Programme PDF - London Symphony Orchestra
Programme PDF - London Symphony Orchestra
Programme PDF - London Symphony Orchestra
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Tuesday 15 and Thursday 17 May 2012<br />
Barbican Hall and LSO St Luke’s<br />
Tuesday 15 May 2012 7.30pm, Barbican Hall<br />
GERGIEV’S STRAVINSKY<br />
Stravinsky The Rite of Spring<br />
InTeRVAL<br />
Stravinsky Oedipus Rex<br />
Valery Gergiev conductor<br />
Gentlemen of the <strong>London</strong> <strong>Symphony</strong> Chorus<br />
Concert ends approx 9.45pm<br />
Recommended by Classic FM<br />
Valery Gergiev © Alberto Venzago<br />
<strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
Living Music<br />
Thursday 17 May 2012 8pm, LSO St Luke’s<br />
UBS SOUNDSCAPES: ECLECTICA – STRAVINSKY JAZZ<br />
Stravinsky<br />
Dumbarton Oaks; Concertino for Twelve Instruments;<br />
Octet for Wind Instruments<br />
InTeRVAL<br />
Fanfare for Two Trumpets; Les Cinq Doigts;<br />
eight Instrumental Miniatures; ebony Concerto; Ragtime<br />
Timothy Redmond conductor<br />
LSO Chamber Ensemble<br />
Concert ends approx 9.45pm
Welcome News<br />
Welcome to these two concerts at the Barbican and LSO St Luke’s,<br />
concluding the LSO’s May celebration of Igor Stravinsky.<br />
On Tuesday evening at the Barbican, the LSO’s Principal Conductor<br />
Valery Gergiev introduces two Stravinsky works – The Rite of Spring,<br />
which received a notorious premiere in Paris in 1913 and ‘shook<br />
classical music by the scruff of the neck’, and Stravinsky’s operaoratorio<br />
interpretation of the classical Greek tragedy Oedipus Rex.<br />
Joining Valery Gergiev on stage will be soloists from the Mariinsky<br />
Theatre, and Simon Callow narrates.<br />
Thursday evening sees a different angle to Stravinsky as part of our<br />
UBS Soundscapes: ecletica series at LSO St Luke’s – his jazz-inspired<br />
side influenced by his experience in new York’s Harlem. LSO players<br />
perform a selection of chamber works reflecting the composer’s<br />
experiments in rhythm and harmony, conducted by Timothy Redmond.<br />
I’d like to take the opportunity to thank UBS for their generous and<br />
continued support of these events.<br />
Join us again in a fortnight’s time when LSO Principal Guest Conductor<br />
Michael Tilson Thomas returns to present a series of Mahler symphonies,<br />
alongside concerto performances from pianist Yefim Bronfman and<br />
violinist Gil Shaham.<br />
–<br />
Kathryn McDowell<br />
LSO Managing Director<br />
2 Welcome & News<br />
Kathryn McDowell © Camilla Panufnik<br />
LSO Stravinsky Celebration<br />
The LSO’s celebration of Igor Stravinsky took Valery Gergiev and the<br />
<strong>Orchestra</strong> to Trafalgar Square for the first time last Saturday, amongst<br />
our regular concerts at the Barbican and LSO St Luke’s. In the iconic<br />
location in front of nelson’s Column they performed Fireworks, The<br />
Firebird, and The Rite of Spring to an audience of thousands as part of<br />
a new collaboration: BMW LSO Open Air Classics. The partnership will<br />
see outdoor concerts performed in <strong>London</strong> locations every summer –<br />
the next will be on Sunday 11 August 2013.<br />
lso.co.uk/openair<br />
<strong>London</strong> 2012<br />
As part of the <strong>London</strong> 2012 celebrations, the LSO will perform in three<br />
special collaborative concerts with the Barbican. The first is with South<br />
American singer-songwriter Gilberto Gil and conductor François-<br />
Xavier Roth, performing Gil’s own songs and works from his homeland<br />
of Brazil (4 July). On 21 July award-winning composer and producer<br />
nitin Sawhney will conduct the <strong>Orchestra</strong> in his newly written score<br />
for Hitchcock’s film The Lodger, restored to its former glory by the BFI<br />
national Archive and being screened in the concert hall. Finally on<br />
25 and 26 July jazz trumpeter Wynton Marsalis joins Sir Simon Rattle<br />
and the LSO with Jazz at Lincoln Center <strong>Orchestra</strong> for two concerts<br />
which include the UK premiere of Marsalis’ ‘Swing <strong>Symphony</strong>’<br />
(<strong>Symphony</strong> no 3).<br />
lso.co.uk/whatson<br />
A warm welcome to tonight’s Groups<br />
Groups of 10+ receive a 20% discount on all tickets, plus a host<br />
of additional benefits. Call the dedicated Group Booking Line on<br />
020 7382 7211 or visit lso.co.uk/groups.<br />
At the Barbican concert on Tuesday, we are delighted to welcome<br />
Gerrards Cross Community Association, The Mariinsky<br />
Theatre Trust and Dartmouth College.
The son of the Principal Bass at the Mariinsky Theatre, Stravinsky was born at the<br />
Baltic resort of Oranienbaum near St Petersburg in 1882. Through his father he met<br />
many of the leading musicians of the day and came into contact with the world of<br />
the musical theatre. In 1903 he became a pupil of Rimsky-Korsakov, which allowed<br />
him to get his orchestral works performed and as a result he came to the attention<br />
of Sergei Diaghilev, who commissioned a new ballet from him, The Firebird.<br />
The success of The Firebird, and then Petrushka (1911) and The Rite of Spring (1913)<br />
confirmed his status as a leading young composer. Stravinsky now spent most of his<br />
time in Switzerland and France, but continued to compose for Diaghilev and the Ballets<br />
Russes: Pulcinella (1920), Mavra (1922), Renard (1922), Les Noces (1923), Oedipus Rex<br />
(1927) and Apollo (1928).<br />
Stravinsky settled in France in 1920, eventually becoming a French citizen in<br />
1934, and during this period moved away from his Russianism towards a<br />
new ‘neo-classical’ style. Personal tragedy in the form<br />
of his daughter, wife and mother all dying within eight<br />
months of each other, and the onset of World War II,<br />
persuaded Stravinsky to move to America in 1939<br />
where he lived until his death. From the 1950s, his<br />
compositional style again changed, this time in<br />
favour of a form of serialism. He continued to<br />
take on an exhausting schedule of conducting<br />
engagements until 1967, and died in new York<br />
in 1971. He was buried in Venice on the island<br />
of San Michele, close to the grave of Diaghilev.<br />
Composer Profile © Andrew Stewart<br />
Composer Profile<br />
3
Tuesday 15 May, Barbican<br />
Igor Stravinsky (1882–1971)<br />
The Rite of Spring (1913)<br />
Part One: The Adoration of the Earth<br />
1 Introduction –<br />
2 The Augurs of Spring –<br />
3 Dances of the Adolescents –<br />
4 Game of Abduction –<br />
5 Spring Rounds –<br />
6 Games of the Rival Tribes –<br />
7 Procession of the Sage –<br />
8 The Sage –<br />
9 Dance of the Earth<br />
Part Two: The Sacrifice<br />
1 Introduction –<br />
2 Mystical Circles of the Young Girls –<br />
3 Glorification of the Chosen One –<br />
4 Evocation of the Ancestors –<br />
5 Ritual of the Ancestors –<br />
6 Sacrificial Dance<br />
The origin of The Rite of Spring is almost as famous as the riot which,<br />
just over three years later, greeted its first performance. Stravinsky<br />
relates in his autobiography how, while working on the final pages<br />
of The Firebird in the spring of 1910, he had a ‘fleeting vision’ of<br />
‘a solemn pagan rite: sage elders, seated in a circle, watching a young<br />
girl dance herself to death. They were sacrificing her to propitiate the<br />
god of spring’. The vision seems not to have been accompanied by<br />
musical ideas, but if it had been, they would hardly have been much<br />
like the music as we know it. In fact the change in style over these<br />
three years probably took the composer as much by surprise as<br />
anyone. After all, the first sketches already date from September 1911,<br />
less than 18 months after the completion of his first ballet, and the<br />
following March he wrote to his teacher’s son Andrey that ‘it’s as if<br />
20 years, not two, have passed since the composition of Firebird’.<br />
After the ballet’s noisy premiere, by Diaghilev’s Ballets Russes in the<br />
Théâtre des Champs-Élysées on 29 May 1913, Stravinsky spent much<br />
of the rest of his life denying the reality and creating a mythology.<br />
Above all, he came to play down the work’s purely Russian character.<br />
4 <strong>Programme</strong> Notes<br />
He denied the presence in the music of authentic folk materials; he even<br />
tried to disclaim the actual scenario, asserting in a Paris newspaper<br />
interview in 1920 that the ‘scenic realisation’ (by the Russian painter<br />
and ethnographer nikolay Roerich) had been a mere convenience<br />
for a work ‘of purely musical construction’. Finally he denounced<br />
nijinsky’s choreography, for which at the time he had expressed<br />
huge admiration. none of these disavowals hold much water.<br />
That the score is based on folk music was conclusively proved by<br />
the publication of the sketchbook (1969), which includes specific<br />
notations of such material. The music itself rapidly became worldfamous<br />
for two things: crashing dissonance and violent rhythm.<br />
At its heart, though, lies simple folksong, but layered in complex ways.<br />
This can immediately be heard at the very start, where the plangent<br />
high bassoon melody is contradicted by a still simpler tune on cor<br />
anglais, but set on C-sharp against the bassoon’s C naturals an octave<br />
above. Stravinsky found these colours at the piano (right hand white<br />
notes, left hand black).<br />
But the rhythms also descend from folksong and specifically from a<br />
Russian tradition of word-setting. The principle is cellular. You think of<br />
a tune as a compilation of tiny phrases, then build them up additively –<br />
the reverse of a classical composer with his four-beat bars and fourbar<br />
phrases. Stravinsky later explored these techniques in a refined,<br />
intricate way. But whatever he subsequently wrote, he never shook off<br />
the image of the wild man of modern music. And listening to The Rite<br />
of Spring, it is not hard to hear why.<br />
<strong>Programme</strong> Notes © Stephen Walsh<br />
Stephen Walsh is a well-known writer on music, the author of a major<br />
two-volume biography of Stravinsky and also a book on his music.<br />
He holds a Personal Chair at Cardiff University.
