Der Rosenkavalier Programme

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Der Rosenkavalier Thursday 17 May 2018 Queen Elizabeth Hall Southbank Centre 7pm

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Contents

Introduction 07 Repertoire and soloists 08 Orchestra 09 Strauss' songs Andrew Mellor 10 Strauss song lyrics 11 The making of Der Rosenkavalier Thomas Kemp 14 Music for silent film Dr. Ben Winters 17 Support us 18 Biographies 20 OAE team 22 OAE Education news 26 Supporters 28 Future concerts 30 OAE news 32

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Der Rosenkavalier Film versions of operas were already popular in the silent film era; however, few other opera films of the time were as spectacular and of such a high musical quality as Der Rosenkavalier which was created in 1925.

The film is based on the music of the Rosenkavalier opera by Richard Strauss. It was arranged in an instrumental form to suit the film medium and was played by a repetiteur on set. Taking the opera’s story line as its central theme, the result was a film comedy enlivened with attractive locations, including Schönbrunn Castle and its extensive grounds in Vienna.

The ‘people’s film opera’, as Richard Strauss liked to call it, was staged in an opulent scenography produced

by Alfred Roller who had furnished the setting for the opera’s premiere. The director was Robert Wiene, who had made a name for himself with The Cabinet of Dr Caligari (1920). In Der Rosenkavalier, he proved that he not only had impeccable taste when it came to creating the rococo ambience of the original but was also perceptively tuned into the ironic element which distinguishes Rosenkavalier as one of the major 20th century operas.

The film and its brilliant music, which was written for a large orchestra, was originally two hours long, Since the last (8th) reel is missing, it has not been performed for a long time. However, the complete film music, in the form of the original orchestral parts annotated with numerous synchronic indications, has survived. In conjunction with on-set photos as well as programme texts, these directions made it possible for the finale to be reconstructed. courtesy of the European Film Philharmonic Institute DER ROSENKAVALIER, 1925 Director: Robert Wiene Music: Richard Strauss 1911/2015 (Arr.: Strauss, Adaptation: Thomas Kemp) FILMPHILHARMONIC EDITION Film courtesy of Prof. Dr. Walter Dillenz, Filmarchiv Austria Music courtesy of Schott Music GmbH & Co. KG. Produced by ZDF/ARTE

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Der Rosenkavalier

Concert repertoire and soloists

Thursday 17 May 2018 Queen Elizabeth Hall Southbank Centre 7pm The concert will finish at approximately 10pm, there will be one 20 minute interval.

Richard Strauss – Ruhe, meine Seele!

Cäcilie Heimliche Aufforderung Morgen!

Richard Strauss – Der Rosenkavalier (with film) Thomas Kemp – artistic director Geoffrey Paterson – conductor Charlotte Beament – soprano Orchestra of the Age of Enlightenment Pre-concert talk with Susannah Simons, Gavin Plumley, Iain Farrington and Daniel Bates 6pm Queen Elizabeth Hall foyer

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Der Rosenkavalier

Orchestra

Violin Colin Scobie Dominika Feher Viola Ian Rathbone Cello Pierre Doumenge

Flute Lisa Beznosiuk

Trumpet Paul Sharp

Oboe Daniel Bates

Trombone Andrew Lester

Clarinet Antony Pay

Bass Markus van Horn

Timpani/ Percussion Keith Price Percussion Matthew Dickinson Piano /Celeste/ Harmonium Iain Farrington Andrew West

A still from the filming of Der Rosenkavalier

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Der Rosenkavalier

Strauss' songs Andrew Mellor

Richard Strauss wrote his first song at the age of six and died in 1949 leaving an unfinished song on his desk. The human voice came to define the composer’s career. It soars through his series of fatalistic operas. But it also found a home in his songs, which took Germany’s romantic lied tradition to its natural end point.

Strauss’s love affair with the voice was personal. In September 1894 he married the soprano Pauline de Ahna, a former pupil who had become a colleague. Most of Strauss’s songs would be written for Pauline. The night of before their wedding, Strauss presented her with this set of four songs, labeled Opus 27. Strauss brought a new sensuality to the song repertoire. For some, it borders on the kitsch. For others, its stretching of harmonic possibility in the service of psychological exploration is blissful and profound. It is often in depictions of everyday domestic love in which Strauss’s music feels most transcendental.

Ruhe, meine Seele! sets a poem by Karl Henckell that recounts a process of internal struggle in the face of difficulty; the music moves from ambiguity to consolation and back. Cäcilie, in contrast, conjures a rush of ecstasy to match Henrich Hart’s love-struck words. It was written on the eve of Strauss’s wedding. Heimliche Aufforderung dates from four months earlier. John Henry Mackay’s text tells of two lovers’ illicit plan to meet in a garden during a party; the song reflects the plot in its progress from public humour to private passion.

Morgen! uses another Mackay text and is remarkable for its concision and subtlety.

The piano carries the melody while the soloist reacts in wonderment. The composer orchestrated Cäcilie and Morgen! in 1897.

Almost fifty years later he returned to Ruhe, meine Seele!, upholstering it in dark orchestral colours. Tonight, we hear reduced instrumentations of all four songs by Strauss’s contemporary Arnold Wilke.

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Pauline de Ahna

Strauss’s operas made him famous, and his 1909 work Der Rosenkavalier cemented his fruitful relationship with the librettist Hugo von Hofmannsthal. Der Rosenkavalier spawned its own brand of cigarettes in addition to the film screened tonight. After its hard-edged predecessors Salome and Elektra, this period comedy filled with absolute beauty proved utterly enchanting.

Fifteen years after the opera’s premiere Strauss arranged and conducted the music for the voiceless, movie version. But he had also made a reduced version of the operatic score so that the piece could be accommodated in smaller theatres. Tonight we hear a pivotal moment from the opera’s second act in this reduced arrangement.

At the start of the opera, the young Count Octavian is embroiled in an affair with an older aristocrat. When he is asked to present a silver rose to Sophie, a beautiful young woman about to be engaged to the lecherous Baron Ochs, he falls instantly in love with her. The film will reveal the course of events.

But at the moment the rose is presented, Strauss’s music is typically bewitching. Sophie describes the sweet smell of the rose, and the music melts from formal frigidity into total rapture.

Andrew Mellor © 2018

Der Rosenkavalier

Strauss song lyrics Op. 27

Ruhe, meine Seele!

Rest, my soul!

Nicht ein Lüftchen, Regt sich leise, Sanft entschlummert Ruht der Hain; Durch der Blätter Dunkle Hülle Stiehlt sich lichter Sonnenschein.

Ruhe, ruhe, Meine Seele, Deine Stürme Gingen wild, Hast getobt und Hast gezittert, Wie die Brandung, Wenn sie schwillt!

Diese Zeiten Sind gewaltig, Bringen Herz und Hirn in Not— Ruhe, ruhe, Meine Seele, Und vergiß, Was dich bedroht!

Not even A soft breeze stirs, In gentle sleep The wood rests; Through the leaves’ Dark veil Bright sunshine Steals.

Rest, rest, My soul, Your storms Were wild, You raged and You quivered, Like the breakers, When they surge!

These times Are violent, Cause heart and Mind distress— Rest, rest, My soul, And forget What threatens you!

Cäcilie

Cecily

Wenn Du es wüßtest, Was träumen heißt Von brennenden Küssen, Vom Wandern und Ruhen Mit der Geliebten, Aug’ in Auge, Und kosend und plaudernd – Wenn Du es wüßtest, Du neigtest Dein Herz!

If you knew What it is to dream Of burning kisses, Of walking and resting With one’s love, Gazing at each other And caressing and talking – If you knew, Your heart would turn to me.

Wenn Du es wüßtest, Was bangen heißt In einsamen Nächten, Umschauert vom Sturm, Da Niemand tröstet Milden Mundes Die kampfmüde Seele – Wenn Du es wüßtest, Du kämest zu mir.

If you knew What it is to worry On lonely nights In the frightening storm, With no soft voice To comfort The struggle-weary soul – If you knew, You would come to me.

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Wenn Du es wüßtest, Was leben heißt, Umhaucht von der Gottheit Weltschaffendem Atem, Zu schweben empor, Lichtgetragen, Zu seligen Höh’en, Wenn Du es wüßtest, Du lebtest mit mir.

If you knew What it is to live Enveloped in God’s World-creating breath, To soar upwards, Borne on light To blessed heights – If you knew, You would live with me.

Heimliche Aufforderung

Secret invitation

Auf, hebe die funkelnde Schale empor zum Mund, Und trinke beim Freudenmahle dein Herz gesund.

Come, raise to your lips the sparkling goblet, And drink at this joyful feast your heart to health.

Und wenn du sie hebst, so winke mir heimlich zu, Dann lächle ich, und dann trinke ich still wie du ...

And when you raise it, give me a secret sign, Then I shall smile, and drink as quietly as you ...

Und still gleich mir betrachte um uns das Heer Der trunknen Schwätzer—verachte sie nicht zu sehr.

And quietly like me, look around at the hordes Of drunken gossips—do not despise them too much.

Nein, hebe die blinkende Schale, gefüllt mit Wein, Und laß beim lärmenden Mahle sie glücklich sein.

No, raise the glittering goblet, filled with wine, And let them be happy at the noisy feast.

Doch hast du das Mahl genossen, den Durst gestillt, Dann verlasse der lauten Genossen festfreudiges Bild,

But once you have savoured the meal, quenched your thirst, Leave the loud company of happy revellers,

Und wandle hinaus in den Garten zum Rosenstrauch,— Dort will ich dich dann erwarten nach altem Brauch,

And come out into the garden to the rose-bush,— There I shall wait for you as I’ve always done.

Und will an die Brust dir sinken eh’ du’s gehofft, Und deine Küsse trinken, wie ehmals oft,

And I shall sink on your breast, before you could hope, And drink your kisses, as often before,

Und flechten in deine Haare der Rose Pracht— O komm, du wunderbare, ersehnte Nacht!

And twine in your hair the glorious rose— Ah! come, O wondrous, longed-for night!

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Morgen!

Tomorrow!

Und morgen wird die Sonne wieder scheinen Und auf dem Wege, den ich gehen werde, Wird uns, die Glücklichen, sie wieder einen Inmitten dieser sonnenatmenden Erde ...

Und zu dem Strand, dem weiten, wogenblauen, Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen schauen, Und auf uns sinkt des Glückes stummes Schweigen ...

And tomorrow the sun will shine again And on the path that I shall take, It will unite us, happy ones, again, Amid this same sun-breathing earth ...

And to the shore, broad, blue-waved, We shall quietly and slowly descend, Speechless we shall gaze into each other’s eyes, And the speechless silence of bliss shall fall on us ...

All translations by Richard Stokes

Der Rosenkavalier Act 2: Sophie’s response to Octavian at the presentation of the rose

lch bin Euer Liebden sehr verbundenI am most obliged to your Lordship.

Ich bin Euer Liebden in aller Ewigkeit verbunden I am eternally obliged to your Lordship.

Hat einen starken Geruch. Wie Rosen, wie lebendige. It has a strong scent of roses, real ones.

Wie himmlische, nicht irdische, wie Rosen vom hochheiligen Paradies.

Ist Ihm nicht auch?

Like roses of heaven, not of earth -­ like roses, of holy paradise.

Don't you think so?

lst wie ein Gruß vom Himmel. lst bereits zu stark, als daß man's ertragen kann.

Zieht einen nach, als lägen Stricke um das Herz..

(Wo war ich schon einmal und war so selig ?)

It's like a greeting from Heaven.

It's already too strong to bear.

It draws one as though there were reins around one's heart. (Where and when have I been so happy?)

(Dahin muß ich zarück Und müßt ich völlig sterben auf dem Weg! Allein, ich sterb ja nicht.

Das ist ja weit.

Ist Zeit und Ewigkeit in einem seligen Augenblick, den will ich nie vergessen bis an meinen Tod.)

(I must return there, yes, even if I should die on the way). But I shall not die.

That is far away.

There's Time and Eternity in this moment of bliss -­and I'll not forget it till I die.)

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Der Rosenkavalier

The making of Der Rosenkavalier Thomas Kemp

Stefan Zweig in his fascinating autobiography, The World of Yesterday wrote of Hugo von Hofmannstahl: "The appearance of the young Hofmannsthal is and remains notable as one of the greatest miracles of accomplishment early in life; in world literature, except for Keats and Rimbaud, I know no other youthful example of a similar impeccability in the mastering of language, no such breadth of spiritual buoyancy, nothing more permeated with poetic substance even in the most casual lines, than in this magnificent genius, who already in his sixteenth and seventeenth year had inscribed himself in the eternal annals of the German language with inextinguishable verses and prose which today has still not been surpassed. His sudden beginning and simultaneous completion was a phenomenon that hardly occurs more than once in a generation.�

Born in 1874, Hofmannstahl met Strauss in 1900 and collaborated with him on his operas Elektra, Ariadne aux Naxos, Die Frau ohne Schatten, Die Eygyptische Helena, Arabella and Der Rosenkavlier.

Premiered in 1911, Der Rosenkavalier was a huge international success and widely performed - its popularity ensuring regular performances and productions which endure today.

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Max Reinhardt directed the original stage production of Der Rosenkavalier.

The most famous theatre director of his day, Reinhardt was also involved in making films - later moving to Hollywood.

Reinhardt, Hofmannstahl and Strauss also set up the Salzburg Festival in 1920 demonstrating their close collaboration.

It was around this time that Hoffmansthal had the idea for making a silent film of Der Rosenkavalier. Hoffmanstahl believed that gesture was more powerful than the written word and so the idea of an opera without singers focusing on gesture and its relationship to music held huge potential. He also considered film to be interchangeable with dream and that the film would introduce different audiences to the opera.

He wrote to Strauss: “The film introduces the characters in the manner of a novel: it introduces the characters or, for those that know them, tells something new of these old acquaintances. Nowhere are the events of the opera exactly repeated not in a single scene.�

Hugo Von Hoffmannstahl

Strauss was initially reluctant to collaborate on the project but the promise of an excellent fee and tours of the film in Europe and the United States, changed his mind. With the help of two assistants - Otto Singer and Karl Alwin he rearranged the music to fit the two act screen play, adding some new numbers including a march for the Fieldmarshall.

Pan Films organised the filming which was directed by Robert Wiener - famous for his Expressionist masterpiece The Cabinet of Dr.Caligari. The sets were designed by Alfred Roller - The Secessionist and set designer for Mahler at the Vienna Court Opera. The film was shot at the Schönbrunn Palace - a building ideal for a play set in 1740’s.

Baron Ochs was played by Michel Bohnen - a singer and one of the first singers to extensively perform the role.

Strauss conducted the full symphonic version of the score at the Semper Opera in Dresden on 10th January 1926: the opening event in a Strauss Festival. The film was enthusiastically received but Strauss had to indicate to the camera operator - Hans Androschin - to slow down and speed up - and several critics commented on the synchronisation of film and music.

After this performance, the film was cut by 1000 feet. Strauss also conducted the film at the Tivoli Theatre on The Strand in London. This UK premiere took place on the 12th April 1926 and was widely reported. The Standard described the event as: “The most distinguished event in the history of cinematographic entertainment.” Strauss conducted the salon arrangement of the film score, recording extracts with an augmented Tivoli Orchestra the following day at the Queen’s Hall for HMV - a fascinating document of the film version and one of the earliest electric recordings.

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The Tivoli theatre in 1928

The performance of the film in the Tivoli Theatre was broadcast by the BBC. The Manchester Guardian Wireless Critic wrote: “One need have no fear of the music for the film version of Der Rosenkavalier if only local music directors are allowed to leave it untouched. There are Kinema (sic.) directors capable of anything. Over the wireless one had something far short of the real thing, but fully enough of the familiar and captivating melodies of this great comic opera to be very well worth while, though they come through between shrieks and gusts of intelligible noise…Never was there such an advertisement for a film!...

There was needless to say none of the sudden jumping from a half-finished phrase that is one of the comic elements of the average cinema show, the perennial triumph of the operator over the discomfited conductor."

Synopsis The first 70 minutes of the film closely follow first two acts of the opera: Young Count Octavian has an affair with the Field Marshall’s wife. When her nephew, Baron Ochs, pays a courtesy visit, the affair is nearly discovered. Octavian escapes disguised as a chambermaid, albeit not without being observed by the two schemers Annina and Valzacchi.

Octavian is sent to Sophie, the daughter of the recently ennobled Faninal, as Ochs’ matchmaker (Rosenkavalier, the Knight of the Rose) and falls in love with the girl.

Although Sophie reciprocates, Ochs insists that the marriage contract should be fulfilled.

The Marshall’s wife hears about Octavian’s new-found love. To find out what is going on, she organises a masked ball; meanwhile, in Vienna, the jealous Marshall approaches his wife.

The recently reconstructed final act reveals a happy ending, albeit not without a dash of irony – part comedy of mistaken identity, part melancholy swan-song lamenting the transient nature of love: Ochs is discredited by Octavian who once again disguises himself and lures Ochs to a rendezvous that ends in public scandal.

The happy ending is brought about by Annina. She creates further confusion by swapping the costumes of the bewildered main characters until, all of a sudden, the right couples find each other. Ochs alone loses out. Burdened with debts, he returns empty-handed to his castle. courtesy of European Film Philharmonic Institute

The film was sumptuously shot and went over budget, bankrupting the production company. The original screen play by Hofmannstahl was not adhered too as it was seen as too complicated by the director, Robert Wiener, but he was credited. The fact that there were so many celebrated artists working on this project makes the film stand out - particularly the fact that the music - which runs throughout - is the first attempt by a major composer at a through-composed film score.

The salon version of the film was intended for performance in cinemas where small orchestras were resident and the way it is constructed, made it possible to reduce the forces further.

Indeed at a screening in Vienna, the film was accompanied by violin and piano using the Piano Direction score.

Within a year of the premiere, many of these musicians were out of work - the advent of Talkies and recorded film tracks - making the salon accompaniment redundant. The plans for a tour of the United States with the film fell through and the collaboration, unique for its time, has become a footnote in the literature about the composer and librettist.

This is a very significant piece of work - flawed but way ahead of its time. It is ironic that it was seen as obsolete with the invention of Talkies when so many of the ideas behind it are radical and point to the future of film and the seminal importance of music to picture.

Perhaps the best description of the film and the thinking behind it comes from Hugo von Hofmannstahl:

“Sophie stands beside the Marchallin as girl beside woman, and once more Octavian stands between, and both separates and links them. Sophie is deeply bourgeois, like her father, and so this pair stands opposite the noble, the great, who will allow themselves every freedom of action. Ochs, be he what he may, is still kind of nobleman; Faninal and he need each other…Octavian draws Sophie to him - but does he really and for ever? Perhaps that remains in doubt.

So group stands opposed to group, the once united are divided, the divided united. They all belong together, and the best of all is what lies between them: it is momentary and eternal, and this is the realm of the music.”

Thomas Kemp, Artistic Director 016

Der Rosenkavalier

Music for silent film Dr. Ben Winters

"Some silent films were shown without music at all. Providing music was always a choice.

The purpose and nature of that music could vary massively according to the type of film and size of accompanying group, which might range from a simple pianist or organist up to a full-scale symphony orchestra.

We know certain early traditions of accompanying silent film made no effort to match the music with the picture - it was just pleasing background noise. There are stories of pianists sitting with their backs to the screen just playing anything, which might turn out to be wildly inappropriate! Equally there are accounts of musicians trying to make a close match between music and image.

From the mid-1910s onwards, film companies would provide suggestions of character themes to help clarify the narrative. For the most part this was about providing music to match the mood of the scene. There were anthologies of generic music appropriate for a certain kind of scene - for a love scene, for action, or suspense. It would be up to the musicians to select that music in advance, or for a single player to improvise according to what’s going on screen, making a selection as they went. In that sense, music was there to support the emotional content of film.

There are always challenges when you are synchronising live music with a recorded object like film. They are really magnified in the case of silent film. We’re not always sure about projection speed. Film projection speed was standardised at 24 frames per second in 1929. Prior to that it could be as low as 12 and anywhere in between, and in fact this may even have varied within the same film. Trying to work out how a specially composed score might fit within that film is immensely difficult, requiring a huge amount of preparation. Certainly in the case of contemporary performance of those orchestral scores it would require a conductor to have a very important role in maintaining synchronisation.

An intimate knowledge of the film was necessary with orchestras but wouldn’t have been the case with a single pianist playing to a film, who would probably be seeing it for the very first time while they were playing it. It’s a totally different experience with an orchestra as opposed to a single musician.

A silent film conductor has two roles.

Firstly they have to conduct the orchestra.

Most importantly they have to ensure synchronisation with the image. The film is not going to slow down or stop to allow the conductor to catch up if they lingered over a certain phrase or allowed their musicians to indulge in a particular moment.

This means the conductor has to watch the image very carefully so they need to know the score backwards. It’s a completely different skill to conducting in the concert hall or the opera house. In order to do this many conductors will make use of a variable click track to help them keep their tempos steady and also a monitor with information about synchronisation points, because if they make a small error over the course of several hours of film, you might get to a situation where the film is finished and the orchestra is still playing. It’s a really difficult skill to master, and requires the conductor to be a far more flexible musician than might otherwise be thought.”

Interview with Dr. Ben Winters, Senior Lecturer in Music, Open University, OAE Academic Partners watch the full video on the OAE YouTube channel 017

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Der Rosenkavalier

Biographies

Credit: Phil Sharp

Geoffrey Paterson The young British conductor Geoffrey Paterson is admired for his impressive grasp of detail, responsiveness to musicians, and his ability to shape and make music from the most complex scores, with natural authority. Highlights of 2017/18 include the world premiere of Tansy Davies’ new opera Cave with the Royal Opera House/London Sinfonietta, debuts with the Orchestre National de Lille, National Orchestra of Belgium and Basel Sinfonietta, and appearances with BBC Scottish Symphony Orchestra, Music Theatre Wales, and Red Note Ensemble. Paterson appears regularly with the London Sinfonietta in a range of projects and has recorded with them for the NMC label, including a disc with jazz saxophonist Marius Neset.

Last season Paterson made his Bavarian State Opera debut, leading the opera studio team in Menotti’s The Consul with the Munich Chamber Orchestra.

He previously conducted Porgy and Bess for the Royal Danish Opera, La bohème for Opera North, Die Entführung aus dem Serail for Glyndebourne on Tour, and HK Gruber’s Gloria von Jaxtberg at the Bregenz Festival and for the Royal Opera, where he has been a regular guest ever since joining the Jette Parker Young Artist Programme. Also at Covent Garden he has conducted Massenet’s Le Portrait de Manon (recorded for Opera Rara), Julian Philips’ How the Whale Became, Søren Nils Eichberg’s Glare, and the world premiere of Birtwistle’s chamber opera double-bill The Corridor and The Cure, which he then took to the Aldeburgh Festival and Holland Festival. In 2016 he gave the UK premiere of Eötvös’ The Golden Dragon at the 2016 Buxton Festival. Recent symphonic highlights have included appearances with the Manchester Camerata, Scottish Chamber Orchestra, BBC Symphony Orchestra, and Hamburg Symphony, with whom he performed George Benjamin’s Into the Little Hill and Berio’s Recital I.

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Charlotte Beament British Soprano Charlotte Beament is a first class honours graduate of The Guildhall School of Music and Drama, an Alvarez Young Artist and an OAE Rising Star of the Enlightenment 2017-2019.

Charlotte’s operatic roles and covers include Mabel (The Pirates of Penzance, ENO), Tytania (A Midsummer Night’s Dream, GFO), Zerlina (Don Giovanni, GTO), Berenice (Berenice, LHF), Belinda (Dido and Aeneas, Brighton Festival), Michal (Saul, GTO), Lucia (The Rape of Lucretia, GFO), Barbarina (Le Nozze di Figaro, GFO), Serpetta (La Finta Giardiniera, GFO), Une Pastourelle (L’enfant et les Sortiléges, GFO), La Priestess (Hippolyte et Aricie, GFO), Eve (Fairy Queen, GFO), Enone and Proserpine (La Descente D’Orfée Aux Enfers, Jerwood Young Artist Scheme) and Teresa (The Yellow Sofa, GTO).

Recent concert performances include Haydn’s Harmoniemesse and Nelson Mass, Mozart’s Requiem and Vesperae Solemnes de Confessore, Handel’s Dixit Dominus, Villa Lobos’ Bachianas Brasilieras, Mozart’s Exsultate Jubilate, Mahler’s Fourth Symphony, Strauss’ Vier Letzte Lieder and Bach’s Christmas Oratorio. Charlotte made her Cadogan Hall debut singing Handel’s Messiah and her Handel Festival debut singing the title role of Berenice with La Nuova Musica. Charlotte has toured Europe with Paul McCreesh and The Gabrieli Consort singing Mozart and Haydn. She also performed a solo concert tour around China with London Chamber Arts Orchestra. She has performed recitals at SMITF, Blackheath Halls and Southwark Cathedral.

Forthcoming engagements include the role of Miss Schlesen (Satyagraha) and Tytania cover A Midsummer Night’s Dream, both for English National Opera, Armilla in Porpora’s L’Agrippina for Barber Opera and Haydn’s St Nicholas Mass for the Tetbury Festival with Arcangelo.

Orchestra of the Age of Enlightenment “Not all orchestras are the same”.

Three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge?

No way. Specialise in repertoire of a particular era?

Too restricting. Perfect a work and then move on?

Too lazy. The Orchestra of the Age of Enlightenment was born.

Thomas Kemp Thomas Kemp is a highly acclaimed musician and one of the most versatile and eclectic conductors of his generation, acclaimed for his innovative programming and passionate advocacy in concerts, opera, ballet and as an award winning recording artist. The Guardian recently commented “…an extraordinary performance…with a fluency that came over brilliantly under the baton of Thomas Kemp.”

Thomas is the Music Director of the internationally acclaimed ensemble Chamber Domaine, which is at the forefront of ensembles focusing on 20th and 21st century music. He has directed Chamber Domaine in festivals and concert series in the UK, Europe and North America and has a distinguished discography with the ensemble including world premiere recordings of Britten, Bridge, Bliss, Turnage, Part, Gorecki, Rorem and Bingham. He is a recording artist for Resonus and 2017/18 releases include recordings of Mozart and Sibelius.

He is Artistic Director of Music@Malling – an international festival that promotes the works of contemporary composers alongside masterworks from the Classical and Romantic periods. The festival is held each September in historic venues in and around West Malling, Kent and has a year around outreach programme that engages hundreds of young people in creative activities from across the county. Music@Malling was recently featured in the annual roundup of The Best Classical Concerts in The Artsdesk. Thomas is regularly in demand as a guest conductor with orchestras and ensembles in the UK and Europe and is particularly renowned for his interpretation, research and knowledge of late 19th and 20th century repertoire.

And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning and inventing as long as it lived. Residencies at the Southbank Centre and the Glyndebourne Festival didn’t numb its experimentalist bent. A major record deal didn’t iron out its quirks. Instead, the OAE examined musical notes with ever more freedom and resolve.

That creative thirst remains unquenched. Informal night-time performances are redefining concert formats. New generations of exploratory musicians are encouraged into its ranks. Great performances now become recordings on the Orchestra’s own CD label. It thrives internationally: New York and Amsterdam court it; Oxford and Bristol cherish it.

In its 31st year, the OAE is part of our musical furniture. But don’t ever think the ensemble has lost sight of its founding vow. Not all orchestras are the same. And there’s nothing quite like this one.

By Andrew Mellor © 2018

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OAE team

Chief Executive Crispin Woodhead

Finance Officer Fabio Lodato

Director of Finance and Operations Ivan Rockey

Digital Content Officer Zen Grisdale

Development Director Emily Stubbs Director of Marketing and Audience Development John Holmes Director of Press Katy Bell Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Choir Manager David Clegg Projects Officer Ella Harriss Librarian Colin Kitching Education Director Cherry Forbes Education Officer Andrew Thomson

Marketing and Press Officer Thomas Short Head of Individual Giving Marina Abel Smith Development and Events Administrator Helena Wynn Development Manager Catherine Kinsler Trusts and Foundation Manager Andrew Mackenzie Development Trainee Andrea Jung

Board of Directors Sir Martin Smith [Chairman] Luise Buchberger Steven Devine Denys Firth Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Olivia Roberts Susannah Simons Katharina Spreckelsen Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith [Chair] Edward Bonham Carter Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Luise Buchberger Steven Devine Max Mandel Roger Montgomery (Chair) Katharina Spreckelsen

The OAE is a registered charity number 295329 and a registered company number 2040312 Registered office: Kings Place, 90 York Way, London N1 9AG Telephone 020 7239 9370 info@oae.co.uk Design and art direction –LucienneRoberts+ Photography – Angela Moore 022

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OAE Education news

Wondrous Machine at the Royal Albert Hall

Vision 4 Music Our work focused in London in March and April with over 2,000 pupils receiving workshops and attending schools concerts. Early year’s pupils took part in our Apple Tree TOTS project learning about the seasons and KS1 students participated in our retelling of Purcell’s The Fairy Queen.

Our Music is Special project culminated with a performance of Wondrous Machine at the Royal Albert Hall as part of the Camden Music Festival which was truly wonderful.

A programme to involve, empower and inspire So far this season we have undertaken

165 workshops 30 concerts With over 12,000 people across the country Support our education programme

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The work we do could not happen without the support of our generous donors.

If you would like to support our Education programme please contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

The Paston Papers

The Paston Papers are a collection of hundreds of letters dating back to 15th century Norfolk, which are a fascinating record of the life and times of the Paston family who lived there. The earliest known Paston letter was written in 1408, and to mark the 600th anniversary our Education team were involved in a weekend of musical events including TOTS workshops and concerts, care home visits, a pub gig and a musical adventure walk around Holt Country Park. These events are being followed by a concert designed by Rob Howarth with the Orchestra at St Nicholas Church in North Walsham on Sunday 1 July.

The concert will feature a specially-commissioned piece titled Agnes – a pocket oratorio by composer Sarah Rodgers featuring soprano Julia Doyle and the Boys, Girls, and Men of the Choir of St Nicholas, North Walsham, directed by David Ballard.

OAE Special Needs – ‘Our Band’ ‘Our Band’ is our large scale Special Educational Needs project which is taking place between 2017-2019. We have created five student bands across the country with a variety of groups from Plymouth, Southampton, London and King’s Lynn. In the first year of this project all groups have been inspired by Purcell’s Dido and Aeneas and have been creating new pieces of music to sit alongside original music from Purcell to create their own twist on this classic story. This term students will be sharing their work to friends and family.

“The whole project was a brilliant experience and I feel that I have learnt so much from my fellow musicians at the OAE and PMZ, but most of all from the participants, whose clear and abundant love for music has inspired my own.” – Kizzie Brooks, percussionist 027

Supporters

The OAE continues to grow and thrive through the generosity of our supporters.

We are very grateful to our sponsors and Patrons and hope you will consider joining them. We offer a close involvementin the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.

OAE Thirty Circle The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust.

Thirty Circle Patrons Bob and Laura Cory Sir Martin Smith and Lady Smith OBE Thirty Circle Members Victoria and Edward Bonham Carter Nigel Jones and Françoise Valat-Jones Selina and David Marks Julian and Camilla Mash Mark and Rosamund Williams Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

Corporate Partners Apax Partners E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Parabola Land Stephen Levinson at Keystone Law Swan Turton

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Season Patrons Julian and Annette Armstrong Bob and Laura Cory Adrian Frost Bruce Harris John Armitage Charitable Trust Nigel Jones and Françoise Valat-Jones Selina and David Marks Sir Martin Smith and Lady Smith OBE Mark and Rosamund Williams Project Patrons JMS Advisory Limited Julian and Camilla Mash Haakon and Imogen Overli Philip and Rosalyn Wilkinson Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Caroline Steane Eric Tomsett Chair Patrons Felix Appelbe and Lisa Bolgar Smith – Co-principal Cello Mrs Nicola Armitage – Education Director Hugh and Michelle Arthur – Viola Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards – Principal Oboe Sir Vernon and Lady Ellis – Co-Principal Viola James Flynn QC – Co-Principal Lute/Theorbo Paul Forman – Co-Principal Cello, Co-Principal Bassoon and Co-Principal Horn Su Li and Stephen Gibbons – Violin The Mark Williams Foundation – Co-Principal Bassoon

Jenny and Tim Morrison – Second Violin Andrew Nurnberg – Co-Principal Oboe Professor Richard Portes CBE FBA – Co-Principal Bassoon Olivia Roberts – Violin John and Rosemary Shannon – Principal Horn Christopher Stewart Roger and Pam Stubbs – Sub-Principal Clarinet Crispin Woodhead and Christine Rice – Principal Timpani Education Patrons John and Sue Edwards – Principal Education Patrons Mrs Nicola Armitage Patricia and Stephen Crew The Nigel Gee Foundation Venetia Hoare Rory and Louise Landman Professor Richard Portes CBE FBA Associate Patrons Noël and Caroline Annesley David and Marilyn Clark Christopher and Lesley Cooke David Emmerson Ian S Ferguson and Dr Susan Tranter Jonathan and Tessa Gaisman Peter and Sally Hilliar Jonathan Parker Charitable Trust Noel De Keyzer Marc-Olivier and Agnes Laurent Madame M Lege-Germain Sir Timothy and Lady Lloyd Michael and Harriet Maunsell John Nickson & Simon Rew Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon Andrew and Cindy Peck Ivor Samuels and Gerry Wakelin Emily Stubbs and Stephen McCrum Shelley von Strunckel Rev’d John Wates OBE and Carol Wates Mr J Westwood

We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm.

Young Ambassador Patrons William Norris Young Patrons Josh Bell and Adam Pile Nina Hamilton Marianne and William Cartwright-Hignett Sam Hucklebridge Joseph Cooke and Rowan Roberts Natalie Watson Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Silver Friends Dennis Baldry Mrs A Boettcher Haylee and Michael Bowsher Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Simon Edelsten Norman and Sarah Fiore Malcolm Herring Patricia Herrmann Rupert and Alice King Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart Bronze Friends Tony Baines Keith Barton Mr Graham Buckland Dan Burt Anthony and Jo Diamond Mrs SM Edge Mrs Mary Fysh Ray and Liz Harsant The Lady Heseltine Auriel Hill Nigel Mackintosh Angus Macpherson Julian Markson Stephen & Penny Pickles Anthony and Carol Rentoul Paul Rivlin Alan Sainer

For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381

Gillian Threlfall Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson Trusts and foundations AMK Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Barbour Foundation Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement Catherine Cookson Charitable Trust The Charles Peel Charitable Trust Chapman Charitable Trust Chivers Trust Cockayne – London Community Foundation John S Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Esmee Fairbairn Foundation Fenton Arts Trust Foyle Foundation Garfield Weston Foundation Geoffrey Watling Charity The Golden Bottle Trust Goldsmiths’ Company Charity Idlewild Trust Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity Lord and Lady Lurgan Trust The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Old Possum’s Practical Trust Orchestras Live Palazzetto Bru-Zane Paul Bassham Charitable Trust The Patrick Rowland Foundation

PF Charitable Trust PRS Foundation Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust Sir James Knott Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Sobell Foundation Valentine Charitable Trust Violet Mauray Charitable Trust

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Upcoming concerts Like what you heard tonight? There are plenty of opportunities to hear us throughout the year...

What's next?

The sights and sounds of Versailles

Rehearsal image

The Night Shift - Angel Monday 4 June 2018 The Lexington 7.30pm For the first time we're heading to one of North London's hidden gems, The Lexington in Angel. It's a retro-themed bar with a mind-boggling whisky selection, and just so happens to be one of the best small venues in London.

Join Matthew Truscott and the band for a night of Mendelssohn's string quintets.

Book now http://www.oae.co.uk/event/ night-shift-angel-june-2018/

Dangerous Liaisons Tuesday 26 June 2018 Queen Elizabeth Hall Southbank Centre 7pm Mixing the best of Lully, Rameau, Campra, Charpentier and more, this is a golden jukebox of French baroque, accompanied by authentic choreography as it was seen in the Royal palaces of the 17th century.

Together the music and dance tell a story bringing together characters from Orfeo, Acis and Galatea and other well-known classical stories. Think Into the Woods, but for Greek myth.

John Butt – conductor/harpsichord Hubert Hazebroucq – choreographer Anna Dennis – soprano Nick Pritchard – tenor

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Visit oae.co.uk for more details on all upcoming concerts.

The feel good hit of the 1870s A game of Haydn seek

Credit: Chris Christodoulou

Trial by Jury

Schiff's Surprise Wednesday 4 July 2018 Queen Elizabeth Hall Southbank Centre 7pm

Take a whirlwind tour of the music of Austrian master Joseph Haydn in the hands of one of the world’s greatest musicians, Sir András Schiff.

This concert rounds off our Visions, Illusions & Delusions season with a varied programme of music by Haydn, who as much as any other composer redefined what orchestral music came to be during the Enlightenment period.

Haydn – Symphony No. 94, Surprise Haydn – Piano Concerto No. 11 Haydn – Harmoniemesse Sir András Schiff – conductor/piano Choir of the Age of Enlightenment Charlotte Beament – soprano Helen Charlston – alto Nick Pritchard – tenor Dingle Yandell – bass

Thursday 18 April 2019 Queen Elizabeth Hall Southbank Centre 7pm We approached big band leader John Wilson for our first full-length performance of a Gilbert and Sullivan opera, as well as hits from G&S favourites including The Mikado, Pirates of Penzance and HMS Pinafore. Hear them as you’ve never quite heard them before, performed on instruments from the time the music was written.

Gilbert and Sullivan – Overture from The Gondoliers Gilbert and Sullivan – Selection of songs from The Yeoman of the Guard, The Pirates of Penzance, The Mikado, HMS Pinafore and Ruddigore Gilbert and Sullivan – Trial by Jury John Wilson – Conductor Simon Butteriss – The Learned Judge Louise Alder – Angelina Michael Porter – Edwin Simon Bailey – Counsel for the Plaintiff

Book now southbankcentre.co.uk/oae 020 3879 9555, daily 9am–8pm Ticket Office, Royal Festival Hall, daily 10am–8pm Transaction fees apply: £3 online, £3.50 over the phone. No transaction fees for in-person bookings, Southbank Centre Members and Supporters Circles

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OAE news

Jo completes the London marathon While supporting a number of our tours around Europe, our Projects Manager Jo somehow managed to find time to train for and complete the London Marathon.

On top of all that, she's raised £1653 for the Florence Nightingale Hospice charity. Hats off!

Next season at Southbank Centre As summer edges closer, it's time to start thinking about our next season at Southbank Centre.

It’s called Life, Liberty and the Pursuit of Happiness, and it’s the second in our Six Chapters of Enlightenment, six years of concerts celebrating the thought that made the modern world. This time we’ve been thinking human rights, equality and freedom – Enlightenment ideals we cherish today, but that always seem precarious, perhaps now more than ever. We’ll be unlocking these ideas with great artists including Sir Simon Rattle, Marin Alsop and Sir András Schiff. And we’ll be playing music by composers such as Brahms, Schumann and Sibelius, who lived and responded to extraordinary times of change. Tickets available now from: https://www.southbankcentre.co.uk/ whats-on/festivals-series/classical-season/ orchestra-age-enlightenment

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Bach, the Universe and Everything: speakers announced We're pleased to announce the first round of speakers for our next season of Bach, the Universe and Everything at Kings Place. They include Dallas Campbell, who has presented everything from Horizon to Doctor Who specials. He'll be discussing how to get off our planet. We'll also be hearing from scientists like Professor Alan Fitzsimmons on the mystery of 'Oumuamua and Dr. Emma Chapman on the birth of stars.

……the best of all possible worlds…..

WEST GREEN HOUSE OPERA July 20th to 29th 2018

www.westgreenhouseopera.co.uk

Candide - Bernstein Saturday July 21st & Sunday July 29th Madama Butterfly - Puccini Thursday July 26th & Saturday July 28th Ba-ta-clan - Offenbach Wednesday July 25th & Saturday July 28th Marvellous Party! Friday July 20th & Friday July 27th plus Lunch with Gyles Brandreth Thursday July 26th and Midday Music Sunday July 22nd & Sunday July 29th All productions take place under cover Public Booking Opens Monday February 12th

Box Office 01252 848676 West Green House, Thackhams Lane, Hartley Wintney, Hants RG27 8JB

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Intimate concerts featuring internationally acclaimed classical musicians in central London

Now Booking Until July 2018 Igor Levit Cuarteto Casals: Beethoven Cycle Roderick Williams: Exploring Schubert’s Song Cycles Haydn String Quartet Series Jörg Widmann as Composer-Performer and much more…

The Wigmore Hall Trust 36 Wigmore Street, London W1U 2BP Director: John Gilhooly OBE Registered Charity Number 1024838

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