Il pomo d'oro: the Innsbrucker Festwochen der Alten Musik celebrates its 50th anniversary with Cesti's extravagant opera

Stage set for the underworld scene in Antonio Cesti's opera Il pomo d'oro, performed in Vienna in 1668

In 1652 the composer Antonio Cesti became a member of the court of Ferdinand Charles, Archduke of Austria in Innsbruck and Cesti's opera, La Dori premiered in Innsbruck in 1657. Cesti is, however, best known by reputation for his opera Il pomo d'oro (The Golden Apple) which was written for the wedding in Vienna of Emperor Leopold I in 1666, and first performed in 1668, in a famously lavish production, with a large orchestra, numerous choruses, and various mechanical devices used to stage things like gods descending from heaven (deus ex machina), naval battles, and storms. 

Rather appropriately the Innsbrucker Festwochen der Alten Musik is celebrating its 50th anniversary by staging Il pomor d'oro complete - five acts and a prologue, roles performed by 20 singers, with dance and choral sections. The surviving manuscript in Vienna is famously incomplete, so the festival's musical director, Ottavio Dantone, has also composed the missing music for Acts III and V. The production is directed by Fabio Ceresa, with costumes designed by Giuseppe Palella, and sets by Nikolaus Webern, with dancers from Street Motion Studio and the NovoCanto choir.

A new production of Handel's Atalanta will feature young performers from the 2025 Cesti competition. The production is directed by François de Carpentries and Karine Van Hercke under the musical direction of Andrea Buccarella. Making their debuts in the opera will be, among others, Cesti winner Salvador Simão and third-place winner Pierre Gennaï. 

The Innsbrucker Festwochen der Alten Musik runs from 24 July to 30 August 2026, full details from the festival's website. 

Fatto per la Notte di Natale: the Akademie für Alte Musik Berlin in festive Baroque mood

Akademie für Alte Musik Berlin

Biber, Vivaldi, Locatelli, Corelli, Telemann, Dall'Abaco, Bach; Akademie für Alte Musik Berlin; Wigmore Hall
Reviewed 3 December 2025

A programme that was seasonally Baroque, played with a lovely sense of collective engagement. But whilst we might have come for the Corelli, it was Locatelli's ravishing concerto gross that stayed in the memory

The Akademie für Alte Musik Berlin with concertmasters Georg Kallweit and Mayumi Hirasaki brought Christmas to Wigmore Hall on Wednesday 3 December 2025 with a programme of Baroque works evoking the season, centred on Corelli's Christmas concerto. 

The programme opened with the 'Ciacona' from Biber's Mystery Sonata IV in D minor 'The Presentation of Jesus in the Temple', and continued with Vivaldi's Violin Concerto in E RV270 'Il Riposo per il Santo Natale', Locatelli's Concerto grosso in F minor Op. 1 No. 8, Corelli's Concerto grosso in G minor Op. 6 No. 8 'Fatto per la Notte di Natale', Telemann's Overture in F 'à la Pastorelle' TWV55:F7, Evaristo Felico Dall'Abaco's Concerto a più istrumenti in B minor Op. 6 No. 4, and Bach's Double Concerto for 2 violins in D minor BWV1043.

A journey through music shaped by migration: Roman Mints' Another Music Festival at St John's Waterloo

Roman Mints' Another Music Festival

Stefania Turkewich (Turkevycz) was the first Ukrainian woman composer. Born in Lemburg, Austria-Hungary (now Lviv, Ukraine) in 1898, she fled Lviv in 1944 and moved to the UK in 1946 where she died in 1977. In the late 1940s, Turkewich returned to composing and created a significant body of work. From time to time she acted again as a pianist, in particular in 1957 in a series of concerts in Ukrainian communities in Britain, and in 1959 at a concert of piano music in Bristol. She was a member of the British Society of Women-Composers and Musicians (which existed until 1972).

Stefania Turkewich in 1920

Yet, amazingly, her music is hardly heard. Like a host of other émigré composers, Turkewich found a refuge in the UK, but did not really find a musical home. Some composers like Andrzej Panufnik seemed to integrate into British musical life, but others like Berthold Goldschmidt did not. 

On 18 January 2026, young Ukrainian musicians Ira Marchuk and Maksym Artemenko will perform Turkewich’s violin sonata in the UK for the first time. They will perform from a photocopy of the manuscript, as the work has still not been published. The performance takes place at St John's Waterloo as part of Roman Mints' Another Music Festival which over three days explores the rich legacy of composers who have lived or continue to live in exile.

There will be music from historical giants – Chopin, Hindemith, Stravinsky, Enescu, Bartók to neglected composers, including Ukrainian composer Theodore Akimenko (1876-1945), who was Stravinsky's first composition teacher. 

