Roderick Williams is one of the most sought-after baritones of his generation and enjoys relationships with all the major UK and European opera houses. He has sung in world premieres of operas by, among others, David Sawer, Sally Beamish, and Robert Saxton, as well as roles by Mozart, Britten and Strauss. He was awarded the OBE for services to music in 2017, and was one of the featured soloists at the coronation of King Charles III in 2023.

 Sarah Connolly was made a DBE in the 2017 Birthday Honours, having previously been awarded a CBE in the 2010 New Year’s Honours. In 2020 she was made an Honorary Member of the Royal Philharmonic Society in recognition of her outstanding services to music. Highlights in her 2025/26 season include Jocasta in Oedipus Rex for The Norwegian Opera & Ballet; and Mrs. Patrick De Rocher in Dead Man Walking for English National Opera.

Nicky Spence gives recitals internationally, and has curated a residency at Wigmore Hall. His 2025/26 season includes operatic debuts at Staatsoper Hamburg and Opera Philadelphia, a return to Opéra National de Paris, and concert performances of Wozzeck and The Dream of Gerontius with Bayerischen Rundfunk, and as Siegmund in the first act of Die Walküre with Orquesta y Coro Nacionales de España.

This is the first of four linked song recitals devised by Joseph Middleton, inspired by the cardinal directions – north, south, east and west – each with its own mood, geography, and artistic identity. The North brings harsh beauty, stillness, and deep inner life. One of the most in-demand artists today, British soprano Louise Alder has firmly established herself as ‘an instinctive singing-actress’ (The Arts Desk) and “a terrific talent, combining a big, lustrous voice with flawless intonation and keen intelligence” (The Times). She appears regularly in recital, concert and opera at leading venues including Wigmore Hall, Royal Albert Hall, Royal Opera House, Metropolitan Opera, and many more.

Originally planned as a closing recital for the 2026 Festival, we are delighted to welcome Leeds Song Patron and the UK’s foremost mezzo-soprano, Dame Sarah Connolly alongside Leeds Song Director Joseph Middleton to give a very special recital, dedicated to Kathleen Evans BEM, current Chair and former Festival Administrator. Kathleen retires from her position as Chair this summer, and in recognition of all the time, dedication and passion she has given to the organisation over many years, this programme is made up of her favourite songs and poems: music that celebrates, inspires, consoles and uplifts.

On 31 May 1901, several star artists of the turn of the century joined forces in Wigmore Hall’s first ever performance. Tonight’s special evening programme replicates elements from Wigmore Hall’s inaugural concert with a roster of today’s leading musicians. The concert will be compèred by Ian Skelly of BBC Radio 3.

Tonight's concert will also celebrate the launch of There is Sweet Music Here: The World of Wigmore Hall by Julia Boyd, marking Wigmore Hall’s 125th Anniversary.

Due to Elsa Dreisig’s upcoming maternity, the Lied recital scheduled for May 24, 2026, has been cancelled.

The French-Danish singer Elsa Dreisig has a beautiful light lyrical soprano voice, with an elegant timbre, vocal power and expressive energy. She made her debut at Les Arts with a high-level performance as Sifare in Mitridate conducted by Marc Minkowski, returning shortly afterwards with her temperamental Donna Elvira in Don Giovanni. She is pursuing a brilliant operatic career in the leading European theatres and festivals (Salzburg, Aix-en-Provence, Covent Garden, Paris Opera) and is also admired as a concert and recital performer, where she enjoys exploring a more intimate repertoire, giving free rein to her innate expressive ability in the Lied, with composers such as Schumann, and the French mélodie, with her careful renditions of Poulenc and Satie.

Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences?

Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences?

Tennisplatz oder Konzertbühne? Fasziniert von der Oper, liebäugelte Fatma Said parallel mit einer Karriere als Profisportlerin und konnte bereits ein nationales Ranking vorweisen. Doch die junge Ägypterin entschied sich für die Kunst und ein Gesangsstudium in Berlin – aber natürlich blieb sie ihren anderen Interessen treu. Denn Said möchte mit ihrer Stimme stets die Gesamtheit ihres Menschseins ausdrücken, die Verbindung von Körper und Seele, arabischer und europäischer Kultur. 

Mit was könnte dieses Anliegen besser gelingen als mit der thematisch beinahe unerschöpflichen Lied-Literatur? „Ich brenne für Lieder“, bekennt die 34-Jährige. Nun hat die vielfach ausgezeichnete Sopranistin ein romantisches Album veröffentlicht: Werke von Schubert, Mendelssohn, Schumann und Brahms interpretiert sie mit „Leidenschaft und Intimität“ – „ihr Gesang ist so persönlich, so lyrisch und so reich an Inhalt, dass man sich nur wünschen kann, sie würde jedem dieser Komponisten noch ein weiteres Album widmen“, „eine musikalische Sternstunde“ (NDR). 