Tuesday 15 May, Barbican<br />
Igor Stravinsky<br />
Oedipus Rex: an opera-oratorio in two acts (1927)<br />
Zlata Bulycheva Jocasta mezzo-soprano<br />
Sergei Semishkur Oedipus tenor<br />
Evgeny Nikitin Creon / The Messenger bass-baritone<br />
Alexei Tanovitski Tiresias bass<br />
Alexander Timchenko The Shepherd tenor<br />
Simon Callow narrator<br />
Gentlemen of the <strong>London</strong> <strong>Symphony</strong> Chorus<br />
The idea for ‘an opera in Latin on the subject of a tragedy of the<br />
ancient world, with which everyone would be familiar’ was essentially<br />
Stravinsky’s own, as is proved by a letter to Jean Cocteau of October<br />
1925, setting out the terms of their collaboration. Hitherto all his sung<br />
theatre works except Pulcinella – where the Italian text was part of<br />
the received material – had been in Russian, which may seem natural<br />
enough until we remember that Stravinsky always knew perfectly well<br />
that the audience for these works would be French. The Latin text was<br />
apparently a distancing device, perhaps also with a sacred dimension,<br />
as with the Latin of the Mass, or the Old Slavonic of the Russian<br />
Orthodox liturgy in which Stravinsky had been brought up.<br />
The eventual form of Oedipus Rex suggests baroque oratorio as a<br />
model, with its alternation of recitative, aria and chorus. But his whole<br />
attitude to the classical material has to be understood in the light of<br />
his own recent music. Since Mavra (1922), he had composed only<br />
instrumental music, entirely for piano or wind. nearly every work<br />
was accompanied by some kind of manifesto (not always penned<br />
by Stravinsky but reflecting his ideas), urging the virtues of form as<br />
an expressive category, denouncing such conventional Romantic<br />
concepts as interpretation and a phrased espressivo. On the contrary,<br />
cold, rational forms were seen as a virtue of classical thought. Oedipus<br />
Rex, with its statue-like, masked dramatis personae and two-dimensional<br />
setting, was simply this kind of neoclassicism put on to the stage.<br />
Only, Stravinsky’s musical models are much more varied than before:<br />
shades of Verdi (in the opening chorus), Bellini (in Jocasta’s aria), perhaps<br />
Berlioz (in the bucolic music of the Shepherd and the Messenger), and<br />
even Puccini’s Turandot (in the final scene). Stravinsky himself called<br />
the work a ‘Merzbild’ – the Dada term for a picture made out of junk –<br />
and was defensive about some of its stylistic excesses.<br />
The music is linked by a Speaker, who pretends to explain the plot in<br />
the language of the audience, though in fact Cocteau’s text obscures<br />
nearly as much as it clarifies. Stravinsky came to loathe these<br />
speeches for their obscurity and implied snobbishness, but they<br />
are a crucial aspect of the work’s dramatic effect. Some additional<br />
explanation may be helpful.<br />
The Oracle warned King Laius of Thebes that he would be killed by<br />
his own son; so, when a son was born, Laius and his wife, Jocasta,<br />
exposed him on a mountainside, piercing his feet with leather thongs.<br />
There he was found and brought up by a shepherd of the Corinthian<br />
King Polybus. Polybus, being childless, adopted the boy and named<br />
him; later, Oedipus was taunted about his parentage, and, when he<br />
consulted the Oracle, was told that he would kill his father and marry<br />
his mother. To avoid these crimes, and naturally taking them to refer<br />
to Polybus and his wife, he left Corinth for Thebes, and on the way<br />
killed an old man he met at a crossroads, not recognising him as<br />
King Laius. At Thebes he solved the riddle of the Sphinx, who was<br />
laying waste the city, winning thereby the throne and the hand of the<br />
now-widowed Queen Jocasta. It is crucial that, even when he begins<br />
to suspect that he is the murderer of King Laius and thus the cause<br />
of the plague in Thebes, Oedipus still does not realise he is Laius’<br />
son. He simply believes his crime to be usurping the marital bed of a<br />
man he has killed. Finally, the listener needs to know that when, after<br />
the scene with Jocasta, ‘the witness to the murder emerges from the<br />
shadow’, this is not the Messenger but the Shepherd, who had been<br />
the one member of Laius’ retinue to escape. On returning to Thebes<br />
and finding Oedipus installed as King, he had requested transfer to<br />
remote pastures, but has now returned at Oedipus’ summons for the<br />
inquest into Laius’ death.<br />
Oedipus Rex was first performed at the Théâtre Sarah-Bernhardt in<br />
Paris in May 1927 as part of Diaghilev’s Ballets Russes season, but as<br />
a concert performance. Stravinsky himself conducted. The first staging<br />
was in Vienna on 23 February 1928, followed two nights later by the<br />
famous Kroll Opera production in Berlin, conducted by Klemperer.<br />
<strong>Programme</strong> Notes<br />
5
Tuesday 15 May, Barbican<br />
Igor Stravinsky<br />
Oedipus Rex: Libretto<br />
PROLOGUE<br />
Narration<br />
ACT ONE<br />
Chorus<br />
Kaedit nos pestis,<br />
Theba peste moritur.<br />
e peste serva nos, serva,<br />
e peste qua Theba moritur.<br />
Oedipus, adest pestis,<br />
Kaedit nos pestis,<br />
Oedipus, e peste serva nos,<br />
Serva, Oedipus,<br />
e peste libera urbem,<br />
Urbem serva morientem.<br />
Oedipus<br />
Liberi, vos liberabo,<br />
Liberabo vos a peste.<br />
ego clarissimus,<br />
ego Oedipus vos diligo,<br />
ego Oedipus vos servabo.<br />
Chorus<br />
Serva nos adhuc, serva urbem,<br />
Serva nos, clarissime<br />
Quid fakiendum,<br />
Ut liberemur?<br />
Oedipus<br />
Uxoris frater mittitur,<br />
Oraculum consulit,<br />
Deo mittitur Creo,<br />
Quid fakiendum consulit.<br />
Creo ne commoretur.<br />
Creon appears<br />
6 Libretto<br />
The plague is upon us,<br />
Thebes is dying of the plague.<br />
Save us from the plague<br />
of which Thebes is dying.<br />
Oedipus, the plague is upon us,<br />
the plague is destroying us,<br />
Oedipus, save us from the plague,<br />
save us, Oedipus,<br />
and deliver the city from the plague,<br />
deliver our dying city.<br />
My children, I will deliver you,<br />
I will deliver you from plague.<br />
Oedipus, I, the far-famed Oedipus,<br />
I, Oedipus, love you,<br />
I, Oedipus, will deliver you.<br />
Save us once more, save our city,<br />
Oedipus! Save us, far-famed Oedipus!<br />
what is to be done, Oedipus,<br />
that we may be delivered?<br />
The Queen’s brother has been sent<br />
to consult the oracle,<br />
Creon has been sent to the God<br />
to ask what is to be done.<br />
May Creon not tarry long!<br />
Chorus<br />
Vale, Creo! Audimus.<br />
Vale, Creo! Kito, kito.<br />
Audituri te salutant.<br />
Audimus, audimus.<br />
Narration<br />
Creon<br />
Respondit deus:<br />
Laium ulkiski, skelus ulkiski.<br />
Reperire peremptorem.<br />
Thebis peremptor latet.<br />
Latet peremptor regis:<br />
Reperire opus istum,<br />
Luere Thebas a labe.<br />
Kaedem regis ulkiski,<br />
Regis Laii perempti,<br />
Quem depelli deus jubet<br />
peremptorem,<br />
Peste infikit Thebas.<br />
Apollo dixit deus.<br />
Oedipus<br />
non reperias vetus skelus.<br />
Thebas, Thebas eruam,<br />
Thebis incolit skelestus.<br />
Chorus<br />
Deus dixit, tibi dixit.<br />
Oedipus<br />
Tibi dixit.<br />
Miki debet se dedere.<br />
Opus vos istum deferre.<br />
Thebas eruam.<br />
Thebis pellere istum.<br />
Vetus skelus non reperias.<br />
Chorus<br />
Thebis skelestus incolit.<br />
Hail, Creon! We give you audience.<br />
Hail, Creon! Make haste, make haste!<br />
Waiting to hear you, we salute you.<br />
We are listening.<br />
The God gives answer:<br />
avenge Laius, avenge the crime.<br />
Seek out the murderer.<br />
The murderer is hiding in Thebes.<br />
The King’s murderer is in hiding:<br />
he must be discovered,<br />
to purge Thebes from the stain.<br />
Avenge the King’s murder,<br />
the murdered King, Laius.<br />
The God decrees:<br />
expel the murderer,<br />
who brought the plague upon Thebes.<br />
Apollo the God has spoken.<br />
You cannot right this ancient wrong.<br />
I will have Thebes searched,<br />
for the murderer is in Thebes.<br />
To you the God has spoken.<br />
The God has spoken to you.<br />
To me he shall give himself up.<br />
You must deliver him to me.<br />
I shall have Thebes searched.<br />
He shall be driven from Thebes.<br />
You cannot right this ancient wrong.<br />
The murderer is in Thebes.
Oedipus<br />
Deus dixit.<br />
Sphynga solvi carmen solvi,<br />
ego divinabo, iterum divinabo,<br />
Clarissimus Oedipus,<br />
Thebas iterum servabo,<br />
ego, Oedipus carmen divinabo.<br />
Chorus<br />
Solve, solve, solve!<br />
Oedipus<br />
Pollikeor divinabo.<br />
Chorus<br />
Solve, Oedipus, solve!<br />
Oedipus<br />
Clarissimus Oedipus,<br />
likeor divinabo.<br />
Narration<br />
Chorus<br />
Delie, exspectamus,<br />
Minerva filia Jovis,<br />
Diana in trono insidens;<br />
et tu, Phaebe insignis iaculator,<br />
Succurrite nobis.<br />
Ut praekeps ales ruit malum<br />
et premitur funere funus<br />
et corporibus corpora inhumata.<br />
expelle, expelle everte in mare<br />
Atrokem istum Martem<br />
Qui nos urit inermis<br />
Dementer ululans.<br />
et tu, Bakke,<br />
Cum taeda advola<br />
nobis urens infamem inter<br />
deos deum.<br />
Tiresias appears.<br />
Salve, Tiresia, homo clare, vates!<br />
Dic nobis quod monet deus,<br />
Dic kito,<br />
Sacrorum docte, Dic, dic!<br />
The God has spoken.<br />
I solved the Sphinx’s riddle,<br />
I shall solve, I shall solve this,<br />
I, the far-famed Oedipus,<br />
once more will I save Thebes,<br />
I, Oedipus, will solve the riddle.<br />
Solve it, solve it, solve it!<br />
I pledge my word to solve it!<br />
Solve it, Oedipus, solve it!<br />
Far-famed Oedipus,<br />
I pledge my word to solve it!<br />
Delian goddess, we await thee;<br />
Minerva, daughter of Jove,<br />
Diana, seated on thy throne;<br />
and thou, Phoebus, splendid archer,<br />
come to our aid.<br />
For evil swoops upon us<br />
and swiftly death follows death<br />
and the unburied dead lie in heaps.<br />
Drive out, hurl into the sea<br />
this terrible Mars<br />
who, weaponless,<br />
consumes us, shrieking madly.<br />
And thou, Bacchus,<br />
come swiftly with thy torch<br />
and burn up this god whom<br />
gods abhor.<br />
Hail, Tiresias, thou great man, thou<br />
seer! Tell us what the God decrees,<br />
O thou most learned in<br />
holy things, tell us, tell us!<br />
Tiresias<br />
Dikere non possum,<br />
Dikere non liket,<br />
Dikere nefastum,<br />
Oedipus, non possum.<br />
Dikere ne cogas!<br />
Cave ne dicam!<br />
Clarissime Oedipus,<br />
Takere fas, Oedipus.<br />
Oedipus<br />
Takiturnitas t’acusat:<br />
Tu peremptor.<br />
Tiresias<br />
Miserande, dico,<br />
Quod me acusas, dico.<br />
Dicam, dicam quod dixit deus:<br />
nullum dictum kelabo.<br />
Inter vos peremptor est,<br />
Apud vos peremptor est,<br />
Cum vobis, vobiscum est.<br />
Regis est rex peremptor.<br />
Rex kekidit Laium,<br />
Rex kekidit regem,<br />
Deus regem acusat;<br />
Peremptor, peremptor rex!<br />
Opus Thebis pelli regem.<br />
Rex skelestus urbem foedat,<br />
Rex, rex peremptor regis est.<br />
I cannot speak,<br />
I may not speak,<br />
it would be wrong to speak,<br />
Oedipus, I cannot.<br />
Do not force me to speak!<br />
Beware lest I speak!<br />
O far-famed Oedipus,<br />
silence is best.<br />
Your silence accuses you:<br />
you are the murderer.<br />
Unhappy man, I shall speak,<br />
since you accuse me, I shall speak.<br />
I will reveal what the God has said:<br />
nothing shall I keep back.<br />
The murderer is amongst you,<br />
the murderer is in your midst,<br />
he is here with you.<br />
The King’s slayer is a king.<br />
A king slew Laius,<br />
a king slew the King,<br />
the God accuses a king;<br />
a king is the murderer!<br />
He must be driven from Thebes.<br />
A guilty king pollutes the city,<br />
a king is the murderer of the King.<br />
Oedipus<br />
Invidia fortunam odit.<br />
envy hates good fortune.<br />
Creavistis me regem.<br />
You made me king.<br />
Servavi vos carminibus<br />
I saved you from the Sphinx’s<br />
et creavistis me regem.<br />
riddle and you made me king.<br />
Solvendum carmen, cui erat? Who should have solved the riddle?<br />
Tibi, homo clare, vates;<br />
Why thou, thou famous seer.<br />
A me solutum est<br />
But it was I who solved it<br />
et creavistis me regem.<br />
and you made me king.<br />
Invidia fortunam odit.<br />
envy hates good fortune.<br />
nunc, vult quidam munus meum, now there is one who desires my<br />
Creo vult munus regis.<br />
office, Creon desires the kingship.<br />
Libretto<br />
7
Stipendarius es,Tiresia!<br />
Hoc fakinus ego solvo!<br />
Creo vult rex fieri.<br />
Quis liberavit vos carminibus?<br />
Amiki, ego Oedipus clarus, ego.<br />
Invidia fortunam odit.<br />
Volunt regem perire,<br />
Vestrum regem perire,<br />
Clarum Oedipodem,<br />
vestrum regem.<br />
Jocasta appears<br />
Chorus<br />
Gloria, gloria, gloria!<br />
Laudibus regina<br />
Jocasta In pestilentibus Thebis.<br />
Gloria, gloria, gloria!<br />
In pestilentibus Thebis<br />
Laudibus regina nostra.<br />
Gloria, gloria, gloria!<br />
Laudibus Oedipodis uxor.<br />
Gloria, gloria, gloria!<br />
8 Libretto<br />
His accomplice art thou,Tiresias!<br />
I see your evil plan!<br />
Creon desires to be king.<br />
Who saved you from the riddle?<br />
Friends, it was I, great Oedipus, I!<br />
envy hates good fortune.<br />
They desire that the king should<br />
die, they want your king to die,<br />
great Oedipus,<br />
your king!<br />
Glory, glory, glory!<br />
Sing praises to Queen Jocasta<br />
in plague-stricken Thebes.<br />
Glory, glory, glory!<br />
In plague-stricken Thebes<br />
let us praise our Queen.<br />
Glory, glory, glory!<br />
We praise Oedipus’s wife.<br />
Glory, glory, glory!<br />
ACT TWO<br />
Chorus<br />
Gloria, gloria, gloria! etc<br />
Narration<br />
Jocasta<br />
nonn’ erubeskite, reges,<br />
Clamare, ululare in aegra urbe<br />
Domestikis altercationibus?<br />
Clamare vestros domestikos<br />
clamores,<br />
Coram omnibus domestikos<br />
clamores,<br />
In aegra urbe, reges,<br />
nonn’ erubeskite?<br />
ne probentur oracular<br />
Quae semper mentiantur.<br />
Oracula mentita sunt.<br />
Cui rex interfikiendus est?<br />
nato meo.<br />
Age rex peremptus est.<br />
Laius in trivio mortuus.<br />
ne probentur oracula<br />
Quae semper mentiantur.<br />
Laius in trivio mortuus.<br />
Chorus<br />
Trivium, trivium …<br />
Jocasta<br />
Cave, cave oracula!<br />
Chorus<br />
… trivium, trivium! …<br />
Oedipus<br />
Pavesco subito, Jocasta,<br />
Pavesco maxime, pavesco.<br />
Jocasta, audi:<br />
Locuta es de trivio?<br />
ego senem kekidi,<br />
Cum Corintho exkederem,<br />
Kekidi in trivio, Jocasta,<br />
Senem.<br />
Glory, glory, glory! etc<br />
Are you not ashamed, O princes,<br />
to raise your voices in a stricken<br />
city and air domestic strife?<br />
To quarrel openly,<br />
to air domestic grievances<br />
before all,<br />
in a stricken city, princes,<br />
are you not ashamed?<br />
nothing is proved by oracles,<br />
which always lie.<br />
The oracles have lied.<br />
Who was to have slain the king?<br />
My son.<br />
But the king was murdered.<br />
Laius was murdered at the crossroads.<br />
nothing is proved by the oracles,<br />
which always lie.<br />
Laius was murdered at the crossroads.<br />
The crossroads, the crossroads …<br />
Beware of oracles!<br />
the crossroads, the crossroads!<br />
Suddenly I am afraid, Jocasta,<br />
I am afraid with a great fear.<br />
Jocasta, listen:<br />
did you speak of crossroads?<br />
I killed an old man,<br />
as I was coming from Corinth,<br />
at the crossroads, Jocasta,<br />
I killed an old man.
Jocasta<br />
Oracula mentiuntur,<br />
Semper oracula mentiuntur.<br />
Oedipus, cave, cave oracula<br />
Quae mentiantur.<br />
Oracula mentiuntur etc<br />
Domum kito redeamus.<br />
Cave oracula etc<br />
Oedipus<br />
Pavesco, maxime pavesco,<br />
Pavesco subito, Jocasta,<br />
Pavor magnus, Jocasta,<br />
In me inest.<br />
Subito pavesco, uxor Jocasta.<br />
nam in trivio kekidi,<br />
senem cecidi;<br />
Pavor magnus, Jocasta.<br />
Volo consulere …<br />
Jocasta<br />
non est consulendum.<br />
Oedipus, domum kito redeamus;<br />
Cave oracula quae semper<br />
mentiantur, cave oracula.<br />
Oedipus<br />
Consulendum est, Jocasta,<br />
Volo videre pastorem.<br />
Skeleris super est spectator,<br />
Jocasta, consulendum,<br />
Jocasta, Volo consulere.<br />
Skiam!<br />
Narration<br />
The Shepherd and the Messenger appear<br />
Chorus<br />
Adest omniskius pastor<br />
et nuntius horribilis.<br />
Messenger & Chorus<br />
Mortuus est Polybus.<br />
Senex mortuus Polybus.<br />
The oracles lie,<br />
the oracles always lie.<br />
Oedipus, beware of oracles,<br />
which lie.<br />
The oracles lie etc<br />
Let us go home at once.<br />
Beware of oracles etc<br />
I am afraid with a great fear,<br />
I am suddenly afraid, Jocasta,<br />
a great fear, Jocasta,<br />
is suddenly come upon me.<br />
I am afraid, Jocasta my wife.<br />
For at the crossroads<br />
I killed an old man;<br />
I am afraid, Jocasta.<br />
I wish to speak …<br />
You must not speak.<br />
Oedipus, let’s go home.<br />
Beware of the lying oracles,<br />
beware of oracles.<br />
I must speak to him, Jocasta,<br />
I wish to see the shepherd.<br />
He witnessed the crime;<br />
I must speak to him,<br />
I want to speak to him.<br />
I must know the truth!<br />
The all-knowing shepherd comes,<br />
a bearer of dread tidings.<br />
Polybus is dead.<br />
The aged Polybus is dead.<br />
Messenger<br />
Polybus non genitor Oedipodis;<br />
A me keperat Polybus,<br />
ego attuleram regi.<br />
Chorus<br />
Verus non fuerat pater Oedipodis<br />
Messenger<br />
Falsus pater, Pater per me!<br />
Chorus<br />
Falsus pater, Pater per te!<br />
Messenger<br />
Reppereram in monte<br />
puerum Oedipoda,<br />
Derelictum in monte<br />
parvulum Oedipoda<br />
Foratum pedes,<br />
vulneratum pedes.<br />
Attuleram pastori<br />
puerum Oedipoda.<br />
Chorus<br />
Reskiturus sum monstrum,<br />
Monstrum reskiskam.<br />
Deo claro Oedipus natus est,<br />
Deo et nympha montium<br />
In quibus repertus est.<br />
Reskiturus sum monstrum,<br />
Monstrum reskiskam.<br />
Polybus was not Oedipus’ father;<br />
I consigned him to Polybus,<br />
I took him to the King.<br />
He was not Oedipus’ real father.<br />
Only an adoptive father, thanks to me!<br />
Only an adoptive father, thanks to you!<br />
I found the child Oedipus<br />
in the mountains,<br />
little Oedipus,<br />
abandoned in the mountains,<br />
his feet pierced,<br />
wounded by shackles.<br />
I took the boy Oedipus<br />
to the shepherd.<br />
We are about to hear a marvel,<br />
we shall hear of a marvel.<br />
Oedipus was born of a great god,<br />
of a god and a nymph of the<br />
mountains where he was found.<br />
We are about to hear a marvel,<br />
we shall hear of a marvel.<br />
Shepherd<br />
Oportebat takere, nunquam loqui. I should have kept silent.<br />
