In the beginning was a note
Friday 15 May 2026
Dr Rachel Stroud, violinist and musicologist from King's College, University of Cambridge explores The Creation by Haydn.
The Creation: Text and Translation
Wednesday 27 May 2026
Tonight's performance of The Creation will be sung in German with surtitles in English. You can also download…
Something that reeks of genius
Tuesday 2 June 2026
Dr Flora Willson, classical music writer for The Guardian, a broadcaster and cultural historian explores Berlioz's Symphonie fantastique and Harold in Italy.
Catastrophe is coming
Monday 22 June 2026
On 7 March 1897, Johannes Brahms attended a concert where heard his own music in public for the last time. Jan Swafford, American author and composer of classical music, explores the programme including Brahms' Symphony No. 4 and Haydn's 'La Chasse' Symphony.
Dvořák's glorious cello concerto - a personal memoir
Monday 22 June 2026
Ahead of our performance of Vienna 1897: Brahms' Last Concert, cellist Steven Isserlis shares his perspective on Dvořák's Cello Concerto.
A Seat With a View: viola player Annette Isserlis
Friday 3 July 2026
Violist Annette Isserlis talks about discovering the viol at Chiswick Polytechnic, finding the right notes in the early…
A Seat With a View: violinist and leader Kati Debretzeni
Friday 31 July 2026
Violinist and leader Kati Debretzeni talks about joining the OAE, her role as a leader and fond memories with one of our principal artists, Sir András Schiff.
A Seat With a View: Principal Keyboard Steven Devine
Tuesday 1 September 2026
A last minute trip to New York set principal keyboard Steven Devine on a path of discovery that led him to the OAE and its distinctive sound world, which has inspired him ever since.
GCSE Music pass rate jumps to 92% at our home in Acland Burghley School
Monday 7 September 2026
Congratulations to all the young people around the country who got their exam results last month.
A Seat With a View: Principal Flute Lisa Beznosiuk
Thursday 1 October 2026
Discovering the wooden flute, Lisa instinctively knew it was the instrument for her. That passion took her into the early days of the OAE, helping to break new ground in historically informed performance.
