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The Latest Breaking News from Antonio Pappano

Royal Ballet and Opera announces ambitious new season – and name change

2024-25 programme includes premieres of Mark-Anthony Turnage’s opera Festen and Wayne McGregor’s Margaret Atwood ballet MaddAddam

The Guardian - UK

LSO/Antonio Pappano at the Barbican review: the incoming director conjured the richest sounds from the players

If orchestras were football teams, the LSO would certainly be in the running for the Premier League title

Evening Standard

LSO/Pappano/Balsom review – elephant honks kick off Wynton Marsalis’s trumpet showcase

Soloist Alison Balsom delivered Marsalis’s playful new trumpet concerto with poise, expertise and wit – right down to the animal calls

The Guardian - UK

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‘Misguided wokeism’ puts people off opera, says top London conductor

LSO’s Antonio Pappano says many in UK are ‘embarrassed’ by art form and suspicious of cultural achievements

The Guardian - UK

British music, birthdays and building work: LSO announce first season under Pappano

Boulez’s 100th and Rattle’s 70th are among the highlights of the LSO’s new season with chief conductor Antonio Pappano in which British music is a strong thread. The orchestra also announced an £8m redevelopment of LSO St Lukes

The Guardian - UK

The week in classical: Netrebko, Kaufmann and Pappano thrill in Salzburg

Jonas Kaufmann, Anna Netrebko and Antonio Pappano pull off a buoyant La Gioconda; elsewhere, a fresh Verdi Requiem and a Byronic septuagenarian viola soloist made this a festival to remember

The Guardian - UK

Elijah review – LSO and Pappano make it big, bold and beautiful

Antonio Pappano conducted the London Symphony Orchestra, Chorus and an excellent lineup of soloists in this superbly detailed and rousing performance

The Guardian - UK

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The week in classical: Elektra; Jenůfa; Scottish Ensemble with Jasdeep Singh Degun – review

In the hands of two great conductors, high drama and outstanding playing converge in Strauss’s unyielding tragedy and Janáček’s dark masterpiece

The Guardian - UK

Elektra, Royal Opera House review: Nina Stemme and Karita Mattila power a revelatory take on Greek tragedy

The two sopranos at the centre of Christof Loy's production offer up fascinating new perspectives

Evening Standard

Elektra review – Strauss’s intense and overwrought music drama doesn’t grip as it should

Antonio Pappano brings out every detail of Strauss’s technicolour score but Christof Loy’s static production, boasting star leads, offers few insights

The Guardian - UK

Our top 10 classical recordings of 2023

Previously unexplored corners of repertoire, why Italians are outstanding Monteverdians, and a recording of Liszt with huge verve and personality

The Guardian - UK

English National Opera cuts risk ‘killing off of art form’, warn prominent music directors

Former ENO conductors Edward Gardner, Sir Mark Elder and the Royal Opera House’s Sir Antonio Pappano said cuts would make company ‘an empty shell of its former self’

The Independent UK

The week in classical: Cumnock Tryst; LSO: A Dance to the Music of Time

James MacMillan’s inspiring four-day festival brings together top-class professionals and local performers, and Antonio Pappano gives the Barbican a tantalising taster

The Guardian - UK

LSO/Pappano review – Kopatchinskaja dazzles and ravishes in Say’s Violin Concerto

Fazil Say’s theatrical ‘1001 Nights in the Harem’ was terrific fun, played with exhilarating precision by the LSO and soloist Patricia Kopatchinskaja. Rachmaninov of drama and power ended a concert full of colour

The Guardian - UK

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The Guardian - UK

LSO/Pappano review – drama, colour and fun as orchestra embraces the new

Wheezing harmonicas and tinkling music boxes enliven Hannah Kendall’s elemental new work, while Alice Sara Ott gave a barnstorming account of Liszt’s Totentanz in a programme masterfully led by the London Symphony Orchestra’s chief conductor designate

Evening Standard

LSO/Pappano at the Barbican review: the Covent Garden maestro steps into Simon Rattle’s shoes

This marked Sir Antonio Papano’s first concert as chief conductor designate of the London Symphony Orchestra

The Guardian - UK

The week in classical: Das Rheingold; Lucerne festival review – all about oil

From an all-consuming performance of Barrie Kosky’s fierce new Rheingold to a stage invasion in Lucerne, musical excellence and the climate emergency went hand in hand

Evening Standard

Das Rheingold at the Royal Opera review: this could be a Ring to savour as it unfolds in the coming years

Christopher Maltman is well on the way to becoming a truly great Wotan

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The Guardian - UK

‘The most dangerous stage I’ve ever been on’: the wildest performances of Wagner’s Ring

Gods! Dragons! Horned helmets! Swords! Valkyries! The 15-hour apocalyptic epic is about to explode onto the Royal Opera stage. But what’s the best way to tackle ‘the ultimate opera’?

The Guardian - UK

The week in classical: 74th Aldeburgh Festival; Werther – review

From thundering Thorvaldsdóttir to late-night Bach, it’s a standout year for Britten’s music festival, while at the ROH Jonas Kaufmann made a subdued Werther

The Guardian - UK

Werther review – Kaufmann heads strong cast in stylishly sung and fabulously played revival

This revival of Benoît Jacquot’s 2004 staging of Massenet’s tragedy sees Antonio Pappano and his orchestra on top form. Kaufmann was not at full strength but Aigul Akhmetshina’s Charlotte shone

The Guardian - UK

Il trovatore; The Planets; Dennis & Gnasher: Unleashed at the Orchestra review – from Bosch to Bash Street

Spellbinding Jamie Barton and company excel in Adele Thomas’s clear-sighted take on volatile Verdi; to the final frontier via Peckham; and kazoos at the ready for a Beano Concerto

The Guardian - UK

Il trovatore review – cruelty played out with anarchic imagination

Adele Thomas’s visually arresting production mixes levity with tragedy, as fervent orchestral play is matched by expressive singing from a fine cast

Evening Standard

Don Giovanni at Glyndebourne and Wozzeck at the Royal Opera House mark a glorious start to the season

A pair of nuanced and contemporary reimaginings

The Guardian - UK

Wozzeck review – Gerhaher’s victim shuffles towards disaster in nuanced staging

Deborah Warner’s focused and vivid new production avoids caricature, and, with superb singing and Antonio Pappano’s conducting, drama and music dovetail perfectly

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