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Schedule
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
NEW YEAR CONCERT WITH THE SYMPHOUSES
Meistersingerhalle, Nuremberg
05-06/01/2025
Dmitri Shostakovich
Festive Overture op. 96 96
Wolfgang Amadeus Mozart
Piano Concerto in C major K. 467
Léo Delibes
Coppélia, Valse
Amilcare Ponchielli
La Gioconda, dance of the hours
Camille Saint-Saens
Samson and Delilah, Bacchanale
and much more
Soloist
David Fray, piano
conductors
Chief conductor Jonathan Darlington
Festive Overture op. 96 96
Wolfgang Amadeus Mozart
Piano Concerto in C major K. 467
Léo Delibes
Coppélia, Valse
Amilcare Ponchielli
La Gioconda, dance of the hours
Camille Saint-Saens
Samson and Delilah, Bacchanale
and much more
Soloist
David Fray, piano
conductors
Chief conductor Jonathan Darlington
SCHUBERTS GROẞE C-DUR-SYMPHONIE
Meistersingerhalle, Nuremberg
12/01/2025
Ludwig van Beethoven
Leonore, Overture No. 3 C major op. 72b
Béla Bartok
Viola concerto op. posth.
Franz Schubert
No Symphony No. 8 C major D 944, Great C major
Soloist
Timothy Ridout, viola
conductors
Chief conductor Jonathan Darlington
Leonore, Overture No. 3 C major op. 72b
Béla Bartok
Viola concerto op. posth.
Franz Schubert
No Symphony No. 8 C major D 944, Great C major
Soloist
Timothy Ridout, viola
conductors
Chief conductor Jonathan Darlington
SPRUNGBRETT NR. 2
Music hall in the Congress Hall, Nuremberg
16/01/2025
Ludwig van Beethoven
Symphonie Nr. 4 B-Dur op. 60
Wolfgang Amadeus Mozart
Symphonie Nr. 41 C-Dur KV 551 Jupiter-Symphonie
Dirigent
Diverse Dirigentinnen | Dirigenten
Symphonie Nr. 4 B-Dur op. 60
Wolfgang Amadeus Mozart
Symphonie Nr. 41 C-Dur KV 551 Jupiter-Symphonie
Dirigent
Diverse Dirigentinnen | Dirigenten
SPRUNGBRETT NR. 3
Music hall in the Congress Hall, Nuremberg
06/02/2025
Felix Mendelssohn Bartholdy
Symphonie Nr. 4 A-Dur op. 90 Italienische
Dmitri Schostakowitsch
Symphonie Nr. 9 Es-Dur op. 70
Robert Schumann
Symphonie Nr. 4 d-Moll op. 120
Dirigent
Diverse Dirigentinnen | Dirigenten
Symphonie Nr. 4 A-Dur op. 90 Italienische
Dmitri Schostakowitsch
Symphonie Nr. 9 Es-Dur op. 70
Robert Schumann
Symphonie Nr. 4 d-Moll op. 120
Dirigent
Diverse Dirigentinnen | Dirigenten
DARLINGTON TRIFFT DARLINGTON
Meistersingerhalle, Nuremberg
15-16/03/2025
Tchaikovsky
Suite No. 3 G-Dur op. 55
Charles Ives
The Unanswered Question
Aaron Copland
Symphony for organ and orchestra
Soloist
Stephen Darlington, organ
conductors
Chief conductor Jonathan Darlington
Suite No. 3 G-Dur op. 55
Charles Ives
The Unanswered Question
Aaron Copland
Symphony for organ and orchestra
Soloist
Stephen Darlington, organ
conductors
Chief conductor Jonathan Darlington
LA FANCUILLA DEL WEST
Teatro di San Carlo
16-19-23-26-29/04/2025
Opera in three acts
Music by Giacomo Puccini
Libretto by Guelfo Civinini and Carlo Zangarini after the play The Girl of the Golden West by David Belasco
Conductor | Jonathan Darlington
Stage Direction, Set and Costumes Design | Hugo De Ana
Lightin Designer | Vinicio Cheli
Projection Designer | Sergio Metalli
Cast
Minnie | Anna Pirozzi
Jack Rance | Gabriele Viviani
Dick Johnson | Martin Muehle♭
Nick | Alberto Robert♭
Ashby | Mariano Buccino♭
Sonora | Leon Kim♭
Sid | Lodovico Filippo Ravizza ♭
Trin | Antonio Garés ♭
Bello | Clemente Antonio Daliotti♭
Harry | Gregory Bonfatti
Joe | Paolo Antognetti
Happy | Pietro Di Bianco
Larkens | Lorenzo Mazzucchelli
Billy Jackrabbit | Sebastià Serra #
Wowkle | Antonia Salzano #
Jack Wallace | Gabriele Ribis♭
José Castro | Yunho Kim #
A postillion | Michele Maddaloni ♮
Orchestra and Chorus of Teatro di San Carlo
Chorus Master | Fabrizio Cassi
Production of Teatro di San Carlo in coproduction with Abao Olbe
Music by Giacomo Puccini
Libretto by Guelfo Civinini and Carlo Zangarini after the play The Girl of the Golden West by David Belasco
Conductor | Jonathan Darlington
Stage Direction, Set and Costumes Design | Hugo De Ana
Lightin Designer | Vinicio Cheli
Projection Designer | Sergio Metalli
Cast
Minnie | Anna Pirozzi
Jack Rance | Gabriele Viviani
Dick Johnson | Martin Muehle♭
Nick | Alberto Robert♭
Ashby | Mariano Buccino♭
Sonora | Leon Kim♭
Sid | Lodovico Filippo Ravizza ♭
Trin | Antonio Garés ♭
Bello | Clemente Antonio Daliotti♭
Harry | Gregory Bonfatti
Joe | Paolo Antognetti
Happy | Pietro Di Bianco
Larkens | Lorenzo Mazzucchelli
Billy Jackrabbit | Sebastià Serra #
Wowkle | Antonia Salzano #
Jack Wallace | Gabriele Ribis♭
José Castro | Yunho Kim #
A postillion | Michele Maddaloni ♮
Orchestra and Chorus of Teatro di San Carlo
Chorus Master | Fabrizio Cassi
Production of Teatro di San Carlo in coproduction with Abao Olbe
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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