LPO programme: 22 Feb 2023 - Adès conducts Adès

2022/23 concert season at the Southbank Centre

Where music takes you

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen

Principal Guest Conductor Karina Canellakis

Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Artistic Director Elena Dubinets Chief Executive David Burke

Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall

Wednesday 22 February 2023 | 7.30pm

Adès conducts Adès

Sibelius

Overture to The Tempest (5’)

Sibelius

Suite No. 1 from The Tempest (20’)

Thomas Adès

The Tempest Symphony (UK premiere) (22’)

Interval (20’)

Thomas Adès

Inferno Suite (19’)

Tchaikovsky

Francesca da Rimini (Fantasy after Dante) (24’)

Thomas Adès conductor

The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra

Welcome LPO news

Welcome to the Southbank Centre

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

We hope you enjoy your visit. If you need any information or help, please ask a member of staff. You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

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Drinks

You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards. Thank you.

LPO Young Composers –Applications open for 2023/24

Applications for the LPO Young Composers 2023/24 programme are now open! Mentored by the LPO’s Composer-in-Residence –currently Brett Dean, to be succeeded by Tania León in September 2023 – the Young Composers spend a season with the LPO, each creating a new chamber orchestra work that is performed by Foyle Future First musicians and LPO players in a public showcase concert at the Southbank Centre’s Queen Elizabeth Hall.

Applications are open to currently unpublished composers aged over 18 and not in full-time education, who are composing at postgraduate level or beyond, or an equivalent standard.

The deadline to apply is Friday 10 March

To find out more, visit lpo.org.uk/youngcomposers

Congratulations Karina!

Congratulations to our Principal Guest Conductor Karina Canellakis, who has been shortlisted in the Conductor category of the 2023 Royal Philharmonic Society Awards. Billed as ‘the BAFTAs of classical music’, the RPS Awards celebrate classical musicians nationwide, shining a light on brilliant individuals, groups and initiatives. The 2023 winners will be announced in a ceremony at the Southbank Centre’s Queen Elizabeth Hall on 1 March.

First Violins

Ania Safanova Guest Leader

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Cassandra Hamilton

Martin Höhmann

Yang Zhang

Chair supported by Eric Tomsett

Alfredo Reyes Logounova

Thomas Eisner

Jamie Hutchinson

Alice Apreda Howell

Ricky Gore

Sophie Mather

Ronald Long

Alice Hall

Chu-Yu Yang

Will Hillman

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Helena Smart

Nancy Elan

Nynke Hijlkema

Kate Birchall

Fiona Higham

Chair supported by David & Yi

Buckley

Sioni Williams

Claudia Tarrant-Matthews

Kate Cole

Jessica Coleman

Sheila Law

Emma Purslow

Alison Strange

Violas

Rachel Roberts

Guest Principal

Laura Vallejo

Benedetto Pollani

Lucia Ortiz Sauco

Martin Wray

Stanislav Popov

Toby Warr

Michelle Bruil

Jisu Song

Linda Kidwell

Julia Doukakis

Kim Becker

On stage tonight

Cellos

Tim Gill Guest Principal

David Lale

Susanna Riddell

Tom Roff

Helen Thomas

George Hoult

Sibylle Hentschel

Iain Ward

Jane Lindsay

Tamaki Sugimoto

Double Basses

Kevin Rundell* Principal

Hugh Kluger

George Peniston

Laura Murphy

Lowri Morgan

Charlotte Kerbegian

Adam Wynter

Cathy Colwell

Flutes

Fiona Kelly Guest Principal

Imogen Royce

Stewart McIlwham*

Piccolos

Stewart McIlwham* Principal

Fiona Kelly

Imogen Royce

Oboes

Ian Hardwick* Principal

Alice Munday

Peter Facer

Cor Anglais

Peter Facer

Clarinets

Benjamin Mellefont

Principal

Thomas Watmough

Chair supported by Roger

Greenwood

Paul Richards*

E-flat Clarinet

Thomas Watmough Principal

Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon

Robey

Shelly Organ

Simon Estell*

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Annemarie Federle Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Trumpets

