LPO programme: 26 Apr 2023 - Mahler's Fifth (Edward Gardner, conductor)

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 26 April 2023 | 7.30pm

Mahler’s Fifth

Brett Dean

In spe contra spem (world premiere)* (28’)

Interval (20’)

Mahler

Symphony No. 5 (72’)

Edward Gardner conductor

Generously supported by Aud Jebsen

Emma Bell

soprano

Elsa Dreisig

soprano

*Commissioned by the London Philharmonic Orchestra with the generous support of The Boltini Trust.

Supported by Cockayne - Grants for the Arts, a donor advised fund held at The London Community Foundation.

Contents

2 Welcome LPO news

3 New 2023/24 season

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 On stage tonight

7 Edward Gardner

8 Emma Bell

9 Elsa Dreisig

10 Programme notes

15 Next concerts

17 Sound Futures donors

18 Thank you

20 LPO administration

This concert is being recorded by BBC Radio 3 for broadcast on Tuesday 16 May at 7.30pm. It will remain available for 30 days on BBC Sounds.

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

Works from tonight’s concert are being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

Welcome LPO news

LPO 2023/24 season

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

Subscribers to our email updates are the first to hear about new events, offers and competitions. Just head to our website to sign up.

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.

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.

Our new season is now announced! Edward Gardner opens the 2023/24 season on 23 September with Mahler’s monumental ‘Resurrection’ Symphony, and returns for eleven more concerts including Holst’s The Planets, Haydn’s The Creation and Stravinsky’s Petrushka. Meanwhile, Principal Guest Conductor Karina Canellakis takes us on an emotional journey with major works including Shostakovich’s Symphony No. 8, Strauss’s Death and Transfiguration and Brahms’s Fourth Symphony.

The centrepiece of the new season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression –dance, music theatre, audience participation –and strives to inspire the creativity in everyone, from a child’s body percussion at a football-themed FUNharmonics concert to the world’s greatest artists showcasing their mastery on the concert stage. We’ll also collaborate with artists from across the creative spectrum, including jazz pianist and composer Julian Joseph with his unique take on Gershwin, and choreographer Wayne McGregor in a boundary-defying ballet project.

Next season will also see the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, on 27 April 2024.

Priority booking for LPO Friends is open now, and public booking opens on Tuesday 2 May online and by phone. Pick up a season brochure in the foyer this evening, or browse the full season now at lpo.org.uk

Tonight’s concert on Marquee TV

We are delighted that a selection of concerts from our LPO 2022/23 Royal Festival Hall season are being filmed for broadcast on Marquee TV. Works from this evening’s concert are being filmed for broadcast on Saturday 24 June 2023 at 7pm. The performance will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2022. Visit marquee.tv/LPO2022 to find out more, enjoy a free trial or subscribe.

Share the wonder

2023/24 season

on sale Tuesday 2 May

Featuring world-class artists including Edward Gardner, Karina Canellakis, Anne-Sophie Mutter, Renée Fleming, Anna Lapwood, Vladimir Jurowski, Randall Goosby and Danielle de Niese.

lpo.org.uk

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 and 2023/24 we’ll once again be 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.

© Mark Allan

Pieter Schoeman Leader

Next generations

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.

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 also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

Looking forward

This season we’ve been exploring themes of belonging and displacement in our series ‘A place to call home’. As we celebrate our 90th anniversary we’ve performed works premiered by the Orchestra during its illustrious history. Our commitment to everything new and creative has included premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world.

The centrepiece of next season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression –dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams. Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the longawaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Renée Fleming, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.

lpo.org.uk

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 the Southbank Centre’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.

© Benjamin Ealovega

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe

Katalin Varnagy

Chair supported by Sonja Drexler

Martin Höhmann

Yang Zhang

Thomas Eisner

Nilufar Alimaksumova

Sophie Phillips

Ronald Long

Gabriela Opacka

Eleanor Bartlett

Alice Apreda Howell

Alice Hall

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Vera Beumer

Nynke Hijlkema

Claudia Tarrant-Matthews

Kate Birchall

Ashley Stevens

Sioni Williams

Kate Cole

Sheila Law

Caroline Heard

Nicole Stokes

Fiona Higham

Chair supported by David & Yi Buckley

Lyrit Milgram

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Katharine Leek

Laura Vallejo

Lucia Ortiz Sauco

Martin Wray

Benedetto Pollani

Julia Doukakis

On stage tonight

James Heron

Raquel López Bolívar

Stanislav Popov

Daniel Cornford

Kim Becker

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Ariana Kashefi

Francis Bucknall

David Lale

Helen Thomas

George Hoult

Sibylle Hentschel

Iain Ward

Jane Lindsay

Hee Yeon Cho

Double Basses

Sebastian Pennar Principal

Hugh Kluger

Laura Murphy

Charlotte Kerbegian

Lowri Morgan

Catherine Ricketts

Elen Roberts

Tom Morgan

Flutes

Juliette Bausor Principal

Brontë Hudnott

Clare Childs

Stewart McIlwham*

Piccolos

Stewart McIlwham* Principal

Clare Childs

Oboes

Ian Hardwick* Principal

Alice Munday

Sue Böhling*

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

Emma Burgess

Paul Richards*

Bass Clarinet

Paul Richards* Principal

E-flat Clarinet

Emma Burgess

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Dominic Tyler

Simon Estell*

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Annemarie Federle

Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Duncan Fuller

Oliver Johnson

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Tony Cross

David Hilton

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

Tom Pritchard

James Crook

Oliver Butterworth

Harp

Rachel Masters Principal

Harpsichord

Catherine Edwards

Piano

Elizabeth Burley

Assistant Conductor

Matthew Lynch

Surtitles

Created and operated by Damien Kennedy

* Holds a professorial appointment in London

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

performance of Wagner’s Parsifal. Following recent tours to Berlin, Munich and Amsterdam, and appearances at the BBC Proms and Edinburgh International Festival, the orchestra looks forward to touring projects in Germany and Belgium. In demand as a guest conductor, Edward will also return to the Cleveland and Chicago symphony orchestras, and conduct the Staatskapelle Berlin in its Sommerkonzert. Following the announcement of Edward’s appointment at the Norwegian Opera and Ballet, the 2022/23 season will see him conduct a new production of Verdi’s Un ballo in maschera alongside two concert performances of Berlioz’s Damnation of Faust. He will also conduct the Norwegian National Opera Orchestra in a programme of Dvořák and Rachmaninoff.

Edward Gardner became Principal Conductor of the London Philharmonic Orchestra in September 2021. He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet (DNO&B), having commenced the role of Artistic Advisor in February 2022.

During the 2022/23 season Edward has led the London Philharmonic Orchestra in celebrating its 90th anniversary. He opened the season with Schoenberg’s Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. Other highlights this season include Mahler’s Fifth Symphony, an Elgar symphony cycle and Berlioz’s Damnation of Faust, as well as tours throughout the UK, Benelux and Germany.

On 11 August 2023 Edward will conduct the London Philharmonic Orchestra at the BBC Proms in a concert featuring Ligeti’s Requiem and Lux Aeterna with the Edvard Grieg Choir, and Strauss’s Also sprach Zarathustra. He will open the LPO’s 2023/24 season on 23 September with Mahler’s monumental ‘Resurrection’ Symphony at the Southbank Centre’s Royal Festival Hall with the London Philharmonic Choir. Later in the season he will return with more highlights including Holst’s The Planets, Haydn’s The Creation, Stravinsky’s Petrushka and Tippett’s Symphony No. 2.

Edward opened the Bergen Philharmonic’s 2022/23 season with Beethoven’s Symphony No. 3 (Eroica); further symphonic highlights include works by Stravinsky, Brahms and Nielsen. Choral projects include Mahler’s Symphony No. 2 (Resurrection) and a staged

Music Director of English National Opera for eight years (2007–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. During the 2021/22 season Edward made his debut with Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music, and with the Royal Academy of Music who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and an OBE for Services to Music in The Queen’s Birthday Honours (2012).

Edward Gardner’s position at the LPO is generously supported by Aud Jebsen.

© Benjamin Ealovega

Emma Bell

soprano (Elizabeth Tudor)

Orford (Peter Grimes) in a new staging by Paul Curran at the Teatro la Fenice under the baton of Juraj Valčuha.

