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DTSTART;TZID=Europe/London:20260927T153000
DTEND;TZID=Europe/London:20260927T173000
DTSTAMP:20260626T230243Z
CREATED:20260626T221318Z
LAST-MODIFIED:20260626T230243Z
UID:7043-1790523000-1790530200@nadsa.co.uk
SUMMARY:Robert Cohen and Dina Duisen -  Song and Sonata for Cello and Piano
DESCRIPTION:Artists: Robert Cohen (cello) and Dina Duisen (piano) \nConcert Sponsor: Don and Betty Frampton \nProgramme\n\nLudwig van Beethoven – Cello Sonata No. 3 in A major\, Op. 69\nGabriel Fauré – Après un Rêve; Papillon; Élégie\nInterval\nJohannes Brahms – Cello Sonata No. 2 in F major\, Op. 99\n\nAbout the Concert\nnadsa opens its 2026–2027 season on Sunday 27 September with one of the foremost cellists of our age. Robert Cohen will perform with his recital partner since 2023\, Kazakh-British pianist Dina Duisen\, making her fourth appearance with nadsa. The afternoon pairs two towering cello sonatas by Beethoven and Brahms with a group of Fauré’s most cherished miniatures. A programme of conversation and contrast\, it ranges from Classical poise to autumnal Romantic warmth. \nFrom Classical Dialogue to Romantic Fire\nThe afternoon opens with Beethoven’s Cello Sonata No. 3 in A major\, composed in 1807–08 during his heroic middle period. It was the first cello sonata to treat the two instruments as genuine equals\, and it announces that intent at once: the cello sings the opening theme entirely unaccompanied. There follows a set of Fauré’s best-loved short pieces. Après un Rêve\, originally a song from the 1870s\, unfolds as a long\, yearning melodic line; the gentle Papillon flutters with salon charm; and the Élégie of 1880 is an intensely lyrical lament\, one of the most loved of all cello works. \nAfter the interval comes Brahms’s Cello Sonata No. 2 in F major\, written in the summer of 1886 during a fertile holiday beside Lake Thun and dedicated to the cellist Robert Hausmann. Passionate and expansive\, with bold tremolo writing and a slow movement of rare tenderness\, it is Brahms at his most ardent. The critic Eduard Hanslick wrote that in this music “passion rules\, fiery to the point of vehemence.” \nAbout the Artists\nRobert Cohen has enjoyed a distinguished international career spanning more than four decades\, performing with many of the world’s leading conductors and chamber ensembles. He made his concerto debut at the Royal Festival Hall at the age of twelve and his recording of the Elgar Cello Concerto\, made when he was nineteen\, earned a silver disc. He has recorded for EMI\, Deutsche Grammophon\, Sony\, BIS\, Decca and others\, and is William Pleeth Professor of Cello at the Royal Academy of Music. The Guardian has written that Cohen “can hold any audience in the palm of his hand.” \nDina Duisen brings warmth and versatility to the piano partnership. Born in Almaty into a family of musicians and resident in London since 2002\, she gained her Master of Arts with distinction from the Royal Academy of Music\, where she now works alongside the Royal College of Music. Her solo album Mazurkas from Chopin to Adès was recorded with Grammy-winning producer Andrew Keener. In 2023 she founded her annual chamber-music festival “Dina & Friends” at the 1901 Arts Club in London. This is her fourth appearance at nadsa. \nWhy You Shouldn’t Miss This\nThis is chamber music of the highest order: two great cello sonatas framing a garland of Fauré’s most affecting writing\, performed by an artist at the height of his powers and a pianist of real distinction.
