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Schedule
FRENCH DANCE FROM SERGE LITAR TO ROLAND PETIT
Theatro San Carlo Naples
07-11/09/2024
Édouard Lalo
Suite en Blanc
Extrait de Namouna
Choreographer | Serge Lifar
Revival by Charles Jude
Sets and Costumes Design| | Maurice Moulène
Georges Bizet
L’Arlésienne
Choreographer | Roland Petit
Revival by Luigi Bonino
Set Design | René Allio
Costumes Design | Christine Laurent
Lighting Design | Jean-Michel Desiré
Johann Sebastian Bach
Le jeune homme et la mort
Choreographer | Roland Petit
Revival by Luigi Bonino
Set Design | Georges Wakhévitch
Costumes Design |Barbara Karinska
Libretto | Jean Cocteau
Lighting Design | Jean-Michel Desiré
Conductor | Jonathan Darlington
Orchestra, Étoiles, Soloists and Ballet of Teatro di San Carlo
Ballet Director | Clotilde Vayer
Suite en Blanc
Extrait de Namouna
Choreographer | Serge Lifar
Revival by Charles Jude
Sets and Costumes Design| | Maurice Moulène
Georges Bizet
L’Arlésienne
Choreographer | Roland Petit
Revival by Luigi Bonino
Set Design | René Allio
Costumes Design | Christine Laurent
Lighting Design | Jean-Michel Desiré
Johann Sebastian Bach
Le jeune homme et la mort
Choreographer | Roland Petit
Revival by Luigi Bonino
Set Design | Georges Wakhévitch
Costumes Design |Barbara Karinska
Libretto | Jean Cocteau
Lighting Design | Jean-Michel Desiré
Conductor | Jonathan Darlington
Orchestra, Étoiles, Soloists and Ballet of Teatro di San Carlo
Ballet Director | Clotilde Vayer
STRAWINSKY-KONZERT UND HAYDN-SYMPHONIE
Nuremberg Symphoniker
29/09/2024
Maurice Ravel
Le Tombeau de Couperin
Igor Stravinsky
Violin Concerto in D
Joseph Haydn
No Symphony No. 101 D major The watch
Soloist
Alexandra Conunova, violin
conductors
Chief conductor Jonathan Darlington
Le Tombeau de Couperin
Igor Stravinsky
Violin Concerto in D
Joseph Haydn
No Symphony No. 101 D major The watch
Soloist
Alexandra Conunova, violin
conductors
Chief conductor Jonathan Darlington
NEUE STIMMEN 2024
Stadthalle Gütersloh
11/10/2024
The final round of the 2024 competition will take place in Gütersloh from October 5 - 12, 2024. The final concert will be accompanied by the Duisburg Philharmonic Orchestra conducted by Jonathan Darlington.
LISZT - RAVEL - BEETHOVEN
Municipal House Prague
21/10/2024
Franz Liszt: Dance Of Death For Piano And Orchestra 17 min.
Maurice Ravel: Piano Concerto for the Left Hand 19 min.
break 20 min.
Ludwig van Beethoven: Symphony No. 5 “Fate Symphony” 31 min.
Jonathan Darlington conductor
Marc-André Hamelin piano
Maurice Ravel: Piano Concerto for the Left Hand 19 min.
break 20 min.
Ludwig van Beethoven: Symphony No. 5 “Fate Symphony” 31 min.
Jonathan Darlington conductor
Marc-André Hamelin piano
LONDON - ENGLANDTOURNEE
Cadogan Hall, London
14/11/2024
The Nuremberg Symphony Orchestra starts their first tour of England in London!
Carl Maria of Weber
The Freischütz op. 77, Overture
Edvard Grieg
Piano concerto in A minor op. 16
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
Carl Maria of Weber
The Freischütz op. 77, Overture
Edvard Grieg
Piano concerto in A minor op. 16
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
NOTTINGHAM - ENGLANDTOURNEE
Royal Concert Hall, Nottingham
15/11/2024
Carl Maria of Weber
The Freischütz op. 77, Overture
Ludwig van Beethoven
Piano Concerto No. 5 E-flat major op. 73 73
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
The Freischütz op. 77, Overture
Ludwig van Beethoven
Piano Concerto No. 5 E-flat major op. 73 73
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
BASINGSTOKE - ENGLANDTOURNEE
The Anvil, Basingstoke
16/11/2024
Ludwig van Beethoven
Egmont, Overture in F minor op. 84
Edvard Grieg
Piano concerto in A minor op. 16
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
Egmont, Overture in F minor op. 84
Edvard Grieg
Piano concerto in A minor op. 16
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
BIRMINGHAM - ENGLANDTOURNEE
Symphony Hall, Birmingham
17/11/2024
Carl Maria of Weber
The Freischütz op. 77, Overture
Ludwig van Beethoven
Piano Concerto No. 5 E-flat major op. 73 73
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
The Freischütz op. 77, Overture
Ludwig van Beethoven
Piano Concerto No. 5 E-flat major op. 73 73
Johannes Brahms
No Symphony No. 4 E minor op. 98
Soloist
Federico Colli, piano
conductors
Chief conductor Jonathan Darlington
MANCHESTER - ENGLANDTOURNEE
Bridgewater Hall, Manchester
18/11/2024
Carl Maria von Weber
Der Freischütz op. 77, Ouvertüre
Edvard Grieg
Klavierkonzert a-Moll op. 16
Johannes Brahms
Symphonie Nr. 4 e-Moll op. 98
Solist
Federico Colli, Klavier
Dirigent
Chefdirigent Jonathan Darlington
Der Freischütz op. 77, Ouvertüre
Edvard Grieg
Klavierkonzert a-Moll op. 16
Johannes Brahms
Symphonie Nr. 4 e-Moll op. 98
Solist
Federico Colli, Klavier
Dirigent
Chefdirigent Jonathan Darlington
ZU GAST IN ROTHENBURG
Reichsstadthalle Rothenburg, Rothenburg
30/11/2024
Richard Wagner
The Meistersinger of Nuremberg, Vorspiel 1. Act
Wolfgang Amadeus Mozart
Vado, ma dove? O Dei! KV 583
Wolfgang Amadeus Mozart
Exsultate, jubilate KV 165
AntonÃ3n Dvorák
No Symphony No. 8 G major op. 88
Soloist
Ania Vegry, soprano
conductors
Chief conductor Jonathan Darlington
The Meistersinger of Nuremberg, Vorspiel 1. Act
Wolfgang Amadeus Mozart
Vado, ma dove? O Dei! KV 583
Wolfgang Amadeus Mozart
Exsultate, jubilate KV 165
AntonÃ3n Dvorák
No Symphony No. 8 G major op. 88
Soloist
Ania Vegry, soprano
conductors
Chief conductor Jonathan Darlington
DARLINGTON DIRIGIERT DVORÁK
Meistersingerhalle, Nürnberg
01/12/2024
Joseph Haydn
No Symphony No. 96 in D major The Miracle
Wolfgang Amadeus Mozart
Vado, ma dove? O Dei! KV 583
Wolfgang Amadeus Mozart
Exsultate, jubilate KV 165
AntonÃ3n Dvorák
No Symphony No. 8 G major op. 88
Soloist
Ania Vegry, soprano
conductors
Chief conductor Jonathan Darlington
No Symphony No. 96 in D major The Miracle
Wolfgang Amadeus Mozart
Vado, ma dove? O Dei! KV 583
Wolfgang Amadeus Mozart
Exsultate, jubilate KV 165
AntonÃ3n Dvorák
No Symphony No. 8 G major op. 88
Soloist
Ania Vegry, soprano
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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