24 Feb 2010 LPO programme notes by London Philharmonic Orchestra

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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence MARK-ANTHONY TURNAGE Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER

AM†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 24 February 2010 | 7.30 pm VLADIMIR JUROWSKI conductor MIKHAIL URUSOV tenor VIACHESLAV VOYNAROVSKIY tenor SERGEI LEIFERKUS baritone VLADIMIR OGNEV bass baritone SERGEY ALEKSASHKIN bass MIKHAIL PETRENKO bass IRINA BROWN director

SHOSTAKOVICH Suite from ‘The Nose’ (25’) SHOSTAKOVICH Symphony 1 in F minor INTERVAL

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CONTENTS 2 List of Players 3 Orchestra History 4 Vladimir Jurowski 5 Urusov/Voynarovskiy 6 Leiferkus/Ognev 7 Aleksashkin/Petrenko 8 Brown/Southbank Centre 9 Programme Notes 13 Recordings 14 Administration 15 Supporters 16 Future Concerts

The timings shown are not precise and are given only as a guide.

(28’)

SHOSTAKOVICH The Gamblers (operatic fragment)

PROGRAMME £3

(47’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Alex Velinzon Guest Leader Vesselin Gellev Sub-Leader Julia Rumley Chair supported by Mrs Steven Ward

Katalin Varnagy Catherine Craig Thomas Eisner Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Alain Petitclerc Peter Nall Galina Tanney Toby Tramaseur Alina Petrenko SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Jeongmin Kim Joseph Maher Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Andrew Thurgood Dean Williamson Sioni Williams Heather Badke Alison Strange Stephen Stewart Mila Mustakova VIOLAS Alexander Zemtsov* Principal Fiona Winning Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani

Emmanuella Reiter Laura Vallejo Daniel Cornford Naomi Holt Michelle Bruil Isabel Pereira CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon

Susanne Beer Co-Principal Francis Bucknall Santiago Sabino Carvalho + Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Susanna Riddell Tom Roff Helen Rathbone David Bucknall Tae-Mi Song

COR ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds

CLARINETS Nicholas Carpenter Principal Emily Sutcliffe Katie Lockhart Paul Richards E FLAT CLARINETS Nicholas Carpenter Principal Katie Lockhart BASS CLARINET Paul Richards Principal BASSOONS Gareth Newman* Principal Clare Webster Simon Estell

DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Benjamin Griffiths Helen Rowlands Catherine Ricketts Rebecca Welsh

CONTRA BASSOON Simon Estell Principal

FLUTES Jaime Martin* Principal Eilidh Gillespie Stewart McIlwham*

TRUMPETS Paul Beniston* Principal Anne McAneney*

PICCOLO Stewart McIlwham* Principal

Nicholas Betts Co-Principal

ALTO FLUTE Eilidh Gillespie OBOES Ian Hardwick Principal Angela Tennick

HORNS John Ryan Principal Martin Hobbs Adrian Uren Gareth Mollison Nicolas Wolmark

TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal PERCUSSION Rachel Gledhill Principal Andrew Barclay* Co-Principal Keith Millar Jeremy Cornes Gary Kettel Sacha Johnson Adrian Spillett Martin Owens Scott Lumsdaine Oliver Yates HARPS Rachel Masters* Principal Helen Sharp PIANO Catherine Edwards BALALAIKAS James Ellis Nigel Woodhouse

ASSISTANT CONDUCTOR Ralf Sochaczewsky

Chair supported by Geoff and Meg Mann

TROMBONES Mark Templeton* Principal David Whitehouse BASS TROMBONE Lyndon Meredith Principal

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David and Victoria Graham Fuller John and Angela Kessler

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LONDON PHILHARMONIC ORCHESTRA

Seventy-seven years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor, and in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin, its new Principal Guest Conductor from September 2008.

the London Philharmonic Orchestra. Tours in 2009/10 include visits to Germany, Australia, France, China, the Canaries and the USA.

The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2009/10 include Between Two Worlds – an exploration of the music and times of Alfred Schnittke; a Sibelius symphony cycle with Osmo Vänskä in January/February 2010; a performance of Mendelssohn’s Elijah conducted by Kurt Masur and dedicated to the 20th Anniversary of the Fall of the Berlin Wall; and new works by Rautavaara, Philip Glass, Ravi Shankar and the Orchestra’s Composer in Residence, Mark-Anthony Turnage. Imaginative programming and a commitment to new music are at the heart of the Orchestra’s activity, with regular commissions and world première performances.

The Orchestra also enjoys strong relationships with the major record labels and in 2005 began reaching out to new global audiences through the release of live, studio and archive recordings on its own CD label. Recent additions to the catalogue have included acclaimed releases of early Britten works conducted by Vladimir Jurowski; Mahler’s Symphony 6 under the baton of Klaus Tennstedt; Tchaikovsky’s Symphonies 1 and 6 conducted by Vladimir Jurowski; Sir Thomas Beecham recordings of Mozart, Delius and Rimsky-Korsakov from the 1930s; a CD of John Ireland’s works taken from his 70th Birthday Concert in 1949; and Dvo˘rák’s Requiem conducted by Neeme Järvi. The Orchestra’s own-label releases are available to download by work or individual track from its website: www.lpo.org.uk/shop.