Paul Beniston* Principal

Jack Wilson Guest Principal

Anne McAneney*

Cornets

Jack Wilson

David Hilton

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

Andrew Cole

Bass Trombone

Lyndon Meredith Principal

Tuba

Stuart Beard Guest Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Tom Pritchard

Keith Millar

Tom Edwards

Karen Hutt

Harp

Tamara Young Guest Principal

Keyed Glockenspiel

Iain Clarke

Assistant Conductor

Benjamin Voce

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

Sonja Drexler

Friends of the Orchestra

Dr Barry Grimaldi

Bianca & Stuart Roden

Caroline, Jamie & Zander

Sharp

Neil Westreich

London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is here at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’re once again working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Soundtrack to key moments

Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

© Mark Allan

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

2022/23 and beyond

We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

lpo.org.uk

Tuesday 21 March 2023

7.30pm

St Martin-in-the-Fields

The Chevalier tells the fascinating story of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette –more commonly known as the Chevalier de Saint-Georges.

Matthew Kofi Waldren conductor

Braimah Kanneh-Mason violin

Chukwudi Iwuji

Joseph Bologne

Merritt Janson

Marie Antoinette

David Joseph Mozart

Bill Barclay

Choderlos de Laclos

London Philharmonic Orchestra & friends

Generously supported by Victoria Robey OBE

Tickets: £10–£35

Booking fee: £2.75

St Martin in the Fields Box Office 020 7766 1100

(Mon–Sat 10.00am–5.00pm) smitf.org

Written and directed by Bill Barclay

Thomas Adès was born in London in 1971. Renowned as both composer and performer, he works regularly with the world’s leading orchestras, opera companies and festivals. His compositions include three operas: he conducted the premiere of the most recent, The Exterminating Angel, at the 2016 Salzburg Festival and subsequently at New York’s Metropolitan Opera and London’s Royal Opera House. He conducted the premiere and revival of The Tempest at the Royal Opera House, and a new production at the Metropolitan Opera, Vienna Staatsoper and in November 2022 at La Scala, Milan. He led the world premiere of his full-evening ballet Dante at Covent Garden, and will conduct it in May 2023 at the Opéra Garnier, Paris.

Thomas frequently leads performances of his orchestral works Asyla (1997), Tevot (2007), Polaris (2010), the Violin Concerto Concentric Paths (2005), In Seven Days for piano and orchestra (2008); Totentanz for mezzo-soprano, baritone, and orchestra (2013); and the Concerto for Piano and Orchestra (2019). His compositions also include numerous celebrated chamber and solo works.

The London Philharmonic Orchestra has enjoyed a long and fruitful relationship with Thomas Adès since he was the Orchestra’s Composer-in-Focus in 2000/01. At the 2022 Dresden Festival in May, the LPO gave the world premiere of his Tempest Symphony under the baton of the composer, as well as a performance of In Seven Days with pianist Nicolas Hodges. The Orchestra’s UK premiere of Adès’s Concerto for Piano and Orchestra with Kirill Gerstein was nominated for a 2020 South Bank Sky Arts Award. The Orchestra has previously performed and recorded many of his works, including the violin concerto Concentric Paths with soloist

Anthony Marwood in 2019, the UK premiere of his Powder Her Face Suite in 2018, and the Chamber Symphony, which was recorded live and released on the LPO Label in 2008 (LPO-0035). Thomas also appears regularly with the Los Angeles Philharmonic; the Boston, London, BBC, Finnish Radio and City of Birmingham symphony orchestras; the Royal Concertgebouw and Leipzig Gewandhaus orchestras; and the Orchestra of Santa Cecilia, Rome.

In opera, in addition to The Exterminating Angel, he has conducted Stravinsky’s The Rake’s Progress at the Royal Opera House and Zürich Opera, and the premieres of three operas by Gerald Barry, including the Los Angeles world premieres of The Importance of Being Earnest and Alice’s Adventures Under Ground, of which he also gave the European premiere at Covent Garden. Recent highlights include Thomas’s debut concerts with the Vienna Philharmonic, and his conducting debut with the Berlin Philharmonic. In summer 2022 he conducted the world premiere of Air for violin and orchestra at the Lucerne Festival, a Roche commission for Anne-Sophie Mutter and the Lucerne Festival Contemporary Orchestra.

