Ian Bostridge

Introduction

Ian Bostridge's  international recital career takes him to the foremost concert halls of Europe, Japan and North America, with regular appearances at the Schubertiade in Schwarzenberg and the Edinburgh, Munich and Aldeburgh festivals.  Opera engagements have included ‘Don Giovanni’ and Adès’s ‘The Tempest’ for the Royal Opera, Covent Garden; ‘The Rake's Progress’ in Munich; ‘Semele’ for English National Opera; 'Don Giovanni' for the Vienna State Opera; and Aschenbach ('Death in Venice') for both English National Opera and at the Monnaie, Brussels. The recent Barbican production of 'Curlew River' will tour the USA in autumn 2014.

He has appeared in concert with the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw, Boston Symphony, London Symphony, New York Philharmonic and Los Angeles Philharmonic orchestras and the Orchestra of the Metropolitan Opera, under Sir Simon Rattle, Bernard Haitink, Sir Colin Davis, Seiji Ozawa, Riccardo Muti, Nikolaus Harnoncourt, Daniel Barenboim, James Levine, Daniel Harding, Andris Nelsons and Sir Antonio Pappano. His many recordings have won all the major international record prizes and been nominated for 13 Grammys.  He was awarded a CBE in the 2004 New Year's Honours. He will be Humanitas Professor of Classical Music at the University of Oxford 2014/2015. His book 'Schubert's Winter Journey: Anatomy of an Obsession' was published by Faber and Faber in the UK and Knopf in the US in January 2015.

www.facebook.com/IanBostridge

This is for information only and should not be reproduced. Please contact
Mary Donald for a full biography and for performance details.

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News & Features

Repertoire

OPERA REPERTOIRE

ADES
The Tempest: Caliban

BRITTEN
A Midsummer Night's Dream: Lysander / Flute

BRITTEN
Billy Budd: Captain Vere

BRITTEN
Curlew River: Madwoman

BRITTEN
Death in Venice: Aschenbach

BRITTEN
The Rape of Lucretia: Male Chorus

BRITTEN
The Turn of the Screw: Prologue / Quint

HANDEL
Semele: Jupiter

HANDEL
Acis and Galatea: Acis

MONTEVERDI
L'incoronazione di Poppea: Nerone

MONTEVERDI
L'Orfeo: Orfeo

MONTEVERDI
Il ritorno d'Ulisse in patria: Ulisse

MOZART
Die Entführung aus dem Serail: Belmonte

MOZART
Die Zauberflöte: Tamino

MOZART
Don Giovanni: Don Ottavio

MOZART
Idomeneo: Idomeneo

SMETANA
The Bartered Bride: Vasek

STRAVINSKY
The Rake's Progress: Tom Rakewell

STRAVINSKY
Oedipus Rex (title role)

Please contact Mary Donald for information of Ian Bostridge's song and concert repertoire

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Media Player

Video

  • BRITTEN
    Curlew River

Audio

Schedule

Romanian Athaneum, Bucharest

MONTEVERDI: Il ritorno d'Ulisse in patria

Ian Bostridge, Ulisse 
Elizabeth Watts, Minerva 
Andrew Tortise, Telemaco
Lukas Jakobski, Tempo/Nettuno/Antinoo
Sophie Junker, Melanto/Fortuna
Daniela Lehner, L'Umana Fragilita 
Joseph Cornwell, Eumete
Academy of Ancient Music
Richard Egarr, director & harpsichord

Further information here

Wigmore Hall, London

IAN BOSTRIDGE
STEPHEN ISSERLIS
JULIUS DRAKE

BACH
Es dünket mich, ich seh' dich kommen (cantata BWV 175)
Geliebter Jesu (from cantata BWV 16)
Woferne du den edlen Frieden (from cantata BWV 41)

BRITTEN
Cello Suite no 3  

BACH arr Britten: Five Spiritual Songs: 
Gedenke doch, mein Geist, zurücke
Kommt, Seelen, dieser Tag
Liebster Herr Jesu 
Komm, süsser Tod
Bist du bei mir

Interval


LACHNER In die Ferne, op 23
Waldvöglein op 28 no 1
Nachts in der Kajüte op 34

R.R. BENNETT 
Tom O'Bedlam 

SCHUBERT 
Auf dem Strom D 943

Wiltshire Music Centre, Bradford-on-Avon

Ian Bostridge, tenor
Xuefei Yang, guitar

DOWLAND In darkness let me dwell (then lights go on)