In addition to its London season, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 it made the first ever visit to China by a Western orchestra. Touring continues to form a significant part of the Orchestra's schedule and is supported by Aviva, the International Touring Partner of

Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works extensively with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East.

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series and join us on Facebook.

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VLADIMIR JUROWSKI

Roman Gontcharov

CONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany where he continued his studies at High Schools of Music in Dresden and in Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival, where he conducted RimskyKorsakov’s May Night. The same year saw his brilliant debut at the Royal Opera House Covent Garden in Nabucco. In 1996 Jurowski joined the ensemble of Komische Oper Berlin, becoming First Kapellmeister in 1997 and continuing to work at the Komische Oper on a permanent basis until 2001. Since 1997 Vladimir Jurowski has been a guest at some of the world's leading musical institutions including the Royal Opera House Covent Garden, Teatro La Fenice Venice, Opéra Bastille Paris, Théâtre Royal de la Monnaie Brussels, Maggio Musicale Festival Florence, Rossini Opera Festival Pesaro, Edinburgh Festival, Semperoper Dresden and Teatro Comunale di Bologna (where he served as Principal Guest Conductor between 2000 and 2003). In 1999 he made his debut at the Metropolitan Opera New York with Rigoletto. In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the Orchestra's Principal Conductor in September 2007. He also holds the title of Principal Artist of the Orchestra of the Age of Enlightenment, and from 2005 to 2009 served as Principal Guest Conductor of the Russian National Orchestra with whom he will continue to work in the years ahead.

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Vladimir Jurowski has made highly successful debuts with a number of the world's leading orchestras including the Berlin Philharmonic, Rotterdam Philharmonic, Royal Concertgebouw, Gewandhaus Leipzig, Chamber Orchestra of Europe and Dresden Staatskapelle, and in the USA with the Los Angeles Philharmonic, Pittsburgh Symphony and Philadelphia Orchestras. Highlights of the 2009/10 season and beyond include his debuts with the Bavarian Radio Symphony, Chicago Symphony and Cleveland Orchestras, and return visits to the Berlin Philharmonic Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchester Zurich, Accademia di Santa Cecilia, Dresden Staatskapelle and Philadelphia Orchestra. His operatic work has included performances of Jenůfa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at the Welsh National Opera, War and Peace at the Opéra National de Paris, Eugene Onegin at La Scala Milan, and Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde and Peter Eötvös’ Love and Other Demons at Glyndebourne Opera. Future engagements include new productions of Don Giovanni and Die Meistersinger and a revival of The Rake’s Progress at Glyndebourne, and Iolanta at the Dresden Semperoper. Jurowski’s discography includes the first ever recording of Giya Kancheli’s Exile for ECM (1994), Meyerbeer’s L’Etoile du nord for Naxos-Marco Polo (1996), Werther for BMG (1999), and live recordings of works by Rachmaninoff, Turnage, Tchaikovsky, Britten and Shostakovich on the London Philharmonic Orchestra’s own label, as well as Prokofiev’s Betrothal in a Monastery on Glyndebourne Opera’s own label. He also records for PentaTone with the Russian National Orchestra, releases to date having included Stravinsky's Divertimento from Le Baiser de la fée, Tchaikovsky's Suite No. 3 and Shostakovich’s Symphonies Nos 1 and 6, Prokofiev’s Symphony No. 5, and Tchaikovsky’s Incidental Music from Hamlet. Glyndebourne have released DVD recordings of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus and Rachmaninoff’s The Miserly Knight, and other recent DVD releases include Hänsel und Gretel from the Metropolitan Opera New York, and his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler (released by Medici Arts).

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MIKHAIL URUSOV TENOR

VIACHESLAV VOYNAROVSKIY TENOR

Mikhail Urusov is a graduate of the Moscow State Conservatory, studying under Pyotr Skusnichenko. He has worked at the Moscow Stanislavsky and Nemirovich-Danchenko Musical Theatre since 1996 where he is a leading soloist performing the roles of Don José in Carmen, Alfredo in La traviata, Pinkerton in Madama Butterfly, Cavaradossi in Tosca, Rudolfo in La bohème, Vaudémont in Tchaikovsky’s Iolanta and Hermann in Tchaikovsky’s The Queen of Spades. In 2001 he performed the role of Alexei in Prokofiev’s The Gambler, one of the greatest events in the musical life of Russia in recent times. His performance was praised very highly by Gennadi Rozhdestvensky who named him one of Russia’s most talented tenors. Mikhail Urusov tours extensively throughout Russia and abroad. He sang the role of Andrei Khovansky in Mussorgsky’s Khovanshchina at the Bolshoi Theatre in Moscow and also performed at the Chelyabinsk Opera and Ballet Theatre singing the role of Manrico in Il trovatore. In 1999, he toured South Korea, and tours in 2002 and 2004 took him to the USA and Europe. In 2006 he was invited to La Scala, Milan, to sing the role of Ikharev in Shostakovich’s The Gamblers. He has worked with such distinguished conductors as Gennadi Rozhdestvensky, Vladimir Jurowski, Alexander Vedernikov and Pavel Sorokin. He is a member of the ‘Master-Class of Maria Callas’ project in Moscow and is one of the leading soloists of the ART-Project ‘Tenors of the 21st Century’, touring with them to more than 50 cities in Russia and abroad. In 1998 he won the ‘Best Theatre Debut’ award and in 2001 the ‘Irina Arkhipova Foundation Prize’. In 2002 he was a prize winner in the field of literature and arts in Moscow and he became an Honoured Artist of Russia in 2008.