URL:https://nadsa.co.uk/event/robert-cohen-and-dina-duisen/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
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ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261025T153000
DTEND;TZID=Europe/London:20261025T173000
DTSTAMP:20260626T222012Z
CREATED:20260626T221324Z
LAST-MODIFIED:20260626T222012Z
UID:7045-1792942200-1792949400@nadsa.co.uk
SUMMARY:Daniele Rinaldo -  A Piano Journey from Stillness to Grandeur
DESCRIPTION:Artist: Daniele Rinaldo (piano) \nConcert Sponsor: Austins Department Store \nProgramme\n\nArvo Pärt – Für Alina (1976)\nMaurice Ravel – Miroirs (1904–05)\nFrédéric Chopin – Barcarolle in F sharp major\, Op. 60\nInterval\nPeter Nickol – Blue Mix (2002)\nFranz Schubert – Sonata in A major\, D 959\n\nAbout the Concert\nThe Italian pianist Daniele Rinaldo comes to nadsa on Sunday 25 October with a programme of remarkable range\, journeying from the hushed simplicity of Arvo Pärt to one of Schubert’s last and greatest sonatas. Hailed by The New York Times as “a pianist of extraordinary dramatic flair\,” Rinaldo has performed in major venues across the world while also pursuing a parallel academic career in economics at the University of Exeter. His is a thoughtfully curated afternoon that sets shimmering Impressionism and a contemporary voice alongside the grand Classical-Romantic tradition. \nFrom Silence to the Grand Romantic Sonata\nThe recital opens with Pärt’s Für Alina\, the spare\, meditative miniature of 1976 that gave birth to his celebrated “tintinnabuli” style\, its name drawn from the Latin for little bells. From this stillness the programme blossoms into Ravel’s Miroirs\, five luminous tone-paintings from 1904–05\, among them the fluttering Noctuelles\, the desolate Oiseaux tristes\, the surging Une barque sur l’océan and the dazzling Spanish Alborada del gracioso. Chopin’s late Barcarolle in F sharp major then closes the first half\, its lilting gondolier’s rhythm crowned by some of his richest harmony. \nAfter the interval Rinaldo turns to a contemporary work\, Peter Nickol’s Blue Mix of 2002\, before the afternoon culminates in Schubert’s Sonata in A major\, D 959. The middle work of the three great sonatas composed in the final months of his life in 1828\, it is music of breadth and daring\, its serene outer movements framing an Andantino whose central storm is among the most startling passages Schubert ever wrote. \nAbout the Artist\nDaniele Rinaldo studied at the Royal Academy of Music in London\, the Accademia Nazionale Santa Cecilia in Rome and the Musik-Akademie in Basel\, where he gained the Soloist Diploma. He has performed as a soloist in major venues and festivals around the world\, from Wigmore Hall and the Barbican to concert halls across Europe and the United States. Something of a polymath\, he combines his concert touring with a lectureship in economics at the University of Exeter\, where his research spans environmental\, development and mathematical economics. The result is an artist of unusual curiosity\, equally at home in the introspective and the virtuosic. \nWhy You Shouldn’t Miss This\nFrom the radiant calm of Pärt to the sweep of late Schubert\, Daniele Rinaldo’s recital is one of real imagination\, full of colour\, quiet and contrast. It promises an afternoon to remember in nadsa’s intimate setting.
URL:https://nadsa.co.uk/event/daniele-rinaldo/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
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ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261122T153000
DTEND;TZID=Europe/London:20261122T173000
DTSTAMP:20260626T222032Z
CREATED:20260626T221335Z
LAST-MODIFIED:20260626T222032Z
UID:7027-1795361400-1795368600@nadsa.co.uk
SUMMARY:Ensemble Mirage -  An Afternoon of Autumnal Clarinet Colours
DESCRIPTION:Artists: Ensemble Mirage (clarinet and string quartet) – Matthew Scott (clarinet)\, Michael Newman (cello)\, Rosemary Hinton (violin)\, Emily Pond (violin) and Alexandra Lomeiko (violin) \nConcert Sponsor: Keith Stokes-Smith \nProgramme\n\nJohannes Brahms – Clarinet Quintet in B minor\, Op. 115\nPyotr Ilyich Tchaikovsky (arr. Takemitsu) – Herbstlied (Autumn Song)\nInterval\nHerbert Howells – Rhapsodic Quintet\, Op. 31\nJean Françaix – Clarinet Quintet\n\nAbout the Concert\nOn Sunday 22 November\, Ensemble Mirage brings music for clarinet and string quartet to nadsa for the very first time. At its heart stands Brahms’s autumnal masterpiece\, the Clarinet Quintet in B minor\, partnered by an English gem from Herbert Howells\, the witty French elegance of Jean Françaix\, and a haunting miniature by Tchaikovsky arranged by Toru Takemitsu. It is a programme that places the well-loved alongside the unjustly neglected: the speciality of this enterprising ensemble. \nFour Voices for Clarinet and Strings\nThe afternoon opens with Brahms’s Clarinet Quintet\, written in the summer of 1891 for the clarinettist Richard Mühlfeld\, whose playing drew the composer out of a brief retirement. Valedictory and elegiac\, it is among the supreme achievements of his final years\, glowing with warmth and quiet regret. It received its first private performance that November in Meiningen\, with Mühlfeld and the Joachim Quartet. The first half then closes with Takemitsu’s gentle arrangement for clarinet and strings of Tchaikovsky’s Autumn Song\, the October piece from The Seasons\, premiered in this guise in 1993. \nAfter the interval comes Howells’s Rhapsodic Quintet of 1919\, a single flowing movement of mystic\, song-like beauty written in the aftermath of the First World War\, and one of the finest English chamber works of its time. The programme closes with the Clarinet Quintet by Jean Françaix\, composed in 1977 in his inimitable French style: elegant\, neoclassical and brimming with wit. \nAbout the Ensemble\nEnsemble Mirage is a dynamic flexi-ensemble focusing on the fantastic range of mixed wind\, string and piano chamber music. From trios to octets\, this small group of dedicated\, passionate and award-winning musicians aims to expand the standard chamber repertoire\, bringing to light many often overlooked works\, with each programme focusing on a particular instrumental combination and presenting the well-known alongside the more rarely heard. They are Making Music Recommended Artists and finalists in the Mixed Chamber category of the 66th Royal Over-Seas League competition; they were also St John’s Smith Square Young Artists and held an Aldeburgh Chamber Music Residency. The ensemble evolved from Trio Mirage\, Royal Academy of Music Chamber Fellows and Harold Craxton Prize winners\, growing to explore this larger repertoire. \nWhy You Shouldn’t Miss This\nConcerts for clarinet quintets are a rarity. Few combinations in chamber music are as beguiling\, and especially in nadsa’s intimate setting. This carefully curated programme showcases the range of the ensemble’s expression – from Brahms’s late tenderness to the sparkle of Françaix.
URL:https://nadsa.co.uk/event/ensemble-mirage/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
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ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20270124T153000
DTEND;TZID=Europe/London:20270124T173000
DTSTAMP:20260626T222050Z
CREATED:20260626T221332Z
LAST-MODIFIED:20260626T222050Z
UID:7049-1800804600-1800811800@nadsa.co.uk
SUMMARY:Buck Brass -  Four Centuries of Brass Brilliance
DESCRIPTION:Artists: Buck Brass (brass quartet) – Katie Lodge (trumpet)\, Timothy Ellis (french horn)\, Frances Leith (french horn) and Richard Buck (trombone) \nConcert Sponsor: Sylvia Edge \nProgramme Includes\n\nImogen Holst – Leiston Suite\nJoseph Haydn – Trio in A major\, Hob. XI:5\nFrancis Poulenc – Sonata for Horn\, Trumpet and Trombone\nInterval\nFlorence Price – Adoration\nSteven Verhelst – Be Be Three\nTraditional (arr. Richard Buck) – Amazing Grace\n\nAbout the Concert\nThe new year brings a change of colour to nadsa as Buck Brass\, one of the United Kingdom’s foremost brass chamber ensembles\, arrives on Sunday 24 January. Known for its thoughtful programming and technical precision\, the group ranges across four centuries in a single afternoon\, bringing Haydn and an English suite by Imogen Holst as well as the irreverent wit of Poulenc\, the warmth of Florence Price and a much-loved hymn in the ensemble’s own arrangement. It is a vivid showcase for the brilliance and variety of brass chamber music. \nFour Centuries in Brass\nThe programme opens with Imogen Holst’s Leiston Suite\, written in 1967 for a Suffolk school brass group while she was working alongside Benjamin Britten at Aldeburgh. Its short movements draw on Renaissance and English folk-dance idioms. Haydn’s Trio in A major follows: one of the many trios he composed for the music-loving Prince Nikolaus Esterházy\, heard here in brass guise. The first half closes with a cornerstone of the repertoire\, Poulenc’s Sonata for Horn\, Trumpet and Trombone of 1922\, by turns brilliant\, lyrical and mischievous. \nAfter the interval comes Florence Price’s Adoration: a tender\, song-like piece from 1951 by the pioneering American composer\, originally written for organ. A contemporary work by the Belgian composer Steven Verhelst\, a leading voice in today’s brass writing\, leads to a heartfelt close – the traditional hymn Amazing Grace in an arrangement by the ensemble’s own Richard Buck. \nAbout the Ensemble\nBuck Brass is among the United Kingdom’s leading brass chamber ensembles. It was founded in 2013 by graduates of the Royal Academy of Music and is celebrated for its thoughtful programming\, technical precision and contribution to the brass repertoire. Dedicated to broadening the scope of brass chamber music\, the ensemble champions both original compositions and transcriptions\, and has expanded the repertoire further by commissioning new works. Its imaginative\, wide-ranging programmes have established it as a distinctive presence on the British chamber-music scene. \nWhy You Shouldn’t Miss This\n\nBrass chamber music is one of the great pleasures of the concert hall\, full of brilliance\, intimacy and surprise. Buck Brass presents it with flair and imagination. Whether you are a seasoned concertgoer or discovering this repertoire for the first time\, this is an afternoon of warmth and virtuosity to brighten the depths of winter.
