André de Ridder, the new music director of English National Opera (ENO), is walking a tightrope as he attempts to put the struggling company back on its feet. With the company's funding uncertain and morale at an all-time low, De Ridder's enthusiasm and confidence are unwavering.
The 54-year-old conductor has taken up the role formally in 2027, after a period of turmoil that saw two previous conductors quit suddenly due to concerns over the company's future. Despite this, De Ridder is undaunted, believing that ENO offers opportunities for growth and innovation.
For De Ridder, Manchester represents a "great chance" to develop a new audience and showcase opera in a new and exciting way. He is excited about the prospect of collaborating with local artists and organizations to create something truly unique. The UK premiere of Du Yun's Angel's Bone, for example, promises to bring a fresh perspective to the opera world.
De Ridder's own history with ENO is well-documented. As a student in 1996, he watched productions at the Coliseum, including Bernd Alois Zimmermann's Die Soldaten. More recently, he conducted the premiere of Gerald Barry's The Bitter Tears of Petra von Kant in 2000. His experience working with Richard Jones and Barbara Hannigan has had a lasting impact on his career.
Despite the challenges ahead, De Ridder remains optimistic about ENO's future. He acknowledges that the company faces significant problems but believes that he can make a positive difference. For him, the "make-or-break feeling" is one of excitement and possibility.
De Ridder's decision to leave Germany, where he currently holds the post of music director, was influenced by the country's comfortable funding and long rehearsal periods. In contrast, ENO faces significant financial and logistical challenges. However, De Ridder believes that this makes his role even more crucial in ensuring the company's success.
As he prepares to conduct Rise and Fall of the City of Mahagonny at the Coliseum, De Ridder is acutely aware of the pressure on him to deliver. Despite this, his enthusiasm for Weill's music and his commitment to ENO are unwavering. The future of opera in Britain hangs in the balance, but with De Ridder at the helm, there is a sense that things are about to change for the better.
In an industry where complacency can be deadly, De Ridder's arrival marks a new era of innovation and experimentation. His passion for ENO and his vision for its future will undoubtedly shape the company's trajectory in the years to come. One thing is certain: André de Ridder is ready to take on the challenge and put English National Opera back on its feet.
The 54-year-old conductor has taken up the role formally in 2027, after a period of turmoil that saw two previous conductors quit suddenly due to concerns over the company's future. Despite this, De Ridder is undaunted, believing that ENO offers opportunities for growth and innovation.
For De Ridder, Manchester represents a "great chance" to develop a new audience and showcase opera in a new and exciting way. He is excited about the prospect of collaborating with local artists and organizations to create something truly unique. The UK premiere of Du Yun's Angel's Bone, for example, promises to bring a fresh perspective to the opera world.
De Ridder's own history with ENO is well-documented. As a student in 1996, he watched productions at the Coliseum, including Bernd Alois Zimmermann's Die Soldaten. More recently, he conducted the premiere of Gerald Barry's The Bitter Tears of Petra von Kant in 2000. His experience working with Richard Jones and Barbara Hannigan has had a lasting impact on his career.
Despite the challenges ahead, De Ridder remains optimistic about ENO's future. He acknowledges that the company faces significant problems but believes that he can make a positive difference. For him, the "make-or-break feeling" is one of excitement and possibility.
De Ridder's decision to leave Germany, where he currently holds the post of music director, was influenced by the country's comfortable funding and long rehearsal periods. In contrast, ENO faces significant financial and logistical challenges. However, De Ridder believes that this makes his role even more crucial in ensuring the company's success.
As he prepares to conduct Rise and Fall of the City of Mahagonny at the Coliseum, De Ridder is acutely aware of the pressure on him to deliver. Despite this, his enthusiasm for Weill's music and his commitment to ENO are unwavering. The future of opera in Britain hangs in the balance, but with De Ridder at the helm, there is a sense that things are about to change for the better.
In an industry where complacency can be deadly, De Ridder's arrival marks a new era of innovation and experimentation. His passion for ENO and his vision for its future will undoubtedly shape the company's trajectory in the years to come. One thing is certain: André de Ridder is ready to take on the challenge and put English National Opera back on its feet.
and I'm totally obsessed with it! It makes the most incredible latte art, you should totally come over and see it in action 
. I was watching this documentary about coffee production the other day and it's crazy to think that most of the world's coffee is grown in just a few countries... anyway, back to opera 
...
just imagine having to save an entire opera company from falling apart and it's like, you gotta be super confident and stuff. i wish André de Ridder was my teacher or something lol he sounds like a total boss tho! 
so another conductor comes in thinking they can save a sinking ship, but do they actually have a plan B? ENO's been struggling for ages 
still waiting for them to sort out their finances... meanwhile de Ridder gets to enjoy the Manchester sunshine 
with all the funding and rehearsal time he could ever want. hope he can bring some fresh blood (and $$$) to the company, but history repeats itself...
! The guy's got some serious guts, considering the company's been through all that drama 
. I mean, who else would wanna join a sinking ship and try to turn it around? 
But for real, De Ridder seems like he's got a good vibe going on - he's all about innovation and collaboration, which is exactly what ENO needs right now 
. I'm intrigued by his plans to bring in local artists and organizations, too - could be a game-changer for the opera world 
he's like the ultimate underdog story - I mean, the company's been through some tough times but this dude is all in 
Manchester is gonna be buzzing with energy when he starts conducting shows! And can we talk about his history with ENO? the guy's got experience pouring out of every pore 
let's give him all the support and cheers, pls 
I mean, ENO is such an iconic place, what if they don't turn things around? Will that be a loss for opera in the UK? 
. I mean, you can tell he's passionate about opera and wants to bring some fresh energy to the company. The fact that he's willing to take on the challenges and uncertainties head-on is super admirable 
. Manchester being his new base is also a win, I've heard the city is really coming into its own and I love how he's excited about collaborating with local artists 
. Fingers crossed that he can make some magic happen and turn ENO around! 
... ENO is struggling to make ends meet over here. Still, I believe De Ridder has a good vibe and wants to shake things up, which might just be what the company needs 
. And can we talk about how inspiring it is that he's willing to take on the challenges head-on? 
] De Ridder's got this! 
] Who needs funding when you've got passion? 
[Meme of a person giving a thumbs up, with a red heart behind them]
. The fact that he's not afraid to take risks is 
! Let's see what kind of magic he works at ENO 
. I'm all about giving him a solid