The programme features works composed both before and after emigration, highlighting the continuity and evolution of the composer’s artistic voice, including premieres of Alexey Kurbatov’s Quartet, Boris Filanovsky’s Supremus 3, and two UK premieres: Stephania Turkevych’s Sonata for Violin and Piano and Leonid Desyatnikov’s Leaden Echo.  

Such artistic enterprise does not come cheap, and the festival has a fund-raiser to help defray expenses. Do contribute at their GoFundMe page. 

Another Music Festival is at St John's Waterloo on 18, 21, 23 January 2026, full details from the festival website. 

Electric Voice Theatre's Winter Carols by Candlelight

If you are looking for something seasonal but that bit different, then Electric Voice Theatre's Winter Carols by Candlelight might be for you. At Conway Hall on Thursday 11 December 2025, Electric Voice Theatre - Laurence Panter (tenor & piano), Amy Kearsley (mezzo), Gwion Thomas (baritone), Frances M Lynch (soprano) - will be joined by Union Chapel Community Singers, the Dragon Cafe Singers and Christopher Hatton Primary School Choir.

From the beautiful Peace on Earth by Emily Josephine Troup (1853-1913) who was an active member of South Place Ethical Society, to a rousing Merry Christmas from singer and composer Harriet Kendall (1857-1933). Come "a-rambling" with Imogen Holst, celebrate the angels with Judith Weir and listen to some lovely Starlight rounds for children by Nicola Lefanu, sung by the choir of Christopher Hatton Primary School. Expect the unexpected, and of course some beautiful music by Conway Hall’s cherished composer Eliza Flower (1803 – 1846) echoing her own celebrated concerts at South Place Unitarian Chapel. 

Full details from the Electric Voice Theatre's website.

Stories of incredible women from Iranian history and literature: Daughters of Persia created by Margaret Fingerhut and Farhad Poupel

Daughters of Persia is a new evening of music and words, created by British pianist Margaret Fingerhut and rising Iranian composer Farhad Poupel, at Kings Place on 26 January 2025 performed by Margaret Fingerhut (piano), Bradley Creswick (violin) and Guy Johnston (cello), and a narrator to be announced. [see my 2022 interview with Farhad Poupel].

The evening uses a script by screenwriter William Nicholson which weaves together the stories of incredible women from Iranian history and literature with music by a mix of composers from Iran and elsewhere, featuring a new commission from Farhad Poupel The Laughter of Gordafarid for narrator and piano, long with music by fellow Iranians Reza Vali, Aftab Darvishi and Golnoush Khaleghi (1941-2021), one of the first female conductors in Iran.  There will also be much-loved music by Rimsky-Korsakov, Prokofiev, Ravel and Pablo Casals.

The concert aims to not only entertain but inspire, deepen understanding and knowledge.  All proceeds from the show will help create scholarships for exceptional young women artists from Iran, Afghanistan and Tajikistan. In partnership with British-Iranian Jaleh Esfahani Cultural Foundation, the Daughters of Persia Scholarship Fund will give these women living in the UK access to opportunities in the arts they might not otherwise be given. 

Full details from the Kings Place website. 

The internationally-renowned German-Colombian conductor Anna Handler to become new Chief Conductor of the Ulster Orchestra

Anna Handler (Photo: Peter Rigaud)

The Ulster Orchestra has announced that German-Colombian conductor and pianist Anna Handler will be its new chief conductor. Handler will join the Orchestra from September 2026, initially on a three-year contract, in time for the Orchestra's 60th anniversary season.

In 2019/20 the Ulster Orchestra appointed Daniele Rustioni as its chief conductor and in 2022/23, marking the strength of the relationship, he was appointed the Orchestra’s music director. Rustioni held that position until May 2024, when he became music director Laureate, and Anna Handler will succeed him, taking up the position of chief conductor in September 2026.  

Last month, Handler her Boston Symphony Orchestra subscription series debut at short notice, with violinist Joshua Bell. Handler was Gustavo Dudamel Fellow at the Los Angeles Philharmonic for the 23/24 season and is currently Assistant Conductor at the Boston Symphony Orchestra. She also began her tenure as Kapellmeister of Deutsche Oper Berlin in September 2025 and she is scheduled to conduct eleven operas during her first season.  

Handler grew up in Munich and initially studied piano and conducting at the University of Music and Performing Arts Munich before continuing her studies at the Franz Liszt University of Music Weimar, the Accademia Pianistica Internazionale di Imola and the Folkwang University of the Arts. She completed her master's degree in conducting at the Juilliard School in New York in May 2023. At Juilliard, she was the first conductor ever to receive the prestigious Kovner Fellowship.  

Anna Handler’s first concert as chief conductor of the Ulster Orchestra will be the opening concert of the Orchestra’s 60th anniversary Season, in the Ulster Hall on Friday 25 September 2026. 

Full details from the Orchestra's website. 

A thrilling Lady, compelling Macbeth & powerful last-minute stand-in: Chelsea Opera Group celebrates its 75th anniversary with Verdi's Macbeth in the full Paris version

Verdi: Macbeth - Alexey Gusev, Mari Wyn Williams - Chelsea Opera Group (Photo: Matthew Johnson)

Verdi: Macbeth (1865); Alexey Gusev, Mari Wyn Williams, Simon Wilding, José de Eça, Jay Broadhurst, Grant Llewellyn, Chelsea Opera Group; Cadogan Hall
Reviewed 30 November 2025

Verdi's revised Macbeth given in all completeness by a finely theatrical group of soloists, ably supported by chorus and orchestra, celebrating COG's 75th anniversary. 

Having first performed Verdi's Macbeth in 1984 (in the revised version), and then given Verdi's original 1847 version in 2008, Chelsea Opera Group celebrated their 75th anniversary on Sunday 30 November 2025 with a performance of the Verdi's revised 1865 version of Macbeth, for once complete with the ballet music. Grant Llewellyn conducted with Alexey Gusev as Macbeth, Mari Wyn Williams as Lady Macbeth, Simon Wilding as Banquo, José de Eça as MacDuff and Jay Broadhurst as Malcolm. Or at least, that was the planned casting but on the night José de Eça was somewhat unwell and though he sang the part of MacDuff, the big Act Four aria was sung by Jay Broadhurst (who was otherwise singing Malcolm).

Despite the work's popularity, Macbeth retains hints of being one of Verdi's 'problem' operas. For a start, the jaunty music for the Witches does not sit with our current view of Shakespeare's play. Yet when I spoke to director Elijah Moshinsky in advance of his production of the 1847 version of the opera at the Buxton Festival in 2017, he had strong words to say about understanding the cultural background to the original [see my interview]. Add to this, Verdi's reworking of the piece for Paris in 1865 has provided it with some superb later Verdi, yet left the opera as something of a hybrid. 

Verdi: Macbeth - Chelsea Opera Group (Photo: Matthew Johnson)

I certainly retain a strong fondness for the 1847, but choosing the 1865 revision certainly provided a showcase for Chelsea Opera Group's orchestra and chorus, along with a fine group of soloists. Russian-British baritone Alexey Gusev sang the title role in Verdi's Rigoletto with IF Opera this summer, having sung Enrico in Donizetti's Lucia di Lammermoor with them last year. Welsh soprano Mari Wyn Williams sang Lady Macbeth this summer with West Green House Opera, having sung the role also with Mid Wales Opera. And we last caught Simon Wilding as Hunding in the London Opera Company's performance of Wagner's Die Walküre at St John's Smith Square (as it was called then).

A new Elixir & first-time Bohemians: John Savournin announces his first season at Waterperry Opera Festival

Donizetti: L'elisir d'amore -  Oskar McCarthy as Dulcamara in 2021 - Waterperry Opera Festival

For John Savournin's first season as artistic director of Waterperry Opera Festival, the company will be performing Puccini's La Bohème and Donizetti's L'elisir d'amore as its main stage productions. Both works will be sung in English. La Bohème is receiving its first production at the Festival whilst they performed L'elisir d'amore in 2021 in a production by Dan Ayling [see my review].

The company aims to build on the success of its record-breaking 2025 season which saw unprecedented audience turnout and the Festival’s highest-ever selling main stage production.

La Bohème will be directed by Ruth Knight whose production of Handel's Rodelinda opened at Garsington Opera this summer [see my review]. Bertie Baigent, the Festival's co-founder and musical director, conducts with designs by Jennifer Gregory, who designed the 2025 production of Handel's Semele [see my review].

L'elisir d'amore (The Elixir of Love) see director John Wilkie returning to Waterperry for the third year, having directed Mozart's Don Giovanni in 2025 and Rossini's The Barber of Seville before that. L'elisir d'amore will reunite Wilkie with the creative team responsible for Don Giovanni, designer Ceci Calf and lighting designer Jake Wilshire. The conductor is Charlotte Politi.

The full 2026 programme, including family performances and further site-specific productions, will be announced in January. Priority booking will open in early March.

Further details from the Festival's website. 

Faster, higher, stronger: composer Andrea Farri on Orchestrating Harmony for the Olympic Games Milano Cortina 2026

Andrea Farri at Abbey Road Studios

The Italian classical music and film composer Andrea Farri, has been announced as the Musical Director for the Opening Ceremony of the Winter Olympic Games Milano Cortina. In this guest posting, we talk to Andrea Farri and find out a little bit more.

Andrea Farri, born in 1982 in Rome, has established himself as one of Italy’s most versatile and original composers. Known for a distinctive compositional style that fuses classical orchestration with electronic textures, Farri often employs vintage analogue synthesisers to create a sound that is both rooted in tradition and strikingly contemporary. Over a career spanning cinema, television, and theatre, he has earned acclaim for his emotive, atmospheric scores, including the 2015 Globo d’Oro for Best Film Score and the 2023 Soundtrack Stars Award at the Venice Film Festival for his work on Matteo Garrone’s Io Capitano. Growing up immersed in Italy’s cinematic and theatrical world – his mother is the celebrated actress Lucia Poli, his father the director Pier Farri, and his uncle the legendary actor Paolo Poli – Farri developed an early understanding of storytelling through performance and music.

Now, Andrea Farri takes his storytelling expertise to a global stage as the Music Director of the Winter Olympic Games Milano Cortina 2026 Opening Ceremony. Scheduled for February 6th at Milan’s iconic San Siro Stadium, the ceremony, titled Armonia ("Harmony"), will combine live performances, cinematic staging, and immersive music to celebrate the Olympic spirit. Farri oversees the entire musical direction, creating original compositions that unify the show’s narrative, highlight Italy’s cultural heritage, and connect millions of spectators worldwide. In this exclusive interview, Farri discusses his artistic journey, the translation of cinematic sensibilities to an Olympic spectacle, and the universal language of music that will connect millions of spectators worldwide.

Your career has spanned cinema, television, and theatre. Which moments or turning points do you feel most directly led you to becoming Music Director for the Olympic Games Milano Cortina 2026 Opening Ceremony?

Andrea Farri: I imagine there were two in particular: the soundtrack of “Io Capitano” by Matteo Garrone (Silver Lion and Soundtrack Stars Award at the 2023 Venice Film Festival and Oscar and Golden Globe nominated) and the collaboration with Roland Emmerich on the action series “Those About to Die” (starring Anthony Hopkins and Iwan Reon), one of the most-watched TV shows in the world in 2024. Two memorable experiences with two great directors, on two completely different projects!

The Advent Carol Service at St John's College, Cambridge

Christopher Gray and the Choir of St John's College, Cambridge

The Advent Carol Service: Judith Weir, Laura Sheils, Paul Manz, Mendelssohn, Edward Picton-Turbervill, Orlando Gibbons, John Rutter, Herbert Howells, Britten, Errollyn Wallen; Choir of St John's College, Cambridge, Christopher Gray, Pascal Bachmann, Tingshuo Yang; Chapel of St John's College, Cambridge
Reviewed 29 November 2025

The Advent Carol Service at St John's has become a musical highlight of the season. This year with music Judith Weir and Errollyn Wallen, along with works by younger composers, with several pieces having links to the college.

The Advent Carol Service at St John's College Chapel, Cambridge was developed in the mid-twentieth century for the College community and is led by the College Choir. Since the 1980s the service has been broadcast on BBC Radio 3 and has become one of the musical highlights of the season. This year the service took place in St John's College Chapel on 29 November and 30 November, the latter broadcast live on BBC Radio 3, led by the Dean, The Rev'd Canon Dr Victoria Johnson and the Chaplain, The Rev' Graham Dunn. Christopher Gray, Director of Music, conducted the Choir of St John’s College which consists of around 20 boy and girl treble Choristers from St John’s College School, alongside 18 mixed-gender Choral Scholars and Choral Graduates. Earlier this year, I chatted to Christopher Gray about his first disc with the choir [see my interview, 'A carefully curated programme rather than a disc to dip into']

I was lucky enough to attend the service on Saturday 29 November. This featured music by Judith Weir, Laura Sheils, Paul Manz, Mendelssohn, Edward Picton-Turbervill, Orlando Gibbons, John Rutter, Herbert Howells, Britten, and a new carol by Errollyn Wallen. Several pieces had links to the college, including arrangements by former Directors of Music, George Guest and Christopher Robinson, whilst Laura Sheils has already written for the Choir, John Rutter's There is a flower was composed for the Choir in 1985, the Magnificat came from Howells' Collegium Sancti Johannis Cantabrigiense written for the Choir in 1957, there was a carol by one of the College's graduates, Edward Picton-Turbervill and Errollyn Wallen's new carol, Nolo mortem peccatoris was not only commissioned by the Master and Fellows but sets an anonymous 15th century text from one of St John's College's manuscripts.

Chapel of St John's College, Cambridge
which was built in the 1860s by George Gilbert Scott