For André de Ridder, taking over as music director of English National Opera (ENO) is a dream come true. He sees it as an opportunity to revive a company that has been struggling in recent years. The post has been vacant since 2022, when Arts Council England announced that ENO would lose all its funding unless it moved out of London. Despite this, de Ridder remains optimistic about the future of the company.
De Ridder acknowledges that his predecessors had expressed concerns about the company's direction. Mark Wigglesworth resigned suddenly in 2016, citing a lack of recognition for the company he helped build. Martyn Brabbins quit in 2023, stating that ENO was heading into "managed decline." However, de Ridder believes that these challenges present opportunities rather than threats.
He is particularly excited about the prospect of working with the Manchester-based orchestra and chorus, which will be performing at the Coliseum. The company's recent announcement to produce works in both London and Manchester has generated controversy among some opera enthusiasts, who question the dual-centre theory. However, de Ridder sees it as a positive development that allows ENO to reach new audiences and expand its artistic range.
De Ridder also expressed his enthusiasm for Bertolt Brecht and Kurt Weill's classic morality tale, Rise and Fall of the City of Mahagonny. He is aware of the challenges involved in producing this work, but remains confident in the company's ability to deliver a high-quality performance.
As de Ridder prepares to take over as music director, he is also mindful of the difficulties faced by ENO in recent years. The company has had to slash its full-time contracts for musicians and choristers, and the chief executive has recently resigned. Despite these challenges, de Ridder remains committed to holding up ENO's excellence and goals.
For de Ridder, taking over as music director is not just about reviving a struggling opera company; it is also about making a positive impact on the industry as a whole. He believes that opera should be more than just an exclusive club for the elite; it should be accessible to everyone, regardless of their background or social status.
In an interview with the Guardian, de Ridder discussed his passion for Weill's music and his experience working with ENO's orchestra and chorus. He also shared his concerns about the company's future and his commitment to taking the company in a new direction.
Ultimately, André de Ridder sees his appointment as music director of English National Opera as an opportunity to make a difference. With his passion for opera and his commitment to innovation, he may just be able to put ENO back on its feet and take it to new heights.
De Ridder acknowledges that his predecessors had expressed concerns about the company's direction. Mark Wigglesworth resigned suddenly in 2016, citing a lack of recognition for the company he helped build. Martyn Brabbins quit in 2023, stating that ENO was heading into "managed decline." However, de Ridder believes that these challenges present opportunities rather than threats.
He is particularly excited about the prospect of working with the Manchester-based orchestra and chorus, which will be performing at the Coliseum. The company's recent announcement to produce works in both London and Manchester has generated controversy among some opera enthusiasts, who question the dual-centre theory. However, de Ridder sees it as a positive development that allows ENO to reach new audiences and expand its artistic range.
De Ridder also expressed his enthusiasm for Bertolt Brecht and Kurt Weill's classic morality tale, Rise and Fall of the City of Mahagonny. He is aware of the challenges involved in producing this work, but remains confident in the company's ability to deliver a high-quality performance.
As de Ridder prepares to take over as music director, he is also mindful of the difficulties faced by ENO in recent years. The company has had to slash its full-time contracts for musicians and choristers, and the chief executive has recently resigned. Despite these challenges, de Ridder remains committed to holding up ENO's excellence and goals.
For de Ridder, taking over as music director is not just about reviving a struggling opera company; it is also about making a positive impact on the industry as a whole. He believes that opera should be more than just an exclusive club for the elite; it should be accessible to everyone, regardless of their background or social status.
In an interview with the Guardian, de Ridder discussed his passion for Weill's music and his experience working with ENO's orchestra and chorus. He also shared his concerns about the company's future and his commitment to taking the company in a new direction.
Ultimately, André de Ridder sees his appointment as music director of English National Opera as an opportunity to make a difference. With his passion for opera and his commitment to innovation, he may just be able to put ENO back on its feet and take it to new heights.
about André de Ridder taking over as music director of English National Opera! It's like, a dream come true for him, right? I mean, the fact that he gets to revive a company that's been struggling is, like, totally awesome 
. He's all about seeing challenges as opportunities rather than threats, which is like, super inspiring 
.
! And I'm down for him wanting to produce more works in both London and Manchester, even if some people are skeptical about the dual-centre theory 
. It's all about reaching new audiences and expanding the company's artistic range, which is like, totally cool 
.
. Fingers crossed de Ridder can make a positive impact and put ENO back on its feet 
.
de ridder's enthusiasm is refreshing but let's see if he can deliver 
hope he can make opera more inclusive for everyone 
. He's all about making opera more accessible and inclusive, which is so refreshing 
. But de Ridder's optimism is infectious, and I think he's just what ENO needs to shake things up a bit 
. And speaking of Bertolt Brecht and Kurt Weill, Rise and Fall of the City of Mahagonny is an iconic piece that deserves all the love 
.
. He's not just some stuffy old-school music director; he's got a sense of passion and purpose that's gonna bring ENO back to life 
!
. This is just a fancy PR move to placate the art world while the company's finances continue to tank 
. I mean, who needs a music director to fix a 50-year-old business model that's fundamentally broken? De Ridder thinks he can just "revive" ENO by slapping on a fresh coat of paint and ignoring the same old problems 
. And don't even get me started on the dual-centre theory - what's next, performing in both London and Manchester at the same time? 
It's all just a bunch of empty promises to appease the critics 
.
! I mean, can you even imagine how epic it's going to be to see him bring his passion for opera and innovation to the table? 
It's like a breath of fresh air for the company. And let's be real, we've been seeing ENO go through some major changes lately, from losing funding to slashing contracts 
. But de Ridder is all about turning those challenges into opportunities, which I am totally here for 
this is gonna be interesting... de ridder's got some big shoes to fill 
after all the drama with wigglesworth & brabbins. but if anyone can turn things around, it's him. i just hope he doesn't get too caught up in trying to please everyone 
. It's gonna be tough to turn things around, especially with the controversy surrounding the dual-centre theory 
. I'm curious to see how he'll balance revitalizing the company with keeping it true to its artistic vision 
.
It's like, the ultimate opera experience! And de Ridder's all about it, which is giving me LIFE 
. Who says you can't take opera out of London? 
. So, here's to André de Ridder and his mission to put ENO back on the map - I've got my fingers crossed for this guy! 
. André de Ridder's enthusiasm is infectious tho, but gotta wonder if he's biting off more than he can chew with ENO in such a state 
.
. But de Ridder seems confident that he can turn things around and bring in some fresh talent (literally!).
, which is awesome! 
. Maybe they'll even bring some fresh faces to the company? 
He seems like a breath of fresh air who's all about reviving the company and making it more inclusive for everyone 
On the other hand, it could be a genius move to tap into new audiences and bring opera to different parts of the country. 
It's like they're trying to make ENO more inclusive and not just an elite club anymore 
. I'm curious to see how it all plays out 
he's got this super optimistic vibe and it's infectious... also gotta say i'm so down for the dual-centre theory - more opera in manchester is just what we need 
I'm low-key hyped about André de Ridder taking over at the English National Opera (ENO). He's all about reviving the company and making opera more inclusive for everyone