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Concert programme 2013/14 season Part of Southbank Centreâ€™s

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9/6/2013 12:14:31 PM

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Celebrating the centenary of Benjamin Britten in 2013

Programme £3 Contents

Southbank Centre’s Royal Festival Hall Saturday 28 September 2013 | 7.00pm Britten Peter Grimes Vladimir Jurowski conductor Stuart Skelton Peter Grimes Pamela Armstrong Ellen Orford Alan Opie Captain Balstrode Pamela Helen Stephen Auntie Malin Christensson & Elizabeth Cragg Her ‘Nieces’ Michael Colvin Bob Boles Brindley Sherratt Swallow Jean Rigby Mrs Sedley Mark Stone Ned Keene Brian Galliford Reverend Horace Adams Jonathan Veira Hobson London Voices Daniel Slater director Alex Doidge-Green designer Tim Mascall lighting designer This performance will last for approximately 3 hours including interval. Supported by the London Philharmonic Orchestra’s Peter Grimes Syndicate. This concert is dedicated to the memory of Nicholas Busch, 1939–2013. * supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

2 Welcome 3 Tonight’s work in context 4 About the Orchestra 6 On stage tonight 7 Vladimir Jurowski 8 Artist biographies 17 Peter Grimes: Acknowledgments 18 Synopsis 19 Programme note 21 Britten on the LPO Label 22 Next concerts 23 Nicholas Busch, 1939–2013 24 Orchestra news Principal Friends 25 Catalyst: Double Your Donation 27 Supporters 28 LPO administration

Free pre-concert performance 5.30–6.15pm | Royal Festival Hall Musicians from the Royal College of Music perform Britten’s String Quartet No. 3 and Phantasy.

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 any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk 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, PAGERS AND WATCHES should be switched off before the performance begins.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre

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Tonight’s work in context

1910 1913 Benjamin Britten born in Lowestoft, Suffolk 1914 Outbreak of World War I 1916 Albert Einstein published his Theory of General Relativity

1920

1918 End of World War I 1920 Beginning of Prohibition in the USA 1922 Creation of the Soviet Union (USSR) British Broadcasting Corporation founded 1928 Alexander Fleming discovered penicillin

1930

1929 Wall Street Crash 1930 Britten began studying at the Royal College of Music in London 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham Britten’s first published work, Three Two-part Songs based on poems of Walter de la Mare, published by Oxford University Press

1940

1939 Outbreak of World War II. Britten and Peter Pears travelled to North America, where they remained for the duration of the war. 1942 Britten and Pears returned to England and registered as Conscientious Objectors

1950

1945 End of World War II Premiere of Peter Grimes at Sadler’s Wells, London 1947 Britten and Pears moved to Crag House in Aldeburgh, Suffolk 1949 Orwell’s Nineteen Eighty-Four published 1953 Coronation of Queen Elizabeth II Death of Joseph Stalin 1955 Vietnam War began 1956 Suez Crisis

1960

1960 Alfred Hitchcock’s film Psycho released 1962 Cuban Missile Crisis 1963 John F. Kennedy assassinated in Dallas, Texas 1967 Homosexuality decriminalised in the UK

1970

1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1971 Decimalisation of currency in the UK 1975 Microsoft founded by Bill Gates and Paul Allen 1976 Benjamin Britten died of heart failure in Aldeburgh, Suffolk

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

‘The LPO’s playing throughout was exceptional in its warmth, finesse and detail.’ The Guardian 23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

4 | London Philharmonic Orchestra

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century.

Last summer the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. 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 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 and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain. The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 and Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; and Bruckner’s Symphony No. 7 with Stanisław Skrowaczewski.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Nicholas Busch 1939–2013 It was with great sadness that the London Philharmonic Orchestra learned of the death of Nicholas Busch on 24 July 2013. Nick was the Orchestra's Principal Horn from 1973–2006 and served on the LPO Board for many years, including several as Chairman and Deputy Chairman. Tonight’s concert is dedicated to his memory. A full tribute appears on page 23.

London Philharmonic Orchestra | 5

On stage tonight

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Ilyoung Chae Chair supported by Moya Greene

Ji-Hyun Lee Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Alina Petrenko Second Violins Philippe Honoré Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Nynke Hijlkema Harry Kerr Dean Williamson Sioni Williams

Violas Hung-Wei Hang Guest Principal Cyrille Mercier Co-Principal Robert Duncan Gregory Aronovich Benedetto Pollani Laura Vallejo Susanne Martens Emmanuella Reiter Naomi Holt Michelle Bruil Cellos Josephine Knight Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen Flutes Florian Aichinger Guest Principal Stewart McIlwham* Piccolo Stewart McIlwham* Principal

Oboes Ian Hardwick Principal Katie Bennington Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Nicholas Carpenter* E-flat Clarinet Nicholas Carpenter* Principal Bassoons Gareth Newman* Principal Stuart Russell Contrabassoon Simon Estell Principal Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

D Trumpet Nicholas Betts Co-Principal Trombones Mark Templeton* Principal David Whitehouse

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Keith Millar Sarah Mason Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Celeste & Organ Catherine Edwards Assistant Conductor Michael Young Music staff Helen Collyer Surtitle operator Andrew Kingsmill

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Simon Robey The Sharp Family

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Vladimir Jurowski

Principal Conductor and Artistic Advisor

One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997– 2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. This autumn he returns to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include Moses und Aron at the Komische Oper Berlin and The Fiery Angel at the Bayerische Staatsoper in Munich. Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’étoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s Symphonies Nos. 1 and 2; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts. Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

London Philharmonic Orchestra | 7

Stuart Skelton

Pamela Armstrong

Peter Grimes | tenor

Ellen Orford | soprano

Stuart Skelton has emerged as one of the finest heroic tenors of his generation with performances on leading concert and operatic stages spanning from his native Australia to Asia, Europe and North America. His repertoire encompasses many of opera’s most challenging roles from Wagner’s Parsifal, Lohengrin, Erik and Siegmund, to Strauss’s Kaiser, Beethoven’s Florestan, Saint-Saëns’s Samson, Dvořák’s Dimitrij and Britten’s Peter Grimes. He is acclaimed for his beautiful voice, outstanding musicianship and intensely dramatic portrayals.

American soprano Pamela Armstrong has been praised for her performances with many of the world’s leading opera theatres including the Metropolitan Opera, Opéra national de Paris, Hamburg State Opera, Grand Théâtre de Bordeaux, Théâtre du Capitole de Toulouse, Teatro Regio Turin, Houston Grand Opera, New York City Opera and Glyndebourne Festival Opera.

Closely associated with Siegmund in Die Walküre, during the 2012/13 season Stuart Skelton performs the role at Seattle Opera in the company’s acclaimed Stephen Wadsworth production conducted by Asher Fisch. He returns to the title role of Parsifal in the Claus Guth production at the Opernhaus Zürich led by Ulf Schirmer and takes the role of Ghermann in concert performances of Tchaikovsky’s The Queen of Spades with Vladimir Ashkenazy and the Sydney Symphony Orchestra. Joining Sir John Eliot Gardiner and the London Symphony Orchestra, he also sings the title role in Stravinsky’s Oedipus Rex on a multi-city European concert tour. Engagements last season included a new production of Parsifal at the Opernhaus Zürich conducted by Daniele Gatti, the title role of Lohengrin at Semperoper Dresden under the baton of Ádám Fischer, Siegmund in Die Walküre at the Metropolitan Opera conducted by Fabio Luisi, and the title role in a new production of Peter Grimes at Ópera de Oviedo led by Corrado Rovaris. He sang Mahler’s Das Lied von der Erde with Jonathan Nott and the Chicago Symphony Orchestra, with Edo de Waart and the Hong Kong Philharmonic Orchestra, and for his debut with the Berlin Philharmonic with Sir Simon Rattle.

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She commands an unusually wide repertoire ranging from the title role in Handel’s Alcina to Donna Anna in Mozart’s Don Giovanni and Countess Almaviva in Le nozze di Figaro, as well as Elvira in Bellini’s I puritani, Violetta in Verdi’s La traviata, Mimi in Puccini’s La bohème, Magda in Puccini’s La rondine and Tatiana in Tchaikovsky’s Eugene Onegin. Her French roles have included Marguerite in Berlioz’s La damnation de Faust and the four Heroines in Offenbach’s The Tales of Hoffmann. She has also won special praise as a Strauss soprano, having sung the title role in Arabella, the Countess in Capriccio and Christine in Intermezzo. Among her other roles are Rosalinde in Johann Strauss’s Die Fledermaus and the title role in Carlisle Floyd’s Susannah. Pamela Armstrong’s engagements in the 2012/13 season included Alice in Verdi’s Falstaff at the Portland Opera. Among her other recent performances are Countess Almaviva in Le nozze di Figaro for the Portland Opera and Pittsburgh Opera, Donna Anna for Palm Beach Opera, The Tales of Hoffmann for Opera Colorado, and Madame Lidoine in Poulenc’s Dialogues des carmélites in Oviedo, Spain.

Pamela Helen Stephen

Captain Balstrode | baritone

Auntie | mezzo-soprano

Alan Opie is a regular guest at the Metropolitan Opera, New York; La Scala, Milan; Wiener Staatsoper; Bayerische Staatsoper, Munich; Deutsche Oper, Berlin; Santa Fe Festival; Glyndebourne Festival Opera; English National Opera; and the Royal Opera House, Covent Garden. He has appeared at the Bayreuth Festival singing Beckmesser in Die Meistersinger von Nürnberg – a role repeated in Berlin, Amsterdam, Munich, Vienna and Turin. At English National Opera he was nominated for the ‘Outstanding Achievement in Opera’ Olivier Award for his performance of the title role in Verdi’s Falstaff.

Pamela Helen Stephen studied at the Royal Scottish Academy of Music and Drama, at the Opera Theater Center in Aspen, Colorado with Herta Glaz, and in Toronto with Patricia Kern. Highly regarded as a versatile singer and a vivid actress, she has performed at the Royal Opera, Covent Garden; English and Welsh National Operas; Opera North; Lyric Theatre Singapore; Los Angeles Opera; Opera Australia; at the Spoleto, Batignano, Edinburgh International, Aldeburgh, City of London, Cheltenham, St Endellion and Wexford festivals; and in Lisbon, Ludwigsburg, Paris, Tokyo, Vienna, The Hague and Amsterdam.

His extensive concert work has included Mendelssohn’s Elijah in San Francisco and Dallas; Walton’s Belshazzar’s Feast in Dallas and at New York’s Carnegie Hall; Britten’s War Requiem in Washington; Vaughan Williams’s A Sea Symphony in Los Angeles; Elgar’s The Kingdom with the Hallé; and Elgar’s The Apostles at the BBC Proms. His recordings include Alan Opie sings Bel Canto Arias; Britten’s Gloriana, Albert Herring, Peter Grimes (for which he received a Grammy Award), Death in Venice and The Rape of Lucretia; the title role in The Barber of Seville; and Beckmesser in Die Meistersinger von Nürnberg under Sir Georg Solti, for which he received his second Grammy award. Recent appearances have included his return to Welsh National Opera as Sharpless (Madam Butterfly); The Cunning Little Vixen with the New York Philharmonic; Sulpice in La fille du régiment at the Royal Opera House, Covent Garden; John Adams’s The Death of Klinghoffer for English National Opera; and La traviata for the Royal Opera House, San Diego Opera and the Canadian Opera Company. Future plans include Balstrode in Peter Grimes with the Accademia di Santa Cecilia in Rome under Sir Antonio Pappano, as well as returns to Welsh National Opera and the Metropolitan Opera. Earlier this year he received an OBE in the Queen’s Birthday Honours list for his services to music.

Alan Opie

Pamela Helen Stephen has appeared with the London, Bournemouth, Seattle, Prague, Bamberg, City of Birmingham and Berlin Radio symphony orchestras; the Scottish Chamber and Royal Scottish National orchestras; and the City of London Sinfonia, BBC National Orchestra of Wales, Royal Northern Sinfonia, and the Orchestra Sinfonica di Milano Giuseppe Verdi. She has made over 30 recordings including Phoebe in The Yeomen of the Guard (Sir Charles Mackerras), Cherubino in The Marriage of Figaro (Sir John Eliot Gardiner), Child in L’enfant et les sortilèges (André Previn), and several Haydn Masses with Collegium Musicum 90 and Richard Hickox. Recent highlights include recordings of Strauss’s Ariadne auf Naxos and Szymanowski’s Stabat mater with Edward Gardner for Chandos; Delius’s A Mass of Life at the Edinburgh International Festival with Sir Andrew Davis; Suzuki in Madam Butterfly and Mrs Disney in Philip Glass’s The Perfect American for English National Opera; Hecuba in Les Troyens for the Royal Opera House; and the title roles in Giulio Cesare and Dido and Aeneas for Opera North. Highlights this season include Suzuki for English National Opera, Annina in Der Rosenkavalier with the City of Birmingham Symphony Orchestra under Andris Nelsons, and Orlofsky in Die Fledermaus with the Philharmonia Orchestra under John Wilson.

London Philharmonic Orchestra | 9

Malin Christensson

Elizabeth Cragg

Niece | soprano

Her operatic engagements have included Susanna in The Marriage of Figaro at the Aix-en-Provence Festival and in Los Angeles and Santiago de Chile; Barbarina in The Marriage of Figaro at the Salzburg Festival; Zerlina in Don Giovanni at Houston Grand Opera and the Helsinki Festival; Sophie in Werther in Baden-Baden; Flower Maiden in Parsifal at the Royal Opera House, Covent Garden; Miss Wordsworth in Albert Herring at Glyndebourne Festival Opera; Drusilla in L’incoronazione di Poppea at the Drottningholms Slottsteater in Sweden; and Papagena in The Magic Flute in Montpellier, at the Théâtre du Châtelet in Paris, and at the Vienna Festival. Recent concert highlights have included Bach’s Christmas Oratorio with the Leipzig Gewandhausorchester and Trevor Pinnock; Beethoven’s Symphony No. 9 with the Swedish Radio Orchestra and Herbert Blomstedt; Carmina Burana with the London Symphony Orchestra and Daniel Harding; and Bach’s St Matthew Passion with The Philadelphia Orchestra and Yannick Nézet-Séguin. She has also appeared at the BBC Proms and the Lucerne and Daytona festivals. Other recent engagements have included the Orchestra of the Age of Enlightenment with René Jacobs, Bernard Labadie and Gustav Leonhardt; the BBC Symphony Orchestra with Jiří Bělohlávek; the Scottish Chamber Orchestra with Robin Ticciati; the San Francisco Symphony Orchestra with Ragnar Bohlin; the Gävle Symphony Orchestra with Thomas Søndergård; the Royal Scottish National Orchestra with Stéphane Denève; and the Orchestre de l’opéra national de Lyon with Bertrand de Billy. In recital she has appeared with Roger Vignoles at Wigmore Hall and for the BBC Proms at Cadogan Hall; in Santiago de Compostela, Spain; and at the Innsbruck, Cheltenham and Bath Mozart festivals. She has also appeared at the Laeiszhalle in Hamburg, and at Wigmore Hall and the City of London Festival with Simon Lepper, and has performed Wolf’s Italienisches Liederbuch at the Oxford Lieder Festival with Malcolm Martineau. 10 | London Philharmonic Orchestra

Born in Sweden, soprano Malin Christensson studied at the Royal College of Music, London.

Elizabeth Cragg studied at Royal Holloway College and the Royal College of Music, where she won a number of singing prizes. Current and future plans include Ninette in Prokofiev’s The Love for Three Oranges at The Netherlands Opera; Flower Maiden in Wagner’s Parsifal with Sir Mark Elder and the Hallé at the BBC Proms; Mrs Julian in Britten’s Owen Wingrave at the Théâtre du Capitole‚ Toulouse; Angelica in Steffani’s Orlando Generoso with Barber Opera‚ Birmingham; Bach’s St John Passion at Washington National Cathedral; and Handel’s L’Allegro‚ il Penseroso ed il Moderato at Berkshire Choral Festival (USA) and in Edinburgh. Further operatic engagements include Flower Maiden in Parsifal and Frantik in Janáček’s The Cunning Little Vixen at the Royal Opera House‚ Covent Garden; First Niece in Peter Grimes under Sir Simon Rattle at Salzburg Easter Festival and in Berlin; Zerbinetta in Strauss’s Ariadne auf Naxos for Garsington Opera; Clorinda in Monteverdi’s Il combattimento di Tancredi e Clorinda for The Netherlands Opera; Belinda in Purcell’s Dido and Aeneas at the Akademie für Alte Musik‚ Berlin, and in Brussels; and Fauno in Mozart’s Ascanio in Alba at the Buxton Festival. She created the role of the Swan in Jonathan Dove’s Swanhunter for Opera North, and that of the Angel in Dove’s chamber opera Seven Angels. Concert performances include Bach’s Magnificat with Northern Sinfonia; performances with the Hallé and Carl Davis featuring songs from My Fair Lady and other West End musicals; Haydn’s The Creation at the Three Choirs Festival; Mozart’s Mass in C minor with The Sixteen and The Bach Choir; Handel’s Messiah with The Sixteen and the Bournemouth Symphony Orchestra; Mozart concert arias with the Scottish Chamber Orchestra; Handel’s Dixit Dominus and Bach’s St Matthew Passion with The English Concert; Bach cantatas with The Hanover Band; and Dido and Aeneas with the Orchestra of the Age of Enlightenment at the BBC Proms. Her recordings include John Rutter’s Magnificat and Mozart’s Regina Coeli, both for Naxos. Elizabeth Cragg replaces the previously advertised soloist, Claire Ormshaw, who is unwell.

Michael Colvin

Brindley Sherratt

Bob Boles | tenor

Swallow | bass

Born in Lancashire, bass Brindley Sherratt studied at the Royal Academy of Music, London.

Last season his engagements included Goro in Madam Butterfly at Boston Lyric Opera; and Mayor Upfold in Britten’s Albert Herring, Alfred in Let’s Make an Opera! and Clem in The Little Sweep, all with Pacific Opera Victoria, Canada. He also appeared in the Canadian Opera Company’s productions of Salome and Dialogues des carmélites. Concert performances included Beethoven’s Symphony No. 9 with the KitchenerWaterloo Symphony, Canada; Haydn’s The Creation with Symphony Nova Scotia; Britten’s Serenade with the Louisville Symphony Orchestra, USA; Britten’s Saint Nicholas with the Grand Philharmonic Choir, Canada; Handel’s Messiah with the New Mexico Symphonic Chorus; and Beethoven’s Missa Solemnis with the Toronto Mendelssohn Choir. His most recent role debuts include Der Steuermann in Der fliegende Holländer for Pacific Opera Victoria; Narraboth in Salome for Manitoba Opera; and Goro in Madam Butterfly for English National Opera. A fine Britten interpreter, he has performed to great acclaim the roles of Bob Boles in Peter Grimes, Flute in A Midsummer Night’s Dream and Red Whiskers in Billy Budd for opera companies such as English National Opera and Ópera de Oviedo. In the 2013/14 season Michael Colvin reprises the role of Bob Boles with the Accademia Nazionale di Santa Cecilia and Sir Antonio Pappano, and at English National Opera in the acclaimed revival of David Alden’s production, as well as in London and Birmingham with the London Philharmonic Orchestra. He also makes his French debut with Le Cercle de L’Harmonie and Jérémie Rhorer as Jaquino in Fidelio, which will be presented in Paris and several other French cities.

Irish-Canadian tenor Michael Colvin has appeared to critical acclaim on opera and concert stages throughout Canada, the USA, the UK and Europe.

At the Royal Opera House, Covent Garden, his roles have included Sarastro in The Magic Flute, Gremin in Eugene Onegin, Sparafucile in Rigoletto, Narbal in Les Troyens and Ramfis in Aida; and in Salzburg he has sung Balducci in Benvenuto Cellini with Valery Gergiev and Hobson in Peter Grimes with Sir Simon Rattle, as well as Bartolo in The Marriage of Figaro on tour to Japan. At Glyndebourne Festival Opera he has appeared as Rocco in Fidelio, Claggart in Billy Budd and Il Commendatore in Don Giovanni. A favourite at English National Opera, his roles there have included Sarastro, Pimen in Boris Godunov and Fiesco in Simon Boccanegra. Other operatic engagements include Il Commendatore in Santa Fe; Pimen for Opéra de Nice; Rocco in Seville; Sarastro at the Hamburg State Opera and the Netherlands Opera; Banco in Macbeth for Opéra de Bordeaux; Pogner in Die Meistersinger von Nürnburg for Welsh National Opera; and Fasolt in Das Rheingold and Filippo in Don Carlo for Opera North. Plans include Sarastro in a new production of The Magic Flute at the Vienna State Opera; Oroveso in a new production of Norma at Covent Garden; Pimen at the Bayerische Staatsoper, Munich; and his debuts at the Lyric Opera of Chicago, the Aix-en-Provence Festival and the Metropolitan Opera, New York. In concert he has sung at the BBC Proms and at the Bregenz, Edinburgh, Lucerne, Salzburg and Three Choirs festivals. Other engagements include appearances with the Swedish Radio Orchestra and Daniel Harding; the Rotterdam Philharmonic Orchestra and Harry Bicket; the Chamber Orchestra of Europe and John Nelson; the Orchestra of the Royal Opera House and Sir Antonio Pappano; the Scottish Chamber Orchestra and Yannick Nézet-Séguin; the Deutsche Kammerphilharmonie Bremen and Louis Langrée; the Hallé and Sir Mark Elder; and the BBC Symphony Orchestra with Sir Andrew Davis.

