8 July 2019, 7.30pm - Wigmore Hall, London
Our season concludes with a return to Wigmore Hall for an intriguing concert exploring Mozart’s travels across Europe. The programme comprises symphonies, concertos and arias composed in London, The Hague, Paris, Munich, Vienna, Prague and Rome, beginning and ending with two of Mozart’s finest early symphonies. In between, company Associate Artist Louise Alder – winner of the Audience Prize at the 2017 BBC Cardiff Singer of the World competition – sings three exquisite arias, and principals of our outstanding period-instrument orchestra take centre stage for two of Mozart’s most popular concertos.
Booking opens for this concert on 5 February 2019.
Symphony No.1 in E flat major, K.16
“O temerario Arbace… Per quel paterno amplesso”, K.79
Concerto in C major for Flute and Harp, K.299
“Se iI padre perdei” from Idomeneo, K.366
Horn Concerto No. 4 in E flat major, K.495
“Bella mia fiamma… Resta, o cara”, K.528
Symphony No.10 in G major, K.74
Louise Alder studied at the Royal College of Music International Opera School, where she was the inaugural Kiri Te Kanawa Scholar. She won the Young Singer Award at the 2017 International Opera Awards and the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition. She also won the 2015 inaugural Young British Soloists’ Competition, is the recipient of Glyndebourne’s 2014 John Christie Award and took 2nd Prize in the 2013 Kathleen Ferrier Competition. She is a Classical Opera Associate Artist, and has appeared with the company in Handel’s Messiah at Middle Temple Hall and in concert at Wigmore Hall and St John’s Smith Square. She is a member of the Frankfurt Opera Ensemble, where her roles have included Atalanta in a new production of Xerxes, Gilda (Rigoletto), Sophie (Werther) and Despina (Così fan tutte). Other opera roles have included Sophie (Der Rosenkavalier) for Welsh National Opera, Lucia (The Rape of Lucretia) and Zerlina (Don Giovanni) for Glyndebourne, Ilia (Idomeneo) for Garsington Opera, Euridice in Luigi Rossi’s Orpheus for the Royal Opera, Rapunzel (Into the Woods) for the Théâtre du Châtelet and Gilda, Susanna (Le nozze di Figaro), Cleopatra (Giulio Cesare), Sophie (Der Rosenkavalier), Gretel (Hänsel und Gretel) and the title role in The Cunning Little Vixen for Oper Frankfurt. In 2017 she sang the role of Marzelline in Fidelio at the BBC Proms.
Updated on 3 July 2018
Katy Bircher (flute) is established as a specialist of early flutes and, as such, has worked with most of the UK-based early music groups in repertoire ranging from Dowland to Wagner. As a soloist she has played concertos with the Dunedin Consort, the Academy of Ancient Music, La Serenissima, and Concerto Copenhagen, appearing in concerts across Europe, the United States and the Far East. Following her Gramophone Award-winning recording of Vivaldi concertos, ‘The French Connection’, with La Serenissima, she was selected to give the first performance and recording of the newly discovered ‘Il Gran Mogul’ concerto by Vivaldi (‘The French Connection’ 2, Avie). She has contributed to many critically acclaimed orchestral recordings as principal flute, notably Haydn’s The Creation with the Gabrieli Consort and Players, Bach’s Mass in B minor with Concerto Copenhagen and St John Passion with the Dunedin Consort. She teaches Baroque flute at the Guildhall School of Music and Drama and the Centre for Early Music Performance and Research at Birmingham University, and has given masterclasses in the UK and abroad.
Oliver Wass studied at the Guildhall School of Music & Drama, and is one of the UK’s leading young harpists. In May 2016, he became the first harpist ever to win the Guildhall Gold Medal, the Guildhall’s most prestigious prize, and he also recently won the Suoni d’Arpa International Competition in Italy. This performance will be his début with Classical Opera and The Mozartists.
Gavin Edwards (horn) graduated from the Guildhall School of Music and Drama, where he studied horn with Richard Bissell and Anthony Chiddel and natural horn with Anthony Halstead. After graduating he was appointed as principal horn of the Orchestre Sinfonica de Tenerife, returning to England shortly after to join the Hanover Band in their recordings of Beethoven’s, Schubert’s and Haydn’s symphonies. He is regular principal horn for a large number of period ensembles, including The Hanover Band, the English Baroque Soloists, the Orchestre Révolutionnaire et Romantique, the Orchestra of the Age of Enlightenment and the Academy of Ancient Music as well as Classical Opera.
Ian Page is the founder, conductor and Artistic Director of Classical Opera and The Mozartists. He began his musical education as a chorister at Westminster Abbey, and studied at the University of York and the Royal Academy of Music. Before founding in Classical Opera in 1997, he worked on the music staff at Scottish Opera, Opera Factory, Drottningholm and Glyndebourne.
With Classical Opera he has conducted most of Mozart’s early operas, including the world premières of the ‘original’ version of Mitridate, re di Ponto and a new completion of Zaide, as well as Le nozze di Figaro, Don Giovanni, Così fan tutte and La clemenza di Tito. He has also conducted the UK premières of Gluck’s La clemenza di Tito, Telemann’s Orpheus, Jommelli’s Il Vologeso and Haydn’s Applausus, and the first new staging for 250 years of Johann Christian Bach’s Adriano in Siria. In 2009 he made his Royal Opera House début conducting Arne’s Artaxerxes at the Linbury Studio Theatre, and his studio recording of the work was released in 2011 on Linn Records.
He has devised and conducted numerous recordings for Classical Opera, including ‘The A-Z of Mozart Opera’ and ‘Blessed Spirit – a Gluck retrospective’ (both selected for Gramophone magazine’s annual Critic’s Choice), ‘Where’er You Walk’ with tenor Allan Clayton and ‘Perfido!’ with soprano Sophie Bevan (both shortlisted for the International Opera Awards in 2016 and 2017 respectively), and ‘Mozart in London’, which was recorded live during Classical Opera’s festival of the same name at Barbican’s Milton Court in 2015. In 2012 he embarked on a new complete cycle of Mozart opera recordings, aiming to record all of Mozart’s stage works over the course of twenty years . He is the creator and driving force behind MOZART 250, a ground-breaking 27-year journey through Mozart’s life, works and influences, and in 2017 he founded The Mozartists to facilitate the company’s ever-expanding concert work.
He is widely recognised for his work in developing talented young singers, and is in demand as a vocal coach. He serves on the coaching staff for the Jette Parker Young Artists Programme at the Royal Opera House and for the Royal College of Music, and provides bespoke training to young singers through Classical Opera’s Associate Artist Scheme.
Updated 3 July 2018
Comprising some of the leading players from both the UK and further afield, The Mozartists have won widespread acclaim from public and critics alike. They play on period instruments, and perform symphonies and concertos as well as operas.