BRITTEN Second Lute Song of the Earl of Essex, from Gloriana (arr. Bream) 

ARGENTO - Letters from Composers 
- Chopin to a Friend 
- Schubert - to a Friend 

SCHUBERT Lieder: 
- Die Mainacht D194 
- Der König im Thule D367 
- An die Musik D547 
- Ständchen, No.4 from Lieder aus Schwanengesang D957, No. 4 

BRITTEN Songs from the Chinese 

Interval 

BRITTEN Nocturnal after John Dowland, Op 70 (guitar solo) 

GOSS Book of Songs (written for Ian Bostridge and Xuefei Yang)  

DOWLAND
- Come again, sweet love doth now invite 
- White as lilies 
- My thoughts are winged with hopes 
- Flow my tears 
- In darkness let me dwell (lights go off) 

St John's Smith Square, London

Telemann Suite in F for two horns and strings
Telemann Ich weiss, dass mein Erlöser lebt
Telemann So stehet ein Berg Gottes from Der Tod Jesu
Handel Concerto Grosso in D minor Op. 3 No. 5
Handel Scherza infida from Ariodante
Handel Love sounds th’alarm from Acis and Galatea
Handel Silete Venti
Handel Selection from Water Music

Steven Devine director
Ian Bostridge tenor

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Ian Bostridge / Faber & Faber

Schubert's Winter Journey: Anatomy of an Obsession
by Ian Bostridge (Faber & Faber / 1 January 2015)

Schubert's Winterreise is one of the most powerful and one of the most enigmatic masterpieces in Western culture. In his new book, Schubert's Winter Journey: Anatomy of an Obsession, Ian Bostridge - one of the work's finest interpreters - focusses on the context, resonance and personal significance of the work. Drawing on his vast experience of performing Winterreise, on his musical knowledge and on his training as a scholar, Ian Bostridge unpicks the enigmas and subtle meaning of each of the 24 songs to explore the world Schubert inhabited, bringing the work and its world alive for connoisseurs and new listeners alike.

Radio Open Source podcast interview: A Winter Journey with Ian Bostridge

"Some Winter Wonders" 
Review by Alfred Brendel in the New York Review of Books
4 June 2015 (subscription required)

“A magnificent study of one of the most influential and simultaneously mysterious musical works of the Romantic period. And there’s no one better to crack it open than Bostridge, who knows its wormholes better than anyone.” 
Jessica Ferri, The Daily Beast, 11 March 2015

"A new book promises to deepen the understanding of the legions of “Winterreise” devotees, while offering encouragement to interested music lovers who have had difficulty following the lieder. The tenor Ian Bostridge, a leading interpreter of “Winterreise,” has written a cross between an idiosyncratic guide to the song cycle and a freewheeling meditation on it, “Schubert’s Winter Journey: Anatomy of an Obsession,” which he says at the outset aims “to explain, to justify, to contextualize and embroider.” ... Mr. Bostridge, something of a polymath, draws on his deep reading and his long experience singing the cycle to explore Schubert’s world, the roots of the songs and how they have been received since they were written."
Michael Cooper, New York Times, 18 February 2015

"His beautifully produced book offers many new insights that will inform the enjoyment of both old admirers and newcomers to the music. ...  Mr Bostridge is a good storyteller and keeps the reader in constant suspense."
The Economist, 17 January 2015

"Bostridge’s highly enjoyable book provides a rewarding, intelligently written companion to the piece for those who know it well, as well as for those who are approaching it for the first time." 
Nick Rennison, The Sunday Times, 4 January 2015

"Winterreise, Bostridge argues, is “a message in a bottle set afloat in the cultural ocean of 1828” and, with the confidence of a master oarsman, Bostridge sails these waters with awesome virtuosity."
Neil Fisher, The Times, 3 January 2015

"In the book, he inhabits not only the work, but the man. And — his most important achievement in writing it — it sends you scurrying back to the music."
Dan Cairns, The Sunday Times, 28 December 2014

"Illuminating and comprehensive . . . rich, highly readable.”
Kirkus Reviews / November 2014 issue

"an impressive success: a long-gestated, intensely enjoyable study of Schubert's Winterreise"
Literary Review / Rupert Christiansen / December 2014

A Singer's Notebook by Ian Bostridge (published Faber & Faber, October 2011) was voted as a "Book of the Year" in both the Independent and the Financial Times.

