The International Interview Concerts at St Paul’s, Worthing

DUO Arnicans – Arta Arnicane (piano) Florian Arnicans (cello)

Recording artistes from Zurich with CD albums together and solo on the Solo Musica label (Sony) and Arcodiva:

“Special affinity . . . powerfully attractive”  –  Music Web International
“superb partnership” –  Pizzicato
“Brilliant! What I call a discovery!”  –  Vienna Zietung

St Paul’s Cafe, Worthing BN11 1EE 
01903 368967                                                             
Thursday 2nd November 2017
Doors at 7.00pm; Starts at 7.30pm

Tickets:                                                                                                                               £13 Adult; £11 WSS members; £5 Students; £1 Up-to-18; Unreserved seating

Arta’s website (also containing DUO Arnicans):

Florian’s website:

So what’s an Interview Concert? It’s a compelling, affordable, intimate and social experience:

  • Audience ‘In the Round’ –  close-up and connecting
  • Seating unreserved –  buy, then choose where to sit – no ‘expensive’ seats
  • Interviews with the artistes –  get to know them, and the music played
  • Audience questions –  you can have your question asked, too
  • Cafe open –  tasty St Paul’s fare on sale before, in the interval, at the end
  • CDs on sale – solo piano or duo; take some DUO Arnicans music home with you
  • Meet the musicians afterwards –  interaction, reciprocation

It’s another return with her husband to Worthing for popular Arta Arnicane (Latvia), winner of the 2010 Sussex International Piano Competition (SIPC) and subsequent concerto appearances with Worthing Symphony Orchestra, a solo Interview Concert in 2012 and a concert together during the 2013 SIPC, when Arta was a guest juror in the competition.

It will be a second visit here for Florian Arnicans (Germany) and with him this Interview Concert showcases the cello’s distinctive, stirring and enveloping ability to sing like a human voice. If you’ve not experienced it before, this evening will unveil to you to this beautiful instrumental combination.

The cello will team up with the piano’s ability in the hands of Arta to sing back and combine, to make music to stay with you long after you’ve been at this concert. Their programme of solos and duos is subtitled with the Latin American name for song, Canción, and will be an example of Arta’s special artistry in creating imaginative and rewarding programmes.

Both will be interviewed and already Worthing audiences know and revere Arta’s powers of happy verbal communication. We’ll be hearing Florian in conversation for the first time. Married with one son, they are based in Zurich, Switzerland. They play St Paul’s after a lunchtime concert appearance at the London School of Economics & Political Science.

Their ‘Programme Canción’: “The Cello Sings”

Johann Sebastian Bach  –  Arioso (melodious and vocal)
Franz Schubert  –  Ständchen (serenade)
Felix Mendelssohn  –  Lied ohne Worte Op.109 (Song without Words)
Antonin Dvorak  –  Melodie
Pablo Casals  – Song of the Birds
Maurice Ravel  –  Pièce en forme de Habanera (sultry Spanish dance)
 Josef Suk  –  Serenade


Johannes Brahms  –  Sonata for Cello and Piano in F major Op 99

  • Allegro vivace (quick; animated, lively)
  • Adagio affettuoso (slow; but warm-hearted and affectionately)
  • Allegro passionate (quick; passionately)
  • Allegro molto (very quick)
In 2013, Arta and Florian delighted the audience with Brahms’ first cello sonata. Here now comes the equally superb second. Brahms could play both instruments!



Celebrating their 25th anniversary, early music ensemble, Joglaresa, directed by Belinda Sykes, release Sing We Yule on 1st December 2017.