Viacheslav Voynarovskiy is one of the leading artists of the Bolshoi Theatre and the Stanislavsky and Nemirovich-Danchenko Music Theatre in Moscow. On graduating from the State Institute of Performing Arts, he was engaged by the Stanislavsky and NemirovichDanchenko Theatre, where he has performed many roles in opera and operetta and toured with them in Italy, Belgium, Germany, Switzerland and Japan. Between 1994 and 1996 he had great success in Vienna, first as Alfred in Die Fledermaus at the Wiener Kammeroper and then on several return visits in Massenet’s Chérubin,Tchaikovsky’s Eugene Onegin and Wolf-Ferrari’s I quattro rusteghi. He also appeared at the Mozart Summer Festival in Schönbrunn in the roles of Don Basilio in Le nozze di Figaro and Monostatos in Die Zauberflöte. He made his Wexford Festival debut in Tchaikovsky’s The Tsarina’s Slippers in 1992 and returned three times for Rubinstein’s The Demon, Leoncavallo’s La bohème and Rimsky-Korsakov’s May Night. Since 1999 Voynarovskiy has been a soloist with the Bolshoi Theatre, where his roles have included Truffaldino in Prokofiev’s The Love for Three Oranges, Pong in Turandot and The Auctioneer in The Rake’s Progress. Engagements abroad have included May Night and The Bartered Bride in Bologna; Boris Godunov at the Royal Opera House Covent Garden and Teatro del Maggio Musicale Fiorentino; The Maid of Orleans and The Gamblers in concert in Amsterdam; The Miserly Knight and The Duenna with Glyndebourne Festival Opera; War and Peace at the Moscow Conservatory; the title role in Kashchey the Immortal in a concert performance at the BBC Proms under Vladimir Jurowski; and the role of Schoolmaster in The Tsarina’s Slippers at the Royal Opera House.

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SERGEI LEIFERKUS

VLADIMIR OGNEV

BARITONE

BASS BARITONE

Sergei Leiferkus has appeared with major opera companies and symphony orchestras in the West since the early 1980s, when he made his debut with the Berlin Philharmonic Orchestra under Kurt Masur. He has sung frequently at the Royal Opera House, Covent Garden; the Vienna State Opera; the Opera Bastille, Paris; La Scala, Milan; and the Metropolitan Opera, New York as well as at the Edinburgh, Bregenz, Glyndebourne and Salzburg Easter Festivals. His operatic roles include Eugene Onegin, Mazeppa, Telramund, Klingsor, Pizarro, Amonasro, Don Carlo in La forza del destino, Scarpia, Don Giovanni, Mephistopheles in La Damnation de Faust, Escamillo, Rangoni, Prince Igor, Iago, Nabucco, Macbeth, Simon Boccanegra and many others.

Vladimir Ognev was born in Siberia and studied at the Novosibirsk Conservatory. He has taken part in music festivals in Japan (Pacific Music Festival), Ireland (Wexford), Italy (Spoleto), Lebanon, Germany, Austria, South Korea and Spain. His performances in Russia have included the roles of Banquo in a new production of Macbeth in Moscow in 2000, The King in Aida in the Novosibirsk Theatre in 2006, Old Prince Bolkonsky in War and Peace in 2006 and Zuniga in Carmen in 2009 at the Bolshoi Theatre, Sholom-Ber in the première of A Black Bridle for a White Mare at the Theatre of Satire in Moscow in 2007 and, last year, Ali in The Italian Girl in Algiers at the Hermitage Theatre.

Sergei Leiferkus has recorded the complete songs of Mussorgsky, the first volume of which was nominated for a Grammy award, the second volume won a 1997 Cannes Classical award and the same year three of the CDs were awarded a Diapason d'Or. He has given many memorable song recitals at international venues such as the Royal Opera House Covent Garden, Wigmore Hall, Teatro alla Scala Milan, Lincoln Center and Frick Collection New York, Philharmonie Cologne and Konzerthaus Vienna. He has also given masterclasses in Berlin, Toronto and Boston, and appears regularly in this capacity at the Britten-Pears School, Aldeburgh. Engagements this season include Scarpia in Tosca at Hamburg State Opera, His Serene Highness in The Tsarina’s Slippers at the Royal Opera House Covent Garden, the Professor in the world première of Alexander Raskatov’s opera The Heart of the Dog at the Netherlands Opera, Eine florentinische Tragödie in Rome and Rachmaninoff’s Francesca da Rimini with the Orchestre Philharmonique de Radio France.

