LPO online concert programme: 30 December 2020 - Interrupted stories (Jurowski)

AUTUMN CONCERT SEASON 2020

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 30 DECEMBER 2020 • 8PM

2020: INTERRUPTED STORIES Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta Vladimir Jurowski conductor Mary Bevan soprano

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 WELCOME 4 ON STAGE TONIGHT 5 PROGRAMME NOTES: VIVALDI 6 PROGRAMME NOTES: SPOHR 8 PROGRAMME NOTES: HONEGGER 9 PROGRAMME NOTES: BLISS 10 PROGRAMME NOTES: MACMILLAN 11 COMPOSER PROFILE: JAMES MACMILLAN 12 LONDON PHILHARMONIC ORCHESTRA 13 VLADIMIR JUROWSKI 14 MARY BEVAN 15 PLAY ON APPEAL 16 THANK YOU 18 SOUND FUTURES DONORS 20 MEMBERSHIPS & DONATIONS 21 CORPORATE PARTNERSHIPS 22 LPO ADMINISTRATION Concert recorded at the Southbank Centre’s Royal Festival Hall on 10 December 2020.

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 • 30 DECEMBER 2020

WELCOME 2020: INTERRUPTED STORIES Welcome to this evening’s performance – the last in our 2020 Vision series that began back in February.

2020 hasn’t been the year that any of us hoped for.

And while we can’t (yet) end our 2020 Vision series quite the way we’d planned, with Sir James MacMillan’s new Christmas Oratorio, we’re concluding instead with a powerful musical statement of hope shattered and then restored.

MacMillan wrote his Sinfonietta back in 1992 – but as with all true classics, the specific has long since become the universal.

And as we look back from 2020 across three centuries, what’s clear is that some aspects of life simply can’t be repressed. In 1920, Honegger marvels at the Alpine landscape, and the young Arthur Bliss revels in the London social scene.

In 1820, after two decades of war and revolution, Louis Spohr writes a symphony designed specially to delight London musicians and London audiences.

And in Venice in 1720, Vivaldi is simply out to entertain. True, we’re ending 2020 on an unanswered question: but through good times and bad, music has never stopped grappling with the human experience.

Art, like life, finds a way.

February–December 2020 Tonight’s concert is the final concert of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.

lpo.org.uk/2020vision –3–

Our new LPO podcast

Have you checked out our LPO podcast, LPO Offstage, yet? Throughout the series, presenter YolanDa Brown chats with members of the Orchestra about their lives off the concert stage. Tune in to hear about brutal conductor takedowns, why you might want to pour water over your double bass, where to get a great post-concert beer, and lots more.

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

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER Chair supported by Neil Westreich

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

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

Minn Majoe Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig Katalin Varnagy

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 Stewart McIlwham*

Chair supported by Sonja Drexler

Thomas Eisner Martin Höhmann Tina Gruenberg

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Nancy Elan Marie-Anne Mairesse Kate Birchall Ashley Stevens

VIOLAS David Quiggle PRINCIPAL Richard Waters CO-RINCIPAL Ting-Ru Lai Laura Vallejo Benedetto Pollani Katharine Leek Naomi Holt Stanislav Popov CELLOS Kristina Blaumane PRINCIPAL

Chair supported by Bianca & Stuart Roden

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall Laura Donoghue David Lale Sue Sutherley

PICCOLO Stewart McIlwham* PRINCIPAL ALTO FLUTE Stewart McIlwham* OBOES Ian Hardwick* PRINCIPAL Alice Munday COR ANGLAIS Sue Böhling* PRINCIPAL

Chair supported by Dr Barry Grimaldi

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough

HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TROMBONE Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

TUBA Lee Tsarmaklis* PRINCIPAL TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

PERCUSSION Andrew Barclay* PRINCIPAL Chair supported by Andrew Davenport

Henry Baldwin CO-PRINCIPAL Keith Millar HARP Rachel Masters PRINCIPAL

Chair supported by Roger Greenwood

Paul Richards*

E FLAT CLARINET Thomas Watmough PRINCIPAL SOPRANO SAXOPHONE Martin Robertson BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman

CONTRABASSOON Simon Estell* PRINCIPAL

PIANO Catherine Edwards THEORBO/BAROQUE GUITAR Toby Carr * Holds a professorial appointment in London The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: Caroline, Jamie & Zander Sharp

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

PROGRAMME NOTES ANTONIO VIVALDI 1678–1741

OVERTURE, LA VERITÀ IN CIMENTO 1720 – APPROX 5 MINS –

The Sultan Mamud has two sons, both born on the same day: one by his wife Rustena and one by his concubine Damira. Clearly, they cannot both inherit the throne – but if Rustena’s son were to be swapped, unknown to her, with Damira’s? Everything goes splendidly until the two boys grow up and Mamud’s conscience finally kicks in: whereupon it takes four acts packed with grand passions, vows of revenge and threats of death before it all ends happily and (to the Baroque mind) edifyingly.

No surprises there. This was opera in Venice in the 1720s: realistic plots were not a high priority and as for the vaguely Muslim setting – well, after centuries of fighting and trading with the Ottomans, the Venetians had their own views on cultural sensitivity.

When Giovanni Palazzi and Domenico Lalli wrote their libretto for the opera La verità in cimento (‘Truth in contest’) they were simply after a colourful setting where characters could get away with things that would have been impossible in the strictly Catholic Serenissima, but which made for terrific opera – complete with flamboyant costumes and ear-dazzling singing. Antonio Vivaldi wrote the music and La verità in cimento was premiered at the Teatro di Sant’Angelo on 26 October 1720.

adventurer who’d travelled extensively in the East.

The Count had an appetite for the spicier side of life – and Vivaldi is happy to oblige.

Programme note © Richard Bratby

Antonio Vivaldi

You can feel the sense of occasion – and the passions that await – in Vivaldi’s brilliant overture, whose three short sections seem to spiral up out of nowhere, crackling with energy. It’s less than five minutes long, but if you’ve ever wondered what a symphony by Vivaldi might have sounded like, here’s one answer. The opera was dedicated to Count Sava Vladislavich, a Russian diplomat and –5–

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

PROGRAMME NOTES LOUIS SPOHR 1784–1859

SYMPHONY NO. 2 IN D MINOR, OP. 49 1820 – APPROX 31 MINS –

1 ALLEGRO 2 LARGHETTO 3 SCHERZO: PRESTO 4 FINALE: VIVACE

When Gilbert and Sullivan’s Mikado outlines his plan ‘to make the punishment fit the crime’, he doesn’t pull his punches:

Beethoven’s Seventh Symphony and in 1808 he played through Beethoven’s ‘Ghost’ Trio, in private, with Beethoven himself on the piano.

The music-hall singer attends a series Of masses and fugues and Ops

By Bach, interwoven With Spohr and Beethoven, At classical Monday Pops.

It was ‘woefully out of tune’, recalled Spohr in his autobiography, ‘and Beethoven’s playing was execrable – ‘the poor deaf man hammered at the keyboard; whole groups of notes were inaudible’.

But these were the lofty artistic circles in which Spohr moved, and his own compositions were – if anything – more popular than Beethoven’s.

Spohr was an innovator: his 36 string quartets and 18 violin concertos were initially vehicles for his own superb playing, but were widely taken up by amateurs and professionals alike. His ten symphonies included works inspired by philosophy, the four seasons, and musical history.

Gilbert knew that any moderately musical audience in 1885 would instantly get the joke – it’s only now, in the 21st century, that we need a footnote. Well into the 20th century, few music-lovers would have batted an eyelid at the idea that Louis Spohr was a great classical master on a par with Bach and Beethoven.

In fact, Beethoven would probably have backed them up on that. Ludwig Spohr (he later took the French form of his name) was born into a musical family in Braunschweig, and by his late teens was already one of the most brilliant violinists in Europe. Spohr worked for several years in Vienna, directing the orchestra at the Theater an der Wien. He played in the premiere of

Naturally, his fame spread. In the spring of 1820 Spohr was invited to spend several months in London as a sort of artist-in-residence with the Philharmonic Society (today the RPS) – appearing as a soloist, directing its orchestra and presenting his own music.

It was a lucrative engagement – every European

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

PROGRAMME NOTES As well they might. Spohr had no desire to try anything as radical as – say – Beethoven’s Ninth Symphony, also in D minor, which would be commissioned by the Philharmonic Society two years later (and which Spohr considered ‘tasteless’). His Second Symphony has the familiar four movements, as well as the clean lines and lean, athletic energy of a symphony by Haydn or Mozart. But there’s something else at work here: something of Spohr’s own romantic, restless spirit, as well as his highly cultivated musicianship. The first movement might almost have been inspired by that tempestuous journey across the Channel – and however much Spohr admired the London string players, he gives some gloriously expressive and dramatic moments to the woodwinds and brass too.

Louis Spohr

musician knew that Haydn had made his fortune in London in the 1790s – but it wasn’t an easy journey.

Like many Germans of his era, Spohr had never travelled by sea: his wife was terrified at the prospect of crossing the Channel, and they were both violently seasick for the entire three-hour crossing. (A French newspaper reported that they’d been drowned, to the huge distress of Spohr’s elderly parents).

On arriving in London, Spohr instantly committed a faux-pas by wearing a bright red waistcoat – unaware that the capital was in mourning for the death of King George III. Nor could he speak English, though he soon found an interpreter; the very man who’d assisted Haydn on his London visits 25 years previously. But his first concert – at the Argyll Rooms on Regent Street – was a triumph, and as the Spohrs settled into their lodgings on Charlotte Street, and discovered the joys of Hampstead Heath and Regent’s Park, Louis settled down to write a symphony for London. ‘I played it for the first time at one of the Philharmonic concerts which I had to conduct, on 10 April 1820’ he recalled. ‘It was received with real enthusiasm. I had in part to thank the numerous and excellent strings of the orchestra for this brilliant success, and in this composition I had given them a special opportunity of displaying their purity and precision … The next morning, all the London papers contained reviews, vying with each other in praise of the new symphony.’

The second movement is a measured slow march, very much in the spirit of Haydn’s ‘London’ symphonies – until a sombre fanfare unleashes unsuspected passions. The Scherzo builds a powerful momentum over its initial hushed, skittering dance; woodwinds and strings sing warmly in the central Trio section (he brings it round twice).

And then, with a flourish, the finale breaks clear into a sunny and cheerful D major – a bustling, humorous movement that wraps up the whole adventure in irrepressible spirits and a jubilant blaze of trumpets.

Music to send fashionable Londoners home smiling.

Programme note © Richard Bratby

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

PROGRAMME NOTES ARTHUR HONEGGER 1892–1955

PASTORALE D’ÉTÉ (SUMMER PASTORAL) 1920 – APPROX 8 MINS –

Today the Swiss-born composer Arthur Honegger is often remembered as a member of ‘Les Six’ – that embodiment of 1920s Parisian modernist chic in music. How unjust. It is true that for a while Honegger shared some of the views of true ‘Sixists’ like Francis Poulenc and Darius Milhaud, particularly when they were students together at the Paris Conservatoire.

But even from the start he could not share his friends’ enthusiasm for the eccentric prophet of minimalism and Dadaism, Eric Satie, and he grew increasingly irritated with the group’s self-appointed literary apologist, Jean Cocteau. It was soon clear that, despite the dissonant, metallic futurism of works like Pacific 231 (1923), Honegger had more respect for traditional forms and for romantic expression than his friends could accept. Poulenc and Milhaud both dismissed Honegger’s magnificent ‘dramatic psalm’ Le Roi David (‘King David’, 1923) as over-conventional.

