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Matthew Brook is known for his honest and open portrayal of characters whether on the opera or concert stage. He leapt to fame with his 2007 Gramophone Award-winning recording of Handel’s Messiah with the Dunedin Consort, followed by equally critically acclaimed recordings of Acis and Galatea and St Matthew Passion. He has appeared as a soloist throughout Europe, Australia, North and South America and the Far East, and has worked with many of the world’s leading conductors. He has developed a world-wide reputation for his interpretation of the music of J.S Bach and George Frederic Handel but his musical tastes stretch far beyond this, often performing new commissions.

Other concert repertoire he performs regularly include pieces such as Beethoven Ninth Symphony and Missa Solemnis, Berlioz L’Enfance du Christ, Brahms’ Requiem, Elgar Dream of Gerontius, Haydn Die Schöpfung and Die Jahreszeiten, Mendelssohn Elijah, Tippett A Child of Our Time and Walton’s Belshazzar’s Feast.

Matthew has enjoyed long collaborations with conductors including Sir Andrew Davis, Harry Bicket, Bernhard Labadie, Christophe Rousset, John Nelson, Sir John Eliot Gardiner, Philippe Herreweghe, John Butt, Harry Christophers, Paul McCreesh and the late Sir Charles Mackerras, Sir Roger Norrington and Richard Hickox. He has also collaborated with Richard Tognetti, Sir Mark Elder, Emmanuelle Haïm, Laurence Equilbey, Maxim Emelyanchev, Mirga Gražinytė-Tyla and Christian Curnyn.

In 2023 Matthew made his Opéra national de Paris debut performing the role of Il Re di Scozia in a new Robert Carsen production of Ariodante under Harry Bicket. He has performed roles at Staatstheater Stuttgart, Opera Comique, Göttingen International Handel Festival, The Grand Théâtre de Luxembourg and at the Maggio Musicale Fiorentino. Some of Matthew’s roles have included Polyphemus Acis and Galatea, Aeneas Dido and Aeneas, Papageno Die Zauberflöte, Figaro Le nozze di Figaro, Leporello Don Giovanni, Kouno Der Freischütz, Garibaldo Rodelinda, Ned Keene Peter Grimes, Vicar Albert Herring, Noye Noye’s Fludde, John Bunyan and Lord Hategood in Vaughan Williams’s The Pilgrim’s Progress, Melchior in Menotti’s Amahl and the Night Visitors, Jupiter in Rameau’s Castor et Pollux, Starek and Mayor Jenufa, Antenor and Calkas in Walton’s Troilus and Cressida, Zuniga Carmen, Argenio Imeneo, Claudio Agrippina and Seneca in L’incoronazione di Poppea. He assumed the roles of Don Alfonso and Bartolo under Sir John Elliott Gardiner as part of a big European tour including at the Royal Opera House, Covent Garden, Salle Pleyel, Paris, Teatro Real, Madrid and Giuseppe Verdi Opera House, Pisa.

Matthew has an extensive discography resulting in many nominations and awards including several Gramophone awards for the music of Handel and Bach and a Grammy nomination for the Mozart Requiem. His recent recording Bach: Ich habe genug with the Dunedin Consort for the Linn label won the choral award in the 2022 BBC Music Magazine Awards. Some other recording highlights include, Handel’s Ariodante with Joyce DiDonato and Il Complesso Barocco for the Erato label under Alan Curtis, Idomeneo with the late Sir Charles Mackerras for EMI, and Counsel Trial By Jury and Friar Tuck in Sullivan’s Ivanhoe with the BBC National Orchestra of Wales for Chandos records. He is also soloist for a BBC television recording of Berlioz’s L’Enfance du Christ under the late Richard Hickox.

Future releases will include a new recording of Handel’s Messiah with John Nelson, the English Concert and Choir and a recording of Purcell’s Dido and Aeneas with David Bates and La Nuova Musica.

Recent highlights include the role of Aeneas in the world premiere of Errollyn Wallen’s Dido’s Ghost co-commissioned by the Dunedin Consort with the Barbican Centre, Edinburgh International Festival, Buxton International Festival and Philharmonia Baroque Orchestra & Chorale, a return to the Edinburgh International Festival for a special performance of Mozart’s Die Zauberflöte with Maxim Emelyanchev and the SCO, and Beethoven’s Ninth Symphony with the Royal Philharmonic under Vasily Petrenko.

This season, Matthew makes his debut with Opera North in David Poutney’s “Masque of Might”, music by Purcell, conducted by Harry Bicket, returns to Grange Park Opera, and gives performances with the Czech Philharmonic, Rotterdam Philharmonic, Philharmonia Baroque, Handel and Haydn Society Boston and closer to home with the Academy of Ancient Music, English Concert, Dunedin Consort, The Hallé and Royal Northern Sinfonia to name a few.

See Matthew Brook perform Sir James MacMillan’s Since it was the Day of Preparation… with Dunedin Consort and Hebrides Ensemble on 27 October 2024.

For decades now, Elisabeth Leonskaja has been among the most celebrated pianists of our time. In a world dominated by the media, Elisabeth Leonskaja has remained true to herself and to her music, and in doing so, is following in the footsteps of the great Russian musicians of the Soviet era, such as David Oistrakh, Sviatoslav Richter and Emil Gilels, who never wavered in their focus on the quintessence of music despite working in a very difficult political environment. Her almost legendary modesty still makes her somewhat media-shy today. Yet as soon as she walks out on the stage, audiences can sense the force behind the fact that music is and always has been her life’s work.

 Born in Tbilisi, Georgia, to a Russian family, she gave her first concerts as early as age 11. Her exceptional talent soon brought her to study at the Moscow Conservatory.

While still a student at the Conservatory, she won prizes in the prestigious Enescu, Marguerite Long and Queen Elizabeth international piano competitions. 

Elisabeth Leonskaja’s musical development was shaped or influenced to a decisive degree by her collaboration with Sviatoslav Richter. The master recognized her exceptional talent and fostered her development not only through teaching and musical advice, but also by inviting her to play numerous duets with him. A memorable musical event! The musical partnership and personal friendship between Sviatoslav Richter and Elisabeth Leonskaja endured until Richter’s death in the year 1997. In 1978 Elisabeth Leonskaja left the Soviet Union and made her new home in Vienna. Her sensational performance at the Salzburg Festival in 1979 marked the beginning of her steadily blossoming career as a concert pianist in the west.

In addition to her many solo engagements, chamber music remains an important part of her work. She has performed many times with string quartets, such as the Belcea, Borodin Artemis and Jerusalem quartets. She also had a longstanding musical friendship with the Alban Berg Quartet, and their piano quintet recordings are legendary.

Numerous recordings bear testimony to the outstanding artistic achievements of this pianist and she has been awarded prizes such as the Caecilia Prize for her Brahms piano sonatas, or the Diapason d´Or for her recordings of works by Liszt. Other significant recordings include the Tchaikovsky Piano Concertos with the New York Philharmonic Orchestra under Kurt Masur, the Chopin Piano Concertos with the Czech Philharmonic Orchestra under Vladimir Ashkenazy, and the Shostakovich Piano Concertos with the Saint Paul Chamber Orchestra.

Her recording “Paris”, released by eaSonus, with works by Ravel, Enescu and Debussy, was named the Solo Recording of the Year 2014 by the ICMA Jury. “Saudade”, an homage to Russian culture with works by Tchaikovsky, Shostakovich and Rachmaninoff, was released in November 2017. A complete recording of Franz Schubert’s piano sonatas in two volumes of four CDs each has been available since April 2016 and May 2019 respectively. A double-CD with variations and sonatas by Robert Schumann followed in January 2020. Since 2021 a new recording relationship has begun with WARNER. A Mozart Sonatas Cycle and the Beethoven Concertos nr 3 and 4 have been released already. The Schumann and Grieg piano concertos and a recording of the works for piano solo of the 2nd Viennese school will follow.

In her second homeland, Austria, Elisabeth Leonskaja is an honorary member of the Vienna Konzerthaus. In 2006 she was awarded the Austrian Cross of Honor for Science and Art, First Class, for her outstanding service to the culture of the country. It is the highest award in Austria. In Georgia, she was named Priestess of Art in 2016, this country’s highest artistic honor. In 2020 she received the International Classical Music (ICMA) Lifetime Achievement Award.

See Elisabeth Leonskaja perform Beethoven’s Emperor Concerto with the RSNO on 23, 25 and 26 October 2024.

Patrick Barrett is a conductor specialising in choral music and opera. He is currently Chorus Director of the RSNO Youth Choruses, Royal Opera House Youth Opera Company, Irish Youth Training Choir and the award-winning Farnham Youth Choirs.

Recent work has included conducting the RSNO Youth Chorus alongside soloists Sheku Kanneh-Mason, Benjamin Grosvenor and Nicola Benedetti in the Royal Scottish National Orchestra’s All-Star Gala performances, and preparing them for the recording of Jonathan Dove’s Gaspard’s Christmas, which is available on all streaming services. Over the summer, he led FYC to success at the Hull International Choral Competition and the International Choir Competition in Provence, winning the Youth Choirs of Equal Voices and Children’s Choir categories respectively, and will be competing with them in the World Choir Games 2024 in New Zealand. In the past year, he has also premiered a number of new works including Jonathan Brigg’s The Sapling with the ROH Youth Opera Company and pieces by Emma O’Halloran and DJ and producer R.Kitt with IYTC. This summer, he took up the position of Guest Conductor with the National Youth Choir of Great Britain’s Girls’ Choir and has been invited back for 2024.

Much of Patrick’s work revolves around championing young people within choral music and, for the past two years, he has been invited to address the annual conference of the Post Primary Music Teachers Association in Ireland. His work in this area began as a Trainee Music Leader with Spitalfields Music between 2015-16 and he is now firmly established as a music educator, having delivered projects for organisations including the BBC Singers, Sonoro, The Sixteen, Wigmore Hall, Aldeburgh Young Musicians, and Ark Schools.

In opera, Patrick works with many of the UK’s major companies including the Royal Opera House, English National Opera and Garsington Opera. For the ROH, he is the Musical Director of the Youth Opera Company, preparing them for main stage performances of Verdi’s Otello under Sir Antonio Pappano and Humperdinck’s Hansel and Gretel under Sebastian Weigle, and conducting them in the world premieres of specially commissioned works including Lewis Murphy’s A Different Story in the Linbury Theatre. He is also a regular leader on their Create and Sing programme, working with secondary school teachers to stage specially-devised operas in classrooms across the country. For the ENO, he has prepared the children’s chorus for Janáček’s The Cunning Little Vixen under Martyn Brabbins and Bizet’s Carmen under Kerem Hasan. For Garsington Opera, he has worked on a specially-commissioned community opera called Dalia by Roxanna Panufnik as the Youth Chorus Director.

Patrick was previously the conductor of the University of Birmingham’s Upper Voices Choir and Brockham Choral Society.

When did you join the RSNO?
I joined the RSNO in May 1998.

Where are you from?
Doncaster.

Where did you study?
I studied at the University of Manchester and the Royal Northern College of Music.

What do you enjoy most about being in the RSNO?
I enjoy playing great music and being part of a big sound. I also love travelling, especially getting the chance to play in smaller places in more rural areas of Scotland during ‘Out and About Week’.

Tell us your favourite RSNO story/memory so far.
Absolutely undoubtedly playing “Götterdämmerung” in the Edinburgh International Festival in 2018. I remember my professor at university saying that Wagner is “dangerous music”. There is something all-consuming about his music – the huge emotions, the eroticism of his harmony, the orchestral colour. Accompanying a Brünnhilde of the calibre of Christine Goerke is also an experience to remember.

What do you enjoy doing when you’re not playing with the Orchestra?
My hobbies include being outdoors, especially cycle-touring and ski-touring. I also perform and commission new music with my ensemble, Nordic Viola, formed after my sabbatical from the RSNO in 2016.

Do you have any hidden talents?
I’m a qualified German to English translator and a have been a Scottish National Cycling Champion in the Team Time Trial!

If you could have dinner with anyone (alive or dead) who would it be, and why?
Scottish writer Gavin Francis. His book “True North” gave me the final push I needed to take a sabbatical to the Faroes, Iceland and Greenland.

You’re stranded on a desert island. You’re allowed 3 CDs and 1 book. What would they be, and why?
How many Wagner CDs am I allowed and are box sets cheating?! I’d choose Wagner’s Parsifal, because it’s one of the most perfectly constructed operas he wrote, and Götterdämmerung, preferably a recording of the very special RSNO/EIF production. Finally, I’d go for Sibelius 7 – possibly the most concise symphony ever written.  Also, I hate heat and a desert island would be hell so this would remind me of my beloved Far North. My book would be Zola’s Germinal. Immaculately written, thought-provoking, and always revealing something new.

When did you join the RSNO?
I joined the RSNO in August 2009.

Where are you from?
I’m from New Zealand.

Where did you study?
I did an Undergraduate degree in Wellington, New Zealand, and a Postgraduate degree at the Guildhall School of Music and Drama, London.

What do you enjoy most about being in the RSNO?
My favourite thing about being in the RSNO is playing great music in different venues around Scotland.

Tell us your favourite RSNO story/memory so far.
Since joining the Orchestra, the most memorable times for me have been the European Tour 2010 and playing at the Proms.

You’re stranded on a desert island. You’re allowed 3 CDs and 1 book. What would they be, and why?
If I was stranded on a desert island, the CDs I would have to bring would be some Brahms, Mahler and Beethoven String Quartets. I wouldn’t be able to choose just one book!