Sunday 17 and Tuesday 19 September The Damnation of Faust Synopsis by David Cairns

LSO SEASON CONCERT PART 1 PART 2 PART 3 PART 4 THE DAMNATION OF FAUST BERLIOZ & THE LSO from David Cairns A spring dawn on the plains of . Night, in Faust’s study in North Germany, Evening. Drums and trumpets sound Alone, Marguerite longs for Faust, Berlioz The Damnation of Faust The choice of The Damnation of Faust Faust revels in the beauty and solitude of to which he has returned, driven by the the retreat. Alone in Marguerite’s room, without whom life has no meaning. Interval after Part Two to inaugurate Sir ’s music the scene. Sounds of distant merrymaking ennui that still pursues him. He resolves to Faust drinks in its purity and tranquillity. Distant sounds of trumpets and drums directorship maintains a tradition that goes and warlike preparations intrude on his end it all and is about to drink poison when He hides behind the arras as Marguerite and echoes of the soldiers’ and students’ Sir Simon Rattle conductor back long before ’ Berlioz Odyssey reverie. Peasants dance in honour of spring. church bells peal out and voices proclaim enters, oppressed by a dream in which songs break through her reverie. But Faust Marguerite of 1999–2000 – in fact, a century before that, Faust, unable to share their emotions, the victory of Christ at Easter. He throws she saw her future lover. While she braids does not come. In deep forests he invokes Bryan Hymel Faust to the LSO’s foundation in 1904. Several moves to another part of the plain, where away the cup and, reminded of his childhood her hair she sings an old ballad. Outside Nature, whose proud untamed power alone Gerald Finley Mephistopheles musicians who conducted it in its first years – soldiers are advancing to battle. He admires devotions, imagines he has found a new the house Mephistopheles summons the can assuage his longings. Mephistopheles Gábor Bretz Brander , Arthur Nikisch, Felix Weingartner – their courage and proud bearing but is peace. Mephistopheles appears and mocks spirits of fire. They perform a ritual dance appears and informs him that Marguerite London Symphony Chorus were disciples of Berlioz’s music. In 1905, unmoved by their empty thirst for glory. his pious hopes. He offers to reveal wonders of incantation, after which, in a diabolical has been condemned for the death of her Tiffin Boys’ Choir symbolically, the Orchestra played for not imagined in the philosopher’s cell. They serenade, Mephistopheles incites Marguerite mother, killed by the sleeping draughts Tiffin Girls’ Choir Edouard Colonne, the conductor who had are swept upwards and the scene moves to to the arms of her lover. Faust steps from she was given during Faust’s visits. Tiffin Children’s Chorus begun the music’s renascence in the composer’s Auerbach’s cellar in , where a noisy behind the arras and the lovers, recognising In despair, Faust signs a paper agreeing to Simon Halsey chorus director native country. Colonne’s first viola, the crowd of revellers are drinking. One of them, each other, surrender to their passion. serve Mephistopheles in return for saving teenage , would become Brander, sings a ballad about a poisoned rat, They are rudely disturbed by Mephistopheles, her life. They mount black horses and Sunday 17 broadcast live on BBC Radio 3 Berlioz’s greatest French interpreter, and, on which the whole company improvises a warning that Marguerite’s mother is awake. gallop furiously. Peasants kneeling at a in 1961 at the age of 86, Music Director of blasphemous Amen fugue. Mephistopheles The neighbours can be heard banging on wayside cross flee as they pass. Phantoms the LSO, with whom he gave memorable responds with a song about a flea. The the door. Faust and Marguerite take an pursue Faust; huge birds brush him with performances of the Damnation and drinkers applaud; but Faust is disgusted, agitated farewell. Mephistopheles exults their wings. A storm breaks, as with a voice Sunday 17 broadcast worldwide on medici.tv Fantastique. Something in the Orchestra’s and the scene fades as Mephistopheles that Faust will soon be his. of thunder Mephistopheles commands bloodstream responds to the challenge of transports him to the wooded banks of the legions of hell to begin their revels. this vivid, mercurial music. I remember, during the Elbe, where he is lulled to sleep by soft Faust falls into the abyss. Demons bear Sunday's concert ends approx 8.45pm its performances of Benvenuto