LPO online concert programme: 2 June 2021 - Vladimir Jurowski conducts Tchaikovsky's Swan Lake

SPRING 2021 CONCERT SEASON

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 2 JUNE 2021 8PM

TCHAIKOVSKY

SWAN LAKE

original 1877 version

Vladimir Jurowski conductor Generously supported by Mrs Aline Foriel-Destezet and The Candide Trust

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 WELCOME 4 A MESSAGE FROM VLADIMIR JUROWSKI 5 SWAN LAKE: LIST OF NUMBERS 6 SYNOPSIS 7 PROGRAMME NOTES 10 VLADIMIR JUROWSKI 11 LONDON PHILHARMONIC ORCHESTRA 12 ON STAGE TONIGHT 13 ANNUAL APPEAL 2021: MUSIC WITH MEANING 15 MEMBERSHIPS & DONATIONS 16 CORPORATE PARTNERSHIPS 17 SOUND FUTURES DONORS 18 THANK YOU 20 LPO ADMINISTRATION

Performed at the Southbank Centre’s Royal Festival Hall on 27 & 28 April 2021 and filmed by Intersection.

The safety of our musicians and staff is paramount, and filming sessions adhere strictly to safety measures in line with UK Government guidance.

The London Philharmonic Orchestra is grateful to all those whose who are generously supporting the Orchestra during the 2020/21 season. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

WELCOME FROM DAVID BURKE, LPO CHIEF EXECUTIVE

in a way that is new to our ears, and delivered it with his trademark mastery, beauty and control to create something truly special. The Orchestra thrives under its conductor, and it is an absolute privilege to witness the chemistry they have together.

© Irina Zakharova

Whilst wanting to open tonight’s programme by thanking Vladimir publicly for everything he has given the Orchestra so far, I also want to share a teaser for the future. His final LPO concert as Principal Conductor will be at the BBC Proms on 12 August, but he will be back in the autumn with Shostakovich and Rachmaninoff, and we will be completing the Ring with Götterdämmerung in due course. The journey is far from over ...

This performance of Tchaikovsky’s original 1877 Swan Lake has been planned for a long time as Vladimir Jurowski’s final Royal Festival Hall concert as the Orchestra’s Principal Conductor. Vladimir first conducted the Orchestra in concert in December 2001, and the synergy with the Orchestra was immediately obvious. He was appointed Principal Guest Conductor in 2003 and Principal Conductor in 2007. He has now become the longest-serving Principal Conductor, not just in the LPO’s history, but in the history of any of the London orchestras. This is testament to the respect between him and the players, as well as the exceptional artistic standards to which they hold Jurowski, and he them.

David Burke Chief Executive London Philharmonic Orchestra

Throughout his years with the Orchestra Vladimir has taken both musicians and audiences on an exceptional musical journey, and we are delighted that this will continue as he takes the title of Conductor Emeritus from next season. He has introduced us to new works, new composers (I first met him in person during rehearsals for our Schnittke festival in 2009), and new ways of hearing the more familiar. Those of you who were here for the pairing of Nono’s Julius Fučík and Beethoven’s Fifth Symphony back in 2012 will know precisely how transformational this can be.

Tonight’s concert sums up the relationship between Vladimir and the Orchestra perfectly. He has taken one of the most popular pieces of the repertoire, applied his unique intellectual rigour in its preparation to present it –3–

Have you checked out our LPO podcast, LPO Offstage, yet? Throughout the series, presenter YolanDa Brown chats with members of the Orchestra about life on and off the concert stage.

Find LPO Offstage on Apple Podcasts, Spotify, Acast, or wherever you listen.

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

A MESSAGE FROM VLADIMIR JUROWSKI

© Simon Pauly

LPO PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR

together in the orchestra pit at Glyndebourne.

The combination of the orchestral bravura and sensitivity for the dramatic purpose of a score, vigour and stamina, soloistic brilliance and a superb team spirit makes the LPO the ideal orchestra for the challenges of Swan Lake. It has been no small achievement, in these difficult times, to accommodate such a large number of musicians on stage, but we finally made it, and the results are fabulous. I hope you enjoy this magical score as much as we did!

