LPO programme: 4 Feb 2023 - The Damnation of Faust (Edward Gardner, conductor)

2022/23 concert season at the Southbank Centre

Where music takes you

Concert programme

Principal Guest Conductor Karina Canellakis

Artistic

Southbank Centre’s Royal Festival Hall

Saturday 4 February 2023 | 7.30pm

Berlioz The Damnation of Faust

Edward Gardner conductor

Generously supported by Aud Jebsen

Karen Cargill Marguerite

John Irvin Faust*

Christopher Purves Mephistopheles

Jonathan Lemalu Brander

London Philharmonic Choir

Artistic Director: Neville Creed

Members of the London Symphony Chorus

Chorus Director: Simon Halsey

London Youth Choirs

Artistic Director: Rachel Staunton

Sung in French with English surtitles.

There will be a 20-minute interval after Part 2. Tonight’s concert will finish at approximately 10.05pm.

* Unfortunately the advertised tenor, David Junghoon Kim, is indisposed and unable to perform this evening. We are very grateful to John Irvin for stepping in at short notice to sing the role of Faust.

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

Principal Conductor Edward Gardner supported by Aud Jebsen

Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Welcome LPO news

Welcome to the Southbank Centre

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

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

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

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Drinks

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

LPO Junior Artists: Overture Day –last chance to apply!

Calling young orchestral players! If you’re aged 11–14 and Grade 4+ standard on your orchestral instrument, there’s still time to apply for our LPO Junior Artists: Overture Day on Sunday 5 March at Saint Gabriel’s College in Lambeth, before applications close this Monday. This Overture Day is part of the Classical Vauxhall festival, a series of exciting musical events in the Vauxhall area celebrating ‘classical done differently’. LPO Junior Artists: Overture days are free, fun orchestral skills days where participants play alongside LPO musicians, get tips on musicianship and find out what happens behind the scenes of a professional orchestra. Applications are open to all, but priority is given to young musicians from Lambeth and musicians whose backgrounds are currently under-represented in professional UK orchestras, who may be eligible for the main LPO Junior Artists programme in the future.

Applications close at 9am this Monday 6 February

To find out more or apply, visit lpo.org.uk/overture

Find out more about Classical Vauxhall at classicalvauxhall.com

Tania León – our new Composer-in-Residence

We’re thrilled to share the news that Cuban-American composer Tania León will be our next Composer-inResidence, succeeding Brett Dean in September 2023. León’s work Stride, commissioned by the New York Philharmonic, was awarded the 2021 Pulitzer Prize for Music, and will be given its UK premiere by the LPO on 31 March here at the Royal Festival Hall. Tania León’s LPO appointment will span two seasons, and will feature a world premiere in 2023/24 and a UK premiere in 2024/25. As part of her residency she will also be involved in the Orchestra’s education and community work, including mentoring the LPO Young Composers. More details of León’s 2023/24 LPO programmes will be announced in the spring with the Orchestra’s season announcement.

Applications for the 2023/24 LPO Young Composers programme are open now and close on Friday 10 March: lpo.org.uk/youngcomposers

