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T a b l e o f C o n t e n t s

Page 5-13: Welcome Messages

Page 14: Festival Overview
Page 16-17: Festival Calendar
Page 18: Frequently Asked Questions
Page 21-37: Concert Programme
Page 38-39: Art Exhibition
Page 40-42: Education Programme
Page 43-66: Biographies & Musicians lists
Page 67: Special Thanks
5th Abu Dhabi
Music and Arts Festival
Under the patronage of HH Sheikh
Mohammed bin Zayed Al Nahyan
Crown Prince of Abu Dhabi
HE Sheikh
Nahayan Mabarak Al Nahayan
Minister of Higher Education & Scientifc Research
President and Patron,
Abu Dhabi Music & Arts Foundation
Welcome to the 5th Abu Dhabi Music and Arts Festival The word Festival implies a
festive occasion a Celebration I invite all of you to enjoy this festival by rejoicing
in three celebrations
First, we celebrate the accomplishments and talents of the world renowned musicians
and orchestras who are performing at the festival Second, we celebrate the increasing
community interest and involvement in this annual cultural event And third, we
celebrate the festival itself which, in its short history, has become a signifcant cultural
celebration and continues to refect many of the important aspects of the cultural
development taking place in the UAE under the enlightened leadership of His Highness
the President, Sheikh Khalifa bin Zayed Al-Nahayan
This year, the Festival provides a marvelous group of great orchestras and performers
and a fne mix of Eastern and Eastern music We are confdent that this combination will
provide a most enjoyable cultural experience We are also confdent that the Festival,
in its ffth edition, will continue to enrich the cultural life of Abu Dhabi and the United
Arab Emirates
The patron of the Festival is, without question, a dynamic and visionary leader His
Highness Sheikh Mohammed bin Zayed Al-Nahayan, Crown Prince of Abu Dhabi,
recognizes the importance of culture and the arts to the life of the community The
cultural achievements of Abu Dhabi are due in no small measure to his leadership and
his profound commitment to preserving the heritage and cultural values of our country
We express our thanks and appreciation for His Highnesss strong support as well as our
pride in his vision for Abu Dhabi and the United Arab Emirates
I take this opportunity to give special recognition to the staf and volunteers of the Abu
Dhabi Music and Arts Foundation And I especially thank Ms Hoda Al Khamis Kanoo for
her eforts to make this annual festival possible
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His Excellency
Khaldoon Al Mubarak
CEO & MD, Mubadala Development Co
Mubadala Development Company (Mubadala) is an investment frm that is helping to
diversify Abu Dhabis economy through capital intensive investments and by building
We establish new companies and acquire strategic holdings in existing companies,
either in the UAE or abroad In partnership with world class investors, we actively
manage investments in strategic sectors including energy, real estate, healthcare,
aerospace and services These investments diversify and further develop the growing
economy of Abu Dhabi, while achieving superior returns on its investments
Arts and cultural events are social investments that are important to the identity of
Abu Dhabi Abu Dhabi Music & Arts Foundation (ADMAF) is making an important
contribution to helping position the emirate as a progressive capital for the arts
We are pleased to sponsor the 5th Annual Abu Dhabi Music & Arts Festival and welcome
Abu Dhabi residents as well as visitors to this celebration
His Excellency
Ahmed Ali Al Sayegh
Chief Executive Ofcer
Dolphin Energy Limited
Dolphin Energy Limited takes great pleasure in sponsoring the 5th Abu Dhabi Music
& Arts Festival, under the patronage of His Highness the Crown Prince of Abu Dhabi,
Sheikh Mohammed Bin Zayed Al Nahyan
Within a very short space of time, this Festival has grown to play a leading part in the
cultural life of the Emirate of Abu Dhabi This years program is the most ambitious to
date It emphasizes the Festivals developing position in the world arts calendar with
the London Philharmonic and the Bolshoi Ballet among signature performers alongside
the fnest painters, musicians and opera and classical Arabic singers
The Festival must also be seen in the context of Abu Dhabis proud ambition to become
a leading international centre of art, culture and heritage
Very soon our capital city will be home to Frank Gehrys Guggenheim Abu Dhabi, to
Zaha Hadids Performing Arts Centre, to Jean Nouvels Louvre and to Tadeo Andos
Maritime Museum each eclectic, stunning and at the cutting edge of architectural
and artistic design
Abu Dhabi requires, and deserves, an Arts Festival that measures up to this new and
increasingly exhilarating cultural atmosphere We applaud the vital work of the Abu
Dhabi Music & Arts Foundation in building up the Festival, and we are glad to play a
part in ensuring its success
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Hans-Werner Olbertz
General Manager, Emirates Palace
Under the patronage of His Highness Sheikh Mohammed bin Zahed Al Nahyan, Crowne
Prince of Abu Dhabi, we are delighted and honored to welcome the 5th Abu Dhabi
Music and Arts Festival to the Emirates Palace
This prestigious Festival brings together artists of the highest calibre from both Western
and Eastern music traditions and provides us with a stunning example of another world
class event, highlighting Abu Dhabi as the cultural capital and Emirates Palace as the
iconic venue
Recognised on the international arts calendar, this programme will further enhance
the fast growing reputation of the Abu Dhabi Music and Arts Festival through a series
of concerts, collaborative works and arts symposiums
In collaboration with ADMAF, we look forward to welcoming you to the Emirates Palace
and to sharing a unique and memorable experience
His Excellency
Mohammad Khalaf Al Mazrouei
Abu Dhabi Authority for Culture and Heritage
Director General
The Abu Dhabi Authority for Culture and Heritage is entrusted to enhance, preserve,
manage and promote the cultural heritage of Abu Dhabi
In this role it supports projects to advance art, literature and culture of the Emirates
through collaboration with the most prominent cultural organizations and institutions
in the world The strategy of the Abu Dhabi Authority for Culture and Heritage
incorporates factors that afect heritage and culture of the emirate of Abu Dhabi It
also pays special attention to education and training It aspires to enhance the role of
literature, art, and music; encouraging creativity, managing historical sites, preservation,
promoting intangible heritage and developing cultural tourism
Our support of the Abu Dhabi Music and Arts Festival complements with our vision
and perception of making Abu Dhabi a hub of culture in the region and the world It
demonstrates our appreciation of dialogue among nations and the cultural diversity
of the Emirates
In a short period of time, the Abu Dhabi Music and Arts Festival has succeeded in
becoming a global event of merging the authenticity of the East with the charm of the
West It introduces frst class musical concerts, lectures and workshops that enhance
the cultural scene in the UAE
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Barrett Wissman
Chairman, IMG Artists
I am very pleased to welcome you to the 5th Abu Dhabi Music and Arts Festival IMG
Artists is proud to be the Executive Producer of this magnifcent event
By showcasing artists of the highest calibre from both Western and Eastern traditions,
and creating collaborations between Arab and Western musicians, this iconic festival
continues to serve as a major catalyst for Abu Dhabis rapidly growing cultural
I am deeply impressed by Abu Dhabis commitment to the arts and am honoured and
pleased to be able to bring so many great artists and cultural institutions to Abu Dhabi,
most of them for the frst time, in what is undoubtedly a ground-breaking event in the
I would like to express my sincere thanks to His Highness Sheikh Mohammed bin Zayed
Al Nahyan, Crown Prince of Abu Dhabi, for his kind patronage of this festival I would
like to address a special acknowledgement to Her Excellency Hoda I Al Khamis-Kanoo,
whose vision and passion have been the driving force behind this event as well as to the
wider development and promotion of Abu Dhabi as a cultural destination May I also
thank all of our partners and sponsors for their generous and enthusiastic support
I hope that you will enjoy all that the 5th Abu Dhabi Music and Arts Festival has to ofer,
and look forward to sharing with you the experience of this truly unique celebration of
the arts
H.E. Hoda I. Al Khamis-Kanoo
ADMAF Founder
I am thrilled to present to you the 5th Abu Dhabi Music and Arts Festival For the frst time,
the Festival includes the visual arts as an integral part This year, the Festival features
master artist from Tunisia, Nja Mahdaoui, whose work is a unique combination of the
Arabic script and form Mr Mahdaoui will also be providing lectures and workshops, an
opportunity not to be missed
Learning and education has been at the cornerstone of ADMAFs diverse activities since
its inception over 12 years ago ADMAF was frst to provide cultural lectures, concerts,
workshops, awards, educational internships abroad for National students This cultural
medium remains very popular among the students and has inspired many young minds
to be creative, to question and to explore
It is a particular joy to celebrate Abu Dhabis new identity An identity that originates
from a heritage and tradition of respect
ADMAF remains Abu Dhabis most infuential non proft cultural organization with
links regionally and globally ADMAF recognizes the importance to complement Abu
Dhabis ambitious cultural vision by continuously enhancing the quality of it cultural
events and programs This conviction has been amplifed this year by cooperating with
IMG artists, a team of professionals who bring new levels of international expertise
and best practice to the cultural scene of the Capital The result is the regions most
prominent cultural Festival
This year, the Festival welcomes the worlds most talented artists from Lebanon, the UK,
Tunisia, Russia, Egypt, Morocco, the USA, Iraq, Spain, Poland, France and Lithuania
I would like to thank HH Sheikh Mohamed bin Zayed Al Nahyan, Crown Prince of Abu
Dhabi for his kind patronage of the annual Music & Arts Festival I also thank the ADMAF
Patron and President, HE Sheikh Nahyan Mubarak Al Nahyan for his continuous support
and direction
I now wish to convey my sincere appreciation to this years Title Custodian Sponsor
the Abu Dhabi Tourism Authority (ADTA) headed by HE Sheikh Sultan bin Tahnoon Al
Nahyan, the Abu Dhabi Authority for Culture and Heritage (ADACH) and its Director
General HE Mohamed Khalaf Al Mazroui and a fnal word of my deep gratitude to all of
our generous sponsors and ADMAF Advisors
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Festival overview
Welcome to the 5th Abu Dhabi Music and Arts
Festival, where for twelve days two of the worlds
great cultural traditions will come together in a
celebration of great music and art
Discover and witness artists of the highest calibre
from both Western and Eastern artistic traditions
in a celebration of concerts, collaborative works
and art
The London Philharmonic Orchestra (LPO) led
by Principal Conductor Vladimir Jurowski, who
is described by the Financial Times as more
than a cut above the rest The LPO presents two
concerts, the frst featuring one of the worlds
foremost violinists Nikolaj Znaider and the second
featuring a former child prodigy who is in the
prime of his career, pianist Jean-Yves Thibaudet
Hiwar Maa Al Kibar features the talents of Khaled
Selim and Asmma Almonaoar performing some
of the most famous Arabic Classical songs,
accompanied by a superb 30 piece orchestra
(conducted by Saeed Kamal)
From Moscow the world-renowned Bolshoi Ballet
and Orchestra (conducted by Pavel Sorokin), will
present two performances of their acclaimed
production of one of the worlds favourite ballets
Swan Lake, choreographed to Tchaikovskys
famous score

The Opera Gala features an evening of arias
from beloved operas by Mozart, Rossini, Verdi
and more, performed by international cast of
stars including soprano Anna Netrebko, mezzo-
soprano Elina Garana and bass-baritone Erwin
Schrott The companys own orchestra, an artistic
institution with its own long history, the Bolshoi
Theatre Orchestra (conducted here by Alexander
Vedernikov) will play the orchestral score
One of classical musics most captivating and
gifted violinists, Sarah Chang, another child
prodigy of her generation, performs Vivaldis
Four Seasons The program also features music
of Mozart and Tchaikovsky performed by the
Lithuanian Chamber Orchestra (Karel Mark
Chichon, conductor)
The great Iraqi oud virtuoso Naseer Shamma
presents world premieres of eight of his own
compositions He will be accompanied by the
60-piece Oriental Orchestra formed especially for
this concert Naseer Shamma is recognised across
the Arab world as the Paganini of the Oud
Lebanese composer and soprano, Hiba Al Kawas,
also presents the world premiere of her latest
composition, which features one of Spains great
classical guitarists Jos Maria Gallardo del Rey in
a cross-cultural collaboration accompanied by
the Bolshoi Theatre Orchestra (Wojciech Czepiel,
Throughout the festival, one can view an
exhibition of works by Tunisias leading
contemporary artist Nja Mahdaoui Mahdaouis
calligraphic masterpieces have been exhibited at
the British Museum, the Smithsonian Institution
and the Institut du Monde Arabe in Paris, as well
as other leading museums around the world
As part of its educational mission, the Festival
will host various artist dialogues, workshops and
awards see page 40 for details
Enjoy the festival
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Festival Calendar (continued)
8:00 PM Emirates Palace
The Bolshoi Ballets Swan Lake, Bolshoi Theatre Orchestra,
Pavel Sorokin (Conductor) - See Page 28
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Friday 28 March Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Saturday 29 March 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Pre-Concert Talk (details to be confrmed)
8:00 PM Emirates Palace
Opera Gala featuring Anna Netrebko, Elina Garanca, Erwin
Schrott, Bolshoi Theatre Orchestra, Alexander Vedernikov
(conductor) - See Page 30
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Sunday 30 March Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Monday 31 March 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Noted professional violinist and music educator Neil Barclay
will speak about tonights programme
8:00 PM Emirates Palace
Vivaldis Four Seasons featuring Sarah Chang (violin),
Lithuanian Chamber Orchestra, Karel Mark Chichon
(conductor) -See Page 33
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Tuesday 1 April 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Journalist Mr Noneer Amer will speak about tonights
programme and artists
8:00 PM Emirates Palace
Naseer Shamma <The Soul of the Orient -- World Premiere
with The Oriental Orchestra - See Page 35
Open Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Wednesday 2 April 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Poet Nada El Hage will speak about tonights programme
8:00 PM Emirates Palace
Hiba Al Kawas featuring Jose Maria Gallardo del Rey with
Bolshoi Theatre Orchestra Wojciech Czepiel (conductor) - See
Page 36
Open Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Festival Calendar
5th Abu Dhabi Music and Arts Festival
Saturday 15 March 11:00 AM Cultural Foundation Abu Dhabi Students Concert - See Page 40
8:00 PM Cultural Foundation Julian Joseph and Matthew Barley concert with young local
musicians - See Page 41
Saturday 22 March 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Noted professional violinist and music educator Neil Barclay
will speak about tonights programme
8:00 PM Emirates Palace
London Philharmonic Orchestra, Vladimir Jurowski (conductor)
Nikolaj Znaider (violin) - See Page 22
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Sunday 23 March 6:15-7:00pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Pre-Concert Talk with Jean-Yves Thibaudet, interviewed by
IMG Artists Chairman Barrett Wissman
8:00 PM Emirates Palace
London Philharmonic Orchestra, Vladimir Jurowski (conductor)
Jean-Yves Thibaudet (piano) - See Page 23
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Monday 24 March 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Journalist Mr Noneer Amer will speak about tonights
programme and artists
8:00 PM Emirates Palace
Hiwar Ama Al Kibar featuring Khaled Selim and Asmma
Almonaoar Saeed Kamal (conductor) - See Page 27
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Tuesday 25 March Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Wednesday 26 March 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Katerina Novikova, Head of the Bolshoi Theatre Press
Department, speaks about the Bolshoi Company and Swan
8:00 PM Emirates Palace
The Bolshoi Ballets Swan Lake, Bolshoi Theatre Orchestra,
Pavel Sorokin (Conductor) - See Page 28
Emirates Palace
Auditorium Foyer
Nja Mahdaoui Art Exhibition - See Page 38
Thursday 27 March 6:00-6:45pm Emirates Palace
Auditorium Foyer
Outdoor Terrace
Katerina Novikova, Head of the Bolshoi Theatre Press
Department, speaks about the Bolshoi Company and Swan
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Frequently Asked Questions
What time should I arrive
at the Emirates Palace?
Pre-Concert Talks will take place at 6:00 pm
before each concert These provide a unique
opportunity to hear more about the evenings
artists and programme Afterwards you can enjoy
the Nja Madhaoui art exhibition on display in the
Emirates Palace Auditorium Foyer Doors to the
auditorium will open at 7:00 pm and concerts will
begin promptly at 8:00 pm
How will I fnd parking?
Ample parking is available at the Emirates Palace
Abu Dhabi, with 800 parking spots right under
the hotel For overfow, the hotel provides valet
parking service As we anticipate that all ADMAF
events will be very popular, please plan to arrive
in plenty of time in order to park
How do I purchase beverages?
In order to purchase beverages you must frst
purchase a voucher The counter to purchase
vouchers is located in the same area as the bar
itself Once you have purchased a voucher, present
it at the bar in exchange for your beverage But
please note, beverages must be consumed before
entering the auditorium
May I eat or drink during the concert?
Out of respect to the performers and fellow
concert-goers there will be no food or drink
permitted inside the auditorium You will be
asked to fnish your drinks and snacks before
entering the concert auditorium
When should I applaud?
Just before the concert begins, it is customary
to applaud as a greeting Typically you applaud
to greet the Concertmaster/Leader and you
applaud again when the conductor and soloists
come onstage
Applause is usually appropriate at the very end of
a piece (when the conductor lowers his hands)
In a multi-movement work (such as a symphony)
it is customary to wait until the end of the last
movement to applaud, so as not to break the
concentration of the performers The program
will tell you the movements in each piece, so you
will know how many there are
May I take pictures?
The use of still, video, digital and mobile phone
cameras and/or audio recording equipment is
prohibited at all times during the concerts
What happens if I am late?
Out of respect to the performers, no one will be
seated while music is being performed However,
at the discretion of the performers, latecomers
may be seated in between movements and/or in
between pieces
What should I wear to concerts?
Visitors to Abu Dhabi (both men and women)
are advised not to wear excessively revealing
clothing, as a sign of respect for local culture and
To help you better enjoy your concert, here is some general information and answers to some
Frequently Asked Questions
20 2l
Saturday 22
Vladimir Jurowski, conductor
Nikolaj Znaider, violin
Wolfgang Amadeus Mozart
Overture to Don Giovanni (K527)
Johannes Brahms
Violin Concerto in D (Op77)
Allegro non troppo
Allegro giocoso, ma non troppo vivace
Pyotr Ilyich Tchaikovsky
Symphony No6 in B minor (Op74) - Pathtique
Adagio - Allegro non troppo
Allegro con grazia
Allegro molto vivace
Finale (Adagio lamentoso)
Wolfgang Amadeus Mozart (1756-1791)
Overture to Don Giovanni (K527)
The Composer
Born Salzburg, Austria, on 27th January 1756; died Vienna on
5th December 1791
Composed 21 operas as well as a large amount of music for
orchestra, chamber ensemble, piano and voice
Place in History: Amazing child prodigy whose ability to
achieve near perfection in every musical genre makes him
one of the greatest composers who ever lived
Six weeks after the death of his third child (a son called Johann
Thomas Leopold, who was born on 18th October 1786 and
died less than a month later), Mozart travelled to Prague for a
production of his latest opera, The Marriage of Figaro His visit
was a huge success, the rapturous reception given him by the
Prague public contrasting sharply with the increasing disinterest
shown by the Viennese Consequently, when the Prague National
Theatre asked him to compose a new opera for them, he readily
agreed and set to work on Don Giovanni A premire was planned
for 14th October, but the opera was not fnished in time and it was
frst staged two weeks later, on 29th October 1787
Even then Mozart was working on the music right up to the last
minute and, as his wife recalled, he only completed the Overture
on the day of the performance itself Apparently Mozart worked
on it all night, kept awake by his wifes constant chattering, and
fnished it sometime around 7am There is, nevertheless, scant
evidence of haste in the Overture, which opens with music,
including two massive solemn chords, drawn from the scene in
which a statue arrives to dine with the understandably terrifed
Don Giovanni The ensuing Allegro, in a major key, portrays in
its bustling character, frequent changes of mood and colour, the
character of Don Giovanni himself
Johannes Brahms (1833-1897)
Violin Concerto in D (Op.77)
The Composer
Born Hamburg, Germany, on 7th May 1833: Died Vienna,
Austria, on 3rd April 1897
Compositions included piano and chamber music, choral
and vocal works and 13 orchestral scores including four
symphonies and four concertos
Place in History: Major composer of the Romantic era who
avoided emotional excess and introduced traditional forms
drawn from the Classical era
Brahms composed his one and only Violin Concerto during a
summer holiday at the Austrian lakeside resort of Prtschach,
and it was premired in Leipzig on 1st January 1879 The soloist
was the great Slovakian-born violinist, and close friend of the
composer, Joseph Joachim
In keeping with Brahms strong sense of tradition, the Violin
Concerto follows the customary three movement - fast-slow-fast -
structure, the1st movement based on thefour contrastingthemes
outlined in the extended orchestral introduction The gloriously
exuberant fourish with which thesoloist enters heralds thestart of
a substantial dialogue between soloist and orchestra culminating
in a cadenza; coincidentally the last instance in a major concerto
where the cadenza was left blank by the composer (who asked
Joachim to write his own for the works frst performance)
K 2/3/08 14:11:13
22 23
Sunday 23
Vladimir Jurowski, conductor
Jean-Yves Thibaudet, piano
Wolfgang Amadeus Mozart
Symphony No38 in D (K504) - Prague
Adagio - Allegro
Maurice Ravel
Piano Concerto in G
Adagio assai
Sergei Prokofev
Symphony No5 in B fat (Op100)
Allegro marcato
Allegro giocoso
Wolfgang Amadeus Mozart (1756-1791)
Symphony No.38 in D (K504) - Prague
Yesterdays concert began with a work by Mozart written for
Prague, a city in which he was treated rather more enthusiastically
than Vienna where he had been living since leaving Salzburg in
1781 Mozart was in Prague to oversee a production of his opera
The Marriage of Figaro, which took place on 22nd January 1787,
and while the Prague authorities subsequently invited him to
compose another opera for them (Don Giovanni the Overture to
which opened yesterdays concert), in the meantime they asked
him write something for their orchestra He produced his 38th
Symphony, which has been known ever since as the Prague
With the Prague Symphony Mozart chose not to follow the
Viennese fashion for four-movement symphonies, but to revert to
the three-movement format which had been the norm right up
to his 25th Symphony (of 1773) All the same it remains one of
the longest he ever wrote, its scale suggested by the statuesque
opening of the 1st movement which anticipates the overture
to Don Giovanni while the ensuing Allegro, making a passable
imitation of clucking hens, also includes themes which appeared
later in both Don Giovanni and The Magic Flute
The 2nd movement, with its graceful clock-ticking character
and delicate dialogue between violins and woodwind, provides
the ideal foil for the huge frst movement, while some startlingly
adventurous harmonic twists and turns in the middle of the
movement would have given the audience just that touch of
originality they sought in Mozarts music
The 3rd movement is the shortest and most light-hearted of the
three, its playful character belying its sheer technical difculty;
indeed few passages in the whole of Mozarts output place such
demands on the musicians ability to produce taut ensemble
playing than the opening bars Some rather dramatic moments
later in the movement provide a further foretaste of Don
Maurice Ravel (1875-1937)
Piano Concerto in G
The Composer
Born Ciboure, France, on 7th May 1875 Ciboure, France: Died
Paris on 28th December 1937
Most orchestral scores began life as piano works, but among
his original orchestral compositions are two piano concertos
Place in History: Innovative writer for the piano but also one of
the 20th centurys greatest orchestrators
Despite the centrality of the piano in Ravels compositional
output, he was 53 before he seriously thought about composing
his frst piano concerto It took him more than a year to complete
the Piano Concerto in G, but in the end he expressed his total
satisfaction with it; I conceived it as a concerto in the strict sense,
and composed it in the spirit of Mozart and Saint-Sans It was
given its frst performance in Paris on 14th January 1932 with
Marguerite Long as soloist and Ravel as the conductor
Saturday 22
Vladimir Jurowski, conductor
Nikolaj Znaider, violin
The most beautiful oboe solo in the whole of orchestral music, is
how the British writer Antony Hopkins has described the opening
of the 2nd movement Having established the mood, the oboe
gives way to the soloist who enters with an ornamented version
of the theme After some momentary increase in tension the
movement reverts to the calm, tranquil beauty of its opening bars
with a delectable duet between solo violin and oboe
The 3rd movement celebrates in its ebullient double-stopped
theme both Brahms and Joachims shared experiences of
Hungarian music
Pyotr Ilyich Tchaikovsky (1840-1893)
Symphony No.6 in B minor (Op.74) - Pathtique
The Composer
Born Votkinsk, Russia, on 7th May 1840: Died St Petersburg,
Russia, on 6th November 1893
Compositions included operas, symphonies, concertos,
chamber and instrumental works and several hundred songs
Place in History: Russias most important Romantic composer,
who brought a heightened level of passion and emotional
involvement into traditional musical forms
Although his music was always very vividly descriptive, Tchaikovsky
refused to divulge the programme (or story) which inspired his
sixth and fnal symphony, frst performed in St Petersburg on
22nd October 1893 It was left to his brother to come up with
a subtitle patetichesky (usually given in its French equivalent,
Pathtique) to hint at the Symphonys character
As Tchaikovsky died just over two weeks after the Symphonys
premire, many commentators see in the work especially in
the profoundly grief-stricken last movement - his own awareness
of impending death, but this cannot be true since, at the time,
Tchaikovsky was both in the best of health and happier than he
had been for a long time Nevertheless the 1st movement begins
with a deeply sorrowful introduction This, however, is really
more sentimental and nostalgic than sad, and the appearance
of a Russian Orthodox funeral hymn played by the brass in the
middle of the movement - is believed to be a tribute to his mother
rather than a presentiment of Tchaikovskys own death
No sorrow at all in the 2nd movements elegant Waltz-like
character, and even a touch of humour; this Waltz has fve beats
in each bar (rather than the usual three) giving it a delightfully
lop-sided feel
The frst half of the vivacious 3rd movement, with its scampering
violins and little fragments of theme, is given over to preparing
the way for the big, spectacular march which turns this into one
of the most thrilling, spectacular and thoroughly life-afrming of
all Tchaikovsky symphonic movements But even as the echoes
of the triumphant march die away, the 4th movements grief-
stricken opening pours out of the violins like a food of tears Here
is some of the most emotionally-charged and passionate music
ever written
24 25
IMG Artists is proud to be the Executive Producer of the ADTA 5th Abu Dhabi
Music and Arts Festival, working closely with the Abu Dhabi Music and Arts
Foundation as well as the festivals various partners and sponsors. IMG
Artists is the global leader in the arts management business, combining the
highest standards of management with an incomparable range of services
and management expertise to its customers and clients alike.
With offces in New York, Los Angeles, London, Paris, Hanover, Lucca
and Singapore, IMG Artists delivers an international suite of capabilities:
Management and touring of the fnest musicians, orchestras
and attractions
Festival management world-wide, including:
U Producer, Tuscan Sun Festival (Italy)
U Producer, Festival del Sole, Napa (USA)
U Producer, Singapore Sun Festival (Singapore)
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26 27
Monday 24
Hiwar Maa Al Kibar
Saeed Kamal, conductor
Khaled Selim
Without Blame
The Beauty
Rejected Love
I Dont Cry
Why Do You Blame Me?
Oh! Patience!
And Days Go By
Love Has Come to Us
Asmma Almonaoar
Once Upon a Time (Warde Al Jazaariya)
Wahran (Ahmad Wahby)
There Were Many People (Fayrouz)
My Heart is My Guide (Lyla Murad)
This is My Night (Umm Khalthoom)
You Betray Me (Abdul Haleem Hafez)
Whats This? (Najat Al Sagera)
Dont Let Me Go Alone! (Sayid Makaawi)
I Sent to You (Fayrouz)
Two voices brought up on the repertoire of heritage and traditional music Due to their inspiration from the past, they succeeded in
establishing a new music which based on tradition and aspires to the future
Khalid Saleem comes from Egypt and Asma Al Munawar comes from Morocco to perform from great Arab musicians
They innovate rather than imitate They perform wittily a new version of the old musical tradition They will sing from the treasures
Arabic heritage, from the works of Mohammad Abd Al Wahab, Umm Kolthoom, Warda Al Jazaaria, Lyla Murad, Fayrouz and Abd Al
Haleem Hafez among others in a forgettable night with maestro Saeed Kamal as a conductor
A crack of the whip launches the 1st movement in which, after
a beautifully delicate melody which dances and shimmers like
light refecting on water, the trumpet takes over and turns it into
something altogether more boisterous
Accordingto Ravel, in the2nd movement I wanted to pay homage
to scholasticism I forced myself to write as well as possible For
the frst three minutes the piano is on its own playing a passage
of utter innocence and simplicity With almost magical delicacy,
the orchestra, led by a beautifully poised fute, joins in, but while
various instruments take over the melody, the piano maintains its
gently ticking left-hand accompaniment throughout
Coarse brass chords and a thumpfrom the bass drum set the piano
of on a frenzy of activity in the 3rd movement accompanied by
various squeaks and squawks from the woodwind and brass The
spirit of jazz is never far from the surface here, while the work ends
with shrill toy-like woodwind and a decisive thump on the drum
Sergei Prokofev (1891-1953)
Symphony No.5 in B fat (Op.100)
The Composer
Born Sontsovka, Ukraine, on 23rd April 1891: Died Moscow,
Russia, on 5th March 1953
Compositions include operas, ballet scores, piano and
chamber works, seven symphonies and concertos for piano
(5), violin (2) and cello (1)
Place in History: The leading Russian composer after
Tchaikovsky, spicing up traditional musical harmonies with
witty and sometimes harsh chords and melodic lines
Having left Russia in the wake of the Bolshevik Revolution of
1917, Prokofev decided to return permanently in 1936; I had not
grasped the signifcance of what was happening in the USSR I
did not realise that the events there demanded the collaboration
of all citizens not only men of politics but men of art as well
Less than a decade later, Russia was at war, and with the German
army at long last beginning to be driven back from Russian soil,
Prokofev wrote his Fifth Symphony to sing the praises of the free
and happy man his strength, his generosity and the purity of
his soul Its premire in Moscow on 13th January 1945, which
Prokofev himself conducted, was a huge triumph
The Symphony begins with a slow 1st movement, the opening
theme played in octaves by fute and bassoon a typical touch of
Prokofev wit, which gradually assumes a more majestic character
to concludewith a magnifcent celebration implyingthegreatness
of the human spirit, to echo Prokofevs own words
The nervous and abrupt 2nd movement, with its almost
mechanical momentum, has been likened by some to thehorrors
of war, while others see in it military skirmishes and the rattle of
The sorrowful 3rd movement with its plaintive melody may well
have been prompted by the terrible price the Russian people had
to pay for their heroic resistance to the Nazi invaders, although
some of the material is actually derived from Prokofevs earlier
flm-score Alexander Nevsky
Any hint of pessimism is brushed aside in the 4th movement
which, after a refective opening, bustles along with unstoppable
energy and a certain amount of impudence
Sunday 23
Vladimir Jurowski, conductor
Jean-Yves Thibaudet, piano
28 29
Wednesday 26
Thursday 27
BOLSHOI BALLET (continued)
Pavel Sorokin, conductor
Scene One: The impending tragedy and sorrow is hinted at in the
opening orchestral prelude, but soon the mood changes and we
fnd ourselves in an old castle in Germany where Prince Siegfried is
celebrating his coming of age He is congratulated by his mother,
friends and courtiers and, to suitably majestic music, he is made
a knight Vying for his attention, several girls surround him, but
Siegfried ignores them dreaming of a pure and perfect love As
the festivities draw to an end and the guests depart, Siegfried
is left alone in the gathering dusk He is aware of a shadow at
his side It is Fate, the Evil Genius, and it flls his heart with dark
forebodings as he continues to dream of his perfect love
Scene Two: Lured by Fate, Siegfried fnds himself by a mysterious
lake In the moonlight he sees on the shimmering water several
swan maidens one of which, Odette, he believes to be the most
beautiful creature he has ever seen; he has found his perfect
and pure love and swears to Odette that he will be faithful to
her for ever
Scene Three: His mother has told him that he must choose a wife
from the prospective brides who are being presented to him at
the castle However, he is obsessed with the image of Odette and
his dances with the various young women are of-hand; none
of them matches his ideal Suddenly a strange knight arrives at
the ball accompanied by a ravishingly beautiful young girl and a
several black swans It is Fate and his daughter, Odile, who appears
to Siegfried as Odettes exact double Struck by the resemblance,
he hurries towards Odile; something Fate has planned as a test of
the strength of Siegfrieds love He chooses her as his bride, but as
he does so the room is plunged into darkness and a vision of the
beautiful Odette appears Siegfried, realising his mistake, rushes
in despair after the receding image Odette
Scene Four: Back on the lake at night, Odette tells the swan-
maidens that Siegfried has broken his to her Siegfried appears
and begs her forgiveness, but while she forgives him, Fate stirs
up a great storm which forces them apart and, weakened by his
struggle, Siegfried can no longer hold on to the image of Odette
and, as day breaks, he is once again alone on the shore of the lake
of his lost dreams
Wednesday 26
& Thursday 27
Pavel Sorokin, conductor
Pyotr Ilyich Tchaikovsky
Swan Lake
It was Vladimir Petrovich Begichev, the Director of the Russian
Imperial Theatrein Moscow, who, in May 1875, ofered Tchaikovsky
800 roubles for a major new ballet for the Bolshoi company This
was a brave decision since Tchaikovsky, then aged just 35 (and a
close personal friend of Begichevs) had never previously written
any ballet music and had achieved only limited success in the feld
of music for thestagewith his opera TheOprichnik As Tchaikovsky
himself wrote to his fellow-composer Rimsky-Korsakov; I took
this work partly for money, which I need, and partly because I
have long wanted to try my hand at this kind of music Together
with Vasily Fedorovich Geltser, a dancer in the Moscow company,
Begichev drew up an outline libretto based on an ancient legend
concerning the mythical Swan Maiden; the purest of women who
appears in the guise of the most beautiful of birds With additions
to the libretto from Tchaikovsky himself, by the following March,
most of the work was complete and rehearsals for the new ballet
could begin
It all started well enough - Tchaikovsky, having sat in on an early
rehearsal, wrote to his brother; It was a pleasure to watch the
male and female dancers smiling at the future audience and
looking forward to the possibility of jumping, pirouetting and
turning about Everybody in the theatre is delighted with my
music but then things started to go wrong Tchaikovskys Swan
Lake was such a revolutionary ballet score that neither dancers
nor musicians could really grasp the concept At various times
it was declared undanceable, too complex and difcult, and it
took 11 months of rehearsal before the Bolshoi was ready to stage
the premire, which took place in Moscow on 4th March 1877 It
was not a success and Tchaikovskys score came in for more than
its fare share of criticism But, as his brother later recalled, The
poverty of the production, meaning the dcor and costumes, the
absence of outstanding performers, the ballet-masters weakness
of imagination, and, fnally, the orchestraall of this together
permitted Tchaikovsky, with good reason, to cast the blame for
the failure on others
The revolutionary nature of Swan Lake lay in both its powerful
emotional content and in the way in which Tchaikovsky had
produced a single, continuous stream of music Previously ballet
music had consisted of a series of unrelated dance movements,
but in Swan Lake Tchaikovsky used individual musical themes to
represent specifc characters (the famous Swan Themebeingjust
one of a number of themes which recur throughout the ballet)
and created along the way wonderful colouristic efects from the
orchestra to propel the story along
Over the years, that story has been adapted, re-written and
modifed as diferent productions seek to get to the heart of
Tchaikovskys conception The Bolshoi production we see today
is, in many ways, radically diferent from others but, as the British
Daily Telegraph wrote in its review of this production staged in
Birmingham; The point of Swan Lake is made wonderfully clear,
although not at the expense of tradition
30 3l
It would seem that Wolfgang Amadeus Mozarts (1756-1791)
frst-hand involvement in opera dates back to the time when he
was fve when, on 1st September 1761, he made his frst public
appearance singing in an opera staged to celebrate the birthday
of the Archbishop of Salzburg Four months later, Mozarts father,
Leopold, took him of on a concert tour of Europe and it was not
until 29th November 1766, that he was back home in Salzburg
Almost immediately theArchbishopinvited him Mozart was then
aged just 10 - to compose one act of an opera to be performed
in his palace on 12th March 1767 Thus began Mozarts career
as an operatic composer; a career which saw the creation of 20
more operas, culminating in the great masterpieces of Le nozze
di Figaro, Don Giovanni, Cos fan tutte, La clemenza di Tito and
Die Zauberfte, which was completed just three months before
Mozarts untimely death
Our Opera Gala opens with thefrst of thosegreat masterpieces, Le
nozze di Figaro (The Marriage of Figaro) which was frst staged in
Vienna on 1st May 1786 Mozart composed its Overture just two
days before the frst performance, and, with its urgent, whispering
opening, its frenetic energy and a lack of any middle section at a
slower tempo, it serves as a brilliant summary of what happens
during the course of the opera; which tells of the frantic comings
and goings, intrigues and practical jokes, which take place on the
day on which Figaro, an aristocrats manservant, marries
Mozarts penultimate opera, La clemenza di Tito (The Clemency
of Titus) was frst staged in Prague on 6th September 1791 and
is set at the time of Emperor Titus in 1st century Rome Our frst
extract from this opera, the duet Ah perdona il primo afetto(Ah,
forgive, my former love), fnds two lovers, Annius and Servilia,
declaring their love for each other in the face of Tituss decision to
choose Servilia as his own wife
Following a hugely successful performance of La nozze di Figaro
in Prague, Mozart was asked to write a new opera expressly for the
city He responded with Don Giovanni which was premired on
29th October 1787 It tells of the famous Spanish womaniser (who
is more often known as Don Juan) and of his eventual destruction
at the hands of the father of one of the women he had seduced
Proud of his string of female conquests, Don Giovanni instructs his
manservant, Leporello, to list them all in the famous Catalogue
Aria, Madamina, il catalogo questo delle belle che am il
padron mio (Young woman, this is the list of beautiful women
my master has seduced) According to Leporello, his masters
conquests numbered 2065, with 640 in Italy, 231 in Germany, 100
in France, 91 in Turkey and no less than 1003 in Spain
Returning to La clemenza di Tito we fnd that, jealous of Servilia
and besotted with Servilias brother Sextus, Tituss daughter wants
Sextus to set the city on fre and murder her father; and as Sextus
sets of on the task, he sings the aria Parto, parto ma tu ben mio(I
go, but, my dearest) Also taking its theme from ancient history,
Mozarts 13th opera, frst staged in Munich on 29th January 1781,
was set in theaftermath of theTrojan Wars and concerned theKing
of Crete, Idomeneo It contains one of Mozarts rare operatic mad
scenes in DOreste, dAjace ho in seno I tormento (What fury!
What Madness! Rage and despair consume me!), where Electra,
having been foiled in her attempt to marry Idomeneos son, goes
berserk giving vent to her anger and despair Earlier, however, the
object of her desires, Idamante, has been on thevergeof execution
at the hands of his own father The music we hear next is played
as he is led to the sacrifcial altar; Mozart himself described this as
a very simple March for two violins, viola, cello and two oboes, to
be played mezza voce While it is being played, the King appears
and the priests prepare for the sacrifce
Between Don Giovanni and La clemenza di Tito, both composed
for Prague, Mozart wrote one opera for Vienna, which was frst
performed in the citys Burgtheater on 26th January 1790 Cos
fan tutte is concerned with the faithfulness, or otherwise, of two
women engaged to the two soldiers who, during a night of heavy
drinking, accept a challenge, thrown down by Don Alfonso, that
their respective sweethearts will prove unfaithful within the
space of just 24 hours He gets to work on the two girls by, frst,
informingthem that their two men have sailed away to war Soave
sia il vento (May the wind blow gently)
Saturday 29
ELINA GARANA, mezzo-soprano
ERWIN SCHROTT, bass-baritone
Bolshoi Theatre Orchestra
Alexander Vedernikov, conductor
Saturday 29
ELINA GARANA, mezzo-soprano
ERWIN SCHROTT, bass-baritone
Bolshoi Theatre Orchestra
Alexander Vedernikov, conductor
Le nozze di Figaro Ouverture WA Mozart
La Clemenza di Tito Ah perdona il primo afetto WA Mozart
Anna Netrebko & Elina Garanca
Don Giovanni Madamina, il catalogo e questo W A Mozart
Erwin Schrott

La Clemenza di Tito Parto, parto WA Mozart
Elina Garanca
Idomeneo DOreste dAiace WA Mozart
Anna Netrebko
Idomeneo March WA Mozart

Cosi fan tutte Soave sia il vento WA Mozart
Anna Netrebko, Elina Garanca, Erwin Schrott


La forza del destino Ouverture G Verdi
Macbeth Come dal ciel precipita G Verdi
Erwin Schrott
Norma Casta Diva V Bellini
Anna Netrebko
La cenerentola Nacqui all afanno G Rossini
Elina Garanca
Il viaggio a Reims Sinfonia G Rossini

Les flles de Cadiz L Delibes
Anna Netrebko
Carmen Toreador G Bizet
Erwin Schrott
Carmen Chanson Boheme G Bizet
Elina Garanca
32 33
Monday 31
Vivaldi / Four Seasons
Karel Mark Chichon, conductor
Lithuanian Chamber Orchestra
Wolfgang Amadeus Mozart
Divertimento in D (K136)
Peter Ilyich Tchaikovsky
Serenade for Strings (Op 48)
Piece in form of a Sonatina
Antonio Vivaldi
The Four Seasons
1. Spring (Allegro - Largo - Allegro; Danza Pastorale)
2. Summer (Allegro con molto - Adagio - Presto)
3. Autumn (Allegro - Adagio molto - Allegro; La Caccia)
4. Winter (Allegro non molto - Largo - Allegro)
Wolfgang Amadeus Mozart (1756-1791)
Divertimento in D (K136)
In the middle of March 1772 Hieronymus Joseph Franz von Paula,
Count of Colloredo, was elected Prince-Archbishop of Salzburg
Mozart, who up to that time had been serving as Concert-Master
to the Salzburg court orchestra without receiving any payment,
saw in the appointment the opportunity to impress sufciently to
be able to procure a respectable salary Thus it was that between
29th April, the date of the Archbishops enthronement, and 21st
August, the day on which Colloredo eventually decreed that
Mozart bepaid an annual salary of 150Gulden, music quiteliterally
poured from Mozarts pen There were two operas, fve pieces of
sacred music for use in Salzburg Cathedral, six string quartets, 21
symphonies, seven songs and a groupof three instrumental works
composed for events associated with the celebrations to mark the
enthronement which included the Divertimento in D
Mozart may have been just 16 when he composed this
Divertimento in D, but as is evident from the charming 1st
movement with its gracefully cascading strings above a gently
chugging accompaniment, this is a work of real distinction The
2nd movement is a graceful and easy-going Andante, while
the 3rd movement opens with mischievous pianissimo chords
before the violins scuttle of in playful mood to indulge in some
exuberant chasing games
Peter Ilyich Tchaikovsky (1840-1893)
Serenade for Strings (Op. 48)
On 21st September 1880 Tchaikovsky settled down to compose
a new symphony but, a few days into the work, he decided it
might be better as a string quartet In the event, it turned out
to be a cross between the two As he wrote to his publisher, I
have accidentally written a Serenade for string orchestra, Thus
the Serenade for Strings was born, one of just two works for
string orchestra Tchaikovsky produced, and its public premire in
St Petersburg on 30th October 1881 (it had been given a private
performance in Moscow 10 months earlier) was such a success
that the second movement had to be repeated immediately
The Serenade is a tribute to the musical world of the 18th century
Tchaikovsky described the 1st movement as my homage to
Mozart; it is intended to be in imitation of his style and I should be
delighted if I thought I had in any way approached my model The
2nd movement, one of Tchaikovskys most famous and delightful
Waltzes, is also frmly rooted in the elegance of 18th century
Vienna, although the 3rd movement with its richly soaringmelody
and moments of real passion and intensity is pure 19th century
romanticism The 4th movement begins gently with the gradual
emergence of a theme originating from a song sung by barge-
pullers on the tow-paths of the great River Volga near Nizhni-
Novgorod This breaks into a boisterous dance based on another
authentic Russian melody, a Moscow street song, and despite the
eventual re-emergence of the stately theme with which the work
began, the infectious high spirits of the movement continue to
the very end
Giuseppe Verdi (1813-1901) was the greatest Italian opera
composer of the second half of the 19th century He was certainly
a hero to the Italians (at one point crowds would gather in the
streets and call Viva Verdi!, although this was actually a coded
call for Italian unifcation under King Victor Emanuel Viva Verdi
= Vittorio Emanuele R DItalia; Long live Victor Emanuel King
of Italy) and any new opera of his was almost guaranteed to be
an enormous box ofce success So it was that opera houses,
not just in Italy but further afeld, clamoured for the privilege of
premiring one of his 28 operas On 10th November 1862 that
privilege went to the opera house in St Petersburg, Russia, where
his 24th opera, La Forza del destino (The Force of Destiny) was
premired The Force of Destiny boasts a truly spine-tingling
Overture Heralded by six menacing hammer-blows a clarinet
bears its soul in a hauntingly sorrowful melody In the background
the violins urge it along with their own rushing theme and this
confict between fast and slow, sorrow and joy drives the music
along with unstoppable force
Premired in Florence on 14th March 1847, the frst of Verdis three
operas based on plays by Shakespeare was Macbeth, a gruesome
tale of murder in the Scottish court Having murdered King
Duncan, Macbeth realises that one of the kings generals, Banco,
must also be killed and as Banco walks into a garden with his son,
he is flled with justifable foreboding, which he reveals to his son
in the aria Come dal ciel precipita (How the heavens darken)
Italian opera composers in the frst decades of the 19th century
developed a style of writing for singers which has become known
as Bel Canto Its heyday coincided with the life of Vincenzo Bellini
(1801-1835), whose Norma is regarded as the supreme example
of a Bel Canto opera, and its eponymous heroines prayer to the
moon -Casta Diva(Pure Goddess) - the fnest example of a Bel
Canto aria The three key elements of Bel Canto were listed
by Gioachino Rossini (1792-1868) as; a naturally beautiful voice
even in tone across its full range, careful training that encourages
efortless delivery of highly forid music, and a mastery of style
which cannot be taught And Rossini knew a thing or two
about opera being, without doubt, the most successful operatic
composer of the frst half of the 19th century So successful was
he, in fact, that at the age of 37 and with 39 operas to his credit, he
retired to a villa on the outskirts of Paris The 20th of those operas
was based on the famous story of Cinderella La Cenerentola
who recalls, when her heart is full of joy at having married her
prince, the sorrows of her earlier life in Nacqui allafanno e al
pianto (I was born to Sorrow and Tears)
We now follow Rossini as he moves from Italy to France Shortly
after he had settled there he was commissioned to write an opera
to be performed during the celebrations for the Coronation of
King Charles X in Reims in 1825 He wrote Il viaggio a Reims (The
Journey to Reims) which took as its theme the various European
monarchs heading to the Coronation and opens with a suitably
majestic Overture And it was Rossini who indirectly inspired a
native French composer, Leo Delibes (1836-1891) to take up
opera (his mother, a leading operatic soprano, had sung in several
Rossini operas) Delibes wrote several operas, but today we hear
not an opera, but a setting he made of words by Alfred de Musset
evoking Spain through the eyes of three girls - Les flles de Cadix
(The Girls from Cadiz) dancing that most characteristic fo
Spanish dances, the Bolero
Another Frenchmans view of Spain comes from Georges Bizet
(1838-1875) whose opera, Carmen, is centred around that most
Spanish of entertainments, the bull-fght In the wake of another
successful contest, the leadingToreador, Escamillo, enters a tavern
where the crowd sings his praises He responds with the famous
Toreadors Song, Votre toast, je peux vous le rendre (To your
toast, I can answer with another) Also in the same tavern is
Carmen herself, who sings of the joys of gypsy life; Les tringles
des sistres tintaient (Guitar strings and zithers sounded)
Saturday 29
ELINA GARANA, mezzo-soprano
ERWIN SCHROTT, bass-baritone
Bolshoi Theatre Orchestra
Alexander Vedernikov, conductor
34 35
Tuesday 1
WORLD PREMIERE The Soul of the Orient
With the Oriental Orchestra
Among the Palm Trees
Violet of Fingers
Mural of Life
Oh!My Hear, Rejoice
Jalal Al Deen Al Rumi Huja
Al Nahaawand Time
Ascension Land
Soul lover
The Old Man and I
Musical Notes
Naseer Shamma is one of the most prominent oud players in the
world He has devised new ways of playing the instrument like
playing with one hand He also added another chord to the oud
and discovered two Maqams, Wisdom and Al Kuot, the latter is
named after his hometown in Iraq He invented a new musical
form entitled Crescent
Mr Shamma was invited to many countries across the globe
The German Ministry of Culture has bestowed on him the title of
Messenger of Arabic and Islamic Culture to the West He is also
the winner of many musical awards
In addition to playingthe oud, he is the composer of many musical
pieces and original flm soundtracks
He played with distinguished international orchestras
He is the founder of Al Aayoun ensemble for Arabic chamber
music, and Takhayol ensemble
In association with the Egyptian Ministry of Culture, he opened
a centre for teaching oud playing techniques called Arab Oud
House He has founded the frst oud orchestra in the world which
he dreams to see its members reach one hundred
Many documentaries were made about Mr Shamma in various
languages He has produced many CDs and the father of the
notion of gathering international musicians to participate in Our
Mother Earth project
Monday 31
SARAH CHANG, violin (continued)
Vivaldi / Four Seasons
Karel Mark Chichon, conductor
Lithuanian Chamber Orchestra
Antonio Vivaldi (1678-1741)
The Four Seasons
The Composer
Born Venice, Italy, on 4th March 1678: Died Vienna, on 28th
July 1741
Composed an enormous number of operas and concertos,
many of which were for the students of the girls school in
Venice in which, for many years, he worked as music master
Place in History: Arguably the most universally popular
composer of the Baroque era, who introduced colour and
imagery into purely instrumental music
Undoubtedly the best known of all Vivaldis works come from a
set of 12 violin concertos published in Amsterdam as his Opus
8 in 1725 Given the overall titleThe Contest between Harmony
and Invention, he prefxed the frst four of with verses describing
the seasons of the year and marked the points in each concerto
which correspond to phrases from the opening verses These
works, each of which is in fact a self-contained violin concerto,
have become known universally as The Four Seasons
SPRING has arrived and happily the birds welcome it in joyful
song, and we hear plenty of chirping birdsong efects in the
1st movement Later we hear the streams fowing with sweet
murmurings, whilethemusic becomes moreagitated to represent
a passing thunderstorm after which the little birds return and
resume their singing
The 2nd movement depicts the scene in a pleasant, fowery
meadow under rustling trees where the shepherd sleeps with his
faithful dog at his side
The 3rd movement is a rustic dance To the festive sounds of
country bagpipes, nymphs and shepherds dance in the felds
SUMMER The 1st movement opens as, under the scorching sun
man and beasts languish and the pine trees burn The music
suddenly livens up as the cuckoo begins to sing followed by the
turtledove and the nightingale After some lovely nightingale
song efects from the solo violin a sweet wind blows, but is
challenged by another blowing from the north and the next
entry of the solo violin represents a shepherd boy crying out,
frightened by the impending storm
In the 2nd movement we fnd him stirring his weary limbs for fear
of the ferocious lightning and the swarms of gnats and fies
It is only in the 3rd movement that the storm breaks out in all
its fury with fashes of lightning, claps of thunder and bursts of
torrential rain
AUTUMN in Italy is a time of harvesting and relaxation In the 1st
movement we hear the peasants celebrating the good harvest
with dances and joyful songs Some extrovert solo violin playing
represents the peasants afamed by much wine and after some
prolonged merrymaking they all fall asleep
They continue to sleep throughout the 2nd movement (Sleeping
drunkards), while, with the 3rd movement, we fnd everyone out
on the hunting feld The hunter goes forth at daybreak with
horns, guns and ferocious dogs The prey is sighted and they
follow in its tracks Tired and wounded as well as terrifed of the
noise of guns and dogs, the hunted animal makes a fnal bid for
freedom but is caught and killed
WINTER begins with much shivering in frozen snow and with
the solo violin in the 1st movement representing the icy blast
of a biting wind We also hear the stamping of feet and the
chattering of teeth
A welcome respite from the bitter weather is provided by the
warm and relaxing 2nd movement in which, while the plucked
strings in the background represent the pouring rain outside
the solo violin sings a lyrical melody representative of resting by
the fre in peace and contentment
Back outside the 3rd movement treats us to a walk on the ice,
afraid of slipping and falling, but growing in confdence until,
fnally the ice cracks and breaks We hear through an iron gate all
the winds in confict
36 37
Lianni Ahya
Music composition: Hiba Al Kawas
Poetry: Nada El Hage
Ya Naseema ElReeh
Music composition: Hiba Al Kawas
Poetry: Al Hallaj
Allegro con spirit (1st mvnt)
Music composition: Rodrigo
Wadadtu LawAqoul
Music composition: Hiba Al Kawas
Poetry: Nada El Hage WORLD PREMIERE, a special creation for
Abu Dhabi Music & Arts Festival
Music composition: Hiba Al Kawas
Poetry: Abdel Aziz Khoja WORLDPREMIERE, a special creation for
Abu Dhabi Music & Arts Festival
Aires di Sivilia
Music composition: Jose Maria Gallardo Del Rey
WORLD PREMIERE, a special creation for Abu Dhabi Music & Arts
Sawti assama
Music composition: Hiba Al Kawas
Poetry: Zahi Wehbi
Pleusis no. 1 Adagio (2nd movement)
Music composition: Hiba Al Kawas
Dedicated to Mrs Nazek Hariri in April 2000
Araftu Beirut
Music composition: Hiba Al Kawas
Poetry: Hussa
Wednesday 2
HIBA AL KAWAS, soprano/composer
The Bolshoi Theatre Orchestra
Wojciech Czepiel, Conductor
Pleusis no. 1
Allegretto ( 1st movement)
Music Composed by: Hiba Al Kawas
Dedicated to Mrs Nazek Hariri in April 2000
Ashamamta Itri
Music composition: Hiba Al Kawas
Poetry: Nada El Hage
Wa Tuhibbuni
Music composition: Hiba Al Kawas
Poetry: Houda Naamani
Biekf Twaddeni
Music composition: Hiba Al Kawas
Poetry: Ragheda Mahfouz
Concierto de Aranjuez
Adagio (2nd movement)
Music composition: Rodrigo
Music composition: Hiba Al Kawas
Poetry: Zahi Wehbi
WORLD PREMIERE, a special creation for Abu Dhabi Music & Arts
Tabqa Li
Music composition: Hiba Al Kawas Poetry: Ounsi El Hage
Music composition: Jose Maria Gallardo Del Rey
Njoumeddini biinaik
Music composition: Hiba Al Kawas Poetry: Nada EL Hage
WORLD PREMIERE, a special creation for Abu Dhabi Music & Arts
Asra Biqalbi
Music composition: Hiba Al Kawas
Poetry: Abdel Aziz Khoja WORLDPREMIERE, a special creation for
Abu Dhabi Music & Arts Festival
In the Path of Light (Symphonic poem)
Music composition: Hiba Al Kawas WORLD PREMIERE, a special
creation for Abu Dhabi Music & Arts Festival
When I met her for the frst time she said, Cest dj vu
And I addressed her writing her a ddicace, Sister
At that time I saw, as if a destiny connected her to music from lives
ago and Universes
I saw, Odor of Mist, powder of Gold, a look to the unseen, a dream
yet rooted in the heart of Earth
Two years ago in the closing night of Abu Dhabi Festival her eyes
imprisoned water of accomplishment
And the dream is not a dream, the odor transforming to Music, the
veiled on its way to be seen, the roots spread in the golden desert
planting it with Music
The mission is difcult but coming true in the country of vision
Hoda, ten years ago you asked me, Hiba, why Music, why? you
asked me the question as if it was your Rattle
And I answer you today its because You are In the Path of
To Mrs Hoda Kanoo I dedicate my Symphonic Poem, In the Path
of Light
Hiba Al Kawas
Wednesday 2
HIBA AL KAWAS, soprano/composer (continued)
The Bolshoi Theatre Orchestra
Wojciech Czepiel, Conductor
38 39
The Brush dances & the Ink Signs Hermitage Museum - St-
Petersburg, Russia
Meem Gallery, Dubai, United Arab Emirates
The Brush dances & the Ink Signs - State Museum of Oriental Art
Moscow, Russia
Tehran Biennial (Guest of honour and Jury member) - Iran
Sharjah Arab Art Biennial (Guest of honour and Jury member)
United Arab Emirates
Word into Art British Museum, London, Great Britain
Tunisian Great Prize of Arts & Letters - Tunisia
Artcraft Unesco Prize Paris, France
International Jury member of the Unesco Arts Prize
Gulf Air 50th Anniversary
Signs, Traces and Calligraphy - Barbican Centre, London, Great
Leighton House Museum London, Great Britain
Images dAfrique at the Barbican Center, London, Great Britain
Images dAfrique at the Kit Museum, Amsterdam, Holland
Images dAfrique at the Odense Museum, Denmark
Arab Book Art at the Bibliothque Nationale Paris, France
ART Basel - 1982
Honorary Medal from the King Ibn Saoud (Saudi Arabia) for his
Gold Medal of the City of Jeddah, Kingdom of Saudi Arabia
Iwalewa Center Bayreuth, Germany
Wilfredo Lam Modern Art Center Cuba
The Ludwig Museum - Aachen, Germany
Poster for Amnesty International
Galerie Cobol Copenhagen, Denmark
Duo with Wolfgang Heuwinkel at The Unesco Paris, Berlin and
the Gutenberg Museum in Mayence, Germany
La Hune Paris, France
Rochan Gallery Jeddah, Kingdom of Saudi
Dakar Biennial (Jury member)
USIA Invitation in the USA
Citibank International Album
The Arab Woman Court organised by El Taller in Beirut and
ATCE (Tunisian Foreign Co-operation Agency) Tunisia
Icograda Zanders Calendar (UN & Unesco) New York & Paris
The International Peace Book (Chantal Bernard - Unesco) France
Graphic Design Biennial of Brno, Czechoslovakia
Tuesday 22
March 2
Calligraphic masterpieces by
Emirates Palace AuditoriumFoyer
Tuesday 22
March 2
Calligraphic masterpieces by
Emirates Palace AuditoriumFoyer
Nja Mahdaoui is a visual artist and explorer of signs Born in
Tunis in 1937, he currently lives and works in Tunisia For further
information see page 65 or visit wwwnja-mahdaouicom
The British Museum London, Great Britain
The National Museum of African Arts Smithsonian Institution
Washington DC, USA
The National Gallery of Kuala Lumpur Malaysia
Bibliothque Nationale Paris, France
Museum of Modern Art - Tunis
Institut du Monde Arabe Paris, France
The National Museum of Scotland, Great Britain
The Ohsaki O Art Museum of Tokyo, Japan
The Modern Art Museum, Baghdad, Iraq
Beit Al Quran, Manama Bahrain
The Royal Museum of Contemporary Art, Amman, Jordan
The Museum of Contemporary Art of Baie Saint-Paul, Canada
HMThe Late King Fahad bin Abdulaziz Al Saud
Dar Chraiet Museum Tozeur, Tunisia
Japan Foundation
Saudi Aramco

All rights reserved - Nja Mahdaoui


All rights reserved - Nja Mahdaoui

40 4l
The Elite Music Institute
(Mrs Marina Zamfr, music teacher and
Ballet group (Sandra Rizk, Maria-Cristina
Abou Zeid, Natalie Salman, Jude Al
Qubasi, Sonia and Lilia Pervuhinas,
Yasmine El Choupi, Cristina Antypas, Maria
Dvornikova, Louise Edgley)
Russian dance
Shingai Mizuno, piano
Juf Shayanne, violin
El Choupi Yasmine, vocalist
Lee Seejin, guitar
Abu Dhabi Indian School
(Mrs Cyrilla Sebastian Thottan, music
teacher and coordinator)
Arianne Sebastian, piano
Chopin / Prelude
Sylvester Dsouza, guitar
Mel Bay / Arkansas Traveller
Nilav Sebastian & Johann Sebastian, piano
and guitar
Bobby Troup /Route 66
Victoria Vijayan, guitar
F. Von Suppe / Waltz from the Poet and the
Peasant Overture.
Joshua Vijayan, piano
Sandra Lynch /Bus Driver
Abish Rego , guitar
Mazas /Sonatina
Johann Sebastian, piano
Peter Kember /Swan Song
Katarina Peerss performing students
Anna & Carla Michael, piano
Edelweiss, R.Rogers
The Phantom of The Opera, A.L.Webber
Christina & Vanessa Moukarzel
Beauty and The Beast, A. Menken
Tomorrow, Ch.Strouse
Tony Henein
In a Hall of the Mountain King, E.Grieg
Noor Samarani
Hungarian Dance, J.Brahms
Roger Saoud
Prelude, M.Aaron
Marielle Rivets performing student
Mariam Al Askari, piano
Clair de Lune Debussy
Saturday 15 March
Julian Joseph and MathewBarley
concert with young local musicians
Time: 8:00pm
Venue: Cultural Foundation, main
Open to the Public
Julian Joseph and Mathew Barley with
Intro piece with children and chat
Julian Joseph and Mathew Barley
Julian Jospeh
Solo piece
Matthew Barley
Bach prelude in Eb BWV 1010
Julian Joseph and Mathew Barley
Miles Beyond by John McLaughlin
Julian Joseph and Mathew Barley with
Blues/devised piece
Julian Joseph and Mathew Barley
Vika, by Julian Joseph
Julian Joseph and Mathew Barley
Improvisation and Ravels Habanera
Julian Joseph and Mathew Barley
Cha Cha, by Jaco Pastorius
Young performing musicians:
Beethoven Institute of Music
Karinia Khoury, piano
Stepahnie Machado, piano
The British School Al Khubairat
Sasan Munro, bass guitar
Edouard Villain, clarinet
Dhani Miller, trumpet and guitar
Marc Muir, alto saxophone
Sawsan Khalaf, trumpet
Callum Cromey-Hawke, french horn
Zena Beale, clarinet and violin
Serena Kara, fute
The Centre Edu Care
Mia Clausin, Cello
Sanjay Jahn, piano
Hady Mahfouz, guitar
Rodney Fakhry, guitar
Jean Prouvost, guitar
Education Programme
Education Programme
ADMAFs education programme within
the 5th Classical Music & Arts Festival and
in collaboration with the universities and
schools of Abu Dhabi is established as a
source of inspiration to shape creative
thinking, discover young talent, and to
build on our rich tradition and culture to
open new artistic, cultural and educational
The annual Childrens Day is an event
seeking to give the opportunity to young
locals to express their musical talents in
public (morning performance) and the
chance to perform with professionals
musicians, invited especially on that
occasion (evening performance)
All along the festival, ADMAF also strives
to provide a full education programme
by inviting the artists and performing
orchestras to give lectures or exclusive live
performances in an ever-growing number
of schools and universities of Abu Dhabi
Saturday 15 March
Abu Dhabi Students Concert
Time: 11:00 am
Venue: Cultural Foundation
Open to the Public
The Beethoven Institute of Music
(Mrs Shahnaz Fernandez, music teacher
and coordinator)
Karinia Khoury, piano
Modinho-russo brasiliera- Slonimsky
Waltz - Chopin
Stephanie Machado, piano
Beach Buggy Boogie
Iona Rae, Vocalist
Someday (from the Hunchback of Notre
The British School Al Khubairat
(Jonathan Lyall, music teacher and
coordinator) Senior Brass Ensemble
(Dhani Miller, Liam Milton-Mc Gurk, Ross
Canning, Sawsan Khalaf, Benjamin Harvey,
Glen Murrell-Young, Nathan West, Kamil
Sumansky, Lewan Yazici, Calum Cromey-
Hawke) Variations on Frere Jacques
Chamber String Ensemble
1st Violins (Amber Lyall, Zeena Beale, Holly
West, Nathan West, Sultan Kara)
2nd Violins (Jennifer Willbond, Thomas
Mueller, Anila Rais, Summer Abdel

Violas (Caitlin Wallace, Zainab Majid, Miss
Rachel Barton)
Cellos (Ashley Hughes, Rana Mandour, Mia
Clausin, Miss Laura Chapple)
Various pieces
The Center Edu Care
(Mrs Irina Zakharovaira, music teacher and
Wesley Dubreuil, piano
Walvoglein - H.Hofman
Diana Mahfouz, piano
Preludio - Zipoli
Arthur Hemdat, piano
Volynca - J.S Bach
Mia Clausin, piano
Andante in B fat - Mozart
Sanjay Jahn, piano
Sonata in A - D. Scarlatti
Hady Mahfouz, piano
Blues WWW - Brian Bonson
Jean Prouvost, guitar
El condor pasa - Daniel Robles
Rodney Fakhry, guitar
Le Ruisseau - Paul Gerrits
42 43
London Philharmonic Orchestra
In the 2007/08 season, the London
Philharmonic Orchestra celebrates its
seventy-ffth birthday, inaugurates Vladimir
Jurowski as its new Principal Conductor
and moves back into its splendidly restored
home, Southbank Centres Royal Festival
Hall on the River Thames in the heart of
Londons cultural quarter
Seventy-fve years on from Sir Thomas
Beechams establishment of the ensemble
in October 1932, the London Philharmonic
Orchestra is recognised as oneof theworlds
great orchestras Following Beechams
founding tenure the ensembles Principal
Conductorship has been passed from one
celebrated musician to another: amongst
them Eduard van Beinum, Sir Adrian Boult,
Sir John Pritchard, Sir Georg Solti, Bernard
Haitink, Klaus Tennstedt and Kurt Masur
The London Philharmonic Orchestra is
the only symphony orchestra in the UK to
combine an annual subscription concert
season with regular work in the opera
house Since 1992 it has been resident
at the Royal Festival Hall, and since 1964
has performed each summer in the pit
at Glyndebourne Festival Opera, also
enjoying residencies in the nearby south
coast towns of Brighton and Eastbourne
Annual London concert seasons not only
attract some of the great instrumental and
vocal soloists of our time, but also include
a wide variety of performance formats and
musical styles including regular Family and
Schools Concerts and screenings of silent
flms with live orchestral accompaniment
A commitment to new music sees
regular commissions and world-premire
performances, with a current focus on the
work of Composer-in-Residence Mark-
Anthony Turnage
In 1965theLondon Philharmonic Orchestra
became the frst British orchestra to appear
in Soviet Russia and in 1973 visited China
the frst ever visit to the country by a
Western orchestra Touring continues to
form a signifcant part of the Orchestras
performing schedule, and it regularly
appears in North America, Europe and
the Far East, often headlining at major
festivals and concert-hall openings As a
counterpoint to its travels, the Orchestras
membership has itself benefted from
increased migratory freedoms, growing to
include outstandingly talented musicians
of varyingworld nationalities from Brazilian
to Hungarian
The London Philharmonic Orchestra has
long been embraced by the recording,
broadcasting and flm industries It enjoys
strong relationships with major record
labels and in 2005 began releasing live,
studio and archive recordings on its own
label CDs which are distributed worldwide
The Orchestra has broadcast regularly on
domestic and international television and
radio from both the concert hall and the
opera house, and has worked extensively
with both Hollywood and the UK flm
industries, recording soundtracks for
blockbuster motion pictures including the
Oscar-winning score for The Lord of the
Rings trilogy and scores for Lawrence of
Arabia, The Mission, East is East and In the
Name of the Father
As it embarks upon its seventy-ffth
season, the London Philharmonic
Orchestra has an international reputation
matched by a steadfast and unfinching
commitment to the communities of its
local London boroughs of Lambeth,
Southwark and Lewisham The Orchestra
reaches thousands of Londoners through
its varied and extensive programme
of education work, both community
and school-based, which includes the
acclaimed ofshoot ensembles Renga
and the Open Ear Orchestra Education
activities also nurture budding excellence,
and in 2005 the Orchestra launched its
apprenticeship scheme for outstanding
young instrumentalists, Future Firsts, who
beneft from a year of mentoring and
performance opportunities
The ongoing exploration of new
technologies, performance formats and
dialogues with local and international
audiences and communities will see
thousands more given the opportunity
to experience the Orchestras work in
this anniversary year through both
participatory music-making and live
orchestral performances of the highest
Elite Music Institute
Huda Fadel, violin
Denis Mankovtsev, guitar
Yasmine Hamadullah, piano
Abu Dhabi Indian School
Chirandeep Singh, tabla
Shruti Premlal, tampoora
Sylvester DSouza, guitar
Marielle Rivets performing student
Mariam Al Askari, piano
Participating schools and universities
The Higher College of Technology
Zayed University - Abu Dhabi
The United Arab Emirates University of
Al Ain
The Abu Dhabi Indian School
The Sheikh Zayed Private Academy for
Please note: At time of printing, locations
were still being determined. Please check
with Festival Staf for updated information.
23 March
1130 am to 1230 pm
The London Philharmonic Orchestra wind
ensembleto perform at TheHigher College
of Technology (ADWC)
23 March
100 pm - 200 pm
Khaled Selim and members of his orchestra
to lecture and performance in school /
university (location TBA)
26 March
100 pm Bolshoi Orchestra /Ballet
Unique open rehearsal at Emirates Palace
(with all the schools and universities
27 March
1100 am Open Ballet Class
A fascinating glimpse into the behind the
scenes of a ballet company, watching the
ballet company rehearse, warm up and
exercise at the cultural foundation (with all
the schools and universities participating).
At the Cultural Foundation
30 March
1000 am Hiba Al Kawas to lecture in school
or university (location TBA)
30 March
1100 am to 1200 pm Sarah Chang to
lecture and perform in school / university
(location TBA)
30 March
1100 am to 1200 pm
Elina Garanca to lecture and perform with
Karel Chichon and Erwin Schrott in school
/ university (location TBA)
31 March
Naseer Shamma to lecture and perform at
The United Arab Emirates University of Al
31 March
1200 pm - 100 pm
Naseer Shamma with Oriental Orchestra :
unique open rehearsal at Emirates Palace
(with all the schools and universities
31 March
300 pm Sarah Chang (Violin) / Lithuanian
Chamber Orchestra / Karel Mark Chichon
(Conductor): unique open rehearsal at
Emirates Palace (with all the schools and
universities participating)
Education Programme
44 45
E fat Clarinet
Emma Canavan
Soprano Saxophone
Martin Robertson
John Price Principal
Gareth Newman
Simon Estell
Contra Bassoon
Simon Estell Principal
Phillip Eastop Guest Principal
Gareth Mollison
Christopher Parkes
Chair supported by
David and Victoria Graham Fuller
Martin Hobbs
Neil Shewan
Paul Beniston* Principal
Anne McAneney*
Chair supported by
Geof and Meg Mann
Nicholas Betts* Co-Principal
David Hilton
Mark Templeton* Principal
David Whitehouse
Bass Trombone
David Vines
Lee Tsarmaklis Principal
Simon Carrington* Principal
Andrew Barclay* Principal
Keith Millar
Jeremy Cornes
Sam Walton
Christopher Guy
Rachel Masters* Principal
Piano / Celeste
Catherine Edwards
*Holds a professorial appointment in London
+Chevalier of the Brazilian Order of Rio Branco
Chair Supporters
The London Philharmonic Orchestra
also acknowledges the following chair
supporters whose player is not present at
this concert:
Simon Yates and Kevin Roon
Chief Executive and Artistic Director
Timothy Walker AM
Supported by Macquarie Bank
General Manager and Finance Director
Cameron Poole
Concerts Director
Matthew Todd
Artistic Administrator
Ruth Sansom
Touring Manager
Christine Cummings
Concerts and Tours Assistant
Hattie Jordan
Education and Community Director
Tabby Estell
Development Director
Emma OConnell
International Business Development Director
Mo Carrington
Marketing Director
Kath Trout
Orchestra Personnel Manager
Andrew Chenery
Orchestra Personnel Assistant
Hannah Tucker
Stage Manager
Michael Pattison
Richard Payne
London Philharmonic Orchestra (continued)
London Philharmonic Orchestra (continued)
London Philharmonic Orchestra
HRH The Duke of Kent KG
Principal Conductor
Vladimir Jurowski
Supported by Aviva plc
Principal Guest Conductor
Yannick Nzet-Sguin
Boris Garlitsky
Composer in Residence
Mark-Anthony Turnage
First Violins
Boris Garlitsky Leader
Pieter Schoeman Co-Leader
Vesselin Gellev Sub-Leader
Tina Gruenberg
Katalin Varnagy
Catherine Craig
Thomas Eisner
Martin Hhmann
Chair supported by
Richard Karl Goeltz
John Kitchen
Geofrey Lynn
Robert Pool
Sarah Streatfeild
Joanne Chen
Yang Zhang
Peter Nall
Alain Petitclerc
Second Violins
Clare Duckworth Principal
Jeongmin Kim
Joseph Maher
Kate Birchall
Chair supported by David
and Victoria Graham Fuller
Nancy Elan
Fiona Higham
Nynke Hijlkema
Marie-Anne Mairesse
Ashley Stevens
Andrew Thurgood
Sioni Williams
Heather Badke
Alison Strange
Peter Graham
Alexander Zemtsov* Principal
Robert Duncan
Anthony Byrne
Chair supported by
Mr and Mrs J A Kessler
Katharine Leek
Susanne Martens
Laura Vallejo
Daniel Cornford
Alistair Scahill
Martin Fenn
Sarah Malcolm
Miranda Davis
Claudio Cavalletti
Susanne Beer Principal
Francis Bucknall
Laura Donoghue
Santiago Sabino Carvalho+
Jonathan Ayling
Gregory Walmsley
Sue Sutherley
Susanna Riddell
Rosie Banks
Thomas Rof
Double Basses
Kevin Rundell* Principal
Paul Kimber Co-Principal
Laurence Lovelle
George Peniston
Richard Lewis
Kenneth Goode
Matthew Coman
Roger Linley
Susan Thomas* Principal
Siobhan Grealy
Stewart McIlwham*
Stewart McIlwham* Principal
Ian Hardwick Principal
Angela Tennick
Daniel Bates
Cor Anglais
Sue Bohling Principal
Chair supported by
Mr and Mrs Julian Simmonds
Nicholas Carpenter Principal
Emily Sutclife
Bass Clarinet
Paul Richards
46 47
Bolshoi Ballet
The history of the Bolshoi began over
two hundred years ago in 1776 The frst
permanent theatre company in Moscow
was established by Prince Peter Urussov,
Public Prosecutor in Catherine IIs imperial
government and a passionate lover of
theatre, together with an ex-acrobat
Englishman called Michael Maddox In
1780, Prince Urussov, having undertaken
to construct an edifce of which the
external ornamentation will contribute
to the beauty of the city, built a theatre
in Petrovsky Street where the company
performed drama, opera and ballet
Twenty-fve years later; the building
was razed to the ground in one of the
fres common in Moscow at that period
Performances were now staged at a
variety of venues throughout the city
until January 1825 when the magnifcent
new Classical-style Petrovsky Theatre was
opened Designed by architects Ossip
Bovet and Andrei Mikhailov, the building
was fronted by eight Doric columns, its
portico surmounted by a bronze Apollo
driving his four-horse chariot The drama
company now moved to the newly opened
Maly Theatre while the Bolshoi Petrovsky
Theatre devoted itself to the production
of opera and ballet At this stage, the
ballet company was comprised of just 47
In 1853, fre again destroyed the interior of
the theatre and the building was restored
by the Venetian architect Alberto Cavos,
son of the composer Caterino Cavos and
grandfather of Alexander Benois The
Bolshoi again opened its doors to the
public in 1856
Early choreographers
The frst ballets to be produced were by
the great French and Italian ballet masters
such as Filippo Beccari, theMorelli brothers
and Jean Lamirat Before long, however,
young Russian choreographers such as
Adam Gluchovsky took over, concentrating
on ballets with Russian themes From
1820-1830 the company, now expanded
to 150 dancers, developed in the French
tradition under the infuence of Felicite-
Virginie Hullin-Sor and Fanny Elssler who
familiarised the Moscow public with the
ballets of Jules Perrot
The opera company, during the 1840s,
staged the frst productions of Glinkas
operas Ivan Susanin and Ruslan and
Ludmila, works which marked the
foundation of a truly national school of
composition in Russia Of equal importance
to the history of both ballet and opera
was the legacy of Pyotr Tchaikovsky
many of whose works received their frst
performance at the theatre These include
the operas Eugene Onegin, The Queen of
Spades and the ballet Swan Lake
Because of the success of Marius Petipa in
the Mariinsky Theatre in St Petersburg in
the second half of the 19th century, there
followed a period ofrivalry between thetwo
companies A contrast became apparent
between the dance styles favoured by the
two cities, Moscow and St Petersburg
This disparity was exemplifed by Petipas
new ballet Don Quixote which received its
premiere in Moscow on 26 December 1869
in a boldly conceived, colourful production
which, when restaged in St Petersburg
two years later; was transformed into a far
more classically conceived work
Alexander Gorsky, Petipas assistant and
pupil, was appointed to the Bolshoi
Theatre in 1900 and from then on until his
death in 1924, he revised the companys
stagings of the basic repertoire, making
them more dramatic and realistic and
laying the foundations for the companys
great future successes His colossal impact
on the Bolshoi productions continued into
the Soviet period with choreographers as
recent as George Balanchine admitting
to having been infuenced by him Under
Alexander Gorsky, the company would fnd
its true identity Adhering to the naturalist
principles of the great theatre director
Konstantin Stanislavsky, he created several
original ballets that included Notre-
Dome de Paris in 1902 by Victor Hugo
and Salammbo in 1910 after Flauberts
novel In 1900, he brought back into the
repertoire Petipas Don Quixote, followed
by the Coppelia of Saint-Leon in 1901, La
Fille mal gardee in 1903, Swan Lake and
Giselle in 191 I, Le Corsaire in 1912 and La
Bayadere in 1917
BMW-Ofcial Car of the Bolshoi
Shell-Ofcial Sponsor of the Bolshoi
Marriott MoscowRoyal Aurora-Ofcial Hotel of the Bolshoi
Bank of Moscow-Partners of the Bolshoi
General sponsor of the Bolshoi Theatre
Saeed Kamal & Orchestra
Saeed Kamal, conductor
Tamer Kamel Eldeen, violin
Mustafa Helmi Amin, violin
Mohammed Ismail Al Moji, violin
Ahmed Zein Al Abdeen, violin
Ahmed Atef Abdul Hamid, violin
Ahmed Kamal Darwish, violin
Ashraf Said Rajab, violin
Hazem Ibrahim Al Asabji, violin
Mustafa Al Sayed Abdullah, violin
Ahmed Kamal Zaki, violin
Yasser Taha, cello
Mahmoud Ahmed Budair, cello
Ahmed Amin, counter bass
Saber Abdul Satar, qanoon soloist
Hani Al Badri, fute soloist
Mahmoud Mohammed Budair, org soloist
Mohammed Abdullah, piano, keyboard
Mustafa Aslan, lead guitar
Rafeeq Toufq, base guitar
Wajdi Fouad, drums
Haitham Fargali, tambourine
Ahmed Al Eyadi, drums
Mohammed Abu Al Haddid, daf
Essam Juma, choral
Nasser Ahmed Hassan, choral
Manal Mahmoud, choral
Hoda Ahmed, choral
Samar Majdi, choral
48 49
The Bolshoi Ballet
General Director of the Bolshoi Theatre
Anatoly Iksanov
Music Director and Chief Conductor of
the Bolshoi Theatre
Alexander Vedernikov
Artistic Director of the Bolshoi Ballet
Alexei Ratmansky
Head of the Touring Division and Tour
Elena Perflova
Administrative Director of the Ballet
Gennady Yanin
Head of Press Department
Katerina Novikova
Tour Manager
Ekaterina Valieva
Elena Lisitsina
Manager of the Ballet Company
Larisa Zhiltsova
Marina Kondratieva
Elena Bukanova
Stage Manager
Vladimir Shcherbakov
Marina Rudneva
Yury Gorbunov
Head of Production Department
Sergey Timonin
Stage Hands
Soslan Margiev
Alexander Abbakumov
Anatoly Voronov
Maxim Krupennikov
Dmitry Markitesov
Alexey Chuvalnikov
Alexander Kostyuchenko
Tamara Bit-Bayro
Andrey Egorchev
Lighting Designer
Alexander Rubtsov
Mikhail Sokolov
Alexandra Golubkina
Leonid Gerasimov
Mark Stavtsev
Ekaterina Treshchalina
Special Efects
Vladimir Dubinin
Nikita Smolov
Liudmila Milenina
Tatiana Babiyak
Lidia Shcherbakova
Natalia Pianova
Deputy Head of Wardrobe Department
Daniil Aldoshin
Female Wardrobe
Natalia Zinovieva
Elena Nikulina
Natalia Koroleva
Male Wardrobe
Rashid Alimov
Liudmila Naumova
Galina Samoletova
Bolshoi Ballet Principals
Svetlana Lunkina
Leading Soloists
Elena Andrienko
Anastasia Goryacheva
Ekaterina Shipulina
Ruslan Skvortsov
Artem Shpilevskiy
Alexander Volchkov
First Soloists
Morihiro Iwata
Denis Medvedev
Maria Volodina
Anna Leonova
Anna Nikulina
Anna Rebetskaya
Irina Semirechenskaya
Andrey Sitnikov
Dancers & Touring Company
Bolshoi Ballet (continued)
Bolshoi Ballet (continued)
Soviet era
Following the October Revolution in 1917,
Moscow became the capital of the new
Soviet Union and debate raged as to the
function of thearts within a Socialist society
Left-wing critics demanded the removal
from the repertoire of works by bourgeois
composers such as Tchaikovsky and
Rimsky-Korsakov in a mission to educate
the public with new ideas However more
moderate voices prevailed and, during the
early Soviet period, traditional nineteenth-
century operas and ballets wereperformed
alongside contemporary works Alexander
Gorsky was charged with the task of
re-organising the company Vassily
Tikhomirov succeeded Gorsky as Director
of Ballet in 1924 and was instrumental in
developing the Bolshoi style during the
next decades
Outstanding amongst Bolshoi soloists
at this time were the ballerinas Olga
Lepeshinskaya and Marina Semyonova
who were trained in St Petersburg but
enjoyed their greatest successes in
War years and frst visit outside Russia
With the invasion of Russia by German
forces in 1941, the Bolshoi Ballet and Opera
were evacuated to Kuibyshev on the Volga
where they remained until August 1943
The Ballet was now under the charge of
Leonid Lavrovsky who was faced with
the monumental task of re-establishing
the company during the post-war years
of deprivation and reconstruction In
1945, Prokofevs new ballet Cinderella
received its frst performance with Olga
Lepeshinskaya in the title-role and nine
years later, the same composers The Stone
Flower was given its world premiere
One of Lavrovskys most signifcant
achievements was to administer the
Bolshoi Ballets frst appearance in the
West at the Royal Opera House, Covent
Garden in 1956 followed a year later by a
visit to New York British audiences were
given their frst opportunity to witness
the virtuosity and dramatic intensity
of the Soviet choreographic style A
particular triumph was enjoyed by the
legendary ballerina, Galina Ulanova She
was succeeded as the Bolshois prima
ballerina by Maya Plisetskaya for whom
choreographers such as Petit, Bejart and
Alberto Alonso created roles
Post-war choreographers,
dancers and orchestra
Lavrovsky continued as Director of Ballet
until 1964 when he was succeeded as
Chief Choreographer and Artistic Director
by Yuri Grigorovich whose early years
at the Bolshoi were characterized by a
series of large-scale, highly spectacular
productions typifed by his 1968 revision
of Khachaturians epic ballet Spartacus
Grigorovich served as Artistic Director and
Principal Choreographer from 1964-1995
He turned ballets such as Swan Lake, La
Bayadere, Le Corsaire and Raymonda into
grand heroic spectacle Maya Plisetskaya,
Natalia Bessmertnova, Vladimir Vasiliev,
Ekaterina Maximova and Maris Liepa were
among the great principal dancers in his
In 1995, Vladimir Vasiliev took over as
Artistic Director with Alexei Fadeyechev as
Director of Ballet from 1998-2000 Anatoly
Iksanov succeeded Vasiliev, and Boris
Akimov was named Artistic Director of the
Bolshoi in the year 2000 followed by Alexei
Ratmansky at the beginning of 2004
As well as the glories of its dancers and
singers, the Bolshoi Theatre also boasts
an orchestra worthy to be compared with
any of the worlds greatest symphony
orchestras Throughout its long history
it has been directed by some of Russias
greatest conductors including Nikolai
Golovanov, Yury Faier, Alexander Melik-
Pashayev, Boris Khaikin, Evgeny Svetlanov,
Gennadi Rozhdestvensky, Mstislav
Rostropovich and Mark Ermler In 2001
Alexander Vedernikov took a position
of the Bolshoi Music Director and Chief
Today the Bolshoi is considered the
principal national theatre in the Russian
Federation employing three thousand
people includingits famed opera company
and a ballet company of more than 200
dancers A second hall was inaugurated in
November 2002
In September 2005, the reconstruction
of the main stage of The Bolshoi Theatre
historical building began The Bolshoi
Theatre plans to restart its normal work on
both stages in season 2008-2009
Todays Bolshoi Theatrecombines a pridein
its artistic heritage which it is determined
to maintain with an awareness that it must
grow and develop to prosper in todays
rapidly changing world
50 5l
The Orchestra of the Bolshoi Theatre of Russia
The Bolshoi Theatre Orchestra is the
oldest orchestra in Russia and one of the
world`s largest symphony orchestras It
was founded in 1776 when the Company,
which put a start to the future Bolshoi
Theatre, was formed Accordingto a decree
of Catherine II, the opera orchestra was to
incorporate 35 musicians
It was made upof serf musicians bought by
theTreasury from their landowner-masters,
of foreigners and other free people The
Orchestra took part in all the Theatre`s
musical dramas and opera productions
Gradually its repertoire was expanded:
following operas and ballets by Alyabiev,
Verstovsky and Varlamov, the works
of Glinka, later by Serov, Tchaikovsky,
Mussorgsky, Borodin, Rymsky-Korsakov
and Glazunov were staged at the Bolshoi
and played by its Orchestra From the
1830`s, the Orchestra began to give
performances of well known European
operas by Mozart, Cherubini, Rossini,
Donizetti, Bellini, Weber, later by Verdi,
Wagner, Bizet, Gounod and Puccini
From the end of the last century,
the Orchestra started to give symphony
concerts and these were to play a
major role in the development of its
professional skills The two years 1904-
1906 that Rachmaninov was conductor
of the Bolshoi Theatre Orchestra saw
considerable reorganization of the
Orchestra Rachmaninov`s activities
resulted in a re-assessment of the role and
place of the orchestra in opera and ballet
productions and the key importance of
the Orchestra in musical theatre came to
be acknowledged
The twenties and thirties of the present
century witnessed a new stage in the
creative evolution of the Bolshoi Theatre
Orchestra Over this period, the best
players in the country joined the Orchestra
which became the Soviet Unions most
authoritative collective of performing
musicians and the center of the capitals
musical life
Many outstanding Russian conductors
have appeared with the Bolshoi Theatre
Orchestra These include: Rachmaninov,
Suk, Golovanov, Pazovsky, Samosud,
Melik-Pashaev, Haykin, Svetlanov,
Rozhdestvensky, Simonov, Lazarev and
Ermler In 2001, Maestro Alexander
Vedernikov was appointed Music Director
and Chief Conductor of the Bolshoi
Theatre When appearing with the Bolshoi
Theatre Orchestra, the distinguished
foreign conductors Bruno Walter, Oscar
Fried, Albert Coates, Fritz Stiedry, Zdenek
Khalabala, G Abendrot, Riccardo Muti -
never failed to remark on the Orchestras
high professional level
Today, the Bolshoi Theatre Orchestra has
about 300members Amongthem aremany
frst class musicians who often perform
as soloists and members of ensembles in
concert halls in this country and abroad
In the Orchestra too are international
competition prize-winners and People`s or
Merited Artists of Russia Many of the older
generation of musicians are professors at
theMoscow Conservatoireand theGnessin
Academy of Music, and a lot of the young
players in the Orchestra are their pupils
This style is distinguished by the striking,
full-blooded sound of the string quintet,
the fligree work of the wood-wind and the
brilliance and power of the brass
The Bolshoi Theatre Orchestra has made
numerous recordings of operas, ballets
and symphonic works many of which
have received widespread international
recognition and high awards
The Bolshoi Orchestra tours extensively
both in Russia and abroad In addition
to taking part in opera and ballet
performances on these tours, it also gives
symphony concerts It was during the
Bolshoi Theatre Opera Companys 1964
tour (its frst) to Milan, that the Theatre`s
Orchestra gave its frst symphony concerts
abroad Ever since, most of the Bolshoi
Theatre Opera and Ballet Company tours
have included symphony concerts in
their programs, this quite apart from the
independent performances given by the
Orchestra in the USA, Germany, Japan,
Great Britain, France, Italy, Greece and
In 1989, the Bolshoi Theatre Orchestra was
awarded Italy`s highest music prize, the
Golden Viotti medal, as best orchestra
of the year Over the years, the Bolshoi
Theatre Orchestra has won international
acclaim due to its participation in Bolshoi
Ballet and Opera Company tours as well
Bolshoi Ballet (continued3)
Corps De Ballet
Tamara Abakelia
Karim Abdullin
Chinara Alizade
Ekaterina Antonova
Nino Asatiani
Vladimir Avdeev
Batyr Annadurdyev
Sergey Antonov
Anna Baranova
Yury Baranov
Ekaterina Barykina
Alesya Boyko
Yulia Chicheva
Svetlana Gnedova
Evgeny Golovin
Yulia Grebenshchikova
Liudmila Ermakova
Alexander Fadeechev
Natalia Fokina
Petr Kazmiruk
Elena Kazakova
Denis Kapralov
Elena Kasiyanova
Egor Khromushin
Victor Kleyn
Olga Klypina
Anton Kondratov
Anna Koblova
Anton Kuznetsov
Tatiana Kurilkina
Konstantin Kuzmin
Vladislav Lantratov
Victoria Litvinova
Natalia Lomakina
Yulia Lunkina
Sofa Lyubimova
Ilona Matsiy
Dmitry Melanin
Sergey Minakov
Nuriya Nagimova
Anna Nakhapetova
Kirill Nikitin
Natalia Novikova
Victoria Osipova
Maxim Oppengeym
Zakhar Potapov
Galina Potdykova
Ivan Prazdnikov
Apollinary Proskurnin
Maria Prorvich
Andrey Rybakov
Svetlana Rudenko
Elena Saurova
Anton Savichev
Evgeny Sazonov
Ivan Semirechenskiy
Roman Simachev
Ksenia Sorokina
Anastasia Stashkevich
Dmitry Starshinov
Anna Tatarova
Olga Tubalova
Anastasia Shilova
Artem Vakhtin
Maria Vinogradova
Vodopetov Alexander
Vorokhobko Daria
Ilya Vorontsov
Marina Zakharova
Mikhail Zarubin
52 53
Bolshoi Theatre Orchestra
First Violins
Inna Li
Alexey Lukirskiy
Vladimir Sklyarevskiy
Irina Petukhova
Dagmara Kalashkova
Liubov Kalashnikova
Kirill Filatov
Dina Volkova
Ekaterina Butakova
Lada Malykhina
Roman Denisov
Anton Manamshiyan
Anastasia Kondakova
Olga Kharitonova
Second Violins
Roman Yanchishin
Vladimir Kozhemyako
Evgenia Astakhova
Yury Tyurin
Andrey Volkov
Anastasia Lukirskaya
Victor Sedov
Maxim Muchkin
Alsu Parshina
Anna Rashina
Vera Alekseeva
Natalia Shevtsova
Vladimir Yarovoy
Alexander Balashov
Alexander Petrov
Larisa Poltoratskaya
Natalia Sablina
Elena Vasilieva
Anfsa Podkovyrkina
Liudmila Gromova
Irina Lakshina
Diana Kuznetsova
Dmitry Surikov
Boris Lifanovskiy
Lev Neuchev
Vladimir Streltsov
Svetlana Sergeeva
Victor Shameev
Mikhail Troitskiy
Daniil Men
Double Basses
Gennady Borisov
Anton Krylov
Nikolay Gorshkov
Yaroslav Lobov
Pavel Sablin
Vladimir Gusev
Galina Erman
Maria Volkova
Elena Mitrofanova
Alexander Krylov
Evgeny Aleshin
Vladislav Komissarchuk
Sergey Petrov
Nikolay Varaksin
Vladimir Khachikyan
Alexey Bazhalkin
Talgat Sarsembaev
Alexander Shalin
Vladimir Chukhnov
Alla Koroleva
Nina Ryabchinenko
French Horns
Alexey Raev
Alexey Kanarev
Viacheslav Taran
Alexander Andrusik
Alexey Korniliev
Andrey Ikov
Kirill Yakushev
Alexander Skvortsov
Evgeny Nesterenko
Sergey Alyudin
Maxim Tarasov
Alexander Kazachenkov
Sergey Soloviev
Mikhail Dunaev
Anatoly Kurashov
Filipp Panyushkin
Sergey Vetrov
Orchestra Director
Alexander Shanin
Orchestra Manager
Evgenia Shchukina
Marina Tsareva
Musical Instruments Superviser
Alexander Svibilskiy
Orchestra Porter
Gayar Abdryakhimov
Musicians & Touring Company
The Orchestra of the Bolshoi Theatre of Russia
The Orchestra of the Bolshoi Theatre of Russia
as to its appearances on the concert
platform In 2003, following the Bolshoi
Theatre Orchestra and Chorus tour to
Spain and Portugal, critics commented
that the Orchestra had once again lived
up to the reputation for excellence it had
acquired over the years; the program
was specially chosen to demonstrate the
energy which causes Tchaikovsky and
Borodins music to go right to the heart;
This Tchaikovsky work was beautifully
played and here no small credit is due to
Alexander Vedernikov who retained its
original musical style In February 2007
the Bolshoi Orchestra played in Germany
(Munichs Philarmonie im Gasteig and
Alte Oper Frankfurt) with great success
At the Big Hall of the Conservatoire, the
Bolshoi Theatre Orchestra, conducted by
Alexander Vedernikov, has given concerts
celebrating the Berlioz 200th, Mravinsky
100th, Sviridov 90th and Shostakovich
100th anniversaries; also at the
Conservatoire, the Theatre Orchestra and
Chorus played excerpts from the operas of
Richard Wagner (soloists Waltraud Meier,
Christopher Ventris, Pavlo Hunka), Verdis
Requiem, Brukners Symphony N 9 and
Te Deum (conductor Guenter Herbig),
Mozarts Symphonies N 35 and N 40 and
concert arias (conductor Leopold Hager,
soloist Ruth Ziesak) At theBolshoi Theatre
New Stage, Zoltan Peshko conducted the
Orchestra in a performance of Mahlers
Symphony No 5; and, at the same venue,
it was conducted by Alexander Vedernikov
in performances of the following works:
Brahmss Symphony No 1 and Piano
Concerto No 2 (soloist Nikolay Lugansky);
the Vino aria and excerpts from Bergs
Wozzeck (soloist - Angela Denoke) and
Richard Strausss Symphonic poem Don
Mariss Jansons, Miklail Pletnev, Jiri
Belohlavek will conduct the Bolshoi
Orchestra in the nearest future Maestro
Yuri Temirkanov will be Principal Guest
Conductor of the Bolshoi Orchestra since
season 2007-2008
54 55
Oriental Orchestra
Nihad Al Sayed
Shereen Al Tahami
Mustafa Saeed
Alaa Shaheen
Alaa Medhat Yousef
Ahmed humaid Abbas
Mohammed Abu Zekra
Ashraf Awad Humaid Awad
Ebtisam Eid Shabayek
Bassem Al Yousf
Rajaa Kahel
Gilan Abdul latif Ibrahim
Afan Ali Daud
Yousef Darwish
Mena Jamal
Mohammed Saeed Mohammed
Mohammed Kamal Eldeen Tabbara
Faisal Ahmed Mubarak
Ali Obaid Rashed
Eyad Nayef Al Khaldi
Oud bass
Naji Naji
Saber Abdul Sattar
Bassam Abdul Sattar
Mohammed Saleh
Aliaa Abu Al Eineen
Ali Shaker
Omar Ziad
Hiba Mahmoud
Marwa Mahmoud
Mstafa Kamal
Mamdouh Suroor
Mohammed Ibrahim Kola
Rami Shamroukh
Leith Faisal Sulaiman
Amro Al Tehewi
Ahmed Khairi
Amal Al Hinawi
Mohammed Faraj
Mohammed Atef
Juan Al Ali
Adnan Koake
Yassmine Fathi
Mohammed Yehia
Abdullah Abu Zekra
Amal Saad
Amro Mustafa
Ahmed Ali Al Sayed
Khaled Abu Hejazi
Anwar Abudragh
Anwar Abd Daoud
Wesam Ayoub
Abed Qassem
Hinderin Hekmat
Ross Daly
Kyriaki Thoma
Zacharias Spyridakis
Derya Turkan
Bita Ghasemi
Sirkan Halili
Murat Aydemir
Other instruments
Dahlia Mess (Erhu)
Hua Xia (Pepa)
Dimitrios Sideris (Lawto)
Siamak Aghaei (Bass ghitchak)
Efstratios Psaradellis (Lavta)
Haroun Koak (Zareb)
Kokhan Filsman
Risolo Glu Farqan
Biography & Musicians
Lithuanian Chamber Orchestra
Founded in 1960 by Prof Saulius Sondeckis
(Artistic Director and Chief Conductor,
19602004) the Lithuanian Chamber
Orchestra (LCO) is recognised as one of the
fnest and most internationally acclaimed
Lithuanian orchestras The LCO was the
frst among Lithuanian orchestras to make
its debut in the West at the Echternach
Festival in Luxembourg in 1976, which
embarked them on an international career
and new possibilities

The Orchestra today it is on an up close
to stratospheric! Already in the frst half
of the concert there was a sparkle in the
orchestra, but in the second half they were
really tempestuous. The fnal movement of a
piece was totally amazing, from a slowstart
reaching a blistering pace, with dynamics
like I have rarely heard from this orchestra,
and, it seemed, having enormous fun with
Music and Life Everywhere! 2006

The Lithuanian Chamber Orchestra has
toured almost every European country,
North and South Americas, Japan, Egypt,
and the Republic of South Africa The
audiences have applauded the LCO at the
Berlin Philharmonic, Musikverein in Vienna,
Royal Festival in London, Santa Cecilia in
Rome, Concertgebouw in Amsterdam,
Pleyel Hall in Paris, Gewandhaus in Leipzig
and at many other famous concert halls in
Europe They have repeatedly appeared
with Mstislav Rostropovitch, Yuri Bashmet,
Gidon Kremer, Vladimir Spivakov, Tatyana
Grindenko, Igor Oistrakh, Yevgeny Kissin,
David Geringas and Yehudi Menuhin,
Julian Rachlin, Misha Maisky, Vadim Repin,
Denis Shapovalov among many others
With its rendering of the light and vigorous
opus by Mozart, the orchestra once again
presented itself for the audience as an
orchestra well versed in the secrets of the
highest mastery, able to create stylish and
lively interpretations. The interpretation of
the symphony is worthy of superlatives only!
Playing without a conductor, the orchestra
was as precise as a perfectly geared
mechanism. Yet, a mechanism is inanimate,
while the performance of the orchestras
musicians was noted for fresh breathing,
tasteful articulation, and fascinated us with
fligree intonations, fexible dynamics and
meaningful phrasing...
7 meno dienos, 2006 (Lithuania)

During almost fve decades of its illustrious
career, the LCO has collaborated closely
with many famous soloists, conductors
and choirs in numerous performances and
on more than 100 recordings of diverse
repertoire, with a special afnity for the
works of Bach and Mozart The Lithuanian
Chamber Orchestra has also given a
number of world premieres of works by
many celebrated composers, including
Alfred Schnittke, Arvo Prt and Pteris
Vasks, who have dedicated their works to
the Orchestra
... Thanks to the performers clear
articulation, each sound in Joseph Haydns
roulades became as if crystalline, clear
and transparent, with delicate dynamic
lining. The orchestras ensemble quality and
excellent teamwork created an impression
of one performer, one body consisting of
a multitude of individual cells, playing on
Muzikos barai, 2005 (Lithuania)
Lithuanian Chamber Orchestra
Eugenijus Urbonas
ilvinas Maliknas
Algirdas Paukt
Vilja Breivien
Vida Tankeviien
Silvija Maceikait
Irma Bakeviien
Dalia Surauit Gotoveckien
Vilija Pranskien
Vaida Pauktien
Paulius Biveinis
Algirdas Deknys
Inga Gylyt
Petras Radzeviius
Algimantas Nemanis
Ramnas Zakaras
ilvinas velnys
Dainius Palauskas
Gediminas Derus
Algirdas Straiys
Vytautas Galvydis
Double Basses
Vytautas Jacunskas
Vilimantas Martinnas
Skaist Palauskien
Egidijus Mikys
56 57
Hiba Al-Kawas was born in Saida, Lebanon on the 17th of
July 1972 She graduated from the Lebanese University
with a degree in Experimental Sciences and a Bachelor
Degree in Clinical Psychology She followed this with a
Masters Degree in Operatic Chant with high distinction
from the Lebanese National Higher Conservatory and
a Masters Degree in Music Composition and studies in
Musicology She has also prepared her fnal studies for a
Diploma in Piano She was awarded a special scholarship
from the Academia di Chiggiana di Sienna in Italy where
she did high studies in Opera Singing with the famous
Tenor, Carlo Bergonzi and Composition with Maestro
Franco Donatoni
Mrs Al Kawas is currently a member of the board at the
LebaneseNational Higher Conservatory and a professor of
Opera Chant, and Composition there She is a Committee
member of The Lebanese National Symphony Orchestra
She is also a professor at the Lebanese University and
is the Academic & Music Coordinator at the Teachers
Training College for Music in Beirut and a member of
the High National Committee of Music at UNESCO, and
a member of the National Committee of UNESCO for the
Sciences, Education and Culture Also she is a member
of the Intellectual Property-International Chamber of
Mrs Al Kawas has recorded 21 works of her own
composition with the Dnepropetrovsk Symphony
Orchestra-Ukraine under the direction of Viascheslav
Blenov and 10 works with The Academy of Krakow
Symphony Orchestra, under the direction of Wojciech
Czepiel She has also recorded 13 works with The National
Symphony Orchestra of Ukraine and the National Choir of
Kiev conducted by Vladimir Sirenko
Since her frst concert at the age of six, Hiba has
thrilled audiences in Lebanon, Syria, UAE, Cairo, Tunis,
Bahrain, London, Paris, Italy, Germany, Poland, Ukraine,
Portugal, and Amsterdam with many, many concert
In the year 2000 she was chosen to participate as a
composer by the Krakow Contemporary Composition
Festival where the Krakow chamber Orchestra played
her composition, Aspiration No1 conducted by Wojceich
Czepiel Her symphonic work, Pleusis No1, a composition
of three movements was dedicated to Mrs Nazik Al Hariri,
as a gesture of recognition for her support and patronage,
it was played for the frst time by the Lebanese National
Symphony Orchestra conducted by Harout Fazelian
Recently Mrs Al Kawas was invited for the second
time by the Polish composers association and Krakow
Contemporary Composition Festival, where her latest
composition Moments in Krakow was played as a
world premiere by the Symphony Orchestra of Krakow
Academy of Music conducted by Wojceich Czepiel
Hiba Al Kawas has composed an Orchestral work, Baina
Nahrain upon the request of Al Jazeera TV on July 2004
She performed at the opening ceremony of Tyr festival/
Lebanon and Al-Medina Festival in Tunis
Mrs Al Kawas gave several lectures at the University of
Amsterdam, as well as shewas commissioned to compose
a piece which has been played by New Ensemble at
Gaudeamus music week whereas she has been selected
among the top world composers
HIBA AL KAWAS, soprano/composer
In the Memory of the Lebanese Late PM Rafc El Hariri,
Mrs Al Kawas presented a work of her composition
written for Voice, Choir and Symphony Orchestra, titled
Salam Al Hourriyyah poetry by Nada El Hage, this
composition was also produced as a musical Film by
Milad Tawq
Mrs Al Kawas has composed for Symphony Orchestra,
Chamber Orchestra, String Orchestra, Various ensembles,
Piano and Songs In her compositions she gave a role
to the traditional Arabic instruments to play as a part
of the Symphony Orchestra Mrs Al Kawas composition
experience is combining the Oriental-Arabic music
components with international composition techniques,
bridging between Oriental-Arabic music, classical and
neo classical form with contemporary music
Hiba Al Kawas has established a career in Lebanon and
the Arab world in bringing into existence the Arabic
Opera Her practical work led her to the Arabic Operatic
song, rather (Aria in Arabic), she accomplished the new
Vocal procedure where she was able to fnd the proper
position of the voice to hold the Arabic letter preserving
the Arabic pronunciation and Arabic singing tradition
Using Operatic vocal techniques in an adapted way can
allow the singer to use his/her voice as a supreme musical
instrument On November 30, 2006, Hiba Al Kawas has
performed along with Jose Carreras in Dubai at the 2nd
anniversary of the Dubai International fnancial Centre
DIFC- accompanied by the London Sinfonia Orchestra
Hiba has in addition to performing songs of her own
musical composition, performed a duet with Jose
Carreras All I Ask of You taken from the Phantom of the
Opera Al Kawas musical composition Pleusis 1has been
played by the London Sinfonia as well
On Jan 22nd 2007 Hiba Al Kawas received the Decoration
of HRH Sultan Qabous, The Golden Sultan Qabous Order
for Culture, Science and Art On Feb 19th Mrs Al Kawas
sang from her composition in the presence of President
Jacque Chirac at IDMA in Paris, dedicating one of her
composition songs to President Chirac and the Soul of
PM Rafc Hariri The song is 0 Liban soit sauv! the poetry
by Mrs Nada El Hage
In Sep Mrs Al Kawas Recorded two works of her
composition with The National Symphony Orchestra of
Ukraine, conducted by Vladimir Sirenko
On Oct 14th 2007, Mrs Al Kawas new creation Rouia Fi
Maawas played at Opera National DeParis- Bastille; it was
commissioned by Festival dautomne for contemporary
music, especially for the occasion Rouia Fi Maa was
performed by NeuweEnsembleof Amsterdam and herself
as a Soprano This work is a contemporary composition
that is divided in fve music and three Singing Fragments
that are based on Arabic poems by Nada El Hage
On Nov 2007 a musical short movie Noor on Hiba Al
Kawas new composition Asra Biqalbi was produced A
song based on a poem by HE Abdel Aziz Khoja Asra
Biqalbi and other works are composed to be a World
Premiere at Abu Dhabi Music Festival Creating the Arabic
Opera remains Hiba Al Kawass main dream
Cello playing is at the centre of Matthew Barleys career,
while his musical world has virtually no geographical,
social or stylistic boundaries After training at the
Guildhall School of Music and Drama and the Moscow
Conservatoire, Matthews activities in performance,
improvisation, cross-disciplinary projects, composition,
and pioneeringcommunity programmes soon developed
to form a uniquely eclectic international career The
best representation of this career so far was Matthews
marathon UK tour, On the Road, in 2006 playing 20
recitals and giving 17 workshops in 30 days The venues
ranged from prestigious concert halls, to a prison, a
school for terminally ill children, and a vegetarian cafe
The programme included improvisation, core classical
music, contemporary music with electronics, and a new
piece by DJ Bee and Barley for cello with computer
and midi-pedal board! The tour was a huge critical and
audience success with many sold-out houses
Matthew made an early London concerto debut playing
the Shostakovich Cello Concerto in the Barbican Hall with
the London Symphony Orchestra, as fnalist of the LSO-
Shell Competition Sincethen his solo and chamber music
engagements have taken him to nearly 50 countries,
performing repertoire ranging from Bach to his own
compositions, music written for him and improvisation
Matthews concerto engagements include the BBC
Philharmonic and BBC Scottish Symphony (Hazlewood),
BBC Concert, Grzenich (Markus Stenz), Royal Scottish
National (Marin Alsop), Czech Philharmonic (Caballe-
Domenech), New Zealand Symphony (Tan Dun),
London Sinfonietta, Orchestra Internazionale dItalia,
Brno Philharmonic, Hong Kong Sinfonietta, Buenos
Aires Philharmonic, Georges Enescu Philharmonic, and
Athens Kamerata Recent recital appearances include the
Wigmore Hall, St Georges Bristol, Seouls Kumho Hall, as
well as the Krakow, Lucerne, City of London, Spitalfelds,
Istanbul, Prague Autumn, Hong Kong, St Magnus in
Orkney, Harrogate, Lichfeld, Salisbury, Cheltenham,
Dijon, Koshigaya, WOMAD, New Zealand and London
Jazz festivals
His Europe-wide tour with the Netherlands Dans Theatre,
as on-stage soloist in Brett Deans cello and electronics
score for Jiri Kylians ballet One of a Kind, took him to
5 diferent countries with 17 performances including
London Sadlers Wells, Montpellier Danse Festival, and
The Hagues Dans Theater
Matthews passion for new music has led him to premiere
works, many of them his commissions, by Detlev Glanert,
Peter Wiegold, Fraser Trainer, Rand Steiger, John Metcalfe,
John Woolrich, Dimitri Smirnov, Carl Vine, Katsuhiro
Tsubono and Deidre Gribben
Matthew Barleys non-classical collaborations include
Django Bates, Julian Joseph, Davud Azad, DJ Bee, Talvin
Singh, Temple of Sound and Ross Daly, appearing in
venues ranging from Ronnie Scotts to the South Bank
Centre Matthew also masterminded and performed in
a major project for violinist Viktoria Mullova, Through
the Looking Glass The project was performed in a 27-
concert worldwide tour, and the recording, produced
by Matthew, was released by Philips Classics in 2000
Matthews ongoing collaboration with star Indian sarod
player Amjad Ali Khan, has resulted in duo recitals at
Londons Royal Festival Hall (2000 and 2002), at the 2003
WOMADFestivals in Adelaide(Australia), Wellington (New
Zealand) and Reading (UK), at the St Denis Festival in
Paris, as well as in Calcutta and Mumbai in India They will
soon be performing Amjad Ali Khans double concerto for
Sarod and Cello with the Scottish Chamber Orchestra
Matthews frst recital disc, Reminding, featuring Soviet
music for cello and piano, was released on Quartz in
September 2005 Previous recording projects include
The Silver Swan (Black Box) and Strings Attached
(Navras) The Silver Swan features repertoire ranging
from plainchant to Bach, Bizet and Arvo Prt, arranged by
Matthew for multi-track cello, creating an extraordinary
consort efect 2Strings Attached is a collaboration with
sarod players Amjad Ali Khan, Amaan Ali Khan and Ayaan
Ali Khan It was recorded live in concerts at Londons
Festival Hall and in Calcutta, and is also available as a
Musicians & Touring Company
Hiba Al Kawas
Co- Organizing, HKI
Hiba Al Kawas, Soprano / Composer
Guitar Soloist Jose Maria Gallardo Del Rey
Conductor, Wojciech Czepiel
Oud Andre El Hage
Duf Ali Al Khateeb
Katem Walid Nasser
Mazhar/Tar Farid Bou Saiid
Advisor & Press Attach Nada El Hage
Executive Producer/Event Manager Pierre Sarraf
Sound Engineer Jerry Eade
Light Designer Fouad Haddad
Ms Al Kawas Costume Designer Zouheir Murad
Ms Al Kawas Hair Stylist Simon Mendelek
Ms Al Kawas Makeup Artist Najat Bou Yazbik (Institute Bassam Fattouh)
Photographer Nabil Ismaiil
58 59
roles Grigorovichs favorite was that of the warrior leader
Nurali, famous for his part in the last act of The Fountain of
Bakhchisarai But even in his formative years, Grigorovich
was keen to try his hand at choreography In 1956, he was
allowed to arrange a ballet to Glinkas Valse-Fantasie for a
graduation performance at the Kirov School His frst major
choreographic work, undertaken despite the fact that
another version already existed in Moscow, was The Stone
Flower, set to the Prokofev score It was frst performed
at the Kirov on April 27, 1957, and marked the frst
collaboration between Grigorovich and the artist Simon
Virsaladze, a man of great culture from Tbilisi, who was to
design all of Grigorovichs subsequent ballets In addition
to their working partnership, they also were the greatest of
friends, a relationship that was only broken by Virsaladzes
death in 1989, at the age of 80
Grigorovich was named ballet master at the Kirov in 1962
but subsequently transferred to Moscow and to the Bolshoi
in 1964 He was artistic director of the Bolshoi Ballet for
the following 30 years, a tenure in ballet rivaled only by
the founding director of the New York City Ballet, George
During Grigorovichs term at the Bolshoi, he staged
Spartacus to music by Khachaturian (1968); Ivan the
Terrible to Prokofev (Moscow, 1975; Paris, 1977); Angara
to Eshpai (1876); Romeo and Juliet to Prokofev (Paris,
1978; Moscow, 1979); and The Golden Age to Shostakovich
(1982) Grigorovich also revised classical masterpieces for
the Bolshoi Ballet: The Sleeping Beauty (1963), Nutcracker
(1966), and Swan Lake (1969) to Tchaikovsky; Raymonda
to Glazunov (1984); La Fille Mal Garde (1993) to Hertel;
and Don Quixote (1995) to Minkus Spartacus, with its
HollywoodLike Khachaturian score, stymied several
choreographers before Grigorovich made what has now
become his signature work In creating it, he used a formula
that has served him well in many other productionshe
divided the action between group efects and intimate
scenes, which he calls tableaux The love duets in Spartacus
are seen in beautiful contrast to the Roman orgies or
the marching battalions A similar formula was used for
Ivan the Terrible, a difcult subject, yet one made viable,
in Grigorovichs version, because the character of Ivan
is viewed with sympathy and understanding For The
Golden Age, Grigorovich evokes the corrupt bourgeoisie
and gallant youth in the Russia of the 1920s Grigorovich
has staged his works around the world, including in
the cities of Ankara, Copenhagen, Helsinki, Milan, Paris,
Prague, Rome, Sofa, Stockholm, Vienna, and Warsaw He
is the Honorable President of the Dance Committee of
UNESCOs International Theater Institute, president of the
International Ballet Association, president of the Benois
de la Danse Jury, and president of the International Ballet
Competitions in Russia, Ukraine, Bulgaria, Switzerland, and
Japan Yuri Grigorovi ch is also a professor at the Russian
Ballet Academy
general director,
Bolshoi Theatre
Anatoly Iksanov graduated from the Leningrad State
Institute of Theatre, Music and Cinematography, faculty of
theatre science (department of economy and organization
of theatre management) From 1977 till 1978 Mr Iksanov
worked as a senior manager in the Leningrad Maly Drama
Theatre and later in 1978-1983 took the same position in
the Leningrad Bolshoi Drama Theatre named after Maxim
Gorky From 1983 till 1996 Mr Iksanov held the post of
the Deputy Director of the Leningrad Bolshoi Drama
Theatre, where in 1996 he was appointed the Director of
the Theatre In 1994 Anatoly Iksanov organised a Charity
Foundation of the Bolshoi Drama Theatre and became its
Executive Director
From 1998 till 2000 Anatoly Iksanov was the Deputy
General Director of theCultureTV Channel
He studied foreign experience in the feld of art
management, worked on probation in the theatres of the
USA, France, Switzerland
In co-authorship Mr Iksanov wrote two books: How to
fund-raise for the culture (StPetersburg, 1995) and The
Charity Foundation of the Bolshoi Drama Theatre Theory
and Practice of Success (StPetersburg, 1997)
In accordance with the Order of the Chairperson of the
Government of the Russian Federation on 1 September
2000 Mr Iksanov was appointed the General Director of the
Bolshoi Theatre of Russia
frst soloist,
Bolshoi Ballet
Born in Yokohama (Japan) He started his choreographic
training at the Ivata-ballet school, under his father, Kauci
Ivata From 1990-91, hecontinued his studies at theMoscow
Ballet School in Alexander Bondarenkos class From 1991-
95, he was soloist with the Russian Ballet Company led
by Vyacheslav Gordeyev He joined the Bolshoi Theatre
in 1995 His repertoire includes: the Little Golden God
(La Bayadre), The Chinese Doll (The Nutracker), The Fool
(Romeo and Juliet, Leonid Lavrovskys version), Title role
and Little Grape (Cipollino, G Mayorov), The Jester and
Friend to Prince (Swan Lake), Title role (The Humpbacked
Horse, N Androsov), Interpolated pas de deux (Giselle, Yuri
Grigorovich version), The Horseman (Polovtsian Dances by
Kasyan Goleyzovsky from the opera Prince Igor), A Monkey
(La Fille du Pharaon, Pierre Lacotte), Harlequin (Fantasy on
the theme of Casanova, Mikhail Lavrovsky), Phylostrat/Puck
(The Midsummer Nights Dream by Neumeier) Created
roles of Ivashka (Bolt by Ratmansky, 2005), The Peruvian
(Gait Parisienne by Massine, 2005, in Bolshoi), solo part in
Jeu de Cartes (by Ratmansky, 2005)
He rehearses with Boris Akimov
In 2004 took part in New Choreography Workshop,
dancing the solo part in Hungarian Dances by Alexei
Miroshnichenko, in 2005 he starred the New Choreography
Workshop like dancer and choreographer with his own
ballet, Tamashi
He won 3rd prize at the Jackson Ballet Dancers Competition
(1990); the Grand Prix at the Arabesque Ballet Dancers
Competition in Perm (1992); 1st prize at the Ballet Dancers
Competition in Moscow (1993)
ANNA LEONOVA, soloist,
Bolshoi Ballet
Graduated from: Moscow Ballet School, G Sokolovas class,
and Moscow Institute of Choreography (1999) as a teacher-
choreographer Joined the Bolshoi Ballet Company in 1995
till 1999, then in 2001 In 1999-2001 she was the leading
soloist at Imperial Russian Ballet Repertory includes: Mirthe
(Giselle), Street dancer (Don Quixote), Polish and Hungarian
Brides-to-be (Swan Lake), Ef (La Sylphide), Mazurka (Les
Sylphides (Chopiniana), Russian and Spanish Dolls (The
Nutcracker), Soloist (Jeu de Cartes), Soloist (Serenade),
Soloist (Class-Concert) Repertory also includes: Not Pas
de quatre (Bolshoi TheatreWorkshop, 2004) She is coached
by Svetlana Adyrkhaeva
principal dancer,
Bolshoi Ballet
Born in Moscow On graduating in 1997 from the Moscow
Ballet School (teacher Marina Leonova), she was invited
to join the Bolshoi Theatre Ballet Company During her
frst year in the Company performed the principal part in
the ballet Giselle Her repertory includes: Odette-Odile
and Russian Bride-to-be (Swan Lake), Princess Aurore
(The Sleeping Beauty) Y Grigorovichs version; Kitri
(Don Quixote), title role in Anyuta (by V Vasiliev); Frigia
(Spartacus by Y Grigorovich); solo parts in Symphony in
(choreographed by G Balanchine), Lapres midi dun faune
(choreographed by J Robbins), Passacaille (by R Petit);
Walts No 7 and Prelude (Chopiniana, choreographed by M
Fokine), Aspicia (La Fille du Pharaon by P Lacotte), Passion
(Les Prsages, choreography by Lonide Massine)
She created roles: Lisa (La Dame de Pique by R Petit,
2001), Esmeralda (Notre-Dame de Paris by R Petit,
2003, at the Bolshoi), Glove seller (Gat Parisienne,
choreography by Lonide Massine, 2005, at the Bolshoi),
Zina (The Bright Stream by Alexei Ratmansky), Nikiya (La
Bayadere, choreography by MPetipa), Lisa (La Fille Mal
Gardee by FAshton), Mary (Nutcracker by Y Grigorovich),
Soloist (Misericordes by C Wildon), Soloist (Serenade
by GBalanchine), Medora (Le Corsaire by MPetipa, new
choreography by ARatmansky and Y Burlaka)
In 1998 took part in International Ballet Festival, dedicated
to 50th anniversary of National Ballet of Cuba Company
In 2002 took part together with Sergey Filin in enterprise
Malakhov and friends in Japan Took part twice in gala
concerts held in the frame of the project Stars of the 21st
century (New York, Toronto, partner Dmitry Gudanov) In
2004 again took part together with Dmitry Gudanov in the
concert of the Stars of the 21st century (Paris, Theatre of
Champs-Elysees) In 2003 performed with Andrey Uvarov in
the ballet Swan Lake in Belgrade with the ballet of National
Theatre of Belgrade
Acted as a Russian terrorist in the flm Saint-Petersburg
Cannes Express together with famous Russia actors (Film
Company Miracle Entertainment, 2003) Winner of the
Triumph Youth (2001)
Matthews pioneering approach to education, community
music and training orchestral players is now internationally
renowned His work as a trainer of orchestral players,
which focuses on the use of improvisation and interactive
performance in the context of the orchestras outreach
and education activities, has included the Philharmonia,
LPO, Los Angeles Philharmonic, Melbourne and Sydney
Symphonies, Tampere Philharmonic (Finland), Brussels
Opera and Malaysia Philharmonic orchestras, as well as
the Nyyd Ensemble in Estonia and the Sun City Ensemble
in Japan In education Matthew has led major projects all
around the world with enormous success working in this
area very closely with the British Council
In 1997 Matthew founded Between the Notes, a
performance and education group who work with music
and other arts BTN has been involved in major projects
at the Lichfeld Festival (The Titanic in 1997 and Journeys
in 1998 - Journeys was also made into a documentary by
the National Film and Television School), which consisted
of ten days of workshops involving up to 50 teenagers,
culminating in a public performance as part of the festivals
main programme They have appeared at the Sydney Opera
House, Londons Royal Opera House (with the Royal Ballet),
the International Symposium of Contemporary Music
in Hong Kong, and on tour in Bangladesh, Cyprus (in the
basketball stadium to 4000 people with 1000 performers to
mark the occasion of Cyprus joining the EU), Greece, Spain,
Germany (performances in the Cologne Philharmonic of
Fraser Trainers concerto for BTN and orchestra), Norway,
Croatia, Singapore, Kazakhstan, Uzbekistan and Belgium
The group has just led Invisible Lines, a nationwide
education and performance culminating in a performance
in the Royal Albert Hall at the BBC Proms, recorded live
on BBC TV Their frst album, Knots (Quartz), has been
released in May 2005, and the second, Extraordinary
Improvisations (FMR) in June 2007
Future plans for Matthew include concertos with the BBC
Philharmonic, Royal Liverpool Philharmonic, Scottish
Chamber Orchestra, Northern Sinfonia, and Alabama
Symphony, an extensive tour of Sweden with the On the
Road programme, a return to Australia, and a residency at
the prestigious new venue Kings Place in London Future
collaborations include projects with Lyons City Opera,
Matthias Goerne, Martin Frost and Thomas Larcher (for the
Messaien Festival in Kln 2008), Viktoria Mullova, Amjad Ali
Khan, pipe player Kathryn Tickell, Jon Lord (Deep Purple)
and jazz pianist Julian Joseph
Matthew will be recording for Signum Records, and is also
going to be the Music Director, and the face of a major
new television series to be aired on BBC 2 in Autumn 2007
leading soloist,
Bolshoi Ballet
Born in Kiev Trained at the Kiev College of Choreography
In 1991, on graduating from the Moscow College of
Choreography (Sophia Golovkinas class), she joined the
Bolshoi Ballet Company Her roles include: Odette-Odile
and Friend to Prince (Swan Lake), Gamzatti and Variations
in the Shades scene (La Bayadere), The Princess-Swan
(Swan Lake, Vladimir Vassiliev version), Kitri (Don Quixote),
Sylphideand Efe(La Sylphide); Marie(TheNutcracker), Rita
(The Golden Age) and Shireen (Legend of Love); Magnolia
(Cipollino) and Title Role (Snow White); Katerina (The
Taming of the Shrew), solo parts in Agon and Symphony in
C, Ramze (La Fille du Pharaon), The Classical Ballerina (The
Bright Stream) Creator: Popovna (Balda, by V Vassiliev),
Neva (La Fille du Pharaon, by P Lacotte), Spring (Cinderella,
by Yu Posokhov)
soloist, Bolshoi Ballet
Graduated from the Moscow Ballet School (Tatyana
Galtseva class) Joined the Bolshoi Ballet Company: in
1998 Repertoire includes: Marie (The Nutcracker), title
roles (La Sylphide and Giselle), Lise (La Fille mal garde),
Helena (The Midsummer Night Dream), The Neapolitan
Bride-to-be and Friend to Prince (Swan Lake), Diamond
Fairy (The Sleeping Beauty), Cupid (Don Quixote), The Little
Radish (Cipollino), solo part in Symphony in C (Part 1) and
Tarantella, Pas dAction (La Fille du Pharaon), (Le Corsaire)
She also performs in: Mazurka (Les Sylphides), Pas de deux
from Flower Festival in Genzano, Hungarian Dances (New
Choreography Workshop, 2004) Guest performances
include Kitry (Don Quixote) and Princess Aurora (The
Sleeping Beauty) with Georgian Ballet Company, Tbilisi
She was the pupil of Raisa Struchkova, now she is trained
by Ludmila Semenyaka Awards: The Moscow Debuts prize
(1999), Soul of Dance prize awarded by Ballet magazine
Bolshoi Ballet
Yuri Grigorovich is considered to be one of the greatest
living choreographers in the world of ballet His stagings
of the classic ballets refect his personal taste and his often-
stated conviction that drama must always infuse and be
expressed through dancing He breaks with tradition,
yet he himself is rooted in the traditions of classic ballet,
by birth and upbringing He is acutely aware of the vital
contributions made to todays performances by the great
artists of previous generations On all of the Bolshois tours,
the dancers have been accompanied by guardians of the
classic schoolballerinas such as Marina Semyonova (born
1908), Galina Ulanova (19101998), and Raissa Struchkova
(born 1925, who continues to tour with the company)
These artists were and continue to be entrusted with the
coachingof youngballerinas, and even established dancers
return for their help and advice
Yuri Nikolaevich Grigorovich was born in what was then
Leningrad on January 2, 1927 His uncle, George Rozai, was
a character dancer who appeared with Diaghilevs Ballet
Russe and his mother, Klaudia Rozai, trained at the ballet
school with Semyonova Many of his family were circus
artists and young Yuri was fascinated by the world of the
circus, but was soon captivated by dance He describes it as
a love afair that has lasted all my life Grigorovich trained
at the Leningrad Choreographic School and, along with the
other pupils, was evacuated to Perm during World War II
He tried to run away (by canoe!) to the front but was
brought back and eventually graduated in 1946 He then
joined the Kirov Ballet, where he excelled in character
soloist, Bolshoi Ballet
Born in Moscow On graduating in 1994 from the Moscow
Ballet School (Pyotr Korogodskys class), he joined the
Bolshoi Ballet Company He is coached by Valery Lagunov
His repertory includes the following roles: The Golden
Idol (La Bayadere), The Jester (Swan Lake), Pas de Deux
(Giselle), Pas daction (Giselle, V Vasiliev version), Casanova
(Fantasy on theTheme of Casanova by Lavrovsky), Cipollino
(Cipollino by G Mayorov); The Humpbacked Horse (The
Humpbacked Horse by N Androsov); The Chinese Doll
and Harlequin (The Nutcracker), Shepherd (Spartacus) and
Compere (The Golden Age) by Y Grigorovich; The Jester
(Romeo and Juliet, choreography by L Lavrovsky), Friend
to Prince (Swan Lake, V Vasilievs version), Passiphonte
and Pas dAction (La Fille du Pharaon by P Lacotte), Colas
and Alain (La Fille Mal Gardee, choreography by F Ashton),
Philostrat (A midsummer Nights Dream by J Neumeier),
The Peruvian (Gat Parisienne, choreography by Lonide
Massine), Friend to Prince (Cinderella by Yu Possokhov),
solo parts in Tarantella (choreography by G Balanchine),
Magrittomania (by Y Possokhov)
He created role: Tybald (Romeo and Juliet by D Donnellan
and R Poklitaru, 2003), Postmaster (Ward 6 by R
Poklitaru), solo part in Jeu de Cartes by Ratmansky, 2005
In 2003 he starred in ballet movie Edith Piaf (choreography
by Mikhail Lavrovsky); in 2004 performed the title role in
the ballet Nijinsky by Mikhail Lavrovsky The same year
he performed the role of James (La Sylphide) at the 10th
Nureevs Ballet Festival in Ufa
Awards: 3rd prize of Arabesque-96 Ballet Competition in
Perm (1996) and Grand prix of Prix de Luxembourg Ballet
Competition (1997)
soloist, Bolshoi Ballet,
Born in Moscow In 2002, upon graduation from the
Moscow Ballet School (teacher Elena Vatulya), she joined
the Bolshoi Ballet Company She is coached by Ekaterina
Maximova In 2004, at the age of 19, she frst appeared
as Odette-Odile in Swan Lake by P Tchaikovsky (second
version by Yury Grigorovich with choreographic fragments
by M Gorsky, L Ivanov, A Gorsky)
Her repertory includes: Four Sylphides (La Sylphide),
second variation in the Shades scene (La Bayadere), a
part in Passacaille by R Petit, Friends of Giselle, Two Willis
(Giselle, choreographic version by Y Grigorovich), Fairy
of Audacity (The Sleeping Beauty), two couples in
the III part (Symphony in C by G Balanchine), Magnolia
(Cipollino by G Mayorov), the fnal waltz and apotheosis
(The Nutcracker), Congo (The Pharaohs Daughter),
Friends of Shireen (A Legend of Love), three swans (Swan
Lake), Henriette (Raymonda), Temptation (Les Presages
by L Massine), Luska (Golden Age), Friend of the Prince
(Swan Lake), Mistress of the Dryads (Don Quixote),
Soloist (Jeu de Cartes), Mary (Nutcracker), Soloist
(Class-Concert), Summer (Cinderella)
In 2004, she took part in New Choreography Workshop of
the Bolshoi Theatre, where she appeared as Aurora in pas
de quatreRosary by R Drigo from Floras Awakening (M
Petipa, revived by Y Burlaki), and pas de quatre Carpets
from The Little Humpbacked Horseby C Pugni (A Gorsky,
revived by Y Burlaki) In 2004, she was awarded a youth
grant of theTriumph prize
60 6l
leading soloist,
Bolshoi Ballet
Born in St Petersburg On graduating from the Vaganova
Ballet School, joined the Mariinsky Ballet Company In 2000,
he joined the Universal Ballet Company Oleg Vinogradov
as soloist; in 2002 Staatsoper Unter den Linden, in 2003
Staatsballet Berlin as frst soloist
His repertoire includes the roles in following ballets:
La Bayadere, Swan Lake, The Nutcracker, Don Quixote
Repertoire in Berlin includes: Swan Lake, Giselle, The
Nutcracker (by Patris Bart), La Bayadere, Cinderella
(by Vladimir Malakhov), Onegin (by John Cranko), Ein
Lindentraum (by Uwe Scholz), Ballet Imperial, Apollo (by
George Balanchine), this- (by Christian Spuck), Ring um den
Ring (by Maurice Bejart), Manon (by Kenneth MacMillan)
In 2006 he joined the Bolshoi Ballet Company as leading
soloist His repertoire with the Bolshoi includes the
following parts: Prince Siegfried and Evil Genius (Swan
Lake), Prince Desire (The Sleeping Beauty), Toreador (Don
Quixote), Baron (Gait Parisienne), Torero (Carmen Suite),
solo parts in Balanchines Symphony in C, Concerto Barocco
and Serenade
Bolshoi Ballet
Born in Bolshoi Ballets dancers family In 1978 graduated
from Moscow Ballet School and joined the Bolshoi Ballet
His extensive repertoire includes: The King (The Sleeping
Beauty), Lancedem (Le Corsaire), The Great Brahmin
and Dugmanta (La Bayadere), The Tutor and Master of
Ceremonies (The Swan Lake), The Duke (Giselle), King
Andrei II and The Seneschal (Raymonda; Don Quixote and
Lorenzo (Don Quixote), Dr Stalbaum (The Nutcracker by Y
Grigorovich), His Highness (Anyuta by V Vasiliev), Capuletti
(Romeo and Juliet by L Lavrovsky), The Pharaoh (La Fille du
Pharaon by P Lacott), Toma (La Fille Mal Guardee), Klaus (A
Midsummer Nights Dream), Factory Director (Bolt by A
Ratmansky), The Duke (Gat Parisienne, choreography by
Lonide Massine) He created the role of Nachman (Leah
by A Ratmansky)
leading soloist, Bolshoi
Born in the town of Eltse, Lipetsk region On graduating
from the Moscow Ballet School in 1998 he joined the
Bolshoi Ballet where he works with Valery Lagunov and
Nikolay Fadeechev His repertory includes Prince Siegfrid
(Swan Lake), Jean de Brienne (Raymonda), Prince Fortune
(The Sleeping Beauty); solo parts in Chopiniana, Agon,
Symphony in C, Magrittomania; Count Cherry (Cipollino);
Friend to Ferkhad (Legend of Love), Boris (The Golden Age);
The Classical Dancer (The Bright Stream); Frollo (Notre-
Dame De Paris), Taor and A Fisherman (La Fille du Pharaon),
The Miller (Le Tricorne), The Hero (Les Presages), Demetrius
(A Midsummer Nights Dream) Created one of solo parts in
Misericordes 3rd prize-winner at the Moscow International
Ballet Competition (2000)
Pavel Sorokin was born in Moscow He graduated from the
Central Music School attached to theMoscow Conservatoire
(piano section) in 1980 and in the same year entered the
Conservatoire (the piano section, Professor LN Naumovs
class) At the same time, he started to study conducting in
Professor YI Simonovs class In 1983 he joined the Bolshoi
Theatre in the capacity of ballet orchestra leader From 1987
to 1989 he studied conducting at the Paris Conservatoire
in Professor Jean-Sebastian Berraults class In the summer
of 1989, he took part in the Boston Symphony Orchestra
Tanglewood Festival He studied under Serge Osawa and
Leonard Bernstein At the end of his studies in Paris, having
been given an excellent certifcate, he auditioned for the
Bolshoi Theatre and was accepted into the company
Heis conductor of thefollowingballets: Prokofevs Prodigal
Son and Stravinskys Petrouchka (1991), Le Corsaire (1992,
1994), La Sylphide (1994), Balda to music by Shostakovich
(1999), Swan Lake (2001), A Legend of Love (2002), The
Bright Stream (2003), Raymonda (2003), Bolt (2005),
Carmen-suit (2005); and of theopera Iolant (1997) Hewas
assistant to Mstislav Rostropovich on the 1996 production
of Khovanshchina The conductors repertoire includes the
following, among other, operas: TheTsars Bride, The Queen
of Spades, Prince Igor, Un Ballo in maschera, Macbeth, War
and Peace, ballet Spartacus
From 2000-2002, Pavel Sorokin was chief conductor of
the Radio and Television State Symphony Orchestra
Since 2003, he has been chief conductor of the Symphony
Orchestra of Russia
His discography includes recordings of the works of
Tchaikovsky, Rachmaninov and Grieg, with the Academic
Symphony Orchestra, the Moscow State Philarmonia, and
the Radio and Television State Symphony Orchestra
music director and chief
conductor, Bolshoi Theatre
Alexander Vedernikov was appointed Music Director and
Chief Conductor of the Bolshoi Theatre in 2001 and since
that time he has been credited with rebuildingtheTheatres
historical reputation for artistic excellence He has led many
productions at the Bolshoi, including a new production of
Boris Godunov in the original Mussorgsky orchestrations
(2007), Tchaikovskys Eugene Onegin (2006), Puccinis
Turandot (2006), Prokofevs Cinderella (2006), Prokofevs
War and Peace (2005/2006), Leonid Desyatnikovs The
Children of Rosenthal (world premiere, commissioned
by the Bolshoi Theatre), The Flying Dutchman (2004),
Prokofevs The Fiery Angel (2004), Ruslan and Ludmila
(2003), Turandot (2002), Khovanshchina (2002) and Adriana
Lecouvreur (2002)
Alexander Vedernikov has in recent years also developed
the Bolshois programme of symphony concerts, and his
concerts have featured Prokofevs Cinderella, Berliozs
La Damnation de Faust, Verdis Requiem, scenes from the
operas of Wagner, and music by Richard Strauss, Alban
Berg, Dmitry Shostakovich, and Georgy Sviridov Under
his direction, the orchestra of the Bolshoi has toured
extensively including a tour to Germany in February 2007
and a season of opera and ballet at the Royal Opera House,
Covent Garden in July 2006 (including The Fiery Angel and
Boris Godounov) where the orchestra in particular was
singled out for its exceptional playing
Apart from a successful career in Russia, he has also been
invited to perform extensively throughout Europe and
further afeld including appearances with the Staatskapelle
Dresden, Montreal Symphony, Sydney Symphony, Tokyo
Philharmonic, Royal Scottish National Orchestra, the BBC
Scottish Symphony Orchestra, the RAI National Orchestra
(Turin), the Danish National Symphony Orchestra/DR,
Bergen Philharmonic, Budapest Symphony and the
Orchestra of the Teatro Colon
In the 2006/07 season his engagements included
invitations to the London Philharmonic Orchestra,
Bayerischer Rundfunk Orchestra (at Mariss Janssons
personal request), Maggio Musicale Florence, Orchestra
della Svizzera Italiana (with Martha Argerich at the Martha
Argerich Project in Lugano), Netherlands Philharmonic,
Stockholm Philharmonic, Gothenburg Symphony,
Hamburg Philharmonic, and symphonic programmes with
the orchestras of the Teatro Comunale Florence and Teatro
Comunale Cagliari
In the feld of opera, Alexander Vedernikov has appeared
as guest conductor at La Scala Milan, La Fenice, the Teatro
Comunale Bologna, the Teatro Reggio Turin, and Rome
Opera In April 2005, he made his debut at the Bastille
Opera in Paris conducting a new production of Boris
Godunov directed by Francesca Zambello
Born in Moscow into a musical family - his father was a bass
soloist at the Bolshoi and his mother a professor of organ
at the Moscow Conservatoire - he studied at the Moscow
Conservatoire and completed his postgraduate studies in
From 1988-90, he worked at Moscows Stanislavsky and
Nemirovich-Danchenko Music Theatre From 1988-95, he
was assistant to the chief conductor and second conductor
of the Tchaikovsky Symphony Orchestra (formerly
Gosteleradios Bolshoi Symphony Orchestra), whom he
accompanied on many tours in Russia, Austria, Germany,
Greece, Turkey and Great Britain In 1995, he founded
the Russian Philharmonia Symphony Orchestra and was
Artistic Director and Chief Conductor of this orchestra
until 2004 He has conducted Russias State Symphony
Orchestra and the Academic Symphony Orchestra of
the St Petersburg Philharmonic Since 2003, he has been
a member of the conductors collegium of the Russian
National Orchestra, with whom he has toured in France,
Germany and the United States In January 2004, as part
of the Russian National Orchestras tour of nine cities,
Alexander Vedernikov made his debut at Carnegie Hall and
the Kennedy Centre, Washington
Future invitations include debuts with the BBC Symphony,
Sao Paolo Symphony and National Symphony Orchestra
of Taiwan, and re-invitations to the Danish National
Symphony Orchestra/DR, the Orchestra della Svizzera
Italiana, the orchestra of theTeatro Comunale Bologna, and
the Gothenburg Symphony
artistic director,
Bolshoi Ballet
Born in Leningrad On graduating from the Moscow Ballet
School (1986, teachers Pyotr Pestov, Anna Markeyeva),
he joined the Kiev Shevchenko Theatre of Opera and Ballet
as soloist where, from 1986-92 and 1995-97, he danced
the lead roles in the following, among other, ballets: The
Sleeping Beauty, Swan Lake, The Nutcracker, Giselle,
Cinderella, La Fille mal gardee, Cipollino From 1992-5, he
was soloist with the Royal Winnipeg Ballet (Canada), where
he danced in ballets by George Balanchine, Frederick
Ashton, Antony Tudor, John Neumeier, Rudi van Dantzig,
Twyla Tharp and others He has made guest appearances
with the Bolshoi Theatre, National Ballet of Quebec,
Imperial Russian Ballet Theatre of Pantomime in Tivoli
(Copenhagen) From 1997, he was soloist with Royal Danish
Ballet where he appeared in the followingballets by August
Bournonville: La Sylphide, Napoli or The Fisherman and
His Bride, A Folk Tale, The Kermesse in Bruges, La Ventana;
he also danced in Rudolf Nureyevs Don Quixote, George
Balanchines Symphony in and Jewels, Serge Lifars
Suite en blanc, Jerome Robbins The Concert, Kenneth
MacMillans Manon, John Neumeiers The Odyssey, Maurice
Bejarts Gaite Parisienne, Mats Eks Grass, N Duatos Jardi
tankat He has worked with the following choreographers:
Mats Ek, Jiri Kylian, John Neumeier, Maurice Bejart, Peter
Martins, Kevin ODay, Stanton Welch He was the creator
of roles in the following ballets: Refections and Darkness
Between Us by Mark Godden, Sweet Complaints, Refrain,
Dominum, The Nomads by Tim Rushton, Shostakovich
op 99 by Anna Laerkesen He partnered Maya Plisetskaya
in Nijinskys ballet, LApres-midi dun faune As soloist he
was awarded the Vaslav Nijinsky prize at the Independent
Diaghilev Ballet Competition in Moscow (1992)
From 1988-92, he studied at the Choreographers Faculty at
The State Institute of Theatre Arts (GITIS) He is the author
of over twenty ballets, among which are: A Fairys Kiss to
music by Pyotr Ilych Tchaikovsky (1994) Kiev Theatre of
Opera and Ballet; The Charms of Mannerism to music by
Richard Strauss (1997) Postmodern-Theatre; Capriccio to
music by Igor Stravinsky (1997) Bolshoi Theatre; Dreams
of Japan (1998, awarded the Golden Mask National Theatre
prize) Bolshoi Theatre and Postmodern-Theatre; A Fairys
Kiss to music by Pyotr Ilych Tchaikovsky, Middle Duet to
music by Y Hanon, A Poem of Ecstasy to music by Alexander
Scriabin (1998) all at the Mariinsky Theatre; Turandots
Dream to music by Paul Hindemith, (2000) Danish Royal
Ballet; Flight to Budapest to music by Brahms, (2001)
International Ballet of Copenhagen (2001); Lea to music
by Leonid Bernstein (2001) Alexei Fadeyechev Theatre
of Dance (Moscow); he has also mounted productions of
the following ballets: The Nutcracker (2001) Royal Danish
Ballet (2001); Cinderella (2002) The Mariinsky Theatre; Igor
Stravinskys The Firebird (2002) Royal Swedish Ballet, D
Shostakovichs The Bright Stream Bolshoi Theatre (2003),
Saint-Saenss Carnaval des Animaux (2003, San Fransisco
Ballet), Anna Karenina to music by Schedrin (2004, Royal
Danish Ballet), Leah to music by Bernstein Bolshoi Theatre
(2004), D Shostakovichs Bolt Bolshoi Theatre (2005), Anna
Karenina to music by Schedrin (2004), Lithuanian Opera and
Ballet theatres; 2007, Finnish National Ballet), Jeu De Cartes
by Stravinsky Bolshoi Theatre (2005), Russian Seasons to
music by Desyatnikov NYCB (2006)
Knight of the Order of the Danish Flag (2002) Awarded a
Benois de la danse prize as the best choreographer (2005)
From 2004 Artistic Director of Ballet of Bolshoi Theatre
soloist, Bolshoi Ballet
Born in Moscow On completing her studies at the
Moscow Ballet School (Ludmila Litavkinas class) in 1995,
she immediately joined the Bolshoi Ballet Company Her
repertory includes several solo roles: Russian Brides-to-
be (Swan Lake), Willis (Giselle), Fairy of Generosity and
Maids of Honour (The Sleeping Beauty), Hungarian dance
(Raymonda), manu (La Bayadere) Y Grigorovichs version;
Juanitta (Don Quixote, A Fadeyechevs version), Russian
leading soloist, Bolshoi
Born in Perm In 1998, having completed her studies at
the Moscow Ballet School (Lyudmila Litavkmas class), she
joined the Bolshoi Ballet Company
Her repertoire include: OdetteOdile and the Polish Bride-
to-be (Swan Lake), The Lilac Fairy, The Gold Fairy and The
Sapphire Fairy (The Sleeping Beauty), Gamzatti, Shadows
Pas de Trois and Grand pas (La Bayadere), Myrtha (Giselle),
Kitry and The Mistress of the Dryads (Don Quixote),
Queen of the Ball (Fantasy on the Theme of Casanova by
Lavrovsky), Mazurka, Prelude and Waltz 7 (Chopiniana
by Fokine), The Fishermans Wife and Congo (La Fille du
Pharaon), Magnolia and Countess Cherry (Cipollino by
Mayorov), Esmeralda (Notre-Dame de Paris by Petit), The
Classical Ballerina (The Bright Stream by Ratmansky),
Aegina (Spartacus), Hermia (A Midsummer Nights Dream
by J Neumeier), title role (Cinderella), solo part in Agon and
Symphony in C
She created roles: Wife to the Heir Apparent (The Russian
Hamlet by Eifman, 2000), solo part in Jeu de Cartes by
Ratmansky, 2005; in Bolshoi solo part in Magrittomania (by
Y Possokhov, 2004), Action (Les Prsages, choreography by
Lonide Massine), title role (Cinderella, choreography by
Y Possokhov, 2006), Mekhmene Banu (Legende of Love,
choreography by Y Grigorovich, 2007), Gulnara (Le Corsaire,
choreography by M Petipa, revived by A Ratmansky and Y
Burlaka, 2007), Soloist (Class Concert, choreography by M
Messerer, 2007) She rehearses with Marina Kondratieva
Awards: 2nd prize winner at the ballet dancers competition
Prix de Luxembourg (1999) and Moscow International
Ballet Competition (2001), winner of the Triumph youth
prize (2002)
soloist, Bolshoi Ballet
Born in Dnepropetrovsk On graduating the Moscow Ballet
School (Elena Ryabinkinas class) in 1992 she joined the
Bolshoi Ballet Company
Her repertoire includes: Hungarian Bride-to-be and Waltz
(Swan Lake), Fairy of Sapphire and Generosity, Cinderella
(The Sleeping Beauty), Henriette, Grand Pas and variation
in Raymondas daydream (Raymonda), Shades Pas de trois
and Grand Pas (La Bayadere); Street Dancer (Don Quixote),
Mazurka (Chopiniana by M Fokine); the Indian Doll (The
Nutcracker), Friend to Shirin and the Dancer (Legend of
Love), title role (Anyuta by V Vasiliev), The Lady of Ones
Heart and the Queen of the Ball (Fantasy on the theme
of Casanova by M Lavrovsky), Magnolia (Cipollino by G
Mayorov), , caryathid (La Fille du Pharaont), Gitel (Leah by
A Ratmansky), Flower Girl (Gat Parisienne, choreography
by Lonide Massine), Summer (Cinderella, by Y Possokhov)
She rehearses with Rimma Karelskaya
and Spanish dolls (Nutcracker by Y Grigorovich), Zinas
friend (The Bright Stream by A Ratmansky), Pas daction
(La Fille du Pharaon by P Lacotte), Tobacco Girl (Carmen
Suite by A Alonso), solo parts in Symphony in C, Agon and
Mozartiana (choreography by G Balanchine), as well as in
Bolero by Ratmansky, which she has rehearsed under the
supervision of Rimma Karelskaya
In 2005 performed title role in Romeo and Juliet with
Krasnoyarsk Ballet Company in S Bobrovs production
designer, Bolshoi Ballet
Simon Virsaladze has made invaluable contributions to
Russian ballet First, he freed the stage for dance and
built sets that were economical and fgurative Second,
he created an image motif for each production that links
together all the acts In Swan Lake, this is the heraldic
curtain that divides the two worldsthe ideal world of
dreams and the world of earthly passions Between them,
Virsaladze established barely perceptible transitions from
one world into the other He has also provided models for
modern ballet costumeslight, convenient for dancing,
yet precise refections of the characters roles, the signs of
the time, and the style of the age
In addition, Virsaladze came up with original solutions for
classical ballet costumes In Swan Lake, he dressed all of the
brides-to-be similarly, but they are distinguished by details
of their nationality so that each one of them acquires an
identity of her own The costumes for all the characters
in this ballet show great imagination, most apparent
in the costume for the Evil Genius Virsaladzes work is
characterized by its own symphony of colors, just as the
composers music varies the main themes Virsaladze also
made brilliant designs for opera, theater, and the cinema
His work remains an example and a source of inspiration for
new generations of ballet designers
leading soloist,
Bolshoi Ballet
Born in Moscow In 1997, completed his studies at the
Moscow Ballet School and joined the Bolshoi Ballet, where,
under the direction of Vladimir Nikonov he rehearsed
and danced the following, among other, solo roles:
Prince Siegfrid (Swan Lake), Jean de Brienne (Raymonda),
Prince Desire (The Sleeping Beauty); Albrecht (Giselle);
Nutcracker-Prince (Nutcracker), Ferkhad (Legend of Love),
rassus (Spartacus), Boris (The Golden Age), Hanan (Leah),
Lysander (A Midsummer Nights Dream), The Hero (Les
Prsages); solo parts in Chopiniana; Symphony in C, Agon
He created roles: Phoebus (Notre Dame de Paris), Paris
(Romeo and Juliet by D Donnellan and R Poklitaru)
Awards: 2nd prize at the International Ballet Competition
in Kazan (2001)
soloist, Bolshoi Ballet
Born in Moscow On graduating from the Moscow Ballet
School in 1983 she joined the Bolshoi Ballet Company
Among her roles are: The Princess Mother (Swan Lake), The
Queen Mother (The Sleeping Beauty), The White Dame,
Countess Sibil and Mazurka (Raymonda); Bathilde (Giselle),
Mercedes and the Spanish Dance (Don Quixote), Signora
Capulet (Romeo and Juliet by L Lavrovsky), Mother of Leah
(Leah by A Ratmansky), Mazurka and Krakoviak (Polish
Ball in opera Ivan Susanin, choreography by R Zakharov),
The Persian Girl (in opera Prince Igor, choreography by K
62 63
Hailed as one of todays most exciting young conductors,
Karel Mark Chichon was described by the New York
Times as A conductor of genius and continues to thrill
international audiences with his temperament, passion
and musicianship He is Chief Conductor of the Graz
Symphony Orchestra since 2006 and Conductor Emeritus
of the Latvian National Symphony Orchestra since 2007 He
is also Principal Conductor of the European Sinfonietta and
Artistic Director of the Gibraltar Philharmonic Society
Born in London in 1971, Chichon hails from Gibraltar
He studied at the Royal Academy of Music (London) and
was assistant conductor to Giuseppe Sinopoli and Valery
He has worked with artists such as Jos Carreras, Montserrat
Caball, Grace Bumbry and Juan Diego Flrez
Chichon is a frequent guest conductor with leading
orchestras throughout the world, which include the Vienna
Symphony, Vienna Radio Symphony, English Chamber
Orchestra, City of London Sinfonia, Tiroler/Innsbruck
Symphony, Haydn Orchestra of Bolzano & Trento,
Norddeutsche Philharmonie, Halle Philharmonic, Lucerne
Symphony, Israel Sinfonietta, Budapest Philharmonic,
Seoul Philharmonic, China National Symphony, Shanghai
Philharmonic and Singapore Symphony
Since 2003 he has been a regular guest conductor with
the English Chamber Orchestra, with whom he tours
In 2004 he was invited by the Vienna Philharmonic to
conduct concerts at their International Orchestra Institute
in Salzburg and made highly successful return visits in 2005
and 2006
The 2007-2008 season will see his debut at Vienna
Musikverein with the Graz Symphony, new productions of
Barbiere di Siviglia at the Vienna Volksoper and Carmen at
the Latvian National Opera/Bolshoi Theatre Moscow and
his debut with the Royal Philharmonic Orchestra, Russian
National Orchestra, USBVerbier Festival Chamber Orchestra
and the Lithuanian Chamber Orchestra He will also return
to the Vienna Symphony, Vienna Radio Symphony (with
Jos Cura), English Chamber Orchestra, Tiroler/Innsbruck
Symphony, Seoul Philharmonic and Latvian National
Wojciech Czepiel is a prominent Polish conductor of the
middle generation He was born in Nowy Targ, southern
Poland, in 1959 He started to take violin lessons from
his father at the age of fve Ten years later, as a member
of the All Antico Orchestra of a secondary music school
in Krakw, he won First Prize at the Herbert von Karajan
Competition for Chamber Orchestras in Berlin He also had
an opportunity to play under theKarajans baton In 1976, as
a student of Antoni Cofalik, he won Fourth Prize at Zdzisaw
Janke National Violin Competition A year later he qualifed
to the semi-fnals of the Henryk Wieniawski International
Competition in Pozna He continued his studies with Kaja
Danczowska at the Academy of Music in Krakw In 1979
he worked as a violinist in the Polish Chamber Orchestra
and then studied conducting with Krzysztof Missona at the
Krakw Academy (diploma with distinction in 1984)
Jse Mara Gallardo Del Reys performance career took of
in the city of Seville at the early age of nine Since his debut
and throughout his career, his worldwide performances
drew acclamation and applause from critics and audiences
He is one of a handful of solo players who strive to enrich
the genre of chamber music His interpretation, technique
and perspective transcend the bounds of the classic guitar
repertoire and the limitations imposed by the instrument
Jse Mara Gallardo Del Rey has frequently lent his talent
to diferent performance arts such as Ballet, Theatre, Opera,
Flamenco or Jazz
His extensive academic training allowed him to develop
his talent both as a composer and as a conductor A
distinguished conductor, Gallardo del Rey has conducted,
among others, the Tellemann Chamber Orchestra of Osaka
in the debut of Paco de Lucia in his performance of the
Concierto de Aranjuez (Japan, May 1990)
He composed and interpreted the music of Alta Defnicin
desde Espaa, the ofcial flm of the Spanish Pavilion in
World Exposition, EXPO 92
He is the musical director of the acclaimed chamber
ensemble La Maestranza a septet with whom he performs
his own compositions
He performs regularly with the mezzo soprano Teresa
Berganza and transcribes, especially for her, an extensive
variety of voice repertoire including Opera Arias from
Mozart to Bizet He was invited to play alongside Menuhin,
Rampal, Osawa and Elton John, in the celebration held in
March 1997 for Rostropovichs 70th birthday He performed
with John Williams at the most prestigious International
Guitar Festival in Australia (Darwin, 1995 & 1997)
Because of his acknowledged technical and interpretative
talents, Gallardo Del Rey was invited to play in the opening
performances of many concerts for Guitar and Orchestra
In its recent edition, The Classical Guitar hailed Jse Mara
Gallardo Del Rey as guitarist of his generation
On the occasion of the centenary of the birth of Maestro
Rodrigo, Gallardo Del Rey interpreted his guitar and
orchestra concerts all around the world
The young mezzo-soprano Elina Garana has quickly
established herself as one of the music worlds newest stars
through her performances with leading opera theatres and
symphony orchestras around the world She has captured
critical and popular acclaim for her beautiful voice,
intelligent musicianship, and compelling stage portrayals
Ms Garana begins the 2007-08 season with her frst
performances of the title role in Carmen in her native Riga
This same season she makes several important debuts
including her frst appearances with the Metropolitan
Opera as Rosina in Il barbiere di Siviglia; Octavian in Der
Rosenkavalier with Deutsche Oper Berlin, and Adalgisa
in Norma with the Bayerische Staatsoper Ms Garana
also returns to the Vienna Staatsoper for performances
of Charlotte in Werther, Octavian, Adalgisa, and Rossinis
Rosina Concert appearances fgure prominently in her
season including performances as Romo in Bellinis I
He made his conducting debut in 1981 with the Chamber
Orchestra of Krakow Music Academy In 1982-84 he
worked as assistant conductor and leader of the Krakw
Philharmonic Orchestra In 1984-86 he was Artistic Director
and Principal Conductor of theBaltic Philharmonic in Gdask
and between 1986 and 1990 worked as Conductor of the
Warsaw Chamber Opera In 1990-1991, he was associated
with the Artur Rubinstein Philharmonic in d and 1991-
1994 worked as Conductor and Vice-Artistic Director of the
Polish Radio Symphony Orchestra in Warsaw 1997-2006 he
was Chief Conductor of the Symphony Orchestra of Krakw
Music Academy Mr Czepiel has made numerous archive
recordings for Polish radio, DeuscheWelle as well as various
labels such as Arts,Dux, Europa Musica, Polmusic, Denon,
Polskie Nagrania, and Pro Musica Camerata
At present he is Artistic Director and Conductor of the
Lebanese National Symphony Orchestra in Beirut
Recognized worldwide for his brilliant interpretation and
impeccable skill, Jos Mara Gallardo Del Rey is constantly
being sought after to perform solo recitals as well as
alongside world-renowned orchestras As a result, he
performed concerts all around Asia alongside diferent
orchestras in cities like Hong Kong, Singapore, Jakarta,
Seoul, Brunei, Kuala Lumpur, Taipei, Bangkok, Manila,
Hanoi, Peking and Tianjing In Australia, Gallardo Del Rey
was the frst to play works by Sainsbury and GBrophy that
were specially composed and dedicated to him
He played under the baton of conductors of the calibre
of Frbeck de Burgos, Ros Marb, Garca Asensio, Ramn
Encinar, Garca Navarro, Philippe Entremont, Raymond
Calcraft and Leo Brouer
In Europe, Jos Mara Gallardo Del Rey gave outstanding
performances alongside the Royal Philharmonic
Orchestra of London; he also participated in the concert
commemorating the signing of the Rome Treaty in
Brussels He gave concerts at the Champs Elysee Theatre,
the Stockholm Concert House & Opera, the Dublin National
Auditorium, the Opera Comique of Paris, Konzerthaus of
Viena, Audiroium Stravinski of Montreaux, Performance
Arts Centre of California or Carnegie Hall in New York
In Spain, Jos Mara Gallardo Del Rey is a regular fgure on
the stages of the Madrid National Auditorium, Monumental
Theatre, Royal Theatre, Maestranza Theatre and Zarzuela
Theatre where he performs as a solo player or as part of
orchestras Example of which is his participation at the
Zarzuela Theatre in the Spanish National Ballets recent
production of the Concierto de Aranjuez
He was the guitar player chosen by composer Fernando
Arbex in order to make the cadenzes of the Concierto de
Toledo recorded in London with the London Philharmonic
His last Cd, The Trees Speak edited by Deustche
Grammophon is a virtuosity work and the summit of his
professional career
For the coming season, Jos Mara Gallardo Del Rey is
scheduled to tour Spain, Italy, Rome, Korea, Tailandia,
Japan, Santo Domingo, Florida, United Kingdom, Russia,
Lithuania, Belarus, Singapore and China
Violinist Sarah Chang is recognized the world over as one
of classical musics most captivating and gifted performers
One of the most remarkable prodigies of any generation,
she has matured into a young artist whose musical insight,
technical virtuosity, and emotional range continue to
astonish Appearing in the music capitals of Asia, Europe
and the Americas, she has collaborated with most major
orchestras, including the New York Philharmonic, the
Philadelphia Orchestra, the Berlin Philharmonic, the Vienna
Philharmonic Orchestra, the London Symphony Orchestra,
the Bayerische Rundfunk Orchestra, the Orchestre National
de France, the Netherlands Radio Philharmonic Orchestra,
the NHK Symphony Orchestra Tokyo, the Hong Kong
Symphony Orchestra and the Malaysian Philharmonic
Orchestra amongst others
Among the esteemed conductors with whom she has
worked are Daniel Barenboim, Sir Colin Davis, Gustavo
Dudamel, Charles Dutoit, Valery Gergiev, Bernard Haitink,
James Levine, Lorin Maazel, Kurt Masur, Zubin Mehta,
Riccardo Muti, Andr Previn, Sir Simon Rattle, Wolfgang
Sawallisch, Leonard Slatkin, Michael Tilson Thomas and
David Zinman Notable recital engagements have included
her Carnegie Hall debut and performances at the Kennedy
Center in Washington, DC, Orchestra Hall in Chicago,
Symphony Hall in Boston, the Barbican Centre in London,
the Philharmonie in Berlin as well as the Concertgebouw
in Amsterdam She has reached an even wider audience
through her many television appearances, concert
broadcasts and best-selling recordings for EMI Classics The
remarkableaccomplishments of her career wererecognized
in 1999 when she received the Avery Fisher Prize, one of the
most prestigious awards given to instrumentalists
As a chamber musician, Ms Chang has collaborated with
such artists as Pinchas Zukerman, Wolfgang Sawallisch,
Vladimir Ashkenazy, Yefm Bronfman, Martha Argerich, Leif
Ove Andsnes, Stephen Kovacevich, Yo-Yo Ma, Lynn Harrell,
Lars Vogt and the late Isaac Stern In 2005/06 Ms Chang
toured with members of the Berlin Philharmonic and
the Concertgebouw Orchestra with a Sextet programme
in summer festivals leading to a concert at the Berlin
Philharmonie With the Orpheus Chamber Orchestra, Ms
Chang toured Korea in 2006/07 and will again join the
orchestra for an Asia Tour next season Also next season,
soloist, Bolshoi Ballet
After graduating in 1986 from the Moscow Ballet School
he joined the Ballet Company of the Stanislavsky and
Nemirovich-Danchenko Music Theatre where he danced
solo parts in Giselle, Swan Lake, Romeo and Juliet,
Cinderella, Esmeralda, La Sylphide, Le Corsaire, Walpurgis
Night Ballet Divertissement from the opera Faust At the
same time he took part in Kremlin Ballet productions In
1995, he joined the Bolshoi Ballet Company His repertory
includes: Friend to Prince (Swan Lake); Jester (Swan Lake),
Puss in Boots (The Sleeping Beauty), The Golden Idol (La
Bayadere), Madge (La Sylphide); The Jester (Legend of
Love), The Devil and The Russian Doll (The Nutcracker);
title role in Cipollino, Modest Alexeyevich (Anyuta), The
Jester (Romeo and Juliet), Alain and Simona (La Fille Mal
Gardee He created: title roles of the Passiphonte (La
Fille du Pharaon), Accordion player (The Bright Stream),
Kozelkov (Bolt), Dancing master (Cinderella), Variety show
compere (The Golden Age Music by Dmitry Shostakovich
Yuri Grigorovich production)
In 1992, he won 1 prize at the International Ballet
Competition in the Italian city of Rieti In 2004 National
Award Golden Mask
Ms Chang will tour Europe and the UK with the English
Chamber Orchestra performingVivaldi Four Seasons which
she will play/direct
Last season, Ms Chang performed with the Berlin
Philharmonic (with which she recorded Prokofevs and
Shostakovichs frst violin concertos under the baton of Sir
Simon Rattle), London Philharmonic Orchestra, Orchestre
National de France, Orchestre de la Suisse Romande,
Orchestre Philharmonique de Luxembourg, Danish Radio
Orchestra, as well as with the New York Philharmonic,
Pittsburgh Symphony, Leipzig Gewandhaus, BBC
Symphony Orchestra, Zurich Tonhalle Orchestra and San
Francisco Symphony, among others
This season she has toured the USA with the London
Philharmonic Orchestra, which concluded with a
performance at Carnegie Hall Other orchestras she
has worked with this season include the Los Angeles
Philharmonic Orchestra, Pittsburgh Symphony Orchestra,
Vienna Philharmonic Orchestra, Melbourne Symphony
Orchestra, and the San Francisco Symphony Orchestra In
the Spring a major recital tour of the USA and Europe will
include performances at the Carnegie Hall, New York, and
the National Concert Hall, Dublin
Ms Chang records exclusively for EMI Classics Her widely
lauded recordings include Fire and Ice, an album of
popular shorter works for violin and orchestra, with
Placido Domingo conducting the Berlin Philharmonic,
a disc of chamber music for strings (Dvoraks Sextet and
Tchaikovskys Souvenir de Florence) with current and
former members of the Berlin Philharmonic, and the
Dvorak Violin Concerto with the London Symphony and
Sir Colin Davis, along with the Dvorak Piano Quintet (with
Leif Ove Andsnes, Alex Kerr, Georg Faust and Wolfram
Christ) She has also recorded a CD of French sonatas by
Ravel, Saint-Saens and Franck, in collaboration with pianist
Lars Vogt Last season Ms Chang recorded Prokofevs and
Shostakovichs frst violin concertos live with the Berlin
Philharmonic under the baton of Sir Simon Rattle and this
season recorded Vivaldis Four Seasons with the Orpheus
Chamber Orchestra
Born in Philadelphia to Korean parents, Sarah Chang began
her violin studies at age 4 and promptly enrolled in the
Juilliard School of Music, where she studied with the late
Dorothy DeLay Within a year she had already performed
with several orchestras in the Philadelphia area Her early
auditions, at age8, for Zubin Mehta and Riccardo Muti led to
immediate engagements with the New York Philharmonic
and the Philadelphia Orchestra
Ms Chang has appeared on numerous television and radio
programs throughout Europe, North America and the
Far East Along with Pete Sampras and Wynton Marsalis,
she is a featured artist in Movados global advertising
campaign The Art of Time In 2006, Ms Chang was
named by Newsweek as one of the Twenty Top Women on
In 2005, Yale University named a chair in Sprague Hall
in honor of Ms Chang In June 2004, she was given the
honor of running with the Olympic Torch in New York, and
became the youngest person ever to receive the Hollywood
Bowls Hall of Fame award She is a past recipient of the
Avery Fisher Career Grant, Gramophones Young Artist
of the Year award, Germanys Echo Schallplattenpreis,
Newcomer of the Year honours at the International
Classical Music Awards in London, and Koreas Nan Pa
award In July 2005 she was awarded the Internazionale
Accademia Musicale Chigiana Prize
Capuleti e i Montecchi at Viennas Konzerthaus, scheduled
for release on CD with Deutsche Grammophon Other
highlights of her work in concert include gala concerts in
Prague and Vienna; as well as performances of Mahlers
Third Symphony at Viennas Musikverein; Berios Folk Songs
with the Berlin Philharmonic; concerts with the Orchestra
National de France led by Riccardo Muti; and concerts with
the Salzburg Festival under the baton of Mariss Jansons
Ms Garana has appeared frequently for audiences in
Vienna includingrecent performances as Charlotte in a new
production of Werther opposite Marcelo Alvarez, Rosina,
Dorabella in Cosi fan tutte, Octavian, and Cherubino in Le
nozze di Figaro under the direction of Riccardo Muti with
the Vienna Staatsoper as well as her frst performances
as Sesto in La clemenza di Tito with Theater an der Wien
Ms Garana made her debut at the Salzburg Festival as
Annio in a new production of La clemenza di Tito under the
direction of Nikolaus Harnoncourt, and she soon returned
for performances as Dorabella The role of Dorabella was
the vehicle for her debut with the Royal Opera House,
Covent Garden and with the Festival dAix-en-Provence
in a Patrice Chereau production seen also at the Vienna
Festwochen and with the Opra de Paris
Audiences in Paris saw the mezzo-soprano for the frst time
when she made her debut in the title role of La cenerentola
with the Thtre Champs-Elyses, and she soon returned
for performances with the Opra de Paris as Octavian and
Mozarts Sesto The role of Sesto was also the vehicle for
her debut with the Deutsche Staatsoper Berlin She counts
among her other recent successes her frst performances
as Adalgisa opposite the Norma of Edita Gruberova in
concert performances in Baden-Baden and performances
as Nicklausse for her debut in Japan with the New National
Theater She has appeared frequently in Finland including
performances as Rosina and Giovanna Seymour in Anna
Bolena with the Finnish National Opera and Maddalena in
Rigoletto with the Savonlinna Festival In her native Latvia,
she has appeared as Rosina with the National Opera and
as Giovanna Seymour on tour with the National Opera to
Romania and Greece
Ms Garana is a frequent guest with leading symphony
orchestras throughout Europe She has appeared with
the Vienna Philharmonic in performances of Bergs Sieben
frhe Lieder and with the Bayerische Rundfunk in Dvoraks
Requiem She performed de Fallas Der Dreispitz at Viennas
Musikverein led by Bertrand de Billy and appeared in
Beethovens Missa Solemnis with the Orchestre National
de France led by Kurt Masur She recently completed
a European concert tour with the Orchestra of the Het
Concertgebouw Amsterdam under the direction of Mariss
Jansons as well as a solo concert tour of seven cities in
Germany with the Munich Symphony Orchestra In 2006,
she returned to the Salzburg Festival for concerts of Mozart
sacred music conducted by Riccardo Muti She is a frequent
guest in Finland where she has appeared as soloist in
Rossinis Stabat Mater and in a concert of Mozart arias, both
with the Helsinki Philharmonic She has also appeared
in concert with the RAI Orchestra in Turin and with the
Belgian National Orchestra Ms Garana has a varied recital
repertoire and has given solo recitals Viennas Musikverein,
the Helsinki Festival and the Turku Festival
Ms Garana began her professional career as a resident
artist with the Sdthringischer Staatstheater in Meiningen
where she appeared in a number of leading roles Later, as
a resident artist with the Frankfurt Opera, she appeared as
Rosina, Dorabella, and Hnsel in Hnsel und Gretel
In September 2005 Ms Garana became an exclusive
recording artist with Deutsche Grammophon Her frst
solo recording Aria Cantilena was released in March 2007
to great popular and critical acclaim and was awarded
the prestigious ECHO KLASSIK award for Singer of the
Year 2007 In July 2007 she was one of a quartet of singers
for gala concerts in Baden Baden, and the third of these
concerts was broadcast live on ZDF to a German audience
of over two million A CD and DVD of the concerts are
scheduled for release by Deutsche Grammphon, and a
documentary of the event will be broadcast throughout
Europe in 2008 In 2006 she participated in DGs all-star
compilation The Mozart Album commemoratingthe 250th
anniversary of Mozarts birth Ms Garanas appearances
on television also include performances of arias and
64 65
Principal Guest Conductor between 2000 and 2003) In
1999 he debuted at the Metropolitan Opera New York with
Rigoletto and has returned on numerous occasions since
During recent seasons he made highly successful debuts
with such orchestras as theLos Angeles Philharmonic, Berlin
Philharmonic, Oslo Philharmonic and the Russian National
Orchestra, as well as with the Pittsburgh Symphony and the
Philadelphia Orchestra
His operatic highlights have included The Queen of
Spades at the Metropolitan Opera, Parsifal and Wozzeck
at the Welsh National Opera, War and Peace at the Opera
National de Paris as well as Die Zauberfte, La Cenerentola
and Otello at Glyndebourne Opera Last season Vladimir
Jurowski made his debut at La Scala conducting Eugene
Onegin He will conduct Rossinis La Cenerentola and a new
production of Verdis Macbeth in this years Glyndebourne
Festival Opera
Recent and future symphonic engagements include
concerts with the London Philharmonic Orchestra,
Philadelphia Orchestra, Dresden Staatskapelle, the Royal
Concertgebouw, theOrchestra of theAgeof Enlightenment
and the Chamber Orchestra of Europe
Jurowskis discography includes the frst ever recording of
the cantata Exile by Giya Kancheli for ECM (1994), Letoile
du Nord by Meyerbeer for Naxos-Marco Polo (1996),
Werther by Massenet for BMG (1999), and recently released
live recordings of works by Rachmaninov, M-ATurnage
and Tchaikovsky on London Philharmonic Orchestras own
label His frst of a series of recordings with the Russian
National Orchestra, featuring Tchaikovskys Suite No 3
and Stravinskys Divertimento from Le baiser de la fe, was
released on PentaTone Classics last year and was followed
by the recording of Shostakovich Symphonies No 1 & 6
released earlier this year
In January 2001 Vladimir Jurowski commenced his position
as Music Director of the Glyndebourne Festival Opera
and in 2003 was appointed Principal Guest Conductor
of the London Philharmonic Orchestra and a member
of the Russian National Orchestra Conductor Collegium
In 2005 he was appointed Principal Guest Conductor of
the Russian National Orchestra, and last year he was also
announced as a Principal Artist of the Orchestra of the Age
of Enlightenment Vladimir Jurowski will become London
Philharmonic Orchestras twelfth Principal Conductor in
September this year
He was born in Cairo, 1976 into a musical family He
studied singing at the age of four and played many musical
instruments at an early stage of his life
In 1991 he joined the Arab Conservatoire where he studied
the violin with the Russian Professor Nicoli and the Egyptian
Professor Mohammad Osama
In 1998 he obtained his BA from Cairo Conservatoire with
excellent and honor degree
In 2000 he obtained the higher diploma with excellent
In 2001 he was appointed to teach violin at the Arabic
Conservatoire Currently he is working on his Master
He played as a soloist with many Egyptian orchestras and
many Arab artists in international festivals
Since 2002 he has been working in music arrangement and
as a conductor
Nja Mahdaoui is a visual artist, and an explorer of signs
Born in Tunis in 1937, he now lives and works in Tunisia
Graduate of the Academy of Arts of Santa Andrea in Rome &
of the Ecole du Louvre: Department of oriental antiquities,
he has received a number of distinctions and national
and international prizes As the Grand Prix des Arts et des
Lettres Tunisia, he takes part in group artistic exhibitions,
organizes exhibitions of individual and group work, takes
part regularly in seminars and colloquia at universities in
Tunisia and abroad
Nja Mahdaoui has organized performances of Total Art,
interactive communication between Arab and European
artists, and artists from North America and Asia on the
theme Language and register in exchanges in the visual
arts and Theatre and dance on the theme: Body-Writing
These have taken place in Tunisia, France, Italy, Denmark,
Japan, Cuba, Canada, Germany and Jordan

Nja Mahdaoui is a member of the International Jury of the
Arts Prize of UNESCO He has been Guest of honour and Jury
member of The Sharjah International Arabic Calligraphy
Biennial (UAE 2006) and The International Arts Biennial of
Tehran (Iran 2006)
He is cited in The WHOS WHO in Graphic Design (Zurich),
Men of Achievement IBC Cambridge, The BENEZIT
(Dictionary of Painters, sculptors, designers and engravers
of E Benezit)

He has participated in the monumental decoration of
the International Airports of Jeddah and Riyadh, and the
ARAMCO head ofce at Dahran (Saudi Arabia)
He has won the international competition for the external
design of 4 aircrafts for the Gulf Air 50th Anniversary The
national airline of Bahrain, Oman and the UAE
Anna Netrebko is no longer just the darling of the opera
world: she is enchanting audiences around the globe
while continuingto cultivate the respect and admiration of
operas most devoted and demanding fans Her beautiful,
dark and distinctive voice, together with her elegant and
alluring stage presence, have prompted critics to hail the
Russian soprano as Audrey Hepburn with a voice, and a
singer who simply has it all: a voice of astounding purity,
precision and scope, extensive dynamic and tonal range,
imagination, insight and wit all combined with a dazzling
songs on programs including Klassisch! and Eine Grosses
Nachtmusik In October 2006, the Foundation Europischer
Kulturpreis awarded Elina Garana a prize for her artistic
achievements during a gala at the Semper Opera Dresden,
and Ms Garanas performance was later broadcast
throughout Germany Ms Garanas solo recording debut
was a program of opera arias released by Ondine in 2001 In
2004 the mezzo-soprano recorded Vivaldis Les Bazaget for
Virgin Classics, and in 2005 she completed a solo recording
of Mozart arias with the same label Also in 2005, she
recorded Rossinis Il barbiere di Siviglia with the Mnchener
Rundfunkorchester for Sony Her performance as Charlotte
in Massenets Werther at the Vienna State Opera opposite
Marcelo Alvarez was released on DVDon the TDK label The
same label also released a DVD of the Salzburg Festivals
2003 production of La clemenza di Tito which featured Ms
Garana as Annio
Ms Garana was born into a musical family in Riga, Latvia
In 1996 she entered the Latvian Academy of Music, and
since 1998 she has studied with Irina Gavrilovici in Vienna
and Virginia Zeani in the United States She won the Mirjam
Helin Singing Competition in 1999 and was a fnalist in the
2001 BBC Cardif Singer of the World Competition
Virtuoso pianist, bandleader, composer, arranger and
broadcaster, Julian Joseph is the undisputed heir to the
global house of jazz Acclaimed by critics and audiences
the world over, Julian never fails to inspire with his mastery
of the keyboard, the versatility of his musicianship, and
the seemingly limitless scope of his creative imagination
Always relaxed and self-assured, Julian is completely at
home on any stage and in front of any band His passion for
the music is palpable, and his desire to communicate that
passion compelling
Over the past two decades Julian has developed and
expanded his musical capabilities in a staggering array
of formats As a solo performer he holds audiences rapt
from the minute he sits down at the piano, undaunted by
either the vastness or intimacy of the platform He is to be
seen at all the major international festivals, has toured the
globe with his Trio and Quartet, Electric Band and Forum
Project band, and directed and performed with his All-
Star Big Band at some of the grandest venues in the UK to
audiences of thousands
A feature of a Julian Joseph concert is the wide-ranging
repertoire of original compositions and arrangements
upon which he draws Challenging and innovative, they
are deeply rooted in the jazz tradition and, as with all great
jazz music, combine his own unique voice with those of
his predecessors Julians musical ideas refect the eclectic
infuence of all forms of music in the history of jazz: from
classical to rock and pop, everything is relevant Jazz has
always been an inclusive art form, and Julian is particularly
concerned that it never become exclusive, either in its
construction or its execution
Julian has also established himself as a jazz pioneer in
the classical world He was the frst jazz musician to be
invited to give a series of all-acoustic concerts at Londons
most prestigious classical venue, the Wigmore Hall He
has recorded duets by Milhaud, Stravinsky and Poulenc
with Brazilian pianist Marcelo Bratke, combining them
with his own arrangements of music by Duke Ellington,
Chick Corea and Bill Evans, and collaborated with concert
violinist Viktoria Mullova on her fusion project, Through
the Looking Glass As a soloist, he has given recitals of
Bartk and Prokofev sonatas and performed Gershwins
Piano Concerto in F and the Rhapsody in Blue with some
of the most renowned symphony orchestras in Europe
At the same time, Julians own classically-oriented work
never ventures too far away from his jazz focus This is
particularly evident in his writing for big band and strings
or full symphony orchestra, in which he demonstrates an
exceptional ability to orchestrate complex textures of
rhythm and sound without losing the essential groove that
is at the heart of jazz In this way he is ever pushing the
boundaries, whilst building on the legacy of the great jazz
composers Duke Ellington, Gil Evans, Herbie Hancock and
Jaco Pastorius
Julian is greatly respected and much sought-after by other
musicians in both the jazz and classical worlds He has a
generosity of spirit that is both infectious and reassuring
He brings to projects an enthusiasm and commitment
that guarantees success His collaborations are varied and
dynamic, and his contribution to these projects always
signifcant and highly valued Of the concert platform,
Julian is in constant demand as a broadcaster and presenter
His weekly radio show, Jazz Legends for BBC Radio 3 ran
for six seasons, from 2000 to 2007, and he has made two
series for Meridian TV in the UK, Jazz with Julian Joseph,
and a jazz series for Sky TVs Artsworld channel He is the
recipient of numerous music awards, including the 2006
Parliamentary Jazz Awards Broadcaster of theYear, and was
recently invited to become a Creative Industries Luminary
for London by Mayor Ken Livingstone
Julian also plays an important role in jazz education He was
central to the launch of a jazz syllabus for the Associated
Board of the Royal Schools of Music the UKs primary
music examination board which includes some of his own
compositions, is patron of the Jazz Development Trust and,
always keen to pass on his knowledge and skills to aspiring
players, regularly builds into his touring schedule time to
advise and nurture students of all ages
Julian Joseph has reached the peak of his profession but
only just begun to demonstrate the scope of his potential
The multi-faceted dimensions of his artistry are plain As a
pianist he is unsurpassed, as a composer he has brought
new vitality to the music, and as a descendent of the jazz
greats, he is not only fulflling their legacy, but promises to
become a seminal fgure for the twenty-frst century
Born in Moscow as a son of conductor Mikhail Jurowski,
Vladimir Jurowski completed the frst part of his musical
studies in his native town at the Music College of the
Moscow Conservatory In 1990 he moved with his family to
Germany where he continued his studies at High Schools of
Music in Dresden and in Berlin, studying conducting with
Rolf Reuter and vocal coaching with Semion Skigin
In 1995 he made his international debut at the Wexford
Festival, where he conducted Rimsky-Korsakovs May
Night The same year saw his brilliant debut at the Royal
Opera House Covent Garden in Nabucco
In the season 1996/97 Jurowski has joined the ensemble
of Komische Oper Berlin A season later he has been given
the title of First Kapellmeister of this theatre He continued
working at the Komische Oper on a permanent basis until
2001 Since 1997 Vladimir Jurowski has been a guest at
some of the worlds leading musical institutions such as
the Royal Opera House Covent Garden, Teatro La Fenice
di Venezia, Opera Bastille de Paris, Theatre de la Monnaie
Bruxelles, Maggio Musicale Festival Florence, Rossini Opera
Festival Pesaro, Edinburgh Festival, Semperoper Dresden,
Teatro Comunale di Bologna (where he has served as
charisma that makes it all but impossible to look away
when she is performing
Since her triumphant Salzburg Festival debut in 2002 as
Donna Anna in Mozarts Don Giovanni, Anna Netrebko
has gone on to appear with nearly all of the worlds great
opera companies, including the Metropolitan Opera, the
San Francisco Opera, the Los Angeles Opera, Londons
Royal Opera House Covent Garden, the Vienna State Opera,
Munichs Bavarian State Opera, the Berlin State Opera, and
the Deutsche Oper Berlin She also frequently returns to the
Kirov Opera at the Marians Theatre in St Petersburg (where
she began by cleaning the foors during her conservatory
days and later made her stage debut as Susana in Mozarts
Le nozze di Figaro in 1994) to collaborate with her long-
time mentor, conductor Valery Gergiev
Anna Netrebko made her Metropolitan Opera debut in
2002 as Natasha in Prokofevs War and Peace, a role she has
also sung at Londons Covent Garden, Milans Teatro alla
Scala and Madrids Teatro Real Netrebkos other signature
roles include Mim in Puccinis La bohme, Giulietta in
Bellinis I Capuleti e i Montecchi, Donna Anna in Mozarts
Don Giovanni, Norina in Donizettis Don Pasquale and
Adina in his Lelisir damore, Ilia in Mozarts Idomeneo,
the title roles in Donizettis Lucia di Lammermoor and in
Massenets Manon, Susanna in Mozarts Le nozze di Figaro,
Elvira in Bellinis I puritani, Juliette in Gounods Romo et
Juliette, Amina in Bellinis La sonnambula, and Violetta in
Verdis La Traviata
Ms Netrebko also appears extensively in concerts and
recitals throughout the world, both in revered music halls
such as Londons Barbican Hall and Pariss Thtre des
Champs-lyses, and in outdoor arenas in front of tens-
of-thousands of people The Berlin Concert: Live From
The Waldbhne an outdoor appearance with Plcido
Domingo and Rolando Villazn on the eve of the 2006
World Cup Final was performed in front of an audience
of 20,000, watched on television by millions, and became
a best-selling DVD Netrebko made her Carnegie Hall
debut in 2007 in a sold-out concert with baritone Dimitri
Hvorostovsky, and later that year she headlined the BBCs
tradition-rich Last Night of the Proms at the Royal Albert
Hall in London
At only 36 years of age, Anna Netrebko boasts a
discography that is already quite extensive and includes
solo albums, complete opera recordings, and DVDs Her
solo discs for the venerable Deutsche Grammophon label
Opera Arias, Sempre libera, and Russian Album have
all been bestsellers, as have her audio recordings and DVDs
of La traviata and Le nozze di Figaro and her DVD of music
videos, Anna Netrebko: The Woman, The Voice To date,
all of her albums have earned platinum status in Germany
and Austria Her new CD, Duets, with her frequent stage
partner, tenor Rolando Villazn, claimed the top spot on
the Billboard classical chart shortly after its release in the
US, and in Europe Duets set a record for the best debut
ever for a classical album, climbing to the top of the pop
charts in several countries
Further confrming her status as the reigning new diva
of the early 21st century, in 2007 Anna Netrebko became
the frst opera singer ever to be named to the TIME 100
listTime magazines list of the most infuential people in
the world Other honours and awards include a Grammy
nomination for her recording Violetta, Musical Americas
2008 Musician of the Year, Germanys prestigious Bambi
Award, the UKs Classical BRIT Award for Singer of the
Year, fve German Echo Klassik awards, and the Russian
State Prize the countrys highest award in the feld of arts
and literature which was bestowed on her in 2005 by
President Vladimir Putin
Highlights of Anna Netrebkos current season include
Romo et Juliette with the Metropolitan Opera; La traviata
in her debut with Deutsche Oper Berlin and in her return to
the Royal Opera House, Covent Garden; her debut with the
Opra de Paris in I Capuleti e i Montecchi; Manon with the
Vienna State Opera; and further performances of Romo et
Juliette with the Salzburg Festival On the concert stage,
she appears in performances of Pergolesis Stabat Mater
at Viennas Musikverein and as Bellinis Giulietta at Viennas
Konzerthaus She also returns to the Deutsche Staatsoper
Berlin for a concert led by Daniel Barenboim
Born in Montevideo, Uruguay Erwin Schrott made his
professional debut there in 1994 After winning the 1998
Operalia Competition he made debuts that year in Verona,
Washington and Cagliari, and subsequently at the Vienna
State Opera, Paris Opra, Metropolitan Opera, New York,
Hamburg State Opera, La Scala, Milan, Teatro Coln,
Buenos Aires and in Brussels, Chicago, Genoa and Florence
Mr Schrott made his Royal Opera debut as Banquo in
2002, returning as Leporello Other repertory includes
Don Giovanni (Royal Opera, Washington, Los Angeles,
Florence, La Scala, Metropolitan Opera, Valencia), Mozarts
Figaro (Los Angeles, Vienna, Zrich, Metropolitan Opera),
Escamillo (Metropolitan Opera, Los Angeles, Cincinnati)
and Mphistophls in La Damnation de Faust (Rome, with
the Accademia di Santa Cecilia and Antonio Pappano)
Plans include Don Giovanni (La Scala, Metropolitan Opera,
Vienna, Salzburg, Munich, Valencia, Seville), Nozze di Figaro
(Vienna, Metropolitan Opera, Royal Opera, Los Angeles,
Barcelona, Munich) and Faust (Barcelona, Vienna)
Khalid Saleem began his musical career at an early age
His parents, who believed in his talent, encourage him
immensely As a child, he moved a lot between Cairo and
Kuwait where his father used to work Later he settled in
Cairo and joined the college of business He was selected
as the best singer at Cairo University in three consecutive
years 1997, 98, 99 Then he was chosen as the frst singer of
the Egyptian Universities
Khalid can sing in Arabic, English and Turkish and plays the
lute very well
He was enchanted by the songs of Mohammad Abu Al
Wahab, Abd Al Haleem Hafez, Umm Khulthoom, Fayrouz,
Warda Al Jazairaya This left an impact on him
Khalid>s voice is deep and romantic He keeps training and
learning to play diferent kinds of musical instruments
The Nile Channel awarded him the prize of best singer in
2000 He was frequent guest to honor Abd Al Haleem Hafez
in Morocco, the Opera House in Egypt and many parts in
the world
He was honored by people who loved his album Another
World in which his interpretation based on his repertoire
of heritage music The album was released to great popular
and critical acclaim
He has recorded more CDs such as:
Neither Night nor Day
I love you she said
Take the Beautiful
Away from me
He played in flms and TV serials with Warda Al Jazairaya
His movie Special Operations is screened now in movie
66 67
a Gramophone Award, two Echo awards, and the Edison
Prize His latest recording, Saint-Sans, Piano Concerti Nos
2&5, with the Orchestre de la Suisse Romande, released in
early fall 2007, follows the album, AriaOpera Without
Words, which was released in February 2007, inspired by
the artists love and admiration for the human voice as
the best vehicle for expression in music The disc features
transcriptions of opera arias by Saint-Sans, R Strauss,
Gluck, Korngold, Bellini, J Strauss II and Puccini; some of
the transcriptions are by Mikhashof, Sgambati and Brassin,
othersThibaudets own Thibaudet was the soloist on the
2005 Oscar-nominated soundtrack of Universal Pictures
Pride and Prejudice, and in 2005 released his recording of
Strausss Burleske with the Leipzig Gewandhaus Orchestra
Among other recordings are Satie: The Complete Solo
Piano Music, and the jazz albums Refections on Duke:
Jean-Yves Thibaudet plays the music of Duke Ellington
and Conversations with Bill Evans, his tribute to two of jazz
historys greats
Jean-Yves Thibaudet was born in Lyon, France, where
he began his piano studies at age fve and made his frst
public appearance at age seven At twelve, he entered the
Paris Conservatory to study with Aldo Ciccolini and Lucette
Descaves, a friend and collaborator of Ravel At age ffteen,
he won the Premier Prix de Conservatoire and three years
later, won the Young Concert Artists Auditions in New York
City In 2001, the Republic of France awarded Thibaudet
the prestigious Chevalier de lOrdre des Arts et des Lettres
and in 2002, he was awarded the Premio Pegasus from the
Spoleto Festival in Italy, for his artistic achievements and
his longstanding involvement with the festival His most
recent accolade is the 2007 Victoire dHonneur, a lifetime
career achievement award and the highest honour given
by Frances Victoire de la Musique
Celebrated as one of the foremost violinists of today,
Nikolaj Znaider is regularly invited to work with the worlds
leading orchestras including, Vienna Philharmonic, Berlin
Philharmonic, Royal Concertgebouw Orchestra, London
Symphony Orchestra, St Petersburg Philharmonic, New
York Philharmonic, Chicago Symphony, Philadelphia
Orchestra, Cleveland Symphony, and enjoys artistic
collaborations with acclaimed conductors including
Barenboim, Chung, Sir Colin Davis, von Dohnanyi, Dutoit,
Gergiev, Jansons, Maazel, Masur, Mehta, Rostropovich,
Temirkanov and Thielemann
Born in Denmark to Polish-Israeli parents, Znaider studied
with the eminent Russian pedagogue Boris Kushnir and
drawing on this eclectic background his playing has
been heralded in the Strad Magazine as extraordinarily
intelligent, soulful and impassioned, yet without a hint
of indulgence and the Chicago Tribune said Perhaps
not since the young Gidon Kremer burst upon the violin
world in 1970 has a violinist caused quite the stir of Nikolaj
A keen recitalist and chamber musician, Znaider has
shared the stage with the foremost artists of today such as
Daniel Barenboim, Leif Ove Andsnes, Yuri Bashmet, Yefm
Bronfman, Lynn Harrell, Lang Lang and Pinchas Zukerman
His recent project, recording the complete Piano Trios
of Mozart with Barenboim and Zlotnikov has just been
released on EMI Classics
Naseer Shamma was born in 1963 in Al-Kut, a southern
city in Iraq He studied at Baghdads Institute of Music
and, In 1987, received a diploma in musical art Later he
specialized in the Oud
Since he started his professional career, Naseer has been
composing his own music Giving concerts in various parts
of the world has become his main concern He is now one
of the most esteemed and prolifc Oud musicians
In addition to holding concerts, Naseer is currently director
of the Beit Al-Oud Al-Arabi at Al-Harawi Cairo, which was
founded by him in 1998
Naseer performs on the Oud in a manner which
combines ancient methods with his own original modern
compositions Naseer Shamma is the only musician to
have constructed an eight-string Oud or Lute following
the manuscript of the famous 9th century music theorist
Al-Farabi This new design (eight instead of six strings)
expanded the musical range of the Oud and gave it a
distinct tonality
His innovations go beyond that to include a new method of
playing the Oud using one hand This allows handicapped
people to play and enjoy the instrument
Pianist Jean-Yves Thibaudet continues to bring joy to
audiences around the globe with his elegant style, depth of
colour, and brilliant technique His interpretations combine
a masterful virtuosity with lyric and poetic expressiveness,
with which he makes each composers work his own
Sought after by orchestras, conductors, festivals and fellow
musicians alike for his versatility and artistic sensitivity, and
equally prolifc in the performance and recording arenas,
he continues to be hailed by the press as one of the best
pianists in the world
Highlights of Mr Thibaudets 2007-08 season in the US
include three performances at New Yorks Carnegie Hall
with the Boston Symphony Orchestra (October 8), National
Symphony Orchestra (February 7), and the Takcs Quartet
(April 26) Additional orchestral appearances include the
Los Angeles Philharmonic, Baltimore Symphony, Minnesota
Orchestra, Detroit Symphony Orchestra, Houston Symphony
and the Cincinnati Symphony Orchestra Internationally,
the season takes Thibaudet to sixteen countries spanning
fve continents, with appearances including tours with
the Orchestre Philharmonique de Luxembourg, London
Philharmonic Orchestra, and Orchestre Philharmonique
de Monte Carlo, as well as concerts with such world-
renowned ensembles as Londons Philharmonia Orchestra,
the NHK and Singapore Symphony Orchestras, the Oslo
Philharmonic, Radio Philharmonic Holland, Tonhalle
Orchester Zrich, Orchestre de la Suisse Romande, Seville
Royal Symphony Orchestra and the Valencia Orchestra

A vivid recitalist, in 2007-08 Jean-Yves Thibaudet performs
at Pariss Thtre des Champs-lyses, Amsterdams
Concertgebouw, Carnegies Zankel Hall in New York
and Chicagos Symphony Hall Additional recitals take
him to Japan, Germany, Spain, and several US cities Mr
Thibaudets season is rounded out by performances at
some of the worlds most renowned festivals, which include
the Tuscan Sun, Ravinia and Saratoga Festivals in summer
2007, the historic December Nights of Sviatoslav Richter
Festival in Moscow, followed by January performances at
the Cartagena Festival in Colombia and the New Zealand
Festival in March An active chamber musician, Jean-Yves
Thibaudet collaborates regularly with other notable artists,
and tours with Takcs Quartet in April 2008
Jean-Yves Thibaudet is an exclusive recording artist for
Decca, which has released over 30of his albums, earningthe
Schallplattenpreis, the Diapason dOr, Choc de la Musique,
An exclusive RCA Red Seal recording artist, Znaiders
latest recording of the Beethoven and Mendelssohn
Violin Concerti with the Israel Philharmonic under Zubin
Mehta has been greeted with critical acclaim He recently
returned to the studio record the complete works for violin
and piano of Johannes Brahms with Yefm Bronfman His
award winning recordings of Prokofev and Glazunov Violin
Concerti with the Bavarian Radio Symphony Orchestra and
Mariss Jansons and Bravo, his album of Romantic Virtuosic
violin music have also been critically acclaimed and were
Editors Choice in Grammophone Magazine Znaiders
confdent, abundantly characterful account of theProkofev
is, on balance, the fnest Ive heard his playing is a model
of scrupulous observation and profound musicality
Znaider is passionate about the education of musical talent
and is Founder and Artistic Director of the Nordic Music
Academy, an annual summer school whose vision it is to
create conscious and focused musical development based
on quality and commitment
Nikolaj Znaider plays the Kreisler Guarnerius del Gesu
1741 on extended loan to him by The Royal Danish Theater
through the generosity of the VELUX FOUNDATIONS and
the Knud Hjgaard Foundation
Abu Dhabi Music & Arts Foundation
HE Hoda I Al Khamis-Kanoo - ADMAF Founder
Sally Tabbara - Executive Manager
Marianne Tuni - Ofce Manager
Jrmie Regnier - Events Executive
Martin Ninalga - Accountant
Mary Grace Monera - Secretary
Sheryl Biscocho - Secretary
Rana Taha - Events Manager
Waddad Muroe
ADMAF Board Advisors
Mr Bachir Al Haskouri
Ms Razan Al Mubarak
Mr Raymond Mouracade
Mr Saeed Khalifa Al Baloushi
Mrs Mary Corrado
Mr Mohammed Kanoo
HE Hamed Ahmed Al Suwaidi
Mrs Zahra Al Masaoud
Dr Sheikha Al Maskari
HE Khaldoun Al Mubarak
Dr Frauke Heard Bey
Mr Terence Allen
HE Mohammed Ahmed Al Suwaidi
Barrett Wissman - Chairman
Jefrey M Fuhrman - President and Chief
Operating Ofcer
Ian Smallbone - Senior Vice President &
Managing Director
Geof Street - Senior Producer and Project
Adrian Bourke - Festival Technical Manager
Sally Rogers - Senior Vice President, Projects
Robert Blake - Senior Manager, Marketing
& Communications
Rachel Vickers - Dance Manager
Milly Olykan - Projects Manager
Rachel Girling - PA to Ian Smallbone
Heather Clark-Charrington - Programme
Brochure Editor
Programme Notes
Marc Rochester
Special Thanks:
Founder & Organiser
Beethoven Institute of Music Elite Arabic Institute
Center EDU Care K Peers
Indain School Abu Dhabi Women College
M Rivet Abu Dhabi Men College
Zayed University Sheikh Zayed Private Academy for Girls
UAE University - Al Ain Emirates College for Advance Education
British School Al Khudeirat
A very special thank you to the schools participating in the Childrens Day:
HH Sheikh Mohammed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi
HE Sheikh, Nahayan Mabarak Al Nahayan, Minister of Higher Education & Scientifc Research
President and Patron, Abu Dhabi Music & Arts Foundation