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Home , Arleen Auger, CBSO Chorus, Erin Wall, London Symphony Chorus, Michael Gielen, Paul Silverthorne

Orchestra Living Music

Sunday 21 June 2015 7.30pm Barbican Hall

BEETHOVEN SYMPHONY NO 9

Beethoven Overture: Leonore No 2 Beethoven Calm Sea and Prosperous Voyage INTERVAL London’s Symphony Orchestra Beethoven Symphony No 9 (‘Choral’)

Bernard Haitink conductor Erin Wall soprano Karen Cargill mezzo-soprano Steve Davislim Hanno Müller-Brachmann bass-baritone chorus director

Concert finishes approx 9.40pm 2 Welcome 21 June 2015

Welcome Living Music Kathryn McDowell In Brief

A very warm welcome to tonight’s concert, in LSO DISCOVERY AT 25 which conducts the LSO and the London Symphony Chorus through an all-Beethoven This year LSO Discovery, the Orchestra’s music programme, opening with the Leonore Overture education and community programme, celebrates No 2 and the lesser-known choral setting of 25 years. Founded in 1990, the breadth and depth Goethe’s poem Calm Sea and Prosperous Voyage. of LSO Discovery’s projects are unparalleled in the I would also like to welcome this evening’s orchestral world, reaching around 60,000 people soloists Erin Wall, Karen Cargill, Steve Davislim a year. You can come and enjoy a range of LSO and Hanno Müller-Brachmann, who join us for Discovery activities this summer to celebrate this Beethoven’s Symphony No 9 after the interval. milestone, from community singing days and free lunchtime concerts to the spectacular concert It is always a pleasure for the LSO to work with Pictures in Music. View full listings on our website. Bernard Haitink, and we are delighted that he will join us again to open our 112th season in lso.co.uk/lsodiscovery September with three concerts at the Barbican and a tour to Japan. THE SOUTH BANK SKY ARTS AWARDS I hope that you enjoy the performance and can join us again on Thursday 25 June for Pictures in Music, Sir Peter Maxwell Davies’ Symphony No 10, which a concert celebrating 25 years of pioneering education was commissioned and given its world premiere by work from LSO Discovery, with the Orchestra joined the LSO, has won a prestigious South Bank Sky Arts on-stage by young musicians from across East London. Award in the Classical category. The performance was recorded by LSO Live, and is available to download from our website.

lsolive.lso.co.uk

Kathryn McDowell CBE DL Managing Director A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of 10+, including 20% discount on standard tickets. Tonight we are delighted to welcome:

Faversham Music Club National Junior College and Redbridge & District U3A

lso.co.uk/groups lso.co.uk Programme Notes 3

Ludwig van Beethoven (1770–1827) Overture: Leonore No 2 Op 72a (1805)

Beethoven composed only one , yet he The opera is based on a true incident which revised it twice and wrote four different overtures occurred during the French Revolution: Florestan, for it. The first production of , in on a political prisoner, is aided by his wife Leonore, 20 November 1805, ran to only three performances, who has courageously taken a job as a prison guard PROGRAMME NOTE WRITER and the following spring a shortened version while disguised as a man named Fidelio. Leonore LINDSAY KEMP is a senior renamed Leonore, oder Der Triumph der eheleichen No 2 suggests these events with powerful simplicity. producer for BBC Radio 3, including Liebe (Leonora, or The Triumph of Conjugal Love) programming lunchtime concerts was performed just twice. It was not until 1814 that A slow, harmonically groping introduction shows us from Wigmore Hall and LSO St Luke’s, it next appeared, this time in the form in which it has the dungeon, with Florestan’s presence indicated by Artistic Director of the London become familiar and with Fidelio restored as its title. a reference on clarinets, horns and bassoons to his Festival of Baroque Music, and a despairing aria from the beginning of Act II. When regular contributor to Gramophone. The four versions of the overture are sufficiently the fast section arrives, it is with a leaping, heroic different to suggest that Beethoven’s doubts were tune for Leonore which then leads to a warmly not so much with musical quality as with function. romantic transformation of Florestan’s aria. Later, His original intention was clearly to provide a Beethoven imports a dramatic stroke directly from programmatic prelude that would foreshadow the opera: two off-stage trumpet calls signalling BEETHOVEN on LSO LIVE the ensuing drama and its music in the manner the pair’s imminent rescue, before the overture of the overtures of contemporary French opera. ends in a mood of emphatic joy. Beethoven The overture to the 1805 version (known as Leonore Fidelio No 2, the version heard in tonight’s concert) is grand and dramatic, but architecturally loose. For the 1806 £14.99 revision Beethoven produced Leonore No 3 which, lsolive.lso.co.uk while retaining much of the material of the original, was more concise and formally directed. Hear the full opera Fidelio in this LSO Live release, recorded in 2006 Both the subsequent Leonore No 1 and Fidelio at the Barbican. Overtures, however, are shorter and in a lighter, more independent vein. While we may therefore Sir conductor assume that Beethoven found Nos 2 and 3 over- London Symphony Orchestra bearing in their operatic settings, it is precisely London Symphony Chorus the balance these closely related works strike between forceful dramatic suggestion and ‘It ranks with the greatest accounts structural clarity that has made them the more I have ever heard of this work.’ popular of the Leonore/Fidelio overtures in the BBC Music Magazine concert hall. As such, they are effectively the ancestors of the 19th-century tone poem. 4 Programme Notes 21 June 2015

Ludwig van Beethoven Calm Sea and Prosperous Voyage Op 112 (1814–15)

1 MEERESSTILLE (CALM SEA) Maynard Solomon has seen a typically Beethovenian 2 GLÜCKLICHE FAHRT (PROSPEROUS VOYAGE) trajectory in the way this work outlines ‘tranquillity penetrated by agitation, dissolving into joyful LONDON SYMPHONY CHORUS triumph’, and there are certainly foretastes of the SIMON HALSEY CHORUS DIRECTOR Ninth Symphony in the way the music stirs, picks itself up and slides inexorably into the ‘Prosperous PROGRAMME NOTE WRITER It is by no means certain that Beethoven ever actually Voyage’, a rumblingly jubilant finale urged on by LINDSAY KEMP saw the open sea. The nearest he might have come sailors’ shouts of ‘geschwinde!’ (swiftly!). was in 1783, when, as a child prodigy, he made a visit with his mother to Rotterdam (20 miles inland, despite Beethoven was pleased enough with this succinct its status as a major port) and, briefly, to The Hague. and effective work to send a copy to Goethe himself, JOHANN WOLFGANG VON We cannot know, therefore, what his personal image along with a cautious request for the great man’s GOETHE (1749–1832) was a poet, was of an ocean, whether in becalmed or animated opinion. Sad to say, none came. playwright and scientist. Following state, when he made a setting for chorus and the success of his first novel, orchestra of Goethe’s two linked poems: Meeresstille The Sorrows of Young (1774), (Calm Sea) and Glückliche Fahrt (Prosperous Voyage) he has remained an important figure and presented it as part of a concert given on in German and world literature. Christmas Day 1815. Whatever it was, he was not He is most widely known as the the only one to be affected by Goethe’s words; the author of the tragedy , published young Schubert (who probably hadn’t seen the sea in two parts in 1808 and 1832. either) had set Meeresstille as a song earlier in the same year, and in 1828 Mendelssohn’s orchestral overture Calm Sea and Prosperous Voyage would begin its life as the most famous musical response to these evidently inspiring poems.

The subject of ‘Calm Sea’ is not the smooth surface reassuring to sufferers of seasickness, but rather the inert, windless conditions which, in the age of sail, INTERVAL – 20 minutes rendered a ship depressingly immobile. Beethoven’s There are bars on all levels of the Concert Hall; ice cream torpidly lapping chords faithfully reflect this, while can be bought at the stands on Stalls and Circle level. still leaving room for a stab of anxiety at the word ‘fürchterlich’ (fearful) and two brief awestruck Why not tweet us your thoughts on the first half of the outbursts at mentions of ‘der ungeheuern Weite’ performance @londonsymphony, or come and talk to (the vast expanse). LSO staff at the Information Desk on the Circle level? lso.co.uk Texts 5

Ludwig van Beethoven Calm Sea and Prosperous Voyage: Texts

Meeresstille Calm Sea Tiefe Stille herrscht im Wasser, Deep stillness reigns in the water, Ohne Regung ruht das Meer, The sea is motionless, at rest, Und bekümmert sieht der Schiffer And the troubled steersman scans Glatte Fläche ringsumher. The smooth flat plains all around. Keine Luft von keiner Seite! No breeze from any side! Todesstille fürchterlich! Terrible stillness of death! In der ungeheuern Weite In the vast expanse Reget keine Welle sich. Not a wave swells.

Glückliche Fahrt Prosperous Voyage Die Nebel zerreißen, The mists part, Der Himmel ist helle, The sky is bright, Und Äolus löset And Aeolus unties Das ängstliche Band. The uneasy bond. Es säuseln die Winde, The winds whisper, Es rührt sich der Schiffer. The steersman stirs. Geschwinde! Geschwinde! Swiftly! Swiftly! Es teilt sich die Welle, The waves part, Es naht sich die Ferne; The distance nears, Schon seh ich das Land! Already I see land!

Johann Wolfgang von Goethe

Thu 25 Jun 2015 7.30pm, Barbican Hall PICTURES IN MUSIC

Celebrate the joy of live music-making with LSO Discovery and the LSO’s new Assistant Conductor Elim Chan.

LSO Leader Gordan Nikolitch performs Vaughan Williams’ The Lark Ascending with young musicians from across East London, a new arrangement of Pictures at an Exhibition is brought to life with illlustrations, and Howard Moody conducts his brand new piece Deeds Not Words. Part of LSO Discovery at 25. Find out more lso.co.uk/pictures 6 Programme Notes 21 June 2015

Ludwig van Beethoven Symphony No 9 in D minor Op 125 (1822–24)

1 ALLEGRO MA NON TROPPO, UN POCO MAESTOSO Not that these matters would have concerned the 2 SCHERZO: MOLTO VIVACE audience at the work’s first performance in Vienna’s 3 ADAGIO MOLTO E CANTABILE Kärntnerthor Theatre in May 1824; for them the 4 PRESTO – ALLEGRO MA NON TROPPO – VIVACE – excitement lay in hearing Beethoven’s first new ADAGIO CANTABILE symphony in twelve years, and they lapped it up. At the end, the applause was thunderous, and the ERIN WALL SOPRANO deaf composer was turned around by the contralto KAREN CARGILL MEZZO-SOPRANO soloist Caroline Unger to see hats and handkerchiefs STEVE DAVISLIM TENOR being waved frantically all over the hall. ‘The whole HANNO MÜLLER-BRACHMANN BASS-BARITONE audience was impressed, crushed by the greatness LONDON SYMPHONY CHORUS of your work’, wrote Beethoven’s friend Anton SIMON HALSEY CHORUS DIRECTOR Schindler. Vienna may not have always appreciated Mozart to the full, but it certainly loved Beethoven. PROGRAMME NOTE WRITER Friedrich von Schiller’s poem ‘Ode to Joy’ could LINDSAY KEMP almost have been calculated to appeal to the The Ninth is not, strictly speaking, Beethoven’s last idealistic Beethoven. Written in 1785, it lauds the symphony – in 1825 he began but failed to complete joys of fellowship, the happiness of married life, another – but it is certainly a fitting summation of JOHANN CHRISTOPH FRIEDRICH the wonders of nature and the universe and the his mighty contribution to the genre‘s history. His VON SCHILLER (1759–1805) was an eternal mystery of divine love, and as early as 1793 achievement had been nothing less than that of influential dramatist, poet, historian Beethoven was considering setting it as a song. In bringing about an irreversible transformation in and philosopher. His plays, including 1812 he attempted a ‘choral overture’ using parts the entire concept of what a symphony is, turning The Robbers (1781) and William of the text, but it was not for another decade that a piece of concert music designed primarily to Tell (1804), have influenced the he was to find a true home for it when he made it entertain into a psychological journey in which, direction of European drama ever the subject of the extraordinary and revolutionary over the course of four movements, the listener‘s since, and his philosophical work finale to his Ninth and last symphony, the first ever emotions undergo some kind of change. This could On the Aesthetic Education of Man to include a choral movement. be triumph over adversity, as in the death and rebirth (1794) has become an important link of the ‘Eroica’, or a passage from darkness to light as between the Classical Enlightenment It was not just accommodating Schiller’s words that demonstrated in the famous Fifth Symphony. In the and the Romantic era. took a long time, however. Although the symphony Ninth, it is a journey from a bleak and brutal void to was essentially composed in a ten-month burst a glorious vision of an ideal world of love, tolerance between April 1823 and January 1824, there is a and universal brotherhood. case for saying that Beethoven had been writing it for much longer – he had contemplated a D minor symphony as early as 1812, immediately after the completion of the Seventh and Eighth, while some of its musical ideas date back even further. lso.co.uk Programme Notes 7

Ludwig van Beethoven Composer Profile

Certainly the shimmering strings which open the Beethoven showed early musical promise, yet first movement seem to conjure a mood of primeval reacted against his father’s attempts to train him emptiness before the music moves on into more as a child prodigy. The boy pianist attracted the combative regions. At the end, a sternly resolute support of the Prince-Archbishop, who supported theme emerges from the depths like a clenched his studies with leading musicians at the Bonn court. fist. The second movement seems straightforwardly By the early 1780s Beethoven had completed his first joyful with its playful timpani beats (spontaneously compositions, all of which were for keyboard. With applauded at the first performance), its interplay the decline of his alcoholic father, Ludwig became between the violins and its cheeky ending, but the family bread-winner as a musician at court. there is more than a hint of seriousness underlying it as well. The third movement is unambiguous in Encouraged by his employer, the Prince-Archbishop intent, however, a sublimely tender and beautiful set Maximilian Franz, Beethoven travelled to Vienna to of variations on a tune whose deceptively simple study with . The younger composer hymn-like nature is a Beethoven speciality, above all fell out with his renowned mentor when the latter in ‘late-period‘ works. discovered he was secretly taking lessons from several other teachers. Although Maximilian Franz And then the finale bursts in, startlingly and radically. withdrew payments for Beethoven’s Viennese At first the orchestra reviews themes from all three education, the talented musician had already earlier movements, with the cellos and basses attracted support from some of the city’s wealthiest seeming to debate their worth in melodic phrases arts patrons. His public performances in 1795 were which deliberately mimic the style of vocal recitative. well received, and he shrewdly negotiated a contract It is as if they are struggling to tell us something, with Artaria & Co, the largest music publisher in yet it is also a dramatically enhanced continuation Vienna. He was soon able to devote his time to of the fragmentary, groping introductions to the composition or the performance of his own works. finales of two earlier , the First and the Third. Eventually, though, the orchestra hits on the In 1800 he began to complain of deafness, but now-famous folksong-like theme, but after they despite suffering the distress and pain of tinnitus, have played a few variations on it, another upheaval chronic stomach ailments and an embittered legal leads to the first human sounds – a bass soloist case for the guardianship of his nephew, he created commanding us all to discard all this in favour of a series of remarkable new works, including the ‘pleasing and more joyful tones‘. These words are Missa solemnis and his late symphonies and piano Beethoven‘s, but from here to the end it is Schiller‘s sonatas. It is thought that around 10,000 people message which dominates, and as the voices take followed his funeral procession on 29 March 1827. over, we hear in the course of further variations His posthumous reputation developed to influence on the theme a vision of Elysium that is by turns successive generations of composers and other exultant and awestruck. ‘This gigantic work,‘ Hans artists inspired by the heroic aspects of Beethoven’s Keller suggested, ‘should convince even the firmest character and the profound humanity of his music. pessimist that mankind‘s life has been worthwhile‘. Composer Profile © Andrew Stewart 8 Texts 21 June 2015

Ludwig van Beethoven Symphony No 9: Texts

O Freunde, nicht diese Töne! O friends, not these sounds! Sondern laßt uns angenehmere Let us rather take up a more pleasing anstimmen, und freudenvollere. and more joyful refrain.

An die Freude Ode to Joy Freude, schöner Götterfunken, O joy, glorious spark of the gods, Tochter aus Elysium, daughter of Elysium, Wir betreten feuertrunken intoxicated by the flame, we enter, Himmlische, dein Heiligtum. celestial one, your sacred shrine.

Deine Zauber binden wieder, Your magic powers reunite Was die Mode streng geteilt; what rigorous convention sets apart; Alle Menschen werden Brüder, all men become brothers, there, Wo dein sanfter Flügel weilt. where your gentle wing comes to rest.

Wem der grosse Wurf gelungen, He who enjoys the blessed fortune Eines Freundes Freund zu sein, of mutual friendship, Wer ein holdes Weib errungen, he who has won a loving wife, Mische seinen Jubel ein! let him partake of the rejoicing!

Ja, wer auch nur eine Seele Yes, and if he has but one other soul Sein nennt auf dem Erdenrund! in this world to call his own! Und wer’s nie gekonnt, der stehle And who has not accomplished this, let him steal Weinend sich aus diesem Bund! weeping from this company!

Freude trinken alle Wesen All creatures drink in joy An den Brüsten der Natur; at Nature’s breast; Alle Guten, alle Bösen good and evil together Folgen ihrer Rosenspur. follow her rosy trail.

lso.co.uk Texts 9

Küsse gab sie uns und Reben, She gave us kisses and the vine, Einen Freund, geprüft im Tod; a friend proven unto death; Wollust ward dem Wurm gegeben, the worm too feels love’s pleasure, Und der Cherub steht vor Gott! and the cherub stands before God!

Froh, wie seine Sonnen fliegen Joyously, as His suns race Durch des Himmels prächt’gen Plan, through Heaven’s resplendent plains, Laufet, Brüder, eure Bahn, brothers, run your course, Freudig, wie ein Held zum Siegen! joyfully, as a hero toward victory!

Freude, schöner Götterfunken, etc. O joy, glorious spark of the gods, etc.

Seid umschlungen, Millionen! Be embraced, ye millions! Diesen Kuß der ganzen Welt! This kiss to all the world! Brüder, überm Sternenzelt Brothers, there above the firmament Muß ein Iieber Vater wohnen! a loving Father surely dwells!

Ihr stürzt nieder, Millionen? Do you fall prostrate, ye millions! Ahnest du den Schöpfer, Welt? Do you divine your Creator, world? Such’ ihn überm Sternenzelt, Seek Him beyond the firmament, Über Sternen muß er wohnen! He surely dwells beyond the stars!

Freude, schöner Götterfunken, etc. O joy, glorious spark of the gods, etc. Seid umschlungen, Millionen!, etc. Be embraced, ye millions!, etc.

Johann Christoph Friedrich von Schiller Strauss asStoryteller 200x200 monoad.indd 1 International Associate Residency 2015 Gewandhausorchester Leipzig the storyteller Strauss 17–23 Oct Riccardo Chaillyconductsthegreat tone-poems barbican.org.uk 12/06/2015 16:46

Image: © Jens Gerber lso.co.uk Artist Biographies 11

Bernard Haitink ‘It is business as usual, except that ‘usual’ inevitably Conductor means superb, definitive.’ The Sunday Times on Bernard Haitink with the LSO

Bernard Haitink’s 2014/15 season began with a He has made frequent guest appearances with concert with the Radio Philharmonic most of the world’s leading orchestras, and Orchestra, marking the 60th anniversary of Haitink’s celebrated another milestone in March 2014 when conducting debut with that orchestra. Other he conducted the in concerts engagements this past season included the opening marking the 50th anniversary of his debut with concert of the Bavarian Radio Symphony Orchestra’s them. He is committed to the development of young season, four programmes with the LSO in London, musical talent, and gives an annual Conducting Madrid and Paris, and concerts with the Chamber Masterclass at the Lucerne Easter Festival. Orchestra of in Lucerne, and Paris. He also conducted the Berlin Philharmonic in Bernard Haitink has recorded extensively with the the Baden-Baden Easter Festival, and returned to the Royal Concertgebouw Orchestra, the Berlin and Chicago and Boston Symphony Orchestras. During orchestras, the London and the summer 2015 festival season he conducts the Chicago Symphony orchestras and the Bavarian Vienna Philharmonic in the and Radio Symphony Orchestra. He has received many the opening concerts in the Lucerne Festival with awards and honours in recognition of his services the Lucerne Festival Orchestra, as well as concerts to music, including an honorary Knighthood and Conductor Emeritus in Lucerne and the BBC Proms with the Chamber Companion of Honour. Boston Symphony Orchestra Orchestra of Europe. Next season includes a return to Japan with the London Symphony Orchestra. Patron Netherlands Radio Haitink was Chief Conductor of the Royal Philharmonic Orchestra Concertgebouw Orchestra for 27 years, of Glyndebourne Festival Opera BERNARD HAITINK IN 2015/16 and The Royal Opera, Covent Garden, and Principal Conductor of the Staatskapelle , the Tue 15 Sep 2015 7.30pm London Philharmonic and the Chicago Symphony Mozart and Bruckner Orchestras. He is Conductor Emeritus of the with Murray Perahia piano Boston Symphony Orchestra, and Patron of the Netherlands Radio Philharmonic Orchestra. Sun 20 Sep 2015 7pm Beethoven and Mahler with Murray Perahia piano

Wed 23 Sep 2015 7.30pm Purcell, Beethoven and Brahms with piano

lso.co.uk | 020 7638 8891 12 Artist Biographies 21 June 2015

Erin Wall Karen Cargill Soprano Mezzo-soprano

In high demand across the globe, Scottish mezzo-soprano Karen Canadian soprano Erin Wall works Cargill was the winner of the 2002 with many of the world’s leading Kathleen Ferrier Award. Past and orchestras and conductors, future highlights with her regular including the NDR Symphony recital partner Simon Lepper Orchestra under Christoph include appearances at Wigmore Eschenbach, Orchestre National Hall, the Concertgebouw, the de France under Daniele Gatti, Kennedy Centre and, this season, her New York recital debut at under , Carnegie Hall, as well as regular hr-Sinfonieorchester under recitals for BBC Radio 3. With Paavo Järvi, Chicago Symphony Simon she recently recorded Orchestra under Bernard Haitink, a critically acclaimed recital of and Sydney Symphony under lieder by Alma and David Robertson. On the 50th for Linn Records. anniversary of the premiere of Britten’s War she appeared at the site of its premiere – Engagements in the 2015/16 season and beyond include Waltraute Coventry Cathedral – with the City of Symphony Orchestra in Wagner’s Götterdämmerung for the and under Andris Nelsons (released on DVD by Arthaus). return invitations from the Royal Opera, Covent Garden, and English National Opera. Karen will make her debut at the With an extensive opera repertoire, from Mozart and Beethoven 2015 Salzburg Festival singing Bruckner’s Mass No 3 with the Vienna through to Britten and Strauss, Erin Wall has sung leading roles Philharmonic and Yannick Nézet-Séguin. Other concert highlights in many of the world’s great opera houses with recent seasons include her debut with the Royal Concertgebouw Orchestra in including a series of remarkable debuts at the Metropolitan Opera, Mahler’s Symphony No 2, and with the Dresden Staatskapelle Wiener Staatsoper and Bayerische Staatsoper as Donna Anna in Elgar’s Sea Pictures. (Mozart’s ); at Teatro alla Scala and as Helena (Britten’s A Midsummer Night’s Dream); and Karen sings regularly with the Boston, Rotterdam, Seoul and Berlin at as Pamina (Mozart’s ). Philharmonic orchestras, the Chamber Orchestra of Europe, London Symphony and Philharmonic orchestras, and works with conductors Wall’s discography includes the 2010 Grammy award-winning recording including James Levine, Donald Runnicles, , Yannick of Mahler’s Symphony No 8 and Beethoven’s Symphony No 9 with Nézet-Séguin, Myung Whun Chung, Bernard Haitink, Sir the San Francisco Symphony under Michael Tilson Thomas, a DVD of and Robin Ticciati. Opera highlights have included roles with the Royal Mozart’s Così fan tutte from the Aix-en-Provence Festival under Daniel Opera, Covent Garden, Metropolitan Opera and Deutsche Oper Berlin. Harding, Beethoven’s Symphony No 9 with Orchestre Symphonique de In 2013 Karen was appointed Associate Artist of the Scottish Chamber Montreal under Kent Nagano, Britten’s with the City of Orchestra. Their recent Linn Records recording of Berlioz’s Les nuits Birmingham Symphony Orchestra under Andris Nelsons, and Mahler’s d’été and La mort de Cléopâtre with Robin Ticciati was chosen as Symphony No 8 with the Staatskapelle Berlin and . Gramophone magazine’s recording of the month in June 2013. lso.co.uk Artist Biographies 13

Steve Davislim Hanno Müller-Brachmann Tenor Bass-baritone

Twice awarded the Queen Hanno Müller-Brachmann Elizabeth II Silver Jubilee award studied with Rudolf Piernay and Australia Council scholarship, and Dietrich Fischer-Dieskau. Australia’s leading tenor is at the He has sung with the London, forefront of a new generation of Radio France, Vienna and Berlin singers. Acclaimed throughout Philharmonic orchestras, the the world for his beautiful lyric Berlin and Dresden Staatskapelle, voice, strong stage presence and Orchestra National de France, remarkable agility, he is in demand and the Boston and Los Angeles internationally on both concert Symphony orchestras under and operatic stages. conductors including , Kurt Masur, Nikolaus Engaged at the most prestigious Harnoncourt, Fabio Luisi, opera theatres and concert Christoph von Dohnányi, Bernard venues worldwide, he has Labadie, Herbert Blomstedt and appeared at the State Opera Sir . He made Berlin (Almaviva in Rossini’s ), State Opera Vienna his Carnegie Hall debut with the Chicago Symphony Orchestra under (Tamino in Mozart’s The Magic Flute), Hamburg Opera (Lensky in . Hanno was a member of the ensemble of the Tchaikovsky’s Eugene Onegin, Tom in Stravinsky’s The Rake’s Progress, from 1998 until 2011 and has also appeared at the Almaviva in The Barber of Seville), Royal Opera House, Covent Garden Bavarian, Hamburg and Vienna State and San Francisco . (Fenton in Verdi’s ), The Australian Opera in Sydney (Don Ottavio in Mozart’s Don Giovanni, Lensky in Eugene Onegin, David in Wagner’s He has given recitals in Berlin, Graz, Amsterdam, Hamburg, Paris and Die Meistersinger von Nürnberg), at the Théâtre du Châtelet (the title Lausanne, at Wigmore Hall and at the Schwarzenberg Schubertiade, role in Weber’s Oberon), Lyric Opera Chicago (Jacquino in Beethoven’s Berlin Festwochen and the Edinburgh Festival. His many recordings Fidelio) under Christoph von Dohnányi, Metropolitan Opera (Pedrillo include Bach’s St Matthew Passion with the Leipzig Gewandhaus in Mozart’s Die Entführung aus dem Serail), and with the Orchestra under Riccardo Chailly and the Gramophone Award-winning Dresden (Tom in The Rake’s Progress). recording of Mozart’s The Magic Flute under and most recently a DVD of the Britten’s War Requiem with the CBSO In addition to his operatic work, Steve Davislim has also performed with and Nelsons on Unitel. the most prestigious orchestras in Europe, Australia and the US under many of the world’s leading conductors, including Claudio Abbado, Future engagements include Figaro (in Mozart’s The Marriage of Sir Colin Davis, Sir John Eliot Gardiner, Valery Gergiev, Michael Gielen, Figaro) at the Edinburgh International Festival; concerts with the Royal , Bernard Haitink, Sir Roger Norrington, Sir Antonio Concertgebouw Orchestra; Brahms’ German Requiem at under Pappano, Michel Plasson, Riccardo Chailly and Franz Welser-Möst. Bernard Haitink; Papageno in The Magic Flute and Mozart’s Requiem in a European tour with the Budapest Festival Orchestra and conductor His recordings include Beethoven’s Symphony No 9 with David Zinman Iván Fischer; and Bach’s St John Passion with the Boston Symphony (Arte Nova), Beethoven’s Christ on the Mount of Olives and Mozart’s Orchestra under Andris Nelsons. Requiem (Opus 111), Tippett’s A Child of Our Time with Sir Colin Davis (LSO Live), and Haydn’s (Harmonia Mundi). Hanno is a Professor at the Musikhochschule Karlsruhe. 14 Artist Biographies 21 June 2015

Simon Halsey Chorus Director

Simon Halsey is a sought-after conductor of Simon Halsey is Professor and Director of Choral choral repertoire at the very highest level and an Activities at the , where he ambassador for choral singing across the world. directs a postgraduate course in Choral Conducting, Since 2001 he has been Principal Conductor of the in association with the CBSO. Halsey is in great Rundfunkchor Berlin, the permanent partner of the demand as a teacher at other universities and has Berliner Philharmonic, and he has recently been presented masterclasses at top universities such as made their Conductor Laureate. In the UK, Halsey Princeton and Yale. In 2011 published has been Chorus Director of the City of Birmingham his book and DVD on choral conducting, Chorleitung: Symphony Orchestra Choruses for over 30 years Vom Konzept zum Konzert, as part of its ‘Master and, in 2012, was appointed Choral Director of the Class’ series. LSO and London Symphony Chorus. In this position, Halsey leads choral activities across the LSO’s Halsey has worked on numerous recording projects, performance and education programmes. many of which have won major awards, including the Gramophone Award, Diapason d’Or and Echo Simon Halsey is also Artistic Director of the Berliner Klassik. He has won three Grammy Awards for his Philharmoniker’s Youth Choral Programme, as well recordings with the Rundfunkchor Berlin: 2007, Choral Director as Director of the BBC Proms Youth . Since 2008 (Best Choral Performances) and 2011 (Best London Symphony Orchestra 2014 he has been Artistic Advisor of the Choir Opera Performance). As part of a new relationship London Symphony Chorus Academy of the Schleswig-Holstein Musik Festival. with Deutsche Grammophon, Halsey and the Making singing a central part of these world-class Rundfunkchor Berlin recorded Spheres with violinist Chorus Director institutions, Halsey has been instrumental in changing Daniel Hope, as well as Morgenlicht, a choir-only City of Birmingham Symphony the level of symphonic singing across Europe. recording of German hymns, both released in Orchestra Choruses 2013. Highlights of his discography with the CBSO Since becoming Choral Director of the London Chorus on EMI Classics include Elgar’s The Dream Conductor Laureate Symphony Orchestra and London Symphony Chorus of Gerontius with the CBSO, Sir Simon Rattle, Dame Rundfunkchor Berlin in 2012, Halsey has been credited with bringing and John Shirley-Quirk; Beethoven’s about a ‘spectacular transformation’ (London Ninth Symphony with the Vienna Philharmonic and Artistic Director Evening Standard) of the LSC. In 2014/15 the LSO and Sir Simon Rattle; and Mahler’s Symphony No 2 with Berlin Philharmonic LSC performed Schumann’s Das Paradies und die the CBSO, Sir Simon Rattle, Dame Janet Baker and Youth Choral Programme Peri with Sir Simon Rattle. In addition to its work with Arleen Auger. the LSO, the choir joined the Gewandhausorchester Director Leipzig and for a performance of Born in London, Simon Halsey sang in the of BBC Proms Youth Choir Beethoven’s Ninth Symphony at the BBC Proms, New College, Oxford, and King’s College, Cambridge, and the BBC Philharmonic and Juanjo Mena for before studying conducting at the Royal College of Beethoven’s Fidelio in Manchester. In 2014 Halsey Music. He was awarded The Queen’s Medal for Music also conducted the LSC in a series of a cappella 2014 and recently received a CBE in the Queen’s concerts across the UK, including Tallis’ Spem in Birthday Honours. He was awarded the Officer’s Cross alium and Rachmaninov’s Vespers. of the Order of Merit of the Federal Republic of Germany in 2011, and holds three honorary doctorates. lso.co.uk The Chorus 15

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS BASSES the work of the London Symphony Orchestra. The partnership between Kerry Baker Hetty Paul Allatt * Simon Backhouse Faith Baxter Boardman-Weston Paul Burton Bruce Boyd the LSC and LSO was developed and strengthened in 2012 with the Evaleen Brinton Elizabeth Boyden Michael Delany Steve Chevis joint appointment of Simon Halsey as Chorus Director of the LSC and Laura Catala-Ubassy Gina Broderick Daniel Ehrlich Marek Chlebus Choral Director for the LSO. Jessica Collins Jo Buchan * John Farrington Damian Day Shelagh Connollly Lizzy Campbell Matt Fernando Thomas Fea Harriet Crawford Liz Cole Simon Goldman Ian Fletcher The LSC also partners other major orchestras and has worked Rebecca Dent Maggie Donnelly John Marks Robert Garbolinski * Katharine Elliot Linda Evans Alastair Mathews Gerald Goh internationally with the Berlin and Vienna Philharmonics, Lucy Farrington Lydia Frankenburg * John Moses * John Graham Boston Symphony and the European Union Youth Orchestra. Katalin Farsang Amanda Freshwater Daniel Owers Bryan Hammersley The LSC tours extensively throughout Europe and has visited Naomi Fletcher Tina Gibbs Stuart Packford Owen Hanmer * Joanna Gueritz Rachel Green Chris Riley Alex Kidney North America, Israel, Australia and South East Asia. Maureen Hall Yoko Harada Peter Sedgwick Thomas Kohut Isobel Hammond Jo Houston Richard Street Gregor Kowalski * The Chorus has recorded extensively; recent releases include Florentina Harris Ella Jackson James Warbis Georges Leaver Claire Hussey Jill Jones Robert Ward * Stefan Magier Britten’s War Requiem with , Haydn’s The Seasons, Debbie Jones Gilly Lawson Geoff Newman Walton’s ’s Feast, Verdi’s Otello, and the world premiere of Julia Josephs Belinda Liao * Peter Niven Mimi Kroll Anne Loveluck * Tim Riley James MacMillan’s St John Passion all under the late Sir Colin Davis; Debbie Lee Liz McCaw Rod Stevens and with Valery Gergiev, Mahler’s Symphonies Nos 2, 3 and 8. Marylyn Lewin Caroline Mustill Gordon Thomson Jane Morley Dorothy Nesbit Robin Thurston Maggie Owen Helen Palmer Jez Wareing Last season the Chorus undertook critically acclaimed performances Kate Powell Susannah Priede David Webster of, among other works, Verdi’s , Sir Peter Maxwell Davies’ Liz Reeve Lucy Reay Anthony Wilder Tenth Symphony, Berlioz’s The Damnation of Faust and Romeo and Mikiko Ridd Sarah Scott Chen Shwartz Claire Trocme Juliet, and Haydn’s The Creation. This season has included the world Ploen Sopitpongstorn Curzon Tussaud * * denotes council premiere of Sally Beamish’s Equal Voices and Schumann’s Das Paradies Rachael Twyford Agnes Vigh member Lizzie Webb Sara Williams und die Peri with the LSO, the Chorus’ own concert at the Barbican, Becky Wheaton Magdalena Ziarko which included Rachmaninov’s Vespers, and Mahler’s Symphony No 2 Miji Yi with the Berlin Philharmonic, Sir Simon Rattle and the CBSO Chorus.

If you would like to arrange an audition, contact Aoife McInerney on [email protected] for further details.

President Emeritus André Previn KBE Vice President Michael Tilson Thomas Patron Chorus Director Simon Halsey Deputy Chorus Director & Accompanist Roger Sayer Assistant Directors Neil Ferris and Matthew Hamilton Chairman Lydia Frankenburg lsc.org.uk 16 The Orchestra 21 June 2015

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS FLUTES HORNS nameMatthew message Plant @londonsymphony @BarbicanCentre Gordan Nikolitch Leader Paul Silverthorne Gareth Davies Bertrand Chatenet tonight were breathtaking. Marin Alsop’s conducting was Lennox Mackenzie Gillianne Haddow Patricia Moynihan Angela Barnes Clare Duckworth Malcolm Johnston Alexander Edmundson extraordinary to watch. Jörg Hammann Lander Echevarria PICCOLO Jonathan Lipton on the LSO with Marin Alsop and James Ehnes on 7 June Maxine Kwok-Adams Anna Bastow Sharon Williams Brendan Thomas Claire Parfitt German Clavijo Laurent Quenelle Julia O’Riordan OBOES TRUMPETS Harriet Rayfield Robert Turner Timothy Rundle Philip Cobb Christian Hoskins Feeling fortunate I was present for the Colin Renwick Heather Wallington Michael O’Donnell Gerald Ruddock Ian Rhodes Jonathan Welch Daniel Newell marvellous Rachmaninov 2 performed by André Previn and Sylvain Vasseur Fiona Dalgliesh CLARINETS @londonsymphony @BarbicanCentre this evening. David Worswick Caroline O’Neill Andrew Marriner TROMBONES on the LSO with André Previn and Anne-Sophie Mutter Shlomy Dobrinsky Chi-Yu Mo Dudley Bright Hilary Jane Parker CELLOS James Maynard on 10 June Alain Petitclerc Tim Hugh BASSOONS Minat Lyons Alina Petrenko Rachel Gough BASS TROMBONE Andy Heffer Lovely to see the @londonsymphony playing Alastair Blayden Joost Bosdijk Paul Milner SECOND VIOLINS Jennifer Brown beautifully and with a collective smile on its face for André David Alberman Noel Bradshaw CONTRA BASSOON TIMPANI Previn tonight. Sarah Quinn Eve-Marie Caravassilis Dominic Morgan Nigel Thomas Miya Väisänen Hilary Jones on the LSO with André Previn and Anne-Sophie Mutter David Ballesteros Morwenna Del Mar PERCUSSION on 10 June Richard Blayden Nicholas Gethin Neil Percy Matthew Gardner Orlando Jopling David Jackson Julian Gil Rodriguez Sam Walton Jenny Dutton You all treated us mere mortals to something DOUBLE BASSES Naoko Keatley wonderful last night! Keep making those glorious sounds! Belinda McFarlane Colin Paris William Melvin Patrick Laurence on the LSO with André Previn and Anne-Sophie Mutter Iwona Muszynska Matthew Gibson on 10 June Philip Nolte Thomas Goodman Paul Robson Joe Melvin Hazel Mulligan Jani Pensola Paul Sherman Hugh Sparrow

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Garrick Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Lefever Award London and concerts with the LSO. The scheme The Polonsky Foundation EC2Y 8DS Photography auditions students from the London music Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players.