London Philharmonic Orchestra 27 Jan 2019 concert programme by London Philharmonic Orchestra

GET

closer

2018/19 Concert Season

AT Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall

concert programme

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Sunday 27 January 2019 | 4.00pm Wagner Die Walküre Sung in German with English surtitles This performance will last approximately 5 hours 15 minutes including one 30-minute interval and one 60-minute interval.

Vladimir Jurowski conductor Stuart Skelton Siegmund Markus Marquardt Wotan Role supported by The Candide Trust

Ruxandra Donose Sieglinde Svetlana Sozdateleva Brünnhilde Stephen Milling Hunding Claudia Mahnke Fricka Ursula Hesse von den Steinen Waltraute Sinéad Campbell-Wallace Helmwige Alwyn Mellor Gerhilde Gabriela Iştoc Ortlinde Hanna Hipp Rossweisse Angela Simkin Siegrune Rachael Lloyd Grimgerde Susan Platts Schwertleite Malcolm Rippeth lighting designer Pierre Martin video designer Generously supported by members of the Orchestra’s Ring Cycle Syndicate.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Tonight’s soloists 15 Wagner: Die Walküre 16 Vladimir Jurowski on Die Walküre 18 Synopsis 19 Programme note 21 Recommended recordings Wagner on the LPO Label 22 LPO Player Appeal 2018/19 23 Backstage: Lee Tsarmaklis 24 Next concerts 25 Sound Futures donors 26 Supporters 28 LPO administration

Join the conversation: Tweet your thoughts on the performance with #LPORing @LPOrchestra

Welcome

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email 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 AND WATCHES should be switched off before the performance begins.

Out now The Spring 2019 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

2 | London Philharmonic Orchestra

A warm welcome to the second opera in our Ring Cycle, Die Walküre. After the success of Das Rheingold last year, we are steadily moving towards the full cycle of four operas, which – following Siegfried in February 2020 – we will perform at Royal Festival Hall across a full week in early 2021. We are anticipating high demand for tickets, so if you are not already a member of the LPO Friends scheme, now is the ideal time to join. Membership starts from £60 and benefits include priority booking, regular newsletters, and access to members’ open rehearsals and special events across the year.

Welcome to Southbank Centre

The LPO holds a distinguished place in opera in the UK, having worked with our founder, Sir Thomas Beecham, while he was Music Director of the Royal Opera House in the period from our birth in 1932 up until the outbreak of the Second World War. And since 1964 we have been Resident Symphony Orchestra at Glyndebourne, where our Wagner performances have included Tristan und Isolde and Die Meistersinger von Nürnberg (available on DVD and CD respectively). It is always a great joy to experience opera in the concert hall, if only to hear the music differently when the orchestra is visible. And so now to the saga of the Völsung twins, Sieglinde and Siegmund, separated at birth but now newly met and in love. The gods are not happy. Siegmund must die. Wotan’s daughter, Brünnhilde, rescues Sieglinde and her unborn child and we have one of the greatest moments in opera. Enjoy the ride.

Timothy Walker AM Chief Executive and Artistic Director, London Philharmonic Orchestra

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Chair supported by The Candide Trust

Vesselin Gellev Sub-Leader Katalin Varnagy Chair supported by Sonja Drexler

Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Sarah Streatfeild Martin Höhmann Yang Zhang Chair supported by Eric Tomsett

Robert Pool Catherine Craig Tina Gruenberg Rebecca Shorrock Georgina Leo Lasma Taimina Eleanor Bartlett Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Eriko Nagayama Fiona Higham Chair supported by David & Yi Buckley

Nancy Elan Nynke Hijlkema Kate Birchall Joseph Maher Ashley Stevens Marie-Anne Mairesse Kalliopi Mitropoulou Helena Nicholls Sioni Williams Robin Wilson Harry Kerr Sheila Law Alison Strange Violas David Quiggle Principal Ting-Ru Lai Katharine Leek Susanne Martens Naomi Holt Isabel Pereira Richard Cookson

Stanislav Popov Martin Wray Daniel Cornford Sarah Malcolm Jonathan Welch Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Elisabeth Wiklander Laura Donoghue David Lale Gregory Walmsley Sue Sutherley Helen Rathbone George Hoult Sibylle Hentschel Iain Ward Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laurence Lovelle Lowri Morgan Charlotte Kerbegian Joseph Cowie† Flutes Katie Bedford Guest Principal Hannah Grayson Marta Santamaria Piccolos Stewart McIlwham* Principal Marta Santamaria Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra

Henry Clay Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Contrabass Trombone Lyndon Meredith Principal

Clarinets Jean-Pascal Post Guest Principal Thomas Watmough Chair supported by Roger Greenwood

Massimo Di Trolio Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman Simon Estell*

Steerhorns Matthew Lewis Duncan Wilson Tubas Lee Tsarmaklis* Principal Christopher Claxton† Timpani Simon Carrington* Principal Henry Baldwin

Contrabassoon Simon Estell* Principal

Percussion Andrew Barclay* Principal

Horns John Ryan* Principal

Keith Millar Jeremy Cornes Laura Bradford†

Chair supported by Laurence Watt

Martin Hobbs Duncan Fuller Gareth Mollison Mark Vines Co-Principal Adam Howcroft Alex Wide Meilyr Hughes Timothy Ellis Alexander Willett† Wagner Tubas Mark Vines Adam Howcroft Alex Wide Meilyr Hughes Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

David Hilton Adam Stockbridge† Bass Trumpet David Whitehouse Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Tom Berry Bass Trombone Joe Arnold

Chair supported by Andrew Davenport

Harps Rachel Masters Principal Lucy Haslar Tamara Young Tomos Xerri Assistant Conductor David Syrus Surtitle Operator Ken Chalmers * Holds a professorial appointment in London † Member of 2018/19 Foyle Future Firsts Development Programme Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sir Simon Robey Victoria Robey OBE

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series

4 | London Philharmonic Orchestra

Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 5

Vladimir Jurowski Principal Conductor & Artistic Advisor

Ten years of Vladimir Jurowski in London have brought a non-stop journey of discovery. As the London Philharmonic Orchestra celebrates his decade as music director, it can look back on a period of unrivalled adventure, taking audiences to places other orchestras never reach. Richard Fairman, Financial Times, 30 November 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: last season we celebrated the tenth anniversary of this extraordinary partnership.

The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zurich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO.

In 2021 Vladimir will take up the position of Music Director at the Bayerische Staatsoper in Munich. In 2017 he became Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;

6 | London Philharmonic Orchestra

The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Stuart Skelton

Markus Marquardt

tenor | Siegmund

bass-baritone | Wotan

Stuart Skelton is one of the finest heldentenors on stage today, critically acclaimed for his outstanding musicianship, tonal beauty and intensely dramatic portrayals. Stuart Skelton last appeared with the London Philharmonic Orchestra and Vladimir Jurowski in September 2018, when he sang Mahler’s Das Lied von der Erde alongside Sarah Connolly at Royal Festival Hall. In 2013 he sang the title role of Peter Grimes with the Orchestra and Jurowski in London and Birmingham. In autumn 2018 he sang the role of Siegmund in his much-anticipated debut at the Royal Opera House, Covent Garden under Antonio Pappano, at the Metropolitan Opera under Philippe Jordan, at Budapest’s Palace of Arts under Ádám Fischer, and with the Symphonieorchester des Bayerischen Rundfunks under Simon Rattle. This season sees Stuart Skelton’s first North American performances of Otello, with the Metropolitan Opera and Gustavo Dudamel, and he returns to the Festspielhaus Baden-Baden as Verdi’s Moor in a new production by Robert Wilson. Performances on the concert stage include Peter Grimes with David Robertson conducting the Sydney Symphony, Tristan und Isolde with Asher Fisch and the West Australian Symphony Orchestra, and Janáček’s Glagolitic Mass with Edward Gardner conducting the Hallé Orchestra. Stuart Skelton recently released a solo album, ‘Shining Knight’, presenting Wagner, Griffes and Barber, accompanied by Asher Fisch and the West Australian Symphony Orchestra. His discography also includes Janáček’s Glagolitic Mass and Schoenberg’s Gurre-Lieder with Edward Gardner and the Bergen Philharmonic Orchestra; Elgar’s The Dream of Gerontius with Andrew Davis and the BBC Symphony Orchestra; Mahler’s Das Lied von der Erde with Simon Rattle and the Symphonieorchester des Bayerischen Rundfunks, as well as with Michael Tilson Thomas and the San Francisco Symphony; and Beethoven’s Ninth Symphony with Charles Mackerras and the Scottish Chamber Orchestra.

German bass-baritone Markus Marquardt has established himself in recent years as a soughtafter interpreter of both the Italian repertoire and German dramaticbaritone roles. A longstanding ensemble member of the Semperoper Dresden, his roles there have included Dr. Schön in Lulu, Jochanaan in Salome, Scarpia in Tosca, Orest in Elektra, Creon in Oedipus Rex, and the title roles in Macbeth, Der fliegende Holländer and Hindemith’s Cardillac and Mathis der Maler.

Role supported by the Candide Trust

More recent engagements include his house debut at the Canadian Opera Company in Toronto as Scarpia. He also returned to the Vienna State Opera as Jaroslav Prus in The Makropulos Affair; to Stuttgart as Rigoletto, Nabucco, Amfortas and Jochanaan; to Dutch National Opera in Amsterdam for Gurrelieder; and to Leipzig and Dresden as Wotan/Wanderer, Alfio in Cavalleria rusticana and Tonio in Pagliacci. Markus Marquardt has worked with conductors including Christian Thielemann, Fabio Luisi, Franz Welser-Möst, Marc Albrecht, Sylvain Cambreling, Tomas Netopil, Cornelius Meister, Alexander Joel, Sebastian Weigle, Markus Poschner, Ulf Schirmer, Asher Fisch, Peter Schneider, Massimo Zanetti and Michael Boder, and stage directors such as Peter Stein, Nikolaus Lehnhoff, Stefan Herheim, Philipp Himmelmann, Peter Mussbach, Richard Jones, Johannes Schaaf, Tatjana Gürbaca, Jossi Wieler, Sergio Morabito and Achim Freyer. Highlights of the 2018/19 season include Jochanaan at the Vienna State Opera and Oper Köln; his house debut at Vienna Volksoper as Holländer; Orff’s Carmina Burana with the Danish National Symphony Orchestra under Fabio Luisi; and performances in Dresden as Leporello, Sprecher and Don Pizarro in Fidelio, amongst other roles. Please note a change of artist from previously advertised.

London Philharmonic Orchestra | 7

Svetlana Sozdateleva

mezzo-soprano | Sieglinde

soprano | Brünnhilde

Ruxandra Donose has captured critical and popular acclaim in leading opera houses and concert halls around the world. She has transitioned in recent years to the German dramatic repertoire, enjoying huge successes as Kundry in Parsifal with Simon Rattle and the Berlin Philharmonic, and Elektra in Manfred Trojahn’s Orest at Opernhaus Zurich. This season she makes debuts as Fricka in Dieter Dorn’s production of the Ring Cycle at the Grand Théâtre de Genève, and returns to Grange Park Opera to reprise Eboli in Don Carlo.

Svetlana Sozdateleva’s international career started in 2006 with her triumphant debut as Renata in Prokofiev’s The Fiery Angel at La Monnaie in Brussels. Since then, Renata has become one of her signature roles, with performances at the Bayerische Staatsoper Munich, the Komische Oper Berlin, Deutsche Oper am Rhein in Düsseldorf and Scottish Opera in Glasgow.

In September 2017 Ruxandra Donose sang the role of Jocaste in Enescu’s Oedipe with the London Philharmonic Orchestra and Vladimir Jurowski at Royal Festival Hall and in Bucharest. Other recent engagements include debuts as Norma at Opéra de Rouen; Eboli in Don Carlo at Grange Park Opera; and Eduige in Rodelinda at the Bolshoi Theatre in Moscow. A highly sought-after concert singer, Ruxandra Donose has appeared with many leading orchestras around the world. Recent concert engagements include Beethoven’s Symphony No. 9 with the Philharmonia Orchestra and at the Tanglewood Festival; Berlioz’s La mort de Cléopâtre with the Philharmonia Orchestra and BBC Scottish Symphony Orchestra; Mozart’s Requiem with the BBC Scottish Symphony Orchestra; Verdi’s Requiem with the Czech Philharmonic; Rossini’s Stabat Mater with the London Philharmonic Orchestra and Yannick NézetSéguin; Rossini’s L’heure espagnole with the London Symphony Orchestra at the Barbican; and a Rosenblatt recital at Wigmore Hall. One of the most in-demand singers of Marguerite (La damnation de Faust), the role has featured prominently in Ruxandra’s concert career, with performances with the Berlin Sinfonie-Orchester, Berlin Philharmonic, Tokyo Philharmonic, Tonhalle Orchestra Zurich and Orchestre de Paris, among others.

8 | London Philharmonic Orchestra

Ruxandra Donose

Other engagements include Abigaille in Verdi’s Nabucco at the Mariinsky Theatre; the title role in Puccini’s Tosca at Latvian National Opera; Katerina Izmailova in Shostakovich’s Lady Macbeth of Mtsensk at Deutsche Oper Berlin, Den Norske Opera and Finnish National Opera; and Fata Morgana in Prokofiev’s The Love for Three Oranges at the Komische Oper Berlin, as well as guest appearances at the Shalyapin Opera Festival in Kazan, the Eva Marton Festival in Hungary, the Radio France Festival in Montpellier and the Ravenna Festival. She has also appeared at Glyndebourne Festival Opera as Lady Macbeth in Verdi’s Macbeth and Kostelnička in Janáček’s Jenůfa. As a leading soloist of the Helikon Opera in Moscow, Svetlana has sung roles including Katerina Izmailova in Lady Macbeth of Mtsensk, Emilia Marty in The Makropulos Affair, Madame Lidoine in Dialogues des Carmélites, Liza in The Queen of Spades, Maria in Mazeppa, the title role in Dvořák’s Rusalka and Stefanie in Giordano’s Siberia. Svetlana Sozdateleva has performed with the Russian National Orchestra, singing Sieglinde in Wagner’s Die Walküre and the soprano solo in Shostakovich’s Symphony No. 14. She has also collaborated with such renowned conductors as Vladimir Jurowski, Kent Nagano, Valery Gergiev, Mikhail Pletnev, Mark Elder and Donald Runnicles, and stage directors such as Barrie Kosky, Dmitry Bertman, Dmitri Tcherniakov, Benedict Andrews and Richard Jones. In 2014 she was nominated for the renowned Faust Award for her appearance as Renata in The Fiery Angel at the Komische Oper Berlin.

Stephen Milling

Claudia Mahnke

bass | Hunding

mezzo-soprano | Fricka

Danish bass Stephen Milling ranks among the world’s foremost interpreters of Wagner’s repertoire, and last season he sang the role of King Marke (Tristan und Isolde) at the newly re-opened Staatsoper Unter den Linden under Daniel Barenboim. Known for his strong association with the role of Gurnemanz, Stephen has performed it at both the Wiener Staatsoper and the Osterfestspiele Salzburg, as well as on DVD for Deutsche Grammophon. Other recent Wagner highlights include a critically acclaimed debut at the 2015 Bayreuth Festival as Hagen (Götterdämmerung); Hunding (Die Walküre) at The Metropolitan Opera; and Daland (Der fliegende Holländer) at the Bayerische Staatsoper. He opened the current season as Hagen in the Ring Cycle at the Royal Opera House, Covent Garden under the baton of Antonio Pappano. The season continues with appearances as Landgraf (Tannhäuser) at De Nederlandse Opera under Marc Albrecht and at the Bayerische Staatsoper under Simone Young, and Tristan und Isolde in concert with the Orchestra National de Montpellier under Michael Schønwandt.

German mezzosoprano Claudia Mahnke has received international recognition in recent seasons for performances such as her Brangäne and Fricka at the Bayreuth Festival, Judith in Bartók’s Bluebeard’s Castle at the Staatsoper Hamburg, and Didon in Les Troyens and Selika in L’Africaine at Oper Frankfurt. Tonight’s concert is her debut with the London Philharmonic Orchestra.

Stephen Milling made his debut with the Berlin Philharmonic in Verdi’s Requiem under Mariss Jansons, and he features on several CDs including Les Troyens with the London Symphony Orchestra and Colin Davis. On DVD he stars in the Ring Cycle staged by La Fura dels Baus in Valencia. Trained at the Royal Danish Academy of Music, Stephen Milling joined the Royal Danish Opera in 1994, where he debuted a number of roles now central to his repertoire. International debuts at Teatro alla Scala as Don Fernando (Fidelio) and as both Fasolt and Hunding in the Seattle Opera’s Ring Cycle paved an early way to today’s thriving global career. Tonight’s concert is Stephen Milling’s debut with the London Philharmonic Orchestra.

Claudia began the 2018/19 season as Magdalene in Die Meistersinger von Nürnberg at the Bayerische Staatsoper. Following that, she appeared at Oper Frankfurt in Rusalka and Hänsel und Gretel. She sang Judith in a new production of Bluebeard’s Castle at the Staatsoper Stuttgart, and Waltraute in Götterdämmerung at the Staatsoper Hamburg, and will sing Kundry in Parsifal at the 2019 Ravello Festival. She will return to Frankfurt later in the spring for Wozzeck and Die Walküre. Further engagements this season will take her to Munich for Mahler’s Das Lied von der Erde and Symphony No. 8 with the Munich Philharmonic, which she will also perform in Bregenz under the baton of Kirill Petrenko, while in Tokyo she will perform Waldtaube in Schöenberg’s Gurre-Lieder, and in Bern, Brahms’s Alto Rhapsody. Claudia Mahnke has been a member of the ensemble at Oper Frankfurt since 2006. During that time she has performed, among others, the roles of Magdalena (Die Meistersinger von Nürnberg), Charlotte (Werther), Bianca (Eine florentinische Tragödie), Lucretia (The Rape of Lucretia), Conception (L’heure espagnole), Cherubino (The Marriage of Figaro), Silla (Pfitzner’s Palestrina), Miranda (Thomas Adès’s The Tempest), Giovanna Seymour (Anna Bolena), Giulietta (The Tales of Hoffmann), Judith (Bluebeard’s Castle), Marguerite (La damnation de Faust), Brangäne (Tristan und Isolde), Waltraute and 2nd Norn (Götterdämmerung), Blanche (The Gambler), Composer (Ariadne auf Naxos), Kundry (Parsifal) and Meg Page (Falstaff).

London Philharmonic Orchestra | 9

Sinéad CampbellWallace

mezzo-soprano | Waltraute

soprano | Helmwige

Cologne-born Ursula Hesse von den Steinen began her career at the Semperoper Dresden, where she built up her repertoire under conductors such as Antonio Pappano, Pinchas Steinberg, Semyon Bychkov, Giuseppe Sinopoli, Riccardo Chailly and Michael Boder. She subsequently received invitations to appear at the opera theatres of Amsterdam, Munich, Berlin, Vienna, Brussels, Barcelona, Toulouse, Glyndebourne and Paris, where she sang numerous roles from the German and Italian repertoire.

Following a successful career as an acclaimed light-lyric soprano, Sinéad CampbellWallace has recently made the exciting transition into fuller dramatic repertoire. Later this season she will share the role of Amelia in Verdi’s Un ballo In maschera at Opera Holland Park. Last season saw critically acclaimed debuts with Opera Northern Ireland in Radamisto and Cork Opera House in Carmen, as well as a widely praised return to Opera Theatre Company, Dublin, as Musetta in La bohème. She also recently covered the title role in Ariadne auf Naxos for Scottish Opera and Opera Holland Park.

With her sensational debut as Fricka (Das Rheingold) in Karlsruhe, Ursula Hesse von den Steinen began her development in the Wagnerian repertoire. Since then she has sung Fricka in Die Walküre in various productions including in Riga, Essen and Nuremberg. In Mannheim she performed as Venus in Tannhäuser, followed by Adriano (Rienzi) in Riga and Ortrud (Lohengrin) in Bern. Recent highlights include her debut as Herodias (Salome) in Klagenfurt, Klytaemnestra (Elektra) in Basel, Foreign Princess (Rusalka) and Podtotschina (The Nose) at the Komische Oper Berlin; Margret (Wozzeck) at De Nationale Opera in Amsterdam; and Matilde (Lotario) at the International Handel Festival Göttingen; as well as concerts with the Concertgebouw Orchestra under Markus Stenz featuring Detlev Glanert‘s Requiem for Hieronymus Bosch. In the 2018/19 season Ursula has already performed as Foreign Princess and Jezibaba (Rusalka) at the Stadttheater Klagenfurt, as well as Irène in Handel’s Theodora at the Potsdamer Winteroper. Forthcoming engagements this season include Matilde (Lotario) at the Stadttheater Bern, as well as Fricka (Die Walküre) under the baton of Juraj Valčuha in Naples.

10 | London Philharmonic Orchestra

Ursula Hesse von den Steinen

Sinéad has performed the following roles in Dublin: Pamina (The Magic Flute), Countess (The Marriage of Figaro), Donna Elvira (Don Giovanni), the title role in Alcina, Violetta (La traviata), Mimi (La bohème) and Micaela (Carmen). With Wexford Festival Opera she has sung Inez (Die drei Pintos by Weber/Mahler), Monica (Menotti’s The Medium), Antonia (The Tales of Hoffmann) and Princess (Susa’s Transformations). In the UK she has performed with Garsington Opera as Anne Truelove (The Rake’s Progress), Grange Park/Nevill Holt Opera as Giulietta (I Capuleti e i Montecchi), Aldeburgh Festival as Anne Truelove, Grange Park Opera as Flavia (Eliogabalo), Classical Opera Company as Venere (Ascanio in Alba), Iford Arts as Hypsipyle (Giasone) and English Touring Opera as Micaela (Carmen). Sinéad has also appeared in recital at Wigmore Hall and many other prestigious recital venues in the UK and Ireland. Sinéad Campbell-Wallace is a graduate of the DIT Conservatory of Music and Drama in Dublin, the National Opera Studio and the Britten-Pears Young Artist Programme.

Gabriela Iştoc

soprano | Gerhilde

soprano | Ortlinde

Alwyn Mellor was born in Lancashire and began her career at Welsh National Opera, with whom she has enjoyed a fruitful association, most recently singing the title role in Tosca and Senta in Der fliegende Holländer. Other UK companies with whom she has appeared include English National Opera, Glyndebourne Touring Opera, Grange Park Opera, Longborough Festival Opera, Opera North and the Royal Opera House, Covent Garden. Her recent repertoire includes Minnie in La fanciulla del West, Chrysothemis in Elektra, Brünnhilde in the Ring Cycle, Sieglinde in Die Walküre and Isolde in Tristan und Isolde.

Gabriela Iştoc is one of Romania’s leading young sopranos, and winner of numerous national and international competitions. A graduate of the National Opera Studio, London and the Royal Irish Academy of Music, Dublin, she studied with Veronica Dunne. She was a Jerwood Young Artist and was awarded the Robert and Margaret Lefever Study Award and the Wessex Glyndebourne Association Award. With the London Philharmonic Orchestra Gabriela has previously sung the roles of Lucy Brown in Weill’s The Threepenny Opera (2013) and Antigone in Enescu’s Oedipe (2017).

Alwyn made her USA debut with Santa Fe Opera, and her international engagements have included performances with the Canadian Opera Company, the Opéra national de Bordeaux, the Opéra de Limoges, the Deutsche Oper am Rhein and the Florentine Opera Company. She made her debut with Washington National Opera as Isolde, and for Seattle Opera she sang Brünnhilde in the bicentenary Ring Cycle. She has also sung Brünnhilde in Die Walküre and Siegfried at the Opéra national de Paris, and the same role in Siegfried for Bergen National Opera and Oper Leipzig. Conductors with whom she has worked include Martin André, Howard Arman, Philippe Augin, Stephen Barlow, Paul Daniel, Mark Elder, Richard Farnes, Asher Fisch, Edward Gardner, Philippe Jordan, Emmanuel Krivine, Sebastian Lang-Lessing, Marc Minkowski, Kent Nagano, Antonio Pappano, Vasily Petrenko, Donald Runnicles, Ulf Schirmer, Jac van Steen, Marcus Stenz and Benjamin Zander.

Alwyn Mellor

Her previous roles include Eurydice (Julian Philips’s Followers), Ludovina (Philips’s The Yellow Sofa), First Nymph and Foreign Princess (Rusalka), The Echo (Ariadne auf Naxos), Vixen Sharp-Ears (The Cunning Little Vixen), Gilda (Rigoletto), Soprano (Too Hot to Handel), Serpina (Pergolesi’s La serva padrona), Fiordiligi (Così fan tutte), Mimi (La bohème) and Adina (L’elisir d’amore). Future engagements include her Bucharest debut as Abigaille in Verdi’s Nabucco. Gabriela’s film and DVD recordings include Violetta in La traviata: Love, Death & Divas for the BBC, and Ariadne auf Naxos for Glyndebourne Festival Opera.

Her recordings include Schoenberg’s Gurre-Lieder with the Bergen Philharmonic Orchestra conducted by Edward Gardner (Chandos) and the Ring Cycle with Seattle Opera conducted by Asher Fisch (Avie).

London Philharmonic Orchestra | 11

Hanna Hipp

Angela Simkin

mezzo-soprano | Rossweisse

mezzo-soprano | Siegrune

With recent highlights including the role of Composer (Ariadne auf Naxos) for Glyndebourne Festival Opera, Isabella (L’italiana in Algeri) for Opéra et Orchestre National de Montpellier, and Dorabella (Così fan tutte) for Seattle Opera, Hanna Hipp continues to prove exceptional versatility in the lyric mezzo-soprano repertoire.

Angela Simkin began her training at the Royal Northern College of Music under Thomas Schulze and studied with Tim Evans-Jones at the Royal College of Music, where she was a member of the International Opera School and an Ian Evans Lombe Scholar. She completed her studies at the National Opera Studio.

Hanna enjoys an exciting season of debuts in the 2018/19 season: as Hänsel (Hänsel und Gretel) in Antony McDonald’s new production in her return to the Royal Opera House, Covent Garden; the title role in Offenbach’s Fantasio for Garsington Opera; Varvara (Káťa Kabanová) in Stephen Lawless’s new production for Scottish Opera; and her debut with the London Philharmonic Orchestra under Vladimir Jurowski this evening. Elsewhere on the concert stage, Hanna sings her first performances of Berlioz’s Les nuits d’été with the Orchestre de Chambre de Paris and Symphonieorchester Vorarlberg, and joins both the Oslo Philharmonic and Hamburger Symphoniker for Beethoven’s Symphony No. 9, under Klaus Mäkelä and Eivind Gullberg Jensen respectively. Hanna has recorded Anna (Les Troyens) under John Nelson for the Erato and Warner Classics labels, and recently released her first recital disc of songs by Ildebrando Pizzetti on Resonus Classics.

Her roles at the Royal College of Music included Nancy (Albert Herring), Second Lady (The Magic Flute), Concepción (L’heure espagnole) and Madama la Rose (La gazzetta). Elsewhere, she has sung Teseo (Arianna in Creta) and Iside (Giove in Argo) for the London Handel Festival; Lucilla (Il Vologeso) and Messiah for Classical Opera; Messiah by Candlelight for Raymond Gubbay Ltd at Royal Festival Hall; and Mozart’s Requiem with the Orion Orchestra During the 2016/17 and 2017/18 seasons Angela was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, where she sang Mlle Dangeville (Adriana Lecouvreur), the title role in Handel’s Oreste (at Wilton’s Music Hall), Second Lady (The Magic Flute), Annina (Der Rosenkavalier), Tebaldo (Don Carlo) and Flora Bervoix (La traviata). Her current engagements include Mercédès in Carmen and Flosshilde in the Ring for The Royal Opera, Covent Garden; Dorcas in Sullivan’s Haddon Hall with the BBC Concert Orchestra; The Angel in Rubenstein’s The Demon for Chelsea Opera Group; and Meg Page in Falstaff for The Grange Festival. She lives in Lincoln with her husband and three boys.

12 | London Philharmonic Orchestra

Susan Platts

mezzo-soprano | Grimgerde

mezzo-soprano | Schwertleite

British mezzosoprano Rachael Lloyd continues to enjoy success in the UK, and is also establishing herself as an artist in mainland Europe. Recent engagements include Miss Jessel (The Turn of the Screw) with English National Opera at Regent’s Park; the title role in Carmen at the Royal Albert Hall for Raymond Gubbay; Pitti-Sing (The Mikado) and Woman/Mother (Jonathan Dove’s The Day After) at English National Opera; Aristea (L’Olimpiade) for the Buxton Festival; Amastre (Serse) for English Touring Opera; her German debut in the title role of Dido and Aeneas for TPT Theater Thüringen in Gera; Cornelia (Giulio Cesare) for the Glyndebourne Festival; and Meg Page (Falstaff) for Glyndebourne on Tour.

British-born Canadian mezzo-soprano Susan Platts is acclaimed for her Mahler performances. She has collaborated with many conductors including Yannick Nézet-Séguin, Roberto Abbado, Andrew Davis, Christoph Eschenbach, Keith Lockhart, Jane Glover, Jeffrey Kahane, Kent Nagano, Peter Oundjian, Itzhak Perlman, Helmuth Rilling, Bramwell Tovey, Osmo Vänska and Pinchas Zukerman.

Rachael Lloyd

At the Royal Opera House, Covent Garden, Rachael has sung Wellgunde (Ring Cycle), Kate Pinkerton (Madama Butterfly), Alisa in a new production of Lucia di Lammermoor, and Woman in Philip Venables’s 4:48 Psychosis. Forthcoming engagements include Selene (Berenice) at the Royal Opera House; Woman in 4:48 Psychosis with the Prototype Festival (New York) and Opéra National du Rhin; and the title role in Dido and Aeneas and Aglaonice in Orphée at English National Opera.

During past seasons Susan has performed at the Teatro alla Scala, Teatro di San Carlo, Carnegie Hall and Lincoln Center, and with orchestras including the Philadelphia, Minnesota and CBC Radio orchestras, l’Orchestre de Paris, Orchestre Symphonique de Montréal, Orchestre Symphonique de Québec, and the Toronto, American and Detroit symphonies. She sang Third Secretary to Chairman Mao in John Adams’s Nixon in China with the BBC Symphony Orchestra conducted by the composer at the 2012 BBC Proms and then at the Berlin Festival, and in 2017 she made her Royal Opera House debut as Third Lady in The Magic Flute. Other opera appearances include Florence Pike in Albert Herring (Vancouver); and Erda in Das Rheingold and Hippolyta in A Midsummer Night’s Dream (Victoria).

Appearances on the concert platform include Ravel’s Trois poèmes de Mallarmé and Karl Jenkins’s The Armed Man – A Mass for Peace with the London Philharmonic Orchestra, and regular performances with La Nuova Musica. Rachael is featured on recordings of works by Monteverdi, Caccini and Dowland with La Nuova Musica, Jenkins’s The Armed Man with the London Philharmonic Orchestra on Virgin, and as the title role in Dido and Aeneas with the Armonico Consort on Signum Classics.

Susan Platts has recorded Mahler’s Das Lied von der Erde for Fontec Records with Gary Bertini conducting the Tokyo Metropolitan Orchestra, a CD of dramatic sacred art songs with pianist Dalton Baldwin, Mahler’s Lieder eines fahrenden Gesellen with the Smithsonian Chamber Players and Santa Fe Pro Musica for Dorian Records, Brahms’s Zwei Gesänge with Steven Dann and Lambert Orkis on the ATMA label, and a solo disc of Robert Schumann, Clara Schumann and Brahms, also for ATMA.

London Philharmonic Orchestra | 13

Malcolm Rippeth

Pierre Martin

lighting designer

video designer

Malcolm Rippeth has designed extensively for theatre, opera and dance. He last worked with the London Philharmonic Orchestra and Vladimir Jurowski in November 2018 on Stravinsky’s The Rake’s Progress at Royal Festival Hall. Previous projects with the LPO and Jurowski include Wagner’s Das Rheingold in January 2018, Beethoven’s Fidelio in 2017 and Weill’s The Threepenny Opera in 2013. Malcolm won a Village Voice Obie Award as a member of the design team for Brief Encounter off-Broadway and the WhatsOnStage Award for Best Lighting Designer for Brief Encounter and Six Characters in Search of an Author in the West End. He was nominated in 2016 for the Los Angeles Drama Critics Circle Award for Tristan and Yseult at South Coast Rep, and in 2017 for the New York Drama Desk Award for Outstanding Lighting Design of a Musical for 946: The Amazing Story of Adolphus Tips. His recent theatre work includes Wise Children (Old Vic); Twelfth Night (Shakespeare’s Globe); Titus Andronicus (RSC); The Umbrellas of Cherbourg, Calendar Girls (West End); Belong (Royal Court); My Brilliant Friend (Rose Theatre); The Boy in the Striped Pyjamas (Chichester Festival Theatre); Only the Brave (Wales Millennium Centre); Decade (Headlong); The Dead (Abbey, Dublin) and HMS Pinafore (Guthrie Theater, Minneapolis). Malcolm is an Associate Artist of Kneehigh Theatre, where productions include The Flying Lovers of Vitebsk, The Tin Drum, Tristan and Yseult and The Wild Bride. In addition he has lit productions for the Tricycle Theatre, Lyric Hammersmith, English Touring Theatre, Gate Theatre Dublin, National Theatre Wales and National Theatre of Scotland, and many of the UK’s leading regional theatres. Opera and dance includes Snow White (balletLORENT); Le Premier Meurtre (Opéra de Lille); La belle Hélène (Opéra national de Lorraine); The Skating Rink (Garsington); Giovanna d’Arco (Buxton Festival); War and Peace (Welsh National Opera); Pleasure (Opera North) and Alcina (Santa Fe). 14 | London Philharmonic Orchestra

Pierre Martin was born in northern France and studied contemporary French literature, communication and journalism before becoming a video designer. His designs focus on the relationship between text, image, typography and graphic design. With the theatre company Si vous pouviez lécher mon coeur, he created Les Particules élémentaires (2013), based on Michel Houellebecq’s book and directed by Julien Gosselin for the Avignon Festival. His recent credits for Gosselin include video designs for an adaptation of Bolaño’s 2666 for the 2016 Avignon Festival. In 2018 he created video design for Don DeLillo’s marathon for the Avignon Festival. Pierre has also designed video for Tiphaine Raffier (La Chanson, Dans le Nom and France-fantôme) and for his own projects such as Palermo-Napoli, a textprojected performance about the life of the Italian physicist Ettore Majorana. With Theodore Huffmann he has created video for operas in London, Lille and Amsterdam. With 4.48 Psychosis, they won the Achievement in Opera award at the 2016 UK Theatre Awards. Pierre Martin has just finished directing two short films: Science & Hypothesis and General Relativity.

Wagner: Die Walküre

Composer Libretto

Richard Wagner Richard Wagner

Conductor

Vladimir Jurowski Supported by the Tsukanov Family Foundation

Siegmund Wotan Sieglinde Brünnhilde Hunding Fricka Waltraute Helmwige Gerhilde Ortlinde Rossweisse Siegrune Grimgerde Schwertleite

Stuart Skelton Markus Marquardt Role supported by The Candide Trust Ruxandra Donose Svetlana Sozdateleva Stephen Milling Claudia Mahnke Ursula Hesse von den Steinen Sinéad Campbell-Wallace Alwyn Mellor Gabriela Iştoc Hanna Hipp Angela Simkin Rachael Lloyd Susan Platts

Lighting Designer Video Designer Assistant Conductor Music Staff Deputy Stage Manager Costume Supervisor Make-up Surtitles

Malcolm Rippeth Pierre Martin David Syrus Martin Pickard Nick Fowler Kitty Callister Annabelle Miller Barry Millington, operated by Ken Chalmers

Die Walküre: Approximate timings Act I

65 minutes

Interval

30 minutes

Act II

90 minutes

Interval

60 minutes

Act III

70 minutes

Total

5 hours 15 minutes

With thanks to the LPO’s Ring Cycle Syndicate Patrons: The Candide Trust Sir Simon & Lady Robey Mikhail Noskov & Vasilina Bindley Hamish & Sophie Forsyth The Metherell Family David & Yi Buckley Peter & Fiona Espenhahn Peter & Lucy Noble Andrew & Rosemary Tusa

Please note that interval durations will be strictly adhered to and latecomers will not be re-admitted.

London Philharmonic Orchestra | 15

Vladimir Jurowski on Die Walküre

Last season you started the LPO’s project to perform the complete Ring with Das Rheingold. How important has it been for you in preparing for this performance of Die Walküre to have started with that first instalment of the cycle? Well, for me there is no other way around the Ring but to go in the right order. Obviously one needs to study all four instalments beforehand, and especially to have been through the libretti of all four ahead of tackling any of the scores – so just like Wagner, who wrote all four libretti before he started working on the music. But the way into the Ring goes only via the Rhine! How would you characterise the main differences between these first two operas? I find Das Rheingold is probably the most radical and the most consequential in terms of Wagner following his own theories. This is the only part of the Ring which is entirely coherent as regards the music drama theory that Wagner set out while still in exile in Zurich. Die Walküre and Götterdämmerung present us with arguably greater music – maybe the greatest music Wagner ever created, alongside Tristan and Parsifal – but in terms of pure music drama, Das Rheingold is the most exciting and the most radical. In Die Walküre you can already see the deviation back in the direction of conventional opera. But you could argue that this convention which Wagner allows himself – such as in the lyrical duet between Siegmund and Sieglinde – is a necessary toll to be paid when human 16 | London Philharmonic Orchestra

feelings are at stake. The art of opera is, after all, the art of lyric analysis of the human soul, of the inner life of the human soul. Das Rheingold is a specifically non-lyrical drama, so it was much easier for Wagner to create it without turning to conventional lyricism. There is a strict separation between Gods, elves and humans, and the first time humans come into the game is in Die Walküre. Do you also, then, see Die Walküre in the context of the other works that Wagner would go on to compose when he took a break from composing the Ring in the late 1850s? Yes, and we should certainly not forget that by the time Wagner came to compose Die Walküre he was already relatively close to his experience with Tristan und Isolde, and so the Siegmund-Sieglinde duet is for me the unconscious preparation for the miracles of Tristan. It’s maybe harmonically not quite so refined or adventurous, but it’s still very much along the lines of the Schopenhauerian exploration of eroticism and of nirvana achieved through love that features in Tristan. Does this also have a more specific effect on the way Wagner composed Die Walküre? What I find most extraordinary is the transformation of the leitmotifs. Think of the ‘Renunciation of Love’ motif, for example. We first hear it sung by one of the Rhinemaidens in Das Rheingold, where she describes it in a narrative, non-emotional manner; and then we

hear it as Alberich curses love. But in Die Walküre this motif suddenly travels to Siegmund, who quotes it in a completely different – you could say opposite – context before he draws the sword from the ash tree. So, in the deepest moment of despair, he brings up the motive of the love curse. You have to ask yourself: what is this? Is this the curse which is resting upon Siegmund of which he’s obviously ignorant, or is this another expression of love, the love of his father, which promises him the sword? There can be many interpretations of this but we never know the final answer, because Wagner doesn’t give us a hint. We haven’t mentioned Wotan yet. How do you see him – and how Wagner treats him as a character and allows him to develop from one opera to the next? Wagner naturally felt a great deal of sympathy for Wotan, who for him was the real hero. But for today’s viewer he’s very questionable as a hero: he’s more of an anti-hero. He’s in many ways an everyman, so anybody can recognise a trace of themselves in Wotan. This is what helps make Wagner the most fascinating of all opera composers of the 19th century: he created archetypes who at the same time are people of flesh and blood, and he was capable of conjuring up figures that could exist also outside the political, social and aesthetic context of the time. You take them out of that specific context, you place them into today, and they still function. The same thing applies to Mozart and maybe a few others – like Verdi and Mussorgsky – but there it ends. For me the journey through Rheingold into Die Walküre was the most fascinating one, and it took me a while to warm up to the more conventional musical language of Die Walküre. It also took actually a whole effort to understand Act II, which I now see as the key to understanding the whole piece. Act I is almost purely lyrical, and Act III is almost purely epic, even though there is the big lyrical moment in the heart-wrenching dialogue between father and daughter. Act II lies exactly between those two: it’s like an Ibsen play put inside a Homer epic. At the heart of Act II is Wotan’s narration. How do you see this within the context of the whole cycle? This is the first time that you have to go through the storytelling that we see repeated so often in the Ring. Wotan tells his daughter the whole prehistory of the

Gods and the contract, etc. We relive some of the material we’ve seen and heard in Das Rheingold, but in a different context. It’s like when you watch a new episode of a television series. Each time at the beginning they summarise all the events of the previous episodes. But sometimes you see the film cut to create a slightly different perspective on the action, and although the shots are the same, they are presented in a slightly different order. This is exactly what happens here: you hear the story that you think you already know, but because it’s being interpreted to you by Wotan you hear it from his point of view. It becomes something else. Die Walküre is perhaps, of all the Wagner operas, the one that has spawned the most clichés in the popular imagination. What is your hope for those who come to see it in this performance and who might be experiencing it live for the first time? Well, musically speaking I hope the listener who will come to Die Walküre for the first time will get the music in all its glory, simply because the Orchestra will be on stage and will be at the centre of everybody’s attention. So the orchestral music – the heart and soul and brains of this music drama – will all be under this huge magnifying glass. As with the anvils in Das Rheingold you will also even be able to see the steerhorn, which is usually offstage (I hope I’m not revealing a state secret here!). I want the public to be able to see this incredible beast of an instrument, not only hear it. Other than that, although inevitably you start remembering all the Bugs Bunny parodies of Wagner that you’ve seen as a kid, hopefully there will be no helmets! I don’t want to take anything away from the visceral fascination of the music and the sheer power of the voices – and nine women singing at the top of their voices at the start of Act III is probably the most fascinating thing you can hear in all opera! But the real fascination with Die Walküre lies within its deep humanity, within its understanding of human nature and how human relationships work. In our semistaging, in our sketch of a staging, what will hopefully become more concrete and three-dimensional is the element of the musical narrative and the psychological aspect in interrelationships between the characters. Vladimir Jurowski was speaking with Hugo Shirley.

London Philharmonic Orchestra | 17

Die Walküre: Synopsis

Act I Pursued by enemies during a snowstorm, Siegmund stumbles exhausted into an unfamiliar house. Sieglinde finds him lying by the hearth, and the two feel an immediate attraction. They are interrupted by Sieglinde’s husband, Hunding, who asks the stranger who he is. Calling himself ‘Woeful’, Siegmund tells of a disasterfilled life, only to learn that Hunding is a kinsman of his enemies. Hunding tells his guest they will fight to the death in the morning. Alone, Siegmund calls on his father, Wälse – who is in fact Wotan, leader of the gods, in human disguise – for the sword he once promised him. Sieglinde reappears, having given Hunding a sleeping potion. She tells of her wedding,

at which a one-eyed stranger thrusts into a tree a sword that has since resisted every effort to pull it out. Sieglinde confesses her unhappiness to Siegmund and he embraces her and promises to free her from her forced marriage to Hunding. As moonlight floods the room, Siegmund compares their feelings to the marriage of love and spring. Sieglinde addresses him as ‘Spring’ but asks if his father was really ‘Wolf’, as he said earlier. When Siegmund gives his father’s name as Wälse instead, Sieglinde recognises him as her twin brother. Siegmund pulls the sword from the tree and claims Sieglinde as his bride, rejoicing in the union of the Wälsungs.

Act II Wotan tells his warrior daughter, the Valkyrie Brünnhilde, that she must defend his mortal son Siegmund in his upcoming battle with Hunding. She leaves joyfully to do what he has asked, as Fricka, Wotan’s wife and the goddess of marriage, appears. Fricka insists that Wotan must defend Hunding’s marriage rights against Siegmund. She ignores his argument that Siegmund could save the gods by winning back the Nibelung Alberich’s all-powerful ring from the dragon Fafner. When Wotan realises he is caught in his own trap – he will lose his power if he does not enforce the law – he submits to his wife’s demands. Fricka leaves, and Wotan, devastated, tells the returning Brünnhilde about the theft of the Rhinegold and Alberich’s curse on it. Brünnhilde is shocked to hear her father, his plans in ruins, order her to fight for Hunding.

Siegmund comforts his fearful bride and watches over her when she falls asleep. Brünnhilde appears to him as if in a vision, telling him he will soon die and go to Valhalla. He replies that he will not leave Sieglinde and threatens to kill himself and his bride if his sword has no power against Hunding. Moved by his steadfastness and devotion, Brünnhilde decides to defy Wotan and help Siegmund. Siegmund bids farewell to Sieglinde when he hears the approaching Hunding’s challenge. The two men fight and Siegmund is about to be victorious, when Wotan appears and shatters Siegmund’s sword, leaving him to be killed by Hunding. Brünnhilde escapes with Sieglinde and the broken weapon. Wotan contemptuously kills Hunding with a wave of his hand and leaves to punish Brünnhilde for her disobedience.

Act III Brünnhilde’s eight warrior sisters have gathered on the Valkyries’ Rock, bearing slain heroes to Valhalla. They are surprised to see Brünnhilde arrive with a woman, Sieglinde. When they realise she is fleeing Wotan’s wrath, they are afraid to hide her. Sieglinde is numb with despair until Brünnhilde tells her she bears Siegmund’s child. Now eager to be saved, she takes the pieces of the sword from Brünnhilde, thanks her, and rushes off into the forest to hide from Wotan. When the god appears, he sentences Brünnhilde to become a mortal woman, silencing her sisters’ objections by threatening to do the same to them. Left alone with her father, Brünnhilde 18 | London Philharmonic Orchestra

pleads that in disobeying his orders she was really doing what he wished. Wotan will not give in: she must lie in sleep, a prize for any man who finds her. She asks to be surrounded in sleep by a wall of fire that only the bravest hero can pierce. Both sense this hero must be the child that Sieglinde will bear. Sadly renouncing his daughter, Wotan kisses Brünnhilde’s eyes with sleep and mortality before summoning Loge, the demigod of fire, to encircle the rock. As flames spring up, the departing Wotan invokes a spell defying anyone who fears his spear to brave the flames. Reprinted courtesy of the Metropolitan Opera, New York.

Die Walküre: Programme note

‘M

y Walküre turns out terribly beautiful’, Richard Wagner wrote to his friend, the composer Franz Liszt, on 16 June 1852. ‘I hope to submit to you the whole poem of the tetralogy before the end of the summer. The music will be easily and quickly done, for it is only the execution of something practically ready.’ For neither the first nor the last time in Wagner’s life, things did not work out quite as he had planned. By the end of that year he had, indeed, finished the libretto (or ‘poem’, as he called it) for his four-part cycle Der Ring des Nibelungen (‘The Ring of the Nibelung’), based on stories from ancient Germanic and Norse myths. But the music for Die Walküre was not finished until December 1854, and it was another year and a half before he completed the orchestration. The Ring begins with Das Rheingold, a one-act work Wagner called a ‘Preliminary Evening’. Die Walküre (‘First Day of the Festival Play’) is next, followed by Siegfried, then Götterdämmerung. It all started in 1848 when Wagner wrote 11 pages he published as The Nibelung Myth: A Sketch for a Drama. But it was almost 30 years before the first performance of the completed work was given, in a theatre Wagner had constructed specifically for that purpose in Bayreuth, Germany. His intention was for the Ring to be performed as a whole, rather than broken up into its individual operas, but since the composer’s own time opera houses have also been presenting the separate parts on their own. Die Walküre quickly became the most enduringly popular, for a number of reasons. For one thing, after the gods, goddesses, dwarves and giants of Das Rheingold, Die Walküre introduces human beings into the story of the Ring. It begins with two very sympathetic people, Siegmund and Sieglinde, and the first act is devoted to them falling in love. ‘The score of the first act of Walküre will soon be ready; it is wonderfully beautiful. I have done nothing like it or approaching it before’, Wagner told Liszt. He was right. The music of Die Walküre builds significantly on Das Rheingold, in which he had begun using leitmotifs to construct the music. These short segments of melody, rhythm or harmony could be associated with a character or a dramatic event, even an emotion or an object. In Die Walküre Wagner used them to help suspend time itself while the drama took place,

Richard Wagner © Royal College of Music, London

wordlessly, inside the characters. Thanks to Wagner’s brilliant writing for orchestra—something he had to develop even above what he had done in Das Rheingold – the audience actually experience for themselves the inner lives of the characters on stage. Just moments into Act I of Die Walküre, Sieglinde offers Siegmund some water. The stage directions say: ‘Siegmund drinks and hands her back the horn. As he signals his thanks with his head, his glance fastens on her features with growing interest.’ To underline these stage directions, Wagner silences the orchestra entirely, except for a single cello. For nine bars this lone cello plays some of the sweetest, most yearning music imaginable, before being joined by the rest of the cellos and two basses for another eight bars. Listeners need not know what labels commentators have attached to the music to experience for themselves the longing in Siegmund’s soul, the love that is even then starting to blossom. The plot of Die Walküre can be summarised in a few dozen words; the outer events are relatively simple. Continued overleaf London Philharmonic Orchestra | 19

Programme note continued

But the inner journey of the characters is uncommonly rich and complex. It’s the difference between flying across a continent and driving there: you fly because you want to get to your destination as quickly as possible. But if you drive, the journey itself becomes the point. In Die Walküre, Wagner’s music has a new power that compels us to let him be our guide on the quest he is undertaking. That’s how he allows us to experience for ourselves the growing love between Siegmund and Sieglinde, to feel the rightness, the naturalness of it. The powerful nature of their love is well established long before they (and we) discover they are brother and sister, so our emotions accept their love, even if our mind – assuming we can wrench it away from Wagner’s music – might have a few questions. In addition to Siegmund and Sieglinde, we meet Brünnhilde, one of the central characters in the Ring. She enters the story in Act II, singing one of the most famous (and one of the shortest) ‘numbers’ in the entire cycle, the battle cry ‘Hojotoho!’ Wagner was extraordinarily careful in noting exactly how this should be sung. The first two syllables (‘Ho-jo’) are a single phrase, followed by a semiquaver (‘to’), then the last Therese Vogl as Sieglinde and Heinrich Vogl as Siegmund in the Bayreuth premiere of Die Walküre, August 1876.

syllable (‘ho’) to be held for five beats, followed by a single beat rest. This gives the music a quick, bouncy quality that is emphasised later when Wagner asks the soprano to sing the final ‘ho’ on two notes, separated by an octave leap but connected smoothly, ending on high Bs and then high Cs. He also asks her to trill – nonstop – for almost two bars before launching up to a high B and holding it for two bars. If a soprano can sing this incredibly difficult ‘Hojotoho!’ as Wagner intended, the audience cannot help but be charmed by the impetuous, cheeky, rambunctious teenage girl sassing her father, Wotan—to his delight and ours. Her character, and her relationship with Wotan, are firmly established within a couple of minutes. It is also one of the few genuinely joyful moments in Die Walküre, an opera rather short on happiness. While in the thick of composing, Wagner lamented to his friend, the Princess Sayn-Wittgenstein, ‘I find the subject of Die Walküre too painful by far: there’s really not one of the world’s sorrows that the work does not express, and in the most painful form; playing artistic games with that pain is taking its revenge on me: it has made me really ill several times already, so that I have had to stop completely.’ Another reason for the popularity of Die Walküre is that we are likely to find ourselves mirrored in it – if not in the new love enjoyed by Sieglinde and Siegmund in Act I, then by the dilemma facing Wotan in Act II, as he realises that all of his careful planning is for naught and that, despite his best efforts, his life has taken a terrible turn, leaving him no way out. The scene in which Wotan wrestles with this crisis caused Wagner no end of trouble, and he agonised over whether or not people would grasp what Wotan is going through. ‘For the development of the great tetralogy, this is the most important scene of all’, he insisted. Wotan’s anguish continues, with a new focus, in the final act. Its ending is one of the most extraordinary in all of opera, with a sense of loss, grief, abandonment, and yet overwhelming love as Wotan is forced to let go of the most precious thing in the world to him, Brünnhilde. It seems like a bitter defeat: his cherished son Siegmund is dead. His favourite child, Brünnhilde, is banished forever. His plans – to create a hero who would be able to win back the ring and return it to the Rhinemaidens and thus save the gods – have crumbled to nothingness. He has nowhere to turn.

20 | London Philharmonic Orchestra

And yet it is because of these apparent failures that Siegfried (in the next opera) turns out to be the very hero the gods need. This glimmer of hope, in the middle of such overwhelming sorrow, is surely another reason why Die Walküre is such a beloved opera. Bavaria’s King Ludwig II was not willing to wait until Wagner had completed the entire Ring before experiencing Die Walküre in the opera house. Against Wagner’s wishes, the opera was performed for the first time on 26 June 1870, in Munich, nine months after the premiere of Das Rheingold. Wagner refused to be involved in any way, and he asked his friends not to attend. The famous violinist Joseph Joachim was there. So were Brahms and Saint-Saëns. Despite his friendship with Wagner, Liszt went, and sobbed through part of the opera. Even newspapers usually critical of Wagner pronounced Die Walküre an extraordinary work of art. The fact that opera houses continue to devote considerable time and resources to presenting Die Walküre in new ways proves that Liszt did not

exaggerate in his assessment when he wrote to Wagner, ‘Your Walküre [score] has arrived, and I should like to reply to you by your Lohengrin chorus, sung by 1,000 voices, and repeated a thousandfold: “A wonder! A wonder!”’ Programme note © Paul Thomason

Wagner operas on the LPO Label Die Walküre, Act I

Orchestral excerpts

LPO-0092 | £7.99

from Die Meistersinger von Nürnberg, Rienzi, Götterdämmerung, Die Walküre & Tannhäuser LPO-0003 | £9.99

Klaus Tennstedt conductor René Kollo tenor (Siegmund) Eva-Maria Bundschuh soprano (Sieglinde) John Tomlinson bass (Hunding) London Philharmonic Orchestra

Klaus Tennstedt conductor London Philharmonic Orchestra Recorded by BBC Radio 3 live at the Royal Albert Hall, London, on 20 August 1992

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 7 and 10 October 1991.

CDs available from lpo.org.uk/recordings, the Royal Festival Hall shop, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

London Philharmonic Orchestra | 21

PLAYER APPEAL 2018/19 BE INSTRUMENTAL TO OUR FUTURE

At the London Philharmonic Orchestra we believe that together we are greater than the sum of our parts. Players, supporters, staff and audience members; this is your LPO and you’re the LPO. We want you to stand with us as we show and share with the world our rare and special passion for the timeless art of orchestral music.

WITH YOUR SUPPORT ...

WE CAN INVEST IN TALENT DEVELOPMENT

WE CAN MAINTAIN OUR GREAT OPERA HERITAGE

This feels incredibly relevant when working with the LPO’s Foyle Future Firsts and Young Composers. Performing side-by-side with young players, playing the music of new composers is crucial. Through my work with the LPO Junior Artists, musicians from currently underrepresented backgrounds, I see incredible talent in those young people. With your support we can help them navigate their journeys.

The players develop a real sense of camaraderie in the pit at Glyndebourne – how could we not when we’re that squashed in!? By contrast, being able to see and interact with singers when we do something like the Ring Cycle at Royal Festival Hall makes for an incredibly exciting experience and brings opera to a wider audience. Please give your support to help us maintain this incredible strand of opera in concert.

KEVIN LIN, CO-LEADER

JULIETTE BAUSOR, PRINCIPAL FLUTE

WE CAN TAKE RISKS AS WE EXPLORE ADVENTUROUS WORKS

WE CAN SHARE THE POWER AND WONDER OF ORCHESTRAL MUSIC WITH THE As an LPO player you never WIDER WORLD sit for long with the same set of notes. It’s a great challenge. We have to raise our game constantly. The demanding and exciting repertoire that you may associate with the LPO helps its players develop but also keeps our audiences on their toes and experiencing new things. With your support we can continue sharing these experiences. THOMAS WATMOUGH, PRINCIPAL E-FLAT CLARINET

I’ve played with the LPO in London, Eastbourne, Glyndebourne, Brighton and all over the world – it’s a thrilling ride! Performing around the UK and the world, concert experiences are always different – that’s what makes it exciting. Please help us ensure that we can continue creating special, shared experiences throughout the UK and around the world.

ELISABETH WIKLANDER, CELLO

We are asking you to be instrumental in our future and in our ability to continue doing all that you know us for. Donate online at lpo.org.uk/donate or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card.

22 | London Philharmonic Orchestra

Backstage

In our occasional series of interviews with the LPO’s musicians, we get to know Principal Tuba Lee Tsarmaklis.

Lee has been the Orchestra’s Principal Tuba since 2000. Born in Athens, he moved to London as a young boy, and later spent six years as Principal Tuba of the Hong Kong Philharmonic Orchestra.

Did you grow up in a musical family? Did you always want to play the tuba or did you start with something smaller? Music was played in our house on a daily basis but just on my dad’s record player – nobody played an instrument. I started on the tuba on my first day at secondary school and it was love at first sound! We had a brilliant music teacher, Mr Cook, who managed to get over 50 of us playing in the school band. This was a quarter of the school! Earlier in your career you were Principal Tuba of the Hong Kong Philharmonic Orchestra. How does life in a UK orchestra differ from your experience in Hong Kong? I spent six wonderful years in the Hong Kong Philharmonic, and my last performance with them was playing for the handover ceremony when Hong Kong was returned to China in 1997 – an experience I’ll never forget. I was just a few yards away from the Union Jack as it was being lowered for the last time. The LPO is a much busier orchestra with up to three or four different programmes to get to grips with some weeks. Touring schedules in the LPO can also be very demanding. In Hong Kong we’d often rehearse for four days before performing a single programme and repeating it the following evening – a luxury that none of the self-run London orchestras enjoy! Which composer (living or dead) would you most like to meet? Prokofiev – I’d love to ask him why he wrote such amazing bass lines, often for us tubas! He must have had very good players at his disposal, as it’s always a challenge playing his bass lines.

What has been your most memorable experience in your 19 years with the LPO? I’ll never forget performing Bruckner’s Seventh Symphony with Kurt Masur at Carnegie Hall in New York in 2002. Masur wasn’t well and he hobbled on to the podium ... he didn’t look like he was going to make it to the end, but on the contrary: he created absolute magic, and an hour later stepped off the podium more youthful than ever! Another vivid memory is Mahler’s Second Symphony with Vladimir Jurowski and the London Philharmonic Choir at Royal Festival Hall in 2009. Such a brilliant combination of forces! I’m so glad this concert was captured forever on the LPO CD label, as it was such a special experience. What are the best and worst things about life as an orchestral musician? The best thing is being part of a team that has been performing since 1932, and will hopefully keep going for hundreds of years more! One of the hardest things is juggling family life with a busy schedule – it can be really tough at times, especially when we’re on tour. Can you tell us about your instrument? I actually play two instruments in the LPO, depending on the repertoire. One is a British-made Boosey and Hawkes E flat tuba which I’ve had for 35 years, and the other is a Yamaha copy of a 1920 York contrabass tuba which I’ve owned for 10 years, and which I use for larger weighty repertoire. What alternative career might you have liked to pursue, had you not become a professional musician? Definitely a chef – but I would probably eat too much food, therefore wouldn’t make any money, so on second thoughts … Meet our members: lpo.org.uk/players

This interview originally appeared in the Spring 2019 edition of Tune In, the Orchestra’s twice-yearly magazine. Read it online at issuu.com/londonphilharmonic, or call 020 7840 4200 to request a copy in the post.

London Philharmonic Orchestra | 23

GET

CLOSER

NEXT LPO CONCERTS

AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

WEDNESDAY 30 JANUARY 2019 7.30PM Handel Water Music, Suites 1 & 2 Purcell Dido and Aeneas Roger Norrington conductor Marie-Claude Chappuis Dido Lucy Crowe Belinda Benjamin Appl Aeneas Anna Dennis Second Woman Edward Grint Sorceress and Spirit Ciara Hendrick First Witch Anna Harvey Second Witch The Schütz Choir

SATURDAY 2 FEBRUARY 2019 7.30PM

FRIDAY 8 FEBRUARY 2019 7.30PM

Robin Ticciati conductor Christian Tetzlaff violin

David Parry conductor Vanessa Benelli Mosell piano

Sibelius Violin Concerto Bruckner Symphony No. 7 (Nowak edition)

Mendelssohn Ruy Blas Overture Chopin Piano Concerto No. 1 Elgar Symphony No. 2

ISLE OF

NOISES

ISLE OF

NOISES

BOOK NOW AT LPO.ORG.UK OR CALL 020 7840 4242 SEASON DISCOUNTS OF UP TO 30% AVAILABLE

24 | London Philharmonic Orchestra

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 25

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Mr James R. D. Korner

26 | London Philharmonic Orchestra

Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

Paul & Brigitta Lock Mr Peter Mace Patricia & Michael McLarenTurner Mr John Meloy Andrew T Mills Dr Karen Morton Mrs Jennifer Oxley Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Keith Bolderson Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters

Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Ms Jenny Watson CBE Mr John Weekes Mr Trevor Weston Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

London Philharmonic Orchestra | 27

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager

Lucas Dwyer PA to the Chief Executive/ Administrative Assistant

Emily Moss Education and Community Project Manager

Finance Frances Slack Finance and Operations Manager

Hannah Tripp Education and Community Project Co-ordinator

Dayse Guilherme Finance Officer

Development Nick Jackman Development Director

Concert Management Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

Graham Wood Concerts and Recordings Manager Sophie Richardson Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager

Public Relations Premier classical@premiercomms.co.uk Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Damian Davis Transport Manager

Megan Macarte Box Office Manager (Tel: 020 7840 4242)

Composer photographs courtesy of the Royal College of Music, London.

Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator

Rachel Williams Publications Manager

Cover artwork Ross Shaw Printer Cantate

Laura Kitson Assistant Transport & Stage Manager

Harriet Dalton Website Manager (maternity leave) Rachel Smith Website Manager (maternity cover) Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant

28 | London Philharmonic Orchestra