‘The delicacy and exquisite beauty of tone of the harp playing of Lucy Wakeford‘|
‘Lucy Wakeford made time stand still in her immaculately judged cadenza.’
Now principal harp with the Orchestra of the Royal Opera House, Covent Garden, after having spent ten years as principal harp with the Philharmonia Orchestra. Lucy Wakeford is one of the most outstanding harpists of her generation. Much in demand as a soloist, recitalist and ensemble player she has performed at major venues and festivals throughout Europe, appearing as guest artist with musicians including Roger Vignoles, John Mark Ainsley, Michael Chance, James Galway and the Belcea Quartet. She is principal harp of the Britten Sinfonia and harpist of the Nash Ensemble.
Lucy’s engagements have included playing at the Queen Elizabeth Hall, Purcell Room and Wigmore Hall, both as soloist and in ensemble performances. She has appeared at the City of London and Cheltenham International Festivals and has given several performances of Mozart’s Flute & Harp Concerto with the London Chamber Orchestra conducted by Christopher Warren-Green. As a concerto soloist Lucy has appeared with the London Symphony Orchestra, Royal Philharmonic Orchestra, Academy of St. Martin-in-the-Fields, Bournemouth Symphony Orchestra, Israel Philharmonic Orchestra, Guildhall String Ensemble, Ulster Orchestra, City of London Sinfonia, London Festival Orchestra and BBC Concert Orchestra, among many others.
She has recorded the Mozart Concerto for Flute & Harp with the Britten Sinfonia and Dohnanyi Concertino with the English Sinfonia on the BMG and ASV labels respectively. In 2008 she recorded the Lutoslawski Concerto for Oboe and Harp with Nicholas Daniels and with the Lutoslawski Philharmonic Orchestra in Poland.
....the superb musicianship of conductor Lionel Friend and the musicians of the Nash Ensemble (with special kudos to pianist Ian Brown and the astonishing harpist Lucy Wakeford): they dug into this thorny program with tremendous vigor and technical command.
The Washington Post
Perhaps the high point of the evening [Elliott Carter/Wigmore Hall] was the mini harp concerto Mosaic (2004). Originally commissioned by the Nash, its 12 minutes of jagged interplay between three winds and four strings sounded particularly vivid in the Wigmore’s forward acoustic, while the amazing Lucy Wakeford’s account of the fiendishly difficult harp writing, with all its bizarre special effects, comes over the more dazzlingly each time she plays it.
Lucy Wakeford’s puckish harp, featured winningly in the 2004 Nash commission, Mosaic.
[Mosaic] Although it profiles the harp in quasi-concerto format. Here it sounded more like one of Carter’s intelligently democratic musical conversations, rendered all the more satisfying by Lucy Wakeford’s fluent, unshowy musicianship.”
[Second Still Life by Michael Berkeley, Presteigne Festival]
This was beautifully delivered by the harpist Lucy Wakeford and oboist Virginia Shaw.”
...Aldeburgh’s reputation for bold contemporary programming was upheld by members of the Britten Sinfonia – Lucy Wakeford and Nicholas Daniel shining especially in the solos Britten wrote for their instruments…..
The Sunday Times
And they [the Nash Ensemble) were flawless in Ravel’s Introduction and Allegro, in which harp soloist Lucy Wakeford made time stand still in her immaculately judged cadenza.
Harrison Birtwistle’s “Crowd”, played by Lucy Wakeford, was eloquent, imaginative and incisive.
Lucy Wakeford had its music deep within her mind and fingertips, recreating its coppery modality and its beautiful dialogue between movement and resonance, sound and silence.
[London premiere of Birtwistle’s “Crowd” for solo harp]
This splendid new release of various works by Hungarian composer Erno Dohnányi is a compelling reminder of the greatness of this forgotten genius...A selection of the composer’s orchestral works and a particularly fine performance given by Lucy Wakeford of the Dohnányi Harp Concerto serve as a fine complement to the Violin Concerto.