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Home , Befreit, Ein Heldenleben, Four Last Songs, Freundliche Vision, Heimliche Aufforderung, Percy Pitt

Kaufmann sings The

Saturday 19 May 2018 7.30pm, Hall

Korngold Schauspiel R Strauss Symphonic Interlude No 2 from ‘’, Träumerei am Kamin Ruhe, meine Seele; ; ; interval 20 minutes Elgar In the South (Alassio) R Strauss Four Last Songs

BBC Symphony Gregor Hohenberg/Sony Classical Hohenberg/Sony Gregor tenor Jochen Rieder conductor

Produced by the Barbican and the BBC Symphony Orchestra

Part of Barbican Presents 2017–18

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Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.

If anything limits your enjoyment please let us know The City of during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the 2 by theartistryof hiswife, thesoprano Pauline Much of Strauss’s vocal musicwas inspired the attention of . prodigious giftscertainly caught was just14 years old.Korngold’s Overture We beginwithKorngold’s originally scheduledfor February 2017. Jochen Rieder, inaprogramme thatwas a conductor withwhomheworks regularly, alongside theBBC Symphony Orchestra and to welcome Jonasback to the Barbican, Antonio Pappano. Tonight we are delighted London Symphony Orchestra underSir or singingoperatic repertoire withthe Deutsch, inconcertwithDianaDamrau of hisvoice, whetherinrecital withHelmut staggering artistryandthesheerbeauty Barbican Centre have showcased his Jonas Kaufmann’s recent concertsatthe Welcome

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available ,Maxim Vengerov andNicoMuhly. , Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Barbican Classical MusicPodcasts , written whenthecomposer Schauspiel Schauspiel Head of Music Huw Humphreys experience. Ihopeyou enjoy theconcert. It promises to beanextraordinary by atenor of thecalibre of JonasKaufmann. voice butproving justasaffecting whensung Last Songs luxuriant, inthegloriouslyautumnal And we finish withStrauss athismost response to thesightsand soundsof Italy. from Elgar. The secondoverture of theevening comes in tone, allhave love astheircentral theme. selection of songsthatfollow, thoughvaried clearly basedonhisown marriage. The and, assooften inthecaseof Strauss, was around adiscontented husbandandwife from whichwe hearaninterlude, iscentred long-lived marriage. Hisopera de Ahna,withwhomhehad afiery though

, originallydesignedfor female IntheSouth isanexuberant Intermezzo Four Four , Korngold isknown to have revered thework of and dramas have beenproposed, while over theyears two other Shakespearean told aBerlinjournalistthatitwas overture’? Thecomposer’sinsufferable father mind whenhebeganwork onthis‘theatre So didKorngold have aparticular drama in day. premiere attheProms, arecord heholdsto this became theyoungest composerto begiven a the Richard Strauss. WhenHenryWood conducted genius by Gustav Mahlerandwas admired by Alexander Zemlinsky, beendescribedasa hailed asachildprodigy –hehad studiedwith had already been , theLeipzigGewandhaus. Butthen performed by one of ’s most prestigious Nikisch, noless,to whomitisdedicated, and work inDecember1911 was conducted by Arthur remarkable enough,thepremiere of thisnew summer holidays. Andasifthatweren’t directly into fullscore by a14-year-old duringhis as the It ishard to believe thatawork soaccomplished OvertureSchauspiel WolfgangErich Korngold Schauspiel Overture The Tempest Schauspiel Overture . Buthowever muchyoung inLondon,Korngold was composed The Winter’s Tale Twelfth Night,

(1911) (1911) contemporaries. world of Korngold’s late-Romantic musical perhaps onaShakespearean drama butonthe overture to anend.Sothecurtain falls –not echoes of Mahler’slate stringwritingto bringthis a lastStraussian flourish inthebrass anddistant The drama fades butnot before we are offered introduced by ashortsolofrom theFrench . brass flourishes, bringsusto thecoda,whichis that we’ve already heard, together withdarting the emotional temperature andastridingrhythm would later write inHollywood. Thestringsraise – assucculentanything thatthiscomposer before areturn of theopeningmelody brass fanfares andinsistent rhythms onthe on orchestral effect, withglissandosfor theharp, consummate skillKorngold pilesorchestral effect introduces thesinuousopeningmelody. With altogether more mysterious before theoboe husband andfriend,butKorngold’s Overture is Winter’s Tale The Tempest Shakespearean plays quite fits thescore. the Elizabethanplaywright, neitherof theselate Programme note ©Christopher Cook beginswithLeontes asaloving starts withProspero’s storm and (1897–1957) The The

