London Philharmonic Orchestra 21 Nov 2018 concert programme

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closer

2018/19 Concert Season

AT Southbank Centre’s Royal Festival Hall

concert programme

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 21 November 2018 | 7.30pm In association with

Bizet L’Arlésienne Suite No. 1 (16’) Verdi Ballet music from Macbeth (10’) Interval (20’) Puccini Le Willis (60’)

Sir Mark Elder conductor Ermonela Jaho soprano Brian Mulligan baritone Arsen Soghomonyan tenor Opera Rara Chorus

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome 3 Mark Elder 4 Ermonela Jaho

Brian Mulligan 5 Arsen Soghomonyan

Die Walküre: January 2019 6 About the Orchestra 7 Leader: Pieter Schoeman 8 About Opera Rara 9 Opera Rara Chorus 10 London Philharmonic Orchestra 11 Programme notes 13 Le Willis: Synopsis 14 Le Willis: Editor’s note 16 New Opera Rara recordings

Next concerts 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance.

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W

elcome to tonight’s concert featuring Giacomo Puccini’s first opera: Le Willis.

Performances of this work in its revised two-act form are relatively common, but tonight’s performance of the original one-act version promises to be a special and unique opportunity to hear the opera as it has not been heard for more than 120 years. This is complemented in the concert’s first half by emotionally charged music by Bizet and Verdi.

Tonight’s concert is our 11th collaboration in a long partnership between our two organisations which goes back over 20 years, covering studio recordings and concerts of a rich vein of 19th-century Italian operas from composers as diverse as Pacini, Rossini, Mercadante and Donizetti.

It is a pleasure for Opera Rara and the London Philharmonic Orchestra to be working together again and to welcome you to what promises to be a thrilling evening.

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium.

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre.

Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

MOBILES AND WATCHES should be switched off before the performance begins.

Out now The Autumn 2018 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post.

Also available digitally: issuu.com/londonphilharmonic

2 | London Philharmonic Orchestra

Henry Little Chief Executive, Opera Rara

Timothy Walker AM Chief Executive & Artistic Director, London Philharmonic Orchestra

Sir Mark Elder Artistic Director, Opera Rara

Elder here turns it into an exploration of how remarkable and contradictory it is to be human, of the deep wells of emotion that lie within us all.

© Benjamin Ealovega

Rebecca Franks, The Times, 6 July 2018

Sir Mark Elder is Music Director of the Hallé, a Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of Opera Rara. He was Music Director of English National Opera from 1979–93 and has been Principal Guest Conductor of the City of Birmingham Symphony Orchestra and the BBC Symphony Orchestra.

Sir Mark Elder has appeared annually at the BBC Proms in London for many years, including, in 1987 and 2006, the internationally televised Last Night of the Proms.

He has appeared at many of the most prominent international opera houses including the Royal Opera House, Covent Garden; New York’s Metropolitan Opera; the Bayreuth Festival; and the opera houses of Chicago, San Francisco, Paris, Munich, Amsterdam and Zurich.

Sir Mark Elder has made many recordings and since the launch of the Hallé Label in 2003, his releases have met with universal critical acclaim and have won multiple Gramophone Awards.

In November 2011 he co-presented BBC TV’s four-part series ‘Symphony’, and in 2012 he acted as chair of the judging panel on BBC2’s TV series ‘Maestro at the Opera’. Sir Mark presented a series of TV programmes on BBC4 during the 2015 Proms in which he introduced eight symphonies ranging from Beethoven to James MacMillan.

Sir Mark last appeared with the London Philharmonic Orchestra at Royal Festival Hall in November 2016, when he conducted Beethoven’s Missa Solemnis. Other recent and forthcoming concert engagements include appearances with the Chicago Symphony, National Symphony Orchestra Washington, London Symphony Orchestra, Russian National Orchestra, Rotterdam

Philharmonic, Budapest Festival Orchestra, TonhalleOrchester Zurich, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, Orchestre de la Suisse Romande, Vienna Symphony, Bergen Philharmonic and the Orchestra of the Age of Enlightenment. Operatic engagements include a complete performance of Wagner’s Parsifal at the BBC Proms with the Hallé, and guest engagements at the Royal Opera, Covent Garden, the Metropolitan Opera, the Dutch National Opera and in Paris and San Francisco.

Since his appointment as Artistic Director in 2012, Sir Mark Elder has conducted twelve operas for Opera Rara. His recordings of Fantasio by Offenbach and Les Martyrs by Donizetti won the 2015 and 2016 International Opera Awards for best CD recording.

His recording of Rossini’s Semiramide was released in September to critical acclaim. He recently conducted the world premiere of Donizetti’s L’Ange de Nisida at the Royal Opera House, which was recorded live for release in March 2019 on the Opera Rara label. Future projects with Opera Rara includes a studio recording of Donizetti’s Il Paria, which will be presented in concert at the Barbican on 8 June 2019.

