André de Ridder
André de Ridder’s firm grounding in the classical/ romantic repertoire, coupled with his passion for a far-reaching range of the arts, have contributed to his position as one of the most fascinating conductors emerging today. He was appointed Principal Conductor of sinfonia ViVA from the 2007/08 season, and a range of typically adventurous programmes have been devised for his first few seasons.
De Ridder has made his debut with the Philharmonia Orchestra, London Sinfonietta, BBC Scottish, Royal Liverpool Philharmonic, Scottish Chamber and Ulster Orchestras and the BBC National Orchestra of Wales, leading to many re-invitations. He made his debut at the BBC Proms in 2006 with the Britten Sinfonia, returning with the BBC Philharmonic Orchestra in 2007. He regularly returns to the Hallé Orchestra where he held the position of Assistant Conductor from 2005-2006.
He has earned a substantial reputation as a devoted supporter of new music. In January 2008, he made his debut appearance at the London’s Barbican Hall, as part of the BBC Symphony Orchestra’s Judith Weir weekend. This season, De Ridder returns to the Philharmonia Orchestra’s ‘Music of Today’ series, performing works by Hans Abrahamsen. Elsewhere in the 2008/2009 season, he will give premiere performances of works by such composers as Mark Anthony Turnage, Nico Muhly, Haukur Tomasson, Uri Caine and Olga Neuwirth. He will also return to Grange Park Opera to conduct The Cunning Little Vixen.
He is also undertaking performances of Damon Albarn’s highly successful Monkey: Journey to the West, and made his debut at the Royal Opera House Covent Garden with this work in July 2008. De Ridder has previously performed the work at the inaugural Manchester International Festival and at the Théâtre du Châtelet Paris.
Brought up and educated in Berlin, André de Ridder subsequently studied at the Music Academies of Vienna and London where he studied with Leopold Hager and Sir Colin Davis. As a post-graduate student, he was appointed as Young Conductor in Association with the Bournemouth Symphony Orchestra.
He will be conducting the premiere of two new works by Damon Albarn as part of sinfonia ViVA's Orchestral Shorts series of new commissions, funded by PRSF, on 1 February in Leicester. Find out more
Here's what André has been listening to...
Sandy Dillon:
Living in Dreams (Tradition & Moderne)
I was made aware of both the latest Sandy Dillon and Vic Chestnutt records through musicians I rate very highly: David Coulter, mastermind of the orchestra who played Damon Albarn's opera Monkey: Journey to the West which I conducted at the Royal Opera House, produced Living in Dreams for Sandy Dillon and also plays various instruments (as he does) on this record. I also heard Sandy play live in Berlin a few weeks ago and the range of her songwriting and expressionist voice is unbelievable. It's a very individual approach to the Blues genre, very contemporary and stripped down.
Find out more info
Vic Chesnutt:
North Star Deserter (Constellation)
In the case of Vic Chestnutt it was the involvement of Guy Piciotto, member of seminal Washington DC hardcore band Fugazi (for me one of the most outstanding compositional phenomenons in contemporary rock music) that made me get hold of a copy of this wonderful album. Guy is part of a prominent and crowded "All-Star-Band" who nevertheless know their place in accompanying ever so subtly a singer-songwriter at the height of his powers. The most moving, simple and mature songs I have heard in a long time.
www.vicchesnutt.com
Uri Caine: The Othello Syndrome (Winter & Winter)
Uri Caine, whose Beethoven Diabelli Variations project we had the honour of touring this past autumn in the UK with my orchestra sinfonia ViVA, has come up with yet another surprise, and very successfully so. He's taken on Guiseppe Verdi's masterpiece, the opera Othello, and gets a 75min version out of it that, again, has you look behind and beyond the scenes of Verdi's invention, past the often somewhat crowded stages and operatic gurgles that go along with performances of this kind of work. Like with Vic Chestnutt, you're looking at an incredible line-up, 19 strong, this time consisting of the who's-who of the independent New York Jazz scene, including interesting vocal artists who remind us of the simple, beautiful song-qualities of some of Verdi's writing. But Uri is not averse to using modern technology either. Almost the best moment comes right at the beginning, when the outrageous opening chord of the opera (which I always wanted to go on forever) gets treated so it does actually last about 2 minutes! Absolutely to die for.
www.uricaine.com
All of these records are products of high-flying, free-spirited and serious collaborations that open up myriad musical possibilities - something classical and classical contemporary music is only starting to understand but working on it proves worthwhile and exciting.