LPO programme: 2 Dec 2023 - Angela Gheorghiu Operatic Gala by London Philharmonic Orchestra

2023/24 concert season at the Southbank Centre

Free 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 Saturday 2 December 2023 | 7.30pm

Angela Gheorghiu Operatic Gala Tchaikovsky Symphony No. 1 in G minor (Winter Daydreams) (43’) Interval (20’) Prokofiev Troika from Lieutenant Kijé (2’) Giordani Caro mio ben (3’) Refice Ombra di nube (3’) Tchaikovsky Polonaise from Eugene Onegin (4’) Boito ‘L’altra notte in fondo al mare’ from Mefistofele (5’) Borodin Polovtsian Dances from Prince Igor (14’) Puccini ‘Donde lieta uscì’ from La bohème (3’) Puccini ‘Un bel dì,vedremo’ from Madama Butterfly (4’) Gergely Madaras conductor Angela Gheorghiu soprano

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 Gergely Madaras 7 Angela Gheorghiu 8 Programme notes 12 Texts & translations 15 Next concerts 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Welcome

LPO news

Welcome to the Southbank Centre

Christmas at the Southbank Centre This month we’re getting into the festive spirit with three concerts as part of the Southbank Centre’s Winter Festival. On Thursday 14 December, Christmas in Tinseltown features favourite seasonal film themes – from Miracle on 34th Street to The Holiday and The Grinch – presented by Mark Kermode and featuring singer Tommy Blaize alongside the LPO.

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.

On Saturday 16 December at 3pm & 7.30pm we join the London Philharmonic Choir & London Youth Choirs, West End star Marisha Wallace (Guys and Dolls, Hairspray, Dreamgirls, Waitress), and host YolanDa Brown for Christmas Classics. Sing along to some of the ultimate Christmas tunes, from Hark! The Herald Angels Sing to Rockin’ Around the Christmas Tree. You’ll be feeling festive in no time! Tickets available via the Southbank Centre only (online, by phone or in person): southbankcentre.co.uk

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

Carols at Waterloo – Tuesday 5 December

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This Tuesday, 5 December, we’re bringing back one of our favourite LPO traditions – Christmas carols at Waterloo railway station. Members of our brass section and friends, plus singers from the London Philharmonic Choir, will be spreading some festive cheer on the main concourse from 5pm onwards, raising money for Save the Children. If you’re passing, please do join us for a carol or two, and please give generously!

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.

Christmas gifts from the LPO

Recording The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

Looking for a Christmas present for the music-lover in your life? LPO gift vouchers are the perfect option – vouchers can be purchased for any amount, are presented in a smart gift card, and can be redeemed against any concert in the LPO season at the Southbank Centre within a year of purchase. Or how about a gift membership to our LPO Friends scheme? Get up close to the Orchestra with opportunities to see behind the scenes at members’ rehearsals and special events throughout the season. It’s the perfect gift for music connoisseurs and newcomers alike. Gift membership starts at just £60 (£6 per month equivalent). Visit lpo.org.uk/gifts to find out more or buy online.

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.

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

On stage tonight First Violins

Cellos

Chair supported by Neil Westreich

Chair supported by Bianca & Stuart Roden

Pieter Schoeman* Leader Alice Ivy-Pemberton Co-Leader

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe Elizaveta Tyun Thomas Eisner Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang Alice Apreda Howell Nilufar Alimaksumova Ruth Schulten

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Vera Beumer Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nathaniel Boyd Francis Bucknall Sue Sutherley Tom Roff Colin Alexander Auriol Evans Jane Lindsay

Violas

Sam Burstin Guest Principal Martin Wray Katharine Leek Benedetto Pollani Laura Vallejo Richard Cookson Daniel Cornford Shiry Rashkovsky Jisu Song Toby Warr

Dominic Tyler

Horns

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Jason Koczur Jonathan Farey

Chair supported by William & Alex de Winton

Chair supported by Gill & Garf Collins

Chair supported by Mr B C Fairhall

Feargus Brennan Keith Millar James Crook

Harp

Rachel Masters Principal

Piano/Celeste

Catherine Edwards *Professor at a London conservatoire

Trumpets

Simon Oliver

Paul Beniston* Principal Tom Nielsen Co-Principal Anne McAneney*

Flutes

Juliette Bausor Principal Eleanor Blamires Stewart McIlwham*

Paul Beniston*

The LPO also acknowledges the following chair supporters whose player is not present at this concert:

