LPO programme: 2 Mar 2024 - Haydn’s Creation

2023/24 concert season at the Southbank Centre

Free 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 Saturday 2 March 2024 | 7.30pm

Haydn’s Creation Haydn The Creation (109’)

Sung in English

There will be a 20-minute interval midway through Part 2.

Edward Gardner conductor

Generously supported by Aud Jebsen

Contents 2

Welcome LPO news 3 On stage tonight 4 The Music in You: 2–16 March 2024 6 London Philharmonic Orchestra 7 Leader: Pieter Schoeman 8 Edward Gardner 9 Tonight’s soloists 10 On the LPO Label 11 London Philharmonic Choir 12 Programme note 16 Text 21 Sound Futures donors 22 Thank you 24 LPO administration

Louise Alder soprano Allan Clayton tenor Michael Mofidian bass-baritone London Philharmonic Choir Artistic Director: Neville Creed

Concert generously supported by Victoria Robey CBE

This concert is being recorded for broadcast on BBC Radio 3 on Wednesday 13 March at 7.30pm. It will remain available for 30 days after that on BBC Sounds.

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

Concert presented by the London Philharmonic Orchestra

Tonight’s concert is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of the work. Thank you for your co-operation.

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Welcome

LPO news Tonight’s concert on Marquee TV

Welcome to the Southbank Centre 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.

We’re delighted that a selection of concerts from our LPO 2023/24 Royal Festival Hall season are being filmed for broadcast on Marquee TV. This evening’s concert is being filmed for broadcast on Saturday 13 April 2024 at 7pm, and will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

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.

If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off an annual subscription with code 50LPO. Visit discover.marquee.tv/50lpo to find out more or subscribe.

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

LPO Fellow Conductors 2024/25 We’re thrilled to announce our new LPO Fellow Conductors for the 2024/25 season: Matthew Lynch and Juya Shin, who will join the LPO family from September 2024. Guided by Principal Conductor Edward Gardner, they will become fully immersed in the life of the LPO over the next season. We can’t wait to work with them!

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

Just head to our website to sign up.

Drinks 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.

We’d love to hear from you

Launched last year, our flagship LPO Conducting Fellowship programme seeks to support the development of world-class conductors of the future.

Each season the programme offers an intensive opportunity to work closely with the Orchestra to two outstanding early-career conductors from backgrounds currently under-represented in the profession.

We hope you enjoy tonight’s concert.

Could you spare a few moments afterwards to complete a short survey about your experience?

Your feedback is invaluable to us and will help to shape our future plans.

The LPO Conducting Fellowship is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.

Just scan the QR code to begin the survey.

Thank you!

2

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

On stage tonight First Violins

Double Basses

Chair supported by Eric Tomsett

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston

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

Flutes

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Lasma Taimina

Minn Majoe Katalin Varnagy

Bass Trombone

Lyndon Meredith Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey CBE

Juliette Bausor Principal Eleanor Blamires Ruth Harrison

Fortepiano

Oboes

Assistant Conductor

Second Violins

Clarinets

*Professor at a London conservatoire

Chair supported by Friends of the Orchestra

Chair supported by Roger Greenwood

Chair supported by Sonja Drexler

Cassandra Hamilton Elizaveta Tyun Martin Höhmann Nilufar Alimaksumova Alice Apreda Howell

Emma Oldfield Principal Claudia Tarrant-Matthews Helena Smart Nynke Hijlkema Marie-Anne Mairesse Joseph Maher Ashley Stevens Nancy Elan Sioni Williams Sarah Thornett

Violas

Nick Bootiman Guest Principal Katharine Leek Laura Vallejo Martin Wray Benedetto Pollani James Heron Raquel López Bolívar Mark Gibbs

Cellos

Richard Birchall Guest Principal David Lale Francis Bucknall Hee Yeon Cho Tom Roff George Hoult

Ian Hardwick* Principal Alice Munday

Catherine Edwards

Charlotte Politi

Benjamin Mellefont* Principal Thomas Watmough

Bassoons

Jonathan Davies* Principal

Chair supported by Sir Simon Robey

Helen Storey

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal Annemarie Federle Principal Martin Hobbs

Trumpets

Paul Beniston* Principal Tom Nielsen Co-Principal Anne McAneney*

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

3

The LPO also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley Gill & Garf Collins Mr B C Fairhall Dr Barry Grimaldi Bianca & Stuart Roden Ryze Power Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation A warm welcome to tonight’s concert: the first event in our festival ‘The Music in You’. Reflecting our adventurous spirit, throughout March the festival will embrace all kinds of expression – from dance, to music theatre and even audience participation.

With its roof-raising choruses, bubbling melodies and sparkling colours, tonight’s work, Haydn’s The Creation, is the perfect starting point for our celebration of creativity without barriers.

We hope you enjoy the concert!

Genius. Creator. Mastermind. When an artist makes something incredible, it’s tempting to describe them with words like these – as though creativity is some sort of superpower, and famous artists are somehow more than human. But everyone can be creative, and we all have the potential to demonstrate and develop our creativity.

Music comes from gifted composers and talented performers, but it’s nothing without receptive listeners.

Tania León, who will also join Elena Dubinets for a free pre-concert talk before the evening’s performance.

On Tuesday 12 March we break out of the concert hall for ‘An Imagination Shared’: an immersive performance at St John’s Church Waterloo. In this 6.30pm ‘rush-hour’ concert led by LPO Fellow Conductors Charlotte Politi and Luis Castillo-Briceño, British-Chinese composer Alex Ho invites us to Breathe and Draw, before American composer Ryan Carter creates a concerto in which the audience becomes the soloist.

‘If you think about it, each of us is a creative personality’, says LPO Artistic Director Elena Dubinets. ‘Every human being has the need to express themselves creatively, and everyone has a gift and the power to do so. It’s just that we sometimes apply our creativity differently.’

So this month, the LPO aims to liberate and celebrate the music in you. The goal is to demonstrate that each one of us – a professional composer, an orchestral musician, an audience member – can have a chance to express ourselves through music.

Wednesday 13 March sees more new music, this time at Battersea Arts Centre – the first UK performance of Luís Tinoco’s new accordion concerto, written for and performed by accordion sensation João Barradas, which, paired with Kurt Weill’s satirical, theatrical Seven Deadly Sins (starring Danielle de Niese), demonstrate that artistry is no respecter of rigid musical genres.

