Life, Liberty and the Pursuit of Happiness
Trial by Jury
Thursday 18 April 2019 Queen Elizabeth Hall 7pm
“We hold these truths to be self-evident: that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the Pursuit of Happiness”. The American Declaration of Independence
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Thomas Jefferson’s immortal words were inspired by the brilliant energy of the Enlightenment in 18th century Europe. Even now they cast an optimistic beam over humanity and the challenges it faces. Questions about the state and the individual beat in the hearts of many in the 17th and 18th centuries. Their answers still define our lives and what freedoms, if any, we might enjoy. Some of the music in this Life, Liberty and the Pursuit of Happiness season is overtly about the grand question of human freedom. Some works have a historical context, and we can pinpoint them as reactions to particular flashpoints, such as the failed revolutions in Germany in 1848. Many pieces relate the conflict between external forces and individual identity, and sing with a voice of undaunted independence. All relate to a notion of intrinsic freedom set out by Jean-Jacques Rousseau in the decade before Jefferson and his committee sat down to draft the Declaration of Independence. “L'homme est né libre, et partout il est dans les fers,” he wrote in Du contrat social (1762): “Man is born free and everywhere he is in chains”.
Contents Welcome 03 Introducing our Orchestra 06 Soloists and concert information 08 Tonight's orchestra 10 Programme notes Richard Bratby 12 Instruments and technique 19 Haute Savoy! Essential Gilbert and Sullivan facts 21 Support us 22 Trial by Jury: A lawyer's view Sir Richard Aikens 24 Biographies 27 OAE Education 32 OAE team 33 Supporters 36 Upcoming concerts 39 Front cover, left to right: David Blackadder - principal trumpet Annette Isserlis - viola Henry Tong - violin Back cover: James Newby - baritone, Rising Star of the Enlightenment Camilla Morse-Glover - cello, Ann and Peter Law OAE Experience Scheme Ursula Paludan Monberg - horn
Introducing our Orchestra We know that in tonight’s full Queen Elizabeth Hall, there’s going to be more than a few of you coming to see our Orchestra for the first time. Welcome! We hope you enjoy the show. You might be wondering what the Orchestra of the Age of Enlightenment is all about, and why we have such a long and unusual name. The first thing to know is that we play music on instruments (or replicas) from the time the music was written. In the case of tonight’s concert, that means Gilbert and Sullivan's England of the late 19th century. For example, tonight's flutes are made by Rudall Carte & Co., the preeminent English flutemakers from the mid 19th century well into 20th century - Carte being a relative of Richard D'Oyly Carte, who promoted Gilbert and Sullivan's operettas at the Savoy Theatre.
But we’re much more than a collection of old instruments. We’re a different approach to making music. As our name suggests, we’re inspired by the 18th century Enlightenment, when new ideas in science and politics started overturning the old order. That’s why our current season at Southbank Centre is called Life, Liberty and the Pursuit of Happiness, exploring ideas of personal freedom connected to the American Declaration of Independence. And it’s why we’re always questioning how we play to make sure the music is as fresh as the day it was written.
Pictured above, left to right: James Newby – baritone, Rising Stars of the Enlightenment Camilla Morse-Glover - cello, Ann and Peter Law OAE Experience Scheme Annette Isserlis – viola
We also like to do things differently. So rather than being controlled by a single individual, we’re run by our players, who get to choose the music we play and the conductors and singers we work with. And we like to break down boundaries, so instead of us playing and you sitting and listening, you’re involved and feel part of the performance.
As well as playing here at Southbank Centre, you can also see us down the pub with our intimate Night Shift gigs, collaborating with leading scientists for our Sunday morning Bach, the Universe and Everything series, or introducing youngsters to our music and instruments at schools across the country.
That’s why at many concerts our players will talk to you about the music they’re playing and what it means to them.
So don’t assume you’ve heard it all before. If you join us for more, we’ll share with you more brilliant music and the stories behind it.
And, inspired by those Enlightenment ideas of liberty and equality, we want as many people as possible to be able to hear and enjoy the music we play.
To hear more from our players and to see them demonstrate how they play their instruments, visit youtube.com/ orchestraoftheageofenlightenment.
Our history Our Orchestra was founded more than three decades ago by a group of players who were fed up with the way orchestras were run. Instead of having a single conductor in charge or focusing on repertoire from a particular era, they favoured freedom and flexibility above all else, with players calling the shots. Since then, these innovations have spread to the wider classical music world.
We don't have a music director, but our principal artists are Sir Simon Rattle, Vladimir Jurowski, Sir Mark Elder, John Butt, Iván Fischer and Sir András Schiff, We also love working with artists who are bringing whole new audiences to classical music, from Nicola Benedetti to Marin Alsop.
We are a Resident Orchestra at Southbank Centre, Associate Orchestra at Glyndebourne and an Artistic Associate at Kings Place, but we aren't just UK focused. Our tours take us beyond the European touring circuit to Australia, South East Asia and beyond.
