After the success of Songs of Nadia Anjuman, which earned Richard Blackford nominations for both the Ivor Novello and Sky Arts Awards, Liz is delighted to be collaborating with this exciting composer again, this time on The Black Lake. Inspired by the great Welsh novel One Moonlit Night, Blackford’s soaring yet poignant work is for full orchestra, chorus, narrators, and soloists, tells the story of a boy’s passage to adulthood whilst growing up in a remote village in North Wales. Blackford’s music captures the beauty, sorrows, elements, and mysteries that surround this community who unite through music and song in times of sadness and joy. It has been commissioned by and will be premiered at The Three Choirs Festival, this year in Hereford. Liz will join the BBC National Orchestra of Wales in a programme which also includes Britten’s Les Illuminations.

The Gothenburg Symphony Orchestra’s amazing app and website GSO Play will be releasing the video of my recent Mahler 2 there on 5th February so put it in your diary… You will have 28 days to indulge your senses with the miraculous Andrés Orozco-Estrada conducting and Karen Cargill’s infamous tonsils wrapping a silk glove around Urlicht. The orchestra play with their souls on fire. Not to be missed!

Rattle’s Spring Symphony has just won Classica magazine’s Orchestral Album of the Year as part of the LSO’s Britten box set. I was only a very small cog in this wheel but very happy memories of a great project and performance. Bravi tutti!

The recording of Richard Blackford’s acclaimed song cycle Songs of Nadia Anjuman featuring the Britten Sinfonia is now available on CD and on Spotify. The concerts garnered rave reviews and these songs nominated for both Sky Arts and Novello Awards. Listen on Spotify here:

Well, that was fun and people seemed to enjoy it… It was the most wonderful experince to conduct the Britten Sinfonia in this most moving and beautiful piece by Richard Blackford. Here what the reviews said…

“It was superbly performed by the Britten Sinfonia and Elizabeth Watts, who not only sang the solo part with flawless musicality and extraordinary passion, but somehow also managed to conduct the players as well.”
Richard Morrison, The Times

”Watts captured the spirituality of Finzi’s Dies Natalis while a tribute to Afghan poet Nadia Anjuman was sung with overwhelming commitment.”Martin Kettle, The Guardian