An dieser lässt Fatma Said das Münchner Publikum teilhaben. Gemeinsam mit Pianist Joseph Middleton erklingt im Mai große Kunst überraschend selbstverständlich.

FRANZ SCHUBERT (1797–1828)

Lachen und Weinen (Rückert), D 777

Der König in Thule (Goethe), D 367

Lied der Mignon (Goethe), D 877/4

Frühlingsglaube (Uhland), D 686

Wehmut (M. v. Collin), D 772

Klärchens Lied (Goethe), D 210

Fischerweise (Schlechta), D 881

Ständchen (Grillparzer), D 921    Alto, women's choir and piano

– Intermission –

Im Abendrot (Lappe), D 799

Wandrers Nachtlied I (Goethe), D 224

Wandrers Nachtlied II (Goethe), D 768

Daß sie hier gewesen (Rückert), D 775

An die Nachtigall (Claudius), D 497

Die Forelle (Schubart), D 550

Das Mädchen (F. v. Schlegel), D 652

Der Tod und das Mädchen (Claudius), D 531

Du bist die Ruh (Rückert), D 776

Acclaimed French-Danish lyric soprano Elsa Dreisig makes her debut in Taiwan. Launching her career at the Berlin State Opera, Dreisig has since captivated audiences at major European houses, including the Vienna State Opera and La Scala, by taking on leading roles and performing with celebrated conductors such as Simon Rattle and Christian Thielemann, as well as with world-class orchestras like the Berlin and Vienna Philharmonics.

Known for her shimmering, expressive voice and emotional depth, Dreisig is lauded for her interpretations across both operatic and art song repertoires. For this recital, she is joined by British pianist Joseph Middleton, praised by the New York Times as "the perfect accompanist." Together, they present an intimate program exploring themes of love and life through the music of Brahms and the Schumanns, woven with French and Spanish art songs for a night of romance and passion.

To close the 2026 Festival, we welcome Leeds Song Patron and the UK’s foremost mezzo-soprano, Dame Sarah Connolly along with Festival Director Joseph Middleton to give a very special final recital, and one which is dedicated to Kathleen Evans BEM, current Chair and former Festival Administrator. Kathleen retires from her position as Chair this year, and in recognition of all the time, dedication and passion she has given to the organisation over many years, this programme is made up of her favourite songs and poems: music that celebrates, inspires, consoles and uplifts.

Tonight’s performance by the winners of the Northern Aldborough Festival’s New Voices Singing Competition 2025 is generously supported by the Yorkshire Music Future Fund.

Katharina Konradi returns to Leeds following her knockout performance last year. Joined by pianist Joseph Middleton, she presents a programme of French, Russian, and German songs she has truly made her own. Together, they weave a rich tapestry of Romantic repertoire, exploring themes of love, longing, nature, and reflection, with moments of drama, intimacy, reverence, and lyrical beauty.  

A regular on the operatic stage at the Bayerische, Wiener and Hamburg Staatsoper as well as major concert halls throughout Europe, Konradi is praised for her “crystal clear soprano” and “dazzling vocal technique” and along with Middleton is sure to provide an evening of typically emotive and nuanced song interpretation. 

Mezzo-soprano Marianne Crebassa has enjoyed a spectacular rise on the international music stage with celebrated performances in opera, concert and recital the world over, and we are fortunate to welcome her in what is her first UK recital outside of London. Her recital recordings have won her a plethora of accolades, including a Gramophone Award and together with Middleton they have performed at Wigmore Hall, Berlin Philharmonie and Madrid’s Teatro de la Zarzuela. Their programme for Leeds Song is a sumptuous and stirring programme of French song including works by Debussy, Mompou and Ravel, as well as Mahler’s intense and poignant cycle Kindertotenlieder which set Rückert’s grief-stricken texts.  

“[Marianne Crebassa] brought an extraordinary and riveting ability to communicate through her voice…this wasn’t just a faultless performance by Crebassa – it was one which drew you in from the very first note.” (Opera Today) 

Two of the brightest stars in opera and song, Louise Alder and Huw Montague Rendall, return to Leeds fresh from acclaimed performances at the BBC Proms and Glyndebourne, joining their longtime collaborator Joseph Middleton for an unforgettable evening. They open with the joyful elegance of Purcell and the rich Romanticism of Schumann and Brahms.  

After the interval, a vibrant potpourri of French songs sparkles with wit, sensuality, and charm, leading to a dazzling finale of irresistible showtunes that will have you leaving with toes tapping and spirits soaring.  

As The Guardian raved, “Alder and Rendall’s performances are electrifying — a perfect blend of passion, precision, and warmth that captivates from first note to last.” Meanwhile, The New York Times praised pianist Joseph Middleton as “the perfect accompanist.”  

