LPO programme: 22 Jan 2023 - Tan Dun's Buddha Passion

A place to call home Concert programme

2022/23 concert season at the Southbank Centre’s Royal Festival Hall

Principal

Conductor

Artistic

Leader

Southbank Centre’s Royal Festival Hall

A place to call home

Tan Dun’s Buddha Passion

UK premiere

Tan Dun conductor

Sen Guo soprano/indigenous female singer

Huiling Zhu mezzo-soprano

Kang Wang tenor Shenyang bass-baritone

Batubagen indigenous male singer/Dunhuang xiqin

Yining Chen pipa/dancer

London Philharmonic Choir

Artistic Director: Neville Creed

London Chinese Philharmonic Choir

Artistic Director: Bo Wang

Sung in Sanskrit and Chinese, with English surtitles

There will be a 20-minute interval after Act 3. Tonight’s concert will finish at approximately 9.40pm.

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

Concert presented by the London Philharmonic Orchestra

Contents

2 Welcome LPO news

3 On stage tonight

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Tan Dun

7 Tonight’s soloists

10 London Philharmonic Choir

11 London Chinese Philharmonic Choir

12 Programme notes

18 Choral highlights this spring

19 Next concerts

20 LPO 90th Birthday Appeal

21 Sound Futures donors

22 Thank you 24 LPO administration

Principal Conductor Edward Gardner supported by Aud Jebsen

Guest Conductor Karina Canellakis

Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Director Elena Dubinets Chief Executive David Burke

Pieter Schoeman supported by Neil Westreich

Welcome LPO news

Welcome to the Southbank Centre

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location. Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Topolski, wagamama and Wahaca.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

Readmission If you leave the auditorium during the concert, you will be readmitted at a suitable point at the discretion of our Visitor Assistants.

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

Mobiles and watches should be switched off before the performance begins.

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.

Support our 90th Birthday Appeal

This season marks the LPO’s 90th anniversary, and as we mark this milestone and celebrate memories of the last 90 years (see more on page 20), we are asking for your help to keep the next 90 years – and beyond –exciting, dynamic and inclusive. Please consider donating to our Birthday Appeal, as we continue to make history in the present by offering life-enriching musical experiences for everyone.

As you may have seen from recent press and media coverage, the vibrant arts community of which we are part has been hit hard by the funding cuts from Arts Council England. The LPO is no exception to this and so we find ourselves even more reliant on our supporters and your generosity to help carry us forward towards an exciting future. Please make a donation of whatever size you can. Your gift to the LPO will enable us to keep writing the wonderfully rich and inspiring story of the LPO for the next 90 years and more.

Donate online at lpo.org.uk/celebrate90 or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card. Thank you.

FUNharmonics Family Concert:

The Colour Monster – Sunday 29 January

Our FUNharmonics family concerts at the Royal Festival Hall are the perfect way to introduce the joy of classical music to the whole family. Each hour-long concert is presented in a fun and engaging way, with plenty of audience participation guaranteed to get everyone joining in! Your concert ticket includes free musical activities in the foyer spaces at the Royal Festival Hall, so the whole family can make a day of your visit.

Our next FUNharmonics concert, ‘The Colour Monster’, is on Sunday 29 January at 12 noon. Join the LPO, conductor Rebecca Tong and presenter Lucy Hollins to help untangle the Colour Monster’s messy emotions through the wonder of orchestral music. Inspired by the gorgeous book by Anna Llenas, published by Templar Books, this interactive concert will explore music that is sad, happy, angry, calm and more. A joyful first concert experience recommended for children aged five and above.

lpo.org.uk/funharmonics

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich Kate Oswin

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

Minn Majoe Alfredo Reyes Logounova Thomas Eisner

Yang Zhang Chair supported by Eric Tomsett Gabriela Opacka

Katalin Varnagy Chair supported by Sonja Drexler Nilufar Alimaksumova Martin Höhmann Eleanor Bartlett Ruth Schulten Rasa Zukauskaite

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Helena Smart Nancy Elan

Fiona Higham Chair supported by David & Yi Buckley Nynke Hijlkema Kate Cole Sheila Law Jamie Hutchinson Charlie MacClure Georgina Leo Emma Martin

Violas

Fiona Winning Guest Principal Laura Vallejo

Benedetto Pollani James Heron Martin Wray Jisu Song

Michelle Bruil Richard Cookson Anita Kurowska

On stage tonight

Cellos

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden Morwenna Del Mar Francis Bucknall David Lale Helen Thomas Tamaki Sugimoto Colin Alexander Julia Morneweg