London Philharmonic Orchestra | 11

Jean Rigby

Mark Stone

Mrs Sedley | mezzo-soprano

Ned Keene | baritone

She has a long association with English National Opera: her roles there have included Penelope, Jocasta, Carmen, Octavian, Britten’s Lucretia, Rosina, Helen (Tippett’s King Priam), Maddalena (Rigoletto), Amastris (Xerxes), and Suzuki in the premiere of Anthony Minghella’s Madam Butterfly. For Glyndebourne Festival Opera her roles include Irene (Theodora), Geneviève (Pelléas et Mélisande), Eduige (Rodelinda), Emilia (Otello), and Martina in the world premiere of Peter Eötvös’s Love and Other Demons. For the Royal Opera, Covent Garden, her roles have included Nicklausse (The Tales of Hoffman) with Alfredo Kraus, and Olga (Eugene Onegin) with Mirella Freni. Further afield, she has appeared at the Netherlands, Flanders, Seattle, San Diego and Barcelona opera houses; the Théâtre du Châtelet in Paris; and recently the Theater an der Wien. Jean has appeared with all the major orchestras, at the BBC Proms, and in concert throughout Europe. Her extensive discography ranges from Bach to Birtwistle. Recent engagements have included The Cunning Little Vixen at Glyndebourne Festival Opera and The Marriage of Figaro for Glyndebourne On Tour; the Glyndebourne community opera Imago; and a recording of Britten’s The Ascent of F6. She has been awarded Fellowships of the Royal Academy of Music and Birmingham Conservatoire.

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Baritone Mark Stone studied at King’s College, Cambridge and the Guildhall School of Music & Drama, London.

Lancashire-born Jean Rigby studied piano and viola at the Birmingham School of Music and singing at the Royal Academy of Music, London, where she won numerous prizes and scholarships, and then the National Opera Studio.

Recent operatic highlights include the title role in Don Giovanni in Hamburg and Berlin; Il Conte (The Marriage of Figaro) in Cologne; Eisenstein (Die Fledermaus) and Belcore (L’elisir d’amore) at Welsh National Opera; Demetrius (A Midsummer Night’s Dream) at Opera North; Lescaut (Manon Lescaut) in Leipzig; Elviro (Serse) for the Royal Swedish Opera; and Yeletsky (The Queen of Spades), Danilo (The Merry Widow) and Ottakar (Der Freischütz) for Opéra de Montpellier. His many roles at English National Opera have included the title role in Don Giovanni, Il Conte, Guglielmo (Così fan tutte), Marcello (La bohème), Figaro (The Barber of Seville), Enrico (Lucia di Lammermoor), Silvio (I Pagliacci) and Chou En-Lai (John Adams’s Nixon in China). In the USA he has sung Ford (Falstaff), Germont (La traviata) and the title role in Gianni Schicchi for Philadelphia Opera, and Guglielmo in Santa Fe. This season he returns to Philadelphia for his first Papageno (The Magic Flute) and to the Royal Opera House, Covent Garden, for Mountjoy in Britten’s Gloriana. On the concert platform, Mark’s recent and forthcoming engagements include Britten’s War Requiem at La Scala, Milan, under Xian Zhang, and at the Amsterdam Concertgebouw under Jaap van Zweden; Mahler’s Symphony No. 8 with the Philharmonia Orchestra under Lorin Maazel; Rossini’s William Tell at the BBC Proms under Antonio Pappano; the title role in Sondheim’s Sweeney Todd with the Bavarian Radio Symphony Orchestra; Vaughan Williams’s A Sea Symphony with the Düsseldorf Symphony Orchestra under Sir Roger Norrington; and The Dream of Gerontius with the Vienna Symphony Orchestra under James Judd.

Brian Galliford

Jonathan Veira

Reverend Horace Adams | tenor

Hobson | bass-baritone

British tenor Brian Galliford studied at the Guildhall School of Music & Drama in London. He lives in Amsterdam, where he is a frequent guest of The Netherlands Opera. He also regularly returns to the UK, singing at the Royal Opera, Covent Garden, English National Opera, Glyndebourne Festival Opera and Welsh National Opera. Further engagements around Europe have taken him to the Komische Oper Berlin, the Bregenz Festival, Oper Frankfurt, the Vlaamse Opera, the Opéra Comique in Paris, the Théâtre du Capitole in Toulouse and the Neue Oper Wien. Earlier this year he made his debut at La Scala, Milan, in Alexander Raskatov’s A Dog’s Heart – a role he first created at the opera’s world premiere in Amsterdam. At this year’s Salzburg Festival he sang the Fool in Harrison Birtwistle’s Gawain.

Jonathan Veira’s extensive repertoire includes the title roles in Falstaff and Don Pasquale, Dr Bartolo in The Marriage of Figaro and The Barber of Seville, Don Magnifico in La Cenerentola, Mustafa in The Italian Girl in Algiers, Dulcamara in L’elisir d’amore, Don Alfonso in Così fan tutte, Leporello in Don Giovanni, Fra Melitone in La forza del destino, Tonio in I Pagliacci, Schaunard in Leoncavallo’s La bohème, Sharpless in Madam Butterfly, Sacristan in Tosca, Don Alvaro La vedova scaltra, Buonafede in Haydn’s Il mondo della luna, Harašta in The Cunning Little Vixen, Kolenatý in The Makropulos Case, Dikoi in Káťa Kabanová, The Foreman in Jenůfa, Keçal in The Bartered Bride, Claggart in Billy Budd and Varlaam in Boris Godunov.

Other roles include Herodes (Salome), Don Jerome (Betrothal in a Monastery), Piet the Pot (Le Grand Macabre), Bob Boles (Peter Grimes), Sir Philip (Owen Wingrave), the Dancing Master (Ariadne auf Naxos), Fatty (Rise and Fall of the City of Mahagonny), Bardolfo and Dr Caius (Falstaff), Iro (Il ritorno d’Ulisse in patria) and Ménélas (La belle Hélène). Brian Galliford has worked with conductors including Sir Antonio Pappano, Vladimir Jurowski, Sir Simon Rattle, Ingo Metzmacher, Ryan Wigglesworth, Esa-Pekka Salonen, Hartmut Haenchen, Peter Eötvös, Edo de Waart and Martyn Brabbins, and such directors as Simon McBurney, Benedict Andrews, Willy Decker, Harry Kupfer, Daniel Slater, David Alden and Martin Duncan. Future plans include the Colonel in Aribert Reimann’s Die Gespenstersonate for Oper Frankfurt, and Monostatos in The Magic Flute for English National Opera in a new production by Simon McBurney.

His international engagements have taken him to the opera houses of Lyon, Lille, Montpellier, Nice, Zürich, Geneva, Copenhagen, Stockholm, Oslo, Leipzig, Strasbourg, and Opera New Zealand. He has also appeared with all the major UK opera companies and at the BBC Proms. On television, Jonathan Veira has appeared in Death in Venice, The Marriage of Figaro, La traviata, Nigel Osborne’s The Electrification of the Soviet Union and Humperdinck’s Königskinder. Radio broadcasts for BBC Radio 3 have included Rossini’s Tancredi and Weill’s Rise and Fall of the City of Mahagonny. He is also a regular guest on BBC Radio’s ‘Friday Night is Music Night’ and BBC Television’s ‘Songs of Praise’. In recent seasons Jonathan Veira’s engagements have included the title roles in Falstaff and Don Pasquale for Glyndebourne on Tour; Mustafa for Opéra de Limoges; and Quince in A Midsummer Night’s Dream, General Groves in John Adams’s Doctor Atomic, Varlaam in Boris Godunov and Sacristan in Tosca for English National Opera. He was a featured artist in the Nikolaus Lehnhoff Janáček cycle at Opéra de Lyon in the roles of Dr Kolenatý in The Makropulos Case, Dikoi in Káťa Kabanová and The Foreman in Jenůfa. London Philharmonic Orchestra | 13

London Voices

Ben Parry chorusmaster

London Voices was founded in 1981 by Terry Edwards and is now co-directed by Terry Edwards and Ben Parry. Terry Edwards was Director of the Chorus at the Royal Opera House, Covent Garden from 1992–2004, and Ben Parry is currently Director of the National Youth Choirs of Great Britain. London Voices draws on the pool of talented freelance professional solo, consort and choral singers who live in and around the capital, selecting the most suitable team for each project. Recent engagements have been as varied as the world premiere of Stockhausen’s opera Mittwoch, and a Walt Disney film soundtrack. The choir has a discography of over 200 recordings including recital discs with Angela Gheorghiu, Luciano Pavarotti and Bryn Terfel; works by 20th- and 21stcentury composers including John Adams (El Niño), Luciano Berio (Sinfonia), Georg Ligeti (the complete a cappella works), and Paul McCartney (Ecce Cor Meum); and large-scale choral works conducted by worldfamous names including Sir Georg Solti, Bernard Haitink and Sir Simon Rattle. London Voices has become the number one choir of choice for film soundtracks recorded in the UK: titles include Star Wars, Harry Potter, The Lord of the Rings and The Hobbit. Next week, London Voices leave for concerts in Shanghai and Beijing, where they will give the first performances in China of Britten’s War Requiem and Peter Grimes. 14 | London Philharmonic Orchestra

Sopranos Ildiko Allen, Elizabeth Drury, Cheryl Enever, Rachel Godsill, Kathryn Jenkin, Sophie Jones, Ruth Kerr, Carys Lloyd Roberts, Eleanor Meynell, Wendy Nieper, Christina Sampson, Prudence Sanders, Juliet Schiemann Altos Helen Brookes, Heather Cairncross, Catherine Carter, Tamsin Dalley, Amanda Dean, Clemmie Franks, Vanessa Heine, Barbara Hoefling, Susan Marrs, Clare McCaldin, Lucy Potterton, Melanie Sanders Tenors Michael Butchard, Richard Eteson, Simon Haynes, Thomas Herford, Martin Hindmarsh, Gareth Morris, Henry Moss, Benedict Quirke, Julian Alexander Smith, Paul Tindall, Andrew Walters, Peter Wilman Basses Neil Bellingham, Stefan Berkieta, Michael Burke, John Evanson, Richard Fallas, Cheyney Kent, Russell Matthews, Alastair Merry, Peter Snipp, Lawrence Wallington, Richard Woodall

Daniel Slater

Alex Doidge-Green

director

designer

Daniel Slater studied at Bristol and Cambridge. He was Associate Director of the Nottingham Playhouse and London’s Tricycle Theatre from 1993–95. Opera productions include Tannhäuser (Estonian National Opera), Nabucco (Vlaamse Opera); Lohengrin (San Francisco, Houston Grand Opera and Geneva); Tristan und Isolde (Norway); Eugene Onegin (Opera Holland Park); La traviata (Houston Grand Opera); The Thieving Magpie and Don Pasquale (Geneva and Caen), Die Entführung aus dem Serail, La Cenerentola, A Midsummer Night’s Dream and Don Giovanni (Birgitta Festival, Tallinn, and Garsington Opera); Wozzeck (Santa Fe); Peter Grimes (Geneva); Xerxes (Stockholm), L’arbore di Diana (Valencia); Samson (Buxton); Fortunio, Rigoletto, Falstaff and Don Giovanni (Grange Park Opera); Betrothal in a Monastery (Glyndebourne Festival Opera and Valencia); Manon Lescaut (Opera North, Oslo and Oviedo); Manon (Opera North); L’elisir d’amore (Opera North, Welsh National Opera, New Zealand Festival and Oviedo); The Bartered Bride (Opera North, Strasbourg, New Zealand and Valencia); The Cunning Little Vixen (Bregenz, San Francisco and Geneva); The Barber of Seville and Der Vogelhändler (Berlin); and La bohème (Scottish Opera and Opera Ireland).

Most recently Alex has worked on the children’s musical The Tale of the Frog Prince, and Trojan Women for Singapore Repertory Theatre. Prior to this he designed The Fantasticks at the Jermyn Street Theatre in London, and was Associate Designer on the musical Loserville at the Garrick Theatre in London’s West End. He also assisted Francis O’Connor on a number of shows in 2012/13. Alex was Designer for Out There for Youth Music Theatre UK, both in Bracknell and when it made its move to a London theatre last summer. Previously he worked as Assistant Designer on the pantomime Beauty and the Beast at Harrogate Theatre, and designed The Rivals for Nottingham Trent University Drama Society at Nottingham Arts Theatre. Alex received a First Class Honours degree in Theatre Design from Nottingham Trent University. He also completed a Foundation Degree in Design for Performance at Wimbledon College of Art, which he passed with Distinction.

Theatre productions include Educating Rita for Hambledon Productions; Making Waves at the Stephen Joseph Theatre, Scarborough; Confusions at Salisbury Playhouse; Life Goes On at the Haymarket Theatre; Grab the Dog at the Royal National Theatre Studio; The Mark at Soho Theatre Company; Gangster Apparel at the Old Red Lion Theatre; Up Shit Creek at the Canal Cafe Theatre; and The Honest Whore and Three Birds Alighting on a Field, both at RADA. Future plans include The Cunning Little Vixen at Garsington Opera and Salome at Santa Fe Opera.

London Philharmonic Orchestra | 15

Tim Mascall

Pieter Schoeman

lighting designer

leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

Tim Mascall’s recent credits include Lionboy for Complicite, Stuart: A Life Backwards for HighTide Festival Theatre, The Serpent’s Tooth for the Almeida Theatre, A Taste of Honey for the Royal Lyceum Theatre, Edinburgh, and Derren Brown’s West End productions of Infamous (Palace Theatre), Enigma (Adelphi Theatre), An Evening of Wonders (Garrick Theatre) and Something Wicked This Way Comes (Old Vic). Other West End credits include Well (Apollo Theatre), Why the Whales Came (Comedy Theatre, now Harold Pinter Theatre), The Vagina Monologues (Wyndham’s Theatre), Potted Potter (Garrick Theatre), Potted Panto (Vaudeville Theatre) and Ruby Wax: Losing It (Duchess Theatre).

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

Further London credits include Jenůfa (Arcola Theatre), Latin Fever (Peacock Theatre), The Seagull (Southwark Playhouse), Chalet Lines (Bush Theatre), The New World Order (Barbican at Shoreditch Town Hall), The Importance of Being Earnest (Regent’s Park Open Air Theatre) and Marilyn and Ella (Theatre Royal, Stratford East).

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 performs at London’s prestigious Wigmore Hall.

Previously for the London Philharmonic Orchestra, in 2010 Tim designed the lighting for Shostakovich’s The Gamblers at Royal Festival Hall, directed by Irina Brown. Further opera credits include Handel’s Atalanta at the Royal College of Music directed by Christopher Cowell, and Henze’s Das Wundertheater and Weill’s Mahagonny Songspiel, both at the Montepulciano Festival directed by Alfred Kirchner.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

Tim’s international credits include Without You at the Panasonic Theatre, Toronto; A Little Night Music at the Central Theatre, Budapest; Potted Potter in New York, Chicago and on international tours; Filler Up in New York, Washington and Florida; and My Fair Lady in Kuala Lumpur.