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Lasma Taimina

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

Minn Majoe

Catherine Craig

Thomas Eisner

Alfredo Reyes Logounova

Cassandra Hamilton

Elizaveta Tyun

Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Nilufar Alimaksumova

Amanda Smith

Rasa Zukauskaite

Ricky Gore

Ronald Long

Second Violins

Emma Oldfield Principal

Helena Smart

Ashley Stevens

Claudia Tarrant-Matthews

Fiona Higham

Chair supported by David & Yi

Buckley

Nynke Hijlkema

Kate Birchall

Sioni Williams

Nancy Elan

Eleonora Consta

Sheila Law

Charlie MacClure

Georgina Leo

Jeremy Metcalfe

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Martin Wray

Katharine Leek

Benedetto Pollani

Laura Vallejo

Raquel López Bolívar

Lucia Ortiz Sauco

Shiry Rashkovsky

Stanislav Popov

Kim Becker

Daniel Cornford

Julia Doukakis

On stage tonight

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Morwenna Del Mar

Francis Bucknall

David Lale

Sue Sutherley

Susanna Riddell

Helen Thomas

Sibylle Hentschel

Laura Donoghue

Iain Ward

Double Basses

Kevin Rundell* Principal

Sebastian Pennar

Co-Principal

Hugh Kluger

George Peniston

Tom Walley

Chair supported by William & Alex de Winton

Laura Murphy

Charlotte Kerbegian

Lowri Morgan

Flutes

Juliette Bausor Principal

Clare Childs

Stewart McIlwham*

Piccolos

Stewart McIlwham* Principal

Juliette Bausor

Clare Childs

Oboes

Ian Hardwick* Principal

Alice Munday

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry

Grimaldi

Alice Munday

Clarinets

Benjamin Mellefont Principal

James Maltby

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Emma Harding

Joanna Stark

Catriona McDermid

Horns

John Ryan* Principal

Annemarie Federle Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Trumpets

Paul Beniston* Principal

Anne McAneney*

Cornets

Tom Nielsen

David Hilton

Trombones

Mark Templeton* Principal

Chair supported by William & Alex

de Winton

Tom Berry

Bass Trombone

Lyndon Meredith Principal

Tubas

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

David Whitehouse

Timpani

Simon Carrington* Principal Chair supported by Victoria

Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Feargus Brennan

Keith Millar

Jeremy Cornes

Harps

Rachel Masters Principal

Tamara Young

Anne Denholm

Tomos Xerri

Assistant Conductor

Edmund Whitehead

* Holds a professorial appointment in London

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

A warm welcome to Cassandra Hamilton, who has recently joined our First Violin section. Cassi graduated from the Royal Academy of Music in 2013 and has since worked with many of the UK’s leading orchestras. She also enjoys a successful chamber music career, and when not playing violin enjoys cycling, hiking and horse riding. It‘s great to welcome her as a member!

London Philharmonic Orchestra

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

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

Sharing the wonder

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

Our conductors

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

Soundtrack to key moments

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

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

© Mark Allan

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

Next generations

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

2022/23 and beyond

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

lpo.org.uk

Pieter Schoeman Leader

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

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

Brahms and Nielsen. Choral projects include Mahler’s Symphony No. 2 (Resurrection) and a staged 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.

This season Edward leads the London Philharmonic Orchestra in celebrating its 90th anniversary with music originally written for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. He opened the Orchestra’s season in September with Schoenberg’s Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. As well as tonight’s performance of Berlioz’s Damnation of Faust, other highlights this season include Mahler’s Fifth Symphony, an Elgar symphony cycle and Janáček’s Glagolitic Mass (see page 15). He also premieres works by LPO Composer-in-Residence Brett Dean, Vijay Iyer and Agata Zubel, and tours with the Orchestra throughout the UK and Benelux as well as undertaking an extensive tour of Germany.

Edward opened the LPO’s 2021/22 season with an acclaimed performance of Tippett’s The Midsummer Marriage, released in September 2022 on the LPO Label. In August 2022 he conducted the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms with the LPC and the Hallé Choir.

Edward opened the Bergen Philharmonic season with Beethoven’s Symphony No. 3 (Eroica); further symphonic highlights include works by Stravinsky,

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

Karen Cargill

Marguerite mezzo-soprano

John Irvin

Faust tenor

Scottish mezzo-soprano Karen Cargill is one of the most renowned singers of her generation. Winner of the 2002 Kathleen Ferrier Award, she has gone on to be nominated for a Grammy Award for Best Operatic Recording as part of the Metropolitan Opera’s recording of Poulenc’s Dialogues des Carmélites. In 2018 she was awarded an Honorary Doctorate from the Royal Conservatoire of Scotland.

Karen opened the 2022/23 season in September singing the Wood-Dove in Schoenberg’s Gurrelieder with the London Philharmonic Orchestra and Choir under Edward Gardner here at the Southbank Centre’s Royal Festival Hall. Other highlights this season include Mahler’s Symphony No. 2 with both the Deutsche Oper Berlin under Paolo Bartolameolli and the Orchestre symphonique de Montréal under Rafael Payare; and Mahler’s Symphony No. 3 with the Deutsches Symphonie-Orchester Berlin under Robin Ticciati.

Karen’s operatic roles include Geneviève in Pelléas et Mélisande, Judith in Bluebeard’s Castle, Dryade in Ariadne auf Naxos, Anna in Les Troyens, and the title role in Dido and Aeneas. Famed for her interpretations of Wagner, she regularly sings Erda (Das Rheingold and Siegfried), Fricka (Das Rheingold), Brangäne (Tristan und Isolde), Waltraute (Götterdämmerung) and Magdalena (Die Meistersinger von Nürnberg). At the 2021 Glyndebourne Festival she sang Brangäne in Tristan und Isolde with the LPO under Robin Ticciati, reprised at the 2021 BBC Proms. This season Karen makes her debut as Zia Principessa in Puccini’s Il trittico with Scottish Opera directed by Sir David McVicar, and returns to Glyndebourne as Mère Marie in Dialogues des Carmélites with the LPO and Robin Ticciati.