URL:https://nadsa.co.uk/event/buck-brass/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
ATTACH;FMTTYPE=image/webp:https://nadsa.co.uk/wp-content/uploads/2026/06/Buck-Brass.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20270228T153000
DTEND;TZID=Europe/London:20270228T173000
DTSTAMP:20260626T222354Z
CREATED:20260626T221330Z
LAST-MODIFIED:20260626T222354Z
UID:7023-1803828600-1803835800@nadsa.co.uk
SUMMARY:Tim Horton - An Afternoon of Viennese Masterpieces
DESCRIPTION:Artist: Tim Horton (piano) \nConcert Sponsor: C & M Pike Trust \nProgramme\n\nLudwig van Beethoven – Piano Sonata No. 9 in E major\, Op. 14 No. 1\nLudwig van Beethoven – Piano Sonata No. 10 in G major\, Op. 14 No. 2\nLudwig van Beethoven – Piano Sonata No. 8 in C minor\, Op. 13\, “Pathétique”\nInterval\nFranz Schubert – Four Impromptus\, D 935 (Op. 142)\n\nAbout the Concert\nOn Sunday 28 February\, one of the United Kingdom’s leading pianists comes to nadsa. Tim Horton\, a founding member of Ensemble 360 and a regular at major festivals across the country\, presents an afternoon of Viennese masterworks: three contrasting Beethoven sonatas\, culminating in the celebrated Pathétique\, followed by Schubert’s serene and valedictory final piano sonata. Reviewing his recent playing\, The Strad praised its “brilliance\, precision and tireless energy.” This is a programme of intimacy and grandeur from a pianist at the height of his powers. \nFrom Beethoven’s Wit to Schubert’s Farewell\nThe recital opens with the two sonatas of Beethoven’s Op. 14\, written in 1798–99. The Sonata No. 9 in E major is intimate and lyrical\, so songlike that Beethoven later arranged it for string quartet; its companion\, the Sonata No. 10 in G major\, is light\, witty and pastoral\, full of playful invention. The first half closes with the Pathétique\, completed in 1798\, whose stormy C minor drama and famous singing Adagio made it one of the most celebrated works of his early maturity. \nAfter the interval comes Schubert’s set of Four Impromptus\, D 935\, composed in December 1827 in the last full year of his life and published only after his death\, in 1839\, as Op. 142. Schumann thought the set was really a sonata in disguise\, and the four pieces do form a satisfying whole\, ranging from high drama to the most intimate songfulness. The first\, in F minor\, is the most expansive\, unfolding on an almost orchestral scale and framing a glowing central episode in A flat major. The second\, in A flat major\, is a tender\, minuet-like Allegretto of disarming simplicity\, its serenity shadowed by a more restless central section. At the heart of the set stands the third\, in B flat major\, a sequence of graceful variations on a melody Schubert had already loved enough to use in his Rosamunde music\, by turns delicate\, brilliant and wistful. The finale\, in F minor\, is a sparkling\, Hungarian-flavoured dance that gathers headlong momentum and drives the afternoon to an exhilarating close. \nAbout the Artist\nTim Horton is equally at home in solo and chamber repertoire and is regularly invited to perform at major festivals and concert series across the country. Early in his career\, on the recommendation of the late Alfred Brendel\, he stood in at short notice to perform Schoenberg’s Piano Concerto at Symphony Hall\, Birmingham and the Royal Festival Hall\, London\, with the City of Birmingham Symphony Orchestra under Sir Simon Rattle. In 2005 he was made a Scholar of the Klavier-Festival Ruhr\, and he gave his debut solo recital at Wigmore Hall in 2016. A founding member of Ensemble 360 and the Leonore Piano Trio\, he has recorded extensively for Hyperion and has performed complete cycles of the Beethoven and Schubert sonatas for Music in the Round in Sheffield. \nWhy You Shouldn’t Miss This\n\nTo hear a great pianist explore Beethoven and Schubert in a single afternoon is one of the deepest pleasures a recital can offer. With his combination of intellectual insight and expressive warmth\, Tim Horton promises playing of real distinction. It will be a joy in nadsa’s intimate setting.
URL:https://nadsa.co.uk/event/tim-horton/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
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ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20270321T153000
DTEND;TZID=Europe/London:20270321T173000
DTSTAMP:20260626T221359Z
CREATED:20260626T221359Z
LAST-MODIFIED:20260626T221359Z
UID:7015-1805643000-1805650200@nadsa.co.uk
SUMMARY:Barbican Quartet - Three Worlds of the String Quartet
DESCRIPTION:Artists: Barbican Quartet (string quartet) – Amarins Wierdsma (Violin)\, Kate Maloney (Violin)\, Christoph Slenczka (Viola) and Yoanna Prodanova (Cello) \nConcert Sponsor: Ruth & Peter Lowe \nProgramme\n\nWolfgang Amadeus Mozart – String Quartet in D major\, K 575\nAlexander Zemlinsky – String Quartet No. 2\, Op. 15\nInterval\nLudwig van Beethoven – String Quartet in C major\, Op. 59 No. 3\, “Razumovsky”\n\nAbout the Concert\nOn Sunday 21 March\, the prizewinning Barbican Quartet make their eagerly anticipated return to nadsa. Winners of First Prize at the 2022 ARD International Music Competition in Munich\, this is a quartet renowned for its distinctive sound and deeply personal interpretations. Their programme spans more than a century. It opens with the elegance of Mozart’s late “Prussian” quartet\, continues with the searching intensity of Zemlinsky and finishes with one of Beethoven’s boldest and most exhilarating works\, the third of the Razumovsky quartets. \nA Journey Across the String Quartet\nThe afternoon opens with Mozart’s String Quartet in D major\, K 575\, composed in 1789 and the first of the three “Prussian” quartets\, among the last he completed. Written with the cello-playing King of Prussia in mind\, it gives the cello unusual prominence and shares its graceful\, song-like material democratically among all four players. There follows Zemlinsky’s String Quartet No. 2\, a large and harmonically adventurous work of 1913 to 1915\, cast as a single continuous span. Bound up with the personal crises surrounding his circle\, including his brother-in-law Arnold Schoenberg\, it is music of extraordinary emotional pressure and ambition. \nAfter the interval comes Beethoven’s String Quartet in C major\, Op. 59 No. 3\, the last of the three quartets composed in 1806 for the Russian ambassador Count Razumovsky\, and a landmark of his middle period. From its mysterious\, harmonically veiled introduction it bursts into brilliant life\, culminating in a headlong fugal finale of near-perpetual motion that drives the music to a thrilling close. \nAbout the Ensemble\nThe Barbican Quartet is a distinctive presence on the international chamber-music scene\, renowned for its unique sound and deeply personal interpretations of repertoire spanning four centuries. Formed in 2014 at the Guildhall School of Music and Drama in London\, the quartet won First Prize and several special awards at the 2022 ARD International Music Competition in Munich. Previous successes include prizes at the Bordeaux International String Quartet Competition in 2022 and the Joseph Joachim International Chamber Music Competition in 2019. Their debut album\, Manifesto on Love\, was released in 2024. \nWhy You Shouldn’t Miss This\n\nThis is chamber music of the highest order performed by one of the most exciting and internationally acclaimed young quartets. From Mozart’s poise to Beethoven’s daring\, by way of Zemlinsky’s heady late-Romantic world\, it is a programme that rewards the connoisseur and newcomer alike.
URL:https://nadsa.co.uk/event/barbican-quartet/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
ATTACH;FMTTYPE=image/webp:https://nadsa.co.uk/wp-content/uploads/2026/06/Barbican-Quartet.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20270425T153000
DTEND;TZID=Europe/London:20270425T173000
DTSTAMP:20260626T222514Z
CREATED:20260626T221343Z
LAST-MODIFIED:20260626T222514Z
UID:7039-1808667000-1808674200@nadsa.co.uk
SUMMARY:CarmenCo -  An Afternoon of Opera\, Theatre and Comedy
DESCRIPTION:Artists: CarmenCo – Emily Andrews (voice and flute)\, David Massey (guitar) and Francisco Correa (guitar) \nConcert Sponsor: Rathbones Investment Management \nProgramme\nMy My My Delilah! – a concert and play\, telling the story of Samson and Delilah from Delilah’s point of view\, in CarmenCo’s own arrangements. The show includes well-known excerpts by Saint-Saëns\, Bizet\, Verdi\, Donizetti and others. \n\nGeorges Bizet – Habanera from Carmen\nGiuseppe Verdi – Triumphal March from Aida\nCamille Saint-Saëns – “Mon cœur s’ouvre à ta voix” from Samson et Dalila\nGioachino Rossini – overture to The Barber of Seville\nSee the full programme below\n\nAbout the Concert\nnadsa’s 2026–2027 season ends on Sunday 25 April with something gloriously different. The prizewinning trio CarmenCo brings My My My Delilah!\, their brand-new concert and play that retells the story of Samson and Delilah from Delilah’s own point of view. Part music\, part theatre and shot through with comedy\, it asks what really lay behind her infamous betrayal. Was she trying to impress? Was she jealous of his hair? And why is she here on stage playing the flute? By turns deeply moving\, irreverent and laugh-out-loud funny\, it is built around music from Saint-Saëns’s opera and a feast of operatic favourites in the trio’s own arrangements. \nAn Opera Reimagined\, for Flute\, Voice and Two Guitars\nThe afternoon weaves great operatic music into a single dramatic arc. From Saint-Saëns’s Samson et Dalila come the sensuous Bacchanale\, the tender “Printemps qui commence” and the famous seduction aria “Mon cœur s’ouvre à ta voix\,” set alongside showstoppers from Bizet’s Carmen\, Verdi’s Aida and La Traviata\, and Donizetti’s La Favorita. A Spanish-tinted second half opens with Tárrega’s Capricho Árabe and Falla’s Miller’s Dance before Schubert’s beloved Ständchen and a sparkling finale\, the overture to Rossini’s The Barber of Seville. About seventy per cent music and thirty per cent spoken word\, the show is performed entirely from memory\, freeing the players to act\, move and draw the audience into the story. \nAbout the Ensemble\nFormed in 2017\, the prizewinning trio CarmenCo have performed all over England\, Scotland and Wales\, in every kind of venue from Kings Place and Buxton Festival to village halls and schools\, honing a distinctive approach built on their own imaginative arrangements of opera\, orchestral\, folk and world music. The trio comprises Emily Andrews\, flautist and mezzo-soprano\, and guitarists David Massey and Francisco Correa\, all Royal Academy of Music graduates. CarmenCo grew out of the Andrews Massey flute-and-guitar duo\, formed in 2009 and winner of the Tunnell Trust Award for 2012–2013\, when the addition of Francisco Correa\, himself an internationally acclaimed soloist\, brought richer textures and greater variety. Their earlier show A Pocket Opera\, an irreverent retelling of Carmen\, has been performed more than fifty times to unanimous acclaim. My My My Delilah! receives its premiere in Frome in October 2026\, ahead of a full UK tour. The Ayrshire Post hailed the trio as “first-rate musicians” offering a “superb range of musical colour and artistry throughout the programme.” \nWhy You Shouldn’t Miss This\nThis is more than a concert: it is a piece of musical theatre\, by turns beautiful\, funny and surprising\, and the perfect way to end the season. Performing from memory and in a less formal setting\, CarmenCo make great music irresistibly accessible. \nFull Programme\n\nCamille Saint-Saëns – Priestesses’ Dance from Samson et Dalila (flute\, two guitars)\nGeorges Bizet – Habanera from Carmen (voice\, two guitars)\nGiuseppe Verdi – Triumphal March from Aida (flute and guitar)\nGaetano Donizetti – “O mio Fernando” from La Favorita (voice\, two guitars)\nCamille Saint-Saëns – “Printemps qui commence” from Samson et Dalila (voice\, two guitars)\nGiuseppe Verdi (arr. Ferrer) – La Traviata Variations (two guitars)\nGiuseppe Verdi – “Possente Fthà” from Aida (voice/flute\, two guitars)\nCamille Saint-Saëns – Bacchanale from Samson et Dalila (flute/violin\, two guitars)\nInterval\nFrancisco Tárrega – Capricho Árabe (solo guitar)\nManuel de Falla – Miller’s Dance (two guitars)\nFranz Schubert (arr. Boehm/Massey) – Ständchen (flute\, guitar)\nCamille Saint-Saëns – “Mon cœur s’ouvre à ta voix” from Samson et Dalila (voice\, two guitars)\nCamille Saint-Saëns – “L’amour! viens aider ma faiblesse” from Samson et Dalila (voice\, two guitars)\nGioachino Rossini – overture to The Barber of Seville (flute\, two guitars)
URL:https://nadsa.co.uk/event/carmenco/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
ATTACH;FMTTYPE=image/webp:https://nadsa.co.uk/wp-content/uploads/2026/06/CarmenCo.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
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