Pastorale d’été is a far gentler work than any of those, yet its warmly expressive melodic lines – without a trace of the ironic distortion delighted in by the young Milhaud and Poulenc – show immediately that Honegger is set on his own path. The relaxed, slightly bluesy repeated figure that establishes the initial dreamy pace suggests the influence of jazz, but the hints of birdsong on woodwind place Honegger more amongst the 19th-century French landscape painters than les enfants terribles. From this, Pastorale d’été builds to a rapturous climax then returns – via a middle section that sometimes echoes the pastoral Vaughan Williams – to the lazy, summery motion of the opening.

Programme note © Stephen Johnson –8–

On the LPO Label

Honegger Pastorale d’été Honegger Symphony No. 4 (Deliciæ Basiliensis) Honegger Une Cantate de Noël Vladimir Jurowski conductor Christopher Maltman baritone London Philharmonic Orchestra and Choir New London Children’s Choir Recorded live at the Southbank Centre’s Royal Festival Hall and Queen Elizabeth Hall on 5 December 2009 (Cantate de Noël) and 28 March 2007.

£9.99 | LPO–0058 LPO Label CDs available from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

PROGRAMME NOTES ARTHUR BLISS 1891–1975

ROUT 1920 – APPROX 7 MINS –

MARY BEVAN SOPRANO It was Baroness Catherine d’Erlanger’s striking fashion sense and blazing red hair that gave her the nickname La Fiamma – ‘the flame’. But it was her knowledge of the arts scene and her passion for all that was new, daring and beautiful that made her salon the social centre of London’s avant-garde in the early 1920s. Serge Diaghilev, Cecil Beaton and W B Yeats were regulars at the soirées that she hosted at her townhouse at 139 Piccadilly; Cole Porter and Vivian Ellis tinkled at the piano. And occasionally the company would fall silent for one of the Baroness’s musical entertainments – invariably commissioned from London’s edgiest and most innovative young composers.

Naturally, reports leaked out – that was the whole point. ‘One hardly knows whether to describe it as programme music or chamber music, street music or “Jazz”’, wrote The Times (savour those scarequotes!). The critic heard ‘rakish tunes for the voice, the clarinet, the flute and strings tumbling over one another in wild confusion, while the double bass cuts capers, the harp thrums accents, and the orchestral kitchen [the percussion] behaves according to its kind’ – and they fretted that Bliss was becoming ‘a fashionable joker’. But the Baroness’s set knew originality when they heard it. Diaghilev asked Bliss to orchestrate Rout and incorporated it into the programme of his Ballets Russes.

That’s how Arthur Bliss – 29 years old, and barely two years out of the trenches – found himself the focus of all eyes (and ears) on 15 December 1920.

The Baroness hosted the world premiere of Rout – an extraordinary new chamber work written for, and inspired by, that very occasion. ‘I wanted to evoke the sound of a carnival overheard at a distance’, said Bliss, and he kept the textures light and bright: writing for flute, clarinet, harp, percussion and strings.

And then, a touch of jazz-age Dada: ‘A soprano was given a medley of made-up words to sing and so add to the impression of a crowd’s jollity.’ The title, Bliss explained, meant ‘revelry’: in Rout, he had literally brought the party.

Programme note © Richard Bratby

Arthur Bliss

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

PROGRAMME NOTES JAMES MACMILLAN BORN 1959

SINFONIETTA 1991 – APPROX 19 MINS –

Sir James MacMillan knew that he wanted to be a composer from the moment he picked up a musical instrument. ‘When I was nine, I was given a recorder, and something just clicked’, he recalls. ‘I wanted to write something for it, too: which I did, within days.’

And from those first tootlings in the family home, his musical life has been a mission to connect with his listeners and to express with honesty and uncompromising power the truth and beauty he finds in his profound Catholic faith. ‘To a Scottish male, like me, brought up in a macho, working-class culture in Ayrshire, I hardly ever heard the word “beauty” being uttered in my formative years’, he says. ‘And yet, beauty is at the heart of our Christian faith.’