3 Programme notes 4 Strauss was infact always tryingnew things. the late-Romantic 1890s throughout hislonglife, thus reminds usthat,far from beingmarooned in comedy aboutthebattleof thesexes. director hasrecently suggested that it’saShavian which heisevidently tryingsomethingnew – one composer wrote hisown text, creating anopera in and suggested another librettist. Buteventually the Hofmannsthal turneduphisnoseattheproject Strauss’s regular collaborator Hugovon handsome young baron into thework. when Strauss wrote hiswife’s flirtation witha sauce for thegoosebecamesaucefor thegander fashion anopera outof this domestic history, and from thecomposer’smind.Soin1918 hebeganto the misunderstanding was never entirely banished In timeStrauss andhiswife were reconciled, but ‘professional’ woman inBerlin. as alove letter from MitzeMücke, anotorious intercepted anote to herhusband whichsheread a genuinesocialdrama. In1903 Pauline husband andwife inastory whichhasitsroots in meet intheopera and Pauline Strauss, his wife in Alpine Symphony Heldenleben He isnot onlythehero of histone-poem Richard Strauss isamagnificent musicalsolipsist. Heger) Robert 3 (orch No 27 Op Aufforderung, Heimliche 4 39 No Op Befreit, 1 No 48 Op Vision, Freundliche 1 No 27 Op Seele, meine Ruhe, Songs: Interlude Intermezzo Strauss Richard domestica , he also climbs the mountains in his , healsoclimbsthemountains inhis andmakes love very noisilyto Intermezzo née

2, Träumerei am Kamin am Träumerei 2, No von Ahna,whomwe asanot very happy . And it’s Richard . Andit’sRichard (1918–23) (1918–23) Intermezzo Ein

(1864–1949)

– Symphonic before themusictakes wingwithonethosesimple The openingchords of theInterlude hintatsleep, handsome young man. Storch –aka Pauline von Ahna–dreaming of her Kamin’ (Dreaming by theFireside). ItisChristine more lusciousthatthesecondone,‘Träumerei am separate theshortscenesof theopera. Noneis for hear each lineof thetext. Andhereserves hisgift modest chamberorchestra sparingly, lettingus comedy’, hesaidof greater importance thanitisinthisbourgeois ‘In noneof my other works isthedialogueof Programme note ©Christopher Cook sinks finally onto asatisfyinglymajor-key chord. twists before thisInterlude, exhausted you feel, questions ormaybe doubtsinaseries of harmonic away and thestringswiltandwe are leftwith intimate withheryoung man.Sothebrass ebbs she isluxuriatinginthoughtsof somethingdeeply reaches aclimax itbecomesabundantlyclearthat larger ensemblecouldprovide. Asthe music Christine’s reverie, ithasthepower thatamuch ever more fervent, reflecting theintensity of Strauss as an orchestrator thatasthemusicgrows horn andclarinet–take itup.Andsoskilledis Gradually the wholeorchestra –stringsthenthe complete withaharmonicstinginitstail. melodies thatare socharacteristic of Strauss, cantilena for aseriesof radiant interludes that Intermezzo . He uses his . Heuseshis

