CONTENTS

4 Welcome 5 Composer Profile 6 Programme Note & Synopsis 9 Sir Simon Rattle on The Cunning Little Vixen 10 Artist Biographies 20 London Symphony Chorus 22 LSO Discovery Voices 23 On Stage 24 London Symphony Orchestra 30 LSO Supporters 32 Barbican Supporters 34 Barbican Centre

LSO Visual Identity and Concept Superunion Cover Artwork Esteban Diácono Leoš Janáček The Cunning Little Vixen

Thursday 27 June 2019 7.30pm Sir Simon Rattle conductor ACT ONE ACT THREE Saturday 29 June 2019 7.30pm Peter Sellars director Barbican How the Vixen was caught. The Vixen outwits the poacher Haraschta; Lucy Crowe Vixen Summer, the forest in the afternoon. The death of the Vixen. Opera in three acts, libretto by Leoš Janáček Gerald Finley Forester Autumn, the forest at midday. on a text by Rudolf Těsnohlídek. Sophia Burgos Fox, Chocholka The Forester’s farmyard; The Vixen The inn. Peter Hoare Schoolmaster, Cock, Mosquito as politician; The Vixen runs away. Semi-staged performance, sung in Czech. Jan Martiník Badger, Parson Autumn, the farmyard. The young Vixen, the image of her mother. Hanno Müller-Brachmann Haraschta Summer, the forest in the afternoon. Produced by the LSO and the Barbican. Paulina Malefane ACT TWO Part of the LSO’s 2018/19 Season and Forester’s Wife, Owl, Woodpecker Barbican Presents. Anna Lapkovskaja Mrs Pasek, Dog The Vixen drives the Badger out of his home. Jonah Halton Pasek Autumn, the forest in the late afternoon. Performance finishes approx 9.15pm Irene Hoogveld Jay Winter, the inn. No interval Winter, the forest in the moonlight. London Symphony Orchestra Surtitles by Martyn Bennett London Symphony Chorus The Vixen’s courtship, love and marriage. Operated by Damien Kennedy LSO Discovery Voices Summer, the forest in the moonlight. Simon Halsey chorus director David Lawrence chorus master Lucy Griffiths chorus master

Ben Zamora lighting designer Nick Hillel & Adam Smith (Yeast Culture) video designers Hans-Georg Lenhart assistant director

Simon Bernardini assistant conductor Zeynep Özsuca répétiteur Betsy Ayer stage manager Welcome Kathryn McDowell & Sir Nicholas Kenyon

elcome to tonight’s performance of We are delighted to welcome a world- We hope you enjoy the performance and an opera that explores themes of class line-up of soloists for these concerts: that you will return to the Barbican – where, life, death, love and the timeless Lucy Crowe, who also performed the title as Resident Orchestra, the LSO performs cycle of nature – Janáček’s The Cunning role under the direction of Peter Sellars 70 concerts every year – for a wide range of Little Vixen. It is a great thrill to explore and Sir Simon Rattle with the Berlin events across the art-forms in the year ahead. this work with the creative partnership of Philharmonic Orchestra; Gerald Finley, LSO Music Director Sir Simon Rattle and Sophia Burgos, Peter Hoare and Hanno director Peter Sellars. These performances Müller-Brachmann, all of whom make return follow critically acclaimed semi-stagings of appearances with the LSO on the Barbican Debussy’s Pelléas et Mélisande and Ligeti’s stage; and Jan Martiník, Paulina Malefane Le grand macabre in recent years, and we are and Anna Lapkovskaja, who make their LSO particularly pleased to have the opportunity debuts. We also welcome as soloists two Kathryn McDowell CBE DL to bring to life the work that, in Sir Simon postgraduate students from our partners Managing Director, LSO Rattle’s own words, ‘made me want to the Guildhall School: Jonah Halton and Irene become an opera conductor’. Hoogveld. The cast are joined on stage by the London Symphony Chorus and the young As in previous years, tonight’s performance singers of the LSO Discovery Voices, led by is presented in partnership by the LSO LSO Choral Director Simon Halsey and chorus and the Barbican. These collaborations masters David Lawrence and Lucy Griffiths. allow us to create truly unique, memorable Sir Nicholas Kenyon musical experiences, bringing together both The production is brought to life by an Managing Director, Barbican Centre partners’ expertise in music-making, staging experienced creative team, all of whom have and production. The LSO and Barbican are worked on previous operatic collaborations both partners in Culture Mile, an initiative between the LSO and Barbican: lighting that aims to create an unrivalled destination designer Ben Zamora; video designers Nick for culture, creativity and learning in the City Hillel and Adam Smith from Yeast Culture; of London, and we look forward to future and assistant director Hans-Georg Lenhart. collaborations in the seasons to come.

4 Welcome 27 & 29 June 2019 Leoš Janáček in Profile 1854–1928 / profile by Andrew Stewart

monastery choir. He moved to Prague in 1874 Janáček’s second marriage also proved an • KAMILA STÖSSLOVÁ and studied organ at the Bohemian capital’s unhappy match, its tensions highlighted in celebrated Organ School, returning to Brno 1917 after he fell in love, obsessively so, with the following year and resuming his teaching Kamila Stösslová •, wife of an antiques and conducting activities. Composition dealer and 37 years the composer’s junior. studies in Leipzig and Vienna (1879-80) added to Janáček’s blossoming skills as a International recognition was underpinned composer, although he struggled to make by the Berlin and New York premieres further progress. In 1881 he married the of Jenůfa (1924) and the overwhelming 16-year-old Zdenka Schulzová; a few months dramatic impact of his operas Katya later he helped found the Brno Organ School, Kabanova, The Cunning Little Vixen and which later became the Brno Conservatory. The Makropulos Affair.

Janáček’s marriage soon failed, and the The Glagolitic Mass (1927), his last opera couple were estranged. In 1887 he began From the House of the Dead (1927–8) and Janáček met Kamila Stösslová in 1917, and work on his first opera, Šarka, although its the Second String Quartet (1928) crowned fell in love with her despite being nearly librettist subsequently refused permission Janáček’s creative Indian summer, brought to 40 years her senior. His passionate feelings for the unknown young composer to have a conclusion when the composer caught a chill seemed to encourage a flourishing of anáček’s father, Jiří, was cantor, the work performed. Moravian folk music that quickly developed into fatal pneumonia. • musical creativity, and they entered into a Kapellmeister and teacher, and popular culture increasingly fascinated correspondence reaching over 700 letters, serving a number of impoverished Janáček in the 1880s, influencing a gradual Andrew Stewart is a freelance music which inspired Janáček to write his String communities in northern Moravia. Young rejection of the high-Romantic musical journalist and writer. He is the author of The Quartet No 2, ‘Intimate Letters’. Leoš, the fifth of nine children, left the language of Šarka for a style that reflected LSO at 90 and contributes to a wide variety family home at Hukvaldy in 1865 to become his passion for Slavic languages and the of specialist classical music publications. a chorister at the Augustinian Monastery musicality of his native tongue. He worked in Brno. His elementary schooling was from 1894 to 1903 on his opera Jenůfa, which supplemented by lessons at the city’s was successfully premiered in Brno in January German college, and in 1869 he received a 1904. For the next 20 years he concentrated state scholarship to support studies at the on composing works for the stage, his stature Czech Teachers’ Training Institute. After as an opera composer finally acknowledged in graduating in 1872, Janáček taught music at 1916 following the Prague premiere of Jenůfa. the Institute’s school and also directed the

Composer Profile 5 Leoš Janáček The Cunning Little Vixen 1923 / note & synopsis by Jan Smaczny

— predictable. The means by which The Vixen ‘People will act in it as well as speak, but like animals. came into being is a happily domestic story from the spring of 1920. Marie Stejskalová, Foxes, old and young, frogs, mosquitoes. It will be an opera as well the Janáčeks’ housekeeper-cum-domestic as a pantomime. In my Vixen there will be dramatic action, stage action. servant, had an addiction to a cartoon story And then the animals! For years I have listened to them, memorising about Vixen ‘Sharp-Ears’ (Bystrouška) published in a local newspaper, and would their speech; I’m at home with them.’ read it avidly before passing the paper on to Janáček her employers. Janáček found her laughing — over the cartoons and immediately became intrigued. According to Stejskalová’s he forest was often a strong Janáček was born in Hukvaldy, a village account, she suggested that given the presence in Czech opera, even on the edge of the Beskydy foothills in composer’s fascination with birdsong and before Janáček set to work on north-eastern Moravia, and the forest was other animal noises, the cartoons might The Cunning Little Vixen. As a place for a pervasive presence for him. In 1921, he make a fine basis for an opera. mystery and magic, the forest was a key went in search of his roots, purchasing a symbol, even in the early years of Czech small house in the village that had once Her story is delightful if a touch epigrammatic. national opera. Rozkošný’s The Rapids of belonged to his brother, František. Inspired But the result came surprisingly quickly. St John (1871) is partly set in a ‘romantic by a holiday in the Tatra Mountains and once The cartoons were by Stanislav Lolek and • Frontispiece to The Cunning Little Vixen, wooded countryside’, and the smugglers’ again immersed in the countryside of his the text, after they had been drawn, was by Eduard Milén (1891–1976) scenes in act two of Smetana’s The Kiss childhood, Janáček would accompany the supplied by the writer, Rudolf Těsnohlídek. use ‘dense forest’ for cover. Of somewhat gamekeepers in the early morning in order Janáček wasted no time in approaching later vintage was the woodland surrounding to absorb the atmosphere remembered Těsnohlídek. The writer gave permission for that Dvořák evoked so exquisitely in Rusalka from his youth; but, of course, in his late Janáček to create a libretto from his novel, (1900); here, more than in any work before 60s, perspectives inevitably changed as his although his only specific contribution was The Vixen, the creatures of the forest comment ‘I caught Sharp-Ears [the Vixen] a song for the Forester about his love for emerge as real characters. Janáček himself for the sake of the forest and the sadness Verunka. Janáček began work on the opera had ventured into the Bohemian forest of old age’ indicates. in January 1922, a little over a month after in the second act of his first opera Šárka he had completed Katya Kabanova; he (1888), but the return to his native woodland The sources of Janáček’s inspiration for continued into the next year, completing it in The Vixen was a great deal more heartfelt. opera after Jenůfa (1904), were never on 10 October 1923. A brief addition to the

6 Programme Notes 27 & 29 June 2019 ACT ONE ACT TWO ACT THREE

How the Vixen was caught. The Vixen drives the Badger out of his home. The Vixen outwits the poacher Haraschta; Summer, the forest in the afternoon. Autumn, the forest in the late afternoon. The death of the Vixen. On a sunny, summer afternoon in the The Vixen makes short work of turning Autumn, the forest at midday forest insects buzz around in the haze. the pompous Badger out of his large, Haraschta, accused of poaching by the The Forester appears and, feeling dozy, well-appointed home. Forester, tells him that he is to marry stretches out and falls asleep. The insects and Terynka. A trap is left for the Vixen by the a young frog, attempting to catch a mosquito, Winter, the inn. Forester. As he and Haraschta leave, land on the Forester’s nose, waking him up. Playing cards and drinking, the Forester the Vixen and her family tumble onto He notices a vixen cub and decides to and Schoolmaster tease each other about the scene and laugh at the clumsy trap. take her home as ‘fun for the children’. the latter’s non-existent love life and the The Fox suggests more children, but the former’s loss of the Vixen. Vixen tells him to wait until next May. The Forester’s farmyard; The Vixen Haraschta returns with a bag full of chickens. • One of Stanislav Lolek’s original as politician; The Vixen runs away. Winter, the forest in the moonlight. The Vixen, feigning lameness draws him Vixen Sharp Ears cartoons Autumn, the farmyard. Rather the worse for drink, the Schoolmaster away so that the Fox and cubs can eat the The Vixen proves well able to defend herself weaves his way home and on the way chickens. Angry at having been tricked into against the amorous advances of the dog, mistakes the Vixen, hidden by a sunflower, falling over, Haraschta shoots the Vixen. fanfares in the scene change before the Lapák, and the taunts of the Forester’s for Terynka, the girl he loves from afar. The finale was added during rehearsals, and children; after she bites the young Pepík, Parson, also wandering home, broods on The inn. the score as we have it was finished by the Forester ties her up for the night. a wrongful accusation that he seduced a A rueful conversation between the 31 October. In a dream, the Vixen appears as a young girl. The shots of the Forester, aimed at the Schoolmaster and Forester reveals that girl, but in the morning she is back to her Vixen, startle them out of their reverie. Terynka is married and both miss their From this unlikely, rather patchwork original guise. Turning politician, the Vixen friend the Parson now living far away. resource Janáček created a coherent attempts to stir up the cockerel and chickens The Vixen’s courtship, love and marriage. story of human and animal lives in the as a ruse to attract them closer to her; she Summer, the forest in the moonlight. • Synopsis and Programme Notes natural cycle of the woods. The libretto kills them all and, biting through her leash, The Vixen falls in love with a comely Fox. Continue on Page 8 is atmospheric, grittily hilarious and escapes into the forest. Courtship leads to love making and, in fairly moving whether depicting men, women short order, marriage. The animals and or animals. Throughout, the forest is as forest celebrate their nuptials in a grand much a presence as its inhabitants and choral ballet. that is where the story begins.

Programme Notes 7 Leoš Janáček The Cunning Little Vixen continued

The young Vixen, the image of her mother. A bare outline of the plot does little to Summer, the forest in the afternoon. illuminate the charm and depth of Janáček’s The Forester wanders onto the scene and characterisation in the opera. The Vixen reminisces freely about his youthful love for is in fact called ‘Sharp-Ears’ (Bystrouška), his wife, their love making and the beauty a much better indication of her feisty and of the forest. As he slumbers contentedly dominating personality. The forest itself the animals of the forest appear; he starts comes to life at the very opening with the awake to find a fox cub, the very image of appearance of insect and animal denizens her mother; he fails to catch her and a frog as they come together in a delightful ballet jumps up, stuttering to the Forester that he pantomime. The Vixen’s dream in the has heard all about him from his grandfather. Forester’s farmyard, accompanied by The Forester’s gun slips from his grasp as music with an irresistible pendular swing, nature expands around him. shows her growing into a wilful young creature, and her relationship with the Fox is delightfully portrayed veering between parody and sentiment. • Statue of Liška Bystrouška in Janáček’s birthplace of Hukvaldy.

The Vixen’s death might have been a memorable phrase the melody returns to Jan Smaczny is Hamilton Harty Professor moment for an outpouring of grief, but, dominate the end of the opera almost as of Music at Queen’s University, Belfast. apart from Haraschta’s shot, it passes a fulfilment of her promise, a guarantee A writer and broadcaster on Czech music, almost without notice. Nature pervades of the eternal natural round. • his most recent book is a study of Dvořák’s the moment, flowing into the gap left by Cello Concerto. the dead heroine. Janáček’s treatment of his human characters is also suffused with sympathy. At times their exchanges are bluff and cantankerous, but in the penultimate scene, as the Schoolmaster and Forester face their sorrows, the music Janáček provides is unforgettably rich. A memorably prophetic moment is when the Vixen tells the Fox to wait for next spring before they have another family; set to a sinuously

8 Programme Notes 27 & 29 June 2019 Sir Simon Rattle On The Cunning Little Vixen

or me this is very personal. It’s a piece I’ve been talking to Peter Sellars It’s the piece that made me want about throughout our friendship, which to become an opera conductor. is well over 30 years now. It’s still one of the I was lucky to be part of a production as a pieces that reduces me to tears more easily student at the Royal Academy of Music, than any other, and I hope I won’t be the conducted by Steuart Bedford. I played only one. the celeste and conducted the off-stage chorus. I felt it changed my life. — ‘It’s the piece that made me want to become an opera conductor … and still one of the pieces that reduces me to tears more easily than any other.’ —

Little did I know that I would years later When I first was involved with Janáček as be married to someone who comes from a student and in my 20s it was normally down the road from Janáček; you can walk performed in English. Czech was considered to the forest that they call ‘the Cunning too difficult. There are so many children in Little Vixen forest’ in Brno, where the The Cunning Little Vixen, we wondered if cartoons were made and where Janáček maybe we should take the easy road and went to get inspiration. do it in English. But Peter and I sat with the translated text and the music, and we The opera is full of nature and the circle of looked at each other and said, ‘We really life, and what you can have in nature that can’t do this, can we?’ In Czech the music humans so often forget to take advantage comes even more alive, because it’s so based of. It’s a deeply moving piece and it also on the rhythms of the language. • moves at the speed of the fastest thriller. It’s the sort of piece that anyone who loves theatre should be at.

Sir Simon Rattle 9 Sir Simon Rattle conductor

ir Simon Rattle was born in Liverpool Music education is of supreme importance et Mélisande, Strauss’ Salome and Bizet’s and studied at the Royal Academy to Sir Simon. His partnership with the Berlin Carmen, a concert performance of Mozart’s of Music in London. From 1980 to Philharmonic broke new ground with the Idomeneo and many concert programmes. 1998, he was Principal Conductor and Artistic education programme Zukunft@Bphil, Adviser of the City of Birmingham Symphony earning him the Comenius Prize, the Schiller Sir Simon has long-standing relationships Orchestra and was appointed Music Director Special Prize from the city of Mannheim, with the leading orchestras in London, in 1990. He moved to Berlin in 2002 and held the Golden Camera and the Urania Medal. Europe and the US, initially working closely the positions of Artistic Director and Chief He and the Berlin Philharmonic were with the Los Angeles Philharmonic and Conductor of the Berlin Philharmonic until appointed International UNICEF Boston Symphony Orchestra, and more he stepped down in 2018. Sir Simon became Ambassadors in 2004 – the first time this recently with The Philadelphia Orchestra. Music Director of the London Symphony honour had been conferred on an artistic He regularly conducts the Vienna Orchestra in September 2017. ensemble. Sir Simon has also been awarded Philharmonic, with whom he has recorded several prestigious personal honours, which the complete Beethoven symphonies and Sir Simon has made over 70 recordings for include a knighthood in 1994, becoming piano concertos with Alfred Brendel, and is EMI (now Warner Classics) and has received a member of the Order of Merit from Her also a Principal Artist of the Orchestra of the numerous prestigious international awards Majesty the Queen in 2014, and being given Age of Enlightenment and Founding Patron for his recordings on various labels. Releases the Freedom of the City of London in 2018. of Birmingham Contemporary Music Group. on EMI include Stravinsky’s Symphony of Psalms (which received the 2009 Grammy In 2013 Sir Simon began a residency at the During the 2018/19 season Sir Simon Award for Best Choral Performance); Berlioz’s Baden-Baden Easter Festival, conducting embarked upon tours to Japan, South Korea, Symphonie fantastique; Ravel’s L’enfant et Mozart’s The Magic Flute and a series of Latin America and Europe with the London les sortilèges; Tchaikovsky’s The Nutcracker – concerts with the Berlin Philharmonic. Symphony Orchestra. He conducted the Suite; Mahler’s Symphony No 2; and Subsequent seasons have included Czech Philharmonic Orchestra for the first Stravinsky’s The Rite of Spring. From performances of Puccini’s Manon Lescaut, time in Mahler’s Das Lied von der Erde and 2014 Sir Simon recorded the Beethoven, Peter Sellars’ ritualisation of Bach’s St John returned to the Deutsche Staatsoper Berlin, Schumann and Sibelius symphony cycles Passion, Strauss’ Der Rosenkavalier, Berlioz’s the Bavarian Radio Symphony Orchestra on the Berlin Philharmonic’s new in-house The Damnation of Faust, Wagner’s Tristan and the Berlin Philharmonic. In March label, Berliner Philharmoniker. His most and Isolde and, most recently, Parsifal in 2019 he conducted Peter Sellars’ revival of recent recordings include Debussy’s Pelléas 2018. For the Salzburg Easter Festival, Bach’s St John Passion with both the Berlin et Mélisande, Turnage’s Remembering, and Rattle has conducted staged productions of Philharmonic and the Orchestra of the Age Ravel, Dutilleux and Delage on Blu-Ray and Beethoven’s Fidelio, Mozart’s Così fan tutte, of Enlightenment. • DVD with the LSO on LSO Live. Britten’s Peter Grimes, Debussy’s Pelléas

10 Artist Biographies 27 & 29 June 2019 Peter Sellars director

eter Sellars has gained international Sellars has led several major arts festivals, renown for his groundbreaking and including the 1990 and 1993 Los Angeles transformative interpretations of Festivals and the 2002 Adelaide Arts artistic masterpieces and for collaborative Festival. In 2006 he was Artistic Director projects with an extraordinary range of of New Crowned Hope, a festival in Vienna creative artists. He has staged operas at for which he invited artists from diverse the Dutch National Opera, English National cultural backgrounds to create new work Opera, Festival d’Aix-en-Provence, Lyric in the fields of music, theatre, dance, Opera of Chicago, Opéra National de Paris film, the visual arts and architecture and the Salzburg Festival, among others. for the celebration of Mozart’s 250th birth anniversary. He served as the Music He has collaborated on the creation of many Director of the 2016 Ojai Music Festival. works with composer John Adams, including Nixon in China, The Death of Klinghoffer, He is a Distinguished Professor in the El Niño, Doctor Atomic, A Flowering Tree Department of World Arts and Cultures and The Gospel According to the Other Mary. at UCLA, a resident curator of the Telluride Inspired by the compositions of Kaija Film Festival, and was a Mentor for the Saariaho, Sellars has guided the creation Rolex Arts Initiative. Sellars is the recipient of productions of her work (L’Amour de loin, of a MacArthur Fellowship, the Erasmus Adriana Mater, Only the Sound Remains) Prize for contributions to European culture, that have expanded the repertoire of the Gish Prize, and is a member of the modern opera. American Academy of Arts and Sciences. He has been awarded the prestigious Polar Recent projects include the premiere of the Music Prize and been named Artist of the latest Adams/Sellars collaboration, Girls Year by Musical America. • of the Golden West, at the San Francisco Opera, a new production of Doctor Atomic at the Santa Fe Opera, and an acclaimed staging of Claude Vivier’s Kopernikus for Festival D’Automne (Paris). He will return to the Salzburg Festival this summer to stage Mozart’s Idomeneo.

Artist Biographies 11 Lucy Crowe soprano Vixen Gerald Finley bass-baritone Forester

of Seville, Dona Isabel in Purcell’s The Indian the Concertgebouw Orchestra Amsterdam, Queen and Poppea in Handel’s Agrippina Bavarian Radio Symphony Orchestra, for English National Opera; and Merab in Mahler Chamber Orchestra and Los Angeles Handel’s Saul, Micaëla in Bizet’s Carmen, Philharmonic Orchestra. As a celebrated and the title role in The Cunning Little Vixen song recitalist he works regularly with for Glyndebourne Festival Opera. pianist Julius Drake. Modern-day composers have written extensively for Finley, including In concert, she has performed with many Peter Lieberson, Mark-Anthony Turnage, of the world’s finest conductors and Huw Watkins, Julian Philips, Kaija Saariaho orchestras, including the LA Philharmonic and Einojuhani Rautavaara. under Dudamel; the Boston Symphony Orchestra under Nelsons; the Accademia Gerald Finley’s many solo recital CD releases Santa Cecilia Orchestra under Pappano; and have been devoted to songs of Barber, the Berlin Philharmonic under Rattle. Lucy Britten, Ives, Ravel and Schumann’s song has performed at the BBC Proms and the cycles Dichterliebe and Liederkreis. He gives orn in Staffordshire, Lucy Crowe Aldeburgh, Edinburgh, Mostly Mozart and rammy-award winning bass- masterclasses throughout the world, most studied at the Royal Academy Salzburg Festivals. Recital appearances baritone Gerald Finley is a leading recently at the Juilliard School of Music, of Music. She has established include Wigmore Hall, New York’s Carnegie singer and dramatic interpreter and continues to work with the Jette Parker herself as one of the leading lyric sopranos Hall and Amsterdam’s Concertgebouw. of today. He began with the baritone roles Young Artists’ Programme at the Royal of her generation. of Mozart; his Don Giovanni and Count in Opera, Covent Garden and the Lindemann Her recordings include Mendelssohn’s The Marriage of Figaro have been heard live Programme at the Metropolitan Opera. Her operatic roles include Adele in Strauss’ ‘Lobgesang’ with the LSO under Sir John throughout the world and on DVD. Recent Die Fledermaus and Servilia in Mozart’s La Eliot Gardiner for LSO Live; Handel’s Il pastor signature roles include Guillaume Tell, J Robert Gerald Finley, born in Montreal, began clemenza di Tito for the Metropolitan Opera, fido and a disc of Handel and Vivaldi with La Oppenheimer in John Adams’ Doctor Atomic, singing as a chorister in Ottawa, Canada, and New York; Ismene in Mozart’s Mitridate, Nuova Musica under David Bates for Harmonia and Jaufré Rudel in Saariaho’s L’amour de loin. completed his musical studies in the UK at Eurydice in Gluck’s Orphée et Eurydice, Adina Mundi; works by Lutosławski, Handel and He created Harry Heegan in Mark-Anthony the Royal College of Music, King’s College, in Donizetti’s L’elisir d’amore, Susanna in Eccles for Chandos; and a solo Handel disc – Turnage’s The Silver Tassie, and has had recent Cambridge, and the National Opera Studio. Mozart’s The Marriage of Figaro, Gilda in ll caro Sassone – with Harry Bicket and the critical success as Verdi’s Iago and Falstaff, He is a Fellow and Visiting Professor at Verdi’s Rigoletto and Belinda in Purcell’s English Concert on Harmonia Mundi. and Wagner’s Hans Sachs and Amfortas. the Royal College of Music. In 2017 he was Dido and Aeneas for the Royal Opera House, appointed Commander of the Order of the Covent Garden; Pamina in Mozart’s The Lucy was appointed as a Fellow to the Royal Gerald Finley’s concert work is a vital part British Empire and had previously been Magic Flute, Rosina in Rossini’s The Barber Academy of Music in 2014. • of his career, with recent appearances with appointed an Officer of the Order of Canada. •

12 Artist Biographies 27 & 29 June 2019 Sophia Burgos soprano Fox, Chocholka Peter Hoare tenor Schoolmaster, Cock, Mosquito

at the Elbphilharmonie Hamburg; Britten‘s English National Opera he has sung Laca in Les Illuminations at the Bregenzer Festspiele; Janáček’s Jenůfa, Zinovy in Shostakovich’s Bernstein‘s Songfest with the BBC Symphony Lady Macbeth of Mtsensk, Faust in Berlioz’s Orchestra and the MDR Sinfonieorchester; The Damnation of Faust, and Hermann in and her role debut as Ann Trulove in Tchaikovsky’s The Queen of Spades. He sang Stravinsky’s The Rake’s Progress with Boris in Janáček’s Katya Kabanova for Opera the London Philharmonic Orchestra, Holland Park and stepped in to sing Laca conducted by Vladimir Jurowski. in Jenůfa for Grange Park Opera’s opening season at the newly built Theatre in the Other recent appearances include the title Woods at West Horsley Place. role in Maria Republica by François Paris with Nantes-Angers Opera; Jennie in the On the international stage Peter has appeared New York premiere of Oliver Knussen’s at Metropolitan Opera, Opéra National de Paris, Higglety Pigglety Pop!; Lily Briscoe in the Komische Opera Berlin, Opernhaus Zürich and world premiere of To The Lighthouse by Lincoln Center in New York. On the concert uerto Rican-American soprano Zesses Seglias at the Bregenzer Festspiele; eter Hoare was born in Bradford and platform he has performed with the Berlin Sophia Burgos is fast emerging and the lead role Enoa in Andrew Norman’s initially trained as a percussionist, Philharmonic, LSO and at the BBC Proms. internationally as a young talent A Trip to the Moon with the LSO and Berlin before making his debut as a singer of outstanding intelligence, musicality Philharmonic, conducted by Sir Simon Rattle. at Welsh National Opera. He has worked Peter’s discography includes Delius’ Song and stage presence. Recent engagements with many eminent conductors including of the High Hills and Britten’s Gloriana include Le martyre de Saint Sébastien with Highlights in 2019/20 include Maria in Sir Simon Rattle and Esa-Pekka Salonen, conducted by Sir Charles Mackerras for the Tonhalle Orchester Zurich under Matthias Bernstein’s West Side Story under Sir John and can be seen regularly at both Covent Decca Records; Katya Kabanova and Verdi’s Pintscher; George Crumb’s Ancient Voices of Eliot Gardiner at the Edinburgh International Garden and English National Opera, as well Falstaff with Sir Colin Davis for Chandos; Children with the SWR Symphonieorchester Festival; a return to De Nationale Oper as across Europe and in the US. and Gilbert and Sullivan’s The Yeomen of the under Teodor Currentzis; Beat Furrer’s Amsterdam for her role debut as Despina Guard with Welsh National Opera for Telarc. Schnee-Szenen with the Symphonieorchester in Mozart’s Così fan tutte; her debut at For Covent Garden, roles have included des Bayerischen Rundfunks and Peter Rundel; La Monnaie in Brussels as Zerlina in Don Mortimer in the premiere of George Forthcoming engagements include Faust a CD recording with the Sinfonieorchester Giovanni and Susanna in The Marriage of Benjamin’s Lessons in Love and Violence, in Berlioz’s The Damnation of Faust at the Basel and Ivor Bolton in works by Berio and Figaro; and Teresa in Berlioz’s Benvenuto Sapkin in Janáček’s From the House of Three Choirs Festival, Hauptmann in Berg's de Falla; Belinda in Purcell’s Dido and Aeneas Cellini with Sir John Eliot Gardiner at the BBC the Dead, Fatty in Weill’s Rise and Fall of Wozzeck for Greek National Opera; and a at the Festival d’Aix-en-Provence; Quatre Proms, Musikfest Berlin and at Versailles. • the City of Mahagonny, and Larry King in return to English National Opera as Orpheus Chants Pour Franchir Le Seul by Gérard Grisey Mark-Anthony Turnage’s Anna Nicole. At Man in Birtwistle’s The Mask of Orpheus.•

Artist Biographies 13 Jan Martiník bass Badger, Parson Hanno Müller-Brachmann bass-baritone Haraschta

A regular guest with the Czech Philharmonic, Hanno was a member of the ensemble Jan has also made appearances with the of the Berlin State Opera from 1998 until Bamberger Symphoniker, BBC Symphony 2011 and has also appeared at the Bavarian, Orchestra, City of Birmingham Symphony Hamburg and Vienna State Opera and Orchestra, Pittsburgh Symphony Orchestra, San Francisco Opera. Rotterdam Philharmonic, Rundfunk- Sinfonieorchester Berlin and Staatskapelle He has given recitals in Berlin, Graz, Dresden, among others. Amsterdam, Hamburg, Paris and Lausanne, at Wigmore Hall and at the Schwarzenberg Jan has sung under some of the world’s most Schubertiade, Berlin Festwochen and the prominent conductors, including Daniel Edinburgh International Festival. His many Barenboim, Jiří Bělohlávek, Manfred Honeck, recordings include Bach’s St Matthew Jakub Hrůša, Fabio Luisi, Zubin Mehta and Passion with the Leipzig Gewandhaus Sir Simon Rattle. In the 2019/20 concert Orchestra under Riccardo Chailly, the season, besides his performances at Berlin’s Gramophone Award-winning recording of orn in the Czech Republic, bass Staatsoper, Jan will continue his relationship anno Müller-Brachmann studied Mozart’s The Magic Flute under Claudio Jan Martiník has won several with the Czech Philharmonic and will make with Rudolf Piernay and Dietrich Abbado, and most recently a DVD of the prizes, including the BBC Cardiff appearances with Alan Gilbert and the NDR Fischer-Dieskau. He has sung with Britten War Requiem with the CBSO and Singer of the World Song Prize in 2009. Elbphilharmonie Orchester in Hamburg. the London, Radio France, Vienna and Berlin Andris Nelsons on Unitel. Philharmonic Orchestras, the Berlin and For the past eight years, Jan has been a Jan’s recording of Schubert’s Winterreise, Dresden Staatskapelle, Orchestra National Engagements this season have included soloist at Berlin’s Staatsoper Under den which was recently released by Supraphon, de France, and the Boston and Los Angeles concerts with the Oslo Philharmonic Linden, the oldest opera house in Germany, received five Diapason d’Or awards, and his Symphony Orchestras under conductors Orchestra and Accademia Nazionale di Santa singing in the roles of Brander (Berlioz’s The recording of Dvořák’s Biblical Songs with including Christian Thielemann, Kurt Masur, Cecilia under Kirill Petrenko, Mahler’s Des Damnation of Faust), Colline (Puccini’s La the Czech Philharmonic and Jiří Bělohlávek Nikolaus Harnoncourt, Fabio Luisi, Christoph Knaben Wunderhorn with Bernard Haitink bohéme), Eremit (Weber’s Der Freischütz), will be released by Decca in early 2020. He von Dohnányi, Bernard Labadie, Herbert and the Chamber Orchestra of Europe, and Father Trulove (Stravinsky’s The Rake’s is also one of the soloists on the Czech Blomstedt and Sir John Eliot Gardiner. He the role of Music Master in a new production Progress), Pistola (Verdi’s Falstaff), Sarastro Philharmonic’s recording of Martinů’s Epic made his Carnegie Hall debut with the Chicago of Strauss’ Ariadne auf Naxos with the (Mozart’s The Magic Flute), and many of Gilgamesh (released by Supraphon in Symphony Orchestra under Daniel Barenboim. Cleveland Orchestra. others. He has also worked with Komische 2017) and on Collegium 1704’s recording of Oper Berlin, Prague’s National Theatre and Donizetti’s Requiem. • Hanno is a Professor at the Musikhochschule Vienna’s Volksoper. Karlsruhe. •

14 Artist Biographies 27 & 29 June 2019 Paulina Malefane soprano Forester’s Wife, Owl, Woodpecker Anna Lapkovskaja mezzo-soprano Mrs Pasek, Dog

Bear-winning feature film U-Carmen and Grimgerde in Wagner’s Ring Cycle. eKhayelitsha, for which she won a Golden Thumb from Roger Ebert. The South African Anna Lapkovskaja made her operatic debut in Film & Television Awards honoured her work 2010 at Nürnberg State Opera in the title role with the Best Actress Award for the film Son of Bizet’s Carmen. Her first engagement at of Man. In 2006 she made her BBC Proms the Teatro alla Scala di Milano came in 2013, debut singing Kurt Weill, and later that year as Flosshilde in the Ring Cycle with Daniel she sang Bess in Porgy and Bess in Sweden. Barenboim. That year she also performed In 2008, she gave a series of masterclasses at the BBC Proms, returning to the Scala to the theatre and music students at UCLA. in 2017 to sing Dunja in The Tsar’s Bride In 2009, conducted by Sir Simon Rattle, she and as Magdalene in Die Meistersinger von sang a series of concerts with the Berlin Nürnberg. She has also performed at the Philharmonic. In 2013, she also played Noah Munich State Opera under the baton of Adám in Unogumbe, an adaptation of Benjamin Fisher and Kirill Petrenko, at Wiesbaden Britten’s Noye’s Fludde, and in 2015, the role State Theatre, Bavarian State Opera and at aulina has been co-founder and co- of Zoleka in Breathe – Umphefumlo. In 2016 ince her debut in 2011 as Mascha the Bayreuth Festival. She is a sought-after Music Director of Isango Ensemble, Paulina created and played the roles of Yindy in Péter Eötvös’ Tri Sestri, Anna concert and Lieder singer, performing with the an award-winning South African and Sadicya in A Man of Good Hope at the Lapkovskaja has become a regular Staatskapelle Berlin, Berlin Philharmonic and theatre company, since 2000. She has Young Vic and New York’s Brooklyn Academy guest performer at the State Opera Berlin. the Vienna Concert Society. worked with members of the company on all of Music. Under the direction of Daniel Barenboim she of Isango’s productions including The Magic appeared as the Gymnasiast in Berg’s Lulu, Anna Lapkovskaja was born in Minsk and Flute (Queen of the Night), A Christmas Carol During May and June 2018, Paulina toured as Flosshilde in Wagner’s Das Rheingold grew up in Munich, where she studied at (Scrooge), Venus and Adonis (Venus), The to Recklinghausen, Luxembourg and Bergen and Götterdämmerung, as Ines in Verdi’s the Munich Academy for Music and Theatre Mysteries (God), Aesop’s Fables, The Ragged with A Man of Good Hope and a concert Il trovatore, as Dunja in Rimsky-Korsakov’s and the Bavarian Theatre Academy August Trousered Philanthropists, La bohème (Mimi), version of The Magic Flute. This year she The Tsar’s Bride, and Magdalene in Wagner’s Everding. In 2008 she was awarded first A Midsummer Night’s Dream (Titania), played the Queen of the Night in The Magic Die Meistersinger von Nürnberg. prize at the prestigious Gasteig Competition uCarmen (Carmen), and A Man of Good Hope. Flute in Caen, and reprised her roles as in Munich. She also won third prize at the She was an advocate for The Global Fund to Sadicya and Yindy in A Man of Good Hope In 2017 she appeared as Varvara in Janáček’s Leyla Gencer Voice Competition in Istanbul, Fight AIDS, Tuberculosis and Malaria. at the Royal Opera House. Currently she is Katya Kabanova with Sir Simon Rattle and was a member of Live Music Now, teaching at the University of Cape Town’s conducting. In the 2019/20 season she promoted by Yehudi Menuhin. • As Carmen Paulina saw worldwide College of Music. • performs this role again at Berlin State success, both on stage and in the Golden Opera, and also sings First Norn, Flosshilde

Artist Biographies 15 Jonah Halton tenor Pasek Irene Hoogveld soprano Jay

Night’s Dream, GSMD; Chorus in Mozart’s Franssens. The latter was performed in Così fan tutte, GSMD; tenor soloist in collaboration with the Dutch Symphony Handel’s Messiah, Croydon; Schumann’s Orchestra and broadcast live on national Dichterliebe; A Three Tenors recital at Radio 4. Cheffings coordinated by Sarah Walker; Second Israelite/Mordecai in Handel’s Operatic experience includes the leading role Esther, Greenwich; Schoenberg’s of Operateuse in the world premiere of the Gurrelieder with Esa-Pekka Salonen and the children’s opera Paard, Brandweerwagen, Philharmonia Orchestra and Voices at the Kikker in 2016 with Kameroperahuis/Dutch Royal Festival Hall and St Denis Basilica, National Youth Orchestra; Gilline, Dame Paris; Jupiter in Offenbach’s Orpheus in the van Dudzeele and Nele (cover) in the world Underworld, GSMD; Oebalus in Mozart’s premiere of Thijl by van Gilse (2018), which Apollo et Hyacinthus, London; tenor soloist was nominated for an International Opera in Schubert’s Mass in E-flat, High Wycombe; Award; and Mustardseed in Britten’s A Claudio in a new opera of Much Ado About Midsummer Night’s Dream with the Guildhall onah is a fourth year singer at the Nothing (workshopped by composer James utch soprano Irene Hoogveld Opera Course (2019). She performed excerpts Guildhall School of Music & Drama, Garner and Early Modern Conversions); received her Cum Laude Bachelor’s from Mozart’s Don Giovanni and Così fan studying with Adrian Thompson. and Obadiah in Mendelssohn’s Elijah, degree from ArtEZ University of tutte, Handel’s Giulio Cesare, Nicolai’s He regularly performs as a soloist within High Wycombe. the Arts in the Netherlands. She is currently The Merry Wives of Windsor, Stravinsky’s The the UK and abroad. Competition successes studying at the Guildhall School of Music & Rake’s Progress and Dvořák’s Rusalka during include being placed as a finalist in the Jonah has been part of recital tours of Drama in London. the Grachtenfestival Amsterdam and with Guildhall’s English Song Prize (November Europe and America for a number of years, Dutch Touring Opera and British Youth Opera. 2018), winning the Franz-Schubert-Institut most recently one of the east coast of Irene made her Barbican debut in 2018 Lieder Prize (GSMD March 2019) and the North America. Future projects include a with a selection of Russian songs, and Irene won first prize at the Euregio Kathleen Ferrier Junior Bursary Award five-week residency at the Franz-Schubert- performed twice at Wigmore Hall in 2019. Vokalwettbewerb, and received the Audience (October 2016), being placed as runner up Institut, Baden-bei-Wien, Austria in July Further concert repertoire includes Vivaldi’s Prize of the Chartered Surveyor Prize and out of 16 competitors from the eight major and August 2019. • Gloria, Handel’s Messiah, Mendelssohn’s the Encouragement Prize during the Prinses conservatoires in the UK. Elijah and Psalm 42, Dvořák’s Te Deum Christina Competition. Irene is supported by and Poulenc’s Gloria. Irene has premiered, the VandenEnde Foundation, VSB Fonds, Recent performances and projects have performed and recorded multiple works by Prins Bernhard Cultuurfonds and Fundatie included: Don Ottavio (Scenes) at GSMD; Dutch contemporary composers, including van Renswoude. • Snout (Cover) in Britten’s A Midsummer de Marez Oyens, van Beurden and Joep

16 Artist Biographies 27 & 29 June 2019 Ben Zamora lighting designer Hans-Georg Lenhart assistant director

Deutsches Symphonie-Orchester, the Berlin As a trained dancer he has worked with Philharmonic, the Los Angeles Philharmonic, choreographers such as Pina Bausch and and the Hammer Museum in Los Angeles. Mark Morris, as well as presenting his own Zamora’s design work has been seen at work. Following the end of his active career the Barbican and the Royal Festival Hall, as a dancer, he studied osteopathy and now Berlin Philharmonic, Stockholm’s Baltic Sea runs his own medical practice in Berlin. • Festival, the Helsinki Festival, the Lucerne Festival in Switzerland, the Mariinsky Theatre in Russia, Elbphilharmonie in Hamburg, Lincoln Center for the Performing Arts in New York, Walt Disney Concert Hall and the Getty Villa in Los Angeles, and Grande Halle de la Villette and Festival d’Aix- en-Provence in France. •

en Zamora is an American artist ans-Georg Lenhart has a long and designer. Zamora has created working relationship with Peter large-scale installations and Sellars. They first worked together sculptures for the Park Avenue Armory in when he was a dancer in Peter Sellars’ New York, The Coachella Valley Music and productions of John Adams’ The Death Arts Festival, Amsterdam Light Festival, of Klinghoffer and Nixon in China, and Art Basel/Design Miami, Kunsthalle Krems Mozart’s Idomeneo. in Austria, the Holland Festival, the Vienna Festival, the Frye Art Museum, Suyama Later Hans-Georg became the assistant Space, as well as a number of other galleries, director on several of Peter Sellars’ museums, private art collections, and public critically acclaimed projects with the art projects. Berlin Philharmonic: the stagings of Bach’s St Matthew Passion and St John Passion, Zamora has also created light-based as well as the performances of Debussy’s sculptures and art installations for Pelléas and Mélisande and Ligeti’s performance-based work, including projects Le grand macabre with the LSO and with Kronos Quartet, Deutsche Oper Berlin, Berlin Philharmonic.

Artist Biographies 17 Nick Hillel & Adam Smith video designers Simon Halsey chorus director

east Culture creates original Orchestra, video design for Boy Blue’s Chorus, Artistic Director of Orfeó Català and immersive visuals and The Five, Hussein Chalayan’s Gravity Fatigue, Choirs and Artistic Adviser of Palau de la projection mapping for live events, No Body video installation at Sadler’s Wells, Música, Barcelona, Artistic Director of Berlin performances and installations. It is an Le grande macabre with Peter Sellars, Philharmonic Youth Choral Programme, award-winning company with over a decade the LSO and Sir Simon Rattle, and the Director of BBC Proms Youth Choir, Artistic of experience working across art forms Paderewski Remixed video installation Advisor of Schleswig-Holstein Musik Festival blending film, live performance, animation, at Müpa, Budapest. Choir, Conductor Laureate of Rundfunkchor documentary, sound design, set design Berlin, and Professor and Director of Choral and projection mapping. Based in London since 1999, Yeast Culture Activities at the University of Birmingham. is always searching for innovative ways He is also a highly respected teacher and Yeast Culture’s work ranges from directing live of connecting the stage and the screen into academic, nurturing the next generation of classical performances and creating gallery one integrated audience experience. • choral conductors on his post-graduate course video installations, through to producing in Birmingham and through masterclasses visuals and set design for contemporary at Princeton, Yale and elsewhere. dance, ballet and theatre shows. imon Halsey occupies a unique Halsey has worked on nearly 80 recording The company’s first major project was to position in classical music. He projects, many of which have won major create visuals for Nitin Sawhney’s 2003 is the trusted advisor on choral awards, including the Gramophone Award, Prophesy tour. It then went on to create singing to the world’s greatest conductors, Diapason d’Or, Echo Klassik, and three visuals for global tours for Akram Khan, orchestras and choruses, and also an Grammy Awards with the Rundfunkchor Jamie Cullum, Baaba Maal, Courtney Pine, inspirational teacher and ambassador for Berlin. He was made Commander of the Cirque du Soleil, Matthew Barley and choral singing to amateurs of every age, British Empire in 2015, was awarded Matthew Herbert. ability and background. Making singing a The Queen’s Medal for Music in 2014, and central part of the world-class institutions received the Officer’s Cross of the Order of Recently the company collaborated with the with which he is associated, he has been Merit of the Federal Republic of Germany Philharmonia Orchestra as creative directors instrumental in changing the level of in 2011 in recognition of his outstanding on the award-winning RE-RITE project, symphonic singing across Europe. contribution to choral music in Germany. presenting Stravinsky’s The Rite of Spring as a 25-screen video piece. Other projects He holds positions across the UK and Europe Born in London, Simon Halsey sang in the include video design for Akram Khan’s Desh, as Choral Director of the London Symphony choirs of New College, Oxford, and of King’s visuals and set design for Bartók’s Duke Orchestra and Chorus, Chorus Director of the College, Cambridge, and studied conducting Bluebeard’s Castle with the Philharmonia City of Birmingham Symphony Orchestra at the Royal College of Music in London. •

18 Artist Biographies 27 & 29 June 2019 David Lawrence chorus master Lucy Griffiths chorus master

choral conductors. David teaches regularly ensembles, motivating music-making alongside Ghislaine Morgan in Portugal, and amongst students, staff and members of provides leadership and team building skills the local community. She is also Director to the corporate sector. of the Royal College of Music Chorus.

He has worked with the London Philharmonic Lucy is a leading expert in the field of music Choir, the Hallé Choir, London Symphony education and engagement, specialising Chorus, CBSO Chorus, for whom he is in vocal outreach. She is Conductor of the an Associate Conductor, as well as the LSO Discovery Junior Choir and Associate National Youth Choirs of Scotland, Northern Conductor of the Discovery Senior and Ireland and Wales. David has adjudicated Community Choirs. This role has seen her at international choral festivals, as well work alongside some of the UK’s most as for the BBC Choir of the Year and Young eminent conductors on premieres of new Musician of the Year competitions, and has works by Sir Peter Maxwell Davies and conducted for BBC Television’s Songs of Jonathan Dove, and she regularly trains avid Lawrence is one of the UK’s Praise for the past 16 years. ucy Griffiths is one of the most choirs to sing with the London Symphony most versatile conductors, working respected conductor-animateurs of Orchestra, including the London Symphony with orchestras, symphony choruses As Principal Conductor of Young Voices, her generation. Having studied and Chorus. Lucy’s commitment to music in and national youth choirs. Conductor of the LSO David directs massed choirs in an annual won several prestigious prizes in the UK and development has taken her all over the Community Choir and LSO Discovery Senior series of concerts, with some choirs Canada, her leadership experience ranges world; she has led charity singing for Choir, he was nominated for a Gramophone incorporating more than 8,000 singers. across vocal and instrumental music-making African Prisons Project in Uganda and Award for his conducting and currently holds He continues to work with Sinfonia Viva with professional, amateur, youth and adult Songbound in India. the Guinness World Record for conducting as their Choral Advisor, a project leader ensembles at the highest level. It has seen the UK’s largest choir – 6,846 singers! and conductor, and has also directed her appear on TV and radio, premiering Lucy’s work as a concert presenter has large-scale education projects with the new works, adjudicating competitions, seen her engage thousands of people in David’s work has taken him to Singapore, Orchestra of Welsh National Opera, the touring extensively throughout the UK and performances throughout the UK. She is Colombia, Canada, the United States, Dubai, English Symphony Orchestra, the Royal internationally, and working alongside some passionate about making music exciting, India and throughout Europe, and last year Liverpool Philharmonic Orchestra and the of the world’s finest musicians and directors. participatory and accessible to all. • he made his 13th and 14th visits to Australia. City of Birmingham Symphony Orchestra. • His positive and engaging manner makes Lucy is Assistant Director of Music at the him a popular guest conductor, and he is University of Warwick, directing all of the an experienced and respected trainer of university’s major vocal and instrumental

Artist Biographies 19 London Symphony Chorus on stage

President he London Symphony Chorus was with Sir Colin as two of the top ten Berlioz The Chorus is an independent charity run by Sir Simon Rattle om cbe formed in 1966 to complement recordings. Recent LSO Live recordings with its members. It is committed to excellence, the work of the London Symphony the Chorus include Bernstein’s Wonderful to the development of its members, to Vice President Orchestra, and is renowned internationally Town and Berlioz’s The Damnation of Faust, diversity and engaging in the musical life of Michael Tilson Thomas for its concerts and recordings with both with Sir Simon Rattle. London, to commissioning and performing the Orchestra. Their partnership was new works, and to supporting the musicians Patrons strengthened in 2012 with the appointment Highlights of the 2018/19 season have of tomorrow. Simon Russell Beale cbe of Simon Halsey as joint Chorus Director included Ravel’s L’enfant et les sortiléges Howard Goodall cbe of the LSC and Choral Director for the LSO, with Sir Simon Rattle at the 2018 BBC Proms For further information please visit and the chorus now plays a major role in and at the Lucerne Festival, Bernstein’s lsc.org.uk.• Chorus Director furthering the vision of LSO Sing. Candide with Marin Alsop, Puccini’s Simon Halsey cbe Messa di Gloria with Sir Antonio Pappano, The LSC has worked with many leading performances of Mahler’s Symphony No 8 Associate Director international conductors and other major at the Concertgebouw in Amsterdam with Matthew Hamilton orchestras, including the Berlin Philharmonic, the Netherlands Philharmonic and Marc Vienna Philharmonic, Leipzig Gewandhaus, Albrecht, and David Lang’s the public domain Chorus Accompanist Los Angeles Philarmonic, New York with Simon Halsey. The Chorus will join the Benjamin Frost Philharmonic, the National Youth Orchestra LSO and Sir Simon Rattle at the BBC Proms of Great Britain and the European Union in August for Walton’s Belshazzar’s Feast. Chairman Youth Orchestra, as well as those in the UK. Owen Hanmer It has also toured extensively throughout The London Symphony Chorus’ 2019/20 Europe and has visited North America, Israel, season will include Janáček’s Glagolitic Mass Concert Manager Australia and South East Asia. with Sir John Eliot Gardiner, Berlioz’s Romeo Robert Garbolinski and Juliet with Michael Tilson Thomas, The partnership between the LSC and LSO, Bartók’s The Miraculous Mandarin with LSO Choral Projects particularly under Richard Hickox in the François-Xavier Roth, a major European tour Andra East 1980s and 1990s, and later with Sir Colin of Beethoven including Christ on the Mount Davis, led to its large catalogue of recordings, of Olives with Sir Simon Rattle, Macmillan’s which have won nine awards, including five St John Passion with Gianandrea Noseda, Grammys. Gramophone magazine included Mahler’s Symphony No 2 with Jaap van the recordings of Berlioz’s The Damnation Zweden and the New York Philharmonic, and of Faust and Romeo and Juliet on LSO Live Tippett’s A Child of Our Time with Alan Gilbert.

20 London Symphony Chorus 27 & 29 June 2019 Simon Bernardini assistant conductor

Sopranos Altos Tenors Basses Guest Conductor at the Opéra Comique Phoebe Bagge Lauren Au Jorge Aguilar Andy Chan in Paris, and conducting the Orchestre Barbara de Matos Liz Boyden Paul Allatt * Steve Chevis Philharmonique du Luxemburg. His Katharine Elliott June Brawner Matteo Anelli Matthew Clarke conducting activity has taken him on tour Isobel Hammond Jo Buchan * Joaquim Badia Damian Day to Asia, North and South America, and Alice Jones Maggie Donnelly Philipp Boeing Roc Fargas throughout Europe, in both opera and Luca Kocsmarszky Lynn Eaton Oliver Burrows Thomas Fea symphonic repertoire. Christina Long Joanna Gill * Michael Delany Ian Fletcher Louisa Martin Rachel Green Matthew Fernando Robert Garbolinski * As a violinist, Simon Bernardini has appeared Emily Norton Yoko Harada Simon Goldman Josue Garcia as Leader of the Juilliard Orchestra, Orchestre Maggie Owen Kate Harrison Michael Harman Daniel Gosselin National de Lyon, Orchestra del Teatro alla Andra Patterson Christine Jasper Jude Lenier Owen Hanmer * Scala in Milan, Berlin Radio Symphony Janina Pescinski Jill Jones Alastair Mathews Nathan Homan * Orchestra, Orchestre Philharmonique de Roberta Philip Gilly Lawson Davide Prezzi Anthony Howick Radio-France, Orchestra del Teatro La Carole Radford Anne Loveluck Peter Sedgwick Alex Kidney Fenice, Berlin Philharmonic Orchestra and Alison Ryan Liz McCaw Robert Ward * Thomas Kohut imon Bernardini has conducted the Bavarian Radio Symphony Orchestra. Deborah Staunton Hannah Mears- Jamie Patrick Berlin Philharmonic Orchestra on Giulia Steidl Young Michael Robson- a number of occasions since 2008, Since 2007 he has appeared as Leader and Lizzie Webb * Caroline Mustill Kiernan making his debut with the Orchestra at the soloist with European Soloists, an ensemble Dorothy Nesbit Alan Rochford Berlin Philharmonie. He has been Artistic comprised exclusively of musicians from the Lis Smith Richard Director of Musica nei Borghi since 2004, and Vienna Philharmonic, Berlin Philharmonic, Linda Thomas Tannenbaum Musical Director of the Orchestra Sinfonica del Teatro alla Scala and RAI National Evan Troendle Siciliana, where he conducted Puccini’s Symphony Orchestras. He has performed at Tosca in Palermo in 2017. Carnegie Hall, the Lincoln Center, Bargemusic * denotes LSC Concerts in New York, Concertgebouw Hall, council member He studied conducting at the Conservatoire Berlin Philharmonie and La Scala, Milan. de Paris, and with Bernard Haitink at the Musikhochschule in Lucerne. In 1999 In 2007 his recording of Liszt’s Piano Trios he made his conducting debut in Paris, was awarded a Diapason D’Or. He is a subsequently making his first appearance professor at the Universität der Künste in as an opera conductor at the Théâtre de Berlin, and a guest professor at a number of Monte Carlo in 2005, becoming Principal universities throughout the world. •

Artist Biographies 21 LSO Discovery Voices on stage

he singers of the LSO Discovery The LSO Discovery Choirs are generously ON STAGE Voices are drawn from the two LSO supported by the Garfield Weston Discovery Choirs, which consist of Foundation, Henocq Law Trust, John Poppy Dawid Pepík over 100 young people aged eight and above S Cohen Foundation, Slaughter and May Lorenzo Dennis from across London. Charitable Trust, D’Oyly Carte Charitable Rosa Exelby Trust and John Thaw Foundation Saoirse Exelby Young Vixen Formed in 2004 by Gareth Malone, the Choirs Inji Galliet-Jakoby Frantík have sung at Windsor Castle for His Royal LSO Choral Projects Co-ordinator Zoe Gritschke Highness The Prince of Wales, with Dave Elisabeth Munns Hermione Holloway Brubeck, with the LSO at the Barbican, and Niamh Hood in the premiere of Edward Rushton’s oratorio Sienna Hunt-Montoya Cicadas alongside the LSO Community Choir Erik Larsson and LSO players. The Choirs also performed Aiyana Mason at the Olympic Torch Relay for Islington Maeve McAllister Cricket Council in July 2012 and were part of the Hannah McCurdy UK premieres of Jonathan Dove’s children’s Agnes McIntosh opera The Monster in the Maze (2015) and Esme Mellor Stephenson Andrew Norman’s A Trip to the Moon (2017), Rose O'Connell and the world premiere of Sir Peter Maxwell Valentina Perez Davies’ The Hogboon (2016), all conducted Kate Rowsell-Ryan by Sir Simon Rattle. Anachiara Senatore Kitty Sinclair The Junior Choir is conducted by Lucy Griffiths, Theo Smith Solo Fox Cub and the Senior Choir is conducted by Olivia Solomou Frog David Lawrence. • Astrid Thornton Caleb Watson Eben Watson Grasshopper

22 LSO Discovery Voices 27 & 29 June 2019 London Symphony Orchestra on stage tonight

Guest Leader Violas Flutes Horns Harp LSO String Experience Scheme Tomo Keller Jane Atkins Gareth Davies Alexander Edmundson Bryn Lewis Since 1992, the LSO String Experience Gillianne Haddow Clare Findlater Angela Barnes Scheme has enabled young string players First Violins Malcolm Johnston Sameeta Gahir Paul Gardham Celeste from the London music conservatoires at Clare Duckworth German Clavijo Jonathan Lipton Philip Moore the start of their professional careers to gain Ginette Decuyper Stephen Doman Piccolo work experience by playing in rehearsals Laura Dixon Julia O’Riordan Rebecca Larsen Trumpets and concerts with the LSO. The musicians Gerald Gregory Robert Turner David Elton are treated as professional ‘extra’ players Maxine Kwok-Adams Stephanie Edmundson Oboes Richard Blake (additional to LSO members) and receive fees William Melvin Florian Peelman Juliana Koch Niall Keatley for their work in line with LSO section players. Elizabeth Pigram Shiry Rashkovsky Matthew Draper The Scheme is supported by: Claire Parfitt Trombones The Polonsky Foundation Laurent Quenelle Cellos Cor Anglais Blair Sinclair Barbara Whatmore Charitable Trust Harriet Rayfield Rebecca Gilliver Christine Pendrill James Maynard Derek Hill Foundation Colin Renwick Alastair Blayden Lord and Lady Lurgan Trust Sylvain Vasseur Jennifer Brown Clarinets Bass Trombone Angus Allnatt Charitable Foundation Julian Azkoul Noel Bradshaw Andrew Marriner Paul Milner Rod Stafford Eve-Marie Caravassilis Chi-Yu Mo Second Violins Daniel Gardner Tuba Editor Fiona Dinsdale | [email protected] Julian Gil Rodriguez Hilary Jones Bass Clarinet Daniel Trodden Editorial Photography Thomas Norris Amanda Truelove Katy Ayling Ranald Mackechnie, Ruth Waltz, Kevin Leighton, Sarah Quinn Timpani Marco Borggreve, Profimedia CZ a.s. / Alamy Miya Väisänen Double Basses Bassoons Nigel Thomas Stock Photo, Sim Cannety Clarke, Kate Lemmon, David Ballesteros Graham Mitchell Daniel Jemison Monika Rittershaus, Achim Graf, Costa / Matthew Gardner Colin Paris Joost Bosdijk Percussion Bridgeman Images, Petra Hajska, Max Colson, Belinda McFarlane Patrick Laurence Neil Percy Daniel Hewitt Paul Robson Matthew Gibson Contra Bassoon David Jackson Print Cantate 020 3651 1690 Eleanor Fagg Thomas Goodman Dominic Morgan Christopher Thomas Advertising Cabbells Ltd 020 3603 7937 Iwona Muszynska Joe Melvin Erzsebet Racz Jani Pensola Details in this publication were correct Robert Yeomans at time of going to press.

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