London Symphony Orchestra Living Music

Sunday 9 July 2017 7pm Barbican Hall

A TRIP TO THE MOON

Andrew Norman A Trip to the Moon (UK premiere; LSO co-commission) INTERVAL Sibelius Symphony No 2

Sir Simon Rattle conductor Robert Murray Georges Iwona Sobotka Queen Sophia Burgos Eoa

London Symphony Orchestra Guildhall School Musicians LSO Discovery Choirs LSO Community Choir Simon Halsey choral director Lucy Griffiths LSO Discovery Choir conductor David Lawrence LSO Discovery Choir and LSO Community Choir conductor

Karen Gillingham stage director Anna Pool assistant stage director London’s Symphony Orchestra Sean Turner designer Concert finishes approx 9.30pm

Supported by The Aaron Copland Fund for Music

A Trip to the Moon is a joint commission by the London Symphony Orchestra, Berlin Philharmonic and Los Angeles Philharmonic

2 Welcome 9 July 2017

Welcome Kathryn McDowell

Welcome to tonight’s concert, which brings together by Karen Gillingham, who also worked with the LSO the LSO and our cultural partners in the City: the and Guildhall School as Director of The Hogboon. Guildhall School and the Barbican. This evening We are delighted that composer Andrew Norman showcases our organisations’ unique relationships is able to join us in the audience this evening, and and collaborative ethos, which is set to continue I would like to thank the Aaron Copland Fund for next season when Sir Simon Rattle becomes Music Music for their generous support of this performance. Director of the LSO and Artist-in-Association of both the Guildhall School and the Barbican in September. Through the jointly-run Orchestral Artistry Masters programme, established in 2013, the LSO has a strong In the first half of tonight’s concert Sir Simon Rattle and long-standing partnership with the Guildhall conducts the UK premiere of a new children’s opera School. This course helps to equip young musicians by Andrew Norman, A Trip to the Moon, which with the skills needed for life in professional features the LSO, instrumentalists, singers and ensembles, and in tonight’s concert students from actors from the Guildhall School, and 170 singers this course, along with instrumentalists from other from the local area aged 8–80 in the LSO Community Guildhall programmes, will gain invaluable experience and Discovery Choirs. They will be joined on stage performing side-by-side with the LSO. Sincere thanks by tonight’s three soloists: Robert Murray, Iwona to all those who have supported the singers and Sobotka and Sophia Burgos. musicians on stage tonight, to Lucy Griffiths, conductor of the LSO Discovery Junior Choir, to David Lawrence, A Trip to the Moon is a co-commission with the Berlin conductor of the LSO Discovery Senior and Community Philharmonic and Los Angeles Philharmonic orchestras. Choirs, and to Neil Ferris and Linnhe Robertson, who It is also the third in a series of children’s opera prepared the soloists. commissions spearheaded by Sir Simon Rattle, Simon Halsey and the LSO, inspired by the canon of children’s We are grateful to our media partner Classic FM for operas established by Benjamin Britten. This series recommending this concert to their listeners, and began in 2015 with Jonathan Dove’s The Monster for their continuing commitment to the LSO. in the Maze, which in 2016 won a British Composer Award, co-commissioned with the Berlin Philharmonic Thank you to all of our audience members for their and Aix-en-Provence Festival. It continued in 2016 support over the course of the 2016/17 season, with Sir Peter Maxwell Davies’ The Hogboon, the which draws to a close on 11 and 12 July with composer’s last major work set in his home on the Sir Simon Rattle and Denis Kozhukhin. I hope Orkney Islands, co-commissioned with Luxembourg you are able to join us in the 2017/18 Season. Philharmonie. I would like to thank all the partners involved in making tonight’s production possible.

The opera is based on Georges Méliès’ silent film of the same name, which follows a group of astronomers and their lunar adventures. The story will be brought Kathryn McDowell CBE DL to life through a semi-staged production directed Managing Director lso.co.uk Composer Profile 3

Andrew Norman (b 1979) Composer Profile

Andrew Norman is a Los Angeles-based composer of Fellowship. He joined the roster of Young Concert orchestral, chamber and vocal music. Andrew’s work Artists as Composer in Residence in 2008 and held draws on an eclectic mix of sounds and notational the title ‘Komponist für Heidelberg’ for the 2010/11 practices from both the avant garde and classical season. Andrew has served as Composer in Residence traditions. His distinctive, often fragmented and highly with the Boston Modern Orchestra Project and Opera energetic voice has been cited in the New York Times Philadelphia, and he currently holds the same post for its ‘daring juxtapositions and dazzling colours’, with the Los Angeles Chamber Orchestra. Andrew’s in the Boston Globe for its ‘staggering imagination’ 30-minute string trio The Companion Guide to Rome and in the LA Times for its ‘audacious’ spirit and was named a finalist for the 2012 Pulitzer Prize in ‘Chaplinesque’ wit. Music, and his large-scale orchestral work Play was named one of NPR’s top 50 albums of 2015, nominated Andrew’s symphonic works have been performed for a 2016 Grammy in the Best Contemporary Classical by leading ensembles worldwide, including the Composition category, and recently won the Los Angeles and New York Philharmonics, the Grawemeyer Award for Music Composition. Philadelphia and Minnesota orchestras, the BBC, St Louis, Seattle and Melbourne symphonies, the Andrew is a committed educator who enjoys helping Orchestre National de France, and many others. people of all ages to explore and create music. He Andrew’s music has been championed by some has written pieces to be performed by and for the of classical music’s eminent conductors, including young, and has held educational residencies with John Adams, Marin Alsop, Gustavo Dudamel, various institutions across the US. Andrew joined Sir Simon Rattle and David Robertson. the faculty of the USC Thornton School of Music in 2013, and he is thrilled to serve as the new director In recent seasons, Andrew’s chamber music has of the LA Philharmonic’s Composer Fellowship been featured at the Bang on a Can Marathon, Program for high-school composers. the Chamber Music Society of Lincoln Center, the Wordless Music Series, the CONTACT! series, the Ojai Andrew recently finished two piano concertos, Festival, the MATA Festival, the Tanglewood Festival Suspend, for Emanuel Ax, and Split, for Jeffrey Kahane, of Contemporary Music, the Green Umbrella series, as well as a percussion concerto, Switch, for Colin the Monday Evening Concerts and the Aspen Music Currie. Forthcoming projects include a symphony Festival. In May 2010, the Berlin Philharmonic’s for the Los Angeles Philharmonic and collaborations Scharoun Ensemble presented a portrait concert of with Jeremy Denk, Jennifer Koh, Johannes Moser Andrew’s music entitled Melting Architecture. and the Berlin Philharmonic.

Andrew was recently named Musical America’s 2017 Andrew’s works are published by Schott Music. Composer of the Year and is the recipient of the 2017 Grawemeyer Award for Music. He is also the recipient of the 2004 Jacob Druckman Prize, the 2005 ASCAP Nissim and Leo Kaplan Prizes, the 2006 Rome Prize, the 2009 Berlin Prize and a 2016 Guggenheim 4 Programme Notes 9 July 2017

Andrew Norman (b 1979) A Trip to the Moon (UK premiere) (2017)

PROGRAMME NOTE WRITER SIR SIMON RATTLE CONDUCTOR Andrew Norman’s compositions are characterised by ANNE LANZILOTTI LONDON SYMPHONY ORCHESTRA their exuberance, use of unusual timbres, and ecstatic GUILDHALL SCHOOL MUSICIANS lyricism. Norman often uses film editing techniques such as jump cuts as inspiration for musical gestures SYNOPSIS ROBERT MURRAY GEORGES and formal devices. His latest work, A Trip to the PAGE 6 IWONA SOBOTKA QUEEN Moon, takes that connection to film one step further: SOPHIA BURGOS EOA the inspiration for the opera comes from Georges Méliès’ 1902 silent film of the same name. LSO DISCOVERY CHOIRS INJI GALLIET-JAKOBY IOE Méliès’ A Trip to the Moon was the first science fiction LSO COMMUNITY CHOIR film. Norman said of the film, ‘there’s a whimsical SIMON HALSEY CHORAL DIRECTOR quality to Méliès’ work that transcends time.’ Using LUCY GRIFFITHS LSO DISCOVERY CHOIR CONDUCTOR the whimsy and sense of flair from his experience as a DAVID LAWRENCE LSO DISCOVERY CHOIR AND magician, Méliès created brilliant cinematic techniques. LSO COMMUNITY CHOIR CONDUCTOR His signature special effect was ‘substitution splicing’, in which an object or person on screen would ELLA DE JONGH PROFESSOR BARBENFOUILLIS suddenly disappear or be replaced with a different ILAR REES-DAVIES NOSTRADAMUS object or person. Similarly, Norman’s music often ZACHARY WEST ALCOFRISBAS quickly introduces many important ideas in JAMES EDWARDS OMEGA succession at the beginning of a piece that cut each REGINA FREIRE MICROMEGAS other off or disappear as soon as they are presented, MATTHEW HEALY PARAFARAGARAMUS only to be slowly revealed as the piece progresses. ELINE VANDENHEEDE MOON WOMAN 1 OLIVIA SJÖBERG MOON WOMAN 2 The Prologue to Norman’s A Trip to the Moon ANDREW HAMILTON MOON MAN 1 accompanies the Méliès film in this way, presenting ADAM MAXEY MOON MAN 2 themes and ideas that will return and develop later in the opera. Storytelling unfolds through the various KAREN GILLINGHAM STAGE DIRECTOR communities on stage. Here, the orchestra itself as ANNA POOL ASSISTANT STAGE DIRECTOR a community takes the first turn at telling the story SEAN TURNER DESIGNER of how our characters got to the Moon. At the end JAI MORJARIA LIGHTING DESIGNER of the Prologue, the audience has been taken with DUNCAN MCCLEAN VIDEO PROJECTION DESIGNER the astronomers by the rocket to the Moon, where the entire action of the opera will take place. Méliès LIZ BURLEY PROJECT RÉPÉTITEUR himself tags along as the videographer for the BENJAMIN FROST PROJECT RÉPÉTITEUR expedition, and his ability to observe and draw out JOANNA SMITH PROJECT RÉPÉTITEUR meaning from things that are not what they seem SHAWN MCCRORY STAGE MANAGER will prove essential to the mission. ELEANOR ARNOT DEPUTY STAGE MANAGER lso.co.uk Programme Notes 5

On the Moon, the astronomers banter with each Because much of the narration in the opera occurs in other. Throughout the opera, they only speak but do Moonish, the astronomers, and the audience, are at not sing. Soon, they encounter Moon People who the mercy of the Moon People as they try to decipher only sing in a language that Norman invented for the what is happening. By listening carefully and seeing opera, ‘Moonish’. Moonish is built almost entirely out how Norman uses basic musical gestures such as of vowels. These vowels are often presented along the the scale to set up expectations, the audience can same pitch, changing the timbre of the sound. observe how these expectations are fulfilled or denied, and begin to understand the action on stage. The ‘call of the Moon People’ is a four-note gesture that starts with an open fifth interval. It means both Norman calls A Trip to the Moon ‘an opera for people THE MAN IN THE MOON is an hello and goodbye, and is also used to call the Moon of all ages’. He wrote this opera at a time when the iconic image from Méliès’ film. People to gather or disperse. The last note can be political climate around the world, and especially in altered to inflect meaning, or to show change. Call the US, was fuelled by fear and misunderstanding and response is a central part of communication in of the ‘other’. He was deeply affected by images of Moonish – often one character will sing a gesture children suddenly filled with rage when swept up that is mirrored or answered by another. Harmonic by the energy of a mob. Perhaps communities can suspension and idiom are used to express phrasing never fully understand each other when they have and differentiate meaning. such different backgrounds. A Trip to the Moon encourages the communities on stage and in the When Moon People are afraid, they begin to make audience to find a way to listen, and to address unpitched sounds such as ‘sha!’ ‘ha!’ and ‘fa!’. these fears of the ‘other’. Through empathy and Again, inflection is important in revealing the nature careful listening, perhaps they can. of these sounds. The audience is placed in the same GEORGES MÉLIÈS (1861–1938) situation as the travellers: unable to understand A Trip to the Moon was commissioned by the LSO, was born in Paris, studying stage this foreign language, they are forced to try to Berlin Philharmonic and Los Angeles Philharmonic, and design and puppetry at the École des empathise and understand based on other cues. is used by arrangement with Schott Music Corporation, Beaux Arts. His stage performances Relying on affect, the audience and the astronomers New York, NY, publisher and copyright owner. revolved around illusions and magic; must listen for how the energy of the community is but after witnessing the cinematic harnessed to express feelings, especially those of advances of the Lumière brothers fear and anger. As the audience is immersed in the in 1895, he turned to cinema and community of Moon People, they can listen for how INTERVAL – 30 minutes became known as one of the shorter, more broken sounds feel more fearful, as There are bars on all levels of the Concert Hall; ice cream foremost innovators in special opposed to the calm legato singing of Eoa. can be bought at the stands on Stalls and Circle level. effects, directing over 500 films. 6 Synopsis 9 July 2017

Andrew Norman (b 1979) A Trip to the Moon (UK premiere): Synopsis (2017)

PROLOGUE astronomers, who are frightened. More and more Moon people gather, suspicious and wary of the SYNOPSIS At a meeting of the Astronomic Club, Professor strangers in their midst. ANDREW NORMAN Barbenfouillis proposes a trip to the Moon. He and five other astronomers oversee the construction of The Queen of The Moon People brings order to the a rocket. They climb into the bullet-like capsule and restless crowd and seeks the identity of the strangers. shoot themselves to the Moon. The Moon People, stirred by the Agitator, are fearful of the outsiders. Eoa appears with Georges and attempts ACT I to diffuse the tension. Georges introduces himself to everyone (‘My name is Georges Méliès. I come from Having just landed their rocket on the Moon, the the Earth. These are my friends. We mean no harm. astronomers and their documentarian, Georges We need your help.’). Against the wishes of the Méliès, attempt to film their first message from the Agitator, the Queen decides to welcome the strangers. Moon’s surface. Parafaragaramus emerges from the rocket to say that a key component of the vessel The Moon people throw a celebration in honour of is broken (‘The landing gear! It’s a mangled mess! their guests. They sing and dance, and tell the story We must fix it if we are to return home.’). of a deadly monster threatening their community (‘At night. Monster comes. Monster takes.’) and Based on the rotations and revolutions of various present the Earth people with sacred sticks, the celestial bodies, Nostradamus and Alcofrisbas ultimate symbol of belonging in Moon society. calculate that there is only a brief window of time The celebration is interrupted by the terrifying cry of for their return journey (‘In one day and six hours, the monster nearby. The Moon people cower in fear. at sunrise, we must launch our rocket, or we will be stuck here forever!’). The astronomers decide ACT II to take a nap. The Queen calms her people, but a child has gone A strange and monstrous cry wakes Georges. missing and agitation ensues. Search parties form to Intrigued by the Moon at night, he wanders off alone look for the child as the monster lurks in the distance. and stumbles upon a mysterious Moon creature, The Queen sings a sad lament for the lost child. Eoa. She is frightened, but Georges earns her trust and they start to learn each other’s languages. Eoa, long curious about the blue and green orb that Georges teaches her some pronouns (‘I … you … hangs in the sky, asks Georges about the Earth. us …’) as they leave together. Looking at his distant home, Georges describes it to her (‘The Earth is beautiful. The Earth is generous. The astronomers wake up at sunrise and begin The Earth is powerful and violent and frightening, exploring the Moon. Professor Barbenfouillis gives and fragile, and needy.’) a lecture on Moon rocks. Nostradamus leaves a trail of bread so they can find their way back. A group A pair of astronomers finds the missing child’s of curious and playful Moon children discovers the sacred stick, and a group of Moon people gathers lso.co.uk Synopsis 7

London Symphony Orchestra around them, deeply suspicious. The Agitator stirs up the crowd. Eoa translates for Georges (‘They say you are not one of us. They say you make us unsafe. They say you bring the monster here, and the monster LSO DISCOVERY – 2017/18 HIGHLIGHTS comes and the monster takes and it’s your fault.’).

The crowd’s anger grows as they discover and misconstrue Nostradamus’ bread trail (‘You have left a trail, you have shown the way, and the monster follows it. You have brought the monster here and now a child is dead!’). The angry mob threatens to kill the Earth people, but just as their hate reaches breaking point a scream rings out in the distance; the monster is about to devour the missing child. The Moon people are rendered helpless by the monster’s cry, but the earth people use their umbrellas to beat back the monster and return the child safely to its people.

The Queen is grateful. The astronomers give the Moon People their umbrellas for future protection. OPERA IN A DAY: FAMILY CONCERT: BERNSTEIN The sun rises and the Earth people’s window to THE FAUST LEGEND Sat 4 Nov 2017 2.30pm, Barbican leave is at hand, but their rocket is still broken. The Sun 17 Sep 2017 10am–5pm, Marin Alsop conductor/presenter Moon People offer their sacred sticks to help fix it. LSO St Luke’s Suitable for over 7s Suitable for everyone over 8 Georges asks Eoa to return with them (‘Come with A CHORAL CHRISTMAS us … The Earth is beautiful.’), but she decides to THIS IS RATTLE: LSO ON TRACK Sun 3 Dec 2017 7pm, Barbican stay with her people (‘Georges, my people … They Sun 24 Sep 12.15pm, Barbican are frightened and fragile and needy, and I must Sir Simon Rattle conductor LSO ON TRACK AT 10 help them.’). They say goodbye and the Earth people Thu 5 Jul 2018 7.30pm, Barbican rush back to their rocket just in time for its launch. CHORAL SINGING DAY: Elim Chan conductor The Moon people disperse, returning to their normal BERNSTEIN CHICHESTER PSALMS lives, leaving Eoa alone to sing a simple phrase Sat 7 Oct 2017 11am–4.30pm, (‘I … you … us ...’) as she looks up at the tiny rocket LSO St Luke’s receding into space . Simon Halsey conductor lso.co.uk/lsodiscovery 8 Programme Notes 9 July 2017

Jean Sibelius (1865–1957) Symphony No 2 in D major Op 43 (1901–02)

1 ALLEGRETTO When Finnish audiences heard Sibelius’ Symphony 2 TEMPO ANDANTE, MA RUBATO No 1 in 1899, they expected it to reflect the world of 3 VIVACISSIMO the heroes of the Kalevala depicted in his earlier tone 4 FINALE: ALLEGRO MODERATO poems. In fact, Sibelius’ main concern was not to illustrate anything at all, but to explore a personal PROGRAMME NOTE WRITER SIR SIMON RATTLE CONDUCTOR approach to purely symphonic momentum. The ANDREW HUTH LONDON SYMPHONY ORCHESTRA Second marks a big further step in this direction. GUILDHALL SCHOOL MUSICIANS Nevertheless, it still looks both forward and backwards, perhaps more so than any other work by Sibelius, SIBELIUS on LSO LIVE The beginning of 1901 found Sibelius in Italy, his mood giving rise to some curious contradictions in the tense and gloomy. The death of his 16-month-old relation and balance between the four movements. Symphonies daughter Kirst the previous year had been a severe Nos 1–7, blow, and although the First Symphony was beginning The first movement is certainly a very original Kullervo to meet with international success, he was uncertain structure, pointing toward the new Classicism (Box set) 4CD about his musical future. Various unfocused ideas Sibelius aimed for in later works. The cool Nordic £19.99 came to him. One evening, for example, he jotted atmosphere is unmistakable, and so is the personal down a musical phrase and over it wrote: ‘Don Juan. character of the themes, with such Sibelius Editor’s Choice I sit in the twilight in my castle, a guest enters. I ask who fingerprints as swelling dynamics and long held Gramophone he is – no answer. I make an effort to entertain him. notes ending in a flourish. The freshness of the Still no answer. Eventually he breaks into song and then colouring is achieved by the use, initially, of unmixed Choice of the Month – Orchestral Don Juan notices who he is: Death.’ Two months later strings, woodwind and brass. Ideas are presented BBC Music Magazine he sketched another idea which he labelled ‘Christus’. in turn, then in different combinations and changing perspectives. The movement ends modestly, with a Available to buy online at These two themes later formed the basis of the sense of completion as neat as anything in Haydn. lsolive.lso.co.uk or as a digital Second Symphony’s Andante, but Sibelius was not download on iTunes then thinking of a new symphony: rather of a series The Andante, on the other hand, is more sectional, of four tone poems on the Don Juan legend or with a fluid tempo moving from the slow, bleak A TONE POEM or symphonic poem perhaps something related to Dante’s The Divine opening towards passages of dissonant anguish that is an orchestral work, usually in a Comedy. ‘Several of my projects will not be ready for are almost expressionistic. At a time when Finland continuous one-movement structure, many years,’ he wrote to a friend; but after his return was an oppressed province of the Russian Empire, evoking a narrative or the particular to Finland that summer the Second Symphony took the Second Symphony was often regarded from mood or imagery described in a shape. ‘I have been in the throes of a bitter struggle a nationalistic viewpoint. Thus Sibelius’ staunch literary work. The form deals with with this symphony,’ he complained. It was nearly champion, the conductor Robert Kajanus, could programmatic and narrative ideas finished in November, but further revisions caused write: ‘The Andante strikes one as the most heart- in contrast to the purely musical, two postponements of the planned premiere. It broken protest against all the injustices that threaten abstract aims traditionally associated was at last completed in January 1902, and Sibelius at the present time to deprive the sun of its light and with the symphony. conducted four performances that March in Helsinki. our flowers of their scent … The Scherzo gives a picture of frenetic preparation … the Finale develops lso.co.uk Programme Notes 9

Jean Sibelius Composer Profile

towards a triumphant conclusion intended to arouse Sibelius, the second of three children, was raised in the listener a picture of lighter and confident by his Swedish-speaking mother and grandmother. prospects for the future’. Sibelius either kept a The boy made rapid progress as a violinist and sensible silence about such associations or denied composer. In 1886 he abandoned law studies them outright. The various poetic ideas that filled his at Helsinki University, enrolling at the Helsinki mind before composing the work – Don Juan, Christ, Conservatory and later taking lessons in Berlin Dante, or whatever – may not be very significant in and Vienna. The young composer drew inspiration themselves, but they certainly have nothing to do from the Finnish ancient epic, the Kalevala, a rich with Finnish mythology or nationalism. source of Finnish cultural identity. These sagas of the remote Karelia region greatly appealed to Sibelius, Taking a stylistic position somewhere between especially those concerned with the dashing youth the cool Classicism of the first movement and the Lemminkäinen and the bleak landscape of Tuonela, unbridled Romanticism of the second, the last two the kingdom of death – providing the literary movements owe a clear debt to Beethoven, and in background for his early tone poems, beginning particular his Fifth Symphony, with its transition from with the mighty choral symphony Kullervo in 1892. Scherzo to Finale. The sound of the music is of course very different, and the build-up of tension towards COMPOSER PROFILE The Finns swiftly adopted Sibelius and his works as the end of the Finale shows Sibelius as a master of ANDREW STEWART symbols of national pride, particularly following the symphonic momentum as the chorale theme first premiere of the overtly patriotic Finlandia in 1900, announced softly by the woodwind is subjected composed a few months after Finland’s legislative to repetition with suppressed dynamics and a rigidly rights had been taken away by Russia. ‘Well, we shall controlled tempo before the final major key resolution. see now what the new century brings with it for Finland and us Finns,’ Sibelius wrote on New Year’s Among the many tributes that the symphony earned Day in 1900. The public in Finland recognised the him, Sibelius was especially pleased with comments idealistic young composer as a champion of national from two fellow composers. After conducting it in freedom, while his tuneful Finlandia was taken into Berlin in 1905 he wrote to his wife: ‘Busoni is totally the repertoire of orchestras around the world. In enamoured of my symphony and understands its 1914 Sibelius visited America, composing a bold chaste concentration. In particular he thinks the new work, The Oceanides, for the celebrated second movement the best music in existence.’ Norfolk Music Festival in Connecticut. Unreserved praise came after the Stockholm premiere in October 1902 from the Swedish composer Although Sibelius lived to 91, he effectively abandoned Wilhelm Stenhammar: ‘You have reached into composition almost 30 years earlier. Heavy drinking, the deepest depths of the unconscious and the illness, relentless self-criticism and financial problems ineffable and brought forth something of a miracle. were among the conditions that influenced his What I suspected has been proved true: for me early retirement. He was, however, honoured as you emerge as the foremost, indeed the only a great Finnish hero long after he ceased composing, major figure at this moment’. while his principal works became established as an essential part of the orchestral repertoire. 10 LSO Discovery: An Introduction 9 July 2017

LSO Discovery An Introduction

LSO Discovery is the London Symphony Orchestra’s education and community programme. Founded in 1990, it is recognised as one of the world’s leading music education programmes.

LSO Discovery’s home is LSO St Luke’s, a converted 18th-century church on Old Street five minutes from the Orchestra’s home at the Barbican Centre. The programme reaches 60,000 people a year, of varying ages, abilities and backgrounds and over the past season it has seen over 900 workshops and 150 concerts take place: an average of three events every day of the year.

The bulk of LSO Discovery work is focused on individuals living, studying or working in the areas of East London, Islington and the City, but LSO Discovery also works across the capital, reaches out to the rest of the UK and has a growing international and online presence. Here are just a handful of LSO Discovery projects linked to tonight’s performance.

THE NEXT GENERATION CHORAL ACTIVITIES FOR EVERYONE: The LSO seeks to challenge and inspire new LSO SING generations of extraordinary musicians, and also aims LSO Sing launched in 2012, bringing together to support the development of all-round musicianship. the LSO’s three choirs (Discovery, Community and Chorus), LSO Singing Days for the general Orchestral Artistry Masters public, and a series of children’s operas. Delivered in association with the Guildhall School, this postgraduate programme seeks to produce expertly LSO Community Choir rounded musicians with the professional skills to An unauditioned chorus, now in its 14th year, become the highest achieving orchestral players. of 100+ local residents and workers which rehearses weekly and gives termly concerts String Experience alongside its sister LSO choral groups. String students at London music colleges are selected to take part in LSO rehearsals and concerts. LSO Discovery Choirs 14 String Experience alumni are currently Members Weekly choir rehearsals and termly concerts at of the LSO with another 19 working as extras. LSO St Luke’s for local 8- to 18-year-olds.

LSO Academies (Strings, Wind, Brass, Percussion) London Symphony Chorus Intensive summer training for the most outstanding An auditioned chorus for adults that works closely 14- to 24-year-old musicians in the country. with the LSO and appears regularly with other orchestras both nationally and internationally. LSO On Track In partnership with the music education hubs of ten East London boroughs, LSO On Track enables young musicians to perform alongside LSO musicians. lso.co.uk/discovery lso.co.uk Artist Biographies 11

Sir Simon Rattle Conductor

Sir Simon Rattle was born in Liverpool and studied at He and the Berlin Philharmonic were also appointed the Royal Academy of Music. International UNICEF Ambassadors in the same year – the first time this honour has been conferred on an From 1980 to 1998, Rattle was Principal Conductor artistic ensemble. and Artistic Adviser of the City of Birmingham Symphony Orchestra and was appointed Music Simon Rattle has strong, long-standing relationships Director in 1990. In 2002 he took up his current with the leading orchestras in London, Europe and position of Artistic Director and Chief Conductor the US, initially working closely with the Los Angeles of the Berlin Philharmonic, where he will remain Philharmonic and Boston Symphony orchestras, and until 2018. From September 2017 he will be Music more recently with the Philadelphia Orchestra. He Director of the London Symphony Orchestra. regularly conducts the Vienna Philharmonic, with which he has recorded the complete Beethoven Rattle has made over 70 recordings for EMI record symphonies and piano concertos (with Alfred label (now Warner Classics), and has received Brendel), and he is also a Principal Artist of the numerous prestigious international awards for Orchestra of the Age of Enlightenment and Founding his recordings on various labels. Releases on EMI Patron of Birmingham Contemporary Music Group. Music Director Designate include Stravinsky’s Symphony of Psalms (which London Symphony Orchestra received the 2009 Grammy Award for Best Choral This season, Simon Rattle opened the season at the Performance), Berlioz’s Symphonie fantastique, Metropolitan Opera with Wagner’s Tristan and Isolde, Chief Conductor Ravel’s L’enfant et les sortilèges, Tchaikovsky’s returned to the Philadelphia Orchestra, Bavarian and Artistic Director The Nutcracker, Mahler’s Symphony No 2 and Radio Symphony Orchestra and Staatsoper Berlin, Berlin Philharmonic Orchestra Stravinsky’s The Rite of Spring. In August 2013 as well as undertaking an extensive tour of the US Warner Classics released Rachmaninov’s The Bells with the Berlin Philharmonic. Principal Artist and Symphonic Dances, all recorded with the Orchestra of the Age of Berlin Philharmonic. Rattle’s most recent releases Simon Rattle was knighted in 1994 and in the New Enlightenment (Mark-Anthony Turnage’s Remembering and Ravel, Year’s Honours of 2014 he received the Order of Dutilleux, Delage) were released on the LSO’s in- Merit from Her Majesty the Queen. He is currently Founding Patron house record label, LSO Live. a Carnegie Hall ‘Perspectives’ artist through to the Birmingham Contemporary end of this season. Music Group As well as fulfilling a taxing concert schedule in Berlin, Rattle and the Berlin Philharmonic regularly tour within Europe, North America and Asia. The partnership has also broken new ground with the education programme Zukunft@Bphil, earning the Comenius Prize in 2004, the Schiller Special Prize from the city of Mannheim in May 2005, the Golden Camera and the Urania Medal in Spring 2007. 12 Artist Biographies 9 July 2017

Robert Murray (Tenor) Iwona Sobotka (Soprano) Georges Ieoaoa, Queen of the Moon People

Robert Murray studied at the Royal Iwona Sobotka achieved College of Music and the National international acclaim as the Opera Studio. He was a Jette Grand Prize winner of the Queen Parker Young Artist at the Royal Elisabeth International Music Opera House Covent Garden. Competition of Belgium. She has performed with orchestras His operatic roles include: across Europe including the Tamino in Mozart’s The Magic Berlin Philharmonic, Vienna Flute, Lysander in Britten’s A Symphony, NDR Elbphilharmonie Midsummer Night’s Dream, and Orchestra, Bavarian Radio Jacquino in Beethoven’s Fidelio Symphony Orchestra, Royal for the Royal Opera House; the Philharmonic Orchestra, Danish title role in Britten’s Albert Herring National Symphony Orchestra, for Glyndebourne Touring Opera; and Orchestre Philharmonique Steuermann in Wagner’s The du Luxembourg. Equally at home Flying Dutchman and Frederic in on the stage as well as on the Pirates of Penzance for English National Opera; Benvolio in Berlioz’s concert platform, Iwona Sobotka has performed the roles of Violetta in Roméo et Juliette at the Salzburg Festival; the title role in Handel’s Verdi’s La Traviata, Tatyana in Tchaikovsky’s Eugene Onegin, Pamina in Jephtha for Welsh National Opera; and Earl of Essex in Britten’s Gloriana Mozart’s The Magic Flute, Donna Anna in Mozart’s Don Giovanni and in his debut at the Staatsoper Hamburg. Micaëla in Bizet’s Carmen.

Concert performances include Haydn’s Nelson Mass with Sir John Eliot Iwona Sobotka is widely acknowledged for her interpretations of the Gardiner for the BBC Proms, the Evangelist in Bach’s St John Passion works of Szymanowski. In 2004, she recorded a complete collection for the London Handel Festival, and Haydn’s Creation (at the Gstaad of his songs and was distinguished by the National Academy of Festival) and Mendelssohn’s Elijah (BBC Proms) with the Gabrieli Recording Arts in Poland with the Fryderyk Award for this recording. Consort & Players. Other concert work includes Bach’s St Matthew On a subsequent release for EMI Classics in 2006, she performed Songs Passion under Yannick Nézet-Séguin with the Rotterdam Philharmonic of a Fairytale Princess with Sir Simon Rattle and the City of Birmingham Orchestra, and semi-staged performances of Berg’s Wozzeck in London Symphony Orchestra, which received five stars in BBC Music Magazine. and Paris with the Philharmonia Orchestra and Esa-Pekka Salonen. In recital, he has performed at the Newbury, Two Moors, Brighton, Recent notable appearances include her debut with the Berlin Edinburgh and Aldeburgh Festivals, and at London’s Wigmore Hall. Philharmonic in a performance of Beethoven’s Ninth Symphony conducted by Sir Simon Rattle for their concert tour to Japan and Recent highlights include a tour of Handel’s Messiah with the Academy Taiwan, as well as participation in the education project The Two of Ancient Music, Haydn’s Creation with the Simón Bolívar Orchestra Fiddlers in Berlin, recorded for the Digital Concert Hall. Future conducted by Gustavo Dudamel, and George Benjamin’s Written on engagements include her role debut as Mimi in Puccini’s La bohème Skin at the Lincoln Center with Alan Gilbert. This season he returns to at Opera Podlaska, recordings and performances of Brahms’ German Garsington Opera and Edinburgh International Festival, and will appear Requiem with MDR Leipzig Radio Symphony Orchestra, as well as her in concert with the Gothenburg Symphony, Bergen Philharmonic, City debut at the Baden-Baden Festival as Blumenmädchen in Wagner’s of Birmingham Symphony Orchestra and Konzerthausorcheser Berlin. Parsifal with the Berlin Philharmonic and Sir Simon Rattle. lso.co.uk Artist Biographies 13

Sophia Burgos (Soprano) Karen Gillingham Eoa Stage Director

Puerto Rican-American soprano Karen Gillingham trained at Sophia Burgos is a passionate Manchester Metropolitan interpreter of vocal works University and on Mary King’s ranging from concert repertoire evening course The Knack. She and chamber music to is the creative director of both contemporary opera. Garsington Opera L&P and Garsington Opera4All, and artistic In the 2015/16 season, Burgos director of the Royal Opera House’s made her European operatic Youth Opera Company (YOC). debut premiering the title role of Maria Republica by François Paris She has recently directed Magna with Nantes-Angers Opera, which Carta – The Freedom Game (a was awarded the 2016 Meilleure community opera for Surrey Arts Création Musicale prize by the at the Royal Albert Hall); Out Of Association Professionnelle de The Ruins (Royal Opera House); la Critique Théâtre, Musique et The Crackle (associate director, Danse. In March 2015, she sang the title role of Jennie in the New York Royal Opera House); Road Rage, a community opera by Orlando Gough premiere of Oliver Knussen’s Higglety Pigglety Pop! and made her and Richard Stilgoe (Garsington Opera); The Magic Flute (Garsington Carnegie Hall debut with the American Symphony Orchestra. Opera at West Green); Opening Ceremony for WorldSkills 2011 (O2 Arena London); Beached by Harvey Brough and Lee Hall (Opera North); Highlights of this season include performances with Teodor Currentzis Outfoxed at the Royal Festival Hall (Southwark Splash); Gone Fishing, and the Mahler Chamber Orchestra in Claude Vivier’s Lonely Child at the devised in collaboration with Suzi Zumpe for the YOC (ROH Linbury); On Prinzregententheater in Munich and the Elbphilharmonie Hamburg, and Off and When I Am Old (Tête à Tête and Glyndebourne Jerwood Space); Robin de Raff’s Dickinson Songs with Het Gelders. She performed the On The Rim Of The World by Orlando Gough (Royal Opera House and role of Eoa in the Berlin Philharmonic’s production of A Trip to the Moon Welsh National Opera); Foto-Me by Dom Harlan (Tête à Tête Festival); last month. This summer she will also appear at the Bregenzer Festspiele The Last Genie by John Barber (ROH Linbury); Demon Juice by John to premiere the role of Lily Briscoe in To The Lighthouse by Zesses Seglias. Browne (Stratford Circus and ROH Clore); Twenty Women Singing, on a tour of women’s prisons (Welsh National Opera); Chorus! with David A champion of new works, Sophia Burgos has collaborated with Poutney (movement director and revival director, Welsh National Opera); composers including André Previn, premiering his Two Lyric Songs: and South Of The River, a community opera (English National Opera). The Waking as part of the 75th anniversary of the Tanglewood Music Center. In 2014 she appeared at the Lucerne Festival Academy as a Karen was also director for the 2016 children’s opera at the Barbican soloist in Luciano Berio’s Coro, conducted by Sir Simon Rattle, and was with the LSO, Sir Peter Maxwell Davies’ The Hogboon. selected for masterclasses and private lessons with Barbara Hannigan.

Sophia Burgos is passionate about education and outreach, holding a degree and certification in Music Education. Originally from Chicago, she currently lives in Basel, Switzerland, and has just completed her Master’s Degree in Contemporary Music at the Basel Hochschule für Musik. 14 Artist Biographies 9 July 2017

Anna Pool Sean Turner Assistant Stage Director Designer

Anna Pool is a director, writer, Sean Turner designs opera, composer and performer. Her theatre and film nationally and directing work includes Dust Child internationally. He trained on the (English Touring Opera), Snappy Motley Theatre Design Course in Operas (Mahogany Opera Group), 2006, three years after studying Trident Moon (Finborough Theatre) illustration at Kent Institute of Art and Il Parnaso Confuso (Wilton’s and Design. Sean is the associate Music Hall). She is Artistic Director designer for the award-winning of workshOPERA, a company immersive theatre company of operatic adventurers, LAStheatre, creators of the commissioning site-specific and multidisciplinary science/art interactive music theatre work. series ‘The Enlightenment Café’. Their work includes Seven Velvet He has developed and designed Suits (BasicSpace Festival), East o’ work for Punchdrunk Enrichment the Sun, West o’ the Moon (Tête for the past six years, including à Tête Festival) and New British The House Where Winter Lives, Music Theatre award-nominated Boys of Paradise (Egg LDN/ Tête à Tête). originally staged at the Discover Centre in Stratford, East London which Currently, workshOPERA are developing Sound Tracks in partnership with transferred to the Perth International Arts Festival in 2014. artists from the Guildhall School and London Transport Museum. The project has seen the creation of six new, site-specific operas directly As a freelance designer Sean has created work in theatres and inspired by objects from the Museum’s unique collection and performed site-specific locations around the country for companies including inside vehicles and spaces throughout the Museum’s galleries. Old Vic New Voices, Opera Holland Park, Leeds City Varieties, The New Wolsey Ipswich, The Point Theatre, The Young Vic, Look Left Look Anna has worked as a staff/assistant director for numerous companies Right, Blackheath Halls Opera, The Arts Theatre Leicester Square, The including Scottish Opera, Welsh National Opera, Opera North, St James Castle Theatre Wellingborough, The Ventnor Exchange and many fringe Theatre (now The Other Palace), Finborough Theatre and King’s Place venues around London. He has recently designed a series of projected on works ranging from Wagner’s Ring Cycle to Philip Glass’ The Trial. images for narrated fairy tales with English National Opera, to be As an Associate Director, she recently worked with Annabel Arden, developed further in 2017 and hopefully adapted for children’s TV. creating Corpus Christi, a site-specifc music theatre work for the City of London. Following A Trip to the Moon, she goes on to assist James Sean art directed Alice’s Adventures Underground and Alice In Wonderland Hurley on Don Giovanni for British Youth Opera. at the Vaults, Waterloo, which will transfer to Shanghai this autumn. He has just opened a production of The Barber Of Seville at Iford Arts Anna studied composition at the Guildhall School of Music and Festival. For Punchdrunk Enrichment there are plans in motion to stage Drama, winning the Edmund Rubbra Prize for Composition in 2015. The House Where Winter Lives at the Lincoln Centre, New York. Following Her work has been workshopped and performed by the Guildhall on from an installation designed in 2016 for The Children’s Chinese School Symphony Orchestra, members of Aurora Orchestra and Book Expo in Beijing, LAS Theatre are designing a touring version critically-acclaimed vocal ensemble, EXAUDI. in Beijing and also developing the concept of Story Storage – a company that stores and realises the worlds of written stories. lso.co.uk Artist Biographies 15

David Lawrence Lucy Griffiths Conductor, LSO Community Choir Conductor, & LSO Discovery Senior Choir LSO Discovery Junior Choir

David Lawrence is one of the Lucy Griffiths is one of the UK’s most versatile conductors, most respected conductor- working with orchestras, symphony animateurs of her generation. choruses and national youth choirs. Having studied and won several Conductor of the LSO Community prestigious prizes in the UK Choir and LSO Discovery Senior and Canada, her leadership Choir, he was nominated for experience ranges across vocal a Gramophone Award for his and instrumental music-making conducting and currently holds with professional, amateur, the Guinness World Record for youth and adult ensembles at conducting the UK’s largest choir – the very highest level of each. 6,846 singers! It has seen her appear on TV and radio, premiering new works, David’s work has taken him to adjudicating competitions, touring Singapore, Colombia, Canada, extensively throughout the UK the United States, Dubai, India and and internationally, and working throughout Europe, and this year he will make his 13th and 14th visits alongside some of the world’s finest musicians and directors. to Australia. His positive and engaging manner makes him a popular guest conductor, and he is an experienced and respected trainer of Lucy is Assistant Director of Music at the University of Warwick, a choral conductors. David teaches regularly alongside Ghislaine Morgan post she has held since 2005. She directs the University’s major vocal in Portugal, and provides leadership and team building skills to the and instrumental ensembles and motivates music-making amongst corporate sector. students, staff and members of the local community. She is also Musical Director of the choir of Severn Trent Water, a post which was He has worked with the London Philharmonic Choir, the Hallé Choir, created for her after she led them to victory in the BBC’s inaugural London Symphony Chorus, CBSO Chorus, for whom he is an Associate series of Sing While You Work in 2012. Conductor, as well as the National Youth Choirs of Scotland, Northern Ireland and Wales. David has adjudicated at international choral festivals, Lucy is a leading expert in the field of music education and as well as for the BBC Choir of the Year and Young Musician of the Year engagement, specialising in vocal outreach. She is Conductor of competitions, and has conducted for BBC Television’s Songs of Praise the LSO’s Junior Discovery Choir, and Associate Conductor of the for the past 15 years. Orchestra’s Senior Discovery and Community Choirs. In this role she has worked on premieres of new works by Sir Peter Maxwell Davies As Principal Conductor of Young Voices David directs massed choirs in and Jonathan Dove, and regularly trains choirs to sing with the LSO. an annual series of concerts, with some choirs incorporating more than She was previously director of the Royal Liverpool Philharmonic 8,000 singers. He continues to work with Sinfonia Viva as their Choral Training Choirs and also lectured in choral conducting at the Royal Advisor, a project leader and conductor, and has also directed large- Welsh College of Music and Drama. Lucy’s commitment to music scale education projects with the Orchestra of Welsh National Opera, in development has taken her all over the world, including leading the English Symphony Orchestra, the Royal Liverpool Philharmonic singing projects for two charities: African Prisons Project in Uganda Orchestra and the City of Birmingham Symphony Orchestra. and Songbound in India. 16 Artist Biographies 9 July 2017

Simon Halsey CBE Choral 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 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 and Drama. age, ability and background. Making singing a central part of the world-class institutions with which he is Born in London, Simon Halsey sang in the choirs associated, he has been instrumental in changing of New College, Oxford, and of King’s College, the level of symphonic singing across Europe. Cambridge, and studied conducting at the Royal College of Music in London. In 1987, he founded the He is also a highly respected teacher and academic, City of Birmingham Touring Opera with Graham Vick. nurturing the next generation of choral conductors He was Chief Conductor of the Netherlands Radio on his post-graduate course in Birmingham and Choir from 1997 to 2008 and Principal Conductor through masterclasses at Princeton, Yale and of the Northern Sinfonia’s Choral Programme elsewhere. He holds three honorary doctorates from 2004 to 2012. From 2001 to 2015 he led the from universities in the UK, and in 2011 Schott Music Rundfunkchor Berlin (of which he is now Conductor published his book and DVD on choral conducting, Laureate); under his leadership the chorus gained Chorleitung: Vom Konzept zum Konzert. a reputation internationally as one of the finest professional choral ensembles. Halsey also initiated Halsey has worked on nearly 80 recording projects, innovative projects in unconventional venues and many of which have won major awards, including interdisciplinary formats. the Gramophone Award, Diapason d’Or, Echo Klassik, and three Grammy Awards with the Rundfunkchor Berlin. He was made Commander of the British Empire in 2015, was awarded The Queen’s Medal for Music in 2014, and received the Officer’s Cross of the Order of Merit of the Federal Republic of Germany 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 included Verdi’s Requiem 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. lso.co.uk LSO Discovery Choirs 17

LSO Discovery Choirs On Stage

The LSO Discovery Choirs consist of over 100 young people aged JUNIOR CHOIR SENIOR CHOIR eight and upwards who live or go to school in Hackney, Islington or Ameera Aldaraji Marnie Kennedy Kevin Aced Jael Balgobin Nissa Khaliq-Rattray Orchid Balgobin the City of London (Junior Choir) or any London borough (Senior Choir). Imogen Bates Daisy King N’dea Balgobin Rosa Brennan Sam Lewis George Carrington-Johnson Formed in 2004 by Gareth Malone, the Choirs have sung at Windsor Neena Brokenshire Aiyana Mason Rebecca Collett Marni Burton Maeve Mcallister Skye Fitzgerald Mcshane Castle for His Royal Highness The Prince of Wales, with Dave Brubeck, Marcos Butler Gomez Agnes Mcintosh Josie Howe with the LSO at the Barbican, and in the premiere of Edward Rushton’s Marc Camara Esme Mellor Stephenson Kira Howe Arthur Clack Connie Nasmyth Daniel Hutton oratorio Cicadas alongside the LSO Community Choir and LSO players. Marnie Clark Course Rose O’Connell Mario Ikuomola-Andre The Choirs also performed at the Olympic Torch Relay for Islington Megan Crooks Clemmie Parker D’Carlos Ikuomola-Andre Council in July 2012 and were part of the UK premiere of Jonathan Agathe Danzin Orla Prendergast Sumia Ismaili Cosima Davies Dmitri Prokofiev Kitty Kelly Dove’s children’s opera The Monster in the Maze (2015) and the Poppy Dawid Lutia Prokofiev Anna Law world premiere of Sir Peter Maxwell Davies’ The Hogboon (2016), Hawi Ensermu Isobel Quinn Jessica Magnus both conducted by Sir Simon Rattle. Saoirse Exelby Ruby Robinson Lakshmi Maslen Sophia Franca Wilcken Annachiara Senatore Evelyn-Rose Masol Inji Galliet-Jakoby Flore Servant Georgia Renvoize The Junior Choir is conducted by Lucy Griffiths and the Senior Choir is Lara Goktepe Jiyaa Shah Tessa Roe-Stanton Molly Heaphy Gaia Siddle Andreas Salcedo conducted by David Lawrence. Caitlin Heaphy Theo Smith Topsy Sallows Lucas Hetherton Zachary Smith Killian Scortichini Email [email protected] for more information. Persephone Holloway Sophia Sutliff Elizabeth Simpson Niamh Hood Tehya Teo Imogen Smith Neo Hunt Eleni Veliz Boguska Sebastian Veliz Boguski Above left: Members of the LSO Discovery Junior Choir Caleb Hunter Eben Watson Julia Willers Above right: Members of the LSO Discovery Senior Choir Sienna Hunt-Montoya Alexander Willers Fred Jacques Golnar Zandi Zadie Jennings Natania Zewdie The LSO Discovery Choirs are supported by Rothschild Charities Committee, Isla Kallow Jasmin Kallow Slaughter and May, The Barnett & Sylvia Shine No 2 Charitable Trust, LSO Patrons and LSO Friends. 18 LSO Community Choir 9 July 2017

LSO Community Choir On Stage

In March 2003 the LSO Community Choir performed the first concert in LSO St Luke’s, the Orchestra’s then newly established venue. Comprising 30 singers living and working in the local community, it was an ambitious start. Led by LSO workshop leader and presenter Rachel Leach, the Choir sang arrangements of William Blake’s Songs of Innocence commissioned specially for the occasion.

Gareth Malone – now a television personality – was one of the singers in that first concert, and by 2004 he had taken over directing the Choir. In the programme for the Choir’s Christmas concert in 2004, he wrote ‘we regularly have 40 to 45 people at our rehearsals … I would like to see the choir grow to about 60 members’. His vision was surpassed by those wanting to take part, and by the time he left five years later there were 80 singers in the Choir’s ranks – its membership now totals 110. SOPRANOS ALTOS TENORS BASSES Alison Archibald Iris Bachmann Nick Brittain Neil Campbell Jenny Bell Adrienne Banks Jill Courtnell Adam Dale The Community Choir has open access at its heart – anyone is welcome Nevo Burrell Jane Bickerton Paul Downing Gabriel Diaz-Emparanza as long as they live or work in the area, and no audition is necessary. Berrak Buyukavci Annie Blackmore Tara Frances Kimmett Edgar The Choir’s director, David Lawrence, tailors the music-making for Kim Caplin Nathalie Blondeau James Hill Will Ellsworth-Jones Sandrina Carosso Sherrie Brar-Sacha Yvonne Jacobs-Jones Darragh Kilroy a broad mix of people: from those who know their sharps from their Liz Cunningham Sue Bristow Helen James Tim Kitchin flats to those who have no experience of musical notation. Eilish Dempsey Elzbieta Chandrasena Neville Kay Jason Lord Elizabeth Emmanuel Jacqueline Chow Mena Rego Richard Taylor Moe Faulkner Madeline Church Steven Smith Paul Tilley The Choir sings three concerts a year at LSO St Luke’s and performs Annie Hawker Tania Cohen Milan Stamenkovic Paul Turley special concerts at the Barbican with the LSO, including an impressive Alison Hunter Anne Corbett Roy Sully Jan Newbigin Linda Crow Peter Wylie list of performances under three directors – Gareth Malone, David Knott Zina Nour Claire Deakin and David Lawrence. The Community Choir has worked with Hugh Rosaline Ogunro Yiting Feng Masekela, celebrating his 70th birthday; performed a partially staged Maggie Paton Christine Finlan Liz Patterson Janet Fitch version of Britten’s St Nicolas with tenor Ian Bostridge; and took part in Alessandra Sarnari Mal Gilliam a new opera, The Monster In The Maze, conducted by Sir Simon Rattle. Vaishali Shah Bernadette Hancock Anna Standley Beverley Heath The Choir has sung in St Paul’s Cathedral, at the annual Whitecross Rachel Starling Marie-Helene Jeeves Street Festival and at the Royal Academy of Music. Maggie Tyler Jackie Kestenbaum Patricia McGeough Selena Ng Above all, the Choir is about the joy of singing and remains open to Mel Palmer everyone. For those who claim they can’t sing, the Community Choir Penelope Parkinson has proved in the best possible way that anyone can get involved in Grace Payne Rachael Plant music-making and find their voice. Tessa Sheridan Ellen Sinclair Jane Tully The Community Choir is open to people who live or work in EC1, but Marianne Viola there is currently a waiting list. For further information, or to be added to the list, please email [email protected] lso.co.uk Guildhall School Musicians 19

Guildhall School Guildhall School An Introduction On Stage

Twice-rated No 1 specialist institution in the UK by The Guardian ON STAGE – A TRIP TO THE MOON University Guide, and selected as one of the top ten institutions for performing arts in the world (QS World University Rankings 2016), FIRST VIOLINS VIOLAS FLUTE ASTRONOMERS the Guildhall School is one of the world’s leading conservatoires Anna Roder Henrietta Hill Stephanie Tepper Professor Timothy Chua Chu-Hui Huang Barbenfouillis and drama schools, offering inspiring training in the performing arts. Conor Masterson Anna Growns CLARINET Ella De Jongh Cheuk Yin Lam Dimitrios Spouras Nostradamus CELLOS Ilar Rees-Davies Studying music at Guildhall involves intensive, dedicated learning; SOLOISTS SECOND VIOLINS Yoanna Prodanova Alcofrisbas Moon Woman 1 Guildhall musicians are part of a thriving arts community next door Federico Piccotti Fraser Bowles Zachary West Eline Vandenheede Lucia Veintimilla Macian Kai-Hei Chor Omega to one of Europe’s leading arts centres, the Barbican Centre, and Moon Woman 2 Katherine Sung James Edwards DOUBLE BASSES Olivia Sjöberg learn from the School’s renowned international teaching staff while Sara Scalabrelli Micromegas José Moreira Moon Man 1 collaborating in world-class music-making. Regina Freire Stefano Colombelli Andrew Hamilton Parafaragaramus Moon Man 2 Matthew Healy The School’s relationship with the LSO and the Barbican is a pioneering Adam Maxey cultural alliance between a world-class orchestra, arts centre and conservatoire in the City of London, offering an unrivalled programme ON STAGE – SIBELIUS SYMPHONY NO 2 for audiences and transformative opportunities for young people. Guildhall musicians benefit from many opportunities as a result of FIRST VIOLINS VIOLAS FLUTE HORNS this alliance, including LSO Platforms: Guildhall Artists, a concert Ionel Manciu Alexander McFarlane Jack Welch Matthew Head Juliette Roos Chu-Hui Huang Tora Rostvik Renee Kennedy series which showcases senior Guildhall musicians performing Rebecca Raimondi Anna Growns Elizabeth Tocknell complementary repertoire on the Barbican stage before LSO concerts; Oliver Cave Katherine Clark OBOES Sian Collins Bernice Lee and Orchestral Artistry, an exciting postgraduate specialism for Callie Brennan Henrietta Hill Valerie Clare Sanders William Harpum Madeleine Randall TRUMPETS instrumentalists seeking a career in orchestral playing, part of the Rui Liu Sarah McCabe Jacob Rosenberg CLARINETS Guildhall Artist Masters programme and delivered in association with William Newell Matteo Mizera Gideon Brooks Roberta Marino Matthew Stein the LSO. Students on this programme receive orchestral training, SECOND VIOLINS CELLOS Rachel Coe Anna Roder Toby White TROMBONES sectionals and audition training from Guildhall professors and LSO BASSOONS Patrycja Mynarska Thomas Vidal James Harold Ana Docolin players, as well as the chance to take part in masterclasses, chamber Arisa Nemoto Jonathan Gibson Jacob Coton Thomas Moss coaching and Q&A sessions with LSO players and international James Wicks Penka Petkova Alistair Goodwin Lucia Veintimilla Macian Fraser Bowles artists working with the LSO. This evening’s concert features many TUBA Franziska Deschner Dayana Harizanova Christopher Claxton students from this programme, as well as instrumentalists from other Sara Scalabrelli Molly McWhirter undergraduate and postgraduate programmes at the Guildhall School. Aria Kitaguchi TIMPANI DOUBLE BASSES Lewis Blee José Moreira The latest development in the cultural alliance is the appointment of Stefano Colombelli Martin Ludenbach Sir Simon Rattle as Artist-in-Association with the Guildhall School and Mario Torres Valdivieso the Barbican Centre, which will be undertaken alongside his role as Alexandre Cruz Dos Music Director of the LSO from the 2017/18 season. Driving forward Santos Thomas Morgan Sir Simon’s desire to bring performance, orchestral practice, artistic creation, learning and discovery together in a single vision for the future, this appointment promises further exciting projects for Guildhall School musicians in the future. Jim Dean Orchestral Manager gsmd.ac.uk 20 The Orchestra 9 July 2017

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS FLUTES TRUMPETS Gordan Nikolitch* Leader Jane Atkins* Gareth Davies* Gareth Bimson* SUN 25 JUN – ROBERT TREVINO & ANNA LARSSON Carmine Lauri* Malcolm Johnston* Alex Jakeman Gerald Ruddock* Lennox Mackenzie* Lander Echevarria Niall Keatley* Isobel Hammond What a performance. Shimmering strings, Clare Duckworth* Julia O’Riordan PICCOLO Nigel Broadbent Robert Turner* Sharon Williams* TROMBONES dazzling brass, stunning percs, glitt’ring wind. Ginette Decuyper Heather Wallington Peter Moore* OBOES Phenomenal band! Gerald Gregory Jonathan Welch James Maynard* Olivier Stankiewicz Jörg Hammann Shiry Rashkovsky Rosie Jenkins BASS TROMBONE Elizabeth Pigram Zuozai98 An amazing Mahler 3 delivered by CELLOS Christian Jones* Laurent Quenelle CLARINETS Tim Hugh* @londonsymphony and conducted by @MaestroTrevino Colin Renwick Chris Richards* TUBA Alastair Blayden* Sylvain Vasseur Chi-Yu Mo Raymond Hearne* tonight. Thank you for such a splendid performance! Jennifer Brown* SECOND VIOLINS Eve-Marie Caravassilis BASS CLARINET TIMPANI Thomas Norris* Minat Lyons Duncan Gould* Antoine Bedewi Neil Wallington My season listening to @londonsymphony Miya Väisänen* Victoria Harrild brought to a suitably epic climax by @MaestroTrevino with Julian Gil Rodriguez* Peteris Sokolovskis BASSOONS PERCUSSION Naoko Keatley Daniel Jemison Neil Percy* #Mahler 3. Belinda McFarlane* DOUBLE BASSES Cerys Ambrose-Evans Sam Walton* Iwona Muszynska Colin Paris* Tom Edwards* HORNS THU 22 JUN – LSO DISCOVERY SHOWCASE Andrew Pollock Patrick Laurence* Bertrand Chatenet* PIANO Paul Robson Matthew Gibson Angela Barnes* Elizabeth Burley* Harriet Rayfield Jani Pensola Diane Rivaud Fabulous concert @londonsymphony! Alexander Edmundson* Hazel Mulligan Paul Sherman Josie Ellis Kathryn Saunders Exciting LSO Discovery, LSO Community Gamelan Group showcasing the talent of London’s young musicians.

* Performing in Tamara Tolley Thank you LSO for exciting East/West concert A Trip to the Moon with the dynamic Elim Chan conducting @londonsymphony

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Cover Photography Scheme enables young string players at the Help Musicians UK Barbican Ranald Mackechnie, featuring start of their professional careers to gain The Polonsky Foundation Silk Street Members who began their LSO work experience by playing in rehearsals Fidelio Charitable Trust London careers through LSO Discovery. and concerts with the LSO. The scheme N Smith Charitable Settlement EC2Y 8DS Visit lso.co.uk/1617photos for a full list. auditions students from the London music Lord and Lady Lurgan Trust conservatoires, and 15 students per year Barbara Whatmore Charitable Trust Registered charity in England No 232391 Photography are selected to participate. The musicians LSO Patrons Lawrence Griffiths, Ranald Mackechnie, Craig Details in this publication were correct are treated as professional ’extra’ players T Mathew, Alexander Newton, Kevin Leighton, at time of going to press. (additional to LSO members) and receive fees Bill Robinson, Alberto Venzago, Sussie Ahlburg, Michal Heller for their work in line with LSO section players. Editor Edward Appleyard [email protected] Print Cantate 020 3651 1690 Advertising Cabbell Ltd 020 3603 7937