wife, but he also allowed for the possibility of a a of possibility the for allowed also he but wife, dying his to speaking aman of image the mind his in had he Apparently poem. by the depicted situation exact the to as raised often question the to aclue provide subsequently did he But himself by unsatisfied Strauss’s of setting ‘Befreit’. expressed judge, agood necessarily not Dehmel, silence. ensuing the into and sight, of out hand in hand walk lovers the song, the of bar every accompanied has that pattern rhythmic same the In hat’. lieb Einer, mich mit die geh’ ich ‘Und at beginning lines two the repeats Strauss touch magical afinal In described. here landscape foliated densely the for ideal key Dmajor of sharp the with daylight, the into step the and waking, and sleeping between contrast the illustrates perfectly here keyshift The continue. to means Strauss which in that from tonality adifferent in begins which landscape companionable walk a on off set we ostinato, moving a gently Over song. famous ajustly is Vision’ ‘Freundliche had for him? have might gewaltig’ sind Zeiten ‘Diese words Songs the of first-composed the Abendrot’, ‘Im after immediately it orchestrating and revising life, his of end the at it to returned he And 1894. in day wedding their on Pauline wife his to presented four of first the as song enigmatic this song has finished. Strauss Nevertheless included the once lingers that foreboding of mood the often is it resolution C major the of spite in why and climax, by the suggested struggles titanic the against prevail to manages barely him behind troubles his leave to self-admonition singer’s the why perhaps is This scene-setting. preparatory as it precedes that all with here, begins really song the which in away is there fact In poem’s title. the provide which Seele’ meine ruhe, ‘Ruhe, words the at return but voice, the of entry the with sevenths dominant consoling to way give prelude the of harmonies ambiguous threateningly dark, The chords. sustained of entirely almost consists that accompaniment an has songs, impressive Strauss’s of most Seele!’, one meine ‘Ruhe, For texts, seeoverleaf Strauss songs . One wonders what meaning, in 1948, in meaning, the what wonders . One à deux à deux through the Four Last Last Four ‘Und wandle hinaus in den Garten’. This Strauss Strauss Garten’. This den in hinaus wandle ‘Und beginning verse, the of eroticism the underline kaleidoscopic of series key changes that a through capitulation total listener’s the ensures ‘O komm’. also He climactic the in overflow finally can it where point the to simmering music the keeps line ashorter of injection continual the which in section, middle slower the from build-up the in feature this of use skilful particularly makes Strauss long. syllables four only is line second every which in structure, poem’s unusual the from momentum added an derives and energy sexual with over brims atenor. It be to has surely singer the case this in day. But wedding their on 27, Pauline Op from wife his to agift Seele!’, meine ‘Ruhe, like asong, of barnstormer ‘Heimliche Aufforderung’ is an ebullient Heldenleben Ein in by Strauss quoted later was ‘O Glück!’ words the accompanying phrase repeated the that surprising not is it and , an of scene closing the of worthy are climax the of curves arching sein’. bald long sehr The wird ‘Es at effect greater even with later and weinen’ nicht wirst ‘Du words the on shift semitonal by the bars opening the in sense of impending change already established the to adds motif this foundations, earth’s the in syncopated a with voice the of entry the anticipating Continually them. occasionally interrupts that chords brass-like repeated of figure the and triplets of undertow its with scene the setting orchestra the Strauss’s of songs, greatest the of one is ‘Befreit’ case, the Whatever lovers. two of parting the involving interpretation different kind permission from Hyperion Records Prog of the longed-for night. consummation final the reach to step further one is it major, which from Aflat in key but home the in not enharmonically, climax to trinken’) Küsse deine (‘Und Eminor charged electrically an and minor Aflat via again rises music the there the orchestra’s baritonal counter-melody. From by supported Gflat, seductive darkly to descent a sinken’ prompts dir Brust die an will ‘Und while companions, drunken their from are lovers the as key Bflat of home boisterous the from removed Bmajor, far as leafy quivering, in sets ramme note © Roger Vignoles; r Vignoles; ©Roger note ramme sforzato . , like a momentary shudder shudder amomentary , like eprinted with

5 Programme notes 6 O Glück! geben; wieder ihnen es will ich Leben, ganzes dein mir schenktest Du lässt unsern Kindern mich zurück. lassen, Seele deine mir wirst und fassen Hände meine heiss du wirst Dann O Glück! Welt geweitet; zur dir sie habe ich bereitet, sie hast Wände, du vier lieben Unsre zurück. Kuss und Blick dir ich geb’ Reise zur wie und lächeln du wirst nichtDu wirst weinen. Leise, leise Befreit Julius(1865–1910) Bierbaum Otto kommen. wir dass wartet, Schönheit voll Der weissenDieses Hauses, in den Frieden, in die KühleRuhigen Gemütes hat, lieb Einer, mich mit die geh’ ich Und Laube. dem aus leuchten Götterbilder Büschen; grünen in Haus weisses ein Tief Margeriten; voller Wiese Eine mir: vor Tage schön ich’s am sah Hell geträumt, das ich hab Schlafe im Nicht Freundliche Vision Karl Friedrich Henckell (1864–1929) bedroht! Was dich vergiss, Und Meine Seele, ruhe, Ruhe, – Not in Hirn und Herz Bringen Sind gewaltig, Diese Zeiten schwillt! Wenn sie Brandung, die Wie gezittert, Hast und getobt Hast Gingen wild, Deine Stürme Meine Seele, ruhe, Ruhe, Sonnenschein. Stiehlt sich lichter Hülle Dunkle Durch der Blätter Ruht Hain; der entschlummert Sanft Regt sich leise, Lüftchen ein Nicht Seele meine Ruhe, of this white house, into the peace, the into house, white this of coolness the into peace, at my heart me, loves who one with Iwalk And foliage. the from gleaming gods of statues bushes; green in deep house a white daisies; of full a meadow me: before fair it Isaw daylight broad in my sleep, in it dream not I did you! threatens what and forget my soul, rest, Rest, – distress mind and heart cause violent, are These times when they surge! breakers, the like quivered, you and raged you wild, were storms your my soul, rest, Rest, steals. sunshine bright veil dark leaves’ the Through rests; wood the in gentle sleep stirs, breeze a soft even Not O happiness! – them to back it give I shall me, to life whole You your gave children. our for care to me leave soul, your me leave will you and my hands seize will you ardently Then O happiness! – world a into you for walls four these widened I have love! we room the for You cared have kiss. and gaze your return I shall ajourney before as and smile; will you gently Gently, weep. You not will coming. our awaits that beauty, with brimming

interval MackayJohn (1864–1933) Henry Nacht! ersehnte wunderbare, du O komm, – Pracht Rose der Haare deine in flechten Und oft, ehmals wie Und deine Küsse trinken, du’seh’ gehofft, sinken dir Brust die an will Und Brauch, altem nach erwarten dann dich ich will Dort zum Rosenstrauch, – Garten den in hinaus wandle Und Bild, festfreudiges Genossen lauten der verlasse Dann gestillt, Durst den genossen, Mahl das du hast Doch sie glücklich sein. Mahle lärmenden beim lass Und mit Wein,gefüllt Schale, blinkende die hebe Nein, sehr. zu nicht sie –verachte Schwätzer trunknen Der Heer das uns um betrachte mir gleich still Und … du wie still ich trinke dann und ich, lächle Dann zu, heimlich mir winke so hebst, sie du wenn Und gesund. Herz dein Freudenmahle beim trinke Und Mund, zum empor Schale funkelnde die Auf, hebe Heimliche Aufforderung Richard Dehmel (1863–1920) O Glück! weinen; mir mit und segnen mich und Traum im erscheinen noch nur mir du wirst Dann Welt zurück! der dich ich gab’ so Leide, vom befreit einander haben wir wissen’s beide, wir sein, bald sehr wird Es 20minutes to the rose-bush – – rose-bush the to garden the into out come And revellers, happy of company loud the leave yourquenched thirst, meal, the savoured have you once But feast. noisy the at happy be them let and wine, with filled goblet, glittering the No, raise despise them too much. not –do gossips drunken of hordes the at around look me, like quietly And … you as quietly as drink and smile, Ishall then sign, asecret me it, give raise you when And health. to heart your feast joyful this at drink and the sparkling goblet, lips your to raise Come, O happiness! – me with weep and me bless will you and dreams, in only me to appear you’ll Then world. the to you Ireturned so suffering, from other each released have we it, know both we soon, very be will It Translations © Richard Stokes longed-for night! Owondrous, come, Ah! – rose glorious the hair your in twine And before, often as kisses, your drink and hope, could you before breast, your on sink Ishall And done. I’veas always you for wait Ishall there

7 Texts 8 he wrote to the conductor shortly shortly Pitt Percy conductor the to wrote he later the of manner the in poem symphonic aprogrammatic than rather overture an as work the viewed obviously Elgar Though world’. the of garden ‘the as Italy Byron’s from lines wrote Elgar manuscript the On Mahler. and Strauss Richard of best the with comparable easily literature, orchestral late-Romantic the of pinnacle undoubted an is work the complexity. a one-movement Virtually symphony, South composed Elgar which with speed The 16 on March. festival Garden Covent the at performance first its for time in publishers the to piecemeal delivered February, during Malvern in home back orchestrated and speed lightning at written was Overture’ ‘Concert The fire. caught imagination Elgar’s and visit the of rest the for shone sun The cleared. day, weather the same very That the Riviera, Elgar ruefully commented: on resort aseaside 1904 Alassio, from 3 January on home Writing miserable. be to out turned weather the Unfortunately, March. following the Garden Covent at held be to due Festival Elgar athree-day for promised symphony anew for inspiration provide would sunshine Italian the hoped also winter. Elgar British the of worst the avoid to aimed they Italy, where for oratorio the writing after 1903, exhausted November In (Alassio), 50 South Op the In … Symphony the of instead Garden Covent for Overture aConcert finish to trying …I am (?) land sunny this in written be not will Symphony The train. the in spent perforce were those of &three had we have days fine –five &gales rain cold, with perished been have we nothing: do &I can failure acomplete artistically is, been, has visit This is all the more remarkable given its its given remarkable more the all is Childe Pilgrimage Harold’s The Apostles The , Elgar set off with his wife wife his with off set , Elgar Falstaff , describing , describing (1857–1934) In the the In , a letter , aletter

congenial company’. – congenial amongst surroundings and in like you if –romance feelings personal my own second theme‘the proper’, adding that it ‘may be called Elgar what in continues mood languid The singing’. &occasionally &reedily softly piping –he church old the of ruins the about straying flock his with ‘a shepherd represented said Elgar that theme apastoral to down winds music the other’. length the At in Mediterranean blue &the direction one in mountains snowy distant and hills flowers, streams, – surroundings beautiful from the gloriously arising feeling out-of-doors exhilarating the be ‘may suggested Elgar which invention, exuberant of wave tidal averitable with opens overture The received’. then impression the beyond go to attempt not does &it fresco al day &lovely long a during Andora of valley the in music wove this ‘I that adding intentions, illustrative the towards pointers clear provided premiere the before recapitulation of the earlier music now follows, follows, now music earlier the of recapitulation shortened, artfully though extensive, An found. been yet has evidence conclusive no though actual (misremembered?) Italian popular song, sometimes claimed that the melody itself is an is It glockenspiel. and harp on colour of points viola accompanied by muted and strings delicate his softly singing shepherd, ‘the to –returns Elgar all in magical most the of –one episode second The &endured’. through way its made which force relentless grand the days, old the of came ‘a composer, the vision ‘here,’ wrote valley: the across stretching track stone Roman the by inspired was passage, violent and imposing an first, The episodes. contrasting starkly and extended two stand centre work’s the At Canto popolare Canto (1903–4) ’ and is represented by a solo by asolo represented is ’ and

partly in the soaring melodic lines, gorgeous gorgeous lines, melodic soaring the in partly detractors is long forgotten. The explanation lies Strauss’s of modernist most of work the while the yet And that had made Hitler’s rise to power possible. culture very the of symptomatic thus and world, old the of sound the was Romanticism late very Strauss’s ripe, them, For altogether. composer’ the of will the ‘annihilating of it) put Boulez Pierre young the (as even perhaps and tonality, rigorous means of organising music without – an intellectually serialism Schoenbergian in found be to was memories guilty) cases some in (and traumatic such to antidote the them, For it. with associated everything and past the forget to struggling understandably, were, composers European Central many songs, tender painfully almost times at exquisite, Third Reich. When Strauss composed these the of enormity the crimes committed under the of realisation the from and defeat crushing from reeling still was 1948, Strauss’s Germany when year the from life, his of end very the from come opera luxuriously beautiful, profoundly worldly-wise his of success the after composed have might Strauss thing of kind the like sound they Musically the when discover to asurprise quite as comes it listeners some For For texts, seeoverleaf Abendrot 4 Im 3 Schlafengehen Beim 2 September 1 Frühling Songs Last Four Strauss Richard that during by Elgar photographed actually were overture the in depicted sights the of Several coda. ablazing and opening the of return abreathtaking to leading tension, dramatic the increases gradually Elgar which through Der Four Last Songs Songs Last Four Four Last Songs Songs Last Four in 1911. in they Instead survive, triumphantly, survive, were written. written. were (1948) (1948) peace with your mortality’. How Strauss was able able was Strauss How mortality’. your with peace novel Renault’s Mary of words the –in possible still is it that shows he but consolation religious no offers Strauss death. of closeness the of by awareness intensified love, shared and life in joy of sense focused sharply the to return and turn people makes that music’s message the of humanity the is it that all above But house. opera the in alifetime’s experience of distillation the – voice soprano the for writing Strauss’s superb harmony and , in and particularly Pickard ©John note Programme colour!) through music. in (and faithfully more far captured experience an of memories monochrome –faded day this to preserved are They visit. Italian inspiring for the horn – the instrument of which Strauss’s which of instrument –the horn the for farewell solo atouching with ends and ripeness, summer’s after of decay autumnal images ‘September’ develops this theme, bringing end. imminent own his of aware keenly man, older by an observed as but nature’s renewal, – ‘Frühling’ enough with naturally (Spring), emotional and musical sense. We begin – compelling makes order chosen the why: see to easy is It stuck. has it and sequence, current the on decided Strauss’s publisher premiere the after soon But together. heard be to four the intended he if even or performed, be to songs these intended Strauss order what in clear not is It creation. greatest his simply is many for what in did, he that remains fact say, to the hard but is day by the terrible more growing Nazism of cost human the of news and ruins in Germany with persuasively so this do to Four Last Songs Last Four The Persian Boy Persian The . Here there . Here – to ‘make –to is a a is

9 Programme notes 10 Müdgewordnen Augen zu. Langsam tut er die Ruh. nach sich sehnt stehn, er Bleibt Rosen den bei noch Lange Gartentraum. sterbenden den In Sommer lächelt erstaunt und matt Nieder vom hohen Akazienbaum. Golden tropft um Blatt Blatt Still seinem Ende entgegen. Der Sommer schauert Regen. der Blumen die in sinkt Kühl trauert, Garten Der 2 September Gegenwart. selige Deine Glieder meine all durch zittert Es zart; mich lockst Du wieder, mich kennst Du mir. vor Wunder ein Wie Von Licht übergossen, In und Gleiss Zier, Nun du liegst erschlossen Vogelsang. und Duft Von deinem Lüften, blauen and Bäumen Von deinen lang Träumte ich In dämmrigen Grüften 1 Frühling Songs Last Four that Mahler Gustav friend his to comment his but stress-free been not had Pauline formidable the to Strauss’s marriage Sunset). (At Abendrot’ ‘Im in evoked then is life shared along of ending The Heldenleben Ein wife, Pauline, in tone-poem his autobiographical his depict to violin solo of use his recalling be also may Strauss –though voice wordless soul’s liberated newly the for standing perhaps latter the violin, solo and soprano for duet rapturous a in captured is night’ of ‘magic sphere the in free floating soul the of image the Sleep), to (Going Schlafengehen’ ‘Beim In amaster. was father (‘A Hero’s Life’). with your blessed presence. blessed your with my limbs tremble gently; beckon you me, You recognise me. before amiracle like light in bathed glistening, adorned, revealed, lie you Now birds. of song the and fragrance, your of skies, blue your trees, your of long I dreamt shadows sombre In Spring Johnson ©Stephen note Programme love.’ is us of survive will tone-poem earlier Strauss’s much from theme transfiguration the recall anglais cor and death?’, horn perhaps this ‘is asks finally soprano the As sincere. evidently was ‘she’s Ineed’ what wearied eyes. wearied her closes she Slowly she lingers, yearning for peace. roses by the Long garden’s dream. dying the in Wondering, faintly, smiles summer tree. acacia tall the from golden drops leaf upon Leaf end. her meets silently and The summer shudders flowers. the into sinks rain cool the grieves, garden The September of Philip Larkin’s poem Larkin’s poem Philip of lines last the of reminded be might listeners British but hard is words in music’s message the Distilling larks. trilling of apair of image poet’s the recalling piccolos two with close, serene warm, the comes then But said. be must it wistfully, Verklärung (‘Death and Transfiguration’) – slightly –slightly Transfiguration’) and (‘Death An Arundel Tomb Arundel An Tod und : ‘What : ‘What Joseph (1788–1857) von Eichendorff Tod? der etwa dies Ist – wandermüde wir sind Wie Abendrot! im tief So Friede! O weiter, stiller In dieser Einsamkeit! verirren nicht uns wir Dass Schlafenszeit; es ist Bald schwirren; sie lass und her Tritt Duft. den in Nachträumend steigen noch nur Zwei Lerchen Luft; die schon dunkelt Es neigen, Täler die sich Rings Land. stillen überm Nun wir Vom ruhen Wandern Hand; in Hand Gegangen Freude und Not durch sind Wir Abendrot 4 Im Main am Frankfurt © 1952 Verlag, Suhrkamp (1877–1962) Tief und tausendfach zu leben. Nacht der Zauberkreis im Um schweben, Flügen freien in Will unbewacht, Seele, die Und Wollen senken. in sich Schlummer Sinne nun meine Alle Denken; alles du vergiss Stirn, Tun, allem von lasst Hände, Wie ein müdes Kind empfangen. Nacht gestirnte die Freundlich Soll mein sehnliches Verlangen gemacht, Tag müd’ der mich Nun 3 Beim Schlafengehen

O boundless, silent peace! silent O boundless, in this solitude! way our lose not us let sleep; to time be will it soon fly; to them leave Come, haze. the in wistfully soar yet larks two only dark; grows sky the us, about all descend valleys The land. silent the above journey our from rest at are we now hand; in hand walked have we joy and sorrow Through At Sunset athousand-fold. deep life live night of sphere magic the in and flight, in free soar would unguarded, my soul, And would sink into slumber. now my senses all thought; all brow, forget doing, your cease Hands, child. atired like night starry the greet warmly shall desire my ardent so day, by the tired made Now Sleep to Going Translations © Pracˇ Mari kauskas is this perhaps death? – journeying our of are we weary How sunset! the in deep So

11 Texts 12 Julian Hargreaves/Sony Classical ( ​Past highlightsinclude hisdebutasBacchus of whichwere alsoshown in cinemasworldwide. subsequently thetitle-role inGounod’s Walküre Notable examples have includedSiegmund( that hasbeenreceived withsuchenthusiasm. his total identification withtheroles heperforms Alongside hisvocal andmusicalqualities,itis Don José( Metropolitan Opera andLaScala; Cavaradossi ( sung Massenet’sWerther inParis andVienna; repertoire asheisinGermanopera; hehas He isequallyindemandItalian andFrench debut attheBayreuth Festival asLohengrin. leading housesinEurope. In2010 hemade his his international career, withappearances at He joinedZurichOpera in2001, whichlaunched training withMichael Rhodes. King andJosefMetternich, later continuinghis attended masterclasses withHansHotter, James vocal studiesatthelocalmusicacademy, and He comesfrom ,where hecompleted his one of thetop stars ontheoperatic horizon. has beenacclaimed by press andpublicalike as Metropolitan Opera in2006,JonasKaufmann Since hissensationaldebutatNew York’s Jonas Kaufmann About the performers Jonas Kaufmann Ariadne aufNaxos ) attheMetropolitan Opera in2011 and Carmen Tosca ). ) in London, and at the ) inLondon,andatthe ) atthe2012 Salzburg Festival, tenor

Faust

, both , both Die Die wide-ranging discography. ThisincludesCDs Jonas Kaufmann’s versatility isreflected inhis dates back to hisstudentdays. a partnershipwithHelmutDeutschthat the concertandrecital platforms, enjoying He isalsoafamiliar figure worldwide on Warlikowski andconducted by PhilippeJordan. Verdi’s Earlier thisseasonhesangtheFrench version of to theSydney Opera Housefor new production attheROH, aswell asreturning and made anacclaimed debutasOtello ina new production of tour debut.Lastyear hesangthetitle-role ina Proms andin2016 made hisSouthAmerican Nürnberg and Walther von Stolzing ( double-bill of have includedthetitle-role in at theRoyal Opera House.Othernotable debuts debut asDesGrieux(Puccini’s destino Manrico ( In 2013 headded two Verdi roles to hisrepertoire: Lohengrin a year whichalsosaw anew production of In 2011 hewas presented withthecoveted parts, and von derErd year hereleased recordings of Mahler’s mich from the1920s and30s( are equallyvaried, ranging from evergreens Werther Naxos Walküre and DVDs of works including London 2013. the inaugural International Opera Awards in as well asby thejuriesof ECHOKlassikand Opernwelt Singer of theYear by musicmagazines suchas Lettres andhasbeenselected several timesas named aChevalier del’Ordre desArtset News ) to Pucciniarias( Award inNew York. Hehasalsobeen , ), whilethefollowing year hemade his Don Carlos Don Carlo and , Parsifal ). HesangattheLastNightof the2015 Il trovatore atLaScalaunderDanielBarenboim. , L’Opera Diapason Carmen Cavalleria rusticana e, inwhichhesingsboth vocal , Königskinder , Andrea Chénier Tosca in Paris, staged by Krzysztof , both onSony Classical. ) andAlvaro ( . His best-selling solo albums . Hisbest-sellingsoloalbums and Nessun dorma , Du bistdieWelt für Adriana Lecouvreur Die Meistersinger von Musical America Andrea Chénier Lohengrin , Manon Lescaut Ariadne auf Parsifal La forza del La forza del and in Munich inMunich ). Last ). Last Pagliacci . , Das Das Die Die Opera , , the , the , )

Santiago, andintheconcerthallsof , Sydney Opera HouseandMovistar Arena in Opera House,Muscat,Alte OperFrankfurt, Center, theMenuhinFestival inGstaad, Royal Hall, Palais desBeaux-Arts inBrussels,SeoulArts Smetana HallinPrague, Essen Philharmonic they have appeared attheRoyal Festival Hall, friendship withJonasKaufmann andtogether Over theyears, hehasdeveloped agreat musical Orchestra and ViennaChamberOrchestra. Orchestra of Russia,Prague Radio Symphony ‘Evgeny Svetlanov’ State Academic Symphony Bruckner Orchestra Linz, Munich Radio Orchestra, Symphony Orchestra of theViennaVolksoper, orchestras, Orchestre Nationalde Belgique, Orchestra, theBasleandPrague Symphony Orchestra, ZurichPhilharmonia,Tonhalle and Royal Philharmonicorchestras, Philharmonia around theworld, includingtheLaScala,London He regularly conductsprestigious orchestras Karlsruhe viaBremen to theZurichOpera House. followed acareer paththathastaken himfrom born intheRhineland-Palatinate in1970. Hehas The Germanconductor JochenRiederwas Jochen Rieder Jochen Rieder conductor

featuring theyoung Russiansoprano Aida Most recently hehasconducted galaconcerts Symphony Orchestra. Staatsorchester Wiesbaden andShanghai the DubaiSymphony Orchestra, Hessisches Last year JochenRiedermade hisdebutwith DVD He conducted theaward-winning CDand Baden, ,LucerneandParis. Cologne, Hamburg, Munich,Stuttgart, Baden- the Orchestra of St Luke’s, New York. orchestras, Orchestra of Teatro Real Madrid and BBC, Hamburg andViennaRadio Symphony with theStaatsphilharmonie Rheinland-Pfalz, the Current andfuture engagements includeconcerts Philharmonic. Wiesbaden andconcertswiththeCapeTown new production at theHessischesStaatstheater Symphony Orchestra of CapeTown University, a with studentsof theCollegeof Musicandthe Garifullina inPrague andMoscow, performances DVD: accompanied JonasKaufmann inhisnew Sony and theOrchestra Sinfonica NazionaledellaRAI in the2015–16 season.Inthesummerof 2016 he Staatskapelle Weimar innumerous citiesinEurope Jochen Riederreprised theprogramme withthe cinemas. TheDVD hasbeenreleased by Sony. Kaufmann, was recorded andscreened inmany highly acclaimed Pucciniconcert,featuring Jonas In 2015, hemade hisdebutatLaScala,Milan.This Symphony Orchestra. baritone Peter Mattei andtheNorrköping include adiscof MahlersongswithSwedish Orchestra, released in2014. Otherhighlights Kaufmann andtheBerlinRadio Symphony Du bistdieWelt fürmich Dolce vita. ,

featuring Jonas featuring Jonas

13 About the performers 14 Orchestra alsoworks regularly withSemyon Conductor , theBBC Symphony In addition to itsappearances withChief Schumann. and concertos by Copland,Tchaikovsky and symphonies by Shostakovich, Dvorˇák andMahler, with Sakari Oramo, includingsomeof thegreat Orchestra. Thisseasonincludesseven concerts concerts here attheBarbican,where itisAssociate The orchestra performs anannualseasonof Chorus for Brahms’s Finley. TheBBC SOisjoinedby theBBC Symphony saxophonist JessGilhamandbaritone Gerald Kuusisto andtheLastNightof theProms with Venables performed by FinnishviolinistPekka Symphony No 5,anew violinconcerto by Philip Oramo conductingtheopeningnight,Bruckner’s Proms seasonincludeChiefConductor Sakari at thefestival each year. Highlightsof the2018 Proms, performing around adozenconcerts 1930 andprovides thebackbone of theBBC The BBC Symphony Orchestra was founded in BBC Symphony Orchestra A GermanRequiem . Instagram @bbcsymphonyorchestra Follow usonTwitter @bbcsofacebook.com/bbcso, Visit .co.uk/symphonyorchestra for fulldetails Family Orchestra andChorus. discounted tickets for families) andtheBBC SO Through Music(withpre-concert workshops and include theBBC’s Ten Pieces,theBBC SOJourney to innovative educationwork: ongoingprojects the Radio 3website. TheBBC SOiscommitted and available for 30days after broadcast via broadcast onBBC Radio 3, streamed online the world. Thevast majorityof concertsare home andtheBBC SOalsoperforms throughout recordings for BBC Radio 3atitsMaidaVale Central to theorchestra’s life are publicstudio the Barbicanon16 May. which they willperform astheirseasonfinale at recording of Elgar’s magazine’s Choral Award in2015 for their Chorus andtogether they won The orchestra performs withtheBBC Symphony Chair, andConductor Laureate SirAndrew Davis. Bychkov, whoholdstheGünter Wand The Dream of Gerontius Gramophone ,

Non Peters Eleanor Bartlett Julia Watkins Lucica Trita Victoria Hodgson Tammy Se Rachel Samuel Lucy Curnow Danny Fajardo Philippa Ballard Patrick Wastnage Hania Gmitruk Dania Alzapiedi Heather Hohmann Violin 2 Katherine Mayes David Chadwick Laura Dixon Julia Rogers Amy Cardigan Thea Spiers Molly Cockburn Benjamin Roskams Shirley Turner Colin Huber Jenny King Regan Crowley Charles Renwick Jeremy Martin Richard Aylwin Igor Yuzefovich Violin 1 Paul Hughes General Manager Sir Conductor Laureate Semyon Bychkov Conducting Chair Günter Wand Sakari Oramo Chief Conductor Symphony Orchestra BBC guest

leader

Richard Alsop Lynda Houghton Alice Murray Morwenna DelMar Augusta Harris Michael Atkinson Sarah Hedley Miller Clare Hinton Mark Sheridan Marie Strom Tamsy Kaner Susan Monks Cello Nancy Johnson Joshua Hayward Lucia Ortiz Peter Mallinson Mary Whittle Carolyn Scott Michael Leaver Audrey Henning Nikos Zarb Philip Hall Caroline Harrison Norbert Blume Viola Tomoka Mukai Michael Cox Peter Smith Lucy Hare Samuel Rice Beverley Jones Michael Clarke Anita Langridge Nicholas Hougham Mark Wood Michael Murray Horn Magee Steven Julie Andrews Rachel Gough Thomas Lessels Bass Peter Davis James Burke Clarinet Alison Teale Imogen Smith Richard Simpson Oboe Kathleen Stevenson Piccolo Jim Anderson Robert O’Neill Bass Dan Jenkins Helen Vollam Trombone Martin Hurrell Simon Cheney Gareth Bimson Chris Pointon Percussion Antoine Bedewi Timpani of goingto press correct atthetime The listof players was Elizabeth Burley Celesta/Harmonium Manon Morris Bryn Lewis Harp Oliver Lowe Fiona Ritchie Alex Neal

15 About the performers Diana Damrau sings Strauss Diana Damrau © Jiyang Chen

Wed 16 Jan 2019 Sun 31 Mar 2019 Diana Damrau in recital Diana Damrau and the London Symphony Sat 26 Jan 2019 Orchestra Diana Damrau sings Strauss’s Four Last Songs

Book now at barbican.org.uk/classical1819

Diana Damrau A5 mono ad.indd 1 29/01/2018 17:31