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Home , Adrian Adlam, Anna Larsson (contralto), Anna von Mildenburg, David Zinman, Eliahu Inbal, Klaus Tennstedt

Orchestra Living Music

Sunday 25 June 2017 7pm Barbican Hall

London’s Symphony Orchestra MAHLER SYMPHONY NO 3

Robert Trevino conductor Anna Larsson alto Tiffin Boys’ Ladies of the chorus director

Please note that there will be no interval

Concert finishes approx 8.50pm 2 Welcome 25 June 2017

Welcome Living Music Kathryn McDowell In Brief

A warm welcome to this evening’s LSO concert at the NEW OPPORTUNITIES FOR Barbican. We are joined by Robert Trevino, making EARLY-CAREER COMPOSERS his debut with the Orchestra. One of the most dynamic young American conductors to emerge Applications have re-opened for our flagship composer in recent years, Robert Trevino has a particularly programme – LSO Soundhub – which provides a strong reputation for Mahler. We are very grateful flexible environment for four composers annually to him for stepping in to replace , to develop their work with access to vital resources, who is unable to conduct owing to a wrist injury. state-of-the-art equipment and professional support. We are very grateful to Susie Thomson for generously Tonight’s programme is focused on Mahler’s supporting LSO Soundhub from September 2017. expansive Third Symphony, for which we are delighted to welcome soloist Anna Larsson, The LSO is also launching a new programme, LSO the Tiffin Boys’ Choir, the London Symphony Jerwood Composer+, with the generous support of Chorus and our Choral Director Simon Halsey. the Jerwood Charitable Foundation. The programme will support two composers in programming and I hope you enjoy the concert and that you will delivering chamber-scale concerts at LSO St Luke’s, be able to join us again soon. On Sunday 9 July, including work of their own developed through the Sir will conduct the LSO in the UK programme. The deadline for applications for both premiere of Andrew Norman’s new children’s programmes is Friday 28 July. A Trip to the Moon, a joint commission by the LSO, the and the lso.co.uk/composers . This new children’s opera will feature many of LSO Discovery’s and young performers. The programme will A WARM WELCOME TO TONIGHT’S GROUPS close with Sibelius’ Symphony No 2, for which we welcome members of the Guildhall School’s Groups of 10+ receive a 20% discount on standard Orchestral Artistry programme, run in association tickets to LSO concerts, plus other exclusive benefits. with the LSO. Tonight we are delighted to welcome:

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lso.co.uk/groups

Kathryn McDowell CBE DL Managing Director lso.co.uk Composer Profile 3

Mahler the Man by Stephen Johnson

obsession with mortality in Mahler’s music. Few of his major works do not feature a funeral march: in fact Mahler’s first composition (at age ten) was I am … a Funeral March with Polka – exactly the kind of three times homeless extreme juxtaposition one finds in his mature works. a native of Bohemia in Austria For most of his life Mahler supported himself by , but this was no mere means to an end. an Austrian among Germans Indeed his evident talent and energetic, disciplined commitment led to successive appointments a Jew throughout the world. at Prague, Leipzig, Budapest, and climactically, in 1897, the Court Opera. In the midst of this hugely demanding schedule, Mahler composed whenever he could, usually during his summer holidays. The rate at which he composed during these brief periods is astonishing. The workload in no way decreased after his marriage Mahler’s sense of being an outsider, coupled with to the charismatic and highly intelligent Alma Schindler a penetrating, restless intelligence, made him an in 1902. Alma’s infidelity – which almost certainly acutely self-conscious searcher after truth. For Mahler accelerated the final decline in Mahler’s health in the purpose of art was, in Shakespeare’s famous 1910/11 – has earned her black marks from some phrase, to ‘hold the mirror up to nature’ in all its biographers, but it is hard not to feel some sympathy bewildering richness. The symphony, he told Jean for her position as a ‘work widow’. Sibelius, ‘must be like the world. It must embrace everything’. Mahler’s can seem almost Nevertheless, many today have good cause to over-full with intense emotions and ideas: love and be grateful to Mahler for his single-minded devotion hate, joy in life and terror of death, the beauty of to his art. T S Eliot – another artist caught between nature, innocence and bitter experience. Similar the search for faith and the horror of meaninglessness – themes can also be found in his marvellous songs wrote that ‘humankind cannot bear very much reality’. and song-cycles, though there the intensity is, But Mahler’s music suggests another possibility. With if anything, still more sharply focused. his ability to confront the terrifying possibility of a purposeless universe and the empty finality of death, was born the second of 14 children. Mahler can help us confront and endure stark reality. His parents were apparently ill-matched (Mahler He can take us to the edge of the abyss, then sing remembered violent scenes), and young Gustav us the sweetest songs of consolation. If we allow grew dreamy and introspective, seeking comfort ourselves to make this journey with him, we may in nature rather than human company. Death was find that we too are the better for it. a presence from early on: six of Mahler’s siblings died in infancy. This no doubt partly explains the 4 Programme Notes 25 June 2017

Gustav Mahler (1860–1911) Symphony No 3 (1893–96)

1 KRÄFTIG. ENTSCHIEDEN It isn’t hard to see why the Third Symphony should 2 TEMPO DI MENUETTO provoke such extreme reactions. In concept – and in 3 COMODO (SCHERZANDO) some of its content – it is Mahler’s most outrageous 4 SEHR LANGSAM – MISTERIOSO work. The forces may be smaller (slightly) than those 5 LUSTIG IM TEMPO UND KECK IM AUSDRUCK used in Symphony No 2 (‘Resurrection’) or the so- 6 LANGSAM – RUHEVOLL – EMPFUNDEN called ‘Symphony of a Thousand’ (No 8), but in other respects it is incredibly ambitious. Mahler is quoted PERFORMED WITHOUT AN INTERVAL as saying that ‘the symphony must be like the world. It must embrace everything’, in which case the PROGRAMME NOTE WRITER ROBERT TREVINO CONDUCTOR Third is his most ‘symphonic’ work. ‘Just imagine a STEPHEN JOHNSON is the author ANNA LARSSON ALTO work of such magnitude that it actually mirrors the of Bruckner Remembered (Faber). LONDON SYMPHONY ORCHESTRA whole world’, Mahler wrote to the singer Anna von He also contributes regularly to BBC TIFFIN BOYS’ CHOIR Mildenburg, ‘My [third] symphony will be something Music Magazine and The Guardian, LONDON SYMPHONY CHORUS the like of which the world has never heard!’. In this and broadcasts for BBC Radio 3 SIMON HALSEY CHORUS DIRECTOR music, he wrote, ‘the whole of nature finds a voice … (Discovering Music), BBC Radio 4 Some passages in it seem so uncanny that I can and the BBC World Service. hardly recognise them as my own work’. ‘It’s all very well, but you can’t call that a symphony.’ At first Mahler thought of giving the Third Symphony THE DICHOTOMY OF THE a title. It was to be called ‘Pan’, after the Greek APOLLONIAN AND DIONYSIAN god of nature, or ‘The Joyful Science’, after one was introduced as a literary and William Walton’s brusque dismissal of Mahler’s Third of Nietzsche’s philosophical works, Die fröhliche philosophical concept by Friedrich Symphony may strike some readers as provincial Wissenschaft. The Third Symphony contains, in its Nietzsche in his 1872 work of today. But there was a time when musically minded fourth movement, a setting of lines from Nietzsche’s dramatic theory The Birth of people would have agreed with him. After the Also sprach Zarathustra (Thus Spake Zarathustra), Tragedy from the Spirit of Music. symphony’s 1904 Viennese premiere, a critic stated the work which first puts forward the ideal of the He considered the opposition of that Mahler ought to be sent to jail for perpetrating ‘Superman’, the man who can embrace life – nature Apollo, Greek god of order, rationality such an insult to the intelligent listener. But amid – in all its fullness, whether glorious or terrible. and prudence, and Dionysus, god of the scandalised, outraged comments one can find This message struck chords in Mahler himself, emotion, chaos and irrationality. equally impassioned praise. After hearing that same as he noted after writing the symphony’s second He argued that while each attempts 1904 Viennese performance, the young Arnold movement: ‘It always strikes me as odd … think only (and ultimately fails) to overwhelm Schoenberg (who had at first been hostile to Mahler) of flowers, little birds, and woodsy smells. No one the other, artistic endeavour, in told the composer that the symphony had revealed knows the god Dionysus, the great Pan. There now! particular Classical Athenian tragedy, to him ‘a human being, a drama, truth, the most You have a sort of programme – that is, an example achieves its apex in the fusion ruthless truth!’. of how I make music. Everywhere and always it is or balance of the two, affording only the voice of nature!’. the audience an opportunity to encounter the fullest range of human experience. lso.co.uk Programme Notes 5

THE GUSTAV MAHLER As to that ‘programme’, Mahler was prepared to music (brass fanfares, dotted rhythms and plenty of SOCIETY UK be more specific. He described the symphony’s six percussion). Eventually it is the latter music which movements as follows: dominates ‘summer marches in’. The ‘flowers of the The Society has an active meadow’ minuet that follows is on a much more programme of events including Summer marches in intimate scale, with hints of folk music, delicately evening talks and weekend study What the flowers of the meadow tell me scored. The naïve exuberance of the ‘animals of days. It publishes a journal, The What the animals of the forest tell me the forest’ third movement is twice interrupted by Wayfarer, and offers discounts What night tells me (mankind) solos from a distant post-horn, sounding magically to its members on a range of What the morning bells tell me (the angels) through hushed high strings – a nostalgic memory, concerts. Individual membership What love tells me. or perhaps an evocation of primal innocence. costs £16 per year. Full details can Near the end of this movement comes a ferocious be found on the website A plan emerges, in which each movement seems to fortissimo outburst for almost the whole orchestra. mahlersociety.org aspire higher than the one before it: the awakening Pan is revealed again. of elemental nature leads ultimately to transcendent love. But around the time of the Third Symphony Mankind’s struggle to make sense of the world, its Mahler seems to have lost faith in titles and literary joy and grief, is the subject of the Nietzsche setting, programmes. Let the music speak for itself – or almost all of it delivered in an awe-struck pianissimo. in the words of the Bible, ‘He that hath an ear, let Then the sound of bells (literally and impersonated him hear’. This undoubtedly made it harder for by the boys’ choir) introduces the angels’ song of earlier audiences to grasp the Third Symphony’s childlike rapture at God’s forgiveness of the apostle meaning, but modern listeners may be thankful for Peter. Finally comes the symphony’s true slow the freedom Mahler gives them. After all, the music movement. An intense hymn-like theme for strings is vividly suggestive. If we can forget old-fashioned alternates with music that seems more troubled, notions of what a symphony ‘should’ be, and set our searching. Sounds from earlier in the symphony minds free to explore its imaginative riches, then the return, then the hymn builds to a radiant major-key Third Symphony can explain itself with a logic that is climax. Mahler revealed to Anna von Mildenburg part musical, part dreamlike, but always compelling. that he had in mind a motto for this movement: ‘Father, see these wounds of mine! Let no creatures Nevertheless, some preparation is needed for of yours be lost!’ (Vater, sieh an die Wunden mein! the symphony’s extraordinary proportions. The Kein Wesen lass verloren sein!) first movement is vast: around 35 to 40 minutes in most performances – longer than the next four His next words probably say more than any about movements put together. Attempt to make sense the message he embedded in his Third Symphony. of its structure along traditional formal lines and you ‘I could almost call this [the finale] ‘What God tells will soon get lost. In essence it alternates three me’. And truly, in the sense that God can only be kinds of music: the dark, primordial sounds of the understood as love. And so my work begins as a opening (described by Mahler as ‘Pan awakes’), musical poem embracing all stages of development pastoral sounds (murmurous wind and string trills, in a step-wise ascent. It begins with an inanimate woodwind birdcalls), and gaudy military march nature and ascends to the love of God’. 6 Texts 25 June 2017

Gustav Mahler Symphony No 3: Texts

4 SEHR LANGSAM – MISTERIOSO O Mensch! Gib Acht! O Man! Take heed! Was spricht die tiefe Mitternacht? What does the deep midnight say? ‘Ich schlief, aus tiefem Traum bin ich erwacht. ‘I was asleep, from deep dreams I have awoken. Die Welt ist tief, The world is deep, Und tiefer, als Tag gedacht. And deeper than the day imagined. Tief ist ihr Weh! Deep is its grief! Lust, tiefer noch als Herzeleid! Joy, deeper still than heartache! Weh spricht: Vergeh! Grief says: Die! Doch alle Lust will Ewigkeit! But all joy seeks eternity, Will tief, tiefe Ewigkeit.’ Seeks deep, deep eternity.’

5 LUSTIG IM TEMPO UND KECK IM AUSDRUCK Es sungen drei Engel einen süssen Gesang; Three angels were singing a sweet song, Mit Freuden es selig in dem Himmel klang, In blissful joy it rang through heaven. Sie jauchtzen fröhlich auch dabei, They shouted too for joy, Dass Petrus sei von Sünden frei. That Peter was set free from sin. Und als der Herr Jesus zu Tische sass, And as the Lord Jesus sat at table, Mit seinen zwölf Jüngern das Abendmahl ass, And ate the supper with his disciples, Da sprach der Herr Jesus: ‘Was stehst du denn hier? Lord Jesus said: ‘Why do you stand here? Wenn ich dich anseh’, so weinest du mir.’ When I look at you, you weep at me.’ ‘Und sollt’ ich nicht weinen, du gütiger Gott? ‘And should I not weep, thou bounteous God? Ich hab übertreten die zehn Gebot. I have broken the ten commandments. Ich gehe und weine ja bitterlich. I wander weeping bitterly, Ach komm’ und erbarme dich über mich!’ O come and have mercy on me!’ ‘Hast du denn übertreten die zehn Gebot, ‘If you have broken the ten commandments, So fall auf die Knie und bete zu Gott! Then fall on your knees and pray to God! Liebe nur Gott in alle Zeit! Love only God all the time! So wirst du erlangen die himmlische Freud’. Thus will you gain heavenly joy.’ Die himmlische Freud’ ist eine selige Stadt. Heavenly joy is a blessed city, Die himmlische Freud’, die kein Ende mehr hat! Heavenly joy, that has no end! Die himmlische Freud war Petro bereit’t, Heavenly joy was granted to Peter, Durch Jesum, und Allen zur Seligkeit. Through Jesus, and to all men for eternal bliss. lso.co.uk Artist Biographies 7

Robert Trevino Conductor

Robert Trevino has rapidly emerged as one of He served as Associate Conductor at the Cincinnati the most exciting American conductors. He was Symphony Orchestra (2011–2015) and, prior to that, immensely proud to be named Music Director as Associate Conductor to New York City Opera at of the Basque National Orchestra last year. Lincoln Center (2009–2011).

Trevino entered the international spotlight at the Recent seasons have seen Trevino crossing Bolshoi Theatre in December 2013, when he led a continents in an ever-growing number of major new production of Verdi’s Don Carlos, substituting debuts – among them the Philharmonic for Vassily Sinaisky to great acclaim from both the Orchestra, San Francisco Symphony Orchestra, audience and the Russian press. He was subsequently Detroit Symphony, London Philharmonic, Dresden nominated for a Golden Mask award for Best Philharmonic, NHK Symphony, Radio Conductor in a New Production. Appearances with Philharmonic at the Amsterdam Concertgebouw, some of the world’s top orchestras swiftly followed. Rotterdam Philharmonic, Accademia Nazionale Di Santa Cecilia, Royal Liverpool Philharmonic, Before his professional debut, Trevino had departed Orchestre Nationale de France, St Petersburg from the traditional school system in favour of Philharmonic, Vienna Symphony Orchestra and Music Director teaching himself every score he could lay his hands the Royal Flemish Philharmonic. Basque National Orchestra on. He soon caught the eye of David Zinman, with whom he studied as an Aspen Conducting Fellow Laureate at the Aspen Music Festival and School – where he Evgeny Svetlanov International was awarded the Prize for Excellence Conducting Competition in Conducting. Immediately afterwards, in 2011, James Levine invited Trevino to be the Seiji Ozawa Conducting Fellow at the Tanglewood Music Festival. He was also invited to study with at the New World Symphony, and to assist Leif Segerstam in his acclaimed complete Sibelius Symphony cycle at the Helsinki Philharmonic Orchestra. Trevino is a laureate of the Evgeny Svetlanov International Conducting Competition in France. 8 Artist Biographies 25 June 2017

Anna Larsson Alto

Anna Larsson graduated from the University College In concert, Anna Larsson is a consummate of Opera in Stockholm in 1996. Her international interpreter of Mahler’s works. She regularly sings debut was made in Mahler’s Symphony No 2 with with orchestras including the Berlin Philharmonic, the Berlin Philharmonic and in Lucerne Festival Orchestra, , 1997, and her opera debut as Erda in Wagner’s , The Orchestra of the Das Rheingold at the Deutsche Staatsoper Berlin Accademia Nazionale di Santa Cecilia, Chicago conducted by . Symphony, Los Angeles Philharmonic and London Symphony Orchestra. She sings almost the entire Her many roles include Kundry (Wagner’s ), concert repertoire for contralto/mezzo- and Herodias (Strauss’ Salome), Waltraute (Wagner’s orchestra, with conductors including Zubin Mehta, Götterdämmerung), Orpheus (Gluck’s Orpheus Esa-Pekka Salonen, , Sir Simon and Eurydice), Fricka (Wagner’s Die Walküre), Rattle, Sir , Gustavo Dudamel, Seiji Dalilah (Saint-Saëns’ Samson and Delilah), and Ozawa, Mark Wigglesworth, Antonello Manacorda, Zia Principessa (Puccini’s Suor Angelica). She has Marc Albrecht, Hartmut Haenchen, and performed at opera houses including Teatro alla Alan Gilbert. Scala, , Bayerische Staatsoper, ANNA LARSSON IN 2017/18 Festspiele Salzburg and Aix-en-Provence, the Royal In December 2010 Anna Larsson was appointed Opera House in London, Teatro Maggio Musicale Court singer by King Carl XVI Gustaf of Sweden, and Sun 4 Feb 2018 7pm Firenze, La Monnaie , Palau des Arts in 2011 she opened her own concert house, Vattnäs Mahler Symphony No 2 Valencia, Royal Opera Copenhagen, Finnish Concert Barn, in Dalecarlia, Sweden, where she has National Opera and the Swedish Royal Opera. sung God the mother in The King of Fools, the newly Semyon Bychkov conductor composed opera about Jussi Björling which she Christiane Karg soprano In 2014/15 she added the roles of Gaea (Strauss’ commissioned in 2015. Anna Larsson alto Daphne) in Toulouse, Klytaemnestra (Strauss’ London Symphony Chorus ) at the Vienna State Opera, and Waldtaube Highlights of the 2016/17 season have included her Simon Halsey chorus director (Schoenberg’s Gurrelieder) at the Netherlands Opera. role debut as Mistress Quickly in Verdi’s at Last season she made returns to the Royal Opera the Opera, Kundry in Wagner’s Parsifal alwaysmoving.lso.co.uk House, Covent Garden, with Sir Antonio Pappano, at the Deutsche Staatsoper Berlin with Daniel to the Vienna State Opera and to the Deutsche Barenboim and concerts with the Accademia Santa Staatsoper Berlin with Daniel Barenboim. Cecilia Orchestra with Daniel Harding, Royal Flemish Philharmonic with , National Orchestra of Spain with David Afkham, Tokyo Metropolitan Symphony Orchestra with Eliahu Inbal and at the Verbier Festival with Esa-Pekka Salonen. lso.co.uk Artist Biographies 9

Simon Halsey CBE Chorus Director

Simon Halsey occupies a unique position in classical In June 2016, the LSC, LSO Discovery Choirs and music. He is the trusted advisor on choral singing Community Choir performed the world premiere of to the world’s greatest conductors, orchestras and The Hogboon, the late Sir Peter Maxwell Davies’ new choruses, and also an inspirational teacher and children’s opera, with Sir Simon Rattle and students ambassador for choral singing to amateurs of every from the Guildhall School of Music. In summer age, ability and background. Making singing a central 2017 the LSO Discovery and Community Choirs will part of the world-class institutions with which he is premiere a new opera by Andrew Norman, which associated, he has been instrumental in changing Rattle and Halsey will also take to Berlin to perform the level of symphonic singing across Europe. with the Berlin Philharmonic and their youth choir, of which he is Artistic Director. He is also a highly respected teacher and academic, nurturing the next generation of choral conductors Born in London, Simon Halsey sang in the choirs on his post-graduate course in Birmingham and of New College, Oxford, and of King’s College, through masterclasses at Princeton, Yale and Cambridge, and studied conducting at the Royal elsewhere. He holds three honorary doctorates College of Music in London. In 1987, he founded the from universities in the UK, and in 2011 City of Birmingham Touring Opera with Graham Vick. published his book and DVD on choral conducting, He was Chief Conductor of the Netherlands Radio Chorleitung: Vom Konzept zum Konzert. Choir from 1997 to 2008 and Principal Conductor of the Northern Sinfonia’s Choral Programme Halsey has worked on nearly 80 recording projects, from 2004 to 2012. From 2001 to 2015 he led the many of which have won major awards, including Rundfunkchor Berlin (of which he is now Conductor the Gramophone Award, Diapason d’Or, Echo Klassik, Laureate); under his leadership the chorus gained and three Grammy Awards with the Rundfunkchor a reputation internationally as one of the finest Berlin. He was made Commander of the British professional choral ensembles. Halsey also initiated Empire in 2015, was awarded The Queen’s Medal for innovative projects in unconventional venues and Music in 2014, and received the Officer’s Cross of the interdisciplinary formats. Order of Merit of the Federal Republic of in 2011 in recognition of his outstanding contribution to choral music in Germany.

Since becoming Choral Director of the London Symphony Orchestra and Chorus in 2012, Halsey has been credited with bringing about a ‘spectacular transformation’ (Evening Standard) of the LSC. Highlights with the LSO in 2016/17 have included Verdi’s in London and at the Lincoln Center White Lights festival with Gianandrea Noseda; El Niño with John Adams in London and Paris; and Ligeti’s Le grand macabre with Sir Simon Rattle. 10 The Chorus 25 June 2017

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement ALTOS the work of the London Symphony Orchestra, and last year celebrated Anneke Amelie Debbie Jones Kate Aitchison Kate Harrison Frankie Arnull Marylyn Lewin Lauren Au Jo Houston its 50th anniversary. The partnership between the LSC and LSO was Greta Astedt Jane Morley Hetty Boardman-Weston Kristi Jagodin strengthened in 2012 with the appointment of Simon Halsey as joint Faith Baxter Emily Norton Liz Boyden Christine Jasper Chorus Director of the LSC and Choral Director for the LSO. Evaleen Brinton Maggie Owen Gina Broderick Jill Jones Carol Capper * Frances Pope Jo Buchan * Gilly Lawson Laura Catala-Ubassy Louisa Prentice Lizzy Campbell Belinda Liao * The LSC has partnered many other major orchestras and has performed Jessica Collins Alison Ryan Sarah Clowry Anne Loveluck * Shelagh Connelly Najla Santiago Liz Cole Liz McCaw nationally and internationally with the Berlin and Vienna Philharmonic Harriet Crawford Jasmine Spencer Maggie Donnelly Jane Muir Orchestras, and the Leipzig Gewandhaus Orchestra. Championing the Barbara de Matos Deborah Staunton Diane Dwyer Caroline Mustill musicians of tomorrow, it has also worked with both the NYO and the Lucy Feldman Winnie Tse Lynn Eaton Helen Palmer Maureen Hall Tabitta van Nouhuys Linda Evans Susannah Priede * EUYO. The Chorus has toured extensively throughout Europe and has Isobel Hammond Lizzie Webb Amanda Freshwater Linda Thomas also visited North America, , Australia and South East Asia. Emily Hoffnung Alice Young Christina Gibbs Claire Trocme Rachel Green Curzon Tussaud Yoko Harada Much of the LSC’s repertoire has been captured in its large catalogue of recordings, which have won nine awards including five Grammys. In June 2015 the recording of Sir Peter Maxwell Davies’ Symphony * denotes No 10, commissioned by the LSO and recorded by the LSO and the LSC Council Member LSC with Sir Antonio Pappano, won a prestigious South Bank Sky Arts award in the Classical category.

Highlights from the 2015/16 season included Haydn’s The Seasons with Sir Simon Rattle, Elgar’s The Dream of Gerontius with Sir , and Sir Peter Maxwell Davies’ The Hogboon. Last year, the LSC gave performances of Verdi’s Requiem in London and New York as part of their 50th anniversary celebrations. In 2017 they have performed Ligeti’s Le grand macabre with Rattle, Brahms’ German Requiem with Fabio Luisi and Bruckner’s with . Matthew Hamilton Associate Chorus Director for Mahler Symphony No 3

President Sir Simon Rattle OM CBE The London Symphony Chorus is generously supported by: President Emeritus André Previn KBE John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Vice President Michael Tilson Thomas The Welton Foundation, LSC Friends, Members of the LSC Patrons CBE and CBE Chorus Director Simon Halsey CBE LSO Sing is generously supported by: Associate Directors Neil Ferris and Matthew Hamilton Sir Siegmund Warburg’s Voluntary Settlement, Barnett & Sylvia Shine No 2 Chorus Accompanist Benjamin Frost Charitable Trust, John S Cohen Foundation, Slaughter and May Charitable Trust, Chairman Owen Hanmer LSO Friends, Garfield Weston Foundation, The Patron’s Fund

Want to sing with the LSC? Find out more about life in one of London’s leading choirs, and how to apply, at lsc.org.uk/join-us lso.co.uk The Chorus 11

Tiffin Boys’ Choir On stage

Since its foundation in 1957, the Tiffin Boys’ Choir has been one of Joshua Allotey Joshua Dennis Jasper Jones Will Murphy the few state school choirs to have been continually at the forefront Tom Armstrong Joe Desmond Colin Kang Vinayak Nangia Shervin Bangsajayah Bulscu Diossi Asher Kapinos Riano Padiyara of the choral music scene in Britain. The choir has worked with all the Dylan Bevan Luciano Forlano Aayush Kumar Lucas Pepper London orchestras and performs regularly with the Royal Opera. Recent Ronith Bhaumik Brennan Goh Georgiy Lesyuk Jonny Schafer engagements have included Mahler’s Symphony No 3 with the London Daniel Blaze Ashwyn Gokarn Oscar Luck Matteo Serafimovski Alistair Brendon Francis Gorniak Avan Majumdar Yathaarth Sharma Symphony Orchestra and Bernard Haitink at the BBC Proms, as well Luis Bullinger Robbie Hancock Raphael Matti Dhruv Simmonite as with the Philharmonia and LA Philharmonic. They have performed Viggo Buzogany Isaac Hardy Daniel McCarthy Euan Sinclair Sam Campbell-Barr Nikolai Harin Shirav Medepalli Lithushanan Springtime in Funen with the BBC Symphony Orchestra and Andrew Kam-Shing Cheon Marco Hilmy James Mistry Srignanayogan Litton at the BBC Proms, Mahler’s Symphony No 8 with the London Oliver Cheung Barney Howard Isaac Moore Henry Studholme Philharmonic and Vladimir Jurowski, Mussorgsky’s Boris Godunov at Ben Church Manu Iyer Milo Morrod Ralph Talman Sam Clough Jaiveer Johal Joe Murphy Conor Tidswell the Mariinsky Theatre with , the UK premiere of Unsuk Chin’s Alice in Wonderland, the soundtrack for The Hobbit, and made an on-set appearance in the film Philomena, as well as performing Titanic Live! with James Horner.

The Choir has made recordings of most of the orchestral repertoire that includes boys’ choir and has recently been broadcast on the BBC, Classic FM and ITV. Notable releases have included Mahler’s Symphony No 8 with Klaus Tennstedt, which was nominated for a Grammy Award, Puccini’s Il Trittico, Massenet’s Werther, and Puccini’s Tosca. The choir has also recorded Britten’s with , Mahler’s Symphony No 3 with Lorin Maazel, and Britten’s with Kurt Masur. Members of the choir feature in DVD releases of Carmen, La bohème, Tosca and Hänsel and Gretel from the . The Choir’s recent releases of music by Britten (Ceremony of Carols, The Golden Vanity, Friday Afternoons) are available on the Herald label.

Future performances in 2017/18 include Mahler’s Symphony No 3 with the Philharmonia and Esa-Pekka Salonen, Berlioz’s The Damnation of Faust with the LSO and Sir Simon Rattle, Bernstein’s Symphony No 3 with the LSO and , La bohemé at the Royal Opera House and a concert tour to Spain. 12 The Orchestra 25 June 2017

London Symphony Orchestra Your views On stage Inbox

FIRST PICCOLO SUN 4 JUN – MICHAEL TILSON THOMAS & LISA BATIASHVILI Carmine Lauri Leader Gillianne Haddow Sharon Williams Philip Cobb Nigel Broadbent Nancy Johnson Gerald Ruddock Gerald Gregory Malcolm Johnston Niall Keatley Joanna Gill Beautiful concert and tribute to last night Olivier Stankiewicz Jörg Hammann Lander Echevarria Robin Totterdell Rosie Jenkins @londonsymphony @mtilsonthomas #lovelondon Maxine Kwok-Adams Julia O’Riordan Ruth Contractor OFF-STAGE #powerofmusic Claire Parfitt Robert Turner FLUGELHORN Elizabeth Pigram Heather Wallington Nicholas Betts Colin Renwick Jonathan Welch Christine Pendrill Oliver Lewis It was fab. Thank you! @Maxinekwokadams Sylvain Vasseur Stephen Doman @londonsymphony @mtilsonthomas Rhys Watkins Caroline O’Neill Dudley Bright Chris Richards Sarah Oates Fiona Dalgliesh Peter Moore Sarah Thurlow Jan Regulski Stephanie Edmundson James Maynard Katie Lockhart Adrian Paterson A magnificent, eloquent performance. Hazel Mulligan Takane Funatsu E-FLAT A joy to see two soloists genuinely engaging with each other. Rebecca Gilliver Paul Milner Gordon MacKay Chi-Yu Mo Minat Lyons Adrian Adlam Alastair Blayden Barbara Baird It was a lovely programme, and a sparkling Ben Thomson SECOND VIOLINS Jennifer Brown Katy Ayling performance. Very moving. Bravo! Saskia Otto Noel Bradshaw Thomas Norris Eve-Marie Caravassilis Nigel Thomas Rachel Gough Sarah Quinn Daniel Gardner Antoine Bedewi Joost Bosdijk Miya Väisänen Hilary Jones SAT 3 JUN – LSO DISCOVERY FAMILY CONCERT: THE FIREBIRD Matthew Gardner Amanda Truelove Daniel Jemison PERCUSSION Neil Percy Julian Gil Rodriguez Deborah Tolksdorf CONTRA Belinda McFarlane David Jackson DOUBLE BASSES Dominic Morgan James Flattery Whole family enjoyed the Iwona Muszynska Sam Walton Rick Stotijn Ingrid Button HORNS Tom Edwards @londonsymphony family concert of The Firebird. Colin Paris Oriana Kriszten Timothy Jones Paul Stoneman Very engaging for both kids and adults. #powerofmusic Patrick Laurence Caroline Frenkel Bertrand Chatenet Glyn Matthews Matthew Gibson Angela Barnes Alexandra Isted HARPS Thomas Goodman Alexander Edmundson Peut-Être Theatre @londonsymphony The Firebird Lucy Jeal Bryn Lewis Joe Melvin Jonathan Lipton Sophie Mather Imogen Barford @BarbicanCentre was a fantastic day out for the whole Jani Pensola Meilyr Hughes Josie Ellis Tim Ball family! #stravinsky #londonkids James Pillai Gareth Davies Andrew Sutton Alex Jakeman Patricia Moynihan

LSO STRING EXPERIENCE SCHEME The Scheme is generously supported by London Symphony Orchestra Cover Photography Help Musicians UK Barbican Ranald Mackechnie, featuring Established in 1992, the LSO String Experience The Polonsky Foundation Silk Street LSO Members with 20+ years’ service. Scheme enables young string players at the Charitable Trust London Visit lso.co.uk/1617photos for a full list. start of their professional careers to gain N Smith Charitable Settlement EC2Y 8DS work experience by playing in rehearsals Lord and Lady Lurgan Trust Photography and concerts with the LSO. The scheme Barbara Whatmore Charitable Trust Registered charity in England No 232391 Julian Hargreaves, Anna Thorbjörnsson, auditions students from the London music LSO Patrons Ranald Mackechnie conservatoires, and 15 students per year Details in this publication were correct are selected to participate. The musicians Performing in tonight’s concert are at time of going to press. Print Cantate 020 3651 1690 are treated as professional ’extra’ players Emmanuel Bach (First ) Editor Edward Appleyard Advertising Cabbell Ltd 020 3603 7937 (additional to LSO members) and receive fees Margarita Balanas () [email protected] for their work in line with LSO section players.