Jennifer Stinton

Possibly the most respectable British flutist of her generation, Jennifer Stinton possesses a wonderfully broad repertory, from Baroque to modern, in the well-trodden paths towards the adventurous byways. Her amazing technical skills over the flute have already been weighed against those of Martha Argerich over the piano. Stinton provides concertized across European countries and the center East as soloist, recitalist, and chamber participant, and her collaborations tend to be unusual: in her 2008 documenting Hidden Tango, over the Cadenza label, she groups up with guitarist Richard Submit functions by Piazzolla, Jerry Owen (the name function), and even more mainstream fare by Debussy, Villa-Lobos, among others. Highly regarded over the modern picture for championing many brand-new functions, like John Gardner’s Flute Concerto, which she documented for ASV in 2000, she’s got important fresh compositions focused on her, such as for example Matthew Curtis’ Flute Concerto, which she also documented for the Cameo label. But Stinton hasn’t shortchanged the original part of her repertory, as she’s performed and documented to great acclaim functions by Vivaldi, C.P.E. Bach, Nielsen, Prokofiev, Khachaturian (in her personal transcription of his violin concerto), Poulenc, Rodrigo, Martinu, Copland, and many more. She has produced numerous recordings over time for such brands as Collins Classics, Albany Information, Regis Information, and Resonance. Jennifer Stinton was created in Kent, Britain, in 1963. She researched music in the Royal Academy of Music in London and got later research in the U.S. using the iconic English-born flutist Geoffrey Gilbert. In 1988 Stinton earned the South East Arts System Competition, which helped released her profession in Britain. She began producing some recordings for Collins Classics in 1989; included in this will be an acclaimed 1993 disk of flute concertos by Vivaldi. In the meantime, Stinton was sketching see in the concert hall: her 1991 debut at Royal Event Hall was a significant event; with Princess Diana in attendance, Stinton offered an extremely praised account from the Mozart D main Concerto using the Philharmonia Orchestra. Through the entire 1990s and in to the fresh century, Stinton frequently made an appearance with leading English orchestras not merely like a soloist but as visitor principal, including using the Royal Philharmonic for an extended stint. In the 21st hundred years Stinton remained energetic on all fronts. Among her even more acclaimed recordings may be the 2005 Compact disc from the Nielsen Flute Concerto, on Regis Information.