Sir Mark Elder was appointed a Companion of Honour in the 2017 Queen’s Birthday Honours, was knighted in 2008 and awarded the CBE in 1989. He won an Olivier Award in 1991 for his outstanding work at English National Opera, and in 2006 he was named Conductor of the Year by the Royal Philharmonic Society. In 2011 he was awarded Honorary Membership of the Royal Philharmonic Society.

London Philharmonic Orchestra | 3

Brian Mulligan

soprano | Anna

baritone | Guglielmo

Over the last year, standing ovations have followed Ermonela Jaho from Sydney to London and everywhere in between, with Australia’s Daily Telegraph describing her as ‘an unstoppable phenomenon’, The Independent as ‘the best Madama Butterfly London has seen in years’, and Germany’s Die Welt describing her in Munich as ‘the undisputed star of the evening’. Her performances were recognised with the presentation of the International Opera Readers’ Award in 2016, and earlier this year she was nominated in the Best Female Singer category.

Her recording of Leoncavallo’s Zazà with Opera Rara was nominated for a 2017 International Opera Award.

Baritone Brian Mulligan is equally renowned as an interpreter of classic works by Verdi, Wagner and Strauss, as well as the most challenging 20th- and 21st-century operas. His striking stage portrayals have taken him to leading opera houses throughout Europe and North America, and he makes regular appearances with the leading US orchestras and in recital.

This season at Munich’s Bayerische Staatsoper Ermonela Jaho reprises the role of Suor Angelica in Lotte de Beer’s production of Puccini’s Il trittico, as well as the role of Madama Butterfly, which she sang most recently at New York’s Metropolitan Opera and the Théâtre des Champs-Elysées in Paris. The season will also see a return to Deutsche Oper for Puccini’s La Rondine.

Ermonela’s Violetta (La traviata) is equally in demand, and this season she will bring her interpretation back to the Opéra national de Paris, London’s Covent Garden and the Staatsoper Berlin. The season is framed by her role debut as Valentine in Meyerbeer’s Les Huguenots in Paris and her return to Opera Australia to sing Anna Bolena in the first of its ‘Donizetti: Three Queens’ trilogy.

Now resident in New York, Ermonela Jaho was born in Albania. At 19 she won a scholarship to study with Katia Ricciarelli in Mantua, and a year later moved to Rome to continue her studies at the Accademia Nazionale di Santa Cecilia. Over the next years she won singing competitions in Milan, Ancona and Rovereto, and began her professional career singing with roles at the Teatro Comunale di Bologna (Mimi in La bohème); the Teatro La Fenice in Venice (Susanna in The Marriage of Figaro); the Teatro Verdi in Trieste (Micaela in Carmen); and Wexford Festival Opera (Irène in Gounod’s Sapho).

© Dario Acosta

© Fadil Berisha

Ermonela Jaho

His 2018/19 operatic season includes a role debut as Mandryka in Arabella in a return to San Francisco Opera conducted by Marc Albrecht. He makes a double debut with Dutch National Opera, Amsterdam, first as Sharpless in Madama Butterfly and then as Golaud in a new production of Pelléas et Mélisande. He also returns to Zurich Opera as Zurga in The Pearl Fishers.

A further season highlight is the release on Bridge Records of his second solo CD, ‘Old Fashioned’, which features beloved songs of the early 20th century made popular by great American baritones of the past.

On the symphonic front, Brian Mulligan has appeared with the San Francisco Symphony in Mahler’s Das klagende Lied under Michael Tilson Thomas, the Atlanta Symphony Orchestra in Vaughan Williams’s A Sea Symphony conducted by Robert Spano, the Los Angeles Chamber Orchestra in John Adams’s The Wound Dresser, and the Pacific Chorale for Brahms’s German Requiem. At the Aspen Music Festival he made his role debut as Amonasro in a semi-staged performance of Aida under Robert Spano. Other orchestral highlights include Carmina Burana with the Los Angeles Philharmonic under Gustavo Dudamel, with the Cleveland Orchestra at the Blossom Music Festival, and with the Baltimore Symphony Orchestra under Marin Alsop; and the world premiere of James Primosch’s Songs for Adam with the Chicago Symphony Orchestra conducted by Andrew Davis. In 2012 Brian joined the Los Angeles Philharmonic for Mahler’s Symphony No. 8 conducted by Gustavo Dudamel, which was recorded by Deutsche Grammophon and released on DVD. Please note a change of artist from previously advertised.

