LPO concert programme: 22 Apr 2022 - A Gala Evening with Renée Fleming (cond. Enrique Mazzola)

2021/22 concert season at the Southbank Centre’s Royal Festival Hall

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Friday 22 April 2022 | 7.30pm

A Gala Evening with Renée Fleming Dvořák Othello Overture, Op. 93 (15’) Verdi Ballet Music from Otello (6’) Verdi Willow Song & Ave Maria from Otello (16’) Interval (20’) R Strauss Introduction, Moonlight Music & Final Scene from Capriccio, Op. 85 (30’) Enrique Mazzola conductor Renée Fleming soprano Generously supported by Mrs Aline Foriel-Destezet.

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 4 5 6 7 8 9 17 18 19 20 21 22 24

Welcome LPO 2022/23 season London Philharmonic Orchestra Leader: Pieter Schoeman On stage tonight Enrique Mazzola Renée Fleming Programme notes & sung texts LPO Offstage podcast Next concerts Dvořák & Strauss on the LPO Label LPO Annual Appeal 2022 Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Welcome to the Southbank Centre

LPO 2022/23 season

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

Our new concert season: On sale now

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

Our new season of Royal Festival Hall concerts, from September 2022–May 2023, is now on sale.

Entitled ‘A place to call home’, the season’s recurring themes are belonging and displacement. What is the concept of home to people who have experienced exile, homelessness or despair as a result of wars, political instability or racism – conditions that have forced countless refugees to to flee their native countries?

For an artist, a sense of home can be central to finding an individual voice – to the stories they tell, and the language in which they tell them. We will survey music by composers such as the Austrians Erich Korngold and Paul Hindemith, the Hungarian Béla Bartók, the Cuban Tania León, the Ukrainian Victoria Vita Polevá and the Syrian Kinan Azmeh.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

Celebrating the Orchestra’s 90th season, we will perform some now-indispensable music written especially for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. A focus on British composers sees performances of both symphonies by Elgar, music by Tippett and Thomas Adès, as well as four major works by Vaughan Williams in celebration of his 150th anniversary.

Photography is not allowed in the auditorium.

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

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

The Orchestra’s commitment to everything new and creative includes world premieres of Mark Simpson’s Piano Concerto and Composer-in- Residence Brett Dean’s In spe contra spem, as well as the UK premiere of Heiner Goebbels’s immersive spectacle A House of Call.

We have also commissioned new works from a diverse range of composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

Mobiles and watches should be switched off before the performance begins.

We are joined in these explorations by our Principal Conductor Edward Gardner, Principal Guest Conductor Karina Canellakis and Conductor Emeritus Vladimir Jurowski, plus, as always, world-renowned guest artists including Víkingur Ólafsson, Danielle de Niese, Miloš Karadaglić, Beatrice Rana, Randall Goosby, Gil Shaham, Leif Ove Andsnes and many others.

We welcome you to join us at the Royal Festival Hall for a season of adventure! Browse the full season and book online at lpo.org.uk/2223season or via the LPO Ticket Office on 020 7840 4242.

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2022/23 concert season at the Southbank Centre’s Royal Festival Hall

A place to call home Where music takes you

On sale now Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

© Mark Allan

London Philharmonic Orchestra

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

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years.

The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World.

It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download.

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21.

Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

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

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential.

Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO 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 collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020.

From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

© Benjamin Ealovega

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall.

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer.

The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Chair supported by Friends of the Orchestra

Lasma Taimina

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

Minn Majoe Catherine Craig Thomas Eisner Martin Höhmann

Chair supported by Chris Aldren

Rasa Zukauskaite Yang Zhang

Chair supported by Eric Tomsett

Nilufar Alimaksumova Katalin Varnagy

Chair supported by Sonja Drexler

Ricky Gore Amanda Smith Alice Hall Sophie Phillips Jamie Hutchinson

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Eriko Nagayama Kate Birchall Ashley Stevens Nancy Elan Clarice Curradi Nynke Hijlkema Fiona Higham

Chair supported by David & Yi Buckley

Joseph Maher Jessica Coleman Lyrit Milgram Erzsébet Rácz

Violas

Flutes

Richard Waters Principal

Fiona Kelly Guest Principal Imogen Royce Stewart McIlwham*

Chair supported by Caroline, Jamie & Zander Sharp

Katharine Leek Benedetto Pollani Laura Vallejo Naomi Holt Alistair Scahill Michelle Bruil Stanislav Popov Mark Gibbs Rachel Robson Abby Bowen