His piano engagements have included solo recitals at Carnegie Hall (Stern Auditorium) in New York and the Wigmore Hall in London, and concerto appearances with the New York Philharmonic and the Boston Symphony Orchestra. Recent piano releases include an album of solo piano music by Janáček and a live album of Schubert’s Winterreise with Ian Bostridge. His solo disc of Janáček’s piano music won the 2018 Janáček Medal.

© Brian Voce

Thomas Adès composer & conductor

‘One of the most accomplished and complete musicians of his generation’

– The New York Times

Programme notes

Jean Sibelius

1865–1957

Overture and Suite No. 1 from The Tempest

1925–27

I Overture

II The Oak Tree

III Humoresque

IV Caliban’s Song

V The Harvesters

VI Canon

VII Scene

VIII Intrada – Berceuse

IX Interlude – Ariel’s Song

X The Tempest

When Sibelius completed his Seventh Symphony, early in 1924, he perhaps did not realise that, in more than 30 more years of active life, he would not finish another. The Symphony was followed by an hour-long score for a production of Shakespeare’s Tempest in Copenhagen, composed in 1925–26, and by the tone-poem Tapiola (1926). The rest, to quote another Shakespeare play, was silence, or almost so.

The Tempest music begins with an overture that, in its noise of wind and wave, could have been a model for Thomas Adès’s orchestral storm scene at the opening of his opera. From the numbers that follow – songs, interludes, dance pieces – Sibelius created two suites, partly by grafting musical sequences, and arranged them out of dramatic order in the interests of musical flow and contrast. For instance, the first Suite begins with music spliced out of the third and second acts to make an image of the oak tree split open to confine Ariel before the action begins. The split wood is there at the start; then begins a flute solo.

The following ‘Humoresque’ is a jolly minute’s-worth one could imagine suiting the comic characters. Similarly brief are ‘Caliban’s Song’, robust and a bit weird, and ‘The Harvesters’, which must have been prompted by the Act IV masque, where Juno and Ceres sing: ‘Spring come to you at the farthest, In the very end of harvest.’ There are strong echoes here of the symphonic Sibelius.

So there are in the ensuing ‘Canon’, where the numbers begin to be longer. The pit-a-pat ‘Scene’ is followed by a strenuous ‘Intrada’ reminiscent of the Overture, leading into a ‘Berceuse’. (Sleep, especially charmed sleep, is one of the play’s stratagems.)

The piece that comes next, ‘Interlude – Ariel’s Song’, represents another side of the symphonic Sibelius, strained and slowly evolving, with parallels in the Seventh and Tapiola. Finally, from a pianissimo beginning, comes a return to the storm music of the Overture. Abruptly, it is all over, as if the composer has got up from his chair and left.

Programme notes

Thomas Adès born 1971

The Tempest Symphony

2003/2022 (UK premiere)

I Overture (Storm)

II Ariel and Prospero

III Ferdinand and Miranda

IV The Feast

V Prospero’s Farewell – Caliban

The Tempest, Thomas Adès’s second opera and his first on a large scale, had its premiere at Covent Garden in 2003 and has since been staged by companies including the Metropolitan Opera, the Vienna State Opera and, last November, La Scala. This Symphony provides a compact selection of scenes in which the vocal parts are taken by instruments – a vision of the opera as pure, lustrous music, distilled from two hours to a little over 20 minutes. Adès created the score for the London Philharmonic Orchestra, who gave the first performance in Dresden last May.

First, of course, must come the Overture, trimmed of its opening instant of calm to go straight into the music of whistling wind and tumbling wave, of rushing staccato quavers and heaving long-short rhythms. When this has all passed, uncertain harmonies remain. The second movement turns to a dialogue between the sprite Ariel and his/her master Prospero, deposed and exiled from Milan to make a little kingdom of his own on the island where all the action of the opera (as of the original Shakespeare play) unfolds. Ariel is sung in the opera by a soprano whose spectacular switchback line keeps jetting up to a high E and down again, with overspills

as far as to F sharp. This daredevil music is taken in the Symphony by high woodwinds. Prospero arrives on muted horn and violas.