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. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

16 | London Philharmonic Orchestra

Britten: Peter Grimes

Benjamin Britten 1913–76

Peter Grimes, a fisherman Boy (John), his apprentice Ellen Orford, a widow, schoolmistress of the Borough Captain Balstrode, retired merchant skipper Auntie, landlady of ‘The Boar’ Two Nieces, main attractions of ‘The Boar’ Bob Boles, fisherman and Methodist Swallow, a lawyer Mrs Sedley, a rentier widow of an East India Company's factor Ned Keene, apothecary and quack Reverend Horace Adams, the rector Hobson, carrier Dr Crabbe Chorus of townspeople and fisherfolk

Peter Grimes Opera in three acts and a prologue Music by Benjamin Britten, libretto by Montagu Slater, derived from a poem by George Crabbe. By permission of Boosey & Hawkes Music Publishers Limited.

Stuart Skelton tenor Charlie Gill, Trinity Boys Choir silent role Pamela Armstrong soprano Alan Opie baritone Pamela Helen Stephen mezzo-soprano Malin Christensson & Elizabeth Cragg sopranos Michael Colvin tenor Brindley Sherratt bass Jean Rigby mezzo-soprano Mark Stone baritone Brian Galliford tenor Jonathan Veira bass-baritone Andrew Chenery silent role London Voices

The London Philharmonic Orchestra would like to thank the following donors for their generosity in support of this concert: Peter Grimes Syndicate Members Peter & Fiona Espenhahn Nicholas & Lindsay Merriman Michael & Ruth West Peter Grimes Syndicate Supporters Christopher & Hegge Aldren The Sharp Family and those who wish to remain anonymous

London Philharmonic Orchestra | 17

Synopsis

The action takes place in the Borough, a small fishing town on the east coast of England.

Prologue Peter Grimes stands in the dock during a coroner’s inquest. Nearly all the townspeople suspect Grimes of ill-treating his young apprentice, William Spode, with the notable exceptions of the widowed schoolmistress, Ellen Orford, and Captain Balstrode. At the conclusion of the inquest the lawyer, Swallow, proclaims that the boy, whose life Grimes had previously saved during a storm, died in accidental circumstances. Orchestral Interlude: Dawn

Act One Scene 1 Ned Keene, the local apothecary, tells Grimes that he has found him a new apprentice, John, whom Ellen offers to look after. The townspeople are scornful of Ellen’s trust in Grimes. Orchestral Interlude: Storm Scene 2 Townspeople are sheltering in The Boar. Grimes arrives to collect his new apprentice. The crowd thinks that he is either drunk or mad, but he seizes the boy and goes out into the storm.

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

Act Two

Act Three

Orchestral Interlude: Sunday Morning

Orchestral Interlude: Moonlight

Scene 1 Ellen sits with her knitting in the company of young John while the townsfolk make their way to church. She considers a possible future happiness with Grimes while listening to the singing of the congregation. Grimes enters, ordering the boy to help him bring in a shoal of fish. He and Ellen quarrel over John’s right to rest and this leads Ellen to draw attention to his rough, uncompromising ways, echoing the views of the town. Grimes is furious at the thought that the Borough has influenced Ellen. He strikes her and drags John away. The church service concludes.

Scene 1 The people of the Borough gather to discuss the apprentice’s disappearance and the mood of hatred towards Grimes gains momentum. Despite Grimes’s previous anger, Captain Balstrode and Ellen resolve to offer Grimes what help they can.

Orchestral Interlude: Passacaglia Scene 2 Grimes vents his anger at the townsfolk by ranting at his apprentice. The boy falls to his death while helping to pitch fishing nets from the cliff door of Grimes’s hut.

18 | London Philharmonic Orchestra

Orchestral Interlude Scene 2 The townspeople are pursuing Grimes. He is discovered by Ellen and by Balstrode who, unable to see any future for him, tells him to sail out until he loses sight of land and then sink his boat. The Borough resumes its normal life. Synopsis reproduced by kind permission of Opera North and adapted by Daniel Slater. Surtitles © Jonathan Burton.

Christopher Isherwood, the puckish English author, memoirist and playwright, took a long look at the poems of George Crabbe sent to him by his friend Benjamin Britten before dismissing them as a suitable source for an opera. ‘I’m sorry, but I don’t see any possibility of collaborating with you and Peter on the Peter Grimes libretto ... frankly, the subject doesn’t excite me so much that I want to make time for it.’ Isherwood had spent the 1930s making narrative sense of W. H. Auden’s wild poetic and political ideas in plays such as The Dog Beneath the Skin and The Ascent of F6. He had the most theatrical experience and sense of anyone in the Auden gang, yet simply could not identify operatic potential in Crabbe’s grim, drab poems.

Image courtesy of www.britten100.org

Programme note

Peter Pears and Benjamin Britten in Brooklyn, USA, 1940

of Britten’s went down the drain’) and the scrappy Isherwood good-naturedly told this story against bohemianism of the Brooklyn brownstone he shared himself once Peter Grimes was internationally with Auden, Peter Pears, Gypsy Rose Lee, Carson successful, yet his initial response to Britten’s proposal McCullers, Paul and Jane Bowles and a revolving cast was perfectly reasonable. Crabbe’s The Borough is a was not at all to his taste. Reading Forster on Crabbe collection of 24 poems presented as letters, which and then tracking down the poems in California in detail the harsh lives led in a fishing community on the summer of 1941, the Suffolk coast at the turn of the Britten had a sharp 'In a flash I realised two things: 19th century. The heroic couplets pang of nostalgia are wearying (‘Then let thy Fancy aid that I must write an opera, and for his homeland. me – I repair/From this tall mansion where I belonged.' ‘I suddenly realised of our last year’s Mayor’) and the where I belonged and subject of each letter – whether Britten recalling the moment in 1941 when he what I lacked.’ Church politics, local elections, or first read George Crabbe’s poem The Borough public houses – dour. ‘Crabbe knew Given the length of The Borough, it may seem curious the local almshouses and hospital and prison,’ E. M. that Britten knew so quickly and instinctively which of Forster wrote in the 1941 Listener article that drew Crabbe’s poems he would use for his opera; there are to Britten’s attention Crabbe’s poetry, ‘and the sort many other characters and stories he could have mined. of people who drift into them; he read, in the parish Yet there is something attractively self-contained registers, the deaths of the unsuccessful, the marriages about the narrative and tragedy of ‘Peter Grimes’ that of the incompetent, and the births of the illegitimate.’ Isherwood can be forgiven for politely declining Britten’s obviously caught Britten’s eye. Even Crabbe’s summary at the top of the poem presents a linear narrative invitation. that Britten must have pounced on with gratitude following the bruising experience of Paul Bunyan, with It is also the case that Britten invested more meaning its whimsical plot and heavy metaphors. ‘He takes an in the poems and potential opera than Isherwood Apprentice – The Boy’s Suffering and Fate – A second could have mustered. The writer was happy in his new Boy; how he died – Peter acquitted – A third Apprentice American life, far from the Establishment conventions – A Voyage by Sea: the Boy does not return – Evil Report that bound him in England. Britten in America was on Peter: he is tried and threatened – Lives alone – His psychologically less robust: illness and homesickness melancholy and incipient Madness’ etc. plagued him. His collaboration with Auden on Paul Bunyan in early 1941 ended in failure (‘I was entirely to Although this skeleton will be recognised by anyone blame,’ Auden later wrote, ‘since, at the time, I knew familiar with Peter Grimes, it still needed fleshing nothing whatsoever about opera or what is required out, a task undertaken by the communist writer of a librettist. In consequence, some very lovely music London Philharmonic Orchestra | 19

