“British conductor Jonathan Darlington is widely acclaimed for his powerful performances both in the opera house and the concert hall. “Flat-out, hyper-emotional reading” (Vancouver Sun), “Dazzling” (Upsala Nya Tidning), “Unerring sense of pace and drama” (Limelight Magazine), “Creative musicality” (Backtrack Australia), and “Sensitive” (Toronto Star) are epithets which figure repeatedly in reviews of his work.
In the current season, Jonathan will conduct Fidelio at the SemperOper Dresden, Butterfly at the Wien Staatsoper, Boheme in Stockholm at the Royal Wedish Opera House, Faust in Vancouver and a tribute production to Mats Ek at the Paris Opéra and Ballet National de Paris.
Jonathan Darlington made his début at the Vienna State Opera (Madame Butterfly) in 2014 and has returned there annually since. Recent operatic highlights include Vancouver Opera (L’elisir d’amore), return visits to the Dresden Semperoper (Magic Flute, Don Giovanni and most recently The Barber of Seville) and the Swedish Royal Opera, Stockholm (Jenufa).
As Music Director of the Duisburger Philharmoniker Orchestra from 2002-2011 he explored a vast symphonic repertoire which earned him the prestigious “Köhler- Osbar Stiftung” and “Deutsche Musikverleger-Verband” prizes for the quality and creativity of his concert programming.
In the season 17/18 he has been re-invited to conduct the Orchestre de Paris, the Ulster Symphony Orchestra and the Philharmonic Orchestra of the Royal Swedish Opera, in an open-air concert in Stockholm. In the summer of 2017, he conducted a 12-city tour of the National Youth Orchestra of Canada, including live streaming from Montreal, Toronto and Vancouver and in the summer of 2018, Jonathan conducted them on tour again, including concerts in Germany – Berlin Konzerthaus and Kassel – and UK – Edinburgh International Festival.
He has recorded exclusively on the Acousence “Living Concert Series” a wide repertoire including La Mer, The Rite of Spring, Mahler’s fifth and sixth symphonies, Don Quixote, and the Tchaikovsky Violin Concerto with Susanna Yoko-Henkel, for which he won the “Echo-Klassic Prize”.
Jonathan is a Fellow of the Royal Academy of Music and a Chevalier des Arts et des Lettres. Since 2018 he is Music Director Emeritus of the Vancouver Opera.
Custom conducting batons by Craig C. Tomlinson
Craig C. Tomlinson began building folk instruments in late 1960s. In 1975, he was asked to work on a kit-based two-manual French Harpsichord for a Vancouver player. The challenge of this task opened up a new world for him. After building several more kit instruments, Tomlinson decided to build his own Harpsichords adopting the designs, materials and methods found in historical Harpsichords. The instruments he envisioned combined a balance between the tonal intricacies of the sound, a keyboard and action that responded perfectly to the player’s touch and an aesthetic beauty in its decoration. It also had to be a very stable, reliable instrument.
All of Tomlinson’s instrument designs, materials and structure are based on the surviving 17th and 18th Century Harpsichords from the French, Flemish, Italian and German schools of building. To ensure stability, he only uses well seasoned timbers of yellow poplar, German spruce, Swiss pear, Italian cypress and European beech along with logs of ebony, boxwood and holly.