London Philharmonic Orchestra 21 Jan 2017 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Our 2017 concerts are part of

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 Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 21 January 2017 | 7.30pm Beethoven Fidelio Vladimir Jurowski conductor Ben Johnson Jaquino Sofia Fomina Marzelline Kristinn Sigmundsson Rocco Anja Kampe Leonore Christopher Purves Don Pizarro Michael König Florestan Ronan Collett Don Fernando Helen Ryan narrator Simon Williams narrator Daniel Slater director Malcolm Rippeth lighting designer Max Johns designer London Voices London Philharmonic Orchestra This concert is dedicated to the memory of Sir Georg Solti, LPO Principal Conductor 1979–83, on the 20th anniversary of his death. Generously supported by Victoria Robey OBE and members of our Fidelio Supporter Syndicate: His Excellency Dr Peter Ammon, German Ambassador to the United Kingdom; Peter & Fiona Espenhahn; and Rodrik & Irina Gofman.

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Conductor Vladimir Jurowski and director Daniel Slater discuss this evening’s performance of Fidelio within the context of the Belief and Beyond Belief festival.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO news 3 Sir Georg Solti 4–5 Belief and Beyond Belief 6 About the Orchestra 7 Leader: Pieter Schoeman 8 On stage tonight 9 Vladimir Jurowski 10–16 Tonight’s artists 17 Synopsis 18–21 Programme note 21 Recommended recordings 22 Next concerts 25 Sound Futures donors 26–27 Supporters 28 LPO administration

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 any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. 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 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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LPO news

LPO 2017/18 season launch The 2017/18 LPO season will be launched on Thursday 26 January 2017, when details of all concerts and events will be available online at lpo.org.uk. Booking opens on Wednesday 8 February online and via the LPO Box Office. To take advantage of priority booking (from Tuesday 31 January), become a Friend of the London Philharmonic Orchestra for as little as £50 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/support/memberships

FUNharmonics Appeal We recently launched this year’s Annual Appeal, which is supporting our series of FUNharmonics family concerts. Comprising hour-long fun, interactive concerts designed especially for children, plus pre-concert ‘have a go’ sessions and hands-on craft workshops themed around the concert repertoire, FUNharmonics offer an amazing way for children and their families to experience orchestral music. We’re asking you to help us make these experiences accessible to as many people as possible. Give to the appeal and fund the elements that make up a FUNharmonics day, supporting us in keeping the pricing of these concerts affordable for all. For more details or to donate, visit lpo.org.uk/appeal

Out now The Spring 2017 edition of Tune In, our free twice-yearly magazine. Copies are available at the LPO Information Desk in the foyer this evening, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

Sir Georg Solti This concert is dedicated to the memory of Sir Georg Solti, LPO Principal Conductor 1979–83, on the 20th anniversary of his death.

In 1938 Georg Solti was the guest conductor of the newly formed London Philharmonic Orchestra for performances at the Royal Opera House of Colonel de Basil's Russian Ballet Company. Solti spent the war as a refugee, unable to conduct, until he was invited to direct Fidelio at Stuttgart Opera House in 1946. This performance launched his career, which included his first significant recording with the London Philharmonic Orchestra, of Haydn’s ‘Drumroll’ Symphony, No. 103. His connection with the LPO continued throughout his life and included four years as Principal Conductor (1979–83). I was therefore delighted when Timothy Walker, Chief Executive of the LPO, suggested that this

evening's performance of Fidelio would be dedicated to Solti's memory. Solti loved working with young musicians and the Georg Solti Accademia di Bel Canto offers a unique programme of masterclasses for young singers and repetiteurs at the start of their careers. Each year twelve are selected from all over the world to participate in intensive workshops led by distinguished opera singers and coaches. I'm particularly pleased that soprano Sofia Fomina, a beneficiary of the Georg Solti Accademia, is singing Marzelline in tonight's performance. To find out more about the GSA and to support our work in Tuscany, Venice and now Beijing, see georgsoltiaccademia.org – Valerie Solti, January 2017

Solti conducts Beethoven on the LPO Label Beethoven Missa Solemnis Sir Georg Solti conductor Helen Donath soprano Doris Soffel mezzo-soprano Siegfried Jerusalem tenor Hans Sotin bass Edinburgh Festival Chorus London Philharmonic Orchestra

‘A wonderfully coherent interpretation – humane and humble – that proves utterly enthralling.’ The Guardian, 27 June 2014

£9.99 | LPO-0077 Recorded by BBC Radio 3 at London’s Royal Albert Hall on 10 September 1982

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

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Belief and Beyond Belief An overview of 2017’s year-long festival, by Richard Bratby

Roman Catholic) it seems profoundly strange. But this is what Mozart thought, what he felt: what he believed. And his music speaks to us. There’s something irreducible there. As Theodor Adorno once put it, ‘When I hear great music, I believe that I know that what this music said cannot be untrue.’

n a glass case at Mozart’s birthplace in Salzburg is a little wax doll. Its eyes look demurely downwards, it wears a crown four times the size of its head and it’s clad in what looks like an embroidered ballgown. This is the Loreto-Kindl (Loreto Child): a replica of an ivory model of the infant Christ housed in Salzburg’s Loreto Church. Believed to have miraculous properties, it was (and is) an object of pilgrimage. The Mozart family revered it. When, in Paris in 1764, the eight-year old Wolfgang fell sick, his father Leopold sent money back to Salzburg for a Mass to be said at the shrine of the Child. What are we to think of that today? When we hear the procession that opens Mozart’s Requiem and find our emotions responding to those sighing woodwinds, are we somehow feeling and reacting to the same impulse that once prompted Mozart to kneel before a wax doll? It’s a curious thing, the Loreto Child, and oddly touching. To 21st-century minds (and particularly if you’re not

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Which is why music has a central role – arguably the central role – in Southbank Centre’s year-long 2017 festival Belief and Beyond Belief: a cross-artform investigation of the great questions surrounding our experiences of life, death, religion and spirituality, and the role of religious belief in all its forms in the 21st century. Music, after all, is capable of articulating feelings and ideas that lie beyond words. That gives it a unique scope when dealing with a subject this vast, and this intangible. Belief, says LPO Principal Conductor and Artistic Advisor Vladimir Jurowski, is ‘probably the most all-encompassing theme we could find.’ ‘We were looking for something that would concern all people in all times. And of course you can’t help but come to all those basic questions of life and death: why are we here, what is the purpose of human existence?’ These are questions that – while central to the world’s major religions – are also of urgent importance to those who don’t follow any one specific faith. ‘Spirituality, obviously, is not only about organised religion and faith. It’s about the intangible matters, the non-corporeal realm of human existence’ says Jurowski. ‘As the Dalai Lama put it recently, we can all exist without religion – but we cannot exist without spirituality.’ No question, though: Western classical music’s centuries-old relationship with organised JudeoChristian religion offers a magnificent starting point. Mozart’s Requiem forms part of the series [performed by the London Philharmonic Orchestra and Choir on 25 March], as does Tallis’s Spem in Alium [8 April] and Haydn’s life-affirming oratorio The Creation [4 February] – expressions of belief, grounded in the certainties of a pre-Darwin age. In each of these masterpieces, contemplation of the divine actually intensifies the music’s humanity. Belief certainly enriches the experience of hearing these works today, but few would argue that they have nothing meaningful to say to an atheist or agnostic.

Still, as Jurowski explains, ‘I didn’t want us to limit ourselves to one period of time, one epoch. Working with a modern orchestra is like having a time machine at your disposal. You’re free to move in time and space within the duration of one concert.’ It’ll be thought-provoking but also enormous fun to travel in one evening [28 January] from the divinely ordered exuberance of Jean-Féry Rebel’s Les élémens (1737) to Milhaud’s La Création du monde (1923) and John Adams’s Harmonielehre (1985) – works that don’t so much celebrate an established universal order, as grab what they can find to hand and try to throw together a new one. It’s hard to feel that Also sprach Zarathustra – Richard Strauss’s explicitly post-Christian orchestral romp through Nietzsche [10 February] – sees the death of God as anything but a liberation. Wagner’s Parsifal [28 April; Act III excerpts], however, can be an altogether more troubling experience, as well as a transcendent one. And then there are the works that, in the sunset years of Western civilisation’s spiritual consensus, erect massive ramparts against the abyss. Gustav Mahler – a Jewish convert to Catholicism, and the first great composer to undergo analysis with Sigmund Freud – throws gigantic forces and every last ounce of creative muscle into his Eighth Symphony [8 April]. But what of Bruckner’s Ninth [22 March], designed by an unshakably devout composer as a final act of homage and praise ‘to my beloved God’? As his health failed, Bruckner prayed daily to be allowed time and strength to finish the Symphony. Neither was granted. And during the 20th century, art and belief have both tended to throw open questions rather than assert answers. Confronted with atrocities such as that commemorated in Martinů’s Memorial to Lidice [25 January], the silence that Charles Ives called The Unanswered Question [11 February] may be the only appropriate response. Yet even in atheist dictatorships, composers continued to seek meaning. ‘Shostakovich was never a believer’ says Jurowski. ‘He was afraid of death. He was convinced that with the end of human existence the human spirit also ceases to exist’. Somehow, though, in his fifteenth (and final) symphony [22 February] ‘he finds space in there for very loving music […] You are exposed to someone who has a thing or two to teach us about life.’ Edison Denisov’s Second Symphony [also 22 February], written during its composer’s terminal cancer, is even more

uncompromising. ‘He finds no consolation at the end of his journey. It was obviously an act of defiance.’ In a godless world, the very act of asserting religious belief becomes a radical act. In 1966, Krzysztof Penderecki’s Bach-inspired St Luke Passion [4 March] outraged Western modernists almost as much as it offended the authorities in communist Poland. The composer made its significance explicit: ‘The Passion is the suffering and death of Christ, but it is also the suffering and death at Auschwitz, the tragic experience of mankind in the middle of the 20th century’. Penderecki is as devoutly Roman Catholic as Mozart, but the St Luke Passion is designed for all listeners. Religion helps it tell its truths; but those truths are comprehensible even without belief. It’s why Jurowski has chosen to open Belief and Beyond Belief tonight not with a sacred work, but a semi-staged opera: a story of tyranny, freedom, courage and – supremely – human love: Beethoven’s Fidelio. ‘Fidelio celebrates what the German-Jewish philosopher Ernst Bloch called “The Principle of Hope” – one of the cornerstones of the human spiritual existence’, says Jurowski. ‘Hope is what makes us human, what gives life meaning; hope – when lived actively – has the power to change the world. Fidelio connects and mediates between the religious and humanist approach to life, and thus appears to me to be a perfect start for a celebration of spirituality and the human spirit.’ If there’s any one motto for this whole, intensely rich and complex journey into music and belief, ‘Hope’ would probably be it. ‘We’re not going to turn Southbank Centre into a place of worship’, says Jurowski. ‘We’re not going to turn the concert hall into a temple. We just want to look at all these different pieces of music by different composers, which are all concerned with the same questions’. In other words, to do what music lets us do more intensely than any other art form – explore different ways of simply being human. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Watch the interview with Vladimir and browse the full festival: lpo.org.uk/belief

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London Philharmonic Orchestra

Jurowski and the LPO can stand alongside the top international orchestras with pride. Richard Fairman, Financial Times, September 2015

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

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years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. 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: last season included visits to Mexico,

Pieter Schoeman leader

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

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 through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular 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

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 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur (see page 21).

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

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by the Candide Trust

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Tina Gruenberg Second Violins Andrew Storey Principal Katherine Lukey Jeongmin Kim Chair supported by Friends of the Orchestra

Tania Mazetti Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Violas David Quiggle Guest Principal Cyrille Mercier Co-Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Emmanuella Reiter Laura Vallejo Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

Gregory Walmsley Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Double Basses Kevin Rundell* Principal Sebastian Pennar Sub-Principal George Peniston Laurence Lovelle Tom Walley

Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday Clarinets Thomas Watmough Sub-Principal Paul Richards Bassoons Jonathan Davies Principal Gareth Newman Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Offstage Trumpet David Hilton Trombone Mark Templeton* Principal Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal Timpani Simon Carrington* Principal Assistant Conductor Jeremy Bines * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Nicholls

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport • Dr Barry Grimaldi • Sir Simon Robey

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Vladimir Jurowski conductor

Jurowski’s performances with the LPO these days really are unmissable.

The Times, March 2015

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. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017. Jurowski also maintains his position as Artistic Director of the State Academic Symphony Orchestra of Russia (Svetlanov Symphony Orchestra). 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). He 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; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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; Moses und Aron at Komische and 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 2015 he returned to the Komische Oper in Berlin for a universally acclaimed new production of Moses und Aron, and made his debut at the Bayerische Staatsoper in Munich with Prokofiev’s The Fiery Angel. Future highlights include his Salzburg Festival debut with Wozzeck, and his first return to Glyndebourne as a guest conductor, to lead the world premiere production of Brett Dean’s Hamlet. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus, won the 2015 BBC Music Magazine Opera Award.

Watch a video of Vladimir discussing his highlights of the LPO 2016/17 season: lpo.org.uk/jurowski1617

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Sofia Fomina

tenor | Jaquino

soprano | Marzelline

Ben Johnson represented England in the 2013 BBC Cardiff Singer of the World and won the Audience Prize. He is a former BBC Radio 3 New Generation Artist, 2008 Winner of the Kathleen Ferrier Awards, 2011 Wigmore Hall Emerging Talent, and a 2013–15 English National Opera Harewood Artist. He is Professor of Singing at the Royal Academy of Music, and in 2010 founded the Southrepps Classical Music Festival in Norfolk as Artistic Director.

