LPO programme: 6 May 2023 - Hymn of the Forests

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

A place to call home 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 6 May 2023 | 7.30pm

A place to call home

Hymn of the Forests

Tippett

Suite for the Birthday of Prince Charles* (16’)

Mendelssohn

Violin Concerto in E minor* (27’)

Interval (20’)

Janáček

Glagolitic Mass (39’)

Edward Gardner conductor

Generously supported by Aud Jebsen

Alina Ibragimova violin

Sara Jakubiak soprano

Madeleine Shaw mezzo-soprano

Toby Spence tenor

Matthew Rose bass

Catherine Edwards organ

London Philharmonic Choir

Artistic Director: Neville Creed

Generously supported by the LPO International Board of Governors

*Please note change of programme to originally advertised.

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

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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.

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.

Farewell to 2022/23, and hello to summer adventures!

A warm welcome to tonight’s concert, the last in our current season at the Southbank Centre’s Royal Festival Hall, and a fitting tribute as we join the nation in celebrating the Coronation of King Charles III. Our musicians have a busy summer ahead – tomorrow we travel to our resident venue, Saffron Hall, to perform again with Edward Gardner and Alina Ibragimova, and next Saturday sees our FUNharmonics family concert, Before the Firebird, here at the Royal Festival Hall.

This year’s Glyndebourne Festival opens on 20 May. During the summer we’ll perform in productions of Poulenc’s Dialogues des Carmélites and Stravinsky’s The Rake’s Progress with Glyndebourne Music Director Robin Ticciati; Britten’s A Midsummer Night’s Dream under Dalia Stasevska; and Donizetti’s L’elisir d’amore under Ben Gernon. Tickets are still available – visit glyndebourne.co.uk

13 July sees our annual Debut Sounds concert at the Southbank Centre’s Queen Elizabeth Hall, featuring five world premieres by our LPO Young Composers, conducted by Brett Dean as the finale of his threeyear term as Composer-in-Residence and Composer Mentor. And in August we’ll give two BBC Proms concerts at the Royal Albert Hall. On 7 August Robin Ticciati conducts a concert performance of Poulenc’s Dialogues des Carmélites, fresh from this summer’s Glyndebourne Festival. On 11 August Edward Gardner takes to the podium for a concert featuring Ligeti’s Requiem and Lux Aeterna, and Strauss’s Also sprach Zarathustra Tickets for the Proms go on general sale on Saturday 13 May: visit bbc.co.uk/proms. Other tours and festivals we’re looking forward to this summer include the Schleswig-Holstein and Rheingau festivals in Germany, as well as visits to Poland and Belgium.

2023/24 season: on sale now!

We return to London in September to kick off our 2023/24 season with Mahler’s epic ‘Resurrection’ Symphony under Edward Gardner on 23 September. Other season highlights include Holst’s The Planets, Haydn’s The Creation and Wagner’s Götterdämmerung The centrepiece of the season is our spring festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression and strives to inspire the creativity in everyone.

Pick up a season brochure in the foyer this evening, or browse the full season and book now at lpo.org.uk

Share the wonder

2023/24 season on sale now

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

lpo.org.uk

London Philharmonic Orchestra

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

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

Sharing the wonder

You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 and 2023/24 we’ll once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

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

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month.