"revelatory ... this sparkling collection"  The Sunday Times
Adam Lively / Sunday Times / 2 October 2011

"these are the thoughts of a profoundly engaged artist ... provocative, astringent, capable of arresting insights"
Michael Church / The Independent / 30 September 2011

"impressively omnivorish"   The Sunday Telegraph

"weaving together ... an enormously wide culture with acutely observed physical sensations" The Daily Telegraph

"a consistently lively, learned, urbane and passionate book, once opened not likely to be closed until you have read it all"
Michael Tanner / BBC Music Magazine / October 2011

"enjoyable and illuminating" 
Rupert Christiansen / Sight & Sound / October 2011

"informative and thoughtful"
Robin Holloway / The Guardian / 7 October 2011

My Summer Reading: Tenor Ian Bostridge
   
Hilary Whitney interviews Ian Bostridge ahead of the publication of A Singer's Notebook, a collection of reviews and essays by Bostridge (September 2011, Faber and Faber)   

Click here to read the article, The Arts Desk / 23 August 2011

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Press

Schumann

Recital: 30 June 2015

The Mansion House, London

"Bostridge delivered everything from memory, and it was a tribute to his immaculate German diction that even in the rather boomy, unfocused acoustic of the Mansion House he was able to make so many of the words clear. 
...
The Op 39 Liederkreis was inevitably the highlight; the way in which Bostridge heightened the gothic atmosphere of Auf einer Burg, using a bleached, sprechgesang-like approach and digging a real rasp out of the lowest registers of his voice, was very special lieder singing."
Andrew Clements, The Guardian, 1 July 2015
"This duo provided thrilling moments of spontaneity and inspiration"

"A characteristic Bostridge sound is the single-note crescendo, gradually acquiring intensity and penetration. It’s a wonderfully plangent effect and he deployed it frequently in all three collections heard"
Barry Millington, Evening Standard, 1 July 2015

Recital: 15 June 2015

Melbourne Recital Centre

"Tenor Ian Bostridge's storytelling captivates at Melbourne Recital Centre"

"The many diverse colours of Bostridge's beautiful tenor voice were employed to bring these narratives to life. Bostridge does more than just sing these songs, he delivers an experience. Moving constantly around the stage, he takes the audience into a spellbinding world of restless emotions."
Martin Duffy, The Sydney Morning Herald, 16 June 2015

BRITTEN

War Requiem

Melbourne Symphony Orchestra/Hamer Hall, Melbourne

"Each soloist brought a unique perspective on the work; the booming voice of Pavlovskaya countering the captivating,  vibrant tones of Bostridge,  and Henschel offering a heartfelt, yet straightforward interpretation."
Joel Carnegie, Sydney Morning Herald, 12 June 2015
"Interspersed in the Latin mass Owen’s words, sung supremely in turns by German bass-baritone Dietrich Henschel and English tenor Ian Bostridge, mixed the ideas of glory and sacrifice with slaughter, death and the idiocy of command."
Andrea Gillum, ArtsHub, 16 June 2015

Songs of World War I

Recital tour of North America

Park Avenue Armory, New York: 17 April 2015

"...at the Park Avenue Armory, war’s echoes resounded again, in a devastating concert by Ian Bostridge and his superb pianist, Wenwen Du." David Allen, The New York Times, 19 April 2015
Hertz Concert Hall, Berkeley: 12 April 2015

"But Bostridge ... leapt into his “Great War” project and held nothing back. From the first measures of three songs from Mahler’s Des Knaben Wunderhorn that opened the program — all of them performed at the brink of curdled, nihilistic abandon — a darkly coruscating afternoon unfolded."
Steven Winn, San Francisco Classical Voice, 13 April 2015
Hertz Concert Hall, Berkeley: 12 April 2015

"In each composer's music, Bostridge proved an ideal interpreter.  The tenro remains an ageless presence, and his austere, pure-toned vocalism lent the songs an almost spectral intensity."
Georgia Rowe, Musical America, 14th April 2015
Park Avenue Armory: 17 April 2015

"Bostridge has a dramatic manner that is driven by his deep intelligence and learning. He sings with such clarity and assurance about the subject that one need not know the language nor refer to the text to understand his meaning. His voice was superb—the warm penumbra he had when younger is gone, but that is a gain, as out of it has come polished steel."
George Grella, New York Classical Review, 18 April 2015
Vancouver Playhouse: 15 April 2015

"British tenor Ian Bostridge delivers complex, commanding Winterreise
Darker, more ironic, and consummately theatrical"
David Gordon, The Vancouver Sun, 16 April 2015