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Roles abroad have included Peter the Great in Meyerbeer’s L’Etoile du nord at Wexford in 1996; Lindorf in Les Contes d’Hoffmann and Zuniga in Carmen at the Théâtre des Champs-Elysées with Helikon Opera in the 1999/2000 season; Old Prince Bolkonsky in War and Peace in Spoleto in 1999 and at the Opéra Bastille in Paris in 2005; Izmaylov in Shostakovich’s Lady Macbeth of Mtsensk in Montpellier with the Helikon Opera in 2000; Bartolo in Le nozze di Figaro in Holland with the Kazan Opera in 2002 and 2004; the title role in Falstaff and Gremin in Eugene Onegin in France and Spain with Helikon Opera in 2003; Leporello in Don Giovanni in Holland in 2006; and Pristav in Boris Godunov in Athens with the Bolshoi Theatre in 2008. In concert, he has given performances of Shostakovich’s Symphony 13 in Ekaterinburg and Beethoven’s Symphony 9 in Italy. As well as a singer, Vladimir Ognev is also a conductor, and theatre and cinema actor and director. In 1992 he won an award for his performance in Anton Chekhov’s The Bear and also took part in a television film of the play in 2000.

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SERGEY ALEKSASHKIN

MIKHAIL PETRENKO

BASS

Born in Saratov, Sergey Aleksashkin graduated from the Conservatoire there and then furthered his studies with a postgraduate course at La Scala. In 1984, he was invited to join the prestigious Kirov Opera Company and has since been one of their leading basses, taking part in tours by the company to Germany, Italy, Spain, Japan, the UK and the USA.

Mikhail Petrenko was born in St Petersburg and graduated from the St Petersburg State RimskyKorsakov Conservatoire. He was a Prizewinner at the International Rimsky-Korsakov Competition for Young Opera Singers and a finalist at the Maria Callas New Verdi Voices Competition in Parma in 2000. He has toured with the Mariinsky Opera Company, performing with Valery Gergiev at the Royal Opera House Covent Garden, Teatro la Scala Milan, Teatro Real in Madrid, Théâtre du Châtelet Paris and Suntory Hall in Japan, as well as at the Salzburg and Melbourne Festivals. In the 2001/02 season he made his debut at the Metropolitan Opera in War and Peace. More recently, he has sung Hagen and Fafner in the Ring cycle in Baden-Baden; Heinrich in Lohengrin at the Bilbao Opera; Hunding in Die Walküre at the Deutsche Staatsoper Berlin conducted by Daniel Barenboim; Pistola in Falstaff at the Met; and the Pope in Benvenuto Cellini at the Salzburg Festival.

His vast Russian repertoire includes the roles of Boris and Rangoni in Boris Godunov, Dosifei and Khovansky in Khovanshchina, Gremin in Eugene Onegin, King René in Iolanta, Kutuzov in War and Peace, and Ivan the Terrible in The Maid of Pskov. He also sings the roles of Mephistophèles in Faust, the bass roles in The Tales of Hoffmann, King Philip in Don Carlo, Fiesco in Simon Boccanegra, Ramfis in Aida, Basilio in The Barber of Seville, Sarastro in The Magic Flute and the King in Lohengrin. Engagements in the West have included Boris Godunov in Frankfurt and at the Salzburg Easter Festival, Prince Igor in Vienna, Berlioz’s La Damnation de Faust in Rome, and Basilio in Il barbiere di Siviglia at the Royal Opera House Covent Garden. An accomplished concert artist, Sergey Aleksashkin has sung The Songs and Dances of Death in Amsterdam, Shostakovich’s Symphony 13 in Amsterdam and Tokyo and Shostakovich’s Symphony 14 in Vienna. His recordings include The Fiery Angel, Sadko and several Shostakovich Song Cycles for the BBC. Recent performances have included The Gambler at the Metropolitan Opera New York, Kutuzov in War and Peace at the Teatro Real Madrid, Pimen in Boris Godunov at the Opéra de Lyon, Verdi’s Requiem in Manchester and Betrothal in a Monastery with Vladimir Jurowski at the Glyndebourne Festival.

In concert he has sung Shostakovich’s Symphony 13 with the Montreal and San Francisco Symphony Orchestras, the Verdi Requiem with the Orchestre de Paris, Songs and Dances of Death with Valery Gergiev, the role of the Storm Knight in Kashchey the Immortal with the London Philharmonic Orchestra and Vladimir Jurowski, Janáček’s Glagolitic Mass in Tokyo with the NHK Symphony Orchestra and Charles Dutoit, and Oedipus Rex with the Swedish Radio Symphony Orchestra and Esa-Pekka Salonen. Future engagements include Gremin in Eugene Onegin at the Netherlands Opera, Figaro in Le nozze di Figaro at the Toulon Opera, Beethoven’s Symphony 9 with the Rotterdam Philharmonic Orchestra conducted by Yannick NézetSéguin and Hunding in Die Walküre with the Berlin Philharmonic and Sir Simon Rattle.

