček done slowly and lyrically, with the emphasis placed on the score’s dark poetry and depth of musical and psychological detail. The opera’s passion and compassion burn fiercely yet lingeringly: this is an interpretation that seeps under your skin rather than hits you in the solar plexus and is unquestionably all the more powerful for it... the sexual, emotional and religious resonances are wonderfully explored and delineated throughout. The ending, in which Jenůfa and Laca finally move towards their first embrace, is a moment of real and genuine hope in a tragically jaded world."
Guardian


"David Alden’s uncompromisingly unvarnished staging of Janácek’s opera... still searingly potent... Mark Wigglesworth finds a dark lyricism and an immense sadness in the music."
Times 


"This is the second revival of David Alden’s 2006 production of Jenůfa, and it remains as grim and emotionally shattering as before... Mark Wigglesworth shapes a taut account of the score. Right from the searing, bittersweet opening, the music’s warmth and humanity speak directly. Even the most flawed characters are given the benefit of musical nuance."
Telegraph 


"David Alden’s production from 2006 knows what it is doing... Alden heightens the realism of the story with flashes of harsh psychological lighting and emotions that glare with their intensity... [Wigglesworth] conducts a personal performance... it certainly lands a punch."
Financial Times 


"David Alden’s brilliantly effective production... [Wigglesworth] gives an unbearably moving account of the score"
Independent 


"A revival of David Alden’s terrific 2006 production of Janacek’s Jenůfa that seems even more heart-rending than before... Wigglesworth has an extraordinary grasp of this score and the orchestra play their hearts out for him... But what Wigglesworth also realises so successfully is the accumulating tension of the act, through to a chilling final curtain. Alden’s production convincingly relocates the action to a bleak 20th-century industrial estate in the Eastern bloc; intensely focused, it has surreal touches and engages with the music to overwhelming effect."
Evening Standard 


"The fourth unqualified triumph for Mark Wigglesworth this season... The ever more amazing players of the ENO Orchestra under Wigglesworth capture the best of all possible worlds... Wigglesworth makes infinite distinction between the quieter dynamics, summed up by his subtly escalating emphasis on the two heart-surging violin phrases launching the final scene. But there's also the sheer,well-earthed power... with curtains to all three acts as electrically charged as Mackerras used to make them.... Alden makes the violence of the community's reaction terrifyingly palpable."
Arts Desk


Alden shows us that the characters are never isolated in their torments; the drama is one of human interaction, conflict and reconciliation. And, while realists among contemporary critics may have worried about the optimistic ending of Preissová’s play, here the final, heart-wrenching embrace of Laca and Jenůfa heals all wounds."
Opera Today 


"Mark Wigglesworth and the ENO Orchestra played out of their skins, not only extracting every ounce of beauty from the music but also every ounce of meaning... David Alden's direction is most notable for his getting very strong acting performances from every one of his singers and for his mastery of the claustrophobic attitudes of the Moravian village... Unmissable."
Bachtrack


"Alden’s production – back at ENO for its second revival – has a remarkable coherence... The other factor that succeeds, at times brilliantly, in Alden’s favour is Mark Wigglesworth’s tailoring of the score to suit the size of the production... Wigglesworth supported the English translation so that it sounded as fluent as the Czech the composer set."
Classical Source 


Jenůfa runs at English National Opera until 8 July.

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Mark Wigglesworth conducts David Alden's award winning Jenůfa at English National Opera

09 June 2016

Related profiles:
David Alden

External Links:
English National Opera

Mark Wigglesworth returns to English National Opera this month to conduct the opening night of David Alden's Olivier Award-winning production of Janáček Jenufa on 23 June 2016.


Wigglesworth conducts a cast that includes Laura Wilde in the title role, Michaela Martens as Kostelnička, Peter Hoare as Laca Klemeň and Nicky Spence as Števa Buryja.


Alden's production of Jenufa was first performed in 2006 and won an Olivier Award for Best New Opera Production. In a five-star review, the Times wrote that it was "a show that everyone should see".

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Mark Wigglesworth & English National Opera win South Bank Sky Arts Award for Force of Destiny

06 June 2016

Mark Wigglesworth and English National Opera were announced as the winners in the Opera category of the South Bank Sky Arts Awards for their critically-acclaimed production of Verdi The Force of Destiny on 5 June 2016. The award is a second major honour for Wigglesworth and the company, following soon after their Olivier Award for Outstanding Achievement in Opera in April this year.