Don’t miss the festival’s spectacular opening night — an evening of enchantment, artistry, and sheer joy. 

Young mezzo-soprano Patricia Nolz is already recognized as one of Austria’s most outstanding vocal talents. A protégé of Florian Boesch, she has swiftly established herself as an artist of exceptional calibre, regularly appearing at the Vienna State Opera in roles such as Cherubino, Zerlina, Annio, and Rosina. She made a notable Edinburgh Festival début as Cherubino with the Komische Oper Berlin and has performed with the Vienna Symphony and Gewandhaus Orchestras.

Last season, the Wiener Konzerthaus named her a “Great Talent,” programming her extensively in both recitals and orchestral concerts. For Leeds Song, Nolz presents a programme steeped in the intensity of German Romanticism, featuring works by Wolf and Zemlinsky, culminating in Schumann’s Frauenliebe und -leben – his 1840 song cycle that traces the joys and sorrows of a woman’s journey through love and life.

Leeds Song has a proud tradition of introducing exceptional young European artists to UK audiences – this recital promises to be yet another milestone about which you’ll want to say, “I was there.”

There are voices that captivate from the very first notes, and Elsa Dreisig’s is undeniably one of them. Uninhibited, she dazzles in both baroque and bel canto, moving with virtuosity from the dramatic figure of Salomé to the naïve sweetness of Manon. But if she is one of the most sought-after sopranos on the opera stage, she also excels in the lied and mélodie repertoire, with her brilliant voice, magnetic presence and virtuoso musicality. On the place de Neuve stage, she will take on the role of the Queen of Hearts, laying down the cards of Poulenc, Satie and Hahn, as well as Spanish and Scandinavian melodies, for a recital in the form of a journey around love and women. At the heart of it she placed Frauenliebe und Leben, composed by Robert Schumann to poems by Adalbert von Chamisso. With this landmark cycle of the Romantic repertoire, Elsa Dreisig embodies the many facets of a woman’s life, from the first stirrings of love to the joys of engagement, then from marriage to the fullness of motherhood, ending with the melancholy fidelity of the widow. Come and admire the triple Queen in the Tudors Trilogy between 2022 and 2024, crowned Queen of Hearts to close this recital season!

At the heart of the recital is Schumann's Frauenliebe und -leben, intertwined with songs by Poulenc, Satie and Hahn to depict the journey of a woman's love throughout her lifetime. With this landmark cycle of the Romantic repertoire, Elsa Dreisig embodies the many facets of a woman’s life: from the first stirrings of love to the joys of engagement, then from marriage to the fullness of motherhood, ending with the melancholy fidelity of the widow.

For many, Hugo Wolf reigns as the ultimate late 19th-century lieder composer, and the Italienisches Liederbuch is his magnum opus. Soprano Sophie Rennert, tenor Mauro Peter, and pianist Joseph Middelton are a fantastic trio that will perform this miniature opera in lieder form. This recital embodies everything the Great Singers series represents. 

Hugo Wolf turned forty-six poems from Paul Heyse’s Italienisches Liederbuch into musical pieces. He selected mainly short, vivid poems from these translations of Italian poetry, and arranged them to create a timeless story of the dynamics between men and women. He praises her beauty, and she answers with practicalities and complaints about his behaviour. The classic love divide between men and women, expressed in breathtaking songs.

English Songs of landscape, war, love and longing

Our opening recital of the Song Weekend offers an evocative journey through the poetry and music of the early twentieth century, with a particular focus on composers whose creative lives were shaped by the English landscape—and by the Cotswolds itself. Set close to the places that inspired them, this programme brings together songs by Ivor Gurney, Herbert Howells, Gerald Finzi, Cecil Armstrong Gibbs, Ralph Vaughan Williams, and the contemporary composer Neil Cox.

Enjoy the wonderful sound of BBC Radio 3 New Generation Artist Hugh Cutting's countertenor voice as he partners with Wesley favourite, Joseph Middleton in a fascinating programme of music from across the centuries. This Leeds Song concert forms a warm tribute to the late Peter Hirschmann, who contributed so much to the success of Wesley Concerts Harrogate over the decades.

Fresh from her opening night as Susanna in Opera North’s production of The Marriage of Figaro, rising star Hera Hyesang Park makes her Leeds Song debut in a vibrant recital with pianist Joseph Middleton.

Their programme spans the elegance of Strauss and Rossini, the fire and passion of Spanish and Catalan composers — including Obradors, Granados, Halffter, and Montsalvatge and the evocative sound world of contemporary Korean song, with works by Unyoung Na and Duman Cho.

Park’s expressive soprano, praised for its clarity, colour, and dramatic intelligence, brings each song vividly to life. This is a rare opportunity to hear Park in an intimate recital setting, following her acclaimed operatic performance the night before. A celebration of vocal storytelling across cultures, styles, and centuries.