Double Basses

Sebastian Pennar Principal Hugh Kluger George Peniston Laura Murphy Tom Walley Chair supported by William & Alex de Winton Lowri Morgan

Flutes

Katie Bedford Guest Principal Imogen Royce Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal Alto

Flute

Imogen Royce

Oboes

Ian Hardwick* Principal Alice Munday

Cor Anglais

Eleanor Sullivan

Clarinets

Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey Hunter Gordon Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal Annemarie Federle Principal Martin Hobbs Gareth Mollison

Trumpets

Paul Beniston* Principal Anne McAneney* Tom Nielsen

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Erika Öhman

Karen Hutt Oliver Butterworth

Harp

Sue Blair Guest Principal

Celeste Catherine Edwards

* Holds a professorial appointment in London

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

Dr Barry Grimaldi Caroline, Jamie & Zander Sharp

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

We’re always at the forefront of technology, finding new ways to share our music globally. 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’ll be working once again 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.

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 Edward Gardner, captured in his first concert as

© Benjamin Ealovega

Pieter Schoeman Leader

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’re committed to offering them opportunities to progress. 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.

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.

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

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 London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

lpo.org.uk

© Benjamin Ealovega

Tan Dun

composer | conductor

The world-renowned artist and UNESCO Global Goodwill Ambassador Tan Dun has made an indelible mark on the world’s music scene with a creative repertoire that spans the boundaries of classical music, multimedia performance, and Eastern and Western traditions. A winner of today’s most prestigious honours including the Grammy Award, Oscar/Academy Award, Grawemeyer Award, Bach Prize, Shostakovich Award, Italy’s Golden Lion Award for Lifetime Achievement and, most recently, the Istanbul Music Festival’s Lifetime Achievement Award. Tan Dun’s music has been performed throughout the world by leading orchestras, opera houses, international festivals, and on radio and television. In 2019 Tan Dun was named as Dean of the Bard College Conservatory of Music in New York State. As Dean, he further demonstrates music’s extraordinary ability to transform lives and guide the Conservatory in fulfilling its mission of understanding music’s connection to history, art, culture and society.

This UK premiere of his Budda Passion is Tan Dun’s first collaboration with the London Philharmonic Orchestra. As a conductor of innovative programmes around the world, his current season also includes appearances with the Luxembourg Philharmonic, Royal Concertgebouw and Seattle Symphony orchestras.

Tan Dun is an Artistic Ambassador of the Melbourne Symphony Orchestra, and serves as the Honorary Artistic Director of the China National Symphony, Principal Guest Conductor at the Shenzhen Symphony, and Honorary Artistic Director and Chief Guest Conductor of the Xi´an Symphony Orchestra. He has also led esteemed orchestras worldwide including the London Symphony Orchestra, BBC Symphony Orchestra, Philadelphia Orchestra, Metropolitan Opera Orchestra, Orchestre National de France, Filarmonica della Scala and Sydney Symphony Orchestra, among others.

Tan Dun’s individual voice has been heard widely by international audiences. His first Internet Symphony, which was commissioned by Google/YouTube, has reached over 23 million people online. His ‘Organic Music Trilogy’ of Water, Paper and Ceramic has been performed at major concert halls and festivals. The Paper Concerto was premiered by the Los Angeles Philharmonic at the opening of the Walt Disney Hall. His multimedia work The Map, premiered by Yo-Yo Ma and the Boston Symphony Orchestra, has toured more than 30 countries worldwide, and its manuscript has been collected by the Carnegie Hall Composers Gallery. His Orchestral Theatre IV: The Gate was premiered by Japan’s NHK Symphony Orchestra –this work crosses the cultural boundaries of Peking opera, Western opera and puppet theatre traditions.

Tan Dun records for Sony Classical, Deutsche Grammophon, EMI, Opus Arte, BIS and Naxos. His recordings have garnered many accolades including a Grammy Award (Crouching Tiger, Hidden Dragon) and nominations (The First Emperor; Marco Polo; Pipa Concerto); Japan’s Recording Academy Awards for Best Contemporary Music CD (Water Passion after St. Matthew); and the BBC’s Best Orchestral Album (Death and Fire). Tan Dun’s music is published by G. Schirmer, Inc. and represented worldwide by the Music Sales Group of Classical Companies.

Sen Guo

soprano/indigenous female singer

Huiling Zhu

mezzo-soprano

Sen Guo was born in Shanxi, China, and educated at the Shanghai Conservatory and the Zhou Xiaoyan Opera Centre in Shanghai. She was a winner of the China Vocal Competition, the Shanghai International Master Class Institute and the Hong Kong Competition for Young Asian Musicians.

She started her career in the 2001/02 season as a member of the International Opera Studio in Zurich, shortly afterwards singing the role of Queen of the Night in Die Zauberflöte at the Semperoper Dresden, Berlin State Opera, Deutsche Oper Berlin, Hamburg State Opera and Theater St. Gallen, as well as Olympia in Les Contes d’Hoffmann at the Theater an der Wien. Guest engagements followed at the Tonhalle Zürich, the Grand Theatre in Shanghai and the National Theatre in Beijing, with roles including Violetta (La traviata), Gilda (Rigoletto), Musetta (la bohème) and Oscar (Un ballo in maschera).

From 2002–21 Sen Guo was a member of the ensemble of Opernhaus Zürich. There she performed as Frasquita (Carmen), Flowermaiden (Parsifal), Voce dal cielo (Don Carlo), Musetta (la bohème) Fiakermilli (Arabella), Zerbinetta (Ariadne auf Naxos), Amaltea (Mosè in Egitto), Giulia (La scala di seta) and Gilda (Rigoletto).

On the concert stage, Sen has appeared as a soloist in Mahler’s Symphony No. 4 with the Shanghai Philharmonic and Guangzhou Philharmonic orchestras, as well as in Song of The Earth by Chinese composer Xiaogang Ye in September 2021. Her concert repertoire also includes the Requiems of Schumann, Mozart and Fauré, as well as Rossini’s Stabat Mater. Tonight’s concert is her debut with the London Philharmonic Orchestra.

Mezzo-soprano Huiling Zhu was born in Shanghai. After graduating from the Middle School affiliated to the Shanghai Conservatory of Music, she started her vocal studies in Europe. She studied at the Hochschule für Musik und Theater in Hamburg, and in 2011 she received a doctorate in opera performance from the Hochschule für Musik in Stuttgart. Since graduating, her opera roles have included the title role in Carmen, Charlotte in Massenet’s Werther, Dorabella in Così fan tutte, Venus in Tannhäuser, Concepción in L’heure espagnole, and Mother Jiao in Li Bao-chun’s Wilderness

Huiling Zhu made her Chinese debut in 2013, as Giulietta in Les contes d’Hoffmann, produced by NCPA China. She has collaborated with major Chinese orchestras including the Shanghai Symphony Orchestra, China Philharmonic Orchestra and National Symphony Orchestra, singing Mahler’s Symphony Nos. 2 and 3, Das Lied von der Erde and Des Knaben Wunderhorn with Yu Long, Muhai Tang, Zhang Yi, and Lü Shao Chia; Beethoven’s Symphony No. 9 with Lü Jia; Bernstein’s Symphony No. 1 with Zhang Jiemin; and the world premieres of Ye Xiaogang’s Symphonies Nos. 4, 5 and 6.

Huiling Zhu sang at the Shanghai 2018 New Year’s Concert with the Shanghai Symphony Orchestra and Manfred Honeck, and the 2019 New Year’s Concert in NCPA with the National Ballet of China Symphony Orchestra. In 2018 she sang in the world premiere of Tan Dun’s Buddha Passion in Dresden, subsequently performing the work in Los Angeles, Melbourne and Hong Kong.

Tonight’s concert is her debut with the London Philharmonic Orchestra.

© Balmer & Dixon Management AG

Kang Wang tenor Shenyang bass-baritone

Australian-Chinese tenor Kang Wang is one of the most sought-after young lyric tenors in the opera world. He is a former member of the Lindemann Young Artist Development Program at the Metropolitan Opera in New York, and was a finalist in the 2017 Cardiff Singer of the World competition.

In the 2021/22 season Kang Wang made his house and role debuts at Washington National Opera as Ferrando in Così fan tutte. He also made his house debut at Seattle Opera as Rodolfo in La bohème, returned to Opera Australia in the same role, and returned to Opera Queensland as Alfredo in La traviata. He also joined the Melbourne Symphony Orchestra for a performance celebrating Chinese New Year, and the Queensland Symphony Orchestra for a concert of arias.

In concert, Kang made his debut with the Beijing Symphony Orchestra as the tenor soloist in Mahler’s Das Lied von der Erde in a performance that was subsequently presented by the Kennedy Center. He also made an exciting last-minute debut in Moscow, replacing Jonas Kaufmann in a New Year’s Eve Gala performance of opera arias with orchestra, and stayed on to perform a solo recital in the Grand Hall of the Tchaikovsky Conservatory. Additionally, he sang Tan Dun’s Buddha Passion with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel, Mendelssohn’s Elijah with the San Antonio Symphony, and Beethoven’s Symphony No. 9 in his debut with the American Classical Orchestra at David Geffen Hall. In October 2017 he was the tenor soloist in Rossini’s Stabat Mater with the London Philharmonic Orchestra and Choir under Carlos Miguel Prieto at the Southbank Centre’s Royal Festival Hall.

