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Home , Anna Netrebko, Antonio Pappano, Arrigo Pola, Aureliano Pertile, Colin Davis, Daniela Barcellona

Living Music

Sunday 18 September 2016 7pm Tuesday 20 September 2016 7.30pm Barbican Hall

2016/17 SEASON OPENING VERDI

Gianandrea Noseda conductor Erika Grimaldi Daniela Barcellona mezzo-soprano London’s Symphony Orchestra chorus director

Concert finishes approx 8.45pm (18 Sep) & 9.15pm (20 Sep) Please note that there will be no interval

Generously supported by 2 Welcome 18 & 20 September 2016

Welcome Living Music Kathryn McDowell In Brief

A very warm welcome to the opening concerts of the SUN 18 SEP: VERDI REQUIEM LIVE STREAM LSO’s 2016/17 season with , who makes his first London appearance as LSO Principal The concert on Sunday 18 September is being Guest Conductor in these performances of Verdi’s streamed live on the LSO’s YouTube channel, Requiem. We are also joined by a stellar cast of preceded by a backstage tour and introductions Italian soloists, Erika Grimaldi, Daniela Barcellona, from presenter Rachel Leach streamed live on Francesco Meli and Michele Pertusi, as well as the Facebook. Both broadcasts will be available to London Symphony Chorus, which continues its watch again shortly. 50th anniversary celebrations. lso.co.uk/livestream These two concerts are sponsored by Reignwood, and mark the beginning of their new Principal Partnership with the LSO. We thank them for their LSO LIVE LATEST RELEASE: important commitment to our work and we warmly RACHMANINOV SYMPHONY CYCLE welcome them and their guests to tonight’s concert and to the LSO’s community of supporters. The final part of the LSO’s acclaimed Rachmaninov Symphony Cycle was released on 9 September. At these performances we welcome guests from the Coupling Rachmaninov’s First Symphony with City of London Corporation, which, together with Balakirev’s Tamara, the Orchestra’s performance Arts Council , provides core funding for was described as ‘full-blooded and engrossing’ the LSO to present its annual season as Resident by . Orchestra of the . We are extremely grateful to all those who support the Orchestra, lsolive.lso.co.uk and offer our thanks to our individual Patrons and Friends, Sponsors, Trusts and Charitable Foundations who do so much to enable the LSO to thrive. A WARM WELCOME TO THE GROUPS ATTENDING THESE CONCERTS Thanks to all those who join us in the audience for this occasion. I hope that you enjoy these Members of the Greater London Lieutenancy performances and will return throughout the Gerrards Cross Community Association 2016/17 season. Marjorie Wilkins & Friends Darren Jameson & Friends

lso.co.uk/groups

Kathryn McDowell CBE DL Managing Director A UNIQUE PARTNERSHIP BETWEEN REIGNWOOD GROUP, CHATEAU LATOUR AND FOUR SEASONS HOTELS AND RESORTS

OPENING Q1 2017

CLUB.TENTRINITYSQUARE.COM 4 Programme Notes 18 & 20 September 2016

Giuseppe Verdi (1813–1901) da Requiem (1874)

1 REQUIEM AND Earlier, Verdi had tried to explain what it was he felt 2 about him. Manzoni, he said, had written ’not only 3 DOMINE JESU the greatest book of our time but one of the greatest 4 books that the human mind has produced [I promessi 5 sposi]. It’s not just a book, it’s a consolation to humanity. 6 LUX AETERNA I was 16 when I first read it. Since then … if anything 7 ME my experience of men has made me admire it all the more – because it’s a true book … Oh, if artists could GIANANDREA NOSEDA CONDUCTOR but understand that ‘true’, there would be no more ERIKA GRIMALDI SOPRANO composers of the future or composers of the past, DANIELA BARCELLONA MEZZO-SOPRANO no puristic, realistic or idealistic painters, no poets FRANCESCO MELI TENOR Classic or Romantic, but true poets, true painters, MICHELE PERTUSI BARITONE true composers.’ LONDON SYMPHONY CHORUS SIMON HALSEY CHORUS DIRECTOR The Requiem used to be called ’Verdi’s greatest ’. Why not? PROGRAMME NOTE WRITER Verdi did not feel the death of Alessandro Manzoni, DAVID CAIRNS the Italian novelist and poet, any less keenly because What is the text of the ‘Dies Irae’ Volume 2 of David Cairns’ life of Manzoni was a very old man. It was a grievous blow. if not operatic?’ Berlioz (Servitude and Greatness) Verdi had long had a reverence, almost amounting won the biography category of the to idolatry, for the eminent writer. He had admired Whitbread Prize and the Samuel him from a distance and, when a meeting was finally This was Verdi’s creed as an artist, and the Requiem Johnson Prize for Non-Fiction in arranged, he was moved to the depths. ’How shall he wrote as a tribute to Manzoni and performed in 2000. Volume 1 (The Making of I describe the extraordinary, indefinable sensation 1874 on the first anniversary of the writer’s death an Artist) has been re-issued in I felt in the presence of your ‘saint’?’ he wrote to is the fruit of it – whatever the critics’ subsequent a revised edition. His most recent Countess Clarina Maffei. ’I would have gone down attempts to reduce it to a category, labelled book, Mozart and His , on my knees if one could worship men.’ theatrical or operatic. The Requiem is true, before was published in 2006. it is anything else. Verdi could only respond to the liturgy as the dramatist he was and by using the ALESSANDRO MANZONI (1785–1873) is widely personal language he had evolved while composing regarded as one of the greatest Italian novelists. a score of operas. But the sound-quality, texture and His 1842 novel I promessi sposi (The Betrothed), whole feel of the work is as unique and as different is set in northern in 1628, during the years of from or as they are from each Spanish rule, but is also a critique of the Austrian other. And perhaps none of the works written before Empire that ruled the region in the 19th century. it had been so perfectly fashioned, so consistently Manzoni’s work is a landmark of the Risorgimento strong in inspiration, so lofty in aim and achievement (Resurgence), an ideological and literary movement (even if the gaiety of the ‘Sanctus’ may at first that helped lead to the establishment of the unified disconcert the non-Italian). The Requiem used to be in 1861. called ’Verdi’s greatest opera’. Why not? As a sneer lso.co.uk Programme Notes 5

the remark is meaningless; as a splendid compliment outrage that is death. Boito experienced a similar it is not far short of the truth. What is the text of the feeling when he watched Verdi on his death-bed: ‘Dies Irae’ if not operatic? ’Never have I had such a feeling of hatred against death, of contempt for that mysterious, blind, Verdi’s Requiem is certainly not religious in an stupid, triumphant and craven power … He too orthodox way. Neither is Brahms’ A German Requiem, hated it, for he was the most powerful expression nor Berlioz’s Grande Messe des Morts. Even in of life that it is possible to imagine’. Beethoven’s Missa Solemnis God is, in a sense, the projection, of human fears and longings. Like Berlioz, Verdi was a humanist who retained a poignant regret for his childhood beliefs. But he had little use for the historical church (listen to the Grand VERDI’S DON CARLOS (1867) Inquisitor’s scene in Don Carlos or the gloomy, VERDI ON LSO LIVE – AVAILABLE NOW is based on the play Don Carlos, brutish music that accompanies the procession of Infant von Spanien (Don Carlos, condemned heretics in the same work); and the Infante of Spain), telling the story of criticisms that emanated from the Catholic hierarchy VERDI Requiem Carlos, Prince of Asturias, and his when Manzoni died did not dispose Verdi any more Sir conductor tumultuous engagement to Elizabeth gently towards it. ’Not a Catholic in the political of Valois. Verdi returned to the opera and strictly theological sense of the word – nothing £12.99 time and time again over a period could be further from the truth,’ was Boito’s verdict. of 20 years, producing versions in As Verdi’s wife Giuseppina remarked, ’the science, French, Italian, and later ‘’ and the sophisms, the metaphysical subtleties of the ‘’ versions in the 1880s. theologians and the learned of all the religions of all When performed in its entirety it the ages strike vainly against the mystery of death.’ VERDI is the composer’s longest opera, It is too big a subject to be left to the clergy. Sir Colin Davis conductor lasting nearly four hours. Death and fear pervade the work. As someone who, £14.99 in D’Annunzio’s phrase, ’wept for all’, Verdi could express humanity’s feelings about it with ample authority. Hell, he knew, was something human beings can carry in themselves, and inflict on others. And death was in the air: Manzoni palpably a dying VERDI man some years before his long life ended in 1873; Sir Colin Davis conductor Rossini dead in 1868 (Verdi’s ‘’ originated as a movement contributed to an abortive project for £14.99 a in his honour); Verdi’s father dead, followed by his beloved father-in-law and benefactor Antonio Barezzi. The Requiem is, among other things, the lsolive.lso.co.uk passionate protest of a man who rebels against the 6 Composer Profile 18 & 20 September 2016

Giuseppe Verdi (1813–1901) Composer Profile

Verdi revolutionised Italian opera, finding a powerful musical expression for such themes as abduction, murder, premature death and seduction in early mature works like and La traviata and, in later life, brilliantly translating Shakespeare’s Othello and Falstaff to the operatic stage. Keyboard and other musical studies in Le Roncole and nearby Busseto nurtured the boy’s natural talent; however, he failed to gain a place at the . Undeterred, Verdi studied privately with Vincenzo Lavigna and duly became Maestro di Cappella in Busseto.

His first marriage ended tragically with the death of his wife in 1840. By then Verdi had completed his first opera, , which was performed in 1839 at , Milan. A series of works was commissioned by the illustrious Milanese theatre, including and I Lombardi. Their public success led to further commissions elsewhere, with new works created for Venice, , London and Florence. His international profile was enhanced with the triumphant first productions of Rigoletto (1851), (1853) and La traviata (1853). In 1859, Verdi married the soprano .

After the censors refused to allow the theme of regicide in (1859), Verdi’s work was championed by Italy’s nationalist movement. By coincidence the letters of his name stood as an acronym for ‘Vittorio Emanuele, Re D’Italia’, allowing partisan opera fans to cry ‘Viva Verdi’ in support of both the composer and Italy’s future king.

Between the composition of (1871) and Otello, created for La Scala in 1887, Verdi wrote little for the stage. He broke off his retirement, however, to fashion his Requiem Mass in honour of Alessandro Manzoni. The success of the Requiem and Aida confirmed Verdi’s position as one of the world’s leading composers, attracting honours and adding to his considerable income. His final opera, Falstaff (1892–3), was immediately recognised as a masterpiece.

Composer Profile © Andrew Stewart

KEY DATES

1813 Born Giuseppe Fortunino Francesco Verdi in Le Roncole, Italy 1842–49 Early period of composition, in which Verdi composes operas 1825 Begins lessons with Ferdinando Provesi in Busseto and Nabucco, and Jérusalem composes his first instrumental pieces 1851–60 Middle period of composition, during which Verdi produces 1832 Rejected from Milan Conservatory his most popular operas, Rigoletto, Il trovatore and La traviata 1836 Marries Margherita Barezzi, daughter of the leader of the 1860s–70s Late period operas move towards the French vogue for spectacle: Busseto Philharmonic, Antonio Barezzi , Don Carlos and Aida 1839 Verdi’s opera Oberto is performed at La Scala for the first time 1874 Premiere of the Requiem at the San Marco Church, Milan 1840 Death of Margherita, following the death of the couple’s two 1893 Verdi’s final opera, Falstaff, premieres at La Scala young children in 1838 and 1839 1901 Dies in Milan, Italy, at the age of 87, after suffering a stroke London Symphony Orchestra Season 2016/17

2016/17 Season Highlights

LIGETI’S LSO ARTIST PORTRAIT: : SIR & MAHLER & BRUCKNER

Sat 14 & Sun 15 Jan 2017 Sun 5 Feb 2017 Tue 23 May 2017 Tue 11 & Wed 12 July 2017 Ligeti Le grand macabre Bernstein Serenade Mahler Symphony No 9 Wagner Prelude and Liebestod (semi-staged performance) Sir conductor from ‘Tristan and Isolde’ Janine Jansen Sun 28 May 2017 Bartók Concerto No 2 Sir Simon Rattle conductor Bruckner Symphony No 9 Haydn An imaginary orchestral director Sun 12 Mar 2017 Bruckner journey Brahms with London Symphony Chorus Produced by the LSO and the Barbican. conductor Sir Simon Rattle conductor Part of the LSO 2016/17 Season and Janine Jansen violin Thu 1 Jun 2017 Lang Lang piano Barbican Presents. Beethoven No 3 Thu 6 Apr 2017 Bruckner Symphony No 9 Berg Violin Concerto with piano Gianandrea Noseda conductor Janine Jansen violin lso.co.uk 020 7638 8891 8 Text 18 & 20 September 2016

Messa da Requiem Text

1 REQUIEM AND KYRIE Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and may perpetual light shine on them. Te decet hymnus, Deus, in Sion To Thee belongs, O God, a hymn in Sion et tibi reddetur votum in Jerusalem. and to Thee shall be paid a vow in Jerusalem. Exaudi orationem meam; Hear my prayer; ad te omnis caro veniet. to Thee all flesh shall come.

Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

2 DIES IRAE Dies irae, dies illa The day of wrath, that day Solvet saeclum in favilla, will dissolve the world in ashes Teste David cum sibylla. as David testified with the Sibyl.

Quantus tremor est futurus, How great a terror there will be Quando judex est venturus, when the Judge shall come, Cuncta stricte discussurus. he who shall examine all things strictly.

Tuba mirum spargens sonum The , spreading its wondrous sound Per sepulchra regionum to the tombs of the whole world Coget omnes ante thronum. will bring everyone before the throne.

Mors stupebit et natura, Death and nature shall be dumbfounded Cum resurget creatura when creation rises again Judicanti responsura. to answer its Judge.

Liber scriptus proferetur The written book shall be brought forth In quo totum continetur in which is contained everything Unde mundus judicetur. by which the world shall be judged.

Judex ergo cum sedebit Therefore when the judge takes his seat Quidquid latet apparebit; whatever is secret shall be revealed; Nil inultum remanebit. nothing shall remain unpunished. lso.co.uk Text 9

Quid sum miser tunc dicturus, What shall I say then, wretch that I am, Quem patronum rogaturus, whom shall I ask to be my advocate Dum vix justus sit sicurus? when the righteous themselves shall scarce be saved?

Rex tremendae majestatis, King of dreadful majesty, Qui salvandos salvas gratis, who freely savest the redeemed, Salva me fons pietatis. save me, O fount of pity.

Recordare, Jesu pie, Remember, O merciful Jesus, Quod sum causa tuae viae; that I am the cause of Thy journey hither; Ne me perdas illa die. do not lose me on that day.

Quaerens me, sedisti lassus, Seeking me, Thou didst sit down weary, Redemisti crucem passus; suffering the Cross, Thou didst redeem me; Tantus labor non sit cassus. let not such a burden have been in vain.

Juste judex ultionis, Righteous Judge of vengeance, Donum fac remissionis grant me the gift of redemption Ante diem rationis. before the day of reckoning.

Ingemisco tamquam reus, I groan as one guilty, Culpa rubet vultus meus; my face blushes with guilt; Supplicanti parce, Deus. spare Thy supplicant, O God.

Qui Mariam absolvisti Thou who didst absolve Mary Et latronem exaudisti, and didst hear the prayer of the thief, Mihi quoque spem dedisti. to me also hast Thou given hope.

Preces meae non sunt dignae, My prayers are not worthy, Sed tu bonus fac benigne but do Thou in Thy goodness bring it about Ne perenni cremer igne. that I be not burned in the everlasting fire.

Inter oves locum praesta Grant me a place among the sheep Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. setting me on Thy right hand.

Confutatis maledictis, When the damned have been put to confusion Flammis acribus addictis, and consigned to the fierce flames, Voca me cum benedictis. summon me with the blessed. 10 Text 18 & 20 September 2016

Messa da Requiem Text (continued)

Oro supplex et acclinis, I pray, humbly and bending low, Cor contritum quasi cinis. my contrite heart like cinders, Gere curam mei finis. have compassion on me at the end.

Lacrimosa dies illa, That day will be one of weeping, Quae resurget ex favilla when there rises again from the ashes Judicandus homo reus; the guilty man to be judged; Huic ergo parce, Deus. spare him therefore, O God.

Pie Jesu Domine, Merciful Lord Jesus, Dona eis requiem. grant them rest. Amen. Amen.

3 DOMINE JESU Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium defunctorum de poenis inferni, deliver the souls of all the faithful departed from the pains of Hell et de profundo lacu; libera eis de ore leonis, and from the abyss; deliver them from the mouth of the lion, ne absorbeat eas tartarus, so that Hell may not engulf them, ne cadant in obscurum. that they may not fall into darkness.

Sed signifer sanctus repraesentet eas in lucem sanctum, But may St Michael the standard-bearer bring them into the holy quam olim Abrahae promisisti et semini ejus. light, as Thou once did promise to Abraham and to his seed.

Hostias et preces tibi, Domine, laudis offerimus. Sacrifices and prayers to Thee, O Lord, of praise we offer. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Receive them for those souls whom today we remember. Fac eas, Domine, de morte transire ad vitam, Make them, O Lord, pass from death into life, quam olim Abrahae promisisti et semini ejus. as Thou once did promise to Abraham and to his seed.

4 SANCTUS Sanctus, sanctus, sanctus, Holy, Holy, Holy, Domine Deus Sabaoth. Lord God of Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. lso.co.uk Text 11

5 AGNUS DEI Agnus Dei, qui tollis peccata mundi, O Lamb of God, who takest away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, qui tollis peccata mundi, O Lamb of God, who takest away the sins of the world, dona eis requiem sempiternam. grant them rest eternal.

6 LUX AETERNA Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternam, May eternal light shine upon them, O Lord, with Thy saints in quia pius es. eternity, for Thou art merciful.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, Grant them eternal rest, O Lord, and may perpetual light shine upon cum sanctis tuis in aeternam, quia pius es. them, with Thy saints in eternity, for Thou art merciful.

7 LIBERA ME Libera me, Domine, de morte aeterna, in die Deliver me, O Lord, from eternal death on that day of dread illa tremenda; quando coeli movendi sunt et when the heavens and the earth are moved, terra; dum veneris judicare saeculum per ignem. when Thou shalt come to judge the world with fire.

Tremens factus sum et timeo, I am seized with trembling and I am afraid dum discussio venerit atque ventura ira; when the trial and the wrath to come shall near; quando coeli movendi sunt et terra. when the heavens and the earth are moved.

Dies irae, dies illa calamitatis et miseriae, Day of wrath, that day of calamity and woe, dies magna et amara valde. a great and bitter day indeed.

Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, and may et lux perpetua luceat eis. perpetual light shine upon them. 12 In Conversation with Gianandrea Noseda 18 & 20 September 2016

In conversation with … Gianandrea Noseda

The LSO has limitless virtuosity, flexibility, such attention to detail and care.’

Gianandrea Noseda, LSO Principal Guest Conductor

This season Gianandrea Noseda stepped into the role of LSO Principal Guest Conductor, with this performance of the Verdi Requiem marking the first London concert of his tenure. Here, he shares his thoughts with us on working with the LSO and Verdi’s monumental work.

WORKING WITH THE LSO … ON THE VERDI REQUIEM …

It’s a privilege for me to become a part of one of the greatest [Verdi’s Requiem] speaks today with the same freshness that it spoke in the world. I felt an immediate connection with the artists when it was written. It still has such an integrity and honesty which are in the LSO during our first meeting in 2008. Together we have pursued so needed nowadays. The vocal element makes it easier to connect the highest possible level of music-making which is the ultimate aim with any kind of audience. for any musician. Since then we have explored the widest possible repertoire including Britten’s , Verdi’s Rigoletto, the world In Verdi’s music I look to bring out a certain urgency: there is an premiere of Sally Beamish’s Equal Voices and music by Beethoven, important element of warning that tells us not to waste time. Berg, Mahler, Shostakovich, and many others. The Verdi Requiem is addressed to the living, it’s not intended to mourn the dead. I go back to the Requiem quite often because it I have always appreciated the versatility of the LSO artists, which, pushes me to dig inside myself. It makes me recognise my limits along with their integrity and commitment, both in rehearsal and and encourages me to overcome them. concert, makes any performance a special and unique experience. lso.co.uk Artist Biographies 13

Gianandrea Noseda Conductor

Widely recognised as one of the leading conductors Gianandrea Noseda has a long-standing relationship of his generation, Gianandrea Noseda is the 2016 with the , New York, which International Opera Awards Conductor of the dates back to 2002. He has conducted many new Year and Musical America’s Conductor of the Year productions and the two most recent ones were 2015. He was recently appointed Principal Guest widely praised operas not seen at the Met in a Conductor of the London Symphony Orchestra, century: Borodin’s Prince Igor, available on Deutsche while from the 2017/18 season he will become Grammophon, and Bizet’s Les pêcheurs de perles, Music Director of the National Symphony Orchestra soon available on Warner Classics, both DVDs. at the Kennedy Center in Washington DC. Highlights of the 2016/17 season include substantial Music Director of the Torino since tours with the London Symphony Orchestra, 2007 his initiatives have propelled the Teatro Regio concerts with the Israel Philharmonic, the National Torino onto the global stage, where it has become Symphony Orchestra and the Orchestra, one of Italy’s most important cultural ambassadors. in addition to his return to the . He Under his leadership it has recorded with the leading will also return to the Met with a new production singers of our time and embarked on tours to of Roméo et Juliette by Gounod and conduct for Principal Guest Conductor , China, , Germany, , the first time at the Operhaus Zurich for a new London Symphony Orchestra and the United States, including a recent visit to production of The Fiery Angel staged by Calixto Beito. the Hong Kong and Savonlinna Festivals. Music Director Gianandrea Noseda’s discography includes over Teatro Regio Torino Gianandrea Noseda is also Principal Guest 50 CDs, many of which have been celebrated by Conductor of the Israel Philharmonic Orchestra, critics and received awards. His Musica Italiana Principal Guest Conductor Principal Conductor of the Orquestra de Cadaqués project, which he initiated over ten years ago, has Israel Philharmonic Orchestra and Artistic Director of the Stresa Festival (Italy). chronicled under-appreciated Italian repertoire of the He was at the helm of the BBC Philharmonic from 20th century. the Philharmonic Principal Conductor 2002 to 2011, and in 1997 he was appointed the first Orchestra and the Orchestra Teatro Regio Torino he Orquestra de Cadaqués foreign Principal Guest Conductor of the Mariinsky has recorded albums with Ildebrando d’Arcangelo, Theatre, a position he held for a decade. , and Rolando Villazón. Artistic Director His recordings are also available on LSO Live, Helicon Stresa Festival Gianandrea Noseda works regularly with the world’s Classics and Foné. leading orchestras such as the NHK Symphony in Music Director Designate Japan, the Pittsburgh, Cleveland and Philadelphia A native of Milan, Maestro Noseda is Cavaliere National Symphony Orchestra Orchestras in North America and the Orchestre de Ufficiale al Merito della Repubblica Italiana, marking Paris, Orchestra of Santa Cecilia, Filarmonica della his contribution to the artistic life of Italy. Scala and Wiener Symphoniker in Europe. In May 2015 he made his debut with the Philharmonic. 14 Artist Biographies 18 & 20 September 2016

Erika Grimaldi Daniela Barcellona Soprano Mezzo-soprano

Erika Grimaldi is one of the most Daniela Barcellona was born in sought-after young in , Italy, where she studied Europe today, having delivered under the guidance of Alessandro critically acclaimed performances Vitiello. She was the winner of many in nearly a dozen roles at the competitions, including the Aldo prestigious Teatro Regio di Torino. Belli in Spoleto, Adami Corradetti She is equally at home at such in Padua and the Pavarotti major opera houses as Teatro International in Philadelphia. dell’Opera di Roma, Bayerische Staatsoper in , Teatro di Barcellona has performed to great San Carlo in and Opéra acclaim at opera houses across National de Montpellier. Italy, including in Verdi’s Falstaff and Donizetti’s Lucrezia Borgia Born in Asti, Italy, Erika Grimaldi at La Scala Milan, in and graduated with distinction from at Rossini Opera the Conservatorio Giuseppe Festival in , in Donizetti’s Verdi in Turin. Her first of many successes came at the Crescentino at Teatro Regio in Turin, and in Rossini’s The Barber of International Competition in Vercelli and the International Giacomo Seville and The Italian Girl in Algiers at Teatro dell’Opera in . Lauri-Volpi Competition in Spain. After winning First Prize at the Internationally, she has performed at House in London, Comunità Europea competition in 2008, Grimaldi was immediately the Théâtre des Champs-Élysées in Paris, at the Bayerische Staatsoper offered the role of Mimi in La bohème at the Teatro Regio in Turin. in Munich, at the in , at Staatsoper in Vienna, and at the Metropolitan Opera in New York. She has also appeared as a Grimaldi gave her first performance at Teatro dell’Opera di Roma in soloist with the and the orchestra of the Bayerische 2010, playing the role of Anaï in Rossini’s Moïse et Pharaon under Rundfunk, and appeared in Rossini’s at the 2016 BBC Proms. the baton of . Previous roles also include Desdemona in Otello and the Countess in at Teatro Regio, Daniela Barcellona has collaborated with some of the greatest conductors, Donna Anna in at Opera de Bellas Artes in Mexico including , , , Myung- City, and Donna Fiorilla in for her debut at Staatsoper whun Chung, Sir Colin Davis, Valery Gergiev, , , . Recently she joined in a scene from Riccardo Muti, Kent Nagano, Georges Prêtre and . Il Trovatore on the tenor’s all-Verdi album. She has won many major awards, among them the Italian Premio Abbiati, the ‘Lucia Valentini-Terrani’ and ‘Aureliano Pertile’ awards, Grimaldi’s engagements last season included the title role in Giovanna and an Opera Award. d’Arco at Teatro alla Scala in Milan, Armilla in La donna serpente at Teatro Regio, Alice Ford in Falstaff at the Verbier Festival in Switzerland, Daniela Barcellona’s forthcoming performances include Falstaff Mimi in La bohème at the Savonlinna Festival in Finland, Amelia in in Chicago with Riccardo Muti, Semiramide in London and Munich, Simon Boccanegra in Hong Kong, and Micaëla in for her Tancredi in Marseille and Valencia, in Berlin, Aida in debut at . Engagements for the 2016/17 season Madrid, Samson and Delilah in Turin and Bilbao, and Falstaff in include her debut as Nedda in at Teatro Regio, and Mathilde Munich and Berlin with Daniel Barenboim. in at Bayerische Staatsoper in Munich. lso.co.uk Artist Biographies 15

Francesco Meli Michele Pertusi Tenor Baritone

Born in in 1980, Born in , acclaimed Francesco Meli began his singing Michele Pertusi studied singing studies at the age of 17 with with , soprano Palacios at and . Pertusi the Conservatorio di Musica has performed in the world’s ‘Niccolò Paganini’ in Genoa. most important concert halls and opera houses, such as the In 2002 Meli made his debut in Opéra National de Paris, Wiener Rossini’s Petite Messe Solennelle Staatsoper, and Puccini’s Messa di Gloria, , Teatro alla Scala, broadcast by RAI (the Italian state the Metropolitan Opera, Teatro broadcasting company) from the Real in Madrid, Deutsche Oper Festival dei Due Mondi in Spoleto. in Berlin, and the Opernhaus in He went on to make his debut at Zurich. His repertoire includes La Scala Milan in Poulenc’s Les the leading roles in Mozart’s dialogues des Carmelites under The Marriage of Figaro and the baton of Riccardo Muti, later returning for Verdi’s Otello, Mozart’s Don Giovanni, Rossini’s Semiramide, L’italiana in Algeri and William and Don Giovanni, and Strauss’ . Other Tell, Donizetti’s Anna Bolena and Lucrezia Borgia, and Verdi’s Oberto productions include at , The and Falstaff. He has collaborated with conductors including Daniel Barber of Seville in Zurich, Don Giovanni in Paris and at the Barbican, Barenboim, Semyon Bychkov, Riccardo Chailly, Myung-whun Chung, Rossini’s Maometto II in Tokyo, Verdi’s Rigoletto at the Royal Opera Sir Colin Davis, , , James Levine, House and at the Metropolitan Opera in New York, Massenet’s and Riccardo Muti. in Washington and Verdi’s I due Foscari in Los Angeles. During the 2015/16 season he performed Donizetti’s L’elisir d’amore 2013 marked the 200th anniversary of the birth of Verdi, and as part of at Teatro alla Scala, Rossini’s Zelmira at Opéra de , Verdi’s Simon these celebrations Meli sang in a new production of Simon Boccanegra Boccanegra in Hong Kong with Teatro Regio di Torino, and Maria conducted by Riccardo Muti, appeared as a soloist in recitals in London, Stuarda at Opéra d’Avignon. His future plans include Verdi’s Don Carlos Tokyo, Oslo, Poznan´ and in performances of Verdi’s Requiem conducted at Teatro Regio di Parma, at Opéra de Lyon and at Teatro Real de by Daniele Gatti, Lorin Maazel, Gianandrea Noseda and . Madrid, Rossini’s at Teatro alla Scala, Donizetti’s Lucia He has also recorded a DVD of Verdi’s Requiem for Deutsche di Lammermoor at Covent Garden in London, at Opéra Grammophon and I Lombardi alla prima crociata for Unitel. National de Paris, and at the Metropolitan Opera.

Future engagements include performances of four of Verdi’s works Michele Pertusi’s recording of Rossini’s Il turco in Italia conducted with Riccardo Muti in Rome, Chicago and Salzburg, Verdi’s Un ballo by Riccardo Chailly was recently awarded a Gramophone Award. in maschera at Accademia di Santa Cecilia under the baton of In February 2005 the LSO Live recording featuring Pertusi in the title Sir Antonio Pappano, Verdi’s at Teatro dell’Opera in Rome and role of Verdi’s Falstaff, with the London Symphony Orchestra conducted at the Metropolitan Opera, Carmen, Giovanna d’arco and I due Foscari by Sir Colin Davis, won the Grammy Award for Best Opera Recording. at La Scala, and further appearances in Vienna, Paris, Washington, Recently he has been the recipient of the Gold Medal as Cultural , Parma and Turin. Benemeritus from the President of the Italian Republic. 16 Artist Biographies 18 & 20 September 2016

Simon Halsey CBE Choral Director

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

Artistic Director Since becoming Choral Director of the London Berlin Philharmonic Symphony Orchestra and Chorus in 2012, Halsey Youth Choral Programme has been credited with bringing about a ‘spectacular transformation’ (Evening Standard) of the LSC. Director Highlights with the LSO in 2016/17 include Verdi’s BBC Proms Youth Choir Requiem in London and at the White Artistic Advisor Lights festival with Gianandrea Noseda; El Niño Choir Academy of the with in London and Paris; and Ligeti’s Schleswig-Holstein Musik Festival Le grand macabre with Sir Simon Rattle. In June 2016, lso.co.uk London Symphony Chorus 17

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS BASSES the work of the London Symphony Orchestra, and this year marks Frankie Arnull Frances Pope Susannah Priede* Simon Backhouse* Liz Ashling Louisa Prentice Lucy Reay Roger Blitz its 50th anniversary. The partnership between the LSC and LSO was Kerry Baker Carole Radford Emma Recknell Chris Bourne strengthened in 2012 with the appointment of Simon Halsey as joint Faith Baxter Liz Reeve Maud Saint-Sardos Gavin Buchan Chorus Director of the LSC and Choral Director for the LSO. Louisa Blankson Mikiko Ridd Sarah Scott Andy Chan Evaleen Brinton Alison Ryan Lis Smith Steve Chevis Anna Byrne-Smith Giulia Stiedl Jane Steele Edward Cottell The LSC has partnered many other major orchestras and has performed Carol Capper* Rebecca Vassallo Margaret Stephen Damian Day Laura Catala-Ubassy Lizzie Webb Claire Trocmé Peter Deane nationally and internationally with the Berlin and Elaine Cheng Alice Young Rachael Twyford Joe Dodd Orchestras, and the Gewandhaus Orchestra. Championing the Jessica Collins Kathryn Wells Thomas Fea* musicians of tomorrow, it has also worked with both the NYOGB and Shelagh Connolly Zoe Williams Ian Fletcher Emma Craven Lauren Au Sam Foster the EUYO. The Chorus has toured extensively throughout Europe and Harriet Crawford Lara Bienkowska Robert Garbolinski* has also visited North America, Israel, Australia and South East Asia. Rebecca Dent Hetty Boardman-Weston Paul Allatt* Gerald Goh Katharine Elliot Elizabeth Boyden Robin Anderson Daniel Gosselin Elisa Fanzinetti Gina Broderick Erik Azzopardi John Graham Much of the LSC’s repertoire has been captured in its large catalogue Lucy Farrington Jo Buchan* Iain Christie Owen Hanmer* of recordings, which have won nine awards including five Grammys. Lucy Feldman Elizabeth Campbell Michael Delany J-C Higgins Naomi Fletcher Liz Cole Matt Fernando Anthony Howick In June 2015 the recording of Sir Peter Maxwell Davies’ Symphony Maureen Hall Maggie Donnelly Matthew Flood Alex Kidney No 10, commissioned by the LSO and recorded by the LSO and the Isobel Hammond Lynn Eaton Andrew Fuller Thomas Kohut Linda Evans Simon Goldman LSC with Sir Antonio Pappano, won a prestigious South Bank Sky Arts Emma Harry Gregor Kowalski Lydia Haynes Amanda Freshwater Euchar Gravina Andy Langley award in the Classical category. Emily Hoffnung Christina Gibbs Michael Harman Isaac Leaverton Denise Hoilette Joanna Gill Matt Horne Stefan Magier Rachel Green Alastair Mathews Highlights from last season included Haydn’s The Seasons with Rattle, Josefin Holmberg George Marshall Claire Hussey* Kate Harrison Matthew McCabe Hugh McLeod Elgar’s with Sir Mark Elder, and Sir Peter Maxwell Debbie Jones Elisabeth Iles Tom McNeill Geoff Newman Davies’ The Hogboon. In 2016/17 the LSC continues to celebrate its Ruth Knowles-Clark Ella Jackson John Moses Peter Niven Luca Kocsmarsky Kristi Jagodin Daniel Owers Malcolm Rowat 50th anniversary with performances of Verdi’s Requiem in London and Mimi Kroll Christine Jasper Chris Riley Richard Tannenbaum New York, followed by Ligeti’s Le grand macabre with Sir Simon Rattle, Junelle Kwon Jill Jones Brais Romero-Breijo Gordon Thomson Vanessa Knapp Peter Sedgwick John Adams’ El Niño conducted by the composer, Brahms’ Requiem Debbie Lee Robin Thurston Winnie Lei Gillian Lawson Chris Straw Jez Wareing with and Bruckner’s Te Deum with Bernard Haitink. Meg Makower Olivia Lawson Richard Street* Anthony Wilder Jane Morley Belinda Liao* Malcolm Taylor Emily Norton Anne Loveluck* Owen Toller President Sir Simon Rattle OM CBE * Denotes LSC Jessica Norton Aoife McInerney* Simon Wales council member President Emeritus KBE Maggie Owen Jane Muir James Warbis Caroline Mustill Brad Warburton Vice President Isabel Paintin Andra Patterson Dorothy Nesbit Robert Ward* Patrons CBE and CBE Helen Palmer Paul Williams-Burton Chorus Director Simon Halsey CBE Assistant Directors Neil Ferris and Matthew Hamilton Chorus Accompanist Roger Sayer The London Symphony Chorus is generously supported by: Chairman Owen Hanmer The John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, The Welton Foundation, LSC Friends, Members of the LSC Want to sing with the LSC? Find out more about life in one of London’s LSO Sing is generously supported by: leading choirs, and how to apply, at lsc.org.uk/join-us Sir Siegmund Warburg’s Voluntary Settlement and The John S Cohen Foundation 18 London Symphony Chorus: Verdi’s Requiem 18 & 20 September 2016

London Symphony Chorus Verdi’s Requiem

The London Symphony Chorus has been performing Verdi’s Requiem with the LSO for nearly 50 years.

Founded in 1966, 2016 marks the LSC’s 50th anniversary year – and it is fitting that the Chorus should return to the Barbican for a 1973 The LSC and the LSO embark on a UK work that has been performed over 44 times tour to Colston Hall, Bristol, performing the 1989 Performance of the throughout its history. Since 1967 the Chorus work with conductor Riccardo Muti and Requiem at the Barbican with and the LSO have worked side-by-side to soprano . The Chorus and Spanish conductor Rafael perform the work on numerous occasions: Orchestra return to the Colston Hall in 1979 Frühbeck de Burgos. at the Barbican; at the BBC Proms; on tour with LSC Music Director . both in the UK and further afield; and in recordings for LSO Live. Here are just some of the highlights of 50 years of collaboration. 1960s/ 1980s 1970s

1967 The LSC gives its first performance of Verdi’s Requiem with the LSO, conducted by Sir .

1970 The LSC and LSO perform the Requiem at St Paul’s Cathedral for London Weekend Television and CBS. The performance was conducted by , and featured soloists Placido Domingo, , and Ruggiero Raimondi. Bernstein would famously perform his ‘Lenny Leap’ and jump a foot into the air at the opening of the Dies Irae! lso.co.uk London Symphony Chorus: Verdi’s Requiem 19

2016 In the Chorus’ 50th anniversary year, LSO Principal Guest Conductor Gianandrea Noseda opens the 2016/17 season at the Barbican with the Requiem, before conducting the work on tour in New York.

2001 Sir Antonio Pappano conducts 1997 The Requiem is performed once again with Sir Colin the Requiem in a performance marking Davis and the LSO at a memorial BBC Prom shortly after the 100th anniversary of Verdi’s death, the death of Princess Diana, and of Sir Georg Solti (who joined by soloist Renée Fleming. had been due to conduct the concert). Princess Diana was Patron of the LSC from 1988–1996, and the Verdi Requiem was known to be one of her favourite pieces.

1990s 2000s 2010s

1990s The LSC performs the Requiem with the LSO and Sir Colin Davis at the Barbican on two occasions over the course of the decade: in March 1992; and December 1996, in celebration of their 30th anniversary.

1995 Returns to the Barbican 2009 Sir Colin Davis conducts the Hall for a performance of Requiem in a performance dedicated the Requiem with the LSO, to the memory of Richard Hickox, conducted by Richard Hickox who died in 2008. The performance (pictured here with the is recorded and released on LSO Live. Chorus in 1991). 2005 Sir Colin Davis, the LSO and the LSC take Verdi’s Requiem to New York. 20 The Orchestra 18 & 20 September 2016

London Symphony Orchestra Your views On stage Inbox

FIRST LSO AT THE BBC PROMS 2016 – HAITINK/MAHLER SYMPHONY NO 3 Carmine Lauri Leader Edward Vanderspar Adam Walker Philip Cobb Lennox Mackenzie Malcolm Johnston Alex Jakeman David Elton Clare Duckworth Anna Bastow Gerald Ruddock Jenna Sherry Still feeling under the spell of last night’s Nigel Broadbent German Clavijo PICCOLO Daniel Newell Haitink/@londonsymphony Mahler 3 … space, architecture, Sharon Williams Ginette Decuyper Julia O’Riordan Robin Totterdell humility. Very inspiring. @bbcproms Gerald Gregory Robert Turner Jason Evans Jörg Hammann Heather Wallington Paul Mayes Olivier Stankiewicz Maxine Kwok-Adams Jonathan Welch Niall Keatley Rosie Jenkins Jack So last night’s #bbcproms was the best Mahler 3 I’ll Claire Parfitt Stephen Doman ever see. Hands down. #StillNotOverIt @londonsymphony Laurent Quenelle Carol Ella Dudley Bright Harriet Rayfield Felicity Matthews Andrew Marriner James Maynard Colin Renwick Caroline O’Neill Chi-Yu Mo Peter Cullen Extraordinary, emotional ovation for Sylvain Vasseur BASS Rhys Watkins Bernard Haitink and @londonsymphony after last night’s Paul Milner Shlomy Dobrinsky Tim Hugh Daniel Jemison wonderful Mahler 3 @bbcproms. Glad to be there Alastair Blayden Helena Smart Joost Bosdijk Jennifer Brown Lawrence O’Donnell Patrick Harrild SECOND VIOLINS Noel Bradshaw Frankie Perry Midnight’s approaching and I’m relishing CONTRA Thomas Norris Eve-Marie Caravassilis the memory of @spconnolly’s voice and gorgeous . Miya Väisänen Daniel Gardner Dominic Morgan Nigel Thomas David Ballesteros Hilary Jones Antoine Bedewi Thanks @londonsymphony @bbcproms #Mahler3 HORNS Matthew Gardner Amanda Truelove Nicolas Fleury Julian Gil Rodriguez Steffan Morris PERCUSSION Angela Barnes Naoko Keatley Miwa Rosso Neil Percy Alexander Edmundson Belinda McFarlane Jonathan Lipton William Melvin DOUBLE BASSES Vittorio Schiavone Iwona Muszynska Colin Paris Andrew Pollock Patrick Laurence Paul Robson Matthew Gibson Hazel Mulligan Thomas Goodman Alain Petitclerc Joe Melvin Robert Yeomans Jani Pensola Simon Oliver Nicholas Worters

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 LSO start of their professional careers to gain The Charitable Trust Silk Street Members with 20+ years’ service. work experience by playing in rehearsals N Smith Charitable Settlement London Visit lso.co.uk/1617photos for a full list. and concerts with the LSO. The scheme Lord and Lady Lurgan Trust EC2Y 8DS auditions students from the London music The Lefever Award Photography conservatoires, and 15 students per year LSO Patrons Registered charity in England No 232391 Ranald Mackechnie, Alberto Venzago, are selected to participate. The musicians Matthias Heyde, Silvano Bacciardi, Details in this publication were correct are treated as professional ’extra’ players Edoardo Fornaciari, Mark Allan, at time of going to press. (additional to LSO members) and receive fees Roberto Pistone, London Weekend Television/ The Estate of Leonard Bernstein for their work in line with LSO section players. Editor Edward Appleyard Print Cantate 020 3651 1690 [email protected] Advertising Cabbell Ltd 020 3603 7937