Music lovers of a certain age can still remember where they were when they heard the broadcast premiere of MacMillan’s orchestral work The Confession of Isobel Gowdie from the 1990 BBC Proms. The ‘thunderous, ecstatic welcome’ it received from a packed Royal Albert Hall was, wrote the critic Stephen Johnson, ‘unprecedented’: here was a living composer who could communicate ‘with the directness of a Tchaikovsky or a Mahler’.

Since then, MacMillan has emerged as one of the most passionate and intensely communicative of British composers – whether as a champion of music education and grassroots music-making (he launched his community music festival The Cumnock Tryst in Ayrshire in 2014), or as an outspoken opponent of divisive nationalism.

As of 2020, MacMillan has completed five symphonies, three operas and a second sinfonietta; but his first sinfonietta dates from those heady days after his breakthrough with Isobel Gowdie. It was commissioned by the London Sinfonietta and premiered in the Southbank Centre’s Queen Elizabeth Hall on 14 May 1992. Unlike many of his works, it has no descriptive title, and if a particular event or story inspired the music, MacMillan has not chosen to make it public. The music speaks so directly that he hardly needs to; still, it might be worth bearing in mind his statement on The South Bank Show that ‘I think in all my music there’s an exploration of the light and the darkness, and the interplay between them is actually one of the most important musical techniques available to me.’

In his own words: ‘Sinfonietta begins serenely with very still textures, slowly moving chords and repeating melodic material. The feeling is ritualistic and calm. With a series of extremely sudden jolts and furiously emphatic repetitions the music swings gradually towards a grotesque, quasi-militaristic central section. This swaggering parody of a march brings the rich raucous wind sounds to the fore as the music becomes more frenetic. The climax throws this bellicose craziness into stark juxtaposition with a re-emergent floating material on unison strings which re-establishes the mood of the opening. This simple arch-form takes the work from the tranquil to the visceral and back again.’

Programme note © Richard Bratby

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

COMPOSER PROFILE JAMES MACMILLAN St Luke Passion (2013); and a second Percussion Concerto, for Colin Currie (2014).

© Philip Gatward

The London Philharmonic Orchestra has enjoyed a long relationship with MacMillan: in 2008 the Orchestra released on its own label The Confession of Isobel Gowdie under Marin Alsop live in concert at the Queen Elizabeth Hall (LPO-0035).

As the Orchestra’s Young Composer Mentor from 2017–20, James MacMillan worked with the five composers participating in the LPO Young Composers Programme each year, leading seminars, providing guidance in workshops and rehearsals, and conducting the annual Debut Sounds concert showcasing their work.

Sir James MacMillan is one of today’s most successful composers and is also internationally active as a conductor. His musical language is flooded with influences from his Scottish heritage, Catholic faith, social conscience and close connection with Celtic folk music, blended with influences from Far Eastern, Scandinavian and Eastern European music.

MacMillan enjoys a flourishing career as conductor of his own music alongside a range of contemporary and standard repertoire, praised for the composer’s insight he brings to each score. He was Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic until 2013 and Composer/Conductor of the BBC Philharmonic from 2000–09.

MacMillan first became internationally recognised after the extraordinary success of The Confession of Isobel Gowdie at the BBC Proms in 1990. His prolific output has since been performed and broadcast around the world. His major works include percussion concerto Veni, Veni, Emmanuel, which has received over 500 performances worldwide – including by Evelyn Glennie with the LPO at the Royal Festival Hall in 2013 – as well as a cello concerto for Mstislav Rostropovich and five symphonies.

MacMillan is due to conduct the Netherlands Radio Philharmonic Orchestra in the world premiere of his Christmas Oratorio in January 2021, within the NTR ZaterdagMatinee series in Amsterdam; the work is co-commissioned by the London Philharmonic Orchestra, Melbourne Symphony Orchestra and New York Philharmonic. In 2019 the Edinburgh International Festival celebrated MacMillan’s 60th birthday year with five concerts including the world premiere of Symphony No. 5 (Le grand inconnu), written for The Sixteen.

