André de Ridder, the newly appointed music director of English National Opera (ENO), is known for his irrepressible enthusiasm. As he prepares to take over the role in 2027, he's already making plans to breathe new life into the struggling opera company. With its world-class orchestra and chorus facing reduced funding and dwindling morale, de Ridder sees opportunities rather than challenges.
De Ridder, who studied at the Royal Northern College of Music for two years, has a strong connection to Manchester, where ENO is currently setting up shop. He believes that this new setup will allow the company to develop a new audience in Greater Manchester and present opera in a way that's fresh and exciting. The scene "should just get richer and richer," he says.
As someone who conducted the premiere of Gerald Barry's remarkable opera, The Bitter Tears of Petra von Kant, de Ridder has a deep appreciation for ENO's rich history. He cites Richard Jones directing and Barbara Hannigan making her operatic debut as a pivotal moment in his own career. Now, he wants to build on this legacy by bringing together innovative productions that push the boundaries of opera.
De Ridder is particularly excited about staging Bertolt Brecht and Kurt Weill's rarely performed morality tale, Rise and Fall of the City of Mahagonny. The Berlin-raised conductor sees parallels between Weill's work and contemporary music, incorporating elements of jazz, tango, and American blues into his scores. He aims to create an immersive experience that will transport audiences to the world of 1920s Berlin.
De Ridder is also acutely aware of the challenges facing ENO, including reduced rehearsal periods and dwindling morale among its musicians and choristers. However, he remains optimistic about the company's potential, citing the "core of the orchestra" and "the chorus" as being there. He emphasizes that his brief as music director is to hold up ENO's excellence and goals for everyone.
While some may question why de Ridder would leave a comfortable position in Germany to take on ENO's precarious situation, he argues that comfort can be stifling. The make-or-break feeling he experienced when first arriving at the Coliseum has left him with an unshakeable love for it – a love that drives him to push ENO forward and create something truly special.
As de Ridder embarks on this new chapter, one thing is clear: his enthusiasm and passion are contagious. Whether or not ENO will be able to overcome its current challenges remains to be seen, but with de Ridder at the helm, it's undeniable that the opera scene in London – and beyond – will be treated to something truly special.
De Ridder, who studied at the Royal Northern College of Music for two years, has a strong connection to Manchester, where ENO is currently setting up shop. He believes that this new setup will allow the company to develop a new audience in Greater Manchester and present opera in a way that's fresh and exciting. The scene "should just get richer and richer," he says.
As someone who conducted the premiere of Gerald Barry's remarkable opera, The Bitter Tears of Petra von Kant, de Ridder has a deep appreciation for ENO's rich history. He cites Richard Jones directing and Barbara Hannigan making her operatic debut as a pivotal moment in his own career. Now, he wants to build on this legacy by bringing together innovative productions that push the boundaries of opera.
De Ridder is particularly excited about staging Bertolt Brecht and Kurt Weill's rarely performed morality tale, Rise and Fall of the City of Mahagonny. The Berlin-raised conductor sees parallels between Weill's work and contemporary music, incorporating elements of jazz, tango, and American blues into his scores. He aims to create an immersive experience that will transport audiences to the world of 1920s Berlin.
De Ridder is also acutely aware of the challenges facing ENO, including reduced rehearsal periods and dwindling morale among its musicians and choristers. However, he remains optimistic about the company's potential, citing the "core of the orchestra" and "the chorus" as being there. He emphasizes that his brief as music director is to hold up ENO's excellence and goals for everyone.
While some may question why de Ridder would leave a comfortable position in Germany to take on ENO's precarious situation, he argues that comfort can be stifling. The make-or-break feeling he experienced when first arriving at the Coliseum has left him with an unshakeable love for it – a love that drives him to push ENO forward and create something truly special.
As de Ridder embarks on this new chapter, one thing is clear: his enthusiasm and passion are contagious. Whether or not ENO will be able to overcome its current challenges remains to be seen, but with de Ridder at the helm, it's undeniable that the opera scene in London – and beyond – will be treated to something truly special.
. They've been struggling for years and it's not like their problems are going to magically disappear because of some new music director. I mean, have you seen the state of those rehearsal periods? It's crazy that musicians and choristers can even get enough time to prepare for a show.
. Opera should be about more than just flashy productions and gimmicks. It's about the music, the storytelling, the emotional depth. I'm not convinced that Weill's work will translate to a modern audience or that de Ridder's enthusiasm is enough to overcome the company's structural issues.
. Maybe, just maybe, he can find ways to engage new audiences and bring opera into the 21st century without sacrificing its core values. We'll have to wait and see how it all plays out 
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gotta love his energy & vision for a brighter future 
ENO needs a spark, and I'm rooting for this guy to bring it 
hopefully he can breathe new life into the company without sacrificing its rich history 
! He's got this infectious enthusiasm that's gonna bring a fresh energy to the whole operation 
. I love how he's all about creating an immersive experience, blending classical and contemporary elements – sounds like my jam 
. Let's be real, it won't be easy with reduced funding and all that jazz 
, but de Ridder's got a clear vision and I'm here for it 
. Bring on the Bertolt Brecht and Kurt Weill goodness – we need more innovative productions like that in opera! 
it needs someone like de ridder to shake things up! he's got a fire in his belly and wants to bring fresh energy to eno, which i think is dope 
instead of dwelling on the problems, de ridder sees opportunities for innovation. it'll be awesome to see how he tackles the reduction in funding and dwindling morale head-on 
he's not just gonna sit back and let the opera company die, no way! he's got some fresh ideas and plans to bring in a whole new audience. i love that he's all about collaboration and pushing boundaries - it's like he knows exactly what ENO needs to shake things up 
let's keep our fingers crossed that ENO can pull off this new direction and become the opera company we know it can be 
. He has a strong connection to Manchester and wants to bring in a new audience, which is a great idea. His experience conducting The Bitter Tears of Petra von Kant is impressive, and I'm excited to see him tackle Bertolt Brecht and Kurt Weill's Rise and Fall of the City of Mahagonny - that sounds like a really cool production! 
I think André de Ridder is a breath of fresh air for English National Opera. He's got this infectious enthusiasm that'll bring new life to the company. Manchester's setup is a great idea - who wouldn't want to see opera in a vibrant city like that? 
As someone who's been to the Coliseum, I can attest to de Ridder's passion for opera - it's palpable! 
! He seems like a total game-changer for the company, bringing this new energy and enthusiasm to the table. I mean, have you seen his resume? Studied at the Royal Northern College of Music for two years, conducted a premiere of Gerald Barry's opera... the dude is a total talent magnet 
. I'm all about innovative productions that make people sit up and take notice.
. Why would he leave a comfy job in Germany for ENO? There's gotta be more to it than just enthusiasm 
. And what's with this "core of the orchestra" and "chorus" business? Sounds like some kinda secret society 
. He's gonna push ENO forward, huh? What does that even mean? They're already struggling, what's he gonna do, magic up some funding outta thin air 
? I got a bad feeling about this one...
like, i get it comfort can b stiflin but i dont think its fair 2 put him in a precarious situation like dis 
still, gotta be curious 2 see how eno develops n whether de ridder can bring that innovative vibe 2 the table 
. I hope de Ridder can help alleviate some of those pressures and create a more positive work environment.
i'm also super stoked that he's got that deep appreciation for ENO's rich history and wants to build on their legacy... I mean, who wouldn't want a conductor with a passion project like that?! 