Monteverdi Apprentices Showcase recital at KCL

MONTEVERDI APPRENTICES SHOWCASE R E C I TA L

WELCOME For our current cohort of gifted young singers, this evening’s recital marks the conclusion of their year-long tenure as Monteverdi Apprentices.

We believe that their time embedded within the Monteverdi Choir will have had a deep impact upon their musical development and will have extended their horizons and broadened their aspirations, in what is an increasingly tough climate for those embarking on a professional career in the business. It is difficult to exaggerate the benefits of what the Programme has offered to participants: for the last twelve months, the Apprentices have worked closely with musicians of the very highest calibre, performing as fully-fledged members of our world-class ensembles; critically-acclaimed projects ranging from Handel to Berlioz have taken them to venues in London and to some of Europe’s most famous concert halls and churches.

The music you will hear tonight celebrates the aims of the Apprentices Programme, embracing works in several languages and styles, ranging from folksongs and canons to the most sophisticated polyphonic text-settings by Bach and Monteverdi. It is a distillation of the holistic approach to music-making offered by the Programme and offers a window into a year of hard work and dedication by all those who have taken part.

ŠStephannie Rennie

MONTEVERDI APPRENTICES SHOWCASE RECITAL CHAPEL OF KING’S COLLEGE, LONDON 19 SEPTEMBER 2019 Brahms

Einförmig ist der Liebe Gram, Op. 113, No. 8

Monteverdi

Vattene pur, crudel (Madrigals Book 3, 1592)

Schütz

Ich beschwöre euch, SWV 339

Bach

Jesu, meine Freude, BWV 227

Purcell

Let mine eyes run down with tears

Monteverdi Vivrò fra i miei tormenti (Madrigals Book 3, 1592) Brahms

Nachtwache I (Fünf Gesänge, Op. 104, No. 1)

Brahms

Letztes Glück (Fünf Gesänge, Op. 104, No. 3)

Saint-Saëns

Calme des nuits, Op. 68, No. 1

Fauré

Madrigal, Op. 35

Grainger

Brigg Fair

Grainger

I’m Seventeen Come Sunday

2018/19 Monteverdi Apprentices

Mentors

Sam Cobb

Martha McLorinan

Members of the Monteverdi Ensembles

Jonathan Hanley

Eleanor Meynell

Rosie Clifford

Laura Jarrell

Graham Neal

Sakoto Doi-Luck

Charlotte La Thrope

Lawrence Wallington

Jorgen Skøgmo

Michael Lafferty

Chris Webb

Humphrey Thompson

Angus McPhee Victoria Meteyard James Quilligan Margarita Slepakova

Peter Davoren

Poppy Walshaw

AN INTRODUCTION TO THE PROGRAMME SIR JOHN ELIOT GARDINER You’re a young musician fresh out of music college or university, and you are thinking of making music your career. So, what’s your next move? Your long-term aim might be to tread the boards as an opera singer or as a concerto soloist, but at this stage you are still developing. So, too, are your musical horizons. But do you really have the goods (or indeed the stomach) to make a successful career? If so, what are your particular strengths, what genres of music-making are you most drawn to, what are the gaps in the training you’ve received so far - stylistic awareness, experience of ensemble work… versatility… improvisation? These are the kinds of questions that you’re looking to have answered.

The Monteverdi Apprentice Programme was set up in 2007, the first of its kind in the UK, with the aim of nurturing exceptional musical talent and an aptitude for ensemble performance. There was a pressing need to create a safe environment where gifted young musicians could dip their toes in the waters of professional music-making while still exploring their own potential - just plunging into the professional world straight out of college can be a daunting prospect at the best of times. There can be no camouflage in singing and playing.

Even for the most talented and technically secure musicians the experience can be chilling. In such a fiercely competitive market it can lead to initial disappointment or frustration. There are lots and lots of good musicians around and there are no guarantees of success. The music profession is full of shooting stars, great talents that dazzle briefly and burn themselves out too soon; there’s a lot of unnecessary wastage.

The Apprentices Programme follows the age-old apprenticeship principle of learning a craft on the job from older hands. In the summer of 2007 six gifted singers in their early twenties were initially selected by open audition from more than a hundred applicants. In subsequent years this expanded to eight (the programme extends in alternate years to instrumentalists as well as to singers) and to nine in 2018. Our aim is to round out their musical education and to help equip them for future challenges by giving them the opportunity to work alongside some of the best and most experienced musicians in the business. During their Apprentice year these young musicians are integrated with the Monteverdi ensembles, rehearsing and performing in concerts at home and on tour overseas with the Monteverdi Choir, English Baroque Soloists (EBS) and the Orchestre Révolutionnaire et Romantique (ORR). In the past these have included iconic works such as Bach’s St Matthew Passion, taking part in a staged production of Carmen at the Opéra Comique in Paris, travelling to the USA for Beethoven’s Missa Solemnis, to Europe with Verdi’s Requiem, or working alongside other international orchestras such as the Gewandhaus orchestra in Leipzig, the Tonhalle in Zürich or the LSO in London.

At the start of the year each Apprentice is assigned a mentor - an experienced musician within the Monteverdi Choir, EBS or ORR - on hand to give encouragement and one-to-one advice on the Workshops at Springhead, Dorset

The Apprentices in Lucerne on the Verdi Requiem tour, October 2018 multiple challenges that arise from ensemble singing and playing at the highest professional level: guiding them how to prepare themselves in advance of individual projects, how to meet the stylistic demands of a wide-ranging repertoire, how to explore and adjust. The mentors provide a range of invaluable practical advice that the Apprentices might not have received in college or conservatoire: tips as to how to pace themselves through six hours of intensive rehearsals in one day, or how to conserve their voices for the evening concert after the fatigue of air travel. Every activity during their apprenticeship year is geared towards building their confidence and development as musicians as well as to help weld them into a free-standing vocal consort or instrumental ensemble. This is vital preparation for the high pressure of performing with the Monteverdi ensembles in concerts on the international stage.

By the end of the year a Monteverdi Apprentice should be able to gauge his or her individual worth as a singer or instrumentalist with greater objectivity. They will have been given a taste of the life of a professional musician and be in a better position to weigh up if this is genuinely the path they wish to pursue either as a soloist, an ensemble musician, or both. And if he or she has shown that they can meet the requisite musical, technical and stylistic standards that define the Monteverdi Choir, EBS or ORR, they may be offered a place whenever there is a vacancy. The programme now has over 60 alumni with roughly 70% of Apprentices graduating as fully-fledged members of the Monteverdi ensembles and performing with them regularly in their many projects.

There could be no better first step towards a professional career.

Nadia Boulanger, my fierce but much-loved teacher, often quoted to us pupils a saying by her friend Paul Valéry, the French poet and philosopher: “Talent without genius is so little, but genius without talent is nothing.” It’s a phrase that initially baffled me because at the time I thought of talent as simply a diminutive form of genius. But she was using the word in the French sense of it as craft. Craft is what’s needed to convert raw talent into something wholly exceptional - something that people respond to and will pay to hear. I encourage our apprentice singers to maintain an allegiance to the individual transformative sound that marked them out in the first place - what we heard at their first audition - and to underpin it with a solid hard-earned technique (or ‘craft’) which can be augmented still further when singing with other kindred voices in the Monteverdi Choir.

THE APPRENTICES’ JOURNEY

SEPTEMBER 2018 Verdi Requiem After intensive preparatory workshops alongside their mentors, the Apprentices receive a baptism of fire with a performance of Verdi’s Requiem with the Monteverdi Choir and Orchestre Révolutionnaire et Romantique at Westminster Cathedral.

AUGUST 2018 Following a rigorous application process and two rounds of auditions, nine singers are selected from over 130 initial applications to be our 2018/19 Monteverdi Apprentices.

29 OCTOBER 3 NOVEMBER 2018 The Apprentices hit the road with the Monteverdi ensembles, performing Verdi’s Requiem in the magnificent cities of Lucerne and Budapest, and at Vienna’s stunning Musikverein.

JANUARY 2019 Workshops with recitative specialists Dietrich Henschel and David Watkin, Italian masterclasses with Matteo Dalle Fratte, drama sessions with Semele director Tom Guthrie and yoga classes with Liz Lark reinforce the holistic approach that the Apprentices Programme encourages.

1 - 3 MARCH 2019 Weekend residency in Dorset A four-day residency at John Eliot Gardiner’s childhood home, Springhead, in Fontmell Magna, sees the Apprentices rehearse a wide range of repertoire, improvise folk songs and immerse themselves in the stunning Dorset countryside.

AUGUST/SEPTEMBER 2019 Benvenuto Cellini Tour Workshops and memorisation sessions with Assistant Chorus Master Sam Evans prepare the Apprentices for performances of Berlioz’s astonishingly demanding first opera. The tour sees the Apprentices join the Monteverdi Choir for staged concerts at Festival Berlioz, Berliner Festpiele, the BBC Proms, and the Opéra Royal in Versailles.

30 MARCH - 1 APRIL 2019 Renowned Bach specialist Raphaël Pichon coaches the Apprentices on a selfselected range of works by the great composer, while French language expert Nicole Tibbels provides further tuition on many of the pieces you hear today.

4 MARCH 2019 Showcase Recital Messums Wiltshire The Apprentices present a programme of works ranging from Monteverdi to Grainger to a sell-out audience in the beautiful surroundings of the 13th century tithe barn at Messums Wiltshire.

19 SEPTEMBER 2019 Apprentices Showcase Recital at the KCL Chapel

8 APRIL - 8 MAY 2019 Handel Semele Tour The Apprentices are once again embedded within the Monteverdi Choir, touring Handel’s Semele in staged performances to some of Europe’s most famous concert halls: Paris’ Philharmonie, Barcelona’s Palau de la Música and Milan’s Teatro alla Scala.

© Eliza Brown

SAM COBB SOPRANO Originally from Birmingham, Sam Cobb studied Music at Royal Holloway, University of London, and obtained a Master’s degree in Musicology from the University of Birmingham.

Now based in London, Sam enjoys a busy career as a soloist and an ensemble singer.

Recent solo engagements include Rossini’s Stabat Mater (Uppingham School), Karl Jenkins’ The Armed Man (Egham Choral Society), Mozart’s Mass in C Minor (Welwyn Garden City Chorus), Saint-Saëns’ Requiem (Sherborne School), soloist in Composition for London, an installation by artist Oliver Beer, and soloist in Fauré’s Requiem and Vaughan Williams’ Serenade to Music for a charity gala. Recent opera engagements include Adina in L’elisir d’amore (Integra Opera), Second Woman in Dido and Aeneas (Ryedale Festival Opera) and Soprano in a one-to-a-part Chorus for Così fan tutte (Ryedale Festival and Chiltern Arts Festival).

As an ensemble singer, Sam has performed with groups including The Sixteen, Britten Sinfonia Voices and Ex Cathedra and joins the Oxford Bach Soloists for a year-long scholarship in the 2019/20 season. She also sings in and is Co-Artistic Director of the professional vocal ensemble ‘echo’.

©Tom Bowles

Sam has enjoyed participating in concerts both in the UK and on European tours during her Apprenticeship, and is greatly looking forward to working with the Choir for a number of projects during the 2019/20 season.

Courtesy of the artist

© Ben Davies

JONATHAN HANLEY

LAURA JARRELL

TENOR

SOPRANO

Born in Suffolk, Jonathan Hanley was a chorister and choral scholar at St Mary-leTower, Ipswich before reading History at the University of York, where he was also a choral scholar at York Minster. After graduating, he served as a lay clerk at Peterborough Cathedral and was also a member of the Genesis Sixteen programme for young singers (2016/17). He is now singing freelance and currently studies with tenor Richard Edgar-Wilson.

Laura Jarrell is currently studying on the Opera course of Le Pont Supérieur in Rennes under the mezzo-soprano Stéphanie d’Oustrac. Laura received a Master’s in Performance from the Royal College of Music, where she studied under Veronica Veysey-Campbell, Alison Wells and Sergey Rybin, and was supported by the Josephine Baker Trust, the Big Give award and the Audrey Sacher award. She was a finalist at the Froville International Baroque Singing Competition in 2018, won the Irène Jaumillot Jonathan has performed widely as a soloist, operetta prize at the Béziers International including at the Anghiari Festival, the Trame Singing Competition in 2017 and was awarded Sonore Chamber Music Festival in Mantua, the first prize and jury’s special prize at the the York Early Music Festival and the Malcolm Léopold Bellan International Competition Arnold Festival, as well as with the Royal 2016.

Northern Sinfonia, Southbank Sinfonia, Nevill Holt Opera, Yorkshire Baroque Soloists and Laura previously studied singing with soprano the Instruments of Time and Truth. As an Sophie Hervé in Paris, sang in the ensemble ensemble singer, Jonathan has sung with Stile Académie vocale de Paris and studied Music Antico, Tenebrae, The Sixteen, Sansara and and Musicology at the Sorbonne. the Oxford Consort of Voices, with whom he Operatic roles included Zerlina in Don recorded Humfrey’s Symphony Anthems in Giovanni, Maria in The Sound of Music and, 2018. He has also recorded with Sansara, The at the RCM, Susanna in Le nozze di Figaro, Sixteen and the choirs of York Minster and Belinda in Dido and Aeneas, Despina in Peterborough Cathedral.

Così fan tutte, Constance in Dialogue des Jonathan has loved his year as a Monteverdi Carmélites and Sophie in Werther. As an Apprentice and has learnt an incredible ensemble singer, Laura performs with Les amount, especially on languages and taking voix animées, English Voices and London part in his first operas. He has met some Choral Sinfonia and at the American wonderful singers and made some great Cathedrale in Paris. After completing her friends. He is thrilled to be joining the Apprenticeship, Laura will perform with Monteverdi Choir this autumn for a tour of the Monteverdi Choir on tours to South music by Monteverdi, Carissimi and Scarlatti. America, Russia and Europe.

Courtesy of the artist

CHARLOTTE LA THROPE SOPRANO English soprano Charlotte La Thrope graduated with first-class honours in Music from the University of Durham, majoring in performance, and in her final year received ‘Most Outstanding Soloist’ award. She then studied on the Master’s course at Royal Academy of Music and graduated in 2018 with distinction. Charlotte currently studies with Lillian Watson and Christopher Glynn.

Competition highlights this year have included reaching the semi-final of The London Handel Festival Competition, the final of the New Elizabethan award with her renaissance group Comalli and winning the RAM Nancy Nuttall Early Music Prize two years running.

Charlotte performs regularly as a soloist and her operatic roles to date include Susanna in The Marriage of Figaro, Pamina in The Magic Flute, Iris in Semele, Eurydice in Monteverdi’s Orfeo, the Child in Ravel’s L’enfant et les sortilèges and an acclaimed Angel in Iford Arts’ production of Jephtha: “the best singing - poised, sweet and true - comes from Charlotte La Thrope as Angel whose last minute intervention saves the day” (Rupert Christiansen, Telegraph)

©Tom Bowles

Charlotte couldn’t have asked for a more wonderful Apprenticeship to have been a part of and is sad that it has to come to an end. She looks forward to singing with the Monteverdi Choir on tours to Russia and South America this Autumn.

ANGUS MCPHEE

BARITONE

BARITONE

Essex-born baritone Michael Lafferty currently studies at the Hochschule für Musik Hanns Eisler in Berlin under the tutelage of Thomas Quasthoff, having graduating from Trinity Laban with a first-class honours Bachelor’s degree in 2018. He is currently Essex Young Musician of the Year, and is generously supported by the Freda Parry Foundation after winning first prize at the Freda Parry Scholarship Competition 2017.

He is also the recipient of the Wilfred Greenhouse-Allt Prize for Oratorio & Cantata, winner of the Lillian Ash French Song Competition 2016 with pianist KyleNash Baker and second prize winner at the Hurn Court Opera Competition in 2018.

Angus McPhee is a Master’s graduate of the Royal Academy of Music, where he studied with Alexander Ashworth and Jonathan Papp.

On the operatic stage, Michael has sung Tarquinius in The Rape of Lucretia (Trinity Laban Opera), Dr. Falke in Die Fledermaus (Hanns Eisler Musiktheaterwerkstatt/scenes), Sprecher in Die Zauberflöte (Hampstead Garden Opera), and Masetto (Cover) in Don Giovanni (HeadFirst Productions). He was a Young Artist with Nevill Holt in Summer 2019, and covered the role of Guglielmo in Mozart’s Così fan tutte.

As a soloist, Michael has sung Mozart’s Mass in C Minor and Bach’s B Minor Mass with the Academy of St.Martin-in-the-Fields, Bach’s St. John Passion with Southern Sinfonia, Christus in Bach’s St. Matthew Passion with the choir of Pauluskirche, Zehlendorf and Handel’s Messiah with Britten Sinfonia.

Courtesy of the artist

© Charlie Ross

MICHAEL LAFFERTY

A former chorister of St George’s Chapel at Windsor Castle, Angus went on to study music at King’s College London, where he sung as a choral scholar with the late David Trendell. Alongside his Monteverdi Apprenticeship, Angus pursues a busy schedule both at home and abroad, performing with such ensembles as The Sixteen, The English Concert, Collegium Vocale Gent, De Nederlandse Bachvereniging and Het Nederlands Kamerkoor.

Equally comfortable on the consort and solo platforms, Angus is also developing a reputation as a composer. This year he has enjoyed commissions from The Sixteen at the Royal Academy of Art and Aurora Nova at St Paul’s Cathedral.

Angus’ time as an Apprentice has been a voyage of discovery as he crossed the great divide from baritone to tenor, and he is looking forward to further exploring his upper register. A particular highlight of his Apprenticeship was rehearsing Monteverdi and Bach in the intimate space of Springhead.

In addition to his musical pursuits Angus is an avid rugby union fan, a novice knitter and enjoys long walks with the family dogs, labrador Evie and springador Archie.

Courtesy of the artist

VICTORIA METEYARD SOPRANO Victoria started singing as a chorister at St Mary’s Collegiate Church, Warwick, before studying Mathematics and Music at Royal Holloway, University of London, where she was a Choral Scholar. Since graduating in 2016, Victoria has been enjoying a busy life in London as an ensemble and solo soprano whilst studying with Julie Kennard and teaching at Putney High School.

Victoria is an alumnus of Genesis Sixteen and a member of the Erebus Ensemble and the Choir of the Chapels Royal, HM Tower of London. She sings regularly with many of the UK’s leading professional choirs including the Eric Whitacre Singers, the ORA Singers and Tenebrae, with whom she is an Associate Artist for the 2019/20 season.

Recent solo highlights include Monteverdi’s Vespro della Beata Vergine and Handel’s Dixit Dominus at the Clifton International Festival of Music, Bach’s Magnificat in Chichester Cathedral and a recital tour to Japan on behalf of the UK-Japan Music Society.

Victoria has hugely enjoyed her time as an Apprentice of the Monteverdi Choir.

She was very excited to take part in the Verdi Requiem, Handel Semele and Berlioz Benvenuto Cellini projects this year, alongside many rewarding workshops with language and drama coaches. She feels very lucky to have shared the experience with such wonderful singers and friends. ©Tom Bowles

MARGARITA SLEPAKOVA

BASS-BARITONE

MEZZO-SOPRANO

James graduated from the Guildhall School of Music and Drama in 2015 and this month will commence on the Alexander Gibson Opera Studio at the Royal Conservatoire of Scotland, studying with Scott Johnson.

Russian mezzo-soprano Margarita Slepakova is a graduate of the Schola Cantorum Basiliensis in Switzerland, where she is currently pursuing a Specialised Master’s degree with Gerd Türk and Rosa Dominguez.

She received a Bachelor’s Diploma in singing from the Fryderyk Chopin University of Music in 2013, where she studied under Professor Jadwiga Rappé. Margarita’s repertoire ranges from the music of the 16th century to contemporary works, with a particular focus on the 17th and 18th century and Classical and early Romantic eras.

Since graduating, James’ operatic roles have included Gaoler in Cabildo by Amy Beach (Grimeborn), Ferryman in Curlew River (Opera Xylem), Count Almaviva and Figaro in Mozart’s Le nozze di Figaro (Trinity College Music Society and Magnetic Opera), Dr Dulcamara in L’elisir d’amore (Cambridge University Opera Society), Death in Holst’s Savitri (CUOS), Farasmane in Handel’s Radamisto (TCMS), the title role and Leporello in Mozart’s Don Giovanni (Ensemble Orquesta and Hampstead Garden Opera), Flemish Deputy in Verdi’s Don Carlo (Grange Park Opera), and Bluebeard in Bartók’s Bluebeard’s Castle (OperaUpClose).

During a thoroughly enjoyable year as a Monteverdi Apprentice, James has sung on the stage of La Scala and enjoyed the hospitality of the Palace of Versailles, all whilst being able to make wonderful music with the Choir. This coming year, James will be involved in productions of The Rape of Lucretia, Threepenny Opera, and Dialogues des Carmélites with the RCS and will continue to sing with the Monteverdi Choir.

In the 2018/19 season she sang the role of Poppea in L’incoronazione di Poppea (Opernfest, Berlin). In the same season she was granted a place in the Monteverdi Apprentices Programme and has since toured across Europe with the Monteverdi Choir under the direction of Sir John Eliot Gardiner. Her recent engagements include recitals in St. Petersburg and Basel performing French and Italian baroque repertoire and solos in Haydn’s Missa in Angustiis, Porpora’s Salve Regina and Brunetti’s, Pergolesi’s, Vivaldi’s and Scarlatti’s Stabat Mater. 2019/20 sees her working with B’rock Orchestra, La Cetra and Zürcher Sing-Akademie (Zurich Opera House, Opera Gent, Opera Antwerpen, Tonhalle-Orchester Zürich).

© Kinga Karpati

Courtesy of the artist

JAMES QUILLIGAN

PERFORMERS Soprano

Bass

Sam Cobb

Michael Lafferty

Laura Jarrell

Angus McPhee

Charlotte La Thrope

James Quilligan

Victoria Meteyard

Humphrey Thompson†

Eleanor Meynell (and piano)*

Lawrence Wallington* Chris Webb*

Alto Rosie Clifford†

Organ

Martha McLorinan*

Sakoto Doi-Luck

Margarita Slepakova Cello Tenor

Poppy Walshaw

Peter Davoren* Jonathan Hanley

Lute

Graham Neal*

Jorgen Skøgmo * Monteverdi Apprentice Programme mentor †

Members of the Monteverdi Choir

2018/19 Monteverdi Apprentices with mentors and John Eliot Gardiner © Frank Parker

SUPPORT THE PROGRAMME Twelve years on from its inception, the Monteverdi Apprentices Programme exists as a continuing response to the clear and increasing need for a scheme that bridges the gap between studying and the professional environment for young musicians. The Programme, like the wider MCO, receives no public subsidy, and is entirely reliant on the support of our family of individuals, corporates and trusts and foundations to continue its legacy of providing world-class training for the most promising young classical musicians.

To discuss how you might play a part in ensuring that the scheme remains available to the next generation of singers and instrumentalists, please contact Tom Hansell: phone +44 (0)20 3197 9818 | email tom@monteverdi.org.uk.

“I have been a keen fan of John Eliot and the Monteverdi Choir for at least 40 years.

The Apprentices Scheme is a natural extension of John Eliot’s musical stable, giving talented young instrumentalists and choral scholars a superb chance to find out whether pursuing a musical career, hardly easy, is or is not for them.

Anyone who was in the Albert Hall on 2 September to witness Berlioz’ Benvenuto Cellini performed by John Eliot with the Monteverdi Choir and the ORR will have seen and heard the Apprentices, as part of the choir, adding a special flavour to the performance which attracted very favourable reviews.

The UK is not a favourable financial environment for the performance of music of this quality.

A contribution to the Apprentices Scheme will ensure that the UK will continue to receive its fair share of these concerts.”

Roger Chadder (Longstanding supporter of the Monteverdi Apprentices Programme) “You may ask why over 100 accomplished, professional young singers should compete for just a few places on the MCO Apprentice Scheme. The reason is simple; this scheme is now recognised as one of the most prestigious and highly sought-after for career development.

I have personally observed the various workshops and rehearsals for the Apprentices which are taken by some of the finest exponents in their field, along with classes given by members of the MCO. They are immediately given the opportunity to sing with the MCO at home and overseas, but almost certainly the most important of all these experiences is the ability to work with and learn from John Eliot and benefit from his immense musical knowledge.

I feel fortunate to be involved in a small way with this scheme and to see how these young singers develop over the 12 months. Whenever I have asked them how they felt about the scheme so far, they have all told me that it far exceeded their expectations.”

Helen Skinner (Longstanding supporter of the Monteverdi Apprentices Programme)

MONTEVERDI SUPPORTERS ROYAL PATRON HRH The Prince of Wales PRESIDENT Ian Hay Davison CBE BENEFACTORS Michael L. Cioffi - Monteverdi Tuscany, Castiglioncello del Trinoro, Italy Sebastiano Cossia Castiglioni Mrs Carol Grigor & Mr Murray Grigor Judith McCartin Scheide Sir David Walker CORPORATE PARTNERS Greensill Capital Morgan Stanley TRUSTS & FOUNDATIONS Dunard Fund New Berlioz Edition Trust The Vernon Ellis Foundation

MEMBERSHIP SCHEME BACH MEMBERS Michael Beverley David & Sandra Brierwood Julia Chappell The Earl and Countess of Chichester Andrey Kidel William Lock And those who wish to remain anonymous BEETHOVEN MEMBERS Lord Burns Peter & Stephanie Chapman Gordon Gullan Antony C. Shoults Christopher Stewart Stephen & Victoria Swift And those who wish to remain anonymous

BRAHMS MEMBERS Roger & Rosemary Chadder Jake Donovan & Gracia Lafuente Mr John & Mrs Felicity Fairbairn Mr Duncan Matthews QC Joanne Merry Lady Nixon Alessandro Orsaria Professor Richard Portes CBE FBA Nicola Ramsden Christian & Myrto Rochat And those who wish to remain anonymous BERLIOZ MEMBERS Brian André & Peter Folstar Geoffrey Barnett Mary Bernard Donald D. Campbell Peter J. Chapman Miss Vanessa Claypole Dr Carol Cobb Anthony de Grey Steve Edge Joseph & Linda Fernandez Flora Fraser János & Dietlinde Hidasi George & Jenny Hill Richard Jacques Gareth & Charlotte Keene Yi-Peng Li Laura Lindsay Mollie Norwich Nicholas & Christylle Phillips Mary Pinnell Dr Paul A. Sackin Steven & Olivia Schaefer Christopher J. H. Thornhill Andrew Tusa Andrew Wales David Ward Victor & Tina Vadaneaux And those who wish to remain anonymous

AMERICAN FRIENDS OF THE MONTEVERDI CHOIR & ORCHESTRAS, INC. CONDUCTOR’S CIRCLE - GOLD Michael L. Cioffi - Monteverdi Tuscany, Castiglioncello del Trinoro, Italy The Negaunee Foundation The New York Community Trust - The Scheide Fund

IN MEMORIAM Sir Ralph Kohn Kevin Lavery John Julius Norwich E. L. Youens Dr Laura Youens Ruth Ziegler

LEGACIES

CONDUCTOR’S CIRCLE - SILVER Laurie & Bill Benenson

The Estate of Howard Hodgkin The Estate of Kevin Lavery

CONDUCTOR’S CIRCLE - BRONZE Jeffrey Calman Christopher Stewart

We are grateful for the donations made in memory of our supporters.

PATRONS Mr. Frank Brown Gwen DeLuca Dr. Janice Dutcher Kathryn Earley John A Gentile, Jr Neil Graham Francesca Hayslett Mr. John Kelly Seth Levi Ferne Mele Matthias Ohr & Shannon Coulter And those who wish to remain anonymous

CURRENT SUPPORTERS OF THE MONTEVERDI APPRENTICES PROGRAMME Geoffrey Barnett Mr Roger Chadder Heather Davies Morny & Ian Hay Davison CBE Mr John & Mrs Felicity Fairbairn Paul Nettelmann Mr Keith Salway Mrs Helen Skinner Morgan Stanley The D’Oyly Carte Charitable Trust The Garrick Charitable Trust The Golsoncott Foundation The Idlewild Trust The Kirby Laing Foundation The Thistle Trust And those who wish to remain anonymous

With many thanks to those other individuals who give regular donations in support of our work.

WHAT’S NEXT FOR THE PROGRAMME? As the current edition of the Monteverdi Apprentices Programme comes to an end, we are at the same time in the midst of the recruitment process for the next cohort. This summer we received a record number of applications from string players to join the Programme for the 2019/20 season, which will see Apprentices join the Orchestre Révolutionnaire et Romantique (ORR) in their 30th anniversary year as they embark on an ambitious Beethoven symphony cycle project, marking 250 years since the birth of the great composer.

After a lengthy longlisting process, we have now invited 52 prospective Apprentices from around the world to audition for the Programme this October. Successful applicants will then be invited to a second-round audition with John Eliot Gardiner, before we select up to eight outstanding musicians as our 2019/20 Monteverdi Apprentices.

This season’s Programme will begin with workshops in December with ORR principals Peter Hanson, Oliver Wilson, Robin Michael and Valerie Botwright, who will also act as the Apprentices’ mentors, passing on their specialist knowledge and guiding the Apprentices throughout the year. In January 2020, the Apprentices will then immerse themselves within the world of Beethoven symphonies as they join the ORR for an intensive two-week rehearsal period. Performances of the Cycle at Barcelona’s Palau de la Música in February will provide the Apprentices with their first experience as members of the ORR before they return to London in May to showcase the same programme at the Barbican.

©Chris Christodoulou

MCO TEAM

MCO BOARD

Rosa Solinas General Director

Michael Beverley, DL (Chair) David Brierwood (Deputy Chair) David Best Lady Deben Mandy DeFilippo Virginia Fraser Sir John Eliot Gardiner Sir Stephen Gomersall Andrey Kidel Joanne Merry Nicola Ramsden John Smyth

Martin Wheeler Finance & Administration Manager Matthew Broom Artistic Planning Manager Emily Parker Tours & Choir Manager Tom Hansell Projects & Partnerships Coordinator William Vignoles Marketing & Communications Coordinator Conor O’Dwyer Marketing & Communications Assistant Holly Randhawa Tours & Concerts Trainee James Halliday Artistic Advisor & Librarian Dinis Sousa Assistant Conductor Philip Turbett Orchestra Manager Matthew Muller Stage Manager

THE MONTEVERDI CHOIR AND ORCHESTRAS LIMITED Level 12, 20 Bank Street, Canary Wharf, London E14 4AD, UK +44 (0)20 7719 0120 www.monteverdi.co.uk Find us on social media Registered charity 272279 Company registered in England & Wales 01277513