The Bridgewater Hall Friday 5 July, 7.30pm Chetham’s at fifty 1969 - 2019 chethams.com/50 Welcome from To the audience, thank you all for being here this evening and for your HRH The Earl of Wessex KG GCVO support of Chetham’s. You are a key reason the School is in such fine heart with a splendid new music teaching building and magnificent concert hall. You are also part of the reason the School can face the future Welcome to this evening’s rather with a degree of confidence. However, it is the “thousand” musicians special concert to celebrate gathered on the stage of the Bridgewater Hall that is really what this Chetham’s 50th anniversary. It seems School and the future is all about. a little invidious to single out one of I trust that you will all, whichever part of the Hall you’re in, thoroughly the 50 concerts planned for the year enjoy the evening and the experience is indeed a fitting celebration of 50 but, if it had to be one, than Mahler’s remarkable years. 8th symphony is a worthy candidate. As one of the largest-scale choral works in the classical concert repertoire it is quite an undertaking by anyone, let alone a school. Huge credit must go to all involved, both students and staff, for showing such élan in performing the “Symphony of a Thousand”. HRH The Earl of Wessex KG GCVO Patron of Chetham’s School of Music I think it says a great deal about the staff that they have such confidence in their students and much of that esprit must rest with Stephen Threlfall who has been Director of Music since 1995. He has been a critical part of Chetham’s story, of so many outstanding performances and of not just the occasional special event, always inspiring everyone to believe they can achieve more. This evening is no different, but perhaps a little bitter-sweet as it is Stephen’s final appearance as Director of Music. On behalf of one and all, thank you and we wish you all the best for the future.

Many thanks must also go to all the soloists who are joining the merry throng this evening, one or two of whom have direct connections with Chetham’s. Thanks also to the choirs and choristers, for the wonderful example of collaboration and for helping to make this evening truly memorable. Welcome from Stephen Threlfall Programme Director of Music

For my final time as Director of Music at Chetham’s, it is my pleasure and Event number 32 in Chetham’s 50th anniversary concert series privilege to welcome you to tonight’s performance. A year or more ago, as we began making plans for Chetham’s 50th BRITTEN God Save the Queen (3’) anniversary, it seemed irresistible and tantalising to consider programming MAHLER Symphony No. 8 in Eb major (90’) Mahler’s Symphony No 8. This momentous work presents a unique Part I: Veni, Creator Spiritus opportunity to celebrate this landmark Part II: Closing Scene from Goethe’s ‘Faust’ in the School’s history, on a scale which unites many generations of musicians. Stephen Threlfall conductor Tonight’s performers include many of former students, solo artists and partner Ailish Tynan Magna Peccatrix institutions, each playing their part in Gweneth Ann Rand Una Poenitentium an uplifting symphonic journey. The Caroline Taylor Mater Gloriosa recently formed Young Music Talents of Kitty Whately Mulier Samaritana Europe connects music schools across Margaret McDonald Maria Aegyptica © Sara Porter the continent; long-standing choral Mark Le Brocq Doctor Marianus partners St. George’s Singers and Leeds Gareth Brynmor John Pater Ecstaticus Festival Chorus are joined by Hereford Cathedral Children’s Choir, led by Paul Carey Jones Pater Profundus former student David Evans. I am sure I am not alone in believing that such friendships form an indelible part of a musician’s life experience. I am delighted that our patron the Earl of Wessex, a great friend and There will be no interval in tonight’s concert advocate of the school, is also with us tonight. He is joined in the audience by representatives of the numerous trusts, charities and individuals whose Stalls Bar will remain open after the performance for audience ongoing support makes events like this into a reality. I, and every player members wishing to toast our young performers, or to bid farewell onstage alongside me, is extremely grateful for their assistance. to Stephen Threlfall Mahler’s greatest work was composed with creative passion and fervent energy. In these challenging yet exciting times it represents an outpouring of fulfilment and positivity, giving hope for both the present and the This concert is being recorded for broadcast on future. A recent comment by conductor Mirga Gražinyte-Tyla perfectly BBC Radio 3 on Wednesday 10 July and will be summed up the reason for our choosing it tonight: available for thirty days after the broadcast via “When you celebrate a birthday you don’t stay at home the Radio 3 website and BBC Sounds alone. You invite your friends!” So let’s celebrate. Please ensure mobile phones, pagers and watch alarms are switched off. Photography, audio and video recording are