Rising star soprano Sofia Fomina made a sensational debut at the Royal Opera House, Covent Garden, in 2012 as Isabelle in Laurent Pelly’s new production of Meyerbeer’s Robert le diable. Shortly afterwards, she made debuts with the Bayerische Staatsoper and Zurich Opernhaus, and was nominated by German magazine Opernwelt as Newcomer of the Year, following her role debut as Gilda in Rigoletto.

Highlights of the 2016/17 season include Mozart’s Requiem with the Rundfunk-Sinfonieorchester Berlin and with Andris Nelsons and the Boston Symphony Orchestra; Idamante in Mozart’s Idomeneo with the City of Birmingham Symphony Orchestra; and Bliss’s The Beatitudes with the BBC Symphony Orchestra. Ben will also sing Evangelist in Bach’s St Matthew Passion with the RTÉ National Symphony in Dublin, and give recitals at the Oxford Lieder Festival with pianists Sholto Kynoch and Graham Johnson, as well as at Wigmore Hall. Current and forthcoming releases include Szymanowski’s Love Songs of Hafiz and Symphony No. 3 with Edward Gardner and the BBC Symphony Orchestra for Chandos; a recording of sonnet settings with Graham Johnson for Champs Hill; and a collection of Victorian English songs with James Baillieu for Rosenblatt Recitals, recently released by Opus Arte. Recent operatic highlights include Eisenstein in Die Fledermaus for Opera Holland Park; Lysander in Britten’s A Midsummer Night’s Dream for Bergen National Opera; Carlo in Verdi’s Giovanna d’Arco at Buxton Festival; Oronte in Alcina with The English Concert; Alfredo in La traviata, Tamino in The Magic Flute and Nemorino in The Elixir of Love for English National Opera; Don Ottavio for Glyndebourne, ENO and Opéra National de Bordeaux; Novice in Billy Budd at Glyndebourne; and Copland’s The Tender Land at Opéra de Lyon.

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Ben Johnson

Born in Russia, Sofia’s career began at the Novosibirsk Opera Theatre. She later joined the ensemble of the State Theatre of Saarbrucken. From 2013–15 she was a member of Oper Frankfurt, where her engagements included Onoria in a new production of Gluck’s Ezio, Nanetta in a new production of Verdi’s Falstaff, Queen of the Night, Sophie in Werther, Blondchen in Die Entführung aus dem Serail, Zerbinetta in Ariadne auf Naxos and Musetta in La bohème. Last season Sofia appeared to great acclaim as Blondchen and Oscar in a new production of Un ballo in maschera at the Bayerische Staatsoper. She also sang Carmina Burana in a New Year Gala Concert with the Czech Philharmonic and Jakub Hrůša, and made her City of Birmingham Symphony Orchestra debut in a concert performance of Falstaff conducted by Edward Gardner. Sofia last appeared with the London Philharmonic Orchestra and Vladimir Jurowski in October 2016 for Mahler’s Symphony No. 4, and she will return on 8 April for Mahler’s Symphony No. 8, as well as performing Symphony No. 4 on tour with the Orchestra in Spain, Germany and New York. Other highlights of the 2016/17 season include a return to the Royal Opera House to sing Olympia in Tales of Hoffmann, and company debuts with Théâtre du Capitole de Toulouse as Berthe in a new production of Meyerbeer’s seldomperformed opera Le Prophète; and with Theater an der Wien as Aquillo in a concert performance of Adriano in Siria. Earlier this month Sofia made her debut with the Orchestra dell’ Accademia Nazionale di Santa Cecilia in a New Year’s Gala performance of Die Fledermaus.

Anja Kampe

bass | Rocco

soprano | Leonore

Lauded for his portrayal of Baron Ochs in Der Rosenkavalier that ‘dealt in revelations’ (Financial Times), this season Kristinn Sigmundsson joins the Théâtre Royal de la Monnaie as La Roche in Capriccio and Staatsoper Hamburg for Melchthal in Guillaume Tell. He also sings Bartolo in Le nozze di Figaro (Israel Philharmonic Orchestra) and Commendatore in Don Giovanni (Budapest Festival Orchestra). Last season he sang Hunding in Die Walküre (Dallas Symphony Orchestra), Melchthal in Guillaume Tell and Grand Inquisitor in Don Carlos (Staatsoper Hamburg), and Don Basilio in Il barbiere di Siviglia (Icelandic Opera). His also sang Dvořák’s Stabat Mater (Cincinnati May Festival) and Méphistophélès in La damnation de Faust (Grant Park Music Festival).

Anja Kampe’s international breakthrough took place in 2003 when she appeared as Sieglinde in Wagner’s Die Walküre at Washington National Opera, alongside Plácido Domingo as Siegmund. Since then, the German soprano has given guest performances of the role at Los Angeles Opera, San Francisco Opera, the Bayreuth Festival, the Bayerische Staatsoper Munich, the Staatsoper Berlin, the ‘Wagner in Budapest’ festival, the BBC Proms, the Théâtre des Champs-Elysées in Paris and the Gran Teatre del Liceu in Barcelona, among others.

Kristinn has sung nearly his entire repertoire with the Opéra National de Paris and the Metropolitan Opera, where he sang leading roles in Der Rosenkavalier, Die Entführung aus dem Serail, Die Walküre, Fidelio, Roméo et Juliette and Rusalka. He has also appeared regularly with the Staatsoper Wien, Bayerische Staatsoper and Semperoper Dresden, where his most recent performances include La damnation de Faust. Other recent engagements include Il barbiere di Siviglia, Corigliano’s The Ghosts of Versailles and Le nozze di Figaro (Los Angeles Opera); Don Giovanni (Munich, Berlin); Der Rosenkavalier, Lohengrin and Die Meistersinger von Nürnberg (Berlin); Der fliegende Holländer (Strasbourg); Medea (Salzburg); Parsifal (Cologne, Florence); Nabucco (Copenhagen), Lohengrin (Madrid, San Fancisco, Los Angeles, Munich); Tristan und Isolde (Santiago, Los Angeles, Dallas, Berlin); Die Walküre (Naples, Venice, Cologne); Tannhäuser (Geneva, Amsterdam, Tokyo); La damnation de Faust, Tristan und Isolde, Der fliegende Holländer, Rigoletto, Don Giovanni and Der Rosenkavalier (San Francisco); Lohengrin and Lucia di Lammermoor (Munich); Die Zauberflöte (Houston, San Francisco, Toulouse, Santiago); and Luisa Miller (Cincinnati).

