Respighi, Berlioz, Vaughan Williams, and the world première of Michael Pringsheim’s Eichendorff Liederkreis

Four passionate song cycles at Cadogan Hall

CyclesTuesday 16th September 7.30pm 

London Lyric Cycles at Cadogan Hall Tuesday 16 September at 7.30pm

Madeleine Lovell: Conductor St George’s Chamber Orchestra Katherine Broderick: Julietta Demetriades: Soprano Anando Mukerjee: James Hancock:

Programme: Mendelssohn: Die schöne Melusine , op. 32 Respighi: Deità silvane, P.147 Berlioz: Les nuits d’été, Op.7 Michael Pringsheim: Eichendorff Liederkreis (world première) Ravel: Pavane pour une infante défunte Vaughan Williams: Songs of Travel (orch. RVW and Roy Douglas)

Sponsored by Wardour Lyric Opera  

A message from our Patron by Isla Baring

Welcome to London Lyric Opera’s Cycles. Our next concert is Richard Wagner’s I would like to personally thank the The idea for tonight’s concert came from masterpiece, The flying Dutchman, at the following for their contributions: Madeleine Michael Pringsheim, composer of the Barbican on Thursday 27th November at Lovell, for her informative notes on the Eichendorff Liederkreis. As he says later in 7.00pm. Our principal conductor, one of music; Dr Leo Mellor for his fascinating this programme, he was inspired to write the UK’s most distinguished Wagnerians, exploration of the poetry that inspired his music by the works for soprano and Lionel Friend, will conduct the Royal tonight’s composers; David Cairns CBE, We orchestra written by Richard Strauss. His Philharmonic Orchestra, the Philharmonia a world authority on Berlioz, for his article muse has been the young Greek soprano Chorus of 100 voices and a stunning cast about Les nuits d’été; Dr William Wootten Julietta Demetriades, who will be singing of international soloists including the rising for his engaging article about the Songs celebrate tonight, and of course the Eichendorff star soprano Gweneth-Ann Jeffers making of Travel and Michael Pringsheim for poems. To complement the world première her role debut as Senta, James Hancock his delightful note about his work and of his new cycle, we will explore the rich singing the Holländer and Jeffrey Lloyd- life. Renowned critic and broadcaster, Romanticism of Berlioz’s Les nuits d’été, Roberts as the spurned lover, Erik. Uncut John Amis will entertain you before the life through the mystical sincerity of Vaughan Williams’ and in the original keys, this is a must-see performance with a pre-performance Songs of Travel and the evanescent for any admirer of this great composer. talk that should put you in the mood for colours of Respighi’s Deità silvane. On February 17th 2009, LLO is back at an evening of orchestral song. music Conducted by the brilliant Madeleine Cadogan Hall performing Beethoven’s We have almost finished our planning Lovell, with the St George’s Chamber Fidelio. Starring critically acclaimed for the 2009/10 season. To be kept Orchestra, the programme is completed dramatic soprano Elizabeth Connell as up to date with future events, please with two purely orchestral narratives – Leonore and Jeffrey Lloyd-Roberts as send your contact details to info@ Mendelssohn’s evocation of the legendary Florestan, this performance promises to londonlyricopera.com and we will happily Melusine and Ravel’s Pavane. be an unforgettable evening. Madeleine keep you informed. Lovell will return to conduct the RPO and We have been fortunate to find four singers Philharmonia Chorus. I hope you enjoy tonight’s who can share these great works with you. performance and look forward to Anando Mukerjee, tenor, will be singing It is my pleasure to be Patron of London seeing you at The flying Dutchman at the rarely performed Deità silvane by Lyric Opera in this its first year. It is an the Barbican. Ottorino Respighi; Kathleen Ferrier Award exciting time for us all but impossible winner, Katherine Broderick, soprano, without your support. Opera is an will present Berlioz’s Les nuits d’été and expensive and labour intensive business. James Hancock, baritone, sings Vaughan LLO has various levels of sponsorship William’s Songs of Travel. This being the available plus a Friends scheme that offers 50th anniversary of the passing of this great an opportunity for individuals to contribute Isla Baring English composer, we celebrate his life and to our work. More information about this Patron works through his music. can be found later in this programme. I London Lyric Opera would like to make special mention here of LLO is a new concert opera company Wardour , one of our key sponsors. Led by performing at Cadogan Hall and the CEO Martin MacConnol, Wardour’s Design Barbican. Our focus is the under- Director, Lisa Cromer and her brilliant team performed German and English repertory of designers have been instrumental in and we will produce an annual concert getting LLO here tonight. dedicated to orchestral song. Our commitment to you, our audience, is that we will never offer reduced orchestrations and will always aim for the highest possible musical standards. London Lyric Opera  ESSAY 

Music and Stories by Madeleine Lovell

Felix Mendelssohn (1809-1847) opening passage is the embodiment of quickly as the text’s images change – the Hector Berlioz (1803-1869) Overture Die schöne Melusine (1834) calm waters – in constant motion and yet murmuring of the rivers, the irresistible Les nuits d’été, Op.7 (1840-41, static – and it provides the perfect foil for energy of the fauns, the lascivious zephyrs orchestrated 1843-56) The overture Die schöne Melusine (The the dramatic, pulsating second section. – so Respighi responds in his setting. i Villanelle Beautiful Melusine) has a significant The prevailing musical motive, however, ii Le spectre de la rose position in Mendelssohn’s compositional is a tightly dotted pentatonic figure – a iii Sur les lagunes: Lamento development: it is his last major example Ottorino Respighi (1879-1936) nod to the musical antiquity of the French iv Absence of an instrumental work inspired by a Deità silvane (1917, orchestrated 1925) Baroque, and a fitting accompaniment for v Au cimetière story or programme. The lukewarm critical I fauni this classical tableau. The fauns’ jesting vi L’île inconnue response to Melusine, reinforced by the Musica in horto pursuit and the ’ escape is expertly ambivalent reaction of Felix’s sister Fanny, Egle constructed with the accelerating dotted Les nuits d’été began life in 1840-41 as perhaps convinced Mendelssohn to Acqua motive breaking into a gallop, propelling a cycle for voice and piano. The poems turn to other areas of composition. The Crepuscolo the song to its ecstatic climax. are from a collection of 1838 by Berlioz’s composer’s frustration with the overture’s friend and fellow critic Théophile Gautier cool reception was surely heightened by Best known for his Roman trilogy of The sound of clashing finger cymbals (one is (1811-72) titled La Comédie de la mort. his own knowledge that it was one of his orchestral works, Ottorino Respighi was a reminded here of the cymbales antiques of From the poésies diverses in the second finest works, every bit the equal of his musician and scholar of wide interests and another Arcadian work – Debussy’s Prélude half of the volume Berlioz selected six earlier masterpiece, the Hebrides Overture. impressive training. He began his studies à l’après-midi d’un faune) permeates poems for setting to music, giving the with the violin and in his native Musica in horto. While in Egle the ’s collection his own title, Summer Nights. The original French legend tells of Bologna under the tutelage of Federico languid steps are conjured in exquisite sound We don’t know why he composed them Melusine, the daughter of a , who Sarti, but composition soon became a with a sinuous waltz melody played by . or for whom – evidently they weren’t marries Raymondin on the condition that vital channel for Respighi’s artistry. Having The continual motion of the water is evoked written on commission or for any specific he never look at her on Saturdays, for completed his studies in 1899, he went in Acqua by means of a rocking ostinato occasion. Unlike Berlioz’s best-known and it is on this day each week that she is the following year to St. Petersburg as scored initially for the xylophone and horn most characteristic compositions, these transformed into a from the hips principal viola player at the Imperial opera. – an inspired coupling. are private, even personal works, and down. Eventually Raymondin succumbs It was in Russia, where he spent the he seemed reluctant to put them in the to curiosity and breaks his promise. seasons of 1901-1902 and 1903-1904, It is only in Crepuscolo that the cyclical public spotlight. On seeing Melusine transformed into a that he took lessons in composition and nature of Deità silvane is fully revealed. The serpent, she disappears for ever. orchestration from Rimsky-Korsakov. In sombre twilight is conveyed by a slowly It was for his mistress, Marie Recio, that spite of Respighi’s growing reputation as shifting opening in the extraordinarily dark Berlioz first orchestrated one of the Gautier The version which inspired Mendelssohn’s a performer he maintained his interest in key of E flat minor. At the discovery of songs, Absence, which she introduced overture, an operatic setting by Conradin earlier music and in composition. the slumbering Pan, however, the fauns’ in Dresden in February 1843 while the Kreutzer which Felix saw (and hated) in neo-classical dotted motive returns, and as couple were engaged in a grand concert 1833, portrays Melusine as more As a musicologist with a keen interest thoughts turn to the nymph who might one tour. In 1856, just before undertaking Les than serpentine. It is easy to see how in early music, it is hardly surprising that day chance upon him we hear Aegle’s waltz. Troyens, his operatic retelling of Virgil’s the young composer, who had already Respighi was drawn to Rubino’s Arcadian The opening material re-enters after the Aeneid, Berlioz orchestrated the remaining displayed his talent for writing water music verse, and Deità silvane bears all the rhetorical outburst of ‘Deità della terra’ and five songs ofLes nuits d’été for publication in works such as the Hebrides and Calm marks of the composer’s maturity – a it seems that all is done with this classical that year in Switzerland. They were never Sea and Prosperous Voyage , richly allusive musical language showing world - that fount of life has dried up for performed as a set during his lifetime, and seized on another such opportunity. neo-classical influence and orchestration ever. Respighi, however, allows us one last he heard only the second and fourth songs of great delicacy and colour. glimpse, closing the song and the cycle with sung with orchestra. The peaceful waterscape of the overture’s a musical recollection of the fauns. opening recalls a great river (the Rhine, I fauni begins with a playful Berlioz framed the four central, serious perhaps?) rather than the ocean. Two extemporisation above the drone of songs of Les nuits d’été with two introduce the water motif, a bucolic pipes. This Puckish melody energetic, sunny ones. The composer gently undulating figure, which swells into captures immediately the merry Arcadian calls for a chamber orchestra, and he uses melody accompanied by and scene – the happy shriek of fifes, the fauns it with exquisite subtlety and restraint. horns, and counterpointed by the water chasing with horns erect, ready to ambush Villanelle is apparently just a simple motif in the flute and strings. This F major the none-too-unwilling nymphs. Just as strophic setting, and yet Berlioz gives London Lyric Opera  ESSAY 