Calixto Bieito’s production of The Force of Destiny was widely praised by the international press, with Wigglesworth and the orchestra receiving particularly glowing reviews:


“And the last word on the music belongs to Mr. Wigglesworth, for whom it represents a second triumph in his new job, after a decisive opening of the season with Shostakovich’s Lady Macbeth of Mtsensk. His mastery of the score was total, and his leadership clearly inspiring from the way the orchestra and chorus played and sang."
New York Times


"I’ve seldom heard the ENO orchestra sound so thrilling: under Mark Wigglesworth’s inspired direction, it rose to all the challenges of this wonderful score."
Independent


“Wigglesworth’s highly energised approach suits the unflinching directness of the staging – orchestrally and chorally the performance is high-class.”
Guardian


“It falls to Mark Wigglesworth, ENO’s new music director, to hold everything together. The climaxes from hell that he unleashes and the ENO Chorus’s highly charged singing are what really fire up the opera.”
Financial Times


"The chorus and orchestra sound fabulous, the company’s new music director Mark Wigglesworth offering an interpretation that lives, breathes and is full of heart.”
Critics’ Circle


“Mark Wigglesworth, in conjunction with his superb choral and orchestral forces, contributes hugely to the compulsive effect of the drama.”
Evening Standard


Wigglesworth next conducts English National Opera on 23 June, when he leads the opening night of the company’s revival of David Alden’s Olivier Award-winning production of Jenufa.

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Mark Wigglesworth conducts final of BBC Young Musician of the Year

01 May 2016

External Links:
BBC Young Musician of the Year

Mark Wigglesworth conducts the final of this year’s BBC Young Musician of the Year at the Barbican Centre on 15 May 2016, the first time the competition final has been held in London for fourteen years. The final sees the three young musicians perform a concerto of their choice, accompanied by the BBC Symphony Orchestra under the baton of Wigglesworth, and the concert will be recorded for broadcast on BBC Radio 3 and BBC Four.


Wigglesworth commented on his involvement in Competition:


“I am delighted to be part of the BBC’s celebration of this country's exceptional young musical talent. It is a privilege to be able to try and help a young musician enjoy the thrilling experience of playing with a wonderful professional orchestra for the first time.”

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Mark Wigglesworth, Rhian Lois and Christopher Purves in Shakespeare anniversary celebrations

20 April 2016

Related profiles:
Rhian Lois
Christopher Purves

External Links:
Shakespeare Live! From the RSC
Watch again on iPlayer

Mark Wigglesworth, Rhian Lois and Christopher Purves mark the anniversary of Shakespeare’s birth, and 400 years since his death, on 23 April in Stratford-upon-Avon.


Lois, Purves and Wigglesworth join the Orchestra of English National Opera on the stage of the Royal Shakespeare Theatre in Stratford-upon-Avon for Shakespeare Live!, a collaboration between the Royal Shakespeare Company and ENO.


Lois will sing the role of Héro in duet 'Vous soupirez, madame!' from Berlioz's Béatrice et Bénédict, while Purves will sing extracts from Verdi’s Falstaff, all alongside performances from renowned actors and dancers celebrating Shakespeare’s influence on drama, music and dance. Mark Wigglesworth will conduct and David Tenant and Catherine Tate will present the evening. Simon Russell Beale, Benedict Cumberbatch, Dame Judi Dench, Sir Ian McKellan and Helen Mirren are among the night’s other performers.


The show will be broadcast live on BBC Two from 8.30pm and will be screened live to Picturehouse cinemas in the UK and Europe, and around the rest of the world by BBC Worldwide.


Find out more about the Shakespeare celebrations taking place in 2016 on the Shakespeare400 website.


'Shakespeare Live! From the RSC' is available on BBC iPlayer until 21 May.

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Mark Wigglesworth: ENO wins Outstanding Achievement in Opera at the Olivier Awards

04 April 2016

External Links:
Olivier Awards

Mark Wigglesworth’s work at English National Opera was recognised at the highest level on Sunday 3 April 2016, as ENO won the award for Outstanding Achievement in Opera at the Olivier Awards. The Award recognised its productions of The Force of Destiny and Lady Macbeth of Mtsensk, both conducted by Wigglesworth, and The Queen of Spades. The Olivier Awards are recognised internationally as the highest honour in British theatre.


The Force of Destiny and Lady Macbeth of Mtsensk were met with glowing reviews from critics and audiences:


"I’ve seldom heard the ENO orchestra sound so thrilling: under Mark Wigglesworth’s inspired direction, it rose to all the challenges of this wonderful score."
Independent on The Force of Destiny


"Under the inspired direction of ENO’s new music director Mark Wigglesworth, and with an on-fire orchestra and chorus ferociously pumped up by extra brass bands, Lady Macbeth emerges as one of the 20th century’s greatest operatic scores...I could go on for pages. Just hear it.”
Times on Lady Macbeth of Mtsensk


"Appropriately enough, it’s Wigglesworth’s performance, and those he inspires from the company’s chorus, orchestra and soloists that are so memorable...Wigglesworth leaves no doubt as to just how extraordinary so much of the score is."
Guardian on Lady Macbeth of Mtsensk


Wigglesworth conducts Janáček's Jenůfa at ENO in June 2016 in David Alden’s staging, another Olivier-Award winning production. Jenůfa opens on 23 June – find out more and buy tickets on the ENO website

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Mark Wigglesworth, Daniil Trifonov & Sir James MacMillan's Cumnock Tryst shortlisted for RPS Music Awards

01 April 2016

Related profiles:
Daniil Trifonov
Sir James MacMillan

External Links:
RPS Music Awards

The Shortlists for the 2016 RPS Music Awards were announced on 31 March 2016, with Mark Wigglesworth and Daniil Trifonov shortlisted in the Conductor and Instrumentalist categories, while Sir James MacMillan's festival The Cumnock Tryst is shortlisted in the Concert Series and Festivals category.


Mark Wigglesworth’s nomination follows a run of highly acclaimed productions as Music Director of English National Opera in which his conducting has been hailed by the critics as “masterly" (Daily Telegraph) and “sublime” (Times).


Highlights for Daniil Trifonov this season include performances with the New York Philharmonic, Vienna Symphony and London Symphony orchestras, as well as a residency at the Wigmore Hall and recitals at Carnegie Hall, the Concertgebouw, Théatre des Champs Elysées among many others.


James MacMillan’s Cumnock Tryst is nominated in the Concert Series and Festivals category. The festival was founded by MacMillan in October 2014, and takes places annually in his native Ayrshire. Find out more on the Cumnock Tryst’s website.


The RPS Music Awards are the highest recognition for live classical music-making in the United Kingdom, and the winners will be announced in May 2016 at a special awards ceremony.

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Mark Wigglesworth makes return to the Adelaide Symphony Orchestra

18 March 2016

External Links:
Adelaide Symphony Orchestra

Mark Wigglesworth returns to Adelaide Symphony this month for two performances at Adelaide Town Hall on 1 and 2 April 2016, the second of which will be recorded by ABC Classic FM for broadcast on 9 April. Wigglesworth conducts a programme of Mozart Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major with soloists Natsuko Yoshimoto and Imants Larsens, and Elgar Symphony No.1 in A-flat major, Op.55.


The following week, Wigglesworth makes his debut with the Malaysian Philharmonic Orchestra. Wigglesworth gives two performances with the orchestra, both at Petronas Philharmonic Hall, on 9 and 10 April with a programme incluing Dvorák Cello Concerto in B minor with soloist Asier Polo, Elgar Variations on an Original Theme, Op.36 'Enigma' and Wagner Die Meistersinger von Nürnberg: Suite.

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Intermusica artists nominated for Olivier & International Opera Awards

Intermusica artists have been nominated for awards at the Olivier Awards and the International Opera Awards, recognising exceptional achievement in opera over the last year. Dame Felicity Palmer has been nominated for an Olivier Award for Outstanding Achievement in Opera, while Mark Wigglesworth and his work at English National Opera have been nominated at both the Oliviers and the International Opera Awards. Danielle de Niese, Gregory Kunde, Brett Dean and Simon Halsey have all been recognized at the International Opera Awards.


Mark Wigglesworth has been shortlisted for an International Opera Award in the Conductor category. This nomination comes during Mark Wigglesworth’s first season as Music Director at English National Opera, during which time his conducting has been hailed by the critics as “masterly" (Daily Telegraph) and “sublime” (Times). English National Opera has also been nominated for Outstanding Achievement in Opera at the Olivier Awards for its productions of The Force of Destiny and Lady Macbeth of Mtsensk, which were conducted by Wigglesworth.


