John Eliot Gardiner is one of the leading conductors in the active authentic performances movement in England, performing Baroque music but also extending his range into later repertoire. He first conducted at the age of 15, and after finishing school he studied at King's College, Cambridge. While still an undergraduate, he conducted the combined Oxford and Cambridge Singers on a 1964 tour of the Middle East and founded the Monteverdi Choir, which has consistently performed on his recordings since.
This is a truly great operetta interpretation. Gardiner's approach is on an altogether more inspired plane than his rivals. In the Viennese rhythms, he shows himself utterly at home – as in the Act 2 Dance scene, where he eases the orchestra irresistibly into the famous waltz. But there are also countless instances where Gardiner provides a deliciously fresh inflexion to the score.
John Eliot Gardiner’s recording was made live at the Göttingen Festival in 1988 … the exhilaration and intensity of the performance come over vividly, with superb singing from both chorus and an almost ideal line-up of soloists … as for the Monteverdi Choir, their clarity, incisiveness and beauty are a constant delight.(Penguin Guide)
A new live recording of Bach’s Lutheran Mass in F Major (BWV223), Cantata "Süßer Trost, mein Jesus kömmt (BWV 151) and Magnificat in E flat (BWV243a), recorded in London at the end of a European tour in December 2016.
Continuing his award-winning cycle of works by Felix Mendelssohn, Sir John Eliot Gardiner leads the LSO, his Monteverdi Choir and three talented young actors from the Guildhall in a landmark performance of 'A Midsummer Night’s Dream', which was performed as part of the 400th anniversary of Shakespeare’s death. To mark the celebrations, Gardiner produced a special version of the work featuring some cuts to the original movements that, in his words, "remove all of the music relating to the Mechanicals and thus focus on the world of the fairies and the human lovers". Mendelssohn, who adored Shakespeare’s writings, composed his concert overture based on 'A Midsummer Night’s Dream' in 1827 aged 17, after having read a German translation of the play. The overture was immediately acclaimed as a masterpiece and quickly became a popular favourite throughout Europe. Years later in 1843 he was asked by the King of Prussia to provide a score for an entire production: 14 short works based on themes and moods from the original overture, with a broadly romantic sound although classical in style and structure.
John Eliot Gardiner conducts his Orchestre Revolutionnaire et Romantique through two concerts of Berlioz compositions. The 'Symphonie Fantastique' is an orchestral tour de force which is central to the repertoire of every major orchestra. It is performed here on original instruments in its original 1830s orchestration in the atmospheric old hall of the Paris Conservatoire where it was first heard. Also included is the first performance of the newly discovered 'Messe Solennelle' with the Monteverdi choir. Written when Berlioz was just 20 years old, it was thought lost until its rediscovery in 1992. The first performance of this large-scale Mass for 150 years was filmed in London's Westminster Cathedral. Gardiner's period-instrument orchestra gives characteristically idiomatic performances of these seminal works (which are also linked thematically, through Berlioz's extensive re-use of material from the Messe).
It is an oft-repeated saw, about life in the heavenly spheres, that the angels revere Bach but listen to Mozart. If they have DVD players, you can bet they're now watching this stunning production of Le Nozze di Figaro ("The Marriage of Figaro"), which comes about as close to Mozartian perfection as one could possibly hope to get. The faultlessly cast youthful performers bubble with infectious energy. Alison Hagley is a sprightly Susanna with a voice as clear as a bell, and brilliantly matched by a 28-year-old Bryn Terfel both acting and sounding in fine form. Hillevi Martinpelto demonstrates why she is one of the world's favourite Mozart singers with her melting tones, richly coloured voice and generous stage presence, and Rodney Gilfry gives a muscular, wonderfully controlled performance as the Count.
When this staging was presented in 1992, in various theatres, Gardiner decided to be his own director because he didn't trust any available alternative to be faithful to Da Ponte's and Mozart's original. In the circumstances his was a sensible decision because his deeply discerning stage interpretation perfectly seconds his own musically perceptive reading. His keen understanding of what this endlessly fascinating work is about is made plain in his absorbing essay in the booklet.