Next comes the second half of the love scene that closes the second of the opera’s three acts. Prospero’s daughter Miranda and the new castaway Ferdinand sing a duet in short phrases that echo each other, clasp each other. In the opera this music is brought to an orchestral climax and returmed to the young couple. Prospero enters again, this time on solo cello, to accept a power he cannot control.

In a moment, then, from the third act, Ariel conjures up a feast for the sympathetic senior shipwreck survivors. Twinkling glockenspiel, harp and high piano, together with airy Ariel music on high woodwinds and violins, evoke magic, with strands from the love scene intertwined. Afterwards the tuba, supported by trombones, sings an aria for the generous-spirited Gonzalo. The voyage through The Tempest ends with the finale. Accompanied by softly scintillant stairways, Prospero’s voice, at first on cellos, dissolves, and the island is left to human-free tranquillity.

Interval – 20 minutes

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

Programme notes

Thomas Adès born 1971

Inferno Suite 2019–21

I Abandon Hope

II The Selfish – stung by wasps

III The Ferryman

IV Pavan of the Souls in Limbo

X The Popes’ Adagio – heads first

XI The Hypocrites – in coats of lead

XII The Thieves – devoured by snakes

XIII Satan – in the lake of ice

Playing continuously for a little under 20 minutes, this Suite draws sections from the opening part of Dante, a triptych based on The Divine Comedy that Adès composed in 2019–20 to a joint commission from the Los Angeles Philharmonic and the Royal Ballet. The latter gave the first complete performance in October 2021, with choreography by Wayne McGregor. Earlier, in January of that year, the Inferno Suite had received its premiere in Rome, Gianandrea Noseda conducting the Orchestra of the Accademia Nazionale di Santa Cecilia.

Adès has described his Inferno as ‘a grateful tribute to Franz Liszt, the composer of Hell and demonic music.’ The work begins, demonically enough, with gyrations raging under words from the sign that Dante saw placed over the gates of Hell: ‘Abandon Hope’. In Hell’s vestibule are those who, though barred from Paradise on account of their selfishness, were not quite wicked enough in life to deserve the serious punishments the Inferno has in store. Their lot is, nevertheless, pretty bad. They are perpetually being stung by wasps, graphically represented at the start of this episode by trilling (drilling, one might say) clarinets, violas and cellos.

Charon then ferries Dante and Virgil across the river Acheron, to rowing music with solo cor anglais. Also to be heard are the howlings of miscreants en route with the two poets to deeper Hell, not going as visitors, never to return.

From this point we proceed, as Dante and Virgil do in the poem, through the Inferno’s nine circles of increasingly infamous inhabitants. The first is limbo, where virtuous pagans dwell in a subdued pleasantness – and dance a pavan, gently scored at first for strings and harp.

Leaping over several regions pictured in the complete ballet score, we come to a part of the eighth circle where corrupt clerics, including two successive popes of Dante’s time, are stuffed head first into holes in the rock, their feet burned by flames. The ‘Popes’ Adagio’ considers this situation. Elsewhere in the eighth circle, hypocrites have to drag themselves around in coats of lead, while in another domain – and in the longest movement – thieves scurry away from devouring snakes.

Programme notes

Within the ninth circle, at the very centre of Hell, is the spot reserved for Satan, seen as a three-faced monster held waist-deep in ice. In this final short scene, Adès dares us to feel pity for the object of pitiless judgment.

Sibelius & Adès programme notes © Paul Griffiths

Pyotr Ilyich Tchaikovsky

1840–93

Francesca da Rimini (Fantasy after Dante)

1876

Throughout his life, Tchaikovsky was prone to feelings of guilt and foreboding. Arguments have raged about whether his homosexuality was wholly or partly the cause of this; but it is almost certain that the composer was also bipolar – or, to use the older label, manicdepressive. Feelings of guilt, sometimes inexplicable, and of dread for some indefinable fate, are common symptoms of the depressive phase. In Tchaikovsky’s case, however, he was able to channel these feelings into some of his most remarkable music, and there were times when this may well have saved his sanity.

