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Schedule
SEMPEROPER DRESDEN
Die Jüdin von Toledo
10/02 - 15/02 - 18/02 - 26/02 - 01/03 - 08/03 2024
Komposition Detlev Glanert
Libretto Hans-Ulrich Treichel
Conductor Jonathan Darlington
Staging Robert Carsen
Set Design Robert Carsen, Luis F. Carvalho
Collaboration Regie Gilles Rico
Costume Design Luis F. Carvalho
Lighting Design Peter Van Praet
Videodesign Martin Eidenberger
Choreography Marco Berriel
Choir Jonathan Becker
Dramaturgy Ian Burton , Martin Lühr, Benedikt Stampfli
Rahel Heidi Stober
Esther, deren Schwester Lilly Jørstad
Alfonso VIII., König von Kastilien Christoph Pohl
Eleonore von England, dessen Gemahlin Tanja Ariane Baumgartner
Manrique, Graf von Lara Markus Marquardt
Don Garceran, dessen Sohn Aaron Pegram
Libretto Hans-Ulrich Treichel
Conductor Jonathan Darlington
Staging Robert Carsen
Set Design Robert Carsen, Luis F. Carvalho
Collaboration Regie Gilles Rico
Costume Design Luis F. Carvalho
Lighting Design Peter Van Praet
Videodesign Martin Eidenberger
Choreography Marco Berriel
Choir Jonathan Becker
Dramaturgy Ian Burton , Martin Lühr, Benedikt Stampfli
Rahel Heidi Stober
Esther, deren Schwester Lilly Jørstad
Alfonso VIII., König von Kastilien Christoph Pohl
Eleonore von England, dessen Gemahlin Tanja Ariane Baumgartner
Manrique, Graf von Lara Markus Marquardt
Don Garceran, dessen Sohn Aaron Pegram
SYMPHONIKER NÜRNBERGER Symphonic Concert NUMBER ONE HITS
16/03 - 17/03 2024
Sergei Prokofiev
No Symphony No. 1 op. 25, Symphony classique
Tchaikovsky
Piano Concerto No. 1 B minor op. 23 23
Ludwig van Beethoven
No Symphony No. 6 F major op. 68 Pastorale
Soloist
Barry Douglas, piano
conductors
Chief conductor Jonathan Darlington
No Symphony No. 1 op. 25, Symphony classique
Tchaikovsky
Piano Concerto No. 1 B minor op. 23 23
Ludwig van Beethoven
No Symphony No. 6 F major op. 68 Pastorale
Soloist
Barry Douglas, piano
conductors
Chief conductor Jonathan Darlington
Press
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
"Jonathan Darlington draws a dizzying spectrum of colour and nuance from a Staatskapelle Dresden on top form. This is an impressive performance of a dazzling score"
Shirley Apthorp - FINANCIAL TIME
“Darlington conducts both scores with understanding and conviction. He brings lots of energy and a sense of ebb and flow to the second movement of La Mer and there’s admirable vigour to his reading of the third movement.”
– Music Web International
“The added draw, of course, was the chance to see Europe-based music director emeritus Jonathan Darlington (…) Electric voltage seemed to pass through his baton in the rousing orchestral and choral crescendos of the Easter-hymn “Regina Coeli, laetare”. Later he paused dramatically to bring the strings down to extreme quiet at the beginning of the famous “Intermezzo”, gently building them back up with big round arm movements, his stick stabbing downward to bring in the low brass. The orchestra found all the nuance in the lush score.”
– Create a Stir
“Back in the day, Darlington consistently got the best out of his casts and musicians, and we have missed his steady professionalism and inspired musicality. Being able to see exactly how Darlington works his magic upfront was the single best part of the enterprise. Palpable audience enthusiasm lets us hope for more Darlington and more opera-in-concert in the VO’s future plans.”
– Vancouver Sun
Biography
British conductor Jonathan Darlington is widely acclaimed for his powerful performances both in the opera house and the concert hall.
As Music Director of the Duisburger Philharmoniker in Germany from 2002 to 2011, Jonathan explored a vast symphonic repertoire ranging from the Baroque to the Contemporary and for almost 20 years he was the highly successful Music Director at Vancouver Opera, where he now holds the title of Music Director Emeritus.
In September 2022 Jonathan Darlington was appointed principal conductor of the Nürnberger Symphoniker and the orchestra’s concert-goers continue to be fascinated by his audience-orientated and charismatic way of communicating.
He has a reputation for structuring concert programs that take the listener on a fascinating musical journey owing to their strong inner dramaturgical thread. While in Duisburg this earned him the prestigious Köhler-Osbahr-Stiftung and Deutsche Musikverleger-Verband prizes for the quality and creativity of his concert programming.
Whether on the concert platform or in the opera house, the list of world-class ensembles that Jonathan Darlington has conducted is impressive. These include the Vienna Philhamonic at the Staatsoper, Staatskapelle Dresden at the Semperoper, Paris Opera, Orchestre de Paris, Leipzig Gewandhaus Orchester, BBC Symphony Orchestra, Orchestre de la Suisse Romande, Opera Australia, Royal Swedish Opera, English National Opera, Hamburg State Opera, Konzerthaus Orchester Berlin, Frankfurt Opera, Teatro di San Carlo di Napoli, Warsaw Philharmonic, Orchestre National de France, and the Royal Philharmonic Orchestra. ...
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