Sane repperit parvulum<br />
It is true that he found the child<br />
Oedipoda, a patre, a matre Oedipus abandoned by his<br />
in monte derelictum,<br />
parents in the mountains,<br />
Pedes laqueis foratum.<br />
his feet pierced by shackles.<br />
Utinam ne dikeres,<br />
Had you not spoken,<br />
Hoc semper kelandum<br />
no-one would ever have known<br />
Inventum esse in monte that the child Oedipus was found<br />
derelictum, parvulum, parvum abandoned on the mountain.<br />
Oedipoda. Oportebat takere, It would have been better<br />
nunquam loqui.<br />
to keep silent.<br />
Libretto<br />
9
Oedipus<br />
nonne monstrum reskituri,<br />
Quis Oedipus?<br />
Genus Oedipodis skiam.<br />
Pudet Jocastam, fugit.<br />
Pudet Oedipi exulis,<br />
Pudet Oedipodis generis.<br />
Skiam, skiam Oedipodis genus,<br />
Genus meum skiam,<br />
genus exulis mei.<br />
ego exul exsulto.<br />
Shepherd & Messenger<br />
In monte reppertus est,<br />
A matre derelictus;<br />
A matre derelictum<br />
In montibus repperimus.<br />
Laio Jocastaque natus!<br />
Chorus<br />
natus Laio et Jocasta!<br />
Shepherd & Messenger<br />
Peremptor Laii parentis!<br />
Shepherd, Messenger & Chorus<br />
Coniux Jocastae parentis! The husband of his mother Jocasta!<br />
Shepherd & Messenger<br />
Utinam ne dikeres,<br />
Oportebat takere,<br />
nunquam dikere istud:<br />
Shepherd, Messenger & Chorus<br />
A Jocasta derelictum<br />
Abandoned by Jocasta,<br />
In monte reppertus est.<br />
he was found in the mountains.<br />
The Shepherd and the Messenger leave<br />
Oedipus<br />
natus sum quo nefastum est,<br />
Concubui cui nefastum est,<br />
Kekidi quem nefastum est.<br />
Lux facta est!<br />
He leaves, the Messenger appears<br />
10 Libretto<br />
Are these not wondrous tidings<br />
you tell me, who Oedipus is?<br />
Tell me whose child I am.<br />
Jocasta is ashamed, she flies from me.<br />
She is ashamed of Oedipus the exile,<br />
ashamed of Oedipus’s descent.<br />
Reveal who begot Oedipus,<br />
reveal who begot<br />
this exile.<br />
I, an exile, exult.<br />
He was found in the mountains,<br />
abandoned by his mother;<br />
abandoned by his mother,<br />
we found him in the mountains.<br />
He is the son of Laius and Jocasta!<br />
Laius and Jocasta’s son!<br />
The killer of his father Laius!<br />
Would you had never spoken;<br />
it would have been better<br />
not to have spoken the words:<br />
Sinful was my begetting,<br />
sinful my marriage,<br />
sinful my shedding of blood.<br />
All is brought to light!<br />
Narration<br />
Messenger<br />
Divum Jocastae caput mortuum!<br />
Chorus<br />
Mulier in vestibule<br />
Comas lakerare.<br />
Claustris occludere fores,<br />
Occludere exclamare.<br />
et Oedipus irrumpere<br />
et pulsare, ululare.<br />
Messenger<br />
Divum Jocastae caput mortuum!<br />
Messenger<br />
Divum Jocastae caput mortuum!<br />
Chorus<br />
Sanguis ater rigabat prosiliebat;<br />
et Oedipus exclamare<br />
et sese detestare.<br />
Omnibus se ostendere.<br />
Beluam vult ostendere.<br />
Aspikite fores pandere,<br />
Aspikite spectaculum<br />
Omnium atrokissimum.<br />
Messenger<br />
Divum Jocastae caput mortuum!<br />
The divine Jocasta is dead!<br />
The women in her chamber<br />
are tearing their hair.<br />
They made fast the door with bars<br />
and lamented within.<br />
And Oedipus burst in,<br />
beating on the door and wailing.<br />
The divine Jocasta is dead!<br />
Chorus<br />
et ubi evellit claustra,<br />
When he burst into the room,<br />
Suspensam mulierem<br />
they all beheld the Queen<br />
omnes conspexerunt.<br />
hanging there.<br />
et Oedipus praekeps ruens And Oedipus ran to her, loosened<br />
Illam exsolvebat, illam collocabat; the chord and took her down;<br />
Illam exsolvere, illam collocare. he ran to free her, to cut her down.<br />
et aurea fibula, et avulsa fibula And snatching a golden pin,<br />
Oculos effodire;<br />
he put out his eyes;<br />
Ater sanguis rigare.<br />
the dark blood ran down in streams.<br />
Oedipus reappears, the Messenger leaves<br />
The divine Jocasta is dead!<br />
The dark blood streamed down;<br />
and Oedipus cried aloud<br />
and cursed himself.<br />
To all he showed himself.<br />
He wanted to show this horror.<br />
See, the doors are opening,<br />
behold a sight<br />
of all sights the most terrible.<br />
The divine Jocasta is dead!
Chorus<br />
ekke! Regem Oedipoda,<br />
Foedissimum monstrum<br />
monstrat,<br />
Foedissimam beluam.<br />
ellum, regem okkeaetum!<br />
Rex parrikida, miser Oedipus,<br />
Miser rex Oedipus<br />
Carminum coniector.<br />
Adest! ellum! Regem Oedipoda!<br />
Vale, Oedipus,<br />
Te amabam, te miseror.<br />
Miser Oedipus,<br />
oculos tuos deploro.<br />
Vale, vale Oedipus,<br />
Miser Oedipus noster,<br />
Te amabam, Oedipus.<br />
Tibi valedico, Oedipus,<br />
Tibi valedico.<br />
Text by Jean Cocteau (1889–1963),<br />
translated into Latin by Jean Daniélou (1905–74)<br />
English translation by Deryck Cooke<br />
Lo! Oedipus the King;<br />
as the foulest of monsters<br />
he shows himself,<br />
as a thing most vile.<br />
Behold the blinded king!<br />
Wretched King Oedipus,<br />
his father’s slayer,<br />
the solver of riddles.<br />
He comes! ’Tis he! King Oedipus!<br />
Farewell, Oedipus,<br />
we loved thee, we pity thee.<br />
Poor Oedipus,<br />
we weep for thine eyes.<br />
Farewell, farewell, Oedipus,<br />
our wretched Oedipus,<br />
we loved thee, Oedipus.<br />
We bid thee farewell, Oedipus,<br />
we bid thee farewell.<br />
© 1927 by Hawkes & Son (<strong>London</strong>) Ltd<br />
Revised version: © 1949, 1950 by Hawkes & Son (<strong>London</strong>) Ltd<br />
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd<br />
<strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
LSO St Luke’s<br />
BBC Radio 3 Lunchtime Concerts<br />
Solo Bach Recitals at LSO St Luke’s<br />
Thu 24 May 1pm<br />
Mahan Esfahani<br />
Bach Sonata in D minor BWV 964<br />
‘The Well-Tempered Clavier’ Book I:<br />
Prelude and Fugue no 20<br />
in A major BWV 864;<br />
no 22 in B major BWV 866;<br />
no 24 in B minor BWV 869<br />
Partita V in G major BWV 829<br />
Mahan Esfahani harpsichord<br />
Thu 31 May 1pm<br />
Cédric Tiberghien<br />
Bach Perludes and Fugues<br />
in Major Keys from ‘The Well-<br />
Tempered Clavier’ Book II<br />
Cédric Tiberghien piano<br />
‘Hurrah for lunchtime concerts, those civilised oases where we can<br />
lay aside the stresses and strains of the working day and allow music<br />
to cool our fevered brows or inspire us on to fresh endeavour.’<br />
Stephen Pritchard<br />
The Observer, October 2011<br />
Tickets £10 (£9 concessions)<br />
Box Office 020 7638 8891<br />
lso.co.uk<br />
Libretto<br />
11
Thursday 17 May, LSO St Luke’s<br />
UBS Soundscapes: Eclectica<br />
Stravinsky Jazz<br />
Stravinsky<br />
Dumbarton Oaks<br />
Concertino for Twelve Instruments<br />
Octet for Wind Instruments<br />
InTeRVAL<br />
Fanfare for Two Trumpets<br />
Les Cinq Doigts<br />
eight Instrumental Miniatures<br />
ebony Concerto<br />
Ragtime<br />
Timothy Redmond conductor<br />
Chris Richards clarinet<br />
LSO Chamber Ensemble<br />
Part of UBS Soundscapes<br />
Violins<br />
Roman Simovic Leader<br />
Carmine Lauri<br />
evgeny Grach<br />
Violas<br />
Paul Silverthorne<br />
Gillianne Haddow<br />
Malcolm Johnston<br />
Cellos<br />
Timothy Hugh<br />
Alastair Blayden<br />
Double Basses<br />
Colin Paris<br />
nicholas Worters<br />
Flutes<br />
Adam Walker<br />
Siobhan Grealy<br />
Oboes<br />
Gordon Hunt<br />
Ruth Contractor<br />
Cor Anglais<br />
Christine Pendrill<br />
12 UBS Soundscapes: Eclectica<br />
Clarinet / Saxophone<br />
Chris Richards<br />
Lorenzo Iosco<br />
Simon Haram<br />
Bradley Grant<br />
nick Moss<br />
Timothy Holmes<br />
Bassoons<br />
Joost Bosdijk<br />
Dominic Morgan<br />
Horns<br />
Angela Barnes<br />
Jonathan Lipton<br />
Trumpets<br />
Christopher Deacon<br />
Gerald Ruddock<br />
David Geoghegan<br />
Sam Kinrade<br />
Stephen Peneycad<br />
Trombones<br />
Dudley Bright<br />
James Maynard<br />
Paul Milner<br />
Percussion<br />
neil Percy<br />
Harp<br />
Bryn Lewis<br />
Piano<br />
John Alley<br />
Cimbalom<br />
Christopher Bradley<br />
Guitar<br />
Forbes Henderson<br />
All truly great composers, one feels, are great on whatever scale they<br />
write. Beethoven has his ‘eroica’ <strong>Symphony</strong> and his Für Elise, Schubert<br />
his Great C major and his ‘Heidenröslein’, Debussy his Pelléas and his<br />
Golliwog’s Cakewalk. I leave the failures in this department to reader’s<br />
choice. But Stravinsky won’t be one of them. The works in today’s<br />
programme may not (with a couple of exceptions) create tidal waves,<br />
but they are without exception the work of an immaculate craftsman<br />
who never compromised even when writing to a tight commercial<br />
specification or mimicking frivolous models. This is a composer who<br />
wrote a five-minute ballet for elephants and an alliterative Russian<br />
nonsense song about a quail that dives into a frozen pond and<br />
catches a priest called Pyotr Petrovich: both perfect of their kind.<br />
He knew how to elevate the trivial into art, and how to capture the<br />
essence of wit in a few gestures.<br />
His method was to seize on the defining features of a style and<br />
transform them into an aspect of Stravinsky. So, for example, ragtime<br />
was basically to do with swung rhythms. Stravinsky had his own<br />
way of swinging a simple rhythm, with somewhat more complicated<br />
results. So it was irresistible to apply his method to rag, and the<br />
Ragtime for eleven instruments, written right at the end of the war in<br />
1918, was one result (there were others: in The Soldier’s Tale of the<br />
same year the Princess gets better by dancing a ragtime; on the other<br />
hand the Piano Rag Music, written a year later for Arthur Rubinstein,<br />
plays such incredible havoc with the basic pulse that it might well<br />
have finished her off).<br />
You can still hear the influence of ragtime, or perhaps early jazz, in the<br />
Octet for wind, composed in 1922–3. And here, interestingly, it gets<br />
mixed up with more obviously classical – if not obviously identifiable –<br />
models. The Octet shows that neoclassicism, as it came to be called,<br />
was really a sort of style analysis: in this case a slow introduction to a<br />
pseudo-sonata form in e-flat, followed by a set of ‘classical’ variations,<br />
and a sparkling pseudo-polyphonic finale (‘pseudo’, because the<br />
bassoon really only plays a C major scale, up and down, like an<br />
automaton). The end product is pure Stravinsky.
He never lost his openness to jazz, and the Ebony Concerto, written<br />
for Woody Herman in 1945, shows once again how cleverly he could<br />
make its mannerisms his own. The piece, again in three movements,<br />
is exactly like a concerto grosso (where there’s a group of soloists<br />
within a bigger group, rather than just one soloist) in jazz mode, a<br />
sort of neo-Art Deco (you can almost hear the saxophonists sway).<br />
Fascinating to have a chance to compare this with the more orthodox<br />
neoclassicism (if there is such a thing) of the Dumbarton Oaks<br />
concerto for a 15-piece chamber orchestra, where the starting point<br />
is a Bach Brandenburg, but the music soon escapes into a laboratory<br />
of its own and experiments with fragments of the idiom. Stravinsky<br />
composed this fascinating masterpiece in 1938 for Robert and<br />
Mildred Bliss, whose Washington home gave it its informal sobriquet<br />
(Stravinsky called it, more soberly, Concerto in e-flat).<br />
The remaining works in the programme show a different aspect of<br />
Stravinsky’s artistic opportunism. The Concertino, originally composed<br />
for string quartet in 1920, was rearranged for twelve instruments in<br />
1952, as a way out of a creative block after completing The Rake’s<br />
Progress. In the same way the Eight Instrumental Miniatures, for<br />
a slightly different set of 15 players from Dumbarton Oaks, is a<br />
transcription (1962) of the eight little child-like piano pieces of Les<br />
Cinq doigts (The Five Fingers), composed in 1921. In both cases<br />
Stravinsky tinkered, rewrote, added lines, sometimes expanded.<br />
These are no mechanical transcriptions. They let us into the master’s<br />
workshop and permit us to observe the creative mind in action –<br />
even in these tiny pieces leaving nothing to chance.<br />
Finally, the exiguous Fanfare for a new theatre, composed in 1964<br />
for the opening of the new York State Theater in Lincoln Center,<br />
is professionalism on the smallest scale. Lincoln Kirstein, who<br />
commissioned it, wanted a half-minute fanfare. He received a halfminute<br />
fanfare, to the second. Unlike some of his models, Stravinsky<br />
never played the prima donna. He simply got on with the job.<br />
<strong>Programme</strong> Notes © Stephen Walsh<br />
UBS Soundscapes is the long-standing partnership<br />
between UBS and the <strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
that’s shaping the future of music.<br />
Founded on an established relationship,<br />
UBS Soundscapes is a local, national,<br />
international and musically rich programme<br />
that’s inspiring creativity, developing talent<br />
and building community ties through<br />
musical activities that surprise and inspire.<br />
UBS Soundscapes: Eclectica<br />
13
Tuesday 15 May, Barbican<br />
Valery Gergiev<br />
Conductor<br />
‘Gergiev and his orchestra<br />
are peerless in this<br />
Russian repertoire.’<br />
Andrew Clements, The Guardian 2010<br />
Principal Conductor of the <strong>London</strong> <strong>Symphony</strong><br />
<strong>Orchestra</strong> since January 2007, Valery Gergiev<br />
performs regularly with the LSO at the Barbican,<br />
the Proms and the edinburgh Festival, as well<br />
as on regular tours of europe, north America<br />
and Asia. During the 2010/11 season he led<br />
them in appearances in Germany, France,<br />
Switzerland, Japan and the US.<br />
Valery Gergiev is also Artistic and General<br />
Director of the Mariinsky Theatre, founder<br />
and Artistic Director of the Stars of the<br />
White nights Festival and new Horizons<br />
Festival in St Petersburg, the Moscow easter<br />
Festival, the Gergiev Rotterdam Festival, the<br />
Mikkeli International Festival, and the Red<br />
Sea Festival in eilat, Israel. He succeeded<br />
Sir Georg Solti as conductor of the World<br />
<strong>Orchestra</strong> for Peace in 1998 and has led them<br />
in many capitals of Asia, europe, Russia and<br />
the Middle east.<br />
Gergiev’s inspired leadership of the Mariinsky<br />
Theatre since 1988 has taken the Mariinsky<br />
ensembles to 45 countries and has brought<br />
universal acclaim to this legendary institution,<br />
now in its 228th season. Having opened a<br />
new concert hall in St Petersburg in 2006,<br />
Maestro Gergiev looks forward to the opening<br />
of the new Mariinsky Opera House in 2013.<br />
Born in Moscow, Valery Gergiev studied<br />
conducting with Ilya Musin at the Leningrad<br />
Conservatory. Aged 24 he won the Herbert<br />
von Karajan Conductors’ Competition in<br />
Berlin and made his Mariinsky Opera debut<br />
one year later in 1978 conducting Prokofiev’s<br />
War and Peace. In 2003 he led St Petersburg’s<br />
300th anniversary celebrations, and opened<br />
the Carnegie Hall season with the Mariinsky<br />
<strong>Orchestra</strong>, the first Russian conductor to do<br />
so since Tchaikovsky conducted the Hall’s<br />
inaugural concert<br />
in 1891.<br />
A regular figure in all the world’s major<br />
concert halls, last season he led the LSO<br />
and the Mariinsky <strong>Orchestra</strong> in a symphonic<br />
Centennial Mahler Cycle in new York. Gergiev<br />
has led several cycles previously in new York<br />
including Shostakovich, Stravinsky, Prokofiev,<br />
Berlioz and Richard Wagner’s Ring. He has<br />
also introduced audiences to several rarely<br />
performed Russian operas.<br />
Valery Gergiev’s many awards include a<br />
Grammy, the Dmitri Shostakovich Award,<br />
the Golden Mask Award, People’s Artist of<br />
Russia Award, the World economic Forum’s<br />
Crystal Award, Sweden’s Polar Music Prize,<br />
netherlands’ Knight of the Order of the<br />
Dutch Lion, Japan’s Order of the Rising Sun,<br />
Valencia’s Silver Medal, the Herbert von<br />
Karajan prize and the French Order of the<br />
Legion of Honour.<br />
He has recorded exclusively for Decca<br />
(Universal Classics), and appears also on<br />
the Philips and Deutsche Grammophon<br />
labels. Currently recording for LSO Live,<br />
his releases include Mahler Symphonies<br />
nos 1–8, Rachmaninov <strong>Symphony</strong> no 2,<br />
Prokofiev Romeo and Juliet, which won the<br />
BBC Music Magazine Disc of the Year, and<br />
Bartók’s Duke Bluebeard’s Castle.<br />
His recordings on the Mariinsky Label are<br />
Shostakovich The Nose and Symphonies<br />
nos 1, 2, 11 and 15, Tchaikovsky 1812<br />
Overture and Symphonies nos 4, 5 and 6,<br />
Rachmaninov Piano Concerto no 3 and<br />
Rhapsody on a Theme of Paganini, Rodion<br />
Shchedrin The Enchanted Wanderer,<br />
Stravinsky Les Noces and Oedipus Rex,<br />
Wagner Parsifal, and Donizetti Lucia di<br />
Lammermoor, many of which have won<br />
awards, including four Grammy nominations.<br />
A DVD of Tchaikovsky Symphonies 4, 5 and 6<br />
is also available.<br />
14 The Artists Valery Gergiev © Gautier Deblonde
Tuesday 15 May, Barbican<br />
Zlata Bulycheva<br />
Jocasta (mezzo-soprano)<br />
Zlata Bulycheva was born in Petrozavodsk. She graduated from the<br />
St Petersburg State Rimsky-Korsakov Conservatoire in 1995 (with<br />
Professor Iraida Levando), continuing as a post-graduate student at<br />
the Conservatoire (with Professor Kira Izotova). She trained at the<br />
Stuttgart Academy of Music and has been a soloist with the Mariinsky<br />
Opera Company since 1996, touring with the Company to europe, the<br />
US, South America and Japan.<br />
Highlights of Zlata’s repertoire at the Mariinsky Theatre includes:<br />
Vanya (A Life for the Tsar), Ratmir (Ruslan and Lyudmila), Marfa<br />
(Khovanshchina), Konchakovna (Prince Igor), Jocasta (Oedipus Rex),<br />
Preziosilla (La forza del destino), Princess eboli (Don Carlo), Amneris<br />
(Aida), Anna, Didon (Les Troyens), Carmen (Carmen), Marguerite (The<br />
Damnation of Faust), Dalila (Samson et Dalila), erda (Das Rheingold,<br />
Siegfried) and Waltraute (Götterdämmerung). Zlata’s concert<br />
repertoire includes cantata-oratorio works by Bach, Pergolesi, Mozart,<br />
Beethoven, Verdi, Berlioz, Wagner, Mahler and Prokofiev, while her<br />
recordings include Musorgsky’s Boris Godunov and Prokofiev’s Love<br />
for Three Oranges recorded with the Mariinsky Theatre <strong>Orchestra</strong><br />
conducted by Valery Gergiev on Philips Classics.<br />
Zlata Bulycheva is the recipient of many prizes and accolades<br />
including first prize at the II International Pechkovsky Opera Singers’<br />
Competition in St Petersburg in 1996, third prize at the II International<br />
Rimsky-Korsakov Competition in St Petersburg in 1998, and in 1999,<br />
fourth prize in the International Tchaikovsky Competition in Moscow.<br />
Tuesday 15 May, Barbican<br />
Sergei Semishkur<br />
Oedipus (tenor)<br />
Sergei Semishkur was born in Kirov. He graduated from the nizhnynovgorod<br />
State Glinka Conservatoire in 2003. The same year he joined<br />
the Mariinsky Academy of Young Singers and in 2007 he joined the<br />
Mariinsky Opera Company as a soloist.<br />
Repertoire at the Mariinsky includes Vladimir Igorevich (Prince Igor),<br />
Kochkarev (The Marriage), the Pretender (Boris Godunov), Grigory<br />
Otrepiev (Boris Godunov), Kuzka (Khovanshchins), Lykov (The Tsar’s<br />
Bride), Guidon (The Tale of Tsar Saltan), Lensky (Eugene Onegin),<br />
Chekalinsky (The Queen of Spades), Vakula a blacksmith (Christmas<br />
Eve), Young Gypsy (Aleko in concert), First Croupier (The Gambler), the<br />
Helmsman (Der Fliegende Holländer), Froh (Das Rheingold), Brighella<br />
(Ariadne auf Naxos), Števa (Jenu˚ fa), Albert Gregor (The Makropulos<br />
Affair), edrisi (King Roger).<br />
Sergei has taken part in various opera festivals around the world<br />
including Savonlinna and Mikkeli (Finland), Salzburg, edinburgh and<br />
the Red Sea Festival in eilat (Israel). He has appeared at concert<br />
venues including Carnegie Hall in new York, the Kennedy Center in<br />
Washington, the Millennium Centre in Cardiff, the Royal Opera House<br />
in Stockholm, the Opéra Bastille in Paris, the Teatro Real in Madrid and<br />
the Deutsche Oper in Berlin.<br />
In 2010 Sergei Semishkur performed in a recording of the opera The<br />
Nose by the Mariinsky Theatre which received a Grammy nomination.<br />
The singer’s discography includes recordings of the operas Oedipus<br />
Rex, The Nose and Das Rheingold as well as Berlioz’s Requiem and<br />
Mahler’s eighth <strong>Symphony</strong>, which was recorded with the LSO.<br />
Sergei has won numerous prizes including at the International<br />
Rimsky-Korsakov Competition (St Petersburg, 2006) and International<br />
Pavel Lisitsian Competition (Vladikavkaz, 2003). He was a special<br />
prize recipient at the International elena Obraztsova Competition<br />
(Moscow, 2005).<br />
The Artists<br />
15
Tuesday 15 May, Barbican<br />
Evgeny Nikitin<br />
Creon / The Messenger (bass-baritone)<br />
Born in Murmansk, evgeny nikitin graduated from the St Petersburg<br />
State Rimsky-Korsakov Conservatoire in 1997. While still a student,<br />
he was invited to join the Mariinsky Theatre and has since performed<br />
there frequently. Wagnerian roles occupy a special position in<br />
Yevgeny’s repertoire. As a Wagnerian singer, he has received high<br />
praise from Russian and western music critics.<br />
Repertoire at the Mariinsky includes: Ruslan (Ruslan and Lyudmila),<br />
Boris Godunov / Shchelkalov / Rangoni (Boris Godunov), Shaklovity<br />
(Khovanshchina), Prince Igor / Vladimir Yaroslavich (Prince Igor),<br />
Demon (The Demon), eugene Onegin (Eugene Onegin), Tomsky (The<br />
Queen of Spades), ebn-Hakia (Iolanta), Aleko (Aleko), Gryaznoi (The<br />
Tsar’s Bride), Gusliar (The Legend of the Invisible City of Kitezh and the<br />
Maiden Fevronia), and Creon / narrator (Oedipus Rex).<br />
2002 marked Yevgeny’s debut at the Metropolitan Opera House as<br />
Dolokhov (War and Peace) and he has since sung Colline (La bohème),<br />
Pogner (Die Meistersinger von Nurnberg), Fasolt (Das Rheingold)<br />
and Oreste (Elektra) there. 2011 saw him take the title role in Boris<br />
Godunov in nice, Telramund (Lohengrin) at the Bayerische Staatsoper,<br />
Don Pizarro (Fidelio) in Valencia under Zubin Mehta and Ibn Hakia<br />
(Iolanta) at the Salzburg Festival. Highlights of this next season include<br />
a return to the Paris Opera as Tomsky (The Queen of Spades), Der<br />
Fliegende Hollander at Tokyo Opera and Mussorgsky’s Songs and<br />
Dances of Death in Berlin. This summer he makes his debut at the<br />
Bayreuth Festival in a new production of Der Fliegende Hollander<br />
conducted by Christian Thielemann.<br />
evgeny has recorded the part of Rangoni in Boris Godunov (1997,<br />
under Valery Gergiev) and Remeniuk in Semyon Kotko (2000, again<br />
with Valery Gergiev), and has recently recorded Amfortas in Parsifal<br />
with the Mariinsky.<br />
16 The Artists<br />
Tuesday 15 May, Barbican<br />
Alexei Tanovitski<br />
Tiresias (bass)<br />
Russian bass Alexei Tanovitski has won prizes at many major<br />
competitions including the International elena Obraztsova<br />
Competition (1999 and 2005) and the Rimsky-Korsakov Young Opera<br />
Singers’ Competition (2003). In 1999 he became a regular member<br />
of the ensemble at the Mariinsky Theatre in St Petersburg, where he<br />
has performed more then 60 roles including Boris Godunov, Ivan the<br />
Terrible, Kochubei (Mazeppa), Zaccaria (Nabucco), Padre Guardiano<br />
(La forza del destino), Hagen (Götterdämmerung), Daland (Der<br />
Fliegende Holländer) and Raimondo (Rienzi).<br />
Alexei Tanovitski has performed at many of the world’s most famous<br />
opera houses including the Metropolitan Opera, La Scala, Milan, Royal<br />
Opera House Covent Garden, Théâtre du Châtelet, Opéra Bastille,<br />
Théâtre des Champs-elysées, Teatro São Carlos Lisbon,Teatro Real<br />
Madrid, Deutsche Oper, Budapest national Opera, Vienna State Opera<br />
and Teatro Regio Turin. He has sung at festivals in France (Aix-en-<br />
Provence), the netherlands (Diaghilev), Germany (Baden-Baden),<br />
Finland (Helsinki and Mikkeli) and at the Moscow easter Festival.<br />
Alexei Tanovitski made his debut at new York’s Metropolitan Opera<br />
in 2007 with Wagner’s Ring cycle under Valery Gergiev, in the role of<br />
Wotan. He will go back to the Met in Eugene Onegin and Iolanthe.<br />
Other celebrated conductors with whom he has worked include<br />
Kent nagano, Gennady Rozhdestvensky, Vladimir Jurowski,<br />
Gianandrea noseda, Xian Zhang, Yuri Bashmet, Paavo Järvi, Tugan<br />
Sokhiev and Maxim Shostakovich. He has performed in concert halls<br />
worldwide including the Auditorium di Milano, Salle Pleyel (Paris),<br />
Palau de la Música (Barcelona), Tchaikovsky Concert Hall (Moscow),<br />
Suntory Hall and Bunka Kaikan (Tokyo), the Hollywood Bowl,<br />
Kennedy Center and Carnegie Hall, as well as in China and Korea.
Tuesday 15 May, Barbican<br />
Alexander Timchenko<br />
The Shepherd (tenor)<br />
Alexander Timchenko was born in Leningrad. He graduated from the<br />
Glinka Choral School of the St Petersburg State Academic Capella in<br />
1993 and subsequently from the St Petersburg State Rimsky-Korsakov<br />
Conservatoire, having specialised in choral conducting and singing.<br />
He joined the Mariinsky Academy of Young Singers in 2001. In 2002<br />
he made his Mariinsky Theatre debut as Lensky in Eugene Onegin.<br />
He has been a Mariinsky Opera Company soloist since 2005.<br />
His repertoire at the Mariinsky includes God’s Fool (Boris Godunov),<br />
Tsarevich Guidon (The Tale of Tsar Saltan), Lensky (Eugene Onegin),<br />
Chekalinsky (The Queen of Spades), the Fisherman (Le Rossignol),<br />
Oedipus (Oedipus Rex), Mephistopheles (The Fiery Angel),<br />
Smerdyakov (The Brothers Karamazov), Manilov (Dead Souls),<br />
Beppe (I pagliacci), Pang (Turandot), Faust (The Damnation of Faust),<br />
Gonzalve (L’Heure espagnole), Don Ottavio (Don Giovanni),<br />
Ferrando (Così fan tutte), Tamino (The Magic Flute), Froh (Das Rheingold),<br />
the Shepherd (Tristan und Isolde), Helenus (Les Troyens), the Dance<br />
Master (Ariadne auf Naxos), Peter Quint (The Turn of the Screw),<br />
Laca (Jenu˚ fa), Albert Gregor (The Makropulos Affair) and Lysander<br />
(A Midsummer Night’s Dream).<br />
Alexander has toured with the Mariinsky Opera Company to Austria,<br />
the netherlands, Japan, Finland, France and Spain. In 2007 in Moscow,<br />
he took part in the Russian premiere of Rodion Shchedrin’s opera<br />
The Enchanted Wanderer. He made his international debut in 2009<br />
as Oedipus (Oedipus Rex) at the Teatro Real in Madrid.<br />
Alexander’s discography includes recordings of Verdi’s Requiem with<br />
the St Petersburg Philharmonic <strong>Orchestra</strong>, Honoured ensemble of<br />
Russia, conducted by Yuri Temirkanov in 2009, and Stravinsky’s<br />
Les Noces, conducted by Valery Gergiev in 2010.<br />
Tuesday 15 May, Barbican<br />
Simon Callow<br />
narrator<br />
Simon Callow’s first West end appearance was in 1975 as Max in<br />
The Plumber’s Progress with Harry Secombe at the Prince of Wales<br />
Theatre. His theatre work since includes, at the national, Sir Toby<br />
Belch in Twelfth Night, Single Spies, the title role in Amadeus, Orlando in<br />
As You Like It, Sisterly Feelings, Galileo and a one-man performance<br />
of all of Shakespeare’s sonnets (which has subsequently toured<br />
internationally). He has also starred in A Christmas Carol (Arts),<br />
Being Shakespeare (UK tour and Trafalgar Studios, BAM new York<br />
and Chicago), Dr Marigold and Mr Chops (Riverside Studios), Waiting<br />
for Godot (Theatre Royal, Haymarket), Dr Marigold and Mr Chops<br />
(edinburgh Festival), There Love Lies (Stratford Ontario), Equus (UK tour),<br />
Merry Wives of Windsor (RSC), Present Laughter (UK Tour), Aladdin<br />
(Richmond), The Woman in White (Palace), The Holy Terror (Duke of<br />
York’s), Schippel (Traverse), Passing By (Gay Sweatshop), The Speakers,<br />
Devil’s Island, Fanshen, A Mad World, My Masters and Epsom Downs<br />
for Joint Stock Company, Mary Barnes (Royal Court), the title role<br />
in Titus Andronicus (Bristol Old Vic) and Molina in The Kiss of the<br />
Spiderwoman (Bush).<br />
Film roles include Schikaneder in Amadeus, Reverend Mr Beebe<br />
in A Room with a View, Mr Ducie in Maurice, Gareth in Four Weddings<br />
and a Funeral, edmund Tilney in Shakespeare in Love, Simon in<br />
Postcards from the Edge and Gilles Andre in The Phantom of the<br />
Opera. Television work includes Angels in America, the title role in<br />
the emmy award-winning drama documentary Galileo’s Daughter,<br />
Anatomy of Hope, Miss Marple, Midsomer Murders, Lewis, Sarah<br />
Millican Show, This is Jinsey, In the Best Possible Taste and Doctor<br />
Who. Simon Callow is also a director and an author. He was made<br />
a CBe in 1999.<br />
The Artists<br />
17
Thursday 17 May, LSO St Luke’s<br />
Timothy Redmond<br />
Conductor<br />
Timothy Redmond conducts and presents concerts throughout<br />
europe. He is a regular guest conductor with the Royal Philharmonic<br />
<strong>Orchestra</strong> and conducts many of the UK’s leading orchestras.<br />
Redmond has given concerts with the LSO, Royal Liverpool<br />
Philharmonic, the Ulster and BBC Philharmonic orchestras, the<br />
<strong>Orchestra</strong> of Opera north and the BBC Concert <strong>Orchestra</strong>. He works<br />
regularly with the Hallé and northern Sinfonia, has a long-standing<br />
association with the Manchester Camerata, and in 2006 was<br />
appointed principal conductor of the Cambridge Philharmonic.<br />
Redmond is well-known as a conductor of contemporary music.<br />
Since working closely with Thomas Adès on the premiere of The<br />
Tempest at Covent Garden, he has conducted critically-acclaimed<br />
productions of Powder Her Face for the Royal Opera House and<br />
Mariinsky Theatre. In 2010 he conducted the world premiere of The<br />
Golden Ticket, Peter Ash and Donald Sturrock’s new opera based on<br />
Charlie and the Chocolate Factory, for Opera Theatre of St Louis. Last<br />
season he gave the first performance of a new oratorio by edward<br />
Rushton with the LSO.<br />
In the opera house he has conducted productions for Opera north<br />
(Don Giovanni), english national Opera (world premiere of Will Todd’s<br />
Damned and Divine), english Touring Opera (Carmen, The Magic<br />
Flute, The Daughter of the Regiment), Almeida Opera/Aldeburgh<br />
Festival (world premiere of Raymond Yiu’s The Original Chinese<br />
Conjuror), Bregenz Festival (Richard Ayres’ The Cricket Recovers),<br />
Wexford Festival (Kurt Weill’s Der Silbersee) and Tenerife Opera<br />
(the Glyndebourne productions of Carmen, Gianni Schicchi and<br />
Rachmaninov’s The Miserly Knight).<br />
His 2011/12 season includes concerts with the Hallé, RPO, Manchester<br />
Camerata and BBC <strong>Symphony</strong> <strong>Orchestra</strong>, several engagements with<br />
the Macedonian Philharmonic in Skopje and a concert performance of<br />
Bernstein’s Candide in Cambridge.<br />
18 The Artists<br />
Thursday 17 May, LSO St Luke’s<br />
Chris Richards<br />
Clarinet<br />
Chris Richards studied at the Guildhall School of Music and Drama<br />
with Thea King, Julian Farrell and Joy Farrall and was a finalist in the<br />
2001 Shell/LSO competition. After his studies he was appointed<br />
Principal Clarinet with the northern Sinfonia at The Sage, Gateshead<br />
and in 2010 became Principal Clarinet with the <strong>London</strong> <strong>Symphony</strong><br />
<strong>Orchestra</strong>. He has also performed as a guest with most of the UK’s<br />
leading orchestras.<br />
Chris has appeared as a soloist with the northern Sinfonia, City of<br />
Birmingham <strong>Symphony</strong> <strong>Orchestra</strong> and Birmingham Contemporary<br />
Music Group with conductors including Thomas Zehetmair, Robin<br />
Ticciati, nicholas McGegan and H K Gruber. He has also broadcast<br />
John Adams’ Gnarly Buttons, Birtwistle’s Linoi and the Strauss Duett-<br />
Concertino on BBC Radio 3. In 2008 he gave the premiere of Richard<br />
Rodney Bennett’s Troubadour Music.<br />
A regular performer of chamber music, Chris has performed at the<br />
Wigmore Hall, LSO St Luke’s, The Sage, Gateshead, the BBC Proms<br />
and the Aldeburgh Festival with artists such as the Aronowitz<br />
ensemble, Pascal Rogé, Thomas Adès, John McCabe and Howard Shelley.
LSO Season 2012/13<br />
Shades of<br />
Szymanowski<br />
Sat 22 Sep & Thu 11 Oct 2012 7.30pm<br />
Szymanowski <strong>Symphony</strong> no 1<br />
Szymanowski Violin Concerto no 1<br />
Brahms <strong>Symphony</strong> no 1<br />
with Janine Jansen violin<br />
Recommended by Classic FM<br />
Thu 11 Oct part of UBS Soundscapes<br />
The LSO Szymanowski project is supported by<br />
the Adam Mickiewicz Institute as part of the<br />
Polska Music grant programme.<br />
Tickets £10 to £36<br />
Resident at the Barbican<br />
lso.co.uk<br />
020 7638 8891<br />
Distinctive, bright, incisive …<br />
Gergiev conducted a<br />
gleeful account<br />
Erica Jeal, The Guardian<br />
Sun 23 Sep & Sat 13 Oct 2012 7.30pm<br />
Brahms Tragic Overture<br />
Szymanowski <strong>Symphony</strong> no 2<br />
Brahms <strong>Symphony</strong> no 2<br />
Tue 11 & Tue 18 Dec 2012 7.30pm<br />
Brahms <strong>Symphony</strong> no 3<br />
Brahms Variations on a Theme by Haydn<br />
Szymanowski <strong>Symphony</strong> no 3 (‘Song of the night’)<br />
with Toby Spence tenor<br />
<strong>London</strong> <strong>Symphony</strong> Chorus<br />
Tue 11 Dec Recommended by Classic FM<br />
Tue 18 Dec supported by LSO Friends<br />
<strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
Living Music<br />
Valery Gergiev,<br />
LSO Principal Conductor<br />
The beginning of my own journey<br />
through Szymanowski’s music<br />
started when I was asked to<br />
conduct his opera, King Roger,<br />
and it’s become one of my most<br />
intriguing and exciting projects.<br />
Szymanowski not only deserves<br />
to be widely heard and recognised,<br />
but his music also gives us a<br />
tremendous opportunity<br />
to understand better the<br />
developments of classical music<br />
throughout the 20th century.<br />
Wed 12 & Wed 19 Dec 2012 7.30pm<br />
UBS Soundscapes: LSO Artist Portrait<br />
Leonidas Kavakos<br />
Szymanowski <strong>Symphony</strong> no 4<br />
(‘Symphonie Concertante’)<br />
Szymanowski Violin Concerto no 2<br />
Brahms <strong>Symphony</strong> no 4<br />
with Denis Matsuev piano<br />
Leonidas Kavakos violin<br />
Sat 30 & Sun 31 Mar 2013 7.30pm<br />
Szymanowski Stabat Mater<br />
Brahms German Requiem<br />
with <strong>London</strong> <strong>Symphony</strong> Chorus
Tuesday 15 May, Barbican<br />
On stage<br />
First Violins<br />
Roman Simovic Leader<br />
Carmine Lauri<br />
Tomo Keller<br />
Lennox Mackenzie<br />
nigel Broadbent<br />
Ginette Decuyper<br />
Jörg Hammann<br />
Maxine Kwok-Adams<br />
Claire Parfitt<br />
elizabeth Pigram<br />
Harriet Rayfield<br />
Colin Renwick<br />
Ian Rhodes<br />
Sylvain Vasseur<br />
Rhys Watkins<br />
David Worswick<br />
Second Violins<br />
evgeny Grach<br />
Thomas norris<br />
Sarah Quinn<br />
David Ballesteros<br />
Matthew Gardner<br />
Belinda McFarlane<br />
Iwona Muszynska<br />
Andrew Pollock<br />
Paul Robson<br />
Hazel Mulligan<br />
Oriana Kriszten<br />
Stephen Rowlinson<br />
Roisin Walters<br />
Ingrid Button<br />
20 The <strong>Orchestra</strong><br />
Violas<br />
edward Vanderspar<br />
Gillianne Haddow<br />
German Clavijo<br />
Anna Green<br />
Richard Holttum<br />
Robert Turner<br />
Heather Wallington<br />
Jonathan Welch<br />
natasha Wright<br />
Michelle Bruil<br />
Caroline O’neill<br />
Fiona Opie<br />
Cellos<br />
Rebecca Gilliver<br />
Alastair Blayden<br />
Jennifer Brown<br />
Mary Bergin<br />
noel Bradshaw<br />
Daniel Gardner<br />
Hilary Jones<br />
Minat Lyons<br />
Amanda Truelove<br />
Morwenna del Mar<br />
Double Basses<br />
Rinat Ibragimov<br />
Colin Paris<br />
nicholas Worters<br />
Patrick Laurence<br />
Matthew Gibson<br />
Thomas Goodman<br />
Jani Pensola<br />
Joseph Melvin<br />
Flutes<br />
Gareth Davies<br />
Adam Walker<br />
Siobhan Grealy<br />
Patricia Moynihan<br />
Piccolos<br />
Sharon Williams<br />
Patricia Moynihan<br />
Alto Flute<br />
Gareth Davies<br />
Oboes<br />
emanuel Abbühl<br />
Ruth Contractor<br />
John Lawley<br />
Daniel Finney<br />
Cors Anglais<br />
Christine Pendrill<br />
Daniel Finney<br />
Clarinet<br />
Andrew Marriner<br />
Chris Richards<br />
Chi-Yu Mo<br />
Dario Goracci<br />
Bass Clarinets<br />
Lorenzo Iosco<br />
Dario Goracci<br />
E-flat Clarinet<br />
Chi-Yu Mo<br />
Bassoons<br />
Rachel Gough<br />
Joost Bosdijk<br />
Adam Mackenzie<br />
Simon Davies<br />
Contra Bassoons<br />
Dominic Morgan<br />
Simon Davies<br />
Horns<br />
David Pyatt<br />
Angela Barnes<br />
Adrian Uren<br />
Jonathan Lipton<br />
Jason Koczur<br />
Anthony Chidell<br />
Hannes Arnold<br />
Dave McQueen<br />
Jeff Bryant<br />
Wagner Tubas<br />
Jeffrey Bryant<br />
David McQueen<br />
Trumpets<br />
Philip Cobb<br />
Roderick Franks<br />
Gerald Ruddock<br />
Christopher Deacon<br />
Daniel newell<br />
Bass Trumpet<br />
Andrew Connington<br />
Trombones<br />
Dudley Bright<br />
James Maynard<br />
Bass Trombone<br />
Paul Milner<br />
Tubas<br />
Patrick Harrild<br />
Martin Knowles<br />
Timpani<br />
nigel Thomas<br />
Antoine Bedewi<br />
Percussion<br />
neil Percy<br />
David Jackson<br />
Adam Clifford<br />
Christopher Thomas<br />
Harp<br />
Bryn Lewis<br />
Piano<br />
John Alley<br />
LSO String<br />
Experience Scheme<br />
established in 1992, the<br />
LSO String experience<br />
Scheme enables young string<br />
players at the start of their<br />
professional careers to gain<br />
work experience by playing in<br />
rehearsals and concerts with<br />
the LSO. The scheme auditions<br />
students from the <strong>London</strong><br />
music conservatoires, and 20<br />
students per year are selected<br />
to participate. The musicians<br />
are treated as professional<br />
’extra’ players (additional to<br />
LSO members) and receive<br />
fees for their work in line with<br />
LSO section players.<br />
The Scheme is supported by:<br />
The Barbers’ Company<br />
The Carpenters’ Company<br />
Charles and Pascale Clark<br />
Fidelio Charitable Trust<br />
The Ironmongers’ Company<br />
Robert and Margaret Lefever<br />
LSO Friends<br />
Musicians Benevolent Fund<br />
The Polonsky Foundation<br />
List correct at time of<br />
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See page xv for <strong>London</strong><br />
<strong>Symphony</strong> <strong>Orchestra</strong> members<br />
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Tuesday 15 May, Barbican<br />
<strong>London</strong> <strong>Symphony</strong> Chorus<br />
President<br />
Sir Colin Davis CH<br />
President Emeritus<br />
André Previn KBe<br />
Vice Presidents<br />
Claudio Abbado<br />
Michael Tilson Thomas<br />
Patron<br />
Simon Russell Beale<br />
Guest Chorus<br />
Director<br />
Simon Halsey<br />
Chairman<br />
James Warbis<br />
Accompanist<br />
Roger Sayer<br />
The <strong>London</strong> <strong>Symphony</strong> Chorus was formed in 1966 and, while<br />
maintaining special links with the <strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong>,<br />
has also partnered the principal UK orchestras and internationally<br />
has worked with the Berlin and Vienna Philharmonic <strong>Orchestra</strong>s,<br />
Boston <strong>Symphony</strong> <strong>Orchestra</strong> and the european Union Youth<br />
<strong>Orchestra</strong>, among others.<br />
Along with regular appearances at the major <strong>London</strong> venues,<br />
the LSC tours extensively throughout europe and has visited north<br />
America, Israel, Australia and the Far east. This season’s highlights<br />
include visits to Bonn, Paris and new York with the LSO under<br />
Sir Colin Davis and Gianandrea noseda, and concerts with the<br />
BBC Philharmonic, BBC Scottish <strong>Symphony</strong> <strong>Orchestra</strong> and the<br />
<strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong>.<br />
The Chorus has recorded widely, with recent releases including<br />
Haydn’s The Seasons, Walton’s Belshazzar’s Feast and Verdi’s<br />
Otello, and the world premiere issue of James MacMillan’s St John<br />
Passion. The Chorus also partners the LSO on Gergiev’s recordings<br />
of Mahler’s Symphonies nos 2, 3 and 8, while the men of the Chorus<br />
took part in the recent Gramophone award-winning recording of<br />
Götterdämmerung with the Hallé under Sir Mark elder.<br />
In 2007, the <strong>London</strong> <strong>Symphony</strong> Chorus established its Choral Conducting<br />
Scholarships, which enable aspiring young conductors to gain valuable<br />
experience with a large symphonic chorus. The Chorus has also<br />
commissioned new works from composers such as Sir John Tavener,<br />
Sir Peter Maxwell Davies, Michael Berkeley and Jonathan Dove, and<br />
took part in the world premiere of James MacMillan’s St John Passion<br />
with the LSO and Sir Colin Davis in 2008, and in the second <strong>London</strong><br />
performance in February 2010.<br />
The <strong>London</strong> <strong>Symphony</strong> Chorus is always interested in recruiting new<br />
members, welcoming applications from singers of all backgrounds,<br />
subject to an audition. Open Rehearsals are also being held for those<br />
who might be interested in auditioning.<br />
For further information, call Helen Lawford, Auditions Secretary,<br />
on 020 8504 0295 or visit lsc.org.uk.<br />
Tenors<br />
David Aldred, Paul Allatt, Robin Anderson, John Farrington,<br />
Matt Fernando, Matthew Flood, Andrew Fuller*,<br />
Simon Goldman, Stephen Hogg, Warwick Hood, Tony Instrall,<br />
John Marks, Alastair Mathews, John Moses, Daniel Owers,<br />
Stuart Packford, Harold Raitt, Chris Riley, Peter Sedgwick,<br />
Graham Steele, Takeshi Stokoe, Richard Street,<br />
Anthony Stutchbury, Malcolm Taylor, Owen Toller,<br />
James Warbis*, Brad Warburton, Robert Ward*,<br />
Paul Williams-Burton<br />
Basses<br />
David Armour, Bruce Boyd, Andy Chan, Steve Chevis,<br />
Damian Day, Thomas Fea, Ian Fletcher, Robert French,<br />
Robert Garbolinski*, John Graham, Owen Hanmer*,<br />
Jean-Christophe Higgins, Antony Howick, Alex Kidney*,<br />
Thomas Kohut, Gregor Kowalski*, Georges Leaver,<br />
Geoff newman, Peter niven, Tim Riley, nic Seager, ed Smith*,<br />
Rod Stevens, Gordon Thomson, Martin Vallas, Jez Wareing<br />
* denotes member of Council<br />
The Chorus<br />
21
Inbox<br />
Your thoughts and comments about recent performances<br />
‘Overwhelmed’<br />
Ross Tulloch<br />
Yet again I have been<br />
overwhelmed with the<br />
brilliance of your orchestra,<br />
on my latest visit, and<br />
performance of the opera<br />
[Weber’s Der Freischütz] under<br />
Sir Colin Davis.<br />
Thank you for such artistry and<br />
perfection. I always find concert<br />
performances of operas superb.<br />
You all worked so hard, and I so<br />
appreciate all you do to make<br />
every visit to the Barbican a joy.<br />
Weber’s Der Freischütz with<br />
Sir Colin Davis, 19 & 21 Apr<br />
22 Inbox<br />
‘Shimmering colours’<br />
Matthew Cocker<br />
Christian Tetzlaff made light of<br />
the fiendishly difficult solo part<br />
[in Szymanowski’s First Violin<br />
Concerto] and it was clear from<br />
the outset that he was going<br />
to take a fiery approach to the<br />
piece, whilst still reveling in the<br />
frequent ethereal moments.<br />
The LSO under Peter eötvös<br />
gave him delicious support,<br />
vividly bringing to life the full<br />
array of shimmering colours<br />
and textures in the score and<br />
proving gloriously overwhelming<br />
in their opulent final tutti section,<br />
following the brief cadenza.<br />
Debussy, Szymanowski &<br />
Scriabin with Peter Eötvös &<br />
Christian Tetzlaff, 29 Apr<br />
‘Magic’<br />
Jean Taylor<br />
In brief, it was magic and the<br />
character of Kaspar was, as one<br />
critic put it, truly dastardly.<br />
Unfortunately, although I had<br />
an otherwise excellent seat in<br />
the centre of Row H, the surtitles<br />
were bisected by Sir Colin’s<br />
head!<br />
Weber’s Der Freischütz with<br />
Sir Colin Davis, 19 & 21 Apr<br />
Send us your thoughts on<br />
tonight’s concert<br />
Using a smartphone QR code reader,<br />
scan this barcode to go to our reviews page,<br />
email comment@lso.co.uk, or go to our<br />
facebook or twitter pages<br />
@SterenceRice<br />
@londonsymphony concert<br />
was awesome. The LSO is an<br />
amazingly good orchestra.<br />
Znaider outstanding as well.<br />
Bartók & Szymanowski with<br />
Peter Eötvös & Nikolaj Znaider,<br />
8 May<br />
@lrodio<br />
Watching @londonsymphony<br />
in Paris. It’s only intermission<br />
and already eötvös has been<br />
brought on stage three times<br />
by applause!<br />
Tour to Paris with Peter Eötvös,<br />
1 & 2 May<br />
twitter.com/londonsymphony<br />
Please note that the LSO may edit your comments and not all emails will be published.
UBS SOUNDSCAPES: ECLECTICA 2012<br />
Tue 12 Jun 8pm<br />
Kathryn Tickell – northumbrian Voices<br />
A truly magical evening bringing historic narrative from northumbria<br />
and its music back to life. Kathryn Tickell’s performance is based on<br />
interviews and recordings she has made with family members and the<br />
old shepherd musicians from whom she learnt the tunes and songs.<br />
She’ll be joined on stage by three generations of musicians, including<br />
mouth organ player Will Atkinson and fiddler Willie Taylor.<br />
Tue 10 Jul 8pm<br />
Conexions – norway meets UK<br />
BBC Radio 3’s Fiona Talkington, presenter of Late Junction, brings<br />
together keyboard player Christian Wallumrød, violist Garth Knox<br />
and poet and goat horn player, Karl Seglem in a celebration of<br />
norwegian and British musical partnerships inhabiting the worlds of<br />
contemporary classical, jazz, improvisation and experimental music.<br />
<strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
LSO St Luke’s<br />
Tue 16 Oct 8pm<br />
Susanna – Original norwegian Songstress<br />
One of the most intensely intimate singers on the scene, Susanna<br />
casts a spell with every phrase she utters. Heartbreaking, enchanting<br />
and utterly original, she brings her trio to perform repertoire ranging<br />
from Susanna and the Magical <strong>Orchestra</strong>’s acclaimed cover versions<br />
(including Dolly Parton’s Jolene and Kiss’ Crazy, Crazy Nights) through<br />
to Purcell and her more recent recordings of her own songs.<br />
Tue 27 Nov 8pm<br />
Jason Yarde & Andrew McCormack – British Jazz<br />
An intimate set of music from their new duo album Places and Other<br />
Spaces, praised by the Arts Desk as ‘a powerful marriage of brilliant<br />
musicianship and composition of the first rank’.<br />
Tickets £10 £15 £22<br />
lso.co.uk/eclectica
2SACD LSO0719<br />
Britten War Requiem<br />
Gianandrea Noseda, Ian Bostridge<br />
Simon Keenlyside, Sabina Cvilak<br />
Britten War Requiem<br />
Gianandrea Noseda<br />
Ian Bostridge, Simon Keenlyside<br />
Sabina Cvilak<br />
<strong>London</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
The acclaimed new recording, available now from<br />
all good stores or order online at lso.co.uk<br />
CD of the Week Sunday Times<br />
***** Financial Times<br />
Also available now from the iTunes Store,<br />
specially Mastered for iTunes<br />
SACD LSO0688<br />
LSO Live<br />
Rachmaninov Symphonic Dances<br />
Stravinsky <strong>Symphony</strong> in Three Movements<br />
Valery Gergiev<br />
‘beautifully blended and responsive ...<br />
an orchestra that is at the very top of its<br />
game under its charismatic conductor’<br />
International Record Review