Andrew Comben, Chief Executive of Britten Pears Arts, reflects on leading an organisation where legacy, place, and innovation intersect. We explore the 2025 Aldeburgh Festival, the return of Festival Extra, and how collaboration across the sector is vital to sustaining new artistic work.
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200: Mezzo-soprano Jennifer Johnston
Some people raise the bar just by walking into the room. Mezzo Soprano and Creative Consultant Jennifer Johnston is one of them. We talk about her award-winning creative work during the pandemic, her journey from barrister to singer, and her latest collaboration with the London Transport Museum — recorded at the Southbank Centre ahead of Mahler 8 with the LPO.
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199: Horn Player Martin Owen
Following a stunning opening concert in Manchester Camerata's new Mozart series, horn player Martin Owen talks about Mozart's Horn Concertos, working with Camerata, and a 30-year career spanning many of the UK's leading orchestras. Owen is warm, playful and generous, and that is reflected in his captivating performance. His is an instantly likeable sound on stage, one that conveys an infectious sense of confidence in performance. Little wonder performance. He fell in love with the sound of the horn at 3 years old. I rigorously checked out his story, of course. His follow up concert with Manchester Camerata is on 23 May 2025 in Stoller Hall.
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198: Pianist Jan Lisiecki
Jan returns to the podcast after what we both reckon is probably around 12 years. He remains, as I dimly recall from a sunny day in Verbier, candid, down to earth, and completely and utterly absorbed by his craft. But what’s evident now — and what I definitely don’t remember sensing then — is his resolute vision: a clear sense of what he wants to do, and how he wants to do it. It’s reflected not only in his achievements, but also in the relative ease with which he articulates that vision. There’s a precision in what he says, and a solid sense of trust in what he does.
How successfully can AI underscore a day-to-day experience like grief? Or reading a book? Or even work as a coach? It turns out surprisingly well. Far better than the pearl-clutching naysayers. 11 minutes accompanied by Brahms. All very Thoroughly Good.
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