London Philharmonic Orchestra 3 Nov 2018 concert programme: The Rake's Progress

CONCERt programme

Changing Faces:

Stravinsky’s journey

february – december 2018 royal festival hall

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 Saturday 3 November 2018 | 7.00pm

Stravinsky The Rake’s Progress There will be a 20-minute interval after Act 2, Scene 2 (approximately 8.15pm).

This evening’s performance will end at approximately 9.50pm.

Vladimir Jurowski conductor Toby Spence Tom Rakewell Sophia Burgos Anne Trulove Matthew Rose Nick Shadow/Keeper of the Madhouse Patricia Bardon Baba the Turk Clive Bayley Father Trulove Kim Begley Sellem Marie McLaughlin Mother Goose London Voices Co-Directors: Terry Edwards & Ben Parry

Malcolm Rippeth lighting designer Concert generously supported by Victoria Robey OBE. This performance will be surtitled.

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome

Die Walküre: January 2019 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Tonight’s soloists 11 London Voices 12 Cast & synopsis 13 Programme note 15 Recommended DVD recording 16 Next concerts 17 Sound Futures donors 18 Supporters 20 LPO administration

Free pre-concert event 5.45–6.15pm | Royal Festival Hall Conductor Vladimir Jurowski discusses The Rake’s Progress with Gerard McBurney.

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.

Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location.

Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski.

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 us on 020 3879 9555, 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 AND WATCHES should be switched off before the performance begins.

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 £15–60 (premium seats £80) Book via lpo.org.uk or or call 020 7840 4242 Transaction fee £1.75 online/£2.75 phone

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

2 | London Philharmonic Orchestra

On stage tonight

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

Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

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

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Violas David Quiggle Principal Richard Waters Susanne Martens Benedetto Pollani Daniel Cornford Alistair Scahill

Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue Elisabeth Wiklander Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

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 Sergio Castellรณ Lรณpez Guest Principal Paul Richards* Bassoons Jonathan Davies Principal Gareth Newman Horns John Ryan* Principal

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

Chair supported by Laurence Watt

Martin Hobbs Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Harpsichord Helen Collyer * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

London Philharmonic Orchestra | 3

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

4 | 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 | 5

Vladimir Jurowski Principal Conductor & Artistic Advisor

© Simon Pauly

Ten years of Vladimir Jurowski in London have brought a non-stop journey of discovery. As the London Philharmonic Orchestra celebrates his decade as music director, it can look back on a period of unrivalled adventure, taking audiences to places other orchestras never reach.

Richard Fairman, Financial Times, 30 November 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: last season we celebrated the tenth anniversary of this extraordinary partnership.

The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of 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.

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos.

In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO.

In 2021 Vladimir will take up the position of Music Director at the Bayerische Staatsoper in Munich. In 2017 he became Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest.

He has previously 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 is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;

6 | London Philharmonic Orchestra

The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Sophia Burgos

tenor | Tom Rakewell

soprano | Anne Trulove

An honours graduate and choral scholar from New College, Oxford, Toby Spence studied at the Opera School of the Guildhall School of Music & Drama. He was the winner of the Royal Philharmonic Society 2011 Singer of the Year award.

In concert Toby has sung with The Cleveland Orchestra under Christoph von Dohnányi, the Berlin Philharmonic and Vienna Philharmonic under Simon Rattle, the San Francisco Symphony under Michael Tilson Thomas, the Accademia Nazionale di Santa Cecilia under Antonio Pappano, the Rotterdam Philharmonic under Valery Gergiev, the Los Angeles Philharmonic under Gustavo Dudamel, the Bayerischer Rundfunk under John Eliot Gardiner, and at the Salzburg and Edinburgh festivals under Roger Norrington and the late Charles Mackerras.

Toby appeared at Royal Festival Hall with the London Philharmonic Orchestra in Carmina Burana under Jérémie Rhorer last month, and in Stravinsky’s Perséphone under Thomas Adès in April 2018. Other recent engagements include The Seasons with the Philharmonie de Paris: Bruckner’s F minor Mass with the Sinfonieorchester Basel; The Creation with the Houston Symphony Orchestra; Messiah, Beethoven’s Choral Fantasy and Haydn’s Nelson Mass with the Bournemouth Symphony Orchestra in Mumbai; and Beethoven’s Missa Solemnis with the London Symphony Orchestra under Michael Tilson Thomas.

Engagements in the 2018/19 season include Dvořák’s Stabat Mater with the Houston Symphony Orchestra; Britten’s War Requiem with the Toronto Symphony Orchestra; Szymanowski’s Third Symphony for the Gulbenkian Foundation; and Carmina Burana in Shanghai and Beijing with Long Yu and Aida Garifullina for Deutsche Grammophon’s 120’s anniversary. Opera engagements include Captain Vere in Billy Budd for the Royal Opera House and a staged version of Britten’s Les Illuminations for Teatro Real Madrid.

© Kate Lemmon

© Mitch Jenkins

Toby Spence

Puerto Rican-American soprano Sophia Burgos is fast emerging as a young talent of outstanding intelligence, musicality and stage presence.

Recent appearances include her European operatic debut as Maria Republica in the world premiere of Maria Republica by François Paris with Nantes-Angers Opera; her Carnegie Hall debut performing Dutilleux’s Correspondances with the American Symphony Orchestra; Lily Briscoe in the world premiere of To The Lighthouse by Zesses Seglias at the Bregenzer Festspiele; Claude Vivier’s Lonely Child with Teodor Currentzis and the Mahler Chamber Orchestra in Munich and Hamburg; Emily Dickinson songs by Robin de Raaf with Het Gelders Orkest and Antonello Manacorda (released on CD by Challenge Records); and the lead role in Andrew Norman’s A Trip to the Moon with the Berlin Philharmonic and the London Symphony Orchestra, both conducted by Simon Rattle.

Last season Sophia Burgos returned to Hamburg’s Elbphilharmonie for Grisey’s Quatre chants pour franchir le seuil; performed Bernstein’s Songfest with the BBC Symphony Orchestra and the MDR Sinfonieorchester; returned to the Bregenzer Festspiele for Britten’s Les Illuminations; and made her debut at the Aixen-Provence Festival as Belinda in Dido and Aeneas.

Highlights in 2018/19 include a CD recording and concert with the Basel Symphony Orchestra and Ivor Bolton; her house debut at the Dutch National Opera as Jano in Jenůfa, Saint-Saëns’s Le Martyre de saint Sébastien with the Tonhalle Orchester Zurich under Matthias Pintscher; George Crumb’s Ancient Voices of Children with the SWR Sinfonieorchester under Teodor Currentzis; and Fox in The Cunning Little Vixen with the London Symphony Orchestra and Simon Rattle.

Sophia Burgos holds a Bachelor’s degree from the Eastman School of Music and a Master’s Degree from the Bard College Conservatory.

Please note a change of artist from previously advertised.

Please note a change of artist from previously advertised.

London Philharmonic Orchestra | 7

Patricia Bardon

bass | Nick Shadow

mezzo-soprano | Baba the Turk

Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden.

In 2006 he made an acclaimed debut at Glyndebourne Festival Opera as Bottom in Britten’s A Midsummer Night’s Dream, for which he received the John Christie Award, and he has since performed at opera houses throughout the world.

Irish mezzo-soprano Patricia Bardon is in demand for repertoire ranging from the Baroque through to Rossini and Wagner.

Her distinguished career has led to collaborations with conductors, orchestras and opera houses of the highest calibre. Highlights of the 2018/19 season include Ravel’s L’enfant et les sortilèges with Simon Rattle and the London Symphony Orchestra at the BBC Proms, her role debut as Kabanicha in Káťa Kabanová for Scottish Opera, and a return to Glyndebourne Festival Opera as Jezibaba in Rusalka.

Matthew last appeared with the London Philharmonic Orchestra at Royal Festival Hall in January 2018, singing the role of Fasolt in a semi-staged Gala concert production of Wagner’s Das Rheingold under Vladimir Jurowski. In April 2017 he sang in Mahler’s Symphony No. 8 with the Orchestra, again under Vladimir Jurowski.

He has also sung under the batons of Gustavo Dudamel, Andrew Davis, Yannick Nézet-Séguin, Antonio Pappano and the late Charles Mackerras and Colin Davis, and is a critically acclaimed recording artist, winning a Grammy Award for Best Opera Recording for Ratcliffe in Billy Budd. Other recordings include Schubert’s Winterreise with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau (Stone Records).

Highlights of Matthew’s 2018/19 season include a return to the Metropolitan Opera as Colline (La bohème) and Ashby (La fanciulla del West), Pimen (Boris Godunov) at Covent Garden, and Bottom (A Midsummer Night’s Dream) for Philadelphia Opera.

Forthcoming concerts appearances include Mozart’s Requiem with Manfred Honeck and the New York Philharmonic; Bartók’s Cantata Profana and Haydn’s Nelson Mass with the London Symphony Orchestra; Berlioz’s L’enfance du Christ with Edward Gardner and the BBC Symphony Orchestra; a recital at London’s Wigmore Hall; and a European concert tour with the Monteverdi Choir.

In August 2018 Matthew Rose was announced as the new Artistic Consultant to the Lindemann Young Artist Development Programme at the Metropolitan Opera, New York.

8 | London Philharmonic Orchestra

© Frances Marshall

© Lena Kern

Matthew Rose

Recent highlights include Ulrica (Un ballo in maschera) at the Gran Teatre del Liceu, Barcelona and for Opera North; a return to Glyndebourne for Cornelia (Giulio Cesare); the title role in Agrippina at the Theater an der Wien; Arsace (Partenope) for English National Opera; and Principessa (Suor Angelica) for Opera North. On the concert platform, recent highlights include Zenobia (Radamisto) with the Orchester Wiener Akademie; Angel (The Dream of Gerontius) with Simone Young and ENO at Royal Festival Hall; Mahler’s Symphony No. 2 with the Maggio Musicale Orchestra and Fabio Luisi; Mahler’s Symphony No. 8 with the LPO and Vladimir Jurowski (Royal Festival Hall, April 2017); and Erda (Das Rheingold) with the Boston Symphony Orchestra and Andris Nelsons.

Having studied in Dublin with Dr Veronica Dunne, Patricia Bardon’s career embraces an impressive diversity of roles: Erda in the Grammy Award-winning Ring Cycle at The Metropolitan Opera (DVD/Deutsche Grammophon); La Nourrice (Ariane et Barbe-bleue) for Gran Teatre del Liceu, Barcelona (DVD/Opus Arte); her highly acclaimed interpretation of Azucena (Il trovatore) at Welsh National Opera; the title role in Kaija Saariaho’s Adriana Mater for Opera National de Paris; the title role in the staged world premiere of John Adams’s The Gospel According to the Other Mary at ENO; Carmen in Los Angeles conducted by Plácido Domingo – a role she has recorded for Chandos – and her Laurence Olivier Award nomination for Maurya (Riders to the Sea) at ENO are all testament to an exceptional artistic versatility.

Kim Begley

bass | Father Trulove

tenor | Sellem

Born in Manchester, Clive Bayley sings regularly with the major opera companies in a diverse repertoire spanning Monteverdi, Mozart, Verdi, Puccini, Wagner, Berg, Britten, Ligeti and Birtwistle.

This season he performs the roles of Raimondo Bidement in Lucia di Lammermoor at English National Opera; Savel Prokofjevic Dikoy in Káťa Kabanová and Dansker in Billy Budd at the Royal Opera House, Covent Garden; and King Philip in Don Carlo at Grange Park Opera.

After initial training and experience as an actor, Kim Begley found his true vocation when he joined the Royal Opera House, Covent Garden as a principal tenor.

In six seasons he sang over 30 roles and has since returned as a regular guest in productions including Wozzeck (Drum Major), Die Walküre (Siegmund), Billy Budd (Captain Vere) and, most recently, Szymanowski’s Król Roger (Edrisi), the latter conducted by Music Director Antonio Pappano and recorded for DVD.

Previous operatic engagements include Swallow in Peter Grimes for Oper Frankfurt; the title role in Boris Godunov, Publio in La clemenza di Tito, Leporello in Don Giovanni, Theseus in A Midsummer Night’s Dream and Claggart in Billy Budd at Gothenburg Opera; Capulet in Romeo and Juliet for Grange Park Opera; Fafner in Siegfried with the Hallé Orchestra; and Daland in Der fliegende Holländer at the Royal Danish Theatre.

In 2014 Clive made his debut at the Metropolitan Opera in New York, where he sang the role of the Doctor in Wozzeck. He has also appeared in roles such Astramados in Ligeti’s Le Grand Macabre in San Francisco, the title role of Massenet’s Don Quichotte at Grange Park Opera, Sir Walter Raleigh in Benjamin Britten’s Gloriana at both the Hamburg Opera and the Royal Opera House, and Prince Gremin in Eugene Onegin at Grange Park Opera.

Clive Bayley made his debut with the Royal Opera, Covent Garden in the 1986/87 season as 2nd Prisoner in Fidelio and has since appeared there in the world premiere of Harrison Birtwistle’s Gawain, and as Biterolf in Tannhäuser, Colline in La bohème, Hans Foltz in Die Meistersinger, Carbon in Alfano’s Cyrano de Bergerac, Thoas in Iphigénie en Tauride, Sylvano in La Calisto and Hunding in Die Walküre. He also works regularly with Glyndebourne Festival Opera, Grange Park Opera, Opera North and Welsh National Opera.