Swan Lake is the first, most famous and most iconic of the three wonderful ballet scores that Tchaikovsky wrote. The ballet has become known mainly in the version by Marius Petipa and Lev Ivanov, who choreographed what is known as the ‘1895’ Swan Lake, which they revised and rearranged through cuts, displacements and other adjustments. What you are about to listen to is the 1877 score as originally written

by Tchaikovsky.

I fell in love with the extraordinary symphonic qualities of Tchaikovsky’s masterful score when, as a child, I attended many performances of Swan Lake in Russia.

It has been a long-cherished wish of mine to conduct this score – which includes some of the most magnificent pages written by Tchaikovsky – with the great musicians of my London Philharmonic Orchestra.

After nearly 20 years together, the LPO and I have performed nearly 500 works by many different composers and of all genres, including operas, incidental music for the theatre, film soundtracks, musicals and so on. Ballet scores have often been part of our programmes, featuring large excerpts or entire acts from the ‘big’ ballets such as The Nutcracker, Romeo and Juliet and Cinderella. Naturally, I have always wanted to present at least one complete fullscale ballet with the Orchestra before I left my position.

Performing this music with the LPO has reminded me not only of all the glorious experiences on concert platforms, but also of the many summers spent

Vladimir Jurowski Principal Conductor and Artistic Advisor London Philharmonic Orchestra

Watch Vladimir Jurowski in conversation with Zenaida Yanowsky about his chosen version of Swan Lake

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

PYOTR ILYICH TCHAIKOVSKY 1840–93

SWAN LAKE: BALLET IN FOUR ACTS ORIGINAL 1877 VERSION

Please turn on the subtitles within Marquee TV to view a guide to the story. These captions are translations of the indications that Tchaikovsky himself wrote alongside some of the numbers in the score.

Instructions for turning on subtitles can be found here.

ACT I

ACT 2

Introduction 1 Scene 2 Waltz 3 Scene 4 Pas de trois 5 Pas de deux 6 Pas d’action 7 Sujet 8 Dance with Goblets 9 Finale

10 Scene 11 Scene 12 Scene 13 Dances of the Swans 14 Scene

ACT 3

ACT 4

15 Scene 16 Dance of the Corps de Ballet and the Dwarfs 17 Entrance of the Guests and Waltz 18 Scene 19 Pas de six 19a Pas de deux 20 Hungarian Dance (Czardas) 20a Russian Dance 21 Spanish Dance 22 Neapolitan Dance 23 Mazurka 24 Scene

25 Entr’acte 26 Scene 27 Dance of the Cygnets 28 Scene 29 Scene

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

SYNOPSIS ACT 1

ACT 3

Prince Siegfried, his friends, and a group of peasants are celebrating the Prince's coming of age. Siegfried's mother arrives to inform him that she wishes for him to marry soon so that she may make sure that he does not disgrace their family line by his marriage. She has organised a ball where Siegfried is to choose his bride from among the daughters of the nobility. After the celebration, Siegfried and his friend, Benno, spot a flock of flying swans and decide to hunt them.

Several young noblewomen dance at Siegfried’s ball, but the Prince refuses to marry any of them. Baron von Rothbart and his daughter, Odile, arrive. Siegfried thinks that Odile looks like Odette, but Benno doesn’t agree.

Siegfried dances with Odile as he grows more and more enamoured with her, and eventually agrees to marry her. At that moment, Rothbart transforms into a demon, Odile laughs, and a white swan wearing a crown appears in the window. The Prince runs out of the castle.

ACT 2

ACT 4

Siegfried and Benno track the swans to a lake, but they vanish. A woman wearing a crown appears and meets the two men. She tells them that her name is Odette and she was one of the swans they were hunting. She tells them her story: Odette’s mother, a good fairy, had married a knight, but she died and the knight remarried.

Odette’s stepmother was a witch who wanted to kill her, but her grandfather saved her. Odette's grandfather had cried so much over the death of Odette’s mother that he created the lake with his tears.

Odette and her companions live in the lake with Odette’s grandfather, and can transform themselves into swans whenever they wish. Odette’s stepmother still wants to kill her, and haunts her in the form of an owl, but Odette has a crown that protects her from harm. When Odette gets married, the witch will lose the power to harm her. Siegfried falls in love with Odette but Odette fears that the witch will ruin their happiness.

In tears, Odette tells her friends that Siegfried did not keep his vow of love. Seeing that Siegfried is coming, Odette’s friends leave and urge her to go with them, but Odette wants to see Siegfried one last time.

A storm begins. Siegfried enters and begs Odette for forgiveness. Odette refuses and attempts to leave.

Siegfried snatches the crown from her head and throws it in the lake, saying ‘Willing or unwilling, you will always remain with me!’ The owl flies overhead, carrying away the crown. ‘What have you done? I am dying!’ Odette says, and falls into Siegfried’s arms.

The lake rises from the storm and drowns Odette and Siegfried. The storm quiets, and a group of swans appears on the lake.

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

PROGRAMME NOTES THOUGHTS ON TCHAIKOVSKY’S SWAN LAKE

These included Cesare Pugni and Ludwig Minkus.

The Italian Pugni had worked at the Mariinsky Theatre in St Petersburg since 1851 as an official ballet composer, writing the music to no fewer than 300 ballets; and the Austrian Minkus had been contracted to the Bolshoi Theatre in Moscow since 1864 as a ballet composer. Minkus, Pugni, and others represented ‘the type of composer who sees music solely as a rhythmic-metrical grid for dance’ (in the words of theatre and ballet scholar Gunhild OberzaucherSchüller). Composers and librettists were, in the truest sense of the word, merely standard piece-work suppliers; whereas someone else was authorised to handle the work thus produced – the choreographer.

Ever since the 2010 Hollywood film Black Swan, many (young) people of the 21st century – who have a problem even conceiving of such exotic terms as ‘pas de deux,’ ‘prima ballerina,’ or ‘tutu,’ and who would never dream of spending an evening at the ballet – have also become aware of the ballet Swan Lake.

This ‘dance thriller’ is just another, albeit extraordinary chapter in the already singular history of Swan Lake.

The weekly newspaper Die Zeit led with the following headline: ‘The horror is clothed in a tutu.’ Admittedly, Tchaikovsky’s Swan Lake was not so harshly criticised after its first performance in 1877, but neither was his first full-length action ballet destined to be a longlasting success. Only after Tchaikovsky’s death in 1893 did the unstoppable high-altitude flight of a black swan and its numerous white-coloured companions begin to take off on the stages of the world: in an edited version that was not from the composer’s own hand.

The choreographer had an almost unlimited power over the productions. They were the only one who knew how to effectively light the prima ballerina, how to arrange the pompous ensembles as requested in a snappy and rousing manner: above all, what counted was the optical effect on the audience, the music was unconditionally subservient to this purpose. Many choreographers had a contractually guaranteed right to manipulate at will the music provided – and they made ample use of this.

PIECE-WORK BALLET MUSIC In order to even somewhat understand the significant effect of Tchaikovsky’s compositional achievement on the development of ballet music, one must look at the position held by ballet in the mid-19th century.

Following the heyday of romantic ballet in the 1830s and 1840s, the art form had entered into an increasing decline after the middle of the century and, above all, had become extremely trivialised. The schedules of the major European opera houses now centred primarily on the outstanding prima ballerinas of the time: Marie Taglioni, Fanny Elssler, Carlotta Grisi, Fanny Cerrito, and Lucile Grahn. Around these dancers, a veritable cult had developed with its own specific demands.

To this end, new works were required – a great deal of new works – and the result was a truly manic rush of production.

In the Russian dance metropolises of St Petersburg and Moscow, ballets were mainly mass-produced by rather incompetent and uninspired librettists and composers specialising exclusively in ballet music.

Ballet music as a trivial mass product, dance culture as a virtuoso commodity up for sale, stereotypical librettos and choreographies – around 1875, ballet as an artistic genre was definitely facing a crisis.

SWAN LAKE: THE ORIGINS In the summer of 1875, Tchaikovsky received a commission from the Directorate of the Bolshoi Theatre, represented by Vladimir Begichev, to write the music for a ballet entitled Swan Lake. He accepted the commission as, on the one hand, the fee of 800 roubles would significantly augment his lecturer’s salary at the Moscow Conservatory and, on the other hand, he had felt ‘for quite some time an ardent desire’ to compose a significant ballet. Before Swan Lake, Tchaikovsky had already concentrated intensively on dance music in other contexts, and in 1871 he had written a homonymous children’s ballet for his sister Alexandra, although this score has not been preserved. Even the

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

PROGRAMME NOTES music to Cendrillion does not seem to have passed the planning stage. The libretto for Swan Lake was probably written jointly by Begichev, dancer Vasily Geltser and ballet master Julius Reisinger, who was responsible for the choreography for the Moscow premiere. The material is probably based on the German folk-tale collection Volksmährchen der Deutschen, published by the philologist Johann Musäus between 1782 and 1786. However, this has not yet been unequivocally proven.

FROM THE FIRST TO THE SECOND WORLD PREMIERE

Details of the origins of the composition have been found mainly in Tchaikovsky’s correspondence.

Hardly any sketches have been handed down to us.

On 14 August 1875, Tchaikovsky told Sergei Taneyev that he had already drafted two acts. However, at the beginning of 1876, he stopped work on the composition in order to complete his third string quartet; but on 17 March 1876, he wrote to his brother Anatol that it was now time to orchestrate the ballet. The score itself provides us with further information. The date ‘13 October 1875’ appears at the end of the third number in Act 1; and at the conclusion of the work, ‘10 April 1876’ has been printed.

Pyotr Ilyich Tchaikovsky (© Royal College of Music, London)

So, before the premiere of Swan Lake took place on 20 February 1877 at the Moscow Bolshoi Theatre, there were still eight long months to go, during which the work underwent numerous adjustments, shifts, changes and deletions, and some new parts were added, all at the behest of choreographer Reisinger and prima ballerina Pelageya Karpakova. There was no way for Tchaikovsky to stage ‘his’ work in the form he had in mind. In addition, it was evident that neither conductor Stepan Ryabov nor Reisinger were up to the task. Above all, the critics lambasted the choreography.

Some of the dances had been deleted, as being ‘not danceable’, and replaced by music by other composers. Tchaikovsky’s score had turned into a kind of ballet-pastiche, to which music by other composers was constantly added to stage a new production, until 1883: following that date, Swan Lake disappeared from the stage until 1894.

It took a long time for Tchaikovsky to recover artistically from the events surrounding the premiere of Swan Lake, and a special person was required to convince him to compose another ballet. In 1881, Ivan Vsevolozhsky was appointed director of the Imperial Theatres in St Petersburg. A theatre reformer with lofty ideals, Vsevolozhsky had a vision of creating a homogeneous, challenging ballet by assembling and aesthetically reorienting all disciplines involved in dance theatre, and by returning to the heyday of the classical-romantic tradition. And he succeeded in doing so by bringing together Marius Petipa – probably the most significant choreographer of the 19th century – and Tchaikovsky: the splendid results of this collaboration were The Sleeping Beauty (1890) and The Nutcracker (1892).

After Tchaikovsky’s death in 1893, Petipa and his assistant, Lev Ivanov, who had brought the original score of Swan Lake with him from Moscow to St Petersburg, decided to revive the work. Composer Riccardo Drigo revised the score. Together with Tchaikovsky’s brother Modest, Petipa rewrote the libretto and subsequently in 1894, a performance of the second act took place. On 15 January 1895 the

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

PROGRAMME NOTES complete ballet was performed in St Petersburg – Petipa choreographed the first and third acts, Ivanov the second and fourth. Drigo conducted the orchestra.

This ‘second world premiere’ was no less than a miracle. Olga Makarova from the Mariinsky Theatre summarised it as follows: ‘ ... the miraculous ballet emerged from the combination of Tchaikovsky’s autarkic music with the meticulous and effectively staged choreography of Petipa and Ivanov.’ Although this St Petersburg version did not present us with the conclusive form of the work, it certainly defined Swan Lake as a work in progress as far as choreographic development and staging were concerned. There is no true original, just a point of departure.

of both character and plot in accordance with each differing situation. The score distinguishes between ‘scenes’ and ‘dances’. Whereas the latter do not contain any reference to the plot, in the former Tchaikovsky continues to develop this symphonically.

He succeeds in ‘contrapuntally interweaving profiled melodies with concise counter-voices’ (Constantin Floros).

The plot of Swan Lake can be explained succinctly: Prince Siegfried has to choose a bride; at the lake he meets Odette, who together with her companions had been transformed into white swans by the evil sorcerer Rothbart. Only the love of a man would be able to release her from the spell and return her to her human form. However, were her beloved to deceive her, she would die. The prince promises to be ever-faithful to Odette. However, Rothbart plays a trick on the prince at the ball: dressed in black, his daughter Odile turns up as a doppelganger for Odette and seduces the prince, thus forcing him to break his oath. He begs forgiveness from Odette, who dies in his arms.

THE MUSIC – SENSITIVE, PSYCHOLOGICAL AND TRANSCENDENT The music Tchaikovsky wrote for Swan Lake is profoundly symphonic, transferring the characteristics of the romantic symphony to the ballet – such as contrasting motifs, intensive motivic-thematic passage work, and a large-format concept, oriented towards the finale, emerging from the details. Whereas composers such as Minkus or Pugni would simply provide a superficial musical illustration, Tchaikovsky offers us a profound character sketch, indeed, a truly psychological approach. The musical thoughts deployed for this purpose are subject to constant subtle transformation, and adapted to the development

The predominant design principle of contrasting adds to the constant, latent tension between the realistic scenes at the court of the prince ‘with their sophisticated, elegant sounds and sparkling dance numbers’ (Heurich) and the transparently mournful spheres of the swan world. The ‘coloured’ acts (Acts 1 and 3) are teeming with thrilling mazurkas and polonaises, splendid waltzes and the ‘national’ dances: Russian, Spanish, Neapolitan and Hungarian. In the ‘white’ acts – i.e. in the swan world (Acts 2 and 4) – the music appears to make the swans actually ‘fly’, as many ballerinas describe the sensation of dancing these scenes: any movement feels ‘almost weightless, borne by the staggering symphonic wings of a world full of picturesque fantasy’. At the end of the work, that moment introducing the tragic conclusion with Odette’s death, the swan music – which could already be heard, piano, at the end of Acts 1 and 2 – now rings out in the major key, fortissimo, with the entire orchestra joining in. An ‘entire world of light, love, inspiration, and togetherness’ (Järvi) opens up, presenting what may well be the most magical moment of the work. This is perhaps one of the key moments that have led to the worldwide success of Swan Lake: an apotheosis in which the lovers are finally united in death. The desire for salvation through love has become a musical reality.

Programme notes © Jörg Peter Urbach English translation by Fiona J. Stroker-Gale Used with kind permission of Pentatone Music B.V.

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR

© Chris Christodoulou

Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Chamber Orchestra of Europe, the Royal Concertgebouw Orchestra, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras, and has also conducted the Berlin and Vienna Philharmonic orchestras.

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was appointed Principal Conductor of the London Philharmonic Orchestra in 2007, following four seasons as Principal Guest Conductor. When his tenure concludes in September 2021 he will become the Orchestra’s Conductor Emeritus in recognition of his transformative time with the LPO – over the last 14 years his creative energy and artistic rigour have been central to the Orchestra’s success.

Vladimir Jurowski will take up the position of General Music Director of the Bayerische Staatsoper, Munich from the 2021/22 season. He is currently Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra, 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. 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).

A committed operatic conductor, Vladimir’s recent highlights include Strauss’s Die Frau ohne Schatten at the Metropolitan Opera, New York; Wozzeck at the Salzburg Festival; Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Bayerische Staatsoper with Prokofiev’s The Fiery Angel; and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the London Philharmonic Orchestra.

