2021/22 concert season at the Southbank Centre’s Royal Festival Hall
Concert programme
Principal Conductor Edward Gardner 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 Saturday 25 September 2021 | 6.30pm
Michael Tippett The Midsummer Marriage (semi-staged) Opera in three acts Libretto by the composer Edward Gardner conductor Robert Murray Mark Rachel Nicholls Jenifer Ashley Riches King Fisher Jennifer France Bella Toby Spence Jack Claire Barnett-Jones Sosostris Susan Bickley She-Ancient Joshua Bloom He-Ancient John Findon Dancing Man Trevor Bowes Half-Tipsy Man Robert Winslade Anderson A Man Sophie Goldrick A Girl London Philharmonic Choir Artistic Director: Neville Creed
ENO Chorus
Chorus Director: Mark Biggins There will be two 20-minute intervals, after Act 1 and after Act 2. Tonight’s performance will end at approximately 10.10pm. This performance is supported by the Vernon Ellis Foundation, Peter & Fiona Espenhahn, Hamish & Sophie Forsyth, Malcolm Herring and Harriet & Michael Maunsell. The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Contents 2 Welcome 3 Synopsis 6 Composer profile 8 Programme notes 12 Edward Gardner on The Midsummer Marriage 14 Edward Gardner 15 Tonight’s soloists 19 London Philharmonic Choir 20 ENO Chorus 21 On stage tonight 22 London Philharmonic Orchestra 23 Leader: Pieter Schoeman 25 Sound Futures donors 26 Thank you 28 LPO administration
This concert is being recorded by BBC Radio 3 for live broadcast, and will be available for 30 days via the Radio 3 website and the BBC Sounds app.
London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
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Welcome Elena Dubinets: our new Artistic Director
We look forward to seeing you again soon.
Following the departure of Cristina Rocca due to personal circumstances, we were delighted to welcome Elena Dubinets, the Orchestra’s new Artistic Director, earlier this month. A high-profile artistic leader and music scholar, Elena joins us from the USA, having previously held top artistic planning positions at the Atlanta and Seattle symphony orchestras.
A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance. Recording is not permitted in the auditorium without the prior consent of 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. Mobiles and watches should be switched off before the performance begins.
Autumn tours After the travel restrictions of the last 18 months, we’re delighted that September at last saw the return of international touring for the Orchestra. We were invited to perform at the George Enescu Festival in Bucharest in the first week of September, giving two concerts with conductor Edward Gardner and soloists violinist Patricia Kopatchinskaja and cellist Nicolas Altstaedt.
Enjoying your visit safely As we open our 2021/22 LPO season, the health and wellbeing of our audiences, musicians and staff remains our top priority, and all concerts and events will have appropriate safety measures in place in accordance with Government guidelines: the Southbank Centre’s website will be kept up-to-date with all the latest information.
In November we travel to Germany for a busy week of concerts across the country, again with Edward Gardner along with pianist Jan Lisiecki. We return to Germany in December, this time with Vladimir Jurowski in his new role as Conductor Emeritus, before a final concert at the Théâtre des Champs-Elysées in Paris.
To find out more, visit southbankcentre.co.uk/visit or speak to a member of Southbank Centre staff.
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Synopsis Michael Tippett 1905–98
The Midsummer Marriage
Opera in three acts (1946–52, premiered 1955)
Mark, a young man of unknown parentage (tenor) Robert Murray Jenifer, his betrothed, a young girl (soprano) Rachel Nicholls King Fisher, Jenifer's father, a businessman (baritone) Ashley Riches Bella, King Fisher's secretary (soprano) Jennifer France Jack, Bella's boyfriend, a mechanic (tenor) Toby Spence Sosostris, a clairvoyante (contralto) Claire Barnett-Jones She-Ancient, a priestess (mezzo-soprano) Susan Bickley He-Ancient, a priest (bass) Joshua Bloom Dancing Man (tenor) John Findon Half-Tipsy Man (baritone) Trevor Bowes A Man (bass) Robert Winslade Anderson A Girl (mezzo-soprano) Sophie Goldrick Mark's and Jenifer's friends London Philharmonic Choir & ENO Chorus Surtitles created by Jonathan Burton, revised and operated by Andrew Kingsmill.
‘You shall say: I am a child of earth and of starry heaven.’ A clearing in a wood. At the back, a group of buildings around a Greek temple. To the right, a spiral staircase of stone, reaching up into the sky. To the left, gates that appear to be the entrance to a cave, reaching down into the earth. The time is the present.
Act 1 (Morning) dance in celebration of his wedding, but to teach Mark the perils of disrupting tradition, the He-Ancient trips the attendant, Strephon (perhaps the personification of Mark’s ‘shadow’). Mark sings rapturously of his happiness in love, but when Jenifer arrives, she is dressed for a journey rather than a wedding and ascends the stone staircase to disappear from sight. Jenifer’s
It is the dawn of midsummer day. Young people gather in a wood to celebrate the wedding of a young ‘royal’ couple, Mark and Jenifer (the Cornish version of Guinevere). Startled by strange and distant music, they hide as a group of dancers comes from the temple, led by two ‘Ancients’, named for characters in Shaw’s Back to Methuselah. Mark himself arrives, and calls for a new
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Synopsis father, King Fisher, storms on: he is a business tycoon, a modern riff on the Fisher King of legend, whose impotence condemns the land to infertility (the name is conceived in the same vein as Duke Ellington or Count Basie). King Fisher is accompanied by his secretary, Bella, and is in a fury at Jenifer’s elopement. Mark escapes through the gates, descending into the cave behind. The Ancients refuse to open the gates for King Fisher, who is unable to bribe the chorus to come to his aid. Bella suggests that her boyfriend, Jack, a mechanic, might force them open, but Jack’s attempts are hindered by a warning from a disembodied voice. Suddenly Jenifer appears, transfigured, at the top of the staircase; the gates open and Mark emerges, similarly transformed. Each sings of their experiences, but they find themselves again in disagreement: this time, Jenifer enters the gates and Mark climbs the staircase, leaving King Fisher protesting and the chorus laughing in the sunshine.
Act 2 (Afternoon)
Interval: 20 minutes
The chorus is celebrating after a party, some rather the worse for wear. King Fisher arrives with a gun. In the hopes of finding Mark and Jenifer he has brought a clairvoyante, named after a character in T. S. Eliot’s The Waste Land: Madame Sosostris. Jack pretends to be Sosostris but the true clairvoyante eventually appears, more than life-size, swathed in swirling black veils. She sings of the horrible burden of her oracular powers, and describes a vision of Mark and Jenifer making love. King Fisher cannot bear to listen and destroys her crystal ball, demanding that Jack strip away Sosostris’s veils. Jack refuses and he and Bella leave the opera for their life together. King Fisher steels himself to unveil Sosostris and reveals the bud of an enormous flower, which blooms, petal by petal, to show Mark and Jenifer entwined within. Almost blinded by the radiant sight, he crumples, dead, to the ground. As in legend, the death or sacrifice of the fisher king becomes part of an age-old fertility rite, and the fourth Ritual Dance (Fire in Summer) can now take place. Mark, Jenifer, and Strephon are all enclosed by the petals of the flower, which bursts into flame. As in Eliot’s Four Quartets, ‘the tongues of flames are in-folded … And the fire and the rose are one.’ The moonlight gives way to the dawn and the morning mist: it is midsummer day once again. Mark and Jenifer emerge, dressed for a wedding. All go off into the distance, leaving the stage flooded with light, and the temple and buildings revealed as nothing more than ruins.
Strephon begins a dance but is interrupted by the chorus. Separating from the group, Bella proposes to Jack, and they sing a lullaby to their future child. Then come the first three of the opera’s four Ritual Dances, each of which combines a season with an element (The Earth in Autumn, The Waters in Winter, The Air in Spring). Strephon, variously transfigured as three hunted animals (a hare, a fish, a bird) is pursued in each by a female dancer (as a hound, an otter, and a hawk). The bird’s plight frightens Bella, who clings to Jack. She straightens her hair, puts on her make-up, and they run off to join the others. Interval: 20 minutes
Act 3 (Evening and Night)
Tippett at work
Oliver Soden
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Composer profile Michael Tippett 1905–98
Born in London in 1905, Michael Tippett died nearly 100 years later, his life and career spanning a tumultuous century to which he and his music were especially attuned. Raised in a world of gaslight and Empire, in his mid-eighties he would write an opera, New Year, that encompassed computers and space travel, its soundscape spiced with rap, reggae, and electronics. He was raised in Suffolk, his childhood largely overtaken by his mother’s over-arching dedication to the women’s suffrage movement. It was an innate sense that he should respond creatively to global events, rather than any natural talent, that led to his studying at the Royal College of Music. His twenties and thirties were dedicated to compositions, now withdrawn, that he later decided were weakened by lack of originality and a dedication to left-wing politics. Aghast at the Great Depression and the threat of fascism, Tippett initially dedicated much of his time to political endeavours, not least major musical projects formed to boost the morale of unemployed miners in the north of England. He quickly rejected the Stalinist interpretation of Marxism, believing instead, with a temporarily violent favour, in Leon Trotsky’s theory of permanent worldwide revolution. A breakdown of a major love affair and a subsequent period of Jungian therapy coincided with the outbreak of the Second World War, leading Tippett to reject violence of any persuasion – Trotskyian, Hitlerian, Churchillian – and devote the rest of his life to an ardent and absolute pacifism. He registered as a conscientious objector, and his refusal to comply with the terms of his exemption from military service led to his serving two months in HMP Wormwood Scrubs. By the end of the war he had produced a clutch of powerful works, characterised by imaginative counterpoint and a characteristically eclectic list of influences from Beethoven to blues: two string quartets, a symphony, the Concerto for Double String Orchestra, and an oratorio woven around the events of Kristallnacht: A Child of Our Time.
Michael Tippett at 30 Photo courtesy of Schott Music
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Composer profile
The post-war years Tippett dedicated to the lushlyorchestrated lyricism of his first mature opera, The Midsummer Marriage, and its satellite works, chief among them his Piano Concerto, and the Fantasia Concertante on a Theme of Corelli. Critical reception was either politely perplexed or openly hostile, an attitude only exacerbated by the breakdown of his Second Symphony at its first performance. Undeterred, Tippett reinvented himself musically with his second opera, King Priam (a re-telling of Homer’s Iliad), splintering the orchestra into a jagged mosaic of juxtaposed motifs, alternately harsh and lyrical. Praise of King Priam and the works it gave rise to – The Vision of Saint Augustine and a concerto for orchestra – coincided with a reappraisal of earlier pieces to cement Tippett’s reputation as one of the country’s leading composers.
inheritance collides with European modernism and the American vernacular. Advocacy by new generations of performers, while not restoring Tippett to his former glory, has nevertheless assured that he will continue to be appraised, in musicologist Ian Kemp’s words, as ‘one of the giants of the century’. Oliver Soden
Operas three and four – The Knot Garden and The Ice Break – were rapturously reviewed, younger audiences thrilling to the septuagenarian Tippett’s grappling with 20th-century life in a soundworld that now fizzed with jazz and blues, the orchestra augmented with electric guitars and a drum kit. His commissions became international and lucrative; happy to appear on television chat shows wearing brilliant and eccentric outfits, he became something of a celebrity. He enjoyed a mainly vigorous old age, reintroducing a lyricism some thought had gone for good: a further two symphonies; the Triple Concerto; and a final blaze of instrumental colour in The Rose Lake, a ‘song without words for orchestra’. He died aged 93, in 1998. Centenary overkill followed hard on the heels of funeral tributes, and he fell speedily from fashion, a situation exacerbated by the financial disarray of his estate. Early pieces, once dismissed, are now thought masterpieces of British composition. Reappraisal of his later work may yet prove that his music, while never eschewing the British tradition, is most fruitfully comparable to the work of his international contemporaries such as Messiaen or Lutosławski: his importance lies in his being a gathering place of 20th-century music, where his national
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Programme note Michael Tippett 1905–98
The Midsummer Marriage
Opera in three acts (1946–52, premiered 1955)
Two couples meet in a magic wood. Over the longest day and shortest night of the year, they find each other, and find themselves, by sunrise.
themselves lost within it are the conventional ‘high’ and ‘low’ pairs of Shakespeare, or of Mozart’s The Magic Flute. Mark and Jenifer (like Tamino and Pamina in Mozart’s opera) must overcome trials to reach not only union with each other but union within their own minds.
Seven hundred pages in full score, three-and-a-half hours in performance, and the result of some 16 years of work, The Midsummer Marriage, Michael Tippett’s first mature opera, was composed for no fee and without commission. It first glimmered in Tippett’s mind as early as 1939, but was delayed by the long years of the Second World War, during which Tippett, a conscientious objector, was sent to prison for refusing the terms of his exemption from military service.
A famous line from Tippett’s text to his oratorio A Child of Our Time runs: ‘I would know my shadow and my light / So shall I at last be whole.’ The words crystallize the Jungian conviction that, in order to know themselves, humans must come to terms with both the light and the dark sides of the self: those facets openly acknowledged and positive, and those repressed and, in consequence, negative. The shadow, in Jung’s conception, is prone to psychological projection onto a confected enemy if unacknowledged. Jung went so far as to suggest that if such projection occurred on a collective level, the outcome was total warfare.
The opera was conceived as a theatre piece, Octett, and then became a Singspiel (containing speech and music), initially called The Masque and then titled Aurora Consurgens. For a long while it was a collaboration with the poet Douglas Newton, Tippett’s lover during the war: together the pair drafted the scenario on which the finished piece would eventually rest. When Newton left the project, Tippett, itching to begin, cast about for a librettist, and made overtures to writers such as Christopher Fry and Ronald Duncan. But in the end, more out of necessity than anything else, he wrote the text himself before, in 1946, finally beginning formal work on the music. His belief was that an opera, instead of being a play-set-to-music, required words that should barely survive on their own terms when shorn from the notes.
The Midsummer Marriage searches for concrete images to make such abstract psychological ideals manifest on the stage. Mark and Jenifer travel individually through deathly gates into the shadowy earth, and up a staircase to the light-filled sky. Each realm is a metaphor for the archetypal opposites that must be reconciled: the ‘shadow’ and ‘light’, but also the Apollonian and the Dionysian, or – in Jung’s terminology for qualities of the opposite gender – the ‘animus’ and ‘anima’. Their travels lead to their magical union in the third act: an enormous flower bursts open to reveal Mark and Jenifer intertwined within. During their absence, in the central act, are staged three of the four Ritual Dances, in which two dancers ritually reenact a sequence of pursuit and near-capture linked to the passing of the seasons, with the female pursuing in each case (the scenes are precursors of Philip Pullman’s ‘daemons’,
The final title was felicitous: it refers not only to Tippett’s conventionally ‘comic’ plot but to a psychological marriage between conflicts and opposites within the self, drawing heavily on the philosophy of Carl Jung (Tippett was a passionate Jungian). The wood in which the action takes place is a Shakespearian forest of magical confusion, and the couples who find
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Programme note external manifestations of the self in animal form). The fourth dance, set around the midsummer fires, is a climactic celebration of Mark and Jenifer’s successful union; it seems to stage a moment from T.S. Eliot’s ‘East Coker’, the second of the Four Quartets: On a summer midnight, you can hear the music … And see them dancing around the bonfire The association of man and woman In daunsinge, signifying matrimonie … Leaping through the flames, or joined in circles … The time of the seasons and the constellations Such surreal, sexual, highly allusive symbolism is what gives the opera its peculiar, often perplexing, power. The Midsummer Marriage creates its own mythology via literary allusion: a concoction of myth, dream and fairy-tale, it folds together elements not only from Mozart and Shakespeare, but from Eliot’s poetry, the plays of George Bernard Shaw, and the writing of Robert Graves. Amid the magical landscape of the wood, with its giant flowers and fortune-tellers, its midnight bonfires and curious forest-dwellers, drift, as in all dreams, fragments of the real world: Jack the mechanic, King Fisher the tycoon. Even the lone staircase standing divorced from its surrounds is hauntingly redolent of London in the Blitz. The more abstruse side of Tippett’s imagery will be clear only to the most devoted Jungians, or to those who, like Tippett, have read not only Eliot’s Collected Poems but all twelve volumes of James Frazer’s mythological study The Golden Bough, with its survey of fertility rites and ancient religions that sprang from legends of rebirth. It is the music that truly aids understanding of the opera’s spiritual explorations, and gives them palpable and comprehensible life, turning symbols into living characters, and putting theatrical flesh on the plot’s metaphorical bones. The critic David Cairns has described the score as ‘a flood of lyrical invention rarely equalled in 20th-century art’.
Front cover of the programme for The Midsummer Marriage’s 1955 world premiere at Covent Garden © Lebrecht Music & Arts/Alamy Stock Photo
arduous task – he composed only a handful of bars each day – and the music itself took six difficult years in which the white-hot creative effort led to long periods of psychosomatic illness so severe that he was tested for cancer. The most surprising thing about the score is how little it seems to owe to the British pastoral tradition: there is very little of Holst or Vaughan Williams, bar an early nod to an ascending lark. Composed during Tippett’s enterprising and historic tenure as director of music at Morley College in South London, the opera reflects the repertoire he was programming at Morley,
Tippett’s method was to start with the theatrical idea and then work out the style and technique that would be required to bring it to life (to suggestions that he collaborate with professional librettists he replied that the music was a direct result of his work on the text). The Midsummer Marriage involved discarding his natural flair for counterpoint and fugue in favour of a rapturous and glittering lyricism. This was an often
Continued overleaf
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Programme note which championed contemporary works from exiled Europeans and revived neglected figures from the Renaissance and Baroque.
neatly into the worlds of post-war theatre and opera, which were predominantly overtaken by the realism of John Osborne’s Look Back in Anger or Benjamin Britten’s Peter Grimes.
The result was a collage of disparate influences combined by sheer force of will into a unified and unique voice: Elizabethan madrigalists in the rhythmic bounce that distinguished the extensive music for the chorus; Purcell in the march for the Ancients; even an Elgar-like grandeur in the massive third-act aria for the clairvoyante Madame Sosostris, recalling the Angel’s Farewell in The Dream of Gerontius. The Ritual Dances are in dialogue with the early ballets of Stravinsky and spiky with the rhythms of Bartók. Most clearly influential was the German composer Paul Hindemith, then living in America and more popular in Britain than he is today: the final pages of The Midsummer Marriage – a brass chorale overlaid with whizzing quavers in the strings – were by Tippett’s admission almost brazenly lifted from Hindemith’s Mathis der Maler symphony.
But most of the critics were positive, and The Spectator hailed ‘an astonishing new work’ that was a ‘perfect integration of libretto and music’. The final performances sold out, the production was revived within 18 months, and within a decade a Proms performance and a radio broadcast introduced The Midsummer Marriage to new audiences. It became the first post-war opera to be given three individual productions at the Royal Opera House, and some 15 other stagings, in Australia, Europe and America, cemented its international reputation. Even the libretto has come to be not only admired but studied. At the heart of The Midsummer Marriage is a tension between its humanist philosophy and the theatrical magic of its setting; the tension is resolved by a commitment to, and reminder of, the healing power of art. The brassy turmoil of the ‘shadow’, the high and heavenly string music of the ‘light’, are finally united by the radiant whole-ness of full orchestra in the dazzling A-major chords that end the work. Dreamed up on the cusp of war, prepared throughout the conflict, and composed during a period of post-war restoration, The Midsummer Marriage simultaneously evinces the memory of loss and the prospect of regeneration. There can be no better opera with which to begin a post-COVID season; as Tippett had it, ‘the rebuilding is greater than the building’. The chorus dances off the stage singing a quotation from W. B. Yeats’s ‘Lapis Lazuli’: ‘All things fall and are built again / And those that build them again are gay.’
But the allusions and near-quotations only serve to strengthen Tippett’s own musical identity: orchestrated with thick impasto but somehow attaining translucence, dappled with harp and celeste, woodwind solos ruffling the lakes, the sun and moon emerging from the clouds in great rays of brass, silvery strings singing in a delicate dawn chorus. The score’s most defining characteristic may be gaiety, even ecstasy, often achieved by Tippett’s idiosyncratic rhythmic invention, which places the emphasis on the ‘wrong’ beat such that the music does not limp but dance. His vocal writing is unforgiving but euphoric: often single syllables – ‘love’, ‘dance’ – are swagged across cascades of notes. By the time The Midsummer Marriage was complete, Tippett’s reputation was still not firmly established, although it had been set in the right direction by the premiere, in 1944, of A Child of Our Time. Finally a production opened at the Royal Opera House on 27 January 1955, with a beautiful but cumbersome design by the sculptor Barbara Hepworth and featuring Joan Sutherland, more at home with the notes than the text, as Jenifer. In that age before surtitles, much was written in the press about the supposed confusion of the libretto, which (published, and therefore read, separately from the music) was damned by some reviewers before the score had been heard. Tippett’s essentially Surreal stage vision – more akin to the symbolic verse dramas of Christopher Fry or to a Paul Nash landscape – did not fit
Synopsis, programme note & composer profile © Oliver Soden. Oliver Soden is the author of Michael Tippett: The Biography (Weidenfeld and Nicolson, 2019).
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Edward Gardner More concerts this season with our new Principal Conductor 1 Oct 2021 Fantastic Symphony Lili Boulanger’s D’un matin de printemps opens this concert before Lutosławski’s Cello Concerto with Nicolas Altstaedt, and Berlioz’s Symphonie fantastique.
6 Nov 2021 In Bluebeard’s Castle Haydn’s 90th Symphony is paired with Bartók’s psychological thriller Bluebeard’s Castle.
10 Nov 2021 Landscapes and Lovesongs Warm-hearted miniatures by Grieg are followed by Sibelius’s Second Symphony, and Schumann’s Piano Concerto with Jan Lisiecki. Generously supported by Victoria Robey OBE.
9 Mar 2022 Sheku Kanneh-Mason
19 Mar 2022 Bryn Terfel sings Brahms Bryn Terfel brings power to Brahms’s late songs, alongside music by Schoenberg and Mendelssohn. Generously supported by Victoria Robey OBE.
2 Apr 2022 A German Requiem Music by Messiaen and Lili Boulanger is followed by Brahms’s German Requiem, featuring soloists Christiane Karg and Roderick Williams.
27 Apr 2022 War and Peace Vaughan Williams’s Fifth Symphony and Britten’s Sinfonia da Requiem alongside the UK premiere of Brett Dean’s Cello Concerto performed by Alban Gerhardt. Generously supported by The Vaughan Williams Charitable Trust.
Shostakovich’s rarely heard masterpiece of a cello concerto is teamed with works by Judith Weir, Daniel Kidane and Bartók.
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Edward Gardner on The Midsummer Marriage In conversation with composer Julian Anderson
there’s something about this opera specifically that seems to speak naturally from a concert platform, something that is maybe even harder to deliver onstage in an opera house. It’s to do with his effusive fantasy, both musically and dramatically, which to me exists better in an individual’s mind than it could ever do in a stage production. It’s like the old joke about preferring radio to television because you can see the pictures better … Exactly. The audience can mentally conjure up images that the stage can’t match. The Midsummer Marriage seems particularly suited to this type of experience. When it inhabits the listener’s imagination, rather than the specifics of a stage direction, the magic appears. I’ve always been touched that at the end the stage empties completely and you have the orchestra entirely on its own for some minutes, with that joyous fanfare-like music repeated several times. It’s an opera celebrating music, isn’t it? At least that’s an important part of it.
JA: Did you know Tippett?
Well in this performance, since there’s no choreography, we also have the orchestra on its own for most of Act 2 – the Ritual Dances. So the orchestra is very much a character in its own right in The Midsummer Marriage.
EG: I met him towards the end of his life at a Birmingham performance of his oratorio The Mask of Time, conducted by Christopher Robinson. We only talked briefly, but he was hugely enthusiastic and signed my programme, which is a beautiful thing to have. I’ve always loved his music, as much for its vulnerability as for its power and brilliance. I’ve wanted to bring more of his music back to the concert hall for a long time. I’ve already done the Second Symphony several times, and A Child of Our Time, which was premiered by the LPO and which I hope to revive here in the coming years.
Let’s talk about the libretto a bit. For a start, it’s got very detailed stage instructions – something Tippett later regretted, and avoided in his other stage works. He never makes it easy for a director, does he? The synopsis is almost impossible to write in any coherent way. But that clearly isn’t the point. It’s not telling a story. There are a lot of gaps. The psychological gap, the chasm between Mark and Jenifer already seems to have happened some time before we meet them. The drama’s simply not linear. If you read the libretto on its own it has huge problems, but only if you forget the wonderful backlit music for which it was made. At the time of the premiere, the critics were sent a copy of the libretto in advance: that was a major error, and Tippett himself knew it was a mistake, because this isn’t meant to be normal literature.
What made you choose The Midsummer Marriage for your opening concert as Principal Conductor of the London Philharmonic Orchestra? It was a combination of things. I really feel this opera is a masterpiece; it’s a wonderfully imaginative world which is so generous and abundant. Since it involves a lot of choral music, it’s a great way to involve the London Philharmonic Choir as well as the Orchestra, plus the chorus of English National Opera, where I was Music Director for many years. But aside from all that,
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
He always said his libretti were just ‘words for musical gestures’ or words to that effect.
In many ways I don’t think it does. Unique is an overused word, but The Midsummer Marriage is unlike any other opera I know. The words, the images are not there to progress the action; they’re more like a firework display, to bring out this wildly inventive flood of music. The other operas of that time you list are definitely telling stories – very expertly in The Turn of the Screw, but that’s what they’re doing. The Tippett isn’t. It’s not going from point to point in the way that Britten’s operas are. But I love it all the more for that.
The critic Ernest Newman, amongst others, read through this quirky combination of Jungian psychology and natty colloquialisms that exist in the libretto, and taken like that of course you’re likely to be baffled. So the critics rubbished the opera because they’d read that libretto before they heard the music. It got in the way of their musical responses, I think. But if you’re openminded enough to accept a richly ambiguous libretto that isn’t story-based, the combination of words and music in this opera is frequently astounding.
Julian Anderson was the LPO’s Composer-in-Residence from 2010–14. He is currently Professor of Composition and Composer-inResidence at the Guildhall School of Music & Drama.
The mid-1950s were a big time for new British operas: Britten’s Gloriana, The Turn of the Screw, Walton’s Troilus and Cressida … in that company I’m not at all sure where The Midsummer Marriage belongs. Perhaps it simply doesn’t belong.
Photo © John Batten
Gardner and the LPO rehearsing The Midsummer Marriage, September 2021
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Edward Gardner Principal Conductor, London Philharmonic Orchestra
© Benjamin Ealovega
with the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra and Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms. Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. The 2021/22 season will see Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.
Edward Gardner begins his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since October 2015. During the 2021/22 season Edward will conduct the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, including five UK premieres. Following tonight’s opening concert, other programmes during the season include Berlioz’s Symphonie fantastique, Bartók’s Bluebeard’s Castle and Mahler’s Das Lied von der Erde. Earlier this month Edward and the LPO took part in the Enescu Festival in Bucharest, and in November will undertake an extensive tour of Germany.
A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014. Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).
Edward opened the Bergen Philharmonic season earlier this month with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi. Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra will perform in Barcelona and Paris this season. In demand as a guest conductor, the previous two seasons saw Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic and Wiener Symphoniker; while returns included engagements
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Tonight's soloists Mark
Jenifer
© David Shoukry
Rachel Nicholls
© Gerard Collet
Robert Murray
Renowned for his intelligent musicianship and incisive dramatic portrayals of a broad operatic, concert and recital repertoire, British tenor Robert Murray has firmly established himself as one of the most exciting musicians of his generation. In the 2021/22 season he will make his role and house debut as Florestan in Fidelio with the Irish National Opera, and will return to Garsington Opera in summer 2022. He will also perform in concert as Schoolmaster/Mosquito/Pasek in The Cunning Little Vixen with the City of Birmingham Symphony Orchestra, as well as Haydn’s Creation with the Handel & Haydn Society and recitals at the Wigmore Hall, the Lammermuir Festival and the Oxford Lieder Festival.
Recently described by The Observer as ‘magnificent, full-toned, flexible, accurate and powerful’, Rachel Nicholls is widely recognised as one of the most exciting dramatic sopranos of her generation. She was born in Bedford and in 2013 was awarded an Opera Awards Foundation Bursary to study with Dame Anne Evans. Recent and future engagements include Isolde (Tristan und Isolde) for the Théâtre des Champs-Elysées, the Yomiuri Nippon Symphony Orchestra, Grange Park Opera and in Stuttgart, Frankfurt, Karlsruhe, Rome and Turin, as well as in concert with the São Paolo Symphony Orchestra; the title role in Elektra in Basel and Karlsruhe; Salome in Hannover; Brünnhilde (Die Walküre) in a new production for ENO; Brünnhilde (Siegfried) in concert with the Hallé (recently released on CD); Brünnhilde (Göttterdämmerung) in Taiwan; Leonore (Fidelio) for Lithuanian National Opera; Guinevere (Harrison Birtwistle’s Gawain) for the BBC Symphony Orchestra; Lady Macbeth (Macbeth) for Karlsruhe and NI Opera; and Eva (Die Meistersinger) for Karlsruhe and ENO.
Robert last sang with the LPO in October 2019, when he stepped in at short notice for Verdi’s Requiem under Edward Gardner at the Royal Festival Hall. Other recent highlights include Quint and Prologue in The Turn of the Screw with Opera Glassworks under John Wilson, Bach’s St John Passion at the Théatre du Châtelet, the staged world premiere of Gerald Barry’s Alice’s Adventures Under Ground at the Royal Opera House, Count Ory in Le Comte Ory with Garsington Opera, and Beethoven’s Symphony No. 9 with the London Symphony Orchestra and Sir Simon Rattle.
Rachel is also in demand as a concert artist and has worked with orchestras throughout Europe and the Far East, and in recital at venues including London’s Wigmore Hall. Recordings include Siegfried and Elgar’s The Spirit of England with the Hallé, a wide repertoire with Bach Collegium Japan, and Tippett’s Third Symphony for Chandos. Please note change of artist from previously advertised.
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Tonight's soloists Jennifer France
King Fisher
Bella
Bass-baritone Ashley Riches studied at King’s College, Cambridge and the Guildhall School of Music & Drama, and was later a Jette Parker Young Artist at the Royal Opera House and a BBC Radio 3 New Generation Artist. Tonight is his debut with the LPO.
Winner of the 2018 Critics’ Circle Emerging Talent (Voice) Award, British soprano Jennifer France made her Salzburg Festival debut in 2019 singing Pascal Dusapin’s Medeamaterial. She has sung principal roles for the Royal Opera (most recently Alice in Gerald Barry’s Alice’s Adventures Under Ground), English National Opera, the Badisches Staatstheater Karlsruhe, the Staatstheater Wiesbaden, the Nederlandse Reisopera, Garsington Opera at Wormsley, Glyndebourne On Tour, The Mozartists, Opera Holland Park, Opera North and Scottish Opera (where she was an Emerging Artist).
© Debbie Scanlon
Ashley Riches
On the operatic stage Ashley has sung Figaro and Count Almaviva (Le nozze di Figaro), Don Giovanni, Escamillo (Carmen), Schaunard (La bohème) and the Pirate King (The Pirates of Penzance) at houses including the Royal Opera House, English National Opera, Glyndebourne, Garsington, The Grange Festival and Opera Holland Park. This season he makes his house debut with Santa Fe Opera as Figaro (Le nozze di Figaro) and Bottom (A Midsummer Night’s Dream).
Concert performances have included engagements with the Academy of Ancient Music, the BBC Scottish Symphony Orchestra, Birmingham Contemporary Music Group, Britten Sinfonia, the City of Birmingham Symphony Orchestra, the Hallé, the London Mozart Players, the Royal Scottish National Orchestra, Ensemble Intercontemporain, the Israel Camerata and the Swedish Chamber Orchestra.
Concert highlights include Berlioz’s Lélio with Sir John Eliot Gardiner in Carnegie Hall, New York; Bernstein’s Wonderful Town with the London Symphony Orchestra under Sir Simon Rattle; and Creon (Oedipus Rex) with the Berlin Philharmonic. In recital, he has collaborated with pianists including Graham Johnson, Iain Burnside, Julius Drake, Joseph Middleton, Anna Tilbrook, James Baillieu, Simon Lepper, Gary Matthewman and Sholto Kynoch.
Her recordings include Gerald Barry’s The Eternal Recurrence and Beethoven’s Symphony No. 9 (Signum CD); George Benjamin’s Lessons in Love and Violence (Nimbus CD and Opus Arte Blu-ray/DVD); Debussy Mélodies (Hyperion CD); Elgar’s A Voice in the Wilderness (Hallé CD); and Jommelli’s Il Vologeso (Signum CD).
Ashley has a fast-growing discography including the BBC Music Magazine 2020 Recording of the Year, Purcell’s King Arthur with the Gabrieli Players; and Wonderful Town with the LSO. In February 2021 he released his debut solo disc for Chandos, A Musical Zoo.
Jennifer is delighted to be making her formal concert debut with the London Philharmonic Orchestra.
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Tonight's soloists Jack
Sosostris
© Benjamin Ealovega
Claire Barnett-Jones
© Mitch Jenkins
Toby Spence
British tenor Toby Spence has sung with the Royal Opera, Covent Garden, the Metropolitan Opera, San Francisco Opera, the Paris Opera, English National Opera, Bayerische Staatsoper, Teatro Real, Madrid, Theater an der Wien, the Hamburgische Staatsoper, and at the Salzburg, Aix-en-Provence and Edinburgh festivals.
Claire Barnett-Jones was a finalist and winner of the Dame Joan Sutherland Audience Prize at BBC Cardiff Singer of the World 2021, and Winner of the Elizabeth Connell Prize for Dramatic Singers 2021. As well as tonight’s debut with the LPO, the 2021/22 season includes her Edinburgh International Festival debut in Ariadne auf Naxos, a return to English National Opera in Die Walküre, and Messiah at the Royal Albert Hall.
On the concert platform he works with Sir Simon Rattle, Andris Nelsons, Thomas Adès, Yannick Nézet-Séguin, Nikolaus Harnoncourt and Semyon Bychkov. His most recent LPO appearance was as Tom Rakewell in The Rake’s Progress under Vladimir Jurowski in November 2018. Previously with the Orchestra he was a soloist in Carmina Burana under Jérémie Rhorer in October 2018 and in Stravinsky’s Perséphone under Thomas Adès in April 2018.
Despite many COVID-19 cancellations, Claire’s 2020/21 season included her role and house debut as Madame Flora in Menotti’s The Medium for Oper Frankfurt, Precipice: a series of specially curated concerts for The Grange Festival, and a recital at Wigmore Hall with Iain Burnside. Operatic highlights included her ENO debut as Eurydice Myth in Birtwistle’s Mask of Orpheus, for which she was awarded the Lilian Baylis Award for outstanding potential in the field of opera; Annina in La traviata for Glyndebourne; and creating the role of Alto 1 in Stockhausen’s Mittwoch aus Licht with Birmingham Opera Company directed by Sir Graham Vick.
Highlights of Toby’s 2020/21 season included his role debut as Aschenbach (Death in Venice) for Opéra National du Rhin, and Florestan (Fidelio) for Garsington Opera and Opera North. Plans for 2021/22 include role debuts as Alwa (Lulu) for La Monnaie, and the title role in Parsifal for Opera North. On the concert platform he will sing Das Lied von der Erde with the Orquestra Sinfónica do Porto Casa da Música under Stefan Blunier, Mozart’s Requiem with the Malta Philharmonic Orchestra under Lawrence Renes, and Elgar’s The Kingdom with the Kraków Philharmonic under Paul Goodwin. Further ahead, Toby makes his debut with the Teatro alla Scala, Milan and returns to the Wiener Staatsoper.
Claire has performed as soloist in the Last Night of the BBC Proms at the Royal Albert Hall, for Opéra National de Bordeaux, at the Concertgebouw under Sir John Eliot Gardiner, with the Orchestra of Valencia, and with the City of Birmingham Symphony Orchestra. She is a Harewood Artist at ENO, a Samling Artist, an Independent Opera Fellow and a Britten Pears Artist. Please note change of artist from previously advertised.
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Tonight's soloists Joshua Bloom
She-Ancient
He-Ancient
© Julie Kim
Susan Bickley
Susan Bickley is one of the most accomplished mezzosopranos of her generation, with a wide repertoire encompassing the Baroque and the great 19th- and 20th- century dramatic roles, as well as contemporary repertoire. In 2011 she received the prestigious Singer Award at the Royal Philharmonic Society Awards.
Australian-American bass Joshua Bloom is frequently praised for his ‘resplendent bass’ and ‘huge vocal capacity’ alongside an ‘outstanding dramatic precision and power’ (The New York Times; The Independent), across a remarkable variety of repertoire from Mozart, to Wagner and Strauss, to world premiere works by Gerald Barry and Richard Ayres. He has sung principal roles with Oper Köln, English National Opera, Garsington Opera, the Royal Opera House, San Francisco Opera, Wiener Staatsoper, LA Opera, Opera Australia, New York’s Metropolitan Opera, Washington National Opera, Santa Fe Opera, Badisches Staatstheater, Irish National Opera and New Israeli Opera, among others.
Highlights of Susan’s 2021/22 season include Fricka (Die Walküre) in Richard Jones’s new production of the Ring Cycle and Offred’s Mother in Poul Ruders’s The Handmaid’s Tale, both for English National Opera; and Kabanicha in Kát’a Kabanová for Teatro dell’Opera di Roma. Recent operatic highlights include Marcellina in The Marriage of Figaro for English National Opera; Herodias in Salome for English National Opera; Kabanicha in Kát’a Kabanová and Matron in The Nose at the Royal Opera House, Covent Garden; and Paulina in the world premiere of Ryan Wigglesworth’s The Winter’s Tale for English National Opera.
Joshua last sang with the LPO in Stravinsky’s Threni in December 2018. He has also appeared on the concert stage with all the other major London orchestras, as well as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, City of Birmingham Symphony Orchestra, Britten Sinfonia, Auckland Philharmonia and Birmingham Contemporary Music Group, as well as the Melbourne, Queensland, Adelaide and Western Australian symphony orchestras.
Recent highlights on the concert stage include Auntie in Peter Grimes with the Bergen Philharmonic Orchestra under Edward Gardner; Dido in Dido and Aeneas in Boston with the Handel & Haydn Society; Fricka in Das Rheingold with the Hallé; Thomas Adès’s America: A Prophecy with the BBC Philharmonic; and Baba the Turk in The Rake’s Progress at the Edinburgh International Festival.
In the 2021/22 season, Bloom will return to Opera Köln as Ratefreund in Braunfels’s Die Vögel and to the New Israeli Opera as both Ramfis and the King in Aida. Please note change of artist from previously advertised.
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
London Philharmonic Choir Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty
Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.
Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.
Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.
The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life.
The Choir appears annually at the BBC Proms, and performances have included the UK premieres of
Supported by
Sopranos
Altos
Tenors
Basses
Annette Argent Chris Banks Tessa Bartley Hilary Bates Lydia Burling-Smith Antonia Davison Aimee Desmond Alison Gabriel Rachel Gibbon Rosie Grigalis Nicola Hands Mai Kikkawa Joy Lee Janey Maxwell Courtney Reed Emma Secher Olivia Tomuta Sze Ying Chan
Jenny Burdett Andrei Caracoti Noel Chow Pat Dixon Bethea Hanson-Jones Joanna James Judy Jones Rebecca Kintoff Andrea Lane Ethel Livermore Lisa MacDonald Laetitia Malan Ian Maxwell Sophie Morrison Rachel Murray Annette Strzedulla Muriel Swijghuisen Reigersberg Eleni Thwaites Catherine Travers Jocelyn Tsang Susi Underwood
Geir Andreassen Samuel Butter James Clarke Alan Glover Iain Handyside Stephen Hodges James Hopper Daisy Rushton Don Tallon
Martyn Atkins Jonathon Bird Marcus Daniels Ellie Fayle Gary Freer Ian Frost Christopher Harvey Nicholas Hennell-Foley Mark Hillier Stephen Hines David Hodgson Rylan Holey Maurice MacSweeney Will Parsons Johannes Pieters Alex Thomas Geoff Walker
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
English National Opera Chorus Chorus Director Mark Biggins Chorus Manager David Dyer
at the BBC Proms and a series of sell-out performances of the Brahms Requiem, and have sung at the Aldeburgh Festival and London’s Barbican.
The ENO Chorus is one of the finest professional operatic ensembles in the UK today. Tracing its roots to the founding of the Sadler’s Wells Opera Company by Lilian Baylis in 1931, the ENO Chorus is committed to bringing opera sung in English to the widest possible audiences in thrilling and theatrically inventive productions. This is their first collaboration with the London Philharmonic Orchestra.
The Chorus has been at the forefront of ENO Studio Live productions – opera productions presented in smaller, intimate spaces. The inaugural production of Jonathan Dove’s The Day After was chosen by The Observer as one of the top ten musical events of 2017: ‘ENO’s Chorus dazzled in the world premiere of Jonathan Dove’s Phaeton-inspired opera.’ Other Studio Live productions include Gilbert and Sullivan’s Trial by Jury, Handel’s Acis and Galatea, and a critically acclaimed production of Britten’s Paul Bunyan at Wilton’s Music Hall, revived at Alexandra Palace in 2019.
The ENO Chorus plays a key role in the company ensemble, performing repertoire from Henry Purcell to Philip Glass. Recent notable successes include major new productions of Glass’s Akhnaten, Gilbert and Sullivan’s Iolanthe, Verdi’s Aida and Britten’s War Requiem. At the 2016 Laurence Olivier Awards, the ENO Chorus and Orchestra won the award for Outstanding Achievement in Opera, and the Chorus was named Chorus of the Year at the 2016 International Opera Awards.
In the last year, the Chorus participated in the UK’s first drive-in opera – Drive & Live: La bohème at Alexandra Palace – and broadcasts of Mozart’s Requiem and Handel’s Messiah on BBC Two.
The ENO Chorus has played crucial parts in world premieres including Ryan Wigglesworth’s The Winter’s Tale, Nico Muhly’s Marnie, and Iain Bell’s Jack the Ripper: The Women of Whitechapel.
In the ENO’s 2021/22 season the Chorus will appear in new productions of Janáček’s The Cunning Little Vixen, Poul Ruders’s The Handmaid’s Tale, and the company’s first HMS Pinafore.
They have performed Britten’s Death in Venice at Het Muziektheater, Amsterdam, an acclaimed Peter Grimes
Sopranos
Mezzo-sopranos
Tenors
Basses
Joanne Appleby Penelope Beavan Joanne Boag Fiona Canfield Gloria Crane Rebecca Hardwick Natalie Herman Sarah-Jane Lewis Lixin Liu Claire Pendleton Jane Read Victoria Songwei
Morag Boyle Natalie Davies Deborah Davison Annabella Vesela Ellis Karen Foster Sophie Goldrick Helen Johnson Suzanne Joyce Lydia Marchione Amy Sedgwick Susanna Tudor-Thomas
Allan Adams Seamus Begg Philippe Durrant John-Colyn Gyeantey Geraint Hylton Graeme Lauren David Newman Anton Rich Pablo Strong Adam Sullivan Garry Sutcliffe
Robert Winslade Anderson Trevor Bowes Michael Burke David Campbell Gavin Horsle Ronald Nairne Paul Napier-Burrows David Porter-Thomas Paul Sheehan Christopher Speight Andrew Tinkler
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
On stage tonight First Violins
Cellos
Chair supported by Neil Westreich
Chair supported by Bianca & Stuart Roden
Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe Catherine Craig Thomas Eisner Yang Zhang
Chair supported by Eric Tomsett
Georgina Leo Katalin Varnagy
Chair supported by Sonja Drexler
Eleanor Bartlett Martin Höhmann
Chair supported by Chris Aldren
Morane Cohen-Lamberger Amanda Smith Gavin Davies
Second Violins
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Helena Smart Nynke Hijlkema Joseph Maher Fiona Higham
Chair supported by David & Yi Buckley
Marie-Anne Mairesse Nancy Elan Kate Birchall Sioni Williams Sarah Thornett Robin Wilson
Violas
David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Laura Vallejo Benedetto Pollani Stanislav Popov Alistair Scahill Martin Wray Charles Cross
Kristina Blaumane Principal Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Helen Rathbone
Double Basses
Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laura Murphy
Flutes
Juliette Bausor Principal
Trumpets
Paul Beniston* Principal Anne McAneney*
Trombones
Mark Templeton* Principal Chair supported by William & Alex de Winton
David Whitehouse
Bass Trombone
Lyndon Meredith Principal
Timpani
Simon Carrington* Principal Chair supported by Victoria Robey OBE
Percussion
Andrew Barclay* Principal Henry Baldwin Co-Principal
Chair supported by Caroline, Jamie & Zander Sharp
Stewart McIlwham*
Harp
Rachel Masters Principal
Piccolos
Stewart McIlwham* Principal Juliette Bausor
Oboes
Rachael Clegg Guest Principal Alice Munday
Clarinets
Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood
Bassoons
Jonathan Davies Principal
Celeste
Catherine Edwards * Holds a professorial appointment in London
Assistant Conductor
Martin Fitzpatrick (ENO Music Staff)
Music Staff Nathan Harris
Chair supported by Sir Simon Robey
Gareth Newman
Horns
John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison
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The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Friends of the Orchestra Dr Barry Grimaldi
London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
© Benjamin Ealovega
London Philharmonic Orchestra
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.
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 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, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.
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 • 25 September 2021 • The Midsummer Marriage
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 sees 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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2021/22 choral highlights London Philharmonic Orchestra & Choir at the Royal Festival Hall this season Sat 4 December 2021
Sat 19 February 2022
Sat 2 April 2022
James MacMillan Christmas Oratorio (UK premiere)
Tan Dun Buddha Passion (UK premiere)
L Boulanger Psalm 129 Messiaen Le tombeau resplendissant Brahms A German Requiem
Mark Elder conductor Lucy Crowe soprano Roderick Williams baritone London Philharmonic Orchestra London Philharmonic Choir Commissioned by the London Philharmonic Orchestra with the generous support of The Boltini Trust, NTR Zaterdagmatinee, Radio 4’s concert series in the Concertgebouw Amsterdam, the Melbourne Symphony Orchestra and New York Philharmonic Orchestra.
Tan Dun conductor Sen Guo soprano Huiling Zhu mezzo-soprano Kang Wang tenor Shenyang bass-baritone London Philharmonic Orchestra London Philharmonic Choir Tiffin Boys’ Choir
Edward Gardner conductor Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir
lpo.org.uk
London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
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 • 25 September 2021 • The Midsummer Marriage
Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE
Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich 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 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 Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring
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 Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams
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
Principal Supporters Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mrs Julia Beine Mr Anthony Boswood Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Nerissa Guest & David Foreman Michael & Christine Henry Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group
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 Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim
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Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Roger Woodhouse Mr John Wright
Supporters Anonymous donors Ralph & Elizabeth Aldwinckle 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 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 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 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
London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
Thank you
Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Mr Ian Kapur 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 Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw 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
Hon. Benefactor Elliott Bernerd
Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt
LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)
Corporate Donors
Trusts and Foundations
Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank
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 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 Serge Rachmaninoff 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
LPO Corporate Circle Leader freuds Sunshine
Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce
Thomas Beecham Group Members
Tutti Lazard Russo-British Chamber of Commerce Walpole
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
Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway
In-kind Sponsor Google Inc
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:
and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.
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
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London Philharmonic Orchestra • 25 September 2021 • The Midsummer Marriage
London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Mark Vines* Neil Westreich *Player-Director
Advisory Council Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport 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 Andrew Swarbrick
Education and Community
Chris Viney Laurence Watt Elizabeth Winter
Talia Lash Interim Education and Community Director
General Administration Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive
Emily Moss Rebecca Parslow Education and Community Project Managers
Concert Management
Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators
Roanna Gibson Concerts Director
Development
Graham Wood Concerts and Recordings Manager
Laura Willis Development Director Vicky Moran Development Events Manager
Fabio Sarlo Glyndebourne and Projects Manager
Stef Woodford Corporate Relations Manager
Grace Ko Tours Manager
Rosie Morden Individual Giving Manager
Alison Jones Concerts and Recordings Co-ordinator
Anna Quillin Trusts and Foundations Manager
Christina Perrin Concerts and Tours Assistant
Izzy Keig Priya Radhakrishnan Development Assistants
Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager
~ Nick Jackman Campaigns and Projects Director
Sarah Holmes Librarian
Kirstin Peltonen Development Associate
Laura Kitson Stephen O’Flaherty Stage Managers
Marketing
Damian Davis Transport Manager
Kath Trout Marketing Director
Felix Lo Orchestra and Auditions Manager
Mairi Warren Marketing Manager
Finance
Alexandra Lloyd Projects and Residencies Marketing Manager
Frances Slack Finance Director
Rachel Williams Publications Manager
Dayse Guilherme Finance Manager
Harrie Mayhew Website Manager
Jean-Paul Ramotar Finance and IT Officer
Gavin Miller Box Office Manager
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Ruth Knight Press and PR Manager Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer
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 Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons
London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk
lpo.org.uk Cover artwork Photographer James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd