The Italian job
Mark Elder led ENO's powerhouse era and turned the Hallé into one of Britain's most exciting orchestras. Now he is reviving a neglected Verdi masterpiece. Interview by Tom Service Saturday April 21, 2007
Mark Elder led ENO's powerhouse era and turned the Hallé into one of Britain's most exciting orchestras. Now he is reviving a neglected Verdi masterpiece. Interview by Tom Service Saturday April 21, 2007
The Guardian
"In another life, I must have been Italian," says conductor Mark Elder. In his light-filled study at the top of his north London house, he is surrounded by scores of the Italian operas he has made his own over the past three decades: works by Verdi, Donizetti, Bellini and Rossini. And yet there's something strange about hearing this from a conductor who has become one of the most important figures in the British musical establishment. Ever since he began his 14 years as music director of English National Opera in 1979, creating the so-called "powerhouse" era with director David Pountney and general director Peter Jonas, Elder has been one of the iconic English musicians of his generation.
"In another life, I must have been Italian," says conductor Mark Elder. In his light-filled study at the top of his north London house, he is surrounded by scores of the Italian operas he has made his own over the past three decades: works by Verdi, Donizetti, Bellini and Rossini. And yet there's something strange about hearing this from a conductor who has become one of the most important figures in the British musical establishment. Ever since he began his 14 years as music director of English National Opera in 1979, creating the so-called "powerhouse" era with director David Pountney and general director Peter Jonas, Elder has been one of the iconic English musicians of his generation.
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