Trombones

Caroline, Jamie & Zander Sharp

Cornet

Piccolo

Stewart McIlwham*

Mark Templeton* Principal

Principal

Cor Anglais

Karen Hutt

Chair supported by Sir Simon Robey

Hugh Kluger George Peniston Tom Walley

Sioni Williams

Tenor Saxophone

Jonathan Davies* Principal

Co-Principal

Oboes

Andrew Barclay* Principal

Bassoons

Kevin Rundell* Principal Sebastian Pennar

Percussion

Paul Richards* Principal

Martin Robertson

Double Basses

Nynke Hijlkema Joseph Maher Ashley Stevens Claudia Tarrant-Matthews Chair supported by Friends of the Orchestra

Bass Clarinet

Kristina Blaumane Principal

Chair supported by William & Alex de Winton

David Whitehouse

Ian Hardwick* Principal Alice Munday

Bass Trombone

Lyndon Meredith Principal

Tuba

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Lee Tsarmaklis* Principal

Timpani

Clarinets

Benjamin Mellefont*

Simon Carrington*

Thomas Watmough

Chair supported by Victoria Robey OBE

Principal

Chair supported by Roger Greenwood

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

London Philharmonic Orchestra

Our conductors

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 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 Tania León our Composer-in-Residence.

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.

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.

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 2023/24 we’re 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.

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.

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Pieter Schoeman Leader

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.

Next generations

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.

Looking forward

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.

The centrepiece of our 2023/24 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 long-awaited 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, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.

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.

lpo.org.uk

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

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Gergely Madaras

conductor

Gergely Madaras is Music Director of the Orchestre Philharmonique Royal de Liège. Together they have performed across Belgium and toured to Europe and South America. They are regularly featured on Mezzo and Medici.tv, and have built an extensive discography ranging from Franck through to Liszt and Dohnányi for the Alpha, BIS and Palazzetto Bru Zane labels. Gergely was previously Music Director of the Orchestre Dijon Bourgogne and Chief Conductor of the Savaria Symphony Orchestra.

Gergely was the inaugural Sir Charles Mackerras Fellow at English National Opera, which culminated in his operatic debut at the London Coliseum with a new production of Die Zauberflöte with stage director Simon McBurney in 2013. Since then, he has conducted critically acclaimed productions at the Dutch National Opera, Grand Théâtre de Genève and Hungarian State Opera. Last season he made his debut at La Monnaie in Brussels, conducting Shostakovich’s The Nose. Whilst grounded in the core classical and romantic repertoire, Gergely maintains a close relationship with new music. He has collaborated with composers George Benjamin, Péter Eötvös, György Kurtág, Tristan Murail, Luca Francesconi, Philippe Boesmans and Pierre Boulez, for whom he served as assistant conductor at the Lucerne Festival Academy between 2011–13.

Gergely made his LPO debut in February 2023, when he conducted an all-Tchaikovsky programme at Brighton Dome and Eastbourne’s Congress Theatre. Other recent guest conducting highlights include engagements with the Budapest Festival Orchestra, Philharmonia Orchestra, Tonhalle-Orchester Zürich, Orchestre Philharmonique de Radio France, Bamberg Symphony, BBC Symphony Orchestra, BBC Philharmonic, Oslo Philharmonic, Orchestre Philharmonique de MonteCarlo, Hallé, Orchestre National du Capitole de Toulouse, Orchestra della Svizzera Italiana, Orchestra Sinfonica Nazionale della RAI, Tokyo Metropolitan Symphony Orchestra, and Il Pomo d’Oro with Joyce DiDonato at the Concertgebouw, as part of their ‘EDEN’ tour.

Gergely has appeared as a regular guest at the Lucerne, Gstaad, Milano Musica, Festival d’Automne à Paris, Murten Classics, inClassica Dubai, Septembre Musical Montreux, MiTo Settembre Musica, Budapest Spring, Bucharest Enescu and Tokyo Stradivarius music festivals. Born in Budapest in 1984, Gergely first began studying Hungarian folk music at the age of five. He went on to study classical flute, violin and composition, graduating from the flute faculty of the Liszt Academy in Budapest, as well as the conducting faculty of the University of Music and Performing Arts in Vienna, where he studied with Mark Stringer.

The 2023/24 season sees Gergely return to the City of Birmingham Symphony Orchestra, Musikkollegium Winterthur, Orchestre Philharmonique de Radio France, Hungarian State Opera and Borusan Istanbul Philharmonic Orchestra. He makes debuts with the WDR Symphony, NHK Symphony, Turku Philharmonic and São Paulo State Symphony orchestras. Future plans include appearances with the Oslo Philharmonic, Gürzenich Orchestra Köln and Netherlands Radio Philharmonic Orchestra.