As winner of the 2007 BBC Cardiff Singer of the World competition, Shenyang came swiftly to international attention with a string of high-profile debuts including at the Metropolitan Opera, Glyndebourne Festival, Bavarian State Opera, Opernhaus Zürich and Washington National Opera. While his early career focussed principally on Rossini, Mozart and Handel roles, recent seasons have seen a shift into more dramatic repertoire, with debuts as Don Pizarro (Fidelio) with the Los Angeles Philharmonic Orchestra under Gustavo Dudamel, Jochanaan (Salome) with the Polish National Radio Symphony Orchestra and Alexander Liebreich, Gunther (Götterdämmerung) with the Hong Kong Philharmonic Orchestra under Jaap van Zweden (released on Naxos), Kurwenal (Tristan und Isolde) at the Glyndebourne Festival and BBC Proms with Robin Ticciati and the LPO, and Klingsor (Parsifal) at La Monnaie under Alain Altinoglu.

The concert stage has always played an important role for this versatile artist, with recent highlights including Berlioz’s Roméo et Juliette with the Berlin Philharmonic under Daniel Harding; Stravinsky’s Oedipus Rex (Tiresias) with the Concertgebouw Orchestra under Santtu-Matias Rouvali; Beethoven’s Symphony No. 9 with The Philadelphia Orchestra underYannick NézetSéguin and the New York Philharmonic under Alan Gilbert; Mussorgsky’s Songs of Dances and Death with the Helsinki Philharmonic under Klaus Mäkelä; Brahms’s German Requiem with the Boston Symphony Orchestra under Andris Nelsons and the BBC Scottish Symphony Orchestra under Ilan Volkov; and Mahler’s Symphony No. 8 with the Netherlands Philharmonic under Marc Albrecht. Tonight is his concert debut with the London Philharmonic Orchestra.

© Jonathan Tichler

© Gaoqiang

Xia

Batubagen

indigenous male singer/Dunhuang xiqin

Yining Chen

pipa/dancer

Batubagen grew up in the Inner Mongolian area of Bairin Right Banner. Since 2006 he has been the khoomei (throat singing) vocalist and morin khuur (horsehair fiddle) performer in the Mongolian folk music group Hanggai. He first gained insights into khoomei overtone singing when he was sheep farming in his early years. Later he furthered his studies with khoomei master Aodusurong. His sturdy timbre is exhibited in his lower register, which forms the unique voice of Hanggai. His musical style pays homages to tradition, while also exploring modern possibilities.

Batubagen has performed with Hanggai at international music festivals including Rosekilde, Lowlands, Fuji Roc, Wacken Open Air (Europe’s largest metal festival), WOMAD, Bonnaroo Music Festival, Vancouver Folk Music Festival and Sydney Festival. He has composed and arranged music for Hanggai, and his music has been recorded on the group’s six albums.

Batubagen and Hanggai were winners of the Chinese popular reality music show ‘Sing My Song’ in 2015, and were awarded Best Folk Musician at the 11th Chinese Music Media Awards in 2011.

In the Buddha Passion, Batubagen plays the Dunhuang xiqin, a three-stringed fiddle seen by Tan Dun during his research in the Dunhuang caves. This is Batubagen’s debut with the London Philharmonic Orchestra.

Originally from Beijing, China, Yining Chen formally began her training at the Beijing Dance Academy, where she graduated with a degree in Chinese Classical Dance. She subsequently received a postgraduate degree in Dance Practice and Performance from the University of Roehampton in the UK.

Yining Chen is a recipient of many awards in China and worldwide, including First Prize in the Fifteenth Beijing Dance Competition in 2017. She has been invited as soloist at the China National Opera & Dance Drama Theatre, performing in the dance-drama The Book of Songs. Most recently, she was invited by conductor/ composer Tan Dun to perform a solo dance work, ‘Fantan Pipa’, in his Buddha Passion, which received performances in Los Angeles, Melbourne and throughout China between 2018 and 2021, ahead of tonight’s UK premiere.

In 2019 she played the leading role in the documentary The Great Poet Du Fu, jointly recorded by the BBC and CCTV China. In summer 2022 her performance of the work Crying of Four Seasons was presented at the Edinburgh Festival. This is her debut with the London Philharmonic Orchestra.

London Philharmonic Choir

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Tippett’s A Midsummer Marriage and A Child of Our Time and Schoenberg’s Gurrelieder under LPO Principal Conductor Edward Gardner; Mozart’s Requiem under Ádám Fischer; the UK premiere of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. This evening the Choir is delighted to be sharing the stage with colleagues from the London Chinese Philharmonic Choir.

Sopranos

Annette Argent

Chris Banks

Tessa Bartley

Vicki Brammall

Amy Brewster

Emma Butler Grace Chau

Paula Chessell

Jenni Cresswell

Megan Cunnington

Issy Davies

Sarah Deane-Cutler Jenny Draper Lisa Fordham Ella Frost

Rachel Gibbon Rosie Grigalis Nicola Hands Jane Hanson Sasha Holland Mai Kikkawa

Joy Lee

Ilona Lynch

Janey Maxwell Meg McClure

Elizabeth Ortiz

Rebekah Patterson

Alexandra Poncia

Danielle ReeceGreenhalgh

Josselyn Ryder Emma Secher Katie Stuffelbeam

Susan Thomas Sze Ying Chan

Altos

Andrei Caracoti

May Chan Noel Chow

Andrea Easey Kitty Howse Judy Jones

Andrea Lane Ethel Livermore

Laetitia Malan Ian Maxwell Anna Mulroney Rachel Murray Amy Reddington Carolyn Saunders Angela Schmitz Rima Sereikiene Annette Strzedulla Muriel Swijghuisen Reigersberg

Jocelyn Tsang Susi Underwood

Tenors

Kevin Cheng

Robert Geary

Stephen Hodges

James Hopper

Sicheng Lan Daisy Rushton

Jaka Skapin Claudio Tonini

Robert Venn Mikolaj Walczak

Basses

Martyn Atkins

Jonathon Bird Nathan Chu

Marcus Daniels Daniel Debra Paul Fincham Gary Freer Ian Frost

Angel Gensen Luke Hagerty Nicholas HennellFoley Mark Hillier

David Hodgson Rylan Holey Brian Hughes Simon Potter James Quitmann John Salmon Edwin Smith Chin Tan

John Paul Wagner Oliver Walsh Cam Wiltshire Guangda Yang

Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty

Supported by

© Louise Kragh Photography

London Chinese Philharmonic Choir

The London Chinese Philharmonic Choir was founded in 2013 by Chairman Yee Cheung Hui and Artistic Director Bo Wang. Its members comprise singers of British, Chinese, Malaysian and Singaporean nationalities, and the Choir sings in both English and Mandarin. Since its inception it has become the largest amateur Chinese artistic organisation in the UK. As conductor and Artistic Director, Bo is able to use his musical understanding to capture the light and shade of each piece and enable each member to perform to his or her highest ability.

The objectives of the Choir are to train amateur singers in high-level choral skills; to rehearse both Western and Chinese classical and contemporary works; and to perform at charity and celebratory events. Believing that music is a language without borders, the Choir aims to use its activities to introduce Chinese culture to its friends in the UK, and to promote cultural exchange between East and West.

The Choir has organised many concerts, including the UK premiere of Xian Xinghai’s monumental Yellow River Cantata. In 2014 the Choir gave a ‘Voice of Spring’ concert, and in May 2015 performed at the closing ceremony of the International Chinese Film Festival at the Southbank Centre’s Royal Festival Hall. In September 2015 the Choir performed at London’s Cadogan Hall in a concert commemmorating the 70th anniversary of the end of the Second World War. In May 2015 the Choir participated for the first time in the London Sangerstevne International Choral Festival, and in July 2016 performed at the Portico Gallery in West Norwood, where with five other choirs they jointly organised a concert to raise money for St Christopher’s

Hospice. In April 2016 the Choir organised its first charity concert, at a nursing home in North London, where they sang Chinese and English songs for the elderly residents, passing on traditional Chinese virtues such as respect for the elderly and building a harmonious society. In October 2016 the Choir gave a charity concert at Oxford’s Sheldonian Theatre with the City of Oxford Orchestra, in aid of Helen & Douglas House Hospice Care for Children and Young Adults.

This is the LCPC’s first collaboration with the London Philharmonic Orchestra and Choir.

Sopranos

Youqun Guo Min Li Xiang He Ling Wang Haiwen Xue Xinyuan Ly Mingyue Yang Kelly Huang Qiuyan Liu Zhuqun Wang Xiling Du Huiru Gao Xingyuan T Cooper Hongyang Fu Holly Shao Nancy Kau Lily Yang

Altos

May Ying Ho Nan Zhang Jenny Wang Xiaoli Li Xiaoming Liu Xiaojiu Zhu Lifang Li Eleanor Tao Manxia Gao Jie Edwards Sandra Young Feiyue Gai Luqin Geng Xuan He Lily Li Guilin Li Xin Tong Lisa Wang Wen Xing Julia Zhou Xue Zhang

Tenors

Stone Shi William Singlam Ng Weidong Huang Yuan Zou Chengming Li Peipei Ming

Basses

Yee Cheung Hui Qinjian Yang Zhixiang Yuan

Artistic Director Bo Wang Chairman Yee Cheung Hui Accompanist Peichao Liao

Tan Dun Buddha Passion

2018 (UK premiere)

Commissioned by the Dresden Music Festival in cooperation with the New York Philharmonic, the Los Angeles Philharmonic and the Melbourne Symphony Orchestra.

World premiere: 23 May 2018, Kulturpalast, Dresden, Germany (as part of the 2018 Dresden Festival). Tan Dun (conductor), Munich Philharmonic & International Choir Academy Lübeck

Libretto

Tan Dun

Additional text

Master Hsing Yun (1927–) Wang Wei (701–61)

6th Zen Patriarch Hui Neng (638–713) Wu Chao (735–833) Master Xuan Zang (602–664)

Surtitles operated by Andrew Kingsmill

Characters

Mantra, The Emperor, The King, Daman Hongren (5th Patriarch), Buddha Shenyang baritone Drowning Man, Court Guard, Dajian Huineng (6th Patriarch) Kang Wang tenor

The Deer Of Nine Colours, Princess Miaoshan Sen Guo soprano

Princess Miaoqing Yining Chen pipa/dancer Little Prince, Princess Miaoyin Huiling Zhu mezzo-soprano

Minstrel Monk Kongxian Batubagen indigenous male singer/Dunhuang xiqin

Nina Sen Guo indigenous female singer

From murals to music

Tan Dun on his Buddha Passion

Eight years have passed, but I still remember the thrill that I experienced when I was first invited, by the Dunhuang Academy and my friends Mimi Gates and Jeff Xiong, to the vast desert of Dunhuang, where myriad ancient caves exist – it was the Mogao Caves that I had been longing for. These caves contain countless musical murals, all created on the themes of compassion, love and nature. These musical paintings depict more than 4000 musical instruments, 3000 musicians and 500 orchestras.

I was so deeply moved that I could almost hear the sounds emanating from the murals. These strong feelings rocked my soul and gave me the idea that it would be a fascinating and profound experience to transcribe the murals into music and perform them with today’s symphony orchestra. Since I can’t physically move the murals, I can help people hear them even if they have never been to the caves. I also learned that many of the Dunhuang musical manuscripts, which were once sealed up in the ancient caves, are now scattered around the world and collected by the French National Library (Bibliothèque nationale de France), the British Library and the Nara National Museum in Japan. I went to these places to track them down and study the ancient manuscripts while contemplating how to have them resonate with today’s symphony orchestra. So I started writing.

Six years later, I finally finished my Buddha Passion and it was then that I realised that music was truly a bridge –it has brought the distant to you – from Dunhuang to Europe, from ancient times to today. Music not only bridged the gap between time and space, but also guided me to hear the different beliefs and stories from the ancient murals. These stories about mortality and belief, passed down by our grandparents, span our entire childhood, yet they wasted away as we grew up. However, the musical stories must go on ... Music is like the angels of the human race. It can connect people from different languages and different cultural backgrounds. Look at you and me – we are from different corners of the world, but here in the musical stories of the Buddha Passion, we can all hear the compassion and the love. We also hear ourselves and the nature around us, as well as our reflection and dialogue. This is why I transcribed the murals into sound and how the Buddha Passion began.

Tan Dun, 2018

Tan Dun: Buddha Passion

Prologue

Act One: Under the Bodhi Tree Chant Little Prince Mantra Under the Bodhi Tree Equality

Act Two: The Deer of Nine Colours

Deer of Nine Colours Gratitude Betrayal

Trees wish to be still, yet the wind doesn’t let go Karma

Act Three: A Thousand Arms and A Thousand Eyes Asparas Father and Three Daughters My Dear Father Sacrifice

Interval: 20 minutes

Act Four: Zen Garden Mantra of Nine A Body is a Bodhi Tree Zen Dream

Act Five: Heart Sutra

A Solar Eclipse Silk Road: An Invisible Road Home lies so far away Love is destined to part Heart Sutra

Act Six: Nirvana

In no time, I shall enter Nirvana All creatures in the universe

The Other Side

Buddha was Man, Man will be Buddha One Last Question Nirvana

Synopsis

Prologue

A Dunhuang mural entitled Nirvana is gradually revealed: a reclining Buddha occupies the entire stage, reposeful with eyes half closed. Behind him are his disciples, who will be characters in the following acts.

