b e m ov e d 2017/18 Season at Southbank Centreâ€™s Royal Festival Hall Concert programme
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Southbank Centre’s Royal Festival Hall Saturday 23 September 2017 | 7.00pm Enescu Oedipe Sung in French with English surtitles. There will be a 20-minute interval between Acts II and III. The concert will finish at approximately 10.00pm.
Vladimir Jurowski conductor Paul Gay Oedipe* Sir Willard White Tirésias Christopher Purves Créon Graham Clark Shepherd Mischa Schelomianski High Priest In Sung Sim Phorbas Maxim Mikhailov Watchman* Boris Pinkhasovich Thésée Marius Vlad Budoiu Laïos Ruxandra Donose Jocaste Ildikó Komlósi The Sphinx Gabriela Iştoc Antigone Dame Felicity Palmer Mérope Choir of the George Enescu Philharmonic Romanian Radio Children’s Choir London Philharmonic Orchestra Chahine Yavroyan lighting designer * Please note changes to artists from previously advertised Concert generously supported by Victoria Robey OBE Additional generous support from the Romanian Cultural Institute
The timing shown is not precise and is given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7–13 Tonight’s soloists 14–15 Tonight’s choirs 16 Synopsis 17 Programme note 19 Recommended recording 20 Vladimir Jurowski on Oedipe 21 Laurence Watt 22 Backstage: Fiona Higham 23 Next concerts 25 Sound Futures donors 26–27 Supporters 28 LPO administration Free pre-concert event 5.45–6.15pm The Clore Ballroom at Royal Festival Hall Writer, broadcaster and lecturer Professor Erik Levi joins Vladimir Jurowski to talk about Oedipe.
Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email email@example.com We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss
elcome to our first concert of the new 2017/18 LPO season at Royal Festival Hall. This season is a very special one as we mark the 10th anniversary of our partnership with Vladimir Jurowski as Principal Conductor. On 27 January 2018 we’ll celebrate with a special Gala Evening performance of Das Rheingold at Royal Festival Hall (see page 19 for details) – in the meantime, Jurowski opens our season in dramatic style tonight with a performance of Enescu’s majestic opera Oedipe. Jurowski and the Orchestra, choirs and soloists performed Oedipe last week in Bucharest as the opening concert in the city’s Enescu Festival, and we’re delighted to share this powerful work with our London audience this evening. We hope you enjoy the concert and can join us again soon – turn to page 23 to see details of our next Royal Festival Hall concerts. New members Look out for two new faces on stage this evening – we welcomed two new members to the Orchestra last month. 24-year-old American violinist Kevin Lin has been appointed Co-Leader of the Orchestra, and we also welcomed David Quiggle as our new Principal Viola.
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 Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.
2 | London Philharmonic Orchestra
Out now The Autumn/Winter 2017 edition of Tune In, our free twice-yearly magazine. Copies are available at the LPO Information Desk in the foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
On stage tonight
First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich
Kevin Lin Co-Leader Vesselin Gellev Sub-Leader Ji-Hyun Lee Katalin Varnagy Chair supported by Sonja Drexler
Thomas Eisner Martin Höhmann Catherine Craig Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp
Sarah Streatfeild Robert Pool Rebecca Shorrock Jeff Moore Non Peters Morane Cohen-Lamberger Miranda Allen Second Violins Tania Mazzetti Principal Jeongmin Kim Marie-Anne Mairesse Joseph Maher Ashley Stevens Nynke Hijlkema Kate Birchall Fiona Higham Chair supported by David & Yi Buckley
Nancy Elan Lorenzo Gentili-Tedeschi Sioni Williams Harry Kerr Alison Strange Judith Choi-Castro Violas David Quiggle Principal Robert Duncan Laura Vallejo Benedetto Pollani Susanne Martens Naomi Holt Daniel Cornford Isabel Pereira Richard Cookson
Martin Wray Martin Fenn Charles Cross Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden
Pei-Jee Ng Co-Principal Francis Bucknall Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster
David Lale Gregory Walmsley Santiago Carvalho† Chair co-supported by Molly & David Borthwick
Sue Sutherley Tom Roff Iain Ward Double Basses Kevin Rundell* Principal Sebastian Pennar George Peniston Laurence Lovelle Tom Walley Lowri Morgan Charlotte Kerbegian Jakub Cywinski Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE
Stewart McIlwham* Ian Mullin Piccolos Stewart McIlwham* Principal Ian Mullin Alto Flute Sue Thomas* Oboes Ian Hardwick* Principal Alice Munday Sue Böhling*
Cor Anglais Sue Böhling*
Bass Trombone Lyndon Meredith Principal
Chair supported by Dr Barry Grimaldi
Euphonium David Whitehouse
Clarinets Joan Enric Lluna Guest Principal Thomas Watmough James Maltby
Tubas Lee Tsarmaklis* Principal Michael Levis
Bass Clarinet Paul Richards Principal
Timpani Simon Carrington* Principal Paul Stoneman
E flat Clarinet Thomas Watmough Principal
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Saxophone Martin Robertson
Henry Baldwin Co-Principal Chair supported by Friends of the Orchestra
Bassoons Jonathan Davies Principal Gareth Newman Simon Estell*
Karen Hutt Oliver Yates Feargus Brennan
Contrabassoon Simon Estell* Principal
Harps Rachel Masters Principal Lucy Haslar
Horns John Ryan* Principal Chair supported by Laurence Watt
Mark Vines Co-Principal Martin Hobbs Stephen Nicholls Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff Mann
Hedley Benson David Hilton D Trumpet Paul Beniston* Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton
Piano Catherine Edwards Celeste Catherine Edwards Clíodna Shanahan Harmonium John Cuthbert Assistant Conductor Tiberiu Soare Surtitle Operator Kenneth Chalmers * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Sir Simon Robey
London Philharmonic Orchestra | 3
London Philharmonic Orchestra
Jurowski and the LPO, keyed up to a high level of concentration, delivered [John Adams’s Harmonielehre] with the shattering force of the Big Bang. Richard Fairman, Financial Times, 31 January 2017
Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre
4 | London Philharmonic Orchestra
continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, 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. Touring remains a large part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.
Pieter Schoeman leader
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 London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our 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. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega
The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, 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 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski.
Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. 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 Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.
London Philharmonic Orchestra | 5
Vladimir Jurowski conductor
As Jurowski prepares to mark 10 years with the LPO, the understanding between them seems in great shape.
© Drew Kelley
Martin Kettle, The Guardian, 29 January 2017
Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In January 2018 we celebrate the tenth anniversary of this extraordinary partnership with a semi-staged gala performance of Wagner’s Das Rheingold (see page 19). One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. This month Vladimir takes up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;
6 | London Philharmonic Orchestra
The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. This month sees the release of a seven-disc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and next month a special anniversary seven-disc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.
© Marianne Rosenstiehl
Sir Willard White
French bass-baritone Paul Gay is known internationally for his portrayals of leading roles in the French repertoire. He collaborates with conductors such as Yannick Nézet-Séguin and Semyon Bychkov, and has been invited for new productions by renowned directors.
One of the best-loved and most versatile opera stars of the last 40 years, Sir Willard White’s illustrious career has taken him to the most prestigious opera houses and concert halls throughout the world, collaborating with conductors, directors and orchestras of the highest calibre.
His principal repertoire includes Golaud (Pelléas et Melisande), a role he has sung at the Paris Opera, at La Monnaie in Brussels and in Oslo, Frankfurt, Turin and Lyon; and Mephisto (Faust), which he has been invited to sing at the Paris Opera, the Maggio Musicale Firenze and the Bordeaux Opera. Other signature roles include Messiaen’s Saint François, which he debuted in a new production at the Bayerische Staatsoper Munich. There he has also appeared in productions of Der Zwerg, I Capuleti e i Montecchi and L’enfant et les sortilèges. Paul is a regular guest at the Paris Opera. He also appears regularly in Brussels, Frankfurt, Amsterdam and Lyon, and he made his North American debut as Escamillo (Carmen) at the Canadian Opera Company. He has taken part in several contemporary creations including L’Ecole des femmes by Rolf Liebermann at Bordeaux Opera and Philippe Boesmans’s opera Yvonne, princesse de Bourgogne in Paris, Brussels and Vienna. Having completed his studies, winning a ‘Premier Prix’ at the Paris Conservatoire, Paul went on to gain his first operatic experience as a company member in Osnabrück, performing roles such as Colline (La bohème), Walter (Luisa Miller) and the title role in Massenet’s Don Quichotte.
Highlights this season include Gorjantchikov in From the House of the Dead at the Paris Opera and the Royal Opera House, Covent Garden; Publio in La clemenza di Tito for Dutch National Opera; Cadmus in The Bassarids at the Salzburg Festival; Commendatore in Don Giovanni at the Royal Opera House, Covent Garden; and a return to the Berlin Philharmonic for The Cunning Little Vixen under the baton of Sir Simon Rattle. Recent highlights include Schigolch in Lulu at English National Opera and Rome Opera; Doktor in Wozzeck for Dutch National Opera; Oreste/Giove in Il Giasone at the Grand Théâtre de Genève; Publio in La clemenza di Tito at the Salzburg Festival; Trinity Moses in The Rise and Fall of the City of Mahagonny for Rome Opera and at the Royal Opera House, Covent Garden; Arkel in Pelléas et Mélisande with the Los Angeles Philharmonic Orchestra and at the Metropolitan Opera; Ibn-Hakia in Iolanta for Lyon Opera and the Aix-en-Provence Festival; Vodnik in Rusalka for Scottish Opera; Commendatore in Don Giovanni at La Monnaie, Brussels; Wotan in Das Rheingold at the Mariinsky Theatre; Klingsor in Parsifal and Pope Clement VII in Benvenuto Cellini for English National Opera; Hercules in Alceste at the Teatro Real; and Priest in the world premiere of Jörg Widmann’s Babylon at the Bayerische Staatsoper.
Forthcoming engagements include concerts with the Berlin Philharmonic, Aida in Hong Kong, and Faust in Monte Carlo.
London Philharmonic Orchestra | 7
Christopher Purves has firmly established himself as one of the leading British baritones of his generation. Through his celebrated interpretations of a diverse and eclectic range of roles and repertoire, he is in great demand with many prestigious theatres around the world, working with orchestras, conductors and directors of the highest calibre. He started his musical life as a choral scholar at King’s College, Cambridge, and went on to become a member of experimental rock group Harvey and the Wallbangers.
Born in Lancashire, Graham Clark began his operatic career with Scottish Opera in 1975 before becoming a Company Principal at English National Opera (1978–85) and winning an Olivier Award for his performance as Mephistopheles in Busoni’s Doktor Faust (conducted by Sir Mark Elder and with Sir Thomas Allen as Faust).
Operatic highlights of the 2017/18 season include Golaud in Pelléas et Mélisande in Hong Kong and at Glyndebourne in Stefan Herheim’s new production with Robin Ticciati, and Trinity Moses in Weill’s The Rise and Fall of the City of Mahagonny for Opernhaus Zurich and Fabio Luisi. In concert he sings Balstrode in Peter Grimes at the Edinburgh Festival with Edward Gardner and the Bergen Philharmonic; Peasant in Schoenberg’s Gurrelieder with Sir Simon Rattle and the London Symphony Orchestra at the BBC Proms; Berlioz’s L’enfance du Christ with Robin Ticciati and the Deutsches Symphonie-Orchester Berlin; and Bach’s St Matthew Passion with Richard Egarr and the Rotterdam Philharmonic Orchestra. Christopher won the 2017 Helpmann Award for best male lead in an opera production, for his portrayal of Barrie Kosky’s Saul at the Adelaide Festival.
© Groves Artists
© Chris Gloag
Especially associated with the works of Wagner, he has given over 120 performances in 16 seasons at the Bayreuth Festival and has performed the roles of Loge and Mime in the Ring Cycle over 275 times worldwide. He has also performed 82 times in 15 seasons at the Metropolitan Opera, New York, in roles including Captain Vere (Billy Budd), Herod (Salome), Captain (Wozzeck), Albert Gregor (The Makropulos Case), and Bégearss in the world premiere of John Corigliano’s The Ghosts of Versailles. He made his acting debut as Socrates in The Trial of Socrates (from Plato’s Apology) at the Grand Théâtre, Luxembourg, in 2011. His extensive discography includes DVDs of Die Meistersinger von Nürnberg, Der fliegende Holländer and Der Ring des Nibelungen (Bayreuth); The Ghosts of Versailles (New York Met); Lady Macbeth of Mtsensk and Khovanshchina (Gran Teatre del Liceu, Barcelona); The Makropulos Case (Canadian Opera); Wozzeck (Deutsche Staatsoper, Berlin); and The Rake’s Progress (Glyndebourne). Recent and future operatic engagements include From the House of the Dead for The Royal Opera, Falstaff at Glyndebourne and in Paris, La fanciulla del West for English National Opera, Die Meistersinger von Nürnberg in Berlin, Aribert Reimann’s Lear in Frankfurt and Schreker’s Der Schatzgräber for Netherlands Opera, as well as a concert performance of Tristan und Isolde with the West-Eastern Divan Orchestra in Seville. Graham has recorded for all the major record companies and has received three nominations for Outstanding Individual Achievement in Opera.
8 | London Philharmonic Orchestra
In Sung Sim
High Priest bass
His repertoire includes such roles as Seneca in L’incoronazione di Poppea, Osmin in Die Entführung aus dem Serail, Sarastro in The Magic Flute, Leporello in Don Giovanni, Prince Gremin in Eugene Onegin, Vodnik in Rusalka, Don Fernando in Fidelio, King René in Iolanta, Polkan in The Golden Cockerel, King Marke in Tristan und Isolde, Filipo II in Don Carlo, Sam in Un ballo in maschera, Lodovico in Otello, Wurm in Luisa Miller, The Parson/The Badger in The Cunning Little Vixen, Quince in A Midsummer Night’s Dream and Tiresias in Oedipus Rex. He has performed at many prestigious venues such as the Paris Opera, Glyndebourne Festival Opera, the Aix-en-Provence Festival and the Théâtre des ChampsElysées in Paris, and at such opera houses as Munich, Frankfurt, Hamburg, Düsseldorf, Cologne, Prague, Vienna, Valencia, Toulouse, Nancy, Strasbourg and Bordeaux, as well as in Japan and Santiago de Chile. On the concert stage he has appeared with the Orchestre de Paris, the Royal Stockholm Philharmonic, the Bamberg Symphony Orchestra, the MDR Leipzig, the Orchestre National des Pays de la Loire, Le Cercle de l’Harmonie and at the Schleswig-Holstein Festival. Engagements for the 2017/18 season include Prince Gremin (Eugene Onegin) in Metz and Reims, Basilio (The Barber of Seville) in Metz, and King René (Iolanta) and Salieri (Mozart and Salieri) in Tours and Biel.
In Sung Sim was born in South Korea.
© Siung Song
Mischa Schelomianski grew up in Moscow. He moved to Germany and graduated from the Hochschule für Musik in Frankfurt.
His future engagements include Sarastro in The Magic Flute with the Komische Oper Berlin on tour to Japan; Zaccaria in Nabucco at the Arena di Verona; Wurm in Luisa Miller at the Opéra de Monte-Carlo; Verdi’s Requiem with Fabio Luisi and the Danish National Symphony Orchestra; Banco in Macbeth at the Teatro Municipale Salerno and in Toulouse; Sarastro, Timur in Turandot and Lodovico in Otello with Sir Antonio Pappano at the Royal Opera House, Covent Garden; Oroveso in Norma in Essen; Maria Stuarda at the Opéra de Monte-Carlo; Alvise in La Gioconda at Malmö Opera; Ramfis in Aida in Santiago; Padre Guardiano in La forza del destino in Las Palmas; and Filipp II in Don Carlo and Le bailli in Werther in Tel Aviv. His recent engagements include Phorbas in Oedipe at the Royal Opera House, Covent Garden; Sarastro at the Teatro Filarmonico di Verona, the Teatro Regio di Torino and in Santiago; Il Re in Aida at the Teatro Regio di Torino with Gianandrea Noseda; Attila at the Opéra de Monte-Carlo; Wurm at the Teatro Verdi di Trieste; Bach’s St Matthew Passion with the Copenhagen Royal Chapel Choir; Fafner in Siegfried and Hunding in Die Walküre in Tokyo; Nourabad in The Pearl Fishers in Tel Aviv; Zaccaria at the Festival di Caserta and with Daniel Oren in Tel Aviv; Commendatore in Don Giovanni and Il Re in Aida at the Arena di Verona; Timur in Toulouse and at the Puccini Festival di Torre del Lago; Raimondo in Lucia di Lamermoor at the Teatro Filarmonico di Verona; Sarastro with Ottavio Dantone and Marchese di Calatrava in La forza del destino with Zubin Mehta at the Palau de les Arts de Valencia; Il Commendatore in Don Giovanni in Montpellier; Liszt’s Die Legende von der Heiligen Elisabeth at the Staatsoper Stuttgart; Rocco in Fidelio at the New Opera in Bergen; Sparafucile in Rigoletto in Kristiansand; and Catalani’s La Wally at the Opéra de Monte-Carlo.
London Philharmonic Orchestra | 9
© Katya Chilingiri
Maxim Mikhailov was born in Moscow and descends from a traditional operatic heritage. In 1987 he joined the Bolshoi Opera as a principal soloist, and soon after won the Glinka Vocal Competition. His international career began in 1993, when he won the International Belvedere Competition in Vienna. Over the years Maxim has performed at the world’s leading opera houses, including the Royal Opera House, Covent Garden; L’Opéra Bastille in Paris; La Monnaie, Brussels; La Scala, Milan; the Gran Teatre del Liceu, Barcelona; the Teatro San Carlo, Naples; the Teatro La Fenice, Venice; the Staatsoper Berlin; De Nederlandse Opera; Houston Grand Opera; and the Metropolitan Opera, New York, as well as at many festivals including Glyndebourne, the BBC Proms and the Salzburg Easter Festival. As a stage director he has worked at the Chuvash State Opera in Cheboksary, Russia; the Viennese Chamber Opera; and as assistant stage director at the St Margarethen Festival in Austria. He has worked with renowned conductors including Claudio Abbado, Sir Antonio Pappano, Thomas Sanderling, Hartmut Haenchen, Carlo Rizzi, Vladimir Jurowski, his father Michail Jurowski and his brother Dmitri Jurowski. Since 2011 Maxim Mikhailov has also appeared as director at the Northern Lights Musical Festival in Minnesota and the Novosibirsk Opera House. Forthcoming projects include Rimsky-Korsakov’s The Golden Cockerel at the Amsterdam Concertgebouw; Boris Godunov at the Opéra de Paris; staging and production of Weill’s The Threepenny Opera in Novosibirsk, Russia; and recitals with the State Symphony Orchestra of Russia and the London Philharmonic Orchestra.
10 | London Philharmonic Orchestra
Boris Pinkhasovich graduated from the vocal and choral conducting departments of the St Petersburg State Rimsky-Korsakov Conservatoire. He has collaborated with renowned conductors such as Vladimir Jurowski, Mariss Jansons, Vladimir Fedoseyev, Frédéric Chaslin, Michail Jurowski, Dmitri Jurowski, Mikhail Tatarnikov, Antonello Allemandi and Vasily Petrenko. Recent and forthcoming appearances include returns to the Opéra de Monte-Carlo as Shchelkalov in Boris Godunov and to the Grand Théâtre de Genève as Lionel in The Maid of Orleans; the title role in Eugene Onegin with the Bayerische Staatsoper in Munich; Handjar in Gounod’s last opera Le tribut de Zamora with the Münchner Rundfunkorchester at Prinzregententheater Munich and at Opera Royal de Versailles; a return to the Bayerische Staatsoper as Paolo Albiani in Simon Boccanegra; and his debuts at L’Opéra Bastille in Paris and the Amsterdam Concertgebouw, also as Shchelkalov. Past engagements include Mr Astley in The Gambler for the Opéra de Monte-Carlo, Lord Enrico in Lucia di Lammermoor in Limoges, Rouen and Reims; Shchelkalov at the Bayerische Staatsoper in Munich; Gunther in Sigurd for the Grand Théâtre de Genève; Guillaume in Lalo’s La Jacquerie for the Festival de Radio France Montpellier, and the title role in Eugene Onegin with the Tchaikovsky Symphony Orchestra in Moscow and with the Yekaterinburg State Theatre. Other operatic roles include Belcore in L’elisir d’amore, Figaro in The Barber of Seville, Yeletsky in The Queen of Spades, Robert in Iolanta, Germont in La traviata, Lescaut in Manon Lescaut, Silvio in I Pagliacci, Rodrigo in Don Carlo and Marcello in La bohème.
Recent highlights for Romanian tenor Marius Vlad Budoiu include the title roles in Wagner’s Tannhäuser and Lohengrin at Melbourne Opera, and his debut as Florestan in Graham Vick’s staging of Fidelio at the Romanian National Opera in Bucharest. Other recent engagements include the title role in Tannhäuser at the Romanian National Opera and at Theater Freiburg; the title role in Lohengrin at the Novaya Opera in Moscow, Theater Freiburg and the Romanian National Opera; Tambourmajor in Wozzeck at the Enescu Festival in Bucharest; Don José in Carmen at Theater Freiburg; the title role in Verdi’s Otello at the Hungarian State Opera in Budapest, Opéra de Marseille, Opéra de Toulon, Prague State Opera, Teatro Massimo di Palermo and the Slovenian National Opera in Bratislava; and the role of Froh in Das Rheingold under the baton of Daniel Barenboim at the Teatro alla Scala, Staatsoper Berlin and at the BBC Proms in London. On the concert stage he has sung Enescu’s Symphony No. 5 with the Philharmonische Staatsorchester Hamburg and the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern with Peter Ruzicka conducting (released on CD for CPO Records); Mahler’s Das Lied von der Erde with the Romanian Radio Orchestra conducted by Julien Salemcour; and Enescu’s Vox Maris at the Enescu Festival with Zubin Mehta conducting.
© Nicolae Alexa
Marius Vlad Budoiu
Among the most renowned singers of her generation, Ruxandra Donose has captured critical and popular acclaim in leading opera houses and concert halls around the world. She has performed at venues including the Royal Opera House, Covent Garden; the Metropolitan Opera, New York; the San Francisco Opera; the Paris Opera; the Vienna State Opera; the Berlin Staatsoper; the Los Angeles Opera; the Deutsche Oper Berlin; the Teatro Real, Madrid; and in Tokyo. Following her hugely acclaimed debut as Eboli in Don Carlo with Grange Park Opera in 2016, Ruxandra continued her exploration of dramatic repertoire last season by taking on the role of Elektra in a new production of Manfred Trojahn’s Orest at the Opernhaus Zürich. Other recent highlights include Eduige (Rodelinda) and Octavian (Der Rosenkavalier) at the Bolshoi, and Adalgisa (Norma) at the Grand Théâtre de Genève. In the 2017/18 season Ruxandra Donose makes her eagerly anticipated role debut as Kundry in Parsifal with the Berlin Philharmonic Orchestra at the Baden-Baden Festival under the baton of Sir Simon Rattle, and later in the season she makes her role debut as Fricka in the Ring Cycle at the Grand Théâtre de Genève.
Marius Vlad has performed on stages and at festivals throughout Europe, from the Concertgebouw in Amsterdam, the Hamburg Philharmonic Hall and the Teatro Verdi in Florence to the Schweriner Festspiele, and has had the pleasure of working with conductors such as Marek Janowski, Renato Palumbo, Fabrice Bollon, Giuliano Carella, Jan Latham-Koenig and Friedrich Haider.
London Philharmonic Orchestra | 11
The Sphinx mezzo-soprano
Her international career began in 1986, when she won the Pavarotti International Competition. Since then her career has taken her to all the world’s important opera houses, opening seasons at La Scala, Milan; the Royal Opera House, Covent Garden; and the Metropolitan Opera, New York. She has collaborated with conductors such as Zubin Mehta, Sir Antonio Pappano and Iván Fischer, as well as directors such as Franco Zeffirelli, Hugo De Ana, Graham Vick and others. Her repertoire includes more than 60 titles, ranging from bel canto to verismo. She has recorded for Decca, Eagle and Sony.
© Mihai Cucu
Hungarian mezzosoprano lldikó Komlósi graduated from the Budapest Academy of Music in singing and musicology; she continued her studies at the Academy of La Scala, Milan.
Gabriela Iştoc is one of Romania’s leading young sopranos and a laureate of numerous national and international competitions. A graduate of the National Opera Studio in London and the Royal Irish Academy of Music in Dublin, she studied with Veronica Dunne. She was a Jerwood Young Artist in 2011 and was awarded the Robert and Margaret Lefever Study Award and the Wessex Glyndebourne Association Award. Following her 2013 success at Royal Festival Hall and the Théâtre des Champs-Élysées as Lucy Brown in Weill’s The Threepenny Opera with the LPO and Vladimir Jurowski, she returned to the UK in summer 2013 to sing The Echo in Ariadne auf Naxos at Glyndebourne. Previous roles include Eurydice (Julian Philips’s Followers), Ludovina (Philips’s The Yellow Sofa), First Nymph and Foreign Princess (Rusalka), Vixen Sharp-Ears (The Cunning Little Vixen), Gilda (Rigoletto), Soprano (Too Hot to Handel), Serpina (La serva padrona) and Fiordiligi (Così fan tutte). Recent appearances have included Mimi (La bohème) at Opera North and Den Jyske Opera; Adina (L’elisir d’amore) at Opera North; and Strauss’s Four Last Songs at the Teatro Massimo Bellini, Catania. Future engagements include a Christmas concert tour of Romania with the Mihail Jora Philharmonic Orchestra. Gabriela’s films and DVD recordings include Violetta in La traviata: Love, Death and Divas (BBC), and Ariadne auf Naxos for Glyndebourne Festival Opera.
12 | London Philharmonic Orchestra
© Christian Steiner
Dame Felicity Palmer
Dame Felicity Palmer’s remarkable career spans five decades. This season she returns to the Opéra National de Bordeaux to perform as Klytemnestra in Elektra with Paul Daniel, and she reprises the role of Geneviève in Pelléas et Mélisande with the City of Birmingham Symphony Orchestra and Mirga Gražinytė-Tyla. She will be returning to a major signature role for the Royal Opera House, Covent Garden during the 2018/19 season.
Chahine Yavroyan’s theatre work includes Let The Right One In (NTS, US Tour); Amedee, What Shadows, The Government Inspector, Tartuffe, Khandan, Anita And Me (Birmingham Rep); Monster Raving Loony (The Drum); Anything That Gives Off Light, Dunsinane, Caledonia, Realism, The Wonderful World of Dissocia (NTS); Bright Phoenix (Liverpool Everyman); Dancing at Lughnasa, Punk Rock (The Lyric, Belfast); Juvenalia, Tuesdays at Tescos (Assembly Rooms); Unreachable, Hope, The Pass, Narrative, Get Santa, Wig Out!, Relocated (Royal Court Theatre); Hedda Gabler, King Lear, The House, Major Barbara (The Abbey, Dublin); A Soldier In Every Son, Measure for Measure, Marat/Sade, God in Ruins, Little Eagles (RSC); Uncle Vanya (Minerva, Chichester); The Lady From The Sea, The Comedy of Errors, Three Sisters (Royal Exchange, Manchester); The Vortex (The Gate, Dublin); Scorched (Old Vic Tunnels); Fuente Ovejuna, Punishment Without Revenge, Dr. Faustus (Madrid); and Jane Eyre, Someone Who’ll Watch Over Me (Perth Theatre).
Her recent engagements include Geneviève in Pelléas et Mélisande with the Los Angeles Philharmonic and Philharmonia orchestras and Esa-Pekka Salonen; Klytemnestra in Elektra with Seymon Bychkov at the BBC Proms; a return to English National Opera as The Countess in The Queen of Spades; Mrs Sedley in Peter Grimes for Zurich Opera, English National Opera and the Accademia Nazionale di Santa Cecilia conducted by Sir Antonio Pappano; and Madame de Croissy in Dialogues des Carmélites at the Metropolitan Opera and the Bayerische Staatsoper. Her most recent appearance with the London Philharmonic Orchestra at Royal Festival Hall was as Mrs Peachum in Weill’s The Threepenny Opera under Vladimir Jurowski in 2013.
His music work includes collaborations with Jocelyn Pook, Orlando Gough, Jeremy Peyton-Jones and Diamanda Galás, as well as John Adams’s The Death of Klinghoffer with Scottish Opera, Plague Songs at the Barbican, and Cold Calling: The Arctic Project with the City of Birmingham Symphony Orchestra. His most recent project with the London Philharmonic Orchestra and Vladimir Jurowski was Mahler’s Symphony No. 8 at Royal Festival Hall in April 2017.
Dame Felicity is a pioneer of character diction coaching, and her work in this capacity has contributed to award-winning productions at English National Opera (Jenůfa, The Magic Flute, Don Giovanni, Lulu) and Glyndebourne (A Midsummer Night’s Dream, Hamlet).
London Philharmonic Orchestra | 13
Choir of the George Enescu Philharmonic Ion Iosif Prunner conductor
For over six decades the Choir of the George Enescu Philharmonic has partnered the Bucharest-based George Enescu Philharmonic Orchestra. The ensemble has performed masterpieces from Monteverdi to Bach, from Haydn to Brahms and works by Berlioz, Liszt, Gounod, Schumann and Elgar, as well as more contemporary works such as Bernstein’s Mass and Symphony No. 3 (Kaddish), and Penderecki’s Requiem and The Seven Doors of Jerusalem under the baton of the composer. The Choir’s concert programmes have also featured operas such as Die Entführung aus dem Serail, Fidelio and Oedipus Rex. Like their instrumental colleagues, members of the Choir frequently appear as soloists and perform in recitals. This fosters a spirit of competition and constant striving for artistic excellence, supported by collaboration with renowned conductors such as Georges Prêtre, Lawrence Foster, Sergiu Celibidache, Gennadi Rozhdestvensky, Michel Plasson, Daniel Barenboim, Zubin Mehta, Vasily Petrenko and Leo Hussain. An impressive number of soloists, musicologists and vocal teachers began their careers as members of the Enescu Philharmonic Choir. Among the prominent events of recent decades were a 1998 concert performance of Enescu’s Oedipe with the Orchestre Nationale de France and Lawrence Foster for the opening of the George Enescu International Festival; and collaborations with the Bolshoi Opera Theatre in Moscow, the Munich Philharmonic Orchestra, the London Symphony Orchestra, the National Orchestra of Catalonia, the Toscanini Orchestra in Parma, the Staatskapelle Berlin, the Israel Philharmonic Orchestra and the Royal Liverpool Philharmonic Orchestra.
14 | London Philharmonic Orchestra
The Choir undertakes frequent international tours, and has distinguished itself in concert halls in Spain, France, Italy, Bulgaria and Greece. Many of its remarkable interpretations have been recorded on CD and for radio, including Mozart’s Requiem, all of Enescu’s works for voice and symphony orchestra, and motets by Bruckner and Brahms.
Ruxandra Alexandrescu Alexandra Andrei Iulia Artamanov* Cristian Babuta Natalia Babuta Stefania Bolos Alina Bosovici Geanina Brasoveanu Alina Buzdugan Laura Chera Mircea Ciurez Madalina Constantin Mariana Constantin Cristian Constantinescu Ana-Maria Costache Florian Costea Cristina Costica Cleopatra David Daian Dinulescu Octavian Dobrota Georgiana Dumitru Unguru Ecaterina Raluca Enea Anfisa Fugaru Razvan Georgescu Sorin Georgescu Elena Gheorghe Nicolae Grof Irina Ionescu Mirela Ionescu Radu Isacescu
Valentin Ivascu Stefan Lamatic Eugenia Lica Cristian Manta Ciprian Mardare Haricleea Marica Emilian Mincu Mariana Mirescu Marius Nine Simona Oarfa Ioan Orheian Ghica Paul Marius Pisica Adrian Plesca Bogdan Podlovski Ionut Popescu Stefana Puia Anca Sandu Liliana Seica Gabriel Stefan Catalin Stoica Adrian Tanase Oana Tanase Dragos Teodorescu Cristina Vasilache Lacramioara Vasiliu Anelya Vidinova Alexandrina Vizitiu Mioara Voicu *Step-out role: Theban Woman
Romanian Radio Children’s Choir Voicu Popescu conductor
Founded in 1945, the Romanian Radio Children’s Choir has become an important ensemble in the Romanian musical landscape. It was in this choir that future artists Ileana Cotrubaş, Silvia Voinea, Voicu Enăchescu, George Crăsnaru, Roxana Briban, Roxana Constantinescu and many others took the first steps in their musical careers. The Choir frequently performs on radio, on television and in recording sessions. Its exceptional performing talents have been highlighted in recitals, a cappella concerts and contributions to performances of vocalsymphonic masterworks alongside the Romanian Radio National Orchestra, Radio Chamber Orchestra, George Enescu Philharmonic Orchestra, Munich Philharmonic Orchestra and Bavarian State Orchestra, under the baton of Romanian and international maestros including Iosif Conta, Ludovic Bacs, Horia Andreescu, Christian Badea, Jing Wang, Lawrence Foster, Wayne Marshall and Zubin Mehta. The Choir has appeared in festivals, tours and competitions in almost every country in Europe as well as Japan, the United States and Canada, and has won many prestigious awards. In 2004 the young singers became Cultural Ambassadors of the European Union, a title granted by the EU Federation of Choirs. In recent years, under the guidance of conductor Voicu Popescu and accompanied by pianist Camelia Chiţibea, the ensemble has explored new forms of expression in cultural cooperation programmes including Songbridge (Canada), Brundibar and Les Instants Sacrés (France), Amadeus and Adiemus (Romania), Voci d’Europa (Italy) and Glittering Water (Romania and France).
2010 marked the 65th anniversary of the Romanian Radio Children’s Choir, during which it participated in the project ‘From Apprenticeship to Mastery’, dedicated to students of the conducting classes at the Bucharest National University of Music. In the same year, the ensemble staged Bach’s Magnificat anima mea Dominum with the Belgian baroque orchestra Il Gardelino and harpsichord player Ketil Hausgang at the Bucharest Old Music Festival. ‘For the Beauty of the Earth’ was a project developed in 2011 and included the national and European premiere of Alberto Grau’s Opereta Ecologica en Quatro Actos ,which was performed during the George Enescu International Festival in Bucharest, Romania.
Cristiana Anghel, Oana Tîrcomnicu Maria Buzățelu Oana Necea Gabriela Ilie Antonia Matei Nicoleta Ilie Irina Mormocea Andreea Iliescu Smaranda Oprina Iulia Ivan Maria Jurubiță Elena Alfloarei Alexandra Horpas Teodora Avram Miruna Toma Andrei Bucur Bogdan Pîrvu Sara Deaconescu Alesia Mihai
Andrei Milcof Ioan Turliu Anastasia Rădulescu Ilinca Oprina Ecaterina Silișteanu Andreea Munteanu Freja Apelkvist Ștefania Mihăilescu Alexandra Bițu Maya Mușat Maria Demir Andra Săndulescu Mara Lăcătuș Silvia Voicu Maria Munteanu Teodora Nenov Eva Mușat Iasmina Topala Diana Savu Anette Zikeli
London Philharmonic Orchestra | 15
Act I The Palace at Thebes The people of Thebes celebrate the birth of a son to King Laïos and Queen Jocaste. The blind prophet Tirésias interrupts the celebrations to announce that the child, born in defiance of the gods, is destined to kill his father and marry his mother. Terrified, Laïos and Jocaste order the Shepherd to take the baby to the gorge of Cithaeron and kill him. Some 20 years have passed. The Shepherd ignored Laïos’s instructions, and gave the baby to Phorbas, who exchanged him with the dead son of King Polybos and Queen Mérope of Corinth. Oedipe has been raised as the couple’s son, ignorant of his true parentage.
Act II Scene 1: The city of Corinth Oedipe has heard through an oracle of his destiny: he will kill his father and marry his mother. He believes that this means that he will kill Polybos and marry Mérope. Mérope comes to ask Oedipe why he is not taking part in the city’s celebrations of Aphrodite and Adonis, and tries to calm him by telling him that the rumour he is a foundling is false. Oedipe tells Mérope that he has dreamt that he killed his father Polybos, and married Mérope. He decides to leave Corinth to prevent this happening. Scene 2: At the crossroads The Shepherd who saved Oedipe’s life plays his pipe. A storm approaches. Oedipe enters, cursing the gods and Fate. Laïos and his entourage arrive at the crossroads, and assume that Oedipe is threatening them. They fight, and Oedipe kills Laïos and his men. Scene 3: Outside the gates of Thebes Oedipe learns from a watchman that a fierce beast – the Sphinx – is ravaging the population of Thebes by devouring any passer-by who cannot solve her riddles. The person who solves one of the Sphinx’s riddles will cause her to die, and thus save Thebes. Oedipe wakes the Sphinx, who asks a riddle: ‘Name someone or something that is greater than Fate’. Oedipe answers that Man is greater than Fate. The Sphinx commits suicide – though as she dies she seems almost to be
16 | London Philharmonic Orchestra
laughing in triumph. Oedipe feels unexpectedly uneasy, but the people of Thebes welcome him as a hero, and offer him the prize for defeating the Sphinx: the kingdom and marriage to the widowed queen, Jocaste.
Interval (20 minutes) Act III A square in Thebes Oedipe has ruled Thebes well for 20 years. He and Jocaste have had several children, and the city has prospered. Now, however, Thebes is smitten with plague. Jocaste’s brother Créon has consulted an oracle, and reports that the plague will continue to rage until Laïos’s murderer is punished. Créon has asked Tirésias to help him discover the killer, and Tirésias reluctantly reveals that it is Oedipe. Oedipe initially believes that Tirésias’s announcement is part of a plot orchestrated by Créon to depose him, but when first Phorbas and then the old Shepherd reveal the facts of his birth, he realises that Tirésias has told the truth. Oedipe confesses his guilt to his people; Jocaste commits suicide at the news that she has married her son. To atone for his wrongdoing, Oedipe blinds himself and leaves Thebes to begin a life of wandering, accompanied by his daughter Antigone.
Act IV A grove near Athens Oedipe and Antigone have spent years wandering the country. They are now on the outskirts of Athens, ruled by King Thésée. Créon comes to find them. He wants Oedipe to return to Thebes as king, as an Oracle has prophesied that the city where Oedipe shall die will be blessed and glorious. Oedipe refuses. To force him to obey, Créon attempts to abduct Antigone. Thésée interrupts the abduction, and Créon denounces Oedipe for incest and patricide. Oedipe answers that he is innocent, as he never intended to commit either crime. The voices of the Furies, transformed into the peaceful protectors of Athens, are heard calling to him, and Oedipe orders Thésée to lead him to his final resting place. As Oedipe vanishes, the Furies pronounce his absolution: ‘Happy is he whose heart is pure. Peace be upon him!’ Synopsis reproduced by permission of the Royal Opera House, Covent Garden.
George Enescu 1881–1955
‘As long as I knew my beloved and great teacher, the score of this overwhelming opera was by his side. Night and day, instead of sleeping after and between concerts, he would work on it […] it can truly be said “Here lies the very heart and heartblood of George Enescu”.’ So wrote Yehudi Menuhin in his autobiography Unfinished Journey about Enescu’s commitment to writing his only opera, Oedipe, and the importance of it within his compositional output. George Enescu is considered Romania’s foremost composer, best known for his two Romanian Rhapsodies (1901). He reluctantly fitted composition around the demands made by his many other musical talents. One of the 20th century’s finest concert violinists with a busy international career, in America he was known as an assured conductor and frequently served as piano accompanist to Menuhin and cellist Pablo Casals. A sought-after violin teacher, his pupils included Christian Ferras, Arthur Grumiaux and Ida Haendel. In 1921, Enescu founded the Romanian Opera in Bucharest and conducted the national premiere of Wagner’s Lohengrin. Seven years of violin study in Vienna preceded advanced studies at the Paris Conservatoire between 1895 and 1898. Enescu was a peer of Maurice Ravel in the composition classes of Jules Massenet and Gabriel Fauré and penned four quasi-Wagnerian ‘school’ symphonies alongside other more ‘academic’ works. Besides Bucharest, Paris saw the premieres of Enescu’s many mature works, which included three symphonies, orchestral suites, violin sonatas, plus a multitude of other chamber pieces. The premiere of Oedipe took place at the Paris Grand Opéra on 13 March 1936 and Enescu described attending it as being ‘possessed by an extraordinary feeling – I felt like someone in a dream, or a legend...’
Oedipe: Tragédie Lyrique in Four Acts and Six Tableux (1910–31) Libretto by Edmond Fleg, inspired by Sophocles’s Oedipus Tyrannus and Oedipus at Colonus © Ed. Salabert, Paris (Universal Music Publishing Group) By arrangement with G. Ricordi & Co. (London) Ltd. Surtitles © Stewart Spencer, courtesy of the Royal Opera House, Covent Garden.
The path to that opening night was long and tortuous. In 1909 Enescu became transfixed by actor Jean Mounet-Sully’s performance in the title role of Sophocles’s Oedipus Tyrannus and decided on the ancient Greek myth as his operatic subject. The first sketches of thematic ideas were penned during the following year. Enescu’s search for a librettist led to the French poet Edmond Fleg, who had written the libretto for Ernest Bloch’s Macbeth. Together, Enescu and Fleg decided the opera would encompass not only Oedipus Tyrannus, in which Oedipus discovers that he killed his father and married his mother, but also Oedipus at Colonnus, which presents Oedipus’s self-justification for his earlier actions and his death. By 1912, Fleg presented Enescu with a vast draft, designed to fill two consecutive evenings. A dismayed Enescu urged Fleg to reduce it to a single evening; he made alterations gradually until 1921. When the definitive text was finally given to Enescu, the libretto had been condensed, yet its breadth had widened to present an epic birth-to-death account of Oedipus’s life. Fleg himself supplied the material for the first two acts that portray key moments in Oedipus’s early life and largely followed Sophocles’s plays for the remaining acts. Artistic license is taken with the Sphinx’s riddle in Act II, Scene 3. She no longer asks to know which animal walks successively on four legs, then two, then three; rather she demands, ‘Is there anything in the universe stronger than Destiny?’ Oedipe’s emphatic answer remains unchanged: ‘Man!’ Thus, Oedipe is presented not as a man at the mercy of the Gods but as a fallible man, as all humans are. Oedipe makes his own choices, suffers their consequences for better or worse and endures the judgement of others as a result. In short, Oedipe makes us reflect on what it means to be human. When friends complained that it was not on a Romanian subject, Enescu countered that it was a work of universal relevance. London Philharmonic Orchestra | 17
Programme notes continued
Enescu worked at speed in July and August 1921 on composing a first draft piano score of the entire opera. Progress suffered a substantial setback when the partially orchestrated score was lost in transit bound for Russia. Enescu had planned to work on it between performances as a violinist and, though it was later recovered with the help of conductor Bruno Walter, Enescu was forced to start again. He produced another full vocal and piano score by November 1922. This left the arduous and time-consuming task of orchestration and elaboration, which was to last until 1931. During this time Enescu wrote and completed his first piano sonata (1924) and the third violin sonata (1926), but Oedipe remained his constant preoccupation. In contrast with Stravinsky’s opera Oedipus Rex (1927), where concise expression is the overriding concern, Enescu’s Oedipe is mammoth in every sense. He told music critic Bernard Gavoty that it was ‘constructed like a symphony’ in four acts using the Wagnerian leitmotif technique. These musical themes are used not only to weave the web of characters and their actions throughout the opera but also underline key ideas and concepts. Thus, Act I’s foreboding orchestral prelude presents the themes for ‘fate’, ‘patricide’ and ‘man’s victory’. Texture is added and sustained through Enescu’s masterly use of heterophonic technique, which is the simultaneous overlaying of several different instrumental and vocal motifs. A uniquely Romanian sound-world is evident in Enescu’s sinuous writing, its shifting rhythmic patterns and modal tonal background. The shepherd evokes the traditional sound of the Romanian peasant through the doina-influenced folk tunes played on his flute. The opera’s 14 solo roles are demanding. André Pernet, who created the title role at the Paris premiere, declared it ‘splendid, but exhausting’. It requires a singer capable of employing the full bass-baritone range and register, but utilises every conceivable vocal expression including quarter-tones, glissando moans, groans, cries, whispers and Sprechgesang, undoubtedly inspired by Schoenberg’s Pierrot Lunaire (1912). That said, with vocal lines that are eminently singable, the role is a gift for any artist at the peak of his powers. There are rich rewards to be had elsewhere too. The Shepherd, who alone can link Oedipe’s birth to his fateful end, lends a peppery tenor tinge to his scenes. The roles of Jocaste, Créon and Thésée all allow for rounded characters to 18 | London Philharmonic Orchestra
be portrayed. Gravity and foreboding are added by the presence of the Watchman and the blind prophet Tirésias. Antigone, who alone remains true to Oedipe throughout his nomadic wanderings and ascension into the light of the Eumenides during Act IV, calls for lyrical singing and tender tone. The Sphinx is a role impossible to ignore. Enescu implores the contralto to sing ‘in deathly voice’, to reply ‘with terrifying irony’ and ‘with a steely, white voice be seized with convulsions of agony’. The chorus of adult and children’s voices comments on the action, akin to that of Greek tragedy, but enters into it also as the citizens of Thebes who suffer the plague caused by Oedipe killing his father Laios. Enescu compared composing an opera to the work of a jeweller: ‘the jewel itself is the action, the dramatic conflict’. In doing so, he observed three self-imposed rules: ‘One: it must keep going. No pathos, no repetitions, no unnecessary talk. The action must take shape quickly. Two: the public mustn’t get bored. Three: the listener must understand the text.’ It is little wonder that Enescu found orchestration a trial, given the considerable energy he expended on trying to notate the minutiae of every detailed nuance he imagined within the elaborate score. A vast orchestra is used yet rarely deployed in full. The standard orchestra has an enlarged wind section, additional piano, harmonium, celeste and glockenspiel. Further supplementation is used to heighten the impact of specific dramatic moments. Thus, Act II, Scene 2 requires a pistol shot, a whip lashing a drum, a wind machine and a nightingale’s song to emphasise the anger and pathos of Oedipe killing his father. Act II, Scene 3 finds a musical saw evoking the Sphinx’s death with a glassy glissando. A lamenting alto saxophone plays single phrases in Acts II and III, the latter accompanying Oedipe’s self-blinding. Oedipe presents the musicians who perform it with many challenges, but to the listener the result is very direct, approachable and spontaneous. The premiere met with critical success, if not public acclamation. Oedipe is acknowledged as one of 20th-century opera’s towering but neglected achievements. It languished until 1955 when Radio France mounted a performance, sadly coming only weeks after Enescu’s death. Except for Bucharest, where Oedipe is regularly heard, Vienna, Berlin, Toulouse and Cagliari have seen
staged performances over the last 15 years. The 2002 Edinburgh International Festival saw its UK premiere in a concert performance. Last year, the Royal Opera House, Covent Garden revived a production by La Fura dels Baus, first seen in Brussels in 2011. Tonight’s performance follows the recent Enescu Festival in Bucharest, which the London Philharmonic Orchestra and Vladimir Jurowski opened with Oedipe. Mirroring the growing presence of Enescu’s other music on the world’s concert stages, every interpretation of this extraordinary score reveals new facets of itself and reaffirms the value and integrity of Enescu’s unique musical legacy. Finally, Enescu’s time is arriving. Programme note © Evan Dickerson
Recommended recording of tonight’s work Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.
Enescu: Oedipe Orchestre Philharmonique de Monte-Carlo Conductor Lawrence Foster Soloists José Van Dam, Barbara Hendricks, Brigitte Fassbaender, Marjana Lipovsek, Nicolai Gedda, et al. Warner Classics B004LP15N6
Evan Dickerson is a widely published writer on classical music and opera. He has been a Board Member of the Enescu Society in London since its inception in 2007.
André Pernet as Oedipe in the world premiere at the Opéra de Paris on 13 March 1936 (photo © Evan Dickerson)
Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 6.00pm Royal Festival Hall Wagner Das Rheingold Vladimir Jurowski conductor with soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose
Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage. More details at lpo.org.uk/vj10 Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.
London Philharmonic Orchestra | 19
Vladimir Jurowski on Oedipe
Q: How do you view the importance of Enescu’s Oedipe in the context of early 20th-century opera? VJ: It’s one of those colossal, cyclopic, impossible pieces, of which the 20th century gave birth to a few. But it’s been hugely under-appreciated and underpresented in the theatre over the decades for a very simple reason: it’s incredibly hard to pull off. It’s not really theatre in the modern sense – it’s an imitation of Greek antique theatre. But it is a tragédie lyrique, so basically a drama of one person, but presented with colossal forces. One comparison that comes to mind is Messiaen’s Saint François d’Assise, another unstageable piece – a fantastic piece of music, but again almost impossible. And interestingly, Paul Gay, the French bass-baritone singing Oedipe tonight, has also sung the role of Saint François, and he says this is the only comparable challenge in his career. Q: Enescu makes considerable demands of the orchestra, solo singers and chorus – what challenges does this present? VJ: Oedipe is a highly individual work, and the way Enescu writes for voices and instruments is quite unlike anything I know. And that’s the difficulty. As Rachel Masters, our harpist, says, it’s like reading a new language. It’s like reading a book in a language you don’t know – it’s hard. But it grows on you, and I’ve noticed how the musicians have gone from complete bewilderment at the first rehearsals to getting more and more emotionally involved in the performance. It is also astonishingly difficult to conduct, because Enescu has a very strange way of notating time signatures. He sometimes notates in normal 4/4, 3/4 or 6/8, but then the metronome marks are so unbelievably slow that you have to subdivide in quavers, semiquavers, even demisemiquavers, and then the interesting thing is that every part of the bar is divided in different types of subdivisions. Q: What are the most striking features of Enescu’s orchestration and vocal scoring in Oedipe? VJ: Well of course the Sphinx is a mystical, mythical, fantastical creature, and the way she’s scored with celeste and harmonium suggest a completely outof-this-world experience. We permitted ourselves amplification of her voice, to allow her to conjure
20 | London Philharmonic Orchestra
up colours which are beyond the usual views of operatic singers. So she sings very low dynamics but amplified. Enescu used those almost-cinematic effects elsewhere in the opera too. He has thunder and wind, which have obviously been common in the theatre since Baroque times, but the way he uses them suggests real thunder, so instead of a thunder sheet we will use recorded thunder. And then in Act Four we’re supposed to hear the singing of the nightingales. But of course if you do it with whistles, as was the tradition in 18th-century theatre, people start laughing – it’s humorous. Here you’re supposed to hear real nightingales. I don’t think Enescu ever thought about how to make these things work! Q: Why is Oedipe so rarely performed in the UK? Is it due to the challenges of staging such a major work? There was a very successful staging of it last year at the Royal Opera House, which sadly I missed. But it was apparently strongly cut, and also there was one at Deutsche Oper Berlin in the 1990s which was also cut. But tonight we’re doing it complete: this is the definitive version. I think Oedipe’s time is coming now, and although it will probably always remain slightly ‘out there’ on the periphery – it will never be core repertoire – there will come a time very soon when every big opera theatre in the world will have done Oedipe at least once. But it does require a huge stage, and a huge orchestra pit. The forces are truly Herculean: all those vocal soloists, the very big choir with lots of subdivisions into smaller groups, and the orchestra. We’re going to perform it on a concert stage with full strings, but given the number of wind, keyboard and percussion players there are very few theatres in the world that can host this size orchestra in the pit. So it is a big challenge for everyone involved, but I would say it’s an incredibly gratifying one. Here at Royal Festival Hall, with all our previous experience of both opera and concerts, we can certainly make all the off-stage indications work and some of them should produce a truly magical effect, so I’m looking forward to this performance. Vladimir Jurowski was in conversation with LPO Marketing Assistant Oli Frost. Read the full interview online at lpo.org.uk/news
Laurence Watt Honorary Life Member, London Philharmonic Orchestra
he Board of Directors of the London Philharmonic Orchestra is delighted in September 2017 to confer Honorary Life Membership of the Orchestra upon Laurence Watt. This recognition comes on the 40th anniversary of Laurie’s work with the LPO. His friend Andrew Neill recalls Laurie’s long association with the Orchestra and his unparallelled contribution over the last four decades.
As a lawyer, Laurie became more intimately involved with the Orchestra in September 1977 when he was first instructed to undertake legal work on behalf of the LPO. Laurie has worked, at one time or another, for all the main orchestras in the land, but the LPO is ‘his’ orchestra; part of his larger family and where his heart lies. He has travelled with the LPO to Australia, Austria, China, South Africa and the United States. Indeed, he paved the way for the 1985 Australian and 1993 South African tours by setting them up for the Orchestra, having been travelling on work to those locations. I recall a letter from Laurie in 1985 describing the Orchestra playing Tchaikovsky’s Fifth Symphony in the glorious setting of the Leeuwin Wine Estate in Western Australia, the raucous counterpoint of kookaburras in the surrounding gum trees adding to the experience.
Few honours are more appropriate than that of the LPO making my old friend Laurie Watt an Honorary Member for life. That I have been asked to write a short encomium is an honour for me and I trust that, despite its brevity, the following will ‘do him justice’.
There is one other area of Laurie’s activities for the Orchestra which continue to this day. He has, over many years, made a substantial collection of ‘off-air’ recordings of the Orchestra. Many of these recordings have provided considerable material for the LPO label, garnering significant praise in the ‘industry’ magazines like Gramophone. They have also been very lucrative for the Orchestra!
I met Laurie for the first time in 1968 when my sister brought him from Oxford to our home in Bath for the weekend. However, my sister was quickly ignored as Laurie and I found that we shared a love of music and spent the time exploring my (then) modest collection of LPs, which was for us, then and thereafter, the source of much entertainment, conversation and, at times, passionate debate. We became friends there and then, but it was not until we met again by chance, some years later, by Notting Hill Underground station, discovering that we lived around the corner from each other that our friendship was cemented. Finding, also, that our respective record collections had kept pace with each other, our friendship has continued to this day. At about this time, Laurie’s long association with the London Philharmonic Orchestra began when, in the early 1970s, he was invited to some LPO recording sessions at the Kingsway Hall by another old friend and member of the LPO horn section, Patrick Garvey. Laurie, of course, being no mean horn player himself, soon ‘got to know the horn section quite well’. In the years since, he has got to know most of the other players in the Orchestra too!
Laurie, as the Orchestra’s lawyer, is currently on its Advisory Council. Until recently he was a Board member and, before that, the Trust (of which he was founder member), and, before that, the Council. With his deep knowledge and love of music, his devotion to the players in the Orchestra, his assistance in making ‘rough places plain’ and his ability to quietly promote the Orchestra for more than 40 years, I would suggest that there is none more suited to this honour than Laurie. An organisation like this great orchestra needs friends. It has none more devoted or loyal than Laurie Watt. Andrew Neill, September 2017
London Philharmonic Orchestra | 21
Backstage In our occasional series of interviews with the LPO’s musicians, we get to know Second Violinist Fiona Higham.
© Benjamin Ealovega
Fiona has been a member of the LPO Second Violin section since 1989. We asked her about some of her favourite memories and how life in the Orchestra has changed over the last 28 years.
What have been your most memorable moments in your time with the LPO? I’ll never forget playing Strauss’s Capriccio at Glyndebourne many years ago under Bernard Haitink, who was at that time Music Director. It was one of my first summers at Glyndebourne and I had rented a cottage in the village of Glynde, which turned out to be next door to Bernard’s house. My cocker spaniel Sally had been – unbeknownst to me – regularly popping through the hedge and visiting Bernard, which he apparently loved!
What impact do you think Vladimir Jurowski’s ten years as Principal Conductor has had on the Orchestra? As someone who has played under four Principal Conductors in my time, I think we have been the luckiest of the London orchestras to have had Vladimir here at the LPO. He has raised the virtuosity and versatility of the Orchestra to amazing levels, and we’ve tackled some of the most challenging repertoire – mostly new to us – that I’ve ever known. We’ve grown together with him artistically and made some absolutely wonderful recordings such as the complete Brahms and Tchaikovsky symphonies, and we’re now nearing the completion of the Mahler symphonies too. This is also while being consistently the most well-reviewed orchestra in London for many years, all thanks to Vladimir. How has life as an orchestral musician changed over your career?
Working with the late Klaus Tennstedt in his final years was such an inspiring and emotional time. He seemed to draw out the true heart of the Orchestra, standing unsteadily on the podium with his arms outstretched towards us, albatross-like. It was impossible not to really bust a gut to give every phrase its true meaning for him: if you watch some of the televised broadcasts from Japan you’ll see what I mean.
When I first joined the LPO in 1989, orchestras in general were much more male-dominated and – as in many other areas of life – often quite chauvinistic. That has changed over the years, I am happy to say, and we have far more women in the Orchestra now: it’s close to 50/50. I was a single mother in the Orchestra in the 1990s and was something of a trailblazer, even in terms of bringing my baby on tour when she was very small. This raised a few eyebrows but it passed off without mishap, the baby being looked after by a friend who travelled with me. My two daughters very much grew up with the Orchestra as a second family: I played The Marriage of Figaro at Glyndebourne five days before the birth of my second child, and then Verdi’s Otello three days after!
What are the particular challenges of playing within an orchestral string section?
our chair in the LPO is supported by David and Yi Buckley. Y What does this mean to you?
Being part of a string section is very much about teamwork, and you have to learn to blend with the colleagues around you all the time. It’s not an easy thing to learn, especially when one is young and full of confidence – getting used to not hearing your own sound in the interests of the whole is a real learning curve. It’s very different from being a wind player, where you are always a soloist. We strings are the worker bees of the orchestra!
The Orchestra simply couldn’t function without the support of such generous individuals. I’m absolutely thrilled to be supported by such lovely people as David and Yi, and we’re hoping to organise a performance at their home at some point in the future.
22 | London Philharmonic Orchestra
This interview originally appeared in the Autumn 2017 edition of Tune In, the Orchestra’s twice-yearly magazine. Read it online at issuu.com/londonphilharmonic, or call 020 7840 4200 to request a copy in the post.
be m ov e d Next concerts at Southbank Centre’s Royal Festival Hall
Wednesday 27 September 2017 7.30pm
Saturday 30 September 2017 7.30pm
Saturday 21 October 2017 7.30pm
Britten Symphony for Cello Silvestrov Symphony No. 3 (Eschatophony) Janáček Taras Bulba
Mozart Piano Concerto No. 20, K466 Bruckner Symphony No. 5 (1878 version)
Beethoven Piano Concerto No. 3 Rossini Stabat Mater
Vladimir Jurowski conductor Jan Vogler cello
Vladimir Jurowski conductor Richard Goode piano
Carlos Miguel Prieto conductor Hannes Minnaar piano Joyce El-Khoury soprano Anna Stéphany mezzo-soprano Kan Wang tenor Michele Pertusi bass-baritone London Philharmonic Choir
Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available
RACHMANINOV TALLIS BYRD PÄRT MACMILLAN TIPPETT HOWELLS 7.30pm | THURSDAY 28TH SEPTEMBER 2017
WESTMINSTER CATHEDRAL LONDON
Conductor | DAVID HILL
Organ | PHILIP SCRIVEN
TICKETS | £10–£45 (subject to booking fee) thebachchoir.org.uk/concerts | ticketmaster.co.uk | 0844 844 0444 | In person at the Westminster Cathedral Shop, SW1P 1QW GROUP TICKET OFFER | 20% discount when you book ten or more tickets. Group bookings: 020 7127 9114
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
The Rothschild Foundation Tom & Phillis Sharpe The Viney Family
Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar
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 Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous
London Philharmonic Orchestra | 25
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 An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky Geoff Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker
Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Mrs Elizabeth Meshkvicheva The Metherell Family Jacopo Pessina Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mr Roger Greenwood Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Mrs Philip Kan Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies
26 | London Philharmonic Orchestra
Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Roger & Clare Barron Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock
Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Martin & Cheryl Southgate Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell
Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes
Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank
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 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida
Gold Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc
Trusts and Foundations ABO Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation
Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.
London Philharmonic Orchestra | 27
Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Nadya Powell Sir Bernard Rix Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter
Education and Community
Timothy Walker AM Chief Executive and Artistic Director
Isabella Kernot Education Director
Albion Media (Tel: 020 3077 4930)
Talia Lash Education and Community Project Manager
David Burke General Manager and Finance Director Tom Proctor PA to the Chief Executive / Administrative Assistant Concert Management Roanna Gibson Concerts Director (maternity leave) Liz Forbes Concerts Director (maternity cover) Graham Wood Concerts and Recordings Manager
Lucy Sims Education and Community Project Manager Richard Mallett Education and Community Producer Development Nick Jackman Development Director Catherine Faulkner Development Events Manager Laura Willis Corporate Relations Manager
Sophie Richardson Tours Manager
Rosie Morden Individual Giving Manager
Tamzin Aitken Glyndebourne and UK Engagements Manager
Anna Quillin Trusts and Foundations Manager
Alison Jones Concerts and Recordings Co-ordinator
Ellie Franklin Development Assistant
Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Librarian Sarah Thomas Librarian
Athene Broad Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Libby Papakyriacou Marketing Manager
Christopher Alderton Stage Manager
Samantha Cleverley Box Office Manager (Tel: 020 7840 4242)
Damian Davis Transport Manager
Rachel Williams Publications Manager
Madeleine Ridout Orchestra Co-ordinator and Auditions Administrator
Greg Felton Digital Creative
Oli Frost Marketing Assistant
Frances Slack Finance and Operations Manager Dayse Guilherme Finance Officer
28 | London Philharmonic Orchestra
Alexandra Lloyd Marketing Co-ordinator
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: firstname.lastname@example.org lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Enescu photograph courtesy of the Muzeul Național George Enescu. Cover artwork Ross Shaw Printer Cantate