Concert Programme: Offenbach's La Princesse de Trébizonde

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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

Contents 2 Welcome 3 Cast & creative team 4 Synopsis 5 Programme note 8 Conductor: Paul Daniel 9 Tonight’s soloists 14 About Opera Rara 15 LPO: On stage tonight 16 About the London Philharmonic Orchestra 18 Next LPO concerts 19 Opera Rara supporters 20 LPO supporters 23 LPO Sound Futures donors 24 LPO administration

London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

Welcome

W

elcome 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.

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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.

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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.

We look forward to seeing you again soon.

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The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

Henry Little Chief Executive, Opera Rara

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David Burke Chief Executive, London Philharmonic Orchestra

London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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 Paul Daniel Zanetta soprano Anne-Catherine Gillet Prince Raphaël mezzo-soprano Virginie Verrez Cabriolo bass Christophe Gay Régina mezzo-soprano Antoinette Dennefeld Prince Casimir tenor Josh Lovell Paola contralto Katia Ledoux Trémolini tenor Christophe Mortagne Sparadrap/Le Director tenor Loïc Félix Narrator 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

Mezzo-sopranos

Tenors

Basses

Aleksandra Chernenko Rosanna Harris Inna Husieva Monica McGhee Eiry Price Hannah Sawle Elizabeth Thomson Nicola Wydenbach

Tamsin Dalley Anika-France Forget Siân Griffiths Joanna Harries Anna Jeffers Gemma Morsley Beth Moxon Kate Warshaw

Robert Carlin Peter Evans Warren Gillespie Simon Haynes Rob Jenkins Ben Kerslake Ian Massa-Harris Stuart McDermott Henry Moss Ed Saklatvala

Robert Brooks Owain Browne Matthew Duncan Dominic Felts Spiro Fernando Meilir Jones Richard Latham Nicholas Morris Redmond Sanders Danny Standing

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

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

La Princesse de Trébizonde: Synopsis Act I A town square

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.

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.

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.

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.

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 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.

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.

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.

Synopsis by Jean-Christophe Keck English translation by Ros Schwartz

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,

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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.

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:

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.

Poster for La Princesse de Trébizonde, 1869

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

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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.

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

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 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

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

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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.

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

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.

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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.

© Frances Andrijich

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.

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.

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,

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

Zanetta soprano

Prince Raphaël mezzo-soprano

© Dario Acosta

Virginie Verrez

© Fabrice Hauwel

Anne-Catherine Gillet

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.

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.

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 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.

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.

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).

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

Antoinette Dennefeld

bass Cabriolo

mezzo-soprano Régina

© Louis Barsiat

Christophe Gay

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.

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.

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.

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'.

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.

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.

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.

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

tenor Prince Casimir

contralto Paola

© Wolf-Dieter Grabner

Katia Ledoux

© Simon Pauly

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.

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.

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.

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.

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.

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.

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

tenor Trémolini

tenor Sparadrap/Le Director

© Alix Laveau

Loïc Félix

© Mathias Bothor/DG

Christophe Mortagne

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.

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.

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).

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.

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).

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.

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

Harriet Walter

Jeremy Sams

narrator

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).

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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

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.

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.

Artistic Director Carlo Rizzi

Chief Executive Henry Little

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).

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

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.

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

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

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

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

London Philharmonic Orchestra First Violins

Ania Safonova Guest Leader Kate Oswin Catherine Craig Katalin Varnagy

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Chair supported by Sonja Drexler

Francis Bucknall Sue Sutherley Susanna Riddell

Chair supported by Chris Aldren

Double Basses

Quentin Capozzoli Martin Höhmann

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

Kevin Rundell* Principal George Peniston Laura Murphy

Flutes

Juliette Bausor Principal Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

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

Oboe

Alice Munday Principal

Clarinets

Chair supported by Caroline, Jamie & Zander Sharp

Chair supported by Roger Greenwood

Katharine Leek Benedetto Pollani James Heron Laura Vallejo Shiry Rashkovsky

Duncan Fuller Guest Principal Martin Hobbs

Trumpets

Violas

Richard Waters Principal

Horns

Thomas Watmough Principal

Feargus Brennan Keith Millar

* Holds a professorial appointment in London

Elliot Gresty

Bassoon

Jonathan Davies Principal

Chair supported by Sir Simon Robey

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

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

© Mark Allan

London Philharmonic Orchestra

Our conductors

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

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade.

Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean is our current Composer-inResidence.

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.

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

Sharing the wonder 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.

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

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London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

NEW ON THE LPO LABEL

TIPPETT

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).

THE MIDSUMMER MARRIAGE COMPLETE OPERA IN THREE ACTS

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.

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

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.

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

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

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.

FROM 23 SEP 2022 LPO Label releases are available on CD from all good outlets, and to download or stream via Spotify, Apple Music, Idagio and others.

lpo.org.uk

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Where will music take you?

2022/23 season opening concerts with Principal Conductor Edward Gardner

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

LPO.ORG.UK

London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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.

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

Guardian Society

Friends

Carlo Grosso Stefan Olsson & John Tierney

Enthusiast

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

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

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.

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

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A full list of Opera Rara’s current Annual Fund supporters can be found at: opera-rara.com/our-supporters

London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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

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

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

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

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

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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

London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

Thank you

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

Trusts and Foundations

Board of the American Friends of the LPO

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

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)

and all others who wish to remain anonymous.

Trialist Sciteb

Preferred Partners Gusbourne Estate Jeroboams Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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OPERA RARA 2022/23 NEW RELEASES

SUBSCRIPTION Rare and forgotten operas delivered to your home The thrill of enjoying a new, world-class opera recording can be yours all year long. With a 2022/23 New Releases Subscription, our season of releases come directly to you. As a subscriber, enjoy invitations to online launch events, further discounts on our catalogue of acclaimed recordings, priority shipping and more.

Join us on a journey of operatic discovery and subscribe today! www.opera-rara.com

"It's hard to imagine a better rendering of Leoncavallo’s fiercely sensual opera."

THE GUARDIAN Zingari

"If anyone is going to make a compelling case for Zingari, it’s the conductor Carlo Rizzi. He had the Royal Philharmonic Orchestra on zinging form."

“A glittering tribute to the label’s work."

BBC MUSIC MAGAZINE Opera Rara Classics

THE TIMES Zingari

"Musical archaeology is seldom as successful as this."

SEEN AND HEARD INTERNATIONAL Il proscritto

London Philharmonic Orchestra & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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)

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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 & Opera Rara • 16 September 2022 • La Princesse de Trébizonde

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

Finance

Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

General Administration

Education and Community

Elena Dubinets Artistic Director

Talia Lash Education and Community Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive

Hannah Foakes Rebecca Parslow Education and Community Project Managers

Concert Management Roanna Gibson Concerts and Planning Director

Tilly Gugenheim Education and Community Project Co-ordinator

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Maddy Clarke Tours Manager Alison Jones Concerts and Recordings Co-ordinator

Laura Kitson Stephen O’Flaherty Stage Managers

Philip Stuart Discographer Gillian Pole Recordings Archive

Siân Jenkins Corporate Relations Manager

Dr Barry Grimaldi Honorary Doctor

Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

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Archives

Crowe Clark Whitehill LLP Auditors

Marketing

Robert Winup Concerts and Tours Assistant

Alicia Hartley Marketing Assistant

Rosie Morden Individual Giving Manager

Kirstin Peltonen Development Associate

Felix Lo Orchestra and Auditions Manager

Greg Felton Digital Creative

Charles Russell Speechlys Solicitors

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Sophie Harvey Digital and Residencies Marketing Manager

Professional Services

Eleanor Conroy Al Levin Development Assistants

Sarah Thomas Martin Sargeson Librarians

Ruth Haines Press and PR Manager

Laura Willis Development Director

Katurah Morrish Development Events Manager

Andrew Chenery Orchestra Personnel Manager

Gavin Miller Sales and Ticketing Manager

Development

Anna Quillin Trusts and Foundations Manager

Matthew Freeman Recordings Consultant

Harrie Mayhew Website Manager

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 Printer John Good Ltd