LPO/Marquee TV digital concert programme: Tchaikovsky’s Fifth - 13 May 2023

2022/23 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Tchaikovsky’s Fifth

Broadcast Saturday 13 May 2023

Digital concert programme

Beethoven Coriolan Overture

Tchaikovsky Symphony No. 5

Karina Canellakis conductor

London Philharmonic Orchestra on Marquee TV

Contents

Click on the headings to jump to a section

3 On stage

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Karina Canellakis

7 Programme notes: Beethoven

8 Programme notes: Tchaikovsky

10 Marquee TV

11 LPO 2023/24 season – now on sale

12 LPO 90th Birthday Appeal

13 Sound Futures donors

14 Thank you

16 LPO administration

Concert performed at the Southbank Centre’s Royal Festival Hall on 15 March 2023 and filmed by Intersection. This concert was generously supported by Victoria Robey OBE.

The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support.

On stage

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

Thomas Eisner

Martin Höhmann

Alfredo Reyes Logounova

Yang Zhang

Nilufar Alimaksumova

Katalin Varnagy

Chair supported by Sonja Drexler

Ricky Gore

Rasa Zukauskaite

Gabriela Opacka

Alice Apreda Howell

Eleanor Bartlett

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Vera Beumer

Helena Smart

Ashley Stevens

Nancy Elan

Claudia Tarrant-Matthews

Kate Birchall

Fiona Higham

Chair supported by David & Yi Buckley

Sioni Williams

Kate Cole

Jamie Hutchinson

Alison Strange

Charlie MacClure

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander

Sharp

Martin Wray

Katharine Leek

Lucia Ortiz Sauco

Jisu Song

Kate De Campos

Toby Warr

Raquel López Bolívar

Benedetto Pollani

Jill Valentine

James Heron

Rachel Robson

Cellos

Benjamin Hughes Guest Principal

Nina Kiva

David Lale

Francis Bucknall

Sue Sutherley

Hee Yeon Cho

Tom Roff

Sibylle Hentschel

George Hoult

Iain Ward

Double Basses

Kevin Rundell* Principal

Hugh Kluger

George Peniston

Laura Murphy

Adam Wynter

David Johnson

Elen Roberts

Nickie Dixon

Flutes

Juliette Bausor Principal

Imogen Royce

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Alice Munday

Clarinets

Benjamin Mellefont Principal

Thomas Watmough

Chair supported by Roger Greenwood

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Helen Simons

Horns

Mark Vines Principal

Martin Hobbs

Duncan Fuller

Gareth Mollison

Alec Ross

Trumpets

Tom Nielsen Principal

Holly Clark

Anne McAneney*

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

* Holds a professorial appointment in London

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

Gill & Garf Collins

Dr Barry Grimaldi

Bianca & Stuart Roden

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, 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

Karina Canellakis

Principal Guest Conductor, London Philharmonic Orchestra

Fifth. Earlier in the spring she also led the Orchestra and soloist Daniil Trifonov on an extensive tour of Germany’s most prestigious concert halls. This season she has also returned to Berlin for concerts in her position as Principal Guest Conductor of the RSB. Karina continues to present exciting modern pieces as well as well-known masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht with the Netherlands Radio Philharmonic Orchestra, where she holds the title of Chief Conductor.

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She became the London Philharmonic Orchestra’s Principal Guest Conductor in September 2020, and her performances with the Orchestra in her first season led to one critic recounting the ‘explosive chemistry between this conductor and orchestra’, while another described ‘a musical partnership that looks set to be one of the most exciting and rewarding in London’. Karina is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra, and Principal Guest Conductor of the Rundfunk-Sinfonieorchester Berlin (RSB).

Karina returns to the LPO for three concerts at the Royal Festival Hall in the 2023/24 season: a programme including Strauss’s Death and Transfiguration and a Tania León UK premiere on 25 October 2023; Shostakovich’s Eighth Symphony on 28 October 2023; and Brahms’s Fourth on 21 February 2024.

Karina began her 2022/23 season at the BBC Proms, conducting the BBC Symphony Orchestra in Mahler’s Symphony No. 1. Other highlights this season include an exciting debut with the National Symphony Orchestra at the Kennedy Center in Washington, DC, and returns to the Boston, Dallas and San Francisco symphony orchestras and to the Orchestre de Paris.

As Principal Guest Conductor of the London Philharmonic Orchestra, Karina has been joined during the 2022/23 season by pianist Daniil Trifonov and violinist Augustin Hadelich for concertos by Prokofiev and Sibelius, as well as pouring her energy and insight into Beethoven’s ‘Eroica’ Symphony and Tchaikovsky’s

After the great success of Kat’a Kabánova last season, this summer she brings another Janáček opera, The Cunning Little Vixen, to the stage of the Concertgebouw. On the opera stage she has also conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin; Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro; David Lang’s the loser; and Peter Maxwell Davies’s The Hogboon.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina has become a guest conductor with leading orchestras around the world including the London Symphony Orchestra, Cleveland Orchestra, Chicago Symphony, Gewandhausorchester Leipzig, NDR Elbphilharmonie Orchestra, Orchestre Symphonique de Montréal, Munich Philharmonic, and the symphony orchestras of Melbourne, Sydney, Toronto, Cincinnati, Minnesota, Detroit and Vienna. She was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra. She was also the first woman to ever conduct the Nobel Prize Concert with the Royal Stockholm Philharmonic in 2018.

Already known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of its Orchester-Akademie. She performed for many years as a soloist, guest leader and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus.

Karina was born and raised in New York City.

© Mathias Bothor

Programme notes

Ludwig van Beethoven 1770–1827

Coriolan Overture, Op. 62 1807

Until towards the end of the 18th century, overtures were usually little more than musical announcements that an opera or a play was about to begin, a way of silencing the audience. Rarely was their content affected much by the events of the ensuing drama, and it was only with Gluck’s ‘reform operas’ of the 1770s that overtures began to attempt on a more regular basis to encapsulate what was to follow. So influential was the change, however, that by the early 1800s, Beethoven’s most dynamic overtures – those to the plays Coriolan, Egmont and The Ruins of Athens, to the ballet The Creatures of Prometheus and the opera Fidelio – soon acquired a concert life of their own. In effect, they had become the earliest examples of one of the 19th century’s favourite forms, the symphonic poem.

The overture that Beethoven provided for Coriolan, a five-year-old tragedy by his friend Heinrich von Collin, was actually performed a couple of times as a concert piece in the month which preceded its appearance at a revival of the play in April 1807. Collin’s drama had its origins in Shakespeare’s Coriolanus and, though differing from it in several respects, presented the same dilemma of the Roman general who has rebelled and is now leading an attack on Rome itself. On the point of victory he lays down his arms so that his mother, Volumnia, can be spared – a moment of military weakness which eventually drives him to suicide. Beethoven’s Overture focuses on the conflict between the arrogant soldier – shown in the truculent opening chords and urgent string motif – and the pleadings of his mother as represented by the tender second theme, rising step by step as her beseeching intensifies.

In Shakespeare, Coriolanus was killed by his own followers for his disloyalty, but Beethoven’s concern, like Collin’s, was for the effect of the hero’s failings on his own mind, as shown at the end. Here, Volumnia’s theme makes its third and last appearance, not rising this time but switching with greater urgency to the minor, with the result that Coriolanus capitulates in a broken version

of the opening. As the once-proud chords lose their way and the string motif shrivels to nothing, the general’s fall is quiet and ignominious.

note © Lindsay Kemp

Programme

Courtesy of the Royal College of Music, London

Programme notes

Pyotr Ilyich Tchaikovsky

1840–93

Symphony No. 5 in E minor, Op. 64

1888

1 Andante – Allegro con anima

2 Andante cantabile, con alcuna licenza

3 Valse: Allegro moderato

4 Finale: Andante maestoso – Allegro vivace

Tchaikovsky’s last three symphonies (Nos. 4–6) are sometimes depicted as a set, or even as a kind of dramatic trilogy. Of course each work is entirely selfsufficient, and they don’t directly ‘refer’ to one another – as some of Mahler’s symphonies do. But it is possible to see similar preoccupations being worked out in all three symphonies: some of them purely musical, others more personal, possibly autobiographical.

These last three symphonies are so familiar to many that their originality tends to be overlooked. In fact these are some of the most original symphonic works composed after Beethoven’s titanic nine. Although all of them are in the traditional four movements, the layout is radically different in each case. The Fourth balances a huge, complex and powerfully tragic first movement with three shorter ones, which can be seen as strikingly contrasted responses to the bleak predicament outlined in the first. The Sixth (the ‘Pathétique’), on the other hand, places the tragedy at the end in a shattering Adagio lamentoso – symphonies ending in slow movements were extremely rare in the 19th century.

The Fifth follows yet another course. Like No. 4, it begins with what is clearly a ‘Fate’ motif, which here returns to haunt all three later movements. After Tchaikovsky’s disastrous attempt to conquer – or at least conceal –his homosexuality by marrying one of his students in 1877, he became increasingly convinced that his life was directed by some kind of dark, implacable force. The brazen fanfare theme that begins the Fourth Symphony was specifically labelled ‘Fate’ by its

composer. The Fifth’s fateful motto theme, however, enters with a very different kind of tone and tread. Low clarinets (a colour Tchaikovsky often used to great effect) sing a mournful, funereal theme, while low string chords underscore the sense of heavy, weary movement. Eventually this comes to a halt, pianissimo; but then the string chords set out at a livelier pace, and a new theme – melancholic but with a new dancing momentum – emerges on clarinet and bassoon. The Symphony appears to be attempting to counter gloom with the classic remedy of physical movement. This Allegro con anima has its exhilarating highs and stark lows, but the end echoes the beginning: a bassoon subtly recalls the outline of the original Fate theme before descending to a cavernous low B, as timpani and double basses close the movement unambiguously in the minor.

Sombre low string chords begin the slow movement, but now they climb towards the light, which dawns fully in a wonderful long horn melody. If the first movement’s motto theme represents Fate, then this is almost certainly a ‘Love’ theme. Eventually the music grows agitated, and the first movement’s Fate theme storms in on trumpets, bringing the music to a dead stop. Has the idyll been shattered? Tentatively at first, the Love melody returns (now on violins with oboe countermelody) and the mood grows more ardent –until again Fate intrudes, still more aggressively, on trombones. This time there is no return of the Love theme, but a tender, possibly resigned coda.

Programme notes

The following Valse (Waltz) movement is in striking contrast. Its elegant, lilting dance tune could have come straight from a ballroom scene in one of Tchaikovsky’s operas or ballets. But just before the end, Fate returns again, this time quietly on low clarinets and bassoons –a dim but ghostly presence amid colourful merriment. Clearly its implications have to be faced, so Tchaikovsky begins his finale by transforming the Fate theme into a resolutely major-key march tune. This new-found determination is striking, but before long the resolve seems to falter and a turbulent Allegro vivace explodes onto the scene. At length this comes to a big expectant

pause, then the resolute major-key version of the Fate theme marches back in on strings to launch Tchaikovsky’s most positive symphonic conclusion –could Tchaikovsky be telling us that we can be reconciled with, even embrace our fate? Eventually the coda races to the finishing post with memories of the first movement’s dancing Allegro theme shining out on trumpets and horns. Not every listener finds this final affirmation entirely convincing – but that may have been Tchaikovsky’s intention. After all, how often in life do we experience unequivocal triumph?

Programme note © Stephen Johnson

Tonight’s works on the LPO Label

Beethoven Coriolan Overture

Beethoven Symphony No. 5

Klaus Tennstedt conductor London Philharmonic Orchestra

LPO-0087

Recorded live at the Southbank Centre’s Royal Festival Hall on 23 February 1992 (Coriolan Overture) & 30 August 1990 (Symphony No. 5).

Tchaikovsky Symphony No. 4

Tchaikovsky Symphony No. 5

Vladimir Jurowski conductor

London Philharmonic Orchestra

LPO-0064

Recorded live at the Southbank Centre’s Royal Festival Hall on 19 March 2011 (Symphony No. 4) & 4 May 2011 (Symphony No. 5)

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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

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Celebrating 90 years & counting

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Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures

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Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

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Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Sciteb Ltd

Walpole

Preferred Partners

Jeroboams

Lindt & Sprüngli Ltd

Neal’s Yard

OneWelbeck

Sipsmith Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The R K Charitable Trust

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

Florian Wunderlich

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Burke

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

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

*Player-Director

Advisory Council

Roger Barron Chairman

Christopher Aldren

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

David Buckley

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

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 photo Silent Studio © James Wicks