Trial by Jury
Repertoire and soloists
Thursday 18 April 2019 Queen Elizabeth Hall 7pm
Gilbert and Sullivan Overture The Gondoliers Ring Forth ye Bells from The Sorcerer Is Life a Boon from The Yeomen of the Guard Climbing over Rocky Mountains from The Pirates of Penzance Minerva... Oh Goddess Wise from Princess Ida Overture Iolanthe As Someday it Might Happen ("A Little List") from The Mikado Never Mind the Why and Wherefore from HMS Pinafore Painted Emblems of a Race from Ruddigore When The Night Wind Howls from Ruddigore When I Was a Lad from HMS Pinafore Once More Gondeleri from The Gondoliers
This concert will finish at approximately 9.15pm, with one 20 minute interval. John Wilson conductor Simon Butteriss baritone (The Learned Judge) Louise Alder soprano (Angelina, the Plaintiff) Robert Murray tenor (Edwin, the Defendant) Simon Bailey baritone (Counsel for the Plaintiff) Michael Craddock baritone (Usher) Choir of the Age of Enlightenment Pre-concert talk Professor Donald Burrows, Open University 6pm, Queen Elizabeth Hall Foyer
Concert supported by Sir Richard Aikens James Flynn QC Phil Fortey Bruce Harris Ray and Liz Harsant Madeleine Hodgkin Sir Sydney Kentridge Peter and Veronica Lofthouse
INTERVAL Gilbert and Sullivan Trial by Jury
Selina and David Marks The Brian Mitchell Charitable Settlement* Caroline Steane Roger and Pam Stubbs Nigel Jones and Franรงoise Valat-Jones John and Fiona Yeomans and one anonymous donor 08
Life, Liberty and the Pursuit of Happiness
Annette Isserlis viola
Brian Mitchell (1935-2017) remembered Brian greatly admired the Orchestra of the Age of Enlightenment, which he supported through his Charitable Trust. In his youth he was a keen amateur singer and, in comic roles such as Pooh-Bah in Gilbert and Sullivan's The Mikado, was the mainstay of the local operatic society
Tonightâ€™s performance, therefore, has particular resonance. It would have given him much pleasure. The Trustees are grateful for this opportunity to remember Brian and look forward to continuing their support for the Orchestra and its wonderful music. 09
Violin 1 Margaret Faultless Dominika Feher Iona Davies Miranda Playfair Simon Kodurand Claire Holden Kathryn Templeman Debbie Diamond Lucy Waterhouse Hatty Haynes*
Bass Cecelia Bruggemeyer Matthew Gibson Marianne Schofield
Violin 2 Miranda Fulleylove Roy Mowatt Stephen Rouse Jayne Spencer Monica Cragg Veronique Matarasso Olivia Jarvis Andrej Kapor Abel Balazs*
Clarinet Antony Pay Katherine Spencer
Viola Nicholas Logie Martin Kelly Annette Isserlis Marina Ascherson Lisa Cochrane Christopher Beckett Cello Robin Michael Penny Driver Carina Drury Nia Harries Angela Lobato*
Flute/ piccolo Lisa Beznosiuk Neil McLaren Oboe Daniel Bates
Bassoon Howard Dann Damian Brasington Horn Anneke Scott David Bentley Cornet Matthew Wells Phillip Bainbridge Trombone Philip Dale Guy Morley Laura Agut
Sopranos Tara Bungard Emily Dickens Angharad Gruffydd Jones Kirsty Hopkins Helen Lacey Daisy Walford Altos Lucy Ballard Rebekah Jones Eleanor Minney Kim Porter David Clegg Christopher Field Tenors John Bowen Sam Dressel Sam Jenkins Tom Kelly George Pooley Nicholas Todd Basses James Birchall Francis Brett Malachy Frame Andrew Mahon Brian McAlea Philip Tebb
Timpani Adrian Bending
*Participants in the Ann and Peter Law OAE Experience Scheme.
Percussion Matthew Dickinson
Help the next generation of gifted period instrument players. To find out more visit oae.co.uk/support or contact: Marina Abel Smith, Head of Individual Giving email@example.com Telephone 020 7239 9380
Life, Liberty and the Pursuit of Happiness
David Blackadder principal trumpet
To advertise in our programmes, please contact : Catherine Kinsler Development Manager firstname.lastname@example.org Telephone 020 7239 9370 011
Trial by Jury
Programme Notes Richard Bratby
W.S. Gilbert (1836-1911) Arthur Sullivan (1842-1900) Overture The Gondoliers
Ring Forth ye Bells from The Sorcerer Is Life a Boon from The Yeoman of the Guard Climbing over Rocky Mountains from The Pirates of Penzance
Minerva... Oh Goddess Wise from Princess Ida
As Someday it Might Happen from The Mikado Never Mind the Why and Wherefore from HMS Pinafore Painted Emblems of a Race and When The Night Wind Howls from Ruddigore When I Was a Lad from HMS Pinafore Once More Gondeleri from The Gondoliers
A Gramophone headline got it spot on: “G&S – as English as G&T”. Yet the two men could hardly have been more different: an irreverent satirist and a sentimental, social-climbing composer. William Schwenck Gilbert (1836-1911) started out, if not “as office boy to an attorney’s firm”, then as a civil service clerk, where, bored, he quietly started writing humorous verse. He claimed to be utterly unmusical – “I only know two tunes: one is God Save the Queen and the other isn’t”. But Gilbert thrived on contradictions. His brain teemed with generals and common soldiers swapped at birth, fairies marrying lawyers, duelling curates, and policeman who long for a day off. Between 1875 and 1896, in partnership with Arthur Sullivan and the West End impresario Richard D’Oyly Carte, they would spring vividly to life.
Sullivan mingled with royalty, directed the Leeds Festival, and wrote the hymn Onward, Christian Soldiers. If his private life was of less-than-textbook Victorian respectability, he kept it well hidden – and he could be equally prickly on the subject of his more frivolous musical activities. But, while there’s a distinctly Gilbertian flavour about Sullivan’s career, many still feel that George Bernard Shaw summed it up rather neatly: “They trained him to make Europe yawn; and he took advantage of their teaching to make London and New York laugh and whistle.” Arthur Sullivan.
…and Sullivan A pillar of Victorian society with a gambling habit and a string of mistresses. A composer of hymn tunes who made his fortune with feather-light operettas. But the back half of “Gilbert and Sullivan” was emphatically not how Sir Arthur Seymour Sullivan (1842-1900) saw himself. He’d won the Royal Academy of Music’s Mendelssohn Scholarship, studied at the Leipzig Conservatoire, and written a symphony at the age of 24.
We begin, with Gilbertian logic, near the end. By 1889 Sullivan was grumbling that he had “lost the liking for comic opera”. Gilbert countered with an utterly improbable scenario that was actually based on fact. In Naples, the two-year old Gilbert had been kidnapped from his pram by bandits, and ransomed for £25. Now, he simply shifted the action to Venice. Everyone loved The Gondoliers when it opened at the Savoy Theatre in December 1889: Gilbert, reported The Illustrated London News, “was cheered until the audience was weary of cheering any more”. And from the first bars of the sparkling saltarello that opens the Overture, you can almost feel the Italian sunshine.
Gilbert rose to the challenge, and The Yeomen’s bleak ending can still come as a shock to anyone who assumes that the Savoy Operas are only about patter-songs. Yes, there’s a handsome hero, a jester, and a colourful setting – the Tower of London in the Elizabethan era. But Colonel Fairfax’s Is Life A Boon?, sung as he awaits execution (acutely aware that “it is easier to die well than to live well”) shows that G&S could strike a mood of noble pathos quite as poignantly as Verdi. The original facade of the Savoy Theatre
But as satirists, Gilbert and Sullivan were acutely aware of – and responsive to – wider trends in opera. The love potion in Richard Wagner’s Tristan und Isolde is drunk under the shadow of destiny and death, but in The Sorcerer (1877), it’s brewed in a teapot and served at the village fête. On the village green Alexis is celebrating his engagement to the fragrant Aline, and the villagers – with one eye on the “joints of meat, tea-pots, cups, bread and butter, jam, etc” in the refreshment tent wholeheartedly approve (Ring Forth Ye Bells). “You ought to write a grand opera” said Queen Victoria to Sullivan “You would do it so well”. Yet he’d already written The Yeomen of the Guard (1888). Sullivan had begged Gilbert for a libretto with “no topsy-turvydom”. 014
The Pirates of Penzance, meanwhile – so often held up as the epitome of a peculiarly English kind of humour – was actually created for America. After learning of the success of pirated US productions of HMS Pinafore, Gilbert, Sullivan and D’Oyly Carte set sail for the New World in October 1879. Two months later they launched their own Pirates on the New York stage. Young Frederic was mistakenly apprenticed to be a Pirate instead of a Pilot. But now he’s 21; freed from his obligations, duty dictates that he must hunt the Pirates down just as devotedly. It’s just bad luck that he’s still wearing full piratical rig when Major-General Stanley’s four spirited daughters clamber down to the pirate cove (Climbing Over Rocky Mountain).
Gilbert wasn’t alone among his contemporaries in finding the idea of feminism intrinsically hilarious, and in Princess Ida (1884) the fiercely independent Princess has jilted her fiancé and set up an all-female university, where, disdaining patriarchal logic, it’s taught that “two and two make five – or three – or seven”. Gilbert is an equal-opportunity offender (the male characters are idiots), but still, no prizes for guessing why we rarely see Princess Ida today. Listen to the music of Ida’s dignified aria Oh, goddess wise, though. Where Gilbert draws caricatures, Sullivan endows them with credible emotion. When ENO revived Iolanthe (1882) in 2018, its satirical bite remained so sharp that some critics mistakenly assumed that the producers had updated the plot. But it took a Gilbert to bring fairies and shepherds (and of course, our hero Strephon, who’s only “a fairy down to the waist”) into the House of Lords. And it took a Sullivan to clothe the story in music of such delicate fantasy and wit. The exquisite Overture (one of the handful Sullivan orchestrated himself, rather than delegating to an assistant) begins as a gentle parody of Wagner’s Rheingold before tripping off on a deliciously-orchestrated homage to Mendelssohn’s A Midsummer Night’s Dream.
A Samurai sword falling from his drawing room wall might have given Gilbert the idea for The Mikado (1885). Or it might have been a visit to a Japanese exhibition in Knightsbridge. Either way, it was the starting point for a fizzing comedy of manners set in a society so ritualistic that it could be only one place – Victorian England. Nanki-Poo, wandering minstrel and second trombone, arrives in Titipu to find his sweetheart, the “very self-aware” ingénue Yum-Yum, engaged to her guardian, the Lord High Executioner Ko-Ko. But there’s trouble on the way. Ko-Ko’s not actually been doing much executing lately - though, as he tells us in As Someday It May Happen, it’s not for want of potential victims. (Gilbert himself started the tradition of updating the “little list” with topical gags, in 1908). Chuckling at foreigners was one thing, but the Victorian public adored the Royal Navy. For Gilbert, however, the fact that the Navy of Nelson and Drake was at that point under the command of a deskbound First Lord of the Admiralty (William Henry Smith – yes, that W H Smith) who’d made his fortune as a newsagent, proved irresistible.
Still, Never Mind the Why and Wherefore: though you occupy a station in the lower middle class, love – and Gilbertian logic – can somehow make everything add up. When I Was a Lad is a wickedly accurate account of Smith’s – sorry, Sir Joseph Porter KCB’s – rise, and when HMS Pinafore opened in 1878, audiences quickly caught on. But how do you follow a hit like The Mikado? By aiming a blunderbuss directly at 19th century Grand Opera. If you’ve ever rolled your eyes at Verdi’s Il Trovatore, you’ll realise exactly where G&S were coming from in Ruddigore (1887). Sullivan conjures up a suitably doom-laden, supernatural atmosphere in Painted Emblems of A Race (as the ghostly ancestors of the Bad Baronet of Ruddigore step out of their portraits), then has their leader let rip with a grand, stormy aria When the Night Wind Howls. It proved too much for contemporary audiences: ladies were said to find the original title Ruddygore “indelicate”. (Ruddigore, however, was apparently fine). In the London society of 1887, Gilbert didn’t have to look far for material. By then, though, it was abundantly clear that G&S was anything but a purely Anglophone phenomenon.
Neither Johann Strauss nor Offenbach achieved a longer run of consistently successful operetta masterpieces than Gilbert and Sullivan, and indeed, as Die Gondoliere, The Gondoliers was staged at Vienna’s Theater an der Wien within ten months of opening at the Savoy. Its Venetian setting, vibrant scoring and exuberant dance numbers place it firmly in the European operetta mainstream: and it’s to the whirling rhythm of a fandango that G&S deliver their final flourish: Once More Gondoleri. INTERVAL Gilbert and Sullivan Trial by Jury There’s only one truly Gilbertian way to finish – at the beginning. Trial by Jury wasn’t quite Gilbert and Sullivan’s first collaboration, but the music to Thespis (1871) is missing (presumed swapped in infancy), and in any case, it wasn’t exactly a hit. It was Richard D’Oyly Carte who had the idea, in January 1875, of asking Gilbert to fill a triple bill with Offenbach’s La Périchole and the bafflingly-titled Cryptoconchoidsyphonostomata. Drawing on his own early experiences as a barrister, Gilbert had already published a short skit called Trial by Jury.
Now, at Carte’s suggestion, he rushed round to Sullivan’s rooms in Battersea and read it through to him in front of the fire. “I was screaming with laughter the whole time” remembered Sullivan. A working partnership was clearly viable. “We resolved that our plots, however ridiculous, should be coherent.” recalled Gilbert. Two months later, on 25 March 1875, Trial by Jury opened at the Royalty Theatre on Dean Street. Gilbert didn’t even need to invent a topsy-turvy situation: the British legal system handed him one ready-made with the principle of Breach of Promise. The jilted partner in a broken engagement could sue the other for damages; a true comic-opera absurdity, it survived in English law until 1970. So as the curtain rises, a chorus of jurors, attorneys, barristers and the public is excitedly awaiting the opening of just such a case (Hark, the hour of ten is sounding). The usher reminds them of their duty to remain “from bias free of every kind” but as Edwin the Defendant enters the court they unleash their rage in pure mock-Verdi. He puts his side of the story (When first my old, old love I knew) but the Jury has no sympathy for such youthful irresponsibility.
The Judge enters – Sullivan gives him music worthy of a prophet in a Handel oratorio (All hail, great judge), and he can’t resist telling the court about his career so far (When I, good friends, was called to the bar). The Jury is sworn in, and Angelina the Plaintiff, with her flotilla of Bridesmaids in full wedding finery, glides into the court (Comes the broken flower). The Judge and Jury’s judicial detachment crumbles in the face of such a battery of feminine charm; the more so after Angelina’s Counsel reveals the full depravity of the Defendant’s crime (With a sense of deep emotion) – he ditched her after she’d already bought her wedding dress! Edwin attempts a reply (Oh, gentlemen, listen, I pray) – if it’ll help, he’s prepared to marry both Angelina and his new girlfriend. Reasonable enough, but unfortunately illegal, and proceedings grind to a halt as Angelina, Counsel and Judge ponder A Nice Dilemma, in a wry parody of Bellini’s La Sonnambula. Angelina proclaims her “blind adoration” while Edwin insists that “I’m always in liquor…perhaps I should kick her”. Very well then, announces the Judge, “let’s make him tipsy, gentlemen, and try!”. When everyone objects, the Judge reaches the end of his tether (All the legal furies seize you!) and closes the case with the ringing pronouncement that “I will marry her myself!”. Everyone joyfully praises his wisdom. And he’s only too happy to agree. Richard Bratby © 2019 017
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Trial by Jury
Instruments and technique
This is the first time we've played a concert entirely of music by Gilbert and Sullivan. It's not something period instrument orchestras such as ourselves are really known for doing. So how do we approach it? We asked tonight's Leader, Margaret Faultless, for her thoughts. "I met John Wilson (conductor) over lunch in a week when he was preparing for a programme of Walton and Shostakovich and I was elsewhere playing Bach – but we were soon poring over the Gilbert and Sullivan scores and gesticulating extravagantly to describe the sound world of this wonderfully joyful music. John is looking forward to the natural balance created by our 19th century instruments. The wind and brass instruments have a more mellow tone than their modern counterparts and with gut strings rather than steel the whole sound world will be more transparent. What we’ll be aiming for in our playing style is a really crisp articulation (something we are used to finding for earlier repertoire). This will match the patter of the G&S text and the importance of both the sound and meaning of the words.
What I found fascinating to discuss with John was to find ways of describing the string sound and how we’d produce it, in order for us all to know how to prepare in advance for the project. This is always really useful. In his own orchestra, John has developed a sound world that looks back to the virtuosic studio orchestras of the US film industry and creates a sound that works now. In this project, we are looking back to the 1860’s and the world of the West End Theatre orchestra. For the string sound and techniques will are going to work on producing a focused, concentrated, expressive, even tone, with slow bow speed that should be incredibly exciting to listen to. We’ll explore a variety of vibratos for added expression in key places but we won’t be using many portamenti (sliding between notes). As John said to me over our lunch, this music needs ‘glitter and dash’ – we hope that’s what you’ll experience this evening."
Trial by Jury
Instruments and technique
Messrs Carte & Carte, entrepreneurs extraordinaires Lisa Beznosiuk, our principal flute, explains how the flutes and piccolos being played tonight were made by a company with close connections to Gilbert and Sullivan. "This evening my colleague Neil McLaren and myself will be playing on wooden Boehm system instruments from the world renowned flute-makers Rudall Carte & Co. of 23 Berners St, Oxford St. Neil’s flute was made in 1898 for Mr Henry Piddock, 2nd flute in the Hallé Orchestra. Neil’s piccolo (1910) was played for many years in the New Philharmonia. In 1852 flautist Richard Carte became a partner in the well-established flute-making company of Rudall & Rose, working from various addresses in London’s West End until the firm settled just off Oxford St in 1878. Over a period of more than 80 years the firm manufactured over 7,000 flutes in several different fingering systems and using a variety of materials – cocuswood, ebony, silver, gold, ivory, rosewood and the newly-discovered ebonite – supplying the great majority of British professional flautists with fine instruments.
A 20th century illustrated advertisement shows how the flute company branched out into supplying other instruments
Theatrical impresario Richard D’Oyly Carte, son of the flute-maker, clearly inherited a similar aptitude for brilliance in business. After starting out working for his father in music publishing and instrument manufacture, D’Oyly Carte displayed unique and timely entrepreneurial imagination by engaging Gilbert and Sullivan to collaborate on the thirteen Savoy operas, building the theatre and the hotel on the Strand to house them. "
Trial by Jury
New to G&S? Here are six essential facts about the wonderful world of Gilbert and Sullivan. 1 A man on a mission. For Gilbert and Sullivan’s success, we can thank Richard D’Oyly Carte, a theatre impresario on a mission to introduce “high-quality, family-friendly English comic opera” to edge out the more risqué French works on the London stage. His D’Oyly Carte Opera Company staged each of the partnership’s 13 most successful operas, which became known as the ‘Savoy Operas’. 2 Breaking records. Trial by Jury (1875) was Gilbert and Sullivan’s first triumph, with 131 London performances and then a massive UK tour. Then came the first full-length operas, The Sorcerer (1877) and HMS Pinafore (1878) – the latter racking up 571 consecutive performances after some clever experiential marketing at Covent Garden and Crystal Palace. 3 The Pirates of Pennsylvania. It wasn’t just the UK where the duo were popular – HMS Pinafore was also a huge hit in the USA, with six productions running simultaneously in Philadelphia. With no international copyright law, hundreds of rogue G&S productions launched there, from which Gilbert, Sullivan and D’Oyly Carte didn’t make a dollar.
As a result, The Pirates of Penzance was written for the American market and premiered in New York before London so the trio could secure the US royalties. 4 What a way to make a living. These early successes gave D’Oyly Carte the clout to build a brand new theatre. The Savoy, opened in 1881, was state of the art and the first building in the world to be lit entirely by electric lights. It’s still there, and if you were to go tonight, you would see 9 to 5 the Musical, featuring the songs of Dolly Parton. 5 On the road. D’Oyly Carte died in 1901, but his family continued the Company, which finally closed in 1982, hit by a combination of rising costs, changing tastes, and the expiry of copyright ending its monopoly on the Savoy Operas. During that time it would often perform for as many as 48 weeks a year, including 35 weeks on tour with its cast, chorus and orchestra. 6 Alive and well. You can still see lots of Gilbert and Sullivan today. Each year since 1994, the International Gilbert and Sullivan Festival has taken place in England (Buxton and Harrogate host in 2019), with three weeks of performances. Meanwhile, there are more than 100 UK amateur G&S societies, including at least 12 at universities.
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Left to right: Max Mandel – principal viola Camilla Morse-Glover – cello, OAE Experience Scheme Ursula Paludan Monberg – horn
Trial by Jury
A lawyer's view
Sir Richard Aikens
I was introduced to G&S aged 8, although not then to Trial by Jury. Their oeuvre, including Trial by Jury, has remained a firm favourite. Gilbert’s sense of the ridiculous and his ability to satirize the establishment without causing offence remain fresh – and more needed then ever!
Sullivan’s music is much more subtle than many would allow; you will find a Wagnerian harmonic progression here, a Mendelssohnian choral gesture there and a touch of Verdian drama elsewhere. But it is always unmistakably Sullivan’s own voice. Much in the legal landscape has changed since Trial by Jury was first heard in 1875. Civil claims (with rare exceptions) are no longer tried by juries. There are now “members of the jury”, of course, not just “jurymen”.
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The Court of the Exchequer ceased to exist in 1875, the year Trial by Jury was produced. (The office of Chancellor of the Exchequer, the chief judge of that court, is very much alive and the holder has a grand black and gold gown to prove it!). Actions for “breach of promise of marriage” were abolished in the UK in 1970; the footballer George Best was one of the last to defend such an action in 1969. But there are still barristers who need relatives to give them a helping hand to start at the Bar, if they cannot win a scholarship from an Inn. Unfortunately there still exist barristers (and the odd judge too!) who do not know their law. At first the Judge thinks that the Defendant can marry one girl today and the next tomorrow. Counsel for the Plaintiff “corrects” the judge and they then agree that “to marry two at once is Burglaree!”, to which the company replies, doubtfully: “Oh, man of learning”. And there is still hypocrisy about, although hopefully not so blunt as the jurymen’s admission that they used to be “regular cads” but they were now respectable chaps, so had no sympathy for the defendant who had fallen out of love of the plaintiff and did not wish to marry her; or the judge who married the rich attorney’s “elderly ugly daughter” only to “throw her over” when he had become as rich “as the Gurneys” – a reference to the Norfolk family that founded Barclays Bank.
Most prescient of Gilbert’s observations however, was in making the defendant a litigant in person. The reduction in legal aid in civil and family law cases has now made this an everyday occurrence in the courts, a point on which Gilbert would doubtless have remarked. The courtroom “dilemma - we don’t appear that we can settle it”, still remains, but the Gilbertian solution that the judge should marry the plaintiff himself is no more available today than in 1875. It’s another dig by Gilbert at the establishment’s view that it can solve all problems by a quick word from on high, leading to “joy unbounded, with wealth surrounded, the knell is sounded of grief and woe”. Throughout Gilbert’s satire, Sullivan’s gift for melody, harmonic subtlety and sense of timing proceed without calling undue attention to themselves. My favourite number is the quartet between the Judge, Counsel, the Defendant and the Plaintiff. The music owes something to Bellini perhaps, but the number catches the farcical situation with melodic and harmonic elegance. In all, Trial by Jury is a miniature foretaste of the English and Irish partnership of G&S that has handed down to us a uniquely British (and Irish) mixture of satire, melody and musical drama. It is, characteristically, understated, not too modern, not too outrageous, but has the power to make us laugh at ourselves whilst being captivated by the music. Genius indeed! Sir Richard Aikens, former judge of the Court of Appeal 025
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Trial by Jury
John Wilson – conductor John Wilson is known for the vivid nature of his interpretations and is applauded repeatedly for the rich and colourful sounds that he draws from orchestras in repertoire ranging from the core classical through to the twentieth and twenty-first centuries. An outstanding communicator, Wilson has developed long-term affiliations with many of the UK’s major orchestras and festivals, and is working increasingly at the highest level across Europe. In the 18/19 season Wilson’s UK engagements have included the Philharmonia (who he conducts every year), the BBC Philharmonic, City of Birmingham Symphony, Royal Northern Sinfonia and the BBC Scottish Symphony, with whom he is Associate Guest Conductor. He made his debut at English National Opera with Porgy and Bess and makes his debut at Glyndebourne Summer Festival with a new production of Massenet’s Cendrillon. At last year’s Proms, he appeared with his own John Wilson Orchestra and the London Symphony Orchestra. This concert marks Wilson’s debut with the OAE.
Philharmonic, Swedish Radio Symphony orchestras, and the DSO Berlin. In the 19/20 season he looks forward to debuts with the Danish National Symphony, Bavarian Radio Symphony, Basel Symphony orchestras amongst others. In 1994, Wilson formed his own orchestra, the John Wilson Orchestra, dedicated to performing music from the golden age of Hollywood and Broadway; for the past decade he has been performing with them annually at the BBC Proms and touring regularly across the UK. Wilson has a large catalogue of recordings with a range of orchestras. His most recent recordings are three volumes of symphonic works by Copland with the BBC Philharmonic, described by Gramophone as “outstanding” and a series of recordings of works by Richard Rodney Bennett. Born in Gateshead, Wilson studied composition and conducting at the Royal College of Music and, in 2011, was made a Fellow. In March 2019, John Wilson was awarded the prestigious ISM Distinguished Musician Award for his services to music.
Outside of the UK, Wilson conducts many of the world’s most prestigious orchestras including the Royal Concertgebouw, Budapest Festival, Oslo 027
Simon Butteriss - baritone (The Learned Judge)
Louise Alder – soprano (Angelina, the Plaintiff)
Simon Butteriss has sung the G&S patter roles at the Savoy Theatre, the BBC Proms and throughout the UK, USA, Europe, Australia and New Zealand. He wrote the G&S television series A Motley Pair, appeared in Mike Leigh’s Oscar-winning Topsy-Turvy, wrote the television film about George Grossmith, A Salaried Wit, wrote and directed the BBC series I Am The Very Model, has recorded Patience (with D’Oyly Carte) and Grossmith’s Cups and Saucers as well as two discs of entertainments by Gilbert and Sullivan’s forbear, Charles Dibdin (Retrospect Opera).
Louise Alder studied at the Royal College of Music’s International Opera School where she was the inaugural Kiri Te Kanawa Scholar.
He has sung roles at opera houses across the world from La Scala, Milan to ENO, where he has been a guest principal since 2008. As an actor, he has played roles for the RSC, Old Vic, in the West End, at Chichester and on film, television and radio. He has written, translated and directed for stage, screen and opera house.
She won the Young Singer Award at the 2017 International Opera Awards and the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition. She also won the 2015 inaugural Young British Soloists’ Competition, is the recipient of Glyndebourne's 2014 John Christie Award and took 2nd Prize in the 2013 Kathleen Ferrier Competition. Recent successes have included Sophie Der Rosenkavalier for Welsh National Opera; Lucia The Rape of Lucretia and Zerlina Don Giovanni for Glyndebourne; Ilia Idomeneo for Garsington Opera; Euridice in Luigi Rossi’s Orpheus for the Royal Opera; Rapunzel Into the Woods for the Théâtre du Châtelet and Gilda Rigoletto, Susanna Le nozze di Figaro, Cleopatra Giulio Cesare, Sophie Der Rosenkavalier, Gretel Hänsel und Gretel and the title role in The Cunning Little Vixen for Oper Frankfurt. Her recordings include a disc of Strauss Lieder, Through Life and Love, with pianist Joseph Middleton (Orchid Classics), Lucia The Rape of Lucretia (Opus Arte) and Silandra in Cesti’s L’Orontea (OEHMS Classics/Oper Frankfurt).
Robert Murray – tenor (Edwin, the Defendant)
Simon Bailey - baritone (Counsel for the Plaintiff)
Robert Murray studied at the Royal College of Music and National Opera Studio. He won second prize in the Kathleen Ferrier awards 2003 and was a Jette Parker Young Artist at the Royal Opera House, Covent Garden. He has sung for the Royal Opera House, English National Opera, Opera North, Garsington, Welsh National Opera, Norwegian Opera, Hamburg State Opera and Salzburg Festival; in recital at the Wigmore Hall, and the Newbury, Two Moors, Brighton, Aldeburgh and Edinburgh festivals; in concert with the London Symphony Orchestra (Rattle), Simon Bolivar (Dudamel), Le Concert D’Astrée (Haïm), City of Birmingham Symphony (Mackerras), Rotterdam Philharmonic (Nezet-Seguin) Philharmonia (Salonen) and BBC Proms (Gardiner). He sang Dream of Gerontius with the Seattle Symphony (Gardner). Engagements for the 2018/19 and beyond include Written on Skin in China, Merry Widow at ENO, Peter Grimes with the Bergen Philharmonic Orchestra, and a return to the Royal Opera House for Gerald Barry’s Alice.
Simon Bailey has received much praise for his interpretations of a diverse and eclectic range of over 100 principal roles and repertoire. A choral scholarship at Clare College, Cambridge preceded postgraduate study at the RNCM Manchester, and at the Accademia del Teatro alla Scala in Milan. From 2002 Simon was a member of the ensemble at Oper Frankfurt where he remained until 2015. Engagements in 2018/2019 include Kutuzov War & Peace for Welsh National Opera, Kelvin in Dai Fujikura’s Solaris at the Tokyo Metropolitan Theatre, Noam Sheriff’s Revival of the Dead in Berlin, Shishkov From the House of the Dead at the Brno Festival, Hänsel und Gretel and Budivoj Dalibor in Frankfurt, Dinosaurus Magnus in Borboudakis’ Z at the Munich Festival and War & Peace for WNO at the Royal Opera House, Covent Garden. Subsequent engagements include Aristaeus in English National Opera’s new production of The Mask of Orpheus.
Michael Craddock - baritone (Usher)
Choir of the Age of Enlightenment
Michael Craddock started his musical education with the choir of Trinity College Cambridge, with whom he sang whilst studying Mathematics.
The Choir of the Age of Enlightenment is a group of professional singers, many of whom are soloists in their own right. Originally the choir had appeared exclusively with the Orchestra of the Age of Enlightenment – at British and European festivals, as well as regularly as part of their concert series at London’s Southbank Centre. However 2016 saw the choir performing their first unaccompanied concerts, without the OAE by their side.
Operatic performances include Britten’s A Midsummer Night’s Dream (Bottom) in Aldeburgh, sharing the role with Matthew Rose, Cavalleria Rusticana/Pagliacci (Alfio/Tonio) for Hampstead Garden Opera and Rossini’s La Cenerentola (Dandini) in the Bedford Park Festival. He is a member of the Gesualdo Six, an all-male vocal consort whose debut CD was released on the Hyperion Record label, with two more to come in 2019/20. He also frequently works with Amici Voices, who primarily perform the works of JS Bach, and have released their second CD, in which he is a soloist in JS Bach’s Actus Tragicus. In their St Matthew Passion his Christus ‘deserve(d) special mention’ (Early Music Review). He has recently sung arias in the St Matthew Passion with the Auckland Philharmonia, and the St John Passion in Adelaide and Hobart.
The Choir has taken part in many of the OAE’s recordings over the years, including Monteverdi’s Vespers of 1610, Purcell’s Dido and Aeneas, Bach Cantatas with Gustav Leonhardt, and Mozart’s Così fan tutte with Sir Simon Rattle. It has also appeared frequently on radio and television with the Orchestra, perhaps most memorably in July 2000 when the Choir and Orchestra performed Bach’s B Minor Mass at the BBC Proms on the 250th anniversary of his death. During recent seasons the Choir of the Age of Enlightenment has performed with the Orchestra in the UK and further afield, working on a wide range of repertoire with conductors such as Richard Egarr, Emmanuelle Haim, John Butt, Sir Roger Norrington and Sir Mark Elder.
THROWING OUT THE RULEBOOKS
OAE TOTS at Saffron Hall
A programme to involve, empower and inspire Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players.
This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.
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Students from Cricket Green School performing with our musicians and 1500 singers at the #RAHMerton concert.
2019: Musical Communities To sit alongside Life, Liberty and the Pursuit of Happiness, in 2019 we are creating a programme of events inspired by the communities we live and work in, exploring how we can work together to build relationships and how music can be a fantastic tool for creativity. A snapshot of OAE Education in Spring 2019 OAE TOTS More than 800 London nursery and reception children joined us last month for concerts entitled A World Around Us, presented by double bass Cecelia Bruggemeyer. Our next Southbank Centre TOTS is A World of Magic on Sunday 28 April, inspired by Mozart’s The Magic Flute. Schools More than 1,000 pupils age 5 to 7 from our six partner London Boroughs joined us for a wonderful journey through Mozart’s Symphony No 29, led by James Redwood. Opera We were delighted to have been the orchestra for the community opera Agreed at Glyndebourne.
Special needs Workshops have been taking place in our special schools and colleges, culminating in a performance at the Royal Albert Hall with our friends from Cricket Green school, the Merton concert bands and 1,200 singers. Flagship We are creating our new community opera The Moon and the Hares which will tour to Durham, Norfolk, Suffolk and Devon – exciting times! Nurturing Talent We’ve worked with our Experience students, LPO Young Artists, students from Huddersfield University and Community Music (CM) in Whitechapel. Meanwhile, our young players in String Club in King's Cross are coming on really well this year. 033
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A balance of pleasures
A symphony for independence
Bach: Toutes Suites
Sibelius: States of Independence
Tuesday 14 May 2019 Queen Elizabeth Hall 7pm
Friday 31 May 2019 Royal Festival Hall 7pm
Order and moderation versus rebellion and pleasure. Battling forces at the heart of us, in between which lies that elusive ideal we call happiness.
Vladimir Jurowski rounds off our Life, Liberty and the Pursuit of Happiness season with the definitive musical celebration of freedom and liberty. Even in its own time, Sibelius’ Second Symphony was hailed as a statement against Russian occupation and a proud assertion of Finnish national identity. An extremely powerful piece with a stirring finale, it played its part in paving the way for Finland’s independence in 1917, and helped make Sibelius a national hero.
Bach achieved a balance of pleasures with his set of Orchestral Suites. After years in the service of various church employers, he let loose with a bit of Gallic flair, trying his hand at writing in various styles of French dance music. In each Orchestral Suite, Bach brings his usual mathematical precision to the gigues, gavottes and minuets that were the popular music of the day. Bach - Orchestral Suites No. 1 , 2, 3 and 4 Margaret Faultless - director Lisa Beznosiuk - flute
Vladimir Jurowski is joined by violinist Alina Ibragimova for a programme also featuring the music of Richard Strauss. Elgar – Serenade for Strings Strauss – Violin Concerto Sibelius – Symphony No. 2 Vladimir Jurowski – Conductor Alina Ibragimova – Violin To book, visit southbankcentre.co.uk/oae
Introducing our 19/20 Resident Orchestra season at Southbank Centre Welcome to Salvation and Damnation, the third part of our Six Chapters of Enlightenment. These Chapters are the six special seasons we’re staging to explore through music the golden age of science and philosophy that gave our orchestra its name. This time we’re asking the tough questions – questions that taxed the composers and thinkers of the Enlightenment. How will I be judged? What will people think of me when I’m gone? These concerts feature music that is often uplifting, occasionally challenging, and always compelling.
To unlock these questions we’re joined by a host of great artists, including singers Ian Bostridge and Iestyn Davies, violinist Alina Ibragimova and pianist Stephen Hough. We’ll be playing music by composers you’re used to hearing us perform, such as Vivaldi, Mozart and Beethoven, and some that you’re not, including Wagner, Liszt and Schoenberg. southbankcentre.co.uk/oae Pictured opposite - Left to right - Alina Ibragimova (Saving Michael Haydn), Masaaki Suzuki (Mendelssohn's Elijah), Ian Bostridge (If Music be the Food of Love, Curse Me), Iván Fischer (Mozart's Final Flourish), Sir Roger Norrington (Beethoven's Major Heroes), Thomas Mann (Faust: The Life of a Composer), Stephen Hough (Lizst and Wagner: Mad, Bad and Dangerous to Know), Katherine Watson (Vivaldi and Pergolesi: Sacred Baroque)
Heaven or Hell?
Hero or villain?
Vivaldi and Pergolesi: Sacred Baroque
Beethoven’s Major Heroes
Monday 11 November 2019 Queen Elizabeth Hall
Tuesday 28 January 2020 Queen Elizabeth Hall
Faust: The Life of a Composer
Liszt and Wagner: Mad, Bad and Dangerous to Know
Wednesday 25 March 2020 Queen Elizabeth Hall
Friday 26 June 2020 Royal Festival Hall
Remembered or forgotten?
Blessed or cursed?
Mozart’s Final Flourish
Friday 7 February 2020 Royal Festival Hall
Thursday 3 October 2019 Royal Festival Hall
Saving Michael Haydn
If Music be the Food of Love, Curse Me
Tuesday 19 May 2020 Queen Elizabeth Hall
Sunday 26 April 2020 Queen Elizabeth Hall 041
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Kirker Holidays offers an extensive range of independent and escorted music holidays. These include tours to leading festivals in Europe such as the Puccini Festival in Torre del Lago and the Verdi Festival in Parma, as well as Glyndebourne, Buxton and opera weekends in Vienna, Milan and Venice. We also host our own exclusive music festivals on land and at featuring internationally acclaimed musicians. For those who prefer to travel independently we arrange short breaks with opera, ballet or concert tickets, to all the great classical cities in Europe.
THE KIRKER MUSIC FESTIVAL IN TENERIFE A SEVEN NIGHT HOLIDAY | 12 JANUARY 2019 For our fourth exclusive music festival on the island of Tenerife, we will present a series of six concerts featuring the Gould Piano Trio, pianist Benjamin Frith, soprano Ilona Domnich and violist Simon Rowland-Jones. Staying at the 5* Hotel Botanico, surrounded by lush tropical gardens, we shall also enjoy a programme of fascinating excursions. Highlights include the Sitio Litro Orchid Garden, a cable car journey to the peak of Mount Teide and a visit to the primeval cloud forest of the Anaga Mountains. We will also visit historic and picturesque villages along the spectacular north coast, including Garachico with its 17th century convent. Price from £2,698 per person (single supp. £375) for seven nights including flights, transfers, accommodation with breakfast, six dinners, six private concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.
THE KIRKER MUSIC FESTIVAL IN MALLORCA A SIX NIGHT HOLIDAY | 29 MAY 2019 The works of Frédéric Chopin are central to our Festival in Mallorca and for our seventh visit we will be joined by the Phoenix Piano Trio, Marta Fontanals-Simmons, soprano and Lorena Paz Nieto, mezzo-soprano. Based in the village of Banyalbufar, we will discover the gloriously unspoilt north coast of Mallorca. There will be visits to the picturesque artists’ village of Deia, the capital Palma and the villa of San Marroig. Our series of private concerts includes a recital in the monastery at Valldemossa where Chopin spent three months with his lover the aristocratic Baroness Dudevant, better known as the writer George Sand. Price from £2,290 per person (single supp. £189) for six nights including flights, accommodation with breakfast, two lunches, six dinners, five concerts, all sightseeing and gratuities and the services of the Kirker Tour Leader.
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Here's the programme for our performance of Gilbert and Sullivan's Trial by Jury at Queen Elizabeth Hall, Southbank Centre, on Thursday 18 A...
Published on Apr 15, 2019
Here's the programme for our performance of Gilbert and Sullivan's Trial by Jury at Queen Elizabeth Hall, Southbank Centre, on Thursday 18 A...