We are sorry to inform you that Brighton Philharmonic Orchestra has been cancelled at Brighton Dome Concert Hall on Sunday 29 March. This is due to the on-going disruption caused by COVID-19 (coronavirus) and the latest Government advice.
Ticket holders will be contacted directly. All ticket holders are eligible for a full refund via the original payment method by which they made the purchase. If your ticket is part of a season ticket booked directly with Brighton Philharmonic Orchestra they will be in touch to arrange your refund. Please direct any queries relating to tickets brought directly through Brighton Philharmonic Orchestra to email@example.com.
For any queries relating to single tickets brought directly through Brighton Dome, please contact firstname.lastname@example.org
Barry Wordsworth Conductor
Thomas Carroll Cello
Elgar Cello Concerto in E Minor Op.85
Tchaikovsky Suite No.3 in G Major Op.55
Our final concert of this season sees the Brighton Philharmonic Orchestra performing in all its glory with Conductor Laureate Barry Wordsworth.
This afternoon’s programme is unashamedly romantic, starting with the fabulous Valse Fantaisie overture by Glinka. Initially written for the piano and only orchestrated 20 years later, this piece was heavily influenced by his time studying in Italy, although based on folk-tunes gathered in his native Russia. Though very melodic and beautifully constructed, it is rather pensive in character.
Barry is joined by one of our favourite guest artists, the cellist Thomas Carroll, who will perform Elgar’s magnificent Cello Concerto, possibly one of the greatest cello concertos ever written. Commissioned in 1900 Elgar wrote and completed the concerto whilst living in Brinkwell’s cottage in Fittleworth, West Sussex. Made famous by a superb recording by Jacqueline du Pré in the 1960s, it has become one of the most popular concertos and a classical best seller.
Originally conceived as a symphony, Tchaikovsky’s Suite No.3 closes our season. Tchaikovsky wrote this tuneful work, complete with a brilliant set of variations as its fourth movement, early on in his career. It had a rapturous first performance, with audience and critics alike complementing the skill and melodic brilliance of its composition.