LPO programme: 22 Feb 2023 - Adès conducts Adès

2022/23 concert season at the Southbank Centre

Concert programme Where music takes you

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 Wednesday 22 February 2023 | 7.30pm

Adès conducts Adès Sibelius Overture to The Tempest (5’) Sibelius Suite No. 1 from The Tempest (20’) Thomas Adès The Tempest Symphony (UK premiere) (22’) Interval (20’) Thomas Adès Inferno Suite (19’) Tchaikovsky Francesca da Rimini (Fantasy after Dante) (24’) Thomas Adès conductor

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

Concert presented by the London Philharmonic Orchestra

Contents 2

Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 6 Thomas Adès 7 Programme notes 11 Recommended recordings 12 Next concerts 13 Sound Futures donors 14 Thank you 16 LPO administration

London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Welcome

LPO news

Welcome to the Southbank Centre

LPO Young Composers – Applications open for 2023/24

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

Applications for the LPO Young Composers 2023/24 programme are now open!

Mentored by the LPO’s Composer-in-Residence – currently Brett Dean, to be succeeded by Tania León in September 2023 – the Young Composers spend a season with the LPO, each creating a new chamber orchestra work that is performed by Foyle Future First musicians and LPO players in a public showcase concert at the Southbank Centre’s Queen Elizabeth Hall.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

We hope you enjoy your visit. If you need any information or help, please ask a member of staff.

You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

Applications are open to currently unpublished composers aged over 18 and not in full-time education, who are composing at postgraduate level or beyond, or an equivalent standard.

Subscribers to our email updates are the first to hear about new events, offers and competitions.

Just head to our website to sign up.

The deadline to apply is Friday 10 March.

To find out more, visit lpo.org.uk/youngcomposers

Drinks

Congratulations Karina!

You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards.

Thank you.

Congratulations to our Principal Guest Conductor Karina Canellakis, who has been shortlisted in the Conductor category of the 2023 Royal Philharmonic Society Awards.

Billed as ‘the BAFTAs of classical music’, the RPS Awards celebrate classical musicians nationwide, shining a light on brilliant individuals, groups and initiatives. The 2023 winners will be announced in a ceremony at the Southbank Centre’s Queen Elizabeth Hall on 1 March.

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

On stage tonight First Violins

Ania Safanova Guest Leader Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Cassandra Hamilton Martin Höhmann Yang Zhang

Chair supported by Eric Tomsett

Alfredo Reyes Logounova Thomas Eisner Jamie Hutchinson Alice Apreda Howell Ricky Gore Sophie Mather Ronald Long Alice Hall Chu-Yu Yang Will Hillman

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Helena Smart Nancy Elan Nynke Hijlkema Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Sioni Williams Claudia Tarrant-Matthews Kate Cole Jessica Coleman Sheila Law Emma Purslow Alison Strange

Violas

Rachel Roberts Guest Principal

Laura Vallejo Benedetto Pollani Lucia Ortiz Sauco Martin Wray Stanislav Popov Toby Warr Michelle Bruil Jisu Song Linda Kidwell Julia Doukakis Kim Becker

E-flat Clarinet

Cellos

Tim Gill Guest Principal David Lale Susanna Riddell Tom Roff Helen Thomas George Hoult Sibylle Hentschel Iain Ward Jane Lindsay Tamaki Sugimoto

Simon Carrington*

Chair supported by Roger Greenwood

Chair supported by Victoria Robey OBE

Bass Clarinet

Percussion

Principal

Paul Richards* Principal

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey

Double Basses

Shelly Organ Simon Estell*

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Lowri Morgan Charlotte Kerbegian Adam Wynter Cathy Colwell

Timpani

Thomas Watmough

Contrabassoon

Simon Estell* Principal

Horns

Principal

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Tom Pritchard Keith Millar Tom Edwards Karen Hutt

Harp

Tamara Young

Guest Principal

Keyed Glockenspiel

John Ryan* Principal Annemarie Federle

Iain Clarke

Fiona Kelly Guest Principal Imogen Royce Stewart McIlwham*

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Benjamin Voce

Piccolos

Trumpets

Flutes

Principal

Stewart McIlwham*

Paul Beniston* Principal Jack Wilson Guest Principal Anne McAneney*

Principal

Fiona Kelly Imogen Royce

Cornets

Oboes

Jack Wilson David Hilton

Ian Hardwick* Principal Alice Munday Peter Facer

Trombones

Mark Templeton* Principal

Cor Anglais

Chair supported by William & Alex de Winton

Peter Facer

Andrew Cole

Clarinets

Bass Trombone

Benjamin Mellefont Principal

Lyndon Meredith Principal

Thomas Watmough Chair supported by Roger Greenwood

Tuba

Stuart Beard Guest Principal

Paul Richards*

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Assistant Conductor * Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler Friends of the Orchestra Dr Barry Grimaldi Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Neil Westreich

London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

© Mark Allan

London Philharmonic Orchestra

Our conductors

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade.

Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Our home is here at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Soundtrack to key moments Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings.

Sharing the wonder You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020.

During 2022/23 we’re once again working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

Written and directed by Bill Barclay

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training.

Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

Tuesday 21 March 2023 7.30pm St Martin-in-the-Fields The Chevalier tells the fascinating story of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges.

Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

We have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

Matthew Kofi Waldren conductor Braimah Kanneh-Mason violin Chukwudi Iwuji Joseph Bologne

2022/23 and beyond

Merritt Janson Marie Antoinette

We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

David Joseph Mozart Bill Barclay Choderlos de Laclos London Philharmonic Orchestra & friends Generously supported by Victoria Robey OBE

Tickets: £10–£35 Booking fee: £2.75 St Martin in the Fields Box Office 020 7766 1100 (Mon–Sat 10.00am–5.00pm) smitf.org

lpo.org.uk

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Thomas Adès composer & conductor

‘One of the most accomplished and complete musicians of his generation’

© Brian Voce

– The New York Times

Thomas Adès was born in London in 1971. Renowned as both composer and performer, he works regularly with the world’s leading orchestras, opera companies and festivals. His compositions include three operas: he conducted the premiere of the most recent, The Exterminating Angel, at the 2016 Salzburg Festival and subsequently at New York’s Metropolitan Opera and London’s Royal Opera House. He conducted the premiere and revival of The Tempest at the Royal Opera House, and a new production at the Metropolitan Opera, Vienna Staatsoper and in November 2022 at La Scala, Milan. He led the world premiere of his full-evening ballet Dante at Covent Garden, and will conduct it in May 2023 at the Opéra Garnier, Paris.

Anthony Marwood in 2019, the UK premiere of his Powder Her Face Suite in 2018, and the Chamber Symphony, which was recorded live and released on the LPO Label in 2008 (LPO-0035). Thomas also appears regularly with the Los Angeles Philharmonic; the Boston, London, BBC, Finnish Radio and City of Birmingham symphony orchestras; the Royal Concertgebouw and Leipzig Gewandhaus orchestras; and the Orchestra of Santa Cecilia, Rome.

In opera, in addition to The Exterminating Angel, he has conducted Stravinsky’s The Rake’s Progress at the Royal Opera House and Zürich Opera, and the premieres of three operas by Gerald Barry, including the Los Angeles world premieres of The Importance of Being Earnest and Alice’s Adventures Under Ground, of which he also gave the European premiere at Covent Garden.

Recent highlights include Thomas’s debut concerts with the Vienna Philharmonic, and his conducting debut with the Berlin Philharmonic. In summer 2022 he conducted the world premiere of Air for violin and orchestra at the Lucerne Festival, a Roche commission for Anne-Sophie Mutter and the Lucerne Festival Contemporary Orchestra.

Thomas frequently leads performances of his orchestral works Asyla (1997), Tevot (2007), Polaris (2010), the Violin Concerto Concentric Paths (2005), In Seven Days for piano and orchestra (2008); Totentanz for mezzo-soprano, baritone, and orchestra (2013); and the Concerto for Piano and Orchestra (2019).

His compositions also include numerous celebrated chamber and solo works.

The London Philharmonic Orchestra has enjoyed a long and fruitful relationship with Thomas Adès since he was the Orchestra’s Composer-in-Focus in 2000/01. At the 2022 Dresden Festival in May, the LPO gave the world premiere of his Tempest Symphony under the baton of the composer, as well as a performance of In Seven Days with pianist Nicolas Hodges. The Orchestra’s UK premiere of Adès’s Concerto for Piano and Orchestra with Kirill Gerstein was nominated for a 2020 South Bank Sky Arts Award. The Orchestra has previously performed and recorded many of his works, including the violin concerto Concentric Paths with soloist

His piano engagements have included solo recitals at Carnegie Hall (Stern Auditorium) in New York and the Wigmore Hall in London, and concerto appearances with the New York Philharmonic and the Boston Symphony Orchestra. Recent piano releases include an album of solo piano music by Janáček and a live album of Schubert’s Winterreise with Ian Bostridge. His solo disc of Janáček’s piano music won the 2018 Janáček Medal.

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Programme notes Jean Sibelius 1865–1957

Overture and Suite No. 1 from The Tempest 1925–27

I Overture II The Oak Tree III Humoresque IV Caliban’s Song V The Harvesters VI Canon VII Scene VIII Intrada – Berceuse IX Interlude – Ariel’s Song X The Tempest When Sibelius completed his Seventh Symphony, early in 1924, he perhaps did not realise that, in more than 30 more years of active life, he would not finish another.

The Symphony was followed by an hour-long score for a production of Shakespeare’s Tempest in Copenhagen, composed in 1925–26, and by the tone-poem Tapiola (1926). The rest, to quote another Shakespeare play, was silence, or almost so.

The following ‘Humoresque’ is a jolly minute’s-worth one could imagine suiting the comic characters.

Similarly brief are ‘Caliban’s Song’, robust and a bit weird, and ‘The Harvesters’, which must have been prompted by the Act IV masque, where Juno and Ceres sing: ‘Spring come to you at the farthest, In the very end of harvest.’ There are strong echoes here of the symphonic Sibelius.

The Tempest music begins with an overture that, in its noise of wind and wave, could have been a model for Thomas Adès’s orchestral storm scene at the opening of his opera. From the numbers that follow – songs, interludes, dance pieces – Sibelius created two suites, partly by grafting musical sequences, and arranged them out of dramatic order in the interests of musical flow and contrast. For instance, the first Suite begins with music spliced out of the third and second acts to make an image of the oak tree split open to confine Ariel before the action begins. The split wood is there at the start; then begins a flute solo.

So there are in the ensuing ‘Canon’, where the numbers begin to be longer. The pit-a-pat ‘Scene’ is followed by a strenuous ‘Intrada’ reminiscent of the Overture, leading into a ‘Berceuse’. (Sleep, especially charmed sleep, is one of the play’s stratagems.)

The piece that comes next, ‘Interlude – Ariel’s Song’, represents another side of the symphonic Sibelius, strained and slowly evolving, with parallels in the Seventh and Tapiola. Finally, from a pianissimo beginning, comes a return to the storm music of the Overture. Abruptly, it is all over, as if the composer has got up from his chair and left.

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Programme notes Thomas Adès born 1971

The Tempest Symphony 2003/2022 (UK premiere)

I Overture (Storm) II Ariel and Prospero III Ferdinand and Miranda IV The Feast V Prospero’s Farewell – Caliban as far as to F sharp. This daredevil music is taken in the Symphony by high woodwinds. Prospero arrives on muted horn and violas.

The Tempest, Thomas Adès’s second opera and his first on a large scale, had its premiere at Covent Garden in 2003 and has since been staged by companies including the Metropolitan Opera, the Vienna State Opera and, last November, La Scala. This Symphony provides a compact selection of scenes in which the vocal parts are taken by instruments – a vision of the opera as pure, lustrous music, distilled from two hours to a little over 20 minutes. Adès created the score for the London Philharmonic Orchestra, who gave the first performance in Dresden last May.

Next comes the second half of the love scene that closes the second of the opera’s three acts. Prospero’s daughter Miranda and the new castaway Ferdinand sing a duet in short phrases that echo each other, clasp each other. In the opera this music is brought to an orchestral climax and returmed to the young couple. Prospero enters again, this time on solo cello, to accept a power he cannot control.

First, of course, must come the Overture, trimmed of its opening instant of calm to go straight into the music of whistling wind and tumbling wave, of rushing staccato quavers and heaving long-short rhythms. When this has all passed, uncertain harmonies remain. The second movement turns to a dialogue between the sprite Ariel and his/her master Prospero, deposed and exiled from Milan to make a little kingdom of his own on the island where all the action of the opera (as of the original Shakespeare play) unfolds. Ariel is sung in the opera by a soprano whose spectacular switchback line keeps jetting up to a high E and down again, with overspills

In a moment, then, from the third act, Ariel conjures up a feast for the sympathetic senior shipwreck survivors.

Twinkling glockenspiel, harp and high piano, together with airy Ariel music on high woodwinds and violins, evoke magic, with strands from the love scene intertwined. Afterwards the tuba, supported by trombones, sings an aria for the generous-spirited Gonzalo. The voyage through The Tempest ends with the finale. Accompanied by softly scintillant stairways, Prospero’s voice, at first on cellos, dissolves, and the island is left to human-free tranquillity.

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

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Programme notes Thomas Adès born 1971

Inferno Suite 2019–21

I Abandon Hope II The Selfish – stung by wasps III The Ferryman IV Pavan of the Souls in Limbo X The Popes’ Adagio – heads first XI The Hypocrites – in coats of lead XII The Thieves – devoured by snakes XIII Satan – in the lake of ice Playing continuously for a little under 20 minutes, this Suite draws sections from the opening part of Dante, a triptych based on The Divine Comedy that Adès composed in 2019–20 to a joint commission from the Los Angeles Philharmonic and the Royal Ballet. The latter gave the first complete performance in October 2021, with choreography by Wayne McGregor. Earlier, in January of that year, the Inferno Suite had received its premiere in Rome, Gianandrea Noseda conducting the Orchestra of the Accademia Nazionale di Santa Cecilia.

Charon then ferries Dante and Virgil across the river Acheron, to rowing music with solo cor anglais. Also to be heard are the howlings of miscreants en route with the two poets to deeper Hell, not going as visitors, never to return.

Adès has described his Inferno as ‘a grateful tribute to Franz Liszt, the composer of Hell and demonic music.’

The work begins, demonically enough, with gyrations raging under words from the sign that Dante saw placed over the gates of Hell: ‘Abandon Hope’. In Hell’s vestibule are those who, though barred from Paradise on account of their selfishness, were not quite wicked enough in life to deserve the serious punishments the Inferno has in store. Their lot is, nevertheless, pretty bad. They are perpetually being stung by wasps, graphically represented at the start of this episode by trilling (drilling, one might say) clarinets, violas and cellos.

Leaping over several regions pictured in the complete ballet score, we come to a part of the eighth circle where corrupt clerics, including two successive popes of Dante’s time, are stuffed head first into holes in the rock, their feet burned by flames. The ‘Popes’ Adagio’ considers this situation. Elsewhere in the eighth circle, hypocrites have to drag themselves around in coats of lead, while in another domain – and in the longest movement – thieves scurry away from devouring snakes.

From this point we proceed, as Dante and Virgil do in the poem, through the Inferno’s nine circles of increasingly infamous inhabitants. The first is limbo, where virtuous pagans dwell in a subdued pleasantness – and dance a pavan, gently scored at first for strings and harp.

Continued overleaf

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Programme notes Within the ninth circle, at the very centre of Hell, is the spot reserved for Satan, seen as a three-faced monster held waist-deep in ice. In this final short scene, Adès dares us to feel pity for the object of pitiless judgment.

Sibelius & Adès programme notes © Paul Griffiths

Pyotr Ilyich Tchaikovsky 1840–93

Francesca da Rimini (Fantasy after Dante) 1876

Throughout his life, Tchaikovsky was prone to feelings of guilt and foreboding. Arguments have raged about whether his homosexuality was wholly or partly the cause of this; but it is almost certain that the composer was also bipolar – or, to use the older label, manicdepressive. Feelings of guilt, sometimes inexplicable, and of dread for some indefinable fate, are common symptoms of the depressive phase. In Tchaikovsky’s case, however, he was able to channel these feelings into some of his most remarkable music, and there were times when this may well have saved his sanity.

Courtesy of the Royal College of Music, London

No doubt the presence of such powerful emotions, so memorably expressed in the poetry of Dante’s Inferno, was one reason for Tchaikovsky’s attraction to the subject of Francesca da Rimini. In the poem, Francesca’s punishment for her adulterous affair is to be blown ceaselessly through dark space by whirlwinds. Almost certainly the theme of forbidden love added another strand of fascination for Tchaikovsky, in which case he would have been strongly moved by Dante’s description of his own reaction to Francesca’s fate: hearing her story from her lips, Dante is so struck with compassion that he faints, ‘falling like a corpse to the ground’. Francesca’s narrative begins with one of the most famous remarks in the whole of Inferno: ‘There is no greater grief than to remember happy times in the midst of misery’ – words Tchaikovsky clearly took to heart.

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Programme notes ‘This morning, when I was in the train, I read the Fourth Canto of Hell and was seized with a burning desire to write a symphonic poem on Francesca.’

Initially Tchaikovsky thought of turning the story of Francesca into an opera. A libretto was provided for him by the Russian critic and composer Hermann Laroche early in 1876. But for a variety of reasons Tchaikovsky turned against the idea. When his brother Modest suggested an orchestral work, Tchaikovsky knew he had found the solution, and the resulting ‘Fantasy after Dante’ was composed quickly. Tchaikovsky’s estimation of his own works often swung as widely as his own moods, but this time his pride in his musical achievement lasted: ‘I wrote it with love and that lover, it seems, has come out rather well.’ In fact Francesca da Rimini is not only one of his most stirring works, but as a whole it reconciles musical form and feeling triumphantly.

The grim introduction is compact and tense, leading seamlessly into the music of the whirlwind, which gathers momentum, then falls back into the grim introductory music. Now the storm builds to full fury.

As it abates, a solo clarinet introduces the love theme – we can imagine Francesca recalling those lost ‘happy times’. But then, inevitably, the storm returns, now rising to a devastating conclusion.

– Tchaikovsky, writing in 1876 during a trip to Bayreuth to listen to the music of Richard Wagner (He was actually mistaken – the Francesca episode occurs in Canto V.)

Recommended recordings of tonight’s works

Tchaikovsky programme note © Stephen Johnson

by Laurie Watt Sibelius: The Tempest London Philharmonic Orchestra | Adrian Boult (Somm) or Lahti Symphony Orchestra | Osmo Vänskä (BIS)

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.

Thomas Adès: The Tempest (complete opera) Thomas Adès | Orchestra of the Royal Opera House (EMI Classics) Tchaikovsky: Francesca da Rimini London Philharmonic Orchestra | Vladimir Jurowski (LPO Label: box set LPO-0101, or available to stream) or Gennady Rozhdestvensky | Leningrad Philharmonic Orchestra (DG Galleria)

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Next LPO concerts at the Southbank Centre’s Royal Festival Hall FROM PARIS WITH LOVE Saturday 25 February 2023 | 7.30pm Ravel Pavane pour une infante défunte Chausson Poème de l’amour et de la mer Franck Symphony in D minor Bertrand de Billy conductor Danielle de Niese soprano Generously supported by Mrs Aline Foriel-Destezet

GARDNER CONDUCTS RACHMANINOFF Saturday 4 March 2023 | 7.30pm George Benjamin Sudden Time Grieg Piano Concerto Rachmaninoff Symphonic Dances Edward Gardner conductor Leif Ove Andsnes piano Generously supported by PRS Foundation’s Resonate programme

TCHAIKOVSKY’S FIFTH Wednesday 15 March 2023 | 7.30pm Beethoven Coriolan Overture Prokofiev Piano Concerto No. 3 Tchaikovsky Symphony No. 5 Karina Canellakis conductor Daniil Trifonov piano Generously supported by Victoria Robey OBE

LPO.ORG.UK

Danielle de Niese © Chris Dunlop/Decca

London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

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 KC 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)

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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 February 2023 • Adès conducts Adès

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

Orchestra Circle

William & Alex de Winton Patricia Haitink Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Sally Groves MBE George Ramishvili

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Stuart & Bianca Roden In memory of Hazel Amy Smith The Tsukanov Family The Viney Family

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Jan & Leni Du Plessis The Vernon Ellis Foundation Peter & Fiona Espenhahn Hamish & Sophie Forsyth Mr Roger Greenwood Malcolm Herring John & Angela Kessler

Mrs Elena & Mr Oleg Kolobov Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr Nicholas Little Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Andrew T Mills Peter & Lucy Noble Mr Roger Phillimore Mr Michael Posen Mr Anthony Salz Ms Nadia Stasyuk Charlotte Stevenson Joe Topley Mr & Mrs John C Tucker Timothy Walker CBE AM Jenny Watson CBE Grenville & Krysia Williams

Julian & Gill Simmonds Eric Tomsett Andrew & Rosemary Tusa Guy & Utti Whittaker Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham John & Sam Dawson Bruno De Kegel Ulrike & Benno Engelmann Virginia Gabbertas MBE Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Sir George Iacobescu Jamie & Julia Korner Mr & Mrs Makharinsky Mr Nikita Mishin Andrew Neill Tom & Phillis Sharpe Mr & Mrs John & Susi Underwood Laurence Watt

Principal Supporters

Anonymous donors Dr Manon Antoniazzi Julian & Annette Armstrong Mr John D Barnard Mr Geoffrey Bateman Mr Philip Bathard-Smith Mrs A Beare Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Peter Coe Mrs Pearl Cohen David & Liz Conway Mr Alistair Corbett Ms Mary Anne Cordeiro Ms Elena Dubinets Mr Richard Fernyhough Jason George Mr Christian Grobel Prof Emeritus John Gruzelier Mark & Sarah Holford Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Kim J Koch Ms Elena Lojevsky Mrs Terry Neale John Nickson & Simon Rew Oliver & Josie Ogg Ms Olga Ovenden Mr James Pickford Filippo Poli Sir Bernard Rix Mr Robert Ross Priscylla Shaw Martin & Cheryl Southgate

Bronze Patrons

Anonymous donors Michael Allen Mr Mark Astaire Nicholas & Christine Beale Mikhail Noskov & Vasilina Bindley Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr Evgeny Chichvarkin Mr John H Cook Georgy Djaparidze Deborah Dolce Cameron & Kathryn Doley Mariana Eidelkind & Gene Moldavsky David Ellen Ben Fairhall Mr Richard & Helen Gillingwater Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Martin & Katherine Hattrell Michael & Christine Henry Mr Steve Holliday J Douglas Home Mr & Mrs Ralph Kanza

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Mr & Mrs G Stein Dr Peter Stephenson Joanna Williams Christopher Williams Ms Elena Ziskind

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr & Mrs Robert Auerbach Mrs Julia Beine Harvey Bengen Miss YolanDa Brown OBE Miss Yousun Chae Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Miss Tessa Cowie Mr David Devons Patricia Dreyfus Mr Martin Fodder Christopher Fraser OBE Will Gold Ray Harsant Mr Peter Imhof The Jackman Family Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mari Payne Mr David Peters Ms Edwina Pitman Mr & Mrs Graham & Jean Pugh Mr Giles Quarme Mr Kenneth Shaw Mr Brian Smith Ms Rika Suzuki Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr C D Yates

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

Thank you

Thomas Beecham Group Members

David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Corporate Donor Barclays

LPO Corporate Circle Principal Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Natixis Corporate Investment Banking Sciteb Ltd Walpole

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation Lord and Lady Lurgan Trust The Marchus Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust Sir William Boremans’ Foundation The John S Cohen Foundation The Stanley Picker Trust The Thriplow Charitable Trust TIOC Foundation Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust

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 Kara Boyle Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt Marc Wasserman Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Shashank Bhagat Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman Countess Dominique Loredan Olivia Ma George Ramishvili Sophie Schÿler-Thierry Jay Stein

and all others who wish to remain anonymous.

Preferred Partners Gusbourne Estate Jeroboams Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 22 February 2023 • Adès conducts Adès

London Philharmonic Orchestra Administration Board of Directors

Dr Catherine C. Høgel Chair Lord Hall of Birkenhead CBE Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Al MacCuish Minn Majoe* Tania Mazzetti* 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 OBE Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL 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

Finance

Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Nicholas Snowman OBE Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

Education and Community

General Administration

Talia Lash Education and Community Director

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

Concert Management Roanna Gibson Concerts and Planning Director

Anna Quillin Trusts and Foundations Manager Katurah Morrish Development Events Manager

Robert Winup Concerts and Tours Assistant

Eleanor Conroy Al Levin Development Assistants

Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Nick Jackman Campaigns and Projects Director

Sarah Thomas Martin Sargeson Librarians

Kirstin Peltonen Development Associate

Laura Kitson Stage and Operations Manager

Marketing Kath Trout Marketing and Communications Director

Stephen O’Flaherty Deputy Operations Manager Felix Lo Orchestra and Auditions Manager

Sophie Harvey Marketing Manager Rachel Williams Publications Manager

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Hayley Kim Marketing Co-ordinator Alicia Hartley Marketing Assistant

Gillian Pole Recordings Archive

Siân Jenkins Corporate Relations Manager

Alison Jones Concerts and Recordings Co-ordinator

Greg Felton Digital Creative

Hannah Smith Education and Community Co-ordinator

Rosie Morden Individual Giving Manager

Madeleine Ridout Glyndebourne and Projects Manager

Ruth Haines Press and PR Manager

Archives

Laura Willis Development Director

Maddy Clarke Tours Manager

Gavin Miller Sales and Ticketing Manager

Lowri Davies Hannah Foakes Education and Community Project Managers

Development

Graham Wood Concerts and Recordings Manager

Harrie Mayhew Website Manager

Philip Stuart Discographer

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon 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 illustration Simon Pemberton/Heart 2022/23 season identity JMG Studio Printer John Good Ltd