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal Alice Munday

Cor Anglais

Cellos

Sue Böhling* Principal

Kristina Blaumane Principal

Chair supported by Dr Barry Grimaldi

Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal

Clarinets

Chair supported by The Candide Trust

Benjamin Mellefont

Francis Bucknall Laura Donoghue Sue Sutherley Susanna Riddell Tom Roff Helen Thomas George Hoult Sibylle Hentschel

Principal

Paul Beniston* Principal Anne McAneney*

Cornets

David Hilton Tony Cross

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Maria Gomes Paul Richards*

Tuba/Cimbasso

James Maltby

Basset Horn Paul Richards*

C Clarinet

Thomas Watmough

Lyndon Meredith Principal

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Bassoons

Karen Hutt Jeremy Cornes

Chair supported by Sir Simon Robey

Harps

Jonathan Davies Principal Gareth Newman Simon Estell* Emma Harding

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Trumpets

Bass Trombone

Bass Clarinet

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Colin Paris Adam Wynter Simon Oliver Cathy Colwell

John Ryan* Principal Alex Wide Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Thomas Watmough Chair supported by Roger Greenwood

Double Basses

Horns

Rachel Masters Principal Rachel Wick * Holds a professorial appointment in London

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Enrique Mazzola conductor

© Jean-Baptiste Millot

Recent seasons have included notable debuts at the Salzburg Festspiele (Orphée aux Enfers), Vienna Staatsoper (Don Pasquale), Dutch National Opera (Donizetti Queens in Concert), Orchestre National du Capitole de Toulouse, Philharmonia Orchestra, Royal Scottish National Orchestra, Orchestra of the Age of Enlightenment, Oslo Philharmonic, New Japan Philharmonic, Taipei Symphony, Detroit Symphony, Luxembourg Philharmonic, Brussels Philharmonic, Staatsphilharmonie Nürnberg and Swedish Radio Symphony Orchestra.

Enrique is a regular guest at Glyndebourne Festival Opera, where in recent seasons he has conducted the LPO in productions of Don Pasquale, Poliuto, L’elisir d’amore, Luisa Miller and Il barbiere di Siviglia, the latter of which he also conducted in concert with the Orchestra at the 2016 BBC Glyndebourne Prom. Other opera credits include the Teatro del Maggio Musicale Fiorentino (L’italiana in Algeri), New National Theatre Tokyo (Don Giovanni), Opera du Rhin (Macbeth, La cenerentola), Teatro alla Scala (Don Pasquale), Rossini Opera Festival (La gazzetta), Théâtre des Champs-Elysées (Tancredi, Don Pasquale, La scala di seta, L’occasione fa il ladro, Il signor Bruschino), Deutsche Oper Berlin (Le prophète, Dinorah in concert, Il barbiere di Siviglia, Le Vaisseau fantome, Falstaff, Vasco da Gama, Les contes d’Hoffmann) and the Bolshoi Theatre (La sonnambula).

Renowned as an expert interpreter and champion of bel canto opera and a specialist in French repertoire and early Verdi, Italian conductor Enrique Mazzola is in demand worldwide as both an operatic and symphonic conductor. The 2021/22 season marked the beginning of Enrique’s tenure as Music Director of the Lyric Opera of Chicago. He is also the Principal Guest Conductor at Deutsche Oper Berlin, and served as Artistic & Music Director of the Orchestre National d’Île de France (ONDIF) from 2012–19. In 2018 he was made a Chevalier de l’ordre des Arts et des Lettres in recognition of his significant contribution to musical life in France.

Enrique Mazzola last appeared with the LPO on the Royal Festival Hall stage in spring 2021, when he conducted two programmes including Dvořák’s ‘New World’ Symphony, Sibelius’s Symphony No. 1 and works

by Haydn and Missy Mazzoli in two online concerts streamed on Marquee TV. He returns to the LPO next season on 18 January 2023 to conduct Rachmaninoff’s Symphony No. 1 alongside works by Brett Dean and Kinan Azmeh.

Enrique has regularly devoted time to working with young musicians, including at the Accademia Teatro alla Scala, Académie de l’Opéra national de Paris, Opéra Studio de l’Opéra national du Rhin, Accademia del Maggio Musicale Fiorentino, Conservatoire National Supérieur de Musique de Paris and Conservatoire National Supérieur de Musique et de Danse de Lyon.

An accomplished interpreter of contemporary music, Enrique commissioned and premiered several works during his time as Artistic & Music Director of ONDIF, and led many other premieres with major European orchestras. Opera credits also include the world premiere of Alberto Colla’s Il processo (La Scala); Il re nudo by Luca Lombardi (Teatro dell’Opera di Roma), Medusa by Arnaldo de Felice (Bayerische Staatsoper) and Isabella by Azio Corghi (Rossini Opera Festival).

