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Young British conductor Duncan Ward is one of the most exciting new figures on podiums worldwide. He directs a rich, lyrical programme ranging from the exuberant playfulness of Schumann’s compact symphony in all but name, through to Mendelssohn’s brilliant own First Symphony, written – remarkably – when he was just 15. In between, a poignant elegy by Puccini, and Cimarosa’s almost operatic Concerto, stuffed full of exuberant melodic invention, with the SCO’s own eminent flautists as soloists.
Tickets available online (below) and from Nairn's Newsagent, 24-28, Market Square, Duns, TD11 3BY / 00131 557 6800
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British conductor Duncan Ward is emerging as one of the most exciting talents of his generation. From 2012-14 he was Conducting Scholar of the Berliner Philharmoniker Orchester-Akademie, to which he was appointed on the recommendation of Sir Simon Rattle. In 2015 he became Principal Conductor of Sinfonia as well as holding the post of Associate Conductor of the National Youth Orchestra of Great Britain. He made his debut with the Scottish Chamber Orchestra in 2016, stepping in for Robin Ticciati who was unwell.
Hailing originally from Melbourne, Alison Mitchell was appointed Principal Flute of the Scottish Chamber Orchestra in 2003.
Since leaving Australia to continue her studies in Basle with the renowned Swiss Flautist, Peter-Lukas Graf she has maintained a very successful career having performed with many major orchestras in both Europe and Australia, most notably with the Australian Chamber Orchestra, Sydney Symphony, Orchestra of Scottish Opera, Royal Scottish National Orchestra, BBC National Orchestra of Wales and Northern Sinfonia.
Australian flautist Brontë Hudnott was appointed Sub-Principal Flute of the Scottish Chamber Orchestra in March 2017. She enjoys a varied freelance career and has performed with many of the UK’s leading orchestras, including the Philharmonia, the London Philharmonic Orchestra and the Hallé. She was Principal Flute of the Britten-Pears Orchestra in 2015 and the LPO Foyle Future First flautist the same year, with her solo work in the latter role flatteringly highlighted as ‘ravishing’ by the Financial Times.