LPO/Marquee TV digital concert programme: Canellakis conducts Brahms

2023/24 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Canellakis conducts Brahms

Broadcast Saturday 23 March 2024

Digital concert programme

Mussorgsky (orch. Shostakovich)

Dawn on the Moscow River (Prelude to Khovanshchina)

Brahms Symphony No. 4

Karina Canellakis conductor

London Philharmonic Orchestra on Marquee TV • 23 March 2024 • Canellakis conducts Brahms

Contents

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Concert performed at the Southbank Centre’s Royal Festival Hall on 21 February 2024 and filmed by Intersection.

The LPO would like to acknowledge the generosity of all of its members, supporters and donors.

Thank you for your support.

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

Chair supported by Dr Alex & Maria Chan

Cassandra Hamilton

Thomas Eisner

Chair supported by Ryze Power

Katalin Varnagy

Chair supported by Sonja Drexler

Amanda Smith

Alice Apreda Howell

Gabriela Opacka

Jamie Hutchinson

Kate Cole

Lyrit Milgram

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Sophie Phillips

Helena Smart

Joseph Maher

Nynke Hijlkema

Ashley Stevens

Nancy Elan

Claudia Tarrant-Matthews

Chair supported by Friends of the Orchestra

Kate Birchall

Fiona Higham

Chair supported by David & Yi Buckley

Sioni Williams

Violas

Jane Atkins Guest Principal

Benedetto Pollani

Lucia Ortiz Sauco

Martin Wray

Chair supported by David & Bettina Harden

Katharine Leek

Michelle Bruil

Alistair Scahill

Kate De Campos

Toby Warr

Raquel López Bolívar

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Richard Birchall

Waynne Kwon

David Lale

Francis Bucknall

Helen Thomas

George Hoult

Iain Ward

Double Basses

Kevin Rundell* Principal

Hugh Kluger

George Peniston

Laura Murphy

Lowri Estell

Catherine Ricketts

Flutes

Juliette Bausor Principal

Anna Kondrashina

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Eleanor Sullivan

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont* Principal Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Thomas Watmough Chair supported by Roger Greenwood

Paul Richards*

Bassoons

Jonathan Davies* Principal Chair supported by Sir Simon Robey

Helen Storey

Simon Estell*

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Annemarie Federle Principal Chair supported by Victoria Robey CBE

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Trumpets

Paul Beniston* Principal

Anne McAneney* Chair supported by Peter Coe

Trombones

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

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt Chair supported by Mr B C Fairhall

Harp

Rachel Masters Principal

Piano/Celeste

Catherine Edwards

Assistant Conductor

Luis Castillo-Briceño

*Professor at a London conservatoire

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. Our mission is ‘to share wonder with the modern world through the power of orchestral music’, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.

Our home is 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 worldwide. In 2024 we celebrate 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Soundtrack to key moments

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

Sharing the wonder worldwide

We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, with over 1.1m followers across all platforms, and in spring 2024 we featured in a behind-the-scenes TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor, and Tania León our Composer-in-Residence.

Next generations

We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,

© Mark Allan

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 disabilities and special educational needs.

Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads 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 two outstanding early-career conductors from backgrounds under-represented in the profession.

Our 2024/25 season

Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony. Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Andrew Davis, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.

Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more. We’re also looking forward to tours to US, Japan, China and Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.

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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, Florence Price’s Violin Concerto No. 2, 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

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 has been Principal Guest Conductor of the London Philharmonic Orchestra since September 2021, and her LPO contract has just been extended for a further three years. She is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra.

This concert was Karina’s third Royal Festival Hall appearance with the LPO in 2023/24, following two successful concerts in October 2023 with pianists Cédric Tiberghien and Jonathan Biss. Following a highly successful tour of Germany with the LPO and pianist Daniil Trifonov in March 2023, in February 2024 Karina led the Orchestra on tour to Germany and Vienna’s Musikverein, where she has been an Artist-inResidence for 2023/24. Next season Karina returns to the LPO for three concerts during 2024/25, including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor.

As Chief Conductor of the Netherlands Radio Philharmonic, this season Karina has presented exciting contemporary pieces, new commissions and wellknown masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht. Particular highlights include a concert performance of Wagner’s Siegfried as part of the prestigious Zaterdag Matinee series. Karina’s 2023/24 guest engagements include her debut with the New York Philharmonic, as well as returns to the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic and Cleveland orchestras, the Berlin Radio Symphony Orchestra,

and the NDR Elbphilharmonie in Hamburg. After the great successes of Kat’a Kabánova and The Cunning Little Vixen with the Netherlands Radio Philharmonic in previous seasons, in March 2024 Karina continued her series of Janáček operas with The Makropulos Case. She will also conduct Strauss’s Der Rosenkavalier for Santa Fe Opera this summer. Her concert performances of acts of Wagner’s Die Walküre, Tristan und Isolde and Siegfried have met with tremendous critical praise, and she has 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

April 2023 saw the start of a multi-album collaboration between Karina, the Netherlands Radio Philharmonic and Pentatone with their debut release; Bartók’s Concerto for Orchestra and Four Orchestral Pieces. Karina and the RFO were also featured artists for the launch of Apple Music Classical, in a recording of Beethoven’s Piano Concerto No. 1 with Alice Sara Ott.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina Canellakis has become a guest conductor with leading orchestras around the world including the Bavarian Radio Symphony, Boston Symphony, Chicago Symphony, Cleveland, LA Philharmonic, London Symphony, Munich Philharmonic, Philadelphia, San Francisco Symphony and Vienna Symphony orchestras, the Orchestre de Paris, and the Gewandhausorchester Leipzig. She recently finished a four-year appointment as Principal Guest Conductor of the Berlin Radio Symphony Orchestra.

Karina Canellakis was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra, and returned to the Proms in 2022. 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

Modest Mussorgsky

1839–81

Dawn on the Moscow River (Prelude to Khovanshchina)

1879–81,

orch. Shostakovich 1960

Blessed with hindsight, modern music lovers have little difficulty seeing that Modest Mussorgsky was one of the two most extraordinary Russian composers of his time, the other being Tchaikovsky, who was born just a year later. It was not so obvious to his contemporaries. Like many of his composing countrymen, he was not at first involved with music professionally. After attending a military academy, he served in the army and then proceeded toward a predictable future in the Russian civil service, as a bureaucrat in the Ministry of Communication, beginning in 1863, and then in the Department of Forestry starting in 1868.

It was during those years that he fell in with the circle of young musical aspirants surrounding the composer Mily Balakirev and the critic Vladimir Stasov, a group that was fascinated with exploring Russian nationalist themes. In 1867 Stasov coined the nickname Moguchaya kuchka – ‘The Mighty Handful’ – in a review referring to composers whose works featured in a concert for a pan-Slavic convention. Originally the term was meant to embrace a wide swathe of Russian composers, not just the nationalists of the newest generation, but before long its usage was focussed on the famous five, which in addition to Balakirev and Mussorgsky included César Cui (an officer in the Russian Army Engineering Corps), Nikolai RimskyKorsakov (a midshipman at the Imperial Naval Academy) and Alexander Borodin (a chemist associated with the Academy of Medicine). What this assortment of military and scientific professionals lacked in musical training they made up in enthusiasm, and under Balakirev’s coaching they began developing a distinctly Russian style of late Romanticism that was distinct from Tchaikovsky’s more mainstream European mode of composition.

Even in his own time, Mussorgsky was considered something of a naïf, a primitive whose musical visions managed to shine through despite his technical shortcomings. This view was reinforced by his colleague Rimsky-Korsakov, who went to well-intentioned lengths to make Mussorgsky’s works palatable to audiences of the time. Mussorgsky was overtaken by alcoholism, and after he died (a week after his 42nd birthday), RimskyKorsakov completed a number of scores his friend had left incomplete and revised quite a few others that he feared other listeners would find as objectionably coarse as he did. As a result, those of Mussorgsky’s works that were remembered – including the operas Khovanshchina and Boris Godunov and the tone-poem A Night on Bare Mountain – were known principally through ‘corrected’ versions by Rimsky-Korsakov.

Khovanshchina is a vast, complicated saga about political factions and aristocratic successions in 17th-century Russia, particularly revolving around the accession of Peter the Great to the Imperial throne. Russia had celebrated the bicentennial of Peter’s birth in 1872. In the wake of the national ‘Petermania’, Mussorgsky began compiling a notebook of relevant information that he used for the libretto he created through the rest of the decade. Not until 1879 or 1880 did the composer manage to put together an almostcomplete copy of the text, and even that lacked an ending. Mussorgsky left the opera incomplete and unorchestrated at his death. Rimsky-Korsakov prepared the first performing edition of the work, which he published in 1883 in a five-act structure. That was the version employed for the opera’s premiere, in 1886, by St Petersburg’s Musical Dramatic Circle. The opera’s Prelude was meant to set the scene by depicting dawn over the Moskva River. Its music returns later in the opera, with great dramatic significance.

Programme note © James M Keller

Programme notes

Johannes Brahms

1833–97

Symphony No. 4 in E minor, Op. 98

1884–85

1 Allegro non troppo

2 Andante moderato

3 Allegro giocoso

4 Allegro energico e passionato

Brahms was well into his forties by the time he completed a symphony; like many 19th-century composers he found the idea of following in the footsteps of Beethoven a daunting one. Yet having laboured on and off for 15 years to produce the First Symphony in 1876, he summoned the next three in only nine years, the expressive and formal inhibitions which had previously dogged him now seemingly cast off. Indeed, by the time he came to compose the Fourth Symphony in 1884–5 he had acquired new freedom and daring, as his friend the conductor and pianist Hans von Bülow noted during preparations for the premiere in Meiningen in October 1885: ‘Just back from rehearsal. No. 4 stupendous, quite original, quite new, individual and rock-like. Breathes incomparable energy from start to finish.’

No-one could deny that, though there were others among Brahms’s friends – including three of his closest supporters in Clara Schumann, Elisabeth von Herzogenberg and the critic Eduard Hanslick – who were initially baffled and disappointed by the work’s unusual nature and form. Bülow, however, had had an insight into its most striking innovation a few years earlier when Brahms showed him a chorus from Bach’s church cantata Nach dir, Herr, verlanget mich (BWV150), consisting of variations over a repeating, rising bass-line. ‘What would you think of a symphonic movement written on this theme one day?’ Brahms had asked. ‘But it is too heavy, too straightforward. It would have to be chromatically altered in some way.’ The result is there to hear – including that chromatic alteration in the form of a prominent sharpening of the fifth note –

in the extraordinary passacaglia finale of this symphony, a movement which, by turning to a formal model from Baroque times, finds a new solution to the problem of how to conclude a big and powerful symphonic work.

But it is not just this granitic statement that makes the Fourth one of the greatest of Romantic symphonies. There is the tightly motivic first movement, whose marking of Allegro non troppo is realised not just in the restless poetic beauty of the first theme but in the way that the second theme, a surging, passionate cello melody heralded by brass fanfares, serves to increase the sense of forward motion rather than (as was more customary) relax it. Perhaps for the same reason, there is no repeat of the exposition, though the central development does start out as if it were one with a clear return to the opening theme. By contrast, the moment of recapitulation is disguised, the opening figure being heard slowed down on woodwind amid a cloud of string flourishes, before the first theme resumes its course as if nothing had happened. A substantial and impassioned coda then drives the movement to a stormy finish.

The elegiac and delicately scored Andante moderato gains depth by playing off the emotional distance of a modally inflected main theme against the warmth of a more conventionally major-key second. The reappearance of the latter on full strings in the second half of the movement forms a rich climax, before the music subsides to the sombre mood of the opening. The third movement, the only one among Brahms’s symphonies to qualify as a scherzo, is taut and vigorous – powerful enough in its material, it has often been said,

Programme notes

to form a finale in itself. Interestingly, it was the last of the Symphony’s movements to be composed, which suggests that its terse energy and ebullience (it was not often that Brahms called for a triangle) were precisely calculated to prepare the way for the stern majesty of the finale.

The form and genesis of that finale have already been described, but not its effect. Following the example of Bach’s D minor Chaconne for solo violin (a work Brahms admired greatly), the 30 variations over the eight-note bass-line are shepherded into contrasting sections which give the music a broad emotional contour that prevents it from succumbing to repetitiveness. Indeed, the effect is of implacable momentum and controlled strength, so that by the time the variations have been crowned by a vehement coda, we have witnessed a rare spectacle: a 19th-century symphony that ends not in triumph but convincingly in tragedy.

Programme note © Lindsay Kemp

Brahms: Symphonies Nos. 3 & 4

Vladimir Jurowski conductor LPO-0075

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Featuring world-class soloists including Joyce DiDonato, Patricia Kopatchinskaja, Víkingur Ólafsson, Augustin Hadelich, Gidon Kremer, Amjad Ali Khan, Renée Fleming, Benjamin Grosvenor and many more.

London Philharmonic Orchestra on Marquee TV

23 March 2024

Canellakis conducts Brahms

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Irina Gofman

Olivia Ma

George Ramishvili

Florian Wunderlich

Sound Futures donors

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

Masur Circle

Arts Council England

Dunard Fund

Victoria Robey OBE

Emmanuel & Barrie Roman

The Underwood Trust

Welser-Möst Circle

William & Alex de Winton

John Ireland Charitable Trust

The Tsukanov Family Foundation

Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov

Richard Buxton

The Candide Trust

Michael & Elena Kroupeev

Kirby Laing Foundation

Mr & Mrs Makharinsky

Alexey & Anastasia Reznikovich

Sir Simon Robey

Bianca & Stuart Roden

Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi

Gabor Beyer, through BTO Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne Goodman

Roddy & April Gow

The Jeniffer & Jonathan Harris Charitable Trust

Mr James R.D. Korner

Christoph Ladanyi & Dr Sophia Ladanyi-Czernin

Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust

Mr Paris Natar

The Rothschild Foundation

Tom & Phillis Sharpe

The Viney Family

Haitink Patrons

Mark & Elizabeth Adams

Dr Christopher Aldren

Mrs Pauline Baumgartner

Lady Jane Berrill

Mr Frederick Brittenden

David & Yi Yao Buckley

Mr Clive Butler

Gill & Garf Collins

Mr John H Cook

Mr Alistair Corbett

Bruno De Kegel

Georgy Djaparidze

David Ellen

Christopher Fraser OBE

David & Victoria Graham Fuller

Goldman Sachs International

Mr Gavin Graham

Moya Greene

Mrs Dorothy Hambleton

Tony & Susie Hayes

Malcolm Herring

Catherine Høgel & Ben Mardle

Mrs Philip Kan

Rehmet Kassim-Lakha de Morixe

Rose & Dudley Leigh

Lady Roslyn Marion Lyons

Miss Jeanette Martin

Duncan Matthews KC

Diana & Allan Morgenthau Charitable Trust

Dr Karen Morton

Mr Roger Phillimore

Ruth Rattenbury

The Reed Foundation

The Rind Foundation

Sir Bernard Rix

David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith

Lady Valerie Solti

Mr & Mrs G Stein

Dr Peter Stephenson

Miss Anne Stoddart

TFS Loans Limited

Marina Vaizey

Jenny Watson

Guy & Utti Whittaker

Pritchard Donors

Ralph & Elizabeth Aldwinckle

Mrs Arlene Beare

Mr Patrick & Mrs Joan Benner

Mr Conrad Blakey

Dr Anthony Buckland

Paul Collins

Alastair Crawford

Mr Derek B. Gray

Mr Roger Greenwood

The HA.SH Foundation

Darren & Jennifer Holmes

Honeymead Arts Trust

Mr Geoffrey Kirkham

Drs Frank & Gek Lim

Peter Mace

Mr & Mrs David Malpas

Dr David McGibney

Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer Charitable Trust

Timothy Walker CBE AM

Christopher Williams

Peter Wilson Smith

Mr Anthony Yolland

and all other donors who wish to remain anonymous

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Nigel Boardman Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Emily Benn

Kate Birchall*

David Burke

Michelle Crowe Hernandez

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Neil Westreich

Simon Freakley (Ex officio –

Chairman of the American Friends of the LPO)

*Player-Director

Advisory Council

Roger Barron Chairman

Christopher Aldren

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

David Burke

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Jane Coulson

Andrew Davenport

Guillaume Descottes

Cameron Doley

Elena Dubinets

Lena Fankhauser

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Nicholas Hely-Hutchinson DL

Dr Catherine C. Høgel

Martin Höhmann

Jamie Korner

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey CBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Daisuke Tsuchiya

Chris Viney

Laurence Watt

Elizabeth Winter

New Generation Board

Ellie Ajao

Peter De Souza

Vivek Haria

Rianna Henriques

Connor Huss

Pasha Orleans-Foli

Priya Radhakrishnan

Zerlina Vulliamy

General Administration

Elena Dubinets Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive and Employee Relations Manager

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

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

Benjamin Wakley

Assistant Stage 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

Eleanor Jones

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 Co-ordinators

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

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Hayley Kim

Residencies and Projects Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital and Marketing Co-ordinator

Isobel Jones

Marketing Assistant

Archives

Philip Stuart Discographer

Gillian Pole Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk

lpo.org.uk

Cover photo

Silent Studio @ James Wicks