In the festival’s closing concert, ‘The Gift of Youth’ (Saturday 16 March), Mozart’s C minor Mass – composed by one of music’s most famous former child prodigies – reminds us that creativity knows no boundaries of age, or social convention. It’s programmed alongside the world premiere of a violin concerto, titled Aloud, by another talented young composer – Daniel Kidane – performed by Julia Fischer.

At the Royal Festival Hall we’ll be performing music from across four centuries and many different countries that demonstrates the infinite possibilities of creativity unchained. Haydn’s oratorio The Creation – which opens the festival tonight – seems like an obvious choice, but in fact this gloriously optimistic work was composed to cross linguistic and cultural barriers, conveying a message that even the humblest living creature shares in a universal creative spirit.

But The Music in You doesn’t stop there – ‘We must inspire, challenge, provoke and transform by celebrating communal creativity and removing barriers to participation’, says Elena. ‘That’s why we are talking about music in us, in all of us’. Join us and listen to that inner music this season – you might be excited at what you hear.

Tomorrow, Sunday 3 March, young concertgoers will become performers and co-creators in Clarice Assad’s É Gol!, as part of a football-themed FUNharmonics family concert. And on Wednesday 6 March, a performance entitled ‘Dance Re-imagined’ will see us throwing ourselves open to other artforms, in a daring multimedia collaboration with choreographer Wayne McGregor. His digitally enhanced choreographic storytelling will open a portal to a new expressive world, reimagining Szymanowski’s ballet Harnasie through the use of human and digital intelligence, taking the form of a kinetic, sculptural video installation. Opening this concert is Raíces (‘Roots’): the first new commission written specially for the LPO by Composer-in-Residence

Browse and book now at lpo.org.uk/themusicinyou

4

THE MUSIC IN YOU 2–16 MARCH 2024 lpo.org.uk/themusicinyou Haydn’s Creation

Dance Re-imagined

Seven Deadly Sins

Haydn The Creation

Tania León Raíces (Roots) (world premiere)* Ravel La valse Wayne McGregor & Ben Cullen Williams A Body for Harnasie (based on Szymanowski’s Harnasie)**

Luís Tinoco Accordion Concerto (UK premiere) Weill The Seven Deadly Sins

Saturday 2 March | 7.30pm Southbank Centre’s Royal Festival Hall Sung in English

Edward Gardner conductor Louise Alder soprano Allan Clayton tenor Michael Mofidian bass-baritone London Philharmonic Choir Concert generously supported by Victoria Robey CBE.

FUNharmonics Family Concert: Goal!

Sunday 3 March | 12 noon Southbank Centre’s Royal Festival Hall Charlotte Politi conductor Clarice Assad presenter Join the LPO for the European premiere of É Gol! by Brazilian-American composer Clarice Assad, imagining a day in the life of legendary Brazilian footballer Marta Vieira da Silva as she gets ready for the big game.

Created for orchestra and audience, this piece offers the whole family a chance to perform with the LPO throughout, using your voices, breath and body percussion.

So grab your favourite football shirt and join us for this fun, participatory concert, culminating in a football match soundtrack finale!

Join in the free pre-concert foyer activities from 10am–12 noon (concert ticket-holders only).

Wednesday 6 March | 7.30pm Southbank Centre’s Royal Festival Hall

Edward Gardner conductor Robert Murray tenor Flemish Radio Choir * Co-commissioned by the London Philharmonic Orchestra and Concertgebouw Brugge. ** An original co-production of NOSPR The Polish National Radio Symphony Orchestra in Katowice (initiator), London Philharmonic Orchestra (with support from the Adam Mickiewicz Institute), conceived and produced by Studio Wayne McGregor.

Wednesday 13 March 6.30pm & 8.15pm Battersea Arts Centre

Edward Gardner conductor João Barradas accordion Danielle de Niese Anna Ross Ramgobin Brother Callum Thorpe Mother Adam Gilbert Father Amar Muchhala Brother Dominic Dromgoole director * These performances are funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY.

Project partner: Concertgebouw Brugge.

The Gift of Youth Concert generously supported by Victoria Robey CBE.

6.15–6.45pm | Free pre-concert event Royal Festival Hall LPO Artistic Director Elena Dubinets discusses the evening’s programme with Tania León.

An Imagination Shared Tuesday 12 March | 6.30pm St John’s Church Waterloo

Alex Ho Breathe and Draw (for sinfonietta, two conductors and audience participation) Ryan Carter Concerto Molto Grosso (for audience and orchestra) (UK premiere) Ligeti Poème symphonique for 100 metronomes Charlotte Politi conductor* Luis Castillo-Briceño conductor* *Inaugural participants in the LPO Conducting Fellowship programme. This programme is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.

5

Saturday 16 March | 7.30pm Southbank Centre’s Royal Festival Hall Mozart Overture, The Magic Flute Daniel Kidane Aloud, for violin and orchestra (world premiere)* Mozart Mass in C minor Edward Gardner conductor Julia Fischer violin Hera Hyesang Park soprano Elizabeth Watts soprano Pavel Kolgatin tenor Ashley Riches bass-baritone London Philharmonic Choir * Commissioned by the London Philharmonic Orchestra.

Concert generously supported by Aline Foriel-Destezet.

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

© 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 Tania León our Composer-in-Residence.

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 2023/24 we’re once again be 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.

6

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Pieter Schoeman Leader

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.

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

© Benjamin Ealovega

Next generations

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.

Looking forward

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 the Southbank Centre’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, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams.

Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.

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, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

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

lpo.org.uk

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

7

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Edward Gardner Principal Conductor, London Philharmonic Orchestra

© Photographer London

In demand as a guest conductor, recent seasons have seen Edward make debuts with the Cleveland Symphony, Staatskapelle Berlin, Bavarian Radio Symphony, New York Philharmonic, Philadelphia, San Francisco Symphony, Berlin Radio Symphony and Vienna Symphony orchestras; while returns have included engagements with the Chicago Symphony, Montreal Symphony and Philharmonia orchestras, the Gewandhausorchester Leipzig, the Deutsches Symphonie-Orchester Berlin, and the Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaboration with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and with the BBC Symphony Orchestra, whom he has conducted at both the First and Last Nights of the BBC Proms.

Music Director of English National Opera for eight years (2007–15), Edward has also built a strong relationship with New York’s Metropolitan Opera, where he has conducted productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther.

In London he made his Royal Opera House debut in 2019 in a new production of Káťa Kabanová, followed by Werther a season later. Elsewhere, he has conducted at the Bavarian State Opera, La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris, and this season he will conduct a double-bill of Bartók’s Bluebeard’s Castle and Poulenc's La voix humaine at Teatro di San Carlo.

Edward Gardner has been Principal Conductor of the London Philharmonic Orchestra since September 2021.

He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet, having been their Artistic Advisor since February 2022.

This season Edward conducts the LPO in ten concerts at the Southbank Centre’s Royal Festival Hall. In October 2023 he toured with the Orchestra to South Korea and Taiwan, and this season will also take them to major European cities including Paris, Munich, Frankfurt, Hamburg and Bruges. As part of the LPO's cross-arts festival ‘The Music in You’ in spring 2024, Edward will conduct concerts including Haydn’s The Creation; a reinvention of Szymanowski’s ballet Harnasie in collaboration with choreographer Wayne McGregor; Weill’s Seven Deadly Sins; and Mozart’s Mass in C minor.

Other highlights with the Orchestra this season include Holst’s The Planets and Stravinsky’s Petrushka.

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, which appointed him its inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at 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 an OBE for Services to Music in The Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic season in September with Mahler’s Symphony No. 1. He completes his tenure as Chief Conductor at the closing of next summer's Bergen International Festival, conducting Mahler’s Symphony No. 8. The orchestra will be joined by several choirs, including the Edvard Grieg Kor, of which Edward is the Principal Conductor.

As Artistic Advisor of the Norwegian National Opera and Ballet, this season Edward will conduct a triple-bill of Schumann’s Frauen-Liebe und Leben, Bartók’s Bluebeard’s Castle and Zemlinsky’s A Florentine Tragedy. Future plans with the company include a Wagner Ring Cycle commencing in spring 2026.

Edward Gardner’s position at the LPO is generously supported by Aud Jebsen.

8

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Allan Clayton

soprano (Gabriel/Eve)

tenor (Uriel)

© Gerard Collett

© Sim Canetty-Clarke

Louise Alder

Louise Alder studied at the Royal College of Music International Opera School, where she was the inaugural Kiri Te Kanawa Scholar. She won the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition and the Young Singer Award at the 2017 International Opera Awards.

Allan Clayton is established as one of the most exciting and sought-after singers of his generation. He studied at St John’s College, Cambridge, and the Royal Academy of Music in London. An Associate of the Royal Academy of Music and a former BBC New Generation Artist from 2007–09, his awards include The Queen’s Commendation for Excellence and a Borletti-Buitoni Trust Fellowship. In 2021 he was awarded an MBE in The Queen’s Birthday Honours.

Louise last appeared in concert with the LPO in October 2018, when she was a soloist in Poulenc’s Stabat Mater and Orff’s Carmina Burana under Jérémie Rhorer at the Royal Festival Hall.

Allan garnered huge praise as the lead role in Brett Dean’s opera Hamlet, which received its world premiere at the 2017 Glyndebourne Festival with the London Philharmonic Orchestra under Vladimir Jurowski, and won the 2019 Gramophone Contemporary Award.

In 2018 Allan sang Froh in a concert performance of Wagner’s Das Rheingold with the LPO under Vladimir Jurowski at the Royal Festival Hall, and in 2019 he made his role debut as Faust in Berlioz’s La damnation de Faust at Glyndebourne under Robin Ticciati, again with the LPO. In October 2019 he sang John/Narrator 1 in Elgar’s The Apostles under Martyn Brabbins with the LPO at the Royal Festival Hall.

Recent highlights have included Susanna (Le nozze di Figaro) for the Vienna State Opera, the Bavarian State Opera and the Opernhaus Zürich; Zerlina (Don Giovanni) for the Royal Opera House, Covent Garden, and the Teatro Real in Madrid; Gretel (Hänsel und Gretel) and Marzelline (Fidelio) for the Bavarian State Opera; Sophie (Der Rosenkavalier) for the Vienna State Opera and the Glyndebourne Festival; Anne Trulove (The Rake’s Progress) for the Glyndebourne Festival; and Cleopatra (Giulio Cesare) for the Theater an der Wien and Oper Frankfurt. In concert she has sung with the London Symphony Orchestra under Sir Simon Rattle, the Berlin Philharmonic under Kirill Petrenko, the New York Philharmonic under Harry Bicket, and the Royal Concertgebouw Orchestra under Sir John Eliot Gardiner.

Recent performances include HK Gruber’s Frankenstein at the Royal Opera House, Covent Garden; In the Market for Love, an updated version of Offenbach’s Mesdames de La Halle, with the LPO for Glyndebourne’s 2020 Garden Opera series; and the title role of Peter Grimes in a new production at the Teatro Real Madrid and the Royal Opera House, Covent Garden. His 2022 debut at New York’s Metropolitan Opera in the title role in the US premiere of Dean’s Hamlet was met with widespread critical acclaim, which he then followed with Peter Grimes, about which The New York Times declared: ‘A tenor claims his place among the Met Opera’s stars.’

Louise’s recital appearances include the BBC Proms, Graz Musikverein and Oper Frankfurt with Gary Matthewman; Wigmore Hall with both Joseph Middleton and James Baillieu; the Schubertiade Schwarzenberg with Daniel Heide; and the Oxford Lieder Festival and Fundación Privada Victoria de los Ángeles in Barcelona with Sholto Kynoch. In the 2023/24 season she curates a season-long residency at London’s Wigmore Hall.

9

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Michael Mofidian

The Creation on the LPO Label

© Marie Fady

bass-baritone (Raphael/Adam)

Klaus Tennstedt conductor Lucia Popp soprano (Gabriel/Eve) Anthony Rolfe Johnson tenor (Uriel) Benjamin Luxon baritone (Raphael/Adam) London Philharmonic Orchestra & Choir

Praised by The Times for his ‘immense, dark-hued voice that’s even-toned from top to (very deep) bottom’, Michael Mofidian is increasingly in demand in opera, concert and recital.

LPO-0008 Recorded live at the Southbank Centre’s Royal Festival Hall on 19 February 1984

Tonight is his debut with the London Philharmonic Orchestra. This season he also makes his debut at the Teatro Real Madrid as Créon in Cherubini’s Médée.

He returns to Covent Garden as Colline (La bohème) and Pfleger des Orest (Elektra); makes his German operatic debut as Polyphemus (Acis and Galatea) for Potsdam Winteroper, and his role debut as Nick Shadow (The Rake’s Progress) at The Grange Festival, before returning to Pesaro’s Rossini Opera Festival as Fenicio (Ermione) and Lord Sidney (Il viaggio a Reims). In concert, he sings Tippett’s A Child of Our Time with the Royal Scottish National Orchestra at the Edinburgh International Festival under Sir Andrew Davis, and Bach’s St Matthew Passion with the National Symphony Orchestra of Ireland.

Scan to listen now

‘The playing and choral singing are consistently thrilling’ The Guardian, 10 February 2006

Michael Mofidian was born in Glasgow and graduated from the University of Cambridge and the Royal Academy of Music. From 2018–20 he was a member of the Jette Parker Young Artists Programme at the Royal Opera House, and in the 2021/22 season was engaged by the Grand Théâtre de Genève as a member of their studio. Since then he has performed at the Salzburg and Glyndebourne festivals, as soloist at the First Night of the 2021 BBC Proms with the BBC Symphony Orchestra under Dalia Stasevska, and last year with the BBC Scottish Symphony Orchestra under Ryan Wigglesworth.

He has also performed with the Accademia Nazionale di Santa Cecilia under Sir Antonio Pappano. Future engagements include with Welsh National Opera, the Bavarian State Opera and the Glyndebourne Festival.

All LPO Label recordings are available on CD from all good outlets, and to download or stream via Apple Music Classical, Spotify, Idagio and others.

10

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

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

Sopranos

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.

Anna-Maria Achilleos Annette Argent Tessa Bartley Hilary Bates Amy Brewster Coco Burch Charlotte Cantrell Megan Cunnington Issy Davies Antonia Davison Aimee Desmond Daryna Dzhashi Rachel Gibbon Sofia GonzalesMorales Rosie Grigalis Lily Guenault Jane Hanson Charlotte Hetherington Sasha Holland Ashley Jordan Joy Lee Clare Lovett Maddie Lovett Janey Maxwell Sally Morgan Elizabeth Ortiz Marie Power Courtney Reed Danielle Roman Holly Shannon Victoria Smith Ronnie Spinks Susan Thomas Mala Yamey Sze Ying Chan

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 Mahler’s Symphony No. 2, Tippett’s The Midsummer Marriage and A Child of Our Time, Janáček’s Glagolitic Mass, Schoenberg’s Gurrelieder and Berlioz’s Damnation of Faust, all under LPO Principal Conductor Edward Gardner; Mahler’s Symphony No. 3 with Robin Ticciati; the UK premieres of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder, and Tan Dun’s Buddha Passion; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of 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. This year for the first time, the Choir has taken part in the ‘Films in Concert’ series at the Royal Albert Hall, performing the score for Amadeus.

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.

The Choir prides itself on its inclusive culture, achieving first-class performances from its members, who are volunteers from all walks of life.

Supported by

The London Philharmonic Choir’s performance tonight is dedicated to the memory of Aidan Jones, former member (1979–2015) and Chairman (1987–92).

lpc.org.uk

11

Altos

Emma Barslund Alison Biedron Jenny Burdett Andrei Caracoti Pat Dixon Andrea Easey Carmel Edmonds Miranda Fern Pauline Finney Bethea HansonJones Judy Jones Grace Kenyon Julia King Andrea Lane Claire LawrenceSmales Ethel Livermore Laetitia Malan Ian Maxwell Rebecca Morgan Beth O’Brien Nicola Prior Angela Schmitz Natasha Sofla Annette Strzedulla Muriel Swijghuisen Reigersberg Susi Underwood Jenny Watson

Tenors

Tim Appleby Hugh Bennett Kevin Cheng James Clarke Gary Cupido Robert Geary Alan Glover Josh Haley David Hoare Stephen Hodges James Hopper

Alex Marshall Daisy Rushton Christopher Stuart Don Tallon Tony Valsamidis Mikolaj Walczak Toby Wilson

Basses

Martyn Atkins John Bandy Jonathon Bird Peter Blamire Marcus Daniels Myrddin Edwards Luis Fernandes Paul Fincham Ian Fletcher James FoulshamRogers Gary Freer Ian Frost Angel Gensen Luke Hagerty Alan Hardwick Christopher Harvey Mark Hillier David Hodgson Rylan Holey Borja Ibarz Gabardos Freddie Ingles Michael Jenkins Nigel Ledgerwood Maurice MacSweeney Thomas Mawson John D Morris Will Parsons Johannes Pieters Simon Potter Gershon Silins Edwin Smith Philip Tait Alex Thomas

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Programme note Joseph Haydn 1732–1809

The Creation 1797

Louise Alder soprano (Gabriel/Eve) Allan Clayton tenor (Uriel) Michael Mofidian bass-baritone (Raphael/Adam) London Philharmonic Choir

When the 58-year-old Joseph Haydn arrived in London on 1 January 1791, after a two-week journey from Vienna, he sparked a Georgian media frenzy. Haydn was fascinated by Britain, enthusiastically noting down his reactions to everything from Royal Navy warships to Cockney slang. But nothing had prepared him for the impact of the British choral tradition, which he encountered in May 1791 at the massive Handel Commemoration Festival at Westminster Abbey.

An orchestra and chorus of over a thousand performed Israel in Egypt and Messiah to a huge and receptive audience.

Swieten, who ‘resolved to clothe the poem in German garb’. Van Swieten’s translation is the text that Haydn set as Die Schöpfung – and which he had translated back into English as The Creation. Completed in the autumn of 1797, Die Schöpfung/The Creation became the first work in musical history to be published bilingually. It would soon become almost as popular as Messiah in the English-speaking world, and this evening we hear a recent English revision by Paul McCreesh.

Haydn was profoundly affected – both by the music, and by the overwhelming communal response it provoked.

‘He confessed’, recounted one of his first biographers, Giuseppe Carpani, ‘that when he heard the compositions of Hendl [sic] in London, he was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment.’ Haydn returned to Austria determined to create something with the same power and popularity. And he wanted it to be heard and enjoyed by his friends in Britain too.

The astonishing, tonally ambiguous prelude to The Creation, ‘The Representation of Chaos’, is itself a radical masterpiece, and it’s long had musicologists purring with approval. But Haydn planned it as part of a far greater design. Chaos is defeated by the most dazzlingly powerful affirmation of tonality in all classical music – a mighty burst of C major as God creates light.

And throughout the whole work, passages of relaxation (the radiant soprano aria ‘With verdure clad’, the rosy dawn that opens Part 3) and of playful humour (all those sound-effects, and a bubbly comic-opera duet for Adam and Eve) are balanced by music of visionary grandeur.

Before leaving London for the last time in 1795, Haydn had been given an English libretto for an oratorio based on Milton’s Paradise Lost, in which three angels and Adam and Eve retell the opening verses of the Book of Genesis. We don’t know who wrote it, though Haydn was assured that it had originally been intended for Handel. Modest about his grasp of English, he hesitated to set it in the original, so he enlisted one of Vienna’s most knowledgeable music-lovers, Baron Gottfried van

Learning from Handel, Haydn structured his oratorio around big, stirring choruses. As thrilling to sing as they are to hear, ‘Awake the harp’, ‘The heavens are telling’ and ‘Achieved is the glorious work’ match Handelian majesty with classical symphonic sweep. And then there are the moments where he simply expresses Biblical ideas in some of the happiest music of the Age of Enlightenment – Haydn freely admitted that he ‘was never so devout as when I was working on

12

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Programme note The Creation’. Yet his faith was as much about joy as awe: ‘Whenever I think of God’, he famously remarked, ‘I can imagine only a Being infinitely great and infinitely good, and the idea of this latter attribute of the divine nature fills me with such confidence, such joy, that I should set even a miserere in tempo allegro.’

The Creation in English,

by Paul McCreesh The Creation is now generally sung in German, yet there is no doubt that Haydn wished for the immediate impact which can only be created by performing the work in the audience’s own language. There have been many attempts to adapt and rewrite parts of the English text, but in preparation for the 2008 Gabrieli Consort & Players recording (DG Archiv 477736-1) I decided to give the libretto a complete and thorough revision, in the hope of creating a version which speaks directly and comfortably to English listeners, and is more worthy of Haydn’s sublime music. Often very simple changes to word order, or the insertion of a word with the correct number of syllables, can make for considerably more beautiful (and more comprehensible) English and, crucially, a better relationship between the text and Haydn’s music.

But Haydn was emphatically not naïve. At Mozart’s suggestion, Haydn had joined the Viennese Masonic lodge ‘Zur wahren Eintracht’(True Concord) in February 1785, and his personal library contained a range of banned philosophical texts. He didn’t just take the Bible’s word for the splendour of the Universe – in June 1792 he’d sought out the astronomer William Herschel at Windsor, and studied it for himself through the world’s most advanced telescope. Similarly, in The Creation, the very noblest music celebrates the limitless potential of Creation’s highest achievement – humanity. Written three years before Beethoven’s first symphony, the arias ‘Now heaven in fullest glory shines’ and ‘In native worth and honour clad’ are surely the crowning moment of the 18th-century Enlightenment in classical music.

Haydn’s contemporaries felt it then, as we feel it today.

Haydn’s final public appearance was at a performance of The Creation at the University of Vienna in honour of his 76th birthday, on 27 March 1808. Salieri was at the keyboard, and Beethoven was in the audience (afterwards, as Haydn left, he kneeled to kiss the old man’s hand). At the words ‘Und es ward Licht’ the entire audience erupted into spontaneous applause. Haydn, no longer able to stand unaided, raised his arms to heaven and declared, as strongly as his weakened voice allowed, ‘Not from me – it all comes from above.’

Paul McCreesh, 2009

Part 1 The text begins on page 16.

1

Overture. The Representation of Chaos After a mighty chord of C, Haydn depicts the infinite void in a prelude that sounds modern even today.

Recitative and chorus: In the beginning A hushed recitative prepares for the overwhelming creation of Light.

2

Aria (Uriel) and chorus: Now vanish before the holy beams A fresh and joyful song for the first morning of Creation.

3

Recitative (Raphael): And God made the firmament Haydn depicts the elements orchestrally before introducing each one in turn.

13

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Programme note 4

Aria (Gabriel) and chorus: The marvellous work beholds amaz’d.

A virtuoso soprano aria blossoms into an exuberant chorus of praise.

5

Recitative (Raphael): And God said: Let the waters under the heaven

6

Aria (Raphael): Rolling in foaming billows Haydn’s orchestra depicts the sea, mountains and river valleys in music that prefigures Beethoven’s ‘Pastoral’ Symphony.

7

Recitative (Gabriel): And God said: Let the earth bring forth grass

8

Aria (Gabriel): With verdure clad This serene and lovely aria, with its 6/8 metre and birdsong-like woodwind writing, takes the 18th-century pastoral style to its rapturous peak.

9

Recitative (Uriel): And the heavenly host

10

Chorus: Awake the harp For the first time in the work Haydn sets out to emulate the mighty Handel choruses that had so inspired him in London.

11

Recitative (Uriel): And God said: Let there be lights

12

Recitative (Uriel): In brightest splendour The newly created Sun rises in a radiant and festive D major for full orchestra. The Moon receives cooler treatment.

13

Chorus with soli: The heavens are telling A worthy successor to Handel’s Hallelujah and a stirring climax to the first part of the oratorio.

Part 2 14

Recitative (Gabriel): And God said: Let the waters bring forth

15

Aria (Gabriel): On mighty pens After an orchestral introduction of symphonic proportions, Haydn depicts the creation of the birds: clarinet, bassoons and flute respectively portray the larks, turtle-doves and nightingale.

16

Recitative (Raphael): And God created great whales God creates great whales: low strings provide a suitably solemn accompaniment to His words.

17

Recitative (Raphael): And the angels struck their immortal harps

18

Trio: Most beautiful appear The three angels admire in turn the newly created hills, birds and fishes. Typically lighthearted touches paint the picture in the orchestra; flute for the circling birds, and, for the whale, what else but the double bass? The trio leads into …

Chorus with soli: The Lord is great A bustling hymn of praise: chorus and soloists intertwining to brilliant and majestic effect.

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

14

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Programme note 19

Recitative (Raphael): And God said: Let the earth bring forth the living creature

20

Recitative (Raphael): Straight opening her fertile womb The orchestra depicts the new-created animals – from lion down to worm – before Raphael admires each one in turn.

21

Aria (Raphael): Now heaven in fullest glory shines Trumpets and drums give a regal dignity to Raphael’s description of Creation.

22

Recitative (Uriel): And God created Man God creates Man: the music briefly evokes both wonder and tenderness.

23

Aria (Uriel): In native worth and honour clad In this broad and noble aria, Haydn celebrates the Enlightenment’s vision of Humanity; the courage, dignity, intellect and capacity for love of Adam and Eve are all expressed in the music. The key of C suggests the innocence and perfection of humanity before the Fall.

24

Recitative (Raphael): And God saw everything

25

Chorus: Achieved is the glorious work Creation is complete; the entire heavenly host joins in vigorous song.

Trio: On thee each living soul awaits Over a radiant woodwind chorale, the three angels praise God – and hint solemnly at the potential consequences, should Adam and Eve turn from their Creator.

Chorus: Achieved is the glorious work Haydn completes the chorus and rounds off Part 2 with a powerful double fugue.

Part 3 26

Introduction and Recitative (Uriel): In rosy mantle The orchestral prelude depicts morning in Eden: three flutes gently paint the idyllic dawn.

27

Duet (Adam and Eve) with chorus: By thee with bliss, O bounteous Lord In an atmosphere of rapturous calm, Adam and Eve sing an expressive hymn to the Creation. The music soon spills over into out-and-out celebration.

28

Recitative (Adam and Eve): Our duty have we now perform’d Adam and Eve, having praised God, now start to notice each other.

29

Duet (Adam and Eve): Graceful consort Love-duet gives way to childlike playfulness, as Adam and Eve realise that life is even more joyful together.

30 Recitative (Uriel): O happy pair In a brief echo of Milton, the angel warns lest the happy pair seek to know more than they should.

31

Finale, chorus and soli: Praise the Lord A mighty and rousing double fugue ends the work with a final shout of praise.

Programme note © Richard Bratby

15

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

The Creation: text Part 1

the marvellous work beholds amaz’d.

And to the ethereal vaults resounds the praise of God, and of the second day.

Overture The Representation of Chaos

CHORUS And to the ethereal vaults resounds the praise of God, and of the second day.

Recitative [accompagnato] and chorus RAPHAEL In the beginning God created the heaven and the earth. and the earth was without form, and void; and darkness was upon the face of the deep.

Recitative RAPHAEL And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so.

And God called the dry land Earth, and the gath’ring of waters called he Seas, and God saw that it was good.

CHORUS And the spirit of God mov’d upon the face of the waters.

And God said, Let there be light: and there was light.

Aria RAPHAEL Rolling in foaming billows, uplifted roars the boisterous sea.

Mountains and rocks now emerge, into the clouds their tops ascend.

Through verdant plains outstretching wide the rivers flow, in serpent error.

Softly purling glideth on through silent vales the limpid brook.

Recitative URIEL And God saw the light, that it was good: and God divided the light from the darkness.

Aria and chorus URIEL Now vanish before the holy beams the gloomy, dismal shades of darkness; the first of days appears!

Disorder yields and order fair prevails.

Affrighted fly hell’s spirits, black in throngs; down they sink in the deepest abyss to endless night.

Recitative GABRIEL And God said: Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth: and it was so.

CHORUS Despairing, cursing rage, attends their rapid fall.

A new-created world springs up at God’s command.

Aria GABRIEL With verdure clad, the fields appear delightful to the ravish’d sense; by flowers sweet and gay adorned is the charming sight.

The fragrant herbs give forth their scent, here shoots the healing plant.

With copious fruit the spreading boughs are hung.

In leafy arches twine the shady groves.

O’er lofty hills majestic forests rise.

Recitative [accompagnato] RAPHAEL And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so.

Outrageous, dreadful storms now arise; as chaff by the winds impell’d are the clouds.

By heaven’s fire the sky is enflam’d, and awful roll the thunders on high.

At his command, rise from the floods, reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

Recitative URIEL And the heavenly host the third day proclaimed, praising God, and saying: Chorus CHORUS Awake the harp, the lyre awake!

With shouts of joy, your voices raise!

Aria and chorus GABRIEL The glorious heav’nly hierarchy,

16

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

The Creation: text In triumph proclaim the might of the Lord!

For all the heav’ns and the earth has he clothed in glorious attire.

the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven.

Recitative URIEL And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs, and for seasons, and for days, and for years.

He made the stars also.

Aria GABRIEL On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun.

The merry lark bids welcome to the morn, and cooing calls the tender dove his mate.

From every bush and grove resound the nightingale’s delightful, liquid notes.

No grief affected yet her breast, nor to a mournful tale were tun’d her soft, enchanting lays.

Recitative [accompagnato] URIEL In brightest splendour rises now the sun, and darts his rays; an eager, joyful bridegroom, a giant, glad and proud, to run his measured course.

With gentle steps, and softer, silv’ry beams, steals the moon, through still and silent night.

The boundless span of heaven’s vault is now adorn’d with numberless golden stars, and the sons of God announced the fourth day thus, in song divine, with joy proclaiming his might:

Recitative [accompagnato] RAPHAEL And God created great whales, and every living creature that moveth, and God blessed them, saying: Be fruitful all!

Multiply ye wing’d and feather’d tribes, and sing from every tree!

Multiply, ye finny tribes, and fill each wat’ry deep!

Be fruitful, grow and multiply, rejoice in him, your Lord and God!

Trio and chorus CHORUS The heavens are telling the glory of God; the firmament displays the wonder of his works.

GABRIEL, URIEL and RAPHAEL As day after day his power declares; And night after night his honour affirms.

Recitative RAPHAEL And the angels struck their immortal harps, and the wonders of the fifth day sang.

Trio and chorus GABRIEL Most beautiful appear, with verdure young adorn’d the gently sloping hills.

Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright.

CHORUS The heavens are telling the glory of God; the firmament displays the wonder of his works.

GABRIEL, URIEL and RAPHAEL In all the lands resounds the word, never unperceived, ever understood.

URIEL In lofty circles play, and flutter through the sky the cheerful flocks of birds.

And in the flying whirl their glittering plumes are dyed like rainbows by the sun.

CHORUS The heavens are telling the glory of God; the firmament displays the wonder of his works.

Part 2

RAPHAEL See flashing midst the waters bright a thousand fry that dart through rolling waves.

Upheaved from the deep, see the immense Leviathan sports on the foaming spray.

Recitative [accompagnato] GABRIEL And God said: Let the waters bring forth abundantly

17

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

The Creation: text GABRIEL, URIEL and RAPHAEL How many are thy works, O God! Who may their numbers tell?

He breathed into his nostrils the breath of life, and man became a living soul.

Aria URIEL In native worth and honour clad, with beauty, strength and courage bless’d, to heav’n erect and tall he stands, a man, the lord and king of nature all.

His noble, gen’rous brow sublime, declares a wisdom deep within, and in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast the partner for him form’d, a woman fair, a graceful spouse.

Her softly smiling virgin-looks, of flow’ry spring a mirror, speak love, delight and bliss.

GABRIEL, URIEL, RAPHAEL and CHORUS The Lord is great and great his might; his glory lasts for ever and for evermore.

Interval – 20 minutes Recitative RAPHAEL And God said: Let the earth bring forth the living creature after his kind; cattle, and creeping thing, and beast of the earth, after his kind.

Recitative [accompagnato] RAPHAEL Straight opening her fertile womb, the earth obeys the word, and teems with creatures numberless, in perfect forms and fully grown.

Cheerfully roaring, stands the tawny lion.

With sudden leaps the flexible tiger appears.

The nimble stag rears up his branching head.

With flying mane, the noble steed springs up and neighs, with spirit proud.

The cattle in herds peacefully graze on fields and meadows green.

And o’er the leas are scattered flocks of fleecy, meek and bleating sheep.

Unnumber’d as the sands, in whirls arise great swarms of insects.

In long dimension creeps with sinuous trace the worm.

Recitative RAPHAEL And God saw everything that he had made; and behold, it was very good; and the heavenly choir thus closed the sixth day, in song divine.

Trio and chorus CHORUS Achieved is the glorious work; the Lord delights in all he sees.

In lofty strains let us rejoice, our song shall be the praise of God! GABRIEL and URIEL On thee each living soul awaits; from thee, O Lord, they beg their meat.

Thou openest thy hand, and sated are they all.

RAPHAEL But when, O Lord, thy face is hid, with sudden terror they are struck.

Thou tak’st their breath away; they vanish into dust.

Aria RAPHAEL Now heaven in fullest glory shines; earth smiles in all her rich attire.

The air is fill’d with feather’d fowl; the water swells with shoals of fish; by heavy beasts the ground is trod.

But all the work was not complete, there wanted yet that wondrous being that God’s creation should admire and praise his works with heart and voice.

GABRIEL, URIEL and RAPHAEL Thou sendest forth thy breath again, and life with vigour fresh returns.

Revived earth unfolds new force and new delights.

CHORUS Achieved is the glorious work, our song shall be the praise of God! Glorious be his name for ever; he sole on high, exalted, reigns.

Alleluia.

Recitative URIEL And God created man in his own image.

In the image of God created he him.

Male and female created he them.

18

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

The Creation: text Part 3

EVE Ye purling fountains, tune his praise, and wave your tops, ye pines!

Ye plants exhale, ye flowers breathe on him your balmy scent!

Recitative [accompagnato] URIEL In rosy mantle now appears, by sweetest sounds awak’d, the morning, young and fair.

From heav’n’s eternal realm, pure harmony descends on ravish’d earth.

Behold the blissful pair, as hand in hand they go!

Their radiant eyes shine with heartfelt joy and thanks.

And so with cheerful noise, their God they soon will praise.

Then let our voices ring, united with their song!

ADAM Ye that on lofty mountains tread, and ye that lowly creep, ye birds that sing at heaven’s gate, and ye, that swim the deep, EVE, ADAM and CHORUS Ye living creatures, praise the Lord!

All with life and breath!

EVE and ADAM Ye valleys, hills and shady woods bear witness to our song.

From morn to eve shall you repeat our grateful hymn of praise.

Duet and chorus EVE and ADAM By thee with bliss, O bounteous Lord, the heav’n and earth are fill’d.

This world, so great, so wonderful, thy mighty hand has fram’d.

EVE, ADAM and CHORUS Hail bounteous Lord! Creator, hail!

Thy word called forth this wondrous frame.

The heav’ns and earth thy pow’r proclaim; we praise thee now and evermore.

CHORUS For ever blessed be his pow’r!

His name be ever magnified!

Recitative ADAM Our duty have we now perform’d, in off’ring up to God our thanks.

Now follow me, dear partner of my life!

Thy guide I’ll be, and every step wakes new delight within our breast, at the wonders all around.

Then may’st thou know the high degree of bliss the Lord has granted us, and with devoted heart confess his boundless love.

Come, follow me! Thy guide I’ll be.

ADAM Of stars the fairest, O how sweetly thou crown’st the smiling dawn.

How brighten’st thou, O sun, the day, thou eye and soul of all!

CHORUS Proclaim in your extended course the glorious pow’r and might of God! EVE And thou that rul’st the silent night, and all ye starry host spread wide and everywhere his praise in joyful songs around!

EVE O thou, for whom I am!

My help, my shield, my all!

Thy will is law to me; so God, our Lord, ordains.

For such obedience brings me joy, contentment and honour.

ADAM Ye mighty elements, by whose pow’r are ceaseless changes made, ye misty vapours and dewy steams, that rise and fall through th’air, acclaim and praise our God and Lord!

Duet ADAM Graceful consort!

At thy side softly fly the golden hours.

Every moment brings new rapture, every care is put to rest.

CHORUS Acclaim and praise our God and Lord!

Great is his name, and great his might!

19

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

The Creation: text Recitative URIEL O happy pair, and always happy yet, unless, by false conceit misled, ye strive for more than granted is, and more would know, than know ye should!

EVE Spouse adored!

At thy side purest joys o’erflow the heart.

Life and all I am is thine; my reward shall be thy love.

EVE and ADAM The dew-dropping morning, O how she gladdens all!

The cool breezy evening, O how she quickens all!

How pleasing is the savour of the fruit!

How charming is the smell of fragrant blooms!

But without thee, what is to me the morning dew, the evening breeze, the sav’ry fruit, the fragrant bloom?

With thee is every joy enhanced, with thee delight is ever new; with thee is life incessant bliss; thine it all shall be.

R3_adventures_150x105mm_BW.pdf 1 23/01/2024

Chorus CHORUS Praise the Lord, lift up your voices!

Thank him, thank our God for all his wonders.

Celebrate his power and glory!

Let his name resound on high!

God’s mighty pow’r shall last for evermore, Amen.

English text revised by Paul McCreesh 2006 and 2009 (© Paul McCreesh 2009)

12:24

C

M

Y

CM

MY

CY

CMY

K

20

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

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 CBE 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)

21

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 • 2 March 2024 • Haydn’s Creation

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

The American Friends of the London Philharmonic Orchestra Anonymous donors Mrs Aline Foriel-Destezet Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey CBE

Orchestra Circle

William & Alex de Winton Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Jenny & Duncan Goldie-Scot Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds

Drs Frank & Gek Lim Mr & Mrs Makharinsky Mr Gordon McNair Andrew T Mills Denis & Yulia Nagy Andrew Neill Jamie Njoku-Goodwin Peter & Lucy Noble Oliver & Josie Ogg Mr Stephen Olton Simon & Lucy Owen-Johnstone Andrew & Cindy Peck Mr Roger Phillimore Mr Michael Posen Saskia Roberts John Romeo Priscylla Shaw Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Karina Varivoda Grenville & Krysia Williams Joanna Williams

Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham Clive & Helena Butler Cameron & Kathryn Doley Ulrike & Benno Engelmann Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Mrs Elena & Mr Oleg Kolobova Mrs Elizabeth Meshkvicheva Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Mr Joe Topley & Ms Tracey Countryman Andrew & Rosemary Tusa Jenny Watson CBE Laurence Watt

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Alistair Corbett Guy Davies David Devons Igor & Lyuba Galkin Prof. Erol & Mrs Deniz Gelenbe In memory of Enid Gofton Alexander Greaves Prof. Emeritus John Gruzelier Michael & Christine Henry Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Elena Lojevsky Dr Peter Mace Pippa Mistry-Norman Miss Rebecca Murray Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Mr Rodney Whittaker Christopher Williams

Bronze Patrons

Anonymous donors Chris Aldren Michael Allen Mrs A Beare Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr John H Cook Deborah Dolce Ms Elena Dubinets David Ellen Cristina & Malcolm Fallen Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Iain & Alicia Hasnip Eugene & Allison Hayes J Douglas Home Molly Jackson Mrs Farrah Jamal Mr & Mrs Jan Mr & Mrs Ralph Kanza Mr Peter King Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF

22

Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Simon & Fiona Mortimore Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

Thank you

Thomas Beecham Group Members

Trusts and Foundations

German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Walpole

ABO Trust The Barbara Whatmore Charitable Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Cockayne – Grants for the Arts The London Community Foundation Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust The Golsoncott Foundation Idlewild Trust Institute Adam Mickiewicz John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Kirby Laing Foundation The Kurt Weill Foundation for Music The Lennox Hannay Charitable Trust Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation The Thriplow Charitable Trust Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family

Preferred Partners

and all others who wish to remain anonymous.

David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler Mr B C Fairhall The Friends of the LPO Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Sir Simon Robey Victoria Robey CBE 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 Solicitors French Chamber of Commerce Ryze Power

Tutti

Board of the American Friends of the LPO We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Kara Boyle Jon Carter Jay Goffman Alexandra Jupin Natalie Pray MBE Damien Vanderwilt Marc Wassermann 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 HSH Dr Donatus, Prince of Hohenzollern Aline Foriel-Destezet Irina Gofman Olivia Ma George Ramishvili Sophie Schÿler-Thierry Florian Wunderlich

Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway

In-kind Sponsor Google Inc

23

London Philharmonic Orchestra • 2 March 2024 • Haydn’s Creation

London Philharmonic Orchestra Administration Board of Directors Dr Catherine C. Høgel Chair Nigel Boardman Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Michelle Crowe Hernandez Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council

Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Lena Fankhauser Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey CBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate

Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Dayse Guilherme Finance Manager

Frances Slack Finance Director

Elena Dubinets Artistic Director

Jean-Paul Ramotar Finance and IT Officer

David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager

Education and Community Talia Lash Education and Community Director

Concert Management

Lowri Davies Eleanor Jones Education and Community Project Managers

Roanna Gibson Concerts and Planning Director Graham Wood Concerts and Recordings Manager

Hannah Smith Education and Community Co-ordinator

Maddy Clarke Tours Manager

Claudia Clarkson Regional Partnerships Manager

Madeleine Ridout Glyndebourne and Projects Manager

Rachel Williams Publications Manager Gavin Miller Sales and Ticketing Manager Ruth Haines Press and PR Manager Hayley Kim Residencies and Projects Marketing Manager Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services

Alison Jones Concerts and Recordings Co-ordinator

Development

Charles Russell Speechlys Solicitors

Robert Winup Concerts and Tours Assistant

Laura Willis Development Director

Crowe Clark Whitehill LLP Auditors

Rosie Morden Individual Giving Manager

Dr Barry Grimaldi Honorary Doctor

Siân Jenkins Corporate Relations Manager

Mr Chris Aldren Honorary ENT Surgeon

Anna Quillin Trusts and Foundations Manager

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Katurah Morrish Development Events Manager

Laura Kitson Stage and Operations Manager

Eleanor Conroy Al Levin Development Co-ordinators

Stephen O’Flaherty Deputy Operations Manager

Nick Jackman Campaigns and Projects Director

Benjamin Wakley Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Sophie Harvey Marketing Manager

24

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The Music in You design & 2023/24 season identity JMG Studio Printer John Good Ltd