Kristinn Sigmundsson

Anja Kampe is also famous for her sophisticated interpretation of Senta in Der fliegende Holländer, a role she has sung at the Royal Opera, Covent Garden; Bayerische Staatsoper; Théâtre Royal de la Monnaie in Brussels; New National Theatre, Tokyo; Deutsche Oper am Rhein; Staatsoper Hamburg; and Teatro Real in Madrid, as well as in Vienna, Zurich and Milan. In 2006 Anja made her debut as Fidelio/Leonore at Glyndebourne Festival Opera, and has since been invited to sing this role in Zurich, Los Angeles, Vienna and Munich, as well as at the Teatro alla Scala in Milan. Her repertoire also includes Ariadne, Isolde, Kundry, Tosca, Giorgetta, Carlotta, Jenůfa, Elsa and Odabella. In June 2016 the acclaimed soprano made her debut as Tove in Schoenberg’s Gurrelieder under the baton of Ingo Metzmacher at the KunstFestspiele Herrenhausen, reprising the role to great acclaim at the 2016 Edinburgh International Festival. She also performed Brünnhilde’s Schlussgesang from Die Walküre under the baton of Philippe Jordan in concerts at the Opéra Bastille in Paris and the Musikverein in Vienna. In November 2016 she made her debut as Katerina Izmailova in Lady Macbeth of Mtsensk at the Bayerische Staatsoper in Munich under the baton of Kirill Petrenko. In April 2017 she will make her debut as Brünnhilde in Die Walküre at the Salzburg Easter Festival under the baton of Christian Thielemann.

Please note the change of artist from originally advertised. London Philharmonic Orchestra | 11

Christopher Purves

Michael König

baritone | Don Pizarro

tenor | Florestan

Christopher Purves has received much praise for his acclaimed interpretations of a diverse and eclectic range of roles and repertoire, and is in great demand with leading opera houses and orchestras around the world. Highlights this season include the title role in Richard Jones’s new production of Don Giovanni for English National Opera; Alberich in Das Rheingold with the New York Philharmonic and Alan Gilbert; The Protector in George Benjamin’s Written on Skin for the Royal Opera House, Covent Garden; the title role in Barrie Kosky’s production of Saul at the Adelaide Festival; and Alberich in Götterdämmerung for Houston Grand Opera. Recent highlights include Written on Skin under Alan Gilbert at Lincoln Center, as well as on tour with the Mahler Chamber Orchestra; his debut at the Opéra de Paris in Schoenberg’s Moses und Aron; Alberich in Götterdämmerung at the Bayerische Staatsoper and in Siegfried with the Canadian Opera Company and Houston Grand Opera; his return to Glyndebourne Festival Opera as Gamekeeper in The Cunning Little Vixen and the title role in Handel’s Saul; the title role in Gianni Schicchi at Opera North; and Golaud in Pelléas et Mélisande at Welsh National Opera. Other operatic highlights include appearances at the Royal Opera House, Teatro alla Scala, Salzburger Festspiele, Staatsoper Berlin, Netherlands Opera, Welsh National Opera and English National Opera. An established singer of Baroque music, Christopher’s recent highlights include appearances with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, the Gabrieli Consort and Le Concert d’Astree. In 2012 his debut solo CD, Handel’s Finest Arias for Base Voice, was released on Hyperion with Arcangelo and Jonathan Cohen to critical acclaim.

12 | London Philharmonic Orchestra

The German heroic tenor Michael König performs in the world’s most prestigious opera houses including the Opéra National de Paris, Hamburg State Opera, Frankfurt Opera, Berlin State Opera, Bavarian State Opera, Gran Teatre del Liceu (Barcelona) and Teatro Real Madrid. His voice and powerful stage presence are in demand for renowned roles such as Florestan (Fidelio), Max (Der Freischütz), Lohengrin, Siegmund (Die Walküre), Erik (Der fliegende Holländer), Emperor (Die Frau ohne Schatten), Bacchus (Ariadne auf Naxos), Jim Mahony (Rise and Fall of the City of Mahagonny), Andrey Khovansky (Khovanshchina), Grigory/The Pretender (Boris Godunov) and Sergey (Lady Macbeth of Mtsensk), among others. In 2016/17 Michael König will perform at the Semperoper Dresden in concerts and a new production of Doktor Faust; in Beethoven’s Leonore with the Munich Radio Orchestra; in Ariadne in Nancy; and in the USA with the San Francisco Symphony Orchestra. In October 2017 Michael will make his debut at Milan’s Teatro alla Scala with Der Freischütz. Michael has performed with top orchestras including the London Philharmonic, London Symphony, Philharmonia, Berlin Philharmonic, Bamberg Symphony, Yomiuri Nippon Symphony, Swedish Radio Symphony, Montreal Symphony and Vienna Symphony orchestras, and the Gulbenkian Orchestra in Lisbon. He has worked with highly acclaimed conductors such as Christian Thielemann, Andris Nelsons, Daniele Gatti, Seiji Ozawa, Daniel Barenboim, Vladimir Jurowski, Gennady Rozhdestvensky, Hartmut Haenchen, Kent Nagano, Sebastian Weigle and Sylvain Cambreling. When he is not touring, Michael lives with his family in Haida Gwaii off the coast of British Columbia, Canada.

Ronan Collett

Daniel Slater

baritone | Don Fernando

director

Ronan is an ensemble member at Oper Stuttgart, where he sang Don Fernando earlier this season. Other recent roles there include Marcello (La bohème), Guglielmo (Così fan tutte) and Harlekin (Ariadne auf Naxos), which he also sang at Theater St Gallen. In November he gave the world premiere of Benjamin Ellin’s One Before Zero with the Orchestre de Picardie, as well as a recital of Shakespeare songs to mark the 400th anniversary of the Bard’s death. Later this season he makes his debut as Don Giovanni at Oper Wuppertal, and returns to the role of English Clerk in Death in Venice, which he previously sang under Martyn Brabbins. In concert, Ronan has performed extensively in Europe, Australia and Japan, and recitals have taken him to venues including the Auditorium du Louvre and Berlin Philharmonie. As a BBC New Generation Artist he appeared with orchestras including the BBC Philharmonic, BBC Symphony and BBC National Orchestra of Wales. He sang Bernstein’s Trouble in Tahiti with the Munich Radio Orchestra and Ulf Schirmer, L’enfance du Christ with the Scottish Chamber Orchestra and Robin Ticciati, and War Requiem at Perth International Festival, Sydney Opera House, Berliner Dom and Liederhalle Stuttgart. Other recent concert performances include Ein deutsches Requiem at the Liederhalle, Elijah at Berliner Dom, and Fauré’s Requiem with the Stuttgarter Ballet in homage to Kenneth MacMillan. Opera roles also include Papageno, Eugene Onegin, Count Almaviva, Aeneas, Pandolfe (Cendrillon) and Nardo (La finta giardiniera), as well as Kilian (Der Freischütz)with Sir Charles Mackerras at the Edinburgh International Festival. He made his debut at English National Opera as Morales (Carmen) and at La Monnaie as Maurevert (Les Huguenots) with Marc Minkowski. Ronan read Music at Pembroke College, Cambridge and subsequently studied at the Royal Academy of Music and Chapelle Musicale Reine Elizabeth.