The 2021/22 season with Lyric Opera of Chicago includes a new production of Verdi’s Macbeth and a revival of Donizetti’s L’elisir d’amore. Debuts this season include the Utah Symphony and the Bern Symphony Orchestra. Enrique will also make return appearances at the Opernhaus Zurich (Anna Bolena), Deutsche Oper Berlin (Les Vêpres Sicillennes), Dutch National Opera (Anna Bolena), Bregenzer Festival (Madama Butterfly), and symphonic concerts with the Vienna Symphony.

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Renée Fleming soprano

Rings. She has recorded everything from complete operas and song recitals to indie rock and jazz. Renée’s latest album is Voice of Nature: The Anthropocene, with Yannick Nézet-Séguin as pianist. A collection of classical songs and specially commissioned world premieres, the album focuses on nature as both inspiration and casualty of humans.

© Andrew Eccles

In 2019, Renée Fleming appeared opposite Ben Whishaw in Norma Jeane Baker of Troy to open The Shed in New York City. Later that year, she performed world premieres by André Previn and Kevin Puts with the Boston Symphony Orchestra, and the London premiere of The Light in the Piazza, bringing the acclaimed production to Los Angeles and Chicago in the autumn.

Renée earned a Tony Award nomination for her performance in the 2018 Broadway production of Rodgers and Hammerstein’s Carousel.

Renée Fleming is one of the most acclaimed singers of our time, performing on the stages of the world’s greatest opera houses and concert halls. Honoured with four Grammy Awards and the US National Medal of Arts, Renée has sung for momentous occasions, from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for Queen Elizabeth II at Buckingham Palace.

A groundbreaking distinction came in 2008, when Renée became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala.

In recent years, Renée has become known as a leading advocate for research at the intersection of arts, health and neuroscience. As Artistic Advisor to the Kennedy Center for the Performing Arts, she launched the first ongoing collaboration between America’s national cultural centre and its largest health research institute, the National Institutes of Health. Inspired by that initiative, called ‘Sound Health’, Renée has created a programme called ‘Music and the Mind’, which she has presented in more than 50 cities around the world.

In 2020 Renée launched ‘Music and Mind LIVE’, a weekly web show exploring the connections between arts, human health and the brain, amassing nearly 700,000 views from 70 countries.

Last month Renée joined The Philadelphia Orchestra in the world premiere concert presentation of The Hours

by Kevin Puts. She will appear in the fully-staged premiere at the Metropolitan Opera in November.

On 1 March she was honoured by the American Friends of the London Philharmonic Orchestra with their Lifetime Achievement in Classical Music Award.

Advisor for Special Projects at LA Opera, Renée Fleming also leads SongStudio at Carnegie Hall. She is Co-Director of the Aspen Opera Center and VocalArts at the Aspen Music Festival. Renée’s other awards include the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, Sweden’s Polar Music Prize and France’s Chevalier de la Légion d’Honneur.

Renée’s concert calendar this season includes appearances in Berlin, Vienna, Copenhagen, Paris, Edinburgh, Houston, Los Angeles, and at Carnegie Hall.

During the pandemic, her performances on digital platforms included streamed online concerts for the Metropolitan Opera, the Kennedy Center, Lyric Opera of Chicago and the Baltimore Symphony Orchestra.

Renée Fleming appears by arrangement with IMG Artists, www.imgartists.com.

Ms Fleming is an exclusive recording artist for Decca and Mercury Records (UK).

Ms Fleming’s jewellery is by Ann Ziff for Tamsen Z.

Known for bringing new audiences to classical music and opera, Renée has sung not only with Luciano Pavarotti and Andrea Bocelli, but also with Elton John, Paul Simon, Sting, Josh Groban and Joan Baez.

Her voice is featured on the soundtracks of Best Picture Oscar-winners The Shape of Water and The Lord of the

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Programme notes Antonín Dvořák 1841–1904

Othello Overture, Op. 93 1892

Photo courtesy of the Royal College of Music

The great world of music, however, was not ready for the innovation, and in 1893 Dvořák had Nature, Life and Love published as three separate pieces. For Love, Dvořák toyed with such alternative titles as Overtura eroica and Tragic Overture before settling on a name which to his mind embodied heroism, tragedy and passion in one word: Othello. The true story of the piece is the eternal conflict between the tender and jealous aspects of human love, all presided over by the unchanging ‘nature’ motif that appears in all three overtures and first appears here, like a woodwind birdcall amidst baleful brass chords, some two minutes into the brooding Lento introduction.

The stormy Allegro con brio that follows plays out a musical battle between jagged rage and lyrical sweetness (listen for the oboe’s pleading love theme).

