RAH Lang Lang Programme

Lang Lang Tue 21 and Thu 23 Nov 2023

Lang Lang Royal Albert Hall presents

with the Royal Philharmonic Orchestra Tue 21 and Thu 23 Nov 2023 Conductor Mark Wigglesworth Guest pianist Gina Alice

Cover photo © Haiqiang Lv

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Lang Lang in the Round, May 2010 © Stephen Frak

Welcome

James Ainscough, CEO Royal Albert Hall

It is a great pleasure to welcome you to the Royal Albert Hall for this very special concert by Lang Lang with the Royal Philharmonic Orchestra.

Lang Lang has performed in our auditorium many times over the past two decades. He has appeared at the BBC Proms; alongside fellow musical superstars at award ceremonies; and in breathtaking solo concerts.

Consistently exceptional and inspiring, Lang Lang proves with every performance why he has become such a global phenomenon.

Lang Lang’s relationship with the Hall goes beyond staging extraordinary performances.

The superstar pianist also shares our passion for introducing new

audiences to classical music. A few years ago we worked together to devise a concert especially for young people, with performances alongside students from his International Music Foundation.

By visiting the Royal Albert Hall today, you are supporting our mission as a charity to enrich lives through our Engagement programme and maintain our Grade I listed building for future generations.

We hope you enjoy the concert.

James Ainscough Chief Executive Officer, Royal Albert Hall

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Programme Wagner

Tannhäuser Overture and Venusberg Music

Saint-Saëns

Piano Concerto No 2 Interval

Ravel

Mother Goose Suite

Saint-Saëns

The Carnival of the Animals

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© OLAF HEINE Deutsche Grammophon

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Programme notes Tannhäuser Overture and Venusberg Music Wagner

First seen in 1845, Richard Wagner’s fifth opera Tannhäuser conflates two German legends. The first is the story of the title character, who is torn between his love for the goddess Venus and the noble Elisabeth; the second is the Sängerkrieg songwriting contest at Wartburg castle. The magnificent overture begins with the solemn tune of the Pilgrim’s Chorus, written in the chorale style.

The Venusberg music references a mythic realm where the goddess has hidden since the advent of Christianity. It includes the passionate Hymn to Venus, a melody that recurs throughout the opera. Wagner made several amendments to Tannhäuser following its troubled opening in Dresden (where Wagner worked as Director of Music in the Royal Court of Saxony). The most notable rewrite was for the Paris premiere in 1861, when he added a ballet after the overture.

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Piano Concerto No 2

Mother Goose Suite

Camille Saint-Saëns’ 1868 concerto remains among his most popular works. Written in just three weeks, and performed by the composer at its Paris premiere, Piano Concerto No 2 was not an immediate success, but quickly grew in popularity. The classically constructed first movement builds through the scherzando second to a tarantella finale, which prompted Polish composer Sigismond Stojowski to famously observe, ‘He starts as Bach, and ends as Offenbach.’ It is a superb test and showcase of a pianist’s virtuosity, requiring mastery of fine fingerwork, rhythm and range.

As Saint-Saëns specialist Hugh Macdonald says, ‘it takes a player of special gifts to throw off those cascades of scales and arpeggios as though they were the easiest thing in the world.’ In 1871, a few years after its debut, a solo piano arrangement was made by fellow French composer Georges Bizet.

Originally published as a piano duet in 1910, Maurice Ravel’s Ma mère l’Oye (Mother Goose) is based on the timeless Perrault fairy tales. Although he had no children of his own, the composer had a lifelong fascination with children’s stories, toys and imaginative worlds. He actually wrote Mother Goose for the children of his friends the Godebskis, who would host him at their Parisian soirées. Each of the five movements from the suite centres on characters from Perrault’s The Tales of Mother Goose – including Sleeping Beauty, Tom Thumb and Beauty and the Beast. Musically, the style is typical of Ravel in its modal melodies and rhythmic precision. In 1911 he orchestrated the five-piece suite, and also expanded it into a ballet version.

Saint-Saëns

Ravel

The Carnival of the Animals Saint-Saëns

There is an irony in the fact that the work for which Saint-Saëns is perhaps best remembered today was one he refused to publish during his lifetime, fearing it would undermine his status as a serious composer.

Once it did become public, in 1922, The Carnival of the Animals quickly became a favourite. A comic musical suite, or ‘zoological fantasy’, it features 14 short movements dedicated to different forms of animal, including lions, tortoises, donkeys, kangaroos and even fossils. It was originally composed, in 1886, for a chamber group of 11 instruments (including two pianos), but today is often performed by a full orchestra. Over the years it has been subject to countless interpretations and fond pastiches, by everyone from ‘Weird Al’ Yankovic to The Wiggles.

- Theo Bosanquet © Haiqiang Lv

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“If I am to play my best, there is no way but Steinway.”

LANG LANG

BY APPOINTMENT TO HER MAJESTY QUEEN ELIZABETH II PIANOFORTE MANUFACTURERS STEINWAY & SONS

For more information or to arrange a private appointment at our London showrooms, please call: 0207 487 3391 or email info@steinway.co.uk

Steinway Hall London W1U 2DB www.steinway.co.uk 10

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S T E I N WAY A R T I S T

Gospel Messiah • Royal Choral Society • Dame Judi Dench • Carols

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Lang Lang at the Royal Albert Hall Lang Lang has appeared at the Royal Albert Hall 24 times throughout his career.

We look back at the pianist’s performance highlights at London’s most iconic venue.

From first to last at the Proms Lang Lang first performed at the Hall in 2001 at the ‘world’s greatest classical music festival’ – the BBC Proms, playing Rachmaninoff’s Piano Concerto No.3 in D Minor, Op.30, with the St. Petersburg Philharmonic. The debut attracted long queues of fans, with more than 200 people turned away. Lang Lang has played at the Proms five times since, including the First Night of the Proms in 2003, and the Last Night of the Proms in 2011.

The Award goes to

Lang Lang has also been a regular star at the Classical Brit Awards, performing at three ceremonies and picking up the 12

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Lang Lang with the BBC Symphony Orchestra on the Last Night of the Proms in 2011 © Chris Christodoulou

International Artist of the Year award in 2013. The 10th anniversary show in 2009 saw an unforgettable rendition of Gershwin’s ‘Rhapsody in Blue’, played

by Lang Lang and jazz icon Herbie Hancock on duelling grand pianos.

The pair joined forces once again two months later for a very special show at the Hall, featuring more incredible duets and solo pieces.

Lang Lang and Herbie Hancock performing at the 2009 Classical Brit Awards © Chris Christodoulou

Lang Lang goes to the movies

George Harliono and Lang Lang at Exploring the Piano with Lang Lang and Friends, 17 April 2016 © Andy Paradise

Inspiring the next generation In 2016, the Hall hosted Exploring the Piano with Lang Lang and Friends – a one-off matinee recital and conversation devised as part of the Royal Albert Hall’s Engagement Programme, to enthuse young people about classical music and the piano. Lang Lang was joined by two students from his International

Music Foundation, Alasdair Howell (11 years) and George Harliono (15 years), who had the opportunity to perform alongside the superstar pianist on the Royal Albert Hall stage. He said of the concert, “I want every child to have access to music experiences that ignite something wonderful inside of them, just as music delivered something incredible for me.”

Alongside his many classical music recitals, Lang Lang has also treated audiences to popular music from the big screen. In 2008 he appeared at Classic FM Live! Goes to the Movies, and in 2022, he celebrated 100 years of Disney, with a special concert that coincided with the release of his album, The Disney Book. The show saw Lang Lang perform much-loved Disney classics like ‘Beauty and the Beast’ and ‘Bare Necessities’, plus recent viral sensations, ‘Let it Go’

from Frozen, and ‘We Don’t Talk About Bruno’ from Lin Manuel Miranda’s R OYA L A L B E R T H A L L

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Lang Lang In the Round, May 2010 © Stephen Frak

Encanto. He also performed a rendition

Classic Lang Lang

Love Tonight’ with his wife, Gina Alice.

Lang’s solo concerts, like the one he

of The Lion King’s ‘Can You Feel The Speaking about his love of Disney, Lang Lang said:

“Animation sparked my imagination

and transported me to other worlds.

The music was a big part of this

experience – and led to my life-long love of classical music... I hope that people of all ages will enjoy this

recording and experience the joy

that we all felt the first time we saw a Disney film.”

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Nothing can be compared to Lang

will perform tonight. He has performed several classical recitals at the Hall,

including an in-the-round production

in 2010, which saw the pianist’s hands projected on big screens suspended

above the audience; his first complete Beethoven Piano Concerto cycle in

London, performed across three dates in March 2012; and a concert in 2015, which finished 30 minutes later than

expected as the audience demanded

four encores from the virtuoso musician.

F I N D O U R P RO D U C T S I N T H E ROYA L A L B E RT H A L L B A R S PREFERRED C O N F E C T I O N E RY PA RT N E R O F

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Quickfire Q&A with Lang Lang

Why did you want to spotlight the work of Camille Saint-Saëns?

I have always wanted to play SaintSaëns’s Piano Concerto No. 2 and The Carnival of the Animals in the same programme. They are romantic, emotional and timeless pieces that exhibit lots of contrast in their range of poetic colours.

Do the pieces you’ve selected hold particular resonance for you?

Saint-Saëns’s Piano Concerto No. 2 reminds me of Bach’s organ work but in the Romantic style. It’s very grand in the same manner as Liszt and Rachmaninoff. The Carnival of the Animals is a wonderful piece as it’s for children and adult music lovers alike, filled with beautiful, episodic melodies like the swan (a personal favourite).

How does it feel to be back at the Royal Albert Hall?

The Royal Albert Hall is like a home to me in many ways. I’ve played here more than 20 times over my career.

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It’s truly one of the best places on earth to perform.

Is it particularly meaningful to be sharing the stage with your wife, Gina Alice?

It’s always wonderful to perform as husband and wife. Especially since The Carnival of the Animals is one of our son’s favourite pieces as well. Appreciation for it must run in the family.

You’re also back with the Royal Philharmonic Orchestra – what’s the key to your collaboration?

I have been lucky to share many great moments with RPO. Just last year, we performed my Disney programme at the Hall. They are an orchestra of tremendous musicianship, which is crucial to our work together, and I am very proud to play with them again.

Do you find this variety of concerts enriches your playing?

At the end of the day, I’m a classical pianist – this repertoire will always

be my mainstay. But at the Hall, I like to present different approaches to music making, including performing alongside musicians whose experience lies in other genres.

Ultimately, I hope to encourage more people to enjoy classical music.

How do you unwind away from the piano?

My favourite non-musical pastime is visiting museums of visual art.

What do you listen to for pleasure?

Recently, being a judge on The Piano TV show has given me a chance to listen to new genres of music including rock and techno, but I most often listen to symphonic works when I’m not listening to piano pieces.

Any particular favourite things to do in London?

Whenever I am in London, I always make time to walk in Hyde Park and visit with my friends. Also, I must say the Chinese food here is great.

© OLAF HEINE Deutsche Grammophon

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Make History with us.

Lang Lang Lang Lang is a leading figure

Christoph Eschenbach and performs

– as a pianist, educator

Lang Lang is known for thinking

in classical music today and philanthropist, he

has become one of the

world’s most influential and

committed ambassadors for the arts in the 21st century.

Equally happy playing for billions of

viewers at the 2008 Olympic Opening Ceremony in Beijing or just for a few hundred children in schools, he is a

with all the world’s top orchestras.

outside the box and frequently steps into different musical worlds. His

performances at the Grammy Awards with Metallica, Pharrell Williams or jazz

legend Herbie Hancock were watched by millions of viewers.

For about a decade, Lang Lang has contributed to musical education worldwide. In 2008 he founded

the Lang Lang International Music

Lang Lang started playing the piano aged three and gave his first public recital before the age of five. He entered Beijing’s Central Music

Conservatory aged nine and won First Prize at the International Tchaikovsky Competition for Young Musicians at 13. He subsequently went to

Philadelphia to study with legendary pianist Gary Graffman at the Curtis

Institute of Music. He was seventeen

when his big break came, substituting for André Watts at the Gala of the

Century, playing Tchaikovsky’s First

Foundation aimed at cultivating

Piano Concerto with the Chicago

Times as “the hottest artist on the

music education at the forefront

of Christoph Eschenbach: he became

plays sold-out concerts all over

young audience through live music

master of communicating through

Symphony Orchestra under the baton

music. Heralded by the New York

tomorrow’s top pianists, championing

classical music planet”, Lang Lang

of technology, and building a

the world. He has formed ongoing

experiences. In 2013, Lang Lang was

Lang Lang’s boundless drive to

of the United Nations as a Messenger

music has brought him tremendous

collaborations with conductors

including Sir Simon Rattle, Gustavo Dudamel, Daniel Barenboim and 20

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designated by the Secretary General

of Peace focusing on global education.

an overnight sensation and the invitations started to pour in.

attract new audiences to classical

recognition: he was presented with

the 2010 Crystal Award in Davos and was picked as one of the 250 Young Global Leaders by the World Economic Forum. He is also the recipient of honorary doctorates from the Royal College of Music, the Manhattan School of Music and New York University. In December 2011 he was honoured with the highest prize awarded by the Ministry of Culture of the People’s Republic of China and received the highest civilian honours in Germany (Merit of the Federal Republic of Germany) and France (Medal of the Order of Arts and Letters). In 2016 Lang Lang was invited to the Vatican to perform for Pope Francis. He has also performed for numerous other international dignitaries, including four US presidents and monarchs from many nations. © OLAF HEINE Deutsche Grammophon

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Mark Wigglesworth Conductor

Mark Wigglesworth is

recognised internationally for his masterly interpretations

both in the opera house and in the concert hall, for his highly detailed performances that

combine a finely considered architectural structure with great sophistication and rare beauty.

He is an outstanding conductor who has forged many enduring

relationships with orchestra and

opera companies across the world, conducting repertoire ranging

from Mozart through to Boulez.

Wigglesworth has enjoyed a long

relationship with English National Opera (Lady Macbeth of Mtsensk,

Cosi fan Tutti, Falstaff, Katya Kabanova, Parsifal, Force of Destiny, Magic Flute, Jenufa, Don Giovanni, and Lulu), and 22

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operatic engagements elsewhere include The Royal Opera House,

Covent Garden (Die Meistersinger von Nürnberg, Rise and Fall of Mahagonny,

La Clemenza di Tito), The Metropolitan Opera, New York (The Marriage of Figaro) as well as at The Bavarian

State Opera, Opéra national de Paris, Semperoper Dresden, Teatro Real,

The Netherlands Opera, La Monnaie,

Welsh National Opera, Glyndebourne, and Opera Australia.

In 2017, he received the Olivier Award for Outstanding Achievement in

Opera. On the concert platform, highlights include performances

with the Berlin Philharmonic, Royal

Concertgebouw, London Symphony, London Philharmonic, Boston

Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago

Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Tokyo

Symphony, and the Sydney Symphony.

His recordings include a critically

acclaimed complete cycle of the Shostakovich Symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler Sixth and Tenth symphonies, with the Melbourne Symphony, a disc of English music with the Sydney Symphony, Britten Peter Grimes with Glyndebourne, and the Brahms Piano Concertos with Stephen Hough.

He has written articles for The Guardian and The Independent, made a six-part TV series for the BBC entitled Everything to Play For, and held positions as Associate Conductor of the BBC Symphony, Principal Guest Conductor of the Swedish Radio Symphony, the Adelaide Symphony, Music Director of the BBC National Orchestra of Wales, and Music Director of English National Opera.

His book The Silent Musician: Why Conducting Matters was published in October 2018 by Faber & Faber.

© Sim Canetty-Clarke

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Gina Alice Guest Pianist

Born in 1994 in Wiesbaden, Germany, to German-

Korean parents, Gina Alice

started piano at the age of

four. Only three years later, she became a student of professor Irina Edelstein.

In 2009, she started studying piano at

the Academy of Music and Performing Arts in Frankfurt, as a junior student of

Lev Natochenny’s master class. Three years later, she became a student of Bernhard Wetz at the Academy of

Music and Performing Arts in Frankfurt.

Gina received more artistic inspirations from Professor Laszlo Simon and Professor Klaus Hellwig at Berlin

University of the Arts, and studied

with professor Gary Graffman as a

fellow of the Lang Lang International Music Foundation.

She began playing in public at the age of eight and quickly became 24

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an internationally acclaimed pianist in France and Spain. She became a sensation following a Steinway concert in Farquaford, playing Haydn’s piano concerto in D major. She also performed in international master classes such as Moulin D’ande International Academy and Burgos International Music Festival.

Gina made her TV debut as a piano soloist in April 2007. She performed Mendelssohn’s piano concerto in G minor on German national television with the Berlin National Youth Symphony Orchestra and conductor Rasmus Baumann with great success.

Her first piano recital in 2009 was well received in the classical world.

In the spring of 2012, her debut of Mendelssohn’s piano concerto no.1 with the Berlin Philharmonic Orchestra and conductor Kazuo Kanemaki at the

Berliner Philharmonie was equally well received. In March 2013, she was invited to Berlin again to play the Rachmaninoff piano concerto no.1.

In January 2013 Gina Alice played a sold-out piano recital called “young artist” at Hessischer Rundfunk Sendesaal in Frankfurt, Germany.

The entire concert was broadcast on German national radio on 7 March 2013.

In May 2014, Gina performed for the third time in the Berlin Philharmonie hall, during the final concert of the Berlin Philharmonic season.

She performed Rachmaninoff’s Variations on a Theme of Paganini as a piano solo and collaborated with the Berlin Philharmonic orchestra.

In 2016, she collaborated with the Shenyang Philharmonic Orchestra and Guangzhou Symphony Orchestra in China. In 2017, she gave a recital at the Ruhr piano festival, the largest piano festival in the world, and in 2019, Gina Alice and Shenzhen Symphony Orchestra played ‘The Moment of Victory’.

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© Ben Wright

Royal Philharmonic Orchestra The Royal Philharmonic

Orchestra’s (RPO) mission to enrich lives through

orchestral experiences that

are uncompromising in their excellence and inclusive in

their appeal, places it at the

forefront of music-making in the UK and internationally.

Performing around 200 concerts a

year and with a live and online audience of more than 60 million people, the

Orchestra is proud to embrace a broad

repertoire and reach a diverse audience.

The RPO is unafraid to push boundaries and is at home recording video game,

film and television soundtracks, working with pop stars, and touring the world

performing great symphonic repertoire.

Throughout its history, the RPO has

collaborated with inspirational artists

and in August 2021, the Orchestra was thrilled to welcome Vasily Petrenko

as its new Music Director. A landmark appointment in the RPO’s history,

Vasily’s opening two seasons with the RPO have been lauded by audiences and critics alike.

As well as a busy schedule of

international concerts, the Orchestra performs regularly at the Royal

Albert Hall (where it is Associate

Orchestra), the Southbank Centre’s

Royal Festival Hall and Cadogan Hall,

where it is celebrating its 20th Season as Resident Orchestra. The RPO

tours extensively around the UK and through collaboration with creative

partners, fosters deeper engagement with communities to ensure that live orchestral music is accessible to as inclusive and diverse an audience as possible. To help achieve this

goal, the Orchestra launched RPO

Resound in 1993, which has grown

to become the most innovative and respected orchestral community

and education programme in the UK and internationally.

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Tonight’s players First violins

Duncan Riddell Shana Douglas Oscar Perks Esther Kim Andrew Klee Kay Chappell Anthony Protheroe Erik Chapman Adriana Iacovache-Pana Rosemary Wainwright Geoffrey Silver Marciana Buta Emma Lisney Maya Bickel

Second violins

Andrew Storey Elen Hâf Rideal David O'Leary Jennifer Christie Charlotte Ansbergs Jennifer András Peter Graham Stephen Payne Manuel Porta Sali-Wyn Ryan Nicola Hutchings Elspeth Macleod

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Violas

Abigail Fenna Liz Varlow Joseph Fisher Ugne Tiškuté Esther Harling Jonathan Hallett Pamela Ferriman Clive Howard Claire Maynard Yan Beattie

Cellos

Richard Harwood Jonathan Ayling Chantal Webster Roberto Sorrentino Jean-Baptiste Toselli William Heggart Rachel van der Tang Naomi Watts

Double basses

Benjamin Cunningham Ben Wolstenholme Ben Havinden-Williams Yija Cui Lucía Polo Moreno Elen Roberts

Flutes

Trumpets

Piccolo

Trombones

Emer McDonough Joanna Marsh Diomedes Demetriades Diomedes Demetriades

Oboes

Matthew Williams Tom Freeman-Attwood Kaitlin Wild Rupert Whitehead Ryan Hume

John Roberts Timothy Watts Patrick Flanaghan

Bass trombone

Cor anglais

Kevin Morgan

Patrick Flanaghan

Clarinets

Katherine Lacy Sonia Sielaff

Bassoons

Richard Ion Helen Storey

Contra bassoon Gareth Twigg

Horns

Alexander Edmundson Ben Hulme Kathryn Saunders Hayley Tonner

Josh Cirtina

Tuba

Timpani Tom Lee

Percussion

Stephen Quigley Martin Owens Richard Horne

Harp

Suzy Willison-Kawalec

Celeste

Philip Moore

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Meet the musician: Ugne Tiškuté Ugne plays in the Royal Philharmonic Orchestra's viola section.

How did you become involved with the Royal Philharmonic Orchestra (RPO)?

Six years ago, whilst I was still a student at the Royal Academy of Music in

London, I thought I would give it a

chance and apply – I had nothing to

lose, I thought! My audition was super early at 9am and it was a cold day just before Christmas – I remember that

day like yesterday. I had a chance to play for the panel, successfully received a

trial with the RPO and, very soon after, I

became a member. Time really flies as a member of this great orchestra!

What was your first experience of orchestral music?

My mum is a violinist and was my

first teacher in Lithuania, where I am originally from. I was surrounded by

music and her lessons from an early age. When I was in high school, I had a chance to train and perform with 30

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Kodály Zoltán World Youth Orchestra in Hungary and it was the best time I ever had as a teenager. I made so many friends and played for hours in a huge symphony orchestra, learning so much from my amazing young colleagues.

Tell us about your favourite RPO journey.

I have so many good memories from travelling since I joined the Orchestra.

My favourite destination would have to be the USA – performing at Carnegie Hall in New York was a real highlight. As part of the RPO, I get a chance to see places that perhaps I wouldn’t normally go to on holiday. Just a few weeks ago, I went to Japan with RPO and it was my first time there. It was an absolutely incredible place, with such warm and enthusiastic audiences.

If you had to recommend one artist or composer, who would it be and why?

Ettore Causa. He is one of the most

inspirational teachers and I had the chance to study with him at the Menuhin String Academy in Gstaad. You must listen to his viola playing – I am in love with every note he plays!

If you could work with any artist on a performance or project, who would you choose?

I would love to work with my childhood idol, Maxim Vengerov. I grew up listening to his recordings and watched all of his masterclasses on YouTube. It would also be incredible to play with pianist Martha Argerich again – an unforgettable experience!

Engagement As a charity, the Royal Albert Hall believes in providing an Engagement programme that enriches people’s lives and offers fairer access to the arts.

The programme offers subsidised or free arts activities, which enable specific groups to access the Hall in a way that suits them. We work alongside specialist partner organisations to create a programme that is informed by inclusive practice and takes inspiration from the Hall’s architecture, history and events.

In 2022, we launched Future Makers as part of our drive to develop and support new musical talent. The concert gives young musicians the opportunity to perform their own music in front of a live audience, and the chance to receive a tailored package of support from the Royal Albert Hall and industry partners.

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In October last year, we welcomed young people with multiple and profound learning disabilities on a Sensory Journey around the Royal Albert Hall. Produced in support of the West London Inclusive Arts Festival, the experience was led by a specialist facilitator and gave participants the opportunity to explore the Hall through a range of multi-sensory and immersive environments.

Find out more: royalalberthall.com/engagement

Sensory Journey, October 2022 © Andy Paradise

“Where the Royal Albert Hall have been truly remarkable is...they very

much came to the schools and said we want to be led by you. To bring our students, who do find accessing the arts very difficult, into a setting that is safe...you can really see the very best in them. And to do that in the Royal Albert Hall was arguably one of the most remarkable things that any pupil could ever experience.”

– James Rigby, Teacher QEII Jubilee School

Future Makers, November 2022 © Andy Paradise

about our Sensory Journeys project

English National Ballet and Royal Albert Hall present

Fernanda Oliveira. Images © Matt Crockett, Laurent Liotardo

Derek Deane’s

in-the-round Wed 12 – Sun 23 Jun 2024

Support us

as a Friend or Patron of the Royal Albert Hall Want to book tickets before everyone else?

Join as a Friend from just £45 at royalalberthall.com/friends For a deeper connection with the Hall, exclusive benefits, rehearsal events and more, support us as a Patron.

Contact us at patrons@royalalberthall.com

Help change lives through music As a charity, we support emerging artists to launch their careers and create opportunities for children and young people through our award‑winning work with schools and community groups.

Your support helps us to change lives through music.

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Patrons President's Circle Lorne and Nina Balfe Ryan and Erin Blute Lord Brownlow CVO DL* Craig and Raquel Dawson John and Sally Hayes Rena and Sandro Lavery* Oleg and Galina Smirnov Artists’ Circle Will and Tiffany Chawner Rani and Reme Raad

Ray and Shirley Seymour Sam and Annabel Waley-Cohen Paul Yabsley and Ruth Tyler *denotes Founding Patrons

Donate now Text 70490 with:

20ALBERT to donate £20 10ALBERT to donate £10 5ALBERT to donate £5 Consider leaving us a gift in your will to help the Hall inspire new generations for years to come. Visit our website to find out more or to donate online at royalalberthall.com/support

Registered Charity Number 254543. Text-to-donate operates via major UK networks only and costs the donation amount plus one standard rate message.

© Andy Paradise

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