Highlights of Emma’s 2022/23 season include her role debut as the Foreign Princess in a new production of Rusalka at the Royal Opera House, Covent Garden under Semyon Bychkov; and Leonore in a semi-staged performance at the Edinburgh International Festival with Sir Donald Runnicles and the Philharmonia Orchestra.

An engaging concert performer, Emma has collaborated with Sir Antonio Pappano on works such as Four Last Songs with the London Philharmonic Orchestra, and both Rossini’s Stabat Mater and Beethoven’s Missa Solemnis with the Accademia Nazionale di Santa

A wide and varied early career has taken soprano Emma Bell to the Teatro alla Scala as Anne Trulove (The Rake’s Progress), Elettra (Idomeneo) and Donna Elvira (Don Giovanni); to the Metropolitan Opera as Contessa Almaviva (Le nozze di Figaro) and Donna Elvira; and to the Teatro Real Madrid, Glyndebourne Festival Opera, the Dallas Opera and the Berlin State Opera in Britten’s The Turn of the Screw. She has more recently established herself in the jugendlichdramatisch (lyric dramatic) soprano repertoire, making house debuts at the Bavarian State Opera as Eva (Die Meistersinger von Nürnberg) under Kirill Petrenko; at the Deutsche Oper Berlin as both Elisabeth and Venus (Tannhäuser) under Sebastian Weigle; at the Opernhaus Zürich as Leonore (Fidelio) under Markus Poschner; and at the Hamburg State Opera as Elsa (Lohengrin) under Simone Young.

On the stage of the Royal Opera House, Covent Garden, Emma has received praise as Eva, Madame Lidoine and Elisabeth. Her 2018 return to the Glyndebourne Festival in the title role of Keith Warner’s celebrated production of Barber’s Vanessa – with the London Philharmonic Orchestra under Jakub Hrůša – was met with critical acclaim, The Guardian writing: ‘Bell gives one of her finest performances to date, beautifully acted, her voice soaring with elation and anguish.’

Emma recently made her role debut as Sieglinde (Die Walküre) in Richard Jones’s Ring Cycle for English National Opera conducted by Martyn Brabbins; appeared as Elisabeth at the Bavarian State Opera under Simone Young, Madame Lidoine (Les dialogues des Carmélites) at the Hamburg State Opera under Kent Nagano, and Strauss’s Arabella at Oper Köln. Last season she appeared for the first time as Ellen

Cecilia. A recent tour of Britten’s War Requiem with the Orchestre de Paris and Daniel Harding included performances in Paris, Vienna and at the Edinburgh Festival, and her debut as Magna Peccatrix in Mahler’s mighty Symphony No. 8 with the National Taiwan Symphony Orchestra under Lan Shui was met with unanimous acclaim. Emma joined the Hallé Orchestra and Sir Mark Elder as Freia in concert performances of Das Rheingold, subsequently released on CD.

In core works such as Beethoven’s Symphony No. 9, Strauss’s Four Last Songs and Wagner’s Wesendonck Lieder, Emma has appeared regularly with the London Philharmonic Orchestra under Vladimir Jurowski, the Gothenburg Symphony under Kent Nagano, and the BBC Philharmonic under Gianandrea Noseda.

© Paul Foster-Williams

Elsa Dreisig

soprano (Mary Stuart)

nourishment that feeds her musical delivery. Upon debuting in the title role of Donizetti’s Anna Bolena at the Grand Théâtre de Genève in 2021, Elsa above all focused on the queen’s emotional state and tried to relate to her on a personal level.

Recent highlights include Fiordiligi in a revival of the acclaimed Così fan tutte at the Salzburg Festival, and Anna Bolena at the Grand Théâtre de Genève, Contessa in Le nozze di Figaro and Donna Elvira in Don Giovanni at the Berlin State Opera, as well as a role debut as Salome at the Aix-en-Provence Festival. In the 2022/23 season Elsa performs with the Paris National Opera in Romeo et Juliette, and as Elisabetta in Maria Stuarda in Geneva. In concert, highlights include appearances with the Berlin Philharmonic, Copenhagen Philharmonic and Strasbourg Philharmonic.

‘You often set limits for yourself before they exist,’ says Elsa Dreisig. This is certainly not true for the FrenchDanish native, who is rapidly establishing herself as one of today’s most captivating lyric sopranos. Since joining the studio of the Berlin State Opera in 2015 and going on to become an ensemble member, she has made role debuts at leading houses across Europe, from Zurich to London.

As an exclusive recording artist with the Erato label, in January 2022 Elsa released her third album, Mozart x 3, featuring arias from Mozart’s three Da Ponte operas and three opere serie. The composer occupies a central place in her career: at the Paris National Opera she has appeared as both Pamina (The Magic Flute) and Zerlina (Don Giovanni). In the summer of 2020, Elsa sang the role of Fiordiligi in a new production of Così fan tutte at the Salzburg Festival that was fully staged while most institutions had to close their doors due to the Covid pandemic. This season she returns to the role in a Da Ponte trilogy at the Berlin State Opera under Daniel Barenboim (she is also cast as the Countess and Donna Elvira).

Elsa’s interpretations stand out through her commitment to continually uncovering new facets in a role. That also means transcending historic constructs so that the performance comes to life in a believable way. For the soprano, no female personality – whether Manon, Violetta or Fiordiligi – should ever be a victim. ‘It’s the modern blood that flows in my veins and should also flow into my singing,’ she explains. And yet the ultimate goal is to ‘make the score heard: with a solid technique –that goes without saying – but also a body that can recreate the character in the flesh.’ She likens the psychological knowledge required to a kind of inner

Elsa thrives on participating in what she identifies as exceptional events – even if they involve some risk. In 2017 she jumped in at a day’s notice to sing Haydn’s Creation with the Berlin Philharmonic under Simon Rattle. This season, after giving concerts with two different orchestras in Copenhagen, the Berlin State Opera called on her to appear as Pamina just a few hours later. ‘I hope to never rest on my laurels,’ she says, ‘and continue to explore.’

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

© Simon Fowler

Programme notes

Brett Dean born 1961

LPO Composer-in-Residence

In spe contra spem

(Hope against hope) for two sopranos and orchestra

World premiere

Text written and compiled by Matthew Jocelyn, including texts by Elizabeth Tudor and Mary Stuart

Emma Bell soprano Elizabeth Tudor Elsa Dreisig soprano Mary Stuart

Part I

1. Full grievous is the way

2. In spe contra spem

3. We Princes are set on stages

4. Were we but as two milkmaids

5. La fin de mon long et ennuyeux pèlerinage

Part II

6. Interlude

7. I am not so ignorant, gentlemen

8. Yet I find no great cause

9. Accuse me not of presumption

Programme notes

A composer profile is over the page.

In real life, Mary Stuart, Queen of Scots and Elizabeth Tudor, Queen of England, never met. Only on stage and screen do we see dramatic stand-offs between these two cousins and rival monarchs, be it in Friedrich Schiller’s play of 1800, Donizetti’s subsequent opera setting of it from 1838, or any of the numerous film and television adaptations. It’s understandable; it makes for a great climactic moment, full of tension and expectation.

In this dramatic ‘scena’ Brett Dean and Matthew Jocelyn are aiming for a sense of historical authenticity through a libretto which allows both queens to tell their own version of events using the royal protagonists’ original words, assembled from countless letters, documents and speeches.

The song cycle In spe contra spem for two sopranos and orchestra is a concertante extract from a planned opera, a pivotal scene in which a confrontation between Mary and Elizabeth indeed takes place, although not necessarily in the same physical space. It assumes the form of contrasting and competing viewpoints, firstly alternating between them, later increasingly interwoven. The melding of the two soprano voices with orchestra reveals not only points of vehement disagreement and disavowal but also aspects of sympathy and consolation.

For Elizabeth, the burdensome decision of whether or not to sign Mary’s death warrant is depicted through much hand-wringing, despair and heartfelt ‘if only’ hypotheticals. For Mary, despite the sorrow and humiliation of her long imprisonment, there is a growing acceptance of death, accompanied by the solace of her faith in Christ’s unending love.

Brett Dean & Matthew Jocelyn

– With thanks to the Métis-sur-Mer Lighthouse artist residency programme.

Interval – 20 minutes

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

© Bettina Stoess

Brett Dean

Brett Dean

Composer-in-Residence, London Philharmonic Orchestra

LPO partnership

Australian composer Brett Dean became the LPO’s Composer-in-Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet, which was premiered at Glyndebourne Festival Opera in 2017 to great acclaim, winning both the 2018 South Bank Sky Arts Award and the International Opera Award for Best New Opera. During his LPO residency he has also taken on the role of Composer Mentor to the LPO Young Composers, providing guidance and expertise to the five rising stars and conducting their annual Debut Sounds showcase, which this year takes place on 13 July 2023 at the Southbank Centre’s Queen Elizabeth Hall.

In December 2020 the LPO and Vladimir Jurowski gave the UK premiere of Dean’s The Players for orchestra and accordion, filmed at the Royal Festival Hall, broadcast and still available to watch on Marquee TV. On 9 February 2022 the Orchestra performed Dean’s Viola Concerto with soloist Lawrence Power, and on 18 January 2023 gave a performance of his Amphitheatre.

Background and music

Brett Dean began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. His reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel’s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition.

Dean enjoys a busy performing career as violist and conductor, performing his own Viola Concerto with the world’s leading orchestras. He is a natural chamber musician, frequently collaborating with other soloists and ensembles to perform both his own chamber works and standard repertoire. Dean’s imaginative conducting programmes usually centre around his own works combined with other composers: highlights include his appointment as Creative Chair at the TonhalleOrchester Zürich 2017/18; projects with the BBC Symphony, BBC Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, Melbourne Symphony, Sydney Symphony, Gothenburg Symphony, Toronto Symphony, Concertgebouw Orchestra, Orchestre National de Lyon and Tonkünstler-Orchester; and as Artist-in-Residence with the Swedish Chamber Orchestra.

This season

September 2022 saw the world premiere of In This Brief Moment for double chorus and orchestra, performed at Birmingham’s Symphony Hall by the CBSO & Chorus under Nicholas Collon; the work was commissioned by the Orchestre National de Lyon, Sydney Philharmonia Choirs and the CBSO. Also this season Dean conducts the Swedish Chamber Orchestra and soprano Jennifer France in two recorded concerts at Örebro Concert Hall, including performances of his own composition And once I played Ophelia. Further premieres this season include the Australian premiere of the piano concerto Gneixendorf Music; A Winter’s Journey with the Melbourne Symphony Orchestra; the world premiere of a new work for the Bavarian State Orchestra; and the German premiere of In This Brief Moment with the NDR Elbphilharmonie Orchestra. Dean’s critically acclaimed opera Hamlet will also return for a run of performances at the Bavarian State Opera in June 2023.

© Pawel Kopczynski

Programme notes

Gustav Mahler

1860–1911

Symphony No. 5

1901–02

Part I

Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt

[Funeral March: At a measured pace. Strict. Like a cortège] Stürmisch bewegt. Mit grösster Vehemenz [Tempestuously. With utmost vehemence]

Part II

Scherzo: Kräftig, nicht zu schnell [Sturdy, not too fast]

Part III

Adagietto: Sehr langsam [Very slow]

Rondo-Finale: Allegro – Allegro giocoso

When Gustav Mahler began work on his Fifth Symphony in the summer of 1901, he must have felt that he’d survived an emotional assault course. In February, after a near-fatal haemorrhage and a life-threatening operation, he had resigned as conductor of the Vienna Philharmonic Orchestra – a position that, for all its prestige, had brought him into conflict with the musicians (Mahler was a hard taskmaster) and attracted plenty of adverse criticism, some of it unambiguously anti-Semitic. Yet at about the same time Mahler met, and fell passionately in love with, the woman who was soon to become his wife: the highly gifted and (for men) magnetic Alma Schindler. Mahler was the kind of artist whose life and work were inextricably, often painfully interlinked, and it’s no surprise to find the Fifth Symphony showing the imprint of recent experiences throughout its complex five-movement structure.

But as Mahler was keen to point out, none of this ‘explains’ the Fifth Symphony. Musical meaning, he insisted, transcends rationalisation in words, nor

Programme notes

should it be read simply as autobiography in sound. When he first began writing symphonies, Mahler provided them with elaborate literary programmes, but by the time he came to write the Fifth he’d lost faith in such props – people would insist on taking his words at face value, rather than listening for the kind of messages music alone can convey. Here, for the first time in a symphony, Mahler neither used sung texts nor provided a written programme note. There are, however, clues to deeper meanings for those who know his music well – especially his songs.

The first movement is unmistakably a grim Funeral March in the unusual key of C sharp minor – the effect of slight strangeness that imparts is fully intentional. It opens with a trumpet fanfare, quiet at first but with growing menace. At its height, the full orchestra thunders in with a massive funereal tread. Shuddering string trills and deep, rasping horn notes evoke Death in full grotesque pomp. But the quieter march theme that follows on strings is clearly related to a song Mahler wrote around the same time, ‘Der Tambourg’sell’ (‘The Drummer Lad’), which tells of a very young army deserter facing execution. So here are two very different images of death: one majestic and terrifying, the other wretched and desolate.

The second movement plunges immediately into something else: a turbulent, anguished, full-on drama, as though Mahler were now struggling to put thoughts of Death behind him. The shrill three-note woodwind figure heard at the start gradually comes to embody the idea of striving. Several times aspiration falls back into melancholic reverie, with echoes of the Funeral March. At long last the striving culminates in a triumphant brass hymn, in a radiant D major, with ecstatic interjections from the rest of the orchestra. Is the answer to Death to be found in religious consolation – Faith? But the mood doesn’t last long enough to achieve full resolution; affirmation collapses, and the movement quickly fades into darkness. It seems nothing has been achieved.

Now comes a real surprise. The Scherzo bursts onto the scene with a wild horn fanfare. The musical landscape is unmistakably Viennese – a kind of manic waltz. Mahler’s acutely mixed feelings about what his friend Arnold Schoenberg called ‘our beloved, hated Vienna’ evidently found outlet in this music. But the change of mood here has baffled some listeners: the Fifth Symphony has even been labelled ‘schizophrenic’, but ‘manic depressive’ might be nearer the mark. Some psychologists believe that the over-elated manic phase represents a desperate mental flight from unbearable

thoughts or situations, and there are certainly parts of this movement where the gaiety sounds forced, if not downright crazy – especially at the end. Mahler himself wondered what people would say ‘to this primeval music, this foaming, roaring, raging sea of sound, to these dancing stars, to these breathtaking iridescent and flashing breakers?’

Now comes the famous Adagietto, for strings and harp alone, and with it another profound change of mood. Mahler, the great Lieder composer, clearly intended this movement as a kind of wordless love-song to his future wife, Alma. In the movement’s last great climatic sigh he quotes from one of his greatest songs, ‘Ich bin der Welt abhanden gekommen’ (‘I am lost to the world’) from his Rückert-Lieder, which ends with the phrase ‘I live alone in my heaven, in my love, in my song’. Alma would have recognised that, and read its meaning – or at least Mahler would have hoped she would. (She was quite capable of reading her own messages into her husband’s music – not least in the case of this Symphony!)

This invocation of human love and song is the spiritual turning point in the Fifth Symphony – after this there are no more obvious echoes of the death-haunted Part I. The finale is a vigorous, joyous contrapuntal display, with motifs from the Adagietto eventually drawn into the bustling textures. Finally, after a long and exciting buildup, the second movement’s brass chorale returns in splendour in D major, now revealed as the Symphony’s real home key. Is this, then, the triumph of Faith, Hope and, above all, Love? Not everyone finds this ending convincing: Alma Mahler had her doubts from the start. But one can hear it either way – as ringing affirmation or as forced triumphalism masking lingering unease – and still be moved by it. For all his apparent late-Romanticism, Mahler was also a very modern composer: even in his most positive statements there is room for doubt.

Programme note © Stephen Johnson

Recommended recordings

by Laurie Watt

Mahler: Symphony No. 5

London Philharmonic Orchestra | Klaus Tennstedt (Warner)

or London Philharmonic Orchestra | Jaap van Zweden (LPO Label LPO-0033)

Final LPO concerts this season at the Southbank Centre’s Royal Festival Hall

MUSIC FROM THE SHADOWS

Saturday 29 April 2023 | 7.30pm

Shostakovich Violin Concerto No. 1

Thomas Larcher Symphony No. 2 (Kenotaph)

Mahler Adagio from Symphony No. 10

Klaus Mäkelä conductor

Julian Rachlin violin

HYMN OF THE FORESTS

Saturday 6 May 2023 | 7.30pm

Tippett Suite for the Birthday of Prince Charles*

Mendelssohn Violin Concerto*

Janáček Glagolitic Mass

Edward Gardner conductor

Alina Ibragimova violin

Sara Jakubiak soprano

Madeleine Shaw mezzo-soprano

Toby Spence tenor

Matthew Rose bass

Catherine Edwards organ

London Philharmonic Choir

* Please note change of programme from originally advertised. Concert generously supported by the LPO International Board of Governors.

Celebrating 90 years & counting

We cherish our heritage and are committed to keeping the next 90 years exciting, dynamic and inclusive. Donate now, as we continue to make history in the present by offering life-enriching musical experiences for everyone, investing in the next generation of talent, commissioning masterworks of the future and reaching more communities around the UK, especially in Brighton and Eastbourne.

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

Welser-Möst Circle

William & Alex de Winton

John Ireland Charitable Trust

The Tsukanov Family Foundation

Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov

Richard Buxton

The Candide Trust

Michael & Elena Kroupeev

Kirby Laing Foundation

Mr & Mrs Makharinsky

Alexey & Anastasia Reznikovich

Sir Simon Robey

Bianca & Stuart Roden

Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi

Gabor Beyer, through BTO Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne

Goodman

Roddy & April Gow

The Jeniffer & Jonathan Harris Charitable Trust

Mr James R.D. Korner

Christoph Ladanyi & Dr Sophia

Ladanyi-Czernin

Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust

Mr Paris Natar

The Rothschild Foundation

Tom & Phillis Sharpe

The Viney Family

Haitink Patrons

Mark & Elizabeth Adams

Dr Christopher Aldren

Mrs Pauline Baumgartner

Lady Jane Berrill

Mr Frederick Brittenden

David & Yi Yao Buckley

Mr Clive Butler

Gill & Garf Collins

Mr John H Cook

Mr Alistair Corbett

Bruno De Kegel

Georgy Djaparidze

David Ellen

Christopher Fraser OBE

David & Victoria Graham Fuller

Goldman Sachs International

Mr Gavin Graham

Moya Greene

Mrs Dorothy Hambleton

Tony & Susie Hayes

Malcolm Herring

Catherine Høgel & Ben Mardle

Mrs Philip Kan

Rehmet Kassim-Lakha de Morixe

Rose & Dudley Leigh

Lady Roslyn Marion Lyons

Miss Jeanette Martin

Duncan Matthews KC

Diana & Allan Morgenthau

Charitable Trust

Dr Karen Morton

Mr Roger Phillimore

Ruth Rattenbury

The Reed Foundation

The Rind Foundation

Sir Bernard Rix

David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith

Lady Valerie Solti

Mr & Mrs G Stein

Dr Peter Stephenson

Miss Anne Stoddart

TFS Loans Limited

Marina Vaizey

Jenny Watson

Guy & Utti Whittaker

Pritchard Donors

Ralph & Elizabeth Aldwinckle

Mrs Arlene Beare

Mr Patrick & Mrs Joan Benner

Mr Conrad Blakey

Dr Anthony Buckland

Paul Collins

Alastair Crawford

Mr Derek B. Gray

Mr Roger Greenwood

The HA.SH Foundation

Darren & Jennifer Holmes

Honeymead Arts Trust

Mr Geoffrey Kirkham

Drs Frank & Gek Lim

Peter Mace

Mr & Mrs David Malpas

Dr David McGibney

Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer

Charitable Trust

Timothy Walker 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

TIOC Foundation

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

John & Sam Dawson

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

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

Iain & Alicia Hasnip

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

Simon & Lucy Owen-Johnstone

Mr Roger Phillimore

Mr Michael Posen

Mr Anthony Salz

Ms Nadia Stasyuk

Charlotte Stevenson

Mr Joe Topley & Ms Tracey

Countryman

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 Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The R K Charitable Trust

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 Wassermann

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

Florian Wunderlich

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

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

Digital Co-ordinator

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

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