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IRINA BROWN

WELCOME

DIRECTOR

TO SOUTHBANK CENTRE

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Irina Brown was born and educated in St Petersburg but has lived in Britain for over twenty years, establishing a versatile career as a stage director. From 1996 to 1999 she was Artistic Director of Tron, Glasgow, developing, directing and promoting new Scottish writing as well as national and international collaborations. Her work in opera includes the world première of Prokofiev’s original version of War and Peace for RSAMD/Scottish Opera; the world première of Vitaly Khodysh’s The Letter for Scottish Opera; Bird of Night, a new opera by Dominique Le Gendre, and a translation of Karlheinz Stockhausen’s Donnerstag aus Licht for the Royal Opera House; Boris Godunov for the Royal Opera House, L’Opéra de Monte Carlo and St Petersburg’s Mariinsky Theatre; and Dido and Aeneas at the Royal Academy of Music. In the theatre she has directed Edward Albee’s Three Tall Women at the Oxford Playhouse; The Vagina Monologues in the West End and on tour; David Greig’s The Cosmonaut's Last Message to the Woman He Once Loved in the Former Soviet Union at the Tron; Zinnie Harris’s Further than the Furthest Thing at the Royal National Theatre, Tron, Edinburgh Festival, Tricycle and on a British Council Tour of South Africa; A Doll’s House at Birmingham Rep; Arnold Wesker’s Blood Libel at the Norwich Playhouse; Romeo and Juliet at the Contact Theatre, Manchester; A Midsummer Night’s Dream at the Southern Shakespeare Festival, Florida; The Sound of Music at the West Yorkshire Playhouse; Our Country’s Good in Moscow; and The Importance of Being Earnest at the Open Air Theatre in London. She is Joint Artistic Director of Natural Perspective Theatre Company, for whom she directed Jenu ̊ fa by Gabriela Preissova/ Timberlake Wertenbaker in Arcola in 2007 and in 2011 she will produce/direct Racine’s Britannicus. In the autumn she will direct Measure for Measure in Warsaw.

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Eating, drinking and shopping? Southbank Centre shops and restaurants include: MDC music and movies, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffé Vergnano 1882, Skylon and Feng Sushi, as well as cafes, restaurants and shops inside the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact our Head of Customer Relations at Southbank Centre, Belvedere Road, London SE1 8XX, by phone on 020 7960 4250 or by email at customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended MOBILES, PAGERS AND WATCHES should be switched off before the performance begins

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PROGRAMME NOTES

SPEEDREAD Theatricality is the thread that runs through all Shostakovich’s music. He grew up in an environment bursting with innovatory stage culture, and as a student he absorbed the fairy-tale operas and ballets of RimskyKorsakov and Stravinsky, whose colourful grotesquerie is a vital ingredient in his First Symphony (1924-5). After that sensational debut, he devoted six years of his life almost exclusively to music for stage and screen. His comic opera The Nose (1927-8), after Gogol, is a bold attempt to compete with the most avant-garde

Dmitri SHOSTAKOVICH

European operas, which were flooding into the Soviet Union at the time. Then the apex of his operatic career was his tragic-satirical Lady Macbeth of Mtsensk (1931-2), whose notorious fall from grace in 1936 forced him to change direction. His dramatic instincts found their way into a brilliant renewal of the symphony, concerto and string quartet. But he continued to search for viable opera libretti, and in 1942, immediately after the Leningrad Symphony, he completed about one-third of The Gamblers, another Gogol tale, before giving it up as impractical.

1906-1975

Platon Kuzmich Kovalyov, a collegiate assessor Sergei Leiferkus baritone Ivan, his servant Mikhail Urusov tenor Repetiteur Surtitles Surtitles Operator

Murray Hipkin Courtesy of New York City Opera Damien Kennedy

The Nose is Shostakovich’s first opera and his wildest, most experimental, most extravagant, and in many respects most perplexing score. It followed a brief crisis of confidence after his First Symphony, when he had to decide whether to pursue a double career as pianist and composer, and then how to orientate himself stylistically between the poles of his traditional academic training and the sudden influx of radical modernism from the West. His idea in composing a satirical opera was – so he claimed – that it would make the choice of a ‘classic’

‘This subject matter attracted me by its fantastic, nonsensical plot, presented by Gogol in the most realistic manner.’ SHOSTAKOVICH IN A PRE-PRODUCTION ARTICLE ON THE NOSE

text more relevant to the still young Bolshevik society. Most likely it had just as much to do with giving full rein to his phenomenal instincts for the grotesque. The trouble was that the ideological climate of the 1920s was shifting – even between Shostakovich’s initial conception in the summer of 1927 and the first complete stage production in January 1930 – away from sending up the supposedly absurd tsarist past to affirming the supposedly glorious communist present and future. And whatever its intentions may be, all satire allows for allegorical reading as a send-up of the present. So The Nose took a critical battering and was removed from the stage, not to reappear in the Soviet Union until October 1974, less than a year before the

