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Home , Chelsea Opera Group, Edmund Rubbra, Janet Baker, Jonathan Dove, Mansfield Park (opera), Paul Silverthorne

London Symphony Orchestra Living Music

Sunday 5 July 2015 7.30pm Barbican Hall

THE MONSTER IN THE MAZE

Jonathan Dove The Monster in the Maze (UK premiere, LSO co-commission) INTERVAL Walton Symphony No 1

Sir conductor Andrew Rees Yvonne Howard Mother Joshua Bloom Daedalus Malcolm Storry Minos

London Symphony Orchestra Guildhall Symphony Orchestra LSO Discovery LSO Community Simon Halsey choral director Alasdair Middleton Thomas Guthrie stage director Rhiannon Newman-Brown designer London’s Symphony Orchestra Concert finishes approx 10pm The Monster in the Maze is a joint commission by the Stiftung Berliner Philharmoniker, London Symphony Orchestra and Festival d’Art Lyrique d’Aix-en-Provence

2 Welcome 5 July 2015

Welcome Kathryn McDowell

Welcome to tonight’s concert, which brings together In the second half of tonight’s concert, an orchestra the LSO and our partners in the City’s cultural hub of over 120 LSO players and musicians from the – the Guildhall School and the Barbican – to close Guildhall Symphony Orchestra will play Walton’s our 2014/15 season. This year we celebrate 25 years First Symphony. The Orchestra has a strong and of LSO Discovery, the Orchestra’s education and long-standing partnership with the Guildhall School, community programme, and tonight’s concert strengthened with the launch of the jointly run marks this milestone, with young musicians, Orchestral Artistry masters specialism in September Guildhall students and members of the local 2013. Side-by-side experiences like this performance community all coming together on the Barbican are one of the best training experiences and among stage to perform with the LSO. the best preparations for professional orchestral life.

In the first half of the concert, Sir Simon Rattle Sincere thanks to all those who have supported conducts the UK premiere of a new children’s the singers and musicians on stage tonight, and to by , The Monster in the Maze, Lucy Griffiths, conductor of the LSO Discovery Junior featuring the LSO, instrumental students from the Choir, and David Lawrence, conductor of the LSO Guildhall School, soloists, and 220 singers from Discovery Senior and Community Choirs. the local area aged 7–70 in the LSO Community and Discovery Choirs. The story of Theseus and I am very pleased to welcome The Lord Mayor of the the will be brought to life through a City of London, Alderman Alan Yarrow, and members semi-staging, led by Stage Director Thomas Guthrie. of the City Livery who are in attendance this evening. We are delighted to welcome Jonathan Dove, who I would like to take this opportunity to thank them joins us in the audience this evening. for their invaluable support of the LSO and in the City of London. The Monster in the Maze is a co-commission with the Berliner Philharmoniker and the Festival d’Aix- We are grateful to our media partner Classic FM for en-Provence. It is also the first of a new series of their support of this concert and commitment to the children’s opera commissions spearheaded by LSO throughout the 2014/15 season. Sir Simon Rattle, Simon Halsey and the LSO, inspired by the canon of children’s established by I hope that you enjoy tonight’s performance, and . Alongside productions of The that we will see you again at an LSO concert soon, Monster in the Maze staged in Berlin, London and whether that is at the BBC Proms over the summer Aix, the collaboration has involved a conference or at the Barbican when we return in September. at LSO St Luke’s held earlier today, exploring the creation of new participatory work; a symposium in Aix; the creation of an Artist Academy; and an online sharing platform. I would like to thank all of the partners involved and the Creative Europe Programme of the European Union for supporting Kathryn McDowell CBE DL the project. Managing Director lso.co.uk Welcome 3

Welcome from Alderman Alan Yarrow The Right Honourable The Lord Mayor of the City of London

I am delighted to welcome you all to the annual THE LSO THIS SUMMER: City Livery Concert. IN LONDON AND ON TOUR

When I travel overseas, promoting the UK as a place Audi Summer Festival, Ingolstadt, Germany to do business, it’s clear that London is recognised Sat 18 & Sun 19 Jul as more than just a trading centre. The world also Mahler, Bach, Stravinsky recognises London as a beacon of culture and the with Kent Nagano conductor arts, home to astonishing free galleries, versatile performance spaces and some of the world’s best , BBC Proms, London music-making, among many other attractions. Tue 28 Jul Prokofiev Concertos Nos 1–5 Much of that is done with the help of the Livery, with Valery Gergiev conductor which continues to fund, encourage and participate Daniil Trifonov, Sergei Babayan, in UK arts. Tonight’s concert recognises that Alexei Volodin piano contribution, but it is also part of LSO Discovery, the London Symphony Orchestra’s education and Usher Hall, Edinburgh International Festival community programme that this year celebrates Sun 30 Aug its 25th birthday. LSO Discovery continues to take Bartók and Stravinsky music into schools, hospitals and families, helping with Valery Gergiev conductor to make music accessible to all, regardless of Yefim Bronfman piano background or circumstance. George Enescu Festival, Bucharest, Romania Tonight’s performances bring together the LSO, Tue 8 & Wed 9 Sep Barbican and Guildhall School, highlighting the Enescu, Grieg, Stravinsky, Brahms, Mahler institutions and partnerships that make the City with Ion Marin conductor such a thriving cultural quarter. The concert starts Lars Vogt piano with the UK premiere of Jonathan Dove’s children’s Renaud Capuçon opera The Monster in the Maze, in conjunction with Gautier Capuçon Sir Simon Rattle, the Berlin Philharmonic Orchestra and the Festival d’Aix-en-Provence, and I am delighted Visit lso.co.uk/tours for full details of LSO to see talented students from the Guildhall School concerts around the world featuring alongside the Orchestra in Walton’s First Symphony, in this 80th year since its composition. I hope you all enjoy this unique performance showcasing some of the world’s finest musicians and up-and-coming talent here in the City of London.

Alderman Alan Yarrow The Rt Hon The Lord Mayor 4 Programme Notes 5 July 2015

Jonathan Dove (b 1959) The Monster in the Maze (UK premiere) (2015)

An opera for children, young people and adults or the help given to Theseus by (Minos’ Libretto by Alasdair Middleton daughter); the Athenians find their way out of the maze with the assistance of Daedalus, its architect, SIR SIMON RATTLE CONDUCTOR who escapes with them rather than, as in the myth, ANDREW REES THESEUS () by an aerial route. YVONNE HOWARD MOTHER (MEZZO-) JOSHUA BLOOM DAEDALUS () The opera is devised for a mixture of professional, MALCOLM STORRY MINOS student and amateur performers: an orchestra GUILDHALL SCHOOL MUSICIANS with professional and younger players side-by-side LSO DISCOVERY CHOIRS in roughly equal numbers; professional soloists; LSO COMMUNITY CHOIR and community, youth and children’s choruses. SIMON HALSEY CHORAL DIRECTOR Dove finds a ‘special excitement’ in the involvement LUCY GRIFFITHS CONDUCTOR, of community performers, because of the way their LSO DISCOVERY JUNIOR CHOIR energy is conveyed to the audience. His music has DAVID LAWRENCE CONDUCTOR, a corresponding driving energy, imparted by insistent LSO DISCOVERY SENIOR CHOIR & LSO COMMUNITY CHOIR rhythmic ostinatos (repeated patterns) – though THOMAS GUTHRIE STAGE DIRECTOR these are made more complex by syncopations or RHIANNON NEWMAN-BROWN DESIGNER the use of irregular metres such as 5/4 or 7/4, or ANNA CAVALIERE COSTUME SUPERVISOR sometimes both. LOUISE RHOADES-BROWN PROJECTION DESIGNER LONDON SYMPHONY ORCHESTRA THE CHARACTERS In the setting of Middleton’s witty, down-to-earth PROGRAMME NOTE WRITER The best times for operatic stories, Jonathan Dove text, the individual characters are allocated well- ANTHONY BURTON is a former says, are ‘either right now or long ago and far away’. defined modes of expression. King Minos speaks BBC Radio 3 music producer and For this project, Dove and his regular librettist rather than singing, to the of whole- presenter, now a freelance writer. Alasdair Middleton have opted for the latter and tone fanfares and percussion. Theseus is given the He edited the Associated Board chosen the ancient Greek myth of the Minotaur. Wagnerian designation of Heldentenor, or ‘heroic Performer’s Guides, contributes tenor’, and sings with the bluff simplicity of Wagner’s regularly to BBC Music Magazine, Minos, king of the island of Crete, has a labyrinth Siegfried, often accompanied by fanfares. and has written notes for CDs and in his palace in which he keeps the Minotaur – a Theseus’ Mother is a forceful mezzo-soprano, and concert programmes at home and monster, half man and half bull – which feeds on Daedalus a sombre bass-. abroad on thousands of works. human flesh. To press home a military victory over Athens, Minos decrees that the Athenians should The Minotaur, though it is given a physical form in provide a regular supply of their young people to staged productions, does not sing or speak: instead, be sacrificed to the monster. The Athenian hero its roars are represented by an offstage ‘Minotaur Theseus joins one of these shiploads, slays the band’ of horns, and . The adult Minotaur, and sails home with the Athenian youths. chorus sings, in two-part in parallel octaves, The traditional story is simplified in Dove’s opera: as the people of Athens, and it also chants, in precise there is nothing about the parentage of the Minotaur rhythms (notated with approximate pitches) and lso.co.uk Programme Notes 5

LIBRETTO accompanied by un-pitched percussion, as the heard approaching, to the youths’ consternation. On page 6 people of Crete. The children’s chorus, mostly in With a running commentary by the youths, Theseus unison, represents the children of Athens. The fights the Minotaur, defeats it and kills it. Daedalus IN BRIEF youth chorus, again in parallel two-part textures leads the group out of the maze. Minos, King of Crete, orders that (with options for developing voices), has the most each year the Athenians must to do, as the Athenian youths sent for sacrifice. King Minos realises that the Minotaur is dead and send a ship full of their young sees the Athenians depart, having set fire to the people to Crete as ‘prey for the The opera consists of a Prologue and two Acts, Cretan fleet. Back in Athens, the children think they Minotaur’, a monster who lurks in performed without a break. see an approaching sail, but the grown-ups are the labyrinth. The young people’s dismissive until the ship finally arrives in the harbour. spirits are lifted, however, when PROLOGUE All celebrate the return of the youths. Amidst the Theseus decides to go with them, Minos lays down the terms of the Athenians’ defeat, light-filled scenes of rejoicing, the dark voice of the vowing to defeat the monster. and the roars of the Minotaur are heard from the Minotaur is heard: the monster is now part of the distance. The Athenians lament their fate. youths’ experience. In the labyrinth they come across Daedalus, the architect ACT ONE The Monster in the Maze was jointly commissioned by the of the maze, who has also been The Athenian youths are preparing to embark for Stiftung Berliner Philharmoniker, the London Symphony imprisoned. He agrees to lead Crete, as ‘prey for the Minotaur’. The Athenians Orchestra and the Festival d’Art Lyrique d’Aix-en-Provence, them to the monster in the ‘dark gather to say a sad farewell to them. Theseus as part of a series of commissions of children’s operas led heart of the maze’, where Theseus appears, enquiring what all the fuss is about; on by Sir Simon Rattle and Simon Halsey. It was first performed fights and kills the Minotaur. The being told, he declares himself ready for a fight, in Berlin (semi-staged, in German) on 20 June 2015, and will Athenian youths set fire to the raising the hopes of the youths. Theseus’ mother be performed in Aix-en-Provence (fully staged, in French) Cretan fleet and return to Athens, tries to persuade him to stay at home, and the on 8 and 9 July 2015. where they are greeted with children of Athens weigh in with cries of ‘Don’t go!’ celebrations and rejoicing. The youths are full of optimism, and the Athenians Licensed by arrangement with Edition Peters of despair. Eventually Theseus prevails and boards the ship. It sets sail over the waves, and the children watch as it disappears from sight.

ACT TWO Minos observes the ship’s arrival in Crete, and the Minotaur scents fresh flesh. The Cretan people call for the youths to be taken to the labyrinth. At the INTERVAL – 30 minutes entrance to the maze, Theseus prepares himself to There are bars on all levels of the Concert Hall; ice cream meet danger, while the youths are more hesitant. can be bought at the stands on Stalls and Circle level. They meet Daedalus, whom Minos has imprisoned in the maze that he designed. In response to Theseus’ Why not tweet us your thoughts on the first half of the battle-cry, Daedalus agrees to lead the Athenians performance @londonsymphony, or come and talk to into ‘the dark heart of the maze’. The monster is LSO staff at the Information Desk on the Circle level? 6 Libretto 5 July 2015

Jonathan Dove The Monster in the Maze: Libretto

Libretto by Alasdair Middleton Chorus of Athenians The Cruel King of Crete commands – PROLOGUE And we, the conquered, Must obey his commands. Minos Our children! I am Minos, King of Crete. Our children! Listen, Athens! – you are conquered. His harsh command, Conquered, crushed, defeated – you have lost. His cruel decree And I, Minos, King of Crete, have won. Sends our children to their death Athenians – you are on your knees Across a cruel sea. and on your knees, forever, you will stay. Listen! Athens! – these are the terms of your submission. Every year fill a ship with hope, your hope, Athens, your children, your youth. ACT ONE Fill a ship, Athens, and send it across the sea To me, Minos, King of Crete. Athenian Youth We are the ones chosen to die. On Crete a clever man has built a labyrinth, a maze, This is the home, a cunning tangle of paths and passages, The home we are leaving forever; of walls and ways, For we are the ones chosen to die. all of them deceitful, unescapable. And in the dark heart of the labyrinth lurks – There is the sea, What? The sea that divides us from darkness and death Not entirely man. And the home we are leaving forever, Not entirely bull. For we are the ones chosen to die. But more savage – darker than both. A thing of darkness that devours future, hope, youth, light. Chorus of Athenians And to this thing – the Minotaur, For our sins they suffer, I’ll feed your youth, Athens. For our crimes they cry. It will eat your future, it will rip your hope, it will stamp your youth, your children in the sand. Athenian Youth The Minotaur. Here is the ship The ship that will bear us away, A ship of youth, Athens, tipped into the labyrinth Over the sea that divides us from darkness and death and destroyed in darkness. And the home we are leaving forever. You are on your knees and on your knees, forever, you will stay. I am Minos, King of Crete. Chorus of Athenians Hear, Athenians! the terms of your submission, It should be us that are suffering, your surrender, your defeat. It should be us that die. lso.co.uk Libretto 7

Athenian Youth Chorus of Athenians Near is the fear, Our children are condemned to death. The terror and sadness and fear. King Minos commands they sail over the sea, Far is the land of the maze and the monster, Demands they are shut inside his maze. The island of darkness and death. Prey for the Minotaur, for the beast to feast upon.

Theseus enters Theseus Harsh Command! Theseus Cruel decree! What’s all this crying? I will sail with you to Crete What’s all this fuss? And then defeat the monster in its den.

Athenian Youth Athenian Youth It’s Theseus! You will?

Theseus Theseus Hello. I will. If there’s a good fight that needs fighting, Athenian Youth I’ll fight it. Theseus is clever, If there is a wrong that needs righting, Theseus can box. I’ll right it. His arrows are unerring; I will – if I can. And he works out with rocks. Athenian Youth Theseus And he can. O hush. He’s the man. You’re making me blush. Theseus Athenian Youth Find an ordeal – and then put me through it. Theseus is modest. Self-deprecating too. Athenian Youth His fists are made of marble Put him through it. His aim is always true. Theseus Theseus An impossible task? – Stand back, watch me do it. Hello everyone. What’s going on? Athenian Youth Watch him do it. 8 Libretto 5 July 2015

Jonathan Dove The Monster in the Maze: Libretto (continued)

Theseus Mother You see a dead dragon – well, you know who slew it. Theseus is going nowhere.

Athenian Youth Athenian Youth You slew it? Who says so? We knew it. Mother Theseus His mother. Show me a widow or orphan who’s crying, Sad salty tears that really need drying – Theseus They can’t kill you for trying – Mother. So I’ll try to dry them If I can. Mother Off to adventure Athenian Youth Over the sea? And he can. I don’t think so – He’s the man. You’re coming home with me.

Theseus Athenian Youth I am. But Theseus has promised If there’s a good fight that needs fighting, etc. To be one of the crew. We’ll get there, and back again Athenian Youth If he is coming too. If there’s a fight He’ll fight it. Mother If there’s a wrong Kill the Minotaur? He’ll right it. Are you insane? Go into a maze? Athenian Youth Then get out again? Theseus has muscles That, my son, And he has a sword. Is easier said than done. Our future’s looking brighter With Theseus on board. Theseus But … Theseus is a hero Theseus is our brother …

Theseus’ mother enters lso.co.uk Libretto 9

Mother Theseus Do not go away from me, I said I would go with them, Over the wild and the windswept sea, I said I would fight for them, Over the water, over the wave I said I would help them. But stay at home with your mother And behave. Athenian Youth Do not go away from me, You said you would come with us, Over the wild and the windswept sea, You said you would help us, Being so boastful, being so brave You said you would fight for us. But stay at home with your mother And behave. Theseus Mother, I promised them. Athenian Youth So you know I must go. Help us. You said you would help us. Mother Fight for us. Theseus, no. You said you would fight for us. Fight for us! The children enter

Theseus Children Mother. Don’t go! Don’t go! Don’t say the wind is blowing! Athenian Youth Don’t go! Don’t go! Help us. Don’t say the tide has turned! You said you would help us. Don’t go! Don’t go! Help us. Don’t say that you are going! Fight for us. Don’t go! Don’t go! Go with them, Fight for them, Theseus Go! Waves and weather wait for no man, It’s time for us to go. Mother Do not go away from me – Athenian Youth Over the wild and the windswept sea – We’ll be back again in no time, Where all you’ll find is an early grave It’s time for us to go. But stay at home with your mother And behave. 10 Libretto 5 July 2015

Jonathan Dove The Monster in the Maze: Libretto (continued)

Children Mother Don’t go! Don’t go! I curse ‘adventure’. Don’t say the wind is blowing! etc. O Theseus return I curse ‘brave’. Theseus O Theseus return Her eyes are red with tears. I curse war. Her face is pale. O Theseus return. But a brave ship bounces on the seas, I curse grave. And a bold wind fills the sail. O Theseus return.

Children Chorus of Athenians Don’t go! Don’t go! Don’t go! Now I say goodbye to my child, Don’t say that you are going! Now I say goodbye. Don’t go! Don’t go! Don’t go! Children Athenian Youth Don’t go! Don’t go! Don’t go! Theseus is a fighter. Theseus is the bravest. Athenian Youth Theseus is a hero. Theseus, bravest! Theseus, he can save us. Theseus, hero! Theseus, save us! Theseus Though my dinner’s on the table Mother My ship is on the shore; I curse ‘adventure’, etc. And, oh, I love my fireside But love adventure more. Chorus of Athenians Now my eyes, my eyes fill with tears. Athenian Youth Now the wind, the wind fills the sails. Theseus is our brother. Now they set their hands to the oars. Theseus is our tower. Now I feel my heart start to break. Theseus is a lion. Theseus has the power. Theseus Her eyes are red with tears. Theseus, fighter! Her face is pale. Theseus, bravest! But a brave ship bounces on the seas, Theseus, hero! And a bold wind fills the sail. Theseus, save us! lso.co.uk Libretto 11

Though my dinner’s on the table INTERLUDE My ship is on the shore; And oh, I love my fireside The ship sails to Crete But love adventure more Children Children Further and further they sail. Don’t go! Don’t go! They’re almost out of sight. Don’t say the wind is blowing! Fainter and paler their light. Don’t go! Don’t go! Don’t say the tide has turned! Don’t go! Don’t go! Don’t say that you are going! ACT TWO

Athenian Youth Minos Theseus, brother! Here they are – the children of Athens! Theseus, tower! The hope of Athens, the future of Athens! Theseus, lion! Young and strong and warm. Theseus, power! So bright! So bright! Theseus, fighter! Already a shadow is falling across the sun, Theseus, bravest! Soon you will be dark. Theseus, hero! Theseus, save us! Listen! Deep in the maze the monster, already, Theseus, brother! etc. lifts his head, smells fresh flesh. Listen! Theseus Deep in the maze the monster, already, Mother! Goodbye! paws the sand and tosses his horns.

Mother Look, children of Athens – the mouth of the maze gapes. My son! The future is swallowed. The light extinguished. Children Don’t go! Come back! Don’t go! 12 Libretto 5 July 2015

Jonathan Dove The Monster in the Maze: Libretto (continued)

Chorus of Cretans What is that awful stink? Take them to the labyrinth. Urgh – it’s … Off to the mouth of the maze, What? Where the Minotaur bellows. Well, what do you think? The terrible bellows and horrible roar Of the Minotaur. Theseus The Minotaur will hunt you, Stumbling on to the heart of the labyrinth, Hunt you and trample you Which is the way? Grind you and stamp you Creeping through the Dark Halls of Horror; With his brass-hoofed feet. Past rot, past stench, past decay. Beaten to pulp on the sand on the floor Feeling our way, Beneath the brass-hoofed feet Into the dark heart of the maze! Of the Minotaur. The Minotaur will beat you, Athenian Youth Beat you and eat you – After you – Chundered and chewed in the foam flecked jaw No – after you. Of the Minotaur. It’s cold. Hunted, stamped, trampled, beaten, It’s dark. Gored and torn on the horns It’s scary too. Of the Minotaur. Ow! Into the mouth of the maze! Who do you think you’re pushing? Shush! Theseus Who do you think you’re shushing? (Entering the maze) Here we are on the threshold of Danger; Theseus Here we are at the doorway to Death; Ssshhhh! The clean air rotting. Listen! The monster’s foul breath. Come on! Daedalus On to the dark heart of the maze! (In a shadow) Always only Athenian Youth One step ahead. You go first. Always hourly No, you. Eluding the monster’s tread. No, you. Forever hunted, It’s cold. Forever hiding, It’s dark. In this prison of my own devising. It’s smelly too. In this labyrinth I built. Urgh! The architect of my own misery. lso.co.uk Libretto 13

Athenian Youth Forever hunted by the monster at its heart Is this the monster? Forever hiding, always only one step ahead.

Theseus Theseus Shh, listen. I will free you. Lead us to the monster – Daedalus Lead us to the dark heart of the labyrinth. Always only One step ahead. Daedalus Always my only companions And then? The dead. Forever hunted Theseus Forever hiding I will kill it. From the Minotaur. You will lead us back and out to light and freedom.

Athenian Youth Athenian Youth Who is it? To light and freedom.

Theseus Daedalus Shh. This way. I taught these walls deceit. Daedalus This way. Who’s there? Who’s there? I know each turn, each corner. This way. Theseus My feet familiar with each corridor. Theseus the Athenian – come to kill the Minotaur. This way. Into the dark heart of the maze. Daedalus This way. To kill the Minotaur? Some hope. To the Minotaur.

Theseus Theseus Who are you? Slowly and carefully, Placing one careful and slow sandalled foot in front of another, Daedalus A tentative toe, I am Daedalus. That scarcely dares tread on the ground it has found, I built this maze. Tentative footsteps progressing and passing sly corridors, I know its secrets, but Cruel King Minos does not like his secrets known. Crafty corners; He locked me in here, cursed forever to wander the maze that I made. Losing and lost.

14 Libretto 5 July 2015

Jonathan Dove The Monster in the Maze: Libretto (continued)

Athenian Youth Is it? Slowly, carefully, quietly, What? Without alerting Is it getting closer? The thing that is lurking Oh no Within the dark heart of the maze What? There! Daedalus Where? This way. Oh no I taught these walls deceit. There! This way. Oh no! I know each turn, each corner. There! This way. There it is! In to the dark heart of the maze. Theseus!! This way. To the Minotaur. Theseus (War-cry) Theseus Slowly and carefully, Athenian Youth Placing one careful and slow sandalled foot in front of another, Theseus is clever. That scarcely dares tread on the ground it has found, Kill it, Theseus! Kill it! Tentative footsteps progressing and passing sly corridors, Theseus can box. Crafty corners; Fight it! Losing and lost. His fists are made of marble Your sword, Theseus! Athenian Youth Your sword! Listen! And he works out with rocks. What was that? What? Stab! That. Smack! Listen! Ouf! Do you think? Bang! What? Thwack! That was it? Do you think? Clatter! What? Bellow! That it’s getting closer! Punch it! Is it? Twist! What? Duck! Too late to run? Charge! lso.co.uk Libretto 15

Theseus has killed the monster! IN ATHENS

Find an ordeal – and then put him through it. Children An impossible task? – Stand back, watch him do it. Look! Look! You see this dead monster? – well, you know who slew it. Something tiny and white Far out to sea. Theseus Quickly, quickly! Chorus of Athenians Back through the maze What? Back to the ship What is it? Back. Nothing. A gull. Daedalus Or the sun on the sea. This way Our children will never return. To light and freedom Children Minos Look! Look! Listen! Bigger and whiter it grows. A terrible howl of death – my blood turns black in my veins! Listen! Chorus of Athenians The earth shakes – the Minotaur has fallen! No. Listen! Nothing. The dark heart of the labyrinth has ceased to beat. A trick of light. Slain! Our children will never return. The Minotaur is dead! The Minotaur is dead! Children Listen! Look! Look! A shout of victory! White and Bright! They have won! A sail! A sail! The children have won. Look! Chorus of Athenians In a golden ship they sail towards the sun. A sail! After them! After them! A boat! My ships! My ships! Can it be? My ships are on fire – their sails shredded – timbers ablaze. Can it really be? They sail off to the future in a gold ship of hope. My black ships of death are crumbling Nothing but ashes and smoke. 16 Libretto 5 July 2015

Jonathan Dove The Monster in the Maze: Libretto (continued)

Children Mother It’s them! Look! Brothers! My son, my son! Sisters! Golden and strong, Like the sun. Chorus of Athenians He fought the monster of darkness It’s them! And won. They have come back! Our children have returned! Theseus I sailed across a sea of light, Theseus To harbour here in these wide arms. Land at last! Children Athenian Youth Brothers! We are the ones that were chosen to die, Sisters! This is the home we were leaving forever, Over the sea that divides us from darkness and light, Chorus of Athenians Here is the ship that has borne us away They have come back! They have come back! Far from the island of darkness and death, Our children have returned! The land of the maze and the monster, Our children! Far from the terror and the sadness and the fear. Look! We have returned The lost are found. Out of darkness into light. My arms are full again. The sun is so bright. We walk in the sunlight, Mother Live in the sunlight, The heart that had grown cold and old is warm and young again. Forever. And my dream has come true again. I have you again. Children Out of darkness into light. All Out of darkness into light. Daedalus & Athenians The sun is so bright. Out of darkness into light. We/They/You walk in the sunlight, Live in the sunlight, Forever.

Libretto by Alasdair Middleton lso.co.uk 2015/16 Season Highlights 17

LSO Season 2015/16 Highlights Concerts at the Barbican

London’s Symphony Orchestra

2015/16 SEASON OPENING CREATIVE GENIUSES MAN OF THE SHAKESPEARE 400 with with Sir Simon Rattle with Valery Gergiev with Sir and Gianandrea Noseda

Bruckner Symphony No 7 Debussy Pelléas et Mélisande Stravinsky The Firebird Mendelssohn Tue 15 Sep 2015 directed by Peter Sellars Fri 9 Oct 2015 A Midsummer Night’s Dream Sat 9 & Sun 10 Jan 2016 Tue 16 Feb 2016 Mahler Symphony No 4 Produced by the LSO and the Barbican Stravinsky The Rite of Spring Sun 20 Sep 2015 Sun 11 Oct 2015 Berlioz Romeo and Juliet Ravel, Dutilleux and Delage Sun 28 Feb 2016 Brahms Symphony No 1 with Bartók The Miraculous Mandarin Wed 23 Sep 2015 Wed 13 Jan 2016 Sun 18 Oct 2015

Bruckner Symphony No 8 020 7638 8891 Thu 14 Apr 2016 lso.co.uk 18 Composer Profile 5 July 2015

Jonathan Dove Composer Profile

‘Not since Benjamin Britten has a Throughout his career Dove has been closely British composer succeeded in involved in community-based projects, and he has a special gift for inspiring and responding to creativity writing operas which communicate in the participants, giving them a sense of ownership with such clarity and coherence in the finished work. As well as three community operas for Glyndebourne, he has written Work in to their audience as those by Progress to celebrate the completion of The Sage, Jonathan Dove.’ Gateshead in 2005, three pieces for the London Borough of Hackney, and the award-winning cantata Gramophone On Spital Fields (2005) for the Spitalfields Festival, in east London, of which he was artistic director from Jonathan Dove was born in London, the son of 2001 to 2006. architects, and was playing the organ in his local parish church by the age of twelve. After reading Dove’s straightforward, essentially diatonic, musical music at Cambridge, where he studied composition language is especially suitable for choral music, and with Robin Holloway, he worked on the music staff his choral compositions range from popular anthems at Glyndebourne, and as a freelance keyboard to the large-scale There Was a Child for soloists, COMPOSER PROFILE WRITER player, animateur, composer and orchestrator. children’s and adult choruses and orchestra (2009), ANTHONY BURTON His appointment as Music Advisor to the Almeida written in memory of the son of a friend. But he has Theatre in north London in 1990 launched him as also written several works for orchestra, including a composer for the theatre, and he has become concertos for (The Magic Flute Dances, 1999) especially well known as a composer of operas. and (Stargazer, 2001 – commissioned and These now number 28, including (1998), which premiered by the London Symphony Orchestra), as has been performed internationally and recorded, well as Gaia Theory for last year’s BBC Proms. and was revived last month by Opera Holland Park, two operas for television, and The Enchanted Pig (2006), The Adventures of Pinocchio (2007) and Swanhunter (2009) – all with by Alasdair Middleton – for young audiences. lso.co.uk Interview with Jonathan Dove 19

Jonathan Dove In Conversation

Jonathan Dove speaks to Benjamin Picard, LSO Marketing A new thing for me in this is to have one character Co-ordinator, about his musical background, inspirations who doesn’t sing at all, one character who is speaking – an actor – which I thought could be and the process of creating a new opera. helpful for an audience who might not be used to opera. Having an actor as King Minos really sets up An inspiring story the drama at the beginning.

MORE INTERVIEWS ONLINE he first step with writing an opera is always Writing for the community To watch videos about finding the story. For The Monster in the Maze, The Monster in the Maze, TI went looking for a story, one that you could tell he exciting thing about writing for amateurs is including interviews with the with groups of children and groups of young people. that they get to do something that they don’t creative team behind the project Tdo every day, so there’s a particular energy, an and footage of rehearsals in Out of conversations with my regular collaborator excitement in the act of performing. It’s somehow Berlin and Aix-en-Provence, visit Alasdair Middleton came the idea of telling the story different from a professional group who are doing it monsterinthemaze.com of the young people who are sent, as a sacrifice, to absolutely all the time. Crete but are saved from death at the hands of the Minotaur by Theseus. It’s a story which involves big I’m certainly looking to create music that is as simple groups of people and big action. So the first thing is and direct as possible. I’m also aware that I’m writing really getting the action clear and trying to work out music for singers who may not read music and are how we’re telling the story, what are the scenes and going to have to memorise, in this case, 50 minutes who are the characters. of music, so it has to be catchy, something that they can hold in their minds. From the story to the music Discovering opera hen I first encounter a story that I think might become an opera, I am aware that, s a child I was very excited by music, but Win a way, there’s a ‘smell of music’ – that also very excited by theatre. I sang in the there’s something in there that I sense might yield Aschool choir, and I played the in the something musically exciting. This might be a sound London Schools Symphony Orchestra, which was for voices, or it might be for the orchestra. an amazing experience of orchestral music. But I also made model and went to theatre Right from the beginning I knew that the Minotaur productions whenever I could. And then, in my would just be an instrumental sound. The Minotaur early twenties, when I started working for a living is partly human but, significantly, partly animal, so as a jobbing musician, I fell into the world of opera an instrumental sound creates that animal presence. and realised that it combined my passions in one The Minotaur is represented by a large group of medium – symphonic music, theatre and singing, brass instruments, who we sense as an ominous all coming together. For me, it’s the most exciting presence from the very beginning of the piece. thing I can think of. 20 Programme Notes 5 July 2015

William Walton (1902–83) Symphony No 1 in B-flat minor (1931–35)

1 ALLEGRO ASSAI Walton would wish to cast his musical thoughts 2 SCHERZO: PRESTO, CON MALIZIA as an orchestral symphony. However, he had 3 ANDANTE CON MALINCOLIA considerable trouble in getting the symphony on to 4 MAESTOSO – paper, and although he started work early in 1932, BRIO ED ARDENTEMENTE VIVACISSIMO MAESTOSO he kept getting stuck. In an interview with Edward Greenfield he explained that the first idea to emerge PROGRAMME NOTE WRITER SIR SIMON RATTLE CONDUCTOR was the flute tune at the beginning of the slow LEWIS FOREMAN GUILDHALL SYMPHONY ORCHESTRA movement, but he only managed to write down LONDON SYMPHONY ORCHESTRA 20 bars. As he developed his thoughts, he produced what we now know as the haunting theme of the LSO PREMIERE OF WALTON 1 The 1930s was the decade in which British composers first movement. Walton’s First Symphony was embraced the symphony. Both Elgar’s symphonies the most eagerly awaited new and Vaughan Williams’ first two date from before It is interesting to note Walton’s later revelation that British symphony since Elgar’s World War I, while ’s first and Bliss’ A Colour while the slow movement was the first to be written, Second, a work composed more Symphony appeared soon after it. But between 1930 he at the same time wrote what would become the than 20 years before. The burden and 1939 was heard five of Bax’s, Vaughan Williams’ end of the last movement, to be heard only after the of expectation weighed heavily Fourth, Ernest John Moeran’s G minor, as well as earlier movements had been performed without it. on Walton’s shoulders – even Edmund Rubbra’s first two symphonies. If we add By 1934 Walton had managed to commit to paper on his best days he wasn’t the other examples of Cyril Rootham, George Lloyd, the first three movements. In despair, Herbert Foss, fastest man on manuscript and Armstrong Gibbs and the Dyson Symphony in G Walton’s confidant at his publisher, Oxford University the premiere had already been major, we are describing a lively scene indeed. Press, proposed the performance of the incomplete put back a year. As the date score, and this was performed by the London approached, the symphony In the middle of all this activity, or perhaps because Symphony Orchestra to a tremendous reception in still lacked a finale! of it, the young , already established the Queen’s Hall, London, in December 1934. There as a big name by his (1929) and epic would be two further incomplete performances There were frantic negotiations short oratorio Belshazzar’s Feast (1931), produced before the finale was ready to Walton’s satisfaction. between publisher, promoter one of the most dramatic symphonic scores of Within a month of its first complete performance, and the LSO. Again the premiere his time. When it had been learned that Walton on 6 November 1935, it was recorded by the Decca was postponed. A month later it was writing a symphony it created unprecedented Record Company with Sir Hamilton Harty conducting. still wasn’t complete. Conductor public interest. Indeed the widespread interest Hamilton Harty affirmed ‘Whether in early performances of the symphony has only We first hear long held low notes, B-flat, F and then it’s complete or not, we will subsequently been paralleled by the reception a G. This is characteristic of Walton’s technique, as play what we’ve got’, which accorded Britten’s War nearly 30 years later. is the driving rhythm which is now introduced. Over the Orchestra duly did. The the rhythm arches the soaring thematic outlines performance was received with Walton had referred to his oratorio Belshazzar’s of the movement. Four motifs constitute the most tremendous enthusiasm, not least Feast as a symphony in three movements, and so, important ideas of the first movement, the two because the LSO tore into this at a time when the symphony was considered the features already mentioned plus a falling figure in virtuoso music with, according to pre-eminent form by a British musical public that the bass near the beginning, and a long held theme some reports, ferocious zeal. had just taken Sibelius to its heart, it is natural that first heard on the and including a turn in the lso.co.uk Programme Notes 21

William Walton Composer Profile

melodic line which gives it a haunting character. Walton was born in Oldham, Lancashire, the son Walton uses trills and wide spanning leaps of what of a local choirmaster and singing teacher. At the were then unfamiliar melodic intervals. age of ten he became a chorister at Christ Church Cathedral in Oxford, and an undergraduate at the The Scherzo is of note for its unique marking age of 16, but he never took a degree. He received ‘with malice’. Its use of violent cross-rhythms and encouragement from various leaders of Oxford aggressive discords, while being excitingly new in musical life, though as a composer he remained 1934, is perhaps more remarkable for still sounding essentially self-taught. fresh today. The passionate intensity of the soaring lines of the slow movement that follows rises to His earliest music still heard today is the what is Walton’s most impassioned climax, before unaccompanied choral piece A Litany (‘Drop, drop, sinking back once more to the icy fluting of its opening. slow tears’) written when he was only 14. He was established as a name by the succès de scandale As we have seen, Walton was aware of the of Façade, Edith Sitwell’s poems recited through character his finale would take before he could a megaphone to his music, first heard privately actually complete it on paper. He had a problem at the Sitwells’ home in January 1922 when the in considering the use of fugal textures in a COMPOSER PROFILE WRITER composer was 19. The ensuing press rumpus symphony and in the static ceremonial character of LEWIS FOREMAN actually followed the first public performance at the the fanfaring that surrounds them, but in the end Aeolian Hall in Bond Street 18 months later. Over the Walton successfully provided a unifying finale to this succeeding years Walton gradually refined this score, dramatic music. Brilliant and expansive, it set the its evolution marking his own emergence as an tone for many of his later non-symphonic songs. WALTON on LSO LIVE individual voice. In the long-term its royalties became Listen again to Walton’s Symphony a major strand of his income. Was this work anything other than pure music? No 1 at home with LSO Live’s recording, The pure musical expression of some personal conducted by Sir , which His reputation as a composer of achievement dates drama, perhaps? Does anyone write a movement also features the brilliantly vivid from the premiere of his Viola Concerto in 1929. headed ‘with malice’ for non-programmatic oratorio Belshazzar’s Feast. Belshazzar’s Feast (1931) and the Symphony in B-flat reasons? ‘The trouble was, Willy changed girlfriends minor (1934–35) consolidated this reputation as between movements’, one commentator observed. £8.99 the leading young composer of the day. In the later Fortunately, the music can be appreciated on totally lsolive.lso.co.uk 1930s Walton became known for his film music and musical grounds: one of the greatest 20th century various shorter works, notably Portsmouth Point and symphonies, it is certainly Walton’s masterpiece. Siesta, and these would soon be joined by his notable orchestral marches, starting with Crown Imperial written for the Coronation of George VI in 1937. 22 LSO Discovery at 25 5 July 2015

LSO Discovery 25 Years of Music-Making

CLOCKWISE FROM TOP LEFT This summer marks the 25th anniversary of LSO The recent popularity of choirs and singing across The LSO Community Choir; Discovery. Our celebrations, from community singing the country (partly promoted on TV by LSO-trained Students from the Guildhall School; days to concerts in the Barbican Hall, highlight many animateur Gareth Malone) has chimed with the A workshop with LSO musicians themes and activities which continue to evolve in a LSO Sing initiative, developing our LSO Discovery in Aix-en-Provence changing environment. and Community choirs and the London Symphony Chorus, under the leadership of Simon Halsey. In 2011 the National Plan for Music Education International collaboration is at the fore in our established music hubs around , bringing three-year children’s opera programme starting with together instrumental teaching and wider tonight’s performance of The Monster in the Maze, partnerships with cultural organisations. The LSO co-commissioned with partners in Aix and Berlin and works closely with the hubs in East London to devise conducted by Sir Simon Rattle. projects that inspire young people and encourage them to continue their musical exploration. We offer Whether breaking the mould with informal concerts related professional training for classroom teachers at LSO St Luke’s open to all ages, developing online or instrumental tutors to underpin this aim. resources for audiences at home, or visiting children in hospitals, the outstanding musicians of the LSO For students planning an orchestral career in an together with our family of music leaders make LSO increasingly competitive and international environment, Discovery’s programme truly unique. our Orchestral Artistry course with the Guildhall School offers broad-based advanced training. Judith Ackrill, Head of LSO Discovery lso.co.uk Artist Biographies 23

Sir Simon Rattle ‘Rattle conducts with missionary zeal, Conductor as if he believes in every note.’ The Times

Sir Simon Rattle was born in Liverpool and studied Festival, Rattle has conducted staged productions of at the Royal Academy of Music. From 1980 to 1998 Beethoven’s Fidelio, Mozart’s Così fan tutte, Britten’s he was Principal Conductor and Artistic Adviser Peter Grimes, Debussy’s Pelléas et Mélisande, of the City of Birmingham Symphony Orchestra, Strauss’ Salome and Bizet’s Carmen, a concert becoming Music Director in 1990. In 2002 he took performance of Mozart’s Idomeneo and many up his current position of Artistic Director and Chief contrasting concert programmes, all with the Berlin Conductor of the Berlin Philharmonic, where he will Philharmonic. He also conducted Wagner’s complete remain until 2018. In September 2017 he will become Ring Cycle with the Berlin Philharmonic for the Aix- Music Director of the London Symphony Orchestra. en-Provence Festival, Salzburg Easter Festival, and most recently at the Deutsche Oper, Berlin and the Rattle has made over 70 recordings for EMI and Wiener Staatsoper. has received numerous prestigious international awards for his recordings on various labels. Releases Simon Rattle has strong long-standing relationships on EMI include Stravinsky’s Symphony of Psalms with the leading orchestras in Europe and the (2009 Grammy Award for Best Choral Performance) US, initially working closely with the Los Angeles Berlioz’s Symphonie fantastique, Ravel’s L’enfant Philharmonic and Boston Symphony Orchestras, Chief Conductor et les sortilèges, Tchaikovsky’s The Nutcracker, and more recently with the Philadelphia Orchestra. and Artistic Director Mahler’s Symphony No 2, Bizet’s Carmen, and He regularly conducts the Vienna Philharmonic, Berlin Philharmonic Stravinsky’s The Rite of Spring. Rattle’s most recent with which he has recorded the complete releases (the Bach Passions and Schumann’s Beethoven symphonies and piano concertos (with Principal Artist Symphonies) have been for Berliner Philharmoniker ) and is also a Principal Artist of the Orchestra of the Age of Enlightenment Recordings – the orchestra’s new in-house label, Orchestra of the Age of Enlightenment and Founding established in early 2014. Patron of Birmingham Contemporary Music Group. Founding Patron Birmingham Contemporary Rattle and the Berlin Philharmonic tour regularly His plans for the 2015/16 season include the Music Group within Europe, North America and Asia. The partnership Beethoven Cycle with the Berlin Philharmonic, has also broken new ground with the education with concerts in Europe and ; staged programme Zukunft@Bphil, earning the Comenius performances of Debussy’s Pelléas et Melisande Prize in 2004, the Schiller Special Prize from the city in Berlin and London; and a production of Wagner’s of Mannheim in May 2005, the Golden Camera and Tristan and Isolde at Baden-Baden. Future the Urania Medal in Spring 2007. He and the Berlin engagements will see him return to the Bavarian Philharmonic were also appointed International UNICEF Radio Symphony Orchestra, the Metropolitan Opera Ambassadors in the same year – the first time this and the Orchestra of the Age of Enlightenment. honour has been conferred on an artistic ensemble. Simon Rattle was knighted in 1994 and in the New In 2013 Simon Rattle and the Berlin Philharmonic Year’s Honours of 2014 he received the Order of took up a residency at the Baden-Baden Easter Merit from Her Majesty the Queen. He will be a Festival performing Mozart’s The Magic Flute Carnegie Hall ‘Perspectives’ artist during the and a series of concerts. For the Salzburg Easter 2015/16 and 2016/17 seasons. 24 Artist Biographies 5 July 2015

Andrew Rees Yvonne Howard Theseus (Tenor) Mother (Mezzo-soprano)

Born in Carmarthen, West Wales, Yvonne Howard studied at the Andrew Rees gained a scholarship Royal Northern College of Music. to study at the Royal Northern She made her debut at the College of Music, Manchester, as Mercedes and completed his studies on (Bizet’s Carmen)‚ where she the Opera Course at the Guildhall has also sung Suzuki (Puccini’s School. He was a Jerwood Young Madame Butterfly)‚ Cornelia Artist at (Handel’s )‚ Berta and later became a principal tenor (Rossini’s The Barber of Seville)‚ at the company. Second Norn (Wagner’s Der Ring des Nibelungen)‚ Leonore In opera, he has performed for (Beethoven’s Fidelio) and Mother , , (Humperdinck’s Hansel and Gretel). Chelsea Opera Group, Grange Park Opera, Longborough Festival Recent and future engagements Opera, Northern Ireland Opera, include Bellini’s Norma (Opera Opera Holland Park and Welsh National Opera, as well as for Angers- Holland Park); Caesonia in Detlev Glanert’s Caligula (English National Nantes Opera, the National Theater Weimar, the New Israeli Opera, Opera and Teatro Colón‚ Buenos Aires); Katisha in Gilbert and Sullivan’s the Nederlandse Reisopera and the Stadttheater St Gallen. Concert The Mikado (ENO); Fricka in Wagner’s Das Rheingold and Die Walküre, highlights have included performances with the BBC Scottish and roles in Britten’s Peter Grimes, The Turn of the Screw and Symphony Orchestra, the Hallé, the Finnish Radio Symphony A Midsummer Night’s Dream (all ); Mrs Grose in The Turn Orchestra and the NDR Sinfonieorchester, Hamburg. of the Screw (Northern Ireland Opera); Mother in Hansel and Gretel and Mademoiselle Paturelle in Offenbach’s Vert-Vert (Garsington); the His recordings include Narraboth in Strauss’ Salome (Chandos) and title role in Holst’s Savitri with Choros Chamber Choir; and Sieglinde in Doctor Yes in Mark-Anthony Turnage’s Anna Nicole (Opus Arte). Wagner’s Die Walküre with the Hallé Orchestra under Sir Mark Elder.

Conductors with whom he has worked include Stefan Asbury, Further UK appearances include roles in Puccini’s Tosca, Verdi’s Rigoletto Stephen Barlow, Brad Cohen, Paul Daniel, Sir Mark Elder, Edward and , Walton’s Troilus and Cressida, Gounod’s Romeo and Juliet Gardner, Antony Hermus, Lothar Koenig, Jiri Kout, , and Jonathan Dove’s Swanhunter (Opera North); Handel’s Xerxes‚ Verdi’s Gianluca Marcianò, Sakari Oramo, Anthony Negus, Sir , Falstaff, Tchaikovsky’s Eugene Onegin and Mozart’s The Marriage of George Pehlivanian, Donald Runnicles and Mark Wigglesworth. Figaro (ENO); Norma (ETO); Verdi’s Aida (Royal Albert Hall); Donizetti’s Roberto Devereux and Beethoven’s Fidelio (Opera Holland Park). Engagements this season and beyond include Pang in Puccini’s Turandot for Northern Ireland Opera, the revival of Anna Nicole at Notable concert repertoire includes Angel in Elgar’s The Dream of the Royal Opera, Raffaele in Verdi’s for Chelsea Opera Group, Gerontius‚ Verdi’s Requiem and the song cycles of Mahler and Berlioz. Melot in Wagner’s Tristan und Isolde at the Théâtre des Champs- Recordings include Wagner’s Die Walküre with Sir Mark Elder (Hallé)‚ Élysées, Beethoven’s Symphony No 9 on tour with the Warsaw Handel’s Messiah (Arte Nova Classics)‚ Troilus and Cressida‚ Boris Philharmonic, and Grace Williams’ Missa Cambrensis with the Godunov and The Bartered Bride (Chandos), as well as Marilyn BBC National Orchestra of Wales. Klinghoffer in the TV film of John Adams’ The Death of Klinghoffer. lso.co.uk Artist Biographies 25

Joshua Bloom Malcolm Storry Daedalus (Bass) Minos

Australian bass Joshua Bloom British actor Malcolm Storry studied on the Young Artist established his career in the Programme of Opera Australia, theatre in the 1970s and 1980s, and later the Merola and Adler with regular roles as an associate Fellowship Programmes at the artist with the Royal Shakespeare San Francisco Opera. Company. Throughout his career he has appeared on stage in Recent engagements have productions for the National included Masetto in Mozart’s Theatre (Oedipus, The Royal Hunt Don Giovanni (Metropolitan of the Sun, A Midsummer Night’s Opera and Los Angeles Opera); Dream), the Old Vic (After Aida), Escamillo in Bizet’s Carmen, the Wyndhams Theatre (Art), Almeida title role in The Marriage of Figaro, Theatre (The Tempest), Theatre Rodolfo in Bellini’s La sonnambula Royal Drury Lane (The Lord of the and Leporello in Don Giovanni Rings) and Donmar Warehouse (Opera Australia); Harašta in (Life is a Dream), among others. Janácˇek’s The Cunning Little Vixen (New York Philharmonic); Leporello in Don Giovanni, Alidoro in Rossini’s La Cenerentola, Don Fernando in His many television appearances have included roles in Father Brown, Beethoven’s Fidelio and Harašta in The Cunning Little Vixen (Garsington The Shadowline, Midsomer Murders, Doc Martin, New Tricks, Above Opera); Truffaldino in Strauss’ (Metropolitan Suspicion, Jekyll, Dead Clever, The Debt, Sword of Honour, The Knock, Opera); Quince in Britten’s A Midsummer Night’s Dream (Bari and Children of the New Forest, Food for Ravens, Heartbeat, Pie in the Sky, Reggio Emilia); Colline in Puccini’s La bohème (Royal Philharmonic Wycliffe, Inspector Morse, Dangerfield, A Pinch of Snuff, Redemption, Orchestra); Angelotti in Puccini’s Tosca (Los Angeles Opera); Collatinus Pride and Extreme Prejudice, The Return of Sherlock Holmes, in Britten’s (Teatro Dante Alighieri, Ravenna); Dogfood Dan and the Camarthen Cowboy, Startrap, Death of a Son, and appearances with San Francisco Opera, Santa Fe Opera and The Beiderbecke Tapes, Boon, The Secret World of Polly Flint, the Wiener Staatsoper. Yesterday’s Dreams, The Singing Detective, The Professionals, Bread or Blood, Pay for Today and Rumpole of the Bailey. Engagements in the 2014/15 season include Colline in Puccini’s He also appeared as a presenter in the documentary The Search La bohème (Washington National Opera) and the Pirate King in Gilbert for Shakespeare. and Sullivan’s The Pirates of Penzance for English National Opera. He has featured in a number of films, including The Princess Bride, In concert, Bloom has appeared with the Melbourne, Queensland, The Last of the Mohicans, The Scarlet Letter and Under Suspicion. Adelaide and Western Australian Symphony orchestras, as well as with the New York Philharmonic, the LA Philharmonic and the Birmingham Contemporary Music Group. 26 Artist Biographies 5 July 2015

Simon Halsey Choral Director

Simon Halsey is a sought-after conductor of Simon Halsey is Professor and Director of Choral choral repertoire at the very highest level and an Activities at the University of Birmingham, where he ambassador for choral singing across the world. directs a postgraduate course in Choral Conducting, Since 2001 he has been Principal Conductor of the in association with the CBSO. Halsey is in great Rundfunkchor Berlin, the permanent partner of the demand as a teacher at other universities and has Berliner Philharmoniker, and he has recently been presented masterclasses at top universities such as made their Conductor Laureate. In the UK, Halsey Princeton and Yale. In 2011 Schott Music published has been Chorus Director of the City of Birmingham his book and DVD on choral conducting, Chorleitung: Symphony Orchestra Choruses for over 30 years Vom Konzept zum Konzert, as part of its ‘Master and, in 2012, was appointed Choral Director of the Class’ series. LSO and London Symphony Chorus. In this position, Halsey leads choral activities across the LSO’s Halsey has worked on numerous recording projects, performance and education programmes. many of which have won major awards, including the Gramophone Award, Diapason d’Or and Echo Simon Halsey is also Artistic Director of the Berliner Klassik. He has won three Grammy Awards for his Philharmoniker’s Youth Choral Programme, as well recordings with the Rundfunkchor Berlin: 2007, Choral Director as Director of the BBC Proms Youth Choir. Since 2008 (Best Choral Performances) and 2011 (Best London Symphony Orchestra 2014 he has been Artistic Advisor of the Choir Opera Performance). As part of a new relationship London Symphony Chorus Academy of the Schleswig-Holstein Musik Festival. with Deutsche Grammophon, Halsey and the Making singing a central part of these world-class Rundfunkchor Berlin recorded Spheres with violinist Chorus Director institutions, Halsey has been instrumental in changing Daniel Hope, as well as Morgenlicht, a choir-only City of Birmingham Symphony the level of symphonic choral singing across Europe. recording of German , both released in Orchestra Choruses 2013. Highlights of his discography with the CBSO Since becoming Choral Director of the London Chorus on EMI Classics include Elgar’s The Dream Conductor Laureate Symphony Orchestra and London Symphony Chorus of Gerontius with the CBSO, Sir Simon Rattle, Dame Rundfunkchor Berlin in 2012, Halsey has been credited with bringing Janet Baker and John Shirley-Quirk; Beethoven’s about a ‘spectacular transformation’ (London Ninth Symphony with the Vienna Philharmonic and Artistic Director Evening Standard) of the LSC. In 2014/15 the LSO and Sir Simon Rattle; and Mahler’s Symphony No 2 with Berlin Philharmonic LSC performed Schumann’s Das Paradies und die the CBSO, Sir Simon Rattle, Dame Janet Baker and Youth Choral Programme Peri with Sir Simon Rattle. In addition to its work with Arleen Auger. the LSO, the choir joined the Gewandhausorchester Director Leipzig and for a performance of Born in London, Simon Halsey sang in the choirs of BBC Proms Youth Choir Beethoven’s Ninth Symphony at the BBC Proms, New College, Oxford, and King’s College, Cambridge, and the BBC Philharmonic and Juanjo Mena for before studying conducting at the Royal College of Beethoven’s Fidelio in Manchester. In 2014 Halsey Music. He was awarded The Queen’s Medal for Music also conducted the LSC in a series of a cappella 2014 and recently received a CBE in the Queen’s concerts across the UK, including Tallis’ Spem in Birthday Honours. He was awarded the Officer’s Cross alium and Rachmaninov’s Vespers. of the Order of Merit of the Federal Republic of Germany in 2011, and holds three honorary doctorates. lso.co.uk LSO Discovery Choirs 27

LSO Discovery Choirs On Stage

JUNIOR CHOIR SENIOR CHOIR Leo Adjaye Georgia Kinsella Carlotta Balestra Lakshmi Maslen Ashana Asomani Darcy Lamb Lawrence Chavdar Mazgalov* Ilaria Balestra Lawrence Melody Lane N’Dea Balgobin Natasha Merchant Jael Balgobin Soma Lengyel Orchid Balgobin Catherine Michel* Delina Birhane- Cora Lloyd-Prieto George Benson Eleanor Neate* Ghetaceu Leona Maneechak Holly Brown* Judah Olajide Ellen Blann Evelyn-Rose Masol Brieanna Burton Ebenezer Poku Neena Brokenshire Aiyana Mason George Carrington- Georgia Renvoize Destina Cinar Maeve McAllister Johnson Tennessee Renvoize Ali Cinar Beatrice Meaker Alby D’Rozario-Gray Ruby Riley Marnie Clark Course Raffaele Mele Olivia Ferrari Jack Roberts* Carina Clewley Kitty Morgan Skye Fitzgerald Lyra Robinson-Winning Megan Crooks Maud Morris McShane Andreas Salcedo- Agathe Danzin Rosa Ovayolu Ludovic Goetz-Hunter Cespedes Poppy Dawid Ilka Parry Anastasiia Golovina* Topsy Sallows Eve Dawit Alice Paulton Esmee Graber Leticia Sandoval-Solyom Juanita Debrah Ezra Roy Little Josie Howe Elizabeth Simpson Khya Dillon Killian Scortichini Kira Howe Caspar Singh* The LSO Discovery Choirs are made up of over 100 young people aged Elliott Fossiez Revenu Sharon Segaye D’Carlos Ikuomola- Imogen Smith Achille Fossiez Revenu Angela Shaqiri Andre Martha Thornborrow seven and upwards who live or go to school in Hackney, Islington Sole Galeone Gaia Siddle Sumia Ismaili Aurele Tobelem or the City of London (Junior Choir) or any London borough (Senior Inji Galliet-Jakoby Tsion Tafari Kitty Kelly Valentin Truman Choir). Formed in June 2004 by Gareth Malone, the Choirs have sung at Jessica George Tehya Teo Theodore Lamarche Michael Vickers* Freya Goodsir Lia Tesfai Jessica Magnus Sadie Wilcox Windsor Castle for His Royal Highness The Prince of Wales, with Dave Neo Hunt Cedric Tomlin Valentino Makambo Julia Willers Brubeck, with the LSO at the Barbican, and in the premiere of Edward Caleb Hunter Sebastian Veliz Boguski Kai Malloy Debora Yohannes Rushton’s oratorio Cicadas alongside the LSO Community Choir and Saskia Hunter Grace Wenban Williams Abel Masho Mario Ikuomola-Andre Khian West LSO players. The Choirs also performed at the Olympic Torch Relay for Zadie Jennings Mimi Wilson Islington Council in July 2012. The Junior Choir is conducted by Lucy Ruby Johnson Thea Wilson * Undergraduate singers from the Nissa Khaliq-Rattray Luba Wilson-Max Griffiths and the Senior Choir is conducted by David Lawrence. Guildhall School

LUCY GRIFFITHS Lucy Griffiths is a conductor, workshop leader, and animateur, and is Assistant Director of Music at the University of Warwick, where she motivates music-making amongst students, staff and the local community. An expert in music education, she was formerly Director of the Royal Liverpool Philharmonic Training Choirs and lectured in choral conducting at the Royal Welsh College of Music and Drama.

DAVID LAWRENCE David Lawrence is one of the UK’s most versatile conductors, working with orchestras, symphony choruses and youth choirs, both in the UK and internationally. Recently nominated for a Gramophone Award, he currently holds the Guinness World Record for conducting the UK’s largest choir, and adjudicates at choral festivals and competitions. 28 LSO Community Choir 5 July 2015

LSO Community Choir On Stage

SOPRANOS ALTOS BASSES Jasmine Allen Daphne Alexander Nick Brittain* Neil Campbell Alison Archibald* Rosa Amoroso Jill Courtnell Ollie Craske Jenny Bell Adrienne Banks Tara Frances* Adam Dale Julie Bruscini Jo Barton Rory Guy Charles Dean Nevo Burrell Jane Bickerton James Hill Gabriel Diaz-Emparanza Sandrina Carosso* Annie Blackmore Yvonne Jacobs-Jones* Kimmett Edgar Maria Coonick Elzbieta Chandrasena Julian Macqueen Will Ellsworth-Jones* Liz Cunningham Deborah Cherry Johnas Manangan Romney Fox Eilish Dempsey Jacqueline Chow Esther Meecham Dan Knight Gabrielle Fisher Madeline Church Zina Nour Jason Lord Suzanna Hamilton Emma Coften Lily O’Brien Matthew Miller Annie Hawker Tania Cohen Mena Rego Benjamin Press Della Hirons Anne Corbett Steven Smith Robert Shutes Angelina Kennedy Sarah Crook-Chai Milan Stamenkovic Pete Sutton* Jan Newbigin Linda Crow Jill Sutherland Richard Taylor Sheila Ogilvie Claire Deakin Karen Wheeler Paul Tilley Rosaline Ogunro Moe Faulkner Peter Wylie Paul Turley Rachel Owen Christine Finlan The LSO Community Choir offers weekly music-making sessions for Ruth Paker Janet Fitch * denotes LSO Pauline Pearson Bernadette Hancock adults who live and work in the community surrounding LSO St Luke’s. Community Choir Hannah Ross Beverley Heath Voice representative The 100-strong group is conducted by David Lawrence and undertakes Anna Standley Alison Hunter regular large-scale performances at the Barbican, as well as termly Anne Stansfield Marie-Helene Jeeves Rachel Starling Pauline Jenkins concerts at LSO St Luke’s. Carol Stewart Patricia McGeough Maggie Tyler Mel Palmer Highlights from the Choir’s vibrant history include a performance Fotini Vergottis Grace Payne Dilys Rees with the South African trumpet legend Hugh Masekela, which was Tessa Sheridan* broadcast on BBC Four TV, and performances with the LSO as part of Ellen Sinclair Shirin Tata LSO Discovery’s Rites of Passage concerts. Other recent performances Rosemary Taylor include Andrew Smith’s Norwegian Requiem with trumpet virtuoso Marianne Viola Arve Henriksen, keyboard maestro Ståle Storløkken and Choralia, Carolyn Wagstaff the choir of Wells Cathedral School, as part of the UBS Soundscapes: Eclectica concert series at LSO St Luke’s. The Choir also performs The LSO Community and LSO Discovery Choirs are generously supported by regularly for the local community as part of the Whitecross Street Party. The John S Cohen Foundation, The Slaughter and May Charitable Trust, and the Rothschild Charities Committee. The Community Choir is open to people who live or work in EC1. There is no audition process but there is currently a waiting list. They also form part of LSO Sing, the LSO and LSC Choral programme, If you would like to be added to the list or would like any further which is generously supported by the J Paul Getty Jnr Charitable Trust, information, please email [email protected]. and Sir Siegmund Warburg’s Voluntary Settlement. lso.co.uk Artist Biographies 29

Alasdair Middleton Thomas Guthrie Libretto Stage Director

Alasdair Middleton was born An innovative director, musician, in Yorkshire and trained at singer, writer and actor working Drama Centre, London. in classical music and theatre, Guthrie recently completed His work as a librettist includes two years as Young Artist Stage Diana and Actaeon (Royal Ballet), Director at the Royal Opera The Walk from the Garden House, Covent Garden. In 2014 (Aegeas Salisbury International he directed a revival of Rossini’s Arts Festival), Life Is A Dream The Barber of Seville for the Royal (), Opera House, and directed and (Heritage Opera), performed in Purcell’s The Fairy Swanhunter (Opera North), Queen for Middle Temple Hall. The Enchanted Pig (The Young This year he has been assistant Vic, ROH2), The Adventures of director to Sir David McVicar for Pinocchio (Opera North) and Giordano’s Andrea Chénier and the cantata On Spital Fields Mozart’s The Magic Flute, at the (Spitalfields Festival, winner of a Royal Philharmonic Society Award), ROH, revived Andrea Chénier for the NCPA, Beijing, and produced a all with his regular collaborator Jonathan Dove. new Easter show for Classical Opera Company, J C Bach’s Adriano in Siria. He will also direct Tavener’s The Veil of the Temple in Norway and His work with Paul Englishby has included Pleasure’s Progress (ROH2), a revival of Stephen McNeff’s award-winning Tarka the Otter for the Who Is This That Comes (Opera North) and The Crane Maiden (KAAT Two Moors Festival. Yokohama). Other librettos have included The World Was All Before Them, On London Fields (winner of a Royal Philharmonic Society Guthrie’s own production company, GOT Company, received critical Award), A Bird In Your Ear (New York City Opera), The North Wind acclaim for its recent show at Spitalfields Festival, Death Actually, Was A Woman (a song cycle for Dawn Upshaw), Everything Money which includes the world’s first staging of three Bach and an Can Buy (Selfridges), and The Feathered Friend. orchestration of Schubert’s Die Schöne Müllerin with a puppet, strings, guitars and percussion. A passionate advocate for music education, He has written four plays: Aeschylean Nasty, Shame On You Charlotte, Guthrie has also worked with Streetwise Opera, leading regular music Casta Diva and Einmal. theatre workshops with London’s homeless people.

Guthrie began his musical training as a boy under George Guest at St John’s College, Cambridge. He returned to Cambridge to read Classics at Trinity College, before winning a scholarship to study at the Royal Northern College of Music, where prizes included the Schubert Prize, and an ESU scholarship to study with Sir in Chicago. As a baritone, Guthrie has sung in some of the world’s most prestigious venues, and has recently re-trained as a tenor, explaining, ‘Tenors definitely have all the fun, and are more likely to play the love interest!’. He lives in London and is a proud dad to two boys aged ten and eight. 30 Artist Biographies / Guildhall Symphony Orchestra 5 July 2015

Rhiannon Newman-Brown Guildhall Symphony Orchestra Designer On stage

Rhiannon has eleven years of Rated No 1 specialist institution in the UK by The Guardian University experience in the theatre, opera Guide 2013 and 2014, the Guildhall School is one of the world’s leading and events industry as a set and conservatoires and drama schools. Studying music at Guildhall involves costume designer, art director, intensive, dedicated learning, mostly at one-to-one level; surrounded production manager and producer. by actors, stage managers and theatre technicians, Guildhall musicians are part of a thriving arts community next door to one of Europe’s Opera set and costume designs leading arts centres, the Barbican Centre, and learn from the School’s have included: community opera renowned international teaching staff while collaborating in world-class The Freedom Game (Surrey Arts, music-making. Royal Albert Hall) the Royal Opera House Youth Opera Company The School’s relationship with the LSO and the Barbican is a pioneering Triple Bill (Royal Opera House cultural alliance between a world-class orchestra, arts centre and Gala, Linbury Theatre), Road Rage conservatoire in the City of London, offering an unrivalled programme (Garsington Opera), Handel’s for audiences and transformative opportunities for young people. Tamerlano, Mozart’s Così fan Guildhall musicians benefit from many opportunities as a result of tutte and Tchaikovsky’s Eugene this alliance, including LSO Platforms: Guildhall Artists, a concert Onegin (opera by definition), and the double-bill On Off and When I am series which showcases senior Guildhall musicians performing Old (Glyndebourne Youth Opera). She was a course leader for the Royal complementary repertoire on the Barbican stage before LSO concerts; Opera House’s Write an Opera project. and Orchestral Artistry, an exciting new postgraduate specialism for instrumentalists seeking a career in orchestral playing, part of the Theatre set and costume designs have included: The River Line (Jermyn Guildhall Artist Masters programme and delivered in association with Street Theatre), Fewer Emergencies and City of Lost Angels (The Print the LSO. Students on this course receive orchestral training, sectionals Room), James and the Giant Peach (Nuffield Theatre), Judgement at and audition training from Guildhall professors and LSO players, as Nuremberg and To Kill a Mockingbird (Tricycle Theatre). well as the chance to take part in masterclasses, chamber coaching and Q&A sessions with LSO players and international artists working Other positions have included Props Production Manager for the with the LSO. This evening’s concert features many students from London 2012 Olympic Ceremonies, Art Director for Secret Cinema, this course, as well as instrumentalists from other undergraduate Producer for Secret Cinema Presents Back to the Future, Art Director and postgraduate programmes at the Guildhall School. for Alice’s Adventures Underground and Creative Producer for Bourne and Hollingsworth. The latest development in the cultural alliance is the appointment of Sir Simon Rattle as Artist in Association with the Guildhall School and the Barbican Centre, which will be undertaken alongside his role as Music Director of the LSO from the 2017/18 season. Driving forward 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 side-by-side projects for Guildhall School orchestral musicians in the future. lso.co.uk Guildhall Symphony Orchestra 31

Guildhall Symphony Orchestra Guildhall Symphony Orchestra The Monster in the Maze Walton Symphony No 1

CELLOS HORNS FIRST FLUTE HORNS Anaïs Laugenie Jonathan Quaintrell-Evans Nihat Agdac Christoph Slenczka Rosie Bowker Jonathan Quaintrell- Samuel Justitz Molly Flanagan Katherine Meyers Henrietta Hill Evans Thomas Marlin Daniel de Souza Dorothea Valerie Albrecht FLUTE / PICCOLO Margrethe Lysholm Daniel Benn Catriona Igoe Chatzigeorgiou Christopher Deakins Rebecca Griffiths Daniel de Souza Martti Laivuori Margrethe Lysholm Lucia Veintimilla Macian Francis Gallagher Molly Flanagan Ben Petrover-Shiboleth Monika Chmielewska Sue Yeon Lee Grace Warren TRUMPET Danica Smith Fraser Keddie Zoe Cartlidge DOUBLE BASSES Matthew Rainsford Oliver Cave Wai Bun Chan Matthew Rainsford Oskari Hanhikoski Michael Mason Catherine Poplyansky Siret Lust TROMBONES Oscar Whight Stephen Williams Andrew McCoy SECOND VIOLINS Ben Petrover-Shiboleth Alejandro Villanueva FLUTE / PICCOLO Jane Salmon Anna Roder Samuel Justitz TROMBONES Canovas Rosie Bowker Claudia Sanson Thomas Marlin Kris Garfitt BASS TROMBONE Ana Vale Daniel Benn Jane Salmon OBOE Barnaby Medland William Newell Anaïs Laugenie Grace Warren Tom Hickman BASS TROMBONE Alan Estruga Castello Martti Laivuori Cerys Ambrose Evans Barnaby Medland George Ellis Angela Jung Solene Chevalier Alejandro Villanueva Hikaru Matsukawa TUBA DOUBLE BASSES Canovas PERCUSSION Venetia Jollands George Ellis Merlin Jones Siret Lust Vonald Chow Oskari Hanhikoski Tom Hickman Dorothy Raphael Gwendolyn Reed Dorothy Raphael Joseph Straker Martin Ludenbach PERCUSSION Giacomo Banella Vonald Chow 32 The Orchestra 5 July 2015

London Symphony Orchestra On stage IF YOU LIKED THIS, YOU MIGHT LIKE …

FIRST VIOLINS VIOLAS HORNS Gordan Nikolitch Leader Paul Silverthorne Adam Walker Timothy Jones Carmine Lauri Malcolm Johnston Alex Jakeman Angela Barnes Lennox Mackenzie Regina Beukes Alexander Edmundson Clare Duckworth Anna Bastow PICCOLO Jonathan Lipton Ginette Decuyper Lander Echevarria Sharon Williams Andrew Budden Jorg Hammann Robert Turner OBOES Gerald Gregory Heather Wallington TRUMPETS Timothy Rundle Maxine Kwok-Adams Jonathan Welch Philip Cobb Michael O’Donnell Laurent Quenelle Gerald Ruddock CELLOS Daniel Newell Harriet Rayfield CLARINETS Rebecca Gilliver Colin Renwick Andrew Marriner Alastair Blayden TROMBONES Ian Rhodes Chi-Yu Mo Jennifer Brown Dudley Bright James Maynard SECOND VIOLINS Hilary Jones BASSOONS David Alberman Amanda Truelove Daniel Jemison BASS TROMBONE Thomas Norris Hester Snell Joost Bosdijk Paul Milner Sarah Quinn Morwenna Del Mar Sun 26 Jun 2016 7pm, Barbican Miya Väisänen CONTRA BASSOON TUBA DOUBLE BASSES Matthew Gardner Dominic Morgan Patrick Harrild Colin Paris Peter Maxwell Davies The Hogboon Naoko Keatley (world premiere, LSO commission) Belinda McFarlane Nicholas Worters TIMPANI Berlioz Symphonie fantastique Philip Nolte Patrick Laurence Nigel Thomas Andrew Pollock Thomas Goodman PERCUSSION Sir Simon Rattle conductor Paul Robson Joe Melvin Simo Väisänen Neil Percy LSO Discovery Choirs David Jackson London Symphony Chorus Simon Halsey choral director HARP Bryn Lewis Guildhall School Musicians London Symphony Orchestra

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LSO STRING EXPERIENCE SCHEME

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