4 | London Philharmonic Orchestra

Arsen Soghomonyan

© Ira Polyarnaya

tenor | Roberto

Arsen Soghomonyan made his tenor debut in March 2017 as Cavaradossi in Tosca at the Stanislavsky and Nemirovich-Danchenko Opera Theatre in Moscow, followed by performances of Canio in Pagliacci at the famous Teatro Degollado in Mexico. Prior to his debut as a tenor, Soghomonyan was principal baritone at the Stanislavsky Theatre, where his repertoire included Figaro in The Barber of Seville, Germont in La traviata, Belcore in L’elisir d’amore, Eletsky in The Queen of Spades and Napoleon in Prokofiev’s War and Peace. He has also appeared as a Guest Artist at the Bolshoi Theatre in Moscow.

Save the date...

Wagner: Die Walküre Sunday 27 January 2019 | 4.00pm Royal Festival Hall Following the success of Das Rheingold in January 2018, Vladimir Jurowski presents the second instalment of our Wagner Ring Cycle.

Tickets £25–60 (premium seats £80) Book via lpo.org.uk or or call 020 7840 4242 Transaction fee £1.75 online/£2.75 phone

Born in Yerevan, Armenia, in 1983, Arsen graduated from the Barkhudaryan Music School, where he studied with L. Ter-Oganesyan. From 2000–06 he studied with Rafael Hakobyants at the Komitas State Conservatory of Yerevan, during which time he made his debut as a baritone in the role of Fiorello (The Barber of Seville) with the Armenian National Philharmonic Orchestra and Eduard Topchyan. He was subsequently invited to the Armenian National Academic Theatre of Opera and Ballet, where he sang many of the leading baritone roles.

In 2006 Arsen Soghomonyan was awarded the State Prize of Armenia by the President of the Republic of Armenia, and won First Prize and Special Prize at the Pavel Lisitsian International Competition in Vladikavkaz.

He has also won prizes at the Romansiada International Competition in Moscow, the International Stanislav Manushko Competition in Warsaw and the Unisa International Voice Competition in South Africa.

The 2018/19 season will see Arsen Soghomonyan’s debuts at many of Europe’s major opera houses. He will sing the title role in Otello with the Berlin Philharmonic; Don Jose in Carmen at the Royal Opera House, Covent Garden; Don Alvaro in La forza del destino at Oper Frankfurt; and Manrico in Il trovatore at the Teatro Regio in Turin.

VIP reception packages also available: visit lpo.org.uk/walkure Vladimir Jurowski conductor Stuart Skelton Siegmund Evgeny Nikitin Wotan* Ruxandra Donose Sieglinde* Stephen Milling Hunding Claudia Mahnke Fricka Svetlana Sozdateleva Brünnhilde Ursula Hesse von den Steinen Waltraute Sinéad Campbell-Wallace Helmwige Alwyn Mellor Gerhilde Gabriela Iştoc Ortlinde Hanna Hipp Rossweisse Angela Simkin Siegrune Rachael Lloyd Grimgerde Susan Platts Schwertleite London Philharmonic Orchestra * Please note a change of artist from previously advertised.

Generously supported by members of the Orchestra’s Ring Cycle Syndicate

Please note a change of artist from previously advertised.

London Philharmonic Orchestra | 5

London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge.

Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the remainder of

6 | London Philharmonic Orchestra

2018 we continue our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. In 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras.

The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra.

Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg.

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 Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau.

Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London.

Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 7

Opera Rara

Opera Rara got it exactly right.

The Arts Desk on Opera Rara’s world premiere performance of Donzietti’s L’Ange de Nisida at the Royal Opera House, July 2018.

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Donizetti

LES MARTYRS

pera Rara’s mission is to rediscover, restore, record and perform the lost operatic heritage of the 19th and early 20th centuries.

For over 40 years, Opera Rara has been bringing neglected operatic masterpieces back to life through our acclaimed concerts and award-winning recordings, building an ever-growing musical archive, available to audiences all over the world.

Donizetti Carlo rizzi the hallÉ

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JOYCE EL-

JOYCE EL-KHOURY

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Joyce El-Khoury Michael Spyres David Kempster Brindley Sherratt

Sir Mark Elder Joyce El-Khoury, Michael Spyres, David Kempster, Brindley Sherratt, Orchestra of the Age of Enlightenment

ORC52 3 CD

Néarque Wynne Evans Callisthènes Clive Bayley Félix Brindley Sherratt Sévère David Kempster Pauline Joyce El-Khoury Polyeucte Michael Spyres

Sir Mark Elder Orchestra of the Age of Enlightenment Opera Rara Chorus Stephen Harris chorus master

@OperaRara OperaRaraOfficial W

opera-rara.com

LES MARTYRS Donizetti

8 | London Philharmonic Orchestra

Sir Mark Elder

ORC52 3 CD © Opera Rara 2015

All ten of Opera Rara’s previous collaborations with the London Philharmonic Orchestra have been rare masterpieces by Donzietti: Elvida and Francesca di Foix, both in 2004, Il Diluvio Universale in 2005, Parisina in 2008, by Rossini: Bianca e Falliero in 2001, Ermione in 2010, Aureliano in Palmira in 2012, by Bellini: Il Pirata in 2012, by Mercadente: Emma d’Antiocha in 2004 and Pacini: Alessandro nell’Indie in 2007.

Orchestra of the Age of Enlightenment

Opera Rara would like to thank the members of the Armenian community who have most generously supported this project.

In recent years, we have achieved unprecedented artistic success under the guidance of our Artistic Director, Sir Mark Elder. This has been publicly recognised through major awards, notably Best Opera Recording at the International Opera Awards for Offenbach’s Fantasio (2015) and for Donizetti’s Les Martyrs (2016). Other recent Opera Rara titles conducted by Sir Mark Elder are Donizetti’s Belisario, Le Duc d’Albe, Maria di Rohan and Rita, and Gounod’s La Colombe. Recent releases have been Leoncavallo’s Zazà with Ermonela Jaho, conducted

by Maurizio Benini, and Bellini’s first opera, Adelson e Salvini, with Daniela Barcellona, conducted by Daniele Rustioni. Both were recorded with the BBC Symphony Orchestra and performed in concert at the Barbican.

Opera Rara’s latest studio recording is of Rossini’s Semiramide, with Albina Shagimuratova and Daniela Barcellona, conducted by Sir Mark Elder, was released in September 2018. Our live recording of the world premiere of Donizetti’s opera L’Ange de Nisida made in partnership with the Royal Opera House will be released in March 2019. In June 2019 Opera Rara will record Donizetti’s Il Paria with Albina Shagimuratova, Davide Luciano and Celso Albelo, conducted by Sir Mark Elder with the Britten Sinfonia, which will also be presented in concert at the Barbican.

The Opera Rara recording catalogue comprises over 100 titles including 57 complete opera studio recordings.

Our work has led to a fundamental revaluation of the reputation and output of Donizetti, Pacini, Mercadante and Offenbach, changing the way in which these composers are perceived internationally.

Opera Rara has fostered the careers of some of modern opera’s greatest names. Our casts represent both established artists and the best young singers. Renée Fleming sang the title role in Donizetti’s Rosmonda d’Inghilterra, one of her first recordings, for Opera Rara.

In 2017, Opera Rara released Écho and Espoir, two recital recordings by Joyce El-Khoury and Michael Spyres, with the Hallé, conducted by Carlo Rizzi, selections of which were performed last year in concert at London’s Cadogan Hall. opera-rara.com facebook.com/OperaRaraOfficial @OperaRara youtube.com/OperaRaraOfficial

Patrons Renée Fleming Juan Diego Flórez Sir Simon Keenlyside

Opera Rara is grateful to the following supporters, whose generosity makes our unique work possible:

Artistic Director Sir Mark Elder CH. CBE

Circle Members Charles Alexander Anthony Bunker Marco Compagnoni Carlo Grosso Michael Hartnall Glenn Hurstfield Costas and Evi Kaplanis Trifon and Despina Natsis Stefan Sten Olsson and John Tierney Sir Simon and Virginia Robertson Islée Oliva Salinas

Trustees Charles Alexander (Chairman) Anthony Bunker Glenn Hurstfield Simon Mortimore QC Alison Nicol Islée Oliva Salinas Chief Executive Henry Little Label and Production Manager Aurélie Baujean Finance Director Irene Cook Fundraising and Events Manager Aoife Daly Development Consultant Kirstin Peltonen Marketing Consultant Chaz Jenkins Repertoire Consultant Professor Roger Parker Casting Consultant Jesús Iglesias Noriega Opera Rara, Curtain House 134-146 Curtain Road London EC2A 3AR Tel: 020 7613 2858 Email: info@opera-rara.com Opera Rara is a Registered Charity no 261403 Company Limited by Guarantee no 982535

Trusts and Foundations The Monument Trust Foyle Foundation The Vernon Ellis Foundation Patrons Sir David Bean Roger Bramble Sir Anthony Cleaver Timothy Congdon Edward Gasson Patrick and Marian Griggs Madeleine Hodgkin Alan Jackson Chris and Dominique Moore Simon Mortimore QC Alison Nicol Martin and Patricia Spiro Patrick Radcliffe Peter Rosenthal Imogen Rumbold Gerry Wakelin and Ivor Samuels Dr Mark Walker and all our many Friends