Daniel Slater studied at Bristol and Cambridge. He previously worked with Vladimir Jurowski and the London Philharmonic Orchestra on Britten’s Peter Grimes at Royal Festival Hall in September 2013. Recent opera productions include Salome (Santa Fe); Aida (Opera Holland Park); Xerxes (Stockholm); and The Cunning Little Vixen (Garsington Opera: WhatsOnStage Best New Production award 2015). Other opera productions include L’elisir d’amore (Opera North, Welsh National Opera, New Zealand, Oviedo and Houston Grand Opera); Tannhäuser (Estonian National Opera); Nabucco (Vlaamse Opera); Lohengrin (San Francisco, Houston Grand Opera and Geneva); Tristan und Isolde (Oslo); Eugene Onegin (Opera Holland Park); La traviata (Houston Grand Opera); The Thieving Magpie, La Cenerentola, A Midsummer Night’s Dream and Die Entführung aus dem Serail (Garsington Opera); Don Pasquale (Geneva, Caen and Garsington); Don Giovanni (Birgitta Festival and Garsington); Wozzeck (Santa Fe); Peter Grimes (Geneva); L’arbore di Diana (Valencia); Samson (Buxton); Fortunio, Rigoletto, Falstaff and Don Giovanni (Grange Park Opera); Betrothal in a Monastery (Glyndebourne Festival Opera and Valencia); Manon Lescaut (Opera North, Oslo and Oviedo); Manon (Opera North); The Bartered Bride (Opera North, Strasbourg, New Zealand and Valencia); The Cunning Little Vixen (Bregenz, San Francisco and Geneva); The Barber of Seville and Der Vogelhändler (Berlin); and La bohème (Scottish Opera and Opera Ireland). Daniel was Associate Director of the Nottingham Playhouse and London’s Tricycle Theatre from 1993–95. His theatre productions include Romeo and Juliet for Singapore Repertory Theatre; Educating Rita for Hambledon Productions; Making Waves at the Stephen Joseph Theatre, Scarborough; Confusions at Salisbury Playhouse; Life Goes On at the Haymarket Theatre; Grab the Dog at the Royal National Theatre Studio; The Mark at Soho Theatre Company; Gangster Apparel at the Old Red Lion Theatre; Up Shit Creek at the Canal Cafe Theatre; and The Honest Whore and Three Birds Alighting on a Field at RADA. London Philharmonic Orchestra | 13

Helen Ryan

Simon Williams

narrator

Television appearances include Letters from Baghdad, Doctors, Holby City, Fallen Angel, Green Wing, Midsomer Murders, Brides in the Bath, Bella Block, Holby City, Bertie and Elizabeth, The Bill, Heartbeat, Captain Crimson, The Christmas Tree, Hannay, Just William, My Father’s House, The Making of Astronauts, Sherlock Holmes, and Princess Alexandra in the acclaimed series Edward VII (Writer’s Guild Award and BAFTA nomination). Theatre roles include Sally in Spillikin (Pipeline Theatre), Vera Klein in The Absence of War (Headlong), Mrs Bartholomew and Aunt Grace in Tom’s Midnight Garden (Manchester Library Theatre and Birmingham Stage Company), Pearl in Old Money (Hampstead Theatre), Edith in 13, The Cherry Orchard, The Madras House and The Country Wife (National Theatre), The Comedy of Errors (Royal Shakespeare Company), Lloyd George Knew My Father (Theatre Royal Bath and tour), Great Expectations and Tom’s Midnight Garden (Library Theatre), To Kill a Mockingbird and Pygmalion (Birmingham Rep), Separate Tables (The Mill at Sonning), A Little Night Music (Chicago Shakespeare Theatre), We Happy Few (Malvern Festival), Safari Party (Hampstead Theatre and Scarborough), Three Tall Women (Belfast/ Irish tour), Venecia (Gate Theatre), Juno and the Paycock (Donmar), Once a Catholic and Dangerous To Know (UK and Ireland tour), Twelfth Night (Nottingham), Driving Miss Daisy, Ghosts and Toys in the Attic (Watermill), My Fair Lady (European tour), All My Sons (West Yorkshire Playhouse, Madame Macadam Travelling Theatre and Field Day Theatre Company), Lettice and Lovage (Gielgud Theatre and tour). Helen Ryan has narrated many books on the radio for BBC Radio 4’s Woman’s Hour, and played leading roles in numerous radio plays.

14 | London Philharmonic Orchestra

Helen Ryan’s film appearances include WG in Writer’s Retreat, Confetti, Bird’s Eye View, The Hawk, The Misunderstood, The Elephant Man and Clash of Loyalties.

Simon Williams’s recent West End appearances include Yes, Prime Minister; Versailles; Chariots of Fire; and The Power of Yes at the National Theatre. On television he was last seen in A Very British Deterrent, The Rebel, The Syndicate and The Bletchley Circle, and once upon a time he played Captain James Bellamy in Upstairs, Downstairs. Other UK television credits include Lynda La Plante’s Above Suspicion, Spooks, Midsomer Murders, Sense and Sensibility, The Inspector Lynley Mysteries, Heartbeat, The Scarlet Pimpernel, Dinnerladies, Dalziel and Pascoe, Doctor Who and The Mysteries of Sherlock Holmes. At the moment he is Justin Elliot in BBC Radio 4’s The Archers. Simon will soon be seen in the film Viceroy’s House, directed by Gurinder Chadha, and a biopic of A A Milne. Other films include The Fever, The Opium Wars, The Fiendish Plot of Dr Fu Manchu, The Prisoner of Zenda, The Odd Job, No Longer Alone, The Incredible Sarah, The Blood on Satan’s Claw, The Breaking of Bumbo and Joanna. He has written two novels: Taking Oscars and Kill the Lights, and seven stage plays including Nobody’s Perfect and its sequel Nobody’s Fool; Laying the Ghost; and two thrillers: Kiss of Death and Double Death. His new play, Someone Else’s Love Story, is being produced next year. Simon is married to Lucy Fleming and they have a cockapoo called Gussie.

Malcolm Rippeth

Max Johns

lighting designer

designer

Malcolm Rippeth has designed extensively for theatre, opera and dance. He last worked with the London Philharmonic Orchestra and Vladimir Jurowski in March 2013 for Weill’s The Threepenny Opera at Royal Festival Hall and in Paris.

Max Johns trained in theatre design at Bristol Old Vic Theatre School. Prior to this he lived in Berlin, where he worked on a number of operas with designer Susanne Scheerer including L’incoronazione di Poppea Das Rheingold and Hans Krása’s Brundibár.

In 2010 he won a Village Voice OBIE award as a member of the design team for Brief Encounter off-Broadway; in 2009 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 2011 for the Outer Critics Circle Award for Brief Encounter on Broadway, and in 2016 for the Los Angeles Drama Critics Circle Award for Tristan and Yseult at South Coast Rep.

In 2015 Max was awarded a BBC Performing Arts Fellowship with Bristol Old Vic, during which time he designed Life Raft, Medusa and The Light Burns Blue. In 2014 he created a performance with a community choir for the Victoria and Albert Museum’s John Madejski Garden and the Wilderness Festival (The Merry Owls). Other recent productions include Kes for West Yorkshire Playhouse; Hamlet and All’s Well That Ends Well for Shakespeare at the Tobacco Factory; Bucket List for Theatre Ad Infinitum; Under a Cardboard Sea for Bristol Old Vic; There Shall be Fireworks for The Plasticine Men; Strawberry & Chocolate for Tobacco Factory Theatres; Infinity Pool and DOGTAG for Theatre West; A Christmas Carol for The Old Red Lion; An Elephant in the Garden for Poonamallee Productions; London Road, Dutchman and The Merry Wives of Windsor for Bristol Old Vic Theatre School; and The Eleventh Hour and Our Town for the Egg.

His recent theatre work includes A Midsummer Night’s Dream (Shakespeare’s Globe); The Umbrellas of Cherbourg, Six Characters in Search of an Author, Calendar Girls (West End); The Empress (RSC); Belong (Royal Court); Good Canary (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). He is an Associate Artist of Kneehigh Theatre, productions including 946: The Amazing Story of Adolphus Tips, The Flying Lovers of Vitebsk, Dead Dog in a Suitcase (and other love songs), 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 including Birmingham Rep, West Yorkshire Playhouse, Manchester Royal Exchange and Bristol Old Vic.

Max is currently designing Twelfth Night for the Orange Tree and Enron for the Egg.

Opera and dance includes Wallflower (Quarantine); Snow White (balletLORENT); Le Premier Meurtre (Opéra de Lille); Idomeneo (Garsington); Giovanna d’Arco (Buxton Festival); In Parenthesis (Welsh National Opera); Pleasure (Opera North) and Capriccio (Santa Fe).

London Philharmonic Orchestra | 15

London Voices Terry Edwards chorusmaster

London Voices was founded in 1981 by Terry Edwards and is now co-directed by Terry Edwards and Ben Parry. Terry Edwards was Director of the Chorus at the Royal Opera House, Covent Garden from 1992–2004, and Ben Parry is currently Director of the National Youth Choirs of Great Britain. London Voices draws on the pool of talented freelance professional solo, consort and choral singers who live in and around the capital, selecting the most suitable team for each project. Recent engagements have been as varied as the world premiere of Stockhausen’s opera Mittwoch, the first performances in China of Britten’s Peter Grimes and War Requiem, and a Bach/Reich programme at the 2016 Aldeburgh and Strasbourg festivals. The choir has a discography of over 200 recordings including recital discs with Angela Gheorghiu, Luciano Pavarotti and Bryn Terfel; works by 20th- and 21stcentury composers including John Adams (El Niño), Luciano Berio (Sinfonia), György Ligeti (the complete a cappella works), and Paul McCartney (Ecce Cor Meum); and large-scale choral works conducted by worldfamous names including Sir Georg Solti, Bernard Haitink and Sir Simon Rattle. London Voices has become the number one choir of choice for film soundtracks recorded in the UK: titles include Star Wars, Harry Potter, The Lord of the Rings, The Hobbit, Captain America, Beauty and the Beast and Doctor Strange. 16 | London Philharmonic Orchestra

Sopranos Ildiko Allen, Amy Carson, Elizabeth Drury, Cheryl Enever, Caroline Fitzgerald, Rachel Godsill, Alice Gribbon, Ruth Kerr, Philippa Murray, Christina Sampson, Rosalind Waters, Amy Wood Altos Amy Blythe, Helen Brookes, Tamsin Dalley, Amanda Dean, Alexandra Gibson, Vanessa Heine, Carmel de Jager, Susan Marrs, Melanie Sanders Tenors Richard Eteson, Peter Harris, Simon Haynes, Matthew Howard, Nicholas Keay, Norbert Meyn, Henry Moss, Julian Alexander Smith, Gareth Treseder, Andrew Walters, Richard Edgar Wilson* Basses Nicholas Ashby, Thomas Barnard, Neil Bellingham, John Evanson, Nicholas Garrett**, Christopher Jay Neale, Adrian Peacock, Simon Preece, Lawrence White, Jonathon Wood * First Prisoner ** Second Prisoner

Fidelio synopsis

ACT I

ACT II

Jaquino, a prison guard, tries to propose marriage to his sweetheart Marzelline, the gaoler Rocco’s daughter. Marzelline has lost interest in Jaquino, having fallen in love with Fidelio, a guard recently hired by her father. Jaquino is called away and Marzelline dreams of a life together with Fidelio.

In the dank prison dungeon, thoughts flicker through Florestan’s mind as he struggles to come to terms with the injustice of his imprisonment. He sees a vision of his wife as an angel.

Fidelio is actually a woman, Leonore, who has disguised herself as a young man in order to infiltrate the prison where she believes her husband Florestan to be secretly incarcerated. She has managed to secure Rocco’s trust in the hope of saving Florestan. Rocco sees a worthy successor in Fidelio and gives the young couple his blessing. He counsels that the key to a happy marriage is money. Fidelio offers to lighten Rocco’s workload. Rocco agrees, but draws the line at one unofficial prisoner who has been held in solitary confinement for over two years. Leonore persists, believing the man might be Florestan. Rocco promises to ask the prison governor, Pizarro, for permission for Fidelio to assist him. Pizarro arrives and asks for the dispatches. A letter warns him of a surprise prison inspection: government officials suspect he is hiding secret prisoners. He decides to kill Florestan before he is discovered, and enlists Rocco’s help. Rocco reluctantly agrees to dig the prisoner’s grave and help bury him. The men are unaware that Leonore has overheard their conversation. Alone, she loses heart, but the memory of her husband strengthens her resolve.

Fidelio and Rocco climb down into the dark cellar and get to work. Leonore cannot tell whether the prisoner is her husband or not, but resolves to free him regardless. Florestan wakes up, and she recognises his voice. She succeeds in giving him some bread, despite Rocco’s fears of being caught. Once all is ready, Pizarro makes his identity known to his victim as a prelude to the execution. As he is about to kill Florestan, Leonore throws herself between them and threatens to shoot Pizarro. A trumpet call signals the arrival of the Minister. Outside the gaol, prisoners are reunited with their loved ones. The Minister, Don Fernando, announces a general clemency for all political prisoners. Fernando is horrified to find his old friend Florestan among the freed prisoners. Pizarro will be punished for his crimes. Leonore removes her husband’s manacles, and the crowd praise her for her courage.

A version of this synopsis was originally printed for The Royal Opera performances of Fidelio at the Royal Opera House, Covent Garden in 2007 and 2011.

Leonore has the prisoners let out into the prison garden, hoping for a glimpse of Florestan. Rocco informs Fidelio that Pizarro has granted his permission, and that the boy is to help dig the prisoner’s grave. Pizarro is furious to learn that the prisoners have been let out of their cells. Rocco justifies the action by explaining that it is the King’s name-day. Pizarro orders Rocco to lock up the prisoners and waste no time in beginning the more important task at hand.