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PROGRAMME NOTES

composer’s death. The seven-movement Suite was prepared before the première, as a kind of trailer. Gogol’s tale is of a minor official, Major Platon Kuzmich Kovalyov, who awakens (after the notorious percussion interlude, placed third in the Suite) to find that his nose is no longer in its accustomed place. The remainder of the opera portrays his desperate attempts to retrieve it,

in the course of which, amongst other things, Kovalyov runs off to find the Chief of Police (the Galop placed at the end of the Suite), and tries to place a newspaper advertisement (his Scene 5 aria), after which a fugal interlude leads to a scene in his apartment including arias for his servant Ivan and himself, respectively folklike and self-pitying.

‘People find satire and grotesquerie in The Nose, but I wrote totally serious music, there’s no parody or joking in it ... The Nose is a horror story, not a joke. How can police oppression be funny? FROM ‘TESTIMONY’, SHOSTAKOVICH’S MEMOIRS AS RELATED TO SOLOMON VOLKOV

Dmitri SHOSTAKOVICH

SYMPHONY 1 IN F MINOR, OP. 10 Allegretto – Allegro non troppo | Allegro | Lento – Largo | Allegro molto

1906-1975

In the autumn of 1924, the Petrograd Conservatoire required a symphony as the graduation test for Maksimilian Shteynberg’s composition class. Shostakovich was not quite 18 at the time, and he would wrestle with the task for nearly two years. But the work he eventually produced was an instant success, prompting Bruno Walter and Arturo Toscanini to take it into their repertoire, and making Shostakovich’s international reputation virtually overnight. The teenage prodigy had been born into a comfortablyoff family, which nevertheless suffered its share of privations in the early Communist era. When his father died in February 1922, he had to earn pin-money playing the piano for the silent films. That provided an outlet for his sense of fun and his talent for lampooning, but it also proved irksome and energysapping. Ever a sickly child, he developed tuberculosis of

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the lymph glands and had to have an operation, followed by a sanatorium cure in the Crimea, where he met Tatyana Glivenko, daughter of a well-known Moscow philologist and, some would claim, the greatest love of his life. At some level all those experiences are processed in the First Symphony. And the sharply-drawn character of its themes, the bewildering range of styles, the sheer bare-faced cheek juxtaposed with moments of startling profundity, combine to take the breath away. The first movement is dominated by the marionette idiom of Stravinsky’s Petrushka, one of the young Shostakovich’s favourite pieces. The introduction, comically yet anxiously searching for the home key, is followed by a toy-soldier march on the clarinet and a puppet-ballerina waltz on the flute. These three elements are worked over in a structure remarkable for its concision and for its violent throwing together of the march and the waltz in the central phase.

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PROGRAMME NOTES

The second movement starts with a prank at the expense of the double basses, who as it were, fail to keep up with the cellos. Then we go to the movies: a Keystone Cops-style chase, followed by a mock-solemn pilgrims’ procession. As in the first movement, these elements are in due course superimposed – in a kind of musical split-screen effect – before peremptory chords on the piano bring the movement to a laconic close. At this stage in the composition Shostakovich was considering the sub-title ‘Symphony-Grotesque’. But his slow movement is suddenly warm and humane. Is this genuine emotion or mere cinematic role-play? As so often with Shostakovich, the uncertainty and the aesthetic balancing-act are an essential part of the music’s fascination. At any rate the oboe’s yearning lyricism is soon met by a summons of Fate (the

repeated-note tattoo first heard on trumpets and side drum). A mournful lament, initially also given to the oboe, returns on muted trumpet towards the end of the movement, superimposed on the first theme now in cellos and basses. Like the first movement, the finale is prefaced by an introduction exploring various options of key, theme and texture. The main theme finally begins as a hectic scramble on clarinets and piano, and it spirals out centrifugally until an apparently new idea (in fact artfully derived from the slow movement) is screamed out in woodwind, violins and violas. This and the slow movement’s ‘Fate’ motif are scheduled to reappear, reining in the urge to unbridled exuberance and provoking a tensely ambivalent outcome.

INTERVAL 20 minutes An announcement will be made five minutes before the end of the interval.

Dmitri SHOSTAKOVICH

THE GAMBLERS (OPERATIC FRAGMENT)

1906-1975

Murray Hipkin Courtesy of the European Opera Centre

Ikharev, a gambler Gavryushka, his servant Uteshitelny, a gambler Shvokhnev, a gambler Krugel, a gambler Alexey, a servant

Mikhail Urusov tenor Vladimir Ognev bass baritone Sergei Leiferkus baritone Sergey Aleksashkin bass Viacheslav Voynarovskiy tenor Mikhail Petrenko bass

Repetiteur Surtitles translation

Director Designer Lighting Designer

Irina Brown Louis Price Tim Mascall

At the turn of 1942, just after finishing the Leningrad Symphony, Shostakovich embarked on a word-for-word setting of Gogol’s play The Gamblers. Like his previous

Surtitles Editor and Operator

Damien Kennedy

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PROGRAMME NOTES

Louis Price’s design for today’s performance of The Gamblers

Gogol opera, The Nose, this is a tale of human foibles and vanities, and it may conceivably be read as allegorical for Soviet society in the early 1940s. However, since the Stalinist regime was so monstrous that it is hard to imagine any literary work of any depth that could not be read that way, there is little point in probing for secret messages. As the composition proceeded, Shostakovich gradually realized that his determination to set every word of Gogol’s text was unrealistic, on grounds of length. In any case the prospects for performance of an opera without any female characters and written entirely in arioso-dialogue style were slim. He therefore abandoned the project near the end of Act 1. The fragment was first performed posthumously, under Gennadi Rozhdestvensky, in 1978. Polish composer Krzysztof Meyer, who knew the composer well in the last years of his life, made a completion (with some cuts to the text) that was staged in Germany in 1983 and has been recorded. Shostakovich himself reused parts of the introduction and the first scene in his last completed work, the Viola Sonata, Op. 147. Gogol’s play tells of a card-sharp, Ikharev, who tricks his playing companions, only to be swindled in his turn. Act 1 of the opera shows the arrival of Ikharev and his servant Gavryushka, who asks Alexey, a servant at the

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‘I loved to play cards when I was young – but I always lost.’ SHOSTAKOVICH TO HIS FRIEND ISAAK GLIKMAN

village inn, about the guests’ gambling fortunes. In their turn two of the three gamblers ask Gavryushka about his master, the answer coming in a song to the accompaniment of bass balalaika. For the game itself, Ikharev has bribed Alexey to substitute his own pack of marked cards, which he loves so much that he personifies it as ‘Adelaida Ivanovna’. The guests realise they have been tricked but invite Ikharev to join forces with them. In the remainder of the original play the tables are turned and Ikharev himself is shafted. For long stretches the music is sustained at a level of simmering malevolence, appropriate to the base motives of all the characters. Shostakovich’s language is here far removed from the wild antics of The Nose, instead drawing on the pungent linear counterpoint of Lady Macbeth, with strong affinities to another village tale with a prominent gambling scene, Stravinsky’s The Soldier’s Tale.

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SHOSTAKOVICH RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL LPO-0001 Kurt Masur conducts Shostakovich’s Symphonies 1 and 5

FUNharmonics Family Concert

Dreams Sunday 14 March 2010 | 11.30am Royal Festival Hall Davenport In the Night Garden (theme) Debussy Prélude à l’après-midi d’un faune (excerpt) Saint-Saëns Danse macabre Marianelli The Starfish’s Story Various Classical Lullabies Silvestri The Polar Express (theme) Stuart Stratford conductor Chris Jarvis presenter

Foyer Events from 10am You can try your hand at playing an orchestral instrument in one of our Have-a-Go sessions, get your face painted or join our human orchestra – all in the foyers before and after the performance. Generously supported by The Jeniffer & Jonathan Harris Charitable Trust.

TICKETS Child £4-£7; Adult £8-£14 For booking details see page 16.

‘... displays this orchestra’s excellence ... with some superb soloists, serious class in every department.’ CLASSIC FM MAGAZINE

LPO–0034 Bernard Haitink conducts Shostakovich’s Symphony 10 ‘Haitink’s long-term vision of the music’s organic development comes across compellingly in this live recording.’ THE DAILY TELEGRAPH, 23 AUGUST 2008

LPO-0028 Vladimir Jurowski conducts Shostakovich’s Symphony 14 as part of Volume 3 of the London Philharmonic Orchestra’s 75th Anniversary Box Sets ‘ ... a wonderfully “felt” performance in the way conductor and orchestra articulate and sustain this intimate, death-ridden song cycle.’ FINANCIAL TIMES, 27 OCTOBER 2007 This volume features four CDs by the Orchestra’s most recent Principal Conductors: Klaus Tennstedt (Beethoven Symphony 9), Franz Welser-Möst (Strauss, Mozart, Schubert and Bruckner), Kurt Masur (Shostakovich Symphonies 1 and 5) and Vladimir Jurowski (Shostakovich Symphony 14 as above).