Palmer has been nominated for her performance as the Countess in Tchaikovsky The Queen of Spades at English National Opera, which was greeted with universal critical acclaim:


“The outstanding performance of the evening… comes from Felicity Palmer, whose portrayal of the older Countess is an extraordinary tour de force of compelling stage presence”
Guardian


“Felicity Palmer is peerless as a Countess whose battleaxe demeanour crumbles to reveal the heartbreakingly lonely girl still inside.”
Times


"[Palmer's] spellbinding Gréty aria in the bedroom scene is the best-sung I've heard, little short of miraculous..."
Sunday Times


“The American director starred (only that word will do) Felicity Palmer as the countess… in remarkable vocal shape and proved spellbinding in her delivery of the Grétry aria – another time-stopping moment.”
Opera


Danielle de Niese, who premiered Bel Canto at Lyric Opera of Chicago which is on the shortlist for Best New Work, is nominated for the Readers’ Award at the International Opera Awards, the only vote open to the public – cast your vote here. 


Gregory Kunde is nominated for Best Male Singer – after title roles this season in Madrid, Barcelona and Valencia, he will make his Royal Opera House debut in July this year as Manrico Il trovatore.


ABC’s recording of Brett Dean’s opera Bliss has been nominated for Complete Opera CD. Dean’s work was premiered at Sydney Opera House in 2010, and was well-received by the critics:


“The work holds the attention to the end, sustained by Dean's wonderful score. To his well-known skills as an orchestral composer, Dean has added an under-utilised empathy for the voice. The sung lines drive the musical and dramatic pace, underscored by beautifully detailed instrumental textures, wrought with an innate feeling for the expressive power of instrumental timbre, watched over by counterpoint and fine motivic workmanship.”
Sydney Morning Herald


The Barbican’s production of Jonathan Dove The Monster in the Maze, which featured a chorus directed by Simon Halsey, has also been nominated in the category of Accessibility.

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“Rich and deliciously strange”: Mark Wigglesworth’s success at ENO continues with The Magic Flute

10 February 2016

External Links:
English National Opera

The critical acclaim for Mark Wigglesworth’s tenure as Music Director at English National Opera has continued with the company’s latest production, a revival of Simon McBurney’s The Magic Flute. Reviews from the opening night on 5 Febraury praised his conducting as “sublime” (Times) and “compelling” (Guardian). The production runs until 19 March – visit the ENO website for more information and tickets.


"Thanks to Mark Wigglesworth and a glowing ENO orchestra... it’s a true company achievement, and a life-enhancing, gloriously creative example of what opera in the 21st-century West End can be."
Spectator 


"Mark Wigglesworth’s buoyant, elegant beat...Wigglesworth’s Mozart is sublime."
Times


“It has been transformed by ENO’s new music director Mark Wigglesworth into something rich and deliciously strange....


[The] visual charge is nothing to the heat coming off Wigglesworth’s orchestra. From the nervy, dangerously swift Overture to the final chorus, he keeps the pace up throughout, while still finding space for moments of musical contemplation all the more ecstatic for their rarity."
The Arts Desk


"Mark Wigglesworth conducts with fizzing authority."
Independent


"The real hero of the evening is the conductor Mark Wigglesworth. In a raised pit, he draws buoyant and shapely playing from the orchestra, bringing to the score a glowing beauty and warmth…"
Daily Telegraph


"The compelling conducting of Mark Wigglesworth..."
Guardian


“An evening of joy that's wonderfully conducted by Mark Wigglesworth.


Spotlit throughout, English National Opera's music director fashions a performance of great charm and visible delight that makes the ideal balance and momentum seem effortless. Wigglesworth's headlong dive into the overture cuts through the pre-show chatter”
What’s on Stage


"Wigglesworth... made the music sound as fresh as the production, with textures well balanced and rhythms nicely sprung...There was much fine conducting here"
Seen and Heard International


"Mark Wigglesworth as conductor was an utter delight, he pulls and throws the music around the auditorium with all the playfulness and artfulness that it demands, with the orchestra raised up over the pit and part of the action, and with some of the players taking part in the staging this was a near perfect rendition"
G Scene


Watch Mark Wigglesworth introduce The Magic Flute by Mozart:

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Mark Wigglesworth conducts The Magic Flute at English National Opera

22 January 2016

External Links:
English National Opera

Mark Wigglesworth returns to the English National Opera on 5 February 2016, continuing his successful start as Music Director by conducting ten performances of Mozart The Magic Flute. Wigglesworth is joined for Simon McBurney's production by a cast that includes Allan Clayton, Lucy Crowe, Peter Coleman-Wright and James Creswell.