Interval

London Philharmonic Orchestra | 17

Programme note

Ludwig van Beethoven

Fidelio, Op. 72

1770–1827

Jaquino a prison gatekeeper

Ben Johnson

Marzelline Rocco’s daughter

Sofia Fomina

Rocco warden of the prison

Kristinn Sigmundsson

Leonore wife of Florestan, disguised as Fidelio, a young man

Anja Kampe

Don Pizarro Christopher Purves military governor of the prison First Prisoner

Richard Edgar Wilson

Second Prisoner

Nicholas Garrett

Florestan a prisoner

Michael König

Don Fernando minister

Ronan Collett

Narrators

Helen Ryan Simon Williams

Director

Daniel Slater

Lighting designer

Malcolm Rippeth

Designer

Max Johns

Deputy Stage Manager

Katie Thackeray

Surtitles

Kenneth Chalmers

London Voices London Philharmonic Orchestra

The edition of Fidelio used in this performance is published by Bärenreiter-Verlag Kassel, edited by Helga Lühning. Performed by arrangement with Faber Music Ltd, London.

18 | London Philharmonic Orchestra

ight from the very start, debate has raged as to what Fidelio was and is about, and the reception of Beethoven’s only opera is arguably further complicated by its different versions. The first version was completed in 1805 and incorporated elements written for an earlier unfinished work begun in 1803; a second version was prepared in 1806; and a third came into being when Beethoven insisted on adding further revisions ahead of performances eight years later.

That final version, which also included significant adjustments to the libretto, became known to posterity as Fidelio and was premiered at Vienna’s Kärtnerthortheater on 23 May 1814. The previous versions, rarely heard, are now referred to as Leonore, a name that, though preferred by Beethoven, was deemed inadvisable at the time because the same libretto had been set by others. In total, Beethoven also produced four overtures. There is one each for the first two versions of Leonore (‘Leonore II’ and ‘Leonore III’) and another, ‘Leonore I’, composed in 1807. The compact standard Fidelio overture was composed to precede the opera’s final version. But this complicated compositional history seems to matter little when presented with the apparently straightforward and unassailable position of Fidelio within Beethoven’s oeuvre, as a work whose conviction transcends such musicological details. The force of Beethoven’s music, moreover, is traditionally seen also as transcending the hybrid nature of its libretto – the piecemeal nature of the work’s gestation made for a complex and often awkward hybrid of rescue opera (a genre inspired by the French Revolution) and Singspiel. As such, the work itself serves almost as an allegory of Beethoven’s greatness and artistic heroism, blazing a trail from opening scenes rooted in small-scale domestic comedy towards a triumphant conclusion expressing the triumph of love, humanity and hope. It’s a work that has been intimately linked with politics right from the very start. Censors delayed the 1805 premiere of Leonore, objecting to the portrayal of Don Pizarro as an agent of tyranny. The librettist Joseph Sonnleithner defended it by claiming that the original libretto on which he’d based his text, Jean-Nicolas Bouilly’s Léonor, ou L’amour conjugal had pleased the Empress; that it was set a long time ago and far, far

away in 16th-century Spain (not quite true); and that it had nothing to do with politics and was, instead, about ‘wifely virtue’. That aspect would be what the 19th-century reception would focus on, largely thanks to the remarkable performances as Leonore by Wilhelmine SchröderDevrient (1804–60), a singer whom Beethoven (though deaf at the time) admired in the role – and whom Wagner venerated above all others. According to one historian, it was through her that ‘Fidelio was absorbed into the 19th-century cult of domesticity’. But from the beginning of the 20th century the opera began to be seen instead as expressing far grander ideas. In a famous Vienna staging, Gustav Mahler tried to underplay the work’s domestic elements. He cut out Rocco’s aria and emphasised the importance of the quartet ‘Mir ist so wunderbar’ as an expression of hope; he further separated the finale from what had gone before by performing the ‘Leonore III’ overture between the scenes of Act 2. For Mahler and many more, Fidelio became an allegory of suppression, liberation and the strength of the human spirit. Its power as such only increased as the 20th century ran its course; it is no coincidence that after the Second World War Fidelio became the work traditionally performed when opera houses in Germany and Austria, destroyed or damaged during the war, were reopened. Much of this power, arguably, derives from the fact that Fidelio is a secular work, onto which any number of beliefs and ideas can be mapped. This, Vladimir Jurowski explains, was precisely why he wanted to feature the work as part of the London Philharmonic Orchestra and Southbank Centre’s Belief and Beyond Belief festival. He was determined, he explains, not to place spirituality into the ‘narrow, straitjacket-like context of religion’. Alongside overtly religious works he always wanted to include pieces that presented a more broadly humanist philosophy. And Jurowski sees Fidelio as a piece that, although written by a deeply religious man, expresses precisely this humanist outlook. ‘It’s about the human being, not about the abstract idea,’ he explains. ‘Above all, it’s about us as humans and how we act when we are carried by hope. Fidelio is an ideal piece to demonstrate that hope, when put into action, can change reality London Philharmonic Orchestra | 19

Programme note continued

for the better. Hope is the actual subject matter, and also the object of adoration in this piece.’ Daniel Slater, the director of this evening’s concert staging, agrees: for him, too, Fidelio is primarily about hope. ‘The word Hoffnung [hope] comes up again and again and again, and that’s essentially what it’s about.’ Both conductor and director agree too that Fidelio is a psychological, philosophical drama that in many ways transcends the realist scenario that the libretto calls for. ‘I think there’s an extent to which Fidelio is nearly unstageable in a full sense,’ Slater notes. ‘The piece resists naturalism all the time. And there’s a difficulty, for example, in designing a space for Florestan, of creating a true hell on stage. And where’s it set in Act 1? Marzelline’s supposed to be ironing, then the prisoners are let out into the yard.’ A semi-staging means an opportunity to break away from the difficulties that naturalism creates: ‘We can hint at things and we don’t have to be bogged down in any of those problems.’ One of the ‘problems’ that Fidelio presents is that of the dialogue. ‘It’s never easy doing an opera with dialogue,’ Slater admits. For this performance, however, conductor and director decided at an early stage on a novel solution, replacing nearly all the original spoken text not with a narrative, as often happens, but with newly written words to be spoken by two actors. Slater describes this as a ‘kind of narrational dialogue’, delivered by two older actors who represent no-one in particular, ‘but offer a sense of having seen a lot, the horrors of the last 70 years or so. They’re talking about the events and those characters in a way that puts them into a context.’ And that context is always related, he adds, to the constant theme: hope. The narrative also aims to throw light on who and what the characters themselves might mean loosely to us today. ‘It presents a kind of meta-narrative. Rocco relates to other people throughout history who’ve been good, who’ve followed orders. But if he perhaps represents someone closer to us, Florestan and Leonore are what we wish we could be, but probably are not.’ Beethoven’s music is, of course, what elevates the words onto the page into a powerful musico-dramatic experience, transcending in many ways the details of the scenario. Wilhelm Fürtwängler went so far as to describe Fidelio as being as much a mass as an opera. Is there something to be said, I ask Jurowski, for 20 | London Philharmonic Orchestra

seeing it as closer to the Ninth Symphony or the Missa Solemnis? ‘Yes,’ he agrees, ‘and we are taking it away from the theatrical, dramatic ground and performing it more as a kind of deeply spiritual oratorio.’ The conductor tells me how his own musical understanding of the score’s greatness and power was helped by listening to a recording of a 1951 concert performance of the work conducted by Arturo Toscanini. ‘This was very radical: he completely cut all the dialogue and it was performed in concert as one piece. Because the set numbers were performed one after another without any comment, it really came across as some sort of spiritual oratorio set to worldly text, and it made me appreciate the almost religious quality of this music for the first time.’ The second major influence essential in having defined Jurowski’s approach to and understanding of the work, however, came in the theatre. This was Harry Kupfer’s 1997 production of the work, which Jurowski conducted while First Kapellmeister of the Komische Oper in Berlin. ‘From the rehearsals for that I learnt of a deeply humanist, humane approach to the score, a non-political approach. He was not trying to make the drama more real; he was actually stripping it of any ties to reality. This was the first time that the music spoke to me in such a direct way, and there was none of the embarrassment, which is often the case with Fidelio when it’s perfomed in the theatre, that you get because the drama feels so much weaker than the music.’ Slater cites this Berlin production as a major influence too, and describes it as the first time that the work fully made sense to him in the theatre: ‘Because it’s not really about the narrative. It’s about the feelings of these people. Vladimir and I both feel it’s not great drama, in a way, but it is amazing music. And at the core of it there’s something very profound – spiritually and philosophically very profound.’ Slater’s main aim in his directing the work for the London Philharmonic Orchestra, he tells me, is ‘to emphasise what’s glorious about Fidelio, so we can almost be unaware of the problems.’ Fidelio’s message of hope is one that has seen it, in recent years, staged with all manner of historical resonances, but Jurowski sees this as potentially problematic: ‘[specifically] updated versions can make

it pedestrian,’ he tells me, before recalling the success of the LPO’s concert staging, directed by Slater in 2013, of Britten’s Peter Grimes: ‘possibly one of the most realist of all operas.’ This served to ‘shift the drama into the music and the singing,’ he recalls, ‘and there is a lot more left for your imagination to fly freely. And I think this is where the music becomes the centre of everybody’s attention. ‘This can be the problem of theatre as such, when it tries to make things too real. Here in the concert hall we know it is an invented reality, that everything is in inverted commas. Yet the music is real and the emotions that are caused by the music are also real. This is what helps it become more of a religious than a dramatic event, some kind of collective meditation.’ Programme note © Hugo Shirley

Latest release on the LPO Label

BEETHOVEN Symphony No. 1 in C major Symphony No. 4 in B flat major Kurt Masur conductor London Philharmonic Orchestra

Recommended recordings Sir Mark Elder | London Philharmonic Orchestra; The Glyndebourne Chorus | Torsten Kerl, Anja Kampe et al (Glyndebourne Label) or Claudio Abbado | Lucerne Festival Orchestra and Choir | Jonas Kaufmann, Nina Stemme et al (Decca) Many of our recommended recordings, where available, are on sale at the Foyles stand in the Royal Festival Hall foyer.

£9.99 | LPO-0093 Recorded live on 24 & 27 November 2004

‘... The musicians of the LPO responded with litheness, a real sense of rediscovering the all-toofamiliar, and nigh-on impeccable playing.’ The Daily Telegraph, November 2004

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

London Philharmonic Orchestra | 21

Next concerts at Southbank Centre’s Royal Festival Hall WEDNESDAY 25 january 2017 7.30pm

saturday 28 january 2017 7.30pm

Giya Kancheli Mourned by the Wind (Liturgy for solo viola and orchestra)* Martinů Memorial to Lidice Vaughan Williams Symphony No. 9

Rebel Les élémens (Simphonie nouvelle) Milhaud La Création du monde John Adams Harmonielehre Vladimir Jurowski conductor

Vladimir Jurowski conductor Isabelle van Keulen viola† * Generously supported by donors to our Kancheli Appeal. † Please note a change of artist from previously advertised.

saturday 4 february 2017 7.30pm Haydn The Creation

Free pre-concert event 6.00–6.45pm • Royal Festival Hall Vladimir Jurowski conducts the LPO’s Foyle Future Firsts in a chamber performance of Mahler’s Symphony No. 4.

Book now lpo.org.uk 020 7840 4242 22 | London Philharmonic Orchestra

Sir Roger Norrington conductor Susan Gritton soprano Thomas Hobbs tenor Christopher Maltman baritone London Philharmonic Choir

THE ART OF ITALIAN OPERA

Photo: Clive Barda

Since 2004, the Georg Solti Accademia di bel canto has benefited hundreds of young singers from all over the world. Held each year in Castiglione della Pescaia, where Solti spent his summers, it offers an immersion in Italian opera.

Artistic Director: Jonathan Papp

Master teachers have included, Kiri Te Kanawa, JosĂŠ Carreras, Barbara Frittoli, Angela Gheorghiu, Mirella Freni, Leo Nucci, Richard Bonynge, and Mariella Devia. Honouring Soltiâ&#x20AC;&#x2122;s own beginnings as a repetiteur, the GSA also runs the unique Solti Peretti Repetiteurs Course in Venice each April.

To find out more about the work of the Accademia and how to support us

www.georgsoltiaccademia.org

MUSIC IS OUR WORLD.

Student & Under 26 NOISE Scheme at Southbank Centre’s Royal Festival Hall ‘Listening to the @LPOrchestra is one of the best things to do in life’

‘@LPOrchestra

bring it on!’

Students receive best available seats concert-goers are lucky to have for just £4 plus FREE post-concert drinks ‘London concerts as creative as this’ - Financial Times at selected concerts throughout the year. Sign up online at lpo.org.uk/noise The London Philharmonic Orchestra’s NOISE programme is supported by the Orchestra’s Principal Beer Sponsor, Heineken.

LPO CD Subscription Packages Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops. The perfect gift for a music lover! Available online at lpo.org.uk/recordings or from the LPO Ticket Office (020 7840 4242)

One-year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

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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 Lady 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 Queree 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 Victoria Robey OBE Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family Principal Associates An anonymous donor Mr Peter Cullum CBE Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Virginia Slaymaker Eric Tomsett Laurence Watt Michael & Ruth West

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mr Brian Smith The Viney Family Guy & Utti Whittaker Bronze Patrons An anonymous donor Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood

26 | London Philharmonic Orchestra

Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Mr Alan C Butler Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Derek B Gray Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills

Dr Karen Morton Mr & Mrs Andrew Neill Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece

Mr Olivier Rosenfeld Mr Kenneth Shaw Mr Kevin Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust 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 Roger Barron Richard Brass Desmond Cecil CMG Bruno de Kegel Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager