London Symphony Orchestra Living Music

Wed 6 & Wed 13 Nov 2013 7.30pm Barbican Hall ROMEO AND JULIET Berlioz Romeo and Juliet Valery Gergiev conductor Olga Borodina mezzo-soprano Kenneth Tarver tenor Evgeny Nikitin bass-baritone London Symphony Chorus Guildhall School Chorus Simon Halsey chorus director 6 Nov in partnership with the Royal Philharmonic Society 13 Nov supported by LSO Friends

Londons Symphony Orchestra

BERLIOZ: FANTASY, REALITY, IMAGINATION

There will be no interval during tonights concert Concert finishes approx 9.20pm 13 Nov filmed by Mezzo for future broadcast across Europe

Welcome

6 & 13 November 2013

Welcome Kathryn McDowell

Tonights concert forms part of LSO Principal Conductor Valery Gergievs exploration of the music of Berlioz, a major series that takes in eight concerts at the Barbican and a tour to venues in the Czech Republic, Germany, Austria and France. This evening, we hear one of the composers most revolutionary works the choral symphony Romeo and Juliet, inspired by Berliozs love of Shakespeare. To bring the drama of this work to life, its a pleasure to be joined by soloists Olga Borodina, Kenneth Tarver and Evgeny Nikitin, along with the London Symphony Chorus and a chorus from the Guildhall School. We are particularly delighted to have the opportunity to take this programme to Paris for a performance later this month at the Salle Pleyel, where the LSO is International Resident Orchestra. I would like to take this opportunity to congratulate the Royal Philharmonic Society, whose members join us on 6 November as part of their bicentenary celebrations, and LSO Friends, for their support of the 13 November concert and their continuing commitment to the work of the Orchestra. Thank you also to our media partners for this series, Classic FM, and to our filming and broadcast partner Mezzo, who will record the 13 November concert for later broadcast. I hope you enjoy tonights performance, and will join us again for another concert in the series, which continues at the Barbican until 14 November.

Living Music In Brief

LSO PLAY See a different side of the London Symphony Orchestra through LSO Play, an innovative online platform that allows you to immerse yourself in an orchestral concert. Watch Valery Gergiev conduct Ravels Bolro, control views of the performance from within the different sections of orchestra, and learn more about the instruments and players. play.lso.co.uk

LSO LIVE SALE ON iTUNES This month, iTunes is holding a world-wide campaign discounting the entire LSO Live catalogue. Get up to 40% off your favourite recordings by the London Symphony Orchestra, including best-sellers Holsts The Planets, award-winning Prokofievs Romeo and Juliet and the monumental Berliozs Grande Messe des morts. Sale ends 26 November. iTunes.com/lsolive

A WARM WELCOME TO TONIGHTS GROUPS The LSO offers great benefits for groups of 10+ including 20% off standard ticket prices, a dedicated booking phone line and, for bigger groups, free hot drinks and the chance of a private interval reception. At these two concerts we are delighted to welcome: The Mariinsky Theatre Trust, The Royal Brompton & Harefield Hospitals Charity and Brook Green UK DMC. lso.co.uk/groups

Kathryn McDowell CBE DL Managing Director

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Royal Philharmonic Society 200 Years at the Heart of Music

For centuries the RPS has been the beating heart and conscience of British musical life.
Richard Morrison, The Times The UKs orchestral tradition started in 1813 when the Philharmonic Society of London mounted the first public season of concerts. 200 years on and this unique organisation is still at the heart of music: supporting and working creatively with talented young performers and composers, championing excellence, and encouraging audiences to listen to, and talk about, great music. New music has always been central to the RPS, and tonights concert reminds us that Berliozs Romeo and Juliet was first introduced to the UK at a Philharmonic Society concert on 10 March 1881, conducted by Mr W G Cousins. The concert took place at St James Hall and, according to the programme, the orchestra was increased to precisely 100 members and joined by a chorus of 150 singers from the Upper Choir of the South London Choral Association plus twelve professional vocalists under the direction of Mr Leonard C Venebles. This was the first time that Berliozs work had featured in a Philharmonic Society concert in nearly 30 years following his visit in 1853, when he conducted a programme of his music including Harold in Italy and the overture Le carnaval romain.

LSO PLAY EXPLORE THE ORCHESTRA

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Get to see what the Orchestra sees when they make music and explore Ravels Bolro up close.

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Programme Notes

6 & 13 November 2013

Hector Berlioz (180369) Romeo and Juliet Op 17 (1839)

Dramatic symphony after Shakespeares tragedy Libretto by mile Deschamps
1 INTRODUCTION FIGHTING, TUMULT, INTERVENTION OF THE PRINCE: ALLEGRO FUGATO PROLOGUE: MODERATO STROPHES: ANDANTE AVEC SOLENNIT SCHERZETTO: ALLEGRO LEGGIERO 2 ROMEO ALONE, SADNESS, MUSIC AND DANCING, THE CAPULETS FEAST: ANDANTE MALINCONICO E SOSTENUTO LARGHETTO ESPRESSIVO ALLEGRO 3 LOVE SCENE: THE CAPULETS GARDEN, SILENT AND DESERTED: ALLEGRETTO ADAGIO 4 5 6 SCHERZO: QUEEN MAB: PRESTISSIMO JULIETS FUNERAL PROCESSION: ANDANTE NON TROPPO LENTO ROMEO AT THE CAPULETS TOMB INVOCATION, AWAKENING OF JULIET: ALLEGRO AGITATO E DISPERATO CON MOTO LARGO ALLEGRO VIVACE ED APPASSIONATO ASSAI 7 FINALE THE CROWD RUSHES TO THE CEMETERY, BRAWL OF CAPULETS AND MONTAGUES, FRIAR LAURENCES RECITATIVE AND ARIA, OATH OF RECONCILIATION: ALLEGRO LARGHETTO SOSTENUTO ALLEGRO NON TROPPO ALLEGRO ALLEGRO MODERATO ANDANTE UN POCO MAESTOSO VALERY GERGIEV CONDUCTOR OLGA BORODINA MEZZO-SOPRANO KENNETH TARVER TENOR EVGENY NIKITIN BASS-BARITONE LONDON SYMPHONY CHORUS GUILDHALL SCHOOL CHORUS SIMON HALSEY CHORUS DIRECTOR

Almost from the moment that the 23-year-old Berlioz saw an English companys performance of Shakespeares Romeo and Juliet at the Odon Theatre in Paris in September 1827, ideas for some kind of musical response began to crowd into his mind. But the article in an English newspaper, which later reported that as he left the theatre he exclaimed, I shall write my grandest symphony on the play, could not have been more wrong. Writing a symphony of any kind was the last thing Berlioz would have been thinking of at that stage of his career. His musical education, since coming to Paris from the provinces six years before a boy of 17 who had never heard an orchestra had been largely devoted to the operas and sacred music of the French classical school. The crucial discovery of Beethoven, and of the symphony as a major art-form, lay several months ahead. The Revelation of Beethoven Berliozs Romeo and Juliet comes out of Beethoven almost as much as Shakespeare out of the revelation of the Beethovenian symphony at concerts at the Paris Conservatoire, where Berlioz was a student, in 1828: the symphony as a dramatic medium every bit as vivid and lofty as opera, and the symphony orchestra as a vehicle of unimagined expressive power and subtlety, of infinite possibility. From that time on, his aspirations turned in a new direction, towards the dramatic concert work, culminating, twelve years after the epiphany at the Odon, in Romeo and Juliet. For Berlioz, listening to the Beethoven symphonies and studying the scores in the Conservatoire Library, the sheer variety of their compositional procedures and the clearly distinct character of each work

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Programme Notes

BERLIOZ AND SHAKESPEARE Berlioz described his first encounter with Shakespeare (when he saw Hamlet at the Odon Theatre in 1827) as a thunderbolt that revealed the meaning of dramatic grandeur, beauty, truth. The playwright proved an enduring influence on Berlioz: the composer wrote works inspired by The Tempest, King Lear, Hamlet and an opera based on Much Ado About Nothing (Batrice and Benedict).

reinforced the lessons of Shakespeare: continual reinvention of form in response to the demands of the poetic material. Each of his three symphonies is cast in a different form, and adopts a different solution to the problem of communicating dramatic content: in the Symphonie fantastique a written programme, in Harold in Italy movement titles, in Romeo and Juliet choral recitative, setting out as in Shakespeares Two houses, both alike in dignity the action distilled in the movements that follow.

nave old cackling nurse; the stately hermit, striving in vain to calm the storm of love and hate whose tumult has carried even to his lowly cell; and then the catastrophe, extremes of ecstasy and despair contending for mastery, passions sighs turned to choking death; and, at the last, the solemn oath sworn by the warring houses, too late, on the bodies of their star-crossed children, to abjure the hatred through which so much blood, so many tears, were shed. Much of this will feature in the symphony that Paganinis princely gift a cheque for 20,000 francs, which relieved Berlioz of the heavy burden of debt enabled him to write. The Formal Plan The work finally performed in the Conservatoire Hall in November 1839 was the result of long and careful consideration of ends and means. Romeo and Juliet, Dramatic Symphony, with chorus, vocal solos, and prologue in chanted recitative, after Shakespeares tragedy, dedicated to Niccol Paganini, is its title. Berliozs later preface has an ironic edge: There will doubtless be no mistake as to the genre of this work. In fact there has been a great deal. Yet (as the preface continues), although voices are frequently employed, it is neither a concert opera nor a cantata but a choral symphony. Nowadays, Mahlers multi-movement vocal-orchestral constructions are accepted as symphonies, but they were long disputed. In Berliozs Romeo and Juliet the balance between the symphonic and the narrative is exactly calculated (with the wordless love scene at the heart of the work, structurally and emotionally). The more one studies it the stronger its compositional grasp appears. So far from being

Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.
Berlioz, in his Memoirs, on the profound influence of Beethoven and Shakespeare

NICCOL PAGANINI (17821840) was a celebrated violinist, violist and composer. He commissioned Berliozs Harold in Italy and, although he never actually played the solo viola part, he was overwhelmed when he heard the work performed, and sent Berlioz a gift of 20,000 francs, along with a congratulatory letter, just days later.

The project occupied Berlioz for a long time. In Italy, in 183132, he discusses with Mendelssohn a possible orchestral scherzo on Queen Mab (a fairy that Mercutio refers to in a famous speech), and under the (to him) negative impact of Bellinis 1830 opera The Capulets and the Montagues imagines an ideal scenario for a dramatic work: To begin, the dazzling ball at the Capulets, where amid a whirling cloud of beauties young Montague first sets eyes on sweet Juliet whose constant love will cost her her life; then the furious battles in the streets of Verona, the fiery Tybalt presiding like the very spirit of rage and revenge; the indescribable night scene on Juliets balcony, the lovers voices like softest music to attending ears uttering a love as pure and radiant as the smiling moon that shines its benediction upon them; the dazzling Mercutio and his sharp-tongued, fantastical humour; the

Programme Notes

6 & 13 November 2013

Hector Berlioz Romeo and Juliet (continued)

arbitrary an awkward compromise between symphony and opera or oratorio the scheme is logical and the mixture of genres (the joint legacy of Shakespeare and Beethoven) precisely gauged. The fugal Introduction, depicting the feud of the two families, establishes the principle of dramatically explicit orchestral music and then, using the bridge of instrumental recitative (as in Beethovens Ninth), crosses over into vocal music. Choral Prologue now states the argument, which Choral Finale will resolve, and prepares for the themes, dramatic and musical, to be treated in the core of the symphony by the orchestra. In addition, the two least overtly dramatic movements, the adagio (Love Scene) and the scherzo, are prefigured, the one in a contralto solo celebrating the rapture of first love, the other in a scherzetto for tenor and semi-chorus which introduces the mischievous Mab. At the end, the Finale brings the drama fully into the open in an extended choral movement that culminates in the abjuring of the hatreds depicted orchestrally at the outset. The Use of Voices Throughout, voices are used enough to keep them before the listeners attention, in preparation for their full deployment. In the Love Scene the songs of revellers on their way home from the ball float across the stillness of the Capulets garden. Two movements later, in the Funeral Procession, the Capulet chorus is heard. The use of chorus thus follows what Berlioz (in an essay on the Ninth Symphony) called the law of crescendo. It also works emotionally: having begun as onlookers, the voices become participants, just as the anonymous contralto and the Mercutio-like tenor give way to an actual person, the saintly Friar Laurence. At the same time the two movements preceding the Finale take on an increasingly descriptive character, the funeral dirge merging into an insistent bell-like tolling and the Tomb Scene taking the work still nearer to narrative. In this way the fully dramatic Finale evolves out of what has gone before.

INSTRUMENTAL DRAMA Although voices are used throughout the work, much of the drama including the scenes involving Romeo and Juliet is delivered in the instrumental music. In his preface to the score, Berlioz wrote that he had recourse to the language of instruments which, in this case, is richer, more varied, less precise and, in its very vagueness, incomparably more powerful.

No Berlioz score is more abundant in lyric poetry, in a sense of the magic and brevity of love, in sounds and sweet airs of so many kinds
Thematic resemblances and echoes constantly link the different sections. The Introductions trombone recitative, representing the Princes rebuke to the warring families, is formed from the notes of their angry fugato, stretched out and mastered; the ball music is transformed to give the departing guests their dreamlike song; in the Tomb Scene Juliet wakes (clarinet) to the identical notes of the rising cor anglais phrase in the opening section of the adagio, and this is followed by the great love theme, now blurred and torn apart as the dying Romeo relives it in distorted flashback. And in the Finale, as the families vendetta breaks out again over the bodies of their children, the return of the opening fugato unites the two extremes of the vast score. The principle is active to the end: Friar Laurences oath of reconciliation takes as its point of departure the Introductions B minor feud motif, reborn in a broad, magnanimous B major. Within his outward form the music is motivically close-knit. At the same time no Berlioz score is more abundant in lyric poetry, in a sense of the magic

THE LIBRETTO was written by the French poet mile Deschamps (17911871). However, it was based on the performance of the play that Berlioz saw at the Odon Theatre in 1827, which used an edited version by the British actor, playwright and theatre manager David Garrick; this explains the occasional departures from Shakespeares original story.

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Programme Notes

and brevity of love, in sounds and sweet airs of so many kinds: the flickering, fleet-footed scherzo, which stands not only for Mercutios Queen Mab speech but for the whole nimble-witted, comicfantastical, fatally irrational element in the play, and in which strings and wind seem caught up in some gleeful yet menacing game; the noble swell of the great extended melody which grows out of the questioning phrases of Romo seul; the awesome unison of cor anglais, horn and four bassoons in Romeos invocation in the Capulets tomb; the haunting beauty of Juliets funeral procession (an addition to the play by David Garrick, whose edited version of Romeo and Juliet Berlioz saw at the Odon Theatre); the adagios deep-toned harmonies and spellbound melodic arcs, conjuring the moonlit night and the wonder and intensity of the passion that flowers beneath it.
Programme Note David Cairns

Musicians of the Mariinsky Theatre

Ensembles from the Mariinsky Theatre Orchestra perform in the Guildhall School of Music & Dramas new state-of-the-art Milton Court Concert Hall Wed 19 Feb

Mariinsky Brass Ensemble Mariinsky Wind Quintet

Mariinsky UK tour supported by BP

barbican.org.uk

Thu 20 Mar

Artist Biographies

6 & 13 November 2013

Valery Gergiev Conductor

A memorable performance of huge theatricality and vividness.

A prominent figure in all the worlds major concert halls, Valery Gergiev is the Artistic and General Director of the Mariinsky Theatre, St Petersburg, and since 1988 has taken the Mariinsky ballet, opera, and orchestra ensembles to more than 45 countries, garnering universal acclaim. Gergievs 25 years of leadership has also resulted in The Mariinsky Concert Hall (2006) and the new Mariinsky II (May 2013) alongside the classic Mariinsky Theatre. Principal Conductor of the London Symphony Orchestra since 2007, Gergiev performs with the LSO at the Barbican, BBC Proms, and Edinburgh International Festival, as well as on extensive tours of Europe, North America, and Asia. In July 2013 he led the debut international tour of the National Youth Orchestra of the United States of America, an orchestra founded by Carnegie Halls Weill Music Institute, and in 2016 he will assume the post of Principal Conductor of the Munich Philharmonic. He is also founder and Artistic Director of the Stars of the White Nights Festival and New Horizons Festival in St Petersburg, Moscow Easter Festival, Rotterdam Philharmonic Gergiev Festival, Mikkeli Music Festival, Red Sea Classical Music Festival in Eilat, Israel, as well as Principal Conductor of the World Orchestra for Peace. Gergievs recordings on LSO Live and the Mariinsky Label continually win awards in Europe, Asia and America. His recent releases on LSO Live include Szymanowskis Stabat Mater and the composers entire symphonic works, and Brahms First and Second Symphonies, his Tragic Overture, and the Variations on a Theme of Haydn. Earlier releases include the symphonies of Tchaikovsky and Mahler, as well as Prokofievs Romeo and Juliet and Strauss Elektra.

The Guardian

Mariinsky Label releases this past summer and this autumn include Prokofievs The Gambler on DVD, Wagners Das Rheingold, Shostakovichs Symphony No 8 and Strauss Die Frau ohne Schatten, also on DVD. Gergiev has led numerous composer-centred concert cycles in New York, London and other international cities, including Brahms, Dutilleux, Mahler, Prokofiev, Shostakovich, Stravinsky, Tchaikovsky, and Wagners Ring cycle. He has introduced audiences around the world to several rarely performed Russian operas. He also serves as Chair of the Organisational Committee of the International Tchaikovsky Competition, Honorary President of the Edinburgh International Festival and Dean of the Faculty of Arts at the St Petersburg State University. Gergievs many awards include the title of Peoples Artist of Russia, the Dmitri Shostakovich Award, the Polar Music Prize, Netherlands Knight of the Order of the Dutch Lion, Japans Order of the Rising Sun and the French Order of the Legion of Honour.
VALERY GERGIEV IN 2014 MUSIC IN COLOUR: SCRIABIN SYMPHONIES Sun 30 Mar 7.30pm Scriabin Symphony No 1 Scriabin Symphony No 4 (The Poem of Ecstasy) Thu 10 Apr 7.30pm Scriabin Symphony No 2 Sun 13 Apr 7.30pm Scriabin Symphony No 3 (The Divine Poem) Box Office 020 7638 8891 | lso.co.uk
Supported by LSO Patrons

Principal Conductor London Symphony Orchestra Music Director Mariinsky Theatre Principal Conductor World Orchestra for Peace Artistic Director Stars of the White Nights Festival Artistic Director Moscow Easter Festival

Scriabin Symphony No 5 (Prometheus, Poem of Fire)

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Artist Biographies

Olga Borodina Mezzo-soprano

Grammy-award winning mezzosoprano Olga Borodina is a star of the Kirov Opera, regularly appearing with the major opera houses and orchestras around the world. Winner of the Rosa Ponselle and Barcelona Competitions, she made her highly acclaimed European debut at the Royal Opera House in 1992, sharing the stage with Plcido Domingo in Samson and Delilah performances that launched her international solo career. Olga Borodina has since returned to Covent Garden on many occasions, and also performs frequently at the Metropolitan Opera in New York, making her debut in Boris Godunov in 1997. She has made many concert appearances with the Metropolitan Opera Orchestra under James Levine at Carnegie Hall, and has performed with the worlds greatest orchestras and conductors. In recital, she has performed in venues in London (Wigmore Hall, Barbican), Milan (La Scala), Vienna (Konzerthaus), San Francisco (Davies Symphony Hall), Rome (Accademia di Santa Cecilia), Hamburg (Staatsoper), Paris (Thatre des Champs Elyses) and Amsterdam (Concertgebouw), among others. Recent highlights have included Amneris in Aida at both the Vienna State Opera and the Metropolitan Opera, and a televised gala from Avery Fisher Hall in New York. Olga Borodinas releases on Philips Classics include a number of operas, solo recital recordings and, recently, the double album A Portrait of Olga Borodina featuring a collection of songs and arias. Her recent Verdi Requiem recording with the Chicago Symphony Orchestra and Riccardo Muti won two Grammys in 2011. Olga Borodina was awarded Peoples Artist of Russia in 2002, and in 2007 was the recipient of the State Prize, the highest accolade in Russia.

Kenneth Tarver Tenor

Kenneth Tarver is considered to be one of the outstanding tenore-di-grazia (lyric tenor, a voice type which is light and agile) of his generation. A specialist in Mozart and demanding virtuosic operatic repertoire, he has appeared at the most prestigious opera houses and concert halls around the world, performing both well-known and seldomperformed works with conductors such as Riccardo Chailly, Pierre Boulez, Claudio Abbado, Ren Jacobs and Bobby McFerrin. Recent appearances include Berliozs Batrice et Bndict with Robin Ticciati, Rossinis La Cenerentola at Teatro Colon in Buenos Aires, Handels Messiah with the New York Philharmonic, Mozarts Die Entfhrung aus dem Serail in Berlin, Rameaus Les Indes galantes in Toulouse, Glucks Orphe et Eurydice at Staatsoper Stuttgart, Traettas Antigone at the Staatsoper Berlin, and Haydns Linfedelt delusa at the Musikverein in Vienna conducted by Nikolaus Harnoncourt. Other highlights of his career include Rodion Shchedrins My Age, My Wild Beast, Orffs Carmina Burana at the Verbier Festival, a film of Judith Weirs Armida for Channel 4, and Mozarts Requiem at the Tanglewood Festival conducted by James Levine. Future plans include The Barber of Seville in Berlin, LItaliana in Algeri at the Opra National de Paris, and Handels Joshua at the Hndel-Festspiele in Goettingen. His recording catalogue includes collaborations with Deutsche Grammophon, LSO Live (including the Grammy-winning Les Troyens conducted by Sir Colin Davis), Opera Rara (La Donna del Lago, Aureliano in Palmira) and Harmonia Mundi (Don Giovanni, Idomeneo). A graduate of Interlochen Arts Academy and Oberlin College Conservatory of Music, and Yale University School of Music, Kenneth was a member of the Metropolitan Operas Young Artist Development Program and the Staatsoper Stuttgart Ensemble.

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6 & 13 November 2013

Evgeny Nikitin Bass-baritone

Originally from Northern Russia, Nikitin entered the St Petersburg Conservatory in 1992. Combining his studies with his first solo engagement at the Mariinsky Theatre, he was soon invited to major theatres and festivals in Europe, the Americas and Asia. 2002 marked his debut at the Metropolitan Opera House in Prokofievs War and Peace. He made his Parisian debut at the Thtre du Chtelet in the title role of Rubinsteins The Demon, and he returned in 2005 to sing the title role of Boris Godunov. He made his debut at the Bayerische Staatsoper in 2008 as Jochanaan (Strauss Salome) and was reinvited for the roles of Klingsor (Wagners Parsifal) and Telramund (Lohengrin). He will sing The Flying Dutchman this season, and will appear in a major new production in 2016. Other recent engagements include the title role in The Flying Dutchman in Baden Baden, Toronto and Leipzig; Amfortas (Parsifal) in Berlin and Valencia; Pizarro (Fidelio) in Valencia; Boris Godunov in Nice and at the Mariinsky Theatre; Tomski (The Queen of Spades), Gunther (Gtterdmmerung) and the title role of Dallapiccolas Il Prigioniero at the Paris Opera; and Rangoni and Klingsor at the Metropolitan Opera. Recent concert performances include Mussorgskys Songs and Dances of Death at the Schleswig Holstein Festival and the Berlin Philharmonic, Rubinsteins The Demon at the Barbican, and Verdis Requiem with the National Symphony Orchestra Washington. This season, Nikitin will sing Orest in Strauss Elektra at the Paris Opera and The Flying Dutchman at the Bayerische Staatsoper, and will make his debut at the Gran Teatre del Liceu in Barcelona in Il Prigioniero. His recordings include Amfortas (Parsifal) with the Mariinsky/Gergiev and the Berlin Radio Symphony/Janowski, Rangoni (Boris Godunov) and Remeniuk (Prokofievs Semyon Kotko) for Philips Classics.

Simon Halsey Chorus Director

Simon Halsey is one of the worlds leading conductors of choral repertoire, regularly conducting prestigious orchestras and choirs worldwide. Halsey holds the position of Chief Conductor of the Berlin Radio Choir, and has been Chorus Director of the CBSO Chorus for over 25 years. Since 2012 he has been Choral Director of the London Symphony Orchestra and London Symphony Chorus, working closely with LSO Principal Conductor Valery Gergiev and leading choral strategy across the LSOs performance and education programmes. Halseys work with the choir has been said to have caused a spectacular transformation (Evening Standard). Simon Halsey also holds the positions of Artistic Director of the Berlin Philharmonics Youth Choral Programme and Director of the BBC Proms Youth Choir. Recent projects with the Berlin Radio Choir include Mozarts The Magic Flute with the Berlin Philharmonic and Sir Simon Rattle in the Orchestras new Easter residence in Baden-Baden. As Director of the BBC Proms Youth Choir, Halsey rehearsed young singers from all over the UK to perform Vaughan Williams A Sea Symphony during the First Night of the 2013 BBC Proms. Recent projects with the London Symphony Chorus and Orchestra include Szymanowskis Stabat Mater, and Song of the Night with Valery Gergiev, and Brahms Requiem. Halsey has worked on countless major recording projects, many of which have won major awards, including several Gramophone Awards and Preis der Deutschen Schallplattenkritik. He won the Grammy Award for Best Choral Performance in 2008, 2009 and 2011. Halsey was presented with the prestigious Bundesverdienstkreuz Erste Klasse, Germanys Order of Merit by State Cultural Secretary Andr Schmitz in Berlin, in recognition of outstanding services to choral music in Germany.

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Artist Biographies

11

London Symphony Chorus On stage

President Emeritus Andr Previn KBE Vice Presidents Claudio Abbado Michael Tilson Thomas Patron Simon Russell Beale Chorus Director Simon Halsey Chairman Lydia Frankenburg Deputy Chorus Director/ Accompanist Roger Sayer Chorus Director assisted by Neil Ferris lsc.org.uk

The London Symphony Chorus was formed in 1966 to complement the work of the London Symphony Orchestra. The partnership between the LSC and LSO was developed and strengthened in 2012 with the joint appointment of Simon Halsey as Chorus Director of the LSC and Choral Director for the LSO. The LSC also partners other major orchestras and has worked internationally with the Berlin and Vienna Philharmonics, Boston Symphony and the European Union Youth Orchestra. The LSC tours extensively throughout Europe and has visited North America, Israel, Australia and South East Asia. The Chorus has recorded extensively; recent releases include Brittens War Requiem with Gianandrea Noseda, Haydns The Seasons, Waltons Belshazzars Feast, Verdis Otello, and the world premiere of James MacMillans St John Passion all under the late Sir Colin Davis; and with Valery Gergiev, Mahlers Symphonies Nos 2, 3 and 8. The recent recording of Gtterdmmerung with the Hall under Sir Mark Elder won a Gramophone award. Last season the Chorus undertook critically acclaimed performances of Mozarts Requiem, Brahms Requiem, Szymanowskis Stabat Mater and Berliozs The Damnation of Faust. Forthcoming concerts this season include Berliozs Romeo and Juliet, Haydns The Creation, the world premiere of Sir Peter Maxwell Davies Tenth Symphony, Beethovens Mass in C major and a series of a cappella concerts including the Rachmaninov Vespers and Tallis Spem in Alium. The 2014 tour includes: St Davids Hall, Cardiff 11 May Newbury Festival 23 May The Anvil, Basingstoke 31 May.

SOPRANOS Kerry Baker, Louisa Blankson, Carol Capper, Julia Chan, Ann Cole, Jessica Collins, Shelagh Connolly, Sarah Flower, Lorna Flowers, Joanna Gueritz, Maureen Hall, Isobel Hammond, Jessica Harris, Emily Hoffnung*, Kuan Hon, Gladys Hosken, Claire Hussey, Hiroko Kamijimi, Helen Lawford*, Debbie Lee, Irene McGregor, Alison Marshall, Jane Morley, Dorothy Nesbit, Jenny Norman, Emily Norton, Maggie Owen, Isabel Paintin, Oktawia Petronella, Carole Radford, Liz Reeve, Rebecca Sands, Chen Shwartz, Luisa Simoes, Amanda Thomas*, Joanna Turner, Lizzie Webb ALTOS Hetty Boardman-Weston, Elizabeth Boyden, Gina Broderick*, Jo Buchan*, Lizzy Campbell, Sarah Castleton, Janette Daines, Maggie Donnelly, Linda Evans, Lydia Frankenburg*, Christina Gibbs, Rachel Green, Yoko Harada, Amanda Holden, Valerie Hood, Jo Houston, Elisabeth Iles, Vanessa Knapp, Marina Kurkina, Gilly Lawson, Belinda Liao*, Anne Loveluck, Etsuko Makita, Liz McCaw, Aoife McInerney, Jane Muir, Caroline Mustill, Helen Palmer, Susannah Priede, Lucy Reay, Maud Saint-Sardos, Lis Smith, Jane Steele, Margaret Stephen, Claire Trocm, Agnes Vigh TENORS David Aldred, Paul Allatt, Ted Black, Matt Fernando, Matthew Flood, Simon Goldman, Jesse Hollister, Warwick Hood, Tony Instrall, John Marks, Alastair Mathews, Ian Mok, John Moses*, Dan Owers, Chris Riley, David Rowe, Richard Street, Anthony Stutchbury, Simon Wales, James Warbis, Brad Warburton, Robert Ward*, Paul Williams-Burton BASSES Peter Avis, Bruce Boyd, Andy Chan, Steve Chevis, James Chute, Dieter Claassen, Damian Day, Ian Fletcher, Robert French, Robert Garbolinski*, John Graham, Gergo Hahn, Owen Hanmer*, Richard Harding, J-C Higgins, Antony Howick, Thomas Kohut, Gregor Kowalski*, Georges Leaver, Geoff Newman, Peter Niven, Tim Riley, Alan Rochford, Zac Smith, Gordon Thomson, Jez Wareing, Anthony Wilder, Paul Wright * denotes committee member

LSO SINGING DAYS Why not join in an LSO Singing Day at LSO St Lukes? If youve sung before, but its a long while since you picked up a score, or if youre an active singer and would just like the opportunity to sing with members of the LSC and with the LSO choral team, why not take part? To find out more, visit lso.co.uk/singingdays.

12 The Orchestra

6 & 13 November 2013

London Symphony Orchestra On stage

FIRST VIOLINS Roman Simovic Leader Carmine Lauri Lennox Mackenzie Nigel Broadbent Ginette Decuyper Gerald Gregory Jrg Hammann Maxine Kwok-Adams Claire Parfitt Laurent Quenelle Harriet Rayfield Colin Renwick Ian Rhodes Sylvain Vasseur SECOND VIOLINS David Alberman Sarah Quinn Miya Vaisanen David Ballesteros Matthew Gardner Belinda McFarlane Philip Nolte Paul Robson Julian Gil Rodriguez Naomi Bach William Melvin Hazel Mulligan VIOLAS Edward Vanderspar Malcolm Johnston German Clavijo Lander Echevarria Anna Green Robert Turner Jonathan Welch Julia ORiordan Fiona Dalgliesh Caroline ONeill CELLOS Rebecca Gilliver Alastair Blayden Jennifer Brown Mary Bergin Noel Bradshaw Daniel Gardner Hilary Jones Amanda Truelove Eve-Marie Caravassilis DOUBLE BASSES Joel Quarrington Colin Paris Nicholas Worters Patrick Laurence Matthew Gibson Thomas Goodman Jani Pensola FLUTES Adam Walker Alex Jakeman PICCOLO Sharon Williams OBOES Fabien Thouand Michael ODonnell COR ANGLAIS Christine Pendrill CLARINETS Andrew Marriner Chi-Yu Mo BASSOONS Rachel Gough Joost Bosdijk Daniel Jemison Dominic Morgan HORNS Timothy Jones Benjamin Jacks Jonathan Durrant Nicolas Fleury Jonathan Lipton TRUMPETS Philip Cobb Roderick Franks Gerald Ruddock Robert Smith TROMBONES Dudley Bright James Maynard BASS TROMBONE Paul Milner TUBA Patrick Harrild TIMPANI Nigel Thomas Antoine Bedewi PERCUSSION Neil Percy David Jackson Sam Walton Christopher Thomas HARPS Bryn Lewis Karen Vaughan

Guildhall Singers On stage

MEZZO-SOPRANOS Holly-Marie Bingham Claire Bournez Jessica Dandy Bethan Langford TENORS Richard Bignall Aidan Coburn Eduard Mas Bacardit Elgan Thomas BASSES Jake Gill Olivier Gagnon Johannes Kammler James Quilligan

Join the London Symphony Chorus

Simon Halsey Chorus Director Join the London Symphony Chorus to sing Tallis iconic Spem in Alium and the Rachmaninov Vespers in a UK tour during May 2014. Rehearsals start in central London in February. They are also currently recruiting additional singers for this seasons programme which includes Haydns The Creation and a world premiere symphony by Sir Peter Maxwell Davies, Master of the Queens Music. For further information either mail recruitment@lsc.org.uk or call/text 07970 783529.

lsc.org.uk
LSO STRING EXPERIENCE SCHEME Established in 1992, the LSO String Experience Scheme enables young string players at the start of their professional careers to gain work experience by playing in rehearsals and concerts with the LSO. The scheme auditions students from the London music conservatoires, and 20 students per year are selected to participate. The musicians are treated as professional extra players (additional to LSO members) and receive fees for their work in line with LSO section players. The Scheme is supported by: Fidelio Charitable Trust The Lefever Award Musicians Benevolent Fund London Symphony Orchestra Barbican Silk Street London EC2Y 8DS Registered charity in England No 232391 Details in this publication were correct at time of going to press. Editor Edward Appleyard edward.appleyard@lso.co.uk Photography Igor Emmerich, Kevin Leighton, Bill Robinson, Alberto Venzago Print Cantate 020 3651 1690 Advertising Cabbell Ltd 020 3603 7937