Accompanied by music, the mural dissolves and the characters walk out elegantly from the mural, with Little Prince, the Bird of All Lives, and the Bodhi Tree leading the way. Act One begins.

Act One: Under the Bodhi Tree

An ancient chorale chants at the foot of the Himalayas. Little Prince and a group of boys are frolicking with birds. A bird falls from the sky. The saddened Prince asks who could ease his sorrow. All of a sudden, the sky opens up a crack and the voice of Mantra is heard: ‘Be at peace. Place the poor dead bird on one side of the scale. Cut a piece of thy own flesh and place it on the other. If the scale balances, thou shall be pacified.’ The boys execute Mantra’s decree for the Prince, but surprisingly, the scale does not balance. Mantra reappears and tells Little Prince that all lives –tiny as an ant or giant as a dinosaur – are equal.

With that being true, the Prince ought to place his entire body on the scale in order to achieve balance. Little Prince is enlightened. He walks towards a Bodhi tree as lotus flowers manifest with his every step. He meditates under the tree for 49 days and becomes Buddha. The dead bird revives, hovers around Buddha, and identifies itself as the Bird of All Lives sent by the Mantra. The Ode to Compassion: Equality (created from and inspired by Buddha’s Light Prayers by Master Hsing Yun) rises, lauding ‘men shall love all creatures and all shall be in harmony’ and celebrates the dawn of enlightenment.

Act Two: The Deer of Nine Colours

The beautiful Deer of Nine Colours and her sisters are strolling along a mysterious lake when they hear a plea for help. Against her sisters’ wishes, the Deer of Nine Colours rushes to save the Drowning Man, who recognises that his saviour is the very creature the King has been fervently pursuing. Alerted by the Man’s malignancy, the Deer requests him not to disclose her whereabouts or he ‘shall reap what he sows’. The Man swears that he will never betray her. Back in the city, the King promises an enticing reward for whomever can capture the Deer of Nine Colours: ‘Most precious creature, her skin will make women glow, her horns and bones will increase men’s longevity, whoever discloses

her whereabouts, the king hereby offers a hefty reward – millions of gold and numerous jewels and endless land.’ Tempted by the promised reward, the Man betrays his saviour and leads the King and his guards to capture the Deer of Nine Colours. The Deer cries out desperately to Buddha for help, but is stabbed to death by the Man. When the King and his guards learn that the Deer once rescued the Man from drowning, they shed regretful tears. The Ode to Compassion: Karma (created from and inspired by Buddha’s Light Prayers by Master Hsing Yun) rises as karma befalls the Drowning Man, who cramps, rots, and dies slowly beside the dead Deer of Nine Colours.

Synopsis

Act Three: A Thousand Arms and A Thousand Eyes

In a magnificent palace, the Emperor enjoys a hallucinatory apsara dance performed by his three daughters – Miaoyin (alto), Miaoshan (soprano) and Miaoqing (pipa soloist/dancer). Suddenly, a Court Guard rushes in to report that a woman is in urgent need of a pair of arms and eyes to save her from dying. No-one volunteers to help except for Miaoshan – the fairest of the three daughters: ‘Parents gave me my eyes and arms. Buddha gave me my heart and soul.’ In order to save the lives of the dying mother and her baby, she willingly decides to offer her eyes and arms. Out of love for his daughter the Emperor voices his strong objection. A father and daughter’s love runs long and

deep in tears. Eventually Miaoshan convinces her father and gives over her fairest eyes and arms in a solemn ritual – kneeling in a circle around her, the chorus watches Miaoshan as she floats above them shedding her eyes and arms. The funereal music begins: Ode to Compassion: Sacrifice (created from and inspired by Buddha’s Light Prayers by Master Hsing Yun). In the midst of the wild dance, rises as a sculpture of Bodhisattva with a thousand arms and a thousand eyes, her arms caress our human wounds and her eyes watch out for our human suffering. The ritual continues as all dance passionately.

Interval – 20 minutes

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

Act Four: Zen Garden

Inside Songshan Mountain, where Zen Buddhism originated, nature’s water music is heard accompanied by awe-inspiring visuals. Monks meditate and chant the Mantra of Nine, contemplating the philosophy of life. Master Monk (Daman Hongren, the fifth Patriarch of Zen Buddhism) teaches his disciples to listen for sounds in silence and observe forms with no shape. A Woodcutter (the future Huineng, the sixth Patriarch of Zen Buddhism) passes by and begins to speak about his unusual understanding of Zen. Provoked Monks rush in and challenge the Woodcutter to a Kungfu combat. Master Monk pacifies them by stating his wish to ‘hear everyone’s own understanding of Zen. That has been

understood from each individual’s life practice and meditation.’ Woodcutter and Master Monk engage in a lively philosophical debate: ‘The body is a Bodhi tree’ vs. ‘Bodhi in essence is not a tree’; ‘The mind is a clear mirror’ vs. ‘The mind/mirror is inherently without form’; ‘Clean the mirror/mind often to free it from dust’ vs. ‘ The mirror/mind cannot gather dust since there is originally never a thing.’ After the debate, Master Monk is deeply moved and tries to convince Woodcutter to stay and meditate with him and his disciples. The Ode of Compassion: Zen Dreams (created from and inspired by Dajian Huineng and Monk Wuchao poems) rises amid organic music and sounds of water, wind, and stone.

Synopsis

Act Five: Heart Sutra

Under a rare total solar eclipse, a Fire Ballet manifests in the desert of the Mountain of Flames. A Minstrel Monk named Kongxian returns to Dunhuang when he encounters Nina, a dying woman from the West. Kongxian chants mantras and revives her by sacrificing his very last drop of water to give to her. He finds baby silkworms and pupae woven in Nina’s hair, as Nina explains that after her hometown silkworms died away from an unexplained epidemic, she went on a journey to Suzhou to collect these species. But now, she is afraid

she will not be able to complete her journey home to the opposite end of the Silk Road. In the bitter cold of the night, Kongxian and Nina huddle together for survival in order to warm themselves, but Nina dies in Kongxian’s arms … To commemorate this tragic encounter that occurred during Kongxian’s arduous journey of bringing the Heart Sutra from the West to the East, the Monks pick up their ancient musical instruments and join together with Kongxian in the Ode to Compassion: The Heart Sutra (translated by Master Xuanzang).

Act Six: Nirvana

The mural Nirvana reappears onstage, recalling the Prologue. Buddha solemnly tells his disciples that he would soon enter Nirvana. Everyone weeps, however Buddha speaks calmly and compassionately, wittily imparting his wisdom on life and the other shore: ‘The scenery in life is as beautiful as poems and paintings.’ The inspired disciples engage in a lively exchange with Buddha on the philosophy of life and the human mind. In grief, the disciples request whether

they can ask one last question, and Buddha agrees. The disciples ask Buddha ‘Are you God?’ Buddha answers ‘No, I am not.’ ‘Are you the Son of God?’ ‘No, I am not.’ ‘Are you sent by God?’ ‘No, I am not.’ ‘Please enlighten us: what are you?’ ‘I am … awake …’ as Buddha closes his eyes and leaves for Nirvana. Moon and sun disappear. Mountains and rivers shudder. All goes into darkness. Bells toll. The Ode to Compassion: Heaven Earth Mankind rises, accompanied by a shining moon.

Dunhuang mural of an apsara (female spirit) playing a gourd-pipa, recreated by Tan Dun in his Buddha Passion, as performed tonight by Yining Chen.

CHORAL HIGHLIGHTS

Coming up this

The Damnation of Faust

Saturday 4 February 2023

Tears and Laughter

Saturday 18 March 2023

Hymn of the Forests

Saturday 6 May 2023

Berlioz’s choral-orchestral spectacular, with Edward Gardner, Karen Cargill, David Junghoon Kim, Christopher Purves and Jonathan Lemalu.

Andrey Boreyko conducts Elena Langer's brand new work The Dong with a Luminous Nose, alongside Shostakovich's Symphony No. 5.

Edward Gardner closes the season with Janáček’s Glagolitic Mass, featuring soloists Sara Jakubiak, Madeleine Shaw, Toby Spence and Matthew Rose.

spring with the London Philharmonic Orchestra & Choir lpo.org.uk

Principal Conductor Edward Gardner returns this month

THREE BRITONS

Wednesday 25 January 2023 | 7.30pm

Coleridge-Taylor Solemn Prelude (London premiere) Tippett Piano Concerto Elgar Symphony No. 1

SPIRITS OF DELIGHT

Saturday 28 January 2023 | 7.30pm

Mendelssohn The Fair Melusina Overture Schumann Piano Concerto* Elgar Symphony No. 2

Edward Gardner conductor Steven Osborne piano LPO.ORG.UK

THE DAMNATION OF FAUST

Saturday 4 February 2023 | 7.30pm Berlioz The Damnation of Faust

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