© Mark Allan

Pieter Schoeman Leader

Next generations

There’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

Looking forward

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

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

lpo.org.uk

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

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

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

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

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

© Benjamin Ealovega

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe

Katalin Varnagy

Chair supported by Sonja Drexler

Martin Höhmann

Yang Zhang

Thomas Eisner

Nilufar Alimaksumova

Sophie Phillips

Ronald Long

Gabriela Opacka

Eleanor Bartlett

Alice Apreda Howell

Alice Hall

Second Violins

Emma Oldfield Principal

Vera Beumer

Nynke Hijlkema

Claudia Tarrant-Matthews

Kate Birchall

Ashley Stevens

Sioni Williams

Kate Cole

Sheila Law

Caroline Heard

Nicole Stokes

Fiona Higham

Chair supported by David & Yi Buckley

Lyrit Milgram

On stage tonight

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Katharine Leek

Laura Vallejo

Lucia Ortiz Sauco

Martin Wray

Benedetto Pollani

Julia Doukakis

James Heron

Raquel López Bolívar

Stanislav Popov

Daniel Cornford

Kim Becker

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Ariana Kashefi

Francis Bucknall

David Lale

Helen Thomas

George Hoult

Sibylle Hentschel

Iain Ward

Jane Lindsay

Hee Yeon Cho

Double Basses

Sebastian Pennar Principal

Hugh Kluger

Laura Murphy

Charlotte Kerbegian

Lowri Morgan

Catherine Ricketts

George Peniston

Elen Roberts

Flutes

Juliette Bausor Principal

Brontë Hudnott

Ruth Harrison

Stewart McIlwham

Piccolos

Stewart McIlwham* Principal

Ruth Harrison

Brontë Hudnott

Oboes

Ian Hardwick* Principal

Alice Munday

Sue Böhling*

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

Emma Burgess

Paul Richards*

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon

Robey

Dominic Tyler

Simon Estell*

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Duncan Fuller

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Tony Cross

Piccolo Trumpet

Paul Beniston

Trombones

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

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington*

Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Keith Millar

Harps

Rachel Masters Principal

Esther Beyer

Celeste

Philip Moore Assistant Conductor

Matthew Lynch

* Holds a professorial appointment in London

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

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

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

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

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

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

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

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

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

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

© Benjamin Ealovega

Alina Ibragimova violin

Sara Jakubiak soprano

Performing music from Baroque to new commissions on both modern and period instruments, Russian-born violinist Alina Ibragimova is recognised for the ‘immediacy and honesty’ (The Guardian) of her performances. The 2022/23 season sees her perform concertos by Jörg Widmann, Bartók, Prokofiev and Mendelssohn with the Budapest Festival Orchestra, Pittsburgh Symphony, San Francisco Symphony (all with Robin Ticciati), Helsinki Philharmonic, Dresden Philharmonic and Cologne’s Gürzenich-Orchester. She also begins a two-year Mozart cycle with the Kammerorchester Basel and Kristian Bezuidenhout.

Alina’s last appearance with the LPO was in December 2021, when she stepped in at short notice to perform Shostakovich’s Violin Concerto No. 1 under Vladimir Jurowski at the Southbank Centre’s Royal Festival Hall. Last season’s highlights included returns to the Royal Concertgebouw, London Symphony, Philharmonia, Scottish Chamber and Mahler Chamber orchestras, collaborating with Daniel Harding, Nathalie Stutzmann and Maxim Emelyanychev, among others. She also recently performed with the Tonhalle-Orchester Zürich, Deutsches Symphonie-Orchester Berlin and Chamber Orchestra of Europe.

In recital, Alina regularly performs at London’s Wigmore Hall, Amsterdam’s Concertgebouw, Berlin’s Pierre Boulez Saal, Salzburg’s Mozarteum and Hamburg’s Elbphilharmonie. This season she continues her longstanding partnership with pianist Cédric Tiberghien with concerts across Europe and North America.

Alina is a founding member of the Chiaroscuro Quartet –one of the most sought-after period ensembles.

Praised by the New York Times as a ‘plush-voiced, impressive soprano’, Sara Jakubiak has won international acclaim for her impressive artistry and triumphant performances around the globe. Commanding a large repertoire, she has been heard in roles as diverse as Chrysothemis in Elektra, the title roles in Francesca da Rimini and Ariadne auf Naxos, Heliane in Korngold’s Das Wunder der Heliane, Tatyana in Eugene Onegin and Marta in Weinberg’s The Passenger

During the 2022/23 season Sara returned to the stage as Chrysothemis for her debut at Washington National Opera, alongside Christine Goerke’s Elektra. She also made her debut in the title role of Arabella at the Teatro Real, Madrid, and returned to the Wiener Staatsoper as Marie in Wozzeck. In March she returned to the Deutsche Oper Berlin for a revival of Das Wunder der Heliane, and returns again later this month for Francesca da Rimini. This summer she will make her debut at the Salzburg Festival, in Martinů’s The Greek Passion.

Sara Jakubiak completed her studies at the Cleveland Institute of Music and Yale University. In the first years of her career she appeared at the Minnesota Opera as Cathy in Bernard Hermann’s Wuthering Heights, and made her debut with the New York City Opera as Dede in Bernstein’s A Quiet Place. She began her international career in 2013, when she made her European debut at English National Opera as Marie in Wozzeck under Edward Gardner.

© Eva Vermandel

This is her debut with the London Philharmonic Orchestra.