‘They embrace in silent ecstasy’, wrote Dvořák after its surging climax. Desdemona sleeps (Dvořák quotes the eerie, descending ‘magic sleep’ motif from Wagner’s Ring Cycle), Othello’s jealous rage begins to overpower his love, and Dvořák himself explains what comes next: Othello tries to murder her at the height of his wrath ... [a stark trombone motif] For the last time she again protests her innocence ... She dies quietly ... [the poignant love theme, on flutes and oboes, pleading over the icy shiver of strings played sul ponticello – on the bridge]. The desperate Othello begins to regret his deed; the torment in his soul lessens ... He prays [the woodwinds play a soft hymn] ... He kisses her for the last time ... [the ‘sleep’ motif again] He considers his dreadful crime ... He decides on suicide ... He kills himself [The music tells its own story].

‘In spite of the fact that I have moved about in the great world of music,’ declared Antonín Dvořák, ‘I shall remain what I have always been – a simple Czech musician.’

He protested slightly too much. At the peak of his career, Dvořák was as innovative a composer as any of his contemporaries, and by 1891 he could quite cheerfully devise a completely new and unheard-of musical form: a ‘triple overture’. Completed in January 1892, it comprised three linked overtures: Nature, Life and Love.

‘I think they are my best orchestral works’, Dvořák told his publisher, Simrock.

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Programme notes Giuseppe Verdi 1813–1901

Ballet Music from Otello 1887

In Boito’s libretto for Otello, Verdi recognised something ‘Shakespearean in every way’, and with its premiere at La Scala, Milan on 5 February 1887, Verdi finally achieved the Shakespearean triumph he’d dreamt of since his youth. But when the Paris Opéra agreed to give the French premiere in October 1894, it was upon one non-negotiable condition: Verdi had to add dance music.

(This was standard practice in Paris – even Wagner had been forced to add a ballet sequence to Tannhäuser).

‘Artistically, it is a monstrosity’, declared Verdi, but – pragmatic as ever – he duly composed a six-minute ballet for Act Three of the opera, in which Venetian ambassadors are greeted by celebratory dances from (in turn) Turkish slave-girls, Greek maidens and Venetians. It all culminates in a warlike dance for the men. Verdi sought out authentic folk melodies for each section, and scored them with his own brilliant, fiery touch.

Verdi revered Shakespeare. He kept the complete works (in an Italian translation by Giulio Carcano) by his bedside, and called him ‘Papa’: the father of all modern dramatists. His lifelong problem was finding the right librettist to do justice to such words, and when Verdi’s bold operatic setting of Macbeth to a libretto by Francesco Piave (1847) failed to satisfy, he was deeply hurt by suggestions that he’d failed to grasp Shakespeare. ‘It may be I did not do him justice’, he remarked. ‘But to say I do not know, do not understand and do not feel Shakespeare, no, by God, no! He is my favourite poet; I have known him since childhood and reread him continually.’ He planned, but never wrote, an opera based on King Lear.

Arrigo Boito (1842–1918) broke the deadlock. An emerging composer with a fierce gaze and a flamboyant moustache, Boito had fought under Garibaldi during the Risorgimento, and as a student at the Milan Conservatoire he was at the heart of a group of absinthe-drinking, hashish-smoking young artists known as the Scapigliati (‘The Dishevelled’). Meanwhile Boito worked on his own opera Mefistofele (1868), and it was their shared publisher Giulio Ricordi who persuaded Verdi to let Boito help him revise Simon Boccanegra in 1881. The collaboration went well; so much so, that Ricordi enlisted Boito to help prod Verdi towards his long-discussed Shakespeare opera. When Verdi saw Boito’s draft for Otello, his imagination ignited. Boito, for his part, was intoxicated with Verdi’s genius. ‘Only you can compose Otello’, he wrote to him: In writing those verses, I felt what you would feel when illustrating them with that other language, a thousand times more intimate and mighty – sound. […] For Heaven’s sake don’t abandon Otello, don’t abandon it. It is predestined for you.

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Programme notes Giuseppe Verdi 1813–1901

Willow Song & Ave Maria from Otello 1887 Renée Fleming soprano

The text and translation begin on page 12.

In Act Four of Otello, we approach the tragic climax of the drama – and one of the most poignant sequences in the 73 year old Verdi’s whole, astonishing career.

Desdemona waits in her darkened bedroom, accompanied only by her maid Emilia and an image of the Virgin, lit by a flickering candle. We know what is to befall her. We’ve read our Shakespeare, and we’ve seen and felt the gathering force of Otello’s jealousy and rage.

Desdemona’s ‘Willow Song’ is a childhood memory, but one whose innocence is drenched in sadness.

Those haunting repetitions – ‘Salce! Salce! Salce!’ – are simultaneously artless and ominous. By the time she turns to prayer, and the ‘Ave Maria’, her awareness of her tragic fate is inescapable – and for us, the audience, overwhelming.

Giuseppe Verdi Photo courtesy of the Royal College of Music

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

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Willow Song & Ave Maria from Otello Text & translation Desdemona: Mi parea.

M’ingiunse di coricarmi e d’attenderlo.

Emilia, te ne prego, distendi sul mio letto la mia candida veste nuziale.

Senti.

Se pria di te morir dovessi, mi seppellisci con un di quei veli.

Son mesta tanto, tanto.

I thought so.

He ordered me to lie down and wait for him.

Emilia, I beg you, lay on my bed my white wedding gown.

Listen.

If I should die before thee, bury me with one of those veils.

I am very, very sad.

(seating herself mechanically before the mirror) Mia madre aveva una povera ancella, innamorata e bella; era il suo nome Barbara; amava un uom che poi l’abbandonò.

Cantava una canzone, ‘La canzon del Salice’ Mi disciogli le chiome.

Io questa sera ho la memoria piena di quella cantilena.

‘Piangea cantando nell’erma landa, piangea la mesta, O Salce! Salce! Salce!

Sedea chinando sul sen la testa, Salce! Salce! Salce!

Cantiamo! cantiamo!

Il salce funebre sarà la mia ghirlanda.’

My mother had a poor maid, in love and beautiful; her name was Barbara; she loved a man who then abandoned her.

She sang a song, ‘The Song of the Willow’ Undo my hair.

My memory this evening is full of that song.

‘Weeping, she sang in the desolate meadow, she cried out her sadness: Oh, willow! Willow! Willow!

She sat with her head in her breast: Oh, willow! Willow! Willow!

Let's sing! Let's sing!

The doleful willow will be my garland.’

Affrettati; fra poco giunge Otello.

‘Scorreano i rivi fra le zolle in fior, gemea quel core affranto, e dalle ciglia le sgorgava il cor l’amara onda del pianto.

Salce! Salce! Salce!

Cantiamo! cantiamo!

Il salce funebre sarà la mia ghirlanda.

Scendean l’augelli a vol dai rami cupi verso quel dolce canto.

E gli occhi suoi piangean tanto, tanto, da impietosir le rupi.’

Hurry, Otello will be here soon.

‘Streams flowed through the flowering meadows, her weary heart wailed, and from her eyes gushed her heart, the bitter wave of weeping.

Oh, willow! Willow! Willow!

Let's sing! Let's sing!

The doleful willow will be my garland.

Birds flew down from the gloomy branches to this tender song.

And her eyes wept enough to move rock to pity."

(to Emilia, taking a ring from her finger) Riponi quest’anello.

Put this ring away.

(rising) Povera Barbara!

Solea la storia con questo

Poor Barbara!

She used to end this story

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Willow Song & Ave Maria from Otello Text & translation semplice suono finir: ‘Egli era nato per la sua gloria, io per amar ...’

with this simple refrain: ‘He was born for his glory, I was born to love ..’

(to Emilia) Ascolta. Odo un lamento.

Listen. I hear a lament.

(Emilia takes a step or two.)

Taci ... Chi batte quella porta?

Hush ... Who knocks at that door?

‘Io per amarlo e per morir.

Cantiamo! cantiamo!

Salce! Salce! Salce!”

Emilia, addio.

Come m’ardon le ciglia! È presagio di pianto.

Buona notte.

‘I to love him and to die.

Let's sing! Let's sing!

Willow! Willow! Willow!

Emilia, farewell.

How my eyes are afire with passion!

It is a weeping presage.

Good night.

(Emilia turns to leave.)

Ah! Emilia, Emilia, addio!

Emilia, addio!

Ah! Emilia, Emilia, farewell!

Emilia, farewell!

(Emilia returns and Desdemona embraces her.

Emilia leaves. Desdemona kneels at the priedieu.)

Ave Maria, piena di grazia, eletta fra le spose e le vergini sei tu, sia benedetto il frutto, o benedetta, di tue materne viscere, Gesù.

Prega per chi, adorando a te, si prostra, prega nel peccator, per l’innocente, e pel debole oppresso e pel possente, misero anch’esso, tua pietà dimostra.

Prega per chi sotto l’oltraggio piega la fronte, e sotto la malvagia sorte; per noi, per noi tu prega, prega sempre, e nell’ora della morte nostra, prega per noi, prega per noi, prega!

Hail Mary, full of grace, chosen among wives and virgins, blessed be the fruit, oh blessed one, of thy motherly womb, Jesus.

Pray for those who, adoring thee, prostrate themselves, pray for the sinner, for the innocent, and the weak oppressed, and for the mighty, who is also miserable, show your mercy.

Pray for him who under outrage bows his head, facing his evil fate; Pray for us, for us, pray always, and at the hour of our death, pray for us, pray for us, pray!

(She remains kneeling and, with her head bowed on the priedieu, repeats the prayer silently, so that only the first words and the last are audible.)

Ave Maria ... ... nell’ora della morte.

Ave! ... Amen!

Hail Mary ... ... in the hour of death.

Hail! ... Amen!

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Programme notes Richard Strauss 1864–1949

Excerpts from Capriccio, Op. 85 1941

Introduction Moonlight Music Final Scene The text and translation begin on page 16. the conductor Clemens Krauss as a librettist, Strauss began work on an opera that he intended, from the outset, as his last word in the form. Strauss and Krauss chose a setting – pre-revolutionary France – as far removed as possible from the horrors of the present, and created a scenario in which words (represented

by Olivier) and music (Flamand) vie for the hand of the lovely, sensitive and witty Madeleine. The name summed up the spirit of the piece: Capriccio, an artist’s whim at the end of a great career. Subtitled ‘a conversation-piece for music’, Capriccio was premiered in Munich in October 1942. ‘My life’s work is at an end with Capriccio’, Strauss told the Swiss critic Willi Schuh. ‘After all, one can only leave one testament behind.’

It’s a summer day in the 1770s: the garden salon of a chateau near Paris. Two young men stand by the door: the composer Flamand and his friend Olivier, a poet.

Across the room, the theatre director La Roche snores in an armchair, but the two artists ignore him; each has their eyes fixed, instead, upon the woman they both love, the young Countess Madeleine. She is sitting in the centre of the room, and, as afternoon sunlight streams through the tall windows, she is half-drowsing, halflistening to the music Flamand has written as an expression of his love – drifting from the next room, an Andante for string sextet.

That’s how Richard Strauss opened his last opera.

It was 1941; old, and increasingly frightened by the implications of his compromise with the Nazi regime, he had retreated to his mountain home at Garmisch.

In the summer of 1940 he had completed his last fullscale opera, the mythological epic Die Liebe der Danae, but with Germany at war, the prospect of a premiere seemed ever more remote. He looked for a new and more congenial subject – something lighter and more graceful – and returned to an 18th-century comic opera libretto that had been discovered by his previous collaborator, the novelist Stefan Zweig back in 1934, before the Jewish Zweig had been forced into exile by the Nazis.

So the final scene of Capriccio is his farewell, if not to music, then certainly to opera. That opening string sextet raises the curtain on a long sunlit afternoon of conversation, music, poetry and passionate pleas, as each of the two young men searches for a sign that he, and he alone, has won the Countess’s heart. Now the day has ended, the guests have departed, and the moon shines in through the windows of the deserted salon.

(Strauss’s interlude, ‘Moonlight Music’, gives a long, yearning solo to the horn – the instrument that his father had played, a lifetime ago). Madeleine is left alone to search her heart; tomorrow morning, she will have to choose between these two gifted and devoted lovers.

She gazes in the mirror, and sits at the harp to play over

The name was what appealed most: Prima la musica, poi le parole (‘First the music, then the words’). Enlisting

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Programme notes the song – words by Olivier, music by Flamand – that they have written in her honour. Already, the two arts are inseparable. Which will she choose? Can there truly be an answer? Strauss’s lifelong devotion to the female voice never faded and there’s a smile on his lips – as well as a tear in his eye – as he makes his choice, and brings down the curtain for the last time.

Recommended recordings of tonight’s works

by Laurie Watt Dvořák: Othello Overture London Philharmonic Orchestra Yannick Nézet-Séguin (LPO Label LPO-0095)

Programme notes © Richard Bratby

Verdi: Ballet Music from Otello Bournemouth Symphony Orchestra José Serebrier (Naxos) or Berlin Philharmonic | Herbert von Karajan Deutsche Grammophon Verdi: Willow Song & Ave Maria from Otello Maria Callas | Paris Conservatoire Orchestra Nicola Rescigno (Warner) or Complete opera: Renée Fleming (Desdemona) plus cast | Metropolitan Opera Orchestra and Chorus | James Levine (Deutsche Grammophon ) R Strauss: Introduction, Moonlight & Finale from Capriccio Felicity Lott | London Philharmonic Orchestra Franz Welser-Möst (LPO Label LPO-0027) or Renée Fleming | Orchestre de L’Opéra national de Paris | Ulf Schirmer (Arthaus Musik DVD)

Richard Strauss © Boosey & Hawkes

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

15

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Strauss: Final Scene from Capriccio Text & translation Countess: Morgen mittag um elf! Es ist ein Verhängnis.

Seit dem Sonett sind sie unzertrennlich.

Flamand wird ein wenig enttäuscht sein, statt meiner Herrn Olivier in der Bibliothek zu finden.

Und ich? Den Schluss der Oper soll ich bestimmen, soll – wählen – entscheiden?

Sind es die Worte, die mein Herz bewegen, oder sind es die Töne, die stärker sprechen?

Tomorow morning at eleven o’clock! It’s a disaster.

Since that sonnet they are inseparable.

Flamand will be a little disappointed to find Monsieur Olivier in the library instead of me.

And I? The ending of the opera …

I must determine it, I must choose … decide?

Is it the words that move my heart, or is it the music that speaks more strongly?

[She takes the copy of the sonnet, sits at the harp and accompanies herself as she sings the sonnet.]

Kein Andres, das mir so im Herzen loht, nein, Schöne, nichts auf dieser ganzen Erde, kein Andres, das ich so wie dich begehrte, und käm’ von Venus mir ein Angebot.

Nothing else flames so in my heart, no, Lady, nothing is there on earth’s whole face, nothing else that I could sigh for as for you, in vain would Venus herself come down to grant my will.

Dein Auge beut mir himmlisch-süße Not, und wenn ein Aufschlag alle Qual vermehrte, ein Andrer Wonne mir und Lust gewährte, zwei Schläge sind dann Leben oder Tod. [interrupting herself]

What joy, what pain your gentle eye bestows; and if a glance should heighten all that pain … the next restores my fondest hope and bliss entire; two glances signify then life … or death.

Vergebliches Müh’n, die beiden zu trennen.

In Eins verschmolzen sind Worte und Töne – zu einem Neuen verbunden.

Geheimnis der Stunde.

Eine Kunst durch die andere erlöst!

Fruitless effort to separate the two.

Words and music are fused into one … bound in a new synthesis.

Secret of the hour… one art redeemed by the other!

Und trüg’ ich’s fünfmalhunderttausend Jahre, erhielte außer dir, du Wunderbare, kein andres Wesen über mich Gewalt.

And, though I lived five hundred thousand years, save you, miraculous fair, there could not be another creature hold sway over me.

Durch neue Adern müsst’ mein Blut ich gießen, in meinen, voll von dir zum Überfließen, fänd’ neue Liebe weder Raum noch Halt.

Through fresh veins I must let flow my blood, my own with you are filled to overflowing, and new love then could find not room nor pause.

Ihre Liebe schlägt mir entgegen, zart gewoben aus Versen und Klängen.

Soll ich dieses Gewebe zerreißen?

Bin ich nicht selbst in ihm schon verschlungen?

Entscheiden für einen?

Für Flamand, die große Seele mit den schönen Augen – Für Olivier, den starken Geist, den leidenschaftlichen Mann?

Their love enfolds me, tenderly woven out of verses and sounds.

Shall I destroy this fabric?

Am I myself not already woven into it?

Decide for one?

For Flamand, the great spirit with the beautiful eyes – for Olivier, the powerful mind, the passionate man?

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London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Strauss: Final Scene from Capriccio Text & translation [She looks into the mirror] Nun, liebe Madeleine, was sagt dein Herz?

Du wirst geliebt und kannst dich nicht schenken.

Du fandest es süß, schwach zu sein, Du wolltest mit der Liebe paktieren, nun stehst du selbst in Flammen und kannst dich nicht retten!

Wählst du den Einen – verlierst du den Andern!

Verliert man nicht immer, wenn man gewinnt?

Now, dear Madeleine, what says your heart?

You are loved, but whom do you love now?

You found it sweet not to know, you sought to make a pact with love, and now you yourself are in flames and cannot save yourself!

In choosing the one you will lose the other!

Does one not always lose, when one wins?

[To her reflection] Ein wenig ironisch blickst du zurück?

Ich will eine Antwort und nicht deinen prüfenden Blick!

Du schweigst?

You look back at me ironically?

I want an answer and not your questioning look!

You do not answer?

O, Madeleine, Madeleine!

Willst du zwischen zwei Feuern verbrennen?

Du Spiegelbild der verliebten Madeleine, kannst du mir raten, kannst du mir helfen den Schluss zu finden für ihre Oper?

Gibt es einen, der nicht trivial ist?

O, Madeleine, Madeleine!

Do you want to be consumed between two fires?

You mirrored image of Madeleine in love, can you advise me, can you help me to find the ending for their opera?

Is there one that is not trivial?

OFFSTAGE Our weekly podcast, LPO Offstage, takes a look behind-the-scenes of the LPO, bringing you closer than ever to the world of orchestral music. Hosted by award-winning saxophonist and presenter YolanDa Brown, delve deep into the world of the LPO. Find LPO Offstage free on Apple Podcasts, Spotify, Acast, or wherever you listen.

lpo.org.uk/podcast

17

Final LPO concerts this season at the Southbank Centre’s Royal Festival Hall War and Peace

The Song of the Earth

Wednesday 27 April 2022

Friday 6 May 2022

Britten Sinfonia da Requiem Brett Dean Cello Concerto (UK premiere) Vaughan Williams Symphony No. 5

Harrison Birtwistle Deep Time Mahler Das Lied von der Erde

Edward Gardner conductor Alban Gerhardt cello

Edward Gardner conductor Magdalena Kožená mezzo-soprano Andrew Staples tenor

Generously supported by The Vaughan Williams Charitable Trust.

Generously supported by the LPO International Board of Governors.

OK! A Celebration of Oliver Knussen Saturday 30 April 2022 Knussen Flourish with Fireworks Knussen Horn Concerto Knussen Whitman Settings Britten The Prince of the Pagodas: Suite Ravel Daphnis et Chloé: Suite No. 2 Edward Gardner conductor Ben Goldscheider horn Sophie Bevan soprano

Book online lpo.org.uk Ticket Office 020 7400 4242

Dvořák’s Othello Overture on the LPO Label Antonín Dvořák: Othello Overture Symphony No. 6 Symphony No. 7

Yannick Nézet-Séguin conductor London Philharmonic Orchestra .£10.99 (2 CDs) | LPO-0095

Recorded live at the Southbank Centre’s Royal Festival Hall, London, on 3 February 2016

‘The melodies sing, the music-making is unexaggerated, the spirit is joyous. Recommended.’

The Financial Times

New on the LPO Label: Jessye Norman sings Strauss Richard Strauss: Five Songs | Le Bourgeois Gentilhomme | Salome (excerpts) Klaus Tennstedt conductor Jessye Norman soprano .£9.99 | LPO-0122

Newly available recording: recorded live in concert at the Southbank Centre’s Royal Festival Hall on 4 May 1986

‘It’s the songs, and especially the Salome, that make this recording an essential listen, and a compelling reminder of a great singer at her dramatic best.’ Editor’s Choice, Gramophone, 21 March 2022 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

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LPO ANNUAL APPEAL 2022

OPEN THE DOORS WE ARE ALL REDISCOVERING THE JOY OF LIVE MUSIC From the roar of appreciation as the baton is lowered; the goosebumps of a beautiful solo to the visceral power of the full orchestra. This shared experience creates a unique energy.

NOW, AFTER SUCH A LONG WAIT, WE ARE THROWING OPEN THE DOORS TO OUR CONCERTS We believe passionately that everyone should have the opportunity to experience them and we are committed to reaching as many people as we can.

TO THE DONATE TO ‘OPEN THE DOORS’ AND HELP US TO CONNECT NEW AUDIENCES WITH WHAT WE DO BY MAKING TICKETS ACCESSIBLE Your gift will enable us to offer affordable tickets to those who may not otherwise attend a concert. It will help us to touch more people and to share the wonder of a live musical experience with the classical music lovers of today and tomorrow.

HELP US OPEN THE DOORS TO MORE PEOPLE, AND SHARE THE MUSIC YOU LOVE. DONATE ONLINE AT LPO.ORG.UK/OPENTHEDOORS, OR CALL THE INDIVIDUAL GIVING TEAM ON 020 7840 4212 OR 020 7840 4225.

THANK YOU.

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

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 Ladanyi-Czernin 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

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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

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 • 22 April 2022 • A Gala Evening with Renée Fleming

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 In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family

Associates

Anonymous donors Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust 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 Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen

In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams

Bronze Patrons

Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson

Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Mr & Mrs Ralph Kanza Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Nicholas & Felicity Lyons Geoff & Meg Mann Harriet & Michael Maunsell Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Joe Topley Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

Principal Supporters

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby

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Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill

Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Miss Yousun Chae Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

Thank you

Ruth Silvestre Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

Corporate Donors

Hon. Benefactor

Tutti

Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

Thomas Beecham Group Members Chris Aldren 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

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Ogilvy UK Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

Trusts and Foundations

The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide 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 Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family 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 COVID-19 pandemic.

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Board of the American Friends of the LPO 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 Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) 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)

London Philharmonic Orchestra • 22 April 2022 • A Gala Evening with Renée Fleming

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport 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 Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Jean-Paul Ramotar Finance and IT Officer

Frances Slack Finance Director Dayse Guilherme Finance Manager

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

Development Laura Willis Development Director

Grace Ko Tours Manager

Scott Tucker Development Events Manager

Alison Jones Concerts and Recordings Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Felix Lo Orchestra and Auditions Manager

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

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Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Haines (née Knight) Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Siân Jenkins Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website 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 Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd