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NOISES Landmark classics inspired by the British Isles 1689 – 2019
Concert programme
lpo.org.uk
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 Wednesday 30 January 2019 | 7.30pm
Handel Water Music, Suite No. 1 in F major (26’) Water Music, Suite No. 2 in D major (10’) Interval (20’) Purcell Dido and Aeneas (55’)
Roger Norrington conductor
ISLE OF
NOISES Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Isle of Noises 7 Leader: Kevin Lin 8 Roger Norrington 9 Tonight’s soloists 13 Programme notes 14 New on the LPO Label 15 Dido and Aeneas synopsis 17 Recommended recordings 18 LPO Player Appeal 2018/19 19 Next concerts 21 Sound Futures donors 22 Supporters 24 LPO administration
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 Free pre-concert event: Behind the Baton 6.15–6.45pm | Royal Festival Hall Join Roger Norrington as he discusses his performance of these two musical giants, and the works being composed during this golden age of British music.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
This concert is being broadcast live by BBC Radio 3 and will be available for 30 days after broadcast on BBC Sounds; simply search for Radio 3 in Concert.
Welcome
Welcome 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 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
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Orchestra news
W
elcome to tonight’s London Philharmonic Orchestra concert – the first in our brand new series Isle of Noises, celebrating the music of the British Isles. Throughout 2019 we’ll be celebrating over three centuries of music in these islands, whether made in Britain, or inspired by the energy and enthusiasm of the audiences that composers of all nations found here. Turn to page 6 for a taste of what lies ahead throughout the series. We hope you enjoy tonight’s concert and can join us again at Royal Festival Hall again soon: turn to page 19 to see details of our next concerts.
LPO 2019/20 season launch Details of our 2019/20 concerts will available on our website from Monday 18 February, and booking opens on Wednesday 27 February online and via the LPO Box Office. To take advantage of priority booking (from Monday 18 February), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/friends
Asian adventures this spring This spring the Orchestra embarks on a major twoweek tour of Southeast Asia with conductor Vladimir Jurowski and violinist Julia Fischer. This marks our first visit to Taiwan in ten years and our first South Korean tour since 2010. The tour begins on 3 March, when the Orchestra departs Heathrow for the South Korean capital Seoul. There and in the city of Yongin we will perform works by Brahms, Bruckner, Mendelssohn and Strauss, before flying to Taiwan to give concerts in Taipei and Kaohsiung. We’ll then continue to China to perform at Beijing’s National Centre for the Performing Arts, the Concert Hall in Tianjin and the Oriental Art Center in Shanghai, before returning to London on 18 March. Follow all our touring adventures on Twitter: twitter.com/lporchestra
On stage tonight
First Violins Kevin Lin Leader Chair supported by The Candide Trust
Katalin Varnagy Chair supported by Sonja Drexler
Robert Pool Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp
Sarah Streatfeild Martin HĂśhmann Catherine Craig Tina Gruenberg Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Kate Birchall Nynke Hijlkema Ashley Stevens Joseph Maher Violas Richard Waters Principal Ting-Ru Lai Susanne Martens Katharine Leek Benedetto Pollani Naomi Holt
Cellos Pei-Jee Ng Principal Gregory Walmsley David Lale Laura Donoghue Elisabeth Wiklander Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra
Amy Roberts Max Spiers Cor Anglais Max Spiers Bassoon Gareth Newman Principal Horns David Pyatt* Principal
Trumpets Paul Beniston* Principal Anne McAneney*
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:
Chair supported by Geoff & Meg Mann
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
William & Alex de Winton Roger Greenwood Dr Barry Grimaldi Victoria Robey OBE Bianca & Stuart Roden Eric Tomsett Neil Westreich
Theorbos Jakob Lindberg Jørgen Skogmo Arch Lute/Baroque Guitar Jakob Lindberg Harpsichord Steven Devine Surtitles Damien Kennedy * Holds a professorial appointment in London Meet our members: lpo.org.uk/players
Chair supported by Sir Simon Robey
John Ryan* Principal Chair supported by Laurence Watt
Martin Hobbs
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
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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.
Kevin Lin leader
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. 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
Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.
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Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.
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dward Elgar never felt entirely comfortable at the top. As a new member of a London club, some time in the reign of Edward VII, a fellow composer – Sir Alexander Mackenzie, the well-connected head of the Royal College of Music – saw him dithering over the cheeseboard. ‘Why don’t you try the Port Salut?’ Mackenzie suggested, before lowering his voice to whisper, sarcastically ‘Salut d’Amour’. Elgar might have been knighted; he might have been acclaimed by Richard Strauss as Britain’s pre-eminent modern composer. But his clubbable, expensively-educated British colleagues quietly noticed his awkwardness and his Worcestershire vowels. As to the fact that he’d written bestselling salon favourites like Salut d’Amour; well, they were too polite to suggest that it was just a little bit – you know – common. But once in a while, they’d give him a quick kick in the shins – just to remind him. Elgar was a Roman Catholic – a faith that a mere 30 years before his birth had been denied full civil rights in the UK – and the more you dig into Elgar’s ‘Britishness’, the more complicated it gets. His music never quotes an English folk song even once; its roots are deep in the language of Brahms and Wagner. When Danny Boyle began the London 2012 Olympic opening ceremony with ‘Nimrod’ from the Enigma Variations (performed by the LPO on 9 November 2018), it was supposed to evoke a traditional, rural England. In fact, ‘Nimrod’ is a musical portrait of Elgar’s great friend August Jaeger – a German immigrant. The composer meant it to evoke not green and pleasant fields, but a slow movement by Beethoven. For the ultimate statement of musical Britishness, it’s got surprisingly international roots. Our 2019 Isle of Noises festival takes that paradox and revels in it. This is a celebration of British music that understands that even the most familiar masterpieces
For nine decades the London Philharmonic Orchestra has been at the heart of music-making in London, in the British Isles and in Europe – and we know that there’s never been any one thing called ‘British music’. Throughout 2019 we’ll be celebrating over three centuries of music in these islands: Richard Bratby introduces our new festival.
have a fascinatingly diverse heritage. Gustav Holst came from an immigrant family, and The Planets (23 October) is a journey towards blissful dissolution (nibbāna, if you like) that takes its philosophical basis from his lifelong fascination with Hindu and Buddhist scriptures. Benjamin Britten might seem like the ultimate Establishment figure, and yes, he used to take tea at Sandringham with the Queen Mother. But the fact that a gay composer (and a conscientious objector into the bargain) could become such a national institution in his own lifetime gives pause for thought. His Violin Concerto (27 September) was written in the USA and draws on Britten’s interest in the Second Viennese School. It’s a story that you encounter again and again throughout British music. The best pieces are the unexpected and obstinate ones, the hybrids that push insolently up through the cracks. When Ralph Vaughan Williams composed his ballet Job (7 December), he called it a ‘Masque’, invoking the era of Purcell and Lawes because he didn’t like the idea of polite audiences commenting ‘oh, did you see God at the ballet?’ In the event, audiences expecting something soothing from the composer of The Lark Ascending saw a green, semi-naked Satan dancing to music of angular strangeness. The agnostic Vaughan Williams came from an oldestablished family Ralph Vaughan Williams as a young man
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of liberal thinkers (he was related to Charles Darwin): he took his cues from William Blake. Meanwhile, up north: ‘You’ll never hear the thing again, my boy, why not throw in a couple of brass bands?’ said the conductor Thomas Beecham to the 29-yearold William Walton, as he began work on a choral commission for the 1931 Leeds Festival. Walton did just that, and the result – Belshazzar’s Feast (9 November) – is still a shocker: jazzy, raucous, shamelessly pagan. Walton’s chrome-plated self-assurance always played well in America. His Violin Concerto of 1939 (9 October) was written for the great American-Russian violinist Jascha Heifetz, and it has the streamlined, art-deco elegance of some great transatlantic liner. Not that British music needed to cross the Atlantic to hit the big time. The LPO’s evening of classic British film music (1 November) explores the curious fact that the most British love story of all time, Brief Encounter, uses music by Rachmaninoff – and that when another film, Dangerous Moonlight, tried to achieve the same effect, Richard Addinsell’s Warsaw Concerto proved almost indistinguishable from the real thing. Throughout the Edwardian era Edward Elgar worked on a colossal trilogy of New Testament oratorios, each of them conceived as an emotional drama closer in spirit to Wagner or Verdi than Mendelssohn or Parry. He was deeply invested in the story, consulting Jewish liturgical experts about the sound of the shofar in The Apostles (26 October). (He later incorporated this ancient instrument into the score). The result wasn’t just one of the earliest examples of cultural crossover in British music; it was frankly and uncompromisingly passionate. Vulgar, you might even say. ‘I’m told Mackenzie is foaming at the mouth about The Apostles’, wrote Jaeger to Elgar in 1903. This kind of thing just wasn’t British. But if vulgarity means vitality, originality, diversity, it’s been British music’s saviour. Today, the most exciting British composers are those who transgress boundaries and explore new worlds: the late, much missed Oliver Knussen’s fascination with that great Russian eccentric Scriabin, or anything at all by Thomas Adès – a composer who believes that ‘Grand failures are preferable to sneaky successes’. Not that the UK premiere of his Piano Concerto (23 October) is likely to be anything other than a major event (and what does it say that he’s chosen to pair it with The Planets?).
British composer Thomas Adès, whose Piano Concerto receives its UK premiere on 23 October 2019.
There’s no white-walled evasion of taste in Adès’s music. ‘We have a very highly developed nose for phoniness’, he says. ‘We won’t just accept something as sublime or whatever just because it tells us it is.’ In other words, we just have to listen – and if the music has something about it, it’ll speak to us. Isle of Noises ends with an outrage: the Dynamic Triptych by John Foulds (11 December). Foulds was born near Manchester, but moved to Delhi as head of music for the British Raj’s radio network. There, the servant of Empire let his own imagination be captured and transformed by the ancient culture he encountered, and although he died of cholera in 1939, leaving a trunkful of unperformed scores, the works he did complete are like nothing else in 20th-century music. It’s hard to describe the Dynamic Triptych. It’s an exuberant, supersophisticated, utterly vulgar mass of influences, ideas and contradictions – and it sounds fantastic. In other words, it couldn’t be more British. Be not afeard: the isle is full of noises, sounds and sweet airs, that give delight and hurt not. This is your music – discover it. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Pick up an Isle of Noises series leaflet as you leave tonight’s ISLE OF concert, or browse our January– May concerts online at lpo.org.uk/isleofnoises. The second half of the festival will be announced with our 2019/20 season launch in February (see page 2).
NOISES
London Philharmonic Orchestra | 7
Roger Norrington conductor
This was a lesson in how familiar things can be made exciting and risky, as if they were created yesterday.
© Manfred Esser
The Telegraph, September 2016 (Brahms’s Symphony No. 1 at the BBC Proms)
For 50 years Roger Norrington has been at the forefront of the movement for historically informed orchestral playing. Whether with his own London Classical Players in the 1980s, with his Stuttgart Radio Symphony, Camerata Salzburg or Zurich Chamber Orchestra in recent years, or with the Orchestra of the Age of Enlightenment from its foundation, he has sought to put modern players in touch with the historical styles of the music they play. The work involves orchestra size and seating, tempo, phrasing, articulation and sound. Sir Roger (he was knighted by the Queen in 1997) sang and played the violin from a young age, and began conducting at Cambridge. He studied at the Royal College of Music under Sir Adrian Boult and in 1962 founded the first of several groups for the performance of early music: the Heinrich Schütz Choir. This was followed ten years later by the London Classical Players, which achieved worldwide fame with its dramatic recordings of the nine Beethoven symphonies. Works by Haydn, Mozart, Berlioz, Brahms, Bruckner and many others followed, and established Norrington as a leading exponent of historical style. In 1966 Sir Roger became Music Director of the new and stimulating Kent Opera. Here again he introduced innovative thinking about orchestra size, playing style and tempi, particularly with the earlier repertoire. He brought to opera the distinguished directors Jonathan Miller and Nicholas Hytner. He conducted many hundreds of performances for Kent and went on to work at The Royal Opera, Covent Garden; English National Opera; La Scala; La Fenice; and the Vienna Staatsoper.
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Norrington moved on to share his historical findings with more ‘modern’ orchestras, choirs and opera companies. He is a frequent guest with many of the world’s major orchestras including the London Philharmonic, Berlin Philharmonic, Vienna Philharmonic, Deutsches Symphonie-Orchester Berlin, Leipzig Gewandhaus Orchestra, Concertgebouw Orkest, l’Orchestre de Paris and NHK in Tokyo. In the US he has appeared over many years with the Boston, Chicago and San Francisco symphonies, The Philadelphia Orchestra, the Cincinnati and Detroit symphonies, and the LA Philharmonic. Permanent posts with orchestras have included Chief Conductor of the Bournemouth Sinfonietta, Music Director of the Orchestra of St. Luke’s in New York, Chief Conductor (now Emeritus) of the Salzburg Camerata, Chief Conductor (now Emeritus for life) of the Stuttgart Radio Symphony Orchestra, Principal Conductor (now Emeritus) of the Zurich Chamber Orchestra, and Conductor Emeritus of the Orchestra of the Age of Enlightenment. With Stuttgart Sir Roger made a remarkable series of over 60 recordings spanning the core orchestral repertoire, with sets of works by Haydn, Mozart, Beethoven, Schubert, Berlioz, Mendelssohn, Schumann, Brahms, Dvořák, Tchaikovsky, Wagner, Bruckner, Mahler and Elgar. Taken together they offer a vivid glimpse of how a modern orchestra can get in touch with its historical roots, cherishing the gesture and sound each composer might have expected in his lifetime.
Marie-Claude Chappuis Lucy Crowe mezzo-soprano | Dido
soprano | Belinda
Milestones of her career so far include Idamante in Mozart’s Idomeneo, staged and conducted by Nikolaus Harnoncourt in Graz and Zurich; Ottavia in Monteverdi’s L’incoronazione di Poppea under René Jacobs in Berlin and Brussels; Lazuli in Chabrier’s L’étoile under John Eliot Gardiner in Zurich and Geneva; Carmen directed by Brigitte Fassbaender in Innsbruck; Dorabella in Cosí fan tutte at the Salzburg Festival; Sesto in La clemenza di Tito under Alain Altinoglu in Baden-Baden and Luxembourg; Contessa in Il matrimonio inaspettato, a rare opera by Paisiello, under Riccardo Muti at the Salzburg Festival and in Ravenna and Piacenza; and Marguerite in Berlioz’s La damnation de Faust under Roger Norrington in Leipzig. On the concert stage Marie-Claude Chappuis has recently sung with Il Giardino Armonico under Giovanni Antonini (Haydn’s Arianna a Naxos); the Gewandhaus Orchestra under Riccardo Chailly (Bach’s St Matthew Passion); the Salzburg Mozarteum Orchestra under Ivor Bolton (Mozart’s C Minor Mass); and the New Japan Philharmonic under Ingo Metzmacher (Beethoven’s Missa Solemnis). Her extensive discography includes Bach’s St Matthew Passion with Riccardo Chailly (Decca); Annio in La clemenza di Tito with René Jacobs; Idamante in Idomeneo with Nikolaus Harnoncourt (Styriarte Festival DVD); Telemann’s Brockes Passion (MIDEM Award 2009); Rameau’s Pygmalion with Les Talens Lyriques and Christophe Rousset (Aparte, 2017); Mozart’s Requiem with the Freiburg Baroque Orchestra and René Jacobs (Harmonia Mundi, 2017); and solo albums with lutenist Luca Pianca (Sous l’empire d’Amour, Deutsche Harmonia Mundi, 2017) and folksongs from Switzerland (Au coeur des Alpes, Sony Classical).
Born in Staffordshire, Lucy Crowe studied at the Royal Academy of Music, where she has recently been appointed a Fellow. © Harmonia Mundi USA
© Jo Simoes
Swiss mezzo-soprano Marie-Claude Chappuis pursued her vocal studies at the music conservatoire in her hometown of Fribourg, and at the Mozarteum University in Salzburg.
With repertoire ranging from Purcell, Handel and Mozart to Donizetti’s Adina and Verdi’s Gilda, she has sung with opera companies throughout the world, including the Royal Opera, Covent Garden, Glyndebourne Festival Opera, English National Opera, the Teatro Real Madrid, the Deutsche Oper Berlin, the Bavarian State Opera and the Metropolitan Opera. Lucy has performed at the BBC Proms and the Aldeburgh, Edinburgh, Mostly Mozart and Salzburg Festivals. Recital appearances include London’s Wigmore Hall, New York’s Carnegie Hall and Amsterdam’s Concertgebouw. She last performed with the London Philharmonic Orchestra at Royal Festival Hall in February 2017, as a soloist in Haydn’s The Creation under Roger Norrington with the London Philharmonic Choir. In 2016 she was a soloist in Beethoven’s Missa Solemnis under Mark Elder, again with the LPC. Future engagements include Haydn’s The Seasons with the Scottish Chamber Orchestra; Handel’s Messiah with the Handel and Haydn Society; Mahler’s Symphony No. 2 with the Berlin Philharmonic under Andris Nelsons; Pamina in The Magic Flute for English National Opera; the title role in Handel’s Rodelinda for Frankfurt Opera; Vixen in The Cunning Little Vixen with the London Symphony Orchestra under Simon Rattle; and returns to the Royal Opera and the Metropolitan Opera.
London Philharmonic Orchestra | 9
Anna Dennis
baritone | Aeneas
soprano | Second Woman
Benjamin Appl, Gramophone Award Young Artist of the Year 2016, was a BBC New Generation Artist from 2014–16 and was also a Wigmore Hall Emerging Artist and an ECHO Rising Star for the 2015/16 season. He became an exclusive Sony Classical recording artist in 2016 and his first solo album of German and English song for Sony Classical, Heimat, won the prestigious Prix Dietrich Fischer-Dieskau (Best Lieder Singer) at the 2017/18 Académie du Disque Lyrique Orphées d’Or.
Described by The Times as a ‘delectable soprano and a serene, ever-sentient presence’, Anna’s notable concert performances have included Britten’s War Requiem (Berlin Philharmonie), Thomas Adès’s Life Story accompanied by the composer (Lincoln Center), Orff’s Carmina Burana with the Orquestra Gulbenkian in Lisbon, Bach’s Christmas Oratorio with the Australian Chamber Orchestra at the Sydney Opera House and with Concerto Copenhagen in Amsterdam, and Haydn’s The Creation with Orchestra Ensemble Kanazawa in Japan. Her BBC Proms appearances include performances with the City of Birmingham Symphony Orchestra, the BBC Symphony Orchestra, Britten Sinfonia and the Orchestra of the Age of Enlightenment.
In concert he has appeared with the Akademie für Alte Musik Berlin, Gabrieli Players & Consort, Les Violons du Roy, Deutsche Kammerphilharmonie Bremen, Concerto Köln, the Symphony Orchestra of India, the Seattle Symphony, the Vienna Symphony and the major BBC orchestras, among others. Now an established recitalist, Benjamin Appl had the good fortune to be mentored by one of the greatest singers of the 20th century, Dietrich Fischer-Dieskau, and has performed at the Ravinia, Rheingau, Schleswig-Holstein, Edinburgh International and Oxford Lieder festivals, Heidelberger Frühling and the KlavierFestival Ruhr. He has performed at concert venues including Festspielhaus Baden-Baden, Het Concertgebouw, Amsterdam, Elbphilharmonie, Hamburg and the Musée de Louvre, Paris, and he is a regular recitalist at Wigmore Hall. He works closely with pianists Graham Johnson and James Baillieu. The 2018/19 season sees Benjamin’s professional recital debut in the USA, with a tour including performances at Park Avenue Armory, New York and the Phillips Collection, Washington DC. He will appear in concert with the NHK Symphony Orchestra under Paavo Järvi, the Philharmonia Orchestra, Concerto Köln, the Nordwestdeutsche Philharmonie and the Tonhalle Orchestra Zurich, alongside recital appearances at Wigmore Hall, the Schleswig-Holstein Festival, the Oxford Lieder Festival and the Schubertiade Hohenems. He will will give a performance of Mahler and Bernstein at the Osaka Castle Hall in Japan, broadcast by MBS TV. 10 | London Philharmonic Orchestra
© Sebastian Xander
© Lars Borges/Sony Classical
Benjamin Appl
Recent operatic roles include Paride (Gluck’s Paride ed Elena) at Nuremberg Opera House, Katherine Dee (Damon Albarn’s Dr Dee) at English National Opera, Emira (Handel’s Siroe) for Göttingen Händel Festspiele, Bersi (Andrea Chenier) for Opera North, Ilia (Idomeneo) for Birmingham Opera Company, Pamina (The Magic Flute) for Lichfield Festival, and Strawberry Seller & Strolling Player (Britten’s Death in Venice) at La Scala, Milan. A keen interpreter of contemporary music, Anna has created roles in premieres of Francisco Coll’s Café Kafka (Royal Opera House/Opera North/Aldeburgh), Jonathan Dove’s The Walk From The Garden (Salisbury Festival) and The Enchanted Pig (Young Vic), Edward Rushton’s The Shops (Bregenz Festspiele/Royal Opera House), Will Tuckett’s Pleasure’s Progress (Royal Opera House) and Yannis Kyriakides’s An Ocean of Rain (Aldeburgh Festival/Amsterdam Muziekgebouw). Recent concert performances have included major roles in all three Monteverdi operas with John Eliot Gardiner, Schoenberg’s String Quartet No. 2 at the Auditorio de Tenerife, Bach’s Christmas Oratorio with the Orchestra of the Age of Enlightenment under Masaaki Suzuki, and Queen of the Night (The Magic Flute) in performances with Clarion Music Society in New York.
Ciara Hendrick
bass-baritone | Sorceress and Spirit
mezzo-soprano | First Witch
British bass-baritone Edward Grint studied at King’s College, Cambridge as a choral scholar, and at the International Benjamin Britten Opera School at the Royal College of Music. He was awarded Second Prize at the 3rd International Singing Competition for Baroque Opera in Innsbruck, was a finalist in the 2014 London Handel Competition, and won the Clermont-Ferrand Competition in France.
Ciara Hendrick studied at the Guildhall School of Music & Drama, where she was a finalist in the Gold Medal Competition, and at the opera studio of L’Opéra National du Rhin (Les Jenues Voix du Rhin). As a member of the Glyndebourne Chorus she was invited to participate in the Jerwood Young Artist Programme, taking the role of Margarida in Julian Philips’s The Yellow Sofa.
© Harmonia Mundi USA
© Jan Rebuschat
Edward Grint
On the operatic stage, Edward’s roles include Arcas in Gluck’s Iphigénie en Aulide (Theatre an der Wien), Adonis in Blow’s Venus and Adonis and Aeneas in Dido and Aeneas (Innsbruck Festival), Father Akita in Neige by Catherine Kontz (Grand Theatre Luxembourg), and Teobaldo in Handel’s Faramondo (Göttingen Handel Festival). Other roles include Hobson in Peter Grimes, Mother in Weill’s Die sieben Todsünden (Cuenca Festival), Thoas in Iphigénie en Aulide (Euphonia), Zaretsky in Eugene Onegin (Ryedale Festival), Guglielmo in Così fan tutte (Rye Festival), and Achilla in Giulio Cesare in Amsterdam under Michael Chance.
This season Ciara has been selected as one of the Orchestra of the Age of Enlightenment’s Rising Stars. Recent engagements include Ino in Handel’s Semele with the OAE under Christophe Rousset at Royal Festival Hall and the Vienna Musikverein; Fortuna/Valetto in Monteverdi’s L’incoronazione di Poppea with Opera North under Laurence Cummings; La Messaggera in Monteverdi’s L’Orfeo in Venice with I Fagiolini; Aréthuse in Charpentier’s Actéon with the Early Opera Company; Rosmilda in Handel’s Elpidia for the Halle Handel Festival; and Bach’s St John Passion with Mark Padmore and Britten Sinfonia at the Barbican.
Recent appearances as soloist include Mozart’s Mass in C minor at the Salzburg Festival under Roger Norrington; concerts with the Irish Baroque Orchestra and with Les Arts Florrisants; Handel’s Acis and Galatea with Banquet Celeste; Messiah with The Hanover Band; and Bach’s Mass in B minor with the BBC Symphony Orchestra under John Butt.
Recording credits include Bach’s Christmas Oratorio with the Dunedin Consort; the role of Venus in the awardwinning world premiere recording of Pepusch’s opera Venus and Adonis; Daniel in Handel’s Susanna with Laurence Cummings and the Göttingen Handel Festival Orchestra; Juno in Daniel Purcell’s The Judgement of Paris with Spiritato; and the title track of Oscarnominated film Incendies with the London Symphony Orchestra.
London Philharmonic Orchestra | 11
© Justin Kim
Anna Harvey
The Schütz Choir
mezzo-soprano | Second Witch
Tom Seligman Chorus Master David Clegg Chorus Manager
British mezzo-soprano Anna Harvey’s 2018/19 roles at Deutsche Oper am Rhein, where she is a member of the solo ensemble, include Hänsel (Hänsel und Gretel), Flosshilde in a new production of Das Rheingold, Suzuki (Madama Butterfly) and Tisbe (La Cenerentola). She also appears in concerts of Handel’s Messiah with the Zurich Chamber Orchestra, and with the Royal Philharmonic Orchestra at the Royal Albert Hall. In September 2017 she won the Oratorio and Audience Prizes at the Grand Final of the International Vocal Competition ‘s-Hertogenbosch.
Tonight’s incarnation of the Schütz Choir builds on the work achieved by the choir in previous decades. Established by Roger Norrington in the 1960s, it now features a new generation of singers brought together by the British countertenor David Clegg and showcases some of the UK’s finest consort singers, all armed with a wealth of experience and skill. The singers selected for this choir have all appeared in concert halls and opera houses around the world as soloists and choristers, singing a variety of repertoire ranging from medieval and renaissance miniatures through to contemporary scores via the highways and byways of oratorio and opera. They are delighted to be singing in this collaboration with the London Philharmonic Orchestra, performing Purcell’s great operatic masterpiece, Dido and Aeneas.
Last season’s operatic engagements included Orlofsky (Die Fledermaus) and cover of Octavian (Der Rosenkavalier) at Welsh National Opera, where she is an Associate Artist and recipient of the Chris Ball Bursary; Ramiro (La finta giardiniera) at the Ryedale Festival; Cherubino (The Marriage of Figaro) for Nevill Holt Opera; and Nerone (L’incoronazione di Poppea) for Longborough Festival Opera. In concert, she appeared with ensembles including The English Concert, the Gabrieli Consort, Arcangelo, the Royal Philharmonic Orchestra, the Gulbenkian Choir, the Xi’an Symphony Orchestra, and at the Al Bustan and Three Choirs festivals. Other recent highlights include La Grosse Dame in Poulenc’s Les mamelles de Tirésias (Dutch National Opera), Cherubino (Longborough Festival Opera, West Green House Opera, and cover for Welsh National Opera), Bradamente in Alcina (Longborough Festival Opera), cover Serfain in Elena Langer’s Figaro Gets a Divorce (WNO), Handel’s Messiah at Royal Festival Hall and Cadogan Hall, Bach’s Mass in B minor with Royal Northern Sinfonia under Paul McCreesh, and Vivaldi’s La Senna festeggiante at the Spitalfields Festival with Harry Bicket and The English Concert.
12 | London Philharmonic Orchestra
Sailor Hugo Hymas ˜ Sopranos Miriam Allan, Charlotte Ashley, Jessica Cale, Amy Carson, Katy Hill, Emma Walshe Altos David Clegg, Hannah Cooke, Francis Gush, Lara Rebekah Harvey, Martha McLorinan Tenors William Balkwill, Matthew Beale, Hugo Hymas, Laurence Kilsby Basses Michael Craddock, Robert Davies, Tom Herring, William Townend, Laurence Williams
Programme notes first half
Speedread Two great Baroque favourites from London form tonight’s programme. Handel’s Water Music is background entertainment music of the highest calibre, composed to tickle the ears of King George I and his society guests as they made their stately progress along the Thames on a summer evening. The King liked it very much, and it has continued to make itself familiar to audiences ever since.
George Frideric Handel
Despite its small dimensions, Purcell’s Dido and Aeneas is not only the best-known of all Baroque operas but one of the most richly delightful, as befits the work of a great master of music-drama and English word-setting. Its ending – Dido’s famous Lament – is among the most emotionally powerful moments in all music.
Water Music: Suite No. 1 in F major Suite No. 2 in D major
1685–1759
Suite No. 1 in F major 1 Overture: Adagio – Allegro 2 Adagio e Staccato 3 Allegro – Andante – Allegro 4 Minuet and Trio 5 Air 6 Minuet and Trio 7 Bourree 8 Hornpipe 9 Finale: Allegro
Suite No. 2 in D major 1 Prelude: Allegro 2 Alla Hornpipe 3 Minuet 4 Lentement 5 Finale: Bourree
Although his greatness was readily acknowledged by his contemporaries, Handel was seldom neglectful of the need to cultivate the right contacts. On arriving in England, not long after acquiring a post back in Germany as Kapellmeister (director of music) to the Elector of Hanover, he quickly and shrewdly moved to establish himself not only in operatic circles, but also at court. By the time of Queen Anne’s death in 1714, he had composed music for a number of royal and state occasions and won himself a royal pension. Not even his failure to return to Hanover and resulting dismissal from the Elector’s service the previous year was as damaging as it might at first have appeared: everyone was aware that when the ailing Anne died, the Elector would succeed to the British throne, and there is evidence to suggest that Hanover was quite happy for Handel to remain in London as a useful source of inside information.
Continued overleaf London Philharmonic Orchestra | 13
Programme notes first half
The famous old story, then, that Handel won back the favour of the Elector after his accession as George I by secretly providing music for a royal river party on the Thames must be taken with a pinch of salt. Neither is it clear when it took place, since there were river parties every summer from 1715 to 1717, and only at the last of them is Handel’s music known to have been heard. It is likely that he composed for all of them, however, and that the so-called ‘Water Music’ is therefore a compilation of this music. A newspaper account of the 1717 party, which went in open barges from Whitehall to Chelsea and back, tells us that the King liked Handel’s music ‘so well, that he caus’d it to be plaid three times on going and returning’. He had good reason to, for this is an extraordinarily rich collection of 20 or so pieces (a selection of which we hear tonight), covering a wide range of styles and employing a powerful orchestra (‘50 instruments of all
sorts’ were reported in 1717) whose diverse colourings must have been a revelation to English listeners. The F major Suite (No. 1) features horns, instruments clearly suited to bold outdoor performance in the difficult acoustic circumstances of an open river, and as it opens with an Overture, it can perhaps be imagined as the one which played as the party set off. Horns were a rare inclusion in the orchestra at this time; although they had recently found their way into the opera pit, that was primarily for specific effects to do with the hunt, and they must have made a novel impression in this predominantly tuneful entertainment music. Despite their presence, the F major Suite has notable moments of tenderness, however, certainly when compared to the D major Suite (No. 2), in which the horns are joined by trumpets, resulting in music which is more overtly brassy; if nothing else, this is the music which must have carried furthest across the water.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
£10.99 | LPO-0110
£9.99 | LPO-0109
£9.99 | LPO-0108
Recent releases on the LPO Label
POULENC
TCHAIKOVSKY
THE GENIUS OF FILM MUSIC
Piano Concerto Organ Concerto | Stabat Mater
Symphonies Nos. 2 & 3
Hollywood Blockbusters 1980s–2000s
Vladimir Jurowski conductor
Yannick Nézet-Séguin conductor Alexandre Tharaud | James O’Donnell | Kate Royal | London Philharmonic Choir CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.
14 | London Philharmonic Orchestra
Dirk Brossé conductor Includes music from Star Wars, La Vita è bella, Gladiator, The Mission & Indiana Jones
Purcell: Dido and Aeneas synopsis
Henry Purcell 1659–95
Dido and Aeneas 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 Hugo Hymas Sailor The Schütz Choir
The programme note begins overleaf. Synopsis Nahum Tate’s economical libretto assumes considerable prior knowledge of the story on the part of listeners, and presents many of the episodes of the story without explanation. He does not tell us, for instance, that Dido has recently been widowed, or that Aeneas, a Trojan prince who has escaped the Sack of Troy and is bound for Italy to found in Rome, has been driven into Carthage by a storm at sea. Act 1 The Palace Dido, Queen of Carthage, confesses to her sister and confidante Belinda that she is suffering a torment whose cause she cannot reveal. Belinda suggests that the answer lies with her handsome ‘Trojan guest’. Dido is reluctant to admit as much, but is further encouraged by Belinda and her fellow courtiers, who insist that Aeneas reciprocates her feelings. When he appears, she finally gives in to love, urged on once more by Belinda. The act ends with general rejoicing and a Triumphing Dance.
Act 2 The Cave The Sorceress (a role often sung by a man, as this evening) calls together her attendant witches, and outlines her spiteful plans for Dido’s downfall: one of the witches, disguised as the gods’ messenger Mercury, will appear to Aeneas and remind him of the destiny that awaits him in Rome. In the meantime they will disrupt the lovers’ hunting by conjuring a storm.
The Grove Dido and her court are resting after the hunt. Belinda sings of the idyllic surroundings, and a Second Woman recalls the fate of the fabled hunter Acteon, killed by his own hounds after being turned into a stag. Aeneas enters, proudly displaying the head of a vanquished boar, at which point the storm breaks and the entire court hurries back to town. As they leave, Aeneas is detained by the false spirit, who orders his immediate departure for Italy. Aeneas submits, but is horrified at the thought of breaking the news to Dido.
Act 3 The Ships Aeneas’s sailors sing and dance with joy at their departure. The watching Sorceress and Witches celebrate their malice in songs and dances of their own (referring to Dido by her alternative name, Elissa), during which they plot another storm, this time for Aeneas and his fleet. The Palace Dido, having presumably seen the sailors’ preparations, expresses her feelings of foreboding to Belinda. A sorrowful Aeneas appears and tries to explain himself, but Dido angrily rejects him, even after he has weakly promised to stay. As Aeneas leaves, Dido prepares for the only course left to her – to embrace death. Synopsis © Lindsay Kemp
London Philharmonic Orchestra | 15
Programme notes second half
D
ido and Aeneas is Purcell’s single most famous work. Familiar to audiences long before the rehabilitation in recent decades of Monteverdi and Handel, it is also the best-known opera to have been composed before Mozart. And for good measure it is perhaps the world’s favourite opera in English. These are heavy burdens for such a relatively small work to bear, and the weight of them has undoubtedly distorted perceptions of its place in the composer’s output. In Purcell’s time, through-composed opera in which the entire text was sung was very rare in England, where the dominant musico-dramatic form mixed music with speech. This latter type of opera (known today by the term ‘semi-opera’) was the one which was regularly seen on the professional stage and carried the most prestige, and it was on Purcell’s own examples – Dioclesian, King Arthur, The Fairy Queen and The Indian Queen – that his reputation as a theatre composer was built. Dido and Aeneas was composed for more intimate surroundings, and those few of Purcell’s contemporaries who did know it did not even consider this pocket masterpiece to be among his most important works. For many years it was accepted that the premiere took place in 1689 at a girls’ boarding school in Chelsea run by the dancing master and choreographer Josias Priest, and that this essentially amateur production, performed by teenage girls, was the only one in Purcell’s lifetime. Such a performance could account for the work’s brevity, its small role for Aeneas, and possibly many aspects of the treatment of the story as well. In recent years, however, the possibility has been mooted that Dido is older than that, and may have been performed privately at court in the early 1680s. The evidence put forward is circumstantial rather than positive, but gives us cause to think again about some of the work’s undeniable dramaturgical oddities and gaps. For what if the work as we know it – which is from a score copied more than 40 years after the composer’s death – is an altered version of an earlier original? Whatever the difficulties of establishing the opera’s provenance, it is far easier to determine where it comes from in stylistic terms. For one thing, although the semi-spoken ‘masque’ had been the favoured form of musical drama in England throughout the 17th century, Dido and Aeneas was not the only through-composed
16 | London Philharmonic Orchestra
English opera of its time. In the early 1680s Venus and Adonis, an all-sung masque by Purcell’s teacher John Blow, had been performed before the court, and the parallels between it and Dido are striking, not least in similarities of storyline and the division of both dramas into a prologue and three acts lasting just over an hour in total. Significantly, perhaps, Venus and Adonis was revived at Priest’s school in 1684. And in 1685 Albion and Albanius, an opera by Louis Grabu, was performed in London, introducing English audiences to the musical manners of French tragic opera, and the following year the real thing arrived in the form of a production of Lully’s Cadmus et Hermione. The French operatic style, with its flexible and expressive species of vocal declamation, cannot have failed to make a strong impression on a sensitive handler of text like Purcell. The contribution of Purcell’s librettist, the Dublinborn Nahum Tate, has long come in for criticism, but in many ways this has been harsh. He was certainly no great versifier, despite the fact that he was later to become Poet Laureate, but he was an experienced adapter of Shakespeare and in this case made a good job of streamlining the story of the love between the Trojan hero Aeneas and the Carthaginian queen Dido, and of her subsequent suicide when he leaves to fulfil his destiny as founder of Rome. (The story itself would have been familiar to the educated English classes from Book IV of Virgil’s epic poem Aeneid, which they could have studied in Latin lessons or read in one of the several translations that had appeared during the 16th and 17th centuries.) Tate’s structure – three acts, each divided into two scenes – is clear and concise, and his verse never defeats the ever-resourceful Purcell. Furthermore, he carefully alters the slant of the drama, making it less conventionally ‘heroic’ and more human. Virgil’s Aeneas spends a winter of lustful dalliance with Dido before the gods remind him that his true course lies elsewhere; when he leaves out of duty, the rejected queen stabs herself as if in a fit of pique. Tate’s version emphasises Aeneas’s weakness and hypocrisy, letting him be easily tricked into leaving after just one night by a group of malicious witches brought into the story by Tate himself. Dido is now the sympathetic figure, her death noble and non-violent, and the exact nature of the couple’s love scarcely alluded to. The implicit message becomes among other things a warning as to the essential untrustworthiness of men – very suitable for a girls’ school!
Of course, the dignity of Dido’s death arises more from Purcell’s music than from Tate’s verse. The final scene, from the stricken recitative (‘Thy hand Belinda’) through the famous lament spun memorably over a resigned, descending ground bass, to the final heartbreaking chorus, is distinguished by music whose power to move deeply never fails, no matter how often one hears it. But Dido’s heroic spirit has been established from her appearance in the first scene, when she confides her un-nameable torment in another ground-bass air (‘Ah! Belinda’). Her surrender to love is reluctant, and if she takes any real joy in it, she never expresses it directly – it is only her courtiers who rejoice.
Moments such as these, as well as numerous others throughout the opera, reveal just what a powerful master of dramatic word-setting Purcell was, but Dido and Aeneas would not enjoy the popularity it does if it did not appeal on other levels as well – in its tunefulness, evocative power, and, yes, its conciseness. Short it may be, but it encompasses much, from courtly rejoicing in the Triumphing Dance of Act 1 to rumbustiousness in the Act 3 sailors’ farewell, to the curious mixture of humour and grotesque that characterises the witches’ scenes, all of which come together to make what must be one of the most tightlypacked hours of opera ever composed.
Aeneas, by contrast, is a sketchy figure in this opera, not even enjoying the benefit of a single air in which to declare himself. But Purcell does not forget him, and while he only awards him recitatives, they are of high quality. Indeed, Aeneas’s chastened anticipation at the end of Act 2 of Dido’s reaction to his departure, and his subsequent shamefaced appearance before her in Act 3, are among the most expressive recitatives in the opera.
Programme notes © Lindsay Kemp
Recommended recordings by Laurie Watt
Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Handel: Water Music – Suites Nos. 1 & 2 London Classical Players | Roger Norrington (Virgin Classics) or Orchestra of St. Luke’s | Charles Mackerras (Telarc) Purcell: Dido and Aeneas Janet Baker et al | English Chamber Orchestra Anthony Singers | Anthony Lewis or Sarah Connolly et al | Orchestra and Chorus of the Age of Enlightenment (Chandos)
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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
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London Philharmonic Orchestra | 21
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
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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 | 23
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
24 | London Philharmonic Orchestra
Rachel Smith Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant