André de Ridder, the 54-year-old Berlin-raised conductor, has taken on the daunting task of reviving English National Opera (ENO) after years of decline. His appointment as music director in 2027 comes at a critical time for the company, which was forced to abandon its London base due to funding cuts and move partially to Manchester. De Ridder's predecessor, Martyn Brabbins, had described the situation as "managed decline," while his predecessor before that, Mark Wigglesworth, had quit in 2016, citing a lack of recognition from ENO.
Despite the challenges, de Ridder exudes enthusiasm and optimism about the company's future. He views the recent shake-ups as opportunities rather than threats, saying, "I like this construction of London and Manchester... It makes us rethink what opera means, what it can be." De Ridder has a personal connection to ENO, having studied at the Royal Northern College of Music in Manchester and later worked with Mark Elder at the Hallé. He also conducted the premiere of Gerald Barry's opera "The Bitter Tears of Petra von Kant" 20 years ago.
For de Ridder, the key to ENO's revival lies in its connection to the city of Manchester and its ability to forge new audiences. He believes that working with local musicians and choristers can create a unique sound and energy for the company. De Ridder is currently music director of Opera Freiburg in Germany but has chosen to leave his comfortable position due to feelings of complacency. When asked about ENO's recent struggles, de Ridder says, "That make-or-break feeling I had when I first came here? I love it." He is determined to bring a new sense of vitality and passion to the company.
De Ridder has chosen to prioritize shortening contracts for core performing groups rather than focusing on long-term sustainability. This decision was made after the recent funding cuts, which forced ENO to reduce its rehearsal periods. Despite these challenges, de Ridder remains confident in his ability to revitalize the company and bring a new level of excellence to the stage.
When discussing Bertolt Brecht and Kurt Weill's "Rise and Fall of the City of Mahagonny," de Ridder highlights the opera's unique blend of jazz, tango, and classical music. The conductor sees parallels between Weill's work and modern-day social issues, such as human trafficking and exploitation. De Ridder believes that ENO has the potential to expand its audience by exploring new themes and collaborating with local musicians.
The appointment of de Ridder as music director marks a turning point for ENO, and his enthusiasm and vision are crucial in shaping the company's future. With his unique blend of experience, passion, and creativity, de Ridder may just be able to put ENO back on its feet and restore it to its former glory.
Despite the challenges, de Ridder exudes enthusiasm and optimism about the company's future. He views the recent shake-ups as opportunities rather than threats, saying, "I like this construction of London and Manchester... It makes us rethink what opera means, what it can be." De Ridder has a personal connection to ENO, having studied at the Royal Northern College of Music in Manchester and later worked with Mark Elder at the Hallé. He also conducted the premiere of Gerald Barry's opera "The Bitter Tears of Petra von Kant" 20 years ago.
For de Ridder, the key to ENO's revival lies in its connection to the city of Manchester and its ability to forge new audiences. He believes that working with local musicians and choristers can create a unique sound and energy for the company. De Ridder is currently music director of Opera Freiburg in Germany but has chosen to leave his comfortable position due to feelings of complacency. When asked about ENO's recent struggles, de Ridder says, "That make-or-break feeling I had when I first came here? I love it." He is determined to bring a new sense of vitality and passion to the company.
De Ridder has chosen to prioritize shortening contracts for core performing groups rather than focusing on long-term sustainability. This decision was made after the recent funding cuts, which forced ENO to reduce its rehearsal periods. Despite these challenges, de Ridder remains confident in his ability to revitalize the company and bring a new level of excellence to the stage.
When discussing Bertolt Brecht and Kurt Weill's "Rise and Fall of the City of Mahagonny," de Ridder highlights the opera's unique blend of jazz, tango, and classical music. The conductor sees parallels between Weill's work and modern-day social issues, such as human trafficking and exploitation. De Ridder believes that ENO has the potential to expand its audience by exploring new themes and collaborating with local musicians.
The appointment of de Ridder as music director marks a turning point for ENO, and his enthusiasm and vision are crucial in shaping the company's future. With his unique blend of experience, passion, and creativity, de Ridder may just be able to put ENO back on its feet and restore it to its former glory.
. Reviving a struggling opera company with some much-needed fresh air and a dash of enthusiasm? Easy peasy, right? 
I'm intrigued by his focus on Manchester and the local music scene - might just be the spark ENO needs to reignite its passion 
. Less emphasis on long-term sustainability and more on making it happen now? Sounds like a bold move... or just plain reckless 
. Either way, fingers crossed this guy's got some magic up his sleeve 
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André de Ridder sounds like a total game-changer for English National Opera! Interesting that he's all about connecting the company with Manchester and forging new audiences... I think that's where the magic is gonna happen. 
. Reviving English National Opera is no easy feat, especially after all those years of decline 
. But he seems genuinely excited about the challenge and has a personal connection to the city of Manchester that could be a game-changer 
. I love how he's prioritizing shortening contracts for core performing groups – it shows he's willing to take risks and try new things 
. And his passion for Bertolt Brecht and Kurt Weill's "Rise and Fall of the City of Mahagonny" is infectious 
. Fingers crossed he can bring a new level of vitality and passion to ENO and restore it to its former glory 
i wonder if eno will ever come back to london tho 
... not gonna happen anytime soon 
. But seriously, De Ridder's optimism about ENO's future is kinda infectious. Maybe he's right, and this move could be the shot in the arm the company needs. Fingers crossed he can deliver on his promise of bringing new vitality to the stage 
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André de Ridder is literally my spirit conductor 
Prioritizing short contracts might sound weird, but if it means getting that passion & vitality back on stage, then I'm here for it! 
De Ridder's enthusiasm is infectious, and I'm rooting for him to bring ENO back to its former glory 
. He's got the right attitude, thinking of challenges as opportunities rather than threats. I'm intrigued by his idea of working with local musicians and choristers to create a unique sound and energy for the company. It makes sense that he'd want to focus on forging new audiences and bringing in fresh perspectives.
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I think André de Ridder is a great pick for ENO! He seems like the kind of guy who can really connect with the community and bring in some fresh energy. I mean, his connection to Manchester and Opera Freiburg is dope - it shows he's not afraid to take risks and try new things. The idea of prioritizing short contracts for core groups might be a bit unconventional, but if it leads to more exciting performances, I'm all for it! 
His passion for opera is infectious and I think it's going to be a wild ride under his leadership 
what's up with shortening contracts tho? that doesn't seem like a solid plan for long-term sustainability... but hey, at least he's trying to think outside the box and explore new themes for their shows 
also, shortening contracts for core performers sounds like a fancy way of saying "we can't afford to pay them decently anymore". 
can't say I blame him for being frustrated. But hey, here's to de Ridder and his optimistic vibes! Fingers crossed he brings some much-needed vitality back to the company