not permitted. Benjamin BRITTEN (1913–1976) The second and much longer part “It is all an allegory to God Save the Queen (1961) conjures up the closing scene of Goethe’s Faust, the epic Germanic convey something that, no matter what form it is given, Written for Leeds Festival, Britten’s choral and orchestral arrangement verse-drama in which scholar Heinrich can never be adequately of the National Anthem was described by biographer Neil Powell as an, Faust sells his soul to the demon expressed … That which “extraordinary progression from pianissimo prayer to pealing, overlapping Mephistopheles in return for riches, draws us by its mystic choral fortissimo.” It was performed at the openings of London’s Queen knowledge and love. Christopher force, that which every Elizabeth Hall and Snape Maltings in Aldeburgh, on both occasions in the Marlowe’s version of the legend, created thing, perhaps even presence of Queen Elizabeth II. perhaps more familiar to English readers, ends with Faust’s repentance the very stones, feels with and death. Goethe was unsatisfied with absolute certainty at the this conclusion, and his second act very centre of its being, that moves beyond the small world of human which Goethe here — again Gustav MAHLER (1860–1911) concerns into rich classical allusion. using an image — calls the Symphony No. 8 (1907) Decades after the sealing of their pact, eternal feminine — that is to the devil pursues his servant through say, the resting-place, the goal, as opposed to striving No work in the classical canon surpasses Mahler’s ‘Symphony of a five symbolic scenes, intent on claiming and struggling toward the Thousand’ in scale or in majesty. Its 1910 première was three years in the his prize. He fails, Faust is redeemed; goal (the eternal masculine) making, thanks to the vast demands it made of space and personnel in this final scene his soul ascends to — that is the force of love, – combining 858 singers, 171 instrumentalists, and Mahler himself on heaven, accompanied by choirs of and you are right to call the podium in the New Music Festival Hall, Munich. For Mahler, and for angels and the haunting figure of his it by that name … Goethe promoter Emil Gutmann, the performance was a colossal risk which earthly lover, Gretchen, who pleads with himself reveals it stage by turned into unmitigated triumph. In this - the last work he lived to hear the Holy Virgin on his behalf. stage, on and on, in image performed - the composer had come a long way since the disastrous The symphony opens with an explosive after image, more and more opening of his first symphony 21 years earlier. After that performance he organ fanfare and combined choruses, clearly as he draws nearer described himself as going around “like a sick person or an outcast”. In drawing on its rich orchestral forces - the end … He presents it Munich, he received a 30-minute standing ovation, and a century after including mandolins, harmonium and with ever greater clarity and its première the Eighth Symphony remains an unmissable musical event, offstage brass – to create a varied certainty right up to the both for its rarity and its mastery of orchestral and choral soundworlds. tapestry of large and small scale appearance of the Mater The Symphony consists of two extended movements, connected only by orchestral textures. The mature voices Gloriosa, the personification their exploration of superterrestrial themes and the deepest questions of male and female choirs, and of the of the eternal feminine … of humankind. Even during its composition Mahler knew that his time youthful ‘Knabenchor’, or Children’s Christians call this ‘eternal on earth was drawing to a close; by the time of its première, he had only Choir, represent the many ranks of bliss,’ and I cannot do eight months left to live. Little wonder than that his creation looked rather angels; the rapturous final section better than employ this to the heavens than to life on earth. As he himself described it to a friend, alternates euphoric grandeur with beautiful and sufficient “Imagine that the whole universe bursts into song. We hear no longer hopeful tranquillity. Nobel prize winning mythology — the most human voices, but those of planets and suns circling in their orbits.” novelist Thomas Mann, present at the complete conception which, first performance, wrote that its musical at this epoch of humanity, it The first part, Veni Creator Spiritus, is based on an ancient Pentecostal splendour defined Mahler as “the man is possible to attain.” hymn. In it the Creator Spirit, “the highest gift from God’, is invited to who, as I believe, expresses the art of Gustav Mahler in a letter to fill human souls with grace, light, strength and speech – the defining our time in its profoundest and most his wife Alma, to whom the characteristics of humanity. The original text, sometimes attributed to 9th sacred form”. century Benedictine monk Rabanus Maurus, was altered and reordered by work is dedicated, 1909 Mahler to align with his symphonic design and emotional purpose. Veni, Creator Spiritus Faust Part II: Act V, Scene 7 attributed to Rabanus Maurus Johann Wolfgang von Goethe

Veni, creator spiritus, Come, Creator Spirit, Mountain gorges, forest, rock, desert. Holy anchorites, mentes tuorum visita; visit the minds of Your people, divided in ascending planes, posted among the ravines Imple superna gratia, fill with grace from on high Chorus and Echo quae tu creasti pectora. the hearts which Thou didst create. Waldung, sie schwankt heran, Forest that sways here, Qui tu Paraclitus diceris, Thou that art called Comforter, Felsen, sie lasten dran, Rocks that weigh down on it, donum Dei altissimi, gift from God most high, Wurzeln, sie klammern an, Roots that cling, fons vivus, ignis, caritas, living fount, fire, love Stamm dicht an Stamm hinan, Trunks dense on trunks. et spiritalis unctio. and unction of the spirit. Woge nach Woge spritzt, Wave sprays over wave, Höhle, die tiefste, schützt; The deepest cave shields us. Infirma nostri corporis, Endow our weak flesh Löwen, sie schleichen stumm, Lions that creep silently virtute firmans perpeti. with perpetual strength, Freundlich um uns herum, Tame about us, Accende lumen sensibus, kindle our senses with light, Ehren geweihten Ort, Honour the sacred place, pour Thy love into our hearts. Infunde amorem cordibus. Heiligen Liebeshort. The holy shrine of love. Hostem repellas longius, Drive the enemy far from us grant us lasting peace, Pater Ecstaticus pacemque dones protinus; hovering up and down so that, beneath Thy guidance, ductore sic te praevio Ewiger Wonnebrand, Eternal burning brand, vitemus omne pessimum. we may avoid all ill. Glühendes Liebesband, Glowing bond of love, Tu septiformis munere Thou, sevenfold in gifts, Siedender Schmerz der Brust, Seething pain of the breast, Dexterae paternae digitus. finger of the Father’s right hand. Schäumende Gotteslust. Foaming joy of God. Pfeile, durchdringet mich, Arrows, pierce me, Per te sciamus da Patrem Give us to know Father Lanzen, bezwinget mich, Lances, subdue me, Noscamus atque Filium, and Son through Thee, Keulen, zerschmettert mich, Maces, beat me down, Te utriusque Spiritum and in Thee, Spirit emanating of both, Blitze, durchwettert mich, Lightning thunder through me! Credamus omni tempore. grant that we may always believe. Daß ja das Nichtige That now the worthless Da gratiarum munera Give us joy, Alles verflüchtige, Be cursed for ever, Da gaudiorum praemia, grant us Thy peace, Glänze der Dauerstern, Shine forth the enduring star, Dissolve litis vincula, smooth our quarrels, Ewiger Liebe Kern! Eternal love’s centre. Adstringe pacis foedera. preserve us in bonds of peace. Pater Profundus Gloria sit Patri Domino, Glory be to the Father, lower region As the rocky chasm at my feet Natoque qui a mortuis to His Son, who rose from the dead, Wie Felsenabgrund mir zu Füßen On the deep abyss weighs at rest, surrexit, ac Paraclito and to the Advocate and Comforter Auf tiefem Abgrund lastend ruht, As a thousand gleaming streams flow in saeculorum saecula. for ever and ever. Wie tausend Bäche strahlend fließen Zum grausen Sturz des Schaums der To the terrible plunge of the flood’s Flut, foam, Wie strack, mit eig’nem kräft’gen As with its own great strength Triebe, The trunk is born up into the air — Der Stamm sich in die Lüfte trägt: So is almighty love So ist es die allmächt’ge Liebe, That forms all, preserves all. Die alles bildet, alles hegt. Ist um mich her ein wildes Brausen, There is about me a wild rushing, Als wogte Wald und Felsengrund! As if forest and rocky ground shook, Und doch stürzt, liebevoll im Sausen, And yet there rose, in lovely sound, Die Wasserfülle sich zum Schlund, The waters to the abyss, Berufen, gleich das Tal zu wässern; Called as if it were to water the valley; Der Blitz, der flammend niederschlug, The lightning that flaming struck The More Perfect Angels Die Atmosphäre zu verbessern, To clear the atmosphere, Uns bleibt ein Erdenrest There remains for us earthly residue Die Gift und Dunst im Busen trug; Took the poison and vapour in its Zu tragen peinlich, To bear with difficulty; bosom– Und wär er von Asbest, And were he of matter indestructible, Er ist nicht reinlich. He is not pure. Sind Liebesboten, sie verkünden, They are love’s messengers, they attest Was ewig schaffend uns umwallt. to Wenn starke Geisteskraft When the strong force of the Spirit Mein Inn’res mög’ es auch entzünden, The constant creation surrounding us. Die Elemente The elements Wo sich der Geist, verworren, kalt, My inner being it too must charm An sich herangerafft, Has snatched up to itself, Verquält in stumpfer Sinne Schranken, Where the spirit, confused, cold, Kein Engel trennte No angel could part Tormented in the limits of dull senses, Scharf angeschloss’nem Kettenschmerz. Geeinte Zwienatur The united double nature Feels the sharp pain of chains. O Gott! beschwichtige die Gedanken, Der innigen beiden; Of both soul and body, O God! Quiet my thoughts, Erleuchte mein bedürftig Herz! Die ewige Liebe nur Eternal love only Bring light to my needy heart! Angels Vermag’s zu scheiden. May divide them. soaring in the higher atmosphere, bearing The Younger Angels the immortal part of Faust Ich spür’ so eben, I feel now Gerettet ist das edle Glied Saved is the noble limb Nebelnd um Felsenhöh’, In the mist and rocky heights Der Geisterwelt vom Bösen: Of the spirits’ world from evil: Ein Geisterleben, A Spirit life Wer immer strebend sich bemüht, “Who ever-striving takes pains, Regend sich in der Näh’. Dwelling near. Den können wir erlösen; Him can we redeem.” Seliger Knaben Of blessed boys Und hat an ihm die Liebe gar And if love from above Seh’ ich bewegte Schar, I see a throng, Von oben teilgenommen, Was shared by him, Los von der Erde Druck. Free from earth’s pressure. Begegnet ihm die sel’ge Schar The blessed host meet him Im Kreis gesellt, Gathered in a circle Mit herzlichem Willkommen. With heartfelt welcome. Die sich erlaben They rejoice Am neuen Lenz und Schmuck Chorus of Blessed Boys In the new spring and beauty Der obern Welt. Of the upper world. circling around the highest peaks Join your hands Sei er zum Anbeginn, Let him begin here Hände verschlinget Joyful in a ring, Steigendem Vollgewinn To win the fullness of life Euch freudig zum Ringverein! Up and sing Diesen gesellt! As their companion! Regt euch und singet Holy feelings! Heil’ge Gefühle drein! The Blessed Boys Taught by God Göttlich belehret, Freudig empfangen wir Joyfully we take You may trust; Dürft ihr vertrauen: Diesen im Puppenstand; This man into the state of chrysalis; The one whom you revere Den ihr verehret, Also erlangen wir So we receive You shall see. Werdet ihr schauen. Englisches Unterpfand. The angels’ pledge. Löset die Flokken los Set loose the flakes of earth The Younger Angels Those roses from the hands Die ihn umgeben! That are about him! Jene Rosen aus den Händen Of loving holy penitents Schon ist er schön und groß Then he is fair and great Liebend-heiliger Büßerinnen Helped us to win victory, Von heiligem Leben. From holy life. Halfen uns den Sieg gewinnen To complete the holy work, Und das hoheWerk vollenden, Doctor Marianus To take this soul’s treasure as prize. Diesen Seelenschatz erbeuten. in the highest, purest cell The evil drew back as we strewed, Böse wichen, als wir streuten, Hier ist die Aussicht frei, Here the view is free, The Devil flew when we smote. Teufel flohen, als wir trafen. Der Geist erhoben. The Spirit lifted up. Instead of the wonted pangs of Hell Statt gewohnter Höllenstrafen Dort ziehen Frauen vorbei, There pass women The spirits felt the torment of love; Fühlten Liebesqual die Geister; Schwebend nach oben. Ascending above. The old Satan himself Selbst der alte Satans Meister Die Herrliche mittenin The glorious one among them Was afflicted with sharp pain. War von spitzer Pein durchdrungen. Im Sternenkranze, In a crown of stars, Rejoice! We have succeeded. Jauchzet auf! Es ist gelungen. Die Himmelskönigin, The Queen of Heaven, Ich seh’s am Glanze. I see in splendour. Höchste Herrscherin der Welt! Highest Lady of the world! Abram ließ die Herde führen; Abraham led the herds; Lasse mich im blauen, Let me in the blue Bei dem Eimer, der dem Heiland By the pitcher which coolly Ausgespannten Himmelszelt Extended tract of Heaven Kühl die Lippe durft’ berühren; Touched the Saviour’s lips; Dein Geheimnis schauen. See your mystery. Bei der reinen, reichen Quelle, By the pure, rich source Bill’ge, was des Mannes Brust Approve what in man’s breast Die nun dorther sich ergießet, That now there gushes, Ernst und zart bewegt Grave and tender moves Überflüssig, ewig helle, Overflowing, ever clear Und mit heil’ger Liebeslust And with holy joy of love Rings durch alle Welten fließt– Flows throughout the world– Dir entgegen träget. Brings him to meet you. Unbezwinglich unser Mut, Our courage is unconquered Maria Aegyptiaca Wenn du hehr gebietest; When you, sublime, command; Bei dem hochgeweihten Orte, By the sacred place Plötzlich mildert sich die Glut, Anger suddenly wanes Wo den Herrn man niederließ, Where the Lord was laid, Wenn du uns befriedest. When you give us peace. Bei dem Arm, der Von der Pforte, By the arm that in warning Warnend mich zurücke stieß; Pushed me back from the entrance; Doctor Marianus, Chorus Jungfrau, rein im schönsten Sinne, Virgin, pure in fairest mind, Bei der vierzigjähr’gen Buße, By the forty-year penitence Mutter, Ehren würdig, Mother, worthy of reverence, Der ich treu in Wüsten blieb; That I truly spent in the desert; Uns erwählte Königin, Our chosen Queen, Bei dem sel’gen Scheidegruße, By the holy words of parting Göttern ebenbürtig. Equal to God. Den im Sand ich niederschrieb– That in the sand I wrote– Chorus All Three Mater Gloriosa soars into view To you, the immaculate, Die du großen Sünderinnen You who do not avert your gaze Dir, der Unberührbaren, It is not denied Deine Nähe nicht verweigerst. From women who have sinned Ist es nicht benommen That the easily seduced Und ein büßendes Gewinnen Raise into eternity Daß die leicht Verführbaren May come to you in consolation. In die Ewigkeiten steigerst, The victory gained by repentance, Traulich zu dir kommen. In weakness gathered in Gönn’ auch dieser guten Seele, Grant also this poor soul — In die Schwachheit hingerafft, They are hard to save; Die sich einmal nur vergessen, Who only once forgot, Sind sie schwer zu retten. Who tears apart through his own Die nicht ahnte, daß sie fehle, Who did not know that she erred — Wer zerreißt aus eig’ner Kraft strength Dein Verzeihen angemessen! Your forgiveness! Der Gelüste Ketten? The chains of lust? Una Poenitentium (Gretchen) Wie entgleitet schnell der Fuß How quickly does the foot slide Neige, neige, Turn, turn, Schiefem, glattem Boden? On the sloping, smooth ground? Du Ohnegleiche, You, matchless one, Chorus of Penitent Women & Una Du Strahlenreiche, Rich in glory, Poenitentium (Gretchen) Dein Antlitz gnädig meinem Glück! Your face in grace on my happiness! Du schwebst zu Höhen You float up to the heights Der früh Geliebte, The one I early loved, Der ewigen Reiche; Of the eternal kingdom; Nicht mehr Getrübte, No more troubled, Vernimm das Flehen, Hear our pleading, Er kommt zurück. Comes back. Du Gnadenreiche! You, full of grace! The Blessed Boys Du Ohnegleiche! You, without peer! circling nearer Magna Peccatrix Er überwächst uns schon He grows the greater Bei der Liebe, die den Füßen By the love that at the feet An mächt’gen Gliedern. With his mighty limbs, Deines gottverklärten Sohnes Of your Son, enlightened by God, Wird treuer Pflege Lohn True redemption will Tränen ließ zum Balsam fließen, Let tears flow as balsam Reichlich erwidern. Richly return. Trotz des Pharisäer Hohnes; In spite of the scorn of the Pharisees; Wir wurden früh entfernt We were early distanced Beim Gefäße, das so reichlich By the box that so richly Von Lebechören. From the chorus of life; Tropfte Wohlgeruch hernieder; Dropped down fragrance; Doch dieser hat gelernt: Yet this man has learned, Bei den Lokken, die so weichlich By the locks that so gently Er wird uns lehren. He will teach us. Trockneten die heil’gen Glieder– Dried the sacred limbs– Mulier Samaritana Bei dem Bronn, zu dem schon weiland By the well to which once Una Poenitentium (Gretchen) Chetham’s School of Music Vom edlen Geisterchor umgeben, By the noble choir of spirits Wird sich der Neue kaum gewahr, surrounded, 50th Anniversary Fund Er ahnet kaum das frische Leben, The newly born scarcely knows, So gleicht er schon der heil’gen Schar. He scarcely divines fresh life, When it comes to music, every detail matters. Sieh, wie er jedem Erdenbande So he becomes like the holy host. Der alten Hülle sich entrafft, See! How he from every bond of earth Every term Chetham’s students play through over 6,000 sheets of Und aus ätherischem Gewande Tears aside the old veil music. Hervortritt erste Jugendkraft! And from the clothing of the ether Vergönne mir, ihn zu belehren, Comes forth his first youthful strength! By making a donation to the 50th Anniversary fund, you will allow Noch blendet ihn der neue Tag Grant me to teach him, young musicians to continue enjoying the unparalleled artistic training Still blinded by the new day. that Chetham’s is able to offer. Your support also helps to maintain our Mater Gloriosa pioneering learning and participation programme, enhancing the lives of Komm! Hebe dich zu höhern Sphären! Come, rise up to higher spheres! children across the region. Wenn er dich ahnet, folgt er nach. If he is aware of you, he will follow. Chorus We can’t maintain these activities through ticket sales alone. Komm! Komm! Come! Come! Can you help us to keep playing for the next fifty years? Doctor Marianus, Chorus Your contribution could support Blikket auf zum Retterblick, All you who repent, Alle reuig Zarten, Look up to the redeeming sight £10 a train ticket for a student to perform in a Euch zu sel’gem Glück That tries to bring you venue outside the school Dankend umzuarten! To a blessed fate. £12 a pack of reeds for one oboist for a term Werde jeder bess’re Sinn That every better sense Dir zum Dienst erbötig; May serve you; £20 cooking ingredients or craft materials for Jungfrau,Mutter, Königin, Virgin, Mother, Queen, ten of the 240 boarders who live and learn at Göttin, bleibe gnädig! Goddess, be gracious to us! Chetham’s Chorus Mysticus £40 one piano string - one breaks almost every Alles Vergängliche All that is transitory week! Ist nur ein Gleichnis; Is but an image; Das Unzulängliche, The inadequacy of earth £47 an individual music lesson Hier wird’s Ereignis; Here finds fullfilment; £94 a week of music lessons for one student Das Unbeschreibliche The ineffable Hier ist’s getan; Here is accomplished; £200 a chamber music performance Das Ewig-Weibliche The eternal feminine £220 a new desk for homework in one of our Zieht uns hinan. leads us upwards. three boarding houses £400 a visiting speaker promoting wellbeing for a whole year group £500 sports equipment for our unique ‘Fit to Perform’ programme £1,000 a masterclass and student tickets for a recital by a leading artist £5,499 an entire piano!

chethams.com/support-us Stephen Threlfall conductor In rehearsal at The Stoller Hall, Chetham’s Tonight marks Stephen Threlfall’s final concert with Chetham’s Symphony Orchestra as the School’s Director of Music. This role, which he has filled for 24 years, has been the culmination of many years’ experience in the professional music world. An alumnus of the Royal Northern College of Music, Stephen’s career took him first to the BBC Philharmonic, where he was sub-principal cellist, before becoming Director of Music at Benenden School. At the same time his reputation as a conductor, educator and animateur was growing rapidly. © Tom Bangbala As a conductor, Stephen has earned acclaim for performances, recordings and broadcasts at major venues and festivals in the UK and internationally. He conducts regularly with Northern Ballet, the BBC Philharmonic, Northern Chamber Orchestra and Manchester Camerata, with whom he recently recorded a CD of orchestral works by Marcus Blunt. As well as performing with an array of outstanding classical artists, Stephen has collaborated with actors, entertainers and directors. His natural sense of performance combines with creative vision to inspire the artistic direction and programming of concerts, festivals and educational events. A staunch advocate of music for young people, he has created arts and community projects involving an impressive number of guest musicians, artists and specialists, among them the award-nominated Antarctica (2001) and Brundibár (2002/3); A Child of Our Time (2005) and The Spirit of Norway (2007) and the Britten Centenary in 2013. A Leonard Bernstein Celebration in 2008 saw Stephen working alongside the composer’s daughter Nina Bernstein-Simmons, who returned in 2018 to perform with Stephen and an orchestra of young musicians from Greater Manchester as part of the Bernstein 100 project. Stephen conducted the complete cycle of Beethoven Piano Concertos with international soloists including Noriko Ogawa and Peter Frankl as part of the 2017 Chetham’s International Piano Summer School. Future dates include a Beethoven project with the Hanover Band and engagements in Russia, Houston, Oman, Sweden, Hong Kong as well as across the UK. © B Ealovega Gweneth Ann Rand Ailish Tynan Caroline Taylor Kitty Whately soprano soprano soprano mezzo soprano Gweneth Ann Rand represented Irish soprano Ailish Tynan won the Caroline Taylor recently graduated with Kitty Whately trained at Chetham’s, England at BBC Cardiff Singer of the 2003 Rosenblatt Recital Song Prize at Distinction from the Royal Northern Guildhall School of Music and Drama, World in 2001 and was a member BBC Cardiff Singer of the World. Ailish College of Music, studying under Louise and the Royal College of Music of the prestigious Vilar Young Artist was a member of the prestigious Vilar Winter. Prior to this, she read Modern International Opera School. Kitty was Programme at the Royal Opera House, Young Artist Programme at the Royal Languages at the University of St a BBC New Generation Artist, during Covent Garden. Opera House, Covent Garden and a Andrews, where she was the recipient which time she recorded her debut solo BBC New Generation Artist. of the Cedric Thorpe Davie Memorial album This Other Eden, and was the Her operatic engagements include Prize. She is generously supported recipient of both the Kathleen Ferrier 4.48 Psychosis (The Royal Opera); Ailish established herself with operatic by an Oglesby Scholarship, the Mario Award and the 59th Royal Overseas Aida (Theater Bremen, Oper Kiel, roles including Gretel Hänsel und Gretel Lanza Educational Foundation and Help League Award in the same year. In 2017 Finnish National Opera, Macedonian (The Royal Opera, Welsh National Musicians UK (Maidment Award). she released her second album, Nights Opera, Opera Poznań, Oldenburgisches Opera and Scottish Opera); Madame not spent alone, to critical acclaim. Staatstheater); Senta Der fliegende Cortese Il viaggio a Reims, Marzelline Opera credits include Lauretta Gianni Holländer (London Lyric Opera/ Fidelio and Madame Podtotshina’s Schicchi (RNCM Opera), Helena The Opera highlights include Mother Other Barbican); Leonora La forza del destino Daughter The Nose (The Royal Opera); Enchanted Island (British Youth Opera) Mother in Mark-Anthony Turnage’s (Oper Köln); Leonora Il trovatore Vixen The Cunning Little Vixen (Grange and Sara in the world première of Coraline at the Barbican (Royal Opera (Welsh National Opera); Amelia Un Park Opera); Tigrane Radamisto Adam Gorb and Ben Kaye’s The Path House), Dorabella Così fan tutte (Opera ballo in maschera & Margherita/ (English National Opera); Papagena to Heaven (Psappha). On the concert Holland Park), Nancy Albert Herring Helena Mefistofele (Theater Erfurt); Die Zauberflöte (Teatro alla Scala platform, she has performed Handel (The Grange Festival), Hermia A Tosca (Teatro Nacional de São and The Royal Opera); Despina Così Messiah (Chesterfield Philharmonic Midsummer Night’s Dream in Bergen Carlos); Gutrune Götterdämmerung fan tutte (Théâtre du Capitole); Héro Choir), Bach St John Passion (Chester and Beijing, and the world première of (BBC Proms); and Aida, Santuzza, La Béatrice et Bénédict (Houston Grand Music Society) and Britten Les Vasco Mendonça’s The House Taken Gioconda, La Wally and Leonora La Opera and Opéra Comique); Sophie Illuminations (Northern Ballet Sinfonia). Over directed by Katie Mitchell, in forza del destino (Opera Holland Park). Der Rosenkavalier, Nannetta Falstaff, performances across Europe. An RNCM Songster and a Leeds Atalanta Xerxes (Royal Swedish Opera); Gweneth Ann is acclaimed for her Lieder Young Artist, Caroline was the Kitty is in high demand as a recitalist and Miss Wordsworth Albert Herring interpretations of Messiaen’s song 2018 winner of the Joyce and Michael and concert artist across major UK (Opéra Comique and Opéra de Rouen); cycles Harawi (Cheltenham Festival, Kennedy Award for Singing of Strauss festivals, and made her debut with the as well as concert appearances with Wigmore Hall, Southbank Centre) and (RNCM) and the Sir Anthony Lewis Berlin Philharmonic Orchestra singing prestigious orchestras. Poèmes pour Mi (Gürzenich Orchester Memorial Prize (Musica Britannica). Mendelssohn’s A Midsummer Night’s Köln, Tonhalle Orchester Zürich, BBC Ailish is a passionate recitalist She is a finalist in this year’s prestigious Dream. Scottish Symphony Orchestra). performing internationally with pianists RNCM Gold Medal. Kitty was the soloist for Mahler’s including Iain Burnside, James Baillieu, Recent highlights include the title role Upcoming performances include Das Lied von der Erde at this year’s Graham Johnson and Simon Lepper. in Aida, Serena Porgy and Bess and Brahms A German Requiem at Chester Mizmorim Festival in Switzerland. In Her numerous recordings include Mother Hansel and Gretel (English Cathedral and Handel Saul (Border 2019-20, she returns to English National Fauré Melodies (Opus Arte), Nacht und National Opera); Verdi Requiem (King’s Singers). In September, she joins the Opera to sing Peep-Bo in The Mikado, Träume (Delphian), An Irish Songbook College Cambridge); and Tippett A King’s Head Theatre as Gina (Gianetta) and joins the BBC Philharmonic to sing (Signum), and Mahler Symphony No.8 Child of Our Time with the Philharmonia and cover Adina in Donizetti’s The Elixir Beethoven in his 250th anniversary (LSO Live). Orchestra (Brighton Festival). of Love. year. Margaret McDonald Mark Le Brocq Gareth Brynmor John Paul Carey Jones mezzo soprano tenor baritone bass Margaret McDonald is a renowned Mark Le Brocq held a choral scholarship Winner of the Kathleen Ferrier Award, Welsh bass-baritone Paul Carey Jones international mezzo-soprano and voice at St. Catharine’s College, Cambridge baritone Gareth Brynmor John studied won the Wagner Society Singing coach. She sings regularly with leading where he read English. He studied at Cambridge, the Royal Academy Competition in 2013, and has since conductors at major venues in the UK at the Royal Academy of Music and of Music where he won the Patrons’ performed roles in a wide range of and abroad, encompassing an extensive later continued at the National Opera Award, and the National Opera Studio repertoire including Wotan Die Walküre, repertoire. She has sung on the operatic Studio where he was sponsored by where he was supported by the Royal Dr Schön Lulu, Scarpia Tosca, Father stage for Glyndebourne and Touring The Friends of English National Opera. Opera House. Hans & Gretel, Ping Turandot and Opera, Opera North, English National Upon completing his studies, Mark Marcello La Bohème. Recent career Opera roles include Sharpless for Bury Opera, Scottish Opera and Opera Go became a Company Principal with ENO. highlights include The Colonel in Court Opera and the Anghiari Festival Round, City of Birmingham Touring Brothers, a modern opera by Daniel On the concert platform Mark has and Edoardo in Donizetti Siege of Opera and Chelsea Opera to name Bjarnason at Icelandic Opera, The Nose appeared as a soloist worldwide. UK Calais for English Touring Opera. He but a few. She has recorded works at the Royal Opera House, Macbeth for performances include Berlioz Grande made his debut with Welsh National for Nimbus, Marco Polo and the BBC, Northern Ireland Opera, Philip Glass’ Messe des Morts in St Paul’s Cathedral; Opera (WNO) singing Schaunard La including Maxwell Davies’ The Jacobite The Trial for Scottish Opera and Scarpia Christmas Oratorio at Cadogan Hall; Bohème and returned to sing Masetto Rising and Sea Elegy. Tosca at Nevill Holt Opera Beethoven Missa Solemnis at the Don Giovanni whilst covering the title Maggie combines her singing schedule Three Choirs Festival; Bach St Matthew role. He has also covered and sung the Recent engagements include covering with Vocal Consultancy work, including Passion with the Academy of Ancient roles of Eugene Onegin and Andrei the roles of Donner Das Rheingold and masterclasses, workshops and Musica and Britten St Nicholas with War and Peace for WNO and will cover Gunther Götterdämmerung at Royal examining. She has taught at the Royal Opera North. and sing Papageno Die Zauberflöte Opera House London in a production Scottish Conservatoire and the Royal for them this season. Other future of Wagner’s Der Ring des Nibelungen. This season he has sung Pierre in Welsh Northern College of Music, and is vocal engagements include Purcell The Paul also returned to Iceland Opera National Opera (WNO) acclaimed coach for the Sheffield Philharmonic Indian Queen with Opéra de Lille and in the role of Marchese d’Obigny with production of War & Peace, and will Chorus and the Hallé Choir. She teaches Servilio Lucio Papirio Dittatore at the performances of La Traviata and will reprise this role at the Royal Opera at Chetham’s and produces its annual Buxton Festival. Concert performances perform Lescaut in Manon Lescaut for House. He performed as Harry King in Opera performance. She regularly include Elijah at Birmingham Town Opera Holland Park in their summer Anthropocene, a new work by Stuart coaches the Birmingham Festival Hall; Carmina Burana with the Bach 2019 season. Macrae for Scottish Opera, returned to Chorus, Doncaster Choral Society, Choir at the Royal Festival Hall and David Pountney’s production of From Other future engagements performing Chester Musical Society, Liverpool the Barbican; Handel Messiah and the House of the Dead with WNO at the role of Sacristan and covering Philharmonic Chorus, St George’s Faure Requiem at the Royal Albert the Janáček Brno Festival, and sang Scarpia in Tosca in an extended tour Singers and the Marsh Ladies Choir. Hall, Elgar Dream of Gerontius with the role of Loge in Das Rheingold for with Scottish Opera. Leeds Philharmonic Chorus, Stanford Concerts last year ranged from Bach B Longborough Festival Opera. On the Missa via Victrix with the BBC National Paul is also engaged by Longborough minor Mass in Derby Cathedral, Brahms concert platform Mark joined the BBC Orchestra of Wales and The Kingdom Festival Opera from 2021-23, where he Alto Rhapsody in Lancaster and Verdi Symphony Orchestra to sing Sylvester with the BBC Philharmonic Orchestra. will perform the role of Der Wanderer/ Requiem in Buxton, to a recital in Leeds in Mark-Anthony Turnage The Silver Wotan in performances of Der Ring des Town Hall with Simon Lindley and an Tassie, marking the centenary of the Gareth is part of the Songsmiths, and Nibelungen. evening of Cole Porter for Doncaster Armistice. Next season Mark returns to sings in the London English Song Choral Society. Scottish Opera to sing Mao Tse-tung in Festival as well as giving regular Nixon in China. recitals. Thank you

We are grateful to Chetham’s generous supporters: Albert and Eugenie Frost Music Trust Lady Rosalind Hurn Alan Torevell Leverhulme Trust Ambache Charitable Trust Mark Griffiths and Jacqueline Jarvis Andrew Lloyd Webber Foundation Martin and Louise Spurrier Ann Brooks Patrons of Chetham’s Library Annette Stewart Peter and Elizabeth Fothergill Arts Council England PRS Foundation Association of Independent Museums Rayna and Peter Jackson Beaverbrooks Charitable Trust Seat and Room Naming donors David Gaskill Stanley Picker Trust David Russell Stockport Recorded Music Club Department for Digital, Culture, Media The Booth Charities and Sport/Wolfson Museums and The Crispa Charitable Trust Galleries Improvement Fund The Friends of Chetham’s Donors to our 50th Anniversary Fund The Haworth Trust Eric Whittaker The Ida Carroll Trust Garrick Charitable Trust The Michael Bishop Foundation Gill Williamson The Oglesby Charitable Trust Graham and Vera Hale The Right Hon. The Earl of Derby, DL Harry and Laura Ross The RVW Trust Hulme Trust Estates The Stoller Charitable Trust Humphrey Chetham Club members The Zochonis Charitable Trust Ian Bateman William Walton and La Mortella Trust Ivor and Gail De Meza All donors who wish to remain Jacana Care Trust anonymous, those who have given Jim Spencer gifts under £1,000 and those who have John and Sarah Davnall left a gift to Chetham’s in their Will John Mackay

A production on this scale would be impossible without the support of our many supporters and partners. For tonight’s concert, our thanks go to: Nigel Jay for the loan of mandolins in memory of his wife, Pam Lynne Dawson The Bridgewater Hall The Hallé

Students at Chetham’s are proudly supported by the Department for Education’s Music and Dance Scheme