Following a series of important debuts at leading international opera houses and festivals, John Irvin is quickly establishing himself as one of the most interesting young tenors in the bel canto and French repertoire and in Mozart’s operatic roles, as well as contemporary music. Engagements this season include Stravinsky’s Les Noces for his debut at the Accademia Nazionale di Santa Cecilia in Rome, and Franck’s Les Béatitudes with the Orchestre Philharmonique Royal de Liège. Tonight is his debut with the London Philharmonic Orchestra.

Last season John appeared in Rossini’s Le siège de Corinthe in Athens, Mozart’s Die Entführung aus dem Serail at the Staatstheater and Mai-Festspiele Wiesbaden, Berlioz’s Requiem with the Orchestre national des Pays de la Loire, Rossini’s Stabat Mater with the Polish National Radio Symphony Orchestra, and La petite messe solennelle with the Stuttgart Philharmonic. In summer 2022 he made his debut at the Buxton Festival as Rodrigo in Rossini’s La donna del lago

Originally a pianist, the American tenor studied singing at Georgia State University and Boston University’s Opera Institute, and is an alumnus of The Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago. Among the conductors with whom he has collaborated are Sir Andrew Davis, Gustavo Dudamel, Stéphane Denève, John Nelson, John DeMain and Christof Perick.

Unfortunately the advertised tenor, David Junghoon Kim, is indisposed and unable to perform this evening. We are very grateful to John Irvin for stepping in at short notice to sing the role of Faust.

© Darya Buben

© Nadine Boyd Photography

Christopher Purves

Mephistopheles baritone

Jonathan Lemalu Brander

bass

Christopher Purves has firmly established himself as one of the leading British baritones of his generation. Through his celebrated interpretations of a diverse and eclectic range of roles and repertoire, he is in great demand with many prestigious theatres around the world, working with orchestras, conductors and directors of the highest calibre. He started his musical life as a choral scholar at King’s College, Cambridge, and went on to become a member of experimental rock group Harvey and the Wallbangers.

Highlights of Christopher’s 2022/23 season include Balstrode in Peter Grimes for the Bavarian State Opera; Father-in-Law in Kaija Saariaho’s Innocence for the Royal Opera House; and his return to Zurich Opera House as Alberich in Siegfried for their third instalment of Andreas Homoki’s new Ring Cycle. On the concert platform he performs HK Gruber’s Frankenstein!! with the San Francisco Symphony Orchestra, and Haydn’s The Creation with the Rotterdam Philharmonic Orchestra.

Recent operatic highlights have included the title role in Falstaff for Opéra National de Lyon, in a revival of the new Barrie Kosky production for the Aix-en-Provence Festival; staged performances of Handel’s Messiah for Opéra National de Lyon; Alberich in Das Rheingold for Zurich Opera House; Balstrode in Deborah Warner’s production of Peter Grimes at the Teatro Real in Madrid, conducted by Ivor Bolton; a return to the title role in Barrie Kosky’s production of Saul at the Théâtre du Châtelet in Paris and the Houston Grand Opera; and Mephistopheles in Richard Jones’s staging of La Damnation de Faust and Golaud in Stefan Herheim’s new production of Pelléas et Mélisande, both at the 2018 Glyndebourne Festival with the LPO under Robin Ticciati.

Jonathan Lemalu is a New Zealand-born Samoan who graduated from London’s Royal College of Music, where he is now an Honorary Fellow. A joint winner of the 2002 Kathleen Ferrier Award and recipient of the 2002 Royal Philharmonic Society’s Award for Young Artist of the Year, he has worked with conductors including Simon Rattle, Antonio Pappano, Colin Davis, Zubin Mehta, Valery Gergiev, Nikolaus Harnoncourt, Vladimir Jurowski and Roger Norrington. Jonathan has recently been made an Officer of the New Zealand Order of Merit for his services to opera.

Jonathan performs at world-renowned opera houses including the Metropolitan Opera, Royal Opera House, English National Opera, Bavarian State Opera, Lyric Opera of Chicago, Dallas Opera, San Francisco Opera, Opera Australia and Glyndebourne Festival Opera. He has also performed at the Salzburg Festival. His concert and recital performances span both classical and contemporary repertoire and include the Berlin, New York, Rotterdam, Hong Kong, Strasbourg and Los Angeles Philharmonic orchestras, and the New Zealand, London, Boston, Chicago, San Francisco, Toronto, Paris and Tokyo symphony orchestras. He made his LPO debut in January 2020 as King Sharyaati in Ravi Shankar’s opera Sukanya, conducted by David Murphy at the Southbank Centre’s Royal Festival Hall.

Highlights this season include Jonathan’s house debut as Sacristan in Tosca at the Gran Teatre del Liceu in Barcelona; Sarastro in The Magic Flute for Welsh National Opera; and Rocco in Fidelio with the Sydney Symphony Orchestra. On the concert platform, recent and upcoming performances include Haydn’s The Seasons with the Academy of Ancient Music, and Verdi’s Requiem with the Melbourne Symphony Orchestra.

© Chris Gloag

© Sussie Ahlburg

London Philharmonic Choir

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

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

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

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

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

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life.

Supported by

Sopranos

Annette Argent

Chris Banks

Tessa Bartley

Hilary Bates

Amy Brewster

Coco Burch

Grace Chau

Paula Chessell

Francesca Clayton

Megan Cunnington

Issy Davies

Jenny Draper

Lisa Fordham

Ella Frost

Rachel Gibbon

Jane Hanson

Sasha Holland

Mai Kikkawa

Joy Lee

Maddie Lovett

Amanda May

Harriet Murray

Linda Park

Rebekah Patterson

Marie Power

Danielle Roman

Holly Shannon

Rebecca Sheppard

Victoria Smith

Lorna Wills

Sze Ying Chan

Altos

Deirdre Ashton

Alison Biedron

Sally Brien

Jenny Burdett

Andrei Caracoti

Lara Carim

Noel Chow

Pat Dixon

Andrea Easey

Miranda Fern

Sarah Finkemeyer

Pauline Finney

Judy Jones

Plyphon Jones

Andrea Lane

Ethel Livermore

Laetitia Malan

Ian Maxwell

Emma Millard

Caroline Morris

Anna Mulroney

Kathryn O’Leary

Carolyn Saunders

Angela Schmitz

Annette Strzedulla

Eleni Thwaites

Catherine Travers

Jocelyn Tsang

Susi Underwood

Jenny Watson

Tenors

Tim Appleby Christopher

Beynon

Kevin Cheng

James Clarke

Gary Cupido

Robert Geary

Alan Glover

Iain Handyside

James Hopper

Patrick Hughes

Simon Naylor

Simon Pickup

Daisy Rushton

Claudio Tonini

Tony Valsamidis

Mikolaj Walczak

Basses

Martyn Atkins

John Bandy

Nathan Chu

Marcus Daniels

Daniel Debra

Myrddin Edwards

Ellie Fayle

Paul Fincham

Dominic Foord

Gary Freer

Ian Frost

Angel Gensen

John Graham

Luke Hagerty

Alan Hardwick

Christopher Harvey

Mark Hillier

David Hodgson

Yaron Hollander

Brian Hughes

Borja Ibarz

Gabardos

Oliver Jackson

Nigel Ledgerwood

Christopher Mackay

Maurice MacSweeney

Paul J Medlicott

John D Morris

John G Morris

Will Parsons

Simon Potter

Gershon Silins

Edwin Smith

Philip Tait

Chin Tan

Peter Taylor

James Torniainen

Guangda Yang

London Symphony Chorus

President Sir Simon Rattle OM CBE Vice President Michael Tilson Thomas Patrons Simon Russell Beale CBE | Howard Goodall CBE

Chorus Director Simon Halsey CBE Associate Directors Lucy Hollins | David Lawrence | Barbara Hoefling | Mariana Rosas

Chorus Accompanist Benjamin Frost Chair Alice Jones LSO Choral Projects Manager Sumita Menon

Vocal coaches Norbert Meyn | Anita Morrison | Rebecca Outram | Robert Rice

The London Symphony Chorus was formed in 1966 to complement the work of the London Symphony Orchestra, and is renowned internationally for its concerts and recordings with the Orchestra. Their important partnership was strengthened in 2012 with the appointment of Simon Halsey as joint Chorus Director of the LSC and Choral Director for the LSO. The Chorus plays a major role in furthering the vision of LSO Sing, which also encompasses the LSO Community Choir, LSO Discovery Choirs for young people, and Singing Days at LSO St Luke’s.

The LSC has worked with many leading international conductors and other major orchestras, including the Berlin Philharmonic, Vienna Philharmonic, Leipzig Gewandhaus, Los Angeles Philharmonic, New York Philharmonic, National Youth Orchestra of Great Britain and European Union Youth Orchestra. It has also toured extensively throughout Europe and visited North America, Israel, Australia and South East Asia.

The partnership between the LSC and LSO, particularly under Richard Hickox in the 1980s and 1990s, and later with Sir Colin Davis, led to its large catalogue of recordings which have won nine awards, including five Grammys. Gramophone included the recordings of Berlioz’s The Damnation of Faust and Romeo and Juliet on LSO Live with Sir Colin as two of the top ten Berlioz recordings. Recent LSO Live recordings with the Chorus include Bernstein’s Wonderful Town, Berlioz’s The Damnation of Faust and Beethoven’s Christ on the Mount of Olives, all with Sir Simon Rattle.

In early 2020 the Chorus undertook a major European tour of Beethoven, including Christ on the Mount of Olives, with the LSO and Sir Simon Rattle. Seven concerts were then cancelled because of the COVID-19 pandemic but the Chorus continued to rehearse online and performed outside or in masks when restrictions allowed. Recent performances include the world premieres of Howard Goodall’s Never to Forget and Errollyn Wallen’s After Winter with Simon Halsey at the Spitalfields Festival in July 2021, Beethoven’s Symphony No. 9 with the Orchestre Philharmonique in Monte-Carlo and Aix-en-Provence with Kazuki Yamada, Julian Anderson’s Exiles (an LSC co-commission) and Haydn’s The Creation with Sir Simon Rattle, and Dallapiccola’s Il prigioniero with Sir Antonio Pappano.

In September 2022 the Chorus joined forces with the London Philharmonic Orchestra and Choir for Schoenberg’s Gurrelieder under Edward Gardner at the Southbank Centre’s Royal Festival Hall, opening the LPO’s 2022/23 season.

Never to Forget is an LSC commission in memory of health and social care workers who died from COVID-19 while caring for others. An initial eight-minute version was recorded online by the Chorus with LSO players and released as a video during the pandemic. Rambert choreographed and recorded a video of dance to this, and then performed the completed work with the Chorus at a national Remember Me and Never to Forget Memorial Concert at St Paul’s Cathedral in March 2022.

The Chorus is an independent charity run by its members. It is committed to excellence, to diversity, equity and inclusion, and the development of its members. It engages actively in the musical life of London, seeking new members and audiences, and commissioning and performing new works. lsc.org.uk

Tenors

Paul Allatt

Erik Azzopardi

Joaquim Badia

Paul Beecham

Philipp Boeing

James David

Michael Delany

Colin Dunn

Matthew Fernando

Simon Goldman

Rajiv Guha

Michael Harman

Jude Lenier

John Marks

Alastair Mathews

Matthew McCabe

Diego Richardson Nishikuni

Chris Riley

Peter Sedgwick

Chris Straw

Richard Street

Malcolm Taylor

James Warbis

Robert Ward

Basses

Aitor Almaraz

Roger Blitz

Matthew Clarke

Harry Clarke

Robert Garbolinski

John Graham

Bryan Hammersley

Owen Hanmer

Robert Hare

Rocky Hirst

Douglas Jones

Hugh McLeod

Jesus Sanchez Sanzo

Richard Tannenbaum

Daniel Thompson

Robin Thurston

Jez Wareing

Anthony Wilder

Simon Backhouse

London Youth Choirs

Honorary Patrons Professor Jonathan Freeman-Attwood CBE | Suzi Digby OBE | Gareth Malone OBE

Sir Andrew Parmley | Dame Janet Ritterman | Patrick Russill | John Rutter CBE

Chair Dame Deirdre Hutton Artistic Director Rachel Staunton Executive Director Nina Camilleri

London Youth Choirs (LYC) is a family of choirs for all young Londoners. Since our foundation in 2012, our citywide vision has always promised two things: musical excellence and social change. We work constantly to remove barriers to access to ensure that everyone can take part, starting with free auditions for all.

At its heart, LYC is a family of ten choirs with a membership of over 400 young people from all London boroughs. Spanning from age 7–23, members are able to stay with us as they journey through their formative years. The choirs are split according to location, age group and experience levels and are structured as follows:

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• LYC North East (Tottenham): mixed voices, school years 3–6

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• LYC Junior Boys: school years 3–6

• LYC Junior Girls: school years 3–6

• LYC Cambiata Boys: school years 7–11

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• London Youth Choir: mixed choir for school year 10 to age 23

• LYC Chamber Choir: mixed choir for school year 12 to age 23

We are currently celebrating our 10th anniversary year, and throughout 2022/23 we will champion three themes which will also set the tone for our next 10 years: Access, Belonging, and Excellence. So far, this has included launching our ninth and tenth choirs, LYC South West and LYC North East, in September 2022 and January 2023 respectively. As well as doubling our financial assistance provision to ensure access to more young people from all backgrounds, we will be reaching 1,000 new schoolchildren from beyond our membership as part of a relaunched outreach programme, who will join our choirs for a celebration concert at the Royal Albert Hall on 9 May 2023.

londonyouthchoirs.com

Precious Adedeji-Johnson

Adedoyin Adesemoye

Esther Adeko

Ahanna Aggarwal

Ezri Akiwumi

Torialee Alfred

Elsie Alltimes

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Frida Appiah

Aliannah Atkins

Arabella Bage

Sam Barker

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Sienna Burke

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James Ellish-Alexander

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Mia Muraszko

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Vesper Sophia Nordal

Meredith O’Callaghan

Elizabeth-Mary Oluwadamilare

Luka Paresys

Sarai Pearman

James Penlington

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Ruby Poulson

Daniel Quinn

Isabella Reilly

Astrid Richards

Phoebe Secher

Kaya Simms

Heidi Still

Esme Tennant

Kaychanel Thompson

Mia Thompson

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Ruth Tounkam

Lakshmi Waugh

Edward Wherler

Heidi Williams

Anna Wilson

Zoë Woodwark

Chloe Yang

LYC Cambiata Girls & LYC Cambiata Boys

Synopsis

Hector Berlioz

1803–69

The Damnation of Faust

1846

Characters

Faust, a scholar

John Irvin tenor

Marguerite, a young woman

Karen Cargill mezzo-soprano

Mephistopheles, the devil, who appears to Faust as a gentleman

Christopher Purves baritone

Brander, a student

Jonathan Lemalu bass

Choruses of soldiers, students, peasants, gnomes and sylphs, demons and the damned London Philharmonic Choir

Neville Creed Artistic Director

Members of the London Symphony Chorus

Simon Halsey Chorus Director

Celestial spirits

London Youth Choirs

Rachel Staunton Artistic Director

Libretto based on Johann Wolfgang von Goethe’s Faust, translated by Gérard de Nerval with additional words by Almire Gandonnière and Hector Berlioz

Surtitles by Hugh MacDonald, operated by Jonathan Burton

Part 1

A spring dawn on the plains of Hungary. Faust revels in the beauty and solitude of the scene. Sounds of distant merrymaking and warlike preparations intrude on his reverie. Peasants dance in honour of spring. Faust, unable to share their emotions, moves to another part of the plain, where soldiers are advancing to battle. He admires their courage and proud bearing but is unmoved by their empty thirst for glory.

Part 2

Night, in Faust’s study in North Germany, to which he has returned, driven by the ennui that still pursues him. He resolves to end it all and is about to drink poison when church bells peal out and voices proclaim the victory of Christ at Easter. He throws away the cup and, reminded of his childhood devotions, imagines he has found a new peace. Mephistopheles appears and mocks his pious hopes. He offers to reveal wonders not imagined in the philosopher’s cell. They are swept upwards and the scene moves to Auerbach’s cellar in Leipzig, where a noisy crowd of revellers are drinking. One of them, Brander, sings a ballad about a poisoned rat, on which the whole company improvises a blasphemous Amen fugue. Mephistopheles responds with a song about a flea. The drinkers applaud; but Faust is disgusted, and the scene fades as Mephistopheles transports him to the wooded banks of the Elbe, where he is lulled to sleep by soft voices; sylphs weave the air above him. In a dream he sees Marguerite. Awaking, he begs Mephistopheles to lead him to her. They join a band of soldiers and students who are on their way to the town where she lives.

Interval – 20 minutes

Part 3

Evening. Drums and trumpets sound the retreat. Alone in Marguerite’s room, Faust drinks in its purity and tranquillity. He hides behind the arras as Marguerite enters, oppressed by a dream in which she saw her future lover. While she braids her hair she sings an old ballad. Outside the house Mephistopheles summons the spirits of fire. They perform a ritual dance of incantation, after which, in a diabolical serenade, Mephistopheles incites Marguerite to the arms of her lover. Faust steps from behind the arras and the lovers, recognising each other, surrender to their passion. They are rudely disturbed by Mephistopheles, warning that Marguerite’s mother is awake. The neighbours can be heard banging on the door. Faust and Marguerite take an agitated farewell. Mephistopheles exults that Faust will soon be his.

Part 4

Alone, Marguerite longs for Faust, without whom life has no meaning. Distant sounds of trumpets and drums and echoes of the soldiers’ and students’ songs break through her reverie. But Faust does not come. In deep forests he invokes Nature, whose proud untamed power alone can assuage his longings. Mephistopheles appears and informs him that Marguerite has been condemned for the death of her mother, killed by the sleeping draughts she was given during Faust’s visits. In despair, Faust signs a paper agreeing to serve Mephistopheles in return for saving her life. They mount black horses and gallop furiously. Peasants kneeling at a wayside cross flee as they pass. Phantoms pursue Faust; huge birds brush him with their wings. A storm breaks, as with a voice of thunder Mephistopheles commands the legions of hell to begin their revels. Faust falls into the abyss. Demons bear Mephistopheles in triumph. The redeemed soul of Marguerite is received into Heaven by the seraphim.

Programme note

Not all Germans were outraged when Berlioz conducted his Faust in Germany in the 1840s and 1850s. Hans von Bülow wrote rapturously to Liszt about it, and Peter Cornelius called it ‘one of our greatest musical masterpieces, to be ranked with The Creation of Haydn, Handel’s oratorios and Beethoven’s Ninth Symphony’. But the general reaction was deeply hostile, and not just for the frivolous reason that, as one reviewer put it, Berlioz ‘slandered Mephistopheles’ by making him trick Faust, and also slandered the morals of German students, who of course never ‘roamed the streets in search of girls’. It was far worse. He had vandalised a national monument.

Germany may have responded much more positively than France to Berlioz’s music. But this was a special case, a case of fundamentally different Fausts. To the Germans, Faust meant both parts of Goethe’s play –a Faust purged of the sins and follies committed in Part 1’s reckless quest for experience, and scaling the heights in Part 2. To Berlioz it meant Part 1 only, with no real hint of the redeemed hero of Part 2 – on the contrary, a Faust almost as surely damned as in

Marlowe’s play and the old versions of the legend. That was the text he knew and identified with and took to his heart, when he read and re-read, compulsively, Gérard de Nerval’s French translation of Part 1. It became for him a sacred possession, untouched by the as-yetunpublished Part 2. In due course the Eight Scenes from Faust of 1828–9 grew into The Damnation of 1845–6, incorporating the original Scenes, some extensively revised, some hardly changed – though the single guitar accompaniment of Mephistopheles’s serenade became the clatter of massed pizzicato strings, with wicked choral interjections from the will o’ the wisps.

The sheer animation of the completed score, its sardonic humour and dazzling contrasts of mood and colour, have obscured two vital truths: the dramatic and structural logic of the whole, and the deadly seriousness underlying the brilliant surface. The work’s philosophy is not stated: it is embodied in the language of the music and in the precisely organised sequence of scenes. Berlioz could not have made The Damnation a mere kaleidoscope of picturesque incidents. The subject was too close to him for that. He was dramatising himself, his own inner experiences: his frustrated longings, the ideal of love destined never to find fulfilment, the early religious faith irrevocably lost, the fatal ennui, the mal de l’isolement, that first seized him as a boy, as he sat reading in a field and heard the Rogation procession pass nearby, chanting the very song that in The Damnation accompanies the Ride to the Abyss, the final stage of Faust’s road to ruin.

For this hero there can be no salvation. The devil cannot be escaped: He is within. From the first, Faust’s shadow, the demon of denial, has him in his grasp, blighting each positive impulse – towards learning, companionship, nature, love. Mephistopheles, a more openly Satanic figure than Goethe’s, controls and directs everything that happens. Marguerite herself is his creature (though she escapes him in the end). At the very beginning the

‘One of our greatest musical masterpieces, to be ranked with The Creation of Haydn, Handel’s oratorios and Beethoven’s Ninth Symphony’.

Composer and writer Peter Cornelius on The Damnation of Faust

Programme note

tiny worm of consciousness eating away Faust’s imagined felicity – the flattened sixth which poisons the serene viola melody (B-flat in the key of D major) –reveals the truth. The rising phrase that spans the notes from E to B flat establishes the tritone, the medieval ‘devil in music’. In the classic form of F–B it is a motif of the score, from Mephisto’s first entry on a rasping B major (after Faust’s illusory recovery of faith, in F) to the same juxtaposition of chords, hissing with tam-tam and cymbals, that opens and closes ‘Pandemonium’. The first notes of Marguerite’s ballad (transposed from the original G major) are F and B.

It is all there in the music. Listening to it, we are there: in the din and reek of Auerbach’s cellar and Brander’s drunken belching, the lulling airs of the Elbe valley, the stillness of Marguerite’s room. We watch the long column of soldiers and students roistering towards the distant town. We are present as the town goes to its rest, as Mephistopheles (atonally, with F–B prominent) summons his sprites, as the nightmarish shouts of the neighbours terrify Marguerite, as distant voices hauntingly punctuate her lament, as the roar of the forest and the torrential cascade momentarily soothe Faust’s immortal longings. We feel the weariness of the small hours in Faust’s study, the emptiness of learning as the stealthy fugato fades, the dustiness of the books that give no final answer, the isolation of a baffled soul. Isolation, loneliness, is the subject of the work: the loneliness of Marguerite, her awakened passions deprived of their object, the loneliness of Mephistopheles himself, the being who cannot love or die, the loneliness of Faust, crying out to the vast, indifferent night sky for the meaning that eternally eludes him.

Mephisto’s appearance at that moment, with his ironic ‘In the azure vault, tell me, do you perceive the star of steadfast love?’, completes the pattern of disillusionment that recurs throughout The Damnation –the same spirit in which the devil materialised to mock Faust’s nostalgic memory of belief and which burst in cynically at the climax of his love-making. The vitality and vibrant imagery that are so striking a feature of the music only make more ironic and more profound the alienation of Berlioz-Faust from a world depicted with such seductive and lifelike vividness.

Programme note & synopsis © David Cairns

Recommended recording

by Laurie Watt

Berlioz: The Damnation of Faust

Joyce DiDonato, Michael Spyres, Nicolas Courjal Alexandre Duhamel | Strasbourg Philharmonic Orchestra | Gulbenkian Choir | John Nelson (Erato)

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Still to come with the London Philharmonic Choir

Saturday 6 May 2023

Southbank Centre’s Royal Festival Hall

Including Janáček Glagolitic Mass

Edward Gardner conductor

Sara Jakubiak soprano

Madeleine Shaw mezzo-soprano

Toby Spence tenor

Matthew Rose bass

Catherine Edwards organ

London Philharmonic Orchestra & Choir

Generously supported by the LPO International Board of Governors

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

MY HOMELAND

Friday 10 February 2023 | 7.30pm

Glinka Overture, Ruslan and Ludmilla

Rachmaninoff Piano Concerto No. 2

Smetana Má Vlast (movements 1–4)

Nikolaj Szeps-Znaider conductor

Kirill Gerstein piano

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Friday 17 February 2023 | 7.30pm

Missy Mazzoli Sinfonia (for Orbiting Spheres)

Brahms Violin Concerto

Dvořák Symphony No. 9 (From the New World)

Kevin John Edusei conductor

James Ehnes violin

Free pre-concert performance: LPO Junior Artists Royal Festival Hall | 6.00pm

The LPO Junior Artists perform works by Stravinsky, Elgar, Bartók and Conrad Asman alongside LPO musicians, Junior Artist alumni and Foyle Future Firsts, under conductor Gabriella Teychenné.

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Wednesday 22 February 2023 | 7.30pm

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Thomas Adès The Tempest Symphony (UK premiere)

Thomas Adès Inferno Suite

Tchaikovsky Francesca da Rimini

Thomas Adès conductor

LPO.ORG.UK

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The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

The Marchus Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans' Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

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

Board of the American Friends of the LPO

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

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

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Nicholas Snowman OBE

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Maddy Clarke

Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings

Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

Cover illustration

Simon Pemberton/Heart

2022/23 season identity

JMG Studio

Printer John Good Ltd