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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 ROBIN TICCIATI Conductor ROBIN TICCIATI Conductor KAREN CARGILL 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 Design Fenton+Partners 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 opera 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 programme Ceremonies 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 Vladimir Jurowski 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
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