The Opera Rara Chorus Chorus Master/Assistant Conductor Eamonn Dougan Sopranos Helen Bailey Rosanna Harris Susan Jiwey Bernadette Lord Sarah Minns Natalie Montakhab Sarah Parkin Hannah Sawle Helen Withers Nicola Wydenbach Mezzo-sopranos Joanna Arnold Leilani Barratt Caroline Carragher Tamsin Dalley Amanda Floyd Zoe Haydn Vanessa Heine Melanie Lodge Gemma Morsley Alison Place Tenors Nick Allen Robert Amon Rhys Bowden Philip Brown Martin Hindmarsh Paul Hopwood Gerald Place Ian Massa-Harris Stuart McDermott Henry Moss Edward Saklatvala James Scarlett Julian Smith Nathan Vale Basses Stephen Alder Jochem van Ast Thorvald Blough Damian Carter Gerard Delrez Matthew Duncan Bryn Evans Spiro Fernando Russell Matthews Martin Nelson Philip Shakesby Alistair Sutherland Lawrence Wallington James Birchall

London Philharmonic Orchestra | 9

London Philharmonic Orchestra

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Hรถhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Tina Gruenberg Grace Lee Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Kalliopi Mitropoulou Judith Choi-Castro Sioni Williams Violas David Quiggle Principal Michael Casimir Katharine Leek Susanne Martens Benedetto Pollani Daniel Cornford Stanislav Popov Richard Cookson

Cellos Kristina Blaumane Principal

Bass Clarinet Paul Richards* Principal

Cimbasso Lee Tsarmaklis*

Chair supported by Bianca & Stuart Roden

Alto Saxophone Martin Robertson

Timpani Simon Carrington* Principal

Bassoons Gareth Newman Principal Simon Estell* Ide Ni Chonaill

Percussion Andrew Barclay* Principal

Contrabassoon Simon Estell* Principal

Keith Millar Jeremy Cornes Feargus Brennan

Horns John Ryan* Principal

Harp Sally Pryce Guest Principal

Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Helen Rathbone Sibylle Hentschel Iain Ward Double Basses Kevin Rundell* Principal George Peniston Tom Walley Laurence Lovelle Nathan Knight Flutes Juliette Bausor Principal Renate Sokolovska Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra

Cor Anglais Sue Bรถhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

Paul Richards*

10 | London Philharmonic Orchestra

Chair supported by Laurence Watt

Chair supported by Andrew Davenport

Martin Hobbs Elise Campbell Gareth Mollison

Surtitles Jonathan Burton

Trumpets Jason Lewis Guest Principal Anne McAneney*

* Holds a professorial appointment in London

Chair supported by Geoff & Meg Mann

Cornets Paul Beniston* Gwyn Owen Trombones David Whitehouse Principal Charlotte Van Passen Bass Trombone Lyndon Meredith Principal

Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: William & Alex de Winton Sir Simon Robey Victoria Robey OBE

Programme notes

Speedread Tonight we hear an operatic rarity by the most ubiquitous of opera composers, Giacomo Puccini.

Puccini combined a late Romantic predilection for intense emotion with a belief in the theatrical power of realism and exoticism. His operas usually involve relatively normal people in excruciating dramatic circumstances; his characters sing as if singing, spontaneously, is the only natural recourse in their situations.

Puccini’s first opera was a little different. The composer had little control over the story and the words and was relatively inexperienced. But in Le Willis – a supernatural melodrama and love story woven together – we hear some of those qualities

Georges Bizet 1838–75

Georges Bizet is best known today for his operatic tragedy Carmen, a gritty work populated by everyday folk in provincial Spain. Similar characteristics are found in music the French composer wrote a few years before Carmen for L’Arlésienne, a play by Alphonse Daudet that embodied the same realist ideals but was set in rural Provence.

Daudet’s play – The Woman from Arles in English – was revived at the Théâtre du Vaudeville in Paris in 1872 in a production described by the playwright himself as ‘a most dazzling failure with the most charming music in the world.’ Bizet’s music was more than charming. It conveyed the white-hot emotions and dark undercurrents of the play’s true story while at the same time capturing the atmospheric heart of rustic Provence. Bizet knew it, and decided to fashion a four-

that continue to draw crowds to Puccini. Among them are his bracing, free-flowing melodies, his gift for mood and his ear for harmonic suggestion.

Puccini was influenced by one of the most important realist operas of all time, Carmen. Also tonight, we hear music by Carmen’s composer Bizet, written for a theatre production that embodied many of the same values as the opera. In between comes music from Italy’s 19th-century national and operatic hero, Joe Green (aka Giuseppe Verdi). Verdi slept with the complete works of Shakespeare by his bed. Macbeth is the first of his three operas based on the bard’s plays, but it’s unlikely Verdi had ballet music in mind when he first thought of The Scottish Play…

L’Arlésienne Suite No. 1 1 Prélude 2 Minuetto 3 Adagietto 4 Carillon

movement suite from the full score’s 27 numbers. It was presented for the first time at the Concerts Populaires on 10 November 1872 (a second suite was arranged after Bizet’s death by Ernest Guiraud).