Following opening night, The Magic Flute runs until 9 March.

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"I’ve seldom heard the ENO orchestra sound so thrilling”: Mark Wigglesworth receives rave reviews for The Force of Destiny

11 November 2015

External Links:
English National Opera

Following his triumph with Shostakovich Lady Macbeth of Mtsensk, Mark Wigglesworth has received critical acclaim for Verdi The Force of Destiny to continue his fine start as Music Director of English National Opera. Wigglesworth was praised for his “highly energised approach” (Guardian), while his “superb choral and orchestral forces” (Evening Standard) were also highly commended.


The Force of Destiny runs until 4 December, with tickets available through English National Opera’s website. Read the reviews below:


"I’ve seldom heard the ENO orchestra sound so thrilling: under Mark Wigglesworth’s inspired direction, it rose to all the challenges of this wonderful score."
Independent


“Wigglesworth’s highly energised approach suits the unflinching directness of the staging – orchestrally and chorally the performance is high-class”
Guardian


"The chorus and orchestra sound fabulous, the company’s new music director Mark Wigglesworth offering an interpretation that lives, breathes and is full of heart”
Critics’ Circle


“It falls to Mark Wigglesworth, ENO’s new music director, to hold everything together. The climaxes from hell that he unleashes and the ENO Chorus’s highly charged singing are what really fire up the opera.”
Financial Times


“Mark Wigglesworth, in conjunction with his superb choral and orchestral forces, contributes hugely to the compulsive effect of the drama”
*****, Evening Standard


“And the last word on the music belongs to Mr. Wigglesworth, for whom it represents a second triumph in his new job, after a decisive opening of the season with Shostakovich’s Lady Macbeth of Mtsensk.


His mastery of the score was total, and his leadership clearly inspiring from the way the orchestra and chorus played and sang."
New York Times

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"A masterly interpretation": Mark Wigglesworth triumphs at first night as ENO Music Director

28 September 2015

External Links:
English National Opera

Mark Wigglesworth's first production as Music Director of English National Opera has opened to rave reviews from critics across the board. Lady Macbeth of the Mtsensk District "emerges as one of the 20th century’s greatest operatic scores" (Times) in Wigglesworth's hands, with his interpretation described as "masterly" by the Daily Telegraph and “an unforgettable company achievement" by What's On Stage.


The production runs until 20 October - click here to book tickets. Read the reviews below:


"Under the inspired direction of ENO’s new music director Mark Wigglesworth, and with an on-fire orchestra and chorus ferociously pumped up by extra brass bands, Lady Macbeth emerges as one of the 20th century’s greatest operatic scores.


Besides which, in Wigglesworth’s hands, some of the most astonishing moments are the quietest: serpentine bass lines presaging impending disaster; unaccompanied flute signifying the bleak loneliness of the terminally despairing; an off-stage bass intoning a quintessential Russian lament. I could go on for pages. Just hear it.”
Times, five stars


"Incoming Music Director Mark Wigglesworth conducts them in a masterly interpretation marked by extreme contrasts between silken sensuous pianissimi and boilingly thunderous fortissimi. The playing is as good as anything in London."
Daily Telegraph, four stars


"Appropriately enough, it’s Wigglesworth’s performance, and those he inspires from the company’s chorus, orchestra and soloists that are so memorable in the new show. He understands completely the musical world that Shostakovich had created for himself in the early 1930s, with its mix of expressionist dissonance and sardonic neoclassicism, its savage contrasts between rampant excess and yawning emptiness, and charges it with irresistible energy. Whether it’s in the monumental climaxes, with the brass bands weighing in from the boxes to either side of the Coliseum pit, or the brilliantly played gallops that give a manic brittleness to so much of the action, there’s a tremendous theatricality to the orchestral playing, which carries over into the wonderfully secure and vivid choral set pieces. Wigglesworth leaves no doubt as to just how extraordinary so much of the score is, and how seditious it, and the subject matter of the opera itself, must have seemed to Stalin and the Soviet hierarchy in 1936."
Guardian, four stars


"The ENO Orchestra’s stupendous playing under its new Music Director Mark Wigglesworth...


A conductor could go no further in eliciting from his players six pianos or five fortes, a noise so loud it set me on the brink of tears with sheer terror. Solos, from first violin down to contrabassoon, manage to sound unlike the instruments in question, which is a compliment."
Arts Desk, five stars


"Conductor Mark Wigglesworth revelled in every note, bringing out a dazzling range of colours from ENO’s orchestra, soft and nuanced when wanted, blisteringly intense in the loud climaxes, assisted by a huge brass section which overspilled the orchestra pit into the two boxes either side. This production launches Wigglesworth’s career as Music Director of ENO, and he could not have wished for a better vehicle with which to impress us."
Bachtrack

"Equally there is aching tragedy and desolation and playing from the ENO orchestra that finds real beauty in the bleakness. It is a tremendous and angry tour de force and could hardly throw down the gauntlet for ENO’s future with more defiance."
Edward Seckerson


"Mark Wigglesworth and his ENO Orchestra kick the ancien régime into touch with music making of such power and immediacy that it doesn't just communicate, it excoriates.


An expanded ENO Chorus in fine voice, helps turn Wigglesworth's personal triumph into an unforgettable company achievement"
What's on Stage

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Mark Wigglesworth begins English National Opera tenure with Lady Macbeth of the Mtsensk District

12 September 2015

External Links:
English National Opera

Mark Wigglesworth begins his tenure as Music Director of English National Opera on 26 September 2015 with the first of eight performances of Shostakovich Lady Macbeth of the Mtsensk District. Wigglesworth conducts a cast that includes Patricia Racette, John Daszak, Robert Hayward, Peter Hoare, Clare Presland and Matthew Best in a new production by Dmitri Tcherniakov.


Wigglesworth has been praised by BBC Music Magazine as "the finest Shostakovich interpretor of his generation" and has recorded many of the composer's symphonies for Bis with the Netherlands Radio Philharmonic Orchestra and BBC National Orchestra of Wales.

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Mark Wigglesworth conducts Sydney Symphony Orchestra at Sydney Opera House

17 April 2015

Mark Wigglesworth embarks on a tour of Australia during May, including three concerts with the Sydney Symphony Orchestra at the Sydney Opera House on 7, 8 and 9 May 2015. The concerts open with Mahler Des Knaben Wunderhorn with soloists Peter Coleman Wright and Caitlin Hulcup, and close with Tchaikovsky Act 2 from The Nutcracker.


He also returns to the Adelaide and Tasmanian Symphony orchestras. On 1 and 2 May 2015, Wigglesworth conducts the Adelaide Symphony Orchestra at Adelaide Town Hall in a programme of Haydn Symphony No.1, the Australian premiere of James MacMillan’s Viola Concerto with soloist Lawrence Power and Dvorák Symphony No.9, 'From the New World'. After returning to the Sydney Symphony Orchestra, Wigglesworth then ends his tour with the Tasmanian Symphony Orchestra and players from the Australian Youth Orchestra on 15 May. Wigglesworth will conduct Tchaikovsky Violin Concerto with soloist Karen Gomyo, followed by Shostakovich Symphony No.10, and the concert will be recorded by ABC Classic FM for broadcast on 16 May.


At the end of the month, Wigglesworth travels to Brazil to make his debut with the Orquestra Sinfônica do Estado de São Paulo. Wigglesworth will conduct three performances of Tippett A Child of Our Time on 28, 29 and 30 May, and will be joined by soloists Measha Brueggergosman, Susan Bickley, Stuart Skelton and Peter Coleman Wright.

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Mark Wigglesworth conducts Bruckner Symphony No.4 in Glasgow and Aberdeen

02 April 2015

External Links:
BBC Scottish Symphony Orchestra

Mark Wigglesworth returns to the BBC Scottish Symphony Orchestra for two concerts on 16 and 17 April.


Wigglesworth will conduct the orchestra at Glasgow City Halls on 16 April and Aberdeen Music Hall on 17 April in a programme that features Mahler Lieder aus 'Des Knaben Wunderhorn' with soloist Alice Coote and Bruckner Symphony No.4 in E-flat major.

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Mark Wigglesworth conducts Rise and Fall of the City of Mahagonny at Royal Opera House

11 February 2015

External Links:
Royal Opera House

Mark Wigglesworth conducts a new production of Bertolt Brecht and Kurt Weill's Rise and Fall of the City of Mahagonny at the Royal Opera House, Covent Garden, opening on 10 March. The production stars Sir Willard White, Anne Sofie von Otter and Christine Rice, and is directed by John Fulljames.


