Thursday 25 April 2019 7.30–9.35pm Barbican

LSO SEASON CONCERT FRANÇOIS-XAVIER ROTH

Ravel Ravel Interval Ravel L’heure espagnole

François-Xavier Roth conductor RAVEL Isabelle Druet Concepción Jean-Paul Fouchécourt Torquemada Thomas Dolié Ramiro Edgaras Montvidas Gonzalve Nicolas Cavallier Gomez

6pm Barbican Hall LSO Platforms: Guildhall Artists Free pre-concert recital

Recorded by BBC Radio 3 for broadcast on 30 April Welcome Latest News On Our Blog

This evening we also hosted a free pre- THE LSO IN LATIN AMERICA THE PUBLIC DOMAIN concert recital by the Marmen Quartet from the Guildhall School, who performed one of This May, the LSO tours to Latin America for As part of our festival of new and Ravel’s string quartets here in the Barbican the first time in the Orchestra’s history. With contemporary music LSO Futures, 500 local Hall. These free LSO Platforms recitals concerts in Bogotá, Medellín, Lima, Buenos singers took part in a stirring performance seek to complement the repertoire in the Aires, Montevideo and Santiago, Sir Simon of David Lang’s the public domain on 24 Orchestra’s main season and showcase Rattle conducts performances of Mahler’s March. We look back on the project and the musicians of the future. Fifth Symphony, Berlioz’s Symphonie the participants’ experiences. fantastique and Britten’s Sinfonia da I would like to thank our media partner . Later in 2019, the Orchestra tours BBC Radio 3, which is recording tonight’s to Ireland, California, Central Europe and ’ HARMONIELEHRE elcome to this evening’s LSO concert for broadcast on Tuesday 30 April. Asia. Follow us on social media for behind- concert at the Barbican. Over the-scenes updates. In the age of synth pop, Live Aid and recent seasons, LSO Principal I hope that you enjoy tonight’s performance, Madonna’s Material Girl, how was a composer Guest Conductor François-Xavier Roth has and that you are able to join us again soon. to write large-scale orchestral music for the been exploring French repertoire with the Next Wednesday Sir Simon Rattle conducts WELCOME TO TONIGHT’S GROUPS concert hall? Composed in 1985, John Adams’ Orchestra and tonight we continue that John Adams’ large-scale work Harmonielehre, Harmonielehre is one of the most significant quest, as we delve into Ravel’s fascination one of the great orchestral showpieces of the We are delighted to welcome two groups examples of a composer grappling with the with all things Spanish. late 20th century, paired with Stravinsky’s attending tonight’s concert: idea of a symphony in the 20th century. Symphonies of Wind Instruments and Sky Global Productions Following the Rapsodie espagnole and the Harrison Birtwistle’s The Shadow of Night. Bancroft’s School composer’s best-known work, Boléro, in the ARTIST PORTRAIT: DANIIL TRIFONOV first half, we are joined by an exceptional Please ensure all phones are switched off. cast of opera singers for the one-act comedy Photography and audio/video recording Pianist Daniil Trifonov tells us about his L’heure espagnole. Welcome to Isabelle are not permitted during the performance. life away from the concert stage and the Druet, Jean-Paul Fouchécourt, Thomas experiences that made him love music – Dolié and Nicolas Cavallier, who all make Kathryn McDowell CBE DL from rock and jazz to the films of Andrei their LSO debuts this evening, and also to Managing Director Tarkovsky and Scriabin’s ‘Poem of Ecstasy’. Edgaras Montvidas, who recently appeared with the Orchestra and Sir Simon Rattle in a Read these articles and more at performance of Szymanowski’s Harnasie in • lso.uk/blog December 2018.

2 Welcome 25 April 2019 Tonight’s Concert In Brief / by Jeremy Thurlow Coming Up

any French composers were delightful farce about a footling clockmaker Wednesday 1 May 7.30–9.20pm Thursday 30 May 7.30–9.40pm attracted by the siren song of and his feisty wife Concepción, would-be Barbican Barbican exotic Spain, not least Debussy lovers are carried up and down stairs like in some of his finest orchestral and weights and counterbalances in a clock, JOHN ADAMS CONCERTO FOR ORCHESTRA pieces. Ravel was no less enchanted, and his passion struggles to take wing within a investment was more personal, thanks strictly measured hour of freedom, and the Stravinsky Symphonies of Wind Instruments Cage to his Basque, Spanish-speaking mother, uncomplaining muleteer makes everything Harrison Birtwistle The Shadow of Night Beethoven Violin Concerto though still characterised by the exquisite possible – even, in the end, the satisfaction John Adams Harmonielehre Bartók Concerto for Orchestra artifice which was fundamental to his of Concepción’s desire. creative personality. His most significant Sir Simon Rattle conductor Michael Tilson Thomas conductor forays into Spanish fantasy are gathered Julia Fischer violin together in tonight’s concert, and display a fascinating range. Written straight after Sunday 5 May 7–9.05pm 6pm Barbican Hall L’heure espagnole, the Rapsodie espagnole PROGRAMME CONTRIBUTORS Barbican LSO Platforms: Guildhall Artists has a distinctly impressionist aura about it, free pre-concert recital with the scents and perfumes of a balmy Jan Smaczny is Hamilton Harty Professor BERLIOZ 150: SYMPHONIE FANTASTIQUE night mingling with snatches of flamenco. of Music at Queen’s University, Belfast. Only in the final Feria does the boisterous A writer and broadcaster on Czech music, John Adams Harmonielehre Sunday 2 June 7–9pm energy of carnival at last come to the fore. his most recent book is a study of Dvořák’s Berlioz Symphonie fantastique Barbican Cello Concerto. Boléro was written 20 years later, in a more Sir Simon Rattle conductor NEW ENGLAND HOLIDAYS self-consciously modern and technological Jeremy Thurlow is a composer whose music age. It is a remarkably original tour-de- ranges from chamber and orchestral to video- Streamed live on the LSO’s YouTube Channel Ives A Symphony: New England Holidays force, with a single melody of extraordinary opera. Author of a book on Dutilleux and a and available to watch back for 90 days after the Beethoven Piano Concerto No 5, ‘Emperor’ length and hypnotic fascination repeated in frequent broadcaster on Radio 3, Jeremy is a concert. Join presenter Rachel Leach from 6.30pm a delectable array of orchestral colours as it Fellow of Robinson College, Cambridge. for an introduction to the music. Michael Tilson Thomas conductor grows in power and weight. The ending is at Daniil Trifonov piano once exhilarating and terrifying. Andrew Stewart is a freelance music London Symphony Chorus journalist and writer. He is the author Simon Halsey chorus director In L’heure espagnole, Ravel’s first opera, a of The LSO at 90, and contributes to fairytale Spain is viewed through a lens of a wide variety of specialist classical irony and wit, as well as affection. In this music publications.

Tonight’s Concert 3 Rapsodie espagnole 1907 / note by Jan Smaczny

1 Prélude à la nuit If Ravel did not use actual Spanish melody, • HABANERA (DANCE) • WATCH: RAVEL ON LSO LIVE 2 Malagueña his command of the melodic and rhythmic 3 Habanera idioms of the style leave no doubt at all as 4 Feria to the setting. The contrast between dark sensuousness and the cumulative vitality mages of Spain have long been an of the dance can be felt immediately in important part of the French musical the first three movements. Apart from consciousness. Perhaps as an its unforgettable colouring, the Prélude antidote to the sophistication of , the makes use of a descending four-note lure of the exotic within easy reach of the figure which recurs in all the movements Pyrenees evoked a powerful response across apart from the Habanera •. Although it several generations of French composers, to does not partake of this unifying element, the extent that many of the ‘Spanish’ works of and indeed was composed some twelve The habanera dance form (also called a the repertoire were composed by Frenchmen. years earlier as the first of the two-piano contradanza) has its earliest roots in English, Some of the most famous of these were by collection Sites auricuIaires, the Habanera in Scottish and French folk styles. These styles Ravel, who had recurrent bouts of ‘Spanish no way fractures the composition. Rather it melded to form the contradanse, which fever’ throughout his career, although none provides the ideal foil for the extended Feria was adapted by the French court in the surpassed the Iberian heyday of 1907 when movement which sums up and transcends 17th century and exported to the Americas. he wrote the Vocalise-Etude, the opera L’heure the moods evoked earlier. • There it mixed with local musical styles, Ravel espagnole and the Rapsodie espagnole. becoming an important genre in South Ravel Daphnis and Chloe – Suite No 2 American and Cuban music. By the 18th Dutilleux L’arbre de songes Despite partisan criticism from the critic and century the contradanza incorporated sub- Dutilleux Métaboles composer Michel-Gaston Carraud, who called Saharan African rhythms and Latin Spanish Delage Four Hindu Poems it ‘slender’, and Pierre Lalo, who declared it musical elements. The result, the habanera ‘pedantic’, critical opinion was, in general, (dance of Havana), was the precursor to the Sir Simon Rattle conductor favourably impressed by the Rapsodie at its danzon, mambo and cha-cha-cha. Leonidas Kavakos violin first performance in March 1908. It was also Julia Bullock soprano the composer’s first important orchestral piece to come before the public and for the Filmed at the Barbican in January 2016. most part his only composition for orchestra not based on piano music or designed with Blu-ray and DVD available to purchase at some extra-musical framework in mind. lsolive.co.uk

4 Programme Notes 25 April 2019 Maurice Ravel Boléro 1928 / note by Jeremy Thurlow

avel tended to speak offhandedly of plays a crucial part, since it will be repeated • BOLERO (DANCE) Boléro – ‘unfortunately, there’s no without variation, except in orchestration, • RAVEL NEXT SEASON music in it’ is just one of a number throughout. Its two halves contrast, the first The term bolero refers to two distinct styles of bons mots – but for all his self-deprecation sunnier, the second more plangent; together in Latin music. The older Spanish version Thursday 27 February 2020 7.30–9.40pm he was proud of its extraordinary daring and they trace a winding, unhurried and seductive (which influenced Ravel in composition of originality, and of the unerring brilliance journey which, when finally completed, his Boléro) originated in Spain in the late DAPHNIS AND CHLOE with which its dangerously simple plan is immediately demands to begin again. 18th century and combined elements of carried through. The piece began life as a the pre-exisitng sevillana and contradanza James Hoyle Thymiaterion (world premiere) commission from dancer Ida Rubenstein to The music starts out pianissimo, with snare- dance styles. Rachmaninov Piano Concerto No 3 orchestrate six piano pieces from Albéniz’s drum and flute, changing colour for each Elizabeth Ogonek All These Lighted Iberia as a ballet score to be choreographed new paragraph, bringing limelight to the A bolero lilts in a moderately slow triple Things – three little dances for orchestra by Bronislava Nijinska and premiered at orchestra’s soloists and tutti sections one time, usually featuring a triplet on the Ravel Daphnis and Chloe – Suite No 2 the Opéra. They couldn’t get the rights to by one, while inexorably gaining in weight second beat of the bar. This style is Albéniz’s work, however, and soon Ravel was and power. Fascinatingly, the piece is not unrelated to the Cuban bolero which is Elim Chan conductor talking about a new piece called Fandango, only a hymn to sultry Orientalism but also sung and appeared in the late 19th century. Lukáš Vondráček piano with ‘no development, no modulation (or to the age of factories and mass-production, hardly any), [just] a theme …, rhythm and a giant conveyor-belt to which every player orchestration’. It was written in the autumn is coordinated. When the whole orchestra Sunday 8 March 2020 7–9pm of 1928, in two months. It was now called reaches full tilt, finally, a colossal change of Boléro, but Ravel’s insistent rhythm is gear lifts the music into a new, radiant key - PIANO CONCERTO & considerably slower than an actual bolero • – a dazzling transfiguration of the mechanical though it has now become more famous and after which the machine can only grind to a Strauss Die Frau ohne Schatten – Suite arguably more ‘definitive’ than the dance- shuddering halt. If the piece is simple, it is a Ravel Piano Concerto in G major style it is modelled on. flawless simplicity which conceals craft and Strauss Death and Transfiguration inspiration of a very high order. • Ravel La valse In subsequent years Ravel fought battles with conductors such as Toscanini who Karina Canellakis conductor wanted to drive the piece faster and faster Cédric Tiberghien piano Interval – 20 minutes as it went on, against Ravel’s insistence There are bars on all levels. that holding the tempo rock-steady actually Visit the Barbican Shop to see our increases the tension. The melody, sinuous, lso.co.uk/201920season range of Gifts and Accessories. long, unpredictable and yet utterly natural,

Programme Notes 5 Maurice Ravel L’heure espagnole 1911 / note by Jeremy Thurlow

Isabelle Druet Concepción his life, and while this partly reflects a SYNOPSIS carries off upstairs. By such means she Jean-Paul Fouchécourt Torquemada widespread taste for orientalist allure it also is able to rendezvous upstairs with first Thomas Dolié Ramiro held for Ravel a special, personal significance. The charming and ingenious plot unfolds in Gonzalve and then a second visitor, the Edgaras Montvidas Gonzalve Thus, the play’s unlikely combination of the shop of a pedantic and scatterbrained elderly banker Don Iñigo Gomez, without Nicolas Cavallier Gomez Spanish ardour and a room full of timepieces clockmaker, Torquemada, who is married Ramiro ever realising. However, Gomez could have been tailor-made for Ravel. to feisty Concepción. Every Thursday he proves no better a lover than Gonzalve – hen the young playwright Franc- goes out for an hour to wind up the town’s overweight, he gets stuck in his clock – Nohain’s witty and salacious It also offered an unusual angle on the genre municipal clocks, and Concepción takes her and eventually she vents her frustration L’heure espagnole opened at the of opera itself. The 19th century had seen chance to receive amorous visitors. However, at the hopelessness of both admirers. Théâtre de l’Odéon in 1904, it soon became the apotheosis of opera as an all-consuming when the opera begins, Torquemada has an a hit. A loving parody of all things Spanish drama of passion and heroism. By the time unexpected visitor: the muleteer Ramiro, When Ramiro comes back down carrying with five delightfully stereotyped characters he came to consider writing his first opera strong as an ox, has brought in his watch for the clock containing Gomez, barely breaking and clocks galore, the play coordinates these in his late 20s, Ravel had made his name repair. Concepción reminds Torquemada that sweat, it dawns on Concepción that he is disparate elements with perfect precision so with a number of exquisite, original and it’s time for his weekly rounds but then finds the real man she has been searching for: as to bring every one of the plot’s deceptions often challenging scores, but raw emotional herself stuck with Ramiro, who by waiting she orders him back upstairs once again, and surprises to comic fruition. power had not been a primary concern. in the shop for Torquemada’s return will this time without any clocks. L’heure’s irreverent parody of lovers’ ardour scupper all her plans. When she asks him Ravel’s unique and fascinating creative played to some of Ravel’s very particular how many men it would take to carry one Left downstairs, Gonzalve and Gomez are personality is often described in relation strengths in a way that a more typically of the grandfather clocks up to her room, just struggling out of their clocks when to parental influence: certainly his parents full-blooded ‘operatic’ tragedy might not Ramiro is delighted at having something to Torquemada comes back; he is delighted were a highly unconventional couple, his have done. Indeed, the characters are almost do – he is no conversationalist. Hoisting it to sell them the valuable timepieces they Basque mother barely literate and his father like toys for Ravel, and this must have onto his shoulders he sets off up the stairs, appear to be so interested in. Concepción a middle-class engineer and inventor of been another source of attraction for him. just as her first visitor, Gonzalve, arrives. and Ramiro return; Gomez remains stuck Swiss heritage. To his father’s side is often Perhaps an exception needs to be made for fast until Ramiro effortlessly pulls him out, attributed Ravel’s perfectionist concern for the character of Gonzalve, a poet. Though Lost in poetic transports of rapture, dreamy and they all join, for the only ensemble in detail and his crafting of music in which every he is ridiculous there is a humanity about Gonzalve is still rhapsodising when Ramiro the whole opera, to draw a spurious moral: component fits together like clockwork. But him and, as Roger Nichols has suggested, returns. Concepción has now devised a plan, in the pursuit of love, the time will come Ravel was also fiercely proud of his mother Ravel may well have sympathised with the however. She tells Ramiro she has changed for the muleteer! (who grew up in Madrid) and her Basque and difficulties of an ultra-refined aesthete her mind about which clock she would like Spanish inheritance. As tonight’s programme trying to express down-to-earth passion. in her room; while he goes off to fetch the Keeping his singers relatively close to sung demonstrates, a certain Spanish fantasy- Gonzalve is the only character whom Ravel first clock back down she hides Gonzalve in a conversation for the most part, Ravel world continued to preoccupy him throughout encourages to lose himself in song. second clock, which Ramiro then cheerfully captures every comic twist while giving full

6 Programme Notes 25 April 2019 Maurice Ravel in Profile 1875–1937 / profile by Andrew Stewart reign to his extraordinary gift for orchestral lthough born in the rural Basque colours. From the enchanting opening, village of Ciboure, Ravel was raised where the ticking of myriad clocks creates in Paris. First-rate piano lessons a magical forest of sound, to the dazzling and instruction in harmony and counterpoint Spanishness in the first scene with Ramiro, ensured that the boy was accepted as a to the foolish ecstacies of Gonzalve, the comic preparatory piano student at the Paris indignities of Gomez and the perfect wit of Conservatoire in 1889. the final quintet, the music is sheer delight. • As a full-time student, Ravel explored a wide variety of new music and forged a close friendship with the Spanish pianist Ricardo Viñes. Both men were introduced in 1893 to Chabrier, who Ravel regarded as ‘the most profoundly personal, the most French of — our composers’. Ravel also met and was ‘I’ve written only one masterpiece, Boléro … influenced by Erik Satie around this time. In the decade following his graduation in Unfortunately, there’s no music in it.’ 1895, Ravel scored a notable hit with the Ravel to composer Arthur Honegger Pavane pour une infante défunte for piano — (later orchestrated). Even so, his works were rejected several times by the backward- also met and first heard the composer’s creative personality, and his looking judges of the Prix de Rome for expressionist works of . mother’s Basque heritage is reflected in not satisfying the demands of academic During World War I, he enlisted with the a wide variety of works, together with his counterpoint. In the early years of the 20th motor transport corps, and returned to liking for the formal elegance of 18th- century he completed many outstanding compos­it­ion slowly after 1918, completing century French art and music. • works, including the evocative for La valse for Diaghilev and beginning work on piano, and his first opera, L’heure espagnole. his second opera, L’enfant et les sortilèges.

In 1909 Ravel was invited to write a large- From 1932 until his death, he suffered scale work for Serge Diaghilev’s Ballets from the progressive effects of Pick’s Russes, completing the score to Daphnis Disease and was unable to compose. and Chloe three years later. At this time he Spain had a considerable influence on the

Composer Profile 7 2019/20 with the London Symphony Orchestra ROOTS & ORIGINS 50 YEARS WITH THE LSO RUSSIAN ROOTS ARTIST PORTRAIT Sir Simon Rattle Michael Tilson Thomas Gianandrea Noseda Antoine Tamestit

Season Opening Concert Berlioz: Shostakovich’s Sixth Jörg Widmann’s Viola Concerto 14 September 2019 10 November 2019 31 October 2019 with Daniel Harding 19 April 2020 Messiaen’s Éclairs sur l’au-delà HALF SIX FIX Tchaikovsky’s Fifth 15 September 2019 Prokofiev: Symphony No 5 3 & 28 November 2019 Berio Voci with François-Xavier Roth 13 November 2019 11 June 2020 Brahms & Rachmaninov Shostakovich’s Seventh 18 & 19 September 2019 Michael Tilson Thomas, Tchaikovsky 5 December 2019 Walton Viola Concerto & Prokofiev with Alan Gilbert Berg & Beethoven’s Seventh 14 November 2019 Shostakovich’s Ninth 14 June 2020 16 January 2020 30 January & 9 February 2020 BBC Radio 3 Lunchtime Concerts: Beethoven: James MacMillan: St John Passion Antoine Tamestit & Friends Christ on the Mount of Olives SMALL SCALE 5 April 2020 8 & 15 May; 5 & 26 June 2020, LSO St Luke’s 19 January & 13 February 2020 LSO Chamber Orchestra Beethoven’s Ninth Symphony 16 February 2020 Mozart Concertos 12 & 13 October 2019, Bartók: Duke Bluebeard’s Castle LSO St Luke’s 23 April 2020 Rameau, Purcell, Handel Mahler’s Fourth Symphony 15 December 2019, 26 April 2020 Milton Court Concert Hall

Grainger 4 June 2020 Produced by the LSO and Barbican. Part of the LSO’s 2019/20 Season and Barbican Presents. Explore the new season at Gershwin, Ives, Harris & Bernstein 6 June 2020 lso.co.uk/201920season François-Xavier Roth conductor

rançois-Xavier Roth is one of today’s companies in London, Paris, Frankfurt, Recordings include the complete tone poems most charismatic and enterprising Beijing, Nanjing, Shanghai and Tokyo. of Richard Strauss, while Principal Conductor conductors. He has been General Les Siècles was nominated for Gramophone of the SWR Sinfonieorchester Baden-Baden Music Director of the City of Cologne since Magazine’s first Orchestra of the Year & Freiburg (2011–16) and, with Les Siecles, 2015, leading both the Gürzenich Orchestra Award in 2018. the three Stravinsky ballets (The Rite of Spring and the Opera, and is the first-ever Associate won German Record Critics’ and Edison Artist of the Philharmonie de Paris. He was Following the success of their explorations Klassiek Prizes). The first releases in a the winner of the 2000 Donatella Flick LSO of Post-Romanticism and Debussy, François- complete Ravel cycle for Harmonia Mundi Conducting Competition, becoming Principal Xavier Roth continues to work closely with include Daphnis and Chloe (Gramophone Guest Conductor of the LSO in 2017. the London Symphony Orchestra. His concerts Orchestral Album of the Year 2018) and in the 2018/19 season have featured a Ma mere l’Oye. Mirages, a vocal recital with With a reputation for inventive programming, typically wide range of works, from Haydn Sabine Devieilhe for Erato, won the Victoires his incisive approach and inspiring leadership through Strauss, Bartók and Scriabin to de la Musique Classique Recording of the Year. are valued around the world. He works with Philippe Manoury and Donghoon Shin. He has conducted two albums commemorating leading orchestras, including the Royal Debussy’s centenary (including Jeux and Concertgebouw, Staatskapelle Berlin, Boston In his fourth Cologne opera season, he Nocturnes) and the 150th anniversary of Symphony, Munich Philharmonic and Zürich leads new productions of Strauss’ Berlioz’s death (Harold in Italy and Les nuits Tonhalle. In 2018/19, he returns to the Berlin and Offenbach’s La Grande-Duchesse de d’ete). With the Gürzenich Orchestra, he Philharmonic and appears with the Cleveland Gérolstein, which marks the bicentenary of has just released Mahler’s Third Symphony, Orchestra, San Francisco Symphony, Bavarian the composer’s birth in Cologne. With the following their recording of the Fifth. Radio Symphony and Montreal Symphony. Gürzenich Orchestra, he will feature the Rhenish composer Schumann, and explore A tireless champion of contemporary music, In 2003, he founded Les Siècles, an works which disrupt traditional orchestral and music education, he has been conductor innovative orchestra performing contrasting forms and think them anew. He continues of the ground-breaking LSO Panufnik and colourful programmes on modern and a focus on the composer Philippe Manoury, Composers Scheme since its outset in 2005. period instruments, often within the same with the premiere of Lab.Oratorium, the Roth has premiered works by Yann Robin, concert. With Les Siècles, he has given third of the trilogy of works commissioned Georg-Friedrich Haas, Hèctor Parra and Simon concerts throughout Europe and toured to by the Orchestra, which will also be played Steen-Anderson, and collaborated with China and Japan. They recreated the original in Hamburg and Paris. He recently took composers like , Wolfgang Rihm, sound of Stravinsky’s The Rite of Spring in the Orchestra on tour to Turin, Zürich and Jörg Widmann and Helmut Lachenmann. For its centenary year and, subsequently, with Vienna, performing Mahler’s Symphony No 5. his achievements, François-Xavier Roth was the Pina Bausch and Dominique Brun dance made a Chevalier of the Légion d’honneur. •

10 Artist Biographies 25 April 2019 François-Xavier Roth in 2019/20

The Miraculous Mandarin 19 December 2019

HALF SIX FIX The Wooden Prince 18 March 2020

The Wooden Prince & Stravinsky Violin Concerto 19 March 2020 BARTÓK

Dukas Symphony in C 22 March 2020

Stravinsky’s Firebird 11 June 2020

Panufnik Composers Workshop 26 March 2020, LSO St Luke’s

Explore the new season at lso.co.uk/201920season Isabelle Druet Concepción Jean-Paul Fouchécourt Torquemada

return to the title role in Bizet’s at Festival, Choregies d’Orange, Théâtre the Opéra de Saint-Etienne, a role she has des Champs-Elysées, Edinburgh Festival, already performed at the Opéra National Opera de , Geneva Opera and Salzburg de Lorraine and Opernhaus Düsseldorf. She Festival. He has also appeared with the has once again been invited to the Opéra de Berlin Philharmonic Orchestra, at Opera de Paris (where she sings Tisbé in Rossini’s La Bordeaux, Saito Kinen Festival, and with Cenerentola), and takes up the part of Baba the Boston Symphony and BBC Symphony the Turk in Stravinsky’s The Rake’s Progress Orchestras. Fouchécourt has worked with at the Opéra de Nice. conductors including James Levine, Marc Minkowski, William Christie, René Jacobs, She also continues her collaboration with Charles Dutoit, Seiji Ozawa, Myung-Whun conductor François-Xavier Roth in several Chung, Valery Gergiev, James Conlon and concerts, in Bach’s St John Passion with Sir Simon Rattle. the Gürzenich Orchester, Mahler’s Das Lied von der Erde with the Tonhalle-Orchester Fouchécourt is well known for his portrayal qually at home in opera as she is Zürich, and in tonight’s role as Concepción in ean-Paul Fouchécourt is one of Rameau’s Platée, having performed in recital, Isabelle Druet crosses Ravel’s L’heure espagnole on tour in Aix-en of the foremost interpreters of the part at House, Paris the centuries from Monteverdi Provence, Grenoble and Evian. the French Baroque repertoire. Opera, Opera de Bordeaux, Geneva Opera, to Britten with ease. His performances and large discography, New York City Opera, the Salzburg Whitsun She made her debut at the featuring over 100 recordings, include works Festival and with the Philharmonia Baroque A musician with an atypical background, in 2011 in the role of Le Page in Strauss’ by Rameau, Lully and Campra. He has Orchestra. He is also known for his King Ouff I she first trained in theatre before taking Salomé. Among her many other roles on also mastered repertoire from Berlioz to in Chabrier’s L’Etoile for the Cincinnati and her first steps as a singer in contemporary stage, in addition to Bizet’s Carmen, she Offenbach, Ravel, Britten and Verdi. Geneva Operas, Austin Lyric Opera, New and traditional music, while at the same has performed the title role in Rossini’s York City Opera, the Staatsoper Berlin and time studying singing at the Conservatoire L’Italiana in Algeri at the Opéra-Théâtre His career has taken him to major opera recently in Bergen. de Paris. Awards quickly followed, including de Metz, Dido in Purcell’s Dido & Aeneas houses and orchestras around the world. a win at the prestigious Queen Elisabeth on tour and in Brussels, Tisbé in Rossini’s He has performed numerous roles with Les Jean-Paul Fouchecourt has recently decided Competition 2008, and an award at the , La Ciesca in Puccini’s Gianni Arts Florissants under the baton of artistic to dedicate part of his time to passing on his Victoires de la musique classique. She Schicchi and Annina in Verdi’s La traviata director William Christie, Les Musiciens expertise to young singers, and is now Artistic has sung at many of the world’s leading at the Opéra national de Paris. • du Louvre conducted by Marc Minkowski, Director of the Studio de l’Opera de Lyon. • opera houses and with the most renowned Netherlands Opera, Metropolitan Opera, ensembles. The 2018/19 season marks her Antwerp Opera, Paris Opera, Aix en Provence

12 Artist Biographies 25 April 2019 Thomas Dolié Ramiro Edgaras Montvidas Gonzalve

Marc Minkowski’s Musiciens du Louvre, the Lithuanian State Symphony Orchestra and role of Hylas in Destouches’ Issé with the Beethoven’s Symphony No 9 with Les Siècles. ensemble Les Surprises at the Festival de In March 2020 he will perform Stravinsky’s Musique Baroque de Pontoise and at the Perséphone with the Boston Symphony Royal Opera of Versailles. He also performed Orchestra and Thomas Adès. tonight’s role of Ramiro in L’heure espagnole with François-Xavier Roth in Les Siècles in Past opera appearances include the title Aix-en-Provence, Evian-les-bains, Grenoble role in Werther for the Opéra Nationale de and Soissons. Lorraine, Nancy; Anatol in Barber’s Vanessa at Glyndebourne; Offenbach’s The Tales This season Doilé also sings Bach’s St John of Hoffman in a new production by Barrie Passion with the Accentus Choir and Insula Kosky for Komische Oper Berlin; Flamand Orchestra at the Seine Musicale, Mahler’s in Strauss’ Capriccio for La Monnaie, Lieder eines farhenden Gesellen at the Limoges Brussels; Edgardo in Donizetti’s Lucia di Opera, and takes over the role of Theseus Lammermoor for Semperoper Dresden; he winner of ‘lyrical artist in Lemoyne’s Phèdre at the Metz Arsenal ithuanian-born tenor Edgaras Ruggero in Puccini’s La rondine; as well revelation’ at the 2008 Victoires and the Limoges Opera. He continues Montvidas was educated in Vilnius as roles including Lensky in Tchaikovsky’s de la musique classique awards, his collaboration with conductor György before joining the Young Artists Eugene Onegin and Belmonte in Mozart’s Thomas Dolié is one of the most appreciated Vashegyi, the Orfeo Orchestra and the Centre Programme at the . Opera Die Entführung aus dem Serail for Bayerische French baritones of his generation. de Musique Baroque de Versailles, singing plans this season and beyond include the Staatsoper, Munich and Glyndebourne the roles of Danaüs in Gervais’ Hypermnestre title role in Massenet’s Werther for Bergen Festival Opera. He has sung at English Following a season that included his debut and Phinée in Montéclair’s Jephté. National Opera, Boris in Janáček’s Katya National Opera, the Royal Opera, Cincinnati at the Paris Opera as Ramiro in Ravel’s Kabanova for Hamburg Opera, Pinkerton Opera, Santa Fe Opera, Dutch National L’heure espagnole and the role of Golaud in He has performed at the Cologne Opera in Puccini’s Madame Butterfly for Opéra Opera and Opéra Comique in Paris. Debussy’s Pelléas et Mélisande in Bremen House, the Komische Oper Berlin, the Zürich Nationale de Lorraine, Nancy, as well as with the Deutsche Kammerphilharmonie, Opera House, the Rhine National Opera debuts at Zürich Opera, La Scala, the Montvidas has been awarded the Lithuanian Thomas Dolié’s 2018/19 season saw him House, the Bordeaux National Opera House Bregenz Festival and Theater an de Wien. Order of Merit medal by President Dalia play the role of Fritz in Korngold’s Die tote and the Concertgebouw in Amsterdam. • Grybauskaite; the Badge of Honour – ‘Carry Stadt at the Théâtre du Capitole in Toulouse. His recent and forthcoming concert highlights Your Light and Believe’ by the Lithuanian He also appeared in the roles of Hermann include Verdi’s Requiem on tour with the Ministry of Culture; and the Theatre Award and Schlemil in Offenbach’s The Tales of Monteverdi Choir and Sir John Eliot Gardiner, ‘The Gold Cross of the Stage’ in Lithuania in Hoffman at the Musikfest Bremen with Berlioz’s The Damnation of Faust with the 2009 for his performances as Werther. •

Artist Biographies 13 Nicolas Cavallier Gomez

Nilakantha in Delibes’ Lakmé in Oman. Cavallier has appeared as the four villans in Offenbach’s The Tales of Hoffmann in Geneva, Monte-Carlo and Seattle, and as Frère Laurent in Berlioz’s Romeo and Juliet. He has also performed as Arkel in Debussy’s Pelléas et Mélisande at Venice’s Teatro la HALF SIX Fenice and Paris National Opera, as well Early-evening as le Chevalier de la Force in Poulenc’s Dialogues des Carmélites in Brussels, Paris’ concerts, presented Théâtre des Champs-Elysées and Teatro by the conductor Comunale di Bologna. FIX In the Italian repertoire, he has sung Verdi Prokofiev’s Fifth Symphony Bartók The Wooden Prince operas – Philip II in Don Carlos, and Zaccaria with Michael Tilson Thomas with François-Xavier Roth icolas Cavallier’s professional in Nabucco – and works by Puccini, including 13 November 2019 18 March 2020 career began at Glyndebourne Scarpia in Tosca. In the German repertoire Festival in the role of Sarastro in he has appeared in Wagner’s The Flying Beethoven & Berg Bartók Concerto for Orchestra Mozart’s The Magic Flute. He now performs Dutchman and as Orest in Strauss’ Elektra. with Sir Simon Rattle with Sir Simon Rattle a broad range of repertoire, including the 15 January 2020 22 April 2020 title roles in Mozart’s Don Giovanni and During his career, Cavallier has performed The Marriage of Figaro, and Don Alfonso at Glyndebourne Festival, Bregenz Festival, Beethoven Ninth Symphony in Così fan tutte. He sings a great deal of Deutsche Oper Berlin, Teatro alla Scala in with Sir Simon Rattle Rossini, including the role of Selim in Il Milan, Seattle Opera, and also in Vienna, 12 February 2020 Turco in Italia, the Governor in Le Comte Ory, Hong Kong and New York. His future plans and Mustafa in L’Italiana in Algeri, which include the title role in Rubinstein’s The he has performed at the Paris Théâtre des Devil, the four villains in Offenbach’s The Champs-Elysées. He also specialises in Tales of Hoffmann at Bordeaux National Find out more at 19th-century French repertoire, performing Opera, Don Alfonso in Mozart’s Così fan Méphistophélès in Berlioz’s The Damnation tutte at Opéra National du Rhin, and Don lso.co.uk/halfsixfix of Faust, the title role in Massenet’s Don Balthazar in the world premiere of Dalbavie’s Quichotte, Escamillo in Bizet’s Carmen and Le Soulier de Satin at Paris National Opera. •

14 Artist Biographies 25 April 2019 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes LSO String Experience Scheme Roman Simovic David Alberman Tim Hugh Gareth Davies Rachel Gough Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Jack Welch Joost Bosdijk Scheme has enabled young string players First Violins Sarah Quinn Noel Bradshaw Clare Childs Lawrence O’Donnell Percussion from the London music conservatoires at Carmine Lauri Miya Väisänen Eve-Marie Caravassilis Sam Walton the start of their professional careers to gain Rebecca Chan Matthew Gardner Daniel Gardner Piccolo Contra David Jackson work experience by playing in rehearsals Maxine Kwok-Adams Julian Gil Rodriguez Hilary Jones Patricia Moynihan Dominic Morgan Paul Stoneman and concerts with the LSO. The musicians Clare Duckworth Belinda McFarlane Minat Tom Edwards are treated as professional ‘extra’ players Ginette Decuyper Iwona Muszynska Miwa Rosso Horns Oliver Yates (additional to LSO members) and receive fees Gerald Gregory Paul Robson Victoria Simonsen Juliana Koch Timothy Jones Jacob Brown for their work in line with LSO section players. William Melvin Louise Shackelton Peteris Sokolovskis Rosie Jenkins Angela Barnes Elizabeth Pigram Alix Lagasse Alexander Edmundson Harps The Scheme is supported by: Claire Parfitt Csilla Pogany Double Basses Jonathan Lipton Heidi Krutzen The Polonsky Foundation Laurent Quenelle Siobhan Doyle Enno Senft Christine Pendrill Tim Ball Anneke Hodnett Barbara Whatmore Charitable Trust Harriet Rayfield Eleanor Fagg Patrick Laurence Derek Hill Foundation Sylvain Vasseur Matthew Gibson d’amore Celeste Lord and Lady Lurgan Trust Julian Azkoul Violas Thomas Goodman Max Spiers Michael Møller Catherine Edwards Angus Allnatt Charitable Foundation Dániel Mészöly Dakyung Kwak Joe Melvin Toby Street Rod Stafford Julia Rumley Gillianne Haddow Jani Pensola Clarinets Niall Keatley Malcolm Johnston José Moreira Chris Richards Gerald Ruddock Performing tonight are Kumi Shimizu (viola) German Clavijo GyuNam Kim Chi-Yu Mo and Ben Tarlton (cello). Julia O’Riordan Robert Turner Helen Vollam Editor Catherine Bradshaw Katy Ayling James Maynard Fiona Dinsdale | [email protected] Luca Casciato Duncan Wilson Editorial Photography May Dolan Saxophones Ranald Mackechnie, Holger Talinski, Stephanie Edmundson Simon Haram Bass Julien Benhamou, Nemo Perier Stefanovitch Cynthia Perrin Kyle Horch Paul Milner Print Cantate 020 3651 1690 Rachel Robson Advertising Cabbells Ltd 020 3603 7937 Jessica Rouault Ben Thomson Details in this publication were correct at time of going to press.

The Orchestra 15 @Bundesarchiv, Bild 146-1988-078-08 / CC-BY-SA https://bit.ly/1GZ3S7R 3.0, Chineke! Works by Copland, Gershwin, Ibert and Weill A Child of our Time

Copland Music for the Theatre Brighton Festival Chorus Gweneth Ann Rand Ibert Divertissement soprano Ronnita Miller mezzo Gershwin Rhapsody in Blue (jazz band version) Noah Stewart tenor Weill Suite from The Threepenny Opera Jonathan Lemalu bass Copland Old American Songs Gershwin Songs from Porgy and Bess Beethoven Piano Concerto for Violin, Cello and Piano in C major Op. w56 Tippett A Child of Our Time

Thu 23 May Sun 26 May Brighton Dome Concert Hall brightonfestival.org Brighton Dome Concert Hall