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Schedule
A GUEST IN MILAN
Conservatorio di Musica "Giuseppe Verdi", Milan
26-11-2025
Franz Liszt
Piano Concerto No. 1 in E flat major
Gustav Mahler
Symphony No. 1 in D major, titanium, reduced by Erwin Stein
Anna Kravtchenko, Piano
Conductor: Chief Conductor Jonathan Darlington
Piano Concerto No. 1 in E flat major
Gustav Mahler
Symphony No. 1 in D major, titanium, reduced by Erwin Stein
Anna Kravtchenko, Piano
Conductor: Chief Conductor Jonathan Darlington
TCHAIKOVSKY : THE NUTCRACKER
Orchestra del Teatro di San Carlo
20/21/23/27/28/30-12-2025
Orchestra del Teatro di San Carlo
Balletto del Teatro di San Carlo
Chef d'orchestre
Jonathan Darlington
Chorégraphes
Simone Valastro
Balletto del Teatro di San Carlo
Chef d'orchestre
Jonathan Darlington
Chorégraphes
Simone Valastro
VIERTES SINFONIEKONZERT
Staatsoper Hannover
11/12-01-2026
Elizabeth Maconchy
Nocturne (1951)
William Walton
Konzert für Viola und Orchester (1928 – 29 / 1961)
Edward Elgar
Enigma-Variationen op. 36 (1898)
Viola:
Haesue Lee
Musikalische Leitung:
Jonathan Darlington
Niedersächsisches
Staatsorchester Hannover
Nocturne (1951)
William Walton
Konzert für Viola und Orchester (1928 – 29 / 1961)
Edward Elgar
Enigma-Variationen op. 36 (1898)
Viola:
Haesue Lee
Musikalische Leitung:
Jonathan Darlington
Niedersächsisches
Staatsorchester Hannover
LA BOHEME
Queen Elizabeth Theatre, Vancouver Opera
25/26/30-04-2026
02/03-05-2026
Composed by Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa
Premiered 1896 in Turin
Sung in Italian with English Projected Titles
The 2025–2026 season closes with one of opera’s most enduring love stories, set in the world’s most romantic city, rendered with the most vibrant characters and melodies. Puccini’s masterpiece transports us to the heart of 1830s bohemian life in Paris, where love blossoms amidst dreams, hardships, and the unyielding pursuit of artistic freedom.
La Bohème has remained one of the most beloved and frequently performed operas worldwide since its 1896 premiere, due in large part to captivating pieces like Quando m’en vo, a.k.a. “Musetta’s Waltz”, and perhaps the most famous duet in opera, O soave fanciulla, sung on that moonlit moment when Mimì and Rodolfo fall in love.
In a bustling community of artists, students, philosophers, and Quartier Latin café denizens, the deep connection between the young poet Rodolfo and the seamstress Mimì is eventually tested by the bittersweet passage of time and the emotional toll of illness and poverty.
VO Music Director Emeritus Jonathan Darlington returns to conduct some of the most romantic and iconic music in opera history, while Pacific Opera Victoria Artistic Director Brenna Corner crosses the Salish Sea to direct a stunning international cast. Whether you’re discovering it for the first time or returning to a beloved classic, La Bohème speaks passionately to the soul, reminding us to cherish the fragility and fleeting beauty of life and love.
Libretto by Luigi Illica and Giuseppe Giacosa
Premiered 1896 in Turin
Sung in Italian with English Projected Titles
The 2025–2026 season closes with one of opera’s most enduring love stories, set in the world’s most romantic city, rendered with the most vibrant characters and melodies. Puccini’s masterpiece transports us to the heart of 1830s bohemian life in Paris, where love blossoms amidst dreams, hardships, and the unyielding pursuit of artistic freedom.
La Bohème has remained one of the most beloved and frequently performed operas worldwide since its 1896 premiere, due in large part to captivating pieces like Quando m’en vo, a.k.a. “Musetta’s Waltz”, and perhaps the most famous duet in opera, O soave fanciulla, sung on that moonlit moment when Mimì and Rodolfo fall in love.
In a bustling community of artists, students, philosophers, and Quartier Latin café denizens, the deep connection between the young poet Rodolfo and the seamstress Mimì is eventually tested by the bittersweet passage of time and the emotional toll of illness and poverty.
VO Music Director Emeritus Jonathan Darlington returns to conduct some of the most romantic and iconic music in opera history, while Pacific Opera Victoria Artistic Director Brenna Corner crosses the Salish Sea to direct a stunning international cast. Whether you’re discovering it for the first time or returning to a beloved classic, La Bohème speaks passionately to the soul, reminding us to cherish the fragility and fleeting beauty of life and love.
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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