Mark Wigglesworth made his Royal Opera House debut in 1996 conducting Welsh National Opera's production of The Rake's Progress on the main stage. He returned in 2002 to conduct The Royal Opera's production of Die Meistersinger von Nürnberg. Rise and Fall of the City of Mahagonny comes ahead of his first season as Music Director of English National Opera, beginning in September 2015.


Seven performances of Rise and Fall of the City of Mahagonny will take place on 10, 12, 14, 24, 28 March, 1 and 4 April, with the performance on 1 April being broadcast live in cinemas – click here to find out where screenings are taking place. It will also be broadcast live on BBC Radio 3 on 14 March.

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"A real emotional rollercoaster”: Mark Wigglesworth's Proms performance in Guardian's top classical events of 2014

05 January 2015

Mark Wigglesworth’s BBC Prom in August 2014 with the BBC National Orchestra of Wales has been listed in the Guardian’s top 10 live classical events of 2014. The Guardian comments that, “the concert’s real high point was Wigglesworth’s interpretation of Elgar’s First Symphony, turbulent and exalted by turns and a real emotional rollercoaster”.


The Guardian also lists Wigglesworth’s return to the Royal Opera House as one of the seven unmissable classical events of 2015. Wigglesworth will conduct seven performances of a new production of Kurt Weill’s Rise and Fall of the City of Mahagonny, the first of which will take place in Covent Garden on 10 March.

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Mark Wigglesworth: concerts at BBC Proms and Edinburgh International Festival

23 July 2014

Mark Wigglesworth returns to the BBC Proms for a performance with the BBC National Orchestra of Wales on 6 August. The performance open with Wagner Overture to Das Liebesverbot followed by the London premiere of Mathias Violin Concerto with soloist Matthew Trusler. The concert closes with Elgar Symphony No.1.


The following week, Wigglesworth conducts two performances of Britten Owen Wingrave at the Edinburgh International Festival. A co-production between the Aldeburgh Festival and the Edinburgh Festival, the performances in Aldeburgh received huge critical acclaim with David Nice describing the production as “simply stupendous”.


The performances in Edinburgh take place at the King’s Theatre on 15 and 17 August, when Wigglesworth will again be joined by soloists Susan Bullock, Janis Kelly, Richard Berkeley-Steele and Jonathan Summers, and orchestral musicians from the Britten Pears Young Artist Programme.

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Mark Wigglesworth appointed Music Director of English National Opera

23 January 2014

Mark Wigglesworth has been announced as the new Music Director of English National Opera from the 2015/16 season. Wigglesworth will succeed Edward Gardner in September 2015.


Speaking of his appointment to ENO from 2015, Mark Wigglesworth said:


“I have worked at ENO often enough to know that talent and experience, professionalism and passion run through the entire company: the orchestra, the chorus, the technical team, and the whole administration. To be part of this family of experts will be inspiring and fulfilling in equal measure.
The core values of the company are those I hold most dear, music and drama delivered through collegiate brilliance, in a language the public understand; a public whose range and variety make them the most thrilling of all audiences. ENO has been close to my heart for over 30 years and to be part of its future is a privilege that I look forward to immensely.”


Wigglesworth has frequently conducted at ENO, in Lady Macbeth of Mtsensk (2001), Così fan tutte (2002 and 2003) Falstaff (2004), Katya Kabanova (2010) and Parsifal (2011) at the London Coliseum. About the latter production the Times commented: “Mark Wigglesworth’s lovingly-crafted Wagner conducting is one of the revelations of recent years, and the ENO orchestra and thrillingly augmented chorus perform brilliantly.”


John Berry, Artistic Director of ENO said:


"Mark is one of the most outstanding conductors of his generation and I’m thrilled to be working with him. He has already had great success with us in recent seasons, conducting acclaimed performances of Katya Kabanova and Parsifal, and his brilliant technique and natural flair for the theatre make him a natural choice to lead the Company.
I know Mark will make his presence felt and will support our mission to make ENO one of the most theatrically dynamic and musically exciting opera houses in the world.”


Equally at home in the concert hall or opera house, internationally acclaimed conductor Mark Wigglesworth has worked with orchestras across the UK, Europe and North America, including the Berlin Philharmonic, Amsterdam Concertgebouw, New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Boston Symphony, Philadelphia Orchestra, and Cleveland Orchestra. 

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Mark Wigglesworth returns to Bayerische Staatsoper

14 October 2013

This month Mark Wigglesworth returns to Munich for three performances of Mozart’s Così fan tutte at the Bayerische Staatsoper. The performances, produced by Dieter Dorn, will take place on 28 and 31 October, and 3 November.