No doubt the presence of such powerful emotions, so memorably expressed in the poetry of Dante’s Inferno, was one reason for Tchaikovsky’s attraction to the subject of Francesca da Rimini. In the poem, Francesca’s punishment for her adulterous affair is to be blown ceaselessly through dark space by whirlwinds. Almost certainly the theme of forbidden love added another strand of fascination for Tchaikovsky, in which case he would have been strongly moved by Dante’s description of his own reaction to Francesca’s fate: hearing her story from her lips, Dante is so struck with compassion that he faints, ‘falling like a corpse to the ground’. Francesca’s narrative begins with one of the most famous remarks in the whole of Inferno: ‘There is no greater grief than to remember happy times in the midst of misery’ – words Tchaikovsky clearly took to heart.

Courtesy of the Royal College of Music, London

Programme notes

Initially Tchaikovsky thought of turning the story of Francesca into an opera. A libretto was provided for him by the Russian critic and composer Hermann Laroche early in 1876. But for a variety of reasons Tchaikovsky turned against the idea. When his brother Modest suggested an orchestral work, Tchaikovsky knew he had found the solution, and the resulting ‘Fantasy after Dante’ was composed quickly. Tchaikovsky’s estimation of his own works often swung as widely as his own moods, but this time his pride in his musical achievement lasted: ‘I wrote it with love and that lover, it seems, has come out rather well.’ In fact Francesca da Rimini is not only one of his most stirring works, but as a whole it reconciles musical form and feeling triumphantly. The grim introduction is compact and tense, leading seamlessly into the music of the whirlwind, which gathers momentum, then falls back into the grim introductory music. Now the storm builds to full fury. As it abates, a solo clarinet introduces the love theme –we can imagine Francesca recalling those lost ‘happy times’. But then, inevitably, the storm returns, now rising to a devastating conclusion.

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

– Tchaikovsky, writing in 1876 during a trip to Bayreuth to listen to the music of Richard Wagner (He was actually mistaken – the Francesca episode occurs in Canto V.)

Recommended recordings of tonight’s works

by Laurie Watt

Sibelius: The Tempest

London Philharmonic Orchestra | Adrian Boult (Somm) or Lahti Symphony Orchestra | Osmo Vänskä (BIS)

Thomas Adès: The Tempest (complete opera) Thomas Adès | Orchestra of the Royal Opera House (EMI Classics)

Tchaikovsky: Francesca da Rimini

London Philharmonic Orchestra | Vladimir Jurowski (LPO Label: box set LPO-0101, or available to stream) or Gennady Rozhdestvensky | Leningrad Philharmonic Orchestra (DG Galleria)

Tchaikovsky programme note © Stephen Johnson

‘This morning, when I was in the train, I read the Fourth Canto of Hell and was seized with a burning desire to write a symphonic poem on Francesca .’

Next LPO concerts at the Southbank Centre’s Royal Festival Hall

FROM PARIS WITH LOVE

Saturday 25 February 2023 | 7.30pm

Ravel Pavane pour une infante défunte

Chausson Poème de l’amour et de la mer

Franck Symphony in D minor

Bertrand de Billy conductor

Danielle de Niese soprano

Generously supported by Mrs Aline Foriel-Destezet

GARDNER CONDUCTS RACHMANINOFF

Saturday 4 March 2023 | 7.30pm

George Benjamin Sudden Time

Grieg Piano Concerto

Rachmaninoff Symphonic Dances

Edward Gardner conductor

Leif Ove Andsnes piano

Generously supported by PRS Foundation’s Resonate programme

TCHAIKOVSKY’S FIFTH

Wednesday 15 March 2023 | 7.30pm

Beethoven Coriolan Overture

Prokofiev Piano Concerto No. 3

Tchaikovsky Symphony No. 5

Karina Canellakis conductor

Daniil Trifonov piano

Generously supported by Victoria Robey OBE

LPO.ORG.UK

Danielle de Niese © Chris Dunlop/Decca

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

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Victoria Robey OBE

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William & Alex de Winton

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Neil Westreich

Tennstedt Circle

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Richard Buxton

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Goodman

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Ladanyi-Czernin

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The Rosalyn & Nicholas Springer

Charitable Trust

Timothy Walker CBE AM

Christopher Williams

Peter Wilson Smith

Mr Anthony Yolland

and all other donors who wish to remain anonymous

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

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton

Patricia Haitink

Mr & Mrs Philip Kan

Neil Westreich

The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe

Casbon

In memory of Ann Marguerite

Collins

Sally Groves MBE

George Ramishvili

Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech

Steven M. Berzin

Ms Veronika BorovikKhilchevskaya

The Candide Trust

Irina Gofman & Mr Rodrik V. G.

