Sunday 3 March 2019 7–9.05pm Barbican

LSO SEASON CONCERT SIR

Ponchielli Elegia Verdi String Quartet (version for full strings) DI Interval Puccini Messa di Gloria

Sir Antonio Pappano conductor Benjamin Bernheim tenor Gerald Finley bass Chorus chorus director GLORIA William Spaulding guest chorus master This concert will be broadcast live by Medici.tv

5.30pm Barbican Hall LSO Platforms: Guildhall Artists Free pre-concert recital Welcome Latest News

of talks and chamber music performances THE LSO’S 2019/20 SEASON CULTURE MILE COMMUNITY DAY at our venue, LSO St Luke’s. This evening we also hosted a free pre-concert recital, On Thursday 21 February we announced On Sunday 17 February, LSO St Luke’s when musicians from the Guildhall School the details of the LSO’s 2019/20 season. was taken over for a day of performances, performed Italian vocal chamber works Sir continues his exploration of workshops, music, food and crafts, run by here in the Barbican Hall. These free LSO the roots and origins of music, including a Culture Mile to celebrate the irrepressible Platforms recitals seek to complement the look back to the influence of Beethoven in his creativity and community spirit of East repertoire in the ’s main season 250th anniversary year and a focus on how London. Join us for free at the next and showcase the musicians of the future. folk music inspired the music of Bartók and Community Day on Sunday 21 July. Percy Grainger. François-Xavier Roth conducts I would like to thank our media partner complementary programmes looking at • lso.co.uk/news elcome to this evening’s LSO medici.tv, which is broadcasting tonight’s the music of Bartók and Stravinsky, while concert at the Barbican. Tonight, concert live to an international audience. Gianandrea Noseda continues his survey of Sir Antonio Pappano conducts Russian works. We also take the opportunity WATCH THE LSO ON YOUTUBE a programme exploring the roots and I hope that you enjoy the performance and to celebrate the 50th anniversary of LSO connections in Italian music of the that you will be able to join us again soon. Conductor Laureate ’ The Orchestra’s Barbican concert next 19th century. Ponchielli’s Elegia opens On Sunday 10 March we are delighted to be first appearance with the Orchestra. Sunday 10 March, celebrating conductor the concert, followed by works by his joined by to celebrate his Bernard Haitink’s 90th birthday, will be contemporary, Verdi, and former student, 90th birthday with a concert of Bruckner Full public booking is open from 10am on streamed live and for free on the LSO’s Puccini. We’ll hear Verdi’s String Quartet and Mozart featuring pianist Till Fellner, Tuesday 5 March via the LSO’s website. YouTube channel. Watch from 6.30pm when arranged for full orchestral strings before who makes his LSO debut. Bernard Haitink Rachel Leach will present an introduction to being joined by soloists Gerald Finley and also conducts two concerts of Dvořák and • lso.co.uk/201920 the music before the concert starts at 7pm. Benjamin Bernheim, who makes his LSO Mahler on Thursday 14 and Thursday 21 debut tonight, for Puccini’s Messa di Gloria, March with Isabelle and Anna Lucia You can also watch the streamed LSO featuring the . Richter, and Barbara Hannigan continues her WELCOME TO TONIGHT’S GROUPS concert from Thursday 7 February in full now. Artist Portrait series on Sunday 17 March, Earlier today LSO Discovery, the Orchestra’s appearing as both conductor and soprano. We are delighted to welcome the • lso.co.uk/livestream education and community programme, groups attending tonight’s concert: • youtube.com/lso hosted a Discovery Day focusing on Italian Matthew McCabe, Tenor Section of the LSC, vocal music of the same period. Participants Mrs Adele Friedland & Friends had the chance to attend this morning’s Kathryn McDowell CBE DL orchestral rehearsal before an afternoon Managing Director

2 Welcome 3 March 2019 Tonight’s Concert In Brief by Sir Antonio Pappano Coming Up

uccini is sophisticated in so many Tonight’s concert also features works by Sunday 10 March 7–9.15pm Sunday 17 March 7–9pm ways – as an orchestrator, as a two other Italian composers – Ponchielli’s Barbican Barbican melodist, and as a conceiver of Elegia and Verdi’s wonderful String Quartet, stories and how they grow. I recorded the arranged for full orchestral strings. The HAITINK AT 90: BIRTHDAY CONCERT BARBARA HANNIGAN Messa di Gloria with the LSO in 2001 – it’s Elegia is a particularly mournful piece. a beautiful recording – and I remember It is almost monochromatic, in one colour: Mozart Concerto No 22 Ligeti Concerto Românesc at the time it being a real labour of love. a beautiful heart-rending piece of music. Bruckner Symphony No 4 Haydn Symphony No 86 Many in the Orchestra had not heard of Berg – Suite it, let alone played it, but they were in By comparison, the Verdi String Quartet is Bernard Haitink conductor Gershwin arr Hannigan & Elliot heaven because it has an amazing allure. quite structured. It’s in sonata form with a Till Fellner piano Girl Crazy – Suite It creates sympathy and I find its lyricism big fugue at the end, and there are many of incredibly winning. Puccini wrote the mass the standard elements of classical music. Streamed live on youtube.com/lso and medici.tv Barbara Hannigan conductor/soprano as a graduation exercise from music college, It has that in common with the Messa di Recorded by BBC Radio 3 for broadcast on 11 March so it’s a juvenile work. He never had it Gloria. Puccini was following generations of published, but he dipped into it and later composers before him that had written the Sunday 24 March 6–9pm used some of the themes in his . standard Mass structure. Barbican Thursday 14 March 7.30–9.30pm I feel particularly close to Puccini, in part The most important connection that binds Thursday 21 March 7.30–9.30pm LSO FUTURES because of his contradictions. The piece has tonight’s programme is that these are all Barbican rousing moments but none that I would non-operatic works by three extremely David Lang the public domain (UK premiere)* call melodramatic – that, I think, is the operatic composers: all three were HAITINK AT 90: Philippe Manoury Ring (UK premiere) difference between this and his operas. composing from outside of their comfort MAHLER SYMPHONY NO 4 Donghoon Shin Kafka’s Dream (world premiere) zones. Working with the music of these Scriabin Symphony No 4, ‘The Poem of Ecstasy’ The Credo was written first and Puccini composers outside their usual genres is so Dvořák Violin Concerto intended it to be an isolated piece of its very interesting and I find it quite moving. • Mahler Symphony No 4 François-Xavier Roth conductor own: it’s a big structure and really quite Simon Halsey conductor * impressive for such a young student. Bernard Haitink conductor Thomas Guthrie director * But, what I love in particular is the duet Isabelle Faust violin London Symphony Chorus between the tenor and in the Anna Lucia Richter soprano LSO Community Agnus Dei – this is the music that went 500 Voices Participants * on to be used in the opera Lescaut. Thursday 14 March 6pm It’s very simple and very beautiful. LSO Platforms: Guildhall Artists

Tonight’s Concert 3 2019/20 with the London Symphony Orchestra

Public booking opens 10am on Tuesday 5 March ROOTS & ORIGINS 50 YEARS WITH THE LSO RUSSIAN ROOTS BARTÓK Sir Simon Rattle Michael Tilson Thomas Gianandrea Noseda François-Xavier Roth

Season Opening Concert Berlioz: Romeo and Juliet Shostakovich’s Sixth The Miraculous Mandarin 14 September 2019 10 November 2019 31 October 2019 19 December 2019

Messiaen’s Éclairs sur l’au-delà Michael Tilson Thomas, Tchaikovsky Tchaikovsky’s Fifth HALF SIX FIX 15 September 2019 & Prokofiev 3 & 28 November 2019 The Wooden Prince 14 November 2019 18 March 2020 Brahms & Rachmaninov Shostakovich’s Seventh 18 & 19 September 2019 HALF SIX FIX 5 December 2019 The Wooden Prince Prokofiev: Symphony No 5 & Stravinsky Violin Concerto Berg & Beethoven’s Seventh 13 November 2019 Shostakovich’s Ninth 19 March 2020 16 January 2020 30 January & 9 February 2020 Dukas Symphony in C Beethoven: James MacMillan: St John Passion 22 March 2020 Christ on the Mount of Olives 5 April 2020 19 January & 13 February 2020 ARTIST PORTRAIT Stravinsky’s Firebird 11 June 2020 Beethoven’s Ninth Symphony Antoine Tamestit 16 February 2020 Panufnik Composers Workshop Jörg Widmann’s Viola Concerto 26 March 2020, LSO St Luke’s Bartók: Duke Bluebeard’s Castle with 23 April 2020 19 April 2020

Mahler’s Fourth Symphony Berio Voci with François-Xavier Roth 26 April 2020 11 June 2020

Grainger Walton Viola Concerto 4 June 2020 with Alan Gilbert Produced by the LSO and Barbican. Part of the 14 June 2020 LSO’s 2019/20 Season and Barbican Presents. BBC Radio 3 Lunchtime Concerts: Explore the season at Gershwin, Ives, Harris & Bernstein Antoine Tamestit & Friends 6 June 2020 8 & 15 May; 5 & 26 June 2020, LSO St Luke’s lso.co.uk/201920 Elegia undated / note by Ben Earle

milcare Ponchielli has the dubious extended introduction, subdued in tone, • PONCHIELLI’S HIT: honour to belong to that special precedes a violin melody that expands category of composers, including operatically as it moves from B minor to its A tale of intrigue, love, lust and, in the end, Paul Dukas, Gustav Holst and Carl Orff, relative major. The more agitated central tragic violence, Ponchielli’s best known amongst others, who are known for just section of the work reaches an anguished opera is a convoluted melodrama which one work, albeit one so familiar that it has climax, assuaged by the cellos. A further plays out on the streets and canals of 17th- become part of popular culture. outbreak of grief prompts a recitative-like century Venice. Its (ironic) title La Gioconda retransition to a richly rescored version translates as ‘The Happy Woman’. Ponchielli’s ballet sequence ‘The Dance of the B minor melody. The material then of the Hours’, which occurs in Act III of his develops anxiously towards a cathartic A street singer, Gioconda falls in love with a La Gioconda • (1876), found climax in B major, a revelatory moment Genoese prince Enzo, but when her rival for mass fame when it was used, not without when Ponchielli suddenly anticipates Enzo’s affection, Laura, saves Gioconda’s parody, for a scene in ’s 1940 the style of his most celebrated pupil, blind mother from the villain Barnaba, animation Fantasia. In the 1960s, similarly . A quiet coda follows. • Gioconda must put her own feelings aside wide audiences came to know a debased to repay her. There follows an unfortunate version of this music via ’s series of events as Laura is poisoned, novelty songs about ‘Camp Granada’. • THE MANY ELEGIAS (although she is revived after it transpires La Gioconda as a whole does not enjoy this that the poison she had drunk was replaced kind of familiarity, yet the work retains a Amilcare Ponchielli wrote no fewer than with a powerful drug which simulates place in the repertory, something that cannot seven ‘Elegias’ (elegies) in his lifetime, death), Enzo is imprisoned and Gioconda be said of any other Italian opera composed including three pieces of chamber music, • An engraving by Pietro Francesco Prina ultimately agrees to give herself to the evil between the 1850s and 1880s – apart, that is, two pieces for band, a choral piece and depicting La Gioconda which appeared in Barnaba. She attempts to escape, but is from those of Verdi. Listeners tonight will be tonight’s orchestral work. L’Illustrazione Italiana on 24 January 1876 caught. Barnaba makes his final attempts to able to judge for themselves whether Ponchielli seduce her and is foiled only after Gioconda deserves his status as a one-work wonder. commits suicide by stabbing herself to death.

Notable among his instrumental music is the number of pieces with the title Elegia •. The example we will hear, the manuscript Ben Earle is a senior lecturer at the of which is undated, and published only University of Birmingham, specialising as recently as 1980, takes the form of in 20th-century repertory, analysis, an exceptionally lyrical slow march. An critical theory and aesthetics.

6 Programme Notes 3 March 2019 Amilcare Ponchielli in Profile 1834–86 / profile by Mark Parker

milcare Ponchielli was the son of a shopkeeper from a village not far from in northern . His father played the organ in the local church, and taught his son the basics of music until the boy was good enough to win a scholarship to study in when he was only nine years old. He remained there at the conservatory for ten years.

Ponchielli’s first post after graduating was back in Cremona. He almost returned to Milan in 1867 when he won a competition to become the next professor of counterpoint at the conservatory. But the position went to • Ponchielli poses with the original cast of La Gioconda in 1876 someone else, and Ponchielli would have to wait another 13 years before returning to teach develop Ponchielli’s reputation by guiding Ponchielli would never again match the at his alma mater, where his students would him through the composition of his next success of Giaconda. In his final years he eventually include Puccini and Mascagni. major work, the opera , which was produced a steady stream of sacred music, produced to acclaim at . and died of pneumonia at the age of 51. Instead Ponchielli spent this period making He has since been memorialised in his his living as a provincial bandmaster and Ponchielli was a prolific and successful Lombardian hometown, which changed its organist, occasionally directing operas and composer of many operas, ballets and name to Paderno Ponchielli to honour the ballets, and beginning to establish his own concert works, as well as making hundreds centenary of his birth. • career as a composer. He wrote his first of wind band arrangements during his early opera, Il promessi sposi, two years after he career. But his most successful work remains graduated. But only after a major revision La Gioconda, the only one to draw widespread Mark Parker is a music marketer and did it prove to be a success. A production of critical praise and even admiration from writes regularly on contemporary works the 1872 version attracted the attention of Verdi at the time of its release, while being and composers, specialising in 20th- and the powerful publisher , the the only work by Ponchielli that is still 21st-century music, freely-improvised power broker of Italian opera, who helped performed regularly today. music and punk rock.

Composer Profile 7 String Quartet (version for full strings) 1873 / note by Ben Earle

1 Allegro E minor, abbreviated by the omission of the the cello in A major. But Verdi reserves his VERDI ON LSO LIVE 2 Andantino first theme in the recapitulation, its style is biggest surprise for the finale, which has the 3 Prestissimo not so distant from that of Mendelssohn. title ‘Scherzo Fuga’. Fugal finales may be 4 Scherzo Fuga Both the first and second themes are lyrical familiar from Mozart and Beethoven, but the in character; they are surrounded by vigorous wiry brilliance of this contrapuntal tour de erdi wrote his String Quartet, passage-work. force gives it a character all its own. his only piece of chamber music, because he had nothing better — to do. Preparations for the local premiere ‘Performed by 80 players it ought to do well ... above all because of in Naples at the start of 1873 had been delayed when both the opera’s female there are phrases that should call for a full and fat sound rather leads fell ill. The quartet was composed than the thin one of a single violin’. while Verdi waited for them to recover. Verdi on performing the quartet with full strings Aida finally opened in the Teatro San Carlo on 30 March; a private performance of the — quartet was arranged in Verdi’s hotel two days later. The composer was diffident It is the central movements that seem It is worth noting that performance of this Verdi about his achievement, initially refusing to to have upset critics. Both dances, music by a string orchestra was sanctioned permit further performances. It was only in they evidently strayed too close to the by the composer. As early as April 1877, Gianandrea Noseda conductor 1876, during a visit to Paris, that he allowed stage for listeners attuned to Germanic the conductor August Manns received Erika Grimaldi soprano the quartet to be played in public, and also seriousness. In place of a slow movement, Verdi’s blessing for a performance in the Daniela Barcellona mezzo-soprano agreed to its publication. It seems Verdi Verdi composes a Mazurka, a formally Crystal Palace (by then long in Sydenham). Francesco Meli tenor was worried that his music would be judged curious Andantino in C major. The main ‘Performed by 80 players it ought to do well’, Michele Pertusi baritone inferior by comparison with the German theme and its return frame a central the composer wrote, ‘above all because London Symphony Chorus instrumental tradition. Regrettably, his fears section that comprises a short episode, a there are phrases that should call for a Simon Halsey chorus director were not groundless. While the quartet was brief appearance of the main theme in a full and fat sound rather than the thin quickly taken up by professional ensembles tonally remote G-flat major and a further one of a single violin’. • ‘A first-rate musical thriller.’ after 1876 and proved popular with audiences, episode, longer than the first and turbulent **** BBC Music Magazine critical responses were mixed. in expression. The Prestissimo has been Interval – 20 minutes compared to the ballet music from Verdi’s There are bars on all levels. Available to purchase in the Barbican Shop, Of the four movements, the opening Allegro Macbeth. A whirling dance in E minor Visit the Barbican Shop to see our at lsolive.co.uk, on iTunes and Amazon, is the most conventional. A sonata form in encloses a thoroughly operatic cantilena for range of Gifts and Accessories. or to stream on Spotify and Apple Music

8 Programme Notes 3 March 2019 Giuseppe Verdi in Profile 1813–1901 / profile by Andrew Stewart

erdi revolutionised Italian opera, After the censors refused to allow the theme finding a powerful musical of regicide in Un ballo in maschera (1859), • VERDI’S KEY DATES expression for such themes Verdi’s work was championed by Italy’s as abduction, murder, premature death nationalist movement. By coincidence the 1813 Born in Le Roncole, Italy, and seduction in early mature works like letters of his name stood as an acronym for beginning lessons with and and, in later life, ‘Vittorio Emanuele, Re D’Italia’, allowing Ferdinando Provesi in 1825 brilliantly translating Shakespeare’s Othello partisan opera fans to cry ‘Viva Verdi’ in and Falstaffto the operatic stage. Keyboard support of both the composer and Italy’s 1836 Marries Margherita Barezzi, and other musical studies in Le Roncole and future king. daughter of the leader of the nearby Busseto nurtured the boy’s natural Busseto Philharmonic talent; however, he failed to gain a place at Between the composition of Aida (1871) and the . Undeterred, Verdi , created for La Scala in 1887, Verdi 1840 Death of Margherita, following studied privately with Vincenzo Lavigna and wrote little for the stage. He broke off his the death of the couple’s two duly became Maestro di Cappella in Busseto. retirement, however, to fashion his Requiem young children Mass in honour of . The His first marriage ended tragically with the success of the Requiem and Aida confirmed 1842–49 Early period of composition, death of his wife in 1840. By then Verdi had Verdi’s position as one of the world’s including operas , completed his first opera,Oberto , which leading composers, attracting honours and Macbeth and was performed in 1839 at La Scala, Milan. adding to his considerable income. His final A series of works was commissioned by opera, (1892–3), was immediately 1851–60 Middle period of composition, the illustrious Milanese theatre, including recognised as a masterpiece. • during which Verdi produces Nabucco and I Lombardi. Their public success popular operas Rigoletto, led to further commissions elsewhere, with Il trovatore and La traviata new works created for Venice, Paris, London and Florence. His international profile Andrew Stewart is a freelance music 1860–80 Late period operas move was enhanced with the triumphant first journalist and writer. He is the author towards the French vogue for productions of Rigoletto (1851), Il trovatore of The LSO at 90, and contributes to spectacle: La forza del destino, (1853) and La traviata (1853). In 1859, Verdi a wide variety of specialist classical and Aida married the soprano Giuseppina Strepponi. music publications. 1901 Dies in Milan, Italy, at the age of 87, after suffering a stroke

Composer Profile 9 Giacomo Puccini Messa di Gloria 1878–80 / note by Ben Earle

1 Kyrie The composer’s manuscript names the The opening Kyrie takes the standard The Credo is similarly complex in formal 2 Gloria mass simply as Messa a quattro voci ternary form: Kyrie eleison – Christe eleison – terms, falling again into seven continuous 3 Credo con orchestra (Mass in Four Voices with Kyrie eleison. Flowing counterpoint in A-flat sections. As in the Gloria, Puccini brings back 4 Sanctus e Benedictus Orchestra). If the title Messa di Gloria was major in the outer sections turns to the his opening material later in the movement, 5 Agnus Dei thought appropriate, that was doubtless relative minor for the Christe, where the but here it is a very different kind of music: on account of the work’s imposing second music becomes more forceful in expression. ‘Credo in unum deum’ in a grandiose C Benjamin Bernheim tenor movement. Certainly the Gloria is the most minor. This makes a dramatic return for the Gerald Finley bass immediately impressive section of the The substantial Gloria falls into seven opening of the fifth section, ‘Et in spiritum London Symphony Chorus Messa; it is also the longest. But strictly continuous sections. Of these, the first, sanctum’, prepared by the crescendo at the Simon Halsey chorus director speaking the title is a misnomer. In the ‘Gloria in excelsis deo’ in C major, has a end of the preceding ‘Et resurrexit’. The tenor William Spaulding guest chorus master Italian tradition, Messa di Gloria – the jaunty military character, complete with soloist makes a reappearance for the second most celebrated example is by Rossini – fanfares. Frequent bold harmonic section, an ‘Et incarnatus’ in G major, joined essa di Gloria is not Puccini’s refers to a setting of the Kyrie and Gloria progressions suggest that the young by the chorus, which sings a cappella for title. It was given to this music alone. Puccini sets the complete text of composer had the score of Aida open at his much of the time. The following ‘Crucifixus’ long after the composer’s death, the Mass. But there seems little point in elbow. A military character is also present in is a solo for the choral basses. At the end of presumably by Dante del Fiorentino, the trying to change the name now. the F major slow march of the ‘Qui tollis’, the the Credo, Puccini moves swiftly through the man who arranged for its first publication. fifth section, and there are fanfares in the text to arrive at the hope of eternal life, ‘Et Del Fiorentino was a priest, who had got to The earliest music in the Messa di Gloria following hymn-like ‘Quoniam’ too. Prior to vitam venturi’, set in gently pastoral style, know Puccini at the end of the composer’s is the Credo, composed and performed in the ‘Qui tollis’, the tenor solo enters for the later building to a powerful climax. life. By the early 1950s, he had emigrated 1878, when Puccini was just 20. The work first time with the ‘Gratias agimus tibi’, set to the US, but in 1951 made a research trip as a whole was completed two years later as an Andante sostenuto in a lyrical D-flat. The last two movements are very short. The to Tuscany in connection with his ‘intimate as the composer’s graduation exercise The final stages of this section are formally stylistically somewhat archaic beginning of memoir’ of Puccini, Immortal Bohemian, at the Istituto Musicale Giovanni Pacini audacious. First the music modulates back the Sanctus in G major is met by a dramatic published the following year. In Lucca, in Lucca. This was Puccini’s first period to C for a refrain-like return to the opening outburst at ‘Pleni sunt coeli’, whereupon where Puccini was born and brought up, of study, before he went off to the Milan ‘Gloria in excelsis deo’; then Puccini sets the the music modulates to E-flat major for Del Fiorentino purchased what he took to Conservatoire to learn how to be an opera ‘Domine deus’ to the music of the tenor solo, the Benedictus, and the entry of the solo be the original manuscript of this large- composer with Ponchielli. The Messa was scored for chorus now, but with the melody baritone (finally!), in the manner of a slow scale early work (in fact the score was in performed on 12 July 1880 at a service for placed in the orchestra. The final section of waltz. For the first time in the Messa, there the hand of a copyist). He brought it back the feast of San Paolino, Lucca’s patron the movement, ‘Cum sancto spiritu’, is an is a glimpse of the operatic Puccini to come, to the States, where in 1952 the work was saint. Well received by public and critics, elaborate fugue, towards the end of which an impression then confirmed by the final heard in . An Italian performance it was not heard again for 72 years. Puccini triumphantly brings back the ‘Gloria’ Agnus Dei. Singing together, the tenor and in Naples soon followed. theme once more, along with the fanfares. baritone soloists might as well be Rodolfo

10 Programme Notes 3 March 2019 Giacomo Puccini in Profile 1858–1924 / profile by Mark Parker and Marcello, stepping out of the world of through with , Puccini his work sings out to us so strongly even La bohème for two minutes of gentle enjoyed a long and successful career as one now, especially in his three most popular penance, sweetly echoed by the chorus. of the most popular musicians of his day, operas: La bohème, and Madame In fact this music was to find its place in Act II and is now recognised as the greatest Italian Butterfly. For all its musical sophistication, of Manon Lescaut, where, under the title opera composer since Verdi. for all the finely-crafted melodies and ‘Madrigale’, it is sung to amuse the bored heroine. As the conclusion to the Messa di — Gloria, it makes an oddly muted impression: ‘The music was dictated to me by God. I was merely instrumental in getting one wants the music to keep going, but it just stops. • it on paper and communicating it to the public.’. Puccini describes writing Madame Butterfly —

But that reputation rests on a slim output of rich Romantic harmony, Puccini’s music just eight full-length operas, three one-acts endures because it seems to express and one unfinished work, written over four something timeless and essential. We decades with only minor works between. all see something of ourselves in his Not that Puccini was meticulous, but he characters; we all hear our hopes and our never managed to shake the idleness that dreams played out in his scores. escended from four generations plagued him his whole life. He always of Tuscan municipal musicians, spent too little time actually writing music, Puccini was an international celebrity when Puccini learned the family trade and too much time fishing and hunting, he died at the age of 65 from complications from his uncle before earning a place at the travelling to oversee new productions, related to a treatment for throat cancer. prestigious conservatory of music in Milan, collecting cars, houses and boats, going Of all the tributes that followed, the most even when he was well past the usual age to the theatre, or pursuing married women famous came two years later from Puccini’s limit for admissions. He was never a model and risking scandal. close friend, the conductor , student. Despite his talent, Puccini was lazy who stopped the first performance of and always open to distraction. In fact, Puccini’s love for life, people, places in the middle of Act III and and things might be why the music he did announced to the capacity crowd at La Scala From early attempts at writing opera with manage to write has such a strong hold on that, ‘Here the opera ends because at this Le Villi and Edgar, and after breaking our imagination. The human dimension to point the maestro died.’ •

Composer Profile 11 Giacomo Puccini Messa di Gloria texts

1 Kyrie Quoniam tu solus Sanctus, For Thou only art holy, Kyrie eleison! Lord, have mercy! tu solus Dominus, Thou only art the Lord, Christe eleison! Christ, have mercy! tu solus Altissimus, Jesu Christe. Thou only art most high, Jesus Christ. Kyrie eleison! Lord, have mercy! Cum Sancto Spiritu With the Holy Ghost, in gloria Dei Patris, amen. in the glory of God the Father, amen. 2 Gloria Gloria in excelsis Deo. Glory be to God on high. 3 Credo Et in terra pax And in earth peace, Credo in unum Deum; I believe in one God; hominibus bonae voluntatis. goodwill towards men. Patrem omnipotentem, the Father almighty, factorem coeli et terrae, maker of heaven and earth, Laudamus te, benedicimus te; We praise Thee, we bless Thee, visibilium omnium et invisibilium. and of all things visible and invisible. adoramus te, glorificamus te. we worship Thee, we glorify Thee. Gratias agimus tibi We give thanks to Thee, Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, propter magnam gloriam tuam. for Thy great glory. Filium Dei unigenitum, the only begotten Son of God, Et ex Patre natum ante omnia saecula. begotten of the Father before all worlds; Domine Deus, Rex coelestis, O Lord God, heavenly King, Deum de Deo, lumen de lumine, God of God, light of light, Deus Pater omnipotens. God the Father Almighty. Deum verum de Deo vero, true God of true God, Domine Fili unigenite Jesu Christe. O Lord, the only-begotten Son, Jesus Christ. Genitum non factum, begotten not made, Domine Deus, Agnus Dei, O Lord God, Lamb of God, consubstantialem Patri: being of one substance with the Father: Filius Patris. Son of the Father. per quem omnia facta sunt. by Whom all things were made. Qui propter nos homines, Who for us men, Qui tollis peccata mundi, Thou that takest away the sins of the world, et propter nostram salutem and for our salvation miserere nobis. have mercy upon us. descendit de coelis. descended from heaven. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost, Qui sedes ad dextram Patris, Thou that sittest at the right hand of God ex Maria Virgine: et homo factus est. of the Virgin Mary, and was made man. O miserere nobis. the Father, have mercy upon us. Crucifixus etiam pro nobis He was crucified also for us, sub Pontio Pilato, suffered under Pontius Pilate, passus et sepultus est. and was buried.

12 Texts 3 March 2019 Et resurrexit tertia die And on the third day He rose again 4 Sanctus e Benedictus secundum Scripturas. according to the Scriptures. Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Et ascendit in coelum: And ascended into heaven: Dominus Deus Sabaoth. Lord God of Hosts. sedet ad dexteram Patris. he sitteth at the right hand of the Father. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Et iterum venturus est cum gloria, And He shall come again with glory, Hosanna in excelsis. Hosanna in the highest. judicare vivos et mortuos: to judge the living and the dead: cujus regni non erit finis. and His kingdom shall have no end. Benedictus qui venit Blessed is He that cometh in nomine Domini. in the name of the Lord. Et in Spiritum Sanctum, And I believe in the Holy Ghost, Hosanna in excelsis! Hosanna in the highest! Dominum, et vivificantem: the Lord and giver of life: qui ex Patre Filioque procedit. Who proceedeth from the Father and the Son. 5 Agnus Dei Qui cum Patre et Filio simul Who with the Father and the Son together Agnus Dei, Lamb of God, adoratur et conglorificatur: is worshipped and glorified: qui tollis peccata mundi, who takest away the sins of the world, qui locutus est per Prophetas. as it was told by the Prophets. miserere nobis. have mercy upon us. Agnus Dei. Dona nobis pacem. Lamb of God. Grant us peace. Et in unam sanctam And I believe in one holy catholicam et apostolicam Ecclesiam. catholic and apostolic Church.

Confiteor unum baptisma, I acknowledge one baptism, in remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum And I await the resurrection of the dead et vitam venturi saeculi, amen. and the life of the world to come, amen.

Texts 13 Sir Antonio Pappano conductor

ne of today’s most sought-after and highlights of recent seasons include his with the Accademia Nazionale di Santa conductors, acclaimed for operatic debut at the and Cecilia, and his debut with the Verbier his charismatic leadership and the Teatro alla Scala. Festival Orchestra. inspirational performances in both symphonic and operatic repertoire, Sir Antonio Pappano His repertoire at House Highlights of the 2018/19 season and beyond has been Music Director of the Royal Opera has been notably wide-ranging, generating include the complete Wagner Ring Cycles House since 2002, and Music acclaim in productions including Strauss’ and productions of Verdi’s Forza del Destino Director of the Orchestra dell’Accademia Ariadne auf Naxos, Berg’s Wozzeck, Verdi’s and Otello at the , and Nazionale di Santa Cecilia in since Aida and Falstaff, Puccini’s Il Trittico return visits to the Staatskapelle Berlin, 2005. Nurtured as a pianist, repetiteur and and La bohème, Mozart’s , Leipzig Gewandhaus, Royal Concertgebouw, assistant conductor at many of the most Shostakovich’s Lady Macbeth of Mtsensk, San Francisco Symphony, and Chamber important opera houses of Europe and North Beethoven’s Fidelio, Wagner’s and Orchestra of Europe. America, including at Chicago’s Lyric Opera Rossini’s The Barber of Seville. He has also and several seasons at the mounted productions of Wagner’s Der Ring Pappano has been an exclusive recording as musical assistant to , des Nibelungen, Berg’s Lulu and Verdi’s Les artist for Warner Classics (formerly EMI Pappano was appointed Music Director of Vêpres Siciliennes. Classics) since 1995, and his discography Oslo’s Den Norske Opera in 1990, and from features numerous complete operas 1992 to 2002 served as Music Director of the Pappano has appeared as a guest conductor alongside productions from the Royal Opera Théâtre Royal de in . From with many of the world’s most prestigious House which have been released on DVD. 1997 to 1999 he was Principal Guest Conductor , including the Berlin, Vienna, New of the Israel Philharmonic Orchestra. York and Munich Philharmonic Orchestras, Sir Antonio Pappano was born in London the Royal Concertgebouw Orchestra, the to Italian parents, and moved with his family Pappano made his debut at the Vienna Chicago and , the to the United States at the age of 13. Staatsoper in 1993, replacing Christoph and Cleveland Orchestras He studied piano with Norma Verrilli, von Dohnànyi at the last minute in a new and the Orchestre de Paris. He maintains composition with Arnold Franchetti and production of Wagner’s Siegfried, his a particularly strong relationship with the conducting with . His awards debut at the New York LSO, conducting the Orchestra annually at and honours include Gramophone’s ‘Artist in 1997 and in 1999 he conducted a new the Barbican and widely on tour. Recent of the Year’ in 2000, the 2003 Olivier Award production of Wagner’s Lohengrin at the highlights include his debuts with the for Outstanding Achievement in Opera, the Bayreuth Festival. He has worked at the Chamber Orchestra of Europe and the Berlin 2004 Royal Philharmonic Society Music , Lyric Opera of Chicago, Philharmonic Orchestra, and performances Award, and the prize from the Théâtre du Châtelet and Staatsoper Berlin, at the BBC Proms and Bucharest Festival Académie du Disque Lyrique in Paris. •

14 Artist Biographies 3 March 2019 Benjamin Bernheim tenor

rench tenor Benjamin Bernheim concludes at the Opernhaus Zürich with his studied with Gary Magby at the Lausanne has been heralded as ‘the major role debut as Ismaele in Verdi’s Nabucco. Conservatoire, participated in masterclasses French lyric tenor the opera world with Giacomo Aragall, and attended Carlo is longing for’ by the Chicago Tribune, with a Engagements in the 2017/18 season included Bergonzi’s Accademia Verdiana in Busseto. • distinctive voice that is ‘flawless and pure, Bernheim’s Royal Opera House debut as ranging from delicate pianissimo to heroic Rodolfo in Puccini’s La bohème, his debut fortissimo as required’ (Opera News). His as Alfredo in Verdi’s La traviata at the recent debuts at the Chicago Lyric Opera, Deutsche Oper and Staatsoper Berlin, Staatsoper Berlin, Vienna Staatsoper and Rodolfo at the Opéra national de Paris, the Royal Opera House in London have his North American debut in the title role caught the attention of critics and audiences of Gounod’s Faust at the Lyric Opera of alike as he tackles the staples of the Chicago. In concert, he appeared at the Romantic tenor repertoire. Théâtre des Champs Elysées. He also made his role debut as Nemorino in Donizetti’s Bernheim began his 2018/19 season at the L’elisir d’amore at the . Opernhaus Zürich, where he reprised the He finished a successful season with a role of Rodolfo in Puccini’s La bohème. return to the Opernhaus Zürich as Alfredo At the Royal Opera House, he performs in Verdi’s La traviata. in Verdi’s Requiem, under the baton of Sir Antonio Pappano, returning later in the Previous highlights include the role of season to sing Alfredo in Verdi’s La traviata. Lensky in Tchaikovsky’s The season sees him perform twice in his at Deutsche Oper Berlin, Rodolfo at the native France, once in recital in Paris in Semperoper Dresden, and his debut in the the autumn, and at the Opéra national title role in Gounod’s Faust at the Latvian de Bordeaux in the spring, when he will National Opera. perform the role of Des Grieux in Massenet’s Manon for the first time. In Vienna, at He has also performed in multiple productions the Staatsoper, he performs Rodolfo in at the Salzburg Easter, Pentecost and Summer La bohème, Nemorino in L’elisir d’amore Festivals with roles including Agenore in and Tamino in Mozart’s . Mozart’s Il Re Pastore, Eginhard in Fierrabras He returned to La Scala in February, to once by Schubert, Nicias in Thaïs by Massenet and again sing the role of Alfredo. His season Cassio in Otello by Verdi. Benjamin Bernheim

Artist Biographies 15 Gerald Finley bass

rammy-award winning Canadian with the Concertgebouw Orchestra Finley’s 2018/19 season opened with an bass-baritone Gerald Finley is Amsterdam, a tour of Schoenberg’s exciting appearance at the Last Night of a leading singer and dramatic A Survivor From Warsaw with Andris the Proms. He went on to perform operatic interpreter of his generation, with acclaimed Nelsons and the Bavarian Radio Symphony roles including Iago in a new production of performances at the world’s major opera Orchestra, Mahler’s Wunderhorn Lieder Verdi’s Otello at the Bayerische Staatsoper and concert venues and award-winning with the Mahler Chamber Orchestra, and and the , and the recordings on CD and DVD with major labels Lutosławski’s Les espaces du sommeil with title role in Bartók’s Bluebeard’s Castle at in a wide variety of repertoire. Finley’s career the Los Angeles Philharmonic Orchestra the Metropolitan Opera in New York. He also is devoted to the wide range of vocal art, conducted by Esa-Pekka Salonen. A appears in the LSO’s semi-staged production encompassing opera, orchestral music and rediscovered version of Shostakovich’s of Janáček’s with song, and sees him collaborate with the Six Romances on Verses by English Poets Sir Simon Rattle in June 2019. most prominent orchestras and conductors. was recorded by Finley and the Helsinki Philharmonic on the Ondine label and Gerald Finley was born in , began He began with the baritone roles of Mozart; received international critical acclaim, singing as a chorister in Ottawa, Canada, his Don Giovanni and Count in The Marriage along with that composer’s orchestral and completed his musical studies in the of Figaro have been heard live throughout cycle, Michelangelo Sonnets. UK at the , King’s the world and on DVD. Recent signature roles College, Cambridge, and the National include the title role in Rossini’s William Modern-day composers have written works Opera Studio. He is a Fellow and Visiting Tell, J Robert Oppenheimer in ’ for Finley, including Peter Lieberson’s Songs Professor at the Royal College of Music. Dr Atomic, and Jaufré Rudel in Saariaho’s of Love and Sorrow recorded with the Boston In 2014 he climbed Kilimanjaro in support L’amour de loin. He also created Harry Symphony Orchestra, Mark-Anthony Turnage’s of the charity Help Musicians UK. In 2017 Heegan in Mark-Anthony Turnage’s The Silver When I woke with the London Philharmonic he was appointed Commander of the Order Tassie. In recent years, critical successes Orchestra and Vladimir Jurowski. of the British Empire and had previously have been in the Wagner repertoire: as Hans been appointed an Officer of the Order of Sachs in Wagner’s Die Meistersinger von As a celebrated song recitalist, he works Canada. He features on a Canadian stamp Nürnberg at the Glyndebourne Festival and regularly with pianist . Recent celebrating Canadians in opera. • Opéra de Paris, as Amfortas in Parsifal at engagements include the Schubertiade, Royal Opera Covent Garden, and as Wolfram recitals throughout Europe, a residency at in Tannhäuser at the Lyric Opera of Chicago. , New York’s Carnegie-Zankel Hall as part of a cross-US tour of Schubert’s Finley’s concert work is a vital part of his , and appearances at the flourishing career, with recent appearances Tanglewood and Ravinia Festivals.

16 Artist Biographies 3 March 2019 Simon Halsey choral director William Spaulding guest chorus master

Choirs and Artistic Adviser of Palau de la Spaulding began his studies at the Música, Barcelona, Artistic Director of Berlin University of Maryland in the piano class of Philharmonic Youth Choral Programme, Santiago Rodriguez, and received a Study Director of BBC Proms Youth Choir, Artistic Abroad exchange scholarship, eventually Advisor of Schleswig-Holstein Musik Festival earning his conducting degrees at the Choir, Conductor Laureate of Rundfunkchor Hochschule in Vienna. Berlin, and Professor and Director of Choral Activities at University of Birmingham. Spaulding then began his career in provincial He is also a highly respected teacher and German opera houses, returning to Vienna academic, nurturing the next generation of in 1997 as Associate Chorus Master at the choral conductors on his post-graduate course Vienna Volksoper. There the extraordinary in Birmingham and through masterclasses success of his preparation of Mussorgsky’s at Princeton, Yale and elsewhere. Boris Godunov earned him an invitation to the Gran Teatre del in Barcelona, where imon Halsey occupies a unique Halsey has worked on nearly 80 recording illiam Spaulding is one of the he became the Principal Chorus Master for a position in classical music. He projects, many of which have won major leading operatic chorus masters period of five years. is the trusted advisor on choral awards, including the Gramophone Award, in the world today. He has held singing to the world’s greatest conductors, Diapason d’Or, , and three permanent positions in numerous major Spaulding was born in Washington DC orchestras and choruses, and also an Grammy Awards with the Rundfunkchor international opera houses, including and holds a Master’s Degree in Orchestral inspirational teacher and ambassador for Berlin. He was made Commander of the his current positions as Chorus Master Conducting from the University of Music choral singing to amateurs of every age, British Empire in 2015, was awarded at the Royal Opera House in London and Performing Arts in Vienna. • ability and background. Making singing a The Queen’s Medal for Music in 2014, and and Kapellmeister at the Deutsche Oper central part of the world-class institutions received the Officer’s Cross of the Order of Berlin. Spaulding also regularly works with with which he is associated, he has been Merit of the Federal Republic of Germany symphonic choruses, conducting at the instrumental in changing the level of in 2011 in recognition of his outstanding Grant Park Music Festival in Chicago and the symphonic singing across Europe. contribution to choral music in Germany. MDR Chorus in Leipzig. He has worked with the RIAS-Chamberchorus and is known for He holds positions across the UK and Europe Born in London, Simon Halsey sang in the his successes at the Royal Opera House in as Choral Director of London Symphony of New College, Oxford, and of King’s Copenhagen and the di Cagliari Orchestra and Chorus, Chorus Director of the College, Cambridge, and studied conducting in Sardinia. His permanent positions also City of Birmingham Symphony Orchestra at the Royal College of Music in London. • include posts at the Vienna Volksoper and Chorus, Artistic Director of Orfeó Català the National Theater in Mannheim.

Artist Biographies 17 London Symphony Chorus on stage

President he London Symphony Chorus was Belshazzar’s Feast by Walton, Otello by and Juliet with Michael Tilson Thomas and Sir Simon Rattle om cbe formed in 1966 to complement Verdi, and the world premiere of the St John Bartók’s The Miraculous Mandarin with the work of the London Symphony Passion by James MacMillan were all under François-Xavier Roth. President Emeritus Orchestra and in 2016 celebrated its 50th the baton of the late Sir . kbe anniversary. The partnership between the The recent recording of Götterdämmerung The LSC is always interested in recruiting LSC and LSO has continued to develop and was with the Hallé under Sir Mark Elder won a new members, welcoming applications Vice President strengthened in 2012 with the appointment Gramophone award and the recording of from singers of all backgrounds. Interested Michael Tilson Thomas of Simon Halsey as joint Chorus Director the Grande Messe des morts by Berlioz with singers are welcome to attend rehearsals of the LSC and Choral Director for the LSO. the LSO conducted by Sir Colin Davis won before arranging an audition. For further Patrons It now plays a major role in furthering the an International Music Award in the Choral information, visit lsc.org.uk. • cbe vision of the LSO Sing initiative. Works category. In June 2015 the recording of Howard Goodall cbe Sir Peter Maxwell Davies’ Tenth Symphony, The LSC has also partnered with many commissioned by the LSO and recorded Chorus Director other major orchestras and has performed by the LSO and the LSC with Sir Antonio Simon Halsey cbe nationally and internationally with the Pappano, won a prestigious South Bank Sky Berlin and Vienna Philharmonic Orchestras, Arts award in the Classical category. Associate Director and the Leipzig Gewandhaus Orchestra. Matthew Hamilton Championing the musicians of tomorrow, The 2017/18 season included performances it has also worked with both the National of Schoenberg’s Gurrelieder at the BBC Chorus Accompanist Youth Orchestra of Great Britain and Proms in 2017 with the LSO and Sir Simon Benjamin Frost the European Union Youth Orchestra. Rattle; Bernstein’s Wonderful Town and The Chorus has toured extensively throughout Berlioz’s The Damnation of Faust, also Chairman Europe and has also visited North America, with Sir Simon Rattle; Mahler’s Second Owen Hanmer Israel, Australia and South East Asia. Symphony with Semyon Bychkov; and Liszt’s ‘Faust’ Symphony with Sir Antonio Concert Manager Much of the LSC repertoire has been captured Pappano. Highlights of the current season Robert Garbolinski in its large catalogue of recordings, which include performance of David Lang’s have won nine awards, including five the public domain at the end of March before LSO Choral Projects Grammys. Recent releases include Britten’s Janáček’s The Cunning Little Vixen with Sir Andra East with Gianandrea Noseda Simon Rattle in June. In autumn 2019, the and Mahler’s Symphonies Nos 2, 3 and 8 LSC will perform Janáček’s with . The Seasons by Haydn, with Sir , Berlioz’s Romeo

18 London Symphony Chorus 3 March 2019 Sopranos Altos Tenors Basses Frankie Arnull Gill O’Neill Elizabeth Boyden Linda Thomas Jorge Aguilar Peter Sedgwick Ed Beesley Alan Rochford Anna Byrne-Smith Maggie Owen June Brawner Claire Trocmé Paul Allatt * Richard Street * Roger Blitz Rod Stevens Carol Capper * Janina Pescinski Gina Broderick Kathryn Wells Robin Anderson Simon Wales Chris Bourne Richard Tannenbaum Natalia Carrasco Louisa Prentice Matthieu Brosset Zoe Williams Matteo Anelli James Warbis Gavin Buchan Daniel Thompson Vargas Liz Reeve Jo Buchan * Hannah Wisher Erik Azzopardi Brad Warburton Steve Chevis Gordon Thomson Laura Catala-Ubassy Deborah Staunton Janik Dale Joaquim Badia Robert Ward * Giles Clayton Robin Thurston Elaine Cheng Giulia Steidl Lynn Eaton Paul Beecham Paul Williams-Burton Damian Day Jez Wareing Alana Clark Gabrielle Walton-Green Linda Evans Oliver Burrows Joe Dodd Anthony Wilder Shelagh Connolly Lizzie Webb Amanda Freshwater Ethem Demir Thomas Fea Harriet Crawford Livi Wilkinson Tina Gibbs Colin Dunn Ian Fletcher Saskia Edwards Rachel Wilson Joanna Gill * John Farrington Robert Garbolinski * * Denotes LSC Lucy Feldman Rachel Green Matthew Fernando Josué Garcia council member Kara Florish Yoko Harada Matthew Flood John Graham Elisa Franzinetti Kate Harrison Andrew Fuller * Bryan Hammersley Hidemi Hatada Jane Hickey Simon Goldman J-C Higgins * Sophie Hill Jo Houston Euchar Gravina Elan Higueras Rebecca Hincke Elisabeth Iles Jude Lenier Rocky Hirst Denise Hoilette Ella Jackson * John Marks Anthony Howick Kuan Hon Christine Jasper Alastair Mathews Peter Kellett Claire Hussey * Jill Jones Matthew McCabe Alex Kidney Jenny Ibbott Vanessa Knapp Daniel Owers Thomas Kohut Alice Jones Olivia Lawson Chris Riley George Marshall Debbie Jones Gilly Lawson Michael Scharff Hugh McLeod Esther Kippax Aoife McInerney Luca Kocsmarszky Jane Muir Deborah Lee Caroline Mustill Marylyn Lewin Dorothy Nesbit Christina Long Siu-Wai Ng Meg McClure Susannah Priede Jane Morley Lucy Reay Emily Norton Margaret Stephen

London Symphony Chorus 19 London Symphony Orchestra on stage tonight

Guest Leader Violas Flutes Horns Timpani LSO String Experience Scheme Sharon Roffman Amelie Roussel Charlotte Ashton Timothy Jones Nigel Thomas Since 1992, the LSO String Experience Gillianne Haddow Julian Sperry Jonathan Durrant Scheme has enabled young string players First Violins German Clavijo Alexander Edmundson Percussion from the London music conservatoires at Clare Duckworth Lander Echevarria Piccolo Jonathan Lipton Neil Percy the start of their professional careers to gain Ginette Decuyper Carol Ella Rebecca Larsen work experience by playing in rehearsals Gerald Gregory Julia O’Riordan Harp and concerts with the LSO. The musicians Maxine Kwok-Adams Robert Turner Michael Møller Bryn Lewis are treated as professional ‘extra’ players Elizabeth Pigram Michelle Bruil Juliana Koch Robin Totterdell (additional to LSO members) and receive fees Claire Parfitt Fiona Dalgliesh Rosie Jenkins for their work in line with LSO section players. Laurent Quénelle Alistair Scahill Harriet Rayfield Matthew Knight The Scheme is supported by: Colin Renwick Cellos Christine Pendrill James Maynard The Polonsky Foundation Sylvain Vasseur Rebecca Gilliver Tom Berry Barbara Whatmore Charitable Trust Rhys Watkins Alastair Blayden Derek Hill Foundation Julian Azkoul Noel Bradshaw Chris Richards Bass Angus Allnatt Charitable Foundation Hilary Jane Parker Jennifer Brown Chi-Yu Mo Paul Milner Rod Stafford Eve-Marie Caravassilis Lord and Lady Lurgan Trust Second Violins Hilary Jones Bass Clarinets David Alberman Amanda Truelove Katy Ayling Sasha Koushk-Jalali Thomas Norris Laure Le Dantec Elizabeth Drew Sarah Quinn Belinda McFarlane Double Basses Editor Iwona Muszynska Colin Paris Daniel Jemison Fiona Dinsdale | [email protected] Csilla Pogany Patrick Laurence Dominic Tyler Editorial Photography Paul Robson Matthew Gibson Ranald Mackechnie, Sim Canetty-Clarke Ingrid Button Thomas Goodman Richard Boll, Musacchio & Ianniello Siobhan Doyle Jani Pensola Print Cantate 020 3651 1690 Grace Lee Jose Moreira Advertising Cabbells Ltd 020 3603 7937 Gordon MacKay Alain Petitclerc Details in this publication were correct at time of going to press.

20 The Orchestra 3 March 2019