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Angela Gheorghiu soprano

European Cultural Award for Music, the Victoire d’Honneur Award, multiple Gramophone awards, and two Female Artist of the Year awards at the Classical BRITs. Angela Gheorghiu played the title role in Benoît Jacquot’s film Tosca, which was enthusiastically received by the international press, and attended the launch of the film at the Venice Film Festival in 2001. She also sang Juliette in a film of Roméo et Juliette. Angela performed at the reopening gala of the Royal Opera House (1999) and of the Teatro Malibran in Venice (2001). She sang at the Golden Jubilee of Her Majesty Queen Elizabeth II in the grounds of Buckingham Palace (2002), and at the Nobel Peace Prize Concert (2003). She also sang in concert for Pope John Paul II at Castel Gandolfo (2002). In 2005 she sang at the opening of the Palau de les Arts Reina Sofia in Valencia in the presence of Queen Sofia of Spain, and at the Silver Jubilee Gala for Queen Beatrix of the Netherlands in Amsterdam. In 2007 she performed the role of Fanny in the world premiere of Vladimir Cosma’s Marius et Fanny in Marseille. In 2011 she sang at the reopening of the Bolshoi Theater in Moscow and at the grand opening of the Katara Amphitheatre in Doha, Qatar, where she performed music especially composed for her by the legendary Greek composer Vangelis. She also sang for the Diamond Jubilee of Her Majesty Queen Elizabeth II in 2012 at the Royal Opera House. Angela has headlined the BBC Last Night of the Proms on three occasions: at the Royal Albert Hall in 2003, and in Hyde Park in 2000 and 2006. In 2018 she launched her autobiography – Angela Gheorghiu: A Life for Art, written together with Jon Tolansky.

Angela Gheorghiu, the world’s ‘most glamorous and gifted opera star’ (New York Sun), was born in the small Romanian town of Adjud. From her early childhood it was clear that she would become a singer, and that her destiny was music. She attended the Music High School in Bucharest and graduated from the city’s National University of Music, studying with the remarkable music teacher Mia Barbu. Since then, her magnificent voice and dazzling stage presence have established her as a unique international opera superstar. Angela Gheorghiu made her international debut in 1992 at the Royal Opera House, Covent Garden as Mimì in La bohème, and in the same year made her debut at the Vienna State Opera. She made her debut at New York’s Metropolitan Opera in 1993, again as Mimì. It was at Covent Garden that she first sang her much-acclaimed Violetta in La traviata in 1994, when, for the only time in television and operatic history, the BBC cleared its schedule to broadcast the opera live. Since her Royal Opera debut she has appeared at the world’s leading opera houses and concert halls around the world, her repertoire including, among others, Mimì in La bohème, Violetta in La traviata, Juliette in Roméo et Juliette, Nedda in Pagliacci, Adina in L’elisir d’amore, Amelia in Simon Boccanegra, Magda in La rondine, Marguerite in La damnation de Faust, Micaëla in Carmen, Liù in Turandot, Charlotte in Werther, and the title roles in Tosca and Adriana Lecouvreur.

In February 2021 Angela performed in aid of New York’s Metropolitan Opera musicians, deprived of their pay resulting from Covid-related cancellations, the proceeds benefitting over 150 Met musicians in need. February 2022 marked her 30th anniversary with London’s Royal Opera House, where she reprised the title role in Tosca to great critical acclaim. In the history of opera, Angela Gheorghiu shines as a rare phenomenon: not only a singer and actress with an exceptional vocal technique and profound dramatic and musical intelligence, but also a magnetic communicator who penetrates the hearts and minds of a panoramic spectrum of audiences. She has brought the very highest values of operatic art to a vast worldwide community on an unusually broad scale.

Angela has recorded widely for EMI Classics/Warner Classics and Decca, and has received numerous international honours including La Médaille Vermeille de la Ville de Paris, the awards of Chevalier and Officier de l’Ordre des Arts et des Lettres, the Nihil Sine Deo decoration from King Michael I of Romania, the

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Programme notes Pyotr Ilyich Tchaikovsky 1840–93

Symphony No. 1 in G minor (Winter Daydreams) 1867–68

1 ‘Reveries of a Winter Journey’: Allegro tranquillo 2 ‘Land of Desolation, Land of Mists’: Adagio cantabile ma non tanto 3 Scherzo: Allegro scherzando giocoso 4 Finale: Andante lugubre—Allegro maestoso

Tchaikovsky’s First Symphony is such an endearing, vital, seductively atmospheric work that one would imagine it must have been a joy to write. In fact, the opposite is true: few, if any of his other works caused Tchaikovsky such protracted pain. He was 26 when he began it, having freshly graduated from the St Petersburg Conservatoire and walked straight into a job at the newly created Conservatoire in Moscow. At first things were looking encouraging. His first orchestral performance (an Overture in F major) had been a success, and his teacher, the pianist and composer Anton Rubinstein, had urged him to write a symphony. But then came a crushing review of another work, and Tchaikovsky’s confidence plummeted: ‘I spent the entire day wandering aimlessly about the town’, he told a friend, ‘repeating to myself “I am sterile, I am a nonentity, nothing will ever come of me, I have no talent”.’ He soldiered on with the new symphony, but his determination to keep working through the nights (inevitably resulting in insomnia) led to a frightening breakdown.

a huge success; but Tchaikovsky’s self-doubt was not appeased, and it wasn’t until 1874 that he at last allowed the further-revised score to be published. Surprisingly, despite memories of this agonising slow birth, Tchaikovsky always maintained a special affection for his First Symphony. ‘For all its glaring deficiencies’, he wrote in 1883, ‘I have a soft spot for it. Although it is immature in many respects it is essentially better and richer in content than many other more mature works.’ As so often, he was being harsh: the First Symphony may have its faults, but they are hardly ‘glaring’, and most of the time the freshness of the material fully compensates. The opening theme (flute and bassoon above shimmering violins) is a lovely inspiration, with an unmistakable Slavic accent. From the first there is a strong sense of forward-gliding momentum, like the easy movement of a sleigh across smooth snow. Tchaikovsky’s sharp, clear orchestration registers impressions of cold very effectively, while from time to time warm string harmonies manage to convey a sense of cosiness and security – this traveller is clearly well wrapped up and enjoying his ‘winter daydreams’.

In the end, work seems to have saved Tchaikovsky, and the Symphony was finished in piano score by the beginning of June 1867. But his troubles weren’t over yet. Rubinstein was highly critical of the completed score, and virtually ordered Tchaikovsky to revise it. Even that didn’t please, and only the Scherzo was performed – unsuccessfully. More alterations were made then, at last, in February 1868, the First Symphony had its first full performance in Moscow. This time it was

The slow movement is still more effective. An eloquent theme for muted strings leads to a long oboe tune, with answering birdcalls on flute, unmistakably Russian in so many of its melodic twists and turns. The rest of the movement is essentially a meditation (daydreams again) on phrases from this tune, with occasional reminiscences of the flute’s birdsong, all done with

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Programme notes much more skill and imagination than Tchaikovsky’s later judgement would have us believe. The return of the opening string theme at the end is also deftly timed.

Photograph courtesy of the Royal College of Music, London

Next comes an agile, lightly dancing Scherzo, with wonderful use of woodwind colours (a very mature Tchaikovskian touch). Hesitant cellos and basses suggest for a moment that the central trio section might be darker-hued, but what actually emerges is a warm, suave waltz theme on violins and cellos. Then, after a sombre slow introduction, the Finale soon sets off at a more determined pace in the major key, with trombones, tuba, cymbals and bass drum adding their weight to the orchestra for the first time. The exuberance can sound a little forced (a rare indication of Tchaikovsky’s state of mind at the time he wrote it?). But after all his labours, Tchaikovsky is surely entitled to a bit of over-the-top celebration. Programme note © Stephen Johnson

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

On the LPO Label: Tchaikovsky’s Symphony No. 1 Tchaikovsky Symphony No. 1 (Winter Daydreams) Symphony No. 6 (Pathétique) Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0039

All LPO Label releases are available on CD from all good retailers, and to download or stream via Apple Music Classical, Idagio and others.

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London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Programme notes 98), known as ‘Giordanello’ (‘the little Giordani’), who might (or might not) have been a relative, has only muddied the waters still further. The song, meanwhile, endures. ‘Without you, my heart languishes’, runs the text, to a melody so sublime that it’s been sung by everyone from Pavarotti to Katherine Jenkins.

The texts and translations begin over the page.

Sergei Prokofiev (1891–1953) Troika from Lieutenant Kijé In a moment, Angela Gheorgiu will transport us to the warmth of Italy. But let’s linger a while longer amid the snows of an Imperial Russia that never was – specifically, during the reign of reign of the famously scatterbrained Tsar Paul I (so somewhere around the year 1800). His Majesty has taken a great interest in the career of Lieutenant Kijé, unaware that an inkblot has fallen on an official list of military officers and that Kijé (whose name translates roughly as ‘Lieutenant, who…’) exists only on paper. But since His Imperial Majesty is never mistaken, it follows that Lieutenant Who must therefore exist – and the Tsar now wants regular reports on his progress. His aides have no option but to fake and supply regular evidence of Kijé’s exile to Siberia, official pardon, marriage and promotion through the ranks to General.

Licinio Refice (1883–1954) Ombra di nube (Shadow of a cloud) Only in Italy, perhaps, could it be possible for a Catholic priest to double as a composer of passionate and highly successful operas. Licinio Refice wasn’t the first, exactly (Monteverdi and Vivaldi were both men of the cloth), but he certainly made a splash: ordained into the Church in 1905, and a leading reformer of Italian sacred music before finding worldwide success with his opera Cecilia (1934). ‘Refice would be the greatest opera composer of our time, if it were not for that cassock!’ declared the conductor Arturo Toscanini, but Refice’s gift for melody served heaven and earth alike, and the words (by his regular librettist Emidio Mucci) of his hugely popular song Ombra di nube work both ways. This is a love that could be either sacred or profane, expressed in the kind of tune that comes to a composer once in a lifetime.

That’s the story of Alexander Feinzimmer’s 1934 film Lieutenant Kijé. The score was Sergei Prokofiev’s first major assignment on returning to the Soviet Union after two decades of exile, and by the sound of it, he enjoyed every minute. ‘I somehow knew exactly the musical language for this film’, he wrote later, and in total he completed 17 short pieces for the score, of which he later arranged five for an orchestral suite. ‘Kijé is a devilish job’, he commented to a friend while hard at work, ‘but what fun music!’. A Troika is often described as a three-horse sleigh, but in the film, three steaming drunks fall semi-conscious into a horse-drawn cart. Prokofiev accompanies them as they stagger unsteadily out of the boozer and then set off on their distinctly woozy journey, with the saxophone singing their (unrepeatably bawdy) song.

Pyotr Ilyich Tchaikovsky (1840–93) Polonaise from Eugene Onegin All music paints pictures. Back in Old Russia, at the beginning of the third act of Tchaikovsky’s opera Eugene Onegin (1879) the curtains sweep open on a stirring fanfare. Immediately, the stage fills with dancers in elegant Regency-era costumes, performing the dance that (more than any other) signified royalty to 19th-century Russians: the polonaise. Not a word has been sung, but those ringing trumpets and that swaggering rhythm make it clear to the audience that the scene is now the court of imperial St Petersburg – and that the opera’s heroine, the lovelorn country girl Tatyana, is now moving among the very highest levels of Russian society. But listen out for the melancholy cello melody at the centre of the dance: in Tchaikovsky’s retelling of Pushkin’s classic novel, tears are never far from the surface, and for all the majesty and glitter, there will be no fairytale ending.

Giuseppe Giordani (1695–1762) Caro mio ben (My dear beloved) For the evening’s first visit to Italy, Angela Gheorgiu has chosen the haunting Caro mio ben by the Neapolitan composer Giuseppe Giordani – or possibly (the musicological jury is still out) his son Tommaso, who enjoyed a successful career in Dublin and London. No-one knows which of them, exactly, composed this lovely stand-alone song, and the existence of another Neapolitan composer called Giuseppe Giordani (1751–

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Programme notes Arrigo Boito (1842–1918) ‘L’altra notte in fondo al mare’ (‘Last night in the deep sea’) from Mefistofele

group, everyone present joins in a glittering, flying finale. Tambourines rattle, cymbals sizzle, piccolos shrill and everything crashes to a halt in a blaze of barbaric splendour.

Boito’s only completed opera, Mefistofele, is based on Goethe’s Faust, and was given its first performance in 1868 at the Teatro alla Scala in Milan. This is Margherita’s aria sung in her prison cell. With her mind wandering, Margherita sings of her baby and mother, and how she has been blamed for their deaths. She sings of her insanity and her coming execution. Mefistofele is a work full of glorious moments, like this powerful aria, but never reached the popularity of Gounod’s Faust.

Giacomo Puccini (1858–1924) ‘Donde lieta uscì’ (‘From the place she happily left’) from La bohème ‘Un bel dì, vedremo’ (‘One fine day’) from Madama Butterfly If you want to wring the heart, every opera buff knows that you turn to Puccini. The young friends and lovers of La bohème (1896) are a high-spirited bunch, but Puccini draws them with such affection and honesty that when the laughter starts to turn to tears it feels like the heartbreak is happening to people you genuinely know. The little Parisian seamstress Mimì knows she can’t live without her beloved Rodolfo; but it seems that she can’t live with him, either. Her Act Three break-up song ‘Donde lieta uscì’ is so sad and sweet that it almost hurts.

