In the Eye of the Storm: A Conversation with John Lyon

When Sheffield Chamber Orchestra gathers to perform Joseph Haydn’s The Creation on 13 June 2026, there will be a palpable sense of homecoming on the podium. The concert will mark John Lyon’s third appearance as guest conductor for the orchestra, a partnership that has quickly become a highlight of the Sheffield musical calendar. Following his acclaimed leadership in programs featuring Saint-Saëns, Ravel, Beethoven and Brahms, John returns to guide the orchestra through one of the most ambitious and uplifting works in the choral repertoire.

A familiar face in the South Yorkshire music scene, John is a conductor whose career is defined by a commitment to connection—both between musicians and within the community. Based in Sheffield, he serves as the Principal Conductor of the Leeds Symphony Orchestra and is a vital force in local music education through his work with the Sheffield City Council Music Hub. A postgraduate of the University of Leeds in Critical and Applied Musicology, his background as a freelance violinist and choral singer gives him a holistic perspective on the podium. This multifaceted experience is perhaps why he is uniquely suited to the immense logistical and artistic demands of an oratorio like The Creation.

Challenging the "Beige" Myth

For many, Haydn is categorised as the "Papa" of the symphony—a reliable, perhaps even safe, pillar of the Classical era. John, however, is quick to dispel this notion. "Poor Haydn is so often painted as a slightly beige, austere, generic Classical composer," John says with a smile. "Nothing could be further from the truth! The ultimate expression of his vision and imagination is surely The Creation."

John views the work not as a relic of the past, but as a vibrant, cinematic experience. "The piece has the grandeur and spectacle of a Handel oratorio and the drama and visceral imagery of a Mozart opera rolled into one, with unique Haydn flair to meld it all together. It feels like a culmination of a career of not only his own innovation but of his friends and predecessors, too."

Navigating Chaos

The oratorio famously begins with a musical depiction of "Chaos"—a harmonically daring and rhythmically ambiguous opening that still sounds modern today. For a conductor, pacing this void is a delicate task. John's approach is one of profound humility before the score.

"I try to do exactly what I think Haydn is telling me to, with as much of him and as little of me as possible," he explains. "This is to say, I try not to 'help' or add any contrivances of my own, rather keep it as simple as possible, because the material is so powerful the best thing to do is just let it be!"

The Art of Listening

Conducting The Creation involves more than just keeping time; it requires balancing the intimate textures of the orchestra with the power of chorus in the form of Steel City Choristers and a trio of soloists. For John, the secret to this balance is not in the baton, but in the ears.

"The most important job for a conductor is not to push information out, but to take it in," he notes. "Listening is my first responsibility, both on and off the podium; everyone wants to be listened to and feel valued. Most of what I'm doing is searching for cohesion and ways to help people connect and listen to each other." This collaborative philosophy ensures that the performance is a shared journey rather than a top-down directive. "We create a performance together by collaborating and making space for what everyone has to offer."

The "Wow" Moment

While the "Light" explosion is the most famous moment in the score, Lyon points to a different highlight that tests the mettle of every musician on stage. Halfway through the work, in the chorus 'The Lord is great, and great is his might...', the energy reaches a fever pitch.

"This is a moment where absolutely everyone is put through their paces for a hugely exciting payoff," John says. "The soloists have amazing feats of vocal acrobatics, the strings are given a total workout, the brass and timpani come to the fore, and the chorus has to soar over all of this. It's a completely exhilarating moment to be standing in the eye of the storm!"

As Sheffield Chamber Orchestra and John Lyon take the stage for their third collaboration, that "eye of the storm" promises to be a place of immense joy and musical discovery for our Sheffield audience.