London Symphony Orchestra Living Music

Sunday 16 October 2016 7pm Thursday 20 October 2016 7.30pm Barbican Hall

THE MENDELSSOHN CYCLE CONCLUDES

Mendelssohn Violin Concerto INTERVAL Mendelssohn Symphony No 2 (‘Lobgesang’)

Sir John Eliot Gardiner conductor Alina Ibragimova violin Lucy Crowe soprano Jurgita Adamonyte˙ mezzo-soprano Michael Spyres tenor Monteverdi Choir

16 Oct finishes approx 9.10pm London’s Symphony Orchestra 20 Oct finishes approx 9.40pm

16 Oct recommended by Classic FM

20 Oct broadcast live on BBC Radio 3

2 Welcome 16 & 20 October 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to this LSO concert at the Barbican for the LSO ON TOUR final instalment of Sir John Eliot Gardiner’s highly successful cycle of Mendelssohn’s orchestral works. These two concerts see the LSO return to the Barbican Tonight he concludes this multi-season project after performances in Bonn and Essen with Sir John by conducting the composer’s Symphony No 2 Eliot Gardiner and the Monteverdi Choir. The Orchestra (‘Lobgesang’), a ‘symphony-cantata’ that features will then depart again for two more performances of a full chorus and vocal soloists in its second half. this programme in Düsseldorf and Mannheim, before embarking on a short tour to the United States with For this performance the LSO is joined by the Principal Guest Conductor Gianandrea Noseda. Monteverdi Choir, a chorus founded by Sir John Eliot, alongside soprano Lucy Crowe, tenor Michael Spyres, and mezzo-soprano Jurgita Adamonyte˙. MENDELSSOHN ON LSO LIVE

Opening the concert, Sir John Eliot conducts While this cycle of performances comes to an end Mendelssohn’s Violin Concerto, for which we are with ‘Lobgesang’, Sir John Eliot Gardiner’s series delighted to be joined by Alina Ibragimova. In recent of Mendelssohn recordings on LSO Live continues years, she has played with the LSO in works by with the recent release of the First and Fourth Schumann and Mozart, and also in recitals at Symphonies. We are also excited to partner with LSO St Luke’s. Apple Music in bringing you an exclusive preview of Gardiner’s acclaimed interpretation of A Midsummer I hope you enjoy the concert and can join us again Night’s Dream. Visit the Orchestra’s profile page on on 6 November, when the LSO celebrates the 80th Apple Music to find out more. birthday of American composer Steve Reich, through performances of three of his orchestral scores with geni.us/LondonSymphony conductor Kristjan Järvi and Synergy Vocals.

A WARM WELCOME TO OUR GROUPS

The LSO offers great benefits for groups of 10+. At these concerts we are delighted to welcome: Kathryn McDowell CBE DL Managing Director Faversham Music Club Adele Friedland & Friends Gerrards Cross Community Association Lucy Miller Murray & Friends Ann Parish & Friends

lso.co.uk/groups London Symphony Orchestra Season 2016/17

LSO Concerts with Chorus

EL NIÑO LE GRAND MACABRE GERMAN REQUIEM DAPHNIS AND CHLOÉ

Sun 4 Dec 2016 Sat 14 & Sun 15 Jan 2017 Sun 19 Mar 2017 Thu 23 Mar 2017 John Adams El Niño Ligeti Le grand macabre Schubert Symphony No 8 Prokofiev Overture on (semi-staged performance) (‘Unfinished’) Hebrew Themes John Adams conductor Brahms German Requiem Shostakovich Cello Concerto No 1 Joelle Harvey soprano Sir Simon Rattle conductor Ravel Daphnis and Chloé – Jennifer Johnson Cano Peter Sellars director Fabio Luisi conductor complete ballet mezzo-soprano London Symphony Chorus Julia Kleiter soprano Daniel Bubeck, Brian Cummings, Simon Halsey chorus director Ruben Drole bass-baritone Alain Altinoglu conductor Nathan Medley countertenors London Symphony Chorus Gautier Capuçon cello Davone Tines bass Produced by the LSO and the Barbican. Simon Halsey chorus director London Symphony Chorus London Symphony Chorus Part of the LSO 2016/17 Season and Simon Halsey chorus director Simon Halsey chorus director Barbican Presents.

LSO Sing is supported by the John S Cohen Foundation, LSO Friends, Rothschild Charities lso.co.uk Committee, Barnett & Sylvia Shine No 2 Charitable Trust, Slaughter and May and Sir Siegmund Warburg’s Voluntary Settlement. 020 7638 8891 4 Programme Notes 16 & 20 October 2016

Felix Mendelssohn (1809–47) Violin Concerto in E minor Op 64 (1838–44)