© Jiyang Chen

Clive Bayley

In an illustrious career spanning over three decades, Kim has performed around the world at the highest level and has been a regular guest at The Metropolitan Opera, Opéra national de Paris, Lyric Opera of Chicago, the Glyndebourne Festival and La Scala Milan. In 2000, under the late Giuseppi Sinopoli, Begley made his debut at the Bayreuth Festival as Loge (Das Rheingold), a role that has featured regularly on his schedule ever since, most recently at the Tanglewood Festival under Andris Nelsons.

Earlier in his career Kim Begley excelled in Janáček’s operas and was invited to sing Laca (Jenůfa) in numerous productions, including as his 2003 debut at the Metropolitan Opera under Vladimir Jurowski.

A strong relationship with English National Opera has seen Kim sing a diverse range of principal roles there, including his first portrayal of Parsifal, for which he was nominated for an Olivier Award.

Recent seasons have brought the addition of further new roles to Begley’s already extensive repertoire including Sellem (The Rake’s Progress) in Paris under the late Jeffrey Tate, Bob Boles (Peter Grimes) in San Francisco under Michael Tilson Thomas, Aegisth (Elektra) in Paris under Philippe Jordan, Fatty (Aufstieg und Fall der Stadt Mahagonny) for Teatro Municipal de Santiago and, most recently, Polonius (Brett Dean’s Hamlet) for Glyndebourne and at the Adelaide Festival.

This season Kim returns to the Sydney Symphony Orchestra for performances of Beethoven’s Symphony No. 9 conducted by Edo de Waart.

London Philharmonic Orchestra | 9

Malcolm Rippeth

soprano | Mother Goose

lighting designer

Distinguished soprano Marie McLaughlin has enjoyed more than three decades of performance at the highest international level.

She has collaborated with some of the world’s greatest conductors including such legends as the late Leonard Bernstein and Giuseppe Sinopoli, as well as Daniel Barenboim, Bernard Haitink and Antonio Pappano. A wide repertoire of core roles took Marie around the world at an early age, including to the Metropolitan Opera, the Royal Opera House, the Opéra National de Paris, and the Salzburg and Glyndebourne festivals.

Malcolm Rippeth has designed extensively for theatre, opera and dance. He last worked with the London Philharmonic Orchestra and Vladimir Jurowski in January 2018 on Wagner’s Das Rheingold at Royal Festival Hall.

Previous projects with the LPO and Jurowski include Beethoven’s Fidelio in 2017 and Weill’s The Threepenny Opera in 2013.

Key roles in Marie McLaughlin’s repertory include Marcellina (Le nozze di Figaro), La Ciesca (Gianni Schicchi), Madam Larina (Eugene Onegin), Despina (Cosí fan tutte), Alisa (Lucia di Lammermoor), and Mrs Grose and Miss Jessel (The Turn of the Screw).

Equally at ease in contemporary repertoire, Marie recently created the characters of Lilian Disney in Philip Glass’s The Perfect American at Madrid’s Teatro Real and subsequently at the Brisbane Festival; Mother Needham in Iain Bell’s The Harlot’s Progress at the Theater an der Wien; and Abigail Simpson in the world premiere of Julian Grant’s The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare for Boston Lyric Opera.

Tonight’s concert is Marie McLaughlin’s debut with the London Philharmonic Orchestra at Royal Festival Hall.

This season she also joins Garsington Opera as Ludmila in Paul Curran’s production of The Bartered Bride and creates the role of Annie Chapman in Iain Bell’s new commission Jack the Ripper: The Women of Whitechapel for English National Opera. Last season’s highlights included Meg Page in Robert Carsen’s production of Falstaff for the Royal Opera House under Nicola Luisotti, Mrs Grose in The Turn of the Screw for Berlin’s Staatsoper unter den Linden, and Older Woman in Jonathan Dove’s Flight for Scottish Opera.

10 | London Philharmonic Orchestra

© Brett Harvey

© Final Note Magazine

Marie McLaughlin

Malcolm won a Village Voice Obie Award as a member of the design team for Brief Encounter off-Broadway and the WhatsOnStage Award for Best Lighting Designer for Brief Encounter and Six Characters in Search of an Author in the West End. He was nominated in 2016 for the Los Angeles Drama Critics Circle Award for Tristan and Yseult at South Coast Rep, and in 2017 for the New York Drama Desk Award for Outstanding Lighting Design of a Musical for 946: The Amazing Story of Adolphus Tips.