Alexander Borodin (1833–87) Polovtsian Dances from Prince Igor From verismo – raw emotional realism – to a very Russian kind of fantasy. Professor Alexander Borodin was a pioneering research chemist, and he never gave up the day-job. In his spare time he campaigned for women’s rights and rescued stray cats: music, as a hobby, came bottom of the list. His friend Nikolai Rimsky-Korsakov was determined to see Borodin’s opera Prince Igor finished, and in February 1875 he decided to focus Borodin’s mind by scheduling a performance of at least one section of the opera: the ‘Polovtsian Dances’. It was a high-risk strategy. ‘At last’, wrote Rimsky, ‘giving up hope, I offered to help him with the orchestration. We worked through the night, and Borodin dipped the finished pages in gelatine to stop them smudging. We hung them to dry in my study, like washing on lines.’ Prince Igor was never completed, but the Polovtsian Dances were triumphantly premiered in St Petersburg on 27 February 1879.

Madama Butterfly (1904), meanwhile, is set in the Japanese port of Nagasaki, where Cio-Cio San, a young Japanese girl, is about to marry Lieutenant Pinkerton, an American naval officer. She doesn’t realise that Pinkerton sees the ‘marriage’ as a temporary arrangement: and after he sails back to the USA without her, she never stops waiting for his return – or believing that ‘Un bel dì’ (‘One fine day’) she will spot his ship on the horizon. Her great song of longing is an Italian’s view of a Japanese melody, charged with pain and passion. Opera’s all about impossible dreams: the worlds it depicts can be remote, and the characters larger-thanlife. But when we hear these arias sung by a truly great interpreter, we’re all, for a moment, Maddalena, Mimì or Madama Butterfly.

To the cheers of his subjects, Prince Igor of Novgorod has ridden out to conquer the nomads of central Asia. But pride (not for the last time in Russian history) has gone before a disastrous fall: and now Igor and his son Vladimir are prisoners of Khan Khonchak, ruler of the Polovtsians. Happily, Khonchak is anything but a savage, and he treats his prisoners to a truly sumptuous entertainment. Servant girls languorously set the scene; before the men of Khonchak’s bodyguard perform a brilliant oriental dance, to swirling clarinets. To pounding drums, the whole company now begins a macho General Dance. And now the heat is on, as, group by

Programme notes (excluding Boito) © Richard Bratby

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Texts & translations Giuseppe Giordani Caro mio ben

My dear beloved

Caro mio ben, Credimi almen, Senza di te languisce il cor.

My dear beloved, At least believe me, That without you My heart languishes.

Il tuo fedel sospira ognor. Cessa, crudel, Tanto rigor!

Your faithful one Sighs constantly. O cruel one, put an end To such severity! Translation: Ray Granlund Reprinted by kind permission of Warner Classics

Licinio Refice Ombra di nube

Shadow of a cloud

Era il ciel un arco azzurro di fulgor; Chiara luce si versava sul mio cuor. Ombra di nube, non mi offuscare; Della vita non velarmi la beltà. Vola, o nube, vola via da me lontan; Sia disperso questo mio tormento arcan. Ancora luce, ancora azzurro! Il sereno io vegga per l’eternità!

The sky was an arc of dazzling blue; A brilliant light shone down on my heart. Shadow of a cloud, do not bring me darkness; do not obscure the beauty of life for me. Fly, cloud, fly far away from me; Let this strange torment of mine be swept away. Bring back the light, bring back the blue! Let me see the clear sky for all eternity!

Text: Emidio Mucci (1886–1977)

Translation: Kenneth Chalmers Reprinted by kind permission of Decca Classics

Arrigo Boito ‘L’altra notte in fondo al mare’ from Mefistofele

Last night in the deep sea

MARGUERITE: L’altra notte in fondo al mare Il mio bimbo hanno gittato, Or per farmi delirare dicon ch’io L’abbia affogato.

Last night in the deep sea they cast my baby, and now, to drive me mad, they say that I drowned him.

L’aura è fredda, Il carcer fosco, E la mesta anima mia Come il passero del bosco Vola, vola, vola via. Ah! Pietà di me!

The air is cold, the cell is dark, and my sad soul like a sparrow from the wood flies, flies (...) flies, away. Ah, have pity on me!

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Texts & translations In letargico sopore E’ mia madre addormentata, E per colmo dell’orrore dicon ch’io L’abbia attoscata.

In funereal slumber is my mother asleep, and to my utmost horror they say that I murdered her.

L’aura è fredda, Il carcer fosco, etc.

The air is cold... (etc.)

Text: Arrigo Boito (1842–1918)

Giacomo Puccini ‘Donde lieta uscì’ from La bohème

From the place she happily left

MIMÌ: Donde lieta uscì al tuo grido d’amore, torna sola Mimì al solitario nido. Ritorna un’altra volta a intesser finti fior. Addio, senza rancor. – Ascolta, ascolta. Le poche robe aduna che lasciai sparse. Nel mio cassetto stan chiusi quel cerchietto d’or e il libro di preghiere. Involgi tutto quanto in un grembiale e manderò il portiere... – Bada, sotto il guanciale c’è la cuffietta rosa. Se ... vuoi ... serbarla a ricordo d’amor! ... Addio, senza rancor.

