Sunday 16 February 2020 7–9.25pm Barbican

LSO SEASON CONCERT BEETHOVEN ‘CHORAL’

Berg Lulu – Suite Interval Beethoven Symphony No 9, ‘Choral’

Sir conductor Iwona Sobotka Anna Stéphany mezzo-soprano Robert Murray Florian Boesch baritone Symphony Chorus chorus director

Part of Beethoven 250 at the Barbican

Tonight’s concert is being filmed for broadcast by Mezzo Welcome Latest News On Our Blog

the is joined by the full force of SIX NEW COMPOSERS APPOINTED TO BEETHOVEN 250 TIMELINE the , led by THE PANUFNIK COMPOSERS SCHEME Chorus Director Simon Halsey. Soloist Find out about the life and work of this Iwona Sobotka returns to the stage, From a record number of applications, musical titan, discover key moments in the alongside Anna Stéphany, Robert Murray we are delighted to announce six new world that Beethoven knew, and see how his and Florian Boesch, all of whom are composers have been appointed to the LSO legacy continues long after his death. coming back to the LSO after performances Panufnik Composers Scheme for 2020/21. across previous seasons. It is a pleasure to AN INTERVIEW WITH JAMES HOYLE welcome back this talented group of singers • lso.co.uk/more/news following Wednesday’s Half Six Fix concert Ahead of the world premiere of his piece here at the Barbican, and we look forward Thymiaterion on 27 February, previous warm welcome to this LSO concert to forthcoming performances on tour to Panufnik composer James Hoyle tells us at the Barbican, conducted by LSO Hamburg and Baden-Baden. WELCOME TO TONIGHT’S GROUPS about the people and music that inspire Music Director Sir Simon Rattle. him, and what it’s like to be a young Tonight we continue our celebrations of We extend thanks to our media partner Adele Friedland & Friends composer in the 21st century. the 250th anniversary of Beethoven’s birth, Mezzo, who are filming tonight’s Gerrards Cross Community Association as part of a wider Beethoven 250 series at performance for broadcast. University of Oxford Ertegun House • lso.co.uk/more/blog the Barbican. Vågen Upper Secondary School I hope that you enjoy the concert and Maria Sturdy-Morton & Friends Throughout January and February, that you are able to join us again soon. Matthew McCabe, Family & Friends Sir Simon has paired the music of Beethoven At the end of the month, Elim Chan with that of a 20th-century master, Alban conducts a programme of contemporary Groups of ten or more receive exclusive Berg, tonight opening with the suite from and 20th-century music. Looking ahead to discounts to LSO concerts, with 20% off all the latter’s Lulu. We are delighted March, gospel from across London ticket prices, or 30% off when booking two to welcome soprano Iwona Sobotka – who join forces with the Orchestra for a concert or more concerts within the season at the first performed with the Orchestra in the curated and conducted by André J Thomas. • same time. Extra benefits are available to 2017 UK premiere of Andrew Norman’s larger groups. children’s opera A Trip to the Moon – for Please ensure all phones are switched off. the performance of the suite. Find out more at Photography and audio/video recording • lso.co.uk/groups are not permitted during the performance. In the second half, Sir Simon conducts Kathryn McDowell CBE DL Beethoven’s ‘Choral’ symphony, for which Managing Director

2 Welcome 16 February 2020 Tonight’s Concert In Brief Coming Up

he first half of tonight’s concert movement, with its world-famous choral Thursday 27 February 7.30pm Sunday 1 March 7pm invites us to explore one of Berg’s setting of ’s Ode to Joy, Barbican Barbican final works, his second operaLulu , has since reached out across all generations which he began composing in 1929. Berg and humanity to become one of the most DAPHNIS AND CHLOE SYMPHONIC GOSPEL SPIRIT soon came to realise that, given the political recognisable anthems of hope and freedom climate of 1930s Germany, production of found in . On the tremendous James Hoyle Thymiaterion (world premiere)* The moving power of gospel music meets the full opera would be near impossible, so Ninth Symphony, Sir Simon could not be Rachmaninoff Piano Concerto No 3 the dynamism of the LSO, in a concert he set to work instead on a concert suite of clearer: ‘there is nothing quite like it’. • Elizabeth Ogonek All These Lighted Things conducted and curated by André J Thomas. Lulu. Premiered in November 1934, orchestra – three little dances for orchestra and soprano unravel the ultimately tragic Ravel Daphnis and Chloe – Suite No 2 André J Thomas conductor story of the eponymous Lulu, in this haunting NaGuanda Nobles soprano yet sumptuous portrait of a darker side to PROGRAMME CONTRIBUTORS Elim Chan conductor Jason Dungee tenor humanity. When Berg passed away in 1935, Lukáš Vondráček piano his opera remained incomplete at just two Paul Griffiths has been a critic for nearly Saturday 7 March 2.30pm acts long, though this orchestral suite gave a 40 years, including for The Times and The *Commissioned through the Panufnik Composers Barbican glimpse of what he had planned for the third. New Yorker, and is an authority on 20th- Scheme, generously supported by Lady Hamlyn and 21st-century music. Among his books and The Helen Hamlyn Trust LSO DISCOVERY FAMILY CONCERT We turn to Beethoven for the second half are studies of Boulez, Ligeti and Stravinsky. HOW TO BUILD AN ORCHESTRA of tonight’s concert, and his epic ‘Choral’ He also writes novels and librettos. Friday 28 February 1pm symphony. Composed between 1822 LSO St Luke’s When it comes to making music, there’s and 1824, his ninth (and last complete) Andrew Stewart is a freelance music journalist nothing like an orchestra! Learn how the symphony begins with subdued tremolo and writer. He is the author of The LSO at 90, BBC RADIO 3 LUNCHTIME CONCERT instruments come together to make onstage strings, gradually building from a bleak and contributes to a wide variety of specialist RUSSIAN ROOTS magic, based on a new children’s book. vastness to a full orchestral swell. The classical music publications. inner movements move through a skipping Step into a world of history, folk heritage Jessica Cottis conductor and a tender adagio, before the Lindsay Kemp is a senior producer for and rich musical tradition, exploring Russian Rachel Leach presenter symphony reaches what Sir Simon Rattle BBC Radio 3, including programming music from across the centuries. calls its ‘immensely joyful finale’. He lunchtime concerts at Wigmore Hall and 12–2.15pm Barbican Foyers explains how the symphony starts from LSO St Luke’s. He is also Artistic Advisor to Lawrence Power viola Free Family Workshops ‘the heaviest music and gradually ascends York Early Music Festival, Artistic Director of Pavel Kolesnikov piano to a kind of , the finale flying in Baroque at the Edge Festival and a regular the air’. Beethoven’s unconventional fourth contributor to Gramophone magazine. Recorded for future broadcast by BBC Radio 3

