FidelioTuesday 17 February 7.30pm

London Lyric Opera in concert at Cadogan Hall Biography 

Fidelio Opera in two acts Music by Ludwig van Beethoven

Text in German by Joseph von World premiere: Kärtnertortheater, Sonnleithner from the French Wien, 23 May 1814 of Jean-Nicolas Bouilly Surtitles translation by Kenneth “Léonore, ou l’amour conjugal Chalmers, by arrangement with fait historique en deux actes et , Covent Garden en prose mêlée de chantes.” This performance is dedicated to the memory of Frau Edith Kraus (1932-2006) Sponsored by:  Lyric Opera Patron/Sponsor’s message 

A message from our Patron A message from our Sponsor by Isla Baring by Martin MacConnol

Welcome to London Lyric Opera’s concert In June 2009, LLO will be back at It’s not often you come across an In these tough economic times, I am organisation that is both entrepreneurially prouder than ever of the relationship performance of conducted by Cadogan Hall performing Johann Strauss’ driven and brimming with creativity. This between Wardour and LLO. Great our Guest Conductor, Madeleine Lovell, comic masterpiece in is why, when London Lyric Opera asked music lightens the pressures of our supported by the Royal Philharmonic concert with some fun surprises in the Wardour to be its main sponsor, we leapt day-to-day lives. It boosts the spirit Orchestra, The Philharmonia Chorus and cast; this performance promises to be at the idea. We are a creative business and swells the soul. Even after the Queens’ College Chapel in the an unforgettable evening. Later in the ourselves – albeit in of curtain has come down, it lives within warm acoustic and beautiful surroundings year our principal conductor, Lionel corporate communications – and us. At a time when it’s all too easy to be of Cadogan Hall. This timeless story of Friend, returns to conduct von Weber’s LLO’s passion and verve spoke to us. distracted by the concerns of ‘the now’, love, liberty and betrayal is Beethoven’s Der Freischütz with the rarely performed LLO’s performances remind us of the only opera and remains a firm favourite Berlioz recitatives. Over the past year, we have been world beyond the material – a place of in the operatic canon. thrilled by our growing association with the spirit that has been, and always James Hancock and his team. Creatively, will be, key to a full experience of life. In 2008 LLO produced Passion of Puccini their performances have stimulated our LLO’s last concert Der fliegende Holländer at Leighton House, Cycles at Cadogan designers to produce what I know are at the Barbican was a great success Hall and Der fliegende Holländer at the some of Wardour’s best graphic designs. with Neil Fisher of remarking, Barbican. It has been a year of remarkable They also have a fearsomely efficient “Concert opera in London has a new growth. Our developing relationships approach to the behind the scenes champion”. A major element in our with the Royal Philharmonic Orchestra admin – something which always success to date has been the quality of and the Philharmonia Chorus enable us impresses me and the Wardour team. Martin MacConnol the artists working with us. Tonight you to approach the most challenging and Sponsor will hear no finer example than the great rewarding repertoire. Without our main CEO of Wardour Communications dramatic soprano, Elizabeth Connell who sponsor Wardour this would not be will be singing one of her most famous possible. Their commitment and drive roles, Leonore. have been an inspiration to us all at LLO.

I hope you enjoy tonight’s performance and look forward to seeing you again at Die fledermaus here at Cadogan Hall in June.

With all best wishes

Isla Baring Patron in chief London Lyric Opera The Company 

The Company

BAKER & SPICE London Lyric Opera Royal Philharmonic Orchestra BAKER & SPICE HAMPERS Leader – Clio Gould SERIOUS HAMPERS FOR SERIOUS FOODIES Philharmonia Chorus Queens’ College Chapel Choir

Conductor Madeleine Lovell Chorus Master Edward Caswell Leonore Elizabeth Connell Florestan Jeffrey Lloyd-Roberts Rocco Richard Wiegold Marzelline Rachel Nicholls Jaquino Andrew Staples Don Pizarro James Hancock Don Fernando In support of the London Lyric Opera we have made up a special Paul Goodwin-Groen OPERA LOVER’S HAMPER First Prisoner For details please call 07738 217 632 or email [email protected] Nicky Spence www.bakerandspice.com Second Prisoner Aaron McAuley  London Lyric Opera Fidelio 

Synopsis Fidelio courtesy of OPERA NEWS Madeleine Lovell

Act I Act II Spain, eighteenth century. In a prison, In one of the lowest cells of the prison, Marzelline, daughter of the jailer, Rocco, Florestan dreams he sees Leonore arrive rejects the attentions of her father’s to free him. But his vision turns to despair, assistant, Jaquino, who hopes to marry and he sinks down exhausted. Rocco her. Her heart is set instead on the new and Leonore arrive and begin digging the errand boy, Fidelio. The latter, a grave. Florestan awakens, not recognising hardworking lad, arrives with provisions his wife, and Leonore almost loses her Throughout its reception history However, we cannot dismiss the argument and dispatches and is distressed by composure at the familiar sound of his Beethoven’s Fidelio has regularly provoked that Fidelio in its last version expresses the Marzelline’s interest in him, especially voice. Florestan moves the jailer to offer two opposing reactions. Most composer’s attempt at an ultimate, since it has the blessing of Rocco. Fidelio him a drink, and Leonore gives him a commentators have noted the all- encyclopaedic utterance, for this is an is in fact Leonore, a noblewoman of Seville bit of bread, urging him not to lose faith. encompassing musical and dramatic aesthetic tendency perceived throughout who has come to the jail disguised as a Rocco then blows on his whistle to signal range of the opera. For certain of them his oeuvre. And after all, about how many boy to find her husband, Florestan, a Pizarro that all is ready. The governor this constitutes a weakness and creates a other operas can one say that the political prisoner languishing somewhere advances with dagger drawn to strike, disparate, unfocused work; while for composer wrote three different overtures, in chains. When Rocco mentions a man but Leonore stops him with a pistol. others it shows the composer’s mastery before settling on yet a fourth? lying near death in the vaults below, At this moment a trumpet sounds from over every genre of music theatre and Leonore, suspecting it might be Florestan, the battlements: Don Fernando has represents a ground-breaking fusion of the The sheer range and variety of the opera begs Rocco to take her on his rounds. arrived. Rocco leads Pizarro out to meet symphonic and operatic genres. Some is quite astonishing. The major national He agrees, though the governor of the him as Leonore and Florestan rejoice in have even gone so far as to suggest that styles – German Singspiel, Italian opera prison, Don Pizarro, allows only Rocco each other’s arms. Beethoven, fearing he might not have seria and opera buffa, the French in the lower levels of the dungeon. another opportunity to write an opera (as, revolutionary rescue opera – are all As soldiers assemble in the courtyard, In the prison courtyard, Don Fernando indeed, it turned out), wanted to make represented. The use of both dialogue and Pizarro learns from the dispatches proclaims justice for all. He is amazed Fidelio his definitive contribution to the music, and of the German language are a brought to him that Don Fernando, when Rocco brings his friend Florestan genre. It is likely that the long drawn-out clear link to the Singspiel tradition, as is minister of state, is on his way to inspect before him and relates the details of nature of the compositional process the German folksong idiom of, for the fortress. At this news the governor Leonore’s heroism. Pizarro is arrested, contributed to the variety of Beethoven’s instance, Rocco’s Act 1 aria about the resolves to kill Florestan, his enemy, and Leonore herself removes Florestan’s musical language (after the initial work of necessity of money for a happy life. without delay and orders Rocco to dig chains. The other prisoners too are freed, 1804-5, Fidelio was revised in 1806 and a grave for the victim in the dungeon. and the crowd hails Leonore. again in 1814). His style had undergone Leonore, overhearing his plan, realises many changes during that decade, now Pizarro’s evil nature and the plight of his usually referred to as his ‘Middle Period’, victim. After praying for strength to save and the final appearance ofFidelio in 1814 her husband and keep up hope, she again anticipated the last phase of his career, The sheer range begs Rocco to let her accompany him to one marked by ever increasing innovation the condemned man’s cell - and also to and extremity. allow the other prisoners a few moments and variety of the of air in the courtyard. The gasping men relish their glimpse of freedom but are ordered back by Pizarro, who hurries opera is quite Rocco off to dig Florestan’s grave. With apprehension, Leonore follows him into the dungeon. astonishing 10 London Lyric Opera Fidelio 11

This is Rocco’s most down-to-earth Just as the voices enter one by one, The dynamism of Beethoven’s idiom and moment in the opera, and it is no surprise so the music gradually becomes clothed its rhythmic energy would be enough to to find him expressing himself with a in the many timbres and registers of the carry any listener through the drama. We deliberately naïve tune, full of the kind of orchestra, but with such clarity that we should not be surprised to discover, syllabic text-setting and repeated notes can perceive the process stage by stage. however, that the composer employed which deliver his folk wisdom most Marzelline, Leonore, Rocco and Jaquino many other musical means of shaping appropriately. The extended recitatives sing in canon, each presenting the same Fidelio, such as the use of particular keys and arias of Leonore and Florestan allude theme – a musical manifestation of their (especially C major and E major) to mould to the weighty forms of opera seria, mutual interdependence and sympathy. the psychological structure, and the thereby denoting the seriousness and high It is left to the orchestra once more to association of chromaticism with evil and emotional status of these two and uniting emphasise their separate identities, as the suffering that it causes. It is well them further in the audience’s mind. The the accompaniment takes the form of a known that the first three overtures which interaction of characters from different variation set, with each new character’s Beethoven wrote for the opera were all in social classes and their mutual reliance is entrance marked by fuller scoring and C major, and indeed this is the key in a direct link with opera buffa, and the increased rhythmic momentum. which the opera ends. Yet Beethoven’s elements of disguise and rescue are a final decision was for an overture in E stock-in-trade of the late eighteenth- major, the key of Leonore’s heroic Act 1 century French tradition. The diversity of aria ‘Abscheulicher!’. The first motif of the these dramatic forms is reinforced by It is Beethoven’s overture looks forward to the thrilling horn Beethoven’s command of many musical fanfare which accompanies Leonore’s idioms, traversing, for example, exultant resolve in the final section of her melodrama (where dialogue is heard over innovations in aria. C major remains above all the key of an instrumental accompaniment), strophic redemption, and its brief appearances song and revenge aria. Each choice is before the great Act 2 Finale are always made on dramatic grounds, and the result form, structure and significant. In spite of its tonal distance is music that, like every great operatic from the A major of Don Pizarro and score, tells us so much more about the Rocco’s Act 1 Duet, ‘Jetzt, Alter’, C major characters – their history, their desires, orchestration that continually reappears, as both men’s their weaknesses and strengths – than the thoughts turn to the victim Florestan. No libretto alone can disclose. greater contrast could be found between unify Fidelio the life-affirming purity of C major and the It is a story of faith It is Beethoven’s innovations in form, chromaticism which heralds Pizarro’s structure and orchestration that unify terrifying commands. His Act 1 aria is a Fidelio, and his ability to transform the The composer’s handling of the traditional swirling eddy of diverse keys, and the dark and redemption, familiar into the spectacularly new. revenge aria with Don Pizarro’s ‘Ha! Welch sonorities of the Act 2 Melodrama and Consider the Act 1 Quartet ‘Mir ist so ein Augenblick’ is no less novel. It belongs Duet bear his unmistakeable stamp. wunderbar’. This number has a similar to a familiar type that we also find, for and the great effect to a Baroque opera seria aria, instance, in Mozart’s Le nozze di Figaro. One of the most celebrated passages suddenly pausing the action and affording Both Bartolo’s and the Count’s arias in the opera is, of course, the Prisoners’ the audience a view of the protagonists’ threatening vengeance share the same Chorus with which the Act 1 Finale begins. achievement of souls. The disclosure of their thoughts and rhetorical octave spans and vehement In a mere twenty bars Beethoven conveys feelings is mirrored by a similar revelation vocal gestures. The profound evil of Don uncertainty, disorientation and finally the human bonds of the inner parts of the orchestra, Pizarro’s character, on the other hand, gradual dawning of light over suffering beginning with a quartet of violas and leads Beethoven to a musical realisation humanity. His compositional brilliance was cellos (precisely those instruments that expresses violence and instability; at the service of a great moral project. traditionally hidden within the texture), where pride was at stake in Mozart’s Fidelio is a story of faith and redemption, supported only by the merest pizzicato opera buffa, it is now life itself that is at and of the great achievement of human double bass accompaniment. issue. bonds. There is no more piercing account of the journey from dark into light, of deliverance through faith, the battle of courage against cowardice, and the triumph of good over evil.

14 London Lyric Opera Historical Context 15

Historical Context Dr Michael Rowe

Prominent thinkers shaped public opinion

The French Revolution of 1789 over- ‘Enlightened absolutism’ characterised they revolt. Austria responded with a was a cynical and corrupt regime that shadowed the period in which Beethoven Bonn. It did not characterise Bourbon McCarthy-style campaign against domestic proved incapable of ending the sectarian lived. The Revolution came towards the end France, which was absolutist but hardly opponents. Leading the oppression was violence and banditry that infested the of a century that had witnessed the growth enlightened. The French monarchy failed to the newly-formed Police Bureau, whose provinces. Increasingly, Frenchmen of the ‘public sphere’, the space where move with the times and hence fell in 1789. network of agents kept prominent persons yearned for a saviour. issues are openly and critically discussed, This was welcomed throughout Europe as under close surveillance, and whose The saviour emerged from the army, and public opinion formed. Prominent a triumph over despotism, as symbolised cipher office secretly read people’s private which had covered itself with glory fighting thinkers shaped this opinion, and their ideas by that pivotal moment: the storming of the correspondence. The Emperor was enemies of the Republic. Napoleon collectively constituted the ‘Enlightenment’ Bastille on 14 July, and the release of the especially alarmed by the conspiracy Bonaparte was not the only general in which questioned existing institutions. prisoners held there. Less enamoured of unearthed by the police over the summer contention, but he had the good sense to The Bonn into which Beethoven was born the Revolution were Europe’s princes, who of 1794. This involved disaffected ex- be in the right place at the right time. His in 1770 was one centre of the German feared something similar might occur in officials. The police made a wave of arrests, seizure of power in November 1799 opened Enlightenment thanks to its status as capital their own territories. They responded with and these were followed by secret trials a new chapter. What his regime would do of the Electorate of Cologne, a polity repression, which took the form of stricter before a specially appointed commission. was not immediately apparent. Republicans fortunate in experiencing a run of reform- censorship, the removal of progressive This found all the defendants guilty, and a consoled themselves with the observation minded princes who improved public thinkers from universities, and the closure of score of those most implicated were publicly that Napoleon was a product of the education and sponsored the arts. Masonic lodges. Reformers who previously executed for treason in early 1795. The Revolution: a man of obscure origins who had placed their hopes in enlightened whole episode created a sense of fear rose because of his talents, and who had monarchical government now became throughout Austria. People were on notice risked life and limb fighting for the Republic; radicalised, and worked for the overthrow that talk of reform was taboo with the result he had seized power in a military coup, but of the existing system. It was in this context that they withdrew from politics completely, had nonetheless quickly gained popular that Beethoven moved to Vienna, capital or engaged with it obliquely, often through backing for his regime change through a of the vast, multinational Austrian Empire, literature, theatre and music. referendum. Furthermore, a few years later in 1792. To reformers, oppression in Austria and – in early 1804 – the new regime introduced The year 1792 witnessed two other elsewhere only increased the attractiveness the famous Code civil des Français, or Code important events: the outbreak of war of the new French Republic. However, Napoléon, that enshrined many of the between revolutionary France and a coalition hopes that here at least the ideals of liberty, principles of the Revolution. There were of European Great Powers, and the equality and fraternity might triumph similarly some worrying signs, however, and these accession to the Austrian throne of a new proved illusory. Matters progressed well tended to increase. The new French emperor, Francis II. Francis pursued with enough the first few years after the Bastille’s constitution equipped Napoleon as First vigour the war against France, whose fall: liberty and equality were enshrined in Consul with extraordinarily extensive revolution he was determined to destroy. the Declaration of the Rights of Man and powers. Democracy was effectively watered Domestically, he adopted an equally the Citizen, feudalism was abolished, and down through a convoluted indirect voting reactionary course, reversing the policy a progressive constitution introduced in system, and in any case the scope for of his predecessors. Francis and his inner 1791. However, the lack of political legislative oversight greatly limited. circle associated reform with revolution, consensus made the new constitution Furthermore, the government reserved the and generally distrusted new ideas. This unworkable and the outbreak of war in right to set aside the constitution in cases sentiment only increased when the newly- 1792, far from encouraging unity, instead of emergency. declared French Republic attempted to triggered civil war and terror on a massive destabilise Austria by promising the scale. The intense violence of 1793-4 Emperor’s subjects assistance should quickly burned itself out, but what followed 16 London Lyric Opera Biographies 17

Biographies Madeleine Lovell Conductor

Overall, Napoleon’s Consulate (1799 to 1804) struck a balance between institutionalising some of the best aspects In 1804, the of the Revolution and restoring order. In 1804, the balance changed: Napoleon made himself Emperor. This move proved balance changed: too much for many republicans. Beethoven, famously, was moved to scratch out his Napoleon made Madeleine Lovell is an accomplished After graduating with a double starred first dedication to Napoleon of his third and versatile conductor with extensive in music at King’s College, Cambridge, symphony upon hearing the news. To experience of the operatic, orchestral and Madeleine received an M.Phil in Musicology committed republicans the Empire (1804- himself Emperor repertoire. She has directed many and spent a further two years researching 1815) effectively buried the Revolution in and orchestras around the UK, opera, as a result of which she organised favour of a police state that was replete including the BBC Symphony Chorus, the first performance in the UK of Galuppi’s with secret informers and political prisoners the London Philharmonic Chorus, and comic opera, The She-Devil. Madeleine locked up in remote fortresses like the The signs were there in Spain as early the National Symphony Orchestra. As holds a Masters in singing and also a notorious Château d’If. Nor, following the as 1808, when Napoleon’s army became the conductor of London Lyric Opera’s Certificate of Advanced Studies in repetiteur resumption of war on a big scale in 1805, bogged down in a bitter guerrilla war against inaugural concert (a programme of training, both from the Guildhall School of could Napoleon be heralded as a great insurgents sustained by religious fervour. orchestral song cycles entitled Cycles) Music and Drama. Subsequently, she was peacemaker. Rather, he now appeared What ultimately proved fatal, however, at the Cadogan Hall, Madeleine is delighted Assistant Musical Director of the touring an empire-builder with an unprecedented was Napoleon’s decision to invade Russia to be working again with this newly- company, Pavilion Opera, and conducted territorial appetite. There were some benign in 1812. Vast though it was, Napoleon’s established company. She is currently Die Fledermaus for Alternative Opera. aspects to his empire, to be sure: it generally invading horde was swallowed by Russia’s Musical Director of St George’s Chamber She is much in demand as a choir trainer, extended religious tolerance and introduced greater vastness. The losses in men, horses Orchestra, a professional ensemble based working regularly with the BBC Symphony efficient bureaucratic government. Attractive and material were never made good, and in South London, and of Londinium, an a Chorus (for instance, preparing them for though these gains were to the enlightened though the Napoleonic Wars dragged cappella choir that performs regularly in BBC2’s Maestro and several Proms elite (and religious minorities), they hardly on until 1815, the French attempt at the City of London. She is also Associate performances, including Verdi’s appealed to ordinary Europeans who bore Continental hegemony was effectively Chorus Master of the Philharmonia Chorus in August 2008). Besides her involvement the brunt of the empire’s insatiable appetite over. The Old Regime had weathered the and a Guest Conductor of London Lyric with other choirs, Madeleine has a long- for taxes and conscripts that sustained the immediate storm, though the legend that Opera. In addition to her professional standing relationship with the Philharmonia French war machine as it conquered ever developed around Napoleon subsequently performing commitments, Madeleine is Chorus, including work for two recordings larger swathes of the Continent. Even provided a new dangerous challenge. Director of Music at Queen’s College, and for their participation in London Lyric Vienna, which had resisted two Turkish Cambridge. sieges in the sixteenth and seventeenth Opera’s recent performance of Der centuries, was occupied – twice – in 1805 Dr Michael Rowe fliegende Holländer. and 1809. Imperial extension inevitably King’s College London Madeleine’s busy schedule for the coming culminated in imperial over-stretch, as the 21 January 2009 months includes further concerts with St territory of the empire now exceeded the George’s Chamber Orchestra, and an manpower necessary to control it. adventurous programme for Londinium, ranging from the late Renaissance to the inventive and original idiom of Robin Holloway. She will be working on the Eton Choral course this summer, and taking workshops in the UK and the Netherlands, focusing on the performance of contemporary works. Future projects with Queens’ College Choir include a recording in June 2009 and a tour to Hong Kong in December. 18 London Lyric Opera Biographies 19

Elizabeth Connell Jeffrey Lloyd-Roberts Andrew Staples Rachel Nicholls Leonore Florestan Jaquino Marzelline

Elizabeth Connell is recognised as one Jeffrey Lloyd-Roberts was born in Wales Andrew Staples sang as a chorister in St Rachel Nicholls is establishing herself as of the world’s leading dramatic sopranos. and read music at Lancaster University Paul’s Cathedral before winning a Choral one of the most versatile sopranos of her Following her debut at Wexford Opera before studying at the Royal Northern Scholarship to King’s College Cambridge, generation, with a huge repertoire ranging Festival in 1972 she sang at the opening of College of Music with Barbara Robotham, where he gained a degree in Music. from J. S. Bach and Handel to Schönberg the in 1973. Following where he received awards from the Andrew was the first recipient of the RCM and Errollyn Wallen. She read French and a five-year association with English National Wolfson Foundation, the Countess of Scholarship, sponsored by Linguistic Science at the University of York, Opera she has been a freelance artist with Munster Musical Trust and the Peter the Britten Pears Foundation at the Royal and furthered her studies at the Royal the major opera houses. Moores Foundation. College of Music and subsequently joined College of Music, winning many prizes the International Opera including the President’s Rose Bowl for She has appeared at the opera houses Concerts have included Martinu’s Epic School. He studies with Ryland Davies. the Most Outstanding Student of the Year. of London, , Vienna, Berlin, Munich, of Gilgamesh with the CBSO and Sir Winner of the Second Prize at the Kathleen , New York (), , Weill’s Seven Deadly Sins His concert engagements include: Ferrier Memorial Competition, she made San Francisco, (), Naples and the Mahagonny Songspiel, BBC Schumann’s Das Paradies und die Peri her début at London’s Royal Opera as and Geneva in a wide repertoire including Proms; Britten’s Serenade for Tenor, with the Swedish Radio conducted by Third Flowermaiden . , Tannhäuser, Der fliegende Horn and Strings in Denmark; Molqui The , John Tavener’s The Veil Holländer, , the Ring, Death of Klinghoffer and Bartok Cantata of the Temple in New York, Britten’s Other operatic engagements have included Elektra, Ariadne, Nabucco, Macbeth, Profana, BBC Symphony Orchestra; Erik, Serenade for Tenor, Strings and Horn performances with L’Atelier Lyrique de , Don Carlos, Fidelio, Jenufa and Der fliegende Holländer with LLO at the with the Swedish Chamber Orchestra Tourcoing, the Early Opera Company, Peter Grimes. She has collaborated with Barbican and Elgar’s, Dream of Gerontius and Mozart’s Requiem with the Scottish , English Touring conductors such as Abbado, Sir Colin with the BBC Philharmonic and Vassily Chamber Orchestra both conducted by Opera and Scottish Opera. Davis, Downes, Elder, Giulini, Levine, Sinaisky. He has worked with Opera North, , the Gävle Symphony with Conductors with whom she has worked Maazel, Mackerras, Muti, Ozawa most recently taking the title role in Peter Robin Ticciati, the Orchestra of the Age in opera and concert include Stephen Sawallisch and Sinopoli. She has sung Grimes (which won the Royal Philharmonic of Enlightenment with Sir Simon Rattle Cleobury, Thomas Dausgaard, Sir Colin at the Bayreuth, Salzburg, Orange, Society Opera Award for 2006 and Best and the London Symphony Orchestra Davis, Sir , Valery Verona and Glyndebourne Festivals. Opera at the 2007 South Bank Awards), with Daniel Harding. His roles include: Gergiev, Martin Gester, , Sir English National Opera, Alwa in ; Male Chorus The Rape of Lucretia, Her many recordings include Rossini’s Simon Rattle, Steven Sloane and Masaaki , Glyndebourne Ferrando Cosi fan tutte, Eisenstein Die Guillaume Tell, Mahler’s Eighth Symphony, Suzuki. Recent and current engagements Festival Opera, , Fledermaus, Tamino for Opera Holland Schreker’s Die Gezeichneten, Verdi’s Due include First Niece Peter Grimes at the St Garsington Opera, , Park, BelfioreLa Finta Giardiniera for the Foscari, Schönberg’s Gurrelieder, Wagner’s Endellion Festival, Fiordiligi Così fan tutte at Edinburgh and Cheltenham Festivals and National Theatre in Prague and Narraboth Lohengrin, and Schubert Lieder as part the Théâtre des Champs-Elysées, Donna sang Mahler’s Das Lied von der Erde with Salome for the Royal Opera. Andrew has of Graham Johnson’s Complete Elvira at the Gregynog the Malaysian Philharmonic Orchestra also sung Nencio in Haydn’s L’Infedelta Schubert Edition. Festival, Armida at the Edinburgh with Matthias Bamert. delusa for English Touring Opera. His plans Festival 2009, Nerone L’Incoronazione di Recent engagements include Isolde and include concerts for the Future engagements include Don Basilio Poppea at the New Theatre, Tokyo, the B Turandot in Hamburg; Gertrude Hänsel Orchestra with Sir Simon Rattle. He made The Marriage of Figaro, Welsh National Minor Mass, St Matthew Passion (arranged und Gretel for the Royal Opera; Turandot his Royal Opera House debut as Jaquino Opera; The Gambler, ROH Covent Mendelssohn) and Messiah with Bach in Australia, Brünnhilde with Marek Fidelio and returned for First Armed Man Garden; Erik Der fliegende Holländer in Collegium Japan and Jauchzet Gott with Janowski in concert in Berlin and concerts Die Zauberflöte. concert for Grange Park Opera; Tichon the Orchestra of the Age of Enlightenment of Jenufa with the London Symphony and Katya Kabanova for Opera Holland Park in London and Minneapolis. Swedish Radio Symphony Orchestras and and The Adventures of Mr Broucek for Daniel Harding. Opera North and Scottish Opera. 20 London Lyric Opera Biographies 21

James Hancock Richard Wiegold Paul Goodwin-Groen Nicky Spence Don Pizarro Rocco Don Fernando First Prisoner

James was born in Melbourne and studied Born in South Wales, Richard trained at American Bass Paul Goodwin-Groen, A natural performer, Nicky left School in at the Victorian College of the Arts. He the Royal Northern College of Music after labelled as an artist to be watched, has Dumfriesshire to take up a scholarship was a Victoria State Opera Young Artist a career as a cellist. He now studies with been recognized for his striking stage to study as the youngest singer at the and was awarded the Opera Foundation the distinguished tenor Anthony Roden. presence and rich tones. In 2005 he made Guildhall School of Music & Drama where Australia German Operatic Award; the Richard’s operatic roles include Arkel his debut with Theater Hof in Germany he is currently completing his final year AIMS Award, Graz; Australian Opera Pelleas et Melisande and Il Commendatore as Fafner Das Rheingold. Recently, he of the Opera Course studying with John Auditions Committee Scholarship; Dame Don Giovanni at the Canadian Opera; was invited to sing Bottom A Midsummer Evans. Nicky’s performance experiences Joan Sutherland Scholarship; The Tait Bonze Madama Butterfly and Banquo Nights Dream at the 50th Anniversary of have secured him a long-term recording Memorial Trust Scholarship; an Australian Macbeth with Scottish Opera; Dachs/ the Festival. This season he contract with Universal Classics. Musical Foundation London grant and a Pfarrer Das Schlaue Fuchslein at the made his debut at the Royal Opera House, Nicky’s awards include the Bayreuth Bursary. Roles he has performed Wiener Kammeroper; Gobernador Das Covent Garden as Guccio Gianni Schicchi, Young Singer’s Bursary First Prize, a Young include: Germont; Escamillo; Figaro Wundertheater and Jimmy Mahagonny while concurrently covering Simone and Classical Performer of the Year nomination (Rossini and Mozart) il frate Don Carlos Songspiel at Montepulciano; Rocco also performed the role of the Mother in at the Classical Brits, and he was a finalist and The Poet Prima la Musica,Salieri. Leonore, Valton I Puritani; Talbot Giovanna Weill’s Seven Deadly Sins. in the Gold Medal at the GSMD. Companies he has worked for include: D’Arco and the Polish Officer/Russian He has performed the roles of Cadmus/ UCL opera, Melbourne Opera, Victoria Commander A Life for the Tsar for Chelsea In opera his roles include Bill Flight for Somnus Semele, Leporello Don Giovanni, State Opera; ; Oper Köln; Opera Group; Pistola Falstaff and Il BYO, Samson Samson, Don Eusebio the title role in Don Pasquale, Colline La Longborough Festival; Pocket Opera Commendatore for the Lyrique-en-Mer L’Occasione fa il ladro, Osmin La Boheme, Sarastro Die Zauberflöte, Don Nürnberg in Der Ring in einem Abend Festival, France; Second Mercenary Rencontre Imprévue for GSMD, Soldier Alfonso Cosi fan tutte, Zuniga Carmen, arr. David Seaman; and Bill Maschinist Svanda Dudak at the Wexford Festival, I giardini della storia J. Dove (Batignano), Don Basilio Il Barbiere di Siviglia, Mr. Hopkins, Brand; Der Mann Schwergewicht, Snug A Midsummer Night’s Dream and Scaramuccio Ariadne auf Naxos for Olsen in Weill’s Street Scene, Caspar Krenek; and The Mayor Der Held, Mosolov Dr. Bartolo Le Nozze di Figaro with English Garsington Opera, King Arthur at Britten- Der Freischütz, Don Gomez L’heure for Cambridge University Opera Society. Touring Opera, the Green Knight Gwyneth Pears, Pirelli Sweeney Todd at Shawford d’espagnol, Jago Ernani, Baron Douphol and the Green Knight for Music Theatre Mill and Count Zedlau Wiener Blut and James has given recitals at the Melbourne La Traviata, Bottom A Midsummer Nights Wales, Sarastro Die Zauberflöte for the Belmonte Die Entfhürung aus dem Serail International Festival, St James Piccadilly Dream and Sparafucile Rigoletto. Longborough Festival and Death The for English Touring Opera. and other festivals in the UK and Australia. Emperor of Atlantis with the Hallé Orchestra. Paul has performed Bach’s St. John Concert repertoire includes the Messiah, Nicky’s future operatic plans include Passion and Cantata 36, Handel’s Creation, Beethoven 9, Elijah. He recently As a concert singer, Richard has appeared Jaquino Fidelio for Opera Holland Park, Messiah, Schubert’s Mass in G Minor sang the Songs of Travel at Cadogan Hall at the Macao Easter Festival, China, the Pyramus Pyramus and Thisbe for Opera and Haydn’s Lord Nelson Mass. He won in Cycles conducted by Madeleine Lovell. Wexford Festival, the Lyrique-en-Mer Project, The Guide The King goes Forth a grant to study in Italy from the Ezio Festival and at leading venues in the UK. to France, and Ferrando Cosi fan Tutte. James’ roles include Conte di Luna Il Pinza Council for American Singers of On the concert platform: A Samling Trovatore, Pavilion Opera; the title role in This June, Richard makes his Covent Opera. He received a BA from Wheaton Showcase at the Wigmore Hall and Simon Boccanegra, OperaUK; Kothner Garden debut as Dr. Grenvil La Traviata College, and an MFA in Acting from recitals at Snape Maltings, Leeds Lieder+ Die Meistersingers, Edinburgh Players and later in the year he will understudy the Brandeis University, and continued Festival, the National Portrait Gallery and Opera Group, the title role in Rigoletto, great Finnish bass Matti Salminen as König his studies at the Manhattan School Hampton Court whilst recording plans New Devon Opera and the Holländer in Marke Tristan und Isolde also at the Royal of Music and the Britten-Pears School include a CD of Alun Hoddinott Songs, Der fliegende Holländer at the Barbican Opera House, Covent Garden. of Advanced Musical Studies. an ITV Documentary Profile, and leading for LLO with the Royal Philharmonic the New Scottish National Anthem. Orchestra conducted by Lionel Friend. 22 London Lyric Opera Biographies 23

Aaron McAuley David Cairns Edward Caswell Second Prisoner Critic/Author Chorus Master

Aaron gained a B. Mus. with honours, at David Cairns was chief music critic of Edward went to Christ Church, Oxford Edward works as a lecturer in the the Royal Scottish Academy of Music and the Sunday Times from 1983 to 1992, and the where Department of Vocal Studies at the Royal Drama, under the direction of Alan Watt. having been music critic and, later, arts he studied singing with Norman Bailey. Scottish Academy of Music and Drama, Aaron is currently studying for an Artist editor of the Spectator and a writer on Having previously worked as a singer, and teaches singing at the University of Diploma in Opera at the Royal College of Times Educational Supplement, Evening Edward has established himself as a Glasgow. He is Musical Director of St Music under the direction of Tim Evans. Standard, Financial Times and New widely respected choral conductor and Andrews Chorus and the Wordsworth Statesman. appears regularly as a guest chorus Singers in Cumbria. As Outreach Director His solo career has taken him around the master throughout the UK and Europe. of Capella Nova he leads workshops country performing such works as Handel’s He was co-founder of Chelsea Opera In October 2008 he became Artistic across Scotland and is currently leading a Israel in Egypt and Berlioz’s L’enfrance Group (1950) and sang solo roles under Director of the Philharmonia Chorus. course ‘Health and Wellbeing through du Christ (Polydorus) as well as Puccini’s the group’s first conductor, . Song’ at the University of Strathclyde. Messa di Gloria, Mozart’s Vesperae From 1967 to 1972 he was classical Edward works as chorus master and solemnes de confessore and Litaniae programme coordinator at Philips conductor with NDR Chor, the Schleswig- de verabili altaris sacramento, Schubert’s Records, where he was involved in many Holstein Festival Chor and SWR Mass in G and Magnificat, Haydn’s Missa of the company’s major recordings. His Vokalensemble in Stuttgart and has in honorem sanctae ursulae, Faure’s books include Responses: Musical Essays recently prepared Netherlands Radio Requiem, Bach’s Christmas Oratorio, and Reviews (1973), a two-volume life of Choir for Handel’s L’Allegro, il Penseroso Vaughan Williams’ Serenade to music Berlioz, volume 2 of which won the ed il Moderato under the direction of and Telemann’s cantata The Schoolmaster Samuel Johnson Non-Fiction Prize and Kenneth Montgomery. He returns to with members of the BBC Symphony the Whitbread Biography Award (2000), Netherlands Radio next season, and in Mozart and His Operas (2006), and, as Orchestra. He has toured the Scottish 2009 will prepare the BBC Singers for co-author, the ENO Opera Guide on Isles performing for Herriot Watt University. Mozart’s Requiem with conductor Scott Falstaff. Ellaway. On 4th July this year he will His operatic roles include the Sheriff in conduct the Philharmonia Chorus in Flotow’s Martha, the Bride’s Father in He is Officier de l’Ordre des Arts et des Rachmaninov’s All-Night Vigil in Weir’s The Vanishing Bridegroom, and the Lettres, president of the City Music Society . immigration officer in Dove’sFlight . Roles and of Putney Music, vice-president of Aaron has understudied include Pistola Chelsea Opera Group, a fellow of the Falstaff, Arkel Pelléas et Mélisande and Royal Society of Literature, a member Liberto in L’incoronazione Di Poppea. of the boards of St John’s Smith Square and the International Musicians Seminar, Forthcoming performances include a and founder-conductor of the Thorington recital with the Glasgow Youth Choir to Players, an amateur orchestra which gives mark their 50th anniversary, and Mozart’s concerts for charity and which recently Coronation Mass and Second Prisoner performed Beethoven’s Missa Solemnis with Garsington Opera in the Summer. at St John’s. Aaron is supported by The Countess of He has taught graduate and undergraduate Munster Trust, Douglas & Hilda Simmonds courses at the University of California, Award, The Drapers’ De Turckheim Davis, and has been visiting fellow at the Company, Musicians Benevolent Fund and Getty Center in Santa Monica and at the Sir James Caird Travelling Scholarship. Merton College, Oxford. 24 London Lyric Opera

Supporting young Australian Royal Philharmonic Orchestra Performing Artists in the UK History

Patron HRH The Duke of York profile performances in the capital are Music Director complemented by a comprehensive regional touring programme. Throughout Founded in 1946 by Sir , the summer months the Orchestra also with his vision of bringing world-class performs to tens of thousands of people performances of the greatest music at open-air picnic concerts across the written to the length of the country, the Upcoming Events country. As an international orchestra, the Royal Philharmonic Orchestra continues RPO has toured more than thirty countries to maintain Beecham’s legacy by offering in the last five years, with significant Wednesday 18 March 2009 audiences in the UK and abroad the engagements including concerts in the Prokofiev: A life of Music highest possible standards of music- Vatican and Tiananmen Square, China. John Amis and our young Tait Awardees making, accompanied by some of the most acclaimed artists of the day. Since its The RPO extends its artistic work through John Amis together with Mary Jean O’Doherty, James Homann, Amir Farid and Claire Howard present an evening on Prokofiev. Works to include Diabolique formation, the Orchestra has been directed a vibrant and innovative Community and Opus 4, Toccata Opus 11, arias, The Love of 3 Oranges and Songs by some of the world’s finest conductors, Education programme. Using music as Without Words. Tickets £23 most notably , Antal Dorati, a powerful and motivating force, the RPO André Previn and . works in a variety of settings including 7 for 7.30pm 49 Queen’s Gate Terrace, London SW7 The RPO continues to thrive, undertaking projects with young homeless people, a busy concert, touring and recording youth clubs, the probation service, Monday 20 April 2009 schedule, under the inspired leadership schools and families. RPO Community Tait Rush Hour of Maestro Daniele Gatti. The Orchestra and Education projects promote live with lyric tenor Brad Cooper and soprano Valda Wilson is pleased to announce that from the music-making, reflecting the diversity beginning of the 2009-2010 season, of the individuals involved, as well as The Trust’s popular Rush Hour planned to keep you in touch with emerging and will become Artistic Director the Orchestra’s own background. established Australian talent. Brad Cooper, a lyric tenor, rising star of bel canto and Principal Conductor, with Daniele from Holland Park Opera and Wexford Festival with Valda Wilson. Tickets £23 The RPO records widely for all the major Gatti continuing as Conductor Laureate. commercial record companies, with no less 7 for 7.30pm 49 Queen’s Gate Terrace, London SW7 The Orchestra is London-based and than eight of its CDs featuring in the record performs regularly at Cadogan Hall (as charts last year. The Orchestra also has Tuesday 19 May 2009 Resident Orchestra), the Royal Albert Hall its own record label, which includes the Royal Over-Seas League Arts and the . These high- popular Here Come The Classics™ series. A Celebration Of Young Australian Music Talent In this concert we hear recent winners of the Tait Memorial Scholarship and ROSL awardees in an hour-long programme of popular classics and musical delights. A glass of champagne is served on arrival and the concert will be followed by a reception with quality Australian wines and canapés. Tickets £25 6.30 for 7pm ROSL, Princess Alexandra Hall St James’s Street London SW1A 1LR

We wish to thank the Vernon For tickets or information Ellis Foundation and The Please contact us on: Thornton Foundation. [email protected] Photos: Seija Knight and www.taitmemorialtrust.org Duncan Rock at our recent 4/80 Elm Park Gardens London Christmas Celebration. SW10 9PD Tristan Dyer and Darcey 020 7351 0561 Bussell at In Celebration of Ballet 2007. Photos by Registered charity no. 1042797 Angus Forbes. Project1 30/1/09 14:49 Page 1

26 London Lyric Opera

Royal Philharmonic Orchestra THE BARBER OF SEVILLE Musicians and Management in a new English translation by Simon Butteriss Wednesday May 6 2009 at 7.30pm at The Bloomsbury Theatre 15 Gordon Street, London WC1H 0AH First Violins Piccolo Music Director Box Office 020 7388 8822 or at www.thebloomsbury.com Clio Gould Helen Keen Daniele Gatti Tamás András Gerald Gregory Oboes Managing Director Bawdy, boisterous Andrew Klee Tim Watts Ian Maclay and brilliant – Kay Chappell Leila Ward Anthony Protheroe Finance Director beg, borrow or Erik Chapman Clarinets Michelle Johnson steal a ticket. Russell Gilbert Douglas Mitchell Tom Watmough Concerts Director Prior to UK and Irish Tour Second Violins Elizabeth Forbes Clara Biss Bassoons May and June 2009 Elen Hâf Richards Daniel Jemison Concerts Manager Jennifer Christie Helen Simons Elsa Tatevossian Check website for details Siân McInally www.operauk.co.uk Guy Bebb Contra Bassoons Head of Press & Peter Dale Claire Webster Marketing Chris Evans Violas French Horns Andrew Williams Chris Parkes Head of Community Helen Kamminga Kathryn Saunders & Education Emilie Hornlund Phil Woods James Hutchinson Andrew Sippings Andrew Fletcher Orchestra Managers Cellos Trumpets Sally Sparrow Tim Gill Brian Thomson Malcolm Wilson Chantal Webster Mike Allen William Heggart Adam Wright Librarian Shinko Hanaoka Patrick Williams Trombones Basses Phil White Stage Manager Roy Benson Chris Ouzman David Broughton Bass Trombone Andrew Waddicor Flutes Emer McDonough Timpani Julian Coward Matt Perr

If you would like to join the Royal Philharmonic Orchestra’s FREE mailing list or for further information about concerts and recordings, please take a look at our website: www.rpo.co.uk or call us on 020 7608 8800. 28 London Lyric Opera The Philharmonia Chorus 29

Philharmonia Chorus History Chorus Members

The Philharmonia Chorus was founded Soprano Tenor Bass 1 by in 1957 to record Gill Beach Tim Appleby * Mark Anderson Beethoven’s Ninth Symphony with the Carol Capper Richard Ashdown * David Bryant * under Otto Sheena Cormack Ahmet Cakir Phillip Dangerfield * Klemperer. It quickly established itself Rosalyn Dale Mark Damerell Michael Day as one of Europe’s premier choirs and has Judy Davies Dominick Felix * Richard Gaskell worked with many leading conductors and Sheila Fitzgerald Tim Freeman * Richard Harding * orchestras, both in the UK and overseas. Ruth James Edmund Henderson * Jonathon Holder Vivien Karam Andrew Martin Michael Hughes Its extensive repertoire encompasses Carolyn Killen Andew McCall Michael Humphries the mainstream choral masterpieces and Patty Kostkova Geraint Powell Alan Jones opera. Highlights during the past few years Jackie Leach Ian Williams Richard Lane have included performances of Verdi’s Last October the Philharmonia Chorus was Laura MacPherson John Woodhouse Edward Morgan Requiem with both and delighted to announce the appointment of Sarah Molloy Aziz Panni , Rachmaninov’s The Bells Edward Caswell as its new Artistic Director. Dilys Morgan Tenor 2 Andre Refig * with , Beethoven’s Ninth He will conduct the Chorus in London in Rosslyn Panatti Zak Attar Ben Stubbs Symphony with Sir April in a programme of works by Bruckner, Ayano Sasaki-Crawley Simon Carbery * David Walker and Lohengrin and Der Freischütz at the Arvo Pärt and Rachmaninov, and he has Denise Squires Bob Geary James Wigram Edinburgh Festival. prepared the Chorus for this evening’s Theresa Walters Christopher Hollis * performance. Performances in 2008 have included Michael Hope Bass 2 Dvorak’s Requiem and Stabat Mater, Alto Marco Marta Tony Brewer Mendelssohn’s Elijah, the Brahms Elizabeth Album Jon Meredith Robert Collis Requiem (under ), the Anneliese Collett Andrew Oliver Mike Fleuty Berlioz Te Deum and ’s Ursula Davies David Phillips * Nigel Grieve Kaddish Symphony. Concerts have been Clare Harvey Mark Tannett * Oliver Hogg given in Istanbul, King’s College Chapel, Diana Howarth Ian Williams Matt Kellett * Cambridge, and St David’s Hall, Cardiff, Judy Jones Steve Kirby * in addition to the main London venues. Celia Kent Barnaby Mason The Chorus was privileged to take part Anne Lavender Stephen Rosser * in London Lyric Opera’s performance of Philippa Millbrook James Shirras * Der flegende Höllander in the Barbican. Alison Rieple September 2008 saw the Chorus in Spain Danni Rochman * Wachtsoldaten to take part in a recording of Frédéric Muriel Scott Chaslin’s Wuthering Heights, conducted Sylvia Suban by the composer. Anne Thies Hana Tiller Anne van der Lee 30 London Lyric Opera Management and sponsors 31

The Choir of Queens’ College, Cambridge Management and sponsors Choir Biography

Throughout its 560 year history, Queens’ London Lyric Opera Platinum Sponsor College Cambridge has had an extremely Patron–in-Chief Isla Baring Branding and Wardour strong musical tradition. The Chapel Choir, Patron Christine Collins Marketing Partner www.wardour.co.uk led by the two Organ Scholars and the Founder James Hancock Gold Sponsors Tait Memorial Trust Director of Music, performs to the highest Principal Conductor Lionel Friend www.taitmemorialtrust.org standards in College, in public performance Guest Conductor Madeleine Lovell The Ashton Partnership and in the recording studio. Their repertoire Company Manager Violetta Tosic www.theashtonpartnershi.com ranges from the divine to the secular and Design Wardour from classical to popular. Legal Services Gordon Dadds Silver Sponsors Henkell Brothers Company Accountant Global Accountants Ltd www.henkell.com.au The regular duty of the choir is to sing Advertising Sales/ evensong twice a week in the beautiful Legal Partner Gordon Dadds Promotions Christopher Mason Victorian college chapel. The choir www.gordondadds.com Chorus Members Public Relations Violetta Tosic also frequently performs in and around Soprano Tenor Hotel Partner Cadogan Hotel Cambridge, and at cathedrals across the Sara Boomsma James Angus www.cadogan.com . Recent appearances Georgina Bryan Nicholas Dore For this Production have included Westminster Abbey and Dramatic Realisation Jane McCulloch Alice Cairns Cody Johnson Transport Partner Translux International St Paul’s Cathedral in London, and Repetiteurs Stephen Rose Soumaya Keynes Nicholas Sutcliffe www.translux.com Canterbury Cathedral in Kent. Moreover, Rosalind Orchard Geoffrey Williams Caroline Jaya Ratnam Queens’ Choir has a strong international Paul Webster Laura Parrott Supported by: reputation, following tours to Germany, Bass Surtitle Operator Kenneth Chalmers Sian Smith Novum Wines www.novumwines.com Switzerland, Spain, Hong Kong, and Matthew Andrew Photographer Moz Bulbeck Baker & Spice www.bakerandspice.com most recently the USA – where the choir Alto Alexander Breedon Photographer Julie Kim performed extensively in New York, at Eleanor Careless Hector Miller-Bakewell Vassar University and in Harvard. Emma Jones Daniel Rollison With our warmest thanks to Cadogan Hall Madeleine Power Joel White Jonathan Burton,Royal Opera House; Mark Millidge, In 1999 the choir began its recording General Manager Adam McGinlay Sophie Morrison Thomas White English National Opera; Kathie Convery, Victorian relationship with Guild Music, with the Event Manager Gill Dixon Faith Taylor Ciaran Woods Opera; Leeza Johnson, Tiffany Leeson, Margaret highly successful album ‘Evening Watch’. Marketing Manager Lisa McFall Marinkovic, Catherine Stokes, Advance UK Arts Since then, the choir has released five Technical Manager James Tapping Network, and the team at Wardour. Vernon and further recordings and another is in Hazel Ellis and the Vernon Ellis Foundation for their preparation. Through its performances most generous support. and recordings the Choir of Queens’ College has firmly established itself both We would like to welcome Lord Eatwell, President in Cambridge and among the international of Queens’ College Cambridge, Queens’ Alumni and musical community as a leading exponent the Advance Arts Network to tonights performance. of great choral music.

Photo and Image credits: Front Cover – Artwork, Sam Weber; Design, Wardour pp1 Lebrecht Music & Arts, pp2 Julie Kim, pp9 Julie Kim, pp12 Orsolya Szakaly, pp15 Julie Kim, pp16 Clive Barda & Julie Kim, pp17 Sussie Ahlburg & Jonathan Underwood, pp18 Julie Kim, pp19 Julie Kim & Anon, pp20 Gordon Smith, pp21 James Hancock & Charles Boursnell, pp22 David Lindsay, pp26 Mozbphotography pp33 Mozbphotography Our mission 33

Our mission

Supporting LLO London Lyric Opera is a young company with ambitions to fill a niche in the UK opera scene by producing high-quality concerts with the best available singers and musicians. Concert performances are planned in London every four months in the best concert venues. If you would like to get involved or have ideas about projects or resources that might help us keep doing what we’re doing, we’d love to hear from you. Our Friends get special benefits such as Please call us on +44 (0)20 7193 4149 invitations to private events, opportunities or email [email protected] to to meet the artists, first call on performance discuss this further. tickets and generous Friends discounts. LLO Friends All names of Friends are prominently listed We believe that LLO will have an exciting in our performance programmes and future as an important opera company in appear on the LLO website. If you would the UK – but we need your help. Our aim like to find out how you can become a is to be the premier London concert opera Friend and support our work, please write company, performing opera in concert to us at: London Lyric Opera, 27 Clevedon to the highest possible standard with no Road, London SE20 7QQ compromise to orchestra size and quality. Friends We will always perform with the forces Gold Isla Baring required by the score and use professional Christine Collins orchestras and cast the best available singers. Silver Mr and Mrs V Scamporlino To continue this important work we are Bronze Mr and Mrs R Dennis going to need additional funding. If you Mr and Mrs D H L Hopkinson could support us by being a ‘Friend’, we Mr and Mrs D How would be enormously grateful. Ms P Radcliffe The ‘Friend’ categories are Corporate sponsorship the following Through corporate contributions towards Bronze £25 - £249 LLO’s work, your company will enhance Silver £250 - £999 and promote its image and messages to Gold £1,000 - £4,999 an audience of well-educated, affluent Platinum £5,000+ opinion-shapers and decision-makers. You will promote products in the most prestigious concert venues to central London audiences and establish name identification, brand affiliation and image transfer with London’s new opera company. Contact Lara at lara@ londonlyricopera.com for a personally tailored sponsorship package. 34 London Lyric Opera

Cadogan Hall Etiquette and information

Etiquette Wheel Chair Users If you use a Smoking All areas of Cadogan Hall are wheelchair and wish to transfer to a seat, non-smoking areas. we regret we may not be able to provide a member of staff to help you physically. Johann Strauss II Food & Beverages You are kindly However, we will arrange for your requested not to bring food and other wheelchair to be taken away and stored. refreshments into Cadogan Hall. A Lift is located to the right once inside the box office reception allowing access Cameras and Electronic Devices to a lowered box office counter. Foyer areas are on the same level as the box Video equipment, cameras and tape office and the foyer bar (Caversham recorders are not permitted. Please Room) is accessed via a wide access lift. ensure all pagers, PDA’s and mobile A member of staff will help you with your phones are switched off before entering requirements. Stalls within the auditorium the auditorium. are via a wide access lift as are adapted toilet facilities. Dress Code There is no dress code for the majority of performances. If a Customers with hearing requirements particular dress is requested you will be The auditorium is fitted with an Infra-red informed at the time of booking by the Amplification System. This is not the same box office. as a Loop System so switching your hearing aid to ‘T’ is not sufficient. You will need to use an amplification aid. There is Tuesday 16 June 2009 7.30pm Interval and timings Intervals vary with a choice of aids depending on the nature each performance. Some performances of your hearing impairment. A member of may not have an interval. Latecomers will staff will be happy to explain the use of not be admitted until a suitable break in the system and there is an opportunity to the performance. check that your equipment is working prior to curtain up. Consideration We aim to deliver the highest standards of service. Therefore, Customers with sight impairment: we would ask of you to treat our staff with Working / Guide dogs are welcome to courtesy and in a manner in which you access the hall and auditorium but please would expect to be treated. do let us now prior to arriving at the hall so we may make any special arrangements Royal Philharmonic Orchestra Food and Beverages if necessary. We produce large print (20 Philharmonia Chorus Oakley Bar Concert goers may enjoy a Conducted by Madeleine Lovell wide selection of champagnes, spirits, red point) brochures upon request as well and white wines, beers and soft drinks as audiocassette versions of season at Cadogan hall, sung in English from the Oakley Room Bar. There are also brochures. To request a free copy please Cadogan Hall some light refreshments available. call the box office and ask to be added 5 Sloane Terrace, London SW1 9DQ to our regular lists. Tickets £39, £32, £25, £20, £12 Access Box Office020 7730 4500 Free Companion/Assistance Scheme ‘Touch / Familiarisation’ tours can be Cadogan Hall has a range of services arranged and we have Unisex accessible to assist disabled customers including toilet on all levels except Gallery. a provision for wheelchair users in the stalls. Companions of disabled customers are entitled to a free seat when assisting disabled customers at Cadogan Hall. www.londonlyricopera.com Passion feeds perfection. Whether it’s music, or words and design.

At Wardour we’re passionate about every piece of work we do, big or small. From strategic planning through to delivery of high-quality finished projects – in print or online – we ensure you have support and input from some of the best brains in the communications business.

However you want to reach your audience, Wardour can help you to hit the right note.

For further information, please contact Shelley Murdoch on 020 7016 2550 or [email protected] wardour.co.uk