Other forthcoming highlights of the season for Wigglesworth include performances at the Royal Opera House, Covent Garden, English National Opera, Tokyo Symphony, Netherlands Radio Philharmonic, Sydney and Melbourne symphony orchestras.

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Mark Wigglesworth critically acclaimed for performance with the BBCSO at London’s Barbican Hall

22 October 2012

Mark Wigglesworth has received great critical acclaim for his performance with the BBC Symphony Orchestra on 19 October at London’s Barbican Hall. Wigglesworth returned to the BBC Symphony Orchestra after his huge success with the orchestra at last year’s BBC Proms.


Wigglesworth conducted Tippett’s Triple Concerto with the Leopold Trio, followed by an arrangement of Wagner’s Ring by Dutch percussionist Henk de Vlieger entitled The Ring – An Orchestral Adventure. The performance received unanimous praise from the critics:


“Frankly, had Mark Wigglesworth only conducted Siegfried’s Funeral March in this concert’s second half, he would have consolidated an already glowing reputation as a top-notch Wagnerian. That he and the BBC Symphony Orchestra burned their symphonic way through Dutch percussionist Henk de Vlieger’s audacious, unbroken “orchestral adventure” turned this from an odd-looking programme on paper into a great one in practice.


Wigglesworth conjured a watery luminescence at the start as well as searing brilliance for the air through which the Valkyries fly, and there was a breathtaking transition from magic fire to forest murmurs …


It was tempting to spring up and proffer the missing soprano lines for her [Brünnhilde’s] immolation, but once she’d leapt into the flames, Wigglesworth did not disappoint in pacing the final cataclysm and unfurling the last great theme with all the assurance of a Knappertsbusch or a Furtwängler… Wigglesworth should be the house’s next choice of Ringmeister.”
The Arts Desk, October 2012 


 


“You wouldn’t automatically fit Wagner and Michael Tippett into the same basket. Trust [the BBC Symphony Orchestra] to programme a concert against the grain. Trust them too, along with the generously gifted conductor Mark Wigglesworth, to play Tippett and Wagner with equal heat and make the pair boon companions.


Both works in this concert took us on magical journeys. Tippett’s Triple Concerto, a product of the late 1970s, led us through day, night and the next day’s dawn with music both curt and florid, laced with the radiant gongs of gamelan ensembles. With Wagner we travelled farther and faster, thanks to The Ring — An Orchestral Adventure, a 60-minute rollercoaster ride through the music theatre cycle usually experienced over four nights …


Wigglesworth’s contribution was just as crucial [as that of the Leopold Trio], maintaining lucid interplay between soloists and orchestra, tying together stretches that can sometimes seem full of loose ends …


The conductor’s skills at pacing and shaping played a key role in keeping de Vlieger’s breathless “musical adventure” plausible as one bleeding chunk bled into another, eased by pockets of Wagner pastiche. Resplendent brass playing also helped Wagner’s glories to shine. Heard complete in the opera house, The Ring can make me fidgety. But here? Never a dull moment.”
The Times, October 2012 


 


“Mark Wigglesworth is one who could surely be considered a possible contender for the Royal Opera’s music directorship when it eventually comes up-for-grabs… He seemed to judge each Wagnerian moment perfectly whether it was playful, threatening, heroic, funereal or rapturous.”
Seen and Heard International, October 2012 


 


“Moving for me, too, was the journey through The Ring, particularly since it came soon after I lived through the real thing at Covent Garden. Listening to this tumultuous survey of the high points of the four dramas… put me in mind of Homer’s Odysseus, weeping to hear his own epic exploits recounted by the minstrel. The Ring is almost more intense alluded to than directly encountered, but this uninterrupted, wholly liberated, fantastically vivid discourse also suggested the new kind of (giant) symphony that Wagner was planning to write near the end of his life, but never did … And in this account it was utterly compelling.”
Paul Driver, The Sunday Times, October 2012 

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Intermusica represents Mark Wigglesworth worldwide

Stephen Lumsden
Managing Director
+44 20 7608 9911

Lucy Saunders
Artist Manager
+44 20 7608 9936
lsaunders@intermusica.co.uk

Isla Mundell-Perkins
Associate Manager, Vocal & Opera
+44 20 7608 9915
imundell-perkins@intermusica.co.uk

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