Concert Programme: Offenbach's La Princesse de Trébizonde

DE TREBIZOND E DE TREBIZONDE

DE TREBIZOND E DE TREBIZONDE

CONCERT PROGRAMME

OFFENBACH

LA PRINCESSE DE TRÉBIZONDE

Friday 16 September 2022

7.30pm

Southbank Centre’s Queen Elizabeth Hall

Paul Daniel conductor

Principal Conductor Edward Gardner supported by Aud Jebsen

Principal Guest Conductor Karina Canellakis

Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Artistic Director Elena Dubinets Chief Executive David Burke

Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Queen Elizabeth Hall

Friday 16 September 2022 | 7.30pm

In association with

Offenbach

La Princesse de Trébizonde

Paul Daniel conductor

Anne-Catherine Gillet Zanetta

Virginie Verrez Prince Raphaël

Christophe Gay Cabriolo

Antoinette Dennefeld Régina

Josh Lovell Prince Casimir

Katia Ledoux Paola

Christophe Mortagne Trémolini

Loïc Félix Sparadrap/Le Director

Harriet Walter narrator

Opera Rara Chorus

London Philharmonic Orchestra

Sung in French with English surtitles, with narration by Jeremy Sams.

There is no interval in this evening's concert. The performance will end at approximately 9.20pm.

Concert presented by the London Philharmonic Orchestra

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Welcome to tonight’s concert featuring Jacques Offenbach’s La Princesse de Trébizonde. Opera Rara’s association with the works of Offenbach goes back to our foundation in the 1970s with acclaimed performances of Robinson Crusoe and Christopher Columbus, specially created to mark the bicentennial of American independence in 1976.

We’re delighted to be working with conductor Paul Daniel, whose affiliation with this repertoire is well known. He is joined by a group of singers, mainly French, some of whom have worked with Opera Rara before and some of whom are joining us for the first time. This is the first performance in the UK of the new edition by Offenbach specialist Jean-Christophe Keck, whose edition of Fantasio we recorded to great acclaim in 2014.

This is our 12th collaboration in a long partnership with the LPO which goes back over 20 years, covering studio recordings and concerts of a rich vein of 19thcentury Italian operas from composers as diverse as Puccini, Pacini, Rossini, Mercadante and Donizetti. It is a pleasure for Opera Rara and the London Philharmonic Orchestra to be working together again, and we welcome you to what promises to be a sparkling musical evening by one of operetta’s most appealing and charismatic composers.

Henry Little Chief Executive, Opera Rara

David Burke Chief Executive, London Philharmonic Orchestra

Jacques Offenbach

1819–80

La Princesse de Trébizonde (The Princess of Trebizond) 1869

Libretto by Étienne Tréfeu and Charles-Louis-Étienne Nuitter

English narration adapted from the original libretto by Jeremy Sams

Conductor

Zanetta soprano

Paul Daniel

Anne-Catherine Gillet

Prince Raphaël mezzo-soprano Virginie Verrez

Cabriolo bass

Christophe Gay

Régina mezzo-soprano Antoinette Dennefeld

Prince Casimir tenor

Paola contralto

Trémolini tenor

Sparadrap/Le Director tenor

Narrator

Josh Lovell

Katia Ledoux

Christophe Mortagne

Loïc Félix

Harriet Walter

Pages: Inna Husieva (Broccoli), Monica McGhee (Francesco), Aleksandra Chernenko (Flaminio), Si â n Griffiths (Riccardi), Beth Moxon (Borgetto), Joanna Harries (Finocchini)

Opera Rara Chorus

Sopranos

Aleksandra Chernenko

Rosanna Harris

Inna Husieva

Monica McGhee

Eiry Price

Hannah Sawle

Elizabeth Thomson

Nicola Wydenbach

Mezzo-sopranos

Tamsin Dalley

Anika-France Forget

Siân Griffiths

Joanna Harries

Anna Jeffers

Gemma Morsley

Beth Moxon

Kate Warshaw

Tenors

Robert Carlin

Peter Evans

Warren Gillespie

Simon Haynes

Rob Jenkins

Ben Kerslake

Ian Massa-Harris

Stuart McDermott

Henry Moss

Ed Saklatvala

Chorus Director

Chorus Manager

Assistant Conductor

Repetiteur (Principals)

Repetiteur (Chorus)

French Language Coach

Surtitles

Stephen Harris

Steve Phillips

Martin Fitzpatrick

Steven Maughan

Stephen Westrop

Nicole Tibbels

Kate Telfer

With thanks to

Basses

Robert Brooks

Owain Browne

Matthew Duncan

Dominic Felts

Spiro Fernando

Meilir Jones

Richard Latham

Nicholas Morris

Redmond Sanders

Danny Standing

National Opera Studio; Guildhall School of Musi c & Drama; Hampstead Parish Church; Goldsmiths, University of London

La Princesse de Trébizonde: Synopsis

Act I A town square

At the fair, two attractions compete for business –a lottery, with a splendid castle as the top prize, and Cabriolo’s circus. His travelling players include his sister Paola, his two daughters Régina and Zanetta, and Trémolini, who gave up his old job as a butler to become a circus performer, out of love for Régina. Cabriolo's circus boasts many acts, but his main attraction is an extraordinary waxworks collection. His daughter Zanetta has been dusting the wax figures, and she accidentally breaks the nose off the showpiece, the magnificent Princess of Trebizond. To salvage the show, Zanetta offers to take the place of the waxwork and wear the Princess’s costume.

Cabriolo's takings that day are meagre – just a few coins so far, plus one of the lottery tickets (number 1313), which has been sneakily dropped into the cash box by Prince Raphaël, who is visiting the town fair with his tutor Sparadrap. The young Prince enters the waxworks tent and promptly falls madly in love with the figure of the Princess of Trebizond.

The lottery draw takes place – and the winning ticket is number 1313! Cabriolo and his family find themselves the new ennobled owners of a superb castle.

Act II Cabriolo’s castle – six months later

Cabriolo and his family are installed in their new castle. Time drags by, and they mope around all day, bored. They miss terribly their old life in the circus.

In the distance, a deer hunt can be heard coming closer. It is Prince Raphaël, who is making a detour to Cabriolo's castle in search of his new love, the Princess of Trebizond. Instead, he discovers Zanetta, and realises that his beloved wax princess is actually alive: he falls even more in love. Raphaël's tutor Sparadrap comes in, and Zanetta runs away. The Prince's father, Casimir, is a mad despot who has a nasty habit of breaking canes on the backs of his entourage. He shows kindness only to his son Raphaël, and panders to his every whim. Raphaël's latest desire is to take the waxwork figure of the Princess of Trebizond away with him. Casimir agrees to buy not only the Princess for his son, but the entire waxwork collection,

and he appoints Cabriolo curator of his museum. Casimir naively believes he has found a healthy distraction to occupy his son and, most importantly, to keep him away from women.

Act III Casimir’s palace

Casimir has installed the waxwork collection in his own castle, together with his new museum curator Cabriolo (now Baron Cascatella) and Cabriolo's whole family –including Zanetta as the fake waxwork Princess. The exhibits are guarded by six pages, who find their work, watching over lifeless wax figures all day, utterly ridiculous. They joke about the foolish young Prince Raphaël being in love with a doll.

As well as Raphaël and Zanetta, two other couples are falling in love - Zanetta's sister Régina with Trémolini, and their aunt Paola with the tutor Sparadrap. Night falls, and the couples make their trysts by moonlight. Prince Raphaël has feigned a toothache to avoid going on his father's torchlit hunt, and he organises a secret banquet. The six pages rejoice when Raphaël finally reveals the true story of his wax 'Princess'.

The carousing and dancing are brutally interrupted by the return of Casimir, who is furious. Everyone is unmasked, including the false Princess of Trebizond. The truth is out. Raphaël asks his father to forgive him, and asks to marry Zanetta. Not only does Casimir consent, but we learn that he himself was once also married to an acrobat, the famous Steel Feather –Paola’s sister. All’s well that ends well, and everyone celebrates with a triple wedding.

Synopsis by Jean-Christophe Keck English translation by Ros Schwartz

Programme note

Tréfeu (1821–1903) took on during the winter of 1868: La Princesse de Trébizonde. Despite advertisements in the Parisian press, Offenbach chose a more fashionable spa town and a different casino, the famous Baden-Baden.

It took Jacques Offenbach (1819–80) many years of hard work and effort to gain recognition, but his success, when it came, was lasting and, despite several tough years, never waned, neither during his lifetime nor after his death. By way of evidence, pieces like the ‘Infernal Galop’ from Orphée aux Enfers (Orpheus in the Underworld) and the Barcarolle from Les Contes d’Hoffmann (The Tales of Hoffmann) have made their way into our collective memory and becoming part of us, whether we are music-lovers or not.

The flip-side of this high regard is that much of his output, consisting of over 650 works, is unfamiliar to the general public. Sadder still is the false, almost caricatural image that posterity has of the composer of La Vie parisienne. There is no doubt that certain opéras bouffes with librettos by Meilhac and Halévy have overshadowed La Princesse de Trébizonde (The Princess of Trebizond) which, dramatically and musically, deserves as much acclaim as La Belle Hélène or La Grande-Duchesse de Gérolstein

In 1869, Offenbach was one of the most widely performed French composers in the world. He was fond of saying that his passions were women, gambling and cigars, deliberately omitting his predominant passion (as Don Juan would say): work.

Offenbach mainly assuaged his love of gambling in the spa town of Bad Ems. And it was Aimé-Isidore Briguiboul (1814–90), director of the Casino there, who commissioned him to write a two-act operetta, which the librettists Charles Nuitter (1828–99) and Etienne

Due to time constraints, Offenbach was forced to recycle several numbers from an opéra-comique, La Baguette, that was almost finished but had never been performed. He instructed Nuitter to fit new verses to his old manuscript. As usual, the composer made faster progress than his librettists and he ordered them to join him at his house in Étretat, where he could compose at ease. He wrote to Nuitter: ‘In heaven’s name, come to me with Tréfeu. In two days, the piece will be done and well done at that. If it were just Baden-Baden, I wouldn’t plague you so much. But the piece must fall squarely on its feet in Paris to be performed at the opening [of the BouffesParisiens] – that’s the most important thing and, for that, there isn’t a moment to lose.’ Or in another letter:

Poster for La Princesse de Trébizonde, 1869

Programme note

‘It really is regrettable that you cannot make up your mind to come. Tréfeu on his own is totally useless, just as you are on your own. You must either come together or not at all.’ In fact, La Princesse de Trébizonde was a ‘Bouffes-Parisiens’ project through and through, because the summer Prussian premiere, in BadenBaden, was performed by the vacationing troupe from the famous Bouffes-Parisiens theatre, founded 14 years earlier by Offenbach in Passage Choiseul, before they opened the new season in Paris. As always, Offenbach was not content with setting Nuitter’s verse to music. He took an active hand in the writing of the libretto, offering advice and making changes: ‘You see what must be done and above all what must be undone.’ In Baden-Baden, rehearsals had been in full swing from the start of the summer. They rehearsed during the day, and, in the evening, they performed the Bouffes-Parisiens repertoire for a largely aristocratic audience, which particularly favoured one-act works: La Chanson de Fortunio, Le Mariage aux lanternes, Les Bavards, L’Ile de Tulipatan, etc. According to rumours about the new operetta, ‘Offenbach’s musical talent has never been more effortless nor more boldly original.’ Changes were being made to the score right up to the premiere, although this did not prevent the composer from spending a fortune at roulette or mulling over Les Brigands between two rehearsals. On 31 July 1869, the curtain rose on La Princesse de Trébizonde with Offenbach conducting. Blavet wrote for Le Figaro: ‘It was a wonder to see that little man, standing on the rostrum, conducting as if possessed which, according to Voltaire, is the sign of genius, that prodigious orchestra of Baden-Baden, the best to be heard under the sun ... of the casinos.’ In the audience were several crowned heads. The prefect of Strasbourg had made the short trip over the Rhine. Also in the audience was the famous courtesan, Valtesse de La Bigne, who, rumour had it, could not deny Offenbach anything ... until Madame Offenbach put an end to that relationship with the help of a police inspector.

The performers were a huge success, and the music was warmly applauded and encored several times. Although the plot was considered confusing by some, the plot also seemed to be a hit with the audience, which puzzled Tréfeu. The perceptive author wrote to his colleague Nuitter the day after the premiere: ‘The piece was as successful as it could it have been. The story is amusing, and the music very well executed. Nevertheless, I have some reservations about the piece. A great deal needs to be rewritten. The haste with which it was brought to stage has clearly had an

adverse effect.’ The press, however, was fulsome in its praise. Blavet wrote in Le Figaro: ‘Offenbach has only included real gems, and if he has erred on occasion, this score makes up for all his lapses. He can show up on Judgment Day holding Orphée in one hand and La Princesse de Trébizonde in the other; he is sure to be appointed the Good Lord’s Choirmaster.’

The most popular numbers were the Grand Duo between Raphael and Zanetta, the Hunters’ chorus and the ‘Ronde de la Princesse’, themes that the composer introduced to the audience in the overture, along with the ‘Ronde des Pages’, and the ‘Grand Galop from the third act. Offenbach received unanimous acclaim for his musical art, an alchemy combining tenderness and extravagance with characteristic skill.

The composer did not linger long in Baden-Baden. The few remaining months before the reopening of the Bouffes-Parisiens did not allow the composer and his librettists enough time to make the required alterations to the work. As a result, the Paris premiere had to be

Costume design for Sparadrap (played by Edouard Georges) in La Princesse de Trébizonde, 1869

Programme note

postponed until the end of December. Admittedly, a great many changes were made. An entire act was added to the beginning with no fewer than five new numbers, including a grand finale. The numbers temporarily borrowed by Offenbach from La Baguette were removed, while others were extensively revised. This was the case with the famous aria ‘Du mal de dent’, which became one of the opéra bouffe’s most popular hits after it was revised. The new structure entailed the removal or replacement of some 15 numbers. One of the most beautiful of the ensemble pieces that had to be sacrificed was fortunately not lost since the composer later inserted it in the second act of Fantasio. And there is no doubt that the music was worth saving! Just as Les Brigands was a great success at the Théâtre des Variétés where La Périchole had just received a lukewarm reception (alas!), La Princesse de Trébizonde was also a huge success on 11 December 1869 at the Bouffes-Parisiens – where it was La Diva, one of the bitterest failures by the Offenbach-Meilhac-Halévy trio, that had to be lived down.

With three acts, the opera was already long. However, Offenbach would go to any lengths to showcase the talents of his beloved Valtesse de la Bigne, for example by writing a delightful short act as a curtain-raiser for her: ‘La Romance de la rose’. A tireless traveller, Offenbach only rested for a few days in Nice before departing for Vienna to supervise the German premiere of Die Prinzessin von Trapezunt. During this time, the work enjoyed a good run in Paris, where it was performed until the end of May 1870.

After such a brilliant start, the opera’s career was halted by the Franco-Prussian war. As soon as the theatres reopened, the work was put on again at the Bouffes-Parisiens, where the first performance was nearly a flop, reported Le Figaro: ‘That poor Princesse de Trébizonde had a narrow escape. Its return to the Bouffes was very nearly booed off. However, common sense prevailed against that ridiculous conspiracy. The conspirators did not exactly have anything against the Princesse, but against its proud father, under the pretext that Jacques Offenbach was Prussian! While congratulating those gentlemen for their courageous patriotism, the truth of the matter is that Offenbach has been French in the eyes of the law and of History for ... 15 years. We have acknowledged him as one of our own for so long that it would be childish – to say the least – to disown him today.’ Despite this, the work was still performed throughout Europe, in America and even Australia, with the same degree of success.

After Offenbach’s death, the work did not vanish completely from the French stage and was not consigned to total oblivion like other less fortunate treasures. It was revived occasionally in the provinces before being picked up by the Office de Radiotélévision Française (French Radio and Television Service). However, La Princesse de Trébizonde certainly deserves to rank highly as one of Offenbach’s most famous works. It is a perfect masterpiece of the genre, one of those nuggets you are always hoping to discover, which is rarely featured in our concerts, but which holds an important place in our memory. Just try it.

Programme note by Jean-Christophe Keck English translation by Sue Rose

Paul Daniel conductor

Bavarian Radio Symphony Orchestra, GürzenichOrchester Köln, Leipzig Gewandhausorchester, Netherlands Radio Philharmonic, Real Filharmonia de Galicia, Orchestre National Bordeaux Acquitaine, Tampere Philharmonic, Cleveland Orchestra, Milwaukee Symphony, New York Philharmonic and Los Angeles Philharmonic.

Recent and future operatic plans include Lucrezia Borgia and The Marriage of Figaro for English National Opera, Gloriana for Covent Garden, a new commission by Judith Weir for the Bregenz Festival and Covent Garden, Lulu for La Monnaie in Brussels, a double-bill of L'enfant et les sortilèges and Der Zwerg for Opéra National de Paris, Les Troyens for the Deutsche Oper Berlin, Hänsel und Gretel in Zürich, A Village Romeo and Juliet for Oper Frankfurt, Werther for the New National Theatre Tokyo, the world premiere of Poul Ruders’s The Thirteenth Child in Santa Fe, and Elektra, Tristan und Isolde and Die Walküre in Bordeaux. Orchestral engagements, apart from his work in Bordeaux, include concerts with the Bavarian Radio Symphony Orchestra, BBC Philharmonic, Royal Philharmonic Orchestra, Hamburg Symphony, Munich Rundfunkorchester, Australian National Academy of Music, National Youth Orchestra of Great Britain and at the Bregenz Festival. He returned to Santa Fe in summer 2022 for Falstaff.

Paul Daniel is Principal Conductor and Artistic Director of the Royal Philharmonic Orchestra of Galicia. From 2013–21 he was Music Director of the Orchestre National de Bordeaux Aquitaine, and held the same post at the West Australian Symphony Orchestra in Perth from 2009–13. He has appeared as a guest conductor with major orchestras and opera companies throughout the world, as well as holding several permanent positions. From 1997–2005 he was Music Director of English National Opera; from 1990–97 he was Music Director of Opera North and Principal Conductor of the English Northern Philharmonia; and from 1987–90 he was Music Director of Opera Factory. Operatic guest engagements have included at the Royal Opera House, Covent Garden; La Monnaie in Brussels; the Bayerische Staatsoper, Munich; the Semperoper Dresden; and the Metropolitan Opera in New York.

Paul Daniel’s orchestral engagements have included performances with the London Philharmonic Orchestra, Philharmonia Orchestra, Orchestra of the Age of Enlightenment (with whom he recorded Elijah for Decca), City of Birmingham Symphony Orchestra, Academy of Ancient Music, Orchestre de Paris,

His many recordings include a hugely successful CD of Elgar’s Symphony No. 3 on Naxos, and an expanding discography with the Orchestra National de Bordeaux Aquitaine including discs of Wagner, Mahler and Tchaikovsky. His performance of Lulu for La Monnaie, with Barbara Hannigan in the title role, has been released as an award-winning DVD.

In 1998 Paul Daniel received an Olivier Award for outstanding achievement in opera, and was awarded the CBE in the 2000 New Year Honours list.

© Frances Andrijich

Anne-Catherine Gillet

Zanetta soprano

Virginie Verrez

Prince Raphaël mezzo-soprano

Anne-Catherine Gillet was born in Belgium. At a very young age she was spotted by the directors of the Opéra Royal de Wallonie, who offered her a position amongst their resident singers. Her career soon unfolded in prestigious opera houses: the Théâtre du Capitole in Toulouse invited her for many important roles, Sir John Eliot Gardiner chose her to sing Laoula in Chabrier's L'Étoile at the Opernhaus Zürich and the Opéra Comique in Paris, and she subsequently made her debut at the Paris National Opera.

Anne-Catherine cultivates a special affection for French 19th-century repertoire, debuting in the roles of Cendrillon at La Monnaie, Juliette in Tours, Manon in Lausanne, and Leïla (Les Pêcheurs de perles) in Liège and at the Angers-Nantes Opera. 20th-century roles have included Mélisande in Liège, the title roles in L'Héritière and Colombe by Jean-Michel Damase in Marseille, The Governess (The Turn of the Screw) in Frankfurt, and Blanche (Dialogues des Carmélites), of which she is hailed as one of her generation's finest interpreters.

Recent highlights include Gretel (Hänsel und Gretel) at the Palais Garnier; Oscar (Un Ballo in maschera) at the Chorégies d'Orange; Ilia (Idomeneo) in Frankurt; Gilda (Rigoletto) at La Monnaie and the Bolshoi; Manon in Lausanne and Monte Carlo; Juliette in Monte Carlo; the title role in L'Aiglon with the Montreal Symphony Orchestra; Leïla in Liège; Pamina (Die Zauberflöte) in Liège, Nice and Marseille; Blanche, Adina (L'Elisir d'amore) and Norina (Don Pasquale) in Brussels; Hero (Béatrice et Benedict) at La Monnaie and the Glyndebourne Festival; Minerva (Il Ritorno d’Ulisse in patria) at the Théâtre des Champs-Elysées; and Caroline (Die Fledermaus) in Marseille.

French mezzo-soprano Virginie Verrez is a graduate of New York’s Juilliard School. She won the 2016 Dallas Opera Guild Vocal Competition and was a winner of the 2015 Metropolitan Opera National Council Auditions. She was a member of the Metropolitan Opera’s Lindemann Young Artist Development Program from 2015–17. In the 2022/23 season Virginie’s roles include Suzuki (Madama Butterfly) for the Opéra national de Bordeaux, and Iphigénie (Iphigénie en Tauride) for the Opéra national de Lorraine. Future seasons will see her make her debut at Teatro alla Scala, Milan.

Recent concert engagements include Berlioz's Roméo et Juliette and Schumann's Das Paradies und die Peri with the Swedish Radio Symphony Orchestra and Daniel Harding; La damoiselle élue with the Orchestre National de France and Bertrand de Billy; Beethoven‘s Mass in C with the Netherlands Radio Philharmonic and Karina Canellakis; Erika in Barber's Vanessa with the Deutsches Symphonie-Orchester Berlin and David Zinman; Haydn’s Nelson Mass with the Orchestre National de Lyon and Omer Meir Wellber; Shéhérazade with the Minnesota Orchestra; a Mozart Gala with Le Concert d’Astrée featuring performances in Paris and Bahrain; and Duruflé’s Requiem with the Netherlands Radio Choir. Recent operatic highlights include Stéphano (Roméo et Juliette) and Enrichetta (I puritani) for the Metropolitan Opera; the title role in Carmen for Welsh National Opera; and Erika (Vanessa) at the Glyndebourne Festival.

Virginie is a former member of the ensemble of the Wiener Staatsoper, where her roles included Zerlina (Don Giovanni), Cherubino (Le nozze di Figaro), Lola (Cavalleria Rusticana), Idamante (Idomeneo), Tisbe (La Cenerentola) and Meg Page (Falstaff).

© Fabrice Hauwel

© Dario Acosta

Christophe Gay

bass Cabriolo

Antoinette Dennefeld

mezzo-soprano Régina

After studies at Nancy Conservatoire under the tutorship of Christiane Stutzmann, Christophe Gay was a winner in the Opera category at the 'Les Symphonies d'automne' competition in Macon, and was named as Adami's 'Classical Revelation' in 2004.

Following his debut at Nancy Opera in Dallapiccola's Il prigioniero, he was much applauded in Paris at the Cité de la Musique, the Opéra Comique and the Aixen-Provence Festival (in L'Orfeo under René Jacobs), and at the opera houses of Lyon, Lille, Nantes, Rouen, Toulon, Avignon and Strasbourg.

His repertoire is varied, from Baroque operas to largescale 19th- and 20th-century repertoire. He is also in demand as a concert artist, with highlights including Handel's Messiah, Beethoven's Symphony No. 9, Fauré's Requiem, Bacalov's Misa Tango, Charpentier's La Pastorale, Gounod's Mors e Vita, Puccini's Messa di Gloria and Orff's Carmina Burana, among many others. Recent operatic highlights include Les Contes d'Hoffmann (directed by Laurent Pelly) in Lyon and Tokyo; L’Italienne à Alger, L'Étoile and Les Mamelles de Tiresias in Nancy; King Arthur in Versailles, Platée in Stuttgart; Don Giovanni in Saint-Céré; Fortunio in Limoges and Rennes; the world premiere of Christian Lauba's La Lettre des sables in Bordeaux; Lakmé in Toulon; the creation of Mimi at the Bouffes du Nord Theater; and Carmen at the Glyndebourne Festival.

Current and future projects include Messager's Coups de roulis with Les Frivolités parisiennes; L’Heure espagnole with the Israeli Philharmonic Orchestra; Roméo et Juliette in Québec; Lehár's Giuditta at the Opéra National du Rhin; and Die Fledermaus in Lille.

Born in Strasbourg, Antoinette Dennefeld studied at the University Marc Bloch in Strasbourg and the Haute Ecole de Musique in Lausanne, receiving her Master of Music (Voice) in 2011 with high honours, as well as the Max Jost Award, the Friends of the OSR Award and the Paderewski Prize. The same year, she won the Grand Prix at the International Singing Competition of Marmande and the Third Prize and Public’s Choice at the International Singing Competition of Geneva.

In concert, Antoinette has performed as soloist in Vivaldi’s Gloria, Rossini’s Stabat Mater, Mozart’s Requiem and Handel’s Dixit Dominus. In Lausanne she sang solo roles in Bach’s St John Passion with Ton Koopmann, and in Stravinsky’s Pulcinella with the Orchestre de Chambre de Lausanne. With the Sinfonietta of Lausanne she performed as soloist in Prokofiev’s Alexander Nevsky, and has also sung Lieder from Mahler’s Des Knaben Wunderhorn. Since 2009 she has performed in recital with pianist Lucas Buclin as 'Duo Almage'.

Recent and future projects include the title role in Offenbach's La Périchole at the Théâtre des ChampsElysées, in Dijon and in Toulon; Mélisande (Pelléas et Mélisande) with the Orchestre National de France; Giulietta (Les Contes d’Hoffmann) in Paris; Idamante (Idomeneo) in Nancy; and Adalgisa (Norma) in Marseille. In concert, she will sing Ravel’s Shéhérazade in Nuremberg and Massenet’s Grisélidis in Montpellier and at the Théâtre des Champs-Elysées.

© Louis Barsiat

tenor Prince Casimir Katia Ledoux contralto Paola

Josh Lovell

Canadian tenor Josh Lovell, whose voice has been described by the Chicago Classical Review as ‘a consistent cause for joy’, is the winner of the 39th Belvedere Singing Competition and an ensemble member of the Wiener Staatsoper. In the 2022/23 season he makes house debuts at the Teatro alla Scala as Ferdinand in Thomas Adès’s The Tempest, at Oper Leipzig as Don Ottavio in a new production of Don Giovanni, and with Deutsche Oper Berlin as Gérald in Lakmé at the Philharmonie. He also returns to the Wiener Staatsoper for guest performances as Telemachus in Il ritorno d’Ulisse in patria, Lukas in Die Jahreszeiten and Ernesto in Don Pasquale Recently he stepped in for an ill colleague as the Italian Singer in Der Rosenkavalier at the Bayerische Staatsoper. Tonight is his debut with Opera Rara.

An avid and experienced concert artist, Josh has given numerous performances of the works of Handel, Mozart, Haydn, Britten, Vaughan Williams and Bach. Most notably, he sang opposite Susan Graham and Nathan Gunn as part of the Jazz Trio in Bernstein’s Trouble in Tahiti during a ‘Celebrating 100 Years of Bernstein’ concert at Lyric Opera of Chicago. He has also appeared with Music of the Baroque, performing Bach’s Coffee Cantata conducted by Jane Glover; and Messiah with The International Music Foundation, as well as the Apollo Chorus of Chicago. He also debuted as the Evangelist in Bach’s St Matthew Passion with the Victoria Philharmonic Choir in Canada, and sang selected Bach cantatas as well as the Magnificat with Baroque ensemble I Musici de Montréal. Future engagements include debuts at the Canadian Opera Company and the Opéra National de Paris.

This season Katia Ledoux will return to Opernhaus Zürich as Gertrude in Ted Huffman’s new production of Roméo et Juliette and to Oper Stuttgart as Ježibaba in Rusalka; as a soloist of Volksoper Wien she will perform Venus in Orphée aux enfers. Future engagements also include Rameau’s Platée for Opernhaus Zürich.

In March 2022 Katia was engaged by the Opera Forward Festival in Amsterdam to create the role of Proserpine for the world premiere of Manfred Trojahn’s Eurydice – Die Liebenden, blind, directed by Pierre Audi. Another recent world premiere was Makuba in Neo Muyanga’s How Anansi Freed the Stories of the World for Dutch National Opera.

Following her splendid 2019 debut at Dutch National Opera as Geneviève in Pelléas et Mélisande, conducted by Stéphane Denève and staged by Olivier Py, she returned to perform the alto solo in Rossini’s Petite messe solennelle under Andrea Battistoni. As a member of the International Opera Studio of Zurich, in the 2020/21 season she sang the role of the Innkeeper in Barrie Kosky’s new production of Boris Godunov.

Born in Paris, Katia later moved to Austria, where in 2008 she won First Prize in the ‘Prima la Musica’ competition. In 2009 she was admitted to the University of Music and Performing Arts in Vienna, later studying at the Kunstuniversität Graz. In 2018 she won the Press Prize in the ‘s Hertogenbosch IVC Contest, and in 2019 was a prizewinner at the 38th Belvedere Competition and the Nordfriesische Liedpreis at Husumer Liedkunst Wettbewerb.

© Simon Pauly

© Wolf-Dieter Grabner

Christophe Mortagne

tenor Trémolini

Loïc Félix

tenor Sparadrap/Le Director

French tenor Christophe Mortagne is in demand for character tenor roles at major houses around the world including the Metropolitan Opera, New York; La Scala, Milan; Dutch National Opera; and the Royal Opera House, Covent Garden. He has worked with conductors including Fabio Luisi, Marc Minkowski and Antonio Pappano, and directors such as Stefan Herheim, Kasper Holten and Laurent Pelly. In the 2022/23 season he sings Don Curzio (Le nozze di Figaro) for Opéra National de Paris; Monsieur Triquet (Eugene Onegin) for La Monnaie, Brussels; and Schmidt (Werther) for the Royal Opera House, Covent Garden.

Recent operatic highlights include Don Curzio (Opéra National de Paris); Don Basilio in Le nozze di Figaro (Teatro Real, Madrid); Spalanzani in Les Contes d’Hoffmann (Opéra National de Bordeaux, Festspielhaus Baden-Baden, Royal Opera House); Roi Bobèche in Offenbach’s Barbe-Bleue (Opéra de Lille, Opéra National de Lyon); the title role in Offenbach’s Le Roi Carotte (Opéra National de Lyon); Dr Caïus in Falstaff (Teatro Real, Madrid); Goro in Madama Butterfly (Gran Teatre del Liceu); Monsieur Triquet in Eugene Onegin (Canadian Opera Company, Royal Opera House); Aegisth in Elektra (Opéra National de Bordeaux); and Four Servants in Les Contes d’Hoffmann (Metropolitan Opera, Opéra National de Lyon).

Christophe studied at the Conservatoire de Paris and is a former member of La Comédie Française. His recordings include Les Contes d’Hoffmann (Royal Opera House/Sony DVD; Bregenz Festival/Unitel Classica DVD); L’Étoile (Dutch National Opera/Naxos DVD); Eugene Onegin (Royal Opera House/Opus Arte) and La Vie parisienne (Opéra de Lyon/Virgin DVD).

After spending his boyhood as an outstanding solo singer in the Petits Chanteurs à la Croix de Bois, Loïc Félix decided to become an opera singer and joined the Conservatoire de Paris, where he studied with Christiane Eda-Pierre and Christiane Patard. He also attended prestigious masterclasses with Michel Sénéchal, Régine Crespin and Renata Scotto.

On graduating from the Conservatoire, with his rich voice and his theatrical talents, he received invitations from a large number of European opera houses, building a reputation in a varied repertoire from Mozart (Pedrillo in Die Entführung aus dem Serail, Monostatos in Die Zauberflöte, Don Basilio in Le nozze di Figaro) to Britten (The Little Sweep, title role in Albert Herring), as well as the creation of Le Nègre des Lumières by Chevalier de Saint-George. He has also sung in Benvenuto Cellini, Carmen, Orphée aux enfers, Roméo et Juliette, Falstaff, Salome, Les Mamelles de Tirésias, and Busoni’s Doktor Faust and Turandot

As a tenor with a feel for comedy, Loïc is particularly at ease in the operetta repertoire. He has performed in La Vie parisienne, Les Brigands, La grande Duchesse de Geroldstein, La Périchole, Monsieur Choufleuri, La Veuve joyeuse, Die Fledermaus, and many others.

Future plans include Falstaff in Lille, Caen and Luxembourg; Carmen at the Opéra National de Paris and at Glyndebourne; and Busoni’s Turandot in Nancy. In concert, he will perform in programmes dedicated to Offenbach with the Orchestre de Chambre Fribourgeois and on tour with the Orchestre National d’Île-de-France.

© Mathias Bothor/DG

© Alix Laveau

Harriet Walter narrator

Jeremy Sams

English narration

The acclaimed British actress Dame Harriet Walter is best known for her roles in Downton Abbey, Killing Eve, Ted Lasso, Succession and The Crown. She has appeared in over 60 shows on television and has been featured in numerous movies including Sense and Sensibility, The Young Victoria, Rocketman and Star Wars: The Force Awakens. She has received a Laurence Olivier Award and has been nominated for a Tony Award, three Primetime Emmy Awards and a Screen Actors Guild Award. In 2011 she was appointed Dame Commander of the Order of the British Empire (DBE) for services to drama.

Theatre director, lyricist and translator of plays and opera libretti as well as a composer, orchestrator and musical director, Jeremy Sams is the ultimate polymath. His work has garnered a BAFTA Award, a Director’s Fortnight at Cannes and an Ivor Novello Award. Jeremy’s directorial credits include The Wizard of Oz (London Palladium), The Sound of Music (London Palladium, Princess of Wales Theatre Toronto), Noises Off (National Theatre), Chitty Chitty Bang Bang (London Palladium) and Little Britain. He wrote the libretto for This Enchanted Island (Metropolitan Opera, New York), and his translations include Mozart’s Figaro’s Wedding, La bohème, The Magic Flute and Wagner’s Ring Cycle (English National Opera); The Merry Widow (Royal Opera House, Covent Garden); and Les Parents terribles, The Miser and Mary Stuart (National Theatre).

Opera Rara

Opera Rara’s mission is to restore, record, perform and promote the lost operatic heritage of the 19th and early 20th centuries.

Opera Rara is a unique combination of opera company, recording label and live operatic archaeologist. We search for neglected operatic masterpieces and restore them to life for contemporary audiences to enjoy. Working with the best singers, conductors, orchestras and musicologists, we are at the cutting edge of the opera world, leading the expansion of the repertoire and encouraging other opera companies to explore new and unknown operatic jewels.

2020 marked Opera Rara’s 50th anniversary, half-acentury of ground-breaking work. Our artistic success has been publicly recognised through major awards, notably at the International Opera Awards (Best Opera Recording) for Rossini’s Semiramide (2019), Donizetti’s Les Martyrs (2016) and Offenbach’s Fantasio (2015); International Classical Music Award for Semiramide (Best Opera, 2019) and for Ermonela Jaho’s debut recital album Anima Rara (Best Vocal Music Recording, 2021); Opus Klassik (Best Recording) for Semiramide (2019) and at the OPER! Awards (Best Recording) for Donizetti’s L’Ange de Nisida (2019).

The Opera Rara catalogue comprises over 100 titles, including 60 complete opera recordings. Our work has led to a fundamental revaluation of the reputation of Donizetti, Pacini, Offenbach and Mercadante, changing the way in which these composers are perceived internationally. Following our world premiere concerts in July 2018, Donizetti’s L’Ange de Nisida received its first professional staging in Bergamo in November 2019 and Offenbach’s Fantasio has received several stagings throughout Europe since our recording in 2015, including at the Garsington Festival. Opera Rara’s latest studio recording, Donizetti’s Il Paria, with Albina Shagimuratova, René Barbera and the Britten Sinfonia conducted by Sir Mark Elder, was released in January 2021 to wide critical acclaim.

Following Sir Mark Elder’s departure as Artistic Director, after a remarkable seven-year period in which the company’s artistic reputation worldwide rose to new heights, internationally acknowledged 19thcentury opera specialist Carlo Rizzi was appointed his successor in 2019. Future plans include a studio recording and performance of Donizetti’s L’esule di Roma with the Britten Sinfonia led by Carlo Rizzi in May 2023, the release of Rizzi's recording of Leoncavallo's

Zingari on 23 September 2022, his first recording as Opera Rara’s Artistic Director, and his world premiere recording of Mercadante’s Il proscritto in spring 2023.

A studio recording of Offenbach’s La Princesse de Trébizonde with the London Philharmonic Orchestra and Paul Daniel will be released in the autumn of 2023.

Artistic Director

Carlo Rizzi

Chief Executive

Henry Little

Board of Directors

Charles Alexander CBE Chair

Glenn Hurstfield

Adolfo Laurenti

Simon Mortimore QC

Alison Nicol

Islée Oliva Salinas

Terence Sinclair

Nicholas Thomas

Louis Watt

Honorary Artistic Patron

Renée Fleming

Label and Production Director

Aurelie Baujean

Finance Director

Irene Cook

Development and Communications Director

Zachary Vanderburg

Consultants

Kirstin Peltonen Development Consultant

Jesús Iglesias Noriega Casting Consultant

Macbeth Media Relations Press and PR

Roger Parker Repertoire Consultant

Opera Rara, Studio 11 Cloisters House, 8 Battersea Park Road, London SW8 4BG 020 7613 2858 | info@opera-rara.com opera-rara.com

Opera Rara is a registered charity, no. 261403 Company Limited by Guarantee, no. 982535

London Philharmonic Orchestra

First Violins

Ania Safonova Guest Leader

Kate Oswin

Catherine Craig

Katalin Varnagy

Chair supported by Sonja Drexler

Quentin Capozzoli

Martin Höhmann

Chair supported by Chris Aldren

Elizaveta Tyun

Simon-Philip Allard

John Dickinson

Eleanor Bartlett

Second Violins

Emma Oldfield Principal

Joseph Maher

Nynke Hijlkema

Fiona Higham

Chair supported by David & Yi Buckley

Kate Birchall

Claudia Tarrant-Matthews

Sioni Williams

Sarah Thornett

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander

Sharp

Katharine Leek

Benedetto Pollani

James Heron

Laura Vallejo

Shiry Rashkovsky

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Francis Bucknall

Sue Sutherley

Susanna Riddell

Double Basses

Kevin Rundell* Principal

George Peniston

Laura Murphy

Flutes

Juliette Bausor Principal

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboe

Alice Munday Principal

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

Elliot Gresty

Bassoon

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Horns

Duncan Fuller Guest Principal

Martin Hobbs

Trumpets

Erika Curbelo Guest Principal

Anne McAneney*

Trombone

Mark Templeton* Principal

Chair supported by William & Alex de Winton

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Feargus Brennan

Keith Millar

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

The Candide Trust

William & Alex de Winton

Friends of the Orchestra

Irina Gofman & Mr Rodrik V. G. Cave

Dr Barry Grimaldi

Countess Dominique Loredan

Eric Tomsett

Neil Westreich

London Philharmonic Orchestra

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

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

Sharing the wonder

We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean is our current Composer-inResidence.

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series

© Mark Allan

with Vladimir Jurowski including The Rite of Spring and The Firebird; and Tippett’s complete opera

The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see right).

Next generations

We’re committed to inspiring the next generation of musicians: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

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

2022/23 and beyond

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

NEW ON THE LPO LABEL

TIPPETT THE MIDSUMMER MARRIAGE

COMPLETE OPERA IN THREE ACTS

conducted by EDWARD GARDNER

with

ROBERT MURRAY, RACHEL NICHOLLS, ASHLEY RICHES, JENNIFER FRANCE, TOBY SPENCE, CLAIRE BARNETT-JONES, SUSAN BICKLEY, JOSHUA BLOOM, LONDON PHILHARMONIC CHOIR ENGLISH NATIONAL OPERA CHORUS

AVAILABLE TO DOWNLOAD, STREAM, OR AS A 3-CD BOX SET

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

Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021

FROM 23 SEP 2022

Where will music take you?

2022/23 season opening concerts with Principal Conductor Edward

GARDNER CONDUCTS GURRELIEDER

Saturday 24 September 2022, 7.00pm

Royal Festival Hall

Schoenberg Gurrelieder

Edward Gardner conductor

Lise Lindstrom Tove

Karen Cargill Wood-Dove

David Butt Philip Waldemar

Robert Murray Klaus the Fool

James Creswell Peasant

Alex Jennings Speaker

London Philharmonic Choir

London Symphony Chorus

Please note start time.

Sung in German with English surtitles. Generously supported by a syndicate of donors.

EXILES AND DREAMERS

Wednesday 28 September 2022, 7.30pm

Royal Festival Hall

Tchaikovsky Romeo and Juliet (Fantasy Overture)

Dutilleux Correspondances

Walker Lilacs

Dvořák Symphony No. 7

Edward Gardner conductor

Jennifer France soprano

GRAND PASSIONS, HIGH IDEALS

Saturday 1 October 2022, 7.30pm

Royal Festival Hall

Wagner Overture, Tannhäuser

Vijay Iyer Human Archipelago (world premiere)

Mendelssohn Symphony No. 5 (Reformation)

Edward Gardner conductor

Inbal Segev cello

Gardner

Opera Rara's Supporters

Opera Rara’s projects are only made possible by the generosity of our supporters, who believe in our mission to restore, record, perform and promote the forgotten operatic heritage of the 19th and early 20th centuries. We would like to take this opportunity to thank those individuals and foundations who have made a gift to our Annual Fund*. Their continued support is vital.

Guardian Society

Carlo Grosso

Stefan Olsson & John Tierney

Circle Members

Opera Rara Circle

Sir Simon & Lady Virginia

Robertson

Artist’s Circle

Charles Alexander CBE

Michael Hartnall

Islée Oliva Salinas & Michael

Buckley

Carlo Rizzi & Lucy Stout

Patrons

Benefactor

Roger Bramble

Edward Gasson

Terence & Sian Sinclair

Devotee

Timothy Congdon

Imogen Rumbold

Gerry Wakelin & Ivor Samuels

Louis Watt

Aficionado

David Bernstein

John Chichester

Sir Anthony Cleaver

Marco Compagnoni

Eleanor Cranmer & Nick Thomas

Jeff & Emily Fergus

Allan Heinberg

Malcolm Herring

Glenn Hurstfield

Alan Jackson

Adolfo Laurenti & Juliet Petrus

David & Janet McCue

Chris & Dominique Moore

Simon Mortimore QC

Alison Nicol

Peter Rosenthal

Martin & Patricia Spiro

Mark Walker

Friends

Enthusiast

Claus Ambos

Sir David Bean

Marian Gilbart Read

Sarah & Christopher Knight

Michele Leuenberger

Hal Lindberg

Sir Timothy Lloyd

Bruce & Sara Mauleverer

Connoisseur

Primrose & Christopher Arnander

David Buchler

Barry Buttifant

David Grant

Robert Gray

Yvonne Horsfall Turner

Jonathan & Sarah Jempson

Christopher Leslie

Margaret & Oscar Lewisohn

Jennifer Marling+

Lady Carolyn Newbigging

John Nickson

Lady Jane Rayne

Christopher & Lucie Sims

Zachary Vanderburg & Felipe

Ramos Barajas

And our many Contributor and Member Friends

The Annual Fund list is comprised of donors who gave at the Connoisseur level or higher from March 2021 to August 2022.

+American Friend

Trusts and Foundations

Foyle Foundation

John Ellerman Foundation

Lifetime Guardians

Opera Rara is particularly grateful to those individuals and organisations who have been exceedingly generous and have been guardians of our work since 1970.

Charles Alexander CBE

Arts Council England

Foyle Foundation

Carlo Grosso

Michael Hartnall

Glenn Hurstfield

The Monument Trust

Sir Peter Moores & the Peter Moores Foundation

Stefan Olsson & John Tierney

Sir Simon & Lady Virginia

Robertson

Gifts In Kind

Opera Rara thanks Yvonne Horsfall Turner for providing a rehearsal space for our principal cast rehearsals at Stone House.

A full list of Opera Rara’s current Annual Fund supporters can be found at:

opera-rara.com/our-supporters

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton

Mr & Mrs Philip Kan

Neil Westreich

The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe

Casbon

In memory of Ann Marguerite

Collins

Sally Groves MBE

George Ramishvili

Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech

Steven M. Berzin

Ms Veronika BorovikKhilchevskaya

The Candide Trust

Irina Gofman & Mr Rodrik V. G.

Cave

The Lambert Family Charitable

Trust

Countess Dominique Loredan

Stuart & Bianca Roden

In memory of Hazel Amy Smith

The Tsukanov Family

The Viney Family

Gold Patrons

An anonymous donor

Chris Aldren

David & Yi Buckley

In memory of Allner Mavis

Channing

Sonja Drexler

Jan & Leni Du Plessis

The Vernon Ellis Foundation

Peter & Fiona Espenhahn

Hamish & Sophie Forsyth

Mr Roger Greenwood

Malcolm Herring

John & Angela Kessler

Julian & Gill Simmonds

Eric Tomsett

Andrew & Rosemary Tusa

Guy & Utti Whittaker

Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe

David Burke & Valerie Graham

John & Sam Dawson

Bruno De Kegel

Ulrike & Benno Engelmann

Virginia Gabbertas MBE

Dmitry & Ekaterina Gursky

The Jeniffer & Jonathan Harris

Charitable Trust

Catherine Høgel & Ben Mardle

Sir George Iacobescu

Jamie & Julia Korner

Mr & Mrs Makharinsky

Mr Nikita Mishin

Andrew Neill

Tom & Phillis Sharpe

Mr & Mrs John & Susi Underwood

Laurence Watt Grenville & Krysia Williams

Bronze Patrons

Anonymous donors

Michael Allen

Mr Mark Astaire

Nicholas & Christine Beale

Mikhail Noskov & Vasilina Bindley

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr Evgeny Chichvarkin

Mr John H Cook

Georgy Djaparidze

Deborah Dolce

Cameron & Kathryn Doley

Mariana Eidelkind & Gene

Moldavsky

David Ellen

Mr Richard & Helen Gillingwater

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Martin & Katherine Hattrell

Michael & Christine Henry

Mr Steve Holliday

J Douglas Home

Mr & Mrs Ralph Kanza

Mrs Elena & Mr Oleg Kolobov

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr Nicholas Little

Geoff & Meg Mann

Mrs Elizabeth Meshkvicheva

Andrew T Mills

Peter & Lucy Noble

Mr Roger Phillimore

Mr Michael Posen

Mr Anthony Salz

Ms Nadia Stasyuk

Charlotte Stevenson

Joe Topley

Mr & Mrs John C Tucker

Timothy Walker CBE AM

Jenny Watson CBE

Grenville & Krysia Williams

Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

Julian & Annette Armstrong

Mr John D Barnard

Mr Geoffrey Bateman

Mr Philip Bathard-Smith

Mrs A Beare

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario

Altieri

Mr Peter Coe

Mrs Pearl Cohen

David & Liz Conway

Mr Alistair Corbett

Ms Mary Anne Cordeiro

Ms Elena Dubinets

Mr B C Fairhall

Mr Richard Fernyhough

Jason George

Mr Christian Grobel

Prof Emeritus John Gruzelier

Mark & Sarah Holford

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Kim J Koch

Ms Elena Lojevsky

Mrs Terry Neale

John Nickson & Simon Rew

Oliver & Josie Ogg

Ms Olga Ovenden

Mr James Pickford

Filippo Poli

Sir Bernard Rix

Mr Robert Ross

Priscylla Shaw

Martin & Cheryl Southgate

Mr & Mrs G Stein

Dr Peter Stephenson

Joanna Williams

Christopher Williams

Ms Elena Ziskind

Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Countess Dominique Loredan

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal Berenberg

Bloomberg

Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Walpole

Trialist

Sciteb

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck

Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

The Marchus Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

RVW Trust

Scops Arts Trust

Sir William Boremans' Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

The Vaughan Williams Charitable Trust

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

Board of the American Friends of the LPO

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva (Russia)

Steven M. Berzin (USA)

Veronika Borovik-Khilchevskaya (Cyprus)

Marie-Laure Favre Gilly de Varennes de Bueil (France)

Aline Foriel-Destezet (France)

Irina Gofman (Russia)

Countess Dominique Loredan (Italy)

Olivia Ma (Greater China Area)

George Ramishvili (Georgia)

Jay Stein (USA)

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LPO Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures

Masur Circle

Arts Council England

Dunard Fund

Victoria Robey OBE

Emmanuel & Barrie Roman

The Underwood Trust

Welser-Möst Circle

William & Alex de Winton

John Ireland Charitable Trust

The Tsukanov Family Foundation

Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov

Richard Buxton

The Candide Trust

Michael & Elena Kroupeev

Kirby Laing Foundation

Mr & Mrs Makharinsky

Alexey & Anastasia Reznikovich

Sir Simon Robey

Bianca & Stuart Roden

Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi

Gabor Beyer, through BTO

Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne

Goodman

Roddy & April Gow

The Jeniffer & Jonathan Harris

Charitable Trust

Mr James R.D. Korner

Christoph Ladanyi & Dr Sophia

Ladanyi-Czernin

Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust

Mr Paris Natar

The Rothschild Foundation

Tom & Phillis Sharpe

The Viney Family

Haitink Patrons

Mark & Elizabeth Adams

Dr Christopher Aldren

Mrs Pauline Baumgartner

Lady Jane Berrill

Mr Frederick Brittenden

David & Yi Yao Buckley

Mr Clive Butler

Gill & Garf Collins

Mr John H Cook

Mr Alistair Corbett

Bruno De Kegel

Georgy Djaparidze

David Ellen

Christopher Fraser OBE

David & Victoria Graham Fuller

Goldman Sachs International

Mr Gavin Graham

Moya Greene

Mrs Dorothy Hambleton

Tony & Susie Hayes

Malcolm Herring

Catherine Høgel & Ben Mardle

Mrs Philip Kan

Rehmet Kassim-Lakha de Morixe

Rose & Dudley Leigh

Lady Roslyn Marion Lyons

Miss Jeanette Martin

Duncan Matthews QC

Diana & Allan Morgenthau

Charitable Trust

Dr Karen Morton

Mr Roger Phillimore

Ruth Rattenbury

The Reed Foundation

The Rind Foundation

Sir Bernard Rix

David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith

Lady Valerie Solti

Mr & Mrs G Stein

Dr Peter Stephenson

Miss Anne Stoddart

TFS Loans Limited

Marina Vaizey

Jenny Watson

Guy & Utti Whittaker

Pritchard Donors

Ralph & Elizabeth Aldwinckle

Mrs Arlene Beare

Mr Patrick & Mrs Joan Benner

Mr Conrad Blakey

Dr Anthony Buckland

Paul Collins

Alastair Crawford

Mr Derek B. Gray

Mr Roger Greenwood

The HA.SH Foundation

Darren & Jennifer Holmes

Honeymead Arts Trust

Mr Geoffrey Kirkham

Drs Frank & Gek Lim

Peter Mace

Mr & Mrs David Malpas

Dr David McGibney

Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer

Charitable Trust

Timothy Walker CBE AM

Christopher Williams

Peter Wilson Smith

Mr Anthony Yolland

and all other donors who wish to remain anonymous

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London

Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe QC

Julian Simmonds

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke

Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Fabio Sarlo

Glyndebourne and Projects Manager

Maddy Clarke

Tours Manager

Alison Jones

Concerts and Recordings Co-ordinator

Matthew Freeman

Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stephen O’Flaherty

Stage Managers

Freddie Jackson

Assistant Stage Manager

Felix Lo

Orchestra and Auditions Manager

Robert Winup

Concerts and Tours Assistant

Finance

Frances Slack

Finance Director

Dayse Guilherme

Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Hannah Foakes

Rebecca Parslow

Education and Community

Project Managers

Tilly Gugenheim

Education and Community Project Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Mairi Warren

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Sophie Harvey

Digital and Residencies

Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Marketing Assistant

Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys

Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

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