On 1st December, London-based early music ensemble, Joglaresa, directed by Carnegie Hall soloist Belinda Sykes, release Sing We Yule, their new album of medieval, folk, and contemporary song featuring guest soloist Dame Emma Kirkby. The sixth studio work by the ensemble, the disc celebrates the group’s 25th anniversary and 25 years of Belinda’s career as one of Britain’s most imaginative performers of medieval song. Sykes’ critically acclaimed approach to early music includes a unique penchant for improvisation, which constantly re-draws the distinction between composer and performer. Among the 21 tracks of Medieval, Renaissance and traditional Yuletide song are some of Joglaresa’s trademark genre- defying approach to traditional repertoire: a mash-up of medieval motet Ave Rosa, 80s band Dead Or Alive, and American rapper Flo Rida (although with words in Latin); an old-timey hoedown take on Ding Dong Merrily; a Pythonesque ‘Killer Rabbit’ instrumental complete with knife percussion. Highlighting Joglaresa’s trademark genredefying approach to traditional repertoire, Sing We Yule also features a mash-up of medieval motet Ave Rosa, 80s band Dead Or Alive, and American rapper Flo Rida (although with words in Latin).

Joglaresa tour Sing We Yule with dates on:

23 November – Andover

5 December – Chipping Sodbury

9 December – Hemel Hempstead

11 December – York

12 December – Skipton

14 December – Nottingham

16 December – Cutty Sark, London (Official CD Launch Concert)

19 December – Cockermouth


Richard Jones’s acclaimed production of Rodelinda returns to ENO, conducted by Christian Curnyn

Opens Thursday 26 October at 7pm at the London Coliseum (6 performances)

Hailed as ‘inspired’ (The Evening Standard) and ‘outstanding’ (The Observer) at its premiere, Olivier Award-winning director Richard Jones’s ingenious production of Handel’s Rodelinda returns to the London Coliseum in October. Among the returning faces are soprano Rebecca Evans in the title role and baroque specialist Christian Curnyn as conductor, along with ENO favourite Susan Bickley.

One of Handel’s great operatic masterpieces, Nicola Francesco Haym’s libretto follows the travails of the queen Rodelinda and her fidelity to her husband Bertarido, presumed dead but returned to his kingdom in disguise. Jones’s production sets Handel’s bitter political drama in Fascist Italy, infusing it with the aesthetic of the surveillance state and authoritarian menace.

Returning to the title role which she sang to ‘just about perfection’ (The Daily Telegraph) in the original run, Welsh soprano Rebecca Evans further adds to her reputation as one the country’s great Handelians. Notable roles with the company include Romilda in 2002’s Xerxes and the Governess in David McVicar’s 2009 production of The Turn of the Screw.

Countertenor Tim Mead who sings the role of her husband Bertarido, was last seen at ENO as a ‘radiant’ (Gramophone), ‘ethereal voiced’ (Sunday Times) Voice of Apollo in 2013’s Death in Venice. His performance in Rodelinda follows a run of acclaimed international Handel roles including Goffredo in 2014’s Glyndebourne Rinaldo, Arsamene in Theater an der Wien’s 2015 Xerxes and earlier in 2017 Athamas for the Handel and Haydn Society’s Semele in Boston.

Rising Spanish tenor Juan Sancho makes his ENO debut as the villainous Grimoaldo, who attempts to usurp Bertarido’s throne. An accomplished international interpreter of Handel, his solo concert at the June 2017 Halle Handel Festival was ‘greeted with great enthusiasm’ (Bachtrack).

ENO favourite Susan Bickley returns to sing the rightful king’s sister, Eduige. Seen earlier this year at ENO in the premiere of Ryan Wigglesworth’s The Winter’s Tale, Sue also created roles in two recent ENO commissions;  the Mother in Tansy Davies’s award-winning Between Worlds and Jocasta in the world premiere of Julian Anderson’s Thebans in 2014.

Neal Davies, who also performed in the world premiere of The Winter’s Tale, sings Garibaldo. A regular singer with English National Opera, Davies’s performance in Xerxes (2014) was described as ‘so ballsy … that one wished the composer had given [him] more opportunities to strut [his] stuff’ (The Daily Telegraph). Countertenor Christopher Lowrey completes the singing cast, making his ENO debut as Unulfo. Actor Matt Casey reprises his silent role as Flavio from the original run.

Conductor Christian Curnyn is well known as one of the UK’s foremost baroque  interpreters: ’Find anything exciting happening in period opera in the UK and Curnyn will be involved’ (The Spectator). He founded the Early Opera Company in 1994 in order to champion the relevance of baroque opera, and has won great acclaim for his recordings and performances in the area since, including his ‘terrific ensemble playing’ (The Independent) for the five-star Partenope at ENO in March 2017.

Richard Jones has a long creative relationship with ENO.  He won the 2015 Olivier Award for Outstanding Achievement in Opera for his much-lauded The Mastersingers of Nuremburg,  The Girl of the Golden West  and Rodelinda. The revival is directed by Donna Stirrup, a frequent ENO staff director who also directed last season’s revival of Tosca.

Rodelinda opens on Thursday 26 October at 7pm at the London Coliseum for 6 performances: 01, 03, 09 and 15 November at 7pm and 11 November at 6pm.

Brighton Philharmonic Orchestra at Brighton Dome

First concert of the new season this Sunday 8 October, 2.45pm

The nights are drawing in, and the children are back at school, but whilst for some this heralds the onset of the winter months, the Brighton Philharmonic Orchestra is looking forward to their new season of Sunday afternoon concerts at Brighton Dome. The season opener on Sunday 8th October features works by the greatest masters of Romanticism – Schumann, Tchaikovsky & Brahms. The orchestra, under Conductor Laureate Barry Wordsworth, is joined by exciting young Romanian pianist Alexandra Dariescu playing Tchaikovsky’s popular Piano Concerto No.1, a wonderful piece full of intense melody, surging power and quiet introspection.

Alexandra was recently named as “one of 30 pianists under 30 destined for a spectacular career” by International Piano Magazine and her most recent CD is of this piano concerto and well worth a listen. Alexandra is also a keen cyclist and in June she completed the London to Brighton Bike Ride on a custom built bicycle made for two. She will be arriving by train for the concert though!

The programme also includes Brahms’ lyrical Symphony No.3 which charts a musical journey from turbulence to tranquillity and has a reputation as one of his most artistically perfect works. And the concert opens with Schumann’s dramatic overture to the opera Genoveva, which is full of themes of betrayal and reconciliation in music of exquisite tenderness and high drama, inspired by a medieval German legend and heavily influenced by Wagner.

Tickets from £12-£38 are available from Brighton Dome Ticket Office in Church Street, (01273) 709709 or online:  Discounted parking is available at NCP Church Street Car Park.

ENO Chief Executive to step down in June 2018

English National Opera (ENO) has today announced that Cressida Pollock, the company’s Chief Executive, is to leave her role at the end of ENO’s current season in June 2018.

Cressida Pollock, who joined ENO in March 2015, said: 

I will be greatly saddened to leave this incredible institution, which it has been a privilege to lead. I am very proud of our achievements to date and am grateful to the extraordinary people I work alongside. When I arrived, the ENO was in crisis and the company’s survival was in real doubt. I am delighted that we have brought stability and secured ENO’s future. My successor will be able to focus on ensuring that the ENO continues to produce award-winning work at the heart of the UK opera scene.’

Dr Harry Brunjes, Chairman of ENO, added:
‘Cressida has turned around our fortunes to deliver financial security, while keeping us on a solid creative footing. Cressida has led the ENO back into the Arts Council England’s National Portfolio and brought together a leadership team who the Board are confident can continue to help ENO thrive and develop. On behalf of the Board it has been a pleasure to observe her courage and positivity in the face of ENO’s immense challenges. We will be sorry to lose her energy and determination to achieve success when she steps down next June.’


ENO will begin the process of appointing a new Chief Executive Officer later this month.

ENO presents the world premiere of Nico Muhly’s Marnie, conducted by ENO Music Director Martyn Brabbins

Opens Saturday 18 November at 7.30pm at the London Coliseum (5 performances)

Following his 2011 premiere of Two Boys at ENO, composer Nico Muhly returns to the company with this second world premiere, the psychological thriller Marnie.

Based on Winston Graham’s classic 1961 novel with a libretto by Nicholas Wright, Marnie will bring together an extraordinary array of operatic talent: it marks conductor Martyn Brabbins’ debut as Music Director at ENO and Tony Award-winning director Michael Mayer’s UK operatic debut. Grammy Award-winning mezzo-soprano Sasha Cooke will lead the cast in the title role, while Julian Crouch and 59 Productions return to ENO with their unique video designs.

The novel, also famously adapted by Alfred Hitchcock in the 1964 film of the same name, tells the story of Marnie as she embezzles money from her employers before changing her identity and moving on. Finally caught by her boss Mark Rutland and blackmailed into marriage, she must confront the hidden trauma in her past.

Nico Muhly is the youngest composer ever commissioned by the Metropolitan Opera, New York, a ‘phenomenon’ (Gramophone) whose work spans chamber works, sacred music, film scores as well as opera. His previous premiere for ENO, Two Boys, was called ‘serious and radiant’ by the New York Times and as ‘one of the most celebrated and sought after classical composers of the last decade’ (The Guardian) this premiere will be a major highlight of the operatic calendar; it will go on to play at the Met for the 2019/20 season.

Muhly comments:

‘I am particularly excited to present this premiere at ENO. Librettist Nicholas Wright and I have worked very closely with director Michael Mayer and the excellent design team of 59 Productions and Julian Crouch to create something particularly suited to ENO – a house committed to daring new productions.  I am looking forward to working with the ENO Chorus again, with whom I had a great deal of fun during Two Boys, and am so pleased to work with Martyn Brabbins in his first production as ENO Music Director.’

Director Michael Mayer has helmed many of Broadway’s most impressive productions, winning the Tony Award for Best Director for Spring Awakening in 2007 and garnering great praise for his 2014 production of Hedwig and the Angry Inch. Having directed the 2012 Las Vegas-set Rigoletto for the Metropolitan Opera, New York, this marks his operatic debut on the London stage after directing the musical Funny Girl here in 2016.

ENO announces Harewood Artists for the 17/18 season

English National Opera (ENO) it delighted to announce four new ENO Harewood Artists, joining the eight singers that will remain part of the programme. David IrelandBožidar Smiljanic, Katie Stevenson and Elgan Llyr Thomas will join the ENO Harewood Artist programme for two years, beginning in the 17/18 season, alongside existing ENO Harewood Artists Katie CoventryEleanor DennisMatthew DurkanRhian LoisSoraya MafiSamantha PriceAndri Bjorn Robertsson and David Webb.

The ENO Harewood Artists, formerly the ENO Junior Company Principals and ENO Young Singers Programme, enables exceptionally talented British and British-trained singers to perform career-building roles with a major opera company while receiving specialist coaching, support and guidance. Across the 2017/18 season over 20 principal roles will be taken by current or former ENO Harewood Artists.

The ENO Harewood Artist programme began in 1998 and is renowned for its development of many of the UK’s most cherished young opera singers. Former ENO Harewood Artists include Sophie Bevan, Mary Bevan, Katherine Broderick, Allan Clayton, Madeleine Shaw, Nicky Spence, Julia Sporsén, Sarah Tynan and Kate Valentine.

This season, a number of small changes have been made to the programme in order to ensure that it continues to develop these young singers in the most supportive way possible. As ENO is now planning its opera seasons further in advance, a tailored, multi-year development programme has been established for each singer to ensure that they are performing and covering the roles most suitable to their voices across the next two years.

Under the scheme’s new structure, ENO will now cast Harewood Artists approximately 18 months before the start of the season in which they will first appear. They will receive coaching from that moment, alongside repertoire guidance and career advice. In addition to regular coaching sessions, the singers are awarded a bursary to enable them to partake in diction and language coaching, dialogue coaching, acting and dramaturgy sessions, performance psychology and Alexander Technique.

Mezzo-soprano Katie Stevenson will make her professional debut at ENO in Marnie in November, after graduating from the opera course at the Royal Academy of Music this summer. She will also cover the role of Hippolyta in A Midsummer Night’s Dream. Bass-baritone David Ireland joins from the National Opera Studio and will cover the role of Dr Bartolo in The Barber of Seville. Tenor Elgan Llyr Thomas will make his ENO stage debut at Regent’s Park Open Air Theatre as Prologue/Peter Quint in The Turn of the Screw. Prior to this he will be covering the role of Count Almaviva in The Barber of Seville. Bass-baritone Božidar Smiljanic will take to the London Coliseum stage as the Marchese d’Obigny in La traviata. Having previously debuted at Glyndebourne Festival Opera and Garsington, Božidar will also cover the role of Figaro in ENO’s The Marriage of Figaro this spring.

Jonathan Miller’s classic production of The Barber of Seville celebrates its thirtieth anniversary

Opens 5 October at the London Coliseum at 7.30pm for 9 performances

Thirty years after it first opened at the London Coliseum in November 1987, Jonathan Miller’s production of Rossini’s comic masterpiece The Barber of Seville returns to ENO for its thirteenth revival. Over the years it has become ‘a national institution’ (The Daily Telegraph) with generations of opera-goers enjoying Miller’s deft handling of this great operatic farce. For this anniversary production the original Figaro from the 1987 run, Alan Opie, takes the role of his antagonist, Dr Bartolo.

The period setting of 18th century Seville is host to a classic commedia dell’arte plot. The dashing Count Almaviva attempts to win the beautiful Rosina from under the clutches of her lecherous guardian Dr Bartolo, with the help of his barber Figaro and a series of cunning disguises.

In the title role is Australian baritone Morgan Pearse, returning to ENO after his ‘wonderfully agile’ (The Guardian) Figaro in the 2015 run. He is joined by Mexican tenor Eleazar Rodríguez in the role of Count Almaviva, also returning from his ‘dashing’ (The Sunday Express) performances in 2015.

English soprano Sarah Tynan makes her role debut as Rosina. She was last seen on the Coliseum stage earlier in 2017 in Christopher Alden’s five-starPartenope for which she was widely praised (‘dazzling’ – The Independent, ‘divine’ – What’s on Stage). Her previous roles at ENO include a ‘superbly beautiful’ (Opera Today) Romilda in the 2014 performances of Xerxes, as well as Marzelline in 2013’s Fidelio and Zerlina in 2012’s Don Giovanni.

Also making a role debut is English baritone Alan Opie as Dr Bartolo. With a significant career of highly acclaimed performances behind him (including Figaro in the original version of this production), this adds another classic character to his roster. A veteran especially of Miller productions at ENO, he has twice sung the title role in his Rigoletto (2003 and 2006). Most recently seen at ENO for his ‘outstanding’ title role in 2012’s The Death of Klinghoffer, he returns in the spring to sing Giorgio Germont in La traviata.

The role of Don Basilio is sung by Alastair Miles (‘the finest British bass of his generation’ –The Guardian) who was called ‘the ideal Don Basilio’ (The York Press) when he sang the role for Opera North in 2015. His numerous performances at ENO include the role of Alfonso in 2011’s Lucrezia Borgia.

English mezzo-soprano Yvonne Howard, ‘one of the finest singing actresses this country has produced’ (The Guardian), sings the housekeeper Berta. She has previously been seen at ENO in numerous roles including Katisha in the 2012 and 2015 runs of Jonathan Miller’s production of The Mikado. She returns in February to sing the Queen of the Fairies in Cal McCrystal’s new production of Iolanthe.

ENO Harewood Artist Matthew Durkan returns to sing Fiorello, the role with which he made his ENO debut in 2015. He was earlier seen in 2017 alongside Sarah Tynan in Partenope, widely noted for his ‘comic flair’ (The Daily Telegraph).

British conductor Hilary Griffiths makes his ENO debut after a highly distinguished career on the continent. His positions have included Chief Conductor of the State Opera, Prague, General Music Director of the Symphony Orchestra and Opera in Regensburg, and Principal Staff Conductor at the Cologne Opera.

Peter Relton returns once again after directing the 2015 run. His previous directorial engagement was launching the new Grange Park Opera with his inaugural production of Tosca (‘a remarkable achievement’- The Financial Times). The designs are by Tanya McCallin and lighting design is by ENO Head of Production Tom Mannings. The translation is by Amanda and Anthony Holden.

The Barber of Seville is chronologically the first of Beaumarchais’s ‘Figaro trilogy’. Its sequel, adapted earlier by Mozart, is The Marriage of Figaro,which will be performed by ENO in the spring, directed by Fiona Shaw.

The Barber of Seville opens at the London Coliseum on 05 October for 9 performances – 05, 10, 13, 18, 20, 25 and 30 October at 7.30pm and 07 and 28 October at 6.30pm.

500 tickets for £20 or less are available for each performance. Tickets start from £12.

Brighton Philharmonic Orchestra’s new season at Brighton Dome

The nights are drawing in and the children are back at school, but whilst for some this heralds the onset of the winter months, the Brighton Philharmonic Orchestra and its regular audience are looking forward to their new season of Sunday afternoon concerts at Brighton Dome.

An array of world-class musicians, including Melvyn Tan, Howard Shelley & Michael Collins, join the orchestra to perform popular works by Tchaikovsky, Brahms, Schubert, Rachmaninov, Haydn, Mozart and Beethoven, as well as less well-known gems by Arutunian, Ravel and Malcolm Arnold. Pre-Concert Interviews with these guest soloists take place at 1.45pm before each concert (apart from New Year’s Eve) giving you a fascinating insight into the life and career of a professional musician.

The season opens on Sunday 8th October with Conductor Laureate Barry Wordsworth at the helm, joined by exciting young Romanian pianist Alexandra Dariescu (recently named as one of 30 pianists under 30 destined for a spectacular career by International Piano Magazine) playing Tchaikovsky’s popular Piano Concerto No.1. The programme also includes Brahms’ intensely lyrical Symphony No.3 and Schumann’s dramatic overture to his opera Genoveva.

Particular highlights include a very special Remembrance Sunday concert (12 November) which opens with Bach’s Toccata & Fugue, orchestrated by the great American conductor Leopold Stokowski and familiar to many from the opening sequence of Disney’s Fantasia where Mickey Mouse shakes hands with The Conductor, Stokowski. Then comes Benjamin Britten’s emotional and technically demanding Violin Concerto, heavily influenced by the escalation of hostilities in Europe when it was written in 1939, and performed by British violinist Matthew Trusler. This is followed by George Butterworth’s evocative A Shropshire Lad, based on poems by AE Housman. This sumptuous orchestral rhapsody conjures up the rural idyll of Edwardian England that was to change forever in the First World War, where Butterworth was to lose his life in the trenches. The concert closes with Vaughan Williams’ craggy and powerful Symphony No.4, written in 1935 as the storm clouds of war gathered over Europe.

As part of the city’s festive celebrations the orchestra presents its traditional New Year’s Eve Viennese Gala with a plethora of foot-tapping marches, polkas and waltzes from the prolific Strauss family and lots of sparkly top notes from guest soprano Rebecca Bottone, returning for a second year by popular demand.

Highlights later in the season include Melvyn Tan playing Ravel’s jazz-infused Piano Concerto (3 December), Mozart’s Clarinet Concerto – a Classic FM favourite that has been used in the soundtracks of films such as The King’s Speech and Out of Africa (28 January), Howard Shelley playing Mendelssohn’s melodious Piano Concerto (11 February), and Arutunian’s fabulous showpiece Trumpet Concerto (4 March). Our season closes with Saint-Saëns’ delightful Carnival of the Animals for which the orchestra are joined by the virtuosic piano duo Worbey & Farrell, last seen in Brighton in the Fringe in 2014.

On the morning of the final concert (25 March) we will be holding our popular free Open Rehearsal for children, with a run through of Carnival of the Animals and extracts from Delibes’ comic ballet Coppélia Suite (arranged by our very own Barry Wordsworth).

Tickets are available from Brighton Dome Ticket Office (01273) 709709 or  and range from £12-£38. Students and under 18s enjoy a 50% discount, as does anyone receiving Jobseekers Allowance, Pension Credit or Income Support, whilst children can attend for just £1 as part of a Family Ticket. Tickets for the Pre-Concert Interviews are £3.75.

Discounted parking is available for all BPO concerts at just £6 for up to five hours (from 1pm-6pm) in NCP Church Street Car Park, just a couple of minutes’ walk from Brighton Dome.

For full details of the whole season see:



Olivier Award-winner Phelim McDermott’s new production of Aida launches ENO’s 2017/18 seaso

 Opens on Thursday 28 September at 7.30pm at the London Coliseum for 16 performances

Following the success of Akhnaten in 2016, director Phelim McDermott and theatre company Improbable return to ENO with a new production of Verdi’s Aida.

In addition to the forces of Improbable, acclaimed female-led contemporary circus company Mimbre and renowned puppeteer Basil Twist round off an artistic team at the forefront of theatrical innovation.

Phelim McDermott comments:

‘I’ve never directed something like Aida before, but everyone knows the opera – it is the archetypal operatic love story. It’s a story worthy of the thing that only opera can do, which is to create theatre, music and drama at the same time. For us it’s like a sister production to Akhnaten – you can see that it’s born from the same kind of impulses. I would say, don’t expect to see Ancient Egypt on stage. Do expect to see a wonderful, intimate, moving story.’

Sharing the title role of the tragic Ethiopian princess who must choose between her homeland and her love will be two sopranos whose previous performances as Aida have received wide praise. Latonia Moore will sing the role from the 28 September to the 27 October and Morenike Fadayomi will take over from the 31 October to the 2 December.

Welsh tenor Gwyn Hughes Jones makes his second appearance for ENO this year as the captain of the guard and lover of Aida, Radamès.

Mezzo-soprano Michelle DeYoung makes her company debut as Amneris, Aida’s rival in love.  Also making her company debut, Dana Beth Miller takes over the role from her from the 31 October to the 2 December.

Rising South African bass-baritone Musa Ngqungwana makes his UK operatic debut as the defeated Ethiopian ruler Amonasro. Bass Matthew Best returns to ENO to sing the King.

British bass Brindley Sherratt returns to ENO as Ramfis and the cast is completed by ENO Harewood Artists Eleanor Dennis and David Webb as the High Priestess and Messenger respectively.

Leading the ENO Orchestra in the pit will be Canadian conductor Keri-Lynn Wilson, who makes a very welcome return after her  debut in 2014 with Richard Jones’s Olivier Award-winning The Girl of the Golden West.

The Movement Director is US puppeteer, silk artist and designer Basil Twist, one of the most influential and admired practitioners in his field: ‘no theatre artist in New York is showing more poetic force or technical skill than the puppeteer Basil Twist’ (The New Yorker).

ENO will collaborate with the Victoria & Albert Museum and Royal Opera House around their exhibition Opera: Passion, Power and Politics (30 September 2017 – 25 February 2018). As part of ENO’s involvement in the exhibition, ENO Baylis (our learning and participation programme) will develop a site-specific free public performance involving over 100 diverse community participants and professional artists inspired by ENO’s new production of Aida. This performance follows the success of our Millions of Years project in 2016, where a performance inspired by Akhnaten culminated in the Great Court of the British Museum, watched by over 3,000 people.

Aida opens on Thursday 28 September at 7.30pm at the London Coliseum for 16 performances: 03, 06, 09, 11 19 21 27, 31 October, 10, 17, 27, 29 November at 7.30pm, 14 October and 4 November at 6.30pm, and 2 December at 3pm.