sign in sign up
<<
Home , Berlin Philharmonic, Camilla Tilling, Gustavo Dudamel, James Levine, London Symphony Chorus, Toby Spence

Sunday 20 May 2018 7–8.30pm Barbican Hall

LSO SEASON CONCERT

Beethoven Missa Solemnis MISSA No interval Michael Tilson Thomas conductor soprano Sasha Cooke mezzo-soprano Toby Spence bass-baritone London Chorus chorus director SOLEMNIS Gavin Carr guest chorus director London Symphony

Recorded for broadcast on Wednesday 23 May by BBC Radio 3

Welcome LSO News Online

and Luca Pisaroni and Sasha Cooke, both ‘THIS IS RATTLE’ WINS RPS AWARD LIVE STREAMS making their LSO debuts this evening. The LSO has been awarded the Royal Our concert on Sunday 24 June 2018 will Many thanks to our media partners, Philharmonic Society’s Music Award in the be streamed live for free on Medici.tv, as the BBC Radio 3, who are recording this Concert Series and Festivals category for LSO’s Principal Guest Conductor Gianandrea performance for broadcast on September’s ‘This is Rattle’ celebrations – Noseda conducts Shostakovich's Symphony Wednesday 23 May. ten days of concerts, films, exhibitions, No 10 live from the Barbican Hall. It will and performances by our community and also be broadcast live on the LSO’s YouTube I hope you enjoy the concert and that you education groups, to welcome Sir Simon channel: youtube.com/lso can join us again soon. We explore more Rattle as of the LSO. Visit Beethoven at our penultimate concert of royalphilharmonicsociety.org.uk to find A warm welcome to tonight’s LSO concert the season on Sunday 3 June as Yefim out more and view the full list of winners. PANUFNIK COMMISSIONS ANNOUNCED at the Barbican. This evening we are Bronfman performs Beethoven’s Third delighted to be joined by Michael Tilson Concerto, conducted by Principal Every year since 2009, the LSO Panufnik Thomas, the LSO’s Conductor Laureate, Guest Conductor Gianandrea Noseda, BMW CLASSICS IN TRAFALGAR SQUARE Composers Scheme has commissioned two for the second of two concerts at the alongside Ravel’s Rhapsodie espagnole of its six participating composers to create Barbican this season. and Mussorgsky’s Pictures at an Exhibition. The LSO and Sir will perform short works for performance in the LSO’s a free open-air concert in Trafalgar Square on main Barbican season. We are delighted to Following an all-Sibelius programme earlier Sunday 1 July, alongside 50 young musicians announce that James Hoyle and Sophya in the week, we now join forces with the from the LSO On Track programme and Polevaya receive five- and ten-minute London Symphony Chorus for the majestic musicians from the Guildhall School. commissions respectively. Their pieces will creation to which Beethoven dedicated four The concert is free, no ticket required; be performed in the LSO’s 2019/20 season. years of his life – the Missa Solemnis. This Kathryn McDowell CBE DL visit lso.co.uk/bmwclassics for details. Visit lso.co.uk/news for more information. is a work with which MTT has a great affinity Managing Director and has conducted many times over the course of his career. WELCOME TO TONIGHT’S GROUPS

We are also pleased to welcome an We are delighted to welcome: Read our news, watch videos and more impressive cast of soloists: familiar faces Wheaton College, Adele Friedland & Friends, • lso.co.uk/news Camilla Tilling and Toby Spence, who join us BYU London Centre, The Grand Tour, and • youtube.com/lso once more following performances with the the Gerrards Cross Community Association. • lso.co.uk/blog LSO at the Barbican in recent seasons;

2 Welcome 20 May 2018 Tonight’s Concert / by Lindsay Kemp Coming Up

Missa Solemnis is a Mass written That’s a lot for one well-worn liturgical Sunday 3 June 2018 7pm Thursday 5 July 2018 7.30pm for a ceremonial occasion, and text to address, but Beethoven here proves Barbican Hall Barbican Hall Beethoven had one in mind himself the composer who above all can be when he began work on the second of his counted on to rise to the task. PICTURES AT AN EXHIBITION LSO ON TRACK AT 10 two settings of the Mass, intended for the enthronement of his friend Archduke Ravel Rhapsodie espagnole Short Ride in a Fast Machine Rudolph as Archbishop of Olmütz. PROGRAMME NOTE WRITERS Beethoven No 3 Kirsty Devaney Urban Nature (world premiere) It soon got too big for that, however, Mussorgsky arr Ravel Beethoven Finale from Symphony No 7 and was not completed in time, but in the Lindsay Kemp is a senior producer for Pictures at an Exhibition Márquez Danzón No 2 end became a huge concert Mass with a BBC Radio 3, including programming James Moriarty Beat Goes On (world premiere) relevance and message that reached far Lunchtime Concerts from LSO St Luke’s, Gianandrea Noseda conductor Howard Moody beyond one day in 1820. Beethoven ended Artistic Director of the Baroque at the Edge piano Chaconne for Sydney Moxon (world premiere) up taking four years to write it, and came festival, and a regular contributor to see it as perhaps his greatest creation, to Gramophone magazine. Recommended by Classic FM Elim Chan conductor a worthy descendant of the great choral Howard Moody conductor works of Handel and Haydn. Andrew Stewart is a freelance music Rachel Leach presenter journalist and writer. He is the author Sunday 24 June 2018 7pm LSO On Track Young Musicians Yet this is more than just a giant statement of The LSO at 90, and contributes to Barbican Hall East London Secondary School of technique; it is a masterpiece in which a wide variety of specialist classical young musicians Beethoven examined those areas of faith music publications. NOSEDA'S SHOSTAKOVICH Guildhall School Musicians that mattered to him most, producing (in the words of tonight’s conductor) a ‘spiritual Shostakovich Concerto No 1 Recommended by Classic FM guidebook’ in which, ‘as in a cathedral, Shostakovich Symphony No 10 different chapels are dedicated to different Elim Chan's appearance with the LSO spiritual territories. Some are majestic, Gianandrea Noseda conductor is generously supported by Reignwood some intimate, some symphonic or even Nicola Benedetti violin operatic.’ Not only that; Michael Tilson LSO On Track is a partnership between the LSO and Barking & Dagenham Community Music Service; Bird College; Thomas also maintains that Beethoven Generously supported by Reignwood Royal Greenwich Music Hub; Hackney Music Service; found in it an opportunity ‘to explore and Havering Music School; Lewisham Music Service; Newham reflect on the nature of time itself, on the Music; Redbridge Music Service; Tower Hamlets Arts and contrast between the fleeting time of Music Education Service; and Waltham Forest Music Service. human life and the vastness of divine time’.

Tonight’s Concert 3 Missa Solemnis Op 123 1819–23 / note by Lindsay Kemp

1 Kyrie The first, composed in 1807, was a of Olmütz in Moravia (now Olomouc in the took a further three years to finish it, 2 Gloria commission from Prince Nikolaus Esterházy II Czech Republic). The inspiration was thus during which time he not only worked on 3 Credo for a work to continue the series of new a personal as well as religious one, and there completing the symphony and the variations, 4 Sanctus Masses that annually celebrated the name- are signs that the composer was genuinely but also composed the not insubstantial 5 Agnus Dei day of the Prince’s wife, a task that had excited by the thought of producing a Mass music of the last three piano sonatas. been carried out on six previous occasions on a scale worthy of a great cathedral space. The first complete performance took place e think of Beethoven so much by Haydn, with joyous results. ‘The day in which a High Mass composed by in April 1824 in St Petersburg, organised by as an artist with a rare ability Beethoven’s Russian patron Prince Nikolai to celebrate the strength and — Galitzin, but although three movements nobility of the human spirit that it is easy ‘The day in which a High Mass composed by me will be performed from it were heard a month later in a concert to forget he was a religious man. Raised in in Vienna at which the main attraction was an atmosphere of Enlightenment-influenced, during the ceremonies solemnised for Your Imperial Highness will the premiere of the Ninth Symphony, it was tolerant Catholicism, he was a firm believer, be the most glorious day of my life.’ never performed complete in that city while though one with little time for organised — Beethoven was alive. religious observance. For Beethoven, the Creator was the omnipotent but benevolent Ludwig van Beethoven, writing to Archduke Rudolph If this protracted genesis suggests that figure described in Schiller’s words in the Beethoven’s interest in the Missa Solemnis finale of the Ninth Symphony – ‘above the Beethoven’s surprisingly restrained effort me will be performed during the ceremonies meandered once the initial impulse had canopy of the stars there must dwell a dear was not liked (‘but my dear Beethoven, what solemnised for Your Imperial Highness will passed, that is certainly not borne out by Father’ – and when he prayed to this God it is this you have done now?’ was the Prince’s be the most glorious day of my life’, he wrote the music. This is a work on a monumental was on a one-to-one basis, with no need for recorded response), and indeed the Mass in to Rudolph in June 1819, two months after scale, even for a composer who had already the intermediary of the church. C major has never been a popular work. Yet he had begun work on it; ‘God will enlighten significantly extended the temporal whatever reasons Beethoven may have had me so that my poor talents may contribute dimensions of the symphony, the sonata Beethoven, then, had little contact with for making it the way it was, no one listening to the glorification of that solemn day’. and the string quartet. Beethoven’s the liturgy, either as a worshipper or (with to it would doubt that it was a typically influences included Handel and to a certain the exception of his early years deputising personal treatment of the text. Whether or not Beethoven actually received extent Renaissance polyphony, but his most at the organ in services at the Bonn court) a commission for the piece is unclear, but in immediate models were the Masses of as a musician. The exceptions were his two The second Mass, the Missa Solemnis, any case he failed to present it in time for Haydn and Hummel. The Missa Solemnis is settings of the Mass, both of which came was also the result of a special occasion, the big day on 9 March 1820, despite setting twice as long as those, however, rendering about as a result of specific circumstances in this case the enthronement in 1820 aside work on the Ninth Symphony and the it practically unusable in the context of an not directly related to normal church usage. of Beethoven’s dear friend, patron and ‘Diabelli’ Variations for piano. And, having actual church service, yet it is a work pupil Archduke Rudolph as Archbishop missed that absolute deadline, he then whose intensity never flags, and which on

4 Programme Notes 20 May 2018 its own terms is just as long as it needs to GLORIA high at ‘ex Maria virgine’ (and presumably AGNUS DEI be. Whatever the composer’s original hopes representing the Holy Spirit) is an especially for it, it is the result of a process in which The Gloria changes the mood in an instant memorable moment. Elsewhere he The Agnus Dei is perhaps the most vision, technique and creative mission with an opening burst immediately establishes unity by making repeated returns individual movement in the Missa Solemnis, have overwhelmed function to produce reminiscent of the finale of the Ninth to the word ‘Credo’ (where the Mass text has and the most transcendental. After an a wide-reaching yet at the same time Symphony. This brilliant energy remains just ‘et’) and its associated musical motif. opening of low-lying funereal darkness, compelling exposition of personal theology. the dominant driving force of the Another great fugue takes over towards the fearful pleas make their way upwards, It was also a work that Beethoven was movement, notwithstanding contrasts end, but the movement closes in calm, as rising in fervour as they go. At last they happy to identify as his greatest. along the way, from passing highlightings scales disappear gently upwards like heavenly reach the sun with a switch to the major of certain phrases to more lingering hosts quitting the scene one-by-one. as fearful cries for mercy turn to warm KYRIE distractions such as ‘the lilting ‘Gratias submissions for peace. This is music of agimus tibi’, the supplicatory ‘Qui tollis SANCTUS noble celebration, in places related in sound One reason for the expansiveness of the peccata mundi’ and the assertive re-start to the Ninth Symphony and in spirit to the Missa Solemnis is its composer’s evident that is the ‘Quoniam tu solus Sanctus’. Composers have often presented the rolling, joyful relief of the finale of the Sixth. involvement in, and reaction to, the words. Eventually, and with thrilling inevitability, opening words of the Sanctus in majestic Nothing is that simple, however: a modest As often with Beethoven, the construction a lengthy, leonine fugue articulates the splendour, but Beethoven takes a different but sublime four-bar setting of ‘dona nobis of the piece is outwardly conventional in words ‘In Gloria Dei patris’, before breaking course, with a quietly solemn prelude pacem’ brings shattering beauty each time overall shape and layout while inwardly into what Denis Matthews neatly described initiated by winds and lower strings. Only it reappears in a new context, and progress revolutionary and intensely individual, fired as ‘a lively antiphony of Amens’. The at the second phrase, the fugally set ‘pleni is halted at one stage by an intrusion of by those details in the text that appealed movement ends not here, however, but sunt coeli’ does the excitement break forth warlike threats from brass and timpani that to his imagination. The most normal of its in an uncontainable final rush of adoration. like a revelation. After a bustling Osanna spread alarm through the voices. Although five movements is the Kyrie, a model of comes one of the most heavenly sections order appears to be quickly restored, stability and balance. Beethoven treats it CREDO of the entire Mass, as, after another distant timpani rattles near the end ensure as an approach before God made in quiet antique-flavoured orchestral prelude, a high- that their warning is not forgotten. Thus confidence of ultimate salvation, with outer The Credo is similarly grand in scale and lying violin solo weaves its way serenely Beethoven, who himself knew a time of panels of firmly but gently placed ‘Kyrie’s scope. It is a wordy, somewhat doctrinal through the tender lilting and chanting of war, offers comfort while at the same time enclosing a calmly running central section text, and Beethoven was not the first the Benedictus, like another visit from the cautioning against complacency. It is a vital for ‘Christe eleison’. composer to find greatest inspiration in Holy Spirit. After that, a new Osanna (rather message for any age. • the central portion dealing with Christ’s than the traditional repeat of the first) incarnation, crucifixion and resurrection, emerges to close the movement. which he depicts with great resource and imagination: the flute that hovers on

Programme Notes 5 Ludwig van Beethoven Missa Solemnis / Texts

1 Kyrie 3 Credo

Kyrie eleison. Lord, have mercy on us. Credo in unum Deum. I believe in one God, Christe eleison. Christ, have mercy on us. Patrem omnipotentem, the Father almighty, Kyrie eleison. Lord, have mercy on us. factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible. Credo et in unum Dominum Jesum Christum, I believe (And) in one Lord Jesus Christ, 2 Gloria Filium Dei unigenitum. the only begotten Son of God, Et ex Patre natum ante omnia saecula. born of the Father before all ages; Gloria in excelsis Deo. Glory to God in the highest, Deum de Deo, lumen de lumine, God of God, light of light, Et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will. Deum verum de Deo vero. true God of true God, Laudamus te, We praise Thee, Genitum, non factum, consubstantianem begotten not made; consubstantial with the Benedicimus te, we bless Thee, Patri: per guem omnia facta sunt. Father, by Whom all things were made. Adoramus te, we adore Thee, Qui propter nos homines et propter nostram Who for us men, and for our salvation, Glonficamus te. we glorify Thee. salutem descendit de coelis. came down from heaven; and was incarnate. Gratias agimus tibi propter magnam We give Thee thanks for gloriam tuam. Thy great glory. Et incarnatus est de Spiritu Sancto He was incarnate by the Holy Ghost Domine Deus, Rex coelestis, 0 Lord God, heavenly King, ex Maria Virgine. born of the Virgin Mary, Deus Pater omnipotens. God the Father almighty. Et homo factus est. and was made man. Domine Fili unigenite, Jesu Christe, 0 Lord Jesus Christ, the only begotten Son! Crucifixus etiam pro nobis sub Pontio Pilato He was crucified also for us under Pontius Domine Deus, Agnus Dei, Filius Patris. 0 Lord God, Lamb of God, Son of the Father, passus, et sepultus est. Pilate; he suffered and was buried. Qui tollis peccata mundi, Who takest away the sins of the world, miserere nobis. have mercy upon us. Et resurrexit tertia die And he rose again on the third day Qui tollis peccata mundi, Who takest away the sins of the world, secundum Scripturas. according to the Scriptures: suscipe deprecationem nostram. receive our prayer. Et ascendit in coelum: And ascended into heaven, Qui sedes ad dexteram Patris, Who sittest at the right hand of the Father, sedet ad dexteram Patris. and sits on the right hand of the Father: miserere nobis. have mercy upon us. Et iterum venturus est cum gloria, And the same shall come again, with glory, Quoniam to solus Sanctus, For Thou only art holy. judicare vivos et mortuos: to judge the living and the dead: tu solus Dominus, tu solus Altissimus, Thou only art Lord. Thou only, 0 Jesus Christ, cujus regni non erit finis. Of whose kingdom there shall be no end. Jesu Christe. Cum Sancto Spiritu, art most high, together with the Holy Ghost, in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

6 Texts 20 May 2018 Credo in Spiritum Sanctum, Dominum, And I believe in the Holy Spirit, the Lord 5 Agnus Dei et vivificantem: and life-giver, qui ex Patre Filioque procedit. who proceeds from the Father and the Son. Agnus Dei, Lamb of God, Qui cum Patre et Filio simul Who, with the Father and the Son, together qui tollis peccata mundi: who takes away the sins of the world, adoratur et conglorificatur: is worshipped and glorified, miserere nobis. have mercy upon us. qui locutus est per Prophetas. who has spoken through the prophets. Agnus Dei: Lamb of God, Credo in unam sanctam catholicam And I believe in one, holy, catholic, qui tollis peccata mundi: who takes away the sins of the world, et apostolicam Ecclesiam. and apostolic Church, miserere nobis. have mercy upon us. Confiteor unum baptisma, in remissionem I confess one baptism for the remission Agnus Dei: Lamb of God, peccatorum. of sins. qui tollis peccata mundi: who takes away the sins of the world, Et expecto resurrectionem mortuorum And I await the resurrection of the dead Dona nobis pacem grant us peace. Et vitam venturi saeculi. Amen. and the life of the coming age. Amen.

4 Sanctus

Sanctus, Sanctus, Sanctus Holy, Holy, Holy Dominus, Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is he who comes in the in nomine Domini. name of the Lord. Osanna in excelsis. Hosanna in the highest.

Texts 7 Ludwig van Beethoven in Profile 1770–1827 / by Andrew Stewart

eethoven showed early musical His public performances in 1795 were well • BEETHOVEN ON LSO LIVE promise and the boy received, and he shrewdly negotiated a attracted the support of the contract with Artaria & Co, the largest Prince-Archbishop Maximilian Franz, music publisher in Vienna. He was soon who supported his studies with leading able to devote his time to composition or musicians at the Bonn court. By the the performance of his own works. In 1800 early 1780s Beethoven had completed Beethoven began to complain bitterly of his first compositions, all of which were deafness, but despite suffering the distress for keyboard. With the decline of his and pain of tinnitus, chronic stomach alcoholic father, Ludwig became the family ailments, liver problems and an embittered breadwinner as a musician at court. legal case for the guardianship of his nephew, — ‘Music is indeed the mediator between the spiritual and sensual life.’ — Ludwig van Beethoven Beethoven Symphony No 9, ‘Choral’

Encouraged by the Prince-Archbishop, he created a series of remarkable new works, conductor Beethoven travelled to Vienna to study including the Missa Solemnis and his late Twyla Robinson soprano with Joseph Haydn. He fell out with his , string quartets and piano Karen Cargill mezzo-soprano renowned mentor when the latter sonatas. It is thought that around 10,000 John Mac Master tenor discovered Beethoven was people followed his funeral procession on Gerald Finley baritone secretly taking lessons from 29 March 1827. Certainly, his posthumous London Symphony Chorus several other teachers. reputation developed to influence successive London Symphony Orchestra Although Maximilian Franz generations of composers and other withdrew payments for artists inspired by the heroic aspects of Available to buy from Amazon and to Beethoven’s Viennese Beethoven’s character and the profound stream on Spotify and Apple Music education, the talented humanity of his music. • musician had already attracted lsolive.co.uk support from some of the city’s wealthiest arts patrons.

8 Composer Profile 20 May 2018 with Michael Tilson Thomas in 2018/19

Beethoven Violin Concerto with violin Thursday 30 May 2019

Beethoven Piano Concerto No 5 with piano Sunday 2 June 2019

lso.co.uk/201819season 020 7638 8891 Michael Tilson Thomas conductor

ichael Tilson Thomas is Music mid-concert. He was later appointed worldwide. In 1991 Tilson Thomas and the Director of the San Francisco Principal Guest Conductor of the Boston orchestra appeared in a series of benefit Symphony, Founder and Artistic Symphony Orchestra where he remained concerts for UNICEF in the United States, Director of the New World Symphony until 1974. He was Music Director of the featuring Audrey Hepburn as narrator of and Conductor Laureate of the London Buffalo Philharmonic from 1971 to 1979 and a From the Diary of Anne Frank, composed Symphony Orchestra. Born in Los Angeles, Principal Guest Conductor of the Los Angeles by Tilson Thomas and commissioned by he is the third generation of his family to Philharmonic from 1981 to 1985. His guest UNICEF. This piece has since been translated follow an artistic career. His grandparents, includes appearances with the and performed in many languages worldwide. Boris and Bessie Thomashefsky, were major of Europe and the United founding members of the Yiddish Theater States. His recorded repertoire of more than As Principal Conductor of the London in America. His father, Ted Thomas, was a 120 discs includes works by Bach, Beethoven, Symphony Orchestra from 1988 to 1995, producer in the Mercury Theater Company Mahler, Prokofiev and Stravinsky, as well Tilson Thomas led the Orchestra regularly in New York before moving to Los Angeles as his pioneering work with the music of on tours in Europe, the United States and where he worked in films and television. Charles Ives, Carl Ruggles, Steve Reich, Japan, as well as at the . His mother, Roberta Thomas, was the head John Cage, Ingolf Dahl, Morton Feldman, In London he and the LSO have mounted of research for Columbia Pictures. George Gershwin, John McLaughlin and major festivals focusing on the music of Elvis Costello. He recently finished recording Steve Reich, George Gershwin, Johannes Tilson Thomas began his formal studies the complete orchestral works of Gustav Brahms, Tōru Takemitsu, Nikolai Rimsky- at the University of Southern California. Mahler with the . Korsakov and the School of St Petersburg, At the age of 19 he was named Music Claude Debussy and . Director of the Young Musicians Foundation Tilson Thomas’ television work includes a As the LSO’s Conductor Laureate, he Debut Orchestra and worked with Stravinsky, series with the London Symphony Orchestra continues to lead the Orchestra in Boulez, Stockhausen and Copland on for the BBC, television broadcasts of the concerts in London and on tour. premieres of their compositions at ’s Young People’s Los Angeles’ Monday Evening Concerts. Concerts from 1971 to 1977, and numerous Tilson Thomas is a Chevalier dans l’ordre In 1969, after winning the Koussevitzky Prize productions on PBS Great Performances. des Arts et des Lettres of France and at , he was appointed Assistant has won eleven Grammy Awards for his Conductor of the Boston Symphony In February 1988 he inaugurated the New recordings. In 2010, President Obama Orchestra. That year he also made his World Symphony, an orchestral academy for awarded him with the National Medal of New York debut with the Boston Symphony graduates of prestigious music programmes. Arts, the highest award given to artists by and gained international recognition after New World Symphony graduates have the United States Government. • replacing Music Director gone on to major positions in orchestras

10 Artist Biographies 20 May 2018 Camilla Tilling soprano Sasha Cooke mezzo soprano

State Opera and as Susanna. In 2017 Sasha Cooke premiered the role of Camilla Tilling has also enjoyed success as Lauren Jobs in Mason Bates’ The (R)evolution the Governess (Britten’s The Turn of the of Steve Jobs at Santa Fe Opera and the Screw) at Glyndebourne Festival Opera, title role in Nico Muhly’s Marnie at English Donna Clara (Zemlinsky’s Der Zwerg) at National Opera. the , and Mélisande (Debussy’s Pelléas et Mélisande) at Madrid’s Sasha Cooke’s past seasons have included Teatro Real, at Semperoper Dresden and performances with conductors such as with the . , Bernard Haitink, , Sir Mark Elder, , Camilla Tilling is a regular guest with many Edo de Waart and . Previous of the world’s leading orchestras. Recent concert engagements have taken her to concert highlights include Dutilleux’s the Chicago Symphony Orchestra, Seattle Correspondances with the Los Angeles Symphony, Hong Kong Philharmonic, New Philharmonic under Esa-Pekka Salonen, Zealand Symphony, Melbourne Symphony, amilla Tilling’s career has now Bach’s St Matthew Passion with the rammy Award-winning mezzo- Tokyo Symphony, Orchestre National de spanned two decades, and has Philharmonic and Sir Simon Rattle, and soprano Sasha Cooke has been Lyon, Shanghai Symphony Orchestra and seen performances on the world’s Bach’s with the Vienna called a ‘luminous standout’ (New Singapore Symphony Orchestra. She has major opera, concert and recital stages. Symphony Orchestra under . York Times). Cooke is a renowned interpreter performed with opera companies including A successful debut at the Royal Opera House of Mahler, whose works she has sung to the , Opéra National as Sophie (Strauss’ ) Highlights of this season have included great acclaim on four different continents. de Bordeaux, , Dallas was the start of an ongoing relationship, Mahler’s Symphony No 8 with Orchestre In the 2017/18 season, her engagements take Opera, Seattle Opera, Houston Grand Opera which has seen her return to London as symphonique de Montréal and Kent Nagano, her to such exciting venues as and the Israeli Opera. Pamina (Mozart’s ), Dorinda Grieg’s Peer Gynt with the Boston Symphony (New York), Auditorio Nacional de Música (Handel’s ) and most recently as Orchestra and Ken-David Masur, and (Madrid), Elbphilharmonie (Hamburg) and On DVD, she can be seen in a new production Susanna (Mozart’s The Marriage of Figaro). Mozart’s Mass in C minor with the Orchestra the Royal Concertgebouw (Amsterdam). She of Hansel and Gretel at the Metropolitan She has appeared at The Metropolitan Opera of St Luke’s and Pablo Heras-Casado. makes appearances with the San Francisco Opera and the Grammy Award-winning as both Zerlina (Mozart’s ) Among Camilla Tilling’s many recordings are Symphony, Melbourne Symphony, Deutsches production of John Adams’ Doctor Atomic and Nannetta (Verdi’s ), at Opéra three recital discs with Paul Rivinius and an Symphonie-Orchester Berlin, Netherlands under conductor Alan Gilbert. Sasha Cooke’s national de Paris and Teatro alla Scala as Ilia acclaimed collection of Gluck and Mozart Radio Philharmonic Orchestra, Reykjavik recordings can be found on the Hyperion, (Mozart’s ), and at San Francisco Arias with Musica Saeculorum and Philipp Arts Festival, Tokyo Symphony, Dallas Naxos, Bridge Records, Yarlung, GPR Opera, Aix-en-Provence Festival, Bavarian von Steinaecker, all on the BIS label. • Symphony, The English Concert and more. Records, and Sono Luminus labels. •

Artist Biographies 11 Toby Spence tenor Luca Pisaroni bass-baritone

Dudamel; and at the Osterfestspiele at the Konzerthaus Wien and with the Salzburg and Edinburgh International Luxembourg Philharmonie, and Handel’s Festival under and Rinaldo on tour with The English Concert . under the baton of Harry Bicket.

A prolific recitalist, Toby has given Previous operatic roles include Mozart’s numerous solo recitals for BBC Radio 3 and The Marriage of Figaro at Opéra National at London’s Wigmore Hall, and has appeared de Paris, San Francisco Opera, and at at LSO St Luke’s, Opera de Lille, Northern the Bavarian State Opera; and Leporello Ireland Opera’s Festival of Voice, Janáček’s in Don Giovanni at Teatro alla Scala, the Brno International Music Festival and Metropolitan Opera and Salzburg Festival Aldeburgh Festival. He has made numerous with the Boston Symphony under James recordings for , Levine. In concert, Pisaroni has also been a Decca, BMG, Philips, Collins, Linn Records, soloist in Beethoven’s Symphony No 9 with Hyperion and EMI. Jaap van Zweden; and Mozart’s n honours graduate and choral ince his debut at the age of 26 with Gustavo Dudamel and the Los Angeles scholar from New College, Engagements this season have included with the at Philharmonic. In addition to his extensive Oxford, Toby Spence studied at Anatol in Barber’s Vanessa for Frankfurt the Salzburg Festival, Italian bass- opera and concert appearances, Pisaroni has the Opera School of the Guildhall School Opera; Bruckner’s F minor Mass with the baritone Luca Pisaroni has continued to bring presented recitals at Carnegie Hall, Wigmore of Music and Drama. He was the winner of Sinfonieorchester Basel; Mahler's Das Lied his compelling artistry to the world’s leading Hall, the Concertgebouw, Edinburgh Festival, the Royal Philharmonic Society 2011 Singer von der Erde with the Orchestra of the Age opera houses, concert halls and festivals. Vienna’s Musikverein and the Dortmund of the Year award. of Enlightenment; Liszt’s Faust Symphony Konzerthaus, among others. with the Mozarteum Orchester Salzburg; Pisaroni began the 2017/18 season as In concert Toby has sung with the Cleveland Haydn’s The Seasons with the Philharmonie Mahomet II in Rossini’s Le Siège de Corinthe Luca Pisaroni has recorded for all major labels. Orchestra under Christoph von Dohnányi; de Paris; Handel’s at the Royal Albert in his first performances at the Rossini His most recent release is the title role in The the and the Vienna Hall; Gandhi in ’ Satyagraha at Opera Festival, followed by role debuts as Marriage of Figaro with the Chamber Orchestra Philharmonic under Sir Simon Rattle; the ; Messiah, Beethoven’s Golaud in Debussy’s Pelléas et Mélisande of Europe under Yannick Nézet-Séguin. Accademia Nazionale di Santa Cecilia under Choral Fantasy and Haydn’s ‘Nelson’ Mass at the Opera de Paris and Mustafà in ; Rotterdam Philharmonic with the Bournemouth Symphony Orchestra Rossini’s The Italian Girl in Algiers at the Luca Pisaroni lives in Vienna with his wife, under ; London Philharmonic in Mumbai; and Captain Vere in Britten’s Wiener Staatsoper. This season, Pisaroni’s Catherine. Their golden retriever Lenny 2.0 Orchestra under Yannick Nézet-Séguin; for Opera di Roma. • international concert appearances have and miniature dachshund Tristan are the Los Angeles Philharmonic under Gustavo included Rossini’s Petite Messe Solennelle singer’s constant travelling companions.

12 Artist Biographies 20 May 2018 Simon Halsey chorus director

imon Halsey holds positions across four honorary doctorates from universities Born in London, Simon Halsey sang in the the UK and Europe as Choral Director in the UK, and in 2011 Schott Music published of New College, Oxford, and of King’s of the London Symphony Orchestra his book and DVD on choral conducting, College, Cambridge, and studied conducting and Chorus; Chorus Director of the City of Chorleitung: Vom Konzept zum Konzert. at the Royal College of Music in London. In Birmingham Symphony Orchestra Chorus; 1987, he founded the City of Birmingham Artistic Director of Orfeó Català Choirs Halsey has worked on nearly 80 recording Touring Opera with Graham Vick. He was and Artistic Adviser of Palau de la Música, projects, many of which have won major Chief Conductor of the Netherlands Radio Barcelona; Artistic Director of Berliner awards, including the Gramophone Award, from 1997 to 2008 and Principal Philharmoniker Youth Choral Programme; Diapason d’Or, Echo Klassik, and three Conductor of the Northern Sinfonia’s Choral Director of the BBC Proms Youth Choir; Artistic Grammy Awards with the Rundfunkchor Programme from 2004 to 2012. From 2001 Advisor of Schleswig-Holstein Musik Festival Berlin. He was made Commander of to 2015 he led the Rundfunkchor Berlin (of Choir; Conductor Laureate of Rundfunkchor the British Empire in 2015, was awarded which he is now Conductor Laureate); under Berlin; and Professor and Director of Choral The Queen’s Medal for Music in 2014, and his leadership the chorus gained a reputation Activities at the University of Birmingham. received the Officer’s Cross of the Order of internationally as one of the finest professional Merit of the Federal Republic of Germany choral ensembles. Halsey also initiated Simon Halsey occupies a unique position in 2011 in recognition of his outstanding innovative projects in unconventional in . He is the trusted advisor contribution to choral music in Germany. venues and interdisciplinary formats. • on choral singing to the world’s greatest conductors, orchestras and choruses, Since becoming Choral Director of and also an inspirational teacher and the London Symphony Orchestra and ambassador for choral singing to amateurs Chorus in 2012, Halsey has been credited of every age, ability and background. Making with bringing about a ‘spectacular singing a central part of the world-class transformation’ (Evening Standard) of the institutions with which he is associated, he LSC. Highlights with the LSO in 2017/18 has been instrumental in changing the level include Schoenberg’s Gurrelieder at the of symphonic singing across Europe. BBC Proms with Sir Simon Rattle and Halsey’s CBSO and Orfeó Català choruses; He is also a highly respected teacher and Liszt’s ‘Faust’ Symphony with Sir Antonio academic, nurturing the next generation of Pappano; and performances of Berlioz and choral conductors on his post-graduate course Bernstein with Rattle in his inaugural year in Birmingham and through masterclasses as Music Director of the LSO. at Princeton, Yale and elsewhere. He holds

Artist Biographies 13 London Symphony Chorus on stage

President Sir Mark Elder won a Gramophone award and Sir Simon Rattle om cbe the recording of the Grande Messe des morts by Berlioz with the LSO conducted by Sir Colin President Emeritus Davis won an International Music Award in kbe the Choral Works category. In June 2015 the recording of Sir Peter Maxwell Davies’ Tenth Vice President Symphony, commissioned by the LSO and Michael Tilson Thomas recorded by the LSO and the LSC with Sir Antonio Pappano, won a prestigious South Patrons Bank Sky Arts award in the Classical category. cbe Howard Goodall cbe The 2016/17 season included performances of Verdi’s Requiem with Gianandrea Noseda Chorus Director he London Symphony Chorus was Youth Orchestra of Great Britain and in the Barbican and at the Lincoln Center in Simon Halsey cbe formed in 1966 to complement the European Union Youth Orchestra. New York, a semi-staging of Ligeti’s Le grand the work of the London Symphony The Chorus has toured extensively throughout macabre with Sir Simon Rattle and Peter Associate Director Orchestra and in 2016 celebrated its 50th Europe and has also visited North America, Sellars, and Brahms’ Requiem with . Matthew Hamilton anniversary. The partnership between the Israel, Australia and South East Asia. The LSC also collaborated with the CBSO LSC and LSO has continued to develop and was and Orfeó Català choruses for Schoenberg’s Chorus Accompanist strengthened in 2012 with the appointment Much of the LSC repertoire has been captured Gurrelieder at the BBC Proms with the Benjamin Frost of Simon Halsey as joint Chorus Director in its large catalogue of recordings featuring London Symphony Orchestra and Sir Simon of the LSC and Choral Director for the LSO. renowned conductors and soloists, which Rattle in August. Highlights of 2017/18 Chairman It now plays a major role in furthering the have won nine awards, including five Grammys. include Liszt’s ‘Faust’ Symphony with Owen Hanmer vision of the LSO Sing initiative. Recent releases include Britten’s Sir Antonio Pappano and Mahler’s with Gianandrea Noseda and Mahler’s Symphony No 2 with Semyon Bychkov. Concert Manager The LSC has also partnered with many Symphonies Nos 2, 3 and 8 with Valery Gergiev. Robert Garbolinski other major orchestras and has performed The Seasons by Haydn, Belshazzar’s Feast by The LSC is always interested in recruiting nationally and internationally with the Walton, by Verdi, and the world premiere new members, welcoming applications LSO Choral Projects Manager Berlin and Vienna Philharmonic Orchestras, of the St John Passion by James MacMillan from singers of all backgrounds. Interested Andra East and the Leipzig Gewandhaus Orchestra. were all under the baton of the late singers are welcome to attend rehearsals Championing the musicians of tomorrow, Sir . The recent recording of before arranging an audition. For further it has also worked with both the National Götterdämmerung with the Hallé under information, visit lsc.org.uk. •

14 London Symphony Chorus 20 May 2018 Guest Chorus Director Sopranos Altos Basses * denotes LSC Gavin Carr Liz Ashling Maggie Owen Kate Aitchison Dorothy Nesbit Jorge Aguilar Ed Beesley council member Anna Byrne-Smith Isabel Paintin Rosalind Bagshaw Siu-Wai Ng Paul Allatt * Roger Blitz Carol Capper * Andra Patterson Elizabeth Boyden Helen Palmer Robin Anderson Chris Bourne Laura Catala-Ubassy Carole Radford June Brawner Susannah Priede * Erik Azzopardi Gavin Buchan Jessica Collins Alison Ryan Jo Buchan * Elisabeth Smith Joaquim Badia Francois Calitz Shelagh Connolly Madison Schindele Elizabeth Campbell Margaret Stephen Oliver Burrows Andy Chan Imogen Coutts Jasmine Spencer Liz Cole Linda Thomas Michael Delany Matthew Clarke Harriet Crawford Deborah Staunton Janik Dale Claire Trocmé Colin Dunn Giles Clayton Rebecca Dent Giulia Steidl Maggie Donnelly Curzon Tussaud John Farrington Damian Day Saskia Edwards Lizzie Webb Diane Dwyer Kathryn Wells Matt Fernando Thomas Fea Lucy Feldman Rachel Wilson Linda Evans Zoe Williams Matthew Flood Robert Garbolinski * Joanna Gueritz Rachel Green Andrew Fuller * Josue Garcia Isobel Hammond Yoko Harada Patrizio Giovannotti Daniel Gosselin Hidemi Hatada Kate Harrison Simon Goldman John Graham Jenna Hawkins Elisabeth Iles Jude Lenier Bryan Hammersley Rebecca Hincke Kristi Jagodin Anthony Madonna Owen Hanmer * Emily Hoffnung Christine Jasper Alastair Mathews J-C Higgins * Claire Hussey * Jill Jones Matthew McCabe Derrick Hogermeer Jenny Ibbott Vanessa Knapp Daniel Owers Nathan Homan Alice Jones Gilly Lawson Chris Riley Anthony Howick Debbie Jones Belinda Liao * Peter Sedgwick Peter Kellett Luca Kocsmarszky Anne Loveluck Chris Straw Alex Kidney Christina Long Aoife McInerney Richard Street * Thomas Kohut Jane Morley Jane Muir James Warbis George Marshall Caroline Mustill Brad Warburton Hugh McLeod Robert Ward * Alan Rochford Paul Williams-Burton Rod Stevens Richard Tannenbaum Robin Thurston Jez Wareing Anthony Wilder

London Symphony Chorus 15 London Symphony Orchestra on stage tonight

Leader Second Flutes Horns Timpani LSO String Experience Scheme Carmine Lauri David Alberman Rebecca Gilliver Gareth Davies Timothy Jones Chris Ridley Since 1992, the LSO String Experience Sarah Quinn Alastair Blayden Alex Jakeman Angela Barnes Scheme has enabled young string players First Violins Julian Gil Rodriguez Jennifer Brown Estefanía Beceiro Organ from the London music conservatoires at Lennox Mackenzie Naoko Keatley Eve-Marie Caravassilis Oboes Vazquez Richard Pearce the start of their professional careers to gain Ginette Decuyper William Melvin Daniel Gardner Ilyes Boufadden Jonathan Lipton work experience by playing in rehearsals Clare Duckworth Iwona Muszynska Hilary Jones Rosie Jenkins Anna Euen and concerts with the LSO. The musicians Gerald Gregory Andrew Pollock Victoria Harrild are treated as professional ‘extra’ players Maxine Kwok-Adams Paul Robson Victoria Simonsen Clarinet Trumpets (additional to LSO members) and receive fees Laurent Quenelle Monika Chmielewska Hester Snell Andrew Marriner David Elton for their work in line with LSO section players. Harriet Rayfield Grace Lee Deborah Tolksdorf Chi-Yu Mo Gerald Ruddock Colin Renwick Gordon MacKay The Scheme is supported by: Sylvain Vasseur Greta Mutlu Double Basses Bassoons Trombones The Polonsky Foundation Rhys Watkins Lasma Taimina Ander Perrino Daniel Jemison Peter Moore Barbara Whatmore Charitable Trust Morane Cohen- Violeta Vancica Patrick Laurence Christopher Gunia James Maynard The Thistle Trust Lamberger Matthew Gibson Idlewild Trust Lulu Fuller Violas Joe Melvin Contra Bassoon Bass Trombone Angus Allnatt Charitable Foundation André Gaio Pereira Robert Smissen José Moreira Bill Anderson Paul Milner Lyrit Milgrim Gillianne Haddow Hugh Sparrow Performing in tonight’s concert is Alain Petitclerc Malcolm Johnston Jim Vanderspar Joanna Patrick (Viola). German Clavijo Nicholas Worters Lander Echevarria Editor Carol Ella Edward Appleyard | [email protected] Julia O'Riordan Fiona Dinsdale | [email protected] Robert Turner Editorial Photography Fiona Dalgliesh Ranald Mackechnie, Maria Ostlin, Stephanie Edmundson Jiyang Chen, Dario Acosta, Chris Wahlberg Cynthia Perrin Print Cantate 020 3651 1690 Shiry Rashkovsky Advertising Cabbells Ltd 020 3603 7937

Details in this publication were correct at time of going to press.

16 The Orchestra 20 May 2018