MESSIAHREIMAGINED MONDAY 5 APRIL 2021, 7PM St George’s, Hanover Square, London W1S 1FX

LUCY IESTYN NATHAN EDWARD CROWE DAVIES VALE GRINT soprano alto tenor bass-baritone

LAURENCE ADRIAN LONDON HANDEL CUMMINGS BUTTERFIELD conductor leader Handel’s Church St George’s Church, Hanover Square Mayfair community, St George’s tries to be St George Street, London W1S 1FX responsive not only to the needs of those that www.stgeorgeshanoversquare.org live or work in the area, but also to those who simply pass by. Eight years ago, in partnership St George’s was built between 1721 and 1724 to with the Cabmen’s Shelter on the northern side the design of John James, one of Christopher of Hanover Square, the church embarked on Wren’s assistants, as one of 50 churches for the a feeding programme for the homeless in our Cities of London and Westminster by Act of midst. As a result homeless people no longer Parliament in 1711. It cost just £10,000 (about just pass by but come into the church along £850,000 in today’s terms). with worshippers, cultural tourists, concert During two and a half centuries St George’s givers and attenders, and those who simply has been a centre of musical activities from come in for a moment’s quiet reflection in their the time of Thomas Roseingrave, appointed busy lives. the church’s first organist in 1725, to our own Soon this mix of people coming to St George’s day and the present musical director, Simon will change still further, as those emerging from Williams. In 1978 the then organist, Denys the new Crossrail station in Hanover Square Darlow, founded the . and heading south walk down St George The church was built when Handel was in his Street. It is with this growing, complex and thirties. In 1723 he rented a house nearby in ever-changing social mélange in mind that St Brook Street and remained there until his death George’s has taken the bold decision to open in 1759. He was often to be seen in the church, up its Undercroft. especially in his later years, and this makes St This attractive vaulted space beneath the George’s a particularly appropriate venue for church, with a floor area greater than that of the London Handel Festival. the church itself, has historically been used for The past 10 years have seen an extraordinary storage. The ambitious and exciting plan is to period of restoration and renewal at St turn an unloved and under-utilised space into a George’s. In 2010 comprehensive repair and vibrant, accessible, multi-purpose venue. This refurbishment of the interior of the church has been a mammoth endeavour and will shape took place and in 2012 a brand new organ was how St George’s is used in future generations. installed. The process of planning, crafting, The church’s vision is driven by three aims: to and then installing a first class organ (by generate sufficient funds to support its own and Richards, Fowkes & Company of Tennessee) others’ work with the homeless; to improve its took a full four years and after its dedication accessibility to everyone; and to expand the to the glory of God and a superb inaugural range of its activities. recital in October 2012, those now coming to Work on converting the space and providing the church as worshippers or concert-goers access to it from the church and street has are able to hear the results of these labours now been completed and discussions are for themselves. In January 2013 St George’s underway with potential catering partners. and its sister church, the Grosvenor Chapel, launched a combined weekly lunchtime recital series known as Mayfair Organ Concerts. Both churches are delighted that the 2020 London Handel Festival will once more incorporate recitals in this series into its own programme. But the work of St George’s is not all musical! As an enduring presence at the heart of the Handel Supporters

We gratefully acknowledge the generous support of the following individuals and organisations:

Messiah Reimagined Supporters Patrons Circle Anon Ian Adams John Chown Moya Duffy Nigel Fletcher and Caroline Burton Judith Ingham Bernard Jeffcote Dr Alan King Janice Liverseidge North London Chorus Andrew Packman Marilyn Stock Kathryn Uhde Major Supporters Aaron Watkins John Wotton London Handel Society Endowment Fund – Founding Gift in Memory of Howard and Nan Hopkin Benefactors Adrian and Jane Frost Jane Cooke Maria Bjornson Memorial Fund Finkler Darwin Escapes Dr Madeleine Gantley Richard Hopkin Ellen and John Harris Maecenas Trust David Hodges Nigel and Françoise Jones Carol Seymour-Newton Director’s Circle Melissa Scott Louise Fluker Teresa de Souza Michael George Chris Tupker Michael Holley Richard Hopkin The Associate Benefactors and Friends Richard Moat and Mary Collins of the London Handel Society and other donors who wish to remain anonymous. Richard and Buffy Moyse Peter and Edwina Wardle Acknowledgements

London Handel Society Founder Conductor Denys Darlow Incorporating Musical Director London Handel Festival Associate Director/Leader Adrian Butterfield London Handel Orchestra Festival Director Samir Savant London Handel Singers Festival Assistant Harry Palmer boxoffice@ London Handel Players londonhandelfestival.org.uk Promoted by the Orchestra Manager Anne-Marie Norman London Handel Society Ltd Music Preparation Peter Jones Registered Charity no. 269184 The Board of Directors of the Public Relations London Handel Festival would like to thank all those involved Premier Comms in Reimagined and is very grateful to our community Design of donors and those who have Baxter and Bailey supported the London Handel Festival philanthropically. Programme Patrons Design Creative Melon Notes Katie Hawks Dame Ian Partridge CBE We extend special thanks to all the performers, Board of Directors including our new collaborations with our Chairman Richard Hopkin choral partners and our 'Sing at Home' chorus. Deputy Chairman Michael Holley Thanks also to the production and technical Treasurer Vicki Harrison team, and to the many volunteers who give Ian Adams their time and skill to ensure the ongoing Greg Batsleer success of the Festival. Judith Ingham Rachel Lawrence This performance is dedicated to the Janice Liverseidge memory of Michael Ewart (1960 – 2021) Andrew Packman Melissa Scott Rebecca Young

SING-AT-HOME CHORUS

SCHOLAS BONOR PASTOR

FINCHLEY CHILDREN’S MUSIC GROUP

GUILDHALL SCHOOL JUNIOR DEPARTMENT CHAMBER

HARVARD UNIVERSITY CHOIR, USA

MUSIC IN OFFICES

NDR CHOIR (NORTH GERMAN RADIO CHOIR)

NATIONAL YOUTH CHOIRS OF GREAT BRITAIN

OTTOWA BACH CHOIR, CANADA

SCUNTHORPE & DISTRICT CHORAL SOCIETY

SCUNTHORPE COOPERATIVE JUNIOR CHOIR

CHOIR OF ST GEORGE’S HANOVER SQUARE

OLD ROYAL NAVAL COLLEGE TRINITY LABAN CHAPEL CHOIR

TEXAS STATE CHORALE (TEXAS STATE UNIVERSITY), USA

YORK UNIVERSITY CHAMBER CHOIR, CANADA Samir Savant Festival Director Dear Audience Members,

Thank you for joining us for this unique We have managed to pull through, with performance of Messiah Reimagined, huge thanks to our donors for their ongoing organised by the London Handel Festi- support. Since national lockdown started, val. Each year, we present a performance we have, somewhat miraculously, managed of Handel’s choral masterpiece from St to put on three events, - one live and two George’s, Hanover Square, the beautiful via live-stream. The latter two, the Final of Georgian church in the heart of London our International Handel Singing Compe- where Handel himself worshipped. Follow- tition and our award-winning Messiah Re- ing the success of our first award-winning imagined. Messiah Reimagined performance last De- Luckily, the Festival had a huge amount of cember which was viewed by over a quarter support from our Trustees, to work on our of a million people worldwide, we return with another performance, keeping things a little different. The soloists and London Handel Orches- tra will perform live under the direction of Laurence Cummings – and the chorus- es are pre-recorded and will be integrated digitally into the streamed performance. We are pleased to be joined by fifteen choirs, comprising some 500 singers, including our ‘Stay at Home’ “all comers” chorus from sixteen countries across five continents! 2020 was certainly a turbulent year for the Festival, indeed for all the performing arts. © Angelo Hornak © Angelo

finances and secure the future of the Festi- sure we can look forward later this year to val for the time being, as well as our audi- full churches and concert halls for our live ence members, two thirds of whom opted events, but for now we face an uncertain to convert their ticket purchases into full financial future, so if you are able to help or partial donations. I am so very grateful with any donations, or connections to, or to all these generous individuals for their ideas for sources of philanthropic income, spontaneous support, and pleased that we please visit our website www.london-han- were able to pass all of the donated funds del-festival.com/support-us/. received directly to the performers. Many We have been delighted with the reaction of the Festival’s artists are freelancers, and to our innovative Messiah Reimagined, and the impact on their work during lockdown so encouraged by all the enthusiasm for it has been almost unthinkable. that we recommend you keep an eye out We are so pleased to bring you Messiah for another performance planned towards Reimagined as a free live-streamed event the end of 2021. If you would like to sing this evening, which will also be available to with us on that occasion in our ‘Sing at view on our YouTube channel afterwards - Home’ chorus, please visit our website in www.youtube.com/londonhandelfestival. the coming weeks to book a place - www. We are sorry that we could not have a live london-handel-festival.com. audience, but it would be too difficult for Thank you for reading and for your support. us to manage with the changing lockdown situation in the United Kingdom. This is an expensive undertaking for us, with the added costs of live streaming and no ticket income, but we were determined to do it, to support our brilliant musicians and to bring music to you all in these dark times. We are HANDEL MESSIAH HMV 56

‘...he has made a fine Entertainment of it, tho’ not near Messiah is a statement both so good as he might & ought to have done. I have with of Jennens’ faith and of Han- great difficulty made him correct some of the grossest del’s. Jennens was a high An- faults in the composition, but he retained his Over- glican who believed firmly in ture obstinately, in which there are some passages the importance of the mys- unworthy of Handel, but much more unworthy of the teries of revelation, resurrec- Messiah.’ tion and redemption. He was filled with concern at the It seems extraordinary that caused: ‘The Nobility did me rise of Deism, which argued anyone could have been the Honour to make among the mystery out of Chris- quite so negative about one themselves a Subscription tianity: reason was all you of the pinnacles of the orato- for 6 Nights, which did fill a needed; revelation was irrel- rio, let alone its creator and Room of 600 Persons, so that evant. God created the uni- librettist (and good friend of I needed not sell one single verse, and He had no need Handel), Charles Jennens. Ticket at the Door, without to act in it through history But Messiah was a window Vanity the Performance was and miracles. Deism pound- into Jennens’ soul, and per- received with a general Ap- ed the pillars of Christianity haps Handel might never probation.’ which Jennens felt should have lived up to his expecta- remain untouchable. Messi- tions. Jennens possibly took Handel performed Messiah ah was, therefore, Jennens’ some umbrage from Handel’s thirty-six times, and it be- refutation of Deism, and his apparent attitude to it: initial- came a fundraiser for the restatement of the centrality ly slow to get around to writ- Foundling Hospital, to which of mystery. ing it, he laid it aside when he bequeathed his score he decided that he needed Handel also believed in the and parts. It is now his most something of ‘gayer turn’ for importance of history and performed work, and iron- the 1739 season (L’Allegro). mystery. He created the Old ic that it is the chief reason When he did start compos- Testament English , for Jennens’ own fame. Jenn- ing, he finished it within a and there are many instances ens vowed that ‘I will put no month. Jennens had planned in both Messiah and his mu- more sacred words into his a London performance of it sic more generally suggesting in Holy Week; Handel took it hands, to be thus abus’d’, but the centrality of mystery to to Dublin, giving its premiere he soon relented, and includ- his faith. Handel clearly felt there (without Jennens) in ed various Biblical passag- the significance of Messiah: April 1742. Perhaps seeking es in two years he signed off the manuscript a little conciliation, Handel later: perhaps he was not so SDG (Soli Deo , ‘To wrote to Jennens of the ex- disappointed with Messiah God alone be glory’), and his citement ‘his’ oratorio had after all. revisions of Messiah were not merely variants to suit Handel was well aware of Bach’s Kreuzige choruses in different singers, but genu- this biblical typology. A great his Passions (‘He trusted in ine improvements, following example is the chorus ‘Since God’). The scene ends with Jennens’ suggestions. by man came death’. This is the aria ‘Behold and see,’ an in an A1B1A2B2 structure: the air of bare loneliness. Inter- The oratorio is in three parts, A sections are written in a estingly, this aria is in E mi- corresponding with the three deliberately antiquated style nor, the key of the Overture, mysteries: revelation, res- (harking back to the renais- and a key symbolising hope urrection and redemption. sance); the B sections are after hardship. This aria is Most of the text of Messiah written in the most modern answered by the next, ‘But comes from the Old Testa- style, so that the music, as Thou didst not leave’, in A ment, emphasising biblical well as the text, reflects the major (itself perhaps refer- typology. Typology is the ‘modern’ antitype of the ‘an- ring to the Part I chorus ‘And belief that the Old Testament cient’ type. the Glory of the Lord’). provided types, or pre-figur- ings, to Christ’s antitype (an- A typological arrangement Messiah works on so many swering figure) in the New of biblical passages hardly levels. It is full of good tunes Testament. For example, to sounds like the basis for a ‘fine and fine choruses, but it describe Christ’s birth, Jenn- Entertainment’, but Handel is also immensely skilful- ens cleverly mingles passag- suffuses the work with high ly wrought in both musical es from the Gospels with drama and moments of both terms and in theological. Old Testament prophecies, reflection and jubilation. The When Jennens wrote that highlighting the reciprocity scene of Christ’s birth is al- ‘I hope he will lay out his of the two Testaments. The most conventional dramat- whole genius & Skill upon third part is largely taken ic oratorio writing: Luke’s it, that the Composition may from St Paul, but starts with Gospel provides dramatic excell all his former Compo- a passage from Job. And the recitative, and Handel uses sitions, as the Subject excels two Pauline passages in the the orchestra and choir as every other Subject’, he need second part, ‘How beauti- shepherds and angels (even not have worried. ful are the feet’ and ‘Their suggesting that the trumpets sound is gone out’, are Paul’s started the chorus ‘Glory to Katie Hawks 2018 own quotations from the God’ far away, as if flittering and Isaiah – show- in heaven). Another scene ing the connection between of high drama is Christ’s Old and New Testaments. passion. The chorus ‘Surely Jennens’ use of typology was he has borne our griefs’ is a part of the anti-Deist stance: French overture, followed by the Deists played down the a fugue, whose subject may importance of the Old Testa- represent the cross. Then ment, viewing it as one tradi- we have a series of contrast- tion of mythology. ing choruses and recitatives, including the equivalent of PART ONE 1. Sinfonia 2. Comfort ye my people (tenor-recitative) 3. Ev’ry valley shall be exalted (tenor-air) 4. And the glory of the Lord (chorus) 5. Thus saith the Lord (bass-recitative) 6. But who may abide the day of his coming (alto-air) 7. And he shall purify (chorus) 8. Behold, a virgin shall conceive (alto-recitative) 9. O thou that tellest good tidings to Zion (alto-air and chorus) 10. For behold, darkness shall cover the earth (bass-recitative) 11. The people that walked in darkness (bass-air) 12. For unto us a child is born (chorus) 13. Pifa (Pastoral Symphony) 14a) There were shepherds abiding in the field (soprano-recitative) 14b) And lo, the angel of the Lord came upon them (soprano-recitative) 15. And the angel said unto them (soprano-recitative) 16. And suddenly there was with the angel (soprano-recitative) 17. Glory to God (chorus) 18. Rejoice greatly, O daughter of Zion (soprano-air) 19. Then shall the eyes of the blind (alto-recitative) 20. He shall feed his flock (alto/soprano-air) 21. His yoke is easy, and his burthen is light (chorus)

Interval of 15 minutes PART TWO 22. Behold the lamb of God (chorus) 23. He was despised (alto-air) 24. Surely he hath borne our griefs (chorus) 25. And with his stripes we are healed (chorus) 26. All we like sheep have gone astray (chorus) 27. All they that see him laugh him to scorn (tenor-recitative) 28. He trusted in God (chorus) 29. Thy rebuke hath broken his heart (tenor-recitative) 30. Behold, and see if there be any sorrow (tenor-air) 31. He was cut off out of the land of the living (tenor-recitative) 32. But thou didst not leave his soul in hell (tenor-air) 33. Lift up your heads, O ye gates (chorus) 34. Unto which of the angels said he at any time (tenor-recitative) 35. Let all the angels of God worship him (chorus) 36. Thou art gone up on high (alto-air) 37. The Lord gave the word (chorus) 38. How beautiful are the feet (soprano-air) 39. Their sound is gone out (chorus) 40. Why do the nations so furiously rage together? (bass-air) 41. Let us break their bonds asunder (chorus) 42. He that dwelleth in heaven (tenor-recitative) 43. Thou shalt break them (tenor-air) 44. Hallelujah (chorus) PART THREE 45. I know that my redeemer liveth (soprano-air) 46. Since by man came death (chorus) 47. Behold, I tell you a mystery (bass-recitative) 48. The trumpet shall sound (bass-air) 49. Then shall be brought to pass (alto-recitative) 50. O death, where is thy sting? (alto/tenor-duet) 51. But thanks be to God (chorus) 52. If God be for us (soprano-air) 53. Worthy is the Lamb that was slain (chorus) LONDON HANDEL ORCHESTRA Violin 1: Oboe: Adrian Butterfield James Eastaway (recording) William Thorp Mark Baigent (recording) Kathryn Parry Bassoon: Violin 2: Mark Wilson (recording) Oliver Webber Theresa Caudle Trumpet: Diane Moore David Blackadder Stephen Keavy (recording) Viola: Rachel Byrt Timpani: Peter Collyer Benedict Hoffnung (recording)

Cello: Harpsichord/chamber organ: Katherine Sharman Alastair Ross Melanie Woodcock

Bass: Cecelia Bruggemeyer Judgement of all for Chandos; a solo Handel disc - ll Caro Sassone – with the Born in Staffordshire, Lucy English Concert/ Bicket for Harmonia Crowe studied at the Royal Mundi, and Handel’s Queens with London Academy of Music, where Early Opera for Signum Records. she is now a Fellow. With repertoire ranging from Purcell, Handel and After graduating in Mozart to Donizetti’s Adina, Archaeology and Verdi’s Gilda and Janacek’s Vixen, she has Anthropology from St sung with opera companies throughout the John’s College, Cambridge, world, including House, Iestyn Davies studied Covent Garden, the Glyndebourne Festival, singing at the Royal , the Teatro Real Academy of Music, London. Madrid, the Deutsche Oper Berlin, the An esteemed Handelian, he has delighted Bavarian State Opera, Munich, and the audiences globally with his vocal agility in Metropolitan Opera, New York. roles such as , , / In concert, she has performed with many of and David/. His intelligent the world’s finest conductors and and considered interpretations have led to including City of Birmingham Symphony fruitful collaborations with Thomas Adés, Orchestra/Haïm, Oramo and Nelsons, the George Benjamin and Nico Muhly. Berlin Philharmonic/Harding and Nelsons, Iestyn received an Olivier Award nomination Vienna Philharmonic/Nelsons, Orchestra for singing the role of in Farinelli of the Age of Enlightenment/Egarr, Scottish and the King opposite at Chamber Orchestra/Nézet-Séguin, the the Globe Theatre. The production was Monteverdi Orchestra/Gardiner, the subsequently performed in the West End Orchestra dell’Accademia Nazionale di and on New York’s Broadway. Santa Cecilia/Pappano and the London On the opera stage he has appeared at Symphony Orchestra/Rattle. the , Covent Garden, A committed recitalist she has appeared Glyndebourne Festival Opera, English at the Amsterdam Concertgebouw, New National Opera, La Scala Milan, the York’s Carnegie Hall, and the Aldeburgh, Metropolitan Opera, New York, the Chicago Edinburgh, Mostly Mozart and Salzburg Lyric Opera, the , and in Festivals, and is a regular guest at the BBC Munich, Vienna and Zurich. In concert, his Proms and Wigmore Hall. appearances have included la Scala Milan, Her recordings include Mendelssohn’s the Concertgebouw Amsterdam, Zurich with the LSO/ Gardiner; Tonhalle, Théâtre des Champs-Élysées Handel’s and Handel & in Paris, the Barbican in London, Lincoln Vivaldi with La Nuova Musica/David Centre New York and the BBC Proms. Bates for Harmonia Mundi; Lutoslawski An acclaimed recitalist, with repertoire with the BBC Symphony Orchestra/ ranging from Dowland to Clapton, he is a Gardner, Handel’s with the Early regular guest at Carnegie Hall, New York Opera Company/Curnyn and Eccles’ The and has curated residencies at both the Wigmore Hall and Saffron Hall. by Ruben Jais, Britten Serenade for Tenor, Among his accolades are a Grammy Horn and Strings at the Hong Kong Award, three Gramophone Awards for solo Festival, and Mozart Mass in C Minor with recital recordings, the Royal Philharmonic the Bach Choir conducted by David Hill. Society Young Artist of the Year, and the Nathan is a committed recitalist and has 2013 Critics’ Circle Awards for Exceptional appeared at the Wigmore Hall, the Three Young Talent (Singer). In 2017 he was Choirs Festival, the Temple Recital Series awarded an MBE by the Queen for his with , the Hong Kong Festival, services to music. the Housman, Gurney, Warlock and Ireland Societies with Graham Johnson, and the Nathan Vale Crush Room ROH with Audrey Hyland. Recordings include, Love’s Voice (Songs Former Winner of both by Finzi, Gurney, Ireland and Venables) for First Prize and the SOMM Records, and a collection of Quilter Audience Prize at the songs recordings for Nimbus records. This London Handel Singing season he will be returning to Nimbus to Competition, Nathan record the songs of Armstrong Gibbs. Vale attended the Royal His operatic engagements have included College of Music, where Lurcanio at the Bolshoi he studied with Ryland Davies. He was Opera, Belfiore La finta giardiniera for awarded an Independent Opera Vocal Luxembourg Opera, First Priest & First Scholarship to the National Opera Studio, Armed Man for ENO, where he was further supported by the Evangelist Johannes Passion (fully staged) Elmley Foundation, ENO, the Nicholas Teatro Massimo Palermo, Oronte John Trust and The Seary Trust. and Lurcanio Ariodante for English With the Aarhus Symphony Orchestra, he Touring Opera, First Prisoner Fidelio has sung the Christmas Oratorio conducted for Glyndebourne Festival, Grimoaldo by Harry Chistophers and Arias St John for Iford Opera, Emilio Passion conducted by and for Les Azuriales Opera, roles with the RAI Symphony Orchestra, Die in the newly commissioned opera To Erste Walpurgisnacht conducted by Sir See the Invisible by Emily Howard at the Neville Marriner and Theory / Arithmetic Aldeburgh Festival, and Mr Buchanan in L’enfant et les sortilèges conducted by The Opera Group’s revival of the award- Jeffrey Tate. Other highlights include winning production of Street Scene. Evangelist St Matthew Passion with the London Handel Society conducted by Laurence Cummings and with the Northern Sinfonia conducted by Thomas Zehetmair, Handel Ode for St Cecilia’s Day with both the Israeli Camerata and the Riga Chamber Choir conducted by Avner Byron, Arias St Matthew Passion with the Orchestra Sinfonica di Milano conducted Edward Grint Engagements in 2019/2020 included concerts with Les Arts Florissants on tour British bass-baritone in their Madrigal concerts, Acis & Galatea Edward Grint studied and Acteon with the , at King’s College, Messiah with the Irish Baroque Orchestra Cambridge as a choral and with The Hanover Band, a programme scholar, and at the of at the Wigmore Hall for International Benjamin La Nuova Musica, Missa Solemnis with Britten Opera School the Oxford Bach Choir, St John Passion at The Royal College of Music. He has with Les Musiciens du in Gdansk become sought after particularly as a and Aix-en- Provence and Jupiter Castor performer of the baroque repertoire and et Pollux for the Early Opera Company at engagements this season and next include the Opéra de Tours. appearances with Les Arts Florissants, , the Early Opera Laurence Cummings Company, La Nuova Musica and the Irish Laurence Cummings is one Baroque Orchestra. He is a prizewinner of Britain’s most exciting of the International Singing Competition and versatile exponents for Baroque Opera, Pietro Antonio of historical performance Cesti in Innsbruck, the London Handel both as conductor and Competition and won the Clermont harpsichord player. He Ferrand competition in France. has been Musical Director Recent engagements include Polifemo in of the London Handel Festival since 1999 Handel’s Aci, Galatea e Polifemo at the and Artistic Director of the Internationale London Handel Festival, St John Passion Händel-Festspiele Göttingen since 2012, and with Les Musiciens as well as Music Director of the Orquestra du Louvre, with the Royal Barroca Casa da Música in Porto. His most Choral Society, Haydn Schöpfungsmesse recent appointment is Music Director of with the City of London Choir, Brahms the from the at St Alban’s Cathedral, Mass in 2021- 22 season. He is the William Crotch B Minor with the Gabrieli consort, Handel Professor of Historical Performance at the at the Halle Händel- . Festspiele , Christmas Oratorio, Messiah He has conducted productions for and Venus and Adonis with the Dunedin English National Opera, Glyndebourne Consort, and Handel Dixit Dominus with Festival Opera, Buxton Festival Opera, Les Musiciens du Louvre. Edward also Opera North, Royal Academy of Music, appeared in Mozart Mass in C Minor at Garsington Opera, English Touring the Salzburg Festival (Norrington), Acis & Opera, Opera Theatre Company, Linbury Galatea with Banquet Celeste, Sorceress/ Theatre Covent Garden, Göteborg Spirit with the LPO Opera, Opernhaus Zurich, Opéra de (Norrington), Mass in B Minor with the , and the Handel and Haydn Society. BBC Symphony Orchestra. He regularly conducts and the Orchestra of the Age of music. The orchestra appears throughout Enlightenment and has worked with the the London Handel Festival at venues Hallé, Bournemouth Symphony, Britten across the capital, and has now performed Sinfonia, Royal Northern Sinfonia, Royal the great majority of Handel’s operas, Liverpool Philharmonic, Ulster Orchestra, and orchestral works as well as Royal Scottish National Orchestra, Royal numerous works by his contemporaries. Academy of Music Baroque Orchestra, The orchestra also gives concerts across Scottish Chamber Orchestra, Saint the country and abroad outside the Festival Paul Chamber Orchestra, Kansas City period, and has appeared at the Chelsea, Symphony, Wiener Akademie, National Windsor, Three Choirs and Oslo Church Symphony Orchestra (Washington), Music Festivals and at the Barber Institute. Zurich Chamber Orchestra, Jerusalem Recordings include the first recording of Symphony, Basel Chamber Orchestra, the 1732 version of the oratorio Musikkollegium Winterthur, and Moscow (2007) which was Editor’s Choice in Chamber Orchestra. Gramophone magazine, a live recording His numerous recordings include the first of (2009) and Chandos Anthems recording of Handel’s newly discovered (2018). The orchestra made its debut at the Gloria with Emma Kirkby, and Handel Royal Opera House, Covent Garden, in Arias with Angelika Kirchschlager and 2019 in a critically acclaimed production the Basel Chamber Orchestra for Sony of as part of the London Handel BMG. Highlights this season include a new Festival, the first time the work had been production of Belshazzar at Zürich Opera performed there since Handel directed it and Saul at the Théâtre du Châtelet, himself in 1737! along with appearances with the Croatian Baroque Ensemble, The English Concert, Bournemouth Symphony Orchestra, Academy of Ancient Music, and the MDR Orchester; as well as his regular commitments at the London and Göttingen Handel Festivals and Casa da Música. London Handel Orchestra

The London Handel Orchestra was formed in 1981 by Denys Darlow to perform at the annual London Handel Festival. The orchestra is made up of some of London’s finest period instrument players and is today directed by Adrian Butterfield and Laurence Cummings. It has gained an excellent reputation for historically Programme designed by informed performance and contributed greatly to the revival of interest in Handel’s creativemelonline.co.uk We need your help…

In addition to giving valuable philanthropic support by joining as a Friend, please consider getting involved with us in another way by volunteering your time and skills, or by hosting a musician in your home.

For most of our events, we need a team of volunteer stewards who help to make our audiences feel welcome, check tickets, direct people to their seats and sell programmes. We are looking to recruit volunteers for future Festival events who are confident, friendly and enjoy interacting with the general public. In return, you will get to enjoy the music and meet like-minded enthusiasts whilst supporting a great charity.

There are other specific year-round volunteering opportunities available, including help with social media, general administration or concert logistics. If you have a particular skill to offer, we would be delighted to hear from you.

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If you would like to get involved, and to find out more about anything described above, please contact Harry Palmer by email at boxoffice@ londonhandelfestival.org.uk.

Thanks in advance for your interest. Please support our work The London Handel Festival is an annual We offer several levels of support, with a range of benefits designed to bring you celebration of the work of George closer to our work. Please note that the Frideric Handel. Each year we present amount for each level is the suggested a critically acclaimed season of concerts, minimum donation per year. recitals, talks and walks, and everyone is Friend of London Handel Society welcome. Since the very beginning the - £40 per annum Festival has been supported by those • Priority booking for all performances, many passionate about Handel’s music. of which sell out • Invitations to private events organised A major aim of the Festival is to specially for our supporters encourage and promote young talent. • Regular e-newsletter The annual Handel Singing Competition Associate Benefactor - £250 per annum was inaugurated in 2002, and past All of the benefits above + finalists include singers who have gone • Personal acknowledgement in donor lists on on to stellar international careers, such website (if desired) as Ruby Hughes, Iestyn Davies and • Advance notification of Festival calendar of events Lucy Crowe. • Special events designed to give ‘behind the Our supporters make a huge contribution scenes’ access to the Festival each year, helping us to Benefactor - £500 per annum maintain our high artistic standards whilst All of the benefits above + keeping ticket prices affordable. We do • Personal acknowledgement in donor lists in printed programmes (if desired) not receive any public subsidy and ticket • Two free Festival programmes on request sales alone do not cover all of our costs. • Personalised communication from Festival Therefore we are reliant on our loyal Director, including review of each Festival group of supporters for our continued success each year, in particular to Patrons Circle – £1,200 per annum support our artistic ambitions to nurture All of the benefits above + • Priority booking before other supporters young talent and explore Handel’s lesser • Opportunity to designate support towards a known repertoire. Please join us. particular project • Annual Season Preview event

If you wish to join or to renew your Director’s Circle – £5,000 per annum All of the benefits above + membership, please visit • Opportunity to support specific concert/ www.london-handel-festival.com project/prize or e-mail • Exclusive access to rehearsals and to meet [email protected] musicians • Regular meetings with Festival Director to Thank you for your support. share views A Handel Legacy

The London Handel Society is the charity as you have done. We are a registered charity which runs the annual London Handel Festival. (no. 269184), and so any gifts made to us are We have been very fortunate in receiving a exempt from tax. small but significant number of legacies in Please do not hesitate to contact me personally recent years, which have made a valuable if you are thinking of supporting us in this way, contribution to our continued growth and or have already remembered us in your Will. success. Ticket sales alone do not cover the I would be happy to discuss specific wording costs of running the Festival, and therefore which you might wish to use, and also if there we are hugely reliant on the generosity of is a particular area of our work which interests our family of supporters, including our legacy you and how you might therefore designate donors, for our survival. your gift. We are lucky to have such a loyal audience and core group of supporters and it is to you I turn Richard Hopkin to ask if you would consider remembering the Chairman, London Handel Society London Handel Society in your Will? [email protected] A gift made in your Will ensures that future generations can enjoy Handel’s music as much