In the play, we never see the femme fatale of the title.

Instead, we meet a young farmer madly in love with her, whose family arranges a marriage to someone else; the farmer, Frédéri, kills himself on the eve of the wedding.

The music of the suite opens with the original Prélude – reupholstered, like all the music, for a more sumptuous orchestra. The opening theme is borrowed from the traditional French carol ‘The March of the Kings’; the second theme (on saxophone) represents Frédéri’s feeble brother and the third his passionate love.

Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

The Minuetto, a bucolic dance, was originally heard between Acts II and III of the play. Strings play alone, with mutes to dampen their sound, in the Adagietto – a veiled piece which accompanied Frédéri’s mother’s own reunification with a lost love. Church bells are imitated in the final Carillon, whose celebration is stalked by fatalism and doom.

Giuseppe Verdi

Ballet music from the opera Macbeth 1 Allegro vivacissimo 2 Andante 3 Waltz: Allegro vivacissimo

1833–1901

Like Bizet, Giuseppe Verdi believed opera was a human drama founded foremost on melodies carried by voices.

But Verdi, who took Italian opera to his highest point of perfection, was also acutely aware of the need to cultivate his country’s native music in an operatic setting. In a land already obsessed with opera, it made Verdi a national hero.

Verdi had a liking for blood-and-guts melodrama but never shied away from using lofty sources, from Schiller to Shakespeare – he slept next to an edition of the latter’s complete plays translated into Italian. In 1847, Verdi wrote the first of three ‘Shakespeare operas’, Macbeth, for Florence. Eighteen years later, he revised the work for the Paris Opera, whose rules stipulated the provision of ballet music for the company’s dancers.

Verdi complied. And while the rest of Verdi’s Paris revisions have been enthusiastically integrated into most performances these days, the ballet music tends to be omitted. Some say this vivid music, from a composer who wrote very little concert music, is best heard on its own. But to set the context, it was written to be played at the start of the opera’s Act III and danced by the witches – the central protagonists of the drama, for Verdi.

At the 1865 Paris staging, the ballet music accompanied a combination of dance and mime. It opens with a fast Allegro vivacissimo originally danced around a cauldron; in the second section, a harmonically slippery Andante, the action was focused on the witches’ ruler Hecate, who appeared in a non-dancing role. It ends with a demonic waltz.

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

12 | London Philharmonic Orchestra

Giacomo Puccini 1858–1924

Le Willis Opera ballet in one act Libretto by Ferdinando Fontana Critical edition by Martin Deasy © 2018 Casa Ricordi, Milano (Universal Music Publishing)

Synopsis It is spring in the Black Forest. Roberto and Anna are celebrating their engagement with family and friends (No. 2: Introductory Chorus). Everyone is cheerful, except Anna. Roberto must go to Mainz before the ceremony and Anna had a dream that she would die waiting for his return. Roberto tells Anna that she should not worry and that that she may doubt anything but not his love for her (No. 3: Anna and Roberto’s duet). Before leaving, Roberto asks Anna’s father Guglielmo for his blessing (No. 4: The Prayer).

In Mainz, Roberto is seduced by a courtesan and forgets about Anna, who dies of a broken heart,

turning into a Villi. According to the legend, the Villi will force the heart breaker to dance until death.

(Nos. 5a & 5b: Orchestral Interlude*).

It is winter now, and Guglielmo, still mourning his daughter, asks the Villi to avenge Anna (No. 6: Prelude and Guglielmo’s Scene). When Roberto returns to the forest, Anna’s spirit appears and speaks of the sorrows she has experienced. Roberto asks for forgiveness, but Anna compels Roberto to dance until he dies (No. 7: Final Scene).

* Puccini’s score for Le Willis featured two poems describing the action taking place during the Orchestral Interlude. These appear overleaf.

Giacomo Puccini’s exploration of operatic realism changed the repertoire of the world’s opera companies permanently. His mature works, charged with intense emotion and compelling theatricality, form the bedrock of opera seasons from London to Lima. But the Italian composer’s first opera is neither overtly realist nor outrageously popular. Le Willis is a genuine rarity – not classic Puccini in either topic or sound, but a sure sign of his blossoming genius.

In the summer of 1883, the Milanese publisher and impresario Edoardo Sonzogno offered a prize for the best new one-act opera. The unknown Puccini resolved to enter Sonzogno’s competition but first needed a libretto for his opera and, before that, a plot. Puccini was hastily introduced to the journalist Ferdinando Fontana who agreed to supply both.

The morbid ghost story Fontana fashioned, symptomatic of a northern Italian vogue for Gothic tales from across the Alps, was alien to Puccini in every sense. But the

composer had no time contest or discuss it. Fontana delivered the libretto at the end of September and Puccini had until 31 December to submit his score (in between giving piano lessons). In literal terms, what Puccini delivered was a mess: it was disqualified on the grounds of illegibility.

But Fontana, who needed the exposure as much as Puccini did, wasn’t minded to give up there. No sooner had the competition named two winners (long since forgotten) had Fontana organized a dinner for some important Milanese patrons, getting Puccini to sing excerpts from the new opera while accompanying himself at the piano. A staging for Le Willis was agreed at the Teatro del Verme in Milan. It was a triumph.

‘We have here not a young student but a new Bizet or Massenet’, wrote one review after that first performance on 31 May 1884. The publishing house Ricordi began its long relationship with the composer soon afterwards, persuading him to extend the work to two acts with the London Philharmonic Orchestra | 13

Programme notes continued

promise of a fresh commission if he did. Puccini was on his way. But there were one or two dissenting voices.

No less than Giuseppe Verdi warned that ‘inserting a symphony into an opera is not necessarily a good thing.’

Verdi’s comment, referring to the revised version of Le Villi, got to the heart of a key principle in Italian opera: the place of singing over and above everything else.

The opera’s two-act version certainly contained more than its fair share of orchestra-accompanied dancing (after his ballet-strewn operas for Paris, Verdi might have been keen to refocus Italians on true Italian style). But there’s little doubting Puccini’s triumph over Fontana’s extremely stylised libretto, especially as we now know Puccini thrived on more reactive, realist plots and verbal exchanges.

The libretto is based on Les Willis, a short story by Jean-Baptiste Alphonse Karr that takes its lead from the Slavic myth of the ‘vila’ – nymphs who have power over the winds. At the start of the opera, Roberto and Anna celebrate their engagement with dancing friends and family. Roberto must leave for Mainz to collect an inheritance; while Anna expresses concerns that she will not see him again, he reassures her. In Mainz, Roberto is unfaithful to Anna with a courtesan. Anna, who had waited faithfully for his return, dies in the winter and becomes one of the vila. Her father Guglielmo calls upon the vila to avenge his daughter. When Roberto returns he learns of her death and begs for forgiveness. But it is not granted. Instead, he must dance with the villi Anna until he dies of exhaustion.

Tonight we hear a reconstruction of the original version of Le Willis in its single-act form. Gone are the arias for Anna and Roberto. But of equal significance is the restoration of Puccini’s original orchestration, which was beefed-up in the two-act version. From the orchestra, we hear something sparer and less cloying than in the revision, to which Puccini added instrumental doublings and new instruments. Even at this early stage in his career, Puccini paid great attention to the idea of mood and its duality: that fundamental mood of a scene might be set in counterpoint with the internal moods of individual characters in crisis. The original, less hyperbolic orchestration might well allow us to hear that more clearly.

Programme notes © Andrew Mellor 14 | London Philharmonic Orchestra

Editor’s note Martin Deasy, who edited tonight’s single-act version of the score, on Le Willis Fresh out of conservatoire, Puccini in mid 1883 was a diffident provincial youth somewhat adrift in the sophisticated metropolis that was 1880s Milan.

Still not fully aware of the extent of his musical talents, and daunted by the many obstacles to a successful career, he was hesitant and lacked assurance. Yet his first opera, written for the 1883 Sonzogno competition, stands in startling contrast.

Whereas many other composers continued to learn their trade throughout their early works, Puccini seems in Le Willis to have sprung forth fully formed, with astonishing assuredness. There is hardly a trace of roughness. In stylistic and technical terms, everything seems already present, fully developed: deft orchestration, ingratiating melody, unerring formal control. His remarkable ability to handle long musical spans distinguished him from his contemporaries (and his teachers): the ravishing orchestral ‘Nebulosa’ clearly demonstrates this uncanny feel for musical pacing and large-scale syntax. This sense of confident command must have been what struck his future publisher Giulio Ricordi when Puccini first played him the work; perversely, it may actually have been what ensured his failure in the Sonzogno competition. Contrary to popular belief, the score submitted for judging was far from unreadable (in fact, it is probably the most legible manuscript Puccini wrote in his entire career, albeit incomplete). Rather, it seems likely there was a conspiracy between one of the judges (Puccini’s teacher Amilcare Ponchielli) and the publisher Ricordi, aimed at keeping Puccini out of the clutches of Sonzogno, Ricordi’s rival. Searching for a composer (and income stream) to succeed the ageing Verdi, Ricordi snapped up Puccini after Le Willis’ triumphant premiere in May 1884. Reworked as the two-act Le Villi later that year, the opera has never since been heard in its original form; neither version was published in full score during Puccini’s lifetime.

This new critical edition uses original source materials to reconstruct Le Willis as it was heard on that first occasion.

Martin Deasy, October 2018

Le Villi or Le Willis?

The opera’s title is spelled inconsistently in the sources, appearing variously as Le Villi or Le Willis.

Puccini almost invariably referred to Le Willis in his letters and compositional materials, and the original May 1884 playbill and press advertisements used this spelling. Only with the publication of the printed vocal score of the revised two-act version did the title

finally stabilise as Le Villi. Accordingly, the new Critical Edition adopts Le Willis as the title of the original one-act opera, reserving Le Villi for the version in two acts. Regardless of the spelling, it is clear that the pronunciation did not vary (with the initial ‘W’ pronounced ‘V’, and a silent terminal ‘s).

Martin Deasy

Intermezzo Sinfonico

Orchestral Interlude

L’abbandono

The abandonment

Di quei giorni a Magonza una sirena I vecchi e i giovinetti affascinava.

Ella trasse Roberto all’orgia oscena E l’affetto per Anna ci vi obliava.

Intanto, rôsa da ineffabil pena, La fanciulla tradita lo aspettava.

Ma invan l’attese … Ed al cader del verno Ella chiudeva gli occhi al sonno eterno.

In those days in the town of Mainz A siren bewitched young and old alike.

She lured Roberto to the lewd orgy And there he forgot his love for Anna.

Meanwhile, consumed with unspeakable anguish, The betrayed maiden waited for him.

But she waited in vain: when winter came She closed her eyes in eternal rest.

La tregenda

The Witches’ Dance

V’è nella Selva Nera una leggenda Che delle Villi la leggenda è detta E ai spergiuri d’amor suona tremenda.

Se muor d’amore qualche giovinetta Nella selva ogni notte la tregenda Viene a danzare, e il traditor vi aspetta; Poi, se l’incontra, con lui danza e ride Insieme alle compagne, indi ‘uccide.

Or per Roberto venne un triste giorno.

Dalla sirena in cenci abbandonato Egli alla Selva pensò far ritorno, E questa notte appunto ei v’è tornato.

Già nel bosco s’avanza; intorno, intorno Riddan le Villi nell’aer gelato …

Ei, tremando di freddo e di paura, È già nel mezzo della Selva oscura.

In the Black Forest there is a legend Which is called the Legend of the Willis, And it terrifies all faithless lovers.

If a maiden dies of love, In the wood each night the witches gather And dance, waiting there for the betrayer; Then, if they find him, they dance with him And laugh and he dies in the frenzy of dancing.

Now for Roberto there came an unhappy day.

Abandoned in rags by the siren, He decided to return to the forest, And tonight he has indeed returned.

Already he is approaching through the wood: Around him, the Willis whirl in the frosty air.

Trembling with cold and with terror He is already in the heart of the dark forest.

London Philharmonic Orchestra | 15

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next lpo concerts

AT Southbank Centre’s Royal Festival Hall wednesday 28 november 7.30pm

Enescu Romanian Rhapsody No. 1* Pascal Dusapin At Swim-TwoBirds (UK premiere)** Martinů Symphony No. 4 Ravel La valse Andrés Orozco-Estrada conductor Viktoria Mullova violin Matthew Barley cello

friday 30 november 7.30pm

Blacher Orchestral Variations on a Theme by Paganini Bruch Violin Concerto No. 1 Liadov The Enchanted Lake Liadov Baba Yaga Liadov Kikimora Mussorgsky (arr. Ravel) Pictures at an Exhibition

wednesday 5 december 7.30pm

Weber Overture, Der Freischütz Tchaikovsky Violin Concerto Bruckner Symphony No. 2 (1877 revised version) Vladimir Jurowski conductor Alena Baeva violin

Andrés Orozco-Estrada conductor Ray Chen violin *Generously supported by the Romanian Cultural Institute ** Commissioned by BBC Radio 4’s zaterdagmatinee series in The Concertgebouw Amsterdam, London Philharmonic Orchestra (with generous support from Diaphonique, a Franco-British contemporary music fund supported by the Institut Français, the Bureau export de la musique, the British Council and Ministère de la Culture et de la communication), Gewandhausorchester and Seattle Symphony Orchestra.

Book now at lpo.org.uk or call 020 7840 4242

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

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 AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 17

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year.

Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess Richard Buxton In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann

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Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

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18 | London Philharmonic Orchestra

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Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

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 Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

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London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

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Archives

Tom Proctor PA to the Chief Executive/ Administrative Assistant

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20 | London Philharmonic Orchestra

Philip Stuart Discographer

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Composer photographs courtesy of the Royal College of Music, London.

Cover artwork Ross Shaw Printer Cantate