His recent theatre work includes Wise Children (Old Vic); Twelfth Night (Shakespeare’s Globe); Titus Andronicus (RSC); The Umbrellas of Cherbourg, Calendar Girls (West End); Belong (Royal Court); My Brilliant Friend (Rose Theatre); The Boy in the Striped Pyjamas (Chichester Festival Theatre); Only the Brave (Wales Millennium Centre); Decade (Headlong); The Dead (Abbey, Dublin) and HMS Pinafore (Guthrie Theater, Minneapolis).

Malcolm is an Associate Artist of Kneehigh Theatre, where productions include The Flying Lovers of Vitebsk, The Tin Drum, Tristan and Yseult and The Wild Bride.

In addition he has lit productions for the Tricycle Theatre, Lyric Hammersmith, English Touring Theatre, Gate Theatre Dublin, National Theatre Wales and National Theatre of Scotland, and many of the UK’s leading regional theatres.

Opera and dance includes Snow White (balletLORENT); Le Premier Meurtre (Opéra de Lille); La belle Hélène (Opéra national de Lorraine); The Skating Rink (Garsington); Giovanna d’Arco (Buxton Festival); War and Peace (Welsh National Opera); Pleasure (Opera North) and Alcina (Santa Fe).

London Voices Ben Parry chorusmaster | Terry Edwards chorus manager

Founded in 1973, choral ensemble London Voices is co-directed by Terry Edwards, former Director of the Royal Opera House Chorus, and Ben Parry, composer and Artistic Director of the National Youth Choirs of Great Britain. The choir has performed throughout Europe, Asia and the USA and can range from a small vocal consort through to a choir of more than 100 singers, performing repertoire ranging from Renaissance polyphony (Tallis at the Lucerne Festival) to contemporary music (Frank Zappa at Southbank Centre).

The ensemble has collaborated with many distinguished composers and conductors including John Adams, Semyon Bychkov, Bernard Haitink, Vladimir Jurowski, György Ligeti, Vasily Petrenko, Simon Rattle and Georg Solti. It had a particularly close association with composer Luciano Berio, performing his Sinfonia on many occasions (most recently at the 2018 BBC Proms), as well as works including Coro, Cries of London, A-Ronne, Laborintus II and Folk Songs. The choir also performed in the world premiere of Stockhausen’s Mittwoch aus Licht, staged by Birmingham Opera in 2012. It has given concerts globally, in locations including Aldeburgh, Beijing, Berlin, Birmingham, Munich, Jordan, Lucerne, New York, St Denis, Shanghai and Turkey.

London Voices is well-known for singing on hundreds of movie and computer game soundtracks, including Abzu, Distant Worlds (Final Fantasy), Halo 5, the Harry Potter,

Hobbit, Star Wars, Hunger Games and Lord of the Rings film series, Spectre, The Grand Budapest Hotel (Oscar for Best Soundtrack) and most recently appearing onscreen in Mission: Impossible – Fallout. It has participated on many operatic and choral recordings and has collaborated with musicians including Dave Brubeck, Renée Fleming, Paul McCartney and Bryn Terfel. london-voices.co.uk @LDNVoices

Sopranos Jacqueline Barron, Elizabeth Drury, Caroline Fitzgerald, Kirsty Hopkins, Carys Lloyd Roberts, Ann de Renais, Christina Sampson, Rosalind Waters Altos Catherine Bell, Amy Blythe, Tamsin Dalley, Alexandra Gibson, Vanessa Heine, Amy Lyddon, Melanie Sanders Tenors Richard Eteson, Peter Harris, Christopher Huggon, Daniel Joy, Gerry O’Beirne, Michael Solomon Williams, Andrew Walters Basses Neil Bellingham, John Evanson, Christian Goursaud, Simon Grant, Russell Matthews, Edward Randell, Peter Snipp, Andrew Tipple

London Philharmonic Orchestra | 11

Programme notes

Igor Stravinsky

The Rake’s Progress Libretto by W H Auden and Chester Kallman By permission of Boosey & Hawkes Music Publishers Limited.

1882–1971

Tom Rakewell, a Rake tenor Toby Spence Anne Trulove, his Betrothed soprano Sophia Burgos Nick Shadow, a Devilish Manservant bass

Matthew Rose Baba the Turk, a Bearded Lady mezzo-soprano Patricia Bardon Father Trulove, Anne’s Father bass Clive Bayley Sellem, an Auctioneer tenor Kim Begley Mother Goose, a Whore soprano Marie McLaughlin Keeper of the Madhouse bass Matthew Rose Whores, roaring boys, servants, citizens, madmen London Voices Lighting Designer Costume Supervisor Deputy Stage Manager Assistant Conductor Surtitle Operator

Malcolm Rippeth Kitty Callister Emily Hardy Tim Murray Damien Kennedy

With thanks to Glyndebourne Festival Opera for the surtitle preparation.

Synopsis: England, 18th century Act 1 In the idyllic countryside, Anne Trulove and Tom Rakewell celebrate their love. Anne’s father has found a job for Tom in the city, but Tom longs for an easier path to money. Nick Shadow appears with news that Tom has inherited a fortune from an unknown uncle.

They must leave for London and Tom need only pay Shadow for his services after a year and a day. In the wicked city, Shadow introduces Tom to Mother Goose’s brothel. Back in the country, Anne fears the worst and decides that she must rescue Tom. Act 2 Meanwhile, Tom, in his new London house, is already bored with ordinary pleasures, so Shadow suggests visiting the amazing bearded woman, Baba the Turk.

When Anne arrives at Tom’s house, she is horrified to find him married to the hideous Baba. When Tom tires

12 | London Philharmonic Orchestra

of Baba as well, Shadow appears with one last new idea … a machine that turns stones into bread.

Act 3 Anne again appears to save Tom, but this time his house is for sale and his property for auction. The bankrupt Tom has disappeared with Shadow. Baba urges Anne to follow him. A year and a day from their first meeting, Shadow brings Tom to a graveyard at night. A terrified Tom discovers he must pay not with money but with his soul. But, as Shadow is about to take hold of him, Tom hears Anne’s voice in the distance and his past love is reawakened. Shadow, defeated, disappears into the ground. Tom survives, but he is now mad and is shut up in Bedlam. Anne comes there to comfort him, but there is little to be done. Her father arrives and persuades her to leave Tom to his fate.

Reprinted by kind permission of Boosey & Hawkes.

Introduction Stravinsky’s masterpiece The Rake’s Progress caused widespread confusion when it first appeared in 1951.

What was the composer of the shatteringly dissonant Rite of Spring doing composing mock-Mozart after the horrors of World War Two? Surely this was pure escapism? In time however it has come to be seen as one of his greatest achievements. The characters and the music itself may wear old-fashioned masks, they may behave like puppets, but behind it all we can sense a real human drama, all the more moving because it seems so determined not to play to our emotions. The story of the gullible 18th-century

‘A

good composer doesn’t imitate’, said Igor Stravinsky, ‘He steals.’ True to his word, Stravinsky stole shamelessly throughout his career. In fact the thefts grew more brazen as he developed: at first Russian folk tunes in the ballets The Firebird, Petrushka, The Rite of Spring and Les Noces, then not just themes but stylistic mannerisms from the baroque composer Pergolesi in Pulcinella, from Tchaikovsky in The Fairy’s Kiss, Rossini in Jeu de cartes, Verdi in Oedipus Rex … Inevitably this led to accusations of magpie-mentality: like the famous bird of ill-omen, it was claimed, Stravinsky simply grabbed anything that caught his eye, without much thought for what it was he was stealing. Bubbling just under the surface of much of this was an element of cultural elitism. What else would one expect, it was implied, from one of those barbarous Russians?

The truth was very different. Stravinsky had a deeper and wider-ranging understanding of Western musical history than most of the European and American composers and critics who derided him. In any case, what Stravinsky did with the motifs and gestures he appropriated came close to musical alchemy.

The borrowed material is woven and transformed into something so idiosyncratic that one often forgets the source even when it’s pointed out. That is very much the case with The Rake’s Progress. Even when he seems to don Mozartian, or occasionally Handelian, perfumed wigs and ruffs he is still no one else but Stravinsky.

The style is perfect for a modern take on the world

hero, expertly tempted by the Devil and finally led to his own destruction, is so witty, so earthy and yet so quaintly fantastical that on the surface it seems pure parody. Yet as the opera unfolds we sense a real beating heart behind the cleverly wrought surface.

Tom’s final decline into madness is as heartrending as anything in modern opera. On one level it is possible to read The Rake’s Progress as an allegory of the decline of the old European culture, finally destroyed by the catastrophe of World War Two. On another it is one of opera’s most touching and believable depictions of the need for love.

of the 18th-century English satirical artist William Hogarth, whose series of paintings and engravings ‘A Rake’s Progress’ Stravinsky saw at a Chicago exhibition in 1947. Stravinsky was gripped by this vivid parable of moral decline, in which an impressionable young man is led astray by the Devil, and ends up in a hospital for the insane – a fate as near to Hell as anything in Hogarth’s day. It could even be read as an allegory of the decay of the old European culture, finally destroyed by the catastrophe of World War Two. Continued overleaf

William Hogarth’s 1734 engraving of No. 6 from A Rake’s Progress, showing the interior of a gambling house in Covent Garden where Tom has fallen, raving, on one knee having lost his money at dice. © Trustees of the British Museum.

London Philharmonic Orchestra | 13

Programme note continued

A libretto was drawn up quickly by the poet W H Auden and his partner Chester Kallman, and Stravinsky set to work almost at once, completing his opera The Rake’s Progress in 1951. It is said that while he was preparing the music for The Rake, Stravinsky listened to nothing but Mozart’s opera Così fan tutte. Working in the presence of a masterpiece like that, day after day, would probably have stunned most composers into awed silence. For Stravinsky, however, the experience was stimulating and artistically liberating. Apparently listening to Mozart helped define for Stravinsky above all what he didn’t want to do. Even in the aftermath of the Second World War, Wagnerian music drama still cast a huge, intimidating shadow over opera composers.

‘I believe “music drama” and “opera” to be two very, Igor Stravinsky (right) with his amanuensis Robert Craft in Munich, around the time of The Rake’s Progress. © Lebrecht Music & Arts/Bridgeman Images

very different things’, Stravinsky wrote in a note for the American premiere of The Rake’s Progress in 1953.

‘My life work is a devotion to the latter.’ But there’s a still more revealing comment in the book Dialogues

by Stravinsky and his amanuensis Robert Craft. Talking of the Austrian composer Alban Berg’s harrowing expressionist opera Wozzeck – a ‘great masterpiece and one that I love’ – Stravinsky is keen to distance himself from what he sees as Berg’s post-Wagnerian excesses. ‘Passionate emotion’, he says ‘can be conveyed by very different means than these, and within the most “limiting conventions”.’ Stravinsky talks about Persian medieval miniaturists, who were permitted to represent the human form in their pictures, so long as they revealed no facial expressions. All that is needed to create dramatic tension, Stravinsky says, is a ‘slightly discordant gesture’. He dwells lovingly on one of these miniatures: ‘two lovers confront each other with stony looks, but the man unconsciously touches his finger to his lips, and this packs the picture with, for me, as much passion as the crescendo molto in Wozzeck.’

These words can provide a useful key to The Rake’s Progress, and to its extraordinary, possibly unique artistic success. On one level, the music seems bizarrely archaic. Stravinsky has structured The Rake as a ‘number opera’ – i.e. divided into arias, ensembles and recitatives – at a time when such old-fashioned, pre-Wagnerian formality was considered hopelessly out of date. Who wrote recitatives, with harpsichord accompaniments, in the 20th century? But the score is full of what Stravinsky called ‘slightly discordant gestures’. The brief, brass-dominated Prelude, its fanfares almost comically centred around repetitions of single chords, is a clear reference to the fanfare Prelude of Monteverdi’s opera Orfeo, yet the occasional piquant, very Stravinskian harmonic clash reminds us with a jolt that we are in the 20th century. The Duet and Trio that follows abounds in little Mozartian touches: graceful ornaments, formal cadences with rococo trills, the simple ‘vamping’ accompaniment when Tom’s beloved Anne Trulove sings her first phrase. Yet none of these ‘clichés’ does quite what we expect: the neat cadences fall where we don’t quite expect an ending, the trills resolve onto the ‘wrong’ notes, the cellos and basses will insist on dodging the ‘home’ bass note. Everything is slightly – deliciously – out of joint. If it is Mozart, then it’s Mozart seen through ever-shifting panels of frosted glass.

14 | London Philharmonic Orchestra

On first hearing it might seem that the expressive gestures are too quaintly formal, too remote from modern sensibility, to move us. The characters present themselves at first like slightly awkward puppets – as in the ballet Petrushka. Yet as so often with puppets, the very woodenness, the jerkiness, has a strange pathos of its own. Then when the sinister Nick Shadow presents himself, to another brilliantly recreated archaic gesture – a slightly off-centre dissonant flourish on the harpsichord – the mixture of the safely familiar and the subversive becomes more disquieting. Nick’s exaggerated courtesy, plus a hint of evil intent, are conveyed far more discreetly than if Stravinsky had tried simply to portray them directly, in BergianWagnerian terms. On one level we sense ironic distance – Stravinsky the stylistic puppeteer, pulling the musical strings, and enjoying himself mightily in the process.

Yet, paradoxically, the element of dissonance also sharpens the perception, invests the borrowed cliché with a discomforting new immediacy – what if this is also real? Combined with the wit and oblique pathos of Auden and Kallman’s text (one of the few truly great operatic librettos) this fascinating creative ambiguity increases as the opera unfolds. On one level we know we’re watching and hearing a play of masks – but which are the masks and which are the real faces? Is this an ironic, even cynical comedy, or is it actually a heartrending tragedy?

As The Rake’s Progress reaches its climax, the effect of this expressive distancing-sharpening intensifies.

The setting of almost the entire Graveyard scene for just voices and harpsichord – at the point where most opera composers would draw on their full orchestral palette – has the effect of focussing the ear on the tiniest unexpected inflection in the keyboard writing: for example the harsh major-minor clash at the point where Tom, in terror, calls out ‘The deuce!’ Now we know who ‘Nick’ truly is. It also makes Anne’s offstage interjection (‘love ... can plunder Hell of its prey’) all the more thrilling. Then after the defeated Nick’s curse, delivered thrillingly in full baroque pomp, comes the moment where we see Tom finally reduced to insanity.

As he sings his sad little song, ‘With roses crowned …’, woodwind deliver a weirdly impassive sequence of fragmentary Mozartian ornaments. Surely this is absurd? Yet that very absurdity – combined with the sense that the gestures themselves, like Tom’s mind, are shattered, torn form context – can be devastating.

‘Passionate emotion’? It may still seem to sound at one remove, but we recognise it all the same. And it haunts us, at once poignant and enigmatic, long after the curtain has fallen.

Programme note © Stephen Johnson

PLAYER’S PERSPECTIVE

‘We performed a run of this opera with David Hockney’s unmistakable set and costume designs at Glyndebourne in 2010. It was a vivid and memorable run for us, and I look forward to seeing how we’ll stage this one-off performance at Royal Festival Hall.

Stravinsky’s complex writing will push us as usual, but it’s fun to perform.’

Sue Böhling, Principal Cor Anglais

Recommended DVD recording Stravinsky: The Rake’s Progress: Glyndebourne Festival 2010 (Opus Arte) Vladimir Jurowski conductor Topi Lehtipuu Tom Rakewell Miah Persson Anne Trulove Matthew Rose Nick Shadow Elena Manistina Baba the Turk Clive Bayley Father Trulove Susan Gorton Mother Goose Graham Clark Sellem London Philharmonic Orchestra Glyndebourne Festival Chorus

London Philharmonic Orchestra | 15

GET

closer

next lpo concerts

AT Southbank Centre’s Royal Festival Hall

wednesday 7 november 2018 7.30pm

Klein Partita for Strings Schulhoff Concerto for String Quartet and Wind Orchestra* Martinů Concerto for String Quartet and Orchestra* Janáček Sinfonietta Vladimir Jurowski conductor Borodin Quartet*

saturday 10 november 2018 7.30pm

Debussy Berceuse héroïque Magnus Lindberg Triumph to Exist (world premiere)† Stravinsky Requiem Canticles Janáček The Eternal Gospel Vladimir Jurowski conductor Andrea Danková soprano Angharad Lyddon mezzo-soprano Vsevolod Grivnov tenor Maxim Mikhailov bass London Philharmonic Choir

wednesday 14 november 2018 7.30pm Messiaen Hymne Gounod Concerto for Pedal Piano* Berlioz Symphonie fantastique Oleg Caetani conductor Roberto Prosseda pedal piano * Supported by Palazetto Bru Zane – Centre de musique romantique française.

†Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and 14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

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

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker

Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland

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

Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

18 | London Philharmonic Orchestra

Paul & Brigitta Lock Mr Peter Mace Mr John Meloy Andrew T Mills Dr Karen Morton Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw

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

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

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)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager

Archives

Tom Proctor PA to the Chief Executive/ Administrative Assistant

Emily Moss Education and Community Project Manager

Gillian Pole Recordings Archive

Hannah Tripp Education and Community Project Co-ordinator

Professional Services Charles Russell Speechlys Solicitors

Dayse Guilherme Finance Officer

Development Nick Jackman Development Director

Crowe Clark Whitehill LLP Auditors

Concert Management Roanna Gibson Concerts Director

Catherine Faulkner Development Events Manager

Finance Frances Slack Finance and Operations Manager

Graham Wood Concerts and Recordings Manager Sophie Richardson Tours Manager Tamzin Aitken Glyndebourne, Special Projects and Opera Production Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Libby Papakyriacou Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Harriet Dalton Website Manager (maternity leave) Rachel Smith Website Manager (maternity cover) Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Oli Frost Marketing Assistant

20 | London Philharmonic Orchestra

Philip Stuart Discographer

Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

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

Cover artwork Ross Shaw Printer Cantate