© Fay Fox

Madeleine Shaw

mezzo-soprano

Toby Spence tenor

This season, Madeleine returns to English National Opera as Fricka in Das Rheingold; to Glyndebourne for her role debut as Marcellina in Le nozze di Figaro, and to Welsh National Opera as Old Lady in a new production of Candide. Madeleine returned to the BBC Proms in 2022 as the Sorceress in Dido and Aeneas with La Nuova Musica, and this season will appear with the Royal Philharmonic, Bergen Philharmonic and Hallé orchestras. Tonight is her debut with the London Philharmonic Orchestra.

Recent operatic appearances include her debut at the Opéra national de Paris as Aufseherin in Elektra; she returned to ENO as Rita in Poul Ruders’s The Handmaid’s Tale, and at Welsh National Opera she created the title role of Elena Langer’s Rhondda Rips It Up! and appeared as Annina in Der Rosenkavalier. Elsewhere, she has appeared as Forester’s Wife in The Cunning Little Vixen and Rossweise in Die Walküre for the Royal Opera House, and as Maddalena in Rigoletto for Glyndebourne and ENO. She made her role debut as Fricka in Das Rheingold for the Longborough Festival, returning to this role in Die Walküre in 2021. In 2024 she will return for a complete Ring Cycle.

Madeleine’s recent concert engagements include her US debut as The Angel in The Dream of Gerontius with the Boston Symphony Orchestra; at the BBC Proms as She-Ancient in The Midsummer Marriage with the BBC Symphony Orchestra and Andrew Davis; Mahler’s Rückert-Lieder with the Orchestra of Welsh National Opera; and Emilia in Otello with the BBC Philharmonic and Gianandrea Noseda. Madeleine has had a long relationship with the Hallé Orchestra; recent performances include the Glagolitic Mass, Messiah, A Child of Our Time and Verdi’s Requiem.

British tenor Toby Spence has sung with the Royal Opera, Covent Garden, the Metropolitan Opera, San Francisco Opera, the Paris Opera, English National Opera, Bayerische Staatsoper, Teatro Real, Madrid, Theater an der Wien, the Hamburgische Staatsoper, and at the Salzburg, Aix-en-Provence and Edinburgh festivals.

On the concert platform he works with Sir Simon Rattle, Andris Nelsons, Thomas Adès, Yannick Nézet-Séguin, Nikolaus Harnoncourt and Semyon Bychkov, among others. His most recent LPO appearance was as Jack in Tippett’s The Midsummer Marriage under Edward Gardner at the Southbank Centre’s Royal Festival Hall in September 2021, later released on the LPO Label. Previously engagements with the Orchestra include Tom Rakewell in The Rake’s Progress under Vladimir Jurowski in November 2018, Carmina Burana under Jérémie Rhorer in October 2018, and Stravinsky’s Perséphone under Thomas Adès in April 2018.

Toby’s operatic appearances in 2022/23 include role debuts as Alonso (The Tempest) for the Teatro alla Scala, and Erik (Der fliegende Holländer) for the Teatro la Fenice. On the concert platform, Toby sings Das Lied von der Erde with the Orchestre de Lille under Alexandre Bloch; Beethoven’s Missa Solemnis and Bach’s St Matthew Passion for the Gulbenkian Foundation; Britten’s War Requiem with the Melbourne Symphony Orchestra; Bach’s Magnificat with the Cincinnati Symphony under Juanjo Mena; and Rachmaninoff’s The Bells with the Philharmonia Orchestra under Stanislav Kochanovsky. Further ahead, he returns to the Vienna State Opera.

© Mitch Jenkins

Matthew Rose bass

Catherine Edwards organ

Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden. In 2006 he made an acclaimed debut at Glyndebourne Festival Opera as Bottom in Britten’s A Midsummer Night’s Dream, and he has since sung the role at the Teatro alla Scala, Royal Opera House, Opéra National de Lyon, Houston Grand Opera and the Metropolitan Opera.

Matthew has sung under the batons of Colin Davis, Gustavo Dudamel, Andrew Davis, Vladimir Jurowski, Charles Mackerras, Yannick Nézet-Seguin and Antonio Pappano, and is a critically acclaimed recording artist, winning a Grammy Award for Ratcliffe in Britten’s Billy Budd. Other recordings include Schubert’s Winterreise with pianist Gary Matthewman, and Schwanengesang with Malcolm Martineau (Stone Records). Previous engagements with the LPO include Stravinsky’s Pulcinella, Fasolt in Wagner’s Das Rheingold and Nick Shadow in Stravinsky’s The Rake’s Progress, all under Vladimir Jurowski at the Southbank Centre’s Royal Festival Hall.

Engagements in 2022/23 include Ochs in Der Rosenkavalier for La Monnaie, and King Marke in Tristan und Isolde for Grange Park Opera. On the concert platform, Matthew sings Beethoven’s Symphony No. 9 for Festival Berlioz in La Côte-Saint-André, Beethoven’s Missa Solemnis with John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique in Wrocław, and Bach’s St Matthew Passion in Helsinki. Additionally, he joins François-Xavier Roth and the GürzenichOrchester Köln for performances of Beethoven’s Symphony No. 9 and Mozart’s Coronation Mass

Catherine Edwards pursues a varied career as pianist, organist and harpsichordist, performing, broadcasting and recording as a chamber pianist, accompanist, orchestral musician and soloist. She is the principal keyboard player with the London Philharmonic Orchestra and the City of London Sinfonia, and plays regularly with the London Symphony Orchestra, with whom she has appeared as soloist on several occasions.

Catherine’s chamber music experience with groups such as Capricorn, the Nash Ensemble, Endymion and Composers’ Ensembles includes standard and contemporary repertoire and she has worked closely with composers such as Boulez, Berio, Steve Reich and John Adams.

Solo performances include recordings and appearances in London’s concert halls, as well as at the BBC Proms and in international festivals.

© Lena Kern

© Michele Frank

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, Schoenberg’s Gurrelieder and Berlioz’s Damnation of Faust 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; 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

Laura Buntine

Charlotte Cantrell

Grace Chau

Jenni Cresswell

Megan Cunnington

Sarah DeaneCutler

Lucy Doig

Lisa Fordham

Ella Frost

Rachel Gibbon

Lily Guenault

Nicola Hands

Jane Hanson

Olivia Haslam

Sasha Holland

Cloe Hotham

Camellia Johnson

Mary Beth Jones

Ilona Lynch

Janey Maxwell

Amanda May

Harriet Murray

Mariana Nina

Elizabeth Ortiz

Linda Park

Rebekah Patterson

Marie Power

Danielle Roman

Holly Shannon

Victoria Smith

Ronnie Spinks

Katie Stuffelbeam

Lucy Taylor

Susan Thomas

Rachel Topham

Mary Whittle

Sze Ying Chan

Altos

Alison Biedron

Sally Brien

Jenny Burdett

Andrei Caracoti

Noel Chow

Andrea Easey

Miranda Fern

Pauline Finney

Iolla Grace

Bethea HansonJones

Kitty Howse

Judy Jones

Julia King

Claire LawrenceSmales

Laetitia Malan

Ian Maxwell

Emma Millard

Nicola Mooney

Anna Mulroney

Kathryn O’Leary

Amy Reddington

Carolyn Saunders

Angela Schmitz

Rima Sereikiene

Natasha Sofla

Muriel Swijghuisen

Reigersberg

Catherine Travers

Susi Underwood

Jenny Watson

Tenors

Geir Andreassen

Kevin Cheng

Gary Cupido

Robert Geary

Alan Glover

David Hoare

James Hopper

Patrick Hughes

Simon Naylor

Simon Pickup

Daisy Rushton

Don Tallon

Claudio Tonini

Tony Valsamidis

Mikolaj Walczak

Toby Wilson

Basses

Martyn Atkins

Peter Blamire

Phillip Dangerfield

Marcus Daniels

Myrddin Edwards

Paul Fincham

Dominic Foord

Gary Freer

Ian Frost

Angel Gensen

John Graham

Mark Hillier

David Hodgson

Rylan Holey

Yaron Hollander

Borja Ibarz

Gabardos

Oliver Jackson

Nigel Ledgerwood

John Luff

Christopher Mackay

Laurens Macklon

Maurice MacSweeney

Maximilian Marston

Paul J Medlicott

John D Morris

Will Parsons

Simon Potter

Edwin Smith

Philip Tait

Programme notes

Speedread

In celebration of the Coronation of King Charles III earlier today, tonight’s concert opens with a work written to mark the monarch’s birth in 1948. Michael Tippett was commissioned by the BBC and wrote a five-movement Suite of marches and dances that draws on various folk sources, as well as music from his own catalogue. A similar flair for reimagining and revision characterises Mendelssohn’s Violin Concerto, which he began in 1838 for his childhood friend Ferdinand David, but which had to wait until 1845 for its premiere. Despite the manifest struggle the composer experienced in completing the work, it is a highly inventive contribution to the genre

and later inspired the maverick Sibelius, as well as others. The second half of tonight’s concert is dominated by the music of another individualist, Leoš Janáček, and his Glagolitic Mass. Agnostic at best, Janáček nonetheless wrote a work that speaks of celebration, namely his love for Kamila Stösslová, the composer’s muse for the last decade of his life. Although she was already married – Janáček also had a wife – he imagines their fantastical wedding among the pines surrounding the Moravian spa town of Luhačovice, where the pair met in 1917, a decade before the work’s premiere.

Suite for the Birthday of Prince Charles

Charles Philip Arthur George Mountbatten-Windsor was born at Windsor on 14 November 1948, the eldest son of (the then) Princess Elizabeth, Duchess of Edinburgh, and Prince Philip, Duke of Edinburgh. The birth of the future king was duly marked, including by the BBC, who, even before the event, had commissioned a new musical work to be broadcast the day after the Prince’s arrival. The Corporation’s first-choice composer, Benjamin Britten, was not available, but it was he who suggested Michael Tippett for the task.

Tippett was, undoubtedly, a riskier proposition. While Britten was already a household name, his slightly older friend was known more as a member of the Communist party and a conscientious objector who had been imprisoned. In accepting the commission, Tippett may well have been trying to bolster his reputation, more than expressing any sense of royalism, though he did not refuse a knighthood in 1966 (as Britten is said to have done).

Programme notes

Regardless of Tippett’s standing, he took to the commission with relish. Working swiftly, he used several pre-existing elements, including traditional melodies. The Suite opens with an Intrada on the Scottish hymntune ‘Crimond’, as sung at the wedding of Princess Elizabeth and Philip Mountbatten in 1947. The second movement, a Berceuse, employs a traditional French lullaby, while the ensuing Procession and Dance links the March from Act I of Tippett’s opera The Midsummer

Marriage, then still in its inception, to an Irish version of the familiar ‘All Around My Hat’. Having returned to a religious note in the fourth movement, using the 13th-century English hymn ‘Angelus ad Virginem’, Tippett concludes his Suite with a delightful mix of ‘Early one morning’ and the composer’s own Helston Furry Dance, as well as his Overture to the ballad opera Robin Hood, written for a 1934 Great Depression work camp in the North Yorkshire mining village of Boosbeck.

Felix Mendelssohn

1809–47

Violin Concerto in E minor, Op. 64

1838–45

Alina Ibragimova violin

1 Allegro molto appassionato

2 Andante

3 Allegro ma non troppo – Allegro molto vivace

Mendelssohn was an inveterate reviser and often returned to seemingly finished scores. But the Violin Concerto in E minor was another case entirely, with every thought that it might not have come to light at all. A rare example of significant struggle within Mendelssohn’s output, the Concerto was first pondered in 1838 as a vehicle for his childhood friend Ferdinand David, whom the composer had recently appointed concertmaster of the Leipzig Gewandhaus Orchestra. It was only in 1845, however, that the work had its premiere. At one point in the seven-year conception, the principal theme from the first movement was even going to move away from its idiomatic violin setting and become part of a piano concerto, drafted between 1842 and 1844, though Mendelssohn eventually returned to his original idea.

Unlike the Violin Concerto in D minor that Mendelssohn had penned in 1822, and which shows the influence of the French school of violin playing, as well as Bachian and Mozartian tropes, this mature Concerto was very much Mendelssohn’s own. Instead of an orchestral tutti, it begins with the soloist playing the rich but restive theme that gave its composer ‘no peace’. Equally imaginative is the placement of the cadenza, lengthened thanks to David’s interventions, at the end of the development. Indeed, the conventional formality of the genre is gradually subverted, with transitionary sections between movements – a model later inspiring Sibelius’s vehicle for the same instrument. Continued

Programme notes

The distinction between the Allegro and the Andante having been eroded, the soloist unfolds one of Mendelssohn’s most guileless ‘songs without words’, as if the tempers of the first movement had been forgotten. Not so, however, according to the central section in A minor. Eventually, the song’s serenity wins through, doubted only briefly in a recitative-like linking

passage, before the violinist hops ‘as light as bird from brier’ during the Finale. There are moments of fanfaric intensity here, counterpoint too, but the prevailing mood is one of tripping glee, entirely belying the struggle that Mendelssohn experienced in completing his Concerto.

Interval – 20 minutes

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

New on the LPO Label: Vladimir Jurowski

conducts Stravinsky Vol. 2

LPO-0126

Tchaikovsky (arr. Stravinsky) The Sleeping Beauty (excerpts)

Stravinsky The Fairy’s Kiss

Vladimir Jurowski conductor

London Philharmonic Orchestra

‘The early evolution of Stravinsky from fledgling to Firebird feels like the most natural thing in the world ... It helps, of course, that the instinct and intellect of this most inquisitive and searching of conductors makes all the right connections.’

Gramophone on ‘Jurowski conducts Stravinsky Vol. 1’ (Editor’s Choice, September 2022)

Recorded live at the Southbank Centre’s Royal Festival Hall on 17 March 2018

Programme notes

Leoš Janáček

1854–1928

Glagolitic Mass

1927

Sara Jakubiak soprano

Madeleine Shaw mezzo-soprano

Toby Spence tenor

Matthew Rose bass

Catherine Edwards organ

London Philharmonic Choir

1 Úvod [Introduction]

2 Gospodi pomiluj [Kyrie]

3 Slava [Gloria]

4 Věruju [Credo]

5 Svet [Sanctus]

6 Agneče Božij [Agnus Dei]

7 Varhany sólo [Organ solo]

8 Intrada [Postlude]

The texts and translations begin on page 18.

The final decade of Leoš Janáček’s life was one of unimpeded inspiration. Having struggled for years to find his place within Czech culture, he finally established a unique position with the first performance in Prague of his 1904 opera Jenůfa. This 1916 event began a happy last chapter, heralded by the independence of Czechoslovakia (as it became after World War I) and a new friendship with Kamila Stösslová, beginning in the Moravian spa town of Luhačovice. Having been as unlucky in matters of the heart as in his professional life, Janáček craved Stösslová’s friendship, writing hundreds of letters to her, until his death in 1928.

Typically, it was to his muse that Janáček described the inspiration behind his Glagolitic Mass, shortly before the work’s premiere in Brno in December 1927:

‘Today I wrote a few lines about how I see my cathedral. I’ve set it in Luhačovice. Not bad, eh? Where else could it stand than there, where we were so happy! And that cathedral is high – reaching right into the vault of the sky. And the candles that burn there, they are the tall pine trees, and at the top they have lighted stars. And the bells in the cathedral, they’re from the flock of sheep. The cathedral’s the

Programme notes

subject of my work for 5 December. But now. Into that cathedral two people enter, they walk ceremonially as if along the highway, all a carpet –a green lawn. And these two want to be married.’

The letter reveals much. Although educated at the Queen’s Monastery in Brno, Janáček had come to describe religion as ‘rituals, prayers, chants: death and nothing but death’. The Glagolitic Mass should not, therefore, be considered a confession of faith, but of his love for Stösslová and, in its employment of the old Slavonic version of the Ordinary of the Mass (first written in a ‘Glagolitic’, pre-Cyrillic script), his confidence in wider Slavic culture.

Janáček began work on the piece in August 1926, writing a complete draft in just two weeks, followed by a long process revision. Changes continued to be made in the lead-up to the premiere in Brno, and Janáček may also have made adjustments after the first performances, before the work was mounted in Prague in April 1928 (see opposite page). In whatever version the work is performed, however, Janáček’s Mass is a resolute celebration of life, stirring into being during an orchestral introduction. After a petitioning Kyrie, the Gloria offers an energetic dance, announced by a beatific soprano. The Credo, the central pillar of Janáček’s ‘cathedral’ (though perhaps the most difficult text for a doubting composer to swallow), is manifestly theatrical. Following the chorus’s questioning ‘věruju’ (‘I believe’) and the tenor soloist’s impassioned assurances, the movement builds to a wild frenzy of Amens, described by Janáček as ‘the release of emotional turmoil’. The Sanctus combines these moods, starting serenely and then revealing more earthly delights in the hosannas.

The Agnus Dei, on the other hand, is a sober reminder of the contrite Kyrie, though Janáček was keen to stress that his music was ‘without the darkness of the catacombs of the Middle Ages’. Finally, recalling his and Stösslová’s time together in Luhačovice, ‘where we were so happy’, the last two movements offer notably wordless celebrations, one for the organ and one for the full orchestra, as if the liturgy itself were unable to express Janáček’s joy at his fantasy marriage.

Recommended recordings of tonight’s works

by Laurie Watt

Tippett: Suite for the Birthday of Prince Charles English Northern Philharmonia | Michael Tippett (Nimbus)

Mendelssohn: Violin Concerto in E minor Alina Ibragimova | Orchestra of the Age of Enlightenment | Vladimir Jurowski (Hyperion)

Janáček: Glagolitic Mass Bergen Philharmonic Orchestra & Choir | Choir of Collegium Musicum | Edward Gardner (Chandos) or

Danish National Radio Symphony Orchestra & Choir Charles Mackerras (Chandos)

Programme notes © Gavin Plumley

Leoš Janáček

A note on tonight’s edition

by John Tyrrell

For years, the version published soon after the Glagolitic Mass’s first Prague performance, in 1928, was the only version available, but in 1992 Paul Wingfield published a book on the work, in which he explained that Janáček had made many changes during rehearsals for the original Brno premiere, changes incorporated into the ‘classic’ version published in 1928. He argued that the 1927 version was more adventurous (making use of simultaneous multiple metres, chords for tuned timpani, etc.) and that the changes had been forced on Janáček because of the inadequacy of the Brno forces: one should therefore perform the version which Janáček took to the rehearsals. This would be in line with the restoration of the original versions of Janáček’s operas, for instance Jenůfa and From the House of the Dead. In 1995 Wingfield’s edition of the 1927 version became available and was taken up by Sir Charles Mackerras and others in the belief that this ‘authentic’ Glagolitic Mass was the one that should be given. A crucial difference, however, is that the originally published versions of Jenůfa and From the House of the Dead had been revised by other hands, while the 1928 version of the Glagolitic Mass was Janáček’s alone. It simply followed the normal production paths of his later operas, Káťa Kabanová, The Cunning Little Vixen and The Makropulos Affair, in the course of which the work was brought into final shape in collaboration with a sympathetic and experienced conductor, Janáček sitting in on rehearsals, making adjustments to what he heard, and taking advice on tempos, etc.

The editor of the new editions of both the 1927 and 1928 versions, Jiří Zahrádka, demonstrates in his introduction that the revisions went on even after the Brno premiere, right up to publication, which would seem to indicate further reflections by the composer on the work rather than desperate measures to simplify it for a third-rate orchestra. When the work was performed in Prague (8 April 1928) Janáček made no attempt to reintroduce the original version and, moreover, approved this version for publication. Accordingly, tonight’s performance adopts the ‘classic’ (1928) version in its latest edition by Jiří Zahrádka –conceding from the 1927 version only the slightly extended ‘Svet’ (which took the sopranos dangerously high) – as the version which Janáček wanted audiences to hear.

Reprinted by kind permission of Chandos Records

Mahler’s

Saturday 23 September 2023

7.00pm

Royal Festival Hall

Mahler Symphony No. 2 (Resurrection)

Edward Gardner conductor*

Sally Matthews soprano

Beth Taylor mezzo-soprano

London Philharmonic Choir

1 Úvod

2 Gospodi pomiluj

Gospodi pomiluj, Chrste pomiluj, Gospodi pomiluj.

3 Slava

Slava vo vyšnich Bogu

I na zeml’i mir Človekom blagovol’enja. Chvalim Te, Blagoslovl’ajem Te, Klanájem Ti se, Slavoslovim Te. Chvali vozdajem Tebĕ Velikyje radi slavy tvojeje. Bože, otce vsemogyj, Gospodi Synu jedinorodnyj, Isuse Chrste!

Gospodi Bože, Agneče Božij, Synu Oteč!

Vzeml’ej grechy mira, Pomiluj nas, Primi mol’enija naša!

Sĕdej o desnuju Otca, Pomiluj nas!

Jako Ty jedin svĕt, Ty jedin Gospod, Ty jedin vyšńij, Isuse Chrste.

Vo slavĕ Boga Otca, So Svetym Duchom

Vo slavĕ Otca Amin.

4

Vĕ ruju

Vĕruju v jedinogo Boga, Otca vsemoguštago, Tvorca nebu i zeml’i, Vidimym vsĕm i nevidimym. Amin.

I v jedinogo Gospoda Isusa Chrsta Syna Bozija jedinorodnago, I ot Otca roždenago

Prĕžde všech vĕk. Boga ot Boga, svĕt ot svĕta, Boga istinna, ot Boga istinnago, Roždena, ne stvor’ena,

Glagolitic Mass Text & translation

Introduction

Kyrie

Lord, have mercy, Christ, have mercy, Lord, have mercy.

Gloria

Glory be to God on high, and on earth peace to men of good will. We praise Thee, We bless Thee, We adore Thee, We glorify Thee. We give Thee thanks for Thy great glory. God the Father almighty, only begotten Son of God, Jesus Christ.

Lord God, Lamb of God, Son of the Father. Who takest away the sins of the world, have mercy on us, receive our prayer. Who sittest at the right hand of the Father, have mercy on us. For Thou alone art holy, Thou alone art the Lord, Thou alone art most high, Jesus Christ. With the Holy Ghost, art most high in the glory of the Father. Amen.

Credo

I believe in one God, the Father almighty, creator of heaven and earth, and of all things visible and invisible. Amen.

And in one Lord Jesus Christ, the only begotten Son of God, born of the Father before all ages.

God of God, light of light, true God of true God, begotten, not made,

Jedinosužtna Otcu.

Jímže vsja byše

Iže nas radi človĕk

I radi našego spasenja

Snide s nebes

I voplti se

Ot Ducha Sveta

Iz Marije devy.

Orchestral interlude

Raspet že zany, Mučen i pogreben byst.

I voskrse v tretij den Po pisanju.

I vzide na nebo, Sĕdit o desnuju Otca.

I paky imat priti sudit Žyvym, mrtvym

So slavoju, Jegože cĕsarstvju nebudet konca.

I v Ducha Svetago, Gospoda i živototvoreštago, Ot Otca i Syna ischodeštago, S Otcem že i Synom kupno, Poklańájema i soslavima,

I že glagolal jest proroky.

I jedinu svetuju, Katoličesku i apostolsku crkov.

I spovĕ daju jedino krščenje

V otpuščenje grĕchov.

I čaju voskrsenja mrtvych, I života buduštago vĕka. Amin.

5 Svet

Svet, svet, svet!

Gospod, Bog Sabaoth, Plna sut nebo, zeml’a, Slavy tvojeje!

Blagoslovl’en gredyj

Vo ime Gospodńe. Osanna vo vyšńich!

6 Agneče Božij

Agneče Božij, vzemlej grĕchy mira, Pomiluj nas!

7 Varhany solo

8 Intrada

Glagolitic Mass Text & translation

consubstantial with the Father by whom all things were made; Who for us men and for our salvation, came down from Heaven, and was incarnate by the Holy Ghost of the Virgin Mary.

He was crucified also for us, suffered, and was buried. And the third day He rose again, according to the scriptures, and ascended into Heaven, and sitteth at the right hand of the Father. And He shall come again with glory to judge both the living and the dead, of whose kingdom there shall be no end. And in the Holy Ghost, the Lord and Giver of Life, proceeding from the Father and the Son. Who, together with the Father and the Son, is adored and glorified, who spoke by the prophets. And in one holy, Catholic and Apostolic Church. I confess one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.

Sanctus

Holy, holy, holy! Lord God of hosts, Heaven and earth are full of Thy glory! Blessed is He that cometh in the Name of the Lord. Hosanna in the highest!

Agnus Dei

Lamb of God, who takest away the sins of the world, have mercy upon us!

Organ solo

Postlude

Celebrating 90 years & counting

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

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Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

Florian Wunderlich

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

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

*Player-Director

Advisory Council

Roger Barron Chairman

Christopher Aldren

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

Martin Höhmann

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets Artistic Director

David Burke

Chief Executive

Chantelle Vircavs

PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Maddy Clarke

Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme

Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community

Project Managers

Hannah Smith

Education and Community Co-ordinator

Claudia Clarkson

Regional Partnerships Manager

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Digital Co-ordinator

Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk

lpo.org.uk

Cover illustration

Simon Pemberton/Heart

2022/23 season identity

JMG Studio

Printer John Good Ltd