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Home , Ariadne auf Naxos, Die Frau ohne Schatten, Elektra discography, The Proms

Sunday 8 March 2020 7–9.05pm Barbican

LSO SEASON CONCERT RAVEL & STRAUSS

Strauss – Symphonic Fantasy CANELLAKIS Ravel Concerto in G major Interval Strauss Death and Transfiguration Ravel La valse

Karina Canellakis conductor Cédric Tiberghien piano Welcome Latest News On Our Blog

In the second half, Karina Canellakis 2020/21 SEASON ANNOUNCED VILDE FRANG ON continues her pairing of these composers BRITTEN’S CONCERTO with Strauss’ tone poem Death and The LSO’s 2020/21 season has been Transfiguration and Ravel’s choreographic announced, and opens for public booking ‘It is one of the most important pieces I have poem La valse. online on 16 March, with LSO Friends ever played and it has enriched my life. I’m receiving priority booking. In Sir Simon very much looking forward to working with I hope that you enjoy tonight’s concert and Rattle’s words, ‘In the 2020/21 season we the LSO, especially as it is the that you are able to join us again soon. Later are launching something completely new. I first heard playing the concerto.’ Vilde Frang this month, Sir Antonio Pappano continues Our theme is ‘Dancing on the Edge of a introduces Britten’s Violin Concerto ahead to explore the music of British composers Volcano’, a phrase and others of her performance on 15 March. with a programme of Vaughan Williams used to describe the atmosphere in Germany warm welcome to this evening’s and Britten, and Principal Guest Conductor in the 1930s, as Europe lay on the cusp of ON SPRING’S STRAD CONCERTS LSO concert at the Barbican. François-Xavier Roth returns for a series of fascism. It’s an extraordinary expression AND THE ‘EX KREISLER’ DEL GESÙ We are delighted to welcome concerts featuring the music of Bartók and that inspires us to explore what was Karina Canellakis, who tonight makes her Dukas, including presenting a Half Six Fix happening in the musical world in the We turn our attention to some of the LSO debut with a beautifully performance on 18 March. • first half of the 20th century.’ (and violinists) that will be gracing the crafted programme of music by Richard Barbican stage with the LSO in spring. Strauss and Ravel, opening the concert • lso.co.uk/2021 with the suite from the former’s • lso.co.uk/more/blog Die Frau ohne Schatten (The Woman Without a Shadow). GROUP BOOKERS Kathryn McDowell CBE DL Ravel’s in G major follows, Managing Director Groups of ten or more receive exclusive for which we welcome soloist Cédric discounts to LSO concerts, with 20% off all Tiberghien. Since making his debut with ticket prices, or 30% off when booking two Please ensure all phones are switched off. the Orchestra in 2011, Cédric Tiberghien or more concerts within the season at the Photography and audio/video recording has built a strong rapport with the LSO same time. Extra benefits are available to are not permitted during the performance. and its audiences through his numerous larger groups. appearances both at LSO St Luke’s and on the Barbican main stage, and it is a pleasure Find out more at to have him join us again tonight. • lso.co.uk/groups

2 Welcome 8 March 2020 Tonight’s Concert In Brief Coming Up

onight’s programme explores PROGRAMME CONTRIBUTORS Thursday 12 March 7.30pm Sunday 15 March 7pm themes of life, love, the soul and Barbican Barbican mortality in the works of Richard David Nice writes, lectures and broadcasts Strauss and Ravel, opening with the suite on music, notably for BBC Radio 3 and LA MER VAUGHAN WILLIAMS & BRITTEN from the former’s opera Die Frau ohne BBC Music Magazine. His books include Schatten (The Woman without a Shadow). studies of Strauss, Elgar, Tchaikovsky and Dvořák Violin Concerto Vaughan Williams Fantasia on a Theme Composing in parallel with librettist Hugo Stravinsky, and a Prokofiev biography, Kaija Saariaho Laterna Magica by Thomas Tallis von Hofmannsthal, who drew on material From Russia to the West 1891–1935. Debussy La mer Britten Violin Concerto from The Arabian Nights and the Grimm Vaughan Williams Symphony No 6 brothers’ fairy tales, Strauss displays in Andrew Stewart is a freelance music journalist Susanna Mälkki conductor this opera, and indeed its suite, some of his and writer. He is the author of The LSO at 90, Gil Shaham violin Sir Antonio Pappano conductor most complicated and colourful music. His and contributes to a wide variety of specialist Vilde Frang violin tone poem too, Death and Transfiguration, publications. 6pm Barbican is vivid and changing, depicting an artist LSO Platforms: Guildhall Artists 5.30pm Barbican reminiscing on his whole life, with all its Stephen Johnson is the author of Bruckner Free pre-concert recital LSO Platforms: Guildhall Artists innocence, struggles and dreams, in the Remembered (Faber). He also contributes Free pre-concert recital moments before his death. regularly to BBC Music Magazine and The Friday 13 March 1–2pm Guardian, and broadcasts for BBC Radio 3 LSO St Luke’s Recommended by Classic FM Ravel is Strauss’ companion in tonight’s (Discovering Music), BBC Radio 4 and the concert, the Piano Concerto in G major BBC World Service. BBC RADIO 3 LUNCHTIME CONCERT Wednesday 18 March 6.30pm blending the Basque and Spanish sounds of RUSSIAN ROOTS Barbican Ravel’s youth with the jazz influences of his Jeremy Thurlow is a composer whose music travels around the US. La valse concludes ranges from chamber and orchestral to video- Katharina Konradi takes us on a journey HALF SIX FIX the programme; a work which, with all its opera. Author of a book on Dutilleux and a through Russian song, from the romance BARTÓK musical and emotional turbulence and frequent broadcaster on Radio 3, Jeremy is a of Rachmaninoff to intimate settings of brilliance, has been analysed as a metaphor Fellow of Robinson College, Cambridge. Russian poetry, and a selection of evocative Bartók Dance Suite for Europe in the aftermath of World War I, songs without words. Bartók The Wooden Prince though the composer himself denied it. It sees the orchestra gradually moving Katharina Konradi François-Xavier Roth conductor & presenter through a series of waltzes, each with their Gaspard Trio own individual character, whirling their way Recommended by Classic FM towards a final dismissive cadence. • Recorded for future broadcast by BBC Radio 3

Tonight’s Concert 3 Die Frau ohne Schatten – Symphonic Fantasy 1946 / note by David Nice

trauss’ most Wagnerian opera Work on Die Frau ohne Schatten was Passing over the crisis at the end of that • COMMEDIA DELL’ARTE came on the rebound from the interrupted by Hofmannsthal’s military act, we hear the noble duet of new-found touch of Mozart in his incidental service in World War I. Strauss lost some devotion between Barak and his wife in Popular in Europe between the 16th music for an adaptation of Molière’s Le interest in what he called this ‘massive and limbo at the beginning of Act 3, the and 18th centuries, commedia dell’arte Bourgeois gentilhomme, and the ‘little artificial fairy story’ and longed to return to voice taken by . Another trial is originated in Italy as an early form of chamber opera’ – auf – comedy; he also felt that it was irresponsible skipped and the happy end becomes ever theatre characterised by masked figures, embedded within, its first version completed to go for grandeur in an atmosphere of more elaborate in its counterpoint, mostly pantomime and exaggerated characters. in 1912. There, mythological figures clashed post-war austerity. As a result, the work of themes not encountered in the fantasia with characters from the Italian commedia is a mixture of first-rate Strauss and, in up to this point; it ends, like the opera, • MEPHISTOPHELES dell’arte • in a theatrical misalliance. In Die Act Three, some of that note-spinning he with the twittering hymn of unborn children Frau ohne Schatten, they are archetypes could produce to order. He wasn’t entirely celebrating two now-happy couples. • Mephistopheles is a fictional character and created by the same literary genius, Strauss’ happy with the fantasia he pieced together demon in German folklore, who originated house poet, . The in 1946 either, though it contains some of in the legend of Faust. He appears to Faust, ‘woman without a shadow’ of the title is the the opera’s best music. We first hear the acting as the devil’s representative, and fairy Empress in a so-far infertile marriage to massive intoning of the spirit god Keikobad’s makes a bargain with him so he can indulge an unimaginative earthly ruler; she must win motif in the depths of the orchestra, and in pleasure and knowledge of the world. a shadow or he will turn to stone. The source a hint of the Nurse’s deviousness, before Faust’s soul and eternal enslavement is recommended by her Mephistophelian • jumping to the beautiful Schubertian the bargaining chip. nurse is a discontented woman married to a interlude depicting Barak’s goodness, benevolent if over-complacent dyer, Barak. which will be crucial in the Empress’s choice. Will the other woman give up her shadow? His wife’s fantasies are catered for as the Can the Empress purchase her happiness Nurse conjures them up in an iridescent, at the price of someone else’s suffering? silk-and-spangles vision, which leads us on The message turns out to be about love to the woman’s weird dance in Act 2: part and compassion, like so much in Wagner; , part Witch from Humperdinck’s the two couples must respectively become Hansel and Gretel. less airy-fairy and less mundane, finally meeting in the middle.

4 Programme Notes 8 March 2020 Richard Strauss In Profile 1864–1949

Following the first public performances of his work, he received a commission from Hans von Bülow in 1882, and two years later was appointed Bülow’s Assistant Musical Director at the Meiningen Court Orchestra, the beginning of a career in which Strauss was to conduct many of the world’s great COMING UP IN 2020 , in addition to holding positions at opera houses in , Weimar, Berlin and Vienna. While at Munich, he married the singer , for whom he wrote STRAUSS many of his greatest songs. & Beethoven Violin Concerto with Manfred Honeck Strauss’ legacy is to be found in his 28 May 2020 and his magnificent symphonic poems. Scores such as Till Eulenspiegel’s Merry Pranks, WAGNER & WEBERN , and & Brahms Symphony No 2 Ein Heldenleben demonstrate his supreme with Sir ichard Strauss was born in Munich mastery of orchestration; the thoroughly 23 September 2020 in 1864, the son of , a modern operas Salome and , with brilliant player in the Munich their Freudian themes and atonal scoring, WAGNER TRISTAN AND ISOLDE court orchestra; it is therefore perhaps not are landmarks in the development of 20th­­ Act Two with Sir Simon Rattle, surprising that some of the composer’s -century music, and the neo-Classical Der & Stuart Skelton most striking writing is for the French Rosen­kavalier has become one of the most 29 November; 1 December 2020 horn. Strauss had his first piano lessons popular operas of the century. Strauss when he was four, and he produced his first spent his last years in self-imposed exile in HINDEMITH SYMPHONIC DANCES composition two years later, but surprisingly, Switzerland, waiting to be officially cleared & Symphonic metamorphosis he did not attend a music academy, his of complicity in the Nazi regime. He died with Sir Simon Rattle formal education ending rather at Munich in Garmisch-Partenkirchen in 1949, shortly 3, 6 & 9 December 2020 University where he studied philosophy after his widely celebrated 85th birthday. • and aesthetics, continuing with his musical lso.co.uk/whatson training at the same time. Profile by Andrew Stewart

Composer Profile 5 Piano Concerto in G major 1930–31 / note by Jeremy Thurlow

1 Allegramente Marguerite Long played the solo part with on evenings out in Paris during the 1920s. • ON LSO LIVE 2 Adagio assai Ravel conducting, on a European tour Romantic effusiveness also finds a place, 3 Presto immediately following the Paris premiere though often it is kept in check by chic jazzy in January 1932. A new work by Ravel interjections – but such a description makes Cédric Tiberghien piano always provided something to surprise the the movement sound piecemeal, whereas in critics and arouse resistance, so alongside fact everything is perfectly woven together. n returning from a busy and exciting warm appreciation for the work’s wit and tour of the United States in 1928, craftsmanship it is no surprise to find some The Adagio assai is one of Ravel’s greatest Ravel resolved to write a piano carping reviews, especially of the serenely expressions of Classical serenity and beauty concerto which he would play himself, ‘Classical’ slow movement – probably of line. The unerring poise and flow of the hoping to take it on an even bigger tour now the most admired of all. While Ravel long opening melody seems utterly natural, ‘across five continents’. At about the same had been writing his concertos the tragic so it is astonishing to discover that the time he received a commission from Paul consequences of the Wall Street Crash and composing of it did not ‘flow’ at all but was Wittgenstein, a concert pianist who had lost the resulting worldwide recession started to a laborious process achieved only through his right arm in the war and had set about bite hard. In some quarters the more gritty continual struggle, one bar at a time. As the commissioning an impressive series of left- side of Ravel (represented by the other, left- orchestra joins the piano, harmony and hand concertos. Ravel thus found himself hand concerto among other works) seemed arabesque intertwine and intensify, eventually writing two piano concertos at the same time. more appropriate to the time than the resolving as the opening melody returns present work’s exquisitely crafted diamonds. in the haunting tones of the , Completely contrasting with the often wreathed, as Florent Schmidt wrote, in the brooding and powerful Concerto for the A crack of the whip launches the first piano’s ‘seraphic garlands’. The finale is Ravel, Dutilleux, Delage Left Hand, the Piano Concerto in G major is movement with a perky tune on the piccolo, a helter-skelter ride of fun, fireworks and Recorded at the Barbican in January 2016 bright and sparkling, returning to what was, an idea probably first sketched for Zaspiak- slapstick, with a note of anarchy bubbling up for Ravel, the true meaning of the concerto – Bat, a never-completed piece celebrating in the middle of the piece, and the sound and Sir Simon Rattle conductor not the heroic struggle favoured by the Basque culture (Ravel was half-Basque, banter of the circus very much to the fore. • Romantics, but a in which and visited the region regularly), with the ***** ‘What comes over is Rattle’s love for virtuosity would bring delight, in the spirit piccolo imitating a characteristic three- the music and the orchestra’s wholehearted of Mozart and Saint-Saëns. holed Basque pipe. Ravel’s skill is such response … an outright winner.’ that it seems entirely natural to move BBC Music Magazine Ravel’s plans for a world tour had to from this rural folktune, via spirited and Interval – 20 minutes be scaled down: his own energies were urbane neo-Classicism, to moments of There are bars on all levels. Available to purchase at lsolive.co.uk, beginning to feel in shorter supply, so jazz, whose sounds had fascinated Ravel on iTunes and Amazon.

6 Programme Notes 8 March 2020 Maurice Ravel In Profile 1875–1937 JAZZ AT LINCOLN CENTER ORCHESTRA WITH backward-looking judges of the Prix de Rome for not satisfying the demands of academic counterpoint. In the early 20th WYNTON century, he completed many outstanding works, including the evocative Miroirs for MARSALIS piano, and his first opera,L’heure espagnole.

In 1909, Ravel was invited to write a large- scale work for Diaghilev’s Ballets Russes, completing the score to Daphnis and Chloe three years later. At this time, he also met Stravinsky and first heard the expressionist Saturday 30 May 7.30pm ALSO COMING UP… works of Schoenberg. During World War I, Sunday 31 May 7.30pm lthough born in the rural Basque he enlisted with the motor transport corps, Barbican Saturday 6 June 7.30pm village of Ciboure, Ravel was raised and returned to compos­it­ion slowly after Barbican in Paris. First-rate piano lessons 1918, completing La valse for Diaghilev and JAZZ AT LINCOLN CENTER ORCHESTRA and instruction in harmony and counterpoint beginning work on his second opera, L’enfant GERSHWIN: AN AMERICAN IN PARIS ensured that, in 1889, the boy was accepted et les sortilèges. From 1932 until his death, Wynton Marsalis Symphony No 4, as a preparatory piano student at the Paris he suffered from the progressive effects of ‘The Jungle’ Gershwin Cuban Conservatoire. As a full-time student, Ravel Pick’s disease and was unable to compose. Ives Decoration Day explored a wide variety of new music and His emotional expression is most powerful Plus Big Band classics with the Gershwin ed Watson Piano Concerto forged a close friendship with the Spanish in his imaginative interpretations of the Jazz at Lincoln Center Orchestra Roy Harris Symphony No 3 pianist Ricardo Viñes. Both were introduced unaffected worlds of childhood and animals, Bernstein Three Dance Episodes in 1893 to Emmanuel Chabrier, who Ravel and in exotic tales such as the Greek lovers Sir Simon Rattle conductor from ‘On the Town’ regarded as ‘the most profoundly personal, Daphnis and Chloe. Spain also influenced Jazz at Lincoln Center Orchestra Gershwin An American in Paris the most French of our composers’. Ravel Ravel’s creative personality, his mother’s with Wynton Marsalis also met and was influenced by Erik Satie Basque inheritance strongly reflected in Symphony Orchestra Sir Simon Rattle conductor around this time. In the decade following his a wide variety of works, together with his piano graduation in 1895, Ravel scored a notable liking for the formal elegance of 18th- Produced by the LSO and the Barbican. Part of the hit with the Pavane pour une infante défunte century French art and music. • LSO’s 2019/20 Season and Barbican Presents. Recommended by Classic FM for piano (later orchestrated). Even so, his works were rejected several times by the Profile by Andrew Stewart lso.co.uk/201920

Composer Profile 7 Richard Strauss Death and Transfiguration Op 24 1888–89 / note by Stephen Johnson

e tend to think of the late 19th Given that Strauss was a young man when unmistakable: a sweeping upward glissando century as an era of emotional he wrote Death and Transfiguration – an ending in hush, with only a pianissimo low WILDCARD TICKETS FOR JUST £10 repression – an age when children ambitious young man, moreover, with C sustained in the depths of the orchestra. were to be ‘seen and not heard’ and polite everything to live for – its urgency and Then an aspiring theme heard earlier rises Take a plunge and potentially bag the conversation steered clear of any subject vividness is striking. Significantly, Strauss slowly and majestically, leading to the grand best seats in the house for a fraction that had the remotest connection with sex. makes the unnamed hero of his musical affirmation of the coda – the vision of the of the price. Wildcards still available narrative an ‘idealist’, racked by memories soul’s fulfilment in ‘eternal space’. for concerts in the 2019/20 season. But there were subjects that late of childhood, youthful loves, and worst of all, 19th-century Europeans approached far by the sense that he has failed to fulfil his Nearly 60 years after he wrote Death and Find out more at more readily than we do: death, for instance. ideals. But after death comes ‘transfiguration’, Transfiguration, the elderly Richard Strauss • lso.co.uk/wildcard It is hard to imagine a young artist today in which the soul ‘finds gloriously achieved was to quote this slow-aspiring motif in the following up his or her first big public in eternal space those things which could last of his . A tribute to the success with a work about the experiences not be achieved here below’. power of his youthful vision? It seems so. COMING UP of a dying man. But that’s exactly what the On his deathbed the following year, Strauss 25-year-old Richard Strauss did. Having The musical storyline is easy to follow. told his daughter-in-law: ‘Dying is just as Sunday 5 April 7pm scored a huge hit with his tone poem Don The quietly pulsing rhythms at the opening I composed it in Tod und Verklärung’. • Barbican Juan, he set to work almost immediately suggest the uneven beat of the failing on a successor entitled Tod und Verklärung heart, or the throbbing beat of deathly ST JOHN PASSION (Death and Transfiguration).Don Juan had fever. The hero’s struggles with death can ended with the death of its hero; now, in be heard in the explosive, agitated Allegro James MacMillan St John Passion Death and Transfiguration, Strauss set out that follows. Calmer, sweetly sad music to depict the thoughts and feelings of a clearly represents nostalgic memories of First performed by the LSO under its man struggling with, and finally yielding to, childhood and youth. Then the struggles dedicatee Sir , this dramatic, death. Its first performance in June 1891 was begin again, with the quietly pulsing rhythm large-scale telling of the St John Gospel another triumph for Strauss. For decades, it from the opening now blaring threateningly is acclaimed as ‘a landmark for was to remain one of his most popular works. on . The moment of death is contemporary music’.

Gianandrea Noseda conductor Marcus Farnsworth baritone London Symphony Chorus chorus director

8 Programme Notes 8 March 2020 Maurice Ravel La valse 1919–20 / note by Jeremy Thurlow

he idea of celebrating the giddy marvellous rhythms’, shortly before planning The music begins mysteriously, with • BALLETS RUSSES glamour of the Viennese Waltz a new orchestral work to be called Vienne dancing couples glimpsed through swirling had been in Ravel’s mind for a long (and later Wien, the final title only appearing clouds. Impressionist delicacy gradually The Ballets Russes is widely regarded as the time. The elegance and hedonism of this in 1920). Earlier still, in 1905, Ravel had turns to sumptuousness as the full glory most influential ballet company of the 20th dance was tinged with a hint of danger – attended a grand Ball at the Opéra with of the crowded ballroom is revealed. About century. Based in Paris and active from 1909 the heroines of countless novels are swept a group of friends. Roger Nichols cites a halfway through the music dies down and to 1929, the Ballets Russes reinvigorated the off their feet in the waltz’s powerfully fascinating diary entry from one of these seems to begin again, tracing a similar art of performative dance, and many of its seductive rhythms, and not always by the friends, Ricardo Viñes, thinking back on course as dancers gradually emerge to form dancers went on to found ballet traditions in most honourable of gentlemen. Work on that memorable evening: ‘As always when a brilliant circling throng. But this time their the US and the UK. the piece in 1914 was almost immediately I see young beautiful women, lights, music unstoppable rhythms become increasingly interrupted by the outbreak of war and not and all this activity, I thought of death, menacing, and towards the end the dance resumed until it had ended. of the ephemeral nature of everything, seems to spiral out of control, tearing itself to pieces. Ravel imagined the piece — would be staged as a ballet with the Ballets ‘Through whirling clouds, waltzing couples may be faintly distinguished. Russes, but Diaghilev refused to take it up. La valse has been choreographed numerous The clouds gradually scatter: one sees an immense hall peopled with a times since, but like his Daphnis et Chloé, whirling crowd. The scene is gradually illuminated. The light of the chandeliers Debussy’s Jeux and many of Stravinsky’s bursts forth …’ ballets, it has particularly flourished in the concert hall. • Ravel’s preface to the score —

No doubt the shattering experience of the I imagined balls from past generations war years, in which he lost his beloved who are now nothing but dust, as will be mother as well as countless friends and all the masks I saw, and in a short while!’ colleagues, caused the music to emerge Perhaps these thoughts made an impression differently when he returned to it towards on the composer; they seem to offer an the end of 1919. In fact the underlying idea uncannily apt reading of the dazzling and went back much further even than 1914. unnerving work that Ravel was to complete In 1906 Ravel had written to a friend, ‘you some 15 years later. know my intense feeling for [the waltz’s]

Programme Notes 9 Karina Canellakis conductor

arina Canellakis is the newly Other notable repeat invitations include Figaro with Curtis Opera Theatre, and gave appointed Chief Conductor of the the Orchestre de Paris, Royal Stockholm the world premiere of David Lang’s opera Netherlands Radio Philharmonic Philharmonic, the Houston and Toronto The Loser at the Brooklyn Academy of Orchestra and Principal Guest Conductor Symphony Orchestras and the LA Music. In 2017, Karina led Peter Maxwell of Rundfunk Sinfonieorchester Berlin. Philharmonic for performances at Davies’ final opera The Hogboon with the Internationally acclaimed for her emotionally Walt Disney Concert Hall. Luxembourg Philharmonic. charged performances, technical command and interpretive depth, Canellakis has A sterling 2018/19 season saw Karina conduct Already known to many in the classical conducted many of the top orchestras in the First Night of the Proms in London and music world for her virtuoso violin playing, North America, Europe and Australasia the Nobel Prize Concert in Stockholm. Debuts Karina was initially encouraged to pursue since winning the Sir Conducting included the Orchestre Symphonique de conducting by Sir Simon Rattle, while Award in 2016. Montréal, St Louis Symphony, Melbourne she was playing regularly in the Berlin Symphony, London Philharmonic, Deutsches Philharmonic for two years as a member She makes several notable debuts in Symphonie-orchester Berlin, Dresdner of their Orchester-Akademie. In addition the 2019/20 season, including with the Philharmonic and Oslo Philharmonic. to appearing frequently as a soloist with Philadelphia Orchestra, the symphony She returned to the Swedish Radio various North American orchestras, she orchestras of San Francisco, Atlanta Orchestra, Scottish Chamber Orchestra subsequently played regularly in the Chicago and Minnesota, London Symphony and the symphony orchestras of Cincinnati, Symphony for over three years and appeared Orchestra, Munich Philharmonic and NDR Dallas, Detroit and Milwaukee. on several occasions as Guest Concertmaster Elbphilharmonie Orchestra. With a strong of the Bergen Philharmonic in Norway. She presence at European summer festivals, On the operatic stage, Karina returns this also spent many summers performing at the Karina also makes debut appearances season to the Opernhaus Zürich, where she Marlboro Music Festival. She plays a 1782 at St Denis Festival with the Orchestre will lead a fully staged production of Verdi’s Mantegazza violin on generous loan from a Philharmonique du Radio France and Requiem. Last season, she conducted critically private patron. Edinburgh International Festival with acclaimed performances of Mozart’s Don the BBC Scottish Symphony, and returns Giovanni with the Curtis Opera Theatre at Karina Canellakis previously served as to Bregent Festival with the Wiener the Kimmel Center in Philadelphia. She has Assistant Conductor of the Dallas Symphony Symphoniker, with a programme featuring also conducted Mozart’s Die Zauberflöte Orchestra. She is a graduate of the Curtis the third act of Wagner’s Siegfried. with Opernhaus Zurich and Le nozze di Institute of Music and the . •

10 Artist Biographies 8 March 2020 Cédric Tiberghien piano

édric Tiberghien is a French Bernard Foccroulle, setting a text by Martin Philharmonic and François-Xavier Roth), pianist who has established a truly Crimp. Cédric collaborated on this project Brahms’ Concerto No 1 (BBC Symphony international career. He has been with soprano Julia Bullock, and further and Jiří Bělohlávek) and many recital discs particularly applauded for his versatility, as engagements have included New York, on Harmonia Mundi, including repertoire demonstrated by his wide-ranging repertoire, Moscow, London and Brussels. by Bach, Beethoven, Brahms and Debussy. interesting programming, an openness to Cédric has been awarded five Diapason d’Or explore innovative concert formats and his Last season, Cédric made his debut with for his solo and duo recordings on Hyperion. dynamic chamber-music partnerships. the Berlin Philharmonic, San Francisco Symphony, Deutsche Symphonie-Orchester He is a dedicated chamber musician, with Concerto appearances this season include Berlin and NDR Elbphilharmonie Orchestra. regular partners including violinist Alina with the London and Houston Symphony Other recent collaborations have included Ibragimova, violist Antoine Tamestit Orchestras, as well as performances of appearances with the Boston Symphony, and baritone Stéphane Degout. Cédric’s Messiaen’s Turangalîla with the Orchestre Cleveland, Czech Philharmonic, BBC passion for is reflected in de Paris. Cédric has a very strong relationship Scottish Symphony and Tokyo Philharmonic numerous recordings: his discography with with Wigmore Hall in London. In addition Orchestras, and at the BBC Proms with Les Alina includes complete cycles of music to several chamber projects, he will be Siècles. His conductor collaborators include by Schubert, Szymanowski and Mozart performing a complete Beethoven Variation Karina Canellakis, Nicholas Collon, Stéphane (Hyperion) and a Beethoven Sonata cycle cycle there over the next two seasons. Other Denève, Edward Gardner, Enrique Mazzola, (Wigmore Live). • solo recitals include at the Philharmonie Ludovic Morlot, Matthias Pintscher, Halls in both Paris and Berlin, and he will François-Xavier Roth and Simone Young. join violinist Alina Ibragimova and the Doric Quartet for a chamber project that will tour Cédric recently presented a major focus to Vienna, Hamburg, London, Amsterdam on the music of Bartók, culminating in and Paris. In Spring 2019, the Théâtre des a three-volume exploration of his solo Bouffes du Nord (Paris) presented the piano works for the Hyperion label, which premiere of Zauberland (Magic Land). has received huge critical acclaim. His In this music-theatre project staged by solo discography also includes Chopin, Katie Mitchell, Schumann’s Dichterliebe is Liszt, Szymanowksi, Franck’s Symphonic performed alongside a new work by organist Variations and Les Djinns (Liège Royal

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Violins Horns LSO String Experience Scheme Carmine Lauri David Alberman David Pia Gareth Davies Jose Jover Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Imogen Royce Angela Barnes Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Clare Findlater Anna Douglass Percussion from the London music conservatoires at Clare Duckworth Naoko Keatley Noel Bradshaw Flora Bain Neil Percy the start of their professional careers to gain Ginette Decuyper Alix Lagasse Eve-Marie Caravassilis Piccolo John Davy David Jackson work experience by playing in rehearsals Laura Dixon Csilla Pogany Daniel Gardner Sharon Williams Sam Walton and concerts with the LSO. The musicians Gerald Gregory Belinda McFarlane Hilary Jones Tom Edwards are treated as professional ‘extra’ players Maxine Kwok Iwona Muszynska Laure Le Dantec Philip Cobb Oliver Yates (additional to LSO members) and receive fees William Melvin Andrew Pollock Amanda Truelove Juliana Koch Robin Totterdell Rachel Gledhill for their work in line with LSO section players. Laurent Quenelle Paul Robson Peteris Sokolovskis Rosie Jenkins Christopher Evans Peter Fleckenstein Harriet Rayfield Grace Lee Paul Mayes The Scheme is supported by: Colin Renwick Mariam Nahapetyan Double Basses Cor Anglais Harps The Polonsky Foundation Rhys Watkins Hazel Mulligan David Desimpelaere Christine Pendrill Trombones Bryn Lewis Derek Hill Foundation Morane Patrycja Mynarska Colin Paris Simon Johnson Helen Tunstall Barbara Whatmore Charitable Trust Cohen-Lamberger Patrick Laurence James Maynard Thistle Trust Lulu Fuller Matthew Gibson Christelle Pochet Celeste Idlewild Trust Alexandra Lomeiko Rachel Roberts Thomas Goodman Chi-Yu Mo Trombone Elizabeth Burley Lyrit Milgram Malcolm Johnston Joe Melvin Andrew Harper Paul Milner Taking part in rehearsals for tonight were: Hilary Jane Parker Anna Bastow José Moreira Ben Aldren Organ Preston Yeo Stephen Doman Louis van der Mespel Stephen Farr Mabon Rhyd Julia O’Riordan Bass Ben Thomson Carol Ella Irene Marraccini Robert Turner Philip Hall Editorial Photography Peter Mallinson Jonathan Davies Ranald Mackechnie, Chris Wahlberg, Felicity Matthews Joost Bosdijk Harald Hoffmann, Marco Borggreve Alistair Scahill Dominic Tyler Print Cantate 020 3651 1690 Heather Wallington Advertising Cabbells Ltd 020 3603 7937 Contra Dominic Morgan Details in this publication were correct at time of going to press.

12 The Orchestra 8 March 2020