From the place she happily left, following the cry of your love, Mimì returns alone to her solitary nest. Back once more to embroidering fake flowers. Farewell, without bitterness. – Listen, listen. Gather the few scattered clothes I had left. In my drawer I kept that ring of gold and my prayer book. Wrap them all in an apron and I shall send the caretaker... – Mind, under the pillow there is my pink bonnet. If ... you like ... keep it as a memory of our love! ... Farewell, without bitterness.

Text: Giuseppe Giacosa (1847–1906)/ Luigi Illica (1857–1919)

Translation by kind permission of Warner Classics

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Texts & translations Giacomo Puccini ‘Un bel dì, vedremo’ from Madama Butterfly

One fine day

BUTTERFLY Un bel dì, vedremo levarsi un fil di fumo sull’estremo confin del mare. E poi la nave appare. Poi la nave bianca entra nel porto, romba il suo saluto. Vedi? Egli è venuto! Io non gli scendo incontro. Io no. Mi metto là sul ciglio del colle e aspetto gran tempo e non mi pesa la lunga attesa. E, uscito dalla folla cittadina, un uomo, un picciolo punto, s’avvia per la collina. Chi sarà? Chi sarà? E come sarà giunto che dirà? Che dirà? Chiamerà ‘Butterfly!’ dalla lontana. Io, senza dar risposta, me ne starò nascosta, un po’ per celia e un po’ per non morire al primo incontro, ed egli alquanto in pena chiamerà, chiamerà: ‘Piccina mogliettina, olezzo di verbena’, i nomi che mi dava al suo venire. Tutto questo avverrà, te lo prometto. Tienti la tua paura, io con sicura fede l’aspetto.

One fine day we’ll see a wisp of smoke rising from the distant horizon of the sea. And then the ship will appear. Then the white ship will enter the harbour, thundering out its signal. You see? He’s come! I won’t go down to meet him. Not I. I shall go to the top of the hill and wait for a long time, but I won’t mind this long waiting. Out of the city crowds a man is coming, a little speck making for the hill. Who is it? Who is it? And when he gets here what will he say? What will he say? He will call ‘Butterfly!’ from the distance. I, without answering, shall stay hidden, partly for fun and partly so as not to die at our first meeting, and he, rather distressed, will call: ‘My tiny little wife, sweet-scented flower’, the names he used to call me when he came. All this will happen, I promise you. Keep your fears to yourself, I shall await him with unshakeable faith.

Text: Giuseppe Giacosa (1847–1906)/ Luigi Illica (1857–1919)

Translation © Decca Music Group Limited. Reprinted with kind permission of Decca Classics.

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Next LPO concerts at the Southbank Centre SCHEHERAZADE

Wednesday 6 December 2023 | 7.30pm Royal Festival Hall Beethoven Piano Concerto No. 5 (Emperor) Rimsky-Korsakov Scheherazade Tianyi Lu conductor Tom Borrow piano

MUTTER PLAYS JOHN WILLIAMS Saturday 13 January 2024 | 7.30pm Royal Festival Hall

John Williams Superman March John Williams Violin Concerto No. 2 (UK premiere) John Williams The Duel from The Adventures of Tintin John Williams Nice to Be Around from Cinderella Liberty John Williams Hedwig’s Theme from Harry Potter Bernstein Suite, On the Waterfront Jonathon Heyward conductor Anne-Sophie Mutter violin

FAMILY TIES – THE SCHUMANNS AND THE MENDELSSOHNS Friday 19 January 2024 | 7.30pm Queen Elizabeth Hall (please note venue)

Fanny Mendelssohn Overture in C major Clara Schumann Piano Concerto Robert Schumann Introduction and Concert Allegro Felix Mendelssohn Symphony No. 3 (Scottish) Natalia Ponomarchuk conductor Alexander Melnikov piano

LPO.ORG.UK

AEG Artistic Presents

Thursday 14 December

CHRISTMAS IN TINSELTOWN Join Mark Kermode for a selection of the greatest Christmas movie music of all time including The Holiday, The Grinch, Miracle on 34th Street and many more.

aegpresents.co.uk

Saturday 16 December

CHRISTMAS CLASSICS

Sing along to festive carols and the biggest Christmas hits of all time. With host YolanDa Brown, vocalist Marisha Wallace, London Youth Choirs and London Philharmonic Choir.

southbankcentre.co.uk

songbirdsongs JOHN LUTHER ADAMS

RUSH HOUR CONCERT WEDNESDAY 17 JANUARY 2024, 6.30PM ST JOHN’S CHURCH, WATERLOO TICKETS FROM £12 LPO.ORG.UK

Generously supported by TIOC Foundation

axs.com

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

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

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

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

The American Friends of the London Philharmonic Orchestra 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 Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

Iain & Alicia Hasnip Eugene & Allison Hayes J Douglas Home Molly Jackson Mrs Farrah Jamal Mr & Mrs Jan Mr & Mrs Ralph Kanza Mr Peter King Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr & Mrs Makharinsky Mr Gordon McNair Andrew T Mills Denis & Yulia Nagy Andrew Neill Jamie Njoku-Goodwin Peter & Lucy Noble Oliver & Josie Ogg Mr Stephen Olton Simon & Lucy Owen-Johnstone Mr Roger Phillimore Mr Michael Posen Saskia Roberts John Romeo Priscylla Shaw Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Karina Varivoda Grenville & Krysia Williams Joanna Williams

David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham Cameron & Kathryn Doley Ulrike & Benno Engelmann Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Mrs Elena & Mr Oleg Kolobov Mrs Elizabeth Meshkvicheva Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Mr Joe Topley & Ms Tracey Countryman Andrew & Rosemary Tusa Jenny Watson CBE Laurence Watt

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Alistair Corbett Guy Davies David Devons Igor & Lyuba Galkin Prof. Erol & Mrs Deniz Gelenbe In memory of Enid Gofton Alexander Greaves Prof. Emeritus John Gruzelier Michael & Christine Henry Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Elena Lojevsky Pippa Mistry-Norman Mrs Terry Neale

Bronze Patrons

Anonymous donors Chris Aldren Michael Allen Mrs A Beare Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr John H Cook Deborah Dolce Ms Elena Dubinets David Ellen Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton

John Nickson & Simon Rew Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Christopher Williams

Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Keith Millar Victoria Robey OBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

Thank you

Thomas Beecham Group Members

David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler Mr B C Fairhall The Friends of the LPO 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 Solicitors French Chamber of Commerce

Tutti

German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Sciteb Ltd Walpole

Preferred Partners

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust The Barbara Whatmore Charitable Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Cockayne – Grants for the Arts The London Community Foundation Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust Idlewild Trust Institute Adam Mickiewicz John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Kirby Laing Foundation The Kurt Weill Foundation for Music The Lennox Hannay Charitable Trust Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation The Thriplow Charitable Trust Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family

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 HSH Dr Donatus, Prince of Hohenzollern Aline Foriel-Destezet Irina Gofman Olivia Ma George Ramishvili Sophie Schÿler-Thierry Florian Wunderlich

and all others who wish to remain anonymous.

Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway

In-kind Sponsor Google Inc

London Philharmonic Orchestra • 2 December 2023 • Angela Gheorghiu Operatic Gala

London Philharmonic Orchestra Administration Board of Directors

General Administration

Dr Catherine C. Høgel Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* 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

Elena Dubinets Artistic Director

Advisory Council Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley 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 Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann 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

Education and Community Talia Lash Education and Community Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager

Lowri Davies Hannah Foakes Education and Community Project Managers

Concert Management

Hannah Smith Education and Community Co-ordinator

Roanna Gibson Concerts and Planning Director

Claudia Clarkson Regional Partnerships Manager

Graham Wood Concerts and Recordings Manager Maddy Clarke Tours Manager

Development Laura Willis Development Director

Madeleine Ridout Glyndebourne and Projects Manager

Rosie Morden Individual Giving Manager

Alison Jones Concerts and Recordings Co-ordinator

Siân Jenkins Corporate Relations Manager Anna Quillin Trusts and Foundations Manager

Robert Winup Concerts and Tours Assistant Matthew Freeman Recordings Consultant

Katurah Morrish Development Events Manager

Andrew Chenery Orchestra Personnel Manager

Eleanor Conroy Al Levin Development Co-ordinators

Sarah Thomas Martin Sargeson Librarians Laura Kitson Stage and Operations Manager

Nick Jackman Campaigns and Projects Director

Stephen O’Flaherty Deputy Operations Manager

Kirstin Peltonen Development Associate

Benjamin Wakley Assistant Stage Manager

Marketing

Felix Lo Orchestra and Auditions Manager

Kath Trout Marketing and Communications Director

Finance

Sophie Harvey Marketing Manager

Frances Slack Finance Director

Rachel Williams Publications Manager

Dayse Guilherme Finance Manager

Gavin Miller Sales and Ticketing Manager

Jean-Paul Ramotar Finance and IT Officer

Ruth Haines Press and PR Manager Hayley Kim Residencies and Projects Marketing Manager

Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd