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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 />

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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

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