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. They may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †

Timothy Walker AM † Chief Executive and Artistic Director

*Non-Executive Directors

Alison Atkinson Digital Projects Manager Julius Hendriksen Assistant to the Chief Executive and Artistic Director FINANCE David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

THE LONDON PHILHARMONIC TRUST

Joshua Foong Finance Officer

Pehr Gyllenhammar Chairman Desmond Cecil CMG Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Timothy Walker AM † Laurence Watt Simon Yates

CONCERT MANAGEMENT

AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Horwath Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor

Roanna Chandler Concerts Director Ruth Sansom Artistic Administrator Graham Wood Concerts, Recordings and Glyndebourne Manager Alison Jones Concerts Co-ordinator Hattie Garrard Tours and Engagements Manager Camilla Begg Concerts and Tours Assistant Matthew Freeman Recordings Consultant ORCHESTRA PERSONNEL Andrew Chenery Orchestra Personnel Manager Sarah Thomas Librarian Michael Pattison Stage Manager Hannah Tucker Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)

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EDUCATION AND COMMUNITY PROGRAMME Matthew Todd Education and Community Director Anne Newman Education Officer Isobel Timms Community Officer

ARCHIVES Edmund Pirouet Consultant Philip Stuart Discographer Gillian Pole Recordings Archive INTERN

Alec Haylor Education and Community Assistant

Jo Langston Marketing

Richard Mallett Education and Community Producer

LONDON PHILHARMONIC ORCHESTRA

DEVELOPMENT Emma O’Connell Development Director Nick Jackman Charitable Giving Manager Phoebe Rouse Corporate Relations Manager Sarah Tattersall Corporate Relations and Events Manager Anna Gover Charitable Giving Officer Melissa Van Emden Corporate Relations and Events Officer MARKETING Kath Trout Marketing Director

89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities. The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photograph of Shostakovich courtesy of the Royal College of Music, London. Photograph on the front cover by Roman Gontcharov. Programmes printed by Cantate.

Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education Frances Cook Publications Manager Samantha Kendall Box Office Administrator (Tel: 020 7840 4242) Heather Barstow Marketing Co-ordinator Valerie Barber Press Consultant (Tel: 020 7586 8560) †Supported by Macquarie Group

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon Garf & Gill Collins David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie and Zander Sharp Eric Tomsett Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Andrew Davenport Mrs Sonja Drexler Mr Charles Dumas David Ellen

Commander Vincent Evans Mr Daniel Goldstein Mrs Barbara Green Mr Ray Harsant Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Ms Sarah Needham Mr & Mrs Egil Oldeide Edmund Pirouet Mr Michael Posen Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Appleyard & Trew llp British American Business Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donors Lombard Street Research Redpoint Energy Limited In-kind Sponsors Heineken Lindt & Sprüngli Ltd Sela Sweets Ltd Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC

Trusts and Foundations Adam Mickiewicz Institute Allianz Cultural Foundation The Andor Charitable Trust The Bernard Sunley Charitable Foundation Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Emmanuel Kaye Foundation The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation Garfield Weston Foundation The Henry Smith Charity The Idlewild Trust John Lyon’s Charity John Thaw Foundation The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust

Lord Ashdown Charitable Settlement Marsh Christian Trust Maurice Marks Charitable Trust Maxwell Morrison Charitable Trust The Michael Marks Charitable Trust Musicians Benevolent Fund Paul Morgan Charitable Trust The R K Charitable Trust Ruth Berkowitz Charitable Trust The Samuel Sebba Charitable Trust Serge Rachmaninoff Foundation Stansfield Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Underwood Trust and others who wish to remain anonymous.

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FUTURE CONCERTS AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

JTI Friday Series | Friday 12 March 2010 | 7.30pm

Wednesday 14 April 2010 | 7.30pm

Ravel Mother Goose Suite Schumann Piano Concerto Brahms Symphony 2

Verdi Dances (Ballabili) from ‘Otello’ Dvo˘rák Cello Concerto Richard Strauss Aus Italian

Gunther Herbig conductor Hélène Grimaud piano

Gianandrea Noseda conductor Enrico Dindo violin

Gianandrea Noseda and Enrico Dindo

Gunther Herbig and Hélène Grimaud

Saturday 17 April 2010 | 7.30pm Wednesday 17 March 2010 | 7.30pm

Turnage Texan Tenebrae (UK première) Glass The Four Seasons (European première) Górecki Symphony 3 (Symphony of Sorrowful Songs)

Wagner Lohengrin, Prelude to Act 1 Brahms Violin Concerto Bartók Concerto for Orchestra

Marin Alsop conductor Robert McDuffie violin Joanna Woś soprano

Ludovic Morlot conductor Anne-Sophie Mutter violin FREE Pre-Concert Event 6.00pm | Royal Festival Hall A performance by children from St Luke’s Primary School in Lambeth marking the culmination of their composition project inspired by this evening’s repertoire.

FREE Pre-Concert Event 6.15pm | Royal Festival Hall Marin Alsop introduces the evening’s programme. This concert is supported by the Adam Mickiewicz Institute as part of POLSKA! YEAR.

Ludovic Morlot and Anne-Sophie Mutter

Saturday 10 April 2010 | 7.30pm Handel Music for the Royal Fireworks Prokofiev Violin Concerto 1 Stravinsky Fireworks Beethoven Symphony 7 Yannick Nézet-Séguin conductor Lisa Batiashvili violin

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Marin Alsop and Robert McDuffie

TO BOOK

Tickets £9-£38 / Premium seats £55 London Philharmonic Orchestra Ticket Office 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking fees; no fee for Southbank Centre members