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Hallé Winter Season 2020/21 Movie Classics Programme

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Hallé Winter Season 2020/21 Movie Classics Programme ≥ WINTER SEASON MOVIE CLASSICS MUSIC DIRECTOR SIR MARK ELDER CH CBE IN ASSOCIATION WITH ≥ WINTER SEASON 2020/21 | 1 WELCOME Having joined the wonderful Hallé family last September, I am delighted, in spite of these extraordinary times, that the orchestra has been able to perform together once again. As we find ourselves in another period of lockdown, I want to reassure everyone that the best interests of the musicians and staff at the Hallé are at the centre of everything we do. With concert halls currently closed and live audiences sadly excluded, we are thrilled, in association with our partners at The Bridgewater Hall and our own Hallé St Peter’s, to be able to bring you a Winter Season of nine unique concerts. These specially curated performances have been filmed and recorded to the very highest quality for you to watch at home at your leisure. Although for me nothing beats the live experience, this exciting new filmed format enables us to adventure into new ways of presenting the orchestra and enhancing the music. The diverse array of repertoire on offer will be complemented by introductions, interviews and insights from our family of Hallé conductors and special guest artists. The Hallé exists to play for you, our audiences, and the support of so many of you during this pandemic has been an inspiration and literally kept us going. We are deeply grateful. On behalf of us all here at the Hallé, thank you for your continued support and we hope that you enjoy this illuminating and life-enhancing series of events. David Butcher Hallé Chief Executive 2 | ≥ WINTER SEASON 2020/21 MOVIE CLASSICS BROADCAST FROM THE BRIDGEWATER HALL, MANCHESTER VERDI The Force of Destiny: Overture DVOˇRÁK Rusalka: Song to the Moon TCHAIKOVSKY The Sleeping Beauty: Waltz HANDEL Solomon: Arrival of the Queen of Sheba PONCHIELLI La Gioconda: Dance of the Hours MOZART Clarinet Concerto: slow movement J. STRAUSS II On the Beautiful Blue Danube: Waltz PURCELL Dido and Aeneas: Dido’s Lament ELGAR Enigma Variations: Nimrod MENDELSSOHN A Midsummer Night’s Dream: Wedding March VERDI La traviata: Sempre libera OFFENBACH Orpheus in the Underworld: Can-can Stephen Bell conductor • Petroc Trelawny presenter Sergio Castelló-López clarinet • Nardus Williams soprano SPONSORED BY It is due to the generosity of our sponsors, patrons and every loyal supporter who has been so understanding over the past 11 months that we are able to perform this concert. Arts Council England, the Greater Manchester Authorities and the City of Manchester have all been steadfast in their support and have our sincerest thanks. The Hallé is deeply grateful to our partners in The Bridgewater Hall, without whose collaboration these streamed concerts would not be possible. A MESSAGE FROM THE SPONSOR Cargill provides food, agriculture, financial and industrial products and services to the world. Together with farmers, customers, governments and communities, we help people thrive by applying our insights and over 155 years of experience. We have 155,000 employees in 70 countries who are committed to feeding the world in a responsible way, reducing environmental impact and improving the communities where we live and work. Cargill’s plant in Manchester is a production facility at the hub of the UK food and beverage industries. The plant and offices located in Manchester are part of Cargill’s starches and sweeteners business which produces sweeteners and wheat proteins for food customers. These include customers in the confectionery, brewing, beverage, dairy and bakery sectors. In addition to the food sector, the Manchester plant also serves the needs of the farming and aquaculture sectors with animal feed products and vital wheat gluten. Cargill also produces premium potable and industrial alcohol serving the spirit, food, pharmaceutical, chemical and cosmetics industries. As a major employer in Manchester and the North West, Cargill contributes to the overall economic wellbeing of the region and this is complemented by the work we do and our commitment outside of the workplace, within the local community. For a number of years Cargill has funded and supported community-based projects that have made a difference in a real and tangible way. Our employees’ fundraising and ongoing work with local charities demonstrates this commitment. Cargill is delighted to work in conjunction with the Hallé and help young children in the area gain access to such world-renowned experience and education through the Inspire programme. 4 | ≥ WINTER SEASON 2020/21 MOVIE CLASSICS GIUSEPPE VERDI (1813-1901) THE FORCE OF DESTINY: OVERTURE JEAN DE FLORETTE / MANON DES SOURCES The Force of Destiny (‘La Forza del Destino’) is one of Verdi’s grandest operas, a tale of love, war and vengeance spanning from country to country, from monastery to battlefield and from tragedy to comedy. It was first performed at St Petersburg’s GIUSEPPE VERDI Giovanni Boldini, Public domain, via Wikimedia Commons ≥ WINTER SEASON 2020/21 | 5 Court Theatre in 1862, though Verdi subsequently revised it, adding this substantial overture. The plot tells how the hero, Don Alviro, accidentally kills the father of his beloved, Leonora, and how destiny pursues him in the form of her brother, Don Carlo. At one point the two men actually become friends, but when Don Alviro’s true identity is revealed, revenge is inevitable. The opera’s overture opens with a series of arresting brass chords representing the irresistible power of destiny (and also good to silence the noisy operatic audiences of Verdi’s day!). The restless theme which follows is the work’s principal Fate motif and, although a succession of other themes from the opera are subsequently introduced, its presence remains throughout: the force of destiny will not be denied. The work provided a suitably fatalistic musical backdrop to director Claude Berri’s filmJean de Florette (1986) and its sequel Manon des Sources (also in 1986). Both are screen renditions of Marcel Pagnol’s exquisite novel, L’eau des Collines (‘The Water from the Hills’). ANTONÍN DVORÁKˇ (1841-1904) RUSALKA: SONG TO THE MOON DRIVING MISS DAISY / DEPARTURE SUNG BY NARDUS WILLIAMS Rusalka, which was first performed in Prague in 1901, is the one Dvořák opera with a regular place in the present-day repertoire. It owes its lasting success, in no small way, to the ‘Song to the Moon’ in which Rusalka, a water nymph who has the misfortune to fall in love with a human – the Prince who comes to bathe in her lake – appeals to the moon to tell him of her love for him. A ravishing, magically orchestrated aria of great melodic beauty, it is inspired in its use of the soprano voice in every way. The aria’s exquisite strains are heard in the 1989 comedy-drama Driving Miss Daisy. The movie concerns an elderly widow who befriends her chauffeur after the death of her husband. So too in Departure (2015), in which an English mother and her teenage son spend a week in the South of France breaking up a summer home that has become one of the casualties of the boy’s parents’ crumbling marriage. 6 | ≥ WINTER SEASON 2020/21 PYOTR ILYICH TCHAIKOVSKY (1840-1893) THE SLEEPING BEAUTY: WALTZ SLEEPING BEAUTY / A.I.: ARTIFICIAL INTELLIGENCE Tchaikovsky simply loved the theatre and particularly identified with the glamour and opulence of the ballet, as well as the graceful femininity of the ballerina. He wrote only three ballets, although much of his music is permeated by the spirit of dance, and those three scores did nothing less than change the course of dance theatre history. The Sleeping Beauty (1890) is the second of Tchaikovsky’s ballet scores and, like the other two, is simply a treasure trove of great melodies. This lovely waltz comes from Act I during the preparations for Princess Aurora’s birthday party. Young peasants bring in garlands of flowers and dance to this beautifully rocking music. It might be Johann Strauss II who is known as ‘The Waltz King’, but Tchaikovsky could turn out this dance form with equal skill and aplomb. Of course, there are various film versions of this balletic masterpiece, including a luscious take by Walt Disney in 1959. But this exquisite waltz also more recently graced Steven Spielberg’s A.I. Artificial Intelligence (2001). The film concerns the relationship between a highly advanced robotic boy and his single mother who has abandoned him, but the boy possesses human emotions. The choice of this music was therefore inspired. GEORGE FRIDERIC HANDEL (1685-1759) SOLOMON: ‘THE ARRIVAL OF THE QUEEN OF SHEBA’ FOUR WEDDINGS AND A FUNERAL In Act III of Handel’s oratorio Solomon (1749), the titular monarch receives the exotic Queen of Sheba, shows off his opulent palace and provides her with lavish musical entertainment. Her arrival is announced by this sparkling orchestral interlude. Handel actually borrowed its vivacious tune from a now forgotten opera by Giovanni Porta, though such ‘borrowing’ (some might say plagiarism) was fairly commonplace at the time. No matter, with its chortling oboes and nimble string writing, it is typical of Handel at his irresistible best. ≥ WINTER SEASON 2020/21 | 7 Made in just six weeks and at a cost of under £3 million, Four Weddings and Funeral (1994) became the highest grossing British film at the time. It follows the fortunes of Charles (Hugh Grant) and his circle of friends at a series of social occasions where they each find romance. Richard Rodney Bennett provided the original score, though Handel’s gem also made a lively cameo. AMILCARE PONCHIELLI (1834-1886) LA GIOCONDA: DANCE OF THE HOURS FANTASIA The Italian composer Ponchielli was something of a one-hit wonder with his Grande opera, La Gioconda (1876), although today he is remembered largely for just one part of that work, the charming Dance of the Hours.
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