OAE concerts – 27 May; 5, 18 and 26 August LPO concerts: 10 and 15 June; 2 July

Festival 2021 Concert Series Concert Programme

OAE CONCERT 1: BRAHMS 1 LPO CONCERT 2: DVOŘÁK 8 27 MAY AND 26 AUGUST 2 JULY Schools of the Romantic Heart Out of Chaos ORCHESTRA OF THE AGE OF LONDON PHILHARMONIC ENLIGHTENMENT ORCHESTRA Conductor ROBIN TICCIATI Conductor Mezzo-Soprano JOHANNES KAMMLER Baritone Curtain up: 5.20pm Curtain up: 5.20pm Interval 6.20pm Interval 6.30pm Curtain down 8.50pm Curtain down 9.25pm

LPO CONCERT 1: MAHLER 4 OAE CONCERT 2: MOZART JUPITER 10 JUNE AND 15 JUNE 5 AUGUST AND 18 AUGUST Rites of Passage Ceremonies and the Quest for Light LONDON PHILHARMONIC ORCHESTRA ORCHESTRA OF THE AGE OF ENLIGHTENMENT ROBIN TICCIATI Conductor BERNARD LABADIE Conductor ELIZABETH WATTS Soprano SIOBHAN STAGG Soprano Curtain up: 5.20pm Interval 6.15pm Curtain up: 5.20pm Curtain down 8.55pm Interval 6.20pm Curtain down 8.45pm

Front cover Top: the OAE's violinist Henry Tong Bottom: (L-R) the LPO's double bassists Kevin Rundell, Laurence Lovelle and Hugh Kluger

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GLYNDEBOURNE.COM | 2 Symphonic firsts

Alexandra Coghlan talks to Music Director Robin Ticciati about the Festival’s first concert series, which he has intricately planned.

Composer Brett Dean once compared Symphony may be absolute music, but the experience of hearing music in running right through the work and its the Glyndebourne house to history is Clara Schumann, to whom the sitting inside a giant cello: seeing the composer once wrote, ‘I can do nothing curved wood on every side, feeling the but think of you’. Mathilde Wesendonck, resonance surround you, hearing every wife of Wagner’s patron and inspiration detail in absolute clarity. It’s a perfect for Tristan und Isolde, sits similarly in the acoustic not just for opera, but also background of the composer’s sensuous orchestral music, and this summer we’ll Wesendonck Lieder, with their echoes of be performing four great symphonies the opera’s rapturous love music. In on our stage for the very first time. Berlioz’s Roméo et Juliette – a work whose Mozart’s ‘Jupiter’, Brahms 1, Dvořák 8 musical passion, and poison, runs and Mahler 4 will each be at the centre directly into the veins of Wagner’s Tristan of a different concert programme und Isolde – and in Weber’s Der Freischütz from the Festival’s two resident we see love in the opera house in all its orchestras: the Orchestra of the Age drama and intensity. of Enlightenment and the London Schools of the Romantic Heart offers a Philharmonic Orchestra. The word rare opportunity to hear this 19th- ‘symphony’ has its origins in the idea century music performed on period of voices ‘sounding together’, and it’s instruments. ‘It’s a totally different this togetherness – a return to shared soundworld,’ says Ticciati. ‘As music-making and listening after so instruments get more technically much time in silence and isolation – assured, safer, louder and more that Glyndebourne’s Music Director practical, you could question whether Robin Ticciati is keen to celebrate in they lose something of that human these performances. spirit, that fragility, that really brings The first programme –Schools of the you close to nature.’ Romantic Heart – puts the 19th-century Rites of Passage teases out the preoccupation with love ‘under the connections between orchestral music microscope’, says Ticciati. Brahms’ 1st and opera in a musical exploration of

GLYNDEBOURNE.COM | 3 Symphonic firsts continued

rituals and rites. Lighting and spatial but which soon opens out into dance choreography will be used to bring and birdsong. Rebel’s Les Élémens is the Purcell’s sombre March from the Music overture to a programme drawing on for the Funeral of Queen Mary together nature and natural forces – a musical in a dramatic sequence. Birtwistle’s echo of Glyndebourne’s own gardens virtuosic Cortege, a work led from and the Sussex Downs all around. a ceremonial bass drum, sees each Nature is at its darkest and most brutal player step to the front of the stage in Adámek’s Sinuous Voices, a piece to offer ‘their own flower’ – virtuosic, shot through with wailing prayers and wildly improvised musical gestures gentle lullabies, before the landscape upon a tomb. It will lead directly into opens out in the sumptuous nature- the musical consolation of Vaughan music of Dvořák’s 8th Symphony and Williams’ Fantasia on a Theme by Thomas the rough-hewn traveller’s songs of Tallis, and the programme reaches its Mahler’s autobiographical Lieder eines climax in Mahler’s 4th Symphony – a fahrenden Gesellen. work in which the hellish devil-dance The final programmeCeremonies and the of the re-tuned violin in the second Quest for Light takes Mozart’s ‘Jupiter’ movement ultimately gives way to a Symphony – the last he would write – vision of heaven, seen through the eyes as its focus. Building outwards from the of an innocent. As Ticciati explains, it’s symphony’s bold architectural lines, the a work that feels like a microcosm of concert also includes the Overture to Die the whole concert series. Zauberflöte, with its sonic symbolism and ‘There’s this journey from the total, strong sense of classical order, as well scream-like abyss out into the heavens as concert arias by the composer and that’s mirrored again and again through the graceful Symphony No 17 in G major the Festival – in the blazing light at the – embodiment of youthful elegance. end of Brahms 1, the fanfares that close Mozart’s Masonic Funeral Music offers a Dvořák 8, and Mozart’s fugal fireworks less familiar interlude: four minutes in the ‘Jupiter’ Symphony. I think there’s of what Ticciati describes as ‘intense a little echo of all of our experiences darkness’ drawing on Gregorian over the past year and our arrival at this chant, scored for unusually low forces point. I love the idea of music opening including three evocative basset horns up new horizons of hopefulness for us.’ and a contrabassoon. Out of Chaos opens with one of the most extraordinary beginnings in all of music

– an 18th-century representation of Alexandra Coghlan is Glyndebourne’s chaos Ticciati describes as ‘shattering’, opera content specialist

GLYNDEBOURNE.COM | 4 VIOLIN I BASSES CONTRABASSOON The London Philharmonic Pieter Schoeman LEADER Kevin Rundell PRINCIPAL Simon Estell PRINCIPAL Orchestra also acknowledges Chair supported by Neil Westreich Sebastian Pennar the following chair supporters whose player is not present at this Vesselin Gellev SUB-LEADER CO-PRINCIPAL HORNS concert: Bianca & Stuart Roden Kate Oswin Hugh Kluger John Ryan PRINCIPAL Lasma Taimina George Peniston Martin Hobbs London Philharmonic Chair supported by Irina Gofman Tom Walley Mark Vines CO-PRINCIPAL Orchestra and Mr Rodrik V. G. Cave Laura Murphy Gareth Mollison HRH The Duke of Kent KG Minn Majoe Chair supported by Friends Duncan Fuller Patron Catherine Craig Principal of the Orchestra Conductor & Artistic Advisor Thomas Eisner TRUMPETS Edward Gardner Principal Martin Höhmann Conductor Designate FLUTES Paul Beniston PRINCIPAL Katalin Varnagy Supported by Juliette Bausor PRINCIPAL PRINCIPAL Chair supported by Sonja Drexler James Fountain Mrs Christina Lang Assael Chair supported by Caroline, Anne McAneney Yang Zhang Karina Canellakis Principal Jamie & Zander Sharp Guest Conductor Chair supported by Eric Tomsett David Hilton Hannah Grayson Amanda Smith Clare Childs Board of Directors BASS TRUMPET Victoria Robey OBE Chairman Georgina Leo Imogen Royce Morane Cohen-Lamberger David Whitehouse Martin Höhmann* President Stewart McIlwham Dr Catherine C. Høgel Eleanor Bartlett Vice-Chairman TROMBONES PICCOLOS Henry Baldwin* VIOLIN II Mark Templeton PRINCIPAL Vice-President Stewart McIlwham Kate Birchall* Tania Mazzetti PRINCIPAL Chair supported by William & PRINCIPAL David Buckley Chair supported by Countess Alex de Winton Clare Childs David Burke Dominique Loredan David Whitehouse Bruno De Kegel Emma Oldfield Tanya Joseph Helena Smart OBOES BASS TROMBONE Hugh Kluger* Al MacCuish Kate Birchall Tom Blomfield Lyndon Meredith GUEST PRINCIPAL Tania Mazzetti* Nancy Elan PRINCIPAL Stewart McIlwham* Fiona Higham Alice Munday Cristina Rocca Sue Böhling Chair supported by TUBA Andrew Tusa David & Yi Buckley Mark Vines* Lee Tsarmaklis PRINCIPAL Nynke Hijlkema COR ANGLAIS * Player-Director Joseph Maher Sue Böhling PRINCIPAL TIMPANI Ashley Stevens Chair supported by Advisory Council Sioni Williams Dr Barry Grimaldi Simon Carrington Martin Höhmann Chairman PRINCIPAL Robert Adediran Chair supported by Christopher Aldren VIOLAS CLARINETS Victoria Robey OBE Dr Manon Antoniazzi David Quiggle PRINCIPAL Benjamin Mellefont Roger Barron Richard Waters PRINCIPAL Richard Brass CO-PRINCIPAL Thomas Watmough PERCUSSION Helen Brocklebank Simon Callow CBE Ting-Ru Lai Paul Richards Andrew Barclay PRINCIPAL Henry Baldwin Desmond Cecil CMG Katharine Leek Sir Alan Collins KCVO CMG CO-PRINCIPAL Benedetto Pollani EB CLARINET Andrew Davenport Keith Millar Laura Vallejo Thomas Watmough William de Winton Stanislav Popov Jeremy Cornes Guillaume Descottes PRINCIPAL Cameron Doley Alistair Scahill Chair supported by Christopher Fraser OBE Martin Wray Roger Greenwood HARP Lord Hall of Birkenhead CBE Joseph Fisher Rachel Masters PRINCIPAL Jonathan Harris CBE FRICS Marianna Hay MBE BASS CLARINET Amanda Hill CELLI Paul Richards PRINCIPAL PIANO & Rehmet Kassim-Lakha Pei-Jee Ng PRINCIPAL HARPSICHORD Jamie Korner Francis Bucknall Matthew Fletcher Geoff Mann SAXOPHONES Clive Marks OBE FCA Laura Donoghue Martin Robertson Stewart McIlwham David Lale THEORBOS Andrew Neill Elisabeth Wiklander Jamie Njoku-Goodwin BASSOONS Robin Jeffrey Sue Sutherley Lynda Sayce Nadya Powell Jonathan Davies PRINCIPAL Sir Bernard Rix Chair supported by Victoria Robey OBE Sir Simon Robey Baroness Shackleton Thomas Sharpe QC Gareth Newman Julian Simmonds Simon Estell

GLYNDEBOURNE.COM | 5 Programme 1 (ROBIN TICCIATI)

VIOLINS VIOLAS FLUTES CONTRABASSOON The Orchestra of the Age Kati Debretzeni Oliver Wilson Lisa Beznosiuk David Chatterton of Enlightenment are LEADER Annette Isserlis Neil McLaren grateful for the support of their sponsors Deutz Margaret Faultless Kate Heller HORNS Matthew Truscott Champagne, Gramophone Marina Ascherson OBOE Roger Montgomery Rodolfo Richter Magazine and Swan Penny Veryard Daniel Bates Martin Lawrence Andrew Roberts Turton Solicitors. Christopher Beckett Nicholas Benz Julia Kuhn Isaac Shieh Daniel Edgar OBOE + COR Board of Directors: Imogen Overli Chairman Alice Evans CELLOS Adrian Rowlands Andrew Skidmore TRUMPETS Daniel Alexander Henry Tong Steven Devine Debbie Diamond Catherine Rimer Neil Brough Ruth Alford CLARINETS Denys Firth Iona Davies Phillip Bainbridge Adrian Frost Richard Tunnicliffe Katherine Spencer Kinga Ujszaszi Nigel Jones Penny Driver Sarah Thurlow Dominika Feher TROMBONES Max Mandel Nia Lewis Philip Dale David Marks Rebecca Miller Rebecca Livermore DOUBLE BASSES BASSOONS Martyn Sanderson Roger Montgomery Stephen Rouse Christine Sticher Philip Turbett Edward Hilton Andrew Roberts George Clifford Meyrick Alexander Cecelia Bruggemeyer Katharina Spreckelsen Richard Blayden Rebecca Hammond Paul Sherman TIMPANI Matthew Shorter Christopher Rawley Adrian Bending Dr. Susan Tranter Crispin Woodhead

Programme 2 (BERNARD LABADIE)

VIOLINS VIOLAS FLUTES CONTRABASSOON Margaret Faultless John Crockatt Lisa Beznosiuk David Chatterton LEADER Martin Kelly Neil McLaren Huw Daniel Annette Isserlis HORNS Rodolfo Richter Kate Heller OBOES Roger Montgomery Andrew Roberts Marina Ascherson Daniel Bates David Bentley Julia Kuhn Lisa Cochrane Leo Duarte Daniel Edgar Henry Tong TRUMPETS Iona Davies CELLOS CLARINETS David Blackadder Claudia Delago-Norz Jonathan Manson Katherine Spencer Matthew Wells Dominika Feher Andrew Skidmore Sarah Thurlow (+ Helen Verney Nia Lewis basset) TROMBONES Rachel Isserlis Ruth Alford Catherine Rimer Philip Dale Claire Holden BASSET HORNS Hilary Belsey Jane Gordon Fiona Mitchell Adrian France Stephen Rouse DOUBLE BASSES Emily Worthington Jennifer Godson Christine Sticher Cecelia Bruggemeyer TIMPANI Adrian Bending Carina Cosgrave BASSOONS Philip Turbett Sally Jackson

GLYNDEBOURNE.COM | 6 OAE CONCERT 1: BRAHMS 1 27 MAY AND 26 AUGUST Schools of the Romantic Heart

Robin Ticciati conducts the OAE in a programme that balances music by Weber, Berlioz and Wagner with Brahms’ 1st Symphony, a work that Ticciati has made his own. © Zen Grisdale

ORCHESTRA OF THE AGE CARL MARIA VON WEBER Der Freischütz – Overture OF ENLIGHTENMENT Roméo et Juliette, Op 17 – Scène d’amour ROBIN TICCIATI RICHARD WAGNER Wesendonck Lieder Conductor KAREN CARGILL Mezzo-soprano KAREN CARGILL Mezzo-Soprano - INTERVAL - JOHANNES BRAHMS Symphony № 1 in C minor, Op 68 Curtain up: 5.20pm Interval 6.20pm Curtain down 8.50pm

GLYNDEBOURNE.COM | 7 Schools of the Romantic Heart

Programme note by Alexandra Coghlan Wagner – whose Tristan und Isolde returns to the Glyndebourne stage this summer – is the keystone of a concert tracing an intricate web of musical influence from Beethoven and Weber to Berlioz and ultimately Wagner himself.

CARL MARIA VON WEBER: own Roméo et Juliette – the ambitious Der Freischütz – Overture symphonie dramatique for choir and Weber’s Der Freischütz (1821) was the orchestra that attempted to capture turning point in German opera, a work in music all the composer had felt whose influence on both Berlioz and that night in the theatre. Later in his Wagner was profound. The drama of Memoirs, Berlioz would pick out the magic bullets and haunted forests, love-scene as his own favourite among scheming villains and virtuous his works. heroines delighted audiences, but While voices are central to the work, what captured the imagination of the ‘sublimity of this love’ could only composers was a score that steered be expressed wordlessly through the away from Italian opera and pioneered orchestra. And so, in this rapturous a truly German form of musical scene, voices die away and the lovers’ Romanticism. We hear the stirrings of it breathless passion, awkwardness, fears in the atmospheric Overture – not just and desire are all woven through night- a collage of big tunes (though it has time music that veils and conceals as those too) but also a dramatic prelude much as it reveals to our prying ears. to the supernatural and emotional forces to come. RICHARD WAGNER: Wesendonck Lieder HECTOR BERLIOZ: All that is widescreen, epic, public in Roméo et Juliette Op. 17 Tristan und Isolde is echoed in intimate Scène d’amour miniature in Wagner’s rapturous In 1827 the 24-year-old Berlioz attended Wesendonck Lieder. Forced to flee a performance of Roméo and Juliet in Germany after his role in the Dresden Paris. He spoke no English, but was Uprising of 1849, Wagner found safe swept up in the drama. ‘The play of haven in Switzerland where wealthy expression and voice and gesture, silk merchant Otto Wesendock and told me more and gave me a far richer his wife Mathilde offered him both awareness of the ideas and passions of an income and a home on their the original than the words of my pale estate. But proximity to Mathilde and and garbled translation could do.’ creative intoxication with the legend Twelve years later, Wagner sat in the of Tristan and Isolde together fuelled a audience as Berlioz premiered his passionate mutual affection.

GLYNDEBOURNE.COM | 8 Schools of the Romantic Heart continued

Mathilde wrote a set of five poems that his hard-won First Symphony as there Wagner immediately set to music – an is of the composer himself. act of ‘supreme transfiguration and From the glorious horn melody that consecration’. Wagner described two of leads into the hymn-like finale of the them – ‘Im Treibhaus’ and ‘Träume’ – as symphony (sent in a letter to Clara with ‘studies for Tristan und Isolde’. the words ‘High on the mountain, deep The opening song, ‘Der Engel’, is in the valley – I greet you a thousand based on music from Das Rheingold, times’) to the first movement, sent to and its rooted harmonies offer a point Clara before anyone else had heard it, of departure for the chromaticism the composer’s passion – for Clara, for to come. There’s a musical nostalgia nature and life itself – is embedded to this quasi-liturgical setting that right through the work. contemplates both heaven and earth. The shadow of Beethoven and his ‘Stehe still’ pleads urgently with the symphonic legacy weighed heavy ‘rushing wheel of time’ time to stop, on Brahms, and this first foray into while ‘Im Treibhaus’, whose music the genre was over 20 years in the anticipates the Prelude to Act III of making. But the result shows little of Tristan, contemplates the nullity of this struggle. A solemn introduction, existence and isolation. underpinned by resonant timpani- The symbolism of light and darkness strokes, sets us up for the scope explored so minutely in Tristan finds of the work to come. Violence and expression in ‘Schmerzen’ with its music ominous threat surge through this intermingling joy and sorrow, day and first movement, but a radiant chorale night. The cycle ends with ‘Träume’ – a offers hope, looking ahead to the final song Wagner himself thought ‘finer movement. Brahms shows a softer than all I have made’. This ecstatic face in the bittersweet lyricism of anticipation of the Act II love-duet is the Andante, its melting oboe theme heavy with yearning – a desire that can eventually transformed into the closing only truly be fulfilled in oblivion. violin solo. The Allegretto that follows provides a moment of pause, a bucolic intermezzo in which the clarinet leads JOHANNES BRAHMS: Symphony No. 1 in C minor, Op.68 the orchestra into a dance, before the music surges into a finale that returns ‘I wish I could always write to you to the world of the opening. After a from my heart, to tell how deeply I muted introduction, darkness and love you, and can only beg of you to anguish gather and swirl. But just as it believe it without further proof...’ So seems as though despair will overcome, Brahms declared to Clara Schumann – Clara’s horn theme summons hope in wife of his friend and mentor Robert the form of a radiant chorale. A theme Schumann, an unattainable romantic nodding clearly to Beethoven’s Ninth dream. But where Brahms could not Symphony heralds a triumphant speak his love, he could express it in conclusion, blazing with light. music, and there’s as much of Clara in

GLYNDEBOURNE.COM | 9 LPO CONCERT 1: MAHLER 4 10 JUNE AND 15 JUNE Rites of Passage

Robin Ticciati and the London Philharmonic Orchestra present an evening that explores ancient and modern English music before the Glyndebourne premiere of Mahler’s 4th Symphony. © Benjamin Ealovega

LONDON PHILHARMONIC HENRY PURCELL Music for the Funeral of Queen Mary – March ORCHESTRA HARRISON BIRTWISTLE Cortege ROBIN TICCIATI Conductor RALPH VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis ELIZABETH WATTS - INTERVAL - Soprano Symphony № 4 ELIZABETH WATTS Soprano Curtain up: 5.20pm Interval 6.15pm Curtain down 8.55pm

GLYNDEBOURNE.COM | 10 Rites of Passage

Programme note by Alexandra Coghlan

HENRY PURCELL: ten of these players take it in turn to Music for the Funeral of step into the centre and offer up their Queen Mary – March intricate, wild solos, passing the song On 28 December 1694 Queen Mary to another musician before returning II died of smallpox. Her funeral the to their vacated place in the circle. It’s a following March was a magnificent hypnotic visual and sonic ritual, which state occasion, whose solemn spectacle nods both to Christian burial traditions cost a startling £50,000. Laid in state (Birtwistle describes each solo as a in the Banqueting House at Whitehall, ‘flower’ presented by the musicians) the Queen’s cortege processed to and to older Pagan ceremonies, Westminster Abbey to the strains of creating a mesmerising piece of true music by Henry Purcell. musical theatre that both describes and enacts something beyond words. The March that opens the composer’s sequence of Funeral Music is a sombre affair, whose brilliant trumpets are RALPH VAUGHAN WILLIAMS: deliberately dulled by the C minor key. Fantasia on a Theme by Thomas Tallis A stately pace is established in brass Old and new meet once again in and timpani, whose dialogue grows dialogue in Vaughan Williams’ Fantasia from muted melancholy to a full- on a Theme by Thomas Tallis. The act of throated musical shout of grief as the musical homage is embedded in the music repeats and returns. structures and genres of Renaissance Just months later the March would music – from the parody masses that be heard in the Abbey once again – at weave borrowed tunes into their Purcell’s own funeral. polyphony, to the rich seam of ‘In Nomines’ – consort works that all share a single plainchant fragment. HARRISON BIRTWISTLE: In his Fantasia Vaughan Williams Cortege stretches the same tribute over centuries. The same drum that sets the pace for Taking Thomas Tallis’s solemn, modal Purcell’s March turns musical high- melody Why Fum’th in Fight? – one of nine priest in Harrison Birtwistle’s Cortege. Tallis composed for Archbishop Parker’s It’s a piece based on Birtwistle’s earlier psalter in 1567 – Vaughan Williams blurs Ritual Fragment, and that original title its stern outline, softening and bending gives us a crucial clue to this strange it into something both larger and less musical rite in which 14 virtuoso earth-bound. instrumentalists arrange themselves in Intricately layered orchestration – string a silent circle. orchestra, a smaller ensemble of nine Summoned into life by the drum, strings and a solo quartet – doesn’t

GLYNDEBOURNE.COM | 11 Rites of Passage continued

just mirror the call-and-response of The second movement introduces a a cathedral choir in its facing pair of more macabre note into the wholesome stalls, it creates the illusion of haze, a fantasy. A solo violin is tuned up a shimmering halo of sound that seems to tone, leading the orchestra in a pallid, suspend the music in mid-air. Metre that unsettling sort of dance – a fiddler from shifts fluidly between time-signatures beyond the grave whose wiry, spectral adds to this illusion of expansion and music promises to play the listeners compression, generating a sequence ‘up to heaven’, but also contains the of radiant variations on Tallis’s melody implicit threat of hell. that swell organically, imperceptibly out But consolation is at hand in the slow of one another. movement, where we first glimpse the celestial world the symphony GUSTAV MAHLER: is reaching towards. We’re gently Symphony No. 4 enveloped in a radiant, slow-building After the three titanic early theme in the strings, presented over symphonies, Mahler’s Symphony a steady pizzicato heartbeat of a bass No. 4 represents something new. Gone line. The oboe introduces a second, are the vast statements, the battering more melancholy melody – a musical musical force and scope, the tubas foil which alternates with the original and trombones. In their place emerges theme in a sequence of variations that something slighter, fresher, more climax in a blazing moment of brass innocent – a musical journey from earth and timpani, before we find ourselves to heaven, as seen through the eyes of back in the musical world of the start – a child. unsure exactly where we have been. Despite its traditional formal The revelation comes in the final underpinnings, the first movement movement, where the symphony’s seems to unfold in a continuous rush of secret – a song, ‘The Heavenly Life’ – themes, a kaleidoscopic blur compared that has been hidden in the musical by the composer to ‘a dewdrop on detail up until this point, now emerges a flower that, suddenly illuminated clearly, sung in full by a soprano. The by the sun, bursts into a thousand jangling bells and graceful woodwind lights and colours’. Sleigh bells draw all return to embellish this innocent us into a nostalgic wintery landscape, vision of heaven. The child imagines whose snows soon melt, giving way to a blissful life of feasting, dancing and music teeming with birdsong, voiced delight, and the music willingly follows with captivating variety by the large his imagination, soaring upwards into woodwind section. A march is heard E major light, leaving behind both the – the seed for the funeral march that world and the tonality of the start. opens the Fifth Symphony – but here there’s no menace, only the crisp tread of toy soldiers.

GLYNDEBOURNE.COM | 12 LPO CONCERT 2: DVOŘÁK 8 2 JULY Out of Chaos

Robin Ticciati and the London Philharmonic Orchestra present a concert that pairs songs by Mahler and music by French Baroque composer Rebel with Dvořák’s glorious 8th Symphony. James Bellorini Robin Ticciati in rehearsals at Glyndebourne with the LPO, Festival 2021

LONDON PHILHARMONIC JEAN-FÉRY REBEL Les Élémens ORCHESTRA GUSTAV MAHLER Lieder eines fahrenden Gesellen ROBIN TICCIATI JOHANNES KAMMLER Baritone Conductor - INTERVAL - JOHANNES KAMMLER Baritone ONDŘEJ ADÁMEK Sinuous Voices ANTONÍN DVOŘÁK Symphony № 8 in G major, Op 88 Curtain up: 5.20pm Interval 6.30pm Curtain down 9.25pm

GLYNDEBOURNE.COM | 13 Out of Chaos

Programme note by Alexandra Coghlan

JEAN-FÉRY REBEL: Schubert’s hero succumbs to bitterness, Les Élémens desperation and possibly even suicide on his cold, nighttime wanderings, ‘I have risked opening with all the notes Mahler’s young journeyman is travelling sounding together, or rather, all the notes in a spring landscape full of life and in an octave played as a single sound…’ renewal. By the end of the final song The dissonant opening of Rebel’s pain, if not fully abated, seems to have ‘choreographed symphony’ Lés Eleméns ebbed, giving way gradually to the is as arresting as any ever composed: an realisation that, ‘All was well once more’. arm-on-the-keyboard cluster of tones The cycle opens with the hero at odds that comes as close to musical chaos as with his environment. He imagines the French composer dared in 1738. his beloved marrying another man, After this vivid picture of primordial while orchestral interventions insist confusion however, baroque order on breaking into his lament with is soon re-established in a sequence a sprightly little theme. Birdsong contemporaries admired for its briefly distracts the speaker, but soon ‘wisdom, taste and tenderness’ the sadness returns. Walking song combining the traditional French ‘Ging heut’ Morgen’ strides out in a dances – a graceful chaconne, a bucolic surging folksong-like melody, urged rondeau, a strutting loure – with on by rustling, inviting strings. All is programmatic touches suggesting beautiful and blooming; only the lover the different elements. Fire burns cannot share in its joys. (decorously) while birds sing in the Grief turns to violence in the stormy open air and rivulets of water flow. song that follows, pain transformed into a hot knife that cuts deep into the GUSTAV MAHLER: lover’s heart. His emotional ‘death’ is Lieder eines fahrenden Gesellen picked up in the funeral march that Nature – raw and elemental in the opens the final song, but the minor key Rebel – is a more consoling force in is gradually tinged with major, and like Mahler’s orchestral song-cycle Lieder eines the snowy Linden blossom covering fahrenden Gesellen, present in the broad the traveller, it conceals – even if it musical vistas and birdsong of ‘Ging cannot erase – what lies beneath. heut’ Morgen übers feld’ (I went over the fields this morning), and the Linden ONDŘEJ ADÁMEK: tree of ‘Die zwei blauen Augen’ (The two Sinuous Voices blue eyes) where Mahler’s narrator – like Echoing the unearthly sounds that the narrator of Schubert’s Winterreise open the Rebel, Czech composer before him – rests and finds comfort. Ondřej Adámek’s Sinuous Voices also There are many parallels between the grows out of the unfamiliar. Unlike two disappointed lovers, but where the earlier work, however, it refuses to

GLYNDEBOURNE.COM | 14 Out of Chaos continued

leave this sonic no man’s land, using its was determined to produce a piece instrumental forces to generate striking ‘different from the other symphonies, new textures and effects – a cluster of with individual thoughts worked voices and human outpourings without out in a new way.’ This new way was a single singer. noticeably freer, more pictorial than the earlier symphonies, anticipating An ensemble including harp, piano, the tone poems of his later career – bass flute, percussion and strings takes symphonies overflowing with melodic us from a thrumming near-silence invention. As Janáček expressed it, into a frenzied, battering maelstrom ‘You’ve scarcely got to know one figure of sound that reaches a series of before a second one beckons with a convulsive climaxes before we’re friendly nod, so you’re in a state of returned once again to silence. constant but pleasurable excitement.’ It’s an arc full of sensation, translating The symphony opens, unexpectedly, both an old Bohemian prayer and not in the home key of G major but the a New Caledonian lullaby into cooler G minor. A cheeky flute solo soon instrumental writing, amplifying interrupts the sober chorale, and while not only the original melodies and it returns again through the movement, utterances but also their atmosphere, there’s no stopping the giddy acoustic and emotion. The effect is momentum of this Allegro con brio. disorienting, as you struggle to relate sound to its source, but also cathartic – The musical drama continues to pivot a primal, pre-verbal release that sweeps around major and minor in the Adagio you up in its ferocious energy. – a serene, bucolic scene troubled by occasional squalls – a light shower? A gust of wind? – but always returning ANTONÍN DVOŘÁK: Symphony No.8 in to sunshine, glowing in moments of G major, Op. 88 glorious brass intervention. If the Fourth Symphony is Mahler’s There’s a folk-flavoured colour to the ‘Pastoral’, then the Eighth is Dvořák’s third movement – not a scherzo but – a work teeming with new creative a waltzing Allegretto grazioso. Its life and the colours of the Bohemian bittersweet quality is balanced by a countryside. As the composer’s trio drawing on a theme from Dvořák’s biographer Hanz-Hubert Schonzeler comic opera The Stubborn Lovers. writes: ‘When one walks in those forests surrounding Dvořák’s country A trumpet fanfare signals that we’ve home on a sunny summer’s day, with turned for home at the start of the the birds singing and the leaves of trees finale. A warm theme introduced by the rustling in a gentle breeze, one can cellos becomes the germ of the whole virtually hear the music.’ movement, transformed into a series of variations that show off all the colours of With this work – the first symphony Dvořák’s orchestra, before the symphony after a gap of several years – Dvořák closes with an irrepressible coda.

GLYNDEBOURNE.COM | 15 OAE CONCERT 2: MOZART 'JUPITER' 5 AUGUST AND 18 AUGUST Ceremonies and the Quest for Light

The Orchestra of the Age of Enlightenment presents an all-Mozart programme including concert arias and ending with his 41st Symphony, ‘Jupiter’. © Zen Grisdale

ORCHESTRA OF THE AGE OF WOLFGANG AMADEUS MOZART ENLIGHTENMENT Die Zauberflöte – Overture BERNARD LABADIE Vado, ma dove? Oh Dei!, K583 Conductor Misera, dove son!, K369 SIOBHAN STAGG SIOBHAN STAGG Soprano Soprano Symphony № 17 in G major, K129 Bella mia fiamma, addio!, K525 SIOBHAN STAGG Soprano

- INTERVAL - Masonic Funeral Music Symphony № 41 in C major K551, ‘Jupiter’ Curtain up: 5.20pm Interval 6.20pm Curtain down 8.45pm GLYNDEBOURNE.COM | 16 Ceremonies and the Quest for Light

Programme note by Alexandra Coghlan

ALL WORKS BY If Mozart’s offer a measure of the WOLFGANG AMADEUS MOZART composer’s evolving genius, then his Die Zauberflöte – Overture concert and insertion arias provide an Masonic Funeral March even more vivid picture of the practical realities of life as a jobbing 18th-century Light and darkness are the two duelling composer. Requests from patrons or forces running through this all-Mozart particular singers, arias produced for concert. It’s an opposition felt keenly salon recital or to embellish an opera by in this contrasting pair of orchestral a rival – the contexts are as varied as the works. While the Overture to Mozart’s pieces themselves. Die ZauberflÖte blazes with energy from its arresting opening chords, through Premiered in the same year as Le nozze the fizzing Allegro and the radiant, di Figaro, Martin y Soler’s opera Il mathematical order of a fugue, the burbero di buon core (The Kind-Hearted composer’s Masonic Funeral March is Curmudgeon) may have disappeared an altogether darker work – relishing from the repertoire, but the additional the evocative gloom of its unusual aria Mozart composed for its revival instrumental forces. remains. ‘Vado, ma Dove?’ takes Lorenzo da Ponte’s text – the confusion of a woman unsure whether to follow her Freemasonry is the thread uniting heart or not – and gives it a quietly two pieces that both owe much to the tragic dignity in striking contrast to its brotherhood of which Mozart was essentially comic musical surroundings. a prominent member. The order’s The early ‘Misera! Dove son’ was symbolism is embedded throughout composed for the Countess Josepha Die ZauberflÖte, heard here in the von Paumgarten – a 19-year-old insistence on the significant number amateur singer, whose skills must three – emphasised in the Eb major key have been impressive if this elegant signature and the opening chords. While aria is anything to go by. Borrowing the Funeral Music, composed after the text from Metastasio’s Ezio, the aria deaths of two of his lodge brothers, sees introduces us to Fulvia who believes the composer at his most dignified and that her lover has been murdered with sombre. Basset-horns and a throaty the collusion of her father. The tone of contra-bassoon add a cavernous depth to both recitative and aria is anguished the march, chorale and consoling finale but always controlled – we feel Fulvia’s of this elegant miniature. desperation, but also her sense of duty and propriety even in extremis. Vado, ma Dove? Oh Dei! K583 While composing and premiering Misera, dove son! K369 Don Giovanni in Prague, Mozart stayed Bella mia fiamma, addio! K525 with friends Frnaz Xaver and Josepha Duschek. As a parting gift for his hostess

GLYNDEBOURNE.COM | 17 Ceremonies and the Quest for Light continued

he composed ‘Bella fiamma, addio!’ A glance at the C major key signature – a recitative and aria that share the might suggest an uncomplicatedly opera’s chromatic intensity. Titano loves sunny work. But the reality is far from Proserpina, but her goddess mother it. The symphony’s first four bars, with Ceres orders Titano’s death. The hero their contrasting military and gently laments his fate with dignity that always coaxing themes serve as a microcosm for threatens to spill over into despair. a work that embraces as much breadth and depth and contradiction as possible in its broad and powerful reach. Not Symphony No.17 in G major K129 for nothing did 19th-century listeners 16 years and a world of experience divide nickname the work ‘Jupiter’. Mozart’s Symphonies No. 16 and 41. The The heroism of the brisk opening Allegro G major Symphony No. 16 was one of is tempered (not to say punctured) by a three he composed during a short span second subject taken from a pre-existing in 1772, aged just 16. Newly returned from comic aria by Mozart – just when you an Italian tour, with the opera Mitridate, think you have the measure of this music re di Ponto under his belt, he turned his it wrong-foots you. The slow movement attention once again to orchestral music. is also surprising – an orchestral song Scored for pairs of oboes, horns and of startling ambiguity and range. The strings, the symphony is a graceful, Minuet that follows sees the baroque classical affair. A forthright opening ballroom invaded by a turbulent theme is answered by a gentler motif in Romantic spirit, dance often forgotten the violins. The contrast between the or briefly abandoned when emotions two animates the concise Allegro. The C become overpowering. major slow movement is song-like and It’s a precursor to the final movement, self-consciously simple, while the final where Mozart lands his most movement is propelled by the horns, who devastating blow on his predecessors. introduce a rollicking hunting theme, Baroque counterpoint offers what which canters along pleasingly, often seems at first like a dignified, self- pursued by flurries of strings. consciously ‘learned’ framework for a movement that proceeds at once Symphony No. 41 in C major to subvert and out-do tradition in K551 – ‘Jupiter’ in its monumental complexity and throwaway bravura, climaxing in a coda But if the G major symphony fulfils combining no fewer than five motifs in all classical expectations of structure dazzling musical unity. and balance, Mozart’s final example of the genre throws them once again into question.

GLYNDEBOURNE.COM | 18 Biographies © Nadine Boyd © Besim Mazhiqi Rivard © Francois Karen Cargill Johannes Kammler Bernard Labadie Mezzo-Soprano Baritone Conductor

Previously for Glyndebourne Glyndebourne debut Glyndebourne debut Geneviève/Pelléas et Mélisande (GF); LPO Recent engagements Recent engagements Garden Concert (summer 2020) Guglielmo/Così fan tutte (COC); Bregenz Così fan tutte (COC); L’Orfeo (EIF); Recent engagements Festival Philadelphia Orchestra; Montreal Judith/Bluebeard’s Castle (ON; SO; LSO); Symphony; Orchestre National de Future engagements Fricka/Die Walküre (EIF); Mère Marie/ Bordeaux-Aquitaine; Orchestre National de Salzburg; Future assignments at Stuttgart Dialogues des Carmélites (Met); Waltraute/ Lyon; Orchestre Philharmonique de Radio include his role debut as Ford/Falstaff, Götterdämmerung (ROH); Brangäne/Tristan France; Rundfunk Sinfonieorchester Berlin Figaro/Il barbiere di Siviglia; Recitals und Isolde (Montpellier) (Wigmore Hall); Orff’s Carmina Burana, Forthcoming engagements Future engagements Mendelssohn’s Walpurgisnacht (Duisburg Chicago Symphony; Cleveland Orchestra; Brangäne/Tristan und Isolde (DSO-Berlin); Philharmonic) Dallas Symphony; New World Symphony; Mahler’s Kindertotenlieder (Orchestre Orchestre Philharmonique de Monte-Carlo; Born in Augsburg, Germany, he received Symphonique de Montréal); Mahler’s National Arts Centre Orchestra (Ottawa) his first musical training from Augsburg Symphony No 2 (Orquesta y Coro Cathedral Choir and later studied singing Born in Québec, he is an internationally Nacionales de España; Philharmonia); in Freiburg im Breisgau, Toronto and recognised specialist in 17th, 18th and early Judith/Bluebeard’s Castle (DSO-Berlin); at GSMD. He spent several years as a 19th century repertoire. He is the Founding Fricka/Das Rheingold (Rotterdam member of Bayerische Staatsoper’s Opera Conductor of Les Violons du Roy where Philharmonic) Studio and was subsequently taken on by he was Music Director from 1984 to 2014 The 2002 winner of the Kathleen Ferrier its ensemble, and has been a member of and is founder and Music Director of La Award studied at RCS, the University of Staatsoper Stuttgart ensemble since 2018, Chapelle de Québec. Since 2018 he has Toronto and NOS in London. She regularly performing roles including Malatesta/ been Principal Conductor of the Orchestra sings with the Boston, Chicago and London Don Pasquale, Guglielmo/Così fan tutte, of St Luke’s in New York, with whom he Symphony, Berlin, Rotterdam and London Marcello/La bohème and Papageno/Die presented the inaugural New York Bach Philharmonic, Cleveland, Philadelphia Zauberflöte. A finalist and winner of the Festival in 2019. Formerly Artistic Director and Royal Concertgebouw orchestras and Neue Stimmen and Operalia international of Opéra de Québec and Opéra de Montréal, the Dresden Staatskapelle. She has worked singing competitions, he also gives he has conducted at the Canadian Opera with conductors such as Donald Runnicles, recitals with his wife, the soprano Anna Company, Met, Cincinnati Opera, Santa Yannick Nézet-Séguin, Sir , El-Khashem. Fe Opera and Glimmerglass Opera. He Esa-Pekka Salonen and Robin Ticciati. Her has received Paris’s Samuel de Champlain opera highlights have included appearances award and the Canadian government’s at ROH, Met and Berlin. Officer of the Order of Canada, and his home province named him Chevalier de l’Ordre national du Québec. The most recent addition to his extensive discography is Telemann’s Miriways with KEY Montpellier Opéra national de Montpellier Berlin Deutsche Oper Berlin Munich Bayerische Staatsoper, Munich the Akademie für Alte Musik Berlin for Chicago Lyric Opera of Chicago NOS National Opera Studio, London Pentatone, released in 2020. COC Canadian Opera Company OAE Orchestra of the Age of Enlightenment DSO-Berlin Deutsches Symphonie-Orchester, Berlin ON Opera North EIF Edinburgh International Festival Opéra ENO -Comique Théâtre national de GF Glyndebourne Festival l’Opéra-Comique, Paris GSMD Guildhall School of Music and Drama RAM Royal Academy of Music, London GT Glyndebourne Tour RCS Royal Conservatoire of Scotland Hamburg Staatsoper Hamburg ROH Royal Opera House, London LPO London Philharmonic Orchestra SO Scottish Opera LSO London Symphony Orchestra Zürich Opernhaus Zürich Met , New York

GLYNDEBOURNE.COM | 19 Biographies © Todd Rosenberg © Todd © Giorgia Bertazzi Borggreve © Marco Siobhan Stagg Robin Ticciati Elizabeth Watts Soprano Conductor Soprano

Glyndebourne debut Robin will conduct Káťa Kabanová and Previously for Glyndebourne Tristan und Isolde during Festival 2021 Almirena/Rinaldo (GT) Recent engagements Pamina/Die Zauberflöte (ROH); Title Previously for Glyndebourne Recent engagements role/Cendrillon (Chicago); Sophie/Der In the Market for Love (autumn 2020); Pelléas Iphigenie/Iphigénie en Tauride (Orquesta y Rosenkavalier (Zürich); Gilda/Rigoletto et Mélisande, Der Rosenkavalier, La clemenza di Coro Nacionales de España); Countess/ (Hamburg); Gilda/Rigoletto, Pamina/ Tito, L’heure espagnole, L’enfant et les sortilèges, The Marriage of Figaro (ENO); Donna Elvira/ Die Zauberflöte, Sophie/Der Rosenkavalier, Die Entführung aus dem Serail, La finta Don Giovanni (WNO); Amanda/Le Grand Tytania/A Midsummer Night’s Dream giardiniera, Le nozze di Figaro, Don Giovanni, Macabre (LSO, NDR Elbphilharmonie (Berlin); Mélisande/Pelléas et Mélisande Così fan tutte, , Rusalka Orchester); Mahler’s Symphony No 4 (Opéra de Dijon); Naiad/Ariadne auf Naxos (GF); Jenůfa, Macbeth, Die Fledermaus (GT); (Orchestre National de Lille); Elgar’s The (Munich) Hänsel und Gretel (GF, GT) Apostles (LPO); Handel’s Messiah (Handel and Haydn Society, Boston) Future engagements Recent engagements Mozart’s Mass in C minor (Staatskapelle Budapest Festival Orchestra; Chamber Future engagements Berlin); Brett Dean’s In This Brief Moment: An Orchestra of Europe; DSO-Berlin; LPO; Recital (EIF); Mozart arias (Philharmonia Evolution Cantata world premiere (Orchestre Symphonieorchester des Bayerischen Baroque Orchestra, San Francisco); Bach’s national de Lyon); Mozart’s Requiem Rundfunks St Matthew Passion (Antwerp Symphony (Sydney Symphony Orchestra); Sophie/Der Orchestra); Beethoven’s Symphony No 9, Future engagements Rosenkavalier (Staatsoper Berlin); Leonore/ Mahler’s Symphony No 2 (RPO) Chamber Orchestra of Europe; DSO-Berlin; Fidelio (Opéra-Comique); Elettra/Idomeneo LPO; Symphonieorchester des Bayerischen She was a chorister at Norwich Cathedral (Aix); return to ROH and Zürich Rundfunks; OAE; Wiener Philharmoniker/ and studied archaeology at Sheffield After graduating from the University of Salzburg Mozartwoche University before studying at RCM. She Melbourne, she began her career in the was made an Honorary Doctor of Music Born in London, he is a violinist, pianist Salzburger Festspiele’s Young Singer Project by Sheffield in 2013 and became a Fellow and percussionist by training. He was a and as a soloist at Deutsche Oper Berlin. She of the RCM in 2017. Her most recent member of the National Youth Orchestra joined the board of directors at the Melba recording is a highly-acclaimed CD of of Great Britain when, aged 15, he turned Opera Trust in November 2020, their first Handel’s Brockes Passion with the Academy to conducting under the guidance of Sir scholarship alumna to be appointed, and of Ancient Music. and Sir Simon Rattle. He was the first international director. recently appointed ‘Sir Colin Davis Fellow of Conducting’ by RAM. He has been Music Director of the Deutsches Symphonie- Orchester Berlin since 2017 and Music Director of the Glyndebourne Festival since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009 to 2018. His highly acclaimed discography includes Berlioz with the Swedish Radio Symphony Orchestra; Haydn, Schumann, Berlioz and Brahms with the SCO; and Dvořák, Bruckner and Brahms with the Bamberg Symphony Orchestra. His latest recordings with DSO-Berlin feature works by Debussy and Duruflé and the violin concertos of Beethoven and Sibelius.

Robin Ticciati is supported by Louise and Donald MacDonald.

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