Music and Stories by Madeleine Lovell it depth and interest by changing the Richard Strauss’ and Mahler’s settings for Ralph Vaughan Williams (1872-1958) skilful use of harmonies: the equanimity harmonies and the orchestration for each this combination. I was given by a friend a Songs of Travel (1901-04, orchestrated of the G major opening is drawn by the verse. The second song, Le spectre de book of Eichendorff’s deeply romantic 1905/1962 RVW/Roy Douglas) light of ‘golden pavilions’ towards la rose is more complex, beginning with a poems which often contain an element of the danger of E flat minor. Lascivious sumptuous melody that changes character nostalgia which I seem to have identified The Vagabond triplets lure the traveller – ‘thick as stars at as it goes, breaking into recitative at one with myself. Now was the moment to put Let Beauty Awake night when the moon is down pleasures point, and later soaring in a thrilling climax some selected poems to music. Whilst The Roadside Fire assail him’ – before a musical memory before the most intimate of endings. avoiding both any direct derivation from Youth and Love of the fanfare strengthens his Strauss or Mahler and any attempt to In Dreams resolve. It is not without regret, though, Sur les lagunes over rising and falling modernize, I have simply written music in The Infinite Shining Heavens that he bids farewell to love, as the musical semitones that suggest a gondola rocking a late classical style and from my heart.” Whither Must I Wander setting recollects the innocent days of The on the waves, is built around a desperate Michael Pringsheim Bright is the Ring of Words Roadside Fire. refrain. Berlioz leaves the song unanswered, London August 2008 I Have Trod the Upward and the ending with a dominant chord that never Downward Slope The desolation of the bare repeated note resolves. It is the very simplicity of Absence, at the start of In Dreams immediately with its slowly changing orchestral chords Maurice Ravel (1875-1937) The Songs of Travel, written between 1901 conveys the sense of loss occasioned and its repeated plea – come back – that Pavane pour une infante défunte (1899, and 1904, represent Vaughan Williams’ by the traveller’s decision to move on. makes it so tender and powerful. Au orchestrated 1910) first major foray into song-writing. Drawn Agonised chromatic harmonies give us cimetière moves even deeper into despair, from a volume of Robert Louis Stevenson a sense of the personal cost of love’s with its numb, pulsing accompaniment, Pavane pour une infante défunte (Pavane poems of the same name, the cycle sacrifice. The hymn-like quality ofThe and the ghostly shiver of strings as memory for a Dead Princess) was commissioned offers a quintessentially British take on Infinite Shining Heavens, again with the brushes past. The playful questioning of of the 24-year-old Ravel in 1899 as a the ‘wayfarer cycle’. Originally written spread chords of the journeyman’s lyre, L’île inconnue comes as welcome relief, somewhat whimsical salon piece for piano. for voice and piano, Vaughan Williams suggests the consolation of faith. The even if the poet can’t suggest where love Ricardo Viñes premiered the work to much orchestrated the first, third, and eighth transformative moment – ‘Till lo! I looked will last forever. acclaim in 1902. The composer was rather songs in 1905, while his assistant, Roy in the dusk and a star had come down to bewildered by the work’s popularity, but Douglas, orchestrated the remaining songs me’ – is expressed in such breath-taking Interval nonetheless orchestrated it in 1910, to in 1962 using the same instrumentation. harmonies that it seems one will never even greater success. The songs made a strong impression on be the same again, an impression only Michael Pringsheim (1931) contemporary audiences, and marked heightened by the close of the song in a Eichendorff Liederkreis (2005) A pavane is a slow processional dance a new path in English song, away from foreign key. The folk-song inspired Whither Mondnacht from Padua (Pava is a dialect name for the parlour ditty and towards a greater Must I Wander? predates the others in Heimweh Padua). According to an old Spanish seriousness and sophistication. the cycle, yet its placement here perfectly Nachts tradition, however, it was performed in suggests a move away from desperate Es zog eine Hochzeit den Berg entlang church as a stylish gesture of farewell to The Vagabond sets the scene with a isolationism towards the acceptance of In der Fremde the dead. As to the identity of the dead marching motive overlaid with an echo of a others, of traditions, and of one’s place in princess, Ravel finally admitted he picked trumpet fanfare – this traveller is not setting (God’s) universe. This theme continues in “At the age of 15 I remember doodling on the title because he liked the sound of the off for a gentle ramble in the countryside, Bright is the Ring of Words, whose bold my parents’ Steinway inventing tunes words ‘infante défunte’. Indeed, Ravel later but rather steeling himself for a battle opening is gently replaced by the traveller’s and harmonies, to the annoyance of my said that the work represented ‘a pavane against nature and his own conflicting lyre. I Have Trod the Upward and the father who was doing some serious that a little princess might, in former times, desires. No greater contrast could be Downward Slope was the last addition work in the same room and was more or have danced at the Spanish court’. found than in Let Beauty Awake, with its to the cycle, and recalls several musical less telling me I was wasting my time. lyre-like accompaniment suggesting the themes from earlier songs. The becalmed My ideas never came to anything until most delicate of serenades. A childlike trumpet fanfares at the opening suggest now, many years later, when I developed enthusiasm for life is evoked by the barely a very different man from the one who a predilection for the late classical and contained energy of The Roadside Fire started out on the journey. Most poignant romantic period and recently have felt that – the stern, almost military parading of The of all is the final recollection of Bright is the the medium of soprano with orchestra Vagabond has been transformed into a Ring of Words: the traveller may pass on represents ultimate beauty. This reached giddy trot. The temptations of Youth and but ‘the maid remembers’. a climax when I became acquainted with Love are evoked by Vaughan Williams’ London Lyric Opera 10 ESSAY 11

Poems that return by Leo Mellor

The four song cycles that you will hear Nature’s indifference – and, hence, human ‘Crepuscolo’ it is easy to see how the tonight come from four different composers mortality – provides a pivot for much of the pantheistic, pre-Christian world rules here. A form which – and each draws on the writings of a very bleakness and beauty in these works, with For this poem is offered to the sleeping different poet. What unifies them is the the recognition inspiring both lyric flight or form of the god Pan who might be stirred form of the song cycle, a form which both introspective acceptance. by a ‘a gentle song’. But that day has both limits limits and forces expression to the highest not yet arrived, and so comes the dying degree. For such a structure pushes poems Finally all the works engage with the idea fall, the melancholia that nature releases: to not only be accompanied or counter- of return: what repetition can be found ‘Twilight’ ends with the music from both and forces pointed by music – but also by each other in phrase or image to bring an ending. landscape and nymph falling away, it in the sequence, with such transitions and Such finality can come through diurnal ‘trembles and saddens’ as the shadows juxtapositions unsettling or deepening inevitability as dusk falls, or by the breeze that have stalked the cycle from the start expression to possible meanings. But beyond conceptual that is both everywhere and nowhere, or ‘descend from the mountains’. matters three practical reasons unify the – indeed – by death. Yet all such forms of the highest poems that make up these different cycles. closure involve the sound of recognition, In Berlioz’s Les nuits d’été (Summer Firstly – all take the idea of a journey and and indeed the poems chosen are so Nights), which uses the poems of re-shape it. This is itself not unexpected: constellated that a thematic or lexical Théophile Gautier, a rather different degree the journey as an organising idea of the curve back is concealed in every case. symbolic system is evoked through song cycle is a commonplace – most Moreover this brings the revelation that the grasping flowers and thoughts. For here famously in Winterreise. But tonight while place or state arrived at is both startlingly the human, and a doomed relationship, travel is inescapable in all four works, the new and already deep in the memory. T.S. is to the fore – and while the natural journeys are of very different kinds. Some Eliot captures this sublimely at the close world surrounds the drama it cannot are literal and are undertaken down dusty of Four Quartets where after all ‘exploring’ give comfort or hope for renewal. The lanes or through verdant woods; but some our role ‘will be to arrive where we started cycle moves from the strolling Springtime may be mental, involving a descent into / And know the place for the first time’. passeggiata of ‘Villanelle’ (but even here equally grimy or grassy corners of the mind. the hope is to ‘cull’ the primrose), through Perhaps most interestingly is how one form In Deità silvane by Respighi the journey to ‘Le spectre de la rose’ where the poems used here – by Joseph Freiherr von of perambulation provokes and entices is through a landscape of bucolic high- eponymous flower connects to that which Eichendorff and most famously previously another, the beat of the feet unravelling the summer lushness in both woods and has been lost, to the gothic close of ‘Au adapted by Schumann – have an a-b-a-b hidden pains, pleasures or conundrums. flowers, with a rampant adjectival frenzy cimetière’ which bleeds all colours out to end-rhymed regularity and are filled with For as Jean-Jacques Rosseau wrote in his needed to describe it. Moreover Rubino’s the symbolic order of the ‘black mantle’ of such simple objects that the expectation is Confessions: ‘I can only meditate when I poems are alive with mythical creatures night, the ‘pale dove’ and, overshadowing for folk-wisdom or reassurance. But here am walking. When I stop I cease to think; and flickering with sensual forces: the all, the yew tree. Even the final poem ‘L’ile again a passionately pantheistic world is my mind only works with my legs.’ nymphs gambol, the water sparkles, and inconnue’ cannot transform the fate of the full of life – such as when in ‘Mondnacht’ ‘raw rapture’ holds the scene. It is also a couple. The bejewelled nature of a boat of the moon is found kissing the earth; yet Secondly – comes the matter of Nature, landscape animated by music, produced love, wrought from ivory, silk and gold (and now, unlike in the Respighi, such spirits or rather the various attempts to go by instruments – from the bagpipes of ‘I crewed by a tractable Seraph) impresses, make the human observer aware of beyond description and draw meanings fauni’ to the finger-cymbals of ‘Musica but it can only presage departure to pick his own transience and insignificance. from the natural world. This happens in horto’ – but also by the more blossom - ‘to gather the flower of the The journey is then taken through the in the enticing luxuriance of Antonio sounds of wind and water being read snow’ - far over the sea. acknowledgement of such a fate, shaded Rubino’s fields – ‘shimmering in daisy and as musical: ‘water play on your mellow by the ‘forest-shadows’ that loom. By the sapphire’ – but also in the melancholic flute’. Yet despite the apparent abundance The landscape traversed in Michael final poem – ‘In der fremde’ – this sadness vista of ‘Sur les lagunes’ where the only something lurks with menace: the nymphs Pringsheim’s Liederkreis is much wilder; has become more and more pronounced, thought induced is that of loss, and how are chased by the fauns and Aegle dances the cycle strides through a map or culminating in the Thanatos when ‘forest- loss could be narrated. The natural here with ‘languid step’. And the ‘brooding compendium of German Romanticism as loneliness’ brings the plea: ‘how soon, ah, can be a way towards the sublime, the shadows’ are continually looming in it draws from a specific mythical range: how soon will that quiet time come’. fecund, the desolate and – perhaps most every one of these meadows. So after the moonlight, the woods, the hunter, the The concluding cycle, Vaughan Williams’ importantly – the unrelentingly amoral: the an apostrophe in earlier poems to the bells, the birds. In the echoes come faint Songs of Travel, shows how a bricolage wind may blow cold but does so without nymphs and to the water, the supplicant visions of Caspar David Friedrich’s work of very different poems when placed love or hate. An acknowledgement of intensity increases and in the twilight of – or indeed Grimm’s Tales. Moreover the together can illustrate a passage through London Lyric Opera 12 BIOGRAPHIES 13

Poems that return Biographies by Leo Mellor

exquisite pain; not even so much by what is dead / And the maker buried’ the hope Michael Pringsheim they contain but by the breaks between is of the song’s afterlife and endurance them. This lacerating emotional realm – and the unlimited, unceasing journeys to Composer is traversed as Vaughan Williams takes come: ‘on wings they are carried’. Against nine poems by Robert Louis Stevenson such uncageable hopes the clear-eyed and fits them together to offer a journey mortal finality of ‘I have trod the upward Michael Pringsheim has enjoyed a by Richard Strauss who played with her, – but one that is as mental as physical, and downward slope’ must be set. distinguished career in International law. Four hands on her piano. Throughout his trekking into memory as well as down the Though not a professional musician his career he has promoted concerts, notably undulating path. The jaunty opening of first practical experience of music was at the Purcell Room and has enjoyed ‘The Vagabond’ would seem to presage when he gave a performance on the long-standing friendships with many nothing more than a hearty enjoyment of recorder of a recorder sonata at the age of leading musicians. Despite his life-long the outdoor life, and lyrics that stride away eleven before an audience of 300 pupils, involvement with music, he composed from introspection. It could be related to © Dr Leo Mellor teachers and parents at his school. His nothing before his “songs for Soprano and the blithe unconcern of G.K. Chesterton’s Fellow in English Literature next step was when he took up the French Orchestra” on texts of the German poet, ‘The Rolling English Road’ – or, more Murray Edwards College horn at his next school and played it in the Eichendorff. His style is best defined as complicatedly, to the romanticisation University of Cambridge school orchestra and subsequently when being influenced by the neo-classicists of the thoughtful wanderer in Matthew he was a student at Oxford University. His and post-romantics, notably Strauss Arnold’s ‘The Scholar-gypsy’. But such earliest musical memory was at the age of and Debussy. As such his song cycle fits nonchalance darkens and becomes more seven while staying at his grandmother’s perfectly in style and mood with the works fatalistic in the second and subsequent house in Garmisch when she was visited of the other composers featured. stanzas where the pathos of defiance cuts sharply: ‘Let the blow fall soon or late, / Let what will be o’er me’. Indeed this sets the tone for the sadness that becomes clearer as we realise how the physical journey being made is paralleled by one back through time, into memories of lost love. The extent of what has been lost is explicit in poems such as ‘The Infinite Shining Heavens’ where ‘The uncountable angel stars / Showering sorrow and light’ now keep the mind of the traveller fixed on a point he cannot reach. The loss is also most poignantly in the gaps between poems – for instance in the transitions between the close of ‘Youth and Love’ with the last ‘wayside word to her at the garden gate’ – with its possibility of reply and connection, and the start of ‘In Dreams’ where the irrecoverable separation allows no communication but only ‘tears’. By ‘Whither must I wander?’ the despair has changed the journey into a trudge without signs or guides, only an alliterative tread of a voice in conversation with itself. Yet ultimately at the close the fatalism comes to face the value of art – and especially music – in ‘Bright is the Ring of Words’. For even ‘after the singer London Lyric Opera 14 BIOGRAPHIES 15

Madeleine Lovell Dominic Moore Julietta Demetriades Anando Mukerjee Conductor Leader Soprano Tenor

Madeleine Lovell is Musical Director of Dominic Moore is the leader and co-founder Cypriot-born soprano Julietta Demetriades Anando Mukerjee is a lirico-spinto tenor. St George’s Chamber Orchestra, the of St George’s Chamber Orchestra. has been described as an artist of ‘quality His operatic roles include Rodolfo, the Lea Singers and Londinium. She has and persuasion’. Duke of Mantua, Ishmael, Macduff, conducted many choirs and orchestras He began learning the violin with Pamela Pinkerton, Edgardo and Faust. He is an around the UK, including the BBC Spofforth at the age of 8. He later won After graduating from the Hellenic School of accomplished recitalist and has a large Symphony Chorus, the Philharmonia scholarships to Winchester College and Music in Nicosia in both piano and singing, and varied oratorio repertoire. Chorus and the National Symphony the Royal College of Music studying the she received a scholarship to the Royal Orchestra. Madeleine’s extensive work at violin with Itzhak Rashkovsky, and also Academy of Music in London. She graduated He received a Tripos in Natural Sciences the BBC Proms includes Chorus Master the piano as a joint first study. His love of from there with a Master’s Degree in from Cambridge University, where he was for the BBCSC’s performance of Verdi’s chamber music led him to join the Hogarth Performance with the support of the Leventis an Inlaks scholar, and later received vocal Requiem in August 2008. From October Quartet (1997-9) with whom he won the Foundation. In 2005 she received a Diploma training privately from Kenneth Woollam, 2008 Madeleine will be Director of Music South East Arts Platform and made his in Opera Performance Studies from the Opera Hon.RCM, Professor of Singing (ret’d) and and Director of Studies at Queens’ Wigmore Hall debut. School of the University of London. coaching from Richard Nunn, Professor of College, the first person to hold such an Keyboard & Vocal Accompaniment (ret’d), appointment. As a soloist, Dominic has recorded a CD She has performed widely in England, both of the Royal College of Music. He entitled Café Music with the pianist Daniel , Germany, Poland, Finland, Greece, furthered his studies with the celebrated Having studied music at King’s College, Becker for Persephone Books. The disc and Egypt. Venues in London include Swedish tenor Nicolai Gedda, Singer of Cambridge, Madeleine received an M.Phil was brilliantly received, being broadcast St John’s Smith Square, St Martin-in-the- the Royal Court, Stockholm. He is the in Musicology from Cambridge in 2000, several times on BBC Radio 3 and Fields, St James’s Piccadilly and the Hellenic recipient of a Charles Wallace Trust Award and spent a further two years researching ClassicFM and was described by Classic Centre. Highlights of venues abroad include (British Council) which supported his comic opera. She has a Masters in singing FM magazine as ‘playing of grace and zest’. the Cairo Opera House, the Presidential musical studies in England. and Certificate of Advanced Studies Recent solo performances have included Palace in Cyprus and the Cathedral in in Repetiteur Training, both from the Mozart’s Sinfonia Concertante with Edward Helsinki. She has also collaborated with In 2006 he made his international debut at Guildhall School of Music and Drama. Vanderspar, Beethoven’s violin concerto with orchestras such as the Cairo Symphony, the the Belgrade National Opera, Serbia, as Madeleine attended the 2005 Dartington St George’s Chamber Orchestra, and recitals Lublin Philharmonic and the Cyprus State Rodolfo in La bohème. In 2007 he made International Summer School Advanced on the violin, viola and piano. Chamber Orchestra. Broadcasts include his Italian debut at the Teatro dei Rozzi, Conducting Course (where her studies Cyprus Radio and Television, Television Siena, as a guest soloist appearing with were funded by a D’Oyly Carte Bursary), As an orchestral player, Dominic has France, Egyptian Television, Classic FM, the Concordia International Ensemble. He performing excerpts from Stravinsky’s been invited as a guest to lead the Royal Czech Radio and Radio Israel. toured with New Sussex Opera as Tobias The Rake’s Progress. In February 2007 Liverpool Philharmonic, Bournemouth in Jonathan Dove’s Tobias & the Angel; Madeleine conducted Die Fledermaus with Symphony and Birmingham Royal Ballet. She has a wide concert repertoire. As a gave a Crush Bar recital at ROH Covent Alternative Opera in Tunbridge Wells. The Engagements for 2008 include leading the soloist of choral works, she has sung in Garden and made his Wigmore Hall debut production was reviewed by Antony Craig Opera Group for Kurt Weill’s Street Scene Vivaldi’s Gloria, Mozart’s Requiem, Haydn’s accompanied by Leslie Howard. for Gramophone, who wrote: “Madeleine at the Young Vic and on tour, and leading Nelson Mass, Rossini’s Stabat Mater, Lovell ... marshalled all her forces with skill Birmingham Opera for Mozart’s King Orff’s Carmina Burana, Gounod’s St Cecilia Plans for 2008 include recitals, concerts and finesse.” Idomeneo directed by Graham Vick. Mass and Britten’s Te Deum. and operatic appearances in the UK, India and Europe; Borsa (Rigoletto) for New Future plans include Assistant Conductor Dominic is immensely grateful to the In opera, she has appeared in London in Devon Opera; recitals around the UK, for London Lyric Opera’s performance of Countess of Munster, Abbado, Ian Fleming the title role in Thomas’ Mignon, and in France and Italy; and the José Cura Opera Der fliegende Holländer at the Barbican Trusts and the Musicians Loan Fund for help the roles of Fenena (Nabucco), Ottavia Project at the Royal Academy. (November 2008), and Conductor for with acquiring an extremely rare Spanish (L’Incoronazione di Poppea), Lucrezia London Lyric Opera’s Fidelio at Cadogan violin by Marianus Ortega. It is believed to be (Lucrezia Borgia), Eva (Die Meistersinger), Hall (February 2009). the only Ortega violin currently in the UK. Alceste (Alceste) and Elettra (Idomeneo). London Lyric Opera 16 BIOGRAPHIES 17

James Hancock Katherine Broderick John Amis Baritone Soprano Writer/Broadcaster

James was born in Melbourne and studied Twenty-five year old Katherine Broderick John Amis’ varied life in the world of sound The result of this varied life is that he has at the Victorian College of the Arts. He is the winner of the 2007 Kathleen Ferrier has enabled him to become one of radio known everybody in the music world from was a Victoria State Opera Young Artist Award. She is currently studying at the and television’s favourite music presenters Stravinsky to Stockhausen, from Donald and was awarded the Opera Foundation National Opera Studio in London having and performers; he is the ‘symphony’ Swann to , from Britten Australia German Operatic Award which previously completed the Opera Course at man in the long running radio show ‘MY to Birtwistle. His short career as a tenor gave him a contract with Oper Köln: the the Guildhall School of Music and Drama, MUSIC’. Five and a half weeks in a bank began with Herrmann’s ‘Moby Dick’ (not AIMS Award, Graz; Australian Opera where she won the Gold Medal. In 2005 determined him to have a go at earning the title role); he made his operatic debut Auditions Committee Scholarship; Dame she was one of the first and youngest a living in music. He sold gramophone in April 1990 as the Emperor in ‘’ Scholarship; The Tait recipients of the Susan Chilcott Award records, managed orchestras (notably and finished appropriately with ‘A Late Memorial Trust Scholarship; an Australian and was a member of the Britten-Pears for Beecham), was a music critic for Lark’ by Delius, although he occasionally Musical Foundation London grant and a Young Artist Programme. In 2006 she won eighteen years, organised the Dartington breaks into song in his one-man-show Bayreuth Bursary. the Maggie Teyte Prize. She studies with Summer School for a quarter-of-a-century, ‘Amiscellany’ and he pipes up as siffleur Susan McCulloch. appeared in the Hoffnung Festivals, and and singer in ‘My Music’ in the company Roles he has performed include: Germont; had his own radio and television shows. of Messrs. Muir, Norden and Wallace. Escamillo; Figaro (Rossini and Mozart) il For British Youth Opera she has sung Lady frate (Don Carlos) and The Poet (Prima la Billows and Tatyana, the latter prompting Musica, Salieri). Hilary Finch of The Times to write “[she] expands her thrillingly burgeoning vocal Companies he has worked for include: skills in her formidable stage presence as UCL opera, Victoria State Opera; Opera a Tatyana of outstanding character and Australia; Longborough Festival; Pocket power”. Recent concert appearances Opera Nürnberg (Der Ring in einem Abend have included her Proms debut singing arr. David Seaman); Cambridge University Woglinde (Götterdämmerung) with the Opera Society (Bill, Maschinist Hopkins, BBC Symphony Orchestra and Donald Brand; Der Mann Schwergewicht, Krenek; Runnicles; Mahler’s Symphony No 2 and and The Mayor Der Held, Mosolov). Britten’s Les Illuminations with St George’s Chamber Orchestra at LSO St. Luke’s. James has given recitals at the Melbourne International Festival, St James’s Piccadilly, Current and future plans include: Brighton Festival and festivals in the UK Bruckner Mass in F Minor with the and Australia. BBC Symphony Orchestra and Jiri Belohlavek; Haydn The Seasons at the He has sung Conte di Luna, Pavilion Opera; Aldeburgh Festival with Harry Bicket; Simon Boccanegra for OperaUK London; Vaughan Williams Sea Symphony with Kothner, Die Meistersingers, Edinburgh the Munich Bach Choir and also with the Players Opera Group and Rigoletto for New Bournemouth Symphony Orchestra. Devon Opera. Future engagements for 2008 include: the Dutchman in Der fliegende Katherine has been awarded successive Holländer at the Barbican with the Royal Maidment Scholarships from the Musicians’ Philharmonic Orchestra conducted by Lionel Benevolent Fund, the Claire Francis award Friend in November and Don Pizarro in Fidelio from the Ogden Trust, the Sybill Tutton at Cadogan Hall with the RPO conducted by award, and is a Samling scholar. Madeleine Lovell, February 2009. London Lyric Opera 18 19

St George’s Chamber Orchestra Musicians and Instruments 2008 – 2009 Concert Series

1st Violins Bassoons Biography The professional October All that Jazz February Music for Valentine’s Dominic Moore Emma Harding St George’s Chamber Orchestra was orchestra for Concert on Saturday 11 October 2008 Concert on Saturday 14 February 2009 Rachel McIlwham Joanna Shewan established four years ago as the new South East 7.30pm at St George’s Church, 7.30pm at St George’s Church, Sheila Law professional orchestra for the South East. London and Kent Beckenham Beckenham Jamie Hutchinson Horns Based at St George’s Church, Beckenham, Evgeny Chebykin the ensemble’s members are musicians J. S. Bach: Brandenburg Concerto No. Elgar: Serenade for Strings 2nd Violins Max Garrard of the very highest quality and regularly 3 in G, BWV Mozart: Concerto for Flute and Harp, Ruth Funnell Katie Pryce play with the UK’s leading symphony Copland: Concerto K. 299 Dorette Du Toit Christine Norsworthy orchestras. Since its formation, St George’s Vaughan Williams: Variants of ‘Dives Puccini: Crisantemi Claire Turk Chamber Orchestra has received excellent and Lazarus’ Vaughan Williams: Fantasia on reviews – called a ‘bright new ensemble’ Mendelssohn: Symphony for Strings ‘Greensleeves’ Ruth Ross by the Daily Telegraph – and has won No. 9 in C Haydn: Symphony no. 89 in F major Amy Greenhalgh John MacDominic praise for the vivacity, technical brilliance Louise Hawker and supple style of its playing. The December The Messiah May St George’s Arts Festival Timpani ensemble frequently works with soloists of Concert on Saturday 13 December 2008 Concert on Saturday 16 May 2009 Alex Neal the highest calibre and has developed a 7pm at St George’s Church, Beckenham 8pm at St George’s Church, Beckenham Bozidar Vukotic large and faithful audience across London. Daniel Hammersley Percussion The orchestra made its LSO St Luke’s Handel: The Messiah Mozart: Symphony no. 35 in D major, Alex Neal debut in 2007, and tonight marks its first K. 385 ‘Haffner’ Basses Jeremy Cornes performance at Cadogan Hall. Katherine Broderick: Soprano Tchaikovsky: Variations on a Rococo Claire Whitson Patricia Orr: Mezzo Theme for & Orchestra, op. 33 Harp For more information on forthcoming St Nicholas Hurndall Smith: Tenor Beethoven: Symphony no. 6, op. 68, Suzanne Willison George’s Chamber Orchestra performances, John Evans: F major ‘Pastoral’ Stewart McIlwham please contact the General Manager, Londinium City Voices Katherine Bicknell Piano Malcolm Wilson, at [email protected] or July Summer Spree! (piccolo) Elizabeth Burley follow the links on the website www.sgco. Concert on Saturday 4 July 2009 co.uk. The SGCO is keen to develop its links 7pm at St George’s Church, Beckenham Celeste with sponsors and patrons, and can offer a Owen Dennis Jeremy Young large range of musical events. In addition, Handel: Music for the Royal Fireworks Huw Clement-Evans the ensemble is about to launch a new Prokofiev: Peter and the wolf, a ‘Friends of the SGCO’ scheme – a great musical tale for children, op. 67 Clarinets way to support the orchestra. Haydn: Concerto for trumpet & Jon Carnac orchestra Emily Sutcliffe Albinoni: Adagio for organ and strings, G minor Mozart: Symphony no. 38 in D major, K. 504 ‘Prague’ London Lyric Opera 20 21

Ottorino Respighi: Deità Silvane 1917 Cinque liriche di Antonio Rubino 1880-1964

I fauni Ghirlande al cuor degli intimi recessi, Aegle You wind your transient way, seeing S’odono al monte i saltellanti rivi S’apron le rose come molli bocche! The woodland is rich with leaves and fruit, On my brooding forehead and on each of Murmureggiare per le forre astruse, The riverbanks are shimmering in daisy the leaves S’odono al bosco gemer cornamuse Garden music and sapphire: The fleeting shadows of clouds. Con garrito di pifferi giulivi. A ring of finger-cymbals clashing Through the green arches a lonely soul E i fauni in corsa per dumeti e clivi, rhythmically encircles pale flames in hidden dances. Crepuscolo Erti le corna sulle fronti ottuse, Punctuates the silence of the rose And with quiet intensity and hands as pure Nell’orto abbandonato ora l’edace Bevono per lor nari camuse gardens, As the pure fountains of life itself, Muschio contende all’ellere i recessi, Filtri sottili e zeffiri lascivi. While at the end of fragrant, secret Robed in garments of sun and shadow E tra il coro snelletto dei cipressi E, mentre in fondo al gran coro alberato orchards You dance, Aegle, with languid step. S’addorme in grembo dell’antica pace Piange d’amore per la vita bella A flute pours out its liquid laments. And toward you, white and blonde among Pan. Sul vasto marmoreo torace, La sampogna dell’arcade pastore, The melody, with silver tinkling the nymphs, Che i convovoli infiorano d’amplessi, Contenta e paurosa dell’agguato, Seems to shift between saddening and Merrily dancing like fluttering leaves, Un tempo forse con canti sommessi Fugge ogni ninfa più che fiera snella, becoming joyful; Under the secret shadows of the foliage, Piegò una ninfa il bel torso procace. Ardendo in bocca come ardente fiore. Now giving out light of uneasy trembling, Where the most restless of shadows Deità della terra, forza lieta!, Now casting long sorrowful shadows: saddens, Troppo pensiero è nella tua vecchiezza: The fauns Sharp finger-cymbals and many-sounding In translucent pearl and liquid amethyst Per sempre inaridita è la tua fonte. One hears in the hills the bubbling rivers pipes! Flows the raucous joy of the sap. Muore il giorno, e nell’alta ombra inquïeta Murmuring through the dark ravines, A joy of songs unexpressed Trema e s’attrista un canto d’allegrezza: One hears in the woods the groan of the for you gushes forth from the orchards, Acqua Lunghe ombre azzurre scendono dal bagpipes And at the tops of the rosebushes, that Acqua, e tu ancora sul tuo flauto lene monte... With the chirp of merry pipes. weave garlands Intonami un tuo canto variolungo, And the fauns racing over hillocks and In the heart of their intimate depths, Di cui le note abbian l’odor del fungo, Twilight through thickets, The roses open like soft mouths! Del musco e dell’esiguo capelvenere, In the abandoned garden, now the greedy Their horns erect above their broad Sì che per tutte le sottili vene, moss foreheads, Egle Onde irrighi la fresca solitudine, Fights with the ivy for every nook and Drink through their flat nostrils Frondeggia il bosco d’uberi verzure, Il tuo riscintillio rida e sublùdii cranny, Subtle potions and lascivious winds. Volgendo i rii zaffiro e margherita: Al gemmar delle musiche serene. And in the sparse cluster of cypresses, And, while beneath the great choir of trees, Per gli archi verdi un’anima romita Acqua, e, lungh’essi i calami volubili Sleeping in the womb of ancient peace lies Weeping for love of the beautiful life Cinge pallidi fuochi a ridde oscure. Movendo in gioco le cerulee dita, Pan. On the vast marble chest, The bagpipes of the arcadian shepherd. E in te ristretta con le mani pure Avvicenda più lunghe ombre alle luci, Bound closely with flowery weed, Happy and fearful of the impending Come le pure fonti della vita, Tu che con modi labii deduci Perhaps someday with a subdued song ambush, Di sole e d’ombre mobili vestita Sulla mia fronte intenta e sulla vita A nymph might bend over her provocative The nymphs flee, faster than wild gazelles, Tu danzi, Egle, con languide misure. Del verde fuggitive ombre di nubi. figure. Their ardent lips like blazing flowers! E a te candida e bionda tra li ninfe, God of the earth, joyful force! D’ilari ambagi descrivendo il verde, Water You have become too serious in your old Musica in horto Sotto i segreti ombracoli del verde, Water, once again your gentle flute age: Uno squillo di cròtali clangenti Ove la più inquïeta ombra s’attrista, Plays to me one of your varying songs, Your fountain has dried up forever. Rompe in ritmo il silenzio dei roseti, Perle squillanti e liquido ametista Whose notes seem like the smell of The day dies, and through the vast restless Mentre in fondo agli aulenti orti segreti Volge la gioia roca delle linfe. mushrooms, shade Gorgheggia un flauto liquidi lamenti. Of musk and of sleek maiden-hair, A song of happiness trembles and La melodia, con tintinnio d’argenti, So that along all the tiny rivulets becomes mournful: Par che a vicenda s’attristi e s’allieti, That water the fresh solitude, Long blue shadows descend from the Ora luce di tremiti inquieti, Your sparkling presence laughs and ripples mountains… Or diffondendo lunghe ombre dolenti: With the jewels of serene music. Cròtali arguti e canne variotocche!, Water, while along your banks the Una gioia di cantici inespressi whispering reeds Per voi par che dai chiusi orti rampolli, Playfully sway their azure fingers, Translations copyright © Ricordi E in sommo dei rosai, che cingon molli Flickering longer shadows in the light, (adapted by Madeleine Lovell) London Lyric Opera 22 ESSAY 23

Les nuits d’été by David Cairns

Les nuits d’été Quite possibly, when he first chose some Sur les lagunes, the most dramatic piece Villanelle poems by his friend Théophile Gautier to in the cycle, is the only one in a minor Le spectre de la rose set to music, Berlioz did not have a precise key. Berlioz is just as likely to express The Sur les lagunes: Lamento scheme in mind. At one point it consisted loss by means of the major mode, as Absence of four songs, not six, with the same the fourth song, Absence, shows. Here Au cimetière: Clair de lune beginning and end as in the final version it is separation from a living beloved that enchanted L’île inconnue but with Absence preceding Le spectre is evoked in a major-key refrain of the de la rose, and Sur les lagunes and Au barest simplicity, enclosing two minor-key Originally written in about 1840 for solo cimetière still to come. It may have been verses in which the sense of unbridgeable shore is voice and piano accompaniment, the six that the circumstances of his personal life apartness rises each time to a cry of pain. songs of Les nuits d’été were arranged – the collapse of his once happy marriage In the fifth song, Au cimetière, stepwise for chamber orchestra at various times in to Harriet Smithson – moved him to add movement in the voice combines with the the next fifteen years, and the full score those two songs, both of them concerned accompaniment’s shifting, somnambulistic just over published in 1856, just before Berlioz with loss, the one a seascape, like the final chords to create a mood of morbid began working on the The Trojans. By that song, but a tragic one, with the bereaved fascination. Like Le spectre de la rose, the time his career as conductor was nearing lover doomed to travel alone over the music is haunted by a ghostly presence. the horizon its end. Only two of the songs, Le spectre empty sea, the other an evocation of a The poet lingers at dusk, held against his de la rose and Absence, figured in his moonlit graveyard where the dead still will, hearing in the moaning of a dove the remaining concerts. He never performed have power to possess the living. lament of the dead beneath his feet, while the complete work. the Berliozian flattened sixth grates against The first song, Villanelle, already carries a hint the major-key harmonies. Because of this, and because the full of melancholy beneath the skittish surface, score specifies different voice-types for the conveying it by variations of harmony which This claustrophobic atmosphere is abruptly various songs – mezzo-soprano, , heighten the tension from verse to verse, dispelled by the bright sounds and salty tenor, baritone – it has been argued that implying that the idyll in the woods and the rhythms of L’île inconnue. The final song he did not think of the work as a cycle. lover’s whispered ‘for ever’ are not all they looks back to the mood of the opening, The idea of an orchestra song cycle was seem. The much grander Spectre de la mocking the romantic assumptions and certainly a novelty at that date; if there rose, with its long, seductive melodic spans gestures of the intervening four. Yet there were any examples from an earlier time and its textures at once rich and sparkling, is a difference, reflecting all that has been they have not survived in the repertory. Yet retains something of Villanelle’s playfulness, lived through in between. In the end the Berlioz, whatever his first intention, surely as well as having a delicate fragrance apt to music half-succumbs to the same illusion: came to regard it as one work, not as a its poetic ‘conceit’: the ghost of a rose which that the enchanted shore where one loves collection of separate pieces published returns to haunt the dreams of the young for ever is there, just over the horizon, and together for convenience. Not only are the woman who wore it at her first ball. though it will never be found, must be for songs linked by recurring musical figures, ever sought. phrase-patterns and intervals: the structure At the same time the music’s largeness of the whole, the progression from one of style anticipates the third song. Sur © David Cairns song to another, is consciously shaped. les lagunes is constructed round a Author of Berlioz, vol.1: The Making of The order finally settled on describes a characteristic Berlioz rhythmic and melodic an Artist, 1803-1832, and Berlioz vol.2: clear sequence of idea and mood. Les ostinato, a rocking three-note figure which, Servitude and Greatness, 1832-1869. nuits d’été is palpably a cycle: not a quasi- recurring almost invariably at the same Penguin narrative cycle like Schubert’s Die schöne pitch, suggests both the boat’s movement Müllerin and Winterreise, but, like Mahler’s, across the calm water and the obsessive a grouping of separate numbers round a grief of the lover who must set out on common subject. The work is an anatomy his journey bereft of love. The loneliness of romantic love, shown in different aspects: of the end, after the last impassioned light-hearted and extrovert in the first and climax, is palpable, as the sea-swell in the last songs, more intense and passionate in bass subsides and the harmony hangs the middle four. suspended, unresolved. London Lyric Opera 24 25

Berlioz: Les nuits d’été 1834 Théophile Gautier 1811-1872

Villanelle Come with me on the mossy bank, The ghost of the rose Mon âme pleure et sent Quand viendra la saison nouvelle, Where we’ll talk of nothing else but love, (translation: Emily Ezust) Qu’elle est dépareillée. Quand auront disparu les froids, And whisper with thy voice so tender: Open your closed eyelid Que mon sort est amer! Tous les deux nous irons, ma belle, Always! Which is gently brushed by a virginal dream! Ah! sans amour s’en aller sur la mer! Pour cueillir le muguet aux bois. I am the ghost of the rose Far, far off let our footsteps wander, That you wore last night at the ball. Sur moi la nuit immense Sous nos pieds égrénant les perles Fright’ning the hiding hare away, You took me when I was still sprinkled S’étend comme un linceul, Que l’on voit, au matin trembler, While the deer at the spring is gazing, with pearls Je chante ma romance Nous irons écouter les merles Admiring his reflected horns. Of silvery tears from the watering-can, Que le ciel entend seul. Siffler. And, among the sparkling festivities, Then back home, with our hearts You carried me the entire night. Ah! comme elle était belle, Le printemps est venu, ma belle; rejoicing, Et comme je l’aimais! C’est le mois des amants béni; And fondly our fingers entwined, O you, who caused my death: Je n’aimerai jamais Et l’oiseau, satinant son aile, Lets return, let’s return bringing fresh wild Without the power to chase it away, Une femme autant qu’elle Dit des vers au rebord du nid. berries You will be visited every night by my Que mon sort est amer! Wood-grown. ghost, Ah! sans amour s’en aller sur la mer! Oh! Viens donc sur ce banc de mousse, Which will dance at your bedside. S’en aller sur la mer! Pour parler de nos beaux amours, Le spectre de la rose But fear nothing; I demand Et dis-moi de ta voix si douce: Soulêve ta paupière close Neither Mass nor De Profundis; On the lagoons Toujours! Qu’effleure un songe virginal! This mild perfume is my soul, (translation: Emily Ezust) Je suis le spectre d’une rose And I’ve come from Paradise. My beautiful love is dead, Loin, bien loin égarant nos courses, Que tu portais hier au bal. I shall weep always; Faisons fuir le lapin caché, Tu me pris encore emperlée My destiny is worthy of envy; Into the tomb, she has taken Et le daim, au miroir des sources Des pleurs d’argent de l’arrosoir, And to have a fate so fine, My soul and my love. Admirant son grand bois penché; Et, parmi la fête étoilée, More than one would give his life Without waiting for me, Tu me promenas tout le soir. For on your breast I have my tomb, She has returned to heaven. Puis chez nous, tout heureux, tout aises, And on the alabaster where I rest, The angel which took her there En paniers, enlaçant nos doigts, Ô toi qui de ma mort fus cause, A poet with a kiss Did not want to take me. Revenons, rapportant des fraises, Sans que tu puisses le chasser, Wrote: “Here lies a rose, How bitter is my fate! Des bois. Toute la nuit mon spectre rose Of which all kings may be jealous.” Ah! without love, to go to sea! À ton chevet viendra danser; Villanelle (translation: Samuel Byrne) Mais ne crains rien, je ne réclame Sur les lagunes The white creature When verdant spring again approaches, Ni messe ni De Profundis. Ma belle amie est morte, Is lying in the coffin; When winter’s chills have disappeared, Ce léger parfum est mon äme, Je pleurerai toujours; How all in Nature Through the woods we shall stroll, my Et j’arrive du du paradis. Sous la tombe elle emporte Seems bereaved to me! darling, Mon âme et mes amours. The forgotten dove The fair primrose to cull at will. Mon destin fut digne d’envie, Dans le ciel, sans m’attendre, Weeps and dreams of the one who is Et pour avoir un sort si beau, Elle s’en retourna; absent; The trembling bright pearls that are Plus d’un aurait donné sa vie; L’ange qui l’emmena My soul cries and feels shining, Car sur ton sein j’ai mon tombeau, Ne voulut pas me prendre. That it has been abandoned. Each morning we shall brush aside; Et sur l’albâtre où je repose Que mon sort es amer! How bitter is my fate, We shall go to hear the gay thrushes Un poëte avec un baiser Ah! sans amour s’en aller sur la mer! Ah! without love, to go to sea! Singing. Écrivit: “Cigît une rose, Que tous les rois vont jalouser.” La blanche créature Above me the immense night The flowers are abloom, my darling, Est couchée au cercueil; Spreads itself like a shroud; Of happy lovers’ tis the month; Comme dans la nature I sing my romanza And the bird his soft wing englossing, Tout me paraît en deuil! That heaven alone hears. Sings carols sweet within his nest. La colombe oubliée Pleure et songe à l’absent; London Lyric Opera 26 27

Ah! how beautiful she was, Un air maladivement tendre, Of a love-lorn angel. Est-ce dans la Baltique? And how I loved her! À la fois charmant et fatal, One would say that an awakened soul Dans la mer Pacifique? I will never love Qui vous fait mal Is weeping under the earth in unison Dans l’île de Java? Another woman as much as I loved her; Et qu’on voudrait toujours entendre; With this song, Ou bien est-ce en Norvège, How bitter is my fate! Un air comme en soupire aux cieux And from the misfortune of being Cueillir la fleur de neige, Ah! without love, to go to sea! L’ange amoureux. forgotten, Ou la fleur d’Angsoka? To go to sea! Moans its sorrow in a cooing Dites, la jeune belle, On dirait que l’âme éveillée Quite soft. Où voulez-vous aller? Absence Pleure sous terre à l’unisson Menez-moi, dit la belle, Reviens, reviens, ma bien-aimée, De la chanson, On the wings of the music À la rive fidèle Comme une fleur loin du soleil, Et du malheur d’être oubliée One feels the slow return Où l’on aime toujours! La fleur de ma vie est fermée, Se plaint dans un roucoulement Of a memory. Cette rive, ma chère, Loin de ton sourire vermeil. Bien doucement. A shadow, a form angelic, On ne la connaît guère Passes in a trembling ray of light, Au pays des amours. Entre nos coeurs qu’elle distance ! Sur les ailes de la musique In a white veil. Tant d’espace entre nos baisers! On sent lentement revenir The unknown isle Ô sort amer! Ô dure absence! Un souvenir. The beautiful flowers of the night, half- (translation: Emily Ezust) Ô grands désirs inapaisés! Une ombre, une forme angélique, closed, Say, young beauty, Passe dans un rayon tremblant, Send their perfume, faint and sweet, Where do you wish to go? D’ici là-bas que de campagnes, En voile blanc. Around you, The sail swells itself, Que de villes et de hameaux, And the phantom of soft form The breeze will blow. Que de vallons et de montagnes, Les belles de nuit demicloses Murmurs, reaching to you her arms: The oar is made of ivory, A lasser le pied des chevaux! Jettent leur parfum faible et doux You will return! The flag is of silk, Autour de vous, The helm is of fine gold; Absence Et le fantôme aux molles poses Oh! never again near the tomb I have for ballast an orange, (translation : Samuel Byrne) Murmure en vous tendant les bras: Shall I go, when night lets fall For a sail, the wing of an angel, Come back, come back, my dearest love! Tu reviendras! Its black mantle, For a deck boy, a seraph. Like a flower far from the sun, To hear the pale dove The flower of my life has drooped, Oh! jamais plus près de la tombe, Sing on the limb of the yew Say, young beauty, removed from the charm of your smile. Je n’irai, quand descend le soir Its plaintive song! Where do you wish to go? Au manteau noir, The sail swells itself, Between our hearts how long a distance! Écouter la pâle colombe L’Île inconnue The breeze will blow. What a wide space our kisses divide! Chanter sur la pointe de l’if Dites, la jeune belle, O bitter fate! O cruel absence! Son chant plaintif. Où voulez-vous aller? Is it to the Baltic? O longing vain, unsatisfied! La voile enfle son aile, To the Pacific Ocean? At the cemetery La brise va souffler. To the island of Java? Between here and there what fields, (translation: Emily Ezust) L’aviron est d’ivoire, Or is it to Norway, What towns and hamlets, Do you know the white tomb Le pavillon de moire, To gather the flower of the snow, What small valleys and mountains Where floats with plaintive sound, Le gouvernail d’or fin; Or the flower of Angsoka? To ride there on horseback! The shadow of a yew? J’ai pour lest une orange, Say, young beauty, On the yew a pale dove, Pour voile une aile d’ange, Where do you wish to go? Au cimetière Sad and alone under the setting sun, Pour mousse un séraphin. Lead me, says the beauty, Connaissez-vous la blanche tombe, Sings its song: To the faithful shore Où flotte avec un son plaintif Dites, la jeune belle, Where one loves always! L’ombre d’un if? An air sickly tender, Où voulez-vous aller? This shore, my darling, Sur l’if une pâle colombe, At the same time charming and ominous, La voile enfle son aile, We hardly know at all Triste et seule au soleil couchant, Which makes you feel agony La brise va souffler. In the land of Love. Chante son chant: Yet which you wish to hear always; An air like a sigh from the heavens London Lyric Opera 28 29

Michael Pringsheim: Eichendorff Liederkreis 2005 Josef Karl Benedikt von Eichendorff 1788-1857

Mondnacht Wir wollen zusammen ziehen, Far away bells are ringing In a foreign land Es war, als hätt der Himmel, Bis das wir wandern müd’. into the woods. (translation: Emily Ezust) Die Erde still geküßt, Auf des Vaters Grabe knien Alerted, a deer raises its head, From the direction of home, behind the red Daß sie im Blütenschimmer Bei dem alten Zauberlied. and is soon sleeping again. flashes of lightning Von ihm nur träumen müßt. There come clouds, Homesickness (translation unknown) But the trees move their tops, But Father and Mother are long dead; Die Luft ging durch die Felder, You know there in the trees dreaming of walls of rock. No one there knows me anymore. Die Ähren wogten sacht, Slumbers a magic spell For the master walks over the heights, Es rauschten leis die Wälder, And often at night as in dreams blessing the silent land. How soon, ah, how soon will that quiet So sternklar war die Nacht. The garden begins to sing. time come, Im Walde When I too shall rest, and over me Und meine Seele spannte At night a breeze reaches me Es zog eine Hochzeit den Berg entlang, The beautiful forest’s loneliness shall rustle, Weit ihre Flügel aus, Through the peaceful countryside Ich hörte die Vögel schlagen, And no one here shall know me anymore. Flog durch die stillen Lande, Then I call you – brother – Da blitzten viel Reiter, das Waldhorn klang, Als flöge sie nach Haus. From the bottom of my heart Das war ein lustiges Jagen!

Moon-night (translation: Emily Ezust) So distant are the others Und eh’ ich’s gedacht, war alles verhallt, It was as if the sky I dread being in foreign lands Die Nacht bedecket die Runde, Had quietly kissed the earth, Let us walk together Nur von den Bergen noch rauschet der So that in a shower of blossoms And give me your trusting hand. Wald She must only dream of him. Und mich schauert’s im Herzensgrunde. Let us wander together The breeze wafted through the fields, Till tired we will be In the woods (translation: Emily Ezust) The ears of corn waved gently, And kneel on our father’s grave Beside the mountain there passed a The forests rustled faintly, And hear the old mystic song. wedding party. So sparkling clear was the night. I heard the birds singing; Nachts Then there blazed past many horsemen, And my soul stretched Ich stehe in Waldesschatten their forest horns sounding. its wings out far, Wie an des Lebens Rand, That was a merry hunt! Flew through the still lands, Die Länder wie dämmernde Matten, as if it were flying home. Der Strom wie ein silbern Band. And before I could think about it, everything had died away Heimweh Von fern nur schlagen die Glocken And the night threw a cloak all around. Du weisst’s, dort in den Bäumen Über die Wälder herein. Only from the mountains did the woods Schlummert ein Zauberbann Ein Reh hebt den Kopf erschrocken yet rustle, Und nachts oft, wie in Träumen Und schlummert gleich wieder ein. And deep in my heart I shudder. Fängt der Garten zu singen an. Der Wald aber rühret die Wipfel In der fremde Nachts durch die stille Runde, Im Traum von der Felsenwand. Aus der Heimat hinter den Blitzen rot Weht’s manchmal bis zu mir, Denn der Herr geht über die Gipfel Da kommen die Wolken her, Da ruf’ ich aus Herzensgrunde, Und segnet das stille Land. Aber Vater und Mutter sind lange tot, O Bruderherz, nach dir. Es kennt mich dort keiner mehr. At Night (translation: Jakob Kellner) So fremde singen die andern, I stand in forest-shadows Wie bald, ach wie bald kommt die stille Mir graut im fremden Land. as on the verge of life, Zeit, Wir wollen zusammen wandern, the lands like dusky meadows, Da ruhe ich auch, und über mir Reich treulich mir die Hand. the stream like a silver ribbon. Rauscht die schöne Waldeinsamkeit, Und keiner kennt mich mehr hier. London Lyric Opera 30 ESSAY 31

The Song will carry on by Dr Will Wootten

To the millions who have read them and to foreboding she had and played cards to the Fisher’s Tryst and Glencourse. I shall the even greater numbers who have seen cheer her up. He then fetched a bottle never see Auld Reekie [Edinburgh]. I shall them on screen, Treasure Island (1883), of burgundy from downstairs and made never set my foot again upon the heather. Kidnapped (1886) and The Strange Case a salad dressing. Joining his wife on the Here I am until I die, and here I will be of Dr Jekyll and Mr Hyde (1886) remain veranda, Stevenson put his hands to his buried. The word is out and the doom is the most thrilling of classics. But while the head asking ‘Do I look strange?’ before written.’ Edinburgh-born Robert Louis Stevenson collapsing and losing consciousness. (1859-1894) is best known as a novelist, Stevenson had had a cerebral Still, even as he contemplates death, he was a writer of many talents. He was haemorrhage, perhaps brought on by Stevenson, in poetry as in life, was by no an excellent essayist and travel writer.And pulling the wine cork. The inscriptions on means despairing: he was a poet. Indeed, though inclined his grave include the famous lines from his to be modest about his poetic abilities, poem ‘Requiem’: Bright is the ring of words Stevenson wrote verse throughout his life, When the right man rings them, publishing four volumes: the perennially Here he lies where he longed to be; Fair the fall of songs popular A Child’s Garden of Verses (1885), Home is the sailor, home from the sea, When the singer sings them. Underwoods (1887), Ballads (1890) and And the hunter home from the hill. Still they are carolled and said – Songs of Travel (1895). On wings they are carried – Stevenson’s Songs of Travel were made to After the singer is dead Stevenson was a born traveller. Though be set to music. Indeed, they were often And the maker buried. much of his journeying was necessitated composed to pre-existing tunes. ‘The by chronic ill health and the need to find Vagabond’ has the original subtitle ‘To an Low as the singer lies a conducive climate, travel was also his Air of Schubert’; ‘Whither Must I Wander’ In the field of heather, delight and inspiration. A canoeing trip was ‘To the Tune of Wandering Willie’. Songs of his fashion bring through France and Belgium made in 1876 Other Stevenson poems too showed The swains together. provided the material for his first book An Stevenson’s wide-ranging musical taste: And when the west is red Inland Voyage (1878); a twelve day hike from Bach to the ‘Skye Boat Song’. With the sunset embers, in the mountains of South-Central France The lover lingers and sings gave rise to the immortal Travels with a These poems manage to show both And the maid remembers. Donkey in the Cévennes (1879) wanderlust and a certain nostalgia or homesickness, often at the same time. ‘Bright is the Ring of Words’ may be So it proved throughout Stevenson’s life. ‘The Vagabond’ may be a song of nostalgic for the heather and the love The decision to join his future wife Fanny the open road, full of disdain for cold songs of youth. Yet it is also a poem Osborne, whom he married in 1880, meant weather, an apparently carefree reproach where the writer of songs imagines the the arduous journey to California was to the stay-at-home. Nevertheless, the continuance of the song and the people recorded and eventually published in 1892 poem’s frosty fields are reminiscent of the it brings together. Singer and maker may as Across the Plains. And, over the next landscape of Stevenson’s Scottish youth, die, but, with the memory of lovers, the few years, the Stevensons would live in not his present tropical home. Similarly, song will carry on. America, England, France and Switzerland. the regrets of the love song ‘In Dreams’ In 1888, Robert and Fanny, along with are addressed to the girl left behind; this is © Dr William Wootten their extended family, set sail for the South the traveller who left ‘with a smile’ but who Seas. They stayed in the Hawaiian Islands, ‘Forgets you not.’ the Gilbert Islands and Tahiti. In 1890 Stevenson bought land on the Samoan There is a valedictory air about these island of Upolu and set up home. posthumously published poems. Though still in his early forties, Stevenson knew On 3rd December 1894, Stevenson, that he could not cheat ill health forever who had been at work on his great and would never recover enough to return Weir of Hermiston, came downstairs at home. As he wrote to S.R. Crockett on 17 sunset, teased his wife about a sense of May 1893: ‘I shall never take that walk by London Lyric Opera 32 33

Vaughan Williams – Songs of Travel 1901-1904 Robert Louis Stevenson 1850-1894

The Vagabond Let Beauty Awake Youth and Love The Infinite Shining Heavens Give to me the life I love, Let Beauty awake in the morn from To the heart of youth the world is a The infinite shining heavens Let the lave go by me, beautiful dreams, highwayside. Rose, and I saw in the night Give the jolly heaven above, Beauty awake from rest! Passing for ever, he fares; and on either Uncountable angel stars And the byway nigh me. Let Beauty awake hand, Showering sorrow and light. Bed in the bush with stars to see, For Beauty’s sake Deep in the gardens golden pavilions hide, Bread I dip in the river – In the hour when the birds awake in the Nestle in orchard bloom, and far on the I saw them distant as heaven, There’s the life for a man like me, brake level land Dumb and shining and dead, There’s the life for ever. And the stars are bright in the west! Call him with lighted lamp in the eventide. And the idle stars of the night Were dearer to me than bread. Let the blow fall soon or late, Let Beauty awake in the eve from the Thick as stars at night when the moon is Let what will be o’er me; slumber of day, down, Night after night in my sorrow Give the face of earth around, Awake in the crimson eve! Pleasures assail him. He to his nobler fate The stars looked over the sea, And the road before me. In the day’s dusk end Fares; and but waves a hand as he passes Till lo! I looked in the dusk Wealth I seek not, hope nor love, When the shades ascend, on, And a star had come down to me. Nor a friend to know me; Let her wake to the kiss of a tender friend, Cries but a wayside word to her at the All I seek, the heaven above, To render again and receive! garden gate, Whither Must I Wander? And the road below me. Sings but a boyish stave and his face is Home no more home to me, whither must The Roadside Fire gone. I wander? Or let autumn fall on me I will make you brooches and toys for your Hunger my driver, I go where I must. Where afield I linger, delight In Dreams Cold blows the winter wind over hill and Silencing the bird on tree, Of bird-song at morning and star-shine at In dreams unhappy, I behold you stand heather: Biting the blue finger. night, As heretofore: Thick drives the rain and my roof is in the White as meal the frosty field – I will make a palace fit for you and me The unremember’d tokens in your hand dust. Warm the fireside haven – Of green days in forests, and blue days at Avail no more. Loved of wise men was the shade of my Not to autumn will I yield, sea. roof-tree, Not to winter even! No more the morning glow, no more the The true word of welcome was spoken in I will make my kitchen, and you shall keep grace, the door – Let the blow fall soon or late, your room, Enshrines, endears. Dear days of old with the faces in the Let what will be o’er me; Where white flows the river and bright Cold beats the light of time upon your face firelight, Give the face of earth around, blows the broom; And shows your tears. Kind folks of old, you come again no more. And the road before me. And you shall wash your linen and keep Wealth I ask not, hope nor love, your body white He came and went. Perchance you wept Home was home then, my dear, full of Nor a friend to know me; In rainfall at morning and dewfall at night. awhile kindly faces, All I ask, the heaven above, And then forgot. Home was home then, my dear, happy for And the road below me. And this shall be for music when no one Ah me! but he that left you with a smile the child. else is near, Forgets you not. Fire and the windows bright glittered on The fine song for singing, the rare song to the moorland; hear! Song, tuneful song, built a palace in the That only I remember, that only you wild. admire, Now when day dawns on the brow of the Of the broad road that stretches and the moorland, roadside fire. Lone stands the house, and the chimney- stone is cold. Lone let it stand, now the friends are all departed, The kind hearts, the true hearts, that loved the place of old. London Lyric Opera 34

Spring shall come, come again, calling up I Have Trod the Upward and the the moorfowl, Downward Slope Spring shall bring the sun and rain, bring I have trod the upward and the downward the bees and flowers; slope; Red shall the heather bloom over hill and I have endured and done in days before; valley, I have longed for all, and bid farewell to Soft flow the stream through the even- hope; flowing hours. And I have lived and loved, and closed the Fair the day shine as it shone on my door. childhood – Fair shine the day on the house with open door; Birds come and cry there and twitter in the chimney – But I go for ever and come again no more.

Bright is the Ring of Words Bright is the ring of words Ad When the right man rings them, Fair the fall of songs When the singer sings them, Still they are carolled and said – On wings they are carried – After the singer is dead And the maker buried.

Low as the singer lies In the field of heather, Songs of his fashion bring The swains together. And when the west is red With the sunset embers, The lover lingers and sings And the maid remembers. 38688_Ashton_Ad 5/9/08 09:20 Page 1

London Lyric Opera 36

Cadogan Hall etiquette and information

Etiquette Wheel Chair Users: If you use a Smoking: All areas of Cadogan Hall are wheelchair and wish to transfer to a seat, non-smoking areas. we regret we may not be able to provide a member of staff to help you physically. The need for ultimate skill within a workforce is Food & Beverages: You are kindly However, we will arrange for your requested not to bring food and other wheelchair to be taken away and stored. paramount. The desire to be ‘First to Market’, refreshments into Cadogan Hall. A Lift is located to the right once inside the box office reception allowing access to a with all initiatives, has given rise to a need for a Cameras and Electronic Devices: Video lowered box office counter. Foyer areas are equipment, cameras and tape recorders on the same level as the box office and the new breed of candidate with wide reaching skills. are not permitted. Please ensure all pagers, foyer bar (Caversham Room) is accessed It is our responsibility to source them. PDA’s and mobile phones are switched off via a wide access lift. A member of staff before entering the auditorium. will help you with your requirements. Stalls within the auditorium are via a wide access The Ashton Partnership is a business built on a foundation of knowledge, Dress Code: There is no dress code for lift as are adapted toilet facilities. trust and culture. It has a reputation based on the Partners’ character and the majority of performances. If a particular performance. We own the responsibility for identifying skill, innovation dress is requested you will be informed at Customers with hearing requirements: and sheer excellence in people. the time of booking by the box office. The box office counter is fitted with a loop system to aid customers with any hearing We value exceptional standards within Executive Search and have a very Interval and timings: Intervals vary with impairment. The auditorium is fitted with an each performance. Some performances Infra-red Amplification System. This is not immediate approach to business solutions: may not have an interval. Latecomers will the same as a Loop System so switching not be admitted until a suitable break in your hearing aid to ‘T’ is not sufficient. • Our search techniques and processes deliver mutually rewarding results. the performance. You will need to use an amplification aid. There is a choice of aids depending on • Our Partners are focused industry specialists within their fields. Consideration: We aim to deliver the the nature of your hearing impairment. A highest standards of service. Therefore, member of staff will be happy to explain • Our results quietly, and confidently, speak for themselves. we would ask of you to treat our staff with the use of the system and there is an courtesy and in a manner in which you opportunity to check that your equipment We always act with integrity and take great pride in growing opportunities would expect to be treated. is working prior to curtain up. for you. Regardless of the nature of your business, success comes from having the right Partnerships. Food and Beverages Customers with sight impairment: Oakley Bar: Concert goers may enjoy a Working / Guide dogs are welcome to wide selection of champagnes, spirits, red access the hall and auditorium but please and white wines, beers and soft drinks do let us now prior to arriving at the hall so from the Oakley Room Bar. There are also we may make any special arrangements some light refreshments available. if necessary. We produce large print (20 point) brochures upon request as well Access as audiocassette versions of season Free Companion/Assistance Scheme: brochures. To request a free copy please Cadogan Hall has a range of services call the box office and ask to be added to to assist disabled customers including our regular lists. • Banking • Commerce • Finance • Legal • a provision for wheelchair users in the • Marketing • Property • Retail • Technology • stalls. Companions of disabled customers ‘Touch / Familiarisation’ tours can be are entitled to a free seat when assisting arranged and we have Unisex accessible disabled customers at Cadogan Hall. toilet on all levels except Gallery. Academy House 36 Poland Street London W1F 7LU Telephone: +44 (0)20 7292 2190 Facsimile +44 (0)20 7292 2191 www.theashtonpartnership.com Please note that companion seats not sold Registered Office 21 Bedford Square London WC1B 3HH Registered Company No. 06291909 48hrs prior to any given performance will be released for general sale. 39 Der fliegende Richard Wagner Frescura Evelina Supporting LLO Illustration:

Holländer LLO is a young company with ambitions All names of friends will be prominently Thursday 27 November 7.00pm to fill a niche in the UK opera scene by listed in future programmes and appear on producing high quality concerts with the the LLO website. Friends will get first call best available singers and musicians. on performance tickets and get to meet The Royal Philharmonic Concert performances are planned in the artists at events organised throughout www.wardour.co.uk Orchestra conducted by London every four months in the best the year. If you’d like to send a cheque concert venues. Such high ambitions – please make it payable to:

Lionel Friend Design: come at a price and sponsorship from London Lyric Opera London Lyric Opera in individuals and corporations will be very 27 Clevedon Rd gratefully accepted. London SE20 7QQ concert at the Barbican Please call us on +44 207 193 4149 Corporate sponsorship Gweneth-Ann Jeffers or email [email protected] to Through corporate contributions towards James Hancock discuss this further. London Lyric Opera’s work, your company Karl Huml will enhance and promote its image Jeffrey Lloyd-Roberts London Lyric Opera Friends and messages to an audience of well- Richard Roberts We believe that London Lyric Opera can educated, affluent opinion-shapers and Anne-Marie Owens have an exciting future as an important decision-makers. Promote products in opera company in the UK – but we the most prestigious concert venues to need your help. Our aim is to be the central London audiences and establish premier London concert opera company, name identification, brand affiliation and performing opera in concert to the highest image transfer with London’s new opera possible standard with no compromise to company. LLO aims to offer flexible Sung in the original orchestra size and quality. We will always sponsorship packages, tailored to suit German with English surtitles perform with the forces required by the each individual sponsor’s specific aims. score. To continue this important work we This flexible approach also means we can Tickets are going to need additional funding.We offer something to suit every budget. LLO’s £55, £45, £38, £32.50 always use professional orchestras and quarterly concert performances of the £27.50, £22, £15 will always try to cast the best available great in Central London concert singers. The repertoire we will focus on venues will provide a perfect opportunity is the big German and English repertoire to entertain clients and constituents in 020 7638 8891 Box office plus an annual concert of orchestral song exclusive and unique settings. Reduced booking fee online cycles. Large forces at the highest level We would welcome the opportunity www.barbican.org.uk are expensive but ultimately worth it. If you to discuss the wide variety of London could support us by being a ‘Friend’ we Lyric Opera’s corporate sponsorship The Barbican Centre is owned, funded and managed by the Corporation of London. www.londonlyricopera.com would be enormously grateful. opportunities with you, to create a tailored package that really meets your specific An international cast presents Beethoven’s classic opera in The ‘Friend’ categories are the following: marketing and entertainment needs. For concert with the Royal Philharmonic Orchestra under the baton Bronze £5 - £249 more information please email Lara on of brilliant young conductor, Madeleine Lovell. LLO is delighted Silver £250 - £999 [email protected] or call on to announce that world-renowned dramatic soprano Elizabeth Gold £1,000 - £4,999 020 7193 4149. Fidelio Connell will be singing one of her signature roles with the exciting Ludwig van Beethoven young tenor, Jeffrey Lloyd-Roberts, as Florestan. Platinum £5000+ Conductor: Madeleine Lovell Marzelline: Rachel Nicholls Royal Philharmonic Orchestra Don Fernando: Paul Goodwin-Groen Leonore: Elizabeth Connell Don Pizarro: James Hancock Florestan: Jeffrey Lloyd-Roberts Rocco: Richard Wiegold London Lyric Opera Jaquino: Andrew Staples London Lyric Opera Chorus in concert at Cadogan Hall Tickets: £45, £39, £32, £25 Tuesday 17 February 2009 7.30pm Box Office: 020 7730 4500 www.cadoganhall.com London Lyric Opera 40 The Tait Memorial Trust is pleased to be assisting these fine young Australian artists in 2008

Thornton Foundation Award Patron and Sponsors Tristan Dyer ballet Royal School of Ballet Duncan Rock baritone Guidhall School of Music & Drama

Dance Arches Award Patron–in-Chief Isla Baring Naomi Hibberd ballet Rambert School of Ballet Founder of LLO James Hancock

Principal Conductor Lionel Friend Brieley Anne Cutting piano Royal College of Music

Guest Conductor Madeleine Lovell Christina Katsimbardis violin lessons with David Takeno Grants throught partner orgnaizations Company Accountant Global Accountants Ltd www.globalaccountant.co.uk Melissa Doueke flute Royal Over-Seas League

Design Wardour Michael Ierace piano Royal Over-Seas League Elena Xanthoudakis soprano Performing Australian Legal Services Gordon Dadds Music Competion

Public Relations Catherine Stokes Consultancy Mary Jean O’Doherty soprano Australian International Opera Award

Velda Wilson soprano National Opera Foundation Australia

Maria Okunev soprano Miette Song Recital Award

Christine Luo piano Dartington Summer School For tickets or more information on the Trust Claire Howard piano Smaull Song Singing Course please contact us on:

4/80 Elm Park Gardens Our Upcoming Events: Sponsors London SW10 9PD 020 7351 0561 Tuesday 23 September Piers Lane and the Australian String Quartet [email protected] Wardour www.taitmemorialtrust.org Programme to include Dvorak’s Piano Quintet in A major, Peter Sculthorpe’s www.wardour.co.uk String Quartet No.8 and Debussy String Quartet in G minor Op.10. Registered charity no. 1042797 7 for 7.30 at 49 Queen’s Gate Terrace, SW7 Gordon Dadd’s Tickets £25 or £20 for Tait Friends www.gordondadds.com We wish to thank Tuesday 14 October John Amis on Britten and Tippett Tait Memorial Trust our sponsors: www.taitmemorialtrust.org Writer and broadcaster John Amis will give his fascinating talk on Britten Vernon Ellis Foundation for and Tippett. Amis knew both composers and offers a witty nostalgic insight The Ashton Partnership hosting our concerts. to a relationship that lasted over thirty years between the two most significant composers of the British post-war musical scene. www.theashtonpartnership.com 7 for 7.30 at 49 Queen’s Gate Terrace, SW7 Tickets £17 or £15 for Tait Friends

With our warmest thanks to: Thursday 22 January 2009 Kathie Convery, Leeza Johnson, Ludmilla The Chamber Strings of Melbourne with pianist Antony Gray Andrew, St. George’s Beckenham, Wagner Christopher Martin conducting The Chamber Strings of Melbourne, programme Journal, Music Club of London, Wagner includes works by Vivaldi, Telemann, Arensky/Tchaikovsky, Samuel Barber’s Society and the Business team at Lloyds Adagio for Strings, Elgar and Malcolm Williamson’s Piano Concerto. TSB, Bromley, Hugh Mather and the Friends of St.Mary’s Perivale, St. Barnabas’ 6.30 for 7pm St. Paul’s Knightsbridge SW1X 8SH Ealing, Patrick Norohna, Andrew Bernardi. Tickets £25 or £22 for Tait Friends The Julian Baring

scholarship fund

providing scholarships for African mining students

Programme designed by Wardour www.julianbaringscholarship.com Illustration by Izumi Nogawa

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