Cave

The Lambert Family Charitable

Trust

Stuart & Bianca Roden

In memory of Hazel Amy Smith

The Tsukanov Family

The Viney Family

Gold Patrons

An anonymous donor

Chris Aldren

David & Yi Buckley

In memory of Allner Mavis

Channing

Sonja Drexler

Jan & Leni Du Plessis

The Vernon Ellis Foundation

Peter & Fiona Espenhahn

Hamish & Sophie Forsyth

Mr Roger Greenwood

Malcolm Herring

John & Angela Kessler

Julian & Gill Simmonds

Eric Tomsett

Andrew & Rosemary Tusa

Guy & Utti Whittaker

Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe

David Burke & Valerie Graham

John & Sam Dawson

Bruno De Kegel

Ulrike & Benno Engelmann

Virginia Gabbertas MBE

Dmitry & Ekaterina Gursky

The Jeniffer & Jonathan Harris

Charitable Trust

Catherine Høgel & Ben Mardle

Sir George Iacobescu

Jamie & Julia Korner

Mr & Mrs Makharinsky

Mr Nikita Mishin

Andrew Neill

Tom & Phillis Sharpe

Mr & Mrs John & Susi Underwood

Laurence Watt

Bronze Patrons

Anonymous donors

Michael Allen

Mr Mark Astaire

Nicholas & Christine Beale

Mikhail Noskov & Vasilina Bindley

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr Evgeny Chichvarkin

Mr John H Cook

Georgy Djaparidze

Deborah Dolce

Cameron & Kathryn Doley

Mariana Eidelkind & Gene

Moldavsky

David Ellen

Ben Fairhall

Mr Richard & Helen Gillingwater

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Martin & Katherine Hattrell

Michael & Christine Henry

Mr Steve Holliday

J Douglas Home

Mr & Mrs Ralph Kanza

Mrs Elena & Mr Oleg Kolobov

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr Nicholas Little

Geoff & Meg Mann

Mrs Elizabeth Meshkvicheva

Andrew T Mills

Peter & Lucy Noble

Mr Roger Phillimore

Mr Michael Posen

Mr Anthony Salz

Ms Nadia Stasyuk

Charlotte Stevenson

Joe Topley

Mr & Mrs John C Tucker

Timothy Walker CBE AM

Jenny Watson CBE

Grenville & Krysia Williams

Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

Julian & Annette Armstrong

Mr John D Barnard

Mr Geoffrey Bateman

Mr Philip Bathard-Smith

Mrs A Beare

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario

Altieri

Mr Peter Coe

Mrs Pearl Cohen

David & Liz Conway

Mr Alistair Corbett

Ms Mary Anne Cordeiro

Ms Elena Dubinets

Mr Richard Fernyhough

Jason George

Mr Christian Grobel

Prof Emeritus John Gruzelier

Mark & Sarah Holford

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Kim J Koch

Ms Elena Lojevsky

Mrs Terry Neale

John Nickson & Simon Rew

Oliver & Josie Ogg

Ms Olga Ovenden

Mr James Pickford

Filippo Poli

Sir Bernard Rix

Mr Robert Ross

Priscylla Shaw

Martin & Cheryl Southgate

Mr & Mrs G Stein

Dr Peter Stephenson

Joanna Williams

Christopher Williams

Ms Elena Ziskind

Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown OBE

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Sciteb Ltd

Walpole

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

The Marchus Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London

Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

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 KC

Julian Simmonds

Barry Smith

Nicholas Snowman OBE

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings

Co-ordinator

Robert Winup Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant 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 Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

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

Cover illustration

Simon Pemberton/Heart

2022/23 season identity

JMG Studio

Printer John Good Ltd