1 ALLEGRO MOLTO APPASSIONATO Mendelssohn, it is said, disliked applause between 2 ANDANTE movements, and therefore decided to link the first 3 ALLEGRETTO NON TROPPO – ALLEGRO MOLTO VIVACE two movements by way of a single bassoon note that hangs in the air. After a brief prologue, the solo ALINA IBRAGIMOVA VIOLIN violin plays the movement’s sweet, singing main melody. The orchestra initiates the more agitated PROGRAMME NOTE WRITER In 1825, the 16-year-old Felix Mendelssohn met central section, but the mood here is one of passion ALISON BULLOCK is a freelance the 15-year-old violinist Ferdinand David; the two rather than disruption, and the atmosphere soon writer and music consultant whose prodigies would become both great friends and returns to the quiet reverence of the opening. interests range from Machaut to musical partners. 13 years later, in one of his many Messiaen and beyond. She is a letters to the violinist, Mendelssohn mentioned Once again, Mendelssohn denies the audience former editor for the New Grove that he wanted to write a violin concerto for him; the chance to shuffle in their seats between the Dictionary of Music, and the LSO. however, it was not until 1843 that he was able Andante and the finale, creating a bridge passage to give the work his full attention, and it was not that refers to the concerto’s opening theme. An completed until late 1844. Mendelssohn referred unexpected brass fanfare heralds carefree arpeggios FERDINAND DAVID (1810–73) often to David for advice on matters both technical in the violin – and suddenly we are carried headlong first met Mendelssohn while working and artistic; the violinist made numerous changes into a movement whose technical wizardry is as a violinist in Königstadt during to the concerto, and was in fact responsible for its peppered with flashes of fun and wit. Throughout the late 1820s. But their relationship unusual combination of technical feasibility and this wonderful, delicate flight of fancy, Mendelssohn was cemented in 1836 when David virtuosic gloss. introduces several new ideas and melodies. But it is took up the post of Leader for the the graceful, effervescent opening melody that holds Gewandhausorchester Leipzig, where The E minor Concerto’s enduring popularity is due the movement just about under control, eventually Mendelssohn was the Kappellmeister. in no small part to its ease on the ear, and so it is bringing this most inventive yet approachable They enjoyed a close musical easy to forget that it is also full of innovations. The concerto to its dancing conclusion. partnership through the orchestra, immediacy of its first theme is one example: instead as collaborators on this Violin of the usual full orchestral opening, Mendelssohn Concerto, and in chamber settings, has the soloist open the door on the concerto with Mendelssohn joining David after barely a bar of introduction, playing an on the piano for public and private ardent, insistent melody. The orchestra is allowed performances. to introduce the wistful second theme before the INTERVAL – 20 minutes soloist takes it over; however, the gentler mood There are bars on all levels of the Concert Hall; ice cream disappears as suddenly as it came. The central can be bought at the stands on Stalls and Circle level. development section opens dramatically, later The Barbican shop will also be open. dissolving into virtuosic solo figurations that turn out to be the cadenza (written by David), whose Why not tweet us your thoughts on the first half of the dancing arpeggios melt away over the orchestra’s performance @londonsymphony, or come and talk to reprise of the main theme. LSO staff at the Information Point on the Circle level? lso.co.uk Composer Profile 5

Felix Mendelssohn Composer Profile

Though everything else may appear shallow and repulsive, even the smallest task in music is so absorbing, and carries us so far away from town, country, earth, and all worldly things, that it is truly a blessed gift of God.

Felix Mendelssohn

Felix Mendelssohn was the grandson of the The Hebrides. In 1830 he travelled to Enlightenment philosopher Moses Mendelssohn Italy at the suggestion of Goethe and and son of an influential German banker. Born into while in Rome started his so-called a privileged, upper middle-class family, as a boy ‘Scottish’ and ‘Italian’ symphonies. he was encouraged to study the piano, taught to In 1835 he was appointed conductor draw by his mother and became an accomplished of the Leipzig Gewandhaus, greatly linguist and classical scholar. In 1819 he began expanding its repertoire with early composition studies with Karl Friedrich Zelter. music and works of his own, including His family’s wealth allowed their home in Berlin the E minor Violin Concerto. Two years to become a refuge for scholars, artists, writers later he married Cecile Jeanrenaud and in and musicians. The philosopher Hegel and scientist 1843 he founded the Leipzig Conservatory. Humboldt were among regular visitors, and members His magnificent biblical oratorio, Elijah, of the Court Orchestra and eminent soloists were commissioned for and first performed at the available to perform the latest works by Felix or 1846 Birmingham Musical Festival, soon gained his older sister Fanny. Young Mendelssohn’s twelve a place alongside Handel’s Messiah in the string symphonies were first heard in the intimate affections of British choral societies and their setting of his father’s salon. audiences. He died in Leipzig in 1847.

Mendelssohn’s maturity as a composer was Composer Profile © Andrew Stewart marked by his Octet (1825) and concert overture to Shakespeare’s A Midsummer Night’s Dream (1826). In 1829 Mendelssohn revived Bach’s St Matthew Passion exactly one hundred years after its first performance. Soon after, a trip to London and the Scottish highlands and islands inspired the overture 6 A Mendelssohn Journey 16 & 20 October 2016

A Mendelssohn Journey with Sir John Eliot Gardiner

These concerts mark the end of Sir John Eliot Gardiner’s cycle of Mendelssohn’s orchestral works with the LSO. Here we look back at our journey with this music through Switzerland, France, Germany and Luxembourg, and on LSO Live. 2014 LUXEMBOURG 10 September ESSEN 13 September LONDON 23 January 21, 23 March FRANKFURT 10 February LYON 19 January BONN BERLIN 6 September 14 September GENEVA 17 January PARIS 18 January SYMPHONY SYMPHONY SYMPHONY NO 1 NO 2 NO 3 ‘LOBGESANG’ ‘SCOTTISH’

SYMPHONY SYMPHONY A MIDSUMMER NO 4 NO 5 NIGHT’S DREAM ‘ITALIAN’ ‘REFORMATION’ lso.co.uk A Mendelssohn Journey 7

‘John Eliot Gardiner unlocked both the silken beauty of this music and its evanescence.’ The Times, Review of 16 February 2016

ON LSO LIVE 2016 13 October 2014 DÜSSELDORF 23 October LONDON 16 February 24 October MANNHEIM 4 May 2015 BONN 9 October 11 February HANNOVER 9 September 2016 8 Programme Notes 16 & 20 October 2016

Felix Mendelssohn Symphony No 2 (‘Lobgesang’) Op 52 (1840)

SINFONIA the great precursor of them all, of course, but in 1839 1 MAESTOSO CON MOTO – ALLEGRO – Berlioz had produced an even more integrated and 2 ALLEGRETTO UN POCO AGITATO radical version of the form with Roméo et Juliette. 3 ADAGIO RELIGIOSO The ‘Lobgesang’, however, owes its unusualness primarily to the fact that it was composed for a CANTATA specific occasion, namely celebrations marking 4 ALLES, WAS ODEM HAT the 400th anniversary of Johannes Gutenberg’s 5 SAGET ES, DIE IHR ERLÖST SEID – ER ZÄHLET UNSRE TRÄNEN invention of printing with movable type. Leipzig, 6 SAGT ES, DIE IHR ERLÖST SEID where Mendelssohn had lived for the previous five 7 ICH HARRETE DES HERRN years, had long been a leading German centre for 8 STRICKE DES TODES books and printing, and had chosen to mark the 9 DIE NACHT IST VERGANGEN quatercentenary with a three-day festival centring 10 NUN DANKET ALLE GOTT on the unveiling of a new statue of Gutenberg in the 11 DRUM SING’ ICH MIT MEINEM LIEDE town square on 24 June. The day before there had 12 IHR VÖLKER, BRINGET HER DEM HERRN been a new opera, Hans Sachs by Albert Lortzing, and the day after there was a grand concert in LUCY CROWE SOPRANO Bach’s church, the Thomaskirche, to conclude. · JURGITA ADAMONYTE MEZZO-SOPRANO MICHAEL SPYRES TENOR As the city’s foremost composer and musician, MONTEVERDI CHOIR Mendelssohn was invited to provide the unveiling ceremony with a cantata (Festgesang, where we get PROGRAMME NOTE WRITER That Mendelssohn’s ‘Lobgesang’ (Hymn of Praise) is the tune known today as ‘Hark the herald angels sing’), LINDSAY KEMP is a senior also known as his Symphony No 2 shows what an and to conduct the final concert, which included producer for BBC Radio 3, including odd work it is. The composer himself was uncertain Weber’s Jubel-Ouverture, Handel’s ‘Dettingen’ programming Lunchtime Concerts how to classify it until he took the advice of a Te Deum and the premiere of this piece. No doubt from LSO St Luke’s, Artistic Director friend and designated it as a ‘symphony-cantata’, mindful of Bach’s legacy, as well of the importance of the London Festival of a recognition of the fact that, if it has the overall of the printed word to the spread of Protestantism, Baroque Music, and a regular trajectory of a four-movement symphony with vocal Mendelssohn had made use of Lutheran chorales in contributor to Gramophone magazine. ending, then that choral ending – itself divided into Festgesang. And for the ‘Lobgesang’ he determined nine sections comprised of arias, duets, recitatives on a large-scale symphonic work using both chorales and choruses – is so extended as to dwarf the first and texts from the Scriptures. It was published as three movements altogether. Such a hybrid form Symphony No 2 in 1841, despite the fact that the so- has not always endeared it to critics, but this was far unpublished Nos 4 and 5 had predated it. a popular piece in the 19th century, and, as always with Mendelssohn, it is full of music of high quality The work opens with a bold and majestic motto and originality. intoned by trombones, with answering phrases from the full orchestra. The theme is one Mendelssohn The choral symphony was not an entirely new had already employed three years earlier in a setting concept. Beethoven’s Ninth of 16 years earlier was of Psalm 42, and has a distinguished history in the lso.co.uk Programme Notes 9

TEXT AND TRANSLATION contrapuntal canon. Versions of it had been used PAGE 10 by Bach and by Mozart in the finale of the ‘Jupiter’ Symphony. The exchange leads to the main body of the movement, an Allegro in bustling celebratory mood, in which the motto theme makes repeated impositions. The end brings a calming of the excitement, and a short clarinet cadenza, to lead into the second movement, a restlessly lilting, song-like piece in scherzo form. The atmosphere here is not so much playful as wistful in the outer sections, and downright serious in the central one, with its sternly intoned chorale melody. The third movement is actually marked ‘Adagio religioso’, and sets out its qualifications for the title in music of noble beauty.

The ‘cantata’ section follows with a return of the motto theme driving an imposing crescendo, at the height of which the chorus enters and provides it JOHANNES GUTENBERG with a text –‘Alles was Odem hat, lobe den Herrn!’ Little is known of his early life, other than that he (All things that have breath, praise the Lord!) – was born in the German town of Mainz to a wealthy before bursting into fugal exuberance. The next merchant family. But by 1436 we know Gutenberg four movements – an urgent recitative and aria for had begun to work on a secret project that would tenor, a solemnly imploring chorus and a hopeful change the world forever. His method of PRINTING The order of MENDELSSOHN’S soprano-tenor duet – successively darken the mood, WITH MOVABLE TYPE was unveiled in Strasbourg SYMPHONIES is unconventional, stressing God’s support in times of hardship, and in 1440, and with it, a new era of human knowledge in that the symphonies are listed in reaching the lowest ebb in a dramatic tenor aria was born. With the greater speed and efficiency the order that they were published, full of Romantic nocturnal anxiety (‘watchman will with which information could now be produced and rather than by when they were the night soon pass?’). Comfort comes right at the distributed, Gutenberg’s invention was crucial to the completed. If that were the case, end of this section as the soprano declares ‘Die success of revolutionary movements then the order would be 1, 5, 4, 2 and Nacht ist vergangen!’ (The night has departed!), like the Protestant Reformation. 3, although this last one is contested and the chorus takes up the line and turns it to This is why Mendelssohn’s because the composer worked on light in another invigorating fugue. From here on anniversary commission quotes it for over a decade and the initial the confident well-being of the opening is gradually liberally from the Bible, and sketches predate numbers 4 and 2. restored, first with a pristine choral rendition of develops allegorical the Lutheran hymn ‘Nun danket alle Gott’ (which themes of man’s journey Mendelssohn had also used in the Festgesang), from the darkness of then with another duet radiant with thanks for ignorance towards the deliverance, and finally a grand choral declamation light of truth. and a fugue of Haydnesque jubilance. 10 Text 16 & 20 October 2016

Symphony No 2 (‘Lobgesang’) Text

4 ALLES, WAS ODEM HAT LET EVERY THING THAT HATH BREATH

Chorus Chorus Alles, was Odem hat, lobe den Herrn. Let every thing that hath breath praise the Lord. Psalm 150 Halleluja, lobe den Herrn. Hallelujah, praise ye the Lord.

Lobt den Herrn mit Saitenspiel, Praise the Lord with the lyre, Psalm 33 Lobt ihn mit eurem Liede. Praise Him with your song. Und alles Fleisch lobe seinen heiligen Namen. And let all flesh praise His holy name. Psalm 145 Alles, was Odem hat, lobe den Herrn. Let every thing that hath breath praise the Lord. Psalm 150

Women’s Chorus and Soprano Women’s Chorus and Soprano Lobe den Herrn, meine Seele, Praise the Lord, O my soul, Psalm 103 Und was in mir ist, seinen heiligen Namen. And all that is within me, bless His holy name. Lobe den Herrn, meine Seele, Praise the Lord, O my soul, Und vergiß es nicht, was er dir Gutes getan. And forget not all His benefits.

5 SAGET ES, DIE IHR ERLÖST SEID – SAY IT, YOU WHO ARE REDEEMED – ER ZÄHLET UNSRE TRÄNEN HE COUNTETH OUR TEARS

Tenor Tenor Saget es, Say it, Psalm 107 Die ihr erlöst seid durch den Herrn, You who are redeemed through the Lord, Die er aus der Not errettet hat, Whom He hath saved from anguish, Aus schwerer Trübsal, From affliction, Aus Schmach und Banden, From shame and bondage, Die ihr gefangen im Dunkel waret, You who were in darkness, Alle, die er erlöst hat aus der Not. All of you, whom He hath redeemed from anguish. Saget es! Say it! Danket ihm und rühmet seine Güte! Thank Him and praise His mercy.

Er zählet unsre Tränen in der Zeit der Not, He counteth our tears in times of distress, Psalm 56 Er tröstet die Betrübten mit seinem Wort. He comforts the bereaved with His word. lso.co.uk Text 11

6 SAGT ES, DIE IHR ERLÖST SEID SAY IT, YOU WHO ARE SAVED

Chorus Chorus Sagt es, die ihr erlöst seid Say it, you who are saved Psalm 107 Von dem Herrn aus aller Trübsal. By the Lord from all afflictions. Er zählet unsre Tränen in der Zeit der Not. He counteth our tears in times of distress. Psalm 56

7 ICH HARRETE DES HERRN I WAITED PATIENTLY FOR THE LORD

Chorus and Soprano Chorus and Soprano Ich harrete des Herrn, I waited patiently for the Lord, Psalm 40 Und er neigte sich zu mir And He inclined unto me, Und hörte mein Flehn. and heard my plea. Wohl dem, Blessed is he Der seine Hoffnung setzt auf den Herrn! That puts his trust in the Lord. Wohl dem, der seine Hoffnung setzt auf ihn! Blessed is he that puts his trust in Him.

8 STRICKE DES TODES THE SORROWS OF DEATH

Tenor Tenor Stricke der Todes hatten uns umfangen, The sorrows of death had enclosed us, Psalm 116 Und Angst der Hölle hatte uns getroffen, And the fear of hell had struck us, Wir wandelten in Finsternis. We wandered in the darkness. Er aber spricht: Wache auf! But he spoke: wake up! Ephesians 5 Wache auf, der du schläfst, Awake, you who sleep, Stehe auf von den Toten, Arise from the dead, Ich will dich erleuchten! I will give thee light.

Wir riefen in der Finsternis: We cried out in the darkness: Isaiah 21 Hüter, ist die Nacht bald hin? Watchman, will the night soon pass? 12 Text 16 & 20 October 2016

Symphony No 2 (‘Lobgesang’) Text (continued)

Der Hüter aber sprach: But the watchman said: Wenn der Morgen schon kommt, If the morning comes soon, so wird es doch Nacht sein; It will again be night; wenn ihr schon fraget, And if you ask, so werdet ihr doch wieder kommen you will return und wieder fragen: and ask again: Hüter, ist die Nacht bald hin? Watchman, will the night soon pass?

Soprano Soprano Die Nacht ist vergangen. The night has passed. Romans 13

9 DIE NACHT IST VERGANGEN THE NIGHT HAS PASSED

Chorus Chorus Die Nacht ist vergangen, The night has passed, Romans 13 der Tag aber herbei gekommen. But the day has come. So lasst uns ablegen die Werke der Finsternis So let us cast off the works of darkness, und anlegen die Waffen des Lichts And let us put on the armour of light, und ergreifen die Waffen des Lichts! and take up the armour of light.

10 NUN DANKET ALLE GOTT NOW LET US ALL THANK GOD

Chorus Chorus Nun danket alle Gott Now let us all thank God mit Herzen, Mund und Händen, With our hearts, voice and hands, der sich in aller Not Who in all adversity will gnädig zu uns wenden, Will be Merciful to us, der so viel Gutes tut; Who does so much good; von Kindesbeinen an Who from childhood, uns hielt in seiner Hut Has kept us in His care, und allen wohlgetan. And done good to all.

lso.co.uk Text 13

Lob, Ehr’ und Preis sei Gott, Praise, honour and glory be to God, Dem Vater und dem Sohne The Father and the Son Und seinem heil’gen Geist And the Holy Ghost Im höchsten Himmelsthrone. In heaven’s highest throne. Lob dem dreiein’gen Gott, Praise to God, three in one, Der Nacht und Dunkel schied Who separated night and darkness Von Licht und Morgenrot, from light and dawn, Ihm danket unser Lied. Give thanks to him with our song.

Text by Martin Rinckart (1636)

11 DRUM SING’ ICH MIT MEINEM LIEDE SO WITH MY SONG I SING

Soprano and Tenor Soprano and Tenor Drum sing’ ich mit meinem Liede So with my song I sing Ewig dein Lob, du treuer Gott. your eternal praises, faithful God. Und danke dir für alles Gute, And thank you for all the good, das du an mir getan. That you have done for me. Und wandl’ ich in Nacht und tiefem Dunkel, Though I wander in the night and darkness deep, Und die Feinde umher stellen mir nach, And my enemies lay all around me, So rufe ich an den Namen des Herrn, I will call upon the name of the Lord, Und er errettet mich nach seiner Güte. And He will save me through his goodness. Drum sing’ ich mit meinem Liede So with my song I sing Ewig dein Lob, du treuer Gott. your eternal praises, faithful God. Und wandl’ ich in Nacht, And though I wander in the night, So ruf ich deinen Namen an, I will call upon Your name, Ewig, du treuer Gott. forever, faithful God. 14 Text 16 & 20 October 2016

Symphony No 2 (‘Lobgesang’) Text (continued)

12 IHR VÖLKER, BRINGET HER DEM HERRN YOU PEOPLE, GIVE UNTO THE LORD

Chorus Chorus Ihr Völker, bringet her dem Herrn You people, give unto the Lord Psalm 96 Ehre und Macht. glory and strength. Ihr Könige, bringet her dem Herrn You kings, give unto the Lord Ehre und Macht. glory and strength. Der Himmel bringe her dem Herrn The sky, give unto the Lord Ehre und Macht. glory and strength. Die Erde bringe her dem Herrn The earth, give unto the Lord Ehre und Macht. glory and strength.

Alles danke dem Herrn. All thanks to the Lord. I Chronicles 16 Danket dem Herrn und rühmt seinen Namen Thank the Lord and exalt His name und preiset seine Herrlichkeit. and praise his glory.

Alles, was Odem hat, lobe den Herrn, Let every thing that hath breath praise the Lord. Psalm 150 Halleluja, lobe den Herrn! Hallelujah, praise ye the Lord.

The Donatella Flick LSO Conducting Competition 2016 GRAND FINAL

Thursday 17 November 7pm Barbican Hall

Three of the brightest young conducting stars compete in front of a jury of world-renowned conductors and performers, including Carlo Rizzi and Sir Antonio Pappano lso.co.uk Artist Biographies 15

Sir John Eliot Gardiner Conductor

Sir John Eliot Gardiner’s work with the Monteverdi the Monteverdi Choir: Schumann’s Manfred with the Choir, English Baroque Soloists and Orchestre Scottish Chamber Orchestra, and Bach’s St Matthew Révolutionnaire et Romantique, of which he is founder Passion with the English Baroque Soloists, sung and Artistic Director, has marked him out as a key from memory and part of a year-long European tour figure in the early music revival and a pioneer of of the work. In 2017, Gardiner, the English Baroque historically informed performances. As a regular Soloists and the Monteverdi Choir undertake a year’s guest of the world’s leading symphony orchestras, celebration of Monteverdi, performing his three such as the Symphonieorchester des Bayerischen surviving operas around the world. Rundfunks, Royal Concertgebouw Orchestra and Gewandhausorchester Leipzig, Gardiner conducts a An authority on the music of J S Bach, Gardiner’s range of repertoire from the 17th to the 20th centuries. book, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach, was published in October Gardiner has conducted opera productions at the 2013 by Allen Lane, leading to the Prix des Muses Royal Opera House, at the Vienna State Opera and award from the Singer-Polignac Foundation. In 2014 at Teatro alla Scala in Milan. From 1983 to 1988 he Gardiner became the first ever President of the was artistic director of the Opéra de Lyon, where he Bach-Archiv Leipzig and the inaugural Christoph Founder and Artistic Director founded its new orchestra. Following the success in Wolff Distinguished Visiting Scholar at Harvard Monteverdi Choir 2008 of Verdi’s Simon Boccanegra at the Royal Opera University for the academic year 2014/15. Orchestre Révolutionnaire House, he returned there to conduct Verdi’s Rigoletto et Romantique in 2012, and Mozart’s The Marriage of Figaro in Among numerous awards in recognition of his work, English Baroque Soloists 2013, celebrating 40 years since his debut in 1973. including the Concertgebouw Prize in 2016 and the In autumn 2015, he returned again to conduct Léonie Sonning Music Prize in 2005, Sir John Eliot President Gluck’s Orphée et Eurydice with the Monteverdi Gardiner holds honorary doctorates from the Bach-Archiv Leipzig Choir and English Baroque Soloists in a production New England Conservatory of Music and from the co-directed by Hofesh Shechter and John Fulljames. universities of Lyon, Cremona and St Andrews. Artistic Director He is an Honorary Member of the Royal Academy Anima Mundi Festival Guest conducting highlights this season include of Music, an Honorary Fellow of King’s College, returns to the LSO, Royal Concertgebouw Orchestra London, the British Academy and of King’s College, and Symphonieorchester des Bayerischen Rundfunks. Cambridge, where he himself studied and from Last season, he returned to the Berlin Philharmonic where he received an Honorary Doctorate. In for a performance of Stravinsky’s Oedipus Rex. 2008 he received the Royal Academy of Music’s prestigious Bach Prize. Gardiner was made Chevalier 2016 marked Sir John Eliot Gardiner’s 65th de la Légion d’honneur in 2011 and was given the appearance at the BBC Proms with the Orchestre Order of Merit of the Federal Republic of Germany in Révolutionnaire et Romantique performing Berlioz’s 2005. In the UK, he was made a Commander of the Roméo et Juliette, a work that toured to the Festival British Empire in 1990 and awarded a knighthood for Berlioz in La Côte Saint-André. The 2016 Edinburgh his services to music in the 1998 Queen’s Birthday International Festival included two concerts with Honours List. 16 Artist Biographies 16 & 20 October 2016

Alina Ibragimova Violin

Performing music from the Baroque to new Future plans for the duo also include extensive commissions on both modern and period touring in Japan and North America. instruments, Alina Ibragimova has established a reputation as one of the most accomplished and Over the years, Alina has appeared with the Cleveland intriguing violinists of the younger generation. This Orchestra, Philadelphia Orchestra, Bamberger was illustrated in her prominent presence at the Symphoniker, Deutsche Kammerphilharmonie Bremen, 2015 BBC Proms, which included a concerto with WDR Sinfonieorchester Köln, Stuttgart Radio Symphony, a symphony orchestra, a concerto with a Baroque Orquestre Philharmonique de Radio-France, Seattle ensemble and two Royal Albert Hall late-night Symphony, Mariinsky Theatre Orchestra, Philharmonia, recitals featuring the complete Bach partitas and Orchestra of the Age of Enlightenment, and all the sonatas, which drew capacity audiences. BBC orchestras. Conductors with whom Alina has worked include Bernard Haitink, Valery Gergiev, Highlights among recent and forthcoming concerto Paavo Järvi, Yannick Nézet-Séguin, Vladimir Jurowski, engagements include debuts with the Boston Rafael Frühbeck de Burgos, Sir Charles Mackerras, Symphony, Montreal Symphony, Konzerthaus Berlin, Sir Mark Elder, Philippe Herreweghe, Osmo Vänskä, Deutsches Symphonie-Orchester Berlin, Vienna Hannu Lintu, Sakari Oramo, Ilan Volkov, Tugan Sokhiev, Symphony, Camerata Salzburg, Royal Stockholm Jakub Hru˚ša, Ludovic Morlot, Edward Gardner and Philharmonic, Hungarian National Philharmonic, Gianandrea Noseda. Scottish Chamber Orchestra and the Tokyo Symphony, returns with the BBC Symphony and Chamber Born in Russia in 1985, Alina studied at the Moscow Orchestra of Europe, residencies with the Strasbourg Gnesin School before moving with her family to Philharmonic and at the Casa della Musica in Porto, the UK in 1995, where she studied at the Yehudi as well as extensive touring in Australia. Menuhin School and Royal College of Music. She was also a member of the Kronberg Academy Masters As a recitalist, Alina has appeared at venues programme. Alina’s teachers have included Natasha including Wigmore Hall, Concertgebouw Amsterdam, Boyarsky, Gordan Nikolitch and Christian Tetzlaff. Salzburg Mozarteum, Vienna’s Musikverein, Park Avenue Armory in New York, Carnegie Hall, Palais Alina has been the recipient of awards including the des Beaux Arts Brussels, Théâtre des Champs- Royal Philharmonic Society Young Artist Award 2010, Élysées, Vancouver Recital Series, San Francisco the Borletti-Buitoni Trust Award 2008, the Classical Performances, and at festivals including Salzburg, BRIT Young Performer of the Year Award 2009, Verbier, Gstaad, MDR Musiksommer, Manchester and she was a member of the BBC New Generation International, Lockenhaus, Lucerne, Mostly Mozart Artists Scheme 2005–7. She was made an MBE in New York and Aldeburgh. in the 2016 New Year Honours List. Alina records for Hyperion Records and performs on a c1775 Anselmo Her long-standing duo partnership with pianist Bellosio violin kindly provided by Georg von Opel. Cédric Tiberghien has featured complete cycles of both the Beethoven violin sonatas and the Mozart sonatas for violin and keyboard at Wigmore Hall. lso.co.uk Artist Biographies 17

Lucy Crowe Jurgita Adamonyte˙ Soprano Mezzo-soprano

Born in Staffordshire, Lucy Crowe Jurgita Adamonyte˙ was born in studied at the Royal Academy of Lithuania and graduated with a Music, where she was recently Master of Music diploma from appointed a Fellow. the Lithuanian Academy of Music. She continued her studies at the In concert she has performed Royal Conservatory in the Hague, with many of the world’s finest the Royal Academy of Music conductors and orchestras in London, and at the Cardiff including the Accademia Santa International Academy of Voice. Cecilia Orchestra under Sir Antonio Pappano; the Orchestre Jurgita’s major performances National de France under have included Dorabella in Daniele Gatti; the Philharmonia Mozart’s Così fan tutte, Cherubino under Esa-Pekka Salonen; the in Mozart’s The Marriage of Australian Chamber Orchestra Figaro, and Dunjasha in Rimsky- under Richard Tognetti; the Korsakov’s The Tsar’s Bride at the Philadelphia Orchestra under Yannick Nézet-Séguin; the Boston Royal Opera House, Cherubino in the Salzburg Festival’s production Symphony Orchestra at the Tanglewood Festival under Stéphane of The Marriage of Figaro with Robin Ticciati, Idamante in Mozart’s Denève; the London Symphony Orchestra under Daniel Harding and Idomeneo in Amsterdam, Page in Strauss’ Salome at the Baden-Baden Sir Mark Elder; the City of Birmingham Symphony Orchestra under Festspielhaus and Idamante in Mozart’s Idomeneo for the Teatro Colón Andris Nelsons, Edward Gardner, Emanuelle Haïm and Sakari Oramo; in Buenos Aires. Recent engagements include Debussy’s Pelléas et the Konzerthausorchester Berlin under Iván Fischer; the Zurich Mélisande in Vilnius, Berg’s Lulu for Teatreo Communale in Bolzano and Chamber Orchestra under Sir Roger Norrington; the Orchestra of Olga in Tchaikovsky’s Eugene Onegin for Garsington Opera. the Age of Enlightenment under Sir Charles Mackerras and Richard Egarr; the Scottish Chamber Orchestra under Sir Charles Mackerras She has appeared in concert with the Northern Sinfonia, the Royal and Yannick Nézet-Séguin; the English Concert under Trevor Pinnock, Scottish National Orchestra and Scottish Chamber Orchestra. Recent Andrew Manze, Laurence Cummings and Harry Bicket; The Sixteen successes include Hänsel in Humperdinck’s Hänsel und Gretel in under Harry Christophers; the Gabrieli Consort under Paul McCreesh; Vilnius and for Welsh National Opera, Mélisande in Debussy’s Pelléas and the Monteverdi Orchestra under Sir John Eliot Gardiner. et Mélisande in a new production for Welsh National Opera, and Flosshilde in the new Johan Simons production of Wagner’s Future plans include the title role in Handel’s Rodelinda at the Teatro Das Rheingold for the Ruhrtriennale. Real Madrid; Ismene Mozart’s Mitridate at the Royal Opera House; concerts of Mozart’s Requiem with the LA Philharmonic and Gustavo Engagements in 2016/17 include Sir Karl Jenkins’ Stabat Mater at the Dudamel, and with the Boston Symphony Orchestra and Andris Pažaislis Music Festival in Kaunas, Lithuania, Mendelssohn’s Symphony Nelsons; Mozart’s Mass in C Minor with the Philadelphia Orchestra No 2 with Sir John Eliot Gardiner and the Gewandhausorchester in and Yannick Nézet-Séguin; and Bach’s St John Passion with Sir Antonio Leipzig, and Isolde in Frank Martin’s Le vin herbé with Welsh National Pappano in Rome. Opera. Subsequent engagements include her role debut as Meg Page in Verdi’s Falstaff at Teatro Regio di Parma in Italy. 18 Artist Biographies 16 & 20 October 2016

Michael Spyres Monteverdi Choir Tenor Chorus

Michael Spyres was born in Founded by Sir John Eliot Gardiner Missouri where he grew up in a in 1964, the Monteverdi Choir family of musicians. He began his has always focused on bringing studies in the US and continued a new perspective to its them at the Vienna Conservatory. repertoire. This approach, combined with its passionate Spyres first sprang to international and virtuosic singing, has led attention in 2008 in the title role to its being acclaimed as one of Rossini’s Otello at the Rossini of the best choirs in the world. in Wildbad Festival, and as an ensemble member of Deutsche Among its innovatory tours was Oper Berlin where he made his the Bach Cantata Pilgrimage in debut as Tamino in Mozart’s 2000, during which the Choir The Magic Flute. performed all 198 of J S Bach’s sacred cantatas in churches Forthcoming engagements throughout Europe and America. include the title roles in Offenbach’s Les Contes d’Hoffmann at The Monteverdi Choir has over 150 recordings to its name and has won the Bavarian State Opera, Haydn’s Orlando paladino at the Zurich numerous prizes. Opera House, Mozart’s Mitridate at the Royal Opera House, Berlioz’s Benvenuto Cellini at Deutsche Oper Berlin and La damnation de Faust The Choir is also committed to training future generations of singers at Staatsoper Berlin; his role debuts as Don José in Bizet’s Carmen at through the Monteverdi Apprentices Programme. Many Apprentices go the Théâtre des Champs-Élysées, Énée in Berlioz’s Les Troyens at the on to become full members of the Choir, and former Choir members Salle Érasme Strasbourg and Pollione in Bellini’s Norma at the Zurich have also gone on to enjoy successful solo careers. Opera House; Pirro in Rossini’s Ermione at the Théâtre des Champs- Élysées and in Lyon; Edgardo in Donizetti’s Lucia di Lammermoor at the In the 2016/17 season they will be performing Bach’s Magnificat, Philadelphia Opera; Alfredo in the second act of Verdi’s La traviata in a Lutheran Mass in F major, and Cantata ‘Süßer Trost’ with the English gala alongside Plácido Domingo at the Lyric Opera of Chicago; and the Baroque Soloists and Sir John Eliot Gardiner in venues around Europe. AIDS-Gala 2016 at the Deutsche Oper Berlin. In 2017 the Choir will undertake a landmark seven-month tour of Monteverdi’s greatest surviving works, including: L’Orfeo, Il ritorno He has worked with conductors such as Riccardo Muti, Sir Andrew d’Ulisse in patria, L’incoronazione di Poppea and the Vespers. Davis, Sir Mark Elder, Valery Gergiev, Fabio Luisi, Alberto Zedda, Michele Mariotti, Emmanuelle Haïm, Christophe Rousset and Evelino Pidò. lso.co.uk The Orchestra 19

London Symphony Orchestra Monteverdi Choir On stage On Stage

FIRST VIOLINS VIOLAS FLUTES TRUMPETS SOPRANOS MEZZO-SOPRANOS TENORS BASSES Stephanie Gonley Leader Edward Vanderspar Gareth Davies Neil Brough Emily Armour Lucy Ballard Ben Alden James Birchall George Tudorache Gillianne Haddow Alex Jakeman Gerald Ruddock Charlotte Ashley Heather Cairncross Andrew Busher Robert Davies Lennox Mackenzie Malcolm Johnston Elenor Bowers-Jolley Rosie Clifford Peter Davoren Samuel Evans Clare Duckworth German Clavijo OBOES TROMBONES Zoë Brookshaw Sarah Denbee David de Winter Jake Muffett Ginette Decuyper Anna Bastow Olivier Stankiewicz Peter Moore Jessica Cale Annie Gill Peter Harris Charles Pott Gerald Gregory Julia O’Riordan Rosie Jenkins James Maynard Amy Carson Emma Lewis Thomas Herford Rupert Reid Jörg Hammann Robert Turner Rebecca Hardwick Kate Symonds Joy Hugo Hymas Edmund Saddington CLARINETS BASS TROMBONE Maxine Kwok-Adams Jonathan Welch Angela Hicks Susanna Spicer Nicholas Keay David Stuart Chris Richards Paul Milner Elizabeth Pigram Carol Ella Alison Hill Martha McLorinan Graham Neal Jonathan Brown Chi-Yu Mo Laurent Quenelle Caroline O’Neill TIMPANI Angela Kazimierczuk Katie Schofield Nicolas Robertson Lawrence Wallington Harriet Rayfield BASSOONS Nigel Thomas Gwendolen Martin Gareth Treseder CELLOS Colin Renwick Rachel Gough Eleanor Meynell Rebecca Gilliver Sylvain Vasseur Daniel Jemison ORGAN Angharad Rowlands Alastair Blayden Shlomy Dobrinsky Joost Bosdijk Catherine Edwards Emma Walshe Jennifer Brown SECOND VIOLINS Noel Bradshaw HORNS David Alberman Eve-Marie Caravassilis Bertrand Chatenet Sarah Quinn Daniel Gardner Angela Barnes Miya Väisänen Hilary Jones Alexander Edmundson Matthew Gardner Amanda Truelove Jonathan Lipton Julian Gil Rodriguez Andrew Budden Naoko Keatley DOUBLE BASSES William Melvin Colin Paris Paul Robson Patrick Laurence Ingrid Button Matthew Gibson Paula Muldoon Joe Melvin Alain Petitclerc Jani Pensola Samantha Simo Väisänen Wickramasinghe

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain Fidelio Charitable Trust Silk Street [email protected] work experience by playing in rehearsals N Smith Charitable Settlement London and concerts with the LSO. The scheme Lord and Lady Lurgan Trust EC2Y 8DS Cover Photography auditions students from the London music LSO Patrons Ranald Mackechnie, featuring LSO conservatoires, and 15 students per year Polonsky Foundation Registered charity in England No 232391 Members with 20+ years’ service. are selected to participate. The musicians Visit lso.co.uk/1617photos for a full list. Details in this publication were correct are treated as professional ’extra’ players at time of going to press. Photography (additional to LSO members) and receive fees Marco Borggreve, Sim Canetty-Clarke, for their work in line with LSO section players. Print Cantate 020 3651 1690 Massimo Giannelli, Kevin Leighton, Ranald Mackechnie, Oksana, Eva Vermandel Advertising Cabbell Ltd 020 3603 7937 Discover Felix Mendelssohn!

The special collection in collaboration with the LSO contains existing and upcoming LSO Live Mendelssohn recordings, along with interviews with members of the orchestra, and with Sir John Eliot Gardiner himself.

Drop by the Grammofy listening stations tonight, located in the foyers, opposite the bars on levels -1 and 0, where you can also enter a competition to win one of five musical bundles consisting of a three-month Grammofy subscription, plus one of the latest LSO Live Mendelssohn recordings.

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