SCHUBERT

Winterreise

Recital tour of North America

Union College, Schenectady: 19 April 2015

"Bostridge brings beauty and terror to 'Winterreise'. Despite tenor Ian Bostridge’s best efforts to keep his recitals from being all about singing, it’s obvious that he is still a very fine singer."
Joseph Dalton, Times Union, 20 April 2015
Vancouver Playhouse: 15 April, 2015

"British tenor Ian Bostridge delivers complex, commanding Winterreise"
David Gordon, The Vancouver Sun, 16 April 2015
Union College, Schenectady: 19 April 2015

"Bostridge, who has sung this cycle for more than 25 years around the world, inhabited each song in an intense, focused and emotional way. Every note had meaning. His casual manner of leaning against the piano or walking about a bit made the songs like little stories.  His voice was rich and resonant with a dark, almost baritone-like timbre. His lower range growled and rumbled, his top notes soared. His phrases were fluid and even, rising or falling depending on the dynamic he chose. Vibrato was used as a color. Schubert seemed to have laid his lines well, so taking a breath was an effortless task. Silence and pacing were used to allow a song’s shape to settle. Bostridge’s German was immaculate."
Geraldine Freedman, Schenectady Daily Gazette, 22 April 2015

ARTICLE

'The Magic in Schubert's Songs' by Ian Bostridge

Review of Franz Schubert: The Complete Songs by Graham Johnson

Britten

Les Illuminations

Swedish Radio Symphony Orchestra/Daniel Harding, Berwaldhallen, Stockholm

"To call yourself an amateur, as one of the world’s foremost lieder-singers, is modest in an almost parodically British way. But Ian Bostridge does, according to conductor Daniel Harding. The reason is that Bostridge does not have a formal music education. However, he is a trained historian, with a doctorate about witchcraft from Oxford University under his belt. 
These dual roles were manifested vivaciously at Berwaldhallen yesterday evening. His confident, beautiful tenor and detailed articulation of Benjamin Britten’s song cycle Les Illuminations, created exactly the kind of desperate, or angry, invocation that characterizes this early work from 1939. Bostridge has, as he has shown in his subtle interpretations of Schubert, a rare ability to give body to the lyrics he sings, which he exhibited last night as well. 
After the Radio Symphony Orchestra played Berlioz’s Symphonie Fantastique, a work containing several musical illustrations of witchcraft (the music can be heard in the film The Shining among others), Bostridge held a talk about the French society’s view of witches during the eighteenth century, the time when the belief in witches and witchcraft slowly, but slower that one might think in this rational era, petered out. The Berlioz symphony only came to be a couple of decades after the French government had basically issued a statute hindering witchcraft prosecutions and convictions. 
A world-class singer, who after a concert can present a sterling history of ideas, as a backdrop to what has just been performed, may not be unique, but certainly spellbinding."
Claes Wahlin, Aftonbladet, 20 March 2015

Schubert

Winterreise

Thomas Ades, Barbican Centre, London

"This was without doubt the most extraordinary, riveting, uncanny performance of Schubert’s great song-cycle Winterreise I have ever witnessed."
Ivan Hewett, The Telegraph, 13 January 2015
".. for any artist the live re-creation of this psychologically dark masterpiece is the real challenge, and in this Barbican performance, in which Bostridge shared the platform with pianist Thomas Adès, the two offered something unusually detailed and concentrated. If sharp definition is generally a mark of Bostridge’s interpretations, then this work in particular suits him down to the ground."
George Hall, The Guardian, 13 January 2015
"Vienna’s verdant springs and pitiless winters framed the action, with the protagonist’s encroaching delusions driving him on: what riveted us was not so much Bostridge’s beauty of tone as the emotional truth of every line, underscored as it was by Ades’s refined pianism. Unforgettable."
Michael Church, The Independent, 13 January 2015

