The London Philharmonic ‘Ring’

February 2 - 11, 2021

Vladimir Jurowski conducts a semi-staged Der Ring des Nibelungen at the Royal Festival Hall (Atherton, Hayward, Welton, Clayton, Bardon, Fritz, Sherratt, Rose, Giunta, Kerl). Plus Elektra (Theorin) and the LSO. Tours of Churchill’s Cabinet War Rooms, Buckingham Palace, Shakespeare’s Globe Theatre and the British Museum.

Join us for a rare opportunity to enjoy Wagner’s Der Ring des Nibelungen without the distraction of controversial staging. In 2021, the London Philharmonic Orchestra and Principal Conductor Vladimir Jurowski perform two star-studded semi-staged complete Ring Cycles at Southbank Centre’s Royal Festival Hall, the London home of the LPO. The world-class Wagnerian cast includes Elizabeth Atherton, Robert Hayward, Derek Welton, Allan Clayton, Patricia Bardon, Burkhard Fritz, Brindley Sherratt, Matthew Rose, Wallis Giunta and Torsten Kerl. We have secured ideal seats in the central, front orchestra for all performances.

For the eight night stay, our hotel, as always, will be the Firmdale Covent Garden at Seven Dials, a true gem of comfort, design and superb service, and an ideal location in the heart of the city.

In addition to The Ring, we will attend a performance at the Royal Opera House (TBA) and one other performance, likely a West End play. To complement the performance schedule, we offer several brief and informative guided tours in and around the city, including Buckingham Palace, Westminster Abbey, the National Gallery, the Churchill Cabinet War Rooms, and more. As always, we will enjoy some of the finest cuisine that this great city has to offer, and we will also make certain that tour members have leisure time in order to relax or explore on their own.

We will take only 16 participants on the tour, and we anticipate that it will sell out quickly. A full itinerary for the tour will be published in early January, 2020.

‘This concert cycle of Wagner’s Ring is worth waiting for; Jurowski’s measured interpretation is revelatory … The gain in detail, clarity and projection, compared with the generalised cushion of background sound when the score is played in a theatre pit, is exhilarating … Yet never were the singers drowned: a miracle of balance.’
The Times, January 2018