Cellini in the voices; sylphs weave the air above him. In a Mephistopheles in triumph. The redeemed Tuesday's concert ends approx 9.45pm 2000s, David Alberman, leader of the Second dream he sees Marguerite. Awaking, he begs soul of Marguerite is received into Heaven Violins, remarking that the constant changes Mephistopheles to lead him to her. They join by the seraphim. • of colour and rhythm, and the speed at which a band of soldiers and students who are on they happen, kept them on the qui vive as their way to the town where she lives. nothing else did – a split second late and you were lost. But the LSO was, and is, the orchestra least likely to be in danger of that. •

60 Synopsis 61 Hector Berlioz The Damnation of Faust Op 24 1846 / note by David Cairns • Marcel Multzer (1866–1937) Costume sketch of Mephistopheles

Part One; Part Two ot all Germans were outraged when only, with no real hint of the redeemed philosophy is not stated: it is embodied (B-flat in the key of D major) – reveals the Isolation, loneliness is the subject of the THE FIRST DEAL WITH THE DEVIL Interval – 20 minutes Berlioz conducted his Faust in hero of Part Two – on the contrary, a Faust in the language of the music and in the truth. The rising phrase that spans the notes work: the loneliness of Marguerite, her Part Three; Part Four Germany in the 1840s and 1850s. almost as surely damned as in Marlowe’s precisely organised sequence of scenes. from E to B-flat establishes the tritone, awakened passions deprived of their object, Elemental to many Christian folk tales, Hans von Bülow wrote rapturously to Liszt play and the old versions of the legend. Berlioz could not have made The Damnation the medieval ‘devil in music’. In the classic the loneliness of Mephistopheles himself, a deal with the devil (or commonly one of Faust, a scholar about it and Peter Cornelius called it ‘one That was the text he knew and identified a mere kaleidoscope of picturesque incidents. form of F–B it is a motif of the score, from the being who cannot love or die, the his lesser fields) is one of the great dramatic Bryan Hymel tenor of our greatest musical masterpieces, to be with and took to his heart, when he read and The subject was too close to him for that. Mephisto’s first entry on a rasping B major loneliness of Faust, crying out to the vast, tropes of Western artistic endeavour. ranked with The Creation of Haydn, Handel’s re-read, compulsively, Gérard de Nerval’s He was dramatising himself, his own inner (after Faust’s illusory recovery of belief, indifferent night sky for the meaning that Marguerite, a young woman oratorios and Beethoven’s Ninth Symphony’. French translation. It became for him a experiences: his frustrated longings, an ideal in F major) to the same juxtaposition of eternally eludes him. The story of the original Faust who lived Karen Cargill mezzo-soprano But the general reaction was deeply hostile, sacred possession, untouched by the as- of love destined never to find fulfilment, chords, hissing with tam-tam and cymbals, from 1480–1540 quickly permeated German and not just for the frivolous reason that, yet-unpublished Part Two. In due course the the boyhood religious faith irrevocably lost, that opens and closes Pandemonium. The Mephisto’s appearance at that moment, popular culture, and became of particular Mephistopheles, the devil, who appears as one reviewer put it, Berlioz ‘slandered Eight Scenes from Faust of 1828–9 grew into the fatal ennui, the mal de l’isolement that first notes of Marguerite’s ballad are F and B. with his ironic ‘In the azure vault, tell me, macabre fascination during the Victorian era. to Faust as a gentleman Mephistopheles’ by making him trick The Damnation of 1845–6, incorporating the first seized him as a boy, as he sat reading do you perceive the star of steadfast love?’, But the cultural motif of selling one’s soul Gerald Finley bass-baritone Faust, and slandered the morals of German original Scenes, some extensively revised, in a field and heard the Rogation procession It is all there in the music. Listening to it, completes the pattern of disillusionment goes back much further, at least as far as students, who never ‘roamed the streets some hardly changed – though the single pass nearby, chanting Te rogamus, audi nos – we are there: in the din and reek of that recurs throughout the Damnation – the Middle Ages. Brander, a student in search of girls’. It was far worse. He had guitar accompaniment of Mephistopheles’ the very chant that in The Damnation Auerbach’s cellar and Brander’s drunken the same spirit in which the devil Gábor Bretz bass vandalised a national monument. serenade became the clatter of massed accompanies the Ride to the Abyss, the belching, the lulling airs of the Elbe valley, materialised to mock Faust’s nostalgic The earliest recorded example of such a final stage of Faust’s road to ruin. the stillness of Marguerite’s room; we watch memory of faith and that burst in diabolical pact is that of Saint Theophilus Choruses of soldiers, students, peasants, — the long column of soldiers and students cynically at the climax of his love-making. the Penitent, a cleric who lived at the gnomes and sylphs, demons and the damned ‘One of our greatest musical masterpieces, to be ranked with The Creation For this hero there can be no salvation. roistering towards the distant town; we The vitality and vibrant imagery that are beginning of the Sixth Century in what is London Symphony Chorus The devil cannot be escaped: he is within. are present as the town goes to its rest, so striking a feature of the music only now modern day Turkey. Theophilus is said Simon Halsey chorus director of Haydn, Handel’s oratorios and Beethoven’s Ninth Symphony’. From the first, Faust’s shadow, the as Mephistopheles (atonally and with F–B make more ironic and more profound to have signed away his soul, not out of love — demon of denial, has him in his grasp, prominent) summons his sprites, as the the alienation of Berlioz-Faust from a or infatuation as is the case with many such Celestial spirits blighting each positive impulse – towards nightmarish shouts of the neighbours world depicted with such seductive and protagonists, but in order to advance his Tiffin Boys’ Choir Germany may have responded much more pizzicato strings, with wicked choral learning, companionship, love, nature. terrify Marguerite, as distant student voices lifelike vividness. • ecclesiastic career. Having been passed over Tiffin Girls’ Choir positively than France to Berlioz’s music. interjections from the will o’ the wisps. Mephistopheles, a more openly Satanic hauntingly punctuate her lament, as the for one too many promotions, he reportedly Tiffin Children’s Chorus But this was a special case, a case of figure than Goethe’s, controls and directs roar of the forest and the torrential cascade sought out a necromancer in order to James Day director fundamentally different Fausts. To the The sheer animation of the completed score, everything that happens. Marguerite herself momentarily soothe Faust’s immortal contact Satan and renounced Christ in a Germans Faust meant both parts of its sardonic humour and dazzling contrasts is his creature (though she escapes him longings. We feel the weariness of the contract signed in his own blood. He is, Libretto based on Johann Wolfgang von Goethe’s play – a Faust purged of the sins of mood, have often obscured two vital in the end). At the very beginning the tiny small hours in Faust’s study, the emptiness in return, made a bishop before being Goethe’s Faust, translated by Gérard and follies committed in Part One’s reckless truths: the dramatic and structural logic worm of consciousness eating away Faust’s of learning as the stealthy fugato fades, verbally chastised by the Virgin Mary, and de Nerval with additional words by quest for experience and scaling the heights of the whole, and the deadly seriousness imagined felicity – the flattened sixth which the dustiness of the books that give no after much fasting is ultimately forgiven. Almire Gandonnière and Hector Berlioz in Part Two. To Berlioz it meant Part One underlying the brilliant surface. The work’s poisons the seemingly serene viola melody answers, the isolation of a baffled soul. If only Berlioz’s Faust was quite so lucky.

62 Programme Notes 17 & 19 September 2017 Programme Notes 63 Hector Berlioz in Profile 1803–69 / profile by David Cairns Karen Cargill mezzo-soprano Bryan Hymel tenor

ector Berlioz was born in south- routineers, the professors and the deaf’. the Te Deum, which had to wait six years Daniel Harding; a Wigmore Hall recital conductor Maurizio Benini as Henri in east France in 1803, the son of a The 1830s and early 1840s saw a series to be performed. But the unexpected with Simon Lepper; and her debut at Verdi’s Les Vêpres siciliennes. A highlight doctor. At the age of 17 he was sent of major works, including Harold in Italy success of L’enfance du Christ in Paris in Glyndebourne Festival . of Hymel’s previous season was revisiting to Paris to study medicine, but had already (1834), Benvenuto Cellini (1836), the Grande 1854 encouraged him to embark on a project the role of Arnold in Rossini’s final opera conceived the ambition to be a musician Messe des Morts (1837), the Shakespearean long resisted: the composition of an epic Recent concert highlights include her debut Guillaume Tell at the . and soon became a pupil of the composer dramatic symphony Romeo and Juliet (1839), opera on The Aeneid which would assuage with the Royal Concertgebouw in Mahler’s The new production, staged by Pierre Audi Jean-François Le Sueur. Within two years the Symphonie funèbre et triomphale a lifelong passion and pay homage to two Second Symphony with Daniele Gatti; and led by Fabio Luisi, marked the first he had composed the Messe solennelle, (1840) and Les nuits d’été (c 1841). great idols, Virgil and Shakespeare. Mahler Symphony No 3 with the Philadelphia staging of Guillaume Tell at the Met in over successfully performed in 1825. In 1826 he Some were well-received; but he soon Orchestra and Yannick Nézet-Séguin; 80 years. Notably, he also made his first entered the Paris Conservatoire, winning discovered that he could not rely on his Although Béatrice et Bénédict (1860–62) Tippett’s A Child of our Time with the appearances in the title role of Don Carlo the Prix de Rome four years later. Gluck and music to earn him a living. He became came later, the opera The Trojans (1856–58) Symphonieorchester des Bayerischen in Nicholas Hytner’s acclaimed production Spontini were important influences on the a prolific and influential critic – a heavy was the culmination of his career. It was Rundfunks; Verdi’s Requiem with both at Covent Garden, and finished the season formation of his musical style, but it was his burden for a composer but one that he also the cause of his final disillusionment the Philharmonia and Royal Philharmonic as a premiere performing artist in Paris’ discovery of Beethoven at the Conservatoire could not throw off. and the reason, together with increasing Orchestras; Mahler’s Das Lied von der Erde Bastille Day celebration concert. concerts, inaugurated in 1828, that was the ill-health, why he wrote nothing of with Esa-Pekka Salonen and the Metropolitan decisive event in his apprenticeship, turning In the 1840s he took his music abroad consequence in the remaining six years cottish mezzo-soprano Karen Cargill Orchestra at , as well as return escribed by Opera Wire as ‘one An exclusive recording artist for Warner his art in a new direction: the dramatic and established a reputation as one of of his life. The work was cut in two, and was the winner of the 2002 Kathleen invitations to the LSO to sing Bruckner’s of the exciting artists living and Classics, his first solo album Héroïque concert work, incarnating a ‘poetic idea’ that the leading composers and conductors of only part performed in 1863, in a theatre Ferrier Award. Engagements in the Te Deum with Bernard Haitink and breathing today’, tenor Bryan debuted at number three on the Billboard is ‘everywhere present’, but subservient to the day. He was celebrated in Germany too small and poorly equipped. Berlioz died 2017/18 season include Mahler Symphony Schoenberg’s Gurrelieder at the BBC Proms Hymel was awarded the 2013 Olivier Award Classical Music chart, and earned Hymel musical logic. (where Liszt championed him), in Russia in 1869. • No 3 with the BBC Philharmonic and Juanjo with Sir Simon Rattle. She has performed for Outstanding Achievement in Opera for the coveted Georges Thill Prize by the Mena and also the Deutsches Symphonie- three times at the 2017 Edinburgh International his trio of performances in Berlioz’s Les Académie Nationale du Disque Lyrique — BERLIOZ ON LSO LIVE Orchester Berlin and ; Elgar’s Festival: her role debut as Fricka in Die Walküre Troyens, Meyerbeer’s Robert le diable and and the Newcomer of the Year Award He soon discovered that he could not rely on his music to earn him a living. Sea Pictures with BBC Scottish Symphony with Sir Andrew Davis; a recital of French Dvořák’s Rusalka at London’s Royal Opera from ECHO Klassik. • Discover more Berlioz operatic and Orchestra and Martyn Brabbins; Mahler’s repertoire with pianist Simon Lepper; House, Covent Garden. He became a prolific and influential critic. choral works on LSO Live, including: Das Lied von der Erde with Dresden and a performance of Mahler’s Rückert — Staatskapelle and Donald Runnicles; the Lieder as part of the Festival’s 70th Hymel begins the 2017/18 season performing Benvenuto Cellini, L’enfance du Christ, Verdi Requiem with the City of Birmingham anniversary concert. In the opera house, with the London Symphony Orchestra His first large-scale orchestral work, the (where receipts from his concerts paid off Harold en Italy, Les Troyens, Symphony Orchestra and Edward Gardner; recent successes have included her debut with in his much lauded portrayal of Faust in autobiographical Symphonie fantastique, the debt from the Parisian failure of Béatrice et Bénédict, Roméo et Juliette Dvořák’s Biblical Songs with the Scottish the Canadian Opera Company as Waltraute Berlioz’s The Damnation of Faust. He will followed in 1830. After a year in Italy he The Damnation of Faust), in Vienna, Prague, and The Damnation of Faust Chamber Orchestra and Robin Ticciati; in Götterdämmerung and a return to then be seen once more with his frequent returned to Paris and began what he later Budapest and London. These years of travel Mahler’s Eighth Symphony with the Scottish Opera as Judith in their highly collaborators at The Royal Opera House called his ‘Thirty Years’ War against the produced less music. In 1849 he composed lsolive.lso.co.uk Swedish Radio Symphony Orchestra and acclaimed production of Bluebeard’s Castle. • to perform alongside Malin Byström and

64 Composer Profile 17 & 19 September 2017 Artist Biographies 65 Gerald Finley bass-baritone Gábor Bretz bass Simon Halsey chorus director

Saariaho’s True Fire with the Finnish Radio and the Metropolitan Opera, New York; Simon Halsey occupies a unique position Symphony Orchestra, Scarpia in Tosca at Colline in La bohème at the Royal Opera in classical music. He is the trusted advisor the Royal Opera House, Covent Garden, House; Shaklovity in Khovanshchina on choral singing to the world’s greatest performances of Schubert songs with at Dutch National Opera; Phillipe II in conductors, orchestras and choruses, Daniel Harding at the Don Carlos at the Hamburg State Opera; and also an inspirational teacher and and Festspielhaus Baden-Baden, where and numerous performances in the title ambassador for choral singing to amateurs he will also perform Amfortas in Parsifal. role of Bluebeard’s Castle. of every age, ability and background. Gerald concludes the season with a recital Making singing a central part of the tour in North America. Gábor Bretz also sings regularly in concert; world-class institutions with which he is his repertoire includes the major oratorios associated, he has been instrumental in Born in Montreal, Gerald Finley began of Bach, Haydn, and Mozart; Beethoven’s changing the level of symphonic singing singing as a chorister in Ottawa, Canada, Symphony No 9; Tippett’s A Child of our across Europe. and completed his musical studies in Time; Berlioz’s L’enfance du Christ; Verdi’s the UK at the Royal College of Music, Requiem; Mahler’s Symphony No 8 and Since becoming Choral Director of the King’s College, Cambridge, and the National Handel’s Messiah. London Symphony Orchestra and Chorus, rammy-award winning Canadian Opera Studio. He is a Fellow and Visiting orn in Budapest, Gábor Bretz imon Halsey holds positions Halsey has been credited with bringing bass-baritone Gerald Finley is Professor at the Royal College of Music. studied at the Béla Bartók The 2017/18 season will include Bluebeard’s across the UK and Europe as about a ‘spectacular transformation’ a leading singer and dramatic In 2017 he was appointed Commander Conservatory of Music and the Castle with the Danish National Symphony Choral Director of the London (Evening Standard) of the LSC. Highlights interpreter of his generation, with acclaimed of the Order of the British Empire and Academy of Music, and won the Orchestra and the Teatro di San Carlo Symphony Orchestra and Chorus, of 2017/18 include Schoenberg’s Gurrelieder performances at the world’s major opera had previously been appointed an Officer 2005 Maria Callas Grand Prix Competition di Napoli; Scarpia in Tosca at the Teatro Chorus Director of the City of Birmingham at the BBC Proms with the London and concert venues and award-winning of the Order of Canada. • in Athens. His regular performances at the Comunale di Bologna; a staged Verdi Symphony Orchestra Chorus, Artistic Symphony Orchestra and Sir Simon Rattle recordings on CD and DVD with major Hungarian State Opera have included the Requiem at the Hamburg State Opera; Director of Orfeó Català Choirs and Artistic in his inaugural year as LSO Music Director, labels in a wide variety of repertoire. title-roles in Mefistofele and The Marriage King Heinrich in Lohengrin at La Monnaie, Adviser of Palau de la Música, Barcelona, in which Halsey directed the London of Figaro, Leporello and the title-role in Don Brussels; Fasolt as part of Odense Artistic Director of Berlin Philharmonic Symphony, CBSO and Orfeó Català choruses; 2017/18 begins with the season opening Giovanni, Banquo in Macbeth, Colline in La Symphony Orchestra’s complete Ring Cycle, Youth Choral Programme, Director of the Bernstein Symphony No 3 with Marin Alsop, at Wigmore Hall with a recital alongside bohème, Don Basilio in The Barber of Seville, and Jochanaan in Salome at the Salzburg BBC Proms Youth Choir; Artistic Advisor of Liszt’s Faust Symphony with Sir Antonio the pianist Julius Drake followed by Escamillo in Carmen, Gurnemantz in Parsifal, Festival. Gábor Bretz’s appearances with Schleswig-Holstein Musik Festival Choir, Pappano and Mahler Symphony No 2 with performances in The Cunning Little Vixen Zaccaria in Nabucco, Orestes in Elektra and the Hungarian State Opera will include Conductor Laureate of Rundfunkchor Semyon Bychkov. • at the Berlin Philharmonic (Sir Simon Rattle). the Landgraf in Tannhäuser at the Wagner Marcel in Les Huguenots, Zaccaria in Berlin and Professor and Director of Choral Gerald will then return to the Metropolitan Festival. Other notable appearances include Nabucco, and Fiesco in Simon Boccanegra. Activities at the University of Birmingham. Opera to perform Athanaël in Thaïs Escamillo in Carmen at the Bayerische He will also sing the Landgraf in Tannhäuser followed by the Finnish premiere of Staatsoper, the Royal Opera House, for the Palace of Arts, Budapest. •

66 Artist Biographies Artist Biographies 67 London Symphony Orchestra on stage 17 & 19 September Tiffin Choirson stage 17 & 19 September

Leader Second Violins Cellos Flutes Horns Timpani Tiffin Boys’ Choir for a Grammy Award; Puccini’s Il Trittico, Tiffin Boys’ Choir Tiffin Children’s Chorus Tiffin Girls’ Choir Roman Simovic David Alberman Rebecca Gilliver Adam Walker Timothy Jones Nigel Thomas Tiffin Children’s Chorus Massenet’s Werther and Puccini’s Tosca Shervin Bangsajayah Josh Amembal Hannah Austin Sonali Ramsurrun Thomas Norris Alastair Blayden Julian Sperry Angela Barnes Tom Edwards Tiffin Girls’ Choir (EMI/Pappano); Britten’s Billy Budd Daniel Blaze Leah Brady Dotty Bates Cleo Redgrave First Violins Miya Väisänen Jennifer Brown Alexander Edmundson (Chandos/Hickox), Mahler’s Symphony No 3 Luis Bullinger Asia Campagna Jasmin Bedi Sophie Rice Carmine Lauri David Ballesteros Noel Bradshaw Piccolo Jonathan Lipton Percussion James Day director (Signum Classics/Maazel, LSO Live/Gergiev, Oliver Cheung Leila Campagna Clara Bollen Gandolfo Amelia Rogers Lennox Mackenzie Matthew Gardner Eve-Marie Caravassilis Sharon Williams Anna Euen Neil Percy Telarc/Zander), and Britten’s War Requiem Sam Clough Filip-Timotei Rosie Clover Aviva Rynne Browne Clare Duckworth Julian Gil Rodriguez Daniel Gardner Tim Ball David Jackson ince its foundation in 1957, (LPO Live/Masur). Members of the Choir Joshua Dennis Ceptureanu Katie Cobb Anoushka Sarma Nigel Broadbent Naoko Keatley Hilary Jones Oboes Jonathan Quaintrell- Sam Walton the Tiffin Boys’ Choirhas been feature in DVD releases of Carmen, Bulscu Diossi Olivia Dunne Katie Compton Abitha Sathieshan Ginette Decuyper Belinda McFarlane Amanda Truelove Olivier Stankiewicz Evans Paul Stoneman one of the few state school choirs La bohème, Tosca and Hänsel und Gretel Francis Gorniak Billy Evans Eesha Darbar Karishma Shah Gerald Gregory Iwona Muszynska Victoria Simonsen Rosie Jenkins to have been continually at the forefront of from the Royal Opera House. Isaac Hardy George Foster Leila Davis Rishika Maxine Kwok-Adams Andrew Pollock Deborah Tolksdorf Trumpets Harps the choral music scene in Britain. The Choir Marco Hilmy Rose Foster Shivani Dawson Somasundaram Claire Parfitt Paul Robson Cor Anglais Philip Cobb Bryn Lewis has worked with all the London orchestras Tiffin Girls’ School is nationally renowned Manu Iyer Louis Gilbert Jess Edwardes Nijendri Tharmapathy Laurent Quenelle Louise Shackelton Double Basses Christine Pendrill Gerald Ruddock Lucy Wakeford and performs regularly with the Royal Opera. for its outstanding musical provision and Robin Jiang Luca Gilmore-Schmitt Phoebe Edwards- Pavan Thind Harriet Rayfield Esther Kim Colin Paris Niall Keatley Fiona Clifton-Welker Recent engagements have included Mahler gives six major orchestral and choral concerts Jaiveer Johal Isabelle-Rose Heyes Lawrence Jessica White Colin Renwick Patrick Laurence Clarinets Robin Totterdell Anneke Hodnett Symphony No 3 (LSO/Haitink at the BBC Proms, each year. Recent performances include Colin Kang Cara Hieker Rose Foster Lucy White Sylvain Vasseur Violas Matthew Gibson Chris Richards Paul Beniston LSO/Harding, Philharmonia/Hruša, LA Phil/ Nielsen’s Springtime in Funen with the Asher Kapinos Gaia Hill Monica Fox Maddie Wooldridge Shlomy Dobrinsky Alexander Zemtsov Thomas Goodman Chi-Yu Mo Simon Munday Dudamel), Springtime in Funen (BBC SO/Litton) BBC Symphony Orchestra at the BBC Proms, Georgiy Lesyuk Oscar Luck Kate French Helen Zhang Helena Smart Gillianne Haddow Joe Melvin at the BBC Proms, Mahler Symphony No 8 Mahler Symphony No 3, and performances Avan Majumdar Théo Potin-Sawada Sara Garner Melody Zhu Hilary Jane Parker Malcolm Johnston Jani Pensola Bass Clarinet Trombones (Philharmonia/Salonen, London Philharmonic/ of Carmen with the Royal Opera House Shirav Medepalli Lara Rashid Zofia Goral Regina Beukes Simo Väisänen Katy Ayling Dudley Bright Jurowski), Boris Godunov (Mariinsky/Gergiev), recorded for DVD. The choir has had major James Mistry Orla Rodgers Debbie-Mai Gordon German Clavijo Hugh Sparrow Peter Moore Perséphone (Philharmonia/Salonen), the UK competition success, winning both the junior Milo Morrod Sophia Snow Saskia Haines Francis Lander Echevarria Bassoons premiere of Unsuk Chin’s Alice in Wonderland, and senior categories at both the Leith Hill Vinayak Nangia Lia Tynan Yegee Han Julia O’Riordan Daniel Jemison Bass Trombone the soundtrack for The Hobbit at Abbey Road Music & Woking Music festivals, and tours Harshil Shah Emily Whiteside Anna Henderson Robert Turner Joost Bosdijk Paul Milner Studios, appearing on set in the filmPhilomena , regularly in the UK and abroad, including Yathaarth Sharma Hayden Williams Isobel Hodgson Jonathan Welch Christopher Gunia and Titanic Live! with James Horner. recent collaborations with the choirs of Raul Sheth Chavi Kapoor Carol Ella Euphonium Queen’s College Oxford and Clare College Euan Sinclair Imogen King Caroline O’Neill Contra Bassoon James Maynard The Choir has made recordings of most of Cambridge. Forthcoming concerts include Henry Studholme Zofia Kozlowska Samuel Burstin Dominic Morgan the orchestral repertoire that includes boys’ Duruflé’s Requiem in November with Tiffin Conor Tidswell Keira Lim Tuba choir and has recently been broadcast on the Boys’ School at St Martin-in-the-Fields. Sarah McEvoy Ross Knight BBC, Classic FM and ITV. Notable releases The choir is directed by Dominic Neville. Quincy Mulraine have included Mahler’s Symphony No 8 Vedika Parulkar (EMI/Tennstedt), which was nominated Sharu Patil

68 On Stage On Stage 69 London Symphony Chorus London Symphony Chorus on stage 17 & 19 September

President he London Symphony Chorus was The Seasons by Haydn, Belshazzar’s Feast by The LSC is always interested in recruiting Sopranos Altos Tenors Basses Sir Simon Rattle om cbe formed in 1966 to complement Walton, Otello by Verdi, and the world premiere new members, welcoming applications Frankie Arnull Debbie Jones Kate Aitchison Ella Jackson * Jorge Aguilar Anthony Madonna Peter Avis Alex Kidney the work of the London Symphony of the St John Passion by James MacMillan from singers of all backgrounds. Interested Greta Astedt Ruth Knowles-Clark Lauren Au Kristi Jagodin Paul Allatt * Alastair Mathews Simon Backhouse * Thomas Kohut President Emeritus Orchestra and in 2016 celebrated its 50th were all under the baton of the late singers are welcome to attend rehearsals Kerry Baker Rose Littlewood Hetty Boardman Christine Jasper Robin Anderson Matthew McCabe Quintin Beer George Marin kbe anniversary. The partnership between the Sir Colin Davis. The recent recording of before arranging an audition. For further Faith Baxter Barbara Matos Weston Jill Jones Erik Azzopardi Daniel Owers Roger Blitz Hugh McLeod LSC and LSO has continued to develop and was Götterdämmerung with the Hallé under Sir information, visit lsc.org.uk. • Evaleen Brinton Meg McClure Liz Boyden Vanessa Knapp Paul Beecham Oli Perkins Chris Bourne Geoffrey Newman Vice President strengthened in 2012 with the appointment Mark Elder won a Gramophone award and Anna Byrne-Smith Jane Morley Gina Broderick Gilly Lawson Raymond Brien Davide Prezzi Gavin Buchan Ron Pacowitz of Simon Halsey as joint Chorus Director the recording of the Grande Messe des Morts Natalia Carrasco Vargas Andrea Persman Jo Buchan * Belinda Liao * Oliver Burrows Michael Scharff Andy Chan Jamie Patrick of the LSC and Choral Director for the LSO. by Berlioz with the LSO conducted by Sir Colin CHORAL CONCERTS Laura Catala-Ubassy Louisa Prentice Elizabeth Campbell Aoife McInerney Daniel Coelho Peter Sedgwick Matthew Clarke David Rice Patrons It now plays a major role in furthering the Davis won an International Music Award in WITH THE LSO & LSC THIS AUTUMN Elaine Cheng Liz Reeve Liz Cole Jane Muir Alexander Creamer Will Shackleton Damian Day Duncan Sim Simon Russell Beale cbe vision of the LSO Sing initiative. the Choral Works category. In June 2015 the Anjali Christopher Mikiko Ridd Janik Dale Caroline Mustill Michael Delany Chris Straw Joe Dodd Rod Stevens Howard Goodall cbe recording of Sir Peter Maxwell Davies’ Tenth Bernstein Symphony No 3, ‘Kaddish’ Jessica Collins Alison Ryan Maggie Donnelly Dorothy Nesbit Colin Dunn Richard Street * Thomas Fea Richard Tannenbaum The LSC has also partnered many other Symphony, commissioned by the LSO and with Marin Alsop Eve Commander Anneke Schulz Lynn Eaton Sui-Wai Ng John Farrington Malcolm Taylor Ian Fletcher Daniel Thompson Chorus Director major orchestras and has performed recorded by the LSO and the LSC with Sir 5 November Shelagh Connolly Jasmine Spencer Linda Evans Helen Palmer Matthew Fernando Simon Wales Robert Garbolinski * Gordon Thomson Simon Halsey cbe nationally and internationally with the , won a prestigious South Katherine Elliot Deborah Staunton Amanda Freshwater Emma Recknell Matt Flood James Warbis Josué Garcia Evan Troendle Berlin and Orchestras, Bank Sky Arts award in the Classical category. Liszt A Faust Symphony Lucy Feldman Giulia Steidl Christina Gibbs Erika Stasiuleviciute Patrizio Giovannotti Brad Warburton Daniel Gosselin Jez Wareing Associate Director and the Leipzig Gewandhaus Orchestra. with Sir Antonio Pappano Elisa Franzinetti Sarah Talbot Rachel Green Margaret Stephen Euchar Gravina Robert Ward * John Graham Tyler Wert Matthew Hamilton Championing the musicians of tomorrow, The 2016/17 season included performances 26 November Joanna Gueritz Winnie Tse Yoko Harada Linda Thomas Michael Harman Paul Williams-Burton Owen Hanmer * it has also worked with both the National of Verdi’s Requiem with Gianandrea Noseda Emily Hoffnung Rebecca Vassallo Kate Harrison Hannah Tripp Matthew Horne J-C Higgins * Chorus Accompanist Youth Orchestra of Great Britain and in the Barbican and at the Lincoln Center in A Choral Christmas Denise Hoilette Lizzie Webb Jo Houston Claire Trocmé Anthony Howick Benjamin Frost the European Union Youth Orchestra. New York, a semi-staging of Ligeti’s Le grand with Simon Halsey Josefin Holmberg Olivia Wilkinson Elisabeth Iles Peter Kellett The Chorus has toured extensively throughout macabre with Sir Simon Rattle and Peter 3 December Claire Hussey * Rachel Wilson Chairman Europe and has also visited North America, Sellars, and Brahms’ Requiem with Fabio Luisi. Alice Jones Alice Young Owen Hanmer Israel, Australia and South East Asia. The LSC also collaborated with the CBSO Bernstein Wonderful Town (concert version) and Orfeó Català choruses for Schoenberg’s with Sir Simon Rattle Concert Manager Much of the LSC repertoire has been captured Gurrelieder at the BBC Proms with the 16 & 21 December Guildhall School Guildhall School Robert Garbolinski in its large catalogue of recordings featuring London Symphony Orchestra and Sir Simon Tenors Basses renowned conductors and soloists, which Rattle last month. Highlights of 2017/18 LSO SINGING DAY Filipe Manu William Thomas LSO Choral Projects Manager have won nine awards, including five Grammys. include Bernstein's Third Symphony with Damian Arnold Andrew Hamilton Andra East Recent releases include Britten’s War Requiem Marin Alsop, Liszt's ‘Faust’ Symphony Bernstein Chichester Psalms Fredi Jones Jonathan De Garis with Gianandrea Noseda and Mahler’s with Sir Antonio Pappano and Mahler’s with Simon Halsey Caspar Singh Jack Holton Symphonies Nos 2, 3 and 8 with . Symphony No 2 with Semyon Bychkov. 7 October * denotes LSC council member João Valido Vaz

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