In 2014 the LPO under Vladimir Jurowski gave the world premiere of MacMillan’s Viola Concerto with soloist Lawrence Power. Other major works include the cantata Seven Last Words from the Cross (1993); Quickening (1998) for soloists, children’s choir, mixed choir and orchestra; the operas Inès de Castro (2001) and The Sacrifice (2005–06); St John Passion (2007);

In October 2014 MacMillan founded his music festival, The Cumnock Tryst, which takes place annually in his native Ayrshire.

He was awarded a CBE in 2004 and a Knighthood in 2015.

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

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.

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 recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. Over the pandemic period the LPO has sustained its relationship with UK and international audiences through ‘LPOnline’, reaching many thousands of people. From initial individual player performances recorded at home, to online engagement intitiatives such as its wellbeing strand Lean In and Listen, the Orchestra progressed over time to larger-scale split-screen performances, before finally being able to play together in small chamber groups for the free LPO Summer Sessions from Henry Wood Hall, as well as small-scale outdoor performances at Glyndebourne. This autumn the Orchestra returns at last to its Royal Festival Hall home to perform 13 fulllength concerts filmed live and streamed for audiences to enjoy at home via Marquee TV. lpo.org.uk

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

TONIGHT'S ARTISTS VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR

(2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

© 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.

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.

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. In September 2021, when his tenure concludes, he will become the Orchestra’s Conductor Emeritus in recognition of his transformative time with the LPO – over the last 13 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. 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

The London Philharmonic Orchestra 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; and 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: see full details at lpo.org.uk/recordings

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

TONIGHT'S ARTISTS MARY BEVAN SOPRANO

© Victoria Cadisch

Highlights of last season included Rose Maurrant in Weill’s Street Scene for Opera de Monte Carlo and Eurydice in Offenbach’s Orpheus in the Underworld for English National Opera. Mary recently garnered praise for her Royal Danish Opera debut as Bellezza in Handel’s Il Trionfo del tempo e del desinganno and for the title role in Mark-Anthony Turnage’s new opera Coraline for the Royal Opera at the Barbican, as well as for her return to the English National Opera as Zerlina in Don Giovanni and her debut as Merab in Saul for the Adelaide Festival. For the Royal Opera House she created the role of Lila in David Bruce’s The FireworkMaker’s Daughter, sang Barbarina (Le nozze di Figaro) on the main stage, and the title role in Rossi’s Orpheus at the Sam Wanamaker Playhouse.

Praised by Opera magazine for her ‘dramatic wit and vocal control’, British soprano Mary Bevan is internationally renowned in Baroque, classical and contemporary repertoire, and appears regularly with leading conductors, orchestras and ensembles around the world. She is a winner of the Royal Philharmonic Society’s Young Artist Award and the UK Critics’ Circle Award for Exceptional Young Talent in Music, and was awarded an MBE in The Queen’s Birthday Honours List in 2019. Tonight’s concert is her debut with the London Philharmonic Orchestra.

In the 2020/21 season Mary will return to the Royal Danish Opera for her role debut as Marzelline in Fidelio and for the production LIGHT – Bach Dances with director John Fulljames and conductor Lars Ulrik Mortensen. She will also make her house debut at the Bolshoi Theatre in David Alden’s production of Ariodante as Dalinda, and sing the world premiere of James MacMillan’s Christmas Oratorio at the Amsterdam Concertgebouw. She also performs Haydn’s Theresienmesse with the Handel and Haydn Society and appears in concert with the Philharmonia Baroque Orchestra and the Orchestra of the Age of Enlightenment.

On the concert platform, recent highlights include appearances with the BBC Symphony and BBC Concert orchestras at the BBC Proms, and with Mirga Gražinytė-Tyla and the CBSO in the world premiere of Roxanna Panufnik’s Faithful Journey. She joined the Orchestra of the Age of Enlightenment as Mary in Sally Beamish’s The Judas Passion; performed Bach’s Christmas Oratorio on tour in Australia with the Choir of London and the Australian Chamber Orchestra; and Handel’s Messiah with the Academy of Ancient Music.

She also headlined a tour of Asia with The English Concert and Harry Bicket and made her Carnegie Hall debut with the ensemble as Dalinda in Handel’s Ariodante.

Mary Bevan’s discography includes her art song album Voyages and a disc of Lieder by Schubert, Haydn and Wolf with pianist Joseph Middleton, and Handel’s Queens with London Early Opera, all released by Signum Records; Mendelssohn songs for Champs Hill Records; Handel: The Triumph of Time and Truth and Handel: Ode for St Cecilia’s Day with Ludus Baroque; and Vaughan Williams’s Symphony No. 3 and Schubert’s Rosamunde with the BBC Philharmonic.

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PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast.

As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra.

The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music.

We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra.

Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.

HELP US PLAY ON To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

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 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 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 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 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 Dr Manon Antoniazzi 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 Wg. Cdr. & Mrs M T Liddiard OBE JP RAF 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 Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson Mr John Wright

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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 Richard & Briony Linsell 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 Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

THANK YOU – CONTINUED –

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 The Candide Trust Gill & Garf Collins Andrew Davenport 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 Jill Dyal Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

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 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

In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni 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 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 The Lawson Trust Andrew Lloyd Webber Foundation

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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 The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

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 • 30 DECEMBER 2020

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

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

MEMBERSHIPS AND DONATIONS There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else.

With your help we can ensure that this Orchestra will not only survive, but thrive.

However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends

Benefactors

Support the orchestra that you love. Get priority booking for our Southbank Centre concerts plus access to final rehearsals.

Join a circle of dedicated supporters and get access to the Beecham Bar, special events and Glyndebourne.

From £60

From £600

Gifts in wills

Thomas Beecham Group

Help others to experience the wonder of music by remembering the Orchestra in your will.

Give a major supporting gift and build significant relationships within the Orchestra.

Donors can choose to have their gift associated with a player’s chair.

From £5,000

lpo.org.uk/support/individuals 020 7840 4212 – 20 –

CORPORATE PARTNERSHIPS Partner with the London Philharmonic Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic.

Principal Partner

OrchLab Project Partner

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 significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Supporters

lpo.org.uk/corporate 020 7840 4210 Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

LONDON PHILHARMONIC ORCHESTRA • 30 DECEMBER 2020

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Mark Vines* David Whitehouse* * Player-Director ADVISORY COUNCIL Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi 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 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

Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Damian Davis Transport Manager

Christina McNeill Corporate Relations Manager

ARCHIVES

Anna Quillin Trusts and Foundations Manager

Fabio Sarlo Glyndebourne and Projects Manager

Laura Kitson Stephen O’Flaherty Stage Managers

Vicky Moran Development Events Manager

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

Rosie Morden Individual Giving Manager

Graham Wood Concerts and Recordings Manager

Sarah Holmes Sarah Thomas Librarians

DEVELOPMENT Laura Willis Development Director

Philip Stuart Discographer Gillian Pole Recordings Archive

Izzy Keig Lewis Hammond Development Assistants

PROFESSIONAL SERVICES Charles Russell Speechlys Solicitors

~ Nick Jackman Campaigns and Projects Director

Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Kirstin Peltonen Development Associate

Mr Chris Aldren Honorary ENT Surgeon

FINANCE Frances Slack Finance Director

Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons

Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer MARKETING Kath Trout Marketing Director Mairi Warren Marketing Manager

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

Alexandra Lloyd Projects and Residencies Marketing Manager

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

EDUCATION AND COMMUNITY Isabella Kernot Education and Community Director (maternity leave) Lindsay Wilson Education and Community Director (maternity cover)

Megan Macarte Box Office Manager (maternity leave)

COVER ARTWORK Ross Shaw @ JMG Studio

Talia Lash Education and Community Manager

Rachel Smith Website Manager

Hannah Verkerk Orchestra and Auditions Manager

Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator

Alice Harvey Box Office Manager (maternity cover) Rachel Williams Publications Manager

Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer

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