The LPO has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2 & 4; works by Shostakovich, Stravinsky, Beethoven, Rachmaninoff, Strauss, Mozart, Vaughan Williams, Julian Anderson and, most recently, Vladimir Martynov’s Utopia. In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.

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Available on the Pentatone label: Jurowski conducts Tchaikovsky’s Swan Lake State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’ PTC 5186640 Released October 2018 pentatonemusic.com

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

LONDON PHILHARMONIC ORCHESTRA

© Benjamin Ealovega

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH ARTISTIC DIRECTOR CRISTINA ROCCA • CHIEF EXECUTIVE DAVID BURKE • PATRON HRH THE DUKE OF KENT KG

One of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s current Principal Conductor. Edward Gardner is Principal Conductor Designate, and will take up the position from 2021. Karina Canellakis is the Orchestra’s current Principal Guest Conductor.

The London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has residencies at Glyndebourne and in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. The Orchestra also tours internationally, performing to audiences worldwide.

The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous films including The Lord of the Rings. In 2005 it began releasing live, studio and archive recordings on its own

CD label, which now numbers over 100 releases.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its own-label recordings are available to download and stream and, as well as a YouTube channel and ‘LPO Offstage’ podcast series, the Orchestra has a lively presence on social media.

Over the pandemic period the LPO has further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which have so far collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. During Autumn 2020 and once again from Spring 2021, the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed for audiences to enjoy at home free of charge via Marquee TV. lpo.org.uk

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LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER

CELLOS Kristina Blaumane PRINCIPAL

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall Elisabeth Wiklander Laura Donoghue David Lale Sue Sutherley Tom Roff

Chair supported by Neil Westreich

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Catherine Craig Thomas Eisner Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

Eleanor Bartlett Georgina Leo

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Ashley Stevens Kate Birchall Marie-Anne Mairesse Nancy Elan Joseph Maher Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Sioni Williams Sarah Thornett

VIOLAS Richard Waters CO-PRINCIPAL Ting-Ru Lai David Quiggle PRINCIPAL Laura Vallejo Katharine Leek Stanislav Popov Martin Wray Joseph Fisher

Chair supported by Bianca & Stuart Roden

DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston Tom Walley Laura Murphy Chair supported by Friends of the Orchestra

FLUTES Juliette Bausor PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

TRUMPETS James Fountain* PRINCIPAL Anne McAneney* CORNETS Paul Beniston* PRINCIPAL David Hilton TROMBONES Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

David Whitehouse

BASS TROMBONE Lyndon Meredith PRINCIPAL TUBA Lee Tsarmaklis* PRINCIPAL TIMPANI Simon Carrington* PRINCIPAL

Hannah Grayson

Chair supported by Victoria Robey OBE

PICCOLO Stewart McIlwham* PRINCIPAL

PERCUSSION Andrew Barclay* PRINCIPAL Henry Baldwin CO-PRINCIPAL Jeremy Cornes Karen Hutt

OBOES Ian Hardwick* PRINCIPAL Alice Munday CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough Chair supported by Roger Greenwood

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman

HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison Duncan Fuller

HARP Rachel Masters PRINCIPAL ASSISTANT CONDUCTOR Alexander Zemtsov * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Dr Barry Grimaldi

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ANN UAL APPE AL 20 21

MUSIC WITH MEANING S U P PO RT U S A S W E C R E ATE A N D C ELEB R ATE Music is powerful. It can move, excite and inspire us, creating moments fixed in time and memories to last a lifetime.

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WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young musicians and people with disabilities, the LPO’s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners.

A partnership with the LPO offers companies the opportunity for brand exposure and to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Partner

OrchLab Project Partner

Principal Supporters

lpo.org.uk/corporate 020 7840 4210

The Victoria Wood Foundation The Victoria Wood Foundation

The Victoria Wood Foundation

The Victoria Wood Foundation

The Victoria Wood Foundation

The Victoria Wood Foundation

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to our Sound Futures campaign.

Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over.

For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia LadanyiCzernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada) Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

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Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

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 Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family Associates An anonymous donor Steven M. Berzin Irina Gofman & Mr Rodrik V. G. Cave Gill & Garf Collins Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein Gold Patrons An anonymous donor David & Yi Buckley David & Elizabeth Challen In memory of Allner Mavis Channing Andrew Davenport Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood Robert Markwick & Kasia Robinski Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

Silver Patrons Dr Christopher Aldren David Burke & Valerie Graham The Rt Hon. The Lord Burns GCB Bruno De Kegel Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar John & Angela Kessler The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Dr Manon Antoniazzi Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley The Earl & Countess of Chichester Mr John H Cook Howard & Veronika Covington David Ellen David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Malcolm Herring The Jackman Family Jan & Leni Du Plessis Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Peter & Lucy Noble Mr Michael Parlof Marianne Parsons Dr Wiebke Pekrull Jacopo Pessina Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Tom & Phillis Sharpe

Matthew Stephenson & Roman Aristarkhov Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Mr John Weekes Christopher Williams Principal Supporters Anonymous donors Mr Mark Astaire Sir John Baker Mrs A Beare Mr Anthony Boswood Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mrs Sam Dawson Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy Nerissa Guest & David Foreman The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr Gerald Pettit Mr James Pickford Michael & Carolyn Portillo Mr Robert Ross Mr David Russell Colin Senneck & the Hartley and District LPO Group Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate

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Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Roger Woodhouse Mr John Wright Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Lindsay Badenoch Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Mr Lawrence Alfred Bradley Richard & Jo Brass Mr Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Mr Kevin Fogarty Christopher Fraser OBE Mrs Adele Friedland & Friends Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Dr Joan Hester Mr David Hodgson The Jackman Family Mr Justin Kitson Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Ms Natalie Spraggon & David Thomson Ms Mary Stacey Ms Janette Storey

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

THANK YOU – CONTINUED –

Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland 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) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA) Thomas Beecham Group Members David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE

Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker 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 Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

Corporate Donors AT&T Barclays L Catterton CHANEL Fund for Women in the Arts and Culture Paul Hastings LLP Payne Hicks Beach Pictet Bank Velocity Black White & Case LLP

Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation Andrew Lloyd Webber Foundation Lord & Lady Lurgan Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Souter Charitable Trust The Stanley Picker Trust The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation

In-kind Sponsor Google Inc

and all others who wish to remain anonymous.

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole

Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker

Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund

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The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.

LONDON PHILHARMONIC ORCHESTRA • SWAN LAKE • 2 JUNE 2021

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Cristina Rocca Andrew Tusa Mark Vines* * Player-Director ADVISORY COUNCIL Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Chris Viney Laurence Watt Elizabeth Winter

GENERAL ADMINISTRATION Cristina Rocca Artistic Director David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

PUBLIC RELATIONS Premier: classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335

Stef Woodford Corporate Relations Manager

ARCHIVES

Rosie Morden Individual Giving Manager

Graham Wood Concerts and Recordings Manager

Anna Quillin Trusts and Foundations Manager

Fabio Sarlo Glyndebourne and Projects Manager

Izzy Keig Development Assistant ~

Grace Ko Tours Manager

Nick Jackman Campaigns and Projects Director

Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians

DEVELOPMENT Laura Willis Development Director

Kirstin Peltonen Development Associate FINANCE Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

Laura Kitson Stephen O’Flaherty Stage Managers

MARKETING Kath Trout Marketing Director

Damian Davis Transport Manager

Mairi Warren Marketing Manager

EDUCATION AND COMMUNITY Isabella Kernot Education and Community Director (maternity leave) Lindsay Wilson Education and Community Director (maternity cover) Talia Lash Education and Community Manager Emily Moss Education and Community Project Manager

Alexandra Lloyd Projects and Residencies Marketing Manager Gavin Miller Sales and Ticketing Manager Rachel Williams Publications Manager Harrie Mayhew Website Manager Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer

Hannah Tripp Education and Community Project Co-ordinator

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Philip Stuart Discographer Gillian Pole Recordings Archive PROFESSIONAL SERVICES Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr 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.

COVER PHOTOGRAPH @ Silent Studios/Intersection: James Wicks