Tonight’s Concert 3

Beethoven 250 at the Barbican / by Dr Joanne Cormac COMING UP AT THE BARBICAN

Wednesday 4 March 7.30pm This season the Barbican, London Symphony Orchestra, BBC Symphony Orchestra, Academy of MISSA SOLEMNIS Ancient Music and Guildhall School of Music & Drama celebrate 250 years since the birth of . But what is his relevance today? Beethoven’s musical vision of the divine is unleashed by the forces of the BBC Beethoven is the ultimate creative genius. social change. It is a powerful symbol of Symphony Orchestra, Chorus and soloists. He epitomises the popular, romanticised hope, revisited in times of political struggle, image of the great composer. Beethoven a celebration of freedom and brotherhood. Wednesday 8 April 7.30pm suffered. He was taciturn, isolated, and lacking in social graces. He endured the The popular image can be problematic. ANNE-SOPHIE MUTTER worst affliction imaginable for a musician: Beethoven’s vocal and choral music, or deafness. In spite of all this (many, including simply the works that do not contain Three of Beethoven’s most celebrated Wagner, would argue because of all this), journeys of struggle to redemption, are violin sonatas from one of the world’s he managed to compose some of the most rarely performed because they do not comply pre-eminent violinists. breathtaking, transcendental, sublime with our perception of the heroic, suffering music of the Western canon. At first, the artist. The Barbican’s innovative, inclusive Monday 11 May 7.30pm composer’s deafness was understood as a and occasionally irreverent programme, barrier to his compositional prowess: the in contrast, will question the myths. The GARDINER CONDUCTS: SYMPHONY NO 1 reason for the bizarre, jarring sounds of the Beethoven we hear will be refreshingly late string quartets. Later, it was seen as the unfamiliar at times. From the anarchic chords that open his key to his greatness, enabling Beethoven to First, Beethoven’s are more access profound, inward truths. Beethoven’s music endures. Its universal than just music: they’re acts of revolution. themes mean that it remains relevant to Living through turbulent revolutionary times, almost any time and place. It has been heard Thursday 14 May 7.30pm Beethoven was an advocate for political in prisons, concentration camps, at the fall of reform. He saw a powershift away from the Berlin Wall, in films, and in venues across GARDINER CONDUCTS: NOS 4 AND 5 the aristocracy. His political beliefs were the globe. Now, 250 years after his birth, more ambivalent and changeable than his Beethoven belongs to everyone. And that is Sir ’s Beethoven mythology allows, but Beethoven’s music something to celebrate. • symphony cycle reaches its halfway point has come to represent resistance against with music history’s most famous four notes. tyranny and oppression, and the defence Explore the whole series online of individual freedom, equality and radical • barbican.org.uk/beethoven250

4 Beethoven 250 at the Barbican 16 February 2020 Alban Berg Lulu –Suite 1934 / note by Paul Griffiths LATER THIS SEASON

Wednesday 18 March 6.30pm 1 Rondo: Andante und Hymne There was also an external reason for him is at the centre of a hurricane of desire and Barbican 2 Ostinato: Allegro to hesitate. By the spring of 1934, he had death – a hurricane that has swept away two 3 Lied der Lulu: Comodo finished the first two acts in full and drafted husbands by this point and is about to take HALF SIX FIX: BARTÓK 4 Variationen: Moderato the third, but it must have been clear by a third – but that centre is still. 5 Adagio then that the work would not be stageable Bartók Dance Suite in Nazi territory. As in the case of his first The first movement is a rondo associated Bartók The Wooden Prince Iwona Sobotka soprano opera, Wozzeck, he made a demonstration with the young composer Alwa’s fresh suite, and, as in that earlier case, Erich and candid love for Lulu. The second François-Xavier Roth conductor & presenter erg wrote his second opera – Lulu, Kleiber conducted the first performance. was designed to accompany a film that based on a pair of plays by Frank That was in Berlin, on 30 November 1934, operates as a kind of fast-forward in the Sunday 22 March 7pm Wedekind – while powerfully in but within a few weeks, Kleiber had action, showing Lulu’s arrest for murder, Barbican love with a married friend, Hanna Fuchs- emigrated and soon Berg’s music was trial, imprisonment, hospitalisation and Robettin, and devised the work partly as an banned altogether in Germany. He may have escape, all in a rushing three-minute musical DUKAS ecstatic love song to her, the motivator of been glad to have a new project initiated by palindrome. (In the opera this sequence everything he could express of sensuality, a musician from the United States: the violin comes at the midpoint.) Dukas The Sorcerer’s Apprentice personal fascination and freedom of spirit concerto he was to write for Louis Krasner. Dukas – this last to be won only at ultimate cost. Continuing to the third act, the variations on Dukas Symphony in C That must be one reason he found it hard When Berg died in December 1935, Lulu a tune by the playwright form an interlude to finish the score, in which, as nowhere had advanced no further, and it was as a that gradually shifts the musical action François-Xavier Roth conductor else, he could speak openly of what was two-act piece that it was first performed in from the glamour of the first scene, set in a most important to him – that he and Zurich in 1937. His widow Helene, perhaps Parisian gaming hall, to Lulu’s final location Thursday 23 April 7.30pm Hanna could be together. sensing, perhaps fully knowing the opera’s on the streets of London. In the adagio Barbican secret story, grew reluctant to release the that follows, music rises in response to Beyond that, Lulu, slipping from one third act. All that was known of it until her squalid death at the hands of Jack the DUKE BLUEBEARD’S CASTLE relationship to another, always changing, after her death in 1976 were the portions Ripper, and the last words are with her most never fixable, is the embodiment of the contained in the suite. faithful admirer, the Countess Geschwitz, Bartók Concerto for Orchestra genre in which she exists, a genre that whom Jack has also stabbed. • Bartók Duke Bluebeard’s Castle has wreaked havoc in the lives of so many Scored for an orchestra with period colours composers. In Berg’s mind, perhaps, to (alto saxophone and vibraphone), the suite Texts on page 6 Sir Simon Rattle conductor complete the work would have been to bring follows a palindromic course around Lulu’s Rinat Shaham mezzo-soprano the whole history of opera to an end. self-declaration in her song, a declaration at Interval – 20 minutes Gábor Bretz bass once of her moral and her musical being. She

Programme Notes 5 Alban Berg In Profile 1885–1935 / profile by Andrew Stewart Lulu – Suite texts / translation by Arthur Jacobs

Arnold Schoenberg. He studied for six Lied der Lulu Song of Lulu years with Schoenberg, who remained his Wenn sich die Menschen um meinetwillen Although for my sake a man may kill close friend and mentor. During this time, umgebracht haben, himself or kill others, Schoenberg devloped a new approach to so setzt das meinen Wert nicht herab. My value still remains what it was. composing, gradually moving away from Du hast so gut gewusst, weswegen du mich You know the reasons why you wanted to be the norms of tonal harmony. zur Frau nahmst, my husband, wie ich gewusst habe, weswegen ich dich And I know my reasons for hoping we In 1910, Berg completed his String Quartet zum Mann nahm. should be married. Op 3, in which he revealed an independent Du hattest deine besten Freunde mit mir You let your dearest friends be deceived by creative flair. Berg’s self-confidence grew betrogen, what you made me, with the composition of several miniature du konntest nicht gut auch noch dich Yet you can’t consider yourself caught in works and, in 1914, the large-scale Three selber mit mir betrügen. your own deception. Pieces for Orchestra. Service with the Wenn du mir deinen Lebensabend zum Though you have given me your later and Austrian Imperial Army during World War I Opfer bringst, riper years, did not completely halt Berg’s output; indeed, so hast du meine ganze Jugend dafür From me you’ve had my youth in flower as he began his first opera,Wozzeck , in the gehabt. fair exchange. summer of 1917. The work was premiered Ich habe nie in der Welt etwas anderes I have not asked in my life to appear in at the Staatsoper Berlin in December 1925 scheinen wollen, another colour lthough piano lessons formed and, despite hostile early criticism, has since als wofür man mich genommen hat. than the one which I am known to have. part of Berg’s general education, entered the international repertoire. As Und man hat mich nie in der Welt für Nor has any man in my life been led to look the boy showed few signs of an innovative composer, Berg successfully etwas anderes genommen, on me exceptional talent for music. He struggled married atonality – and, later, a harmonic als was ich bin. as other than what I am. to pass his final exams at the Vienna and melodic language based on the use of all Gymnasium, preferring to learn directly twelve tones of the chromatic scale – with Adagio (Words of Countess Geschwitz) about new trends in art, literature, music forms from the past. Traces of popular music Lulu! Mein Engel! Lulu! My Angel! and architecture from friends such as Oskar also surface in his works, notably so in his Lass dich noch einmal sehen! Let me see you again! Kokoschka, Gustav Klimt and Adolf Loos. opera Lulu (1929–35), a powerful tale of Ich bin dir nah! I am close to you. immorality, completed from the composer’s Bleibe dir nah – in Ewigkeit! Stay close – forever! On graduating from school, Berg accepted sketches only after the death of his widow a post as a local government official, but in in 1976. Berg himself died of septicaemia, Texts by Alban Berg, after Frank Wedekind October 1904 was inspired by a newspaper almost certainly caused by complications advertisement to study composition with following an insect bite. •

6 Composer Profile & Texts 16 February 2020 Ludwig van Beethoven Symphony No 9 in D minor Op 125, ‘Choral’ 1822–24 / note by Lindsay Kemp

1 Allegro ma non troppo, un poco maestoso composed in a ten-month burst between transformation in the entire concept of what Then the finale bursts in, startlingly and 2 Scherzo: Molto vivace April 1823 and January 1824, there is a case a symphony is, turning a piece of concert radically. At first, the orchestra reviews 3 Adagio molto e cantabile for saying that Beethoven had been writing music designed primarily to entertain into themes from all three earlier movements, 4 Presto – Allegro ma non troppo – Vivace it for much longer – he had contemplated a psychological journey in which, over the with the cellos and basses seeming to – Adagio cantabile a D minor symphony as early as 1812, course of four movements, the listener’s debate their worth in melodic phrases immediately after the completion of the emotions undergo some kind of change. that deliberately mimic the style of vocal Iwona Sobotka soprano Seventh and Eighth Symphonies. Some of This could be triumph over adversity, as in . It is as if they are struggling to tell Anna Stéphany mezzo-soprano its musical ideas date back even further. Not the death and rebirth of the ‘Eroica’, or a us something, yet it is also a dramatically Robert Murray tenor that these matters would have concerned passage from darkness to light, as in the enhanced continuation of the fragmentary, Florian Boesch bass the audience at the work’s first performance famous Fifth Symphony. In the Ninth, it is groping introductions to the finales of two London Symphony Chorus in Vienna’s Kärntnertor Theatre in May 1824. a journey from a bleak and brutal void to earlier symphonies, the First and the Third. Simon Halsey chorus director For them, the excitement lay in hearing a glorious vision of an ideal world of love, Eventually, though, the orchestra hits on Beethoven’s first new symphony in twelve tolerance and universal brotherhood. the now-famous folksong-like theme, but riedrich von Schiller’s ‘Ode to Joy’ years, and they lapped it up. At the end, after they have played a few variations on it, could almost have been calculated to the applause was thunderous, and the Certainly the shimmering strings that another upheaval leads to the first human appeal to the idealistic Beethoven. deaf composer was turned around by the open the first movement seem to conjure sounds – a bass soloist commanding us Written in 1785, the poem lauds the joys of soloist, Caroline Unger, to see hats a mood of primeval emptiness before the all to discard all this in favour of ‘pleasing fellowship, the happiness of married life, the and handkerchiefs being waved frantically music moves on, into more combative and more joyful tones’. These words are wonders of nature and the universe, and the all over the hall. ‘The whole audience regions. At the end, a sternly resolute Beethoven’s, but from here to the end it eternal mystery of divine love. As early as was impressed, crushed by the greatness theme emerges from the depths like a is Schiller’s message which dominates, 1793, Beethoven was considering setting it of your work’, wrote Anton Schindler, clenched fist. The second movement seems and as the voices take over, we hear in the as a song. In 1812, he attempted a ‘choral Beethoven’s friend. Vienna may not have straightforwardly joyful with its playful course of further variations on the theme a overture’ using parts of the text, but it was always appreciated Mozart to the full, but beats (spontaneously applauded vision of Elysium that is by turns exultant not for another decade that he was to find it certainly loved Beethoven. at the first performance), its interplay and awestruck. ‘This gigantic work’, Hans a true home for it, when he made it the between the violins and its cheeky ending. Keller suggested, ‘should convince even the subject of the extraordinary and revolutionary The Ninth is not, strictly speaking, But there is more than a hint of seriousness firmest pessimist that mankind’s life has finale to his ninth and last symphony, the Beethoven’s last symphony – in 1825, he underlying it as well. The third movement is been worthwhile’. • first to include a choral movement. began but failed to complete another – but unambiguous in intent, however: a sublimely it is certainly a fitting summation of his tender and beautiful set of variations on a Texts on page 9 It was not just accommodating Schiller’s mighty contribution to the genre’s history. tune whose deceptively simple hymn-like words that took a long time, however. His achievement had been nothing less nature is a Beethoven speciality, above all Although the symphony was essentially than that of bringing about an irreversible in ‘late-period’ works.

Programme Notes 7 Ludwig van Beethoven In Profile 1770–1827

Haydn. The younger composer fell out with his renowned mentor when the latter discovered he was secretly taking lessons from several other teachers. Although Maximilian Franz withdrew payments for Beethoven’s Viennese education, the COMING UP IN 2020 talented musician had already attracted support from some of the city’s wealthiest arts patrons. His public performances in 1795 were well received, and he shrewdly negotiated a contract with Artaria & Co, the FANTASIA ON A THEME BY THOMAS TALLIS largest music publisher in Vienna. He was & Vaughan Williams Symphony No 6 soon able to devote his time to composition with Sir or the performance of his own works. 15 March In 1800, Beethoven began to complain bitterly ELGAR VIOLIN CONCERTO eethoven showed early musical of deafness, but despite suffering the distress & Sibelius Symphony No 4 promise, yet reacted against his and pain of tinnitus, liver problems, chronic with Nikolaj Szeps-Znaider & Sir Mark Elder father’s attempts to train him as stomach ailments and an embittered legal 29 March a child prodigy. The boy pianist attracted case for the guardianship of his nephew, the endorsement of the Prince-Archbishop, Beethoven created a series of remarkable DVOŘÁK ‘FROM THE NEW WORLD’ who supported his studies with leading new works, including the Missa Solemnis & Mozart Violin Concerto No 2 musicians at the Bonn court. By the early and his late symphonies and piano sonatas. with Ádám Fischer & Nikolaj Szeps-Znaider 1780s, Beethoven had completed his first It is thought that around 10,000 people 21 May compositions, all of which were for keyboard. followed his funeral procession on 29 March With the decline of his alcoholic father, 1827. Certainly, his posthumous reputation BEETHOVEN VIOLIN CONCERTO Ludwig became the family breadwinner as developed to influence successive generations & Strauss Ein Heldenleben a musician at court. of composers and other artists inspired by with Anne-Sophie Mutter & Manfred Honeck the heroic aspects of Beethoven’s character 28 May Encouraged by his employer, the Prince- and the profound humanity of his music. • Archbishop Maximilian Franz, Beethoven lso.co.uk/201920 travelled to Vienna to study with Joseph Profile by Andrew Stewart

8 Programme Notes 16 February 2020 Symphony No 9, ‘Choral’ texts & translation

4 Finale 4 Finale O Freunde, nicht diese Töne! O friends! Not these sounds! Froh, wie seine Sonnen fliegen Gladly as His suns do fly Sondern lasst uns angenehmere anstimmen But let us strike up more pleasant sounds Durch das Himmels prächt’gen Plan, Through the ’ splendid plan, und freundenvollere! and more joyful! Laufet, Brüder, eure Bahn, Run now, brothers, your own course, Freudig wie ein Held zum Siegen. Joyful like a conquering hero. Freude, schöner Götterfunken, Joy, o wondrous spark divine, Tochter aus Elysium, Daughter of Elysium, Seid umschlungen, Millionen! Embrace each other now, you millions! Wir betreten feuertrunken, Drunk with fire now we enter, Diesen Kuss der ganzen Welt! The kiss is for the whole wide world! Himmlische dein Heiligtum. Heavenly one, your holy shrine. Brüder – überm Sternenzelt Brothers – over the starry firmament Deine Zauber binden wieder, Your magic powers join again Muss ein lieber Vater wohnen. A beloved Father must surely dwell. Was die Mode streng geteilt; What fashion strictly did divide; Alle Menschen werden Brüder, Brotherhood unites all men Ihr stürzt nieder, Millionen? Do you come crashing down, you millions? Wo dein sanfter Flügel weilt. Where your gentle wings spread wide. Ahnest du den Schöpfer, Welt? Do you sense the Creator's presence, world? Such ihn überm Sternenzelt, Seek Him above the starry firmament, Wem der grosse Wurf gelungen, The man who’s been so fortunate Über Sternen muss er wohnen. For above the stars he surely dwells. Eines Freundes Freund zu sein, To become the friend of a friend, Wer ein holdes Weib errungen, The man who has won a fair woman – Mische seine Jubel ein! To the rejoicing let him add his voice. Ja – wer auch nur eine Seele The man who calls but a single soul Sein nennt auf dem Erdenrund! Somewhere in the world his own! Und wer’s nie gekonnt, der stehle And he who never managed this – Weinend sich aus diesem Bund! Let him steal forth from our throng!

Freude trinken alle Wesen Joy is drunk by every creature An den Brüsten der Natur, From Nature’s fair and charming breast; Alle Guten, alle Bösen Every being, good or evil, Folgen ihre Rosenspur. Follows in her rosy steps. Küsse gab sie uns und Reben, Kisses she gave to us, and vines, Einen Freund, geprüft im Tod, And one good friend, tried in death; Wollust ward dem Wurm gegeben, The serpent she endowed with base desire Und der Cherub steht vor Gott. And the cherub stands before God.

Texts 9 Sir Simon Rattle conductor

Sir Simon has made over 70 recordings for productions of Beethoven’s Fidelio, Mozart’s Rundfunks, Staatskapelle Berlin and Vienna the record label EMI (now Warner Classics) Così fan tutte, Britten’s , Philharmonic, with which he has recorded and has received numerous prestigious Debussy’s Pelléas et Mélisande, Strauss’ the complete Beethoven symphonies international awards for his recordings on Salome and Bizet’s Carmen, all with the and piano concertos with Alfred Brendel. various labels. Releases on EMI include . He also conducted Sir Simon is also a Principal Artist of the Stravinsky’s (which Wagner’s complete Ring cycle with the Orchestra of the Age of Enlightenment received a Grammy Award for Best Choral Berlin Philharmonic for the Festival d’Aix- and Founding Patron of Birmingham Performance), Berlioz’s Symphonie en-Provence and Salzburg Osterfestspiele, Contemporary Music Group. fantastique, Ravel’s L’enfant et les sortilèges, and most recently at the Deutsche Oper Tchaikovsky’s Nutcracker Suite, Mahler’s Berlin and the Wiener Staatsoper. Other The 2019/20 season sees Sir Simon embark Symphony No 2, Stravinsky’s The Rite of recent opera productions include Tristan upon tours to Hong Kong, China and Vietnam, Spring and Rachmaninoff’s and and Isolde at the Metropolitan Opera in New and the US and Europe with the LSO. He Symphonic Dances, all recorded with the York; Pelléas et Mélisande and Poulenc’s Les returns to the Symphonieorchester des Berlin Philharmonic. Sir Simon’s most recent Dialogues des Carmélites at the Royal Opera Bayerischen Rundfunks with a programme recordings include Berlioz’s The Damnation House, Covent Garden; Rameau’s Hippolyte of Strauss, Schumann and Rameau, the of Faust, Helen Grime’s Woven Space, et Aricie, Janáček’s Aus einem Totenhaus and Berlin Philharmonic for Beethoven’s Christ Debussy’s Pelléas et Mélisande and Mark- Káťa Kabanová, and The Damnation of Faust on the Mount of Olives and will tour Europe Anthony Turnage’s Remembering, which for the Deutsche Staatsoper Berlin; and and the US in a chamber music project with ir Simon Rattle was born in were all released by LSO Live. Puccini’s Manon Lescaut at the Deutsche mezzo-soprano Magdalena Kožená. This Liverpool and studied at the Oper Berlin. season’s operatic highlights include Der . Between 2013 and 2018, Sir Simon and the Rosenkavalier at the Metropolitan Opera, Berlin Philharmonic took up residency at As well as fulfilling a taxing concert schedule Berg’s Wozzeck at the Festival d’Aix-en- From 1980 to 1998, Sir Simon was Principal Baden-Baden Osterfestspiele, performing a in London, Sir Simon regularly tours within Provence and Mozart’s at the Conductor and Artistic Adviser of the City variety of operatic and symphonic repertoire. Europe, North America and Asia, and has Deutsche Staatsoper Berlin. of Birmingham Symphony Orchestra and Past seasons included Puccini’s Manon strong longstanding relationships with was appointed Music Director in 1990. In Lescaut and Peter Sellars’ ritualisation the world’s leading . Initially Sir Simon Rattle was knighted in 1994. In the 2002, he took up the position of Artistic of Bach’s St John Passion, Strauss’ Der working closely with the Los Angeles New Year’s Honours of 2014 he received the Director and Chief Conductor of the Berlin Rosenkavalier, Berlioz’s The Damnation of Philharmonic and Boston Symphony Order of Merit from Her Majesty the Queen. • Philharmonic where he remained until the Faust, Wagner’s Tristan and Isolde and, most Orchestras, Simon has also recently worked end of the 2017/18 season. Sir Simon took up recently, Parsifal (2018). In the years prior, with the Philadelphia Orchestra and the the position of Music Director of the London Sir Simon collaborated with the Salzburg Metropolitan Opera. He regularly conducts Symphony Orchestra in September 2017. Osterfestspiele, where he conducted staged the Symphonieorchester des Bayerischen

10 Artist Biographies 16 February 2020 Iwona Sobotka soprano

wona Sobotka achieved Schleswig-Holstein Musik Festival in including Sir , Sir Simon Rattle, international acclaim as the the title role of Halka and Liù (Puccini’s Marco Armiliato, Sylvain Cambreling, Jesús Grand Prize winner of the Queen Turandot) to great critical acclaim. López Cobos, Juanjo Mena, and Massimo Elisabeth International Music Competition Other roles with which she has enjoyed Zanetti. in Belgium. Other awards include First Prize great success have included Tatyana at the Warsaw Polish Art Song Competition (Tchaikovsky’s Eugene Onegin) and Donna In 2010, Sobotka took part in a ‘Szymanowski and First Prize at the East & West Artists Anna (Mozart’s Don Giovanni) under Focus’ programme curated by distinguished International Auditions in New York, which Teodor Currentzis for the Tchaikovsky Polish pianist Piotr Anderszewski to promote resulted in her debut concert in Carnegie Hall. Perm State Opera; and Violetta (Verdi’s the music of in London La traviata), Pamina (The Magic ) at Wigmore Hall and in New York at Carnegie Highlights of her 2019/20 season include, and Mimi (Puccini’s La bohème) for Opera Hall. Following her graduation from the among others, concerts with the Berlin Podlaska. In 2017, she made her Komische Fryderyk Chopin University of Music in Philharmonic under Sir Simon Rattle in Oper Berlin debut as Pamina in The Magic Warsaw, Iwona continued her studies with Beethoven’s Christ on the Mount of Olives, Flute, directed by Barrie Kosky. She made the renowned artist and pedagogue Tom the LSO at Festspiele Baden-Baden, the her Osterfestspiele Baden-Baden debut as Krause at the Escuela Superior de Música Orchestre Philharmonique de Luxembourg Blumenmädchen in Wagner’s Parsifal with Reina Sofía in Madrid. • under Marek Janowski in Strauss’ Vier the Berlin Philharmonic and Sir Simon Rattle letzte Lieder, her debut at the Tokyo one year later. Spring Festival under Marek Janowski in Beethoven’s Missa Solemnis and at the Past performances of note on the concert Bayreuther Festspiele under Marek Janowski stage include a concert tour in Asia with in Beethoven’s Ninth Symphony. She will the Berlin Philharmonic under Sir Simon perform as Pamina in the world-famous Rattle with Beethoven’s Ninth Symphony; Barrie Kosky’s production of Mozart’s The as well as appearances with the LSO, Magic Flute with the Komische Oper Berlin Staatskapelle Berlin, Vienna Symphony, on tour to Macau, Taiwan and Spain. NDR Elbphilharmonie Orchestra, Bavarian Radio Symphony Orchestra, Berlin Radio Iwona Sobotka made her operatic debut at Symphony Orchestra, Royal Philharmonic the National Opera in Paris in 2004, where Orchestra, Royal Liverpool Philharmonic, she performed the roles of the First Lady Mahler Chamber Orchestra and City of (The Magic Flute) and Ygraine (Dukas’ Ariane Birmingham Symphony Orchestra. She has et Barbe-bleue). She also appeared at the worked with many pre-eminent conductors,

Artist Biographies 11 Anna Stéphany mezzo-soprano Robert Murray tenor

Opera, Covent Garden and in Zürich. On Simón Bolívar Symphony Orchestra with the concert platform, appearances include Gustavo Dudamel; Le Concert D’Astrée with Debussy’s Le Martyre de saint Sébastien Emmanuelle Haïm; City of Birmingham with the Deutsches Symphonie-Orchester Symphony Orchestra with Sir Charles Berlin, and Debussy’s La Damoiselle élue Mackerras; Rotterdam Philharmonic with the Hallé Orchestra and Ravel’s L’enfant Orchestra with Yannick Nézet-Séguin; et les sortilèges with Sir Simon Rattle and Philharmonia Orchestra with Esa-Pekka the LSO, both at the BBC Proms. Anna’s Salonen and the BBC Symphony Orchestra debut solo recording Black is the Colour, with Sir John Eliot Gardiner. with the Labyrinth Ensemble, was released in 2018 on Alpha Classics to critical acclaim. Recent highlights include Elgar’s The Dream of Gerontius with the Seattle In her 2019/20 season, Anna returns Symphony and Boston Philharmonic to Glyndebourne Festival as Ruggiero Orchestras, Tom Rakewell in Stravinsky’s (Handel’s Alcina). On the concert platform, The Rake’s Progress at Wilton’s Music Hall performances include Mendelssohn’s with Laurence Cummings, Katie Mitchell’s nglo-French mezzo-soprano Anna Elijah with the Orchestra of the Age of obert Murray studied at the Royal Written on Skin production in Beijing Stéphany studied at the Guildhall Enlightenment conducted by Masaaki College of Music and National and Shanghai, and a staging of Bach’s School of Music & Drama, where Suzuki, Mozart’s with Stiftung Opera Studio. He won second prize St John Passion by Calixto Bieito in Bilbao. she was a recipient of the Gold Medal. She Mozarteum Salzburg and Elgar’s The Dream in the Kathleen Ferrier Awards 2003 and Engagements for the 2019/20 season represented England at the BBC Cardiff of Gerontius with the City of Birmingham was a Jette Parker Young Artist at the Royal include returns to the Royal Opera House, Singer of the World and is a Kathleen Ferrier Symphony Orchestra. • Opera House, Covent Garden. Covent Garden, for Gerald Barry’s Alice; Award winner. Britten’s Turn of the Screw at Wilton’s He has sung for the Royal Opera House, Music Hall; and the title role in Mozart’s Anna was previously a member of the English National Opera, Opera North, Mitridate for Garsington Opera; and concerts ensemble at Opernhaus Zürich, where she Garsington, Welsh National Opera, with the Bergen Philharmonic Orchestra and frequently returns as a guest artist. Further Norwegian Opera, Hamburg State Opera City of Birmingham Symphony Orchestra. • operatic appearances include Sesto (Mozart’s and Salzburg Festival. He has performed La Clemenza di Tito) and Sesto (Handel’s in concert and recital for Wigmore Hall Giulio Cesare) at the Glyndebourne Festival, and at the Newbury, Two Moors, Brighton, and Octavian (Strauss’ Der Rosenkavalier) at Aldeburgh and Edinburgh festivals; London the Bolshoi in Moscow, the Royal Swedish Symphony Orchestra with Sir Simon Rattle;

12 Artist Biographies 16 February 2020 Florian Boesch baritone Simon Halsey chorus director

conductors such as the Vienna and Berlin City of Birmingham Symphony Orchestra Philharmonic, Royal Concertgebouw Orkest Chorus; Artistic Director of Orfeó Català Amsterdam, Orchestre Philharmonique de Choirs and Artistic Adviser of the Palau de Radio France, Gewandhausorchester Leipzig, la Música; Barcelona; Artistic Director of the Danish National Symphony Orchestra, Berlin Philharmonic Youth Choral Programme; Mozarteumorchester Salzburg, Bamberger Creative Director for Choral Music and Projects Symphoniker, and Ivor Bolton, Gustavo of WDR Rundfunkchor; Director of the BBC Dudamel, Ádám Fischer, Iván Fischer, Valery Proms Youth ; Artistic Advisor of the Gergiev, Pablo Heras-Casado, Philippe Schleswig-Holstein Musik Festival Choir; Herreweghe, Sir Roger Norrington, Sir Simon Conductor Laureate of the Rundfunkchor Rattle, Robin Ticciati and Franz Welser- Berlin; and Professor and Director of Choral Möst. He worked very closely with Nikolaus Activities at the . Harnoncourt, with whom he performed He is also a highly respected teacher and many concerts at the Wiener Musikverein academic, nurturing the next generation of styriarte festival, Salzburg Festival, in Berlin choral conductors on his post-graduate course and in Japan. in Birmingham and through masterclasses ustrian baritone Florian Boesch imon Halsey occupies a singular at Princeton, Yale and elsewhere. is one of today’s foremost Lieder On the opera stage, Florian Boesch compels position in classical music. He interpreters, with appearances at as a great singer-actor, most recently in is the trusted advisor on choral Halsey has worked on nearly 80 recording Wigmore Hall, Vienna’s Musikverein and a new production of Handel’s Orlando. singing to the world’s greatest conductors, projects, many of which have won major Konzerthaus, Concertgebouw Amsterdam, He was also highly acclaimed for the orchestras and choruses, and also an awards, including a Gramophone Award, Laeiszhalle Hamburg, Philharmonie Cologne, title role in Berg’s Wozzeck and Handel’s inspirational teacher and ambassador for Diapason d’Or, Echo Klassik, and three Edinburgh and Schwetzingen festivals, Saul at the Theater an der Wien. Further choral singing to amateurs of every age, Grammy Awards with the Rundfunkchor Maifestspiele Wiesbaden, Konzerthaus successes in the past include Schubert’s ability and background. By making singing a Berlin. He was made Commander of the Dortmund and Philharmonie Luxembourg Lazarus, Handel’s , Weill’s Die central part of the world-class institutions British Empire in 2015, was awarded as well as throughout the US (Carnegie Hall) Dreigroschenoper as well as Méphistophélès with which he is associated, he has been The Queen’s Medal for Music in 2014, and and Canada. Florian Boesch was an artist in in Berlioz’s . instrumental in changing the level of received the Officer’s Cross of the Order of residence at Wigmore Hall (2014/15) and at symphonic singing across Europe. Merit of the Federal Republic of Germany the Konzerthaus in Vienna (2016/17). Florian Boesch received his initial vocal in 2011 in recognition of his outstanding trainings from KS Ruthilde Boesch and later He holds positions across the UK and Europe contribution to choral music in Germany. • As a frequent concert guest, Florian Boesch studied Lied and with KS Robert as Choral Director of the London Symphony has worked with leading orchestras and Holl in Vienna. • Orchestra and Chorus; Chorus Director of the

Artist Biographies 13 London Symphony Chorus

President Associate Directors he London Symphony Chorus was The partnership between the LSC and LSO, The 2019/20 season includes performances Sir Simon Rattle Matthew Hamilton formed in 1966 to complement particularly under in the of Beethoven’s Christ on the Mount of Olives om cbe Nia Llewelyn Jones the work of the London Symphony 1980s and 1990s, and later with Sir Colin on tour in Europe with Sir Simon Rattle, Orchestra and is renowned internationally Davis, led to its large catalogue of recordings, Sir James MacMillan’s St John Passion with Vice President Associate Conductors for its concerts and recordings with which have won numerous awards, including Gianandrea Noseda, and Tippett’s Child of Michael Tilson Lucy Hollins the Orchestra. Their partnership was five Grammys. Gramophone included the Our Time with Alan Gilbert. Thomas David Lawrence strengthened in 2012 with the appointment recordings of Berlioz’s The Damnation of of Simon Halsey as joint Chorus Director Faust and Romeo and Juliet on LSO Live with The Chorus is an independent charity run by Patrons Chorus Accompanists of the LSC and Choral Director for the LSO, Sir Colin Davis as two of the ‘Top 10’ Berlioz its members. It is committed to excellence, Sir Simon Russell Benjamin Frost and the Chorus now plays a major role in recordings. Recent LSO Live recordings with to the development of its members, to Beale cbe furthering the vision of LSO Sing, which also the Chorus include Bernstein’s Wonderful diversity and engaging in the musical life of cbe Chairman encompasses the LSO Community Choir, Town and Berlioz’s The Damnation of Faust, London, to commissioning and performing Owen Hanmer LSO Discovery Choirs for young people and both with Sir Simon Rattle. new works, and to supporting the musicians Chorus Director Singing Days at LSO St Luke’s. of tomorrow. For more information, please Simon Halsey cbe Concert Manager Highlights of the 2018/19 season included visit lsc.org.uk. • Robert Garbolinski The LSC has worked with many leading Ravel’s L’enfant et les sortilèges with international conductors and other Sir Simon Rattle at the 2018 BBC Proms LSO Choral Projects major orchestras, including the Berlin and at the Lucerne Festival, Bernstein’s Manager Philharmonic, , Leipzig with Marin Alsop, Puccini’s Sumita Menon Gewandhaus, Los Angeles Philharmonic, Messa di Gloria with Sir Antonio Pappano, New York Philharmonic, the National Youth performances of Mahler’s Symphony No 8 Orchestra of Great Britain and the European at the Concertgebouw in Amsterdam Union Youth Orchestra. It has also toured with the Netherlands Philharmonic and extensively in Europe and has visited the US, Marc Albrecht, ’s the public Israel, and south-east Asia. domain with Simon Halsey, and Walton’s Belshazzar’s Feast with Sir Simon Rattle.

14 London Symphony Chorus 16 February 2020 London Symphony Chorus on stage tonight

Sopranos Altos Basses Frankie Arnull Louisa Martin Ayesha Akkari Jill Jones Jorge Aguilar Matthew Journee Simon Backhouse* Owen Hanmer* Anna Byrne-Smith Doris Nikolic Lauren Au Vanessa Knapp Paul Allatt* Jude Lenier Ed Beesley Elan Higueras Laura Catala-Ubassy Gill O’Neill June Brawner Gilly Lawson* Matteo Anelli Kameron Locke Roger Blitz Nathan Homan* Carol Capper* Maggie Owen Gina Broderick* Belinda Liao Erik Azzopardi John Marks Angus Bruce -Gardyne Peter Kellett Elisa Franzinetti Carole Radford Jo Buchan* Anne Loveluck Joaquim Badia Alastair Mathews Gavin Buchan Alex Kidney Maureen Hall Liz Reeve Janik Dale Liz McCaw Paul Beecham Matthew McCabe Andy Chan Thomas Kohut Isobel Hammond Jasmine Spencer Maggie Donnelly Aoife McInerney Philipp Boeing Davide Prezzi Matt Clarke Andy Langley Sophie Hill Deborah Staunton Linda Evans Caroline Mustill Peter Bridgwood Michael Scharff Giles Clayton Alex Mackinder Alice Jones Giulia Steidl Amanda Freshwater Siu-Wai Ng Oliver Burrows Peter Sedgwick Damian Day James Nageotte Debbie Jones Jenna Swale Christina Gibbs Helen Palmer Michael Delany Chris Straw Roc Fargas Jesus Sanchez Ruth Knowles-Clark Sarah Townend Rachel Green Susanna Priede Ethem Demir Richard Street* Thomas Fea Rod Stevens Mimi Kroll Jessica Villiers Yoko Harada Lucy Reay Colin Dunn Malcolm Taylor Ian Fletcher Richard Tannenbaum Debbie Lee Lizzie Webb* Kate Harrison Erika Stasiuleviciute Matt Fernando Simon Wales Robert Garbolinski* Gordon Thomson Marylyn Lewin Hannah Wilkes Elisabeth Iles Linda Thomas Andrew Fuller* James Warbis Josue Garcia Robin Thurston Christina Long Olivia Wilkinson Christine Jasper Kathryn Wells Patrizio Giovannotti Robert Ward* Rupert Gill Jez Wareing Rachel Wilson Kristi Jagodin Hannah Wisher Simon Goldman Paul Williams-Burton John Graham Anthony Wilder Euchar Gravina Bryan Hammersley

*Denotes LSC Council Member Vocal Coaches Norbert Meyn Anita Morrison Rebecca Outram Robert Rice

Assistant Chorus Master Lucy Hollins

London Symphony Chorus 15 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Timpani LSO String Experience Scheme Andrej Power David Alberman Rebecca Gilliver Gareth Davies Rachel Gough Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Patricia Moynihan Daniel Jemison Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Clare Childs Joost Bosdijk Percussion from the London music conservatoires at Carmine Lauri Miya Väisänen Noel Bradshaw Neil Percy the start of their professional careers to gain Clare Duckworth David Ballesteros Eve-Marie Caravassilis Piccolo Contra David Jackson work experience by playing in rehearsals Ginette Decuyper Matthew Gardner Daniel Gardner Sharon Williams Dominic Morgan Sam Walton and concerts with the LSO. The musicians Laura Dixon Naoko Keatley Hilary Jones Tom Edwards are treated as professional ‘extra’ players Gerald Gregory Alix Lagasse Laure Le Dantec Horns (additional to LSO members) and receive fees Maxine Kwok Belinda McFarlane Amanda Truelove Juliana Koch Timothy Jones Harp for their work in line with LSO section players. William Melvin Iwona Muszynska Francois Thirault Olivier Stankiewicz Eirik Haaland Bryn Lewis Claire Parfitt Csilla Pogany Rosie Jenkins Angela Barnes The Scheme is supported by: Laurent Quenelle Andrew Pollock Double Basses Alexander Edmundson Piano The Polonsky Foundation Harriet Rayfield Paul Robson Colin Paris Jonathan Maloney Catherine Edwards Derek Hill Foundation Colin Renwick Mariam Nahapetyan Patrick Laurence Christine Pendrill Barbara Whatmore Charitable Trust Sylvain Vasseur Matthew Gibson Thistle Trust Rhys Watkins Violas Thomas Goodman David Elton Idlewild Trust Julian Gil Rodriguez Rebecca Jones Joe Melvin Chris Richards Gustav Melander Lyrit Milgram Gillianne Haddow José Moreira Chi-Yu Mo Toby Street Taking part in rehearsals for tonight were: German Clavijo Jani Pensola Melissa Youngs David Geoghegan Anthony Poon, Henry Hargreaves, Stephen Doman Simo Väisänen Harry Atkinson Robert Turner Eb Michelle Bruil Chi-Yu Mo Mark Templeton Editorial Photography Luca Casciato James Maynard Ranald Mackechnie, Chris Wahlberg, Harald May Dolan Bass Clarinet Hoffmann, Marco Borggreve, Max Fenichel, Jenny Lewisohn Duncan Gould Bass Oliver Helbig, Michal Heller, Gerard Collett, Cynthia Perrin Paul Milner Lukas Beck, Matthias Heyde Sofia Silva Sousa Saxophone Print Cantate 020 3651 1690 Heather Wallington Simon Haram Advertising Cabbells Ltd 020 3603 7937 Ben Thomson Details in this publication were correct at time of going to press.

16 The Orchestra 16 February 2020