RECITAL, 5 January 2015

Teatro alla Scala, Milan / Ian Bostridge & Thomas Adés

"His musicianship is outstanding. He has a myriad of ways of approaching and sustaining each note, and searches out and reveals every colour and nuance in his beautiful voice. He maximises the effect of the words: he caresses them, teases them and occasionally spits them out accompanied by a blue-eyed venomous stare. In doing so he even risks interrup­ing the vocal line, but nothing gets past him and he makes the most of everything the composer provides him with....
In his Schubert, Liszt and Schumann programme, culminating in the Dichterliebe, he was accompanied by Thomas Adès who gave an extraordinary symphonic rendering of each piece. Schubert, especially, shone anew with his warm and broad palette of colours. It is rare to hear such an intense collaboration between singer and pianist where a ‘solo’ recital is experienced as a duet for two instruments. Gramilano.com / 6 January 2015
"Bostridge è un grande cantante e un grande artista. Dimostra due verità spesso negate: la prima, che non esiste solo una tecnica vocale, ma molte; la seconda, che il canto è un mezzo espressivo, non un fine in sé.  Questa voce ingrata si rivela camaleontica, si trasforma, aggredisce le parole e dà, a ognuna, un colore, un peso e un significato diversi. E poi anche per cantare essere musicista aiuta. Per esempio, è eccezionale il senso del ritmo e la capacità di variarlo nei Lieder strofici: ascoltare per credereUnd wüssten’s die Blumen di Schumann, un gioiello. Infine, la sensibilità. Molti di questi brani sono strazianti non per quel che dicono, ma per quel che fanno intuire. Ma qui tutto dipende dall’interprete: e allora perfino Das Fischermädchen diventa sottilmente inquietante, come se Schiele avesse ridipinto un quadretto Biedermeier, mentre tutta la Dichterleibe comunica un senso di lucida desolazione davvero insolito. Merito anche di Thomas Adès, che è forse il maggior operista del nostro tempo ma certamente un accompagnatore eccezionale. Per tutto il concerto, il suo pianoforte non ha quasi mai superato il mezzoforte, ma da lì al pianissimo ha trovato una serie infinita di sfumature. Gran successo e tre bis. Corriere della Sera.it, Alberto Mattioli, 7 January 2015
"Tanti Lieder per il mago Ian"
To read the interview please click the link below
La Repubblica, Luigi di Fronzo, 5 January 2015
"A Milano, solo in palcoscenico, ha confermato il talento che lo rende magnetico, e stella in un repertorio che va da Bach a Britten.
 Con oculatezza Bostridge sceglie: seleziona i compagni di viaggio (e in Adès usciva non solo il pianista, ma uno straordinario suggeritore di idee musicali), impagina programmi mirati. Quello della Scala comprendeva pagine di Schubert, Liszt e Schumann, legate tra loro dalle poesie di Heinrich Heine. Uno stralcio dallo Schwanengesang, Canto del cigno, e peccato non averlo tutto, un pizzico di Liszt, molto pianistico, e poi Schumann, con i Dichterliebe inanellati in unica campata. Il tenore li cuce l'uno con l'altro, quasi senza pause; ne esalta i caratteri contrastanti, la variabilità del canto, la sonorità della parola: ora rapidissima, affannoso scioglilingua, ora distesa, confidenziale. La voce fa teatro. Ma lo fa anche il corpo, senza bisogno di esteriorità, senza gigionerie. Ogni gesto corrisponde a un'intenzione espressiva profonda: ora Bostridge sta appoggiato al pianoforte, come fosse un muro protettivo, ora avanza di qualche passo, disarmato in cerca di aiuto verso la sala, ora si gira di spalle e il suo metro e novanta di altezza sembra voler sparire, rattrappito, chiuso a uovo. Meraviglioso, anche nello Ständchen finale, ultimo dei tre bis, franto in piccoli rintocchi, come probabilmente avrebbe amato Schubert." 
Il Sole 24 hore, Carla Moreni, 11 gennaio 2015

SCHUBERT

Winterreise, 12 December 2014

Thomas Adès, piano / Laeiszhalle, Hamburg

To read the full review, please click the link below Spiegel Online, 12 December 2014

Britten

Curlew River

UNC Memorial Hall, Chapel Hill, North Carolina

"We are in the presence of greatness. In the all-British cast (except for the boy treble who hails from California), we have legendary tenor Ian Bostridge, who delivered tonight a goose-bumping performance for the ages, which is likely to be the highlight of my 2014-2015 season.
...
Mr. Bostridge is a slim man who looked diminutive on stage, until he opened his mouth. His voice is much more powerful than his figure indicates, and he possesses the agility and range required by this difficult vocal score. Acting is another one of his strengths, and he was thoroughly convincing as the Madwoman, with perfect rendition of her pain and despair."
Luiz Gazzola, Opera Lively, 8th November 2014

Britten

Curlew River

Synod House, Cathedral of St John the Divine, New York

"the British tenor Ian Bostridge gave a courageously vulnerable performance of the Madwoman" ...  "in his haunted eyes and through the aching beauty of his ethereal yet muscular singing, he utterly conveys the character of the unhinged mother."
Anthony Tommasini, The New York Times, 31 October 2014
" Mr. Bostridge’s ... plangent, haunting tenor brought an androgynous, Everyman character to the Madwoman’s extravagant anguish." Wall Street Journal, Heidi Waleson, 3 November 2014
Bostridge intense and compelling in Britten’s unnerving “Curlew River” New York Classical Review, George Grella, 30 October 2014

The Schubert Project: which are his best songs?

Ahead of the Oxford Lieder Festival, Ian Bostridge is one of several artists to tell Neil Fisher for The Times which is his favourite Schubert song and why

Der zürnenden Diana (The wrathful Diana) 

There’s a whole debate about Schubert — what was his sexuality, was he gay? — and this song is a very sexy, thrusting song in a very unusual way, different from any of the Schubert songs I can think of. It’s about Actaeon singing to Diana, who is naked with her nymphs.

Actaeon is the narrator of the song — he sees Diana, gets very excited then his death is very obviously a metaphor as she conquers him: “the arrow strikes me” and “gently warm waves flow from the wound”. The song was dedicated to Katherina von Laczny, whom Schubert was very keen on — a notoriously free-thinking, free-loving woman.

The poem was written by Johann Mayrhofer; he and Schubert were very close and Schubert set more poems by him than anyone else. He became a censor in Vienna and felt so repressed by the political system that he committed suicide in 1836 by throwing himself out of his office window.

To read the full article, please click on the link below
Neil Fisher, The Times, 10th October 2014

SCHUBERT

Recital, 15 September 2014

Julius Drake, piano / Wigmore Hall

"Here was profound intensity, but contained as eloquence rather than indulged as expressionism. And what a formidable — joyous! — reciprocity these artists have achieved: a telepathy leaving nothing to be said, just as the twin sequences (each unbroken by applause) on the subject of longing, beginning with the exquisite, brief Das Heimweh (Homesickness) and ending with a sunset glow (Im Abendrot), in their introspective way said everything." The Sunday Times, Paul Driver, 21 September 2014

Schubert

Recital, 28 August 2014

Schubertiade Schwarzenberg /Julius Drake

"British lyric tenor Ian Bostridge is widely considered one of the great interpreters of the art song. When he recently took his position on stage at the Schubertiade − joined by the superb pianist, Julius Drake − the audience tingled with anticipation." Bachtrack, Sarah Batschelet, 30 August 2014

Schumann

Recital: 9 July 2014

Ian Bostridge/Sophie Daneman/Julius Drake, Middle Temple Hall

"Soprano and tenor showed a rare emotional agility in this Schumann recital"
Hannah Nepil, Financial Times, 10 July 2014

Schubert

Winterreise: 22 June 2014

Thomas Ades, Snape Maltings Concert Hall, Aldeburgh

"At 49, Ian Bostridge is hardly an old man but he brings maturity, intelligence and a deep level of understanding to the work. This performance, alongside accompanist Thomas Adès (former artistic director at Aldeburgh), looked set to be one of the golden tickets at this year’s festival. And so it proved."
Laura Battle, Financial Times, 24 June 2014

Celebrating the 100th anniversary of the birth of Benjamin Britten

Ian Bostridge writes in The Guardian

The greatness of Benjamin Britten's music is only now coming into focus
The composer, born 100 years ago, wrote music of ravishing beauty and scorching relevance, says one exponent of his work...

Follow the link below to read the full article:
Ian Bostridge, The Guardian, Thursday 21 November 2013

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Recordings

SCHUBERT

Die schöne Müllerin
Winterreise
Schwanengesang

Ian Bostridge 
with Mitsuko Uchida, Leif Ove Andsnes and Antonio Pappano

A three-disc box set released in January 2015
Warner Classics

BRITTEN War Requiem

Recorded to mark Britten's centenary year by Anna Netrebko, Ian Bostridge, Thomas Hampson and Antonio Pappano with the Orchestra, Coro e Voci Bianche dell'Accademia Nazionale di Santa Cecilia
Warner Classics

SCHUBERT

Schwanengesang and other Lieder
piano: Antonio Pappano
EMI
EMI

BRITTEN

A Midsummer Night's Dream (Flute) 
London Symphony Orchestra / Colin Davis

Philips

BRITTEN

Berlin Philharmonic Orchestra
Sir Simon Rattle
Serenade for Tenor, Horn and Strings
Nocturne
Les Illuminations

EMI

BRITTEN

The Red Cockatoo
Holy Sonnets of John Donne and other songs
piano: Graham Johnson

Hyperion