Programme note continued

Montagu Slater who looked at the story through a political prism: this was nothing if not a parable of bourgeois aspiration. This was not initially Britten’s approach. In June 1942, two months after returning to England, Britten told a friend that the opera was about ‘a fishing village, full of storms, & sailing boats, & murders’. It was not terribly promising (though the violent thunderstorm that crashes away in the final movement of Beethoven’s Symphony No. 6 certainly gave him something to emulate), yet over time the plot became more nuanced, more political. ‘In writing Peter Grimes, I wanted to express my awareness of the perpetual struggle of men and women whose livelihood depends on the sea – difficult though it is to treat such a universal subject in theatrical form.’ It was a slow evolution, however. Even as late as March 1944, following a play through of what had been composed, Pears was still trying to pin down the essence of Grimes’s character. ‘P.G. is an introspective, an artist, a neurotic, his real problem is expression, selfexpression,’ he wrote in response. ‘What a part! Wow!’ It was a curious observation, given Grimes’s thuggish behaviour, and it was probably then that the notion of Grimes as an artistic outsider started to take shape, an idea that would gain momentum in the years to follow. This was in part Pears recognising what his personality and voice left him best equipped to portray on stage, but it was also Britten’s instinctive response to Crabbe’s brutal character. ‘I think one is free to make changes,’ Britten said in 1960 of his adaptation of Melville’s Billy Budd, ‘as, after all, in Peter Grimes I’m quite sure Crabbe would not have approved at all of what we did with the character of Peter Grimes.’

Grimes’s slightly nebulous form at this late stage was also due to the tension in Britten and Slater’s relationship. Slater worked slowly, making changes only reluctantly, while Britten was experimenting with a new form of collaborating, one where he was very much in charge. And his dramatic instincts were good. There were practical reasons for writing the ‘Sea Interludes’ – the stage curtain needed to be drawn for the cluttered set to be changed – but Britten viewed the sea as a character in its own right, one he was determined to capture in music. And it was Britten who cut Slater’s wordy mad scene, seemingly taking his cue from the epigraph Crabbe pasted at the head of ‘Peter Grimes’, taken from Shakespeare’s Richard III: ‘Methought the souls of all that I had murder’d/Came to my tent, and every one did threat ...’ Yet Slater’s instincts were also good. He fought back when Britten wanted to cut the women’s quartet in Act II, arguing that it was needed for dramatic ballast, and initiated more caution in his collaborator than most later librettists would achieve. There were numerous other play-throughs as the opera took shape and the war slowly wound down, Britten adding all parts in his droning singing voice. ‘Ben came and smashed it out on the piano,’ recalled Joan Cross, the first Ellen Orford, of one such occasion. Those who had heard little of Britten’s music since his return were stunned by the sounds he produced. His music had changed in the American years: it was more even, better crafted. The brittle virtuosity of Our Hunting Fathers and the Piano Concerto had been replaced by a more refined sound world. It was this palette Michael Tippett observed when he popped into Sadler’s Wells a little before the premiere, and was astonished by the audacity of the undertaking and the sheer confidence of Britten’s vision.

‘This is opera that presses constantly at the borders of the genre, whether high or low: it bursts with folk song, operetta and vaudeville tunes, and the vernacular punch of the American musical, and, at the same time, it erupts in 20th-century dissonances. In many ways, Grimes is an English Wozzeck, extending sympathy to an ugly man, using his crimes to indict the society that sired him.’ Alex Ross, author, The Rest Is Noise southbankcentre.co.uk/therestisnoise

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Tippett was right to be astonished. There was so little operatic culture and infrastructure in England before the war; the idea that an indigenous opera could be composed and embraced was scarcely credible. There were detractors and the quality of the first performance was not very high, but audiences immediately recognised the significance of the occasion and the piece. Audiences and critics also soon conflated composer and the character he had lifted from Crabbe’s poem, encouraged in this matter by Britten who said often how his experiences as a Conscientious Objector fuelled his sympathy for the outsider Grimes. Implicit in this observation was that his experience as a gay man also shaped the work, the line between disclosure and discretion a fine one. Yet Britten was not Grimes, and each man’s experience as an outsider was distinct. A better observation is that of the American literary critic Edmund Wilson who saw the opera in its original June 1945 season: By the time you are done with the opera – or by the time it is done with you – you have decided that Peter Grimes is the whole of bombing, machine-gunning, mining, torpedoing, ambushing humanity, which talks about a guaranteed standard of living yet does nothing but wreck its own works, degrade or pervert its own moral life and reduce itself to starvation. It was a work of its time, a testimony to the greed and destruction of humanity, and, finally, a plea for greater thought and kindness. Programme note by Paul Kildea © 2013 Paul Kildea is a conductor and author of Benjamin Britten: A Life in the Twentieth Century, published by Penguin Press earlier this year.

Peter Grimes and the LPO The London Philharmonic Orchestra has performed Peter Grimes in three separate seasons at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra since 1964. The opera was staged for the first time at Glyndebourne in 1992 in a production by Trevor Nunn, conducted by Andrew Davis. In 1994 Franz Welser-Möst, the LPO’s then-Principal Conductor, conducted a revival of the production. The most recent revival was in 2000 conducted by Mark Wigglesworth. A CD of this 2000 production, with Anthony Dean Griffey in the title role, is available on Glyndebourne’s own label (GFOCD008).

Britten on the LPO Label

War Requiem Kurt Masur conductor Christine Brewer soprano Anthony Dean Griffey tenor Gerald Finley baritone LPO-0010 | £14.99

Double Concerto; Variations on a Theme of Frank Bridge; Les Illuminations Vladimir Jurowski conductor Sally Matthews soprano Pieter Schoeman violin Alexander Zemtsov viola LPO-0037 | £9.99

New for 2013/14 – LPO mini film guides For our 2013/14 season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert and created a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce Peter Grimes: lpo.org.uk/explore/videos.html

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Also available to download or stream online via iTunes, Spotify, Amazon and others.

lpo.org.uk/recordings

London Philharmonic Orchestra | 21

Next LPO concerts at Royal Festival Hall

Wednesday 23 October 2013 | 7.30pm Poulenc Piano Concerto Prokofiev Symphony No. 7 Poulenc Stabat mater

Wednesday 2 October 2013 | 7.30pm

Yannick Nézet-Séguin conductor Alexandre Tharaud piano Kate Royal soprano London Philharmonic Choir

Britten Prelude and Dances from The Prince of the Pagodas Britten Suite on English Folk Tunes (A time there was) Britten Nocturne Britten Cello Symphony

Free pre-concert event | 6.15–6.45pm Royal Festival Hall Dr Caroline Potter from Kingston University looks at the life and works of Francis Poulenc.

Vladimir Jurowski conductor Mark Padmore tenor Truls Mørk cello

Saturday 26 October 2013 | 7.30pm

More Britten Centenary concerts

Supported by the Britten-Pears Foundation

Saturday 12 October 2013 | 7.30pm Britten War Requiem Vladimir Jurowski conductor Tatiana Monogarova soprano Ian Bostridge tenor Matthias Goerne baritone Neville Creed conductor (chamber orchestra) London Philharmonic Choir Trinity Boys Choir

Saturday 12 October Free pre-concert events 2.00–3.00pm and 4.00–5.00pm The Clore Ballroom at Royal Festival Hall The LPO and Southbank Centre present Britten’s moving setting of the Chester Miracle play Noye’s Fludde, conducted by Benjamin Ellin. 6.00–6.45pm Royal Festival Hall Musicians from the Royal College of Music perform Britten’s Les illuminations and Variations on a Theme of Frank Bridge.

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Dutilleux Tout un monde lointain Shostakovich Symphony No. 13 (Babi Yar) Yannick Nézet-Séguin conductor Jean-Guihen Queyras cello Mikhail Petrenko bass Gentlemen of the London Philharmonic Choir ‘Jean-Guihen Queyras demonstrated a comprehensive and multi-faceted mastery of his art. His powers of musical characterisation are limitless.’ The Herald (Scotland), August 2011

Booking details Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

Nicholas Busch

Nicholas William (‘Nick’) Busch became a First Horn player at the age of 19 with Sadlers Wells. He later joined the London Philharmonic Orchestra in 1973 as Principal Horn, a position he held until illness led to his retirement in January 2006. In between, he was Principal Horn of the BBC Concert Orchestra, and the Philharmonia Orchestra’s Second Principal then Principal – an orchestral career spanning an astonishing 47 years, 33 of them with the LPO. Tonight’s audience has enjoyed hearing Nick for years, in the concert hall as well as at Glyndebourne, where he enchanted and excited in operas by Mozart, Strauss, Stravinsky and Britten, among others. However, did you know you also probably heard him on TV’s ‘The Generation Game’, ‘Van der Valk’, ‘Blake’s 7’ and countless other television programmes, commercials, pop songs and in the Bobby Lamb/Ray Premru Big Band? Born in north Devon, Nick, with his sister Julia and their mother Sheila, moved to London after his father’s early death in 1945 (William Busch, composer and concert pianist). His horn teachers included Aubrey Brain, Charles Gregory (the great first horn of the LPO’s Beecham era) then Frank Probyn (‘The Major’), who persuaded Nick to try for a Royal College of Music scholarship, despite him having decided to be a farmer. However, when he won it he reckoned it would be easier to be a horn player (he missed farming until he owned his 22 acres), only later realising it wasn’t.

breath, despatched that timeless first phrase. He also took breaths in long solos without ever breaking the musical line, a mark of his superb musicianship, which was always understated and all the stronger for it. I remember once pulling a solo around and him saying quietly: ‘Look, rubato is about doing it so that people know something has happened, but can’t tell exactly what. Listen to Clifford Curzon.’ He was right. Nick was renowned worldwide by his peers. Had he played concertos he would have been a household name, but he preferred playing the best tunes in the best horn sections and the camaraderie of orchestral playing. Conductors like Klemperer, Barbirolli, Boult, Giulini, Jochum, Haitink, Barenboim, Tennstedt, WelserMöst and Jurowski adored him because he also raised standards around him. Not everyone, however, felt comfortable. Whilst backing people up beyond the hilt, Nick was straight in his dealings and no-one was above reproach if they fell beneath expected standards. He was a great friend, a worthy adversary and respected by everyone. Nick, a devoted family man, de-stressed by getting home to Maggie, their four children and his tractors. He was both ordinary and extraordinary, without pretension or artifice – qualities reflected in his playing: I recall that whenever we played Strauss’s Four Last Songs with Lucia Popp she would turn to softly blow him a kiss after ‘September’, as one great artist to another. Patrick Garvey London Philharmonic Orchestra 2nd Horn, 1973–1985

L–R: Inge Tennstedt, Maggie Busch, Nick Busch and Klaus Tennstedt at the Buschs’ home in 1990

Nick’s playing was always brave. His heroes were Dennis Brain and Alan Civil, exponents of the ‘English style’ typified by pure notes with clear beginning and end. ‘The Major’ taught him breathing, relaxation and awareness of ‘Viennese style’, principally its portamento slur between notes. Nick combined these two elements wonderfully, and at the start of Bruckner’s Fourth Symphony I would suddenly experience a vacuum around me when, in tempo, he took all the air he needed to relax and prepare for the opening and, on the

4 November 1939 – 24 July 2013

London Philharmonic Orchestra | 23

Orchestra news

New LPO website

New on the LPO Label: Bernard Haitink conducts Vaughan Williams

We’ve just launched a brand new website, designed to work alongside our new ticketing software system. As well as refreshing the look of the website and making it much more user-friendly and easier to navigate, we’ve introduced some new features to help you make the most of your visit: • • • • • •

Choose your own seats when booking online Let your friends know what you’ve booked via Facebook and Twitter Download free programme notes in advance Listen to clips of the music before you book Get to know the artists and the music through videos and podcasts Browse and shop with your smartphone or tablet on our mobile site

We hope you enjoy exploring the new site. If you have any feedback or suggestions, we’d love to hear from you: email admin@lpo.org.uk

There’s an exciting new release on the Orchestra’s own CD label this month: Vaughan Williams’s Symphonies No. 5 & No. 7 (‘Sinfonia antartica’) conducted by Bernard Haitink and featuring soprano Sheila Armstrong and the Ladies of the London Philharmonic Choir (LPO-0072). Both symphonies were recorded live in concert at Royal Festival Hall, in 1984 (No. 7) and 1994 (No. 5). The double CD is priced £10.99 and is available now from lpo.org.uk/shop, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop, and all good CD retailers. Alternatively you can download it from iTunes or stream via Spotify. Visit lpo.org.uk/shop for details.

Visit the new site: lpo.org.uk

Principal Friends In this programme for the opening concert of the season, the London Philharmonic Orchestra acknowledges the generous support of its Principal Friends, whose valuable contributions help us to sustain our work throughout the year. Our grateful thanks to: Mr Ralph Aldwinckle Mr Clifford Brown Mr Michael Ching Alison Clarke & Leo Pilkington Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr Hugh Herrington Mr Eric Kennedy

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Mr David MacFarlane Mr Stephen Olton Mr David Peters Mr James Pickford Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr James A Reece Mr E Weighman Mr C D Yates

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle

Pritchard Donors

Emmanuel & Barrie Roman The Sharp Family The Underwood Trust

Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin

Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Haitink Patrons Moya Greene Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix The Tsukanov Family Foundation Manon Williams

Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

London Philharmonic Orchestra | 25

“Nocturne is one of

the most brilliant anti-war documentaries I have ever seen. It could change millions of minds about Britten. It is an absolute masterpiece, definitive, original and very moving.”

ANDREW BILLEN The Times “I have rarely seen such a profoundly troubling film. Palmer is a master, and this is his masterpiece.”

SIMON HEFFER

“Nocturne is something wonderful. A stroke of genius. I’ve never seen singers filmed so uncompromisingly and to such devastating effect. The constant movement between domestic, epic and musical was masterly, never a jolt unintended, never a longueur. One could hear from the audience’s stunned reaction how deeply affecting the film was.”

ELIZABETH FORGAN “It is impossible not to be moved by this combination of content and music. The film is riveting from first frame to last, and the effect is devastating as a portrait of artistry and sorrow. It will be a reference point for decades to come.“

JAN HARLAN

Stanley Kubrick’s Producer

available from all good record shops & www.tonypalmerdvd.com

The DeLuxe boxset of Palmer’s four earlier films also contains Britten’s famous, but long out-of-print, 1964 Aspen Award Speech, illustrated with over 50 photos.

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry

Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust The Boshier-Hinton Foundation Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

Marsh Christian Trust Mayor’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation Youth Music and others who wish to remain anonymous

London Philharmonic Orchestra | 27

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins Lord David Curry Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)