Beethoven's Missa Solemnis - Orchestra of the Age of Enlightenment

Beethoven's Missa Solemnis - Orchestra of the Age of Enlightenment

Beethoven’s Missa Solemnis

Friday 4 November 2011


Royal Festival Hall

Major Sponsor

The Philharmonia Chorus and Orchestra of the

Age of Enlightenment would like to thank the

following for their support without which this

concert would not have been possible

The Derek Butler Trust

The Golden Bottle Trust

Michael and Jacqueline Gee

Mrs Christine Collins

Kingsley Manning and Judy Davies

Hana Tiller

and several anonymous donors



Mass in D, Missa Solemnis

Gianandrea Noseda


Anne Ellersiek


Michaela Wehrum-Gandenberger


Mark Adler


Patrick Schramm


Orchestra of the Age of


Philharmonia Chorus

Stefan Bevier

Chorus Master

Concert given in memory of Sir Charles

Mackerras, President of the Philharmonia

Chorus and Emeritus Conductor of the

Orchestra of the Age of Enlightenment

The concert will finish at approximately 9.30pm

with no interval

First Violins

Matthew Truscott

Alison Bury

Jennifer Godson

Miranda Fulleylove

Rachel Isserlis

Claire Sansom

Nancy Elan

Simon Kodurand

Lucy Waterhouse

Catherine Ford

Jayne Spencer

Sarah Streatfeild

Second Violins

Kati Debretzeni

Roy Mowatt

Claire Holden

Iona Davies

Catherine Weiss

Stephen Rouse

Debbie Diamond

James Ellis

Susan Carpenter-Jacobs

Henrietta Wayne

Joanna Lawrence

Emilia Benjamin


Tom Dunn

Martin Kelly

Nicholas Logie

Oliver Wilson

Annette Isserlis

Louise Hogan

Katharine Hart

Mark Braithwaite

Penny Veryard

Amanda Derley


Robin Michael

Catherine Rimer

Helen Verney

Andrew Skidmore

Jennifer Morsches

Josephine Horder

Daisy Vatalaro

Gabriel Amherst

Double Basses

Chi-chi Nwanoku MBE

Cecelia Bruggemeyer

Andrew Durban

Pippa Macmillan

Jan Zahourek

Carina Cosgrave



Lisa Beznosiuk

Neil McLaren


Anthony Robson

Richard Earle


Antony Pay

Barnaby Robson


Andrew Watts

Damian Brasington


David Chatterton


Roger Montgomery

Martin Lawrence

Gavin Edwards

David Bentley

Ursula Paludan



David Blackadder

John Hutchins


Susan Addison

Peter Thorley

Andrew Lester


Charles Fullbrook


Steven Devine


Chief Executive

Stephen Carpenter

Orchestra Manager

Philippa Brownsword

Projects Director

Ceri Jones

Projects Manager

Megan Russell

Education Director

Cherry Forbes

Education Officer

Ellie Cowan


Colin Kitching

Finance Director

Lisa Sian

Finance Officer

Stephen Rock



William Norris

Press Manager

Katy Bell

Marketing and Press


Natasha Stehr

Digital Content


Zen Grisdale

Director of


Clare Norburn


Manager, Trusts and


Sally Drew


Manager, Individual


Isabelle Tawil

Development Officer

Jodie Gilliam

Corporate Relations

and Events


Lucy Pilcher

US Administrator,

American Friends

of the OAE

Severn Taylor

Graduate Intern

Toby Perkins

Board of Directors

Martin Smith


Martin Kelly


Cecelia Bruggemeyer

Stephen Carpenter

Jane Carter

Robert Cory

Sally Jackson

Colin Kitching

Julian Mash

Andrew Roberts

Susannah Simons

Mark Williams

Rosalyn Wilkinson

Development Board

Julian Mash


Sally Jackson

(Player Member)

Christopher Cooke

James Flynn QC

Theresa Lloyd

David Marks

Anthony Simpson

Artistic Direction


Susie Carpenter-Jacobs

Debbie Diamond

Martin Lawrence

Helen Verney


Alison Bury

Kati Debretzeni

Margaret Faultless

Matthew Truscott

Melgaard OAE

Young Conductor

Kevin Griffiths

American Friends


John Brim

Ciara Burnham

Sarah Ketterer

Richard Pzena

Kathy Reiland

Anthony Simpson

Nicholas von Speyr

Advisory Council

Martin Smith


Sir Victor Blank

James Joll

Christopher Jonas

Christopher Lawrence

Jonathan Sumption QC

Sir John Tooley

Orchestra & Staff list

Orchestra of the

Age of Enlightenment

Kings Place, 90 York Way, London, N1 9AG

Tel: 020 7239 9370




Registered Charity No. 295329

Registered Company No. 2040312

Sir Charles


and the




The Philharmonia Chorus sang

under Sir Charles’ baton many

times over some 35 years. It was in

performances of Handel that he

first conducted the Chorus, first in

1975 with Messiah in Orange,

France, and most memorably, in

début performances at the

legendary Teatro alla Scala in

Milan, with Judas Maccabeus.

Many memorable performances

followed, (including the Missa

Solemnis) and singers would look

forward with keen anticipation to

his rehearsals and concerts. In more

recent years there were notable

performances of Beethoven’s 9th

Symphony and Mozart’s Requiem

with the Philharmonia Orchestra,

Photo: Clive Barda

and a memorable semi-staged

performance of Weber’s Der

Freischütz with the Scottish

Chamber Orchestra at the

Edinburgh International Festival.

He was a galvanising presence

on the musical scene, and the

Chorus was immensely proud to

have him as its President. Typically,

he treated it as much more than an

honorary position, for he worked

hard and with considerable success

to promote the interests of the

Chorus at every opportunity. We

shall always be grateful to him.

Richard Harding


Philharmonia Chorus

Sir Charles


and the

Orchestra of the Age

of Enlightenment


Sir Charles Mackerras was one of the

first artists to be invited to conduct the

fledgling Orchestra of the Age of

Enlightenment (or, ‘Age of

Enlightenment’ as it was known in

those early days). His first concert

with the OAE was in 1987 in a

programme of all Mozart: the

Overture to Don Giovanni, Linz

Symphony and the Haffner Serenade.

In the book Spirit of the Orchestra

which was published in 2007 to

coincide with the OAE’s 21st

birthday, Sir Charles remembered

those early days with the Orchestra,

‘Playing a period instrument is like

driving a car and having to double declutch.

The handicaps that one suffers

with those wind instruments are

tremendous. Instruments were built

so your fingers could go over the holes,

but the holes were not necessarily in

the best place for ‘just’ intonation.

Playing the horn and making those

chromatic notes with your fist, trying

to get the tone consistent, is incredibly

hard – the horn players have to work

so much harder to get it in tune,

although all the OAE horn players do

it extremely well’. But he was never

discouraged by the challenges,

‘I never wondered for a moment

whether it was worth it: it was an


To be able to hear the phrasing, the

sounds – the fact that the notes decay

so much more rapidly, it opens up the

texture. And it also answers a whole

lot of questions: like the overture to

Don Giovanni – the minim in the bass

and the crotchet in the top, they are

quite similar because of the way the

sound decays, in modern times people

mistakenly sustain it through the bar.

It’s taught me a tremendous amount.’

After that first concert in 1987, Sir

Charles became a regular guest with

the OAE, appearing in virtually every

season throughout the past two

decades and becoming an Emeritus

Conductor in 2007. He was also the

conductor with whom the OAE made

its first recordings for Virgin Classics

– Schubert Symphonies, with the

Great C major being the first release

in the late 1980s.

We last saw Sir Charles on 12 June

last year which, although no-one

knew it at the time, was to be his final

public performance. It was the last of

his run of seven performances of Cosi

fan tutte at Glyndebourne to which,

despite his failing health, he brought

an energy and commitment that

would have been remarkable in a

person half his age. That’s exactly

how we wish to remember this

remarkable person: as a musician on

top of his game and sharing the joy of

music-making with all those around


Any concert or opera performance

conducted by Sir Charles was an event

that every musician in the OAE

looked forward to and enjoyed. The

OAE players, board and management

staff had the highest respect and love

for Sir Charles and we are grateful for

the many happy musical memories

that he gave to us and to audiences

throughout the world; memories that

will thankfully live on through his

extensive recorded legacy, and which

we celebrate tonight in this special

concert in his honour.

Stephen Carpenter

Chief Executive

Orchestra of the Age of


Programme Notes

Ludwig van Beethoven


Missa Solemnis, Op.123




Sanctus – Osanna – Praeludium -


Agnus Dei

*Words indicated by an asterisk

are explained on page 20..


‘The day on which a High Mass*

composed by me will be performed

during the ceremonies solemnised

for your Imperial Highness will be

the most glorious day of my life.’

Beethoven had already begun to

sketch a new Mass when he wrote

optimistically to his benefactor and

one-time pupil Archduke Rudolph

in June 1819. By then he had

substantially sketched the Kyrie and

Gloria of what would become the

Missa Solemnis. Later that summer

his factotum Anton Schindler

visited Beethoven at the house he

was renting in Mödling, outside

Vienna, and found the composer

singing, howling and stamping at

the piano as he hewed out the ‘Et

vitam venturi’ fugue* in the Credo

(though the notoriously unreliable

Schindler may have confused this

with the fugue at the end of the


True to form, though, Beethoven

was nowhere near finishing the

work in time for Rudolph’s

enthronement as Archbishop of

Olmütz (now Olomouc) in Cologne

Cathedral in March 1820. Indeed,

the Missa Solemnis would occupy

him for another two and a half years,

interleaved with the composition of,

inter alia, the Diabelli Variations and

the final three piano sonatas*, Opp.

109, 110 and 111. We have no

reason to doubt Schindler when he

writes that ‘from the beginning of

his work on the Mass, Beethoven’s

whole personality seemed to assume

a different quality, as his older

friends, especially, noticed. Never

before or since have I seen him in

such a state of rapt absorption,

oblivious to everything earthly.’

Before embarking on the Missa

Solemnis Beethoven had written out

the Latin text and its German

translation, annotating copiously as

he pondered the precise significance

of each word and clause. When he

completed the work in draft in the

late summer of 1822 every

movement had grown to an

unforeseen scale as Beethoven

chiselled, revised and (in the ‘Dona

nobis pacem’, especially) expanded.

Long before he received his own

dedicatory copy in March 1823,

Rudolph realised that the Mass had

assumed dimensions that made a

full liturgical performance virtually

impossible. Indeed, in a letter to his

friend Franz Brentano, Beethoven

implies that the Archduke

encouraged him to delay publishing

the Mass. The composer,

characteristically, ignored Rudolph’s

advice, selling copies by subscription

and, not for the only time, engaging

in less than transparent dealings

with several publishers

simultaneously in order to secure

maximum financial reward.

After finishing the work he

regarded as his greatest, Beethoven

wrote to another friend, Andreas

Streicher: ‘My chief aim was to

awaken and permanently instil

religious feelings not only into the

singers but also into the listeners.’

Although it sets the Catholic

liturgy, the Mass is not confined to a

single creed. Like Schubert,

Beethoven had no truck with the

dogma of orthodox Catholicism and

its rigid hierarchies. It may be

revealing, for instance, that he skips

rapidly, albeit with magnificent

rhythmic impetus, through the

doctrinal clauses towards the end of

the Credo - though it can also be

argued that these clauses are

unsuited to detailed musical

treatment. Beethoven seems to have

retained his instinctive belief in an

omnipotent, all-loving Father, as

hymned in the finale of the Ninth

Symphony. But his faith was

personal and heterodox, questioning

rather than submissive, and

coloured by Enlightenment deism,

Romantic pantheism (he

worshipped nature with a

Wordsworthian reverence) and

Immanuel Kant’s conception of

morality governed by reason. In

April 1823 he expressed his

recurrent religious doubts to his

friend Karl Peters, who sought to

Programme Notes


reassure him in the Conversation

Book: ‘Granted that you don’t

believe in it, you will be glorified,

because your music is

religion….You will arise with me

from the dead – because you must.

Religion is constant, only man is


Aware that the Mass’s scale ruled

out normal liturgical use, Beethoven

stressed to publishers that it could

be performed as an oratorio*. When

the Kyrie, Credo and Agnus Dei

were first heard (sung in German)

in Vienna, in the famous benefit

concert of 7 May 1824 that also

included the premiere of the Ninth

Symphony, they were billed, at the

behest of the ecclesiastical censors,

as ‘Three Grand Hymns with

soloists and chorus’. As in the

Symphony, Beethoven beat time as

he turned the pages of the score,

while Kapellmeister Ignaz Umlauf

held the performance together,

warning the choir and orchestra to

ignore the virtually stone-deaf


At once crowning and

transcending the classical Austrian

mass tradition epitomised by

Haydn’s late masses and

Beethoven’s own Mass in C, the

Missa Solemnis colours and –

crucially – dramatises the text in an

unprecedented way. In the majestic

Kyrie the repeated choral cries are

immediately answered by a single

soloist: a supplicatory individual

emerging from the crowd.

Beethoven enhances the sense of

urgent entreaty by beginning each

choral entry on a weak beat and

then reinforcing the strong beats

with trumpets and timpani. In the

Credo, built on the granitic

foundation of its opening ‘motto’,

‘Omnipotens’ is more ecstatically

jubilant, ‘et invisibilium’ more

arrestingly hushed, ‘descendit’ more

precipitate, than in any previous

mass setting.

With breathtaking

compositional sophistication,

Beethoven welds the work’s

extreme, often violent, contrasts,

prompted by his individual response

to the text, into a series of quasisymphonic

designs, each section

flowing logically into the next. Like

Bach in the B minor Mass, he also

created a work of encyclopedic

scope that seems to sum up the

whole Western tradition of sacred

music as Beethoven knew it. Yet

such were the power of his

technique and the boldness of his

imagination and intellectual reach

that he succeeded in fusing diverse

stylistic influences into a

monumental whole.

During the composition of the

Missa Solemnis Beethoven made an

intensive study of the ancient

Ecclesiastical modes* and the socalled

‘Palestrina Style*’. The fruits

can be heard in the mystical ‘Et

incarnatus est’, composed in the

Dorian mode*, with the Holy

Spirit, likened in the Bible to a

dove, appearing in the form of a

warbling flute high above the

hushed voices and strings: at once

the most naïve and the most

touching of the many musical

symbols in the Mass. After this

otherworldliness, the human

warmth of ‘Et homo factus est’ is all

the more moving. There is an

archaic, modal flavour, too, at the

opening of the Sanctus, where the

sense of awed devotion (the polar

opposite of Bach’s ceremonial

splendour here) is enhanced by the

crepuscular sonorities of low

woodwind and divided violas and


At the furthest extreme from

this inwardness are movements of

torrential, Dionysian energy: the

outer sections of the Gloria, and the

euphoric affirmation of ‘Pleni sunt

coeli’ and ‘Osanna’ in the Sanctus,

all of which seem to refract Handel

at his most extrovert through the

prism of Beethoven’s late style. In

the delirious upward rush of scales

at the opening of the Gloria, it is as

if the whole cosmos is rejoicing

(‘like the ringing of all the bells in

Programme Notes


Christendom’ was musicologist

Donald Tovey’s memorable

description). The Gloria culminates

in a gargantuan fugue (‘In gloria

Dei Patris’) that combines a robust

Handelian cast, given a personal

stamp by the pervasive sforzando*

accents, with a Bachian

contrapuntal* density. The element

of frenzied excess here, while not

sanctioned liturgically, expresses a

crucial aspect of Beethoven’s

personality that has parallels in the

finale of the near-contemporary

‘Hammerklavier’ Sonata, Op. 106,

and the Grosse Fuge.

The seraphic violin solo of the

Benedictus, emerging magically

from the subdued and (again)

archaic-sounding Praeludium

(representing the organ

improvisation customary at this

point in the mass), introduces shades

of the concerto*, even the operatic

aria*. This was traditionally the most

lyrical and reposeful portion of the

mass. But Beethoven, as he was

surely aware, outdid all predecessors

in songful beauty and timeless,

transcendent peace as the violin

floats its ethereal lines against the

discourse of the soloists and solemn

choral chants. In its mood and

swaying 12/8 metre*, the Benedictus

prefigures both the final variation of

the Ninth Symphony’s Adagio, and

the sublime Adagio in the late E flat

String Quartet, Op. 127.

Uninhibitedly theatrical are the

two apocalyptic ‘war’ episodes that

shatter the lilting pastoral serenity

of the ‘Dona nobis pacem’, the

second one incorporating snatches

of frenetic fugato based on distorted

echoes of the ‘Dona’ themes. Nearly

three decades earlier, Haydn had

graphically evoked the approaching

French army in the Agnus Dei of

his Missa in tempore belli.

Beethoven, typically, goes that

much further in disruptive violence

and terribilità.

Martial echoes still linger in the

distant timpani rolls that intrude on

the chorus’s whispered final ‘pacem’.

And the abiding impression of this

awesome, intensely personal work

(‘From the heart – may it return to

the heart’, Beethoven wrote on the

title page of the score) is of faith

achieved after a titanic struggle, yet

to the end edged with disquiet.

© Richard Wigmore

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Kyrie eleison.

Christe eleison.

Kyrie eleison.


Gloria in excelsis Deo.

Et in terra pax

hominibus bonæ voluntatis.

Laudamus te; benedicimus te;

adoramus te; glorificamus te.

Gratias agimus tibi

propter magnam gloriam tuam.

Domine Deus, Rex coelestis,

Deus Pater omnipotens.

Domine Fili unigenite Jesu Christe.

Domine Deus, Agnus Dei,

Filius Patris.

Qui tollis peccata mundi,

miserere nobis.

Qui tollis peccata mundi,

suscipe deprecationem nostram.

Qui sedes ad dextram Patris,

O miserere nobis.

Quoniam tu solus Sanctus,

tu solus Dominus,

tu solus Altissimus, Jesu Christe.

Cum Sancto Spiritu

in gloria Dei Patris.



Lord, have mercy.

Christ, have mercy.

Lord, have mercy.

Glory be to God in the highest.

And in earth peace

to men of good will.

We praise Thee; we bless Thee;

we worship Thee; we glorify Thee.

We give thanks to Thee

for Thy great glory.

O Lord God, Heavenly King,

God the Father Almighty.

O Lord Jesus Christ, the only begotten Son.

Lord God, Lamb of God,

Son of the Father.

Thou that take away the sins of the world,

have mercy upon us.

Thou that take away the sins of the world,

receive our prayer.

Thou that sit at the right hand of the Father,

have mercy upon us.

For thou only art holy,

thou only art the Lord,

thou only art the most high, Jesus Christ.

Together with the Holy Ghost

in the glory of God the Father.


We would like to thank the following groups for attending this evening:

Mr Bruce Harris and the Garrick Club


Credo in unum Deum;

Patrem omnipotentem,

factorem coeli et terrae,

visibilium omnium et invisibilium.

Credo in unum Dominum Jesum Christum,

Filium Dei unigenitum,

Et ex Patre natum ante omnia sæcula.

Deum de Deo, lumen de lumine,

Deum verum de Deo vero,

Genitum non factum,

consubstantialem Patri:

per quem omnia facta sunt.

Qui propter nos homines,

et propter nostram salutem

descendit de coelis.

Et incarnatus est de Spiritu Sancto

ex Maria Virgine: et homo factus est.

Crucifixus etiam pro nobis

sub Pontio Pilato,

passus et sepultus est.

Et resurrexit tertia die

secundum Scripturas.

Et ascendit in coelum:

sedet ad dexteram Patris.

Et iterum venturus est cum gloria,

judicare vivos et mortuos:

cujus regni non erit finis.

Credo in Spiritum Sanctum,

Dominum, et vivificantem:

qui ex Patre Filioque procedit.

Qui cum Patre et Filio simul

adoratur et conglorificatur:

qui locutus est per Prophetas.

Credo in unam sanctam

catholicam et apostolicam Ecclesiam.

Confiteor unum baptisma,

in remissionem peccatorum.

Et expecto resurrectionem mortuorum

et vitam venturi sæculi.



I believe in one God;

the Father almighty,

maker of heaven and earth,

and of all things visible and invisible.

And in one Lord Jesus Christ,

the only begotten Son of God,

begotten of the Father before all worlds;

God of God, light of light,

true God of true God,

begotten not made;

being of one substance with the Father,

by Whom all things were made.

Who for us men

and for our salvation

descended from heaven;

and was incarnate by the Holy Ghost,

of the Virgin Mary, and was made man.

He was crucified also for us,

suffered under Pontius Pilate,

and was buried.

And on the third day He rose again

according to the Scriptures:

and ascended into heaven.

He sits at the right hand of the Father;

and He shall come again with glory

to judge the living and the dead;

and His kingdom shall have no end.

I believe in the Holy Ghost,

the Lord and giver of life,

Who proceeds from the Father and the Son,

Who with the Father and the Son together

is worshipped and glorified;

who spoke by the Prophets.

And I believe in one holy

catholic and apostolic Church.

I acknowledge one baptism

for the remission of sins.

And I await the resurrection of the dead

and the life of the world to come.



Sanctus, Sanctus, Sanctus,

Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua.

Osanna in excelsis.


Benedictus qui venit

in nomine Domini.

Osanna in excelsis.

Agnus Dei

Agnus Dei,

qui tollis peccata mundi,

miserere nobis.

Agnus Dei.

Dona nobis pacem.


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Holy, Holy, Holy,

Lord God of Hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

Blessed is He that comes

in the name of the Lord.

Hosanna in the highest.

Lamb of God,

Who takes away the sins of the world,

have mercy upon us.

Lamb of God.

Grant us peace.


Gianandrea Noseda


Gianandrea Noseda is considered among the most

sought-after conductors of our time serving as Music

Director of the Teatro Regio Torino, Chief Guest

Conductor of the Israel Philharmonic and Laureate

Conductor of the BBC Philharmonic in Manchester.

Since 2001 he has been Artistic Director of the Stresa

Festival, one of the legendary Italian Music festivals. To

stress the importance of his relationship with the

Pittsburgh Symphony Orchestra, he was appointed

Victor De Sabata Guest Conductor. Gianandrea

Noseda became the first foreign Principal Guest

Conductor at the Mariinsky Theatre in 1997 and has

been the Principal Guest Conductor of the Rotterdam

Philharmonic and of the Orchestra Sinfonica Nazionale

della RAI.

Born in Milan, Gianandrea Noseda regularly

conducts many of the leading orchestras including the

Chicago Symphony, New York Philharmonic, London

Symphony Orchestra, Philadelphia Orchestra, Swedish

Radio Symphony Orchestra, Oslo Philharmonic, DSO

Berlin, Frankfurt Radio Symphony Orchestra,

Orchestre National de France, Orchestre de Paris and

the NHK Symphony Orchestra. His magnificent

interpretation of Britten’s War Requiem at the Barbican

Centre with the London Symphony Orchestra and

Chorus has received unanimous acclaim from the critics

and the public as recently as October 2011.

As Music Director of the Teatro Regio Torino,

Gianandrea Noseda has conducted many opera

productions including Salome directed by Robert

Carsen, Massenet’s Thaïs (available on Arthaus DVD),

Verdi’s La traviata directed by Laurent Pelly and

Mussorgsky’s Boris Godunov directed by Andrei

Konchalovsky (Opus Arte DVD). In summer 2010 he

led the Teatro Regio forces in their first-ever residency in

Japan and China and in May 2011 he toured them in

Spain and at the Théâtre des Champs Elysées in Paris.

Gianandrea Noseda’s privileged relationship with the

Metropolitan Opera began in 2002 with Prokofiev’s War

and Peace and has continued to this day with La forza del

destino (2006), Un ballo in maschera (2007) and with new

productions of Il trovatore (2009) and La traviata

(2010). In June 2011 he conducted Lucia di Lammermoor

on the Met’s Japan tour.

Gianandrea Noseda’s intense collaboration with the

BBC Philharmonic continues with studio recordings,

subscription concerts at the Bridgewater Hall and the


annual appearance at the Proms in London. Live

performances of Beethoven’s complete symphonies from

the Bridgewater Hall, Manchester by the BBC

Philharmonic conducted by Gianandrea Noseda in

2005 have attracted the historical figure of 1.4 million

download requests in a BBC trial which was offered as

part of Radio 3’s The Beethoven Experience.

An exclusive Chandos artist since 2002, his

discography includes Prokofiev, Karlowitz, Dvořák,

Smetana, Shostakovich, Liszt’s Symphonic works,

Rachmaninoff (the operas and the symphonies), Mahler

and Bartok. An extensive survey of the music of the

Italian composers of the 20th-century has included

Respighi, Dallapiccola, Wolf-Ferrari (Diapason d’or in

France) and Casella. He has also recorded for Deutsche

Grammophon conducting the Vienna Philharmonic

Orchestra in Anna Netrebko’s debut album and the

Teatro Regio Torino Orchestra for a Mozart album

featuring Ildebrando D’Arcangelo.

Gianandrea Noseda is very involved with the next

generation of musicians through his tireless work with

youth orchestras such as the Orchestra of the Royal

College of Music in London, the National Youth

Orchestra of United Kingdom and the Orchestra

Giovanile Italiana. In summer 2010 he toured with the

European Union Youth Orchestra throughout Europe.

Gianandrea Noseda holds the honour of ‘Cavaliere

Ufficiale al Merito della Repubblica Italiana’.


Anne Ellersiek


Anne Ellersiek was born in Kaiserslautern. Her first

musical experiences were with at Gerda Ramirez at

Mannheim and Steffi Sieber in Heidelberg. From

2003-2008, she studied voice at the Hochschule für

Musik in Würzburg with Prof. Leandra Overmann.

In the summer of 2008 she graduated from her studies

with a concert and opera diploma. In 2004 she was

prizewinner at the Armin-Knab Song Contest

Würzburg and 2009 finalist at the castle Haldenstein.

For several years she has worked as a popular concert

singer in the German-speaking countries and has

performed with orchestras such as the SWR

Symphony Orchestra Freiburg / Baden-Baden, the

Düsseldorf Symphony, the Hamburg Symphony

Orchestra, the Munich Bach Soloists, Musica Alta

Ripa and the Rheinische Philharmonie. She has also

performed at the opening of the Bad Hersfeld

Festival, the Weilburg Palace Concerts in the

Laeiszhalle Hamburg, at the Alte Oper Frankfurt and

the Tonhalle in Düsseldorf.

Her first experiences on the operatic stage included

parts such as Romilda in Handel’s Serse, Micaëla in

Bizet’s Carmen and Donna Anna in Mozart’s

Don Giovanni. In the Baroque Festival Hannover

Herrenhausen she also sung in Purcell’s opera

The Fairy Queen.

As a guest, she sang at the Staatsoper Hannover in

Nono’s Gran Al Sole, Wagner’s Die Walküre as

Ortlinde, at the Alley Theatre Hamburg as Pamina in

Eurydice, at the Theatre of Würzburg as Woglinde in

Das Rheingold and at the Aachen Theatre in Wagner’s

Parsifal as Flower Girl and Pamina.

Since the 2008/2009 season, she has been involved

with the Theatre Lübeck, where she was Pamina in

The Magic Flute, Countess Zedlau in Vienna Blood,

Marie (The Bartered Bride), Oscar (Un ballo in

maschera), Miranda in The Tempest and Liù in


From 2010, she has been an ensemble member at

the Theatre Lübeck and has performed as Gretel in

Hansel and Gretel, Liù in Turandot, Nanetta in Falstaff

and Micaëla in Carmen.



Michaela Wehrum-Gandenberger


The German mezzo-soprano, Michaela Wehrum,

studied singing at the Musikhochschule Köln with

Professor Liselotte Hammes. During her studies she

worked at various productions at the opera school.

Particularly noteworthy are the roles of Hänsel in the

fairy-tale opera Hänsel und Gretel by Engelbert

Humperdinck, Nancy in Albert Herring by Benjamin

Britten, as well as Frau Reich in Die lustigen Weiber von

Windsor by O. Nicolai. She graduated with honours

and successfully completed her subsequent studies.

She has participated in several master-classes with

Professor Kerstin Meyer in Salzburg and

Professor Tom Krause in Cologne, Germany. She

studied successfully in the Lied class of Professor

Jürgen Glauß, and worked on roles with

Professor Hedwig Fassbender.

She was the winner and finalist of different

competitions including the Mozart Competition in

Würzburg and the Nuremberg Master Singer


Michaela Wehrum’s opera career led her to the

Staatstheater Wiesbaden, where she was heard as

Mercedes in Carmen, as Page in Salome and as

Orlofsky in Die Fledermaus. Other stations were at the

Bremer Theater (Flora in La traviata), the

Landestheater in Detmold (Charlotte in Werther) and

the Stadttheater Gießen (Madeleine in Madame

Pompadour and the second woman in Dido and

Aeneas). In free opera productions she recently sang

the Sorceress in Purcell’s opera Dido and Aeneas and

Hänsel in E. Humperdinck‘s opera Hänsel und Gretel.

As Mercedes, she also appeared at the theatres of

Bremen, Darmstadt and Münster.

Michaela Wehrum now has an extensive concert

repertoire and has developed as a soloist in major

concert choirs, singing in concerts in Italy and

Switzerland. Her concert activities led to the Kölner

and Berliner Philharmonie, to Brazil with

the Weihnachts-Oratorium (BWV 248) by J.S. Bach, to

the Bad Hersfelder Festspielen with

Mozart’s Requiem and to Verona with Elias by Felix

Mendelssohn. Next year she will give her debut with

Verdi’s Requiem in Bern, Switzerland.

Since 2005 she has taught singing at the musical

faculty of the University of Giessen.



Mark Adler


Mark Adler completed his vocal studies at the

University of the Arts in his hometown of Berlin

Dietmar Hackel. In 1997 he moved to the ‘Hanns

Eisler’ Hochschule für Musik in Berlin and continued

his studies with Scot Weir. While still a student, he

began performing in guest appearances at the

Neukölln Opera in Berlin and the new opera house in


In 1999, the singer gave his debut as Tamino at the

Festival d’Art Lyrique d’Aix-en-Provence. With this

role he also sang at the Opéra de Lausanne, at the

Teatro La Fenice in Venice, at the Opéra Lyon, at the

Edinburgh International Festival and the Opéra de


From 1999-2005 Mark Adler was involved in

musical theatre at the Revier in Gelsenkirche, taking

on roles such as Tamino, Fenton in Falstaff, Nemorino

in L’elisir d’amore and Ferrando in Cosi fan tutte. The

tenor has performed at the Théâtre de la Monnaie in

Brussels in Monteverdi’s Il ritorno d’Ulisse, under the

musical direction of Philippe Pierlot. With this

production, he was also heard at Lincoln Center in

New York, at the theatres in Caen and Luxembourg

and at the festival in Melbourne. The singer also had

great success as Ernesto in Don Pasquale at the

Cologne Opera.

From 2005-2010 Mark Adler was an ensemble

member of Staatstheater Darmstadt, appearing in

Gounod’s Faust and as the bride and as Tassilo in

Countess Maritza. With the latter role he has

performed very successfully at the State Theatre in

Innsbruck. Furthermore, Mark Adler debuted in

autumn 2010 as Narraboth in Salome at Theater

Bielefeld and sang a much acclaimed Matteo at

Theater Aachen.

Future performances include the count Zedlau in

Wiener Blut, Count René in Madame Pompadour at the

Vienna Volksoper and Dr Caius in Falstaff at the

special request of Brigitte Fassbaender in her farewell

presentation at the State Theatre in Innsbruck.



Patrick Schramm


The young German Bass, Patrick Schramm, studied

at the Conservatory in Mannheim with Prof. Rudolf

Piernay and took masterclasses with Cornelius Reid

(New York), Mikael Eliasen (Curtis Institute

Philadelphia) and Claudia Eder. At the moment his

teacher is Carol Meyer-Brütting.

Patrick Schramm was a finalist of the

Bundeswettbewerb Gesang 2002 and prize winner

of the International competition Kammeroper

Schloss Rheinsberg, where he made his debut as

Sarastro in Mozart’s Die Zauberflöte in 2004. In

2005 Patrick Schramm was chosen to represent

Germany in the renowned competition BBC

Cardiff Singer of the World.

He made his opera debut at the Nationaltheater

Mannheim and the Stadttheater Heidelberg. In past

seasons he interpreted the role of Sancho Panza in

Massenet’s Don Quichotte as well as a Monk in Tea

by Tan Dun at the Nederlandse Opera in

Amsterdam and at the Opera of Tokyo. During the

season 2005/2006 Patrick Schramm was a member

of the ensemble of the Staatstheater Darmstadt

where he performed the roles of: Caronte in

Monteverdi’s Orfeo, Seneca in Monteverdi’s

L incoronazione di Poppea, Pistola in Verdi’s Falstaff

and Superintendent in Britten’s Albert Herring. He

made his debut at the Staatsoper Berlin as Angeloti

in Puccini’s Tosca as well as Otto in

Frühlingserwachen at the Théàtre Royale de la

Monnaie in Brussels. He sang Dottore Grenvil in

La Traviata at the Nationaltheater Mannheim and

the role of Julian Pinelli in Die Gezeichneten at the

Nederlandse Opera.

Recent engagements have included, 2nd Soldier

in Salome at La Monnaie in Brussels, 1st Soldier in

Strauss’ Salome at the Liceu in Barcelona, 1st

Handwerksbursch in Wozzeck at the Opera Bastille

in Paris, Otto in Frühlingserwachen at the Opera

National du Rhin in Strasbourg, Montano in Verdi’s

Otello with the Saturday Matinée Series of the

Concertgebouw in Amsterdam, Littore & Tribune

in Monteverdi’s L’incoronazione di Poppea at the

Glyndebourne Festival and the Badger in The

Cunning Little Vixen, 2nd Soldier in Strauss’ Salome,

Jim Larkens in Puccini’s La Fanciulla de West and

2nd Sentinelle in Berlioz’ Les Troyens all with the

Nederlandse Opera in Amsterdam.


Future engagements include 2nd Soldier in

Salome at La Monnaie in Brussels and Littore in

L’incoronazione di Poppea at L’Opéra de Dijon.


Philharmonia Chorus Stefan Bevier

chorus master

January, 1957. The great Otto Klemperer is recording the

Beethoven symphonies with the Philharmonia Orchestra in

London. For the Ninth, he needs a chorus. A standard

British choral society won’t do: too polite; too prim. So

Klemperer and his producer Walter Legge call on Wilhelm

Pitz, chorus master of the Wagner festival in Bayreuth. They

ask for a disciplined but hearty choir – dramatically coloured,

with home-grown voices but a distinctly European sound.

Pitz gets to work.

It’s now November. The orchestra is churning its way

through Beethoven’s Adagio under Klemperer’s baton. A

pause, and then the finale. Pitz’s chorus sings its first notes in

public. Hesitant? Certainly not. Clipped and ordered? Sort

of. Thrusting, emotional, textured, gripping? Absolutely.

Unusual? Completely. The Philharmonia Chorus is born.

Seven more chorus masters follow; each works on the

sound. There are hundreds of memorable concerts – with the

finest orchestras and in the most prestigious venues. There

are high-profile foreign tours. There are challenging operas –

in concert and fully staged. Over 80 recordings are pressed.

January, 2010. Now Stefan Bevier arrives – a former

Berlin Philharmonic player and Fischer-Dieskau pupil with

a direct link to the Klemperer tradition. He’s

uncompromising and he has a vision. He sets about reimagining

the choir’s sound, and invites apprentice

professionals to join its ranks.

It’s now April. The Orchestra of the Age of

Enlightenment is etching its way through Beethoven’s

Adagio. A pause, and then the finale. The Philharmonia

Chorus sings its first notes in public since Bevier’s

appointment, and immediately there’s a new excitement,

weight and confidence in the sound. The thrust and colour

Klemperer first asked for. ‘A chorus reborn’, declares The

Times. ‘Vibrancy, bite and panache’ snaps the Independent.

And so it goes on. The Chorus marks the 75th birthday

of the De La Warr Pavilion with a memorable Carmina

Burana. It broadcasts a rare performance of Frank Martin’s

Golgotha live from the chapel of King’s College in

Cambridge. It declaims Mahler’s Symphony of a Thousand

under Lorin Maazel. And once again, at this year’s Proms, it

triumphs in that signature symphony by Beethoven.

Now, the mighty Missa Solemnis. A recording of Mahler’s

Second Symphony is immiment, along with Requiems by

Britten and Brahms. The Philharmonia Chorus journey

continues – with more excitement and urgency than ever.

Andrew Mellor


Stefan Bevier studied singing and double bass at

the Hochschule der Künste, Berlin, and obtained a

scholarship from the Herbert von Karajan

Foundation. He was a member of the Orchestra

Academy of the Berlin Philharmonic Orchestra as

well as a regular deputy for them under Herbert

von Karajan. He studied singing with Dietrich

Fischer-Dieskau, Schuch-Tovini and Aribert

Reimann, and conducting with the former Chief

Conductor of the Berlin Philharmonic, Sergiu

Celibidache. He has worked closely with many

conductors of international stature, including

Herbert von Karajan, Eugen Jochum, Karl Böhm,

Leonard Bernstein, Lorin Maazel, Colin Davis,

Ricardo Muti, Claudio Abbado and Sir Simon


He is the Chief Conductor of the Festival

Orchestra Berlin, the Baroque Orchestra Berlin,

and is the founder and conductor of the European

Vocal Soloists. He is active in giving master

classes, singing lessons and conducting courses,

and he provides musical instruments from his

extensive private collection to young musicians.

He started working with the Philharmonia

Chorus in 1999, and was appointed Chorus

Master in 2010.

Photo: Grugel


Philharmonia Chorus


Fleur Bray

Carol Capper

Elizabeth Casselton

Rosa Conrad-Hurt

Judy Davies

Noelle Davies-Brock

Judy Dixey

Susanna Fairbairn

Sheila Fitzgerald

Annie Harding

Viki Hart

Rebecca Henning

Elisabeth Hinze

Felicity Hope

Jennifer Jenkins

Louise Judge

Vivien Karam

Bridget Kerrison

Carolyn Killen

Juliet King-Smith

Jackie Leach

Donna Lennard

Francesca Letch

Siân Maddock

Silva McQueen

Dilys Morgan

Jo Nicholson

Rosslyn Panatti

Linda Park

Rachel Pitt

Catherine Pope

Karen Richmond

Harriet Sasada

Ayano Sasaki-Crawley

Denise Squires

Sarah Styles

Lorna Swift

Geraldine Willford

Helen Winter


Richard Harding

Chorus Master

Stefan Bevier


Stephen Rose


Elizabeth Album

Jenifer Ball

Anne-Maria Brennan

Sally Brien

Jean Brooker

Felicity Buckland

Anneliese Collett

Sheena Cormack

Ursula Davies

Sue Dodd

Claire Eadington

Helen Ford

Elizabeth Harniess

Celia Kent

Aino Konkka

Aurore Lacabe

Ksynia Loeffler

Pamela Pearce

Nerys Pipe

Alison Rieple

Danielle Rochman

Lindsay Rosser

Helen Sadler

Muriel Scott

Sue Smith

Silvia Strebel

Sylvia Suban

Danny Thomas

Hana Tiller

Anne van der Lee

Emma Watkinson


Richard Ashdown

Christopher Beynon

Oliver Brignall

Alastair Carey

Harvey Eagles

Christian Forssander

Tim Freeman

Robert Geary

Matthew Hale

Edmund Henderson

Christopher Hollis

Peter Kirk

David Lester

Simon Lowe

Andrew Martin

Peter Mather

Jon Meredith

William Morgan

David Phillips

Nick Pritchard

Michael Ridley

Michael Savino


Stephen Benson

Tony Brewer

David Bryant

Phillip Dangerfield

Malcolm Davies

Michael Day

Stewart Easton

Richard Gaskell

Nigel Gee

Julian Guidera

David Hansford

Richard Harding

Oliver Hogg

Matthew Jelf

Steffan Jones

Peter Kirby

Richard Lane

Hector Macandrew

Geoffrey Maddock

Barnaby Mason

Aziz Panni

Peter Quintrell

David Regan

David Rippon

Stephen Rosser

Don Rowlands

Victor Sgarbi

James Shirras

Tom Stoddart

David Wright

Orchestra of the Age of Enlightenment

Principal Artists

Iván Fischer

Vladimir Jurowski

Sir Simon Rattle

Emeritus Conductors

Frans Brüggen

Sir Roger Norrington

‘For this


ensemble, it’s all

about the music’

Independent on Sunday


Just over two decades ago, a group of inquisitive London musicians took a long hard

look at that curious institution we call the Orchestra, and decided to start again from

scratch. They began by throwing out the rulebook. Put a single conductor in charge?

No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and

then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

And as this outfit with the funny name began to get a foothold, it made a promise

to itself. It vowed to keep questioning, adapting and inventing as long as it lived.

Playing on period-specific instruments became just one element of its quest for

authenticity. Baroque and Classical music became just one strand of its repertoire.

Every time the musical establishment thought it had a handle on what the OAE was

all about, the ensemble pulled out another shocker: a Symphonie Fantastique here,

some conductor-less Bach there. All the while, the orchestra’s players called the shots.

In the early days, it seemed a minor miracle. Ideas and talent were plentiful; money

wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It developed

own-terms relationships with record labels, broadcasters and conductors. It crept into

the opera house. It became the toast of the European touring circuit. It bagged a

residency at London’s most prominent arts centre. It began, before long, to thrive.

Only then came the real challenge. Eccentric and naïve idealists the ensemble’s

musicians were branded. And that they were determined to remain – despite growing

relationships with the Glyndebourne festival, Virgin Records and the Southbank

Centre. Mercifully, they remained just that. In the face of the industry’s big guns, the

OAE kept its head. It got organised but remained experimentalist. It sustained its

founding drive but welcomed new talent. It kept on exploring performance formats,

rehearsal approaches and musical techniques. It examined instruments and repertoire

with greater resolve. It kept true to its founding vow.

And in some small way, the OAE changed the classical music world for good. It

challenged those distinguished partner organisations and brought the very best from

them, too. Symphony and opera orchestras began to ask it for advice. Existing period

instrument groups started to vary their conductors and repertoire. New ones popped

up all over Europe and America.

And so the story continues, with ever more momentum and vision. The OAE’s

recent series of nocturnal Night Shift performances have redefined concert

parameters. The ensemble has formed the bedrock for some of Glyndebourne’s most

groundbreaking recent productions. It travels as much abroad as to the UK regions:

New York and Amsterdam court it, Birmingham and Bristol cherish it.

Remarkable people are behind it. Simon Rattle, the young conductor in whom the

OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the

visionary who punted some of his most individual musical ideas on the young

orchestra, continues to challenge it. Vladimir Jurowski, the podium technician with

an insatiable appetite for creative renewal, has drawn from it some of the most

revelatory noises of recent years. All three share the title Principal Artist.

Of the instrumentalists, many remain from those brave first days; many have come

since. All seem as eager and hungry as ever. They’re offered ever greater respect, but

continue only to question themselves. Because still – and even as they moved into their

beautiful new purpose-built home at Kings Place in 2009 – they pride themselves on

sitting ever so slightly outside the box. They wouldn’t want it any other way.

© Andrew Mellor, 2009




From the Italian word meaning ‘air’. Any

melody or song performed usually, but not

always, by a singer, now used almost

exclusively to describe a self-contained piece

for one voice, at times duets, usually with

orchestral accompaniment. The most

common context for arias is opera, however

there are also many arias that form crucial

movements of oratorios and cantatas.


Like many musical terminologies, the word

‘concerto’ differs in its meaning across musical

history. The Classical form to which these

notes refer used the following basic structure:

a first movement, a slower, quieter second

movement, and a third faster and more

virtuosic movement to end the piece.


Since the Renaissance period in European

music, much music which is considered

contrapuntal has been written in imitative

counterpoint. In imitative counterpoint, two

or more voices enter at different times, and

(especially when entering) each voice repeats

some version of the same melodic element.

Dorian mode

Dorian is the second mode in the modern

scales of natural notes.

Ecclesiastical modes

(Also known as church or traditional modes)

A mode generally refers to types of musical

scales. Therefore, an ecclesiastical system of

modes e.g. Gregorian chanting up until 1600,

differs from modern major and minor scales

in its disposition of tones and semi-tones and

melodic patterns.


From the Latin meaning flight –the fugue is a

composition written for several independent

parts. It begins with the main theme after

which the other parts are gradually introduced

and build and are layered on ‘top’ of one



A form of sacred musical choral composition

that sets the invariable portions of the

Eucharistic liturgy (principally that of the

Roman Catholic Church, the Anglican

Communion, and the Lutheran Church) to

music. Most Masses are settings of the liturgy

in Latin, the traditional language of the

Roman Catholic Church, but there are a

significant number written in the languages of

non-Catholic countries where vernacular

worship has long been the norm.


Metre or meter is a concept related to a

division of time characteristic of western

music. It involves a rhythmical pattern, which

is usually two to four beats long, (duple, triple,

quadruple), and each beat can be divided into

two or three basic subdivisions (simple,

compound). Most classical music before the

20th century tended to stick to relatively

straightforward meters such as 4/4, 3/4 and

6/8, creating a regular pulse.


A musical composition for voice and

orchestra. Similar to that of an opera but only

performed as a concert piece without staging

and costumes and usually concerned with

sacred texts rather than love, war or


Palestrina Style

Vocal music as written by 16th century Italian

Giovanni Pierluigi de Palestrina.

Characterised by sacred music, masses,

madrigals and hymns, its influence impacted

on the development of church music and is

seen to represent the height of Renaissance

polyphony (many voices working together).

Piano sonata

A sonata written for a solo piano. Piano

sonatas are usually written in three or four

movements, although some piano sonatas

have been written with a single movement

(Scarlatti, Scriabin), two movements

(Beethoven, Haydn), five (Brahms’ Third

Piano Sonata) or even more movements.


In Italian literally meaning ‘with force’, a

sforzanda is a notation or instruction to play a

note with sudden and forceful impact.

Steven Devine, OAE Co-Principal Keyboard. Photo: Eric Richmond /Harrison & Co


We are always looking for good

amateur singers, so if you like what

you hear this evening and would like

to be part of it, why not apply for an

audition? We rehearse in central

London. There is no membership fee

and all music is provided.

We also invite applications from

professional singers in the first 10

years of their careers to join our

professional singers scheme.

Recent highlights


Go to for more details,

or you can call Celia Kent on 07833 188 876

Frank Martin Golgotha in King’s College, Cambridge,

Easter Festival, live on Radio 3

Beethoven Ninth Symphony at the Proms

Mahler Eighth Symphony

To come

Dvořák Te Deum in the Royal Albert Hall at Christmas

with the Choir of King’s College, Cambridge

Recording of Mahler’s Second Symphony

Brahms Ein deutsches Requiem

Britten War Requiem

Orchestra of the Age of Enlightenment Supporters

The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to

our sponsors and patrons and hope you will consider joining them. We offer a close involvement in the

life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany

us on tour. For further information please call Isabelle Tawil on 020 7239 9380.



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OAE Futures is the long term artistic development

programme of the OAE and was established in 2006 with a

substantial lead donation from The Smith Challenge Fund.

The OAE is grateful to Martin and Elise Smith for this

generous and imaginative support. OAE Futures comprises

projects grouped under three headings: Future Orchestra,

Future Performers and Future Audiences, and offers a

special opportunity for donors to be involved in the

development of the Orchestra’s artistic strategy at the

highest level. The Orchestra thanks for the following for

their support of OAE Futures:

OAE Futures Funders

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For further details about becoming an OAE Futures Funder

please contact Clare Norburn, Director of Development:



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Salomon Oppenheimer Philanthropic Foundation


Southbank Centre


Booking Information

Southbank Centre

Ticket Office 0844 847 9922

Tickets £6-£60 unless

otherwise indicated.

All concerts start at 7pm and are

preceded by a free pre-concert

OAE Extras event at 5.45pm.

Free programmes are available at

every concert.

You can find more information

about the OAE at:






Tuesday 6 December 2011

Royal Festival Hall

Handel Messiah

Laurence Cummings director

Elizabeth Watts soprano

Tim Mead counter-tenor

Nicholas Mulroy tenor

Lisandro Abadie baritone

Choir of the Enlightenment

Tickets £6-£70

Friday 13 January 2012

Queen Elizabeth Hall

The Glory of Venice

Music by Gabrieli, Fontana,

Grandi, Monteverdi and Marini

Robert Howarth director

Julia Doyle soprano

Choir of the Enlightenment

Friday 10 February 2012

Queen Elizabeth Hall

An Olympic Thread

Telemann Overture, Les Nations

Handel Aria Figlio d’Altre Speranza

Locatelli Concerto Grosso Op 7

No 6, Il pianto d’Arianna

Sally Beamish Spinal Chords

(world premiere)

Handel Cantata, Delirio amoroso

Matthew Truscott director

Roberta Invernizzi soprano

Narrator tbc

Sunday 12 February 2012

Purcell Room at

Queen Elizabeth Hall

10.30am and 2pm

Study Day

Berlioz’s Romeo et Juliette

Ahead of the OAE’s performance

of Berlioz’s mammoth Romeo et

Juliette on 18 February this study

day gives you a chance to find out

more about this unique piece.

Tickets £12 per session

£6 concessions

£4 full time students

Saturday 18 February 2012

Royal Festival Hall

Romeo and Juliet

Berlioz Romeo et Juliette

Sir Mark Elder conductor

Sonia Ganassi mezzo-soprano

John Mark Ainsley tenor

Orlin Anastassov bass

Schola Cantorum

BBC Symphony Chorus

Tickets £6-£70

Sunday 4 March 2012

Queen Elizabeth Hall

Baroque Giants: Bach

Bach Suite No.3 in D

Bach Violin Concerto in E major

Bach Brandenburg Concerto

No.5 in D

Bach Suite No.4 in D

Laurence Cummings director

Matthew Truscott violin

Lisa Beznosiuk flute

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