MOZART 250
Ian Page’s pioneering and widely acclaimed MOZART 250 series follows the chronological trajectory of Mozart’s life works and influences in ‘real time’. Each year between 2015 and 2041, we are presenting a range of programmes exploring the music being written exactly 250 years previously, providing a deeper context and enhancing our understanding and appreciation of Mozart’s work on what is, quite literally, the journey of a lifetime.
We can offer one or two composite programmes each year, as well as occasional complete operas and other significant works. Sample programmes might feature:
| 1775 (2025) | |
| Mozart | Violin Concerto No. 3 in G major, K. 216 (or No. 4 or 5) |
| Concert Aria, “Voi avete un cor fedele”, K. 217 | |
| Extracts from La finta giardiniera and Il re pastore | |
| Haydn | Arias from L’incontro improvviso and/or Il ritorno di Tobia |
| J. C. Bach | Aria from Lucio Silla |
| Bologne | Symphonie Concertante in C major, Op. 6, No. 1 |
| J. Benda | Scene from Medea |
| 1776 (2026) | |
| Mozart | Symphony in D major from ‘Haffner’ Serenade, K.250 |
| Piano Concerto No. 6 in B flat major, K.238 (or No. 8) | |
| Entr’actes from Thamos, König in Ägypten, K.345 | |
| Concert Aria, “Ombra felice… Io ti lascio”, K.255 | |
| Mysliveček | Aria from Isacco figura del Redentore |
| Linley | Aria from Ode on the Spirits of Shakespeare |
| Haydn | Arias from Die Feuersbrunst |
| Gluck | Aria from Alceste |
“MOZART 250… Among the most audacious classical music scheduling ever.“
THE OBSERVER
Mozart in London
Released on Signum Classics in 2018
“Bold yet highly sensitive, Page and his musicians show what makes this music great. Page draws on a deep bench of vocal talent; of his eight soloists, Rebecca Bottone and Robert Murray stand out especially for the ability, so prized in Mozart’s London, of getting across a dramatic character in just one air. Page’s band, The Mozartists make the colours and expressiveness leap off the page.”
BBC MUSIC MAGAZINE
“There are excellent performances of some of the fledgling Mozart’s London pieces interspersed among an abundance of rarely investigated repertory that was researched and edited especially for the occasion…Page’s knack for choosing interesting singers yields contributions from eight highly capable soloists…Nevertheless, the star of the show is the superb orchestra, which never sounds in the least bit perfunctory or formulaic.”
GRAMOPHONE
