19 & 21 April programme PDF - London Symphony Orchestra

Thursday 19 & Saturday 21 April 2012 7.30pm
Barbican Hall
Weber Der Freischütz
(concert performance)
Sir Colin Davis conductor
London Symphony Chorus
Concert ends approx 10.30pm
Sir Colin Davis © Kevin Leighton, Matt Stuart, Alberto Venzago
Thu 19 Apr Part of UBS Soundscapes
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Living Music

Welcome News
Welcome to tonight’s concert performance of Weber’s Der Freischütz
conducted by LSO President, Sir Colin Davis. Weber’s opera works
are particular favourites of Sir Colin, and no more so than this one
which is regarded by many as a landmark in German Romantic opera.
Tonight’s concert performance provides an opportunity to hear the
exquisite and expressive detail present in Weber’s score.
It is a pleasure to welcome the cast for these performances: Christine
Brewer, Simon O’Neill, Falk Struckmann, Stephan Loges, Martin
Snell, Sally Matthews, Gidon Saks, Marcus Farnsworth, Lucy Hall and
our narrator Malcolm Sinclair, a number of whom have previously
appeared with Sir Colin in various operas.
I would like to take the opportunity to thank LSO Principal Partner
UBS for supporting the performance on Thursday 19 April as part of
our ongoing partnership, UBS Soundscapes.
I hope you enjoy tonight’s performance and can join us again in the
next few weeks. Peter Eötvös conducts concerts on 29 April and
8 May featuring music by Debussy, Bartók and Szymanowski, with
the violinists Christian Tetzlaff and Nikolaj Znaider.
Kathryn McDowell
LSO Managing Director
London 2012
As part of the London 2012 celebrations, the LSO will perform in
three special collaborative concerts at the Barbican. The first is with
iconic South American singer-songwriter Gilberto Gil and conductor
François-Xavier Roth, performing Gil’s own songs and works from
his homeland of Brazil (4 July). On 21 July award-winning composer
and producer Nitin Sawhney will conduct the Orchestra in his newly
written score for Hitchcock’s The Lodger, restored to its former glory
by the BFI National Archive and being screened in the concert hall.
Finally on 25 and 26 July jazz trumpeter Wynton Marsalis joins Sir
Simon Rattle and the LSO with Jazz at Lincoln Center Orchestra for two
concerts which premiere Marsalis’ ‘Swing Symphony’ (Symphony No 3).
lso.co.uk/whatson
Latest release on LSO Live: Rachmaninov Symphonic Dances
Valery Gergiev’s Rachmaninov Symphonic Dances is the latest release
on LSO Live this April. Gergiev couples the Symphonic Dances with
another work by a Russian émigré to the United States – Stravinsky’s
Symphony in Three Movements. It was written between 1942–45 and
was the first piece Stravinsky completed after his arrival in the US.
The Guardian wrote of the recording, ‘Gergiev’s upfront delivery of its
[Symphonic Dances] striking ideas and dark fantastical manner was
impeccably assured’.
lso.co.uk/lsolive
Music’s better shared!
The LSO offers great benefits for groups of 10+ including 20% off
standard ticket prices, a dedicated Group Booking phone line and
priority booking, free interval hot drinks and, for bigger groups,
the chance of a private interval reception. To reserve tickets, call
the dedicated Group Booking line on 020 7382 7211. If you have
general queries, please call LSO Groups Rep Fabienne Morris on
020 7382 2522. At tonight’s concert, we are delighted to welcome:
Dartmouth College (US)
2 Welcome & News Kathryn McDowell © Camilla Panufnik

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Carl Maria von Weber (1786–1826)
Der Freischütz (1821)
Sir Colin Davis conductor
Stephan Loges
Ottokar, Duke of Bohemia / Zamiel, the dark hunter bass-baritone
Martin Snell Kuno, head gamekeeper bass
Christine Brewer Agathe, the daughter of Kuno soprano
Sally Matthews Ännchen, a young cousin of Agathe soprano
Falk Struckmann Kaspar, a gamekeeper bass-baritone
Simon O’Neill Max, a gamekeeper tenor
Gidon Saks A hermit bass
Marcus Farnsworth Kilian, a rich peasant baritone
Lucy Hall Four Bridesmaids soprano
Malcolm Sinclair Narrator
London Symphony Chorus
An opera in three acts by Carl Maria von Weber with a libretto in
German by Friedrich Kind and tonight performed with English surtitles
translated by Aidan Lang, and English narration by Amanda Holden.
Bohemia; the middle of the 17th century.
Kuno, the head Ranger, is soon to retire. Having no male heir, he has
settled the succession on Max, a young forester betrothed to Kuno’s
daughter Agathe. Max has only to pass the Trial Shot; but his skill has
suddenly deserted him. Without knowing it he has come under the
evil influence of his jealous colleague Kaspar, who has sold his soul to
Zamiel the demonic Black Huntsman. Kaspar has marked Max down
as the victim, the substitute who will earn him a further term of life.
The action begins on the eve of the day when Kaspar must meet
Zamiel, and Max, his nerve shaken, fire the Trial Shot.
4 Programme Notes
Overture
ACT ONE
A clearing in the forest, in front of an inn, towards evening;
a shooting match is just ending.
1 Introduction: ‘Victoria! der Meister soll leben’
March, Song (Kilian) with chorus
The peasants acclaim Kilian, who has beaten Max.
Narration
March, Song (Kilian) with chorus
Peasants, marching in procession and led by the village
band, celebrate the victory. Kilian taunts Max, and all join in
jeering at him.
Narration
2 ‘O diese Sonne!’
Trio (Max, Kaspar, Kuno), chorus of peasants and huntsmen
Max laments the ill-luck that dogs him; how will he bear the loss
of Agathe? Kuno and the peasants urge him to trust in God.
Huntsmen enter the clearing, impatient for the hunt.
Narration
3 Waltz – Recitative: ‘Nein, länger trag’ ich nicht die Qualen’
Aria: ‘Durch die Wälder, durch die Auen’
Max
Kilian tries to persuade Max to join their dance, but he refuses.
Alone, but watched by Zamiel, he gives way to despair.
He remembers his careless delight in the life of the woods and
in Agathe’s love, and imagines her now, watching for him at her
window, longing for news of his victory. But some dark power
controls his destiny.
Narration

4 Song: ‘Hier im ird’schen Jammerthal’
Kaspar
Kaspar, protesting friendship, sings a drinking song and,
ignoring Max’s anger, insists on his joining him in toasts to
Agathe and the Prince.
Narration
5 Aria: ‘Schweig! damit dich Niemand warnt’
Kaspar
Kaspar exults in Max’s coming destruction, and calls on the
powers of darkness to complete their work.
ACT TWO
An anti-chamber in the hunting lodge.
1 Duet: ‘Schelm, halt fest! Ich will dich’s lehren’
Agathe, Ännchen
Ännchen hammers a nail into the wall and hangs the portrait
of Kuno’s ancestor, which has just fallen, hitting Agathe.
She makes light of the incident, but Agathe, who longs for
Max’s return, sees it as an omen.
Narration
2 Arietta: ‘Kommt ein schlanker Bursch gegangen’
Ännchen
Ännchen tries to distract her and instil some of her own gaiety.
Narration
3 Scene and Aria: ‘Wie nahte mir der Schlummer,
bevor ich ihn geseh’n’
Agathe
By the open window, Agathe waits for Max. She kneels in the
moonlight and prays for him. Suddenly she sees him coming
through the trees, a feather in his hat: he has won! Her fears
are drowned in overwhelming joy.
Narration
4 Trio: ‘Wie? Was? Entsetzen! Dort in der Schreckensschlucht’
Agathe, Ännchen, Max
Agathe, learning that Max is going to the Wolf’s Glen to retrieve
the giant eagle he shot, entreats him not to go: it is an evil place.
Max dissembles his agitation: danger is normal in a huntsman’s
life. Ännchen at first laughs at Agathe’s fears, then joins her in
warning Max.
Narration
5 Finale: ‘Milch des Mondes fiel aufs Kraut’
Kaspar, Zamiel, Max, chorus of spirits and wild hunstmen
The Wolf’s Glen. Invisible voices prophesy the death of a bride.
Midnight strikes. Kaspar invokes Zamiel and bargains with him:
he has found another victim. Max appears on a high crag and,
as he descends, sees the ghost of his mother, warning him,
and the figure of Agathe seeming to throw herself down a
foaming cataract. Kaspar casts the bullets, calling them out
one by one, his cry echoing from the rocks. One: birds hop out
of the darkness. Two: a black boar charges across the glen.
Three: a storm, tearing trees up by the roots. Four: cracking of
whips, baying of dogs, galloping hooves, flaming wheels.
Five: the Wild Hunt. Six: two storms meet in the upper air.
Seven: the Black Huntsman. He holds Max in his grasp.
Max crosses himself. Zamiel vanishes. A distant clock strikes one.
INTERVAL: 20 minutes
Programme Notes
5

ACT THREE
Entr’acte
Narration
1 Cavatina: ‘Und ob die Wolke sie verhülle’
Agathe
In her room, though oppressed by sadness, Agathe kneels and
prays: God will call her to be a bride, in heaven if not on earth.
Narration
2 Romance and Aria: ‘Einst träumte meiner sel’gen Base’
Ännchen
Ännchen makes fun of Agathe’s fears and mocks the imagined
horrors with a tale about a dog mistaken for a ghost.
3 Folksong: ‘Wir winden dir den Jungfernkranz’
Chorus (Bridesmaids)
The bridesmaids adorn Agathe for her wedding.
Narration
4 ‘Hier oben in den Asten’
Chorus (Huntsmen)
In an open space, with tents – in one of which Prince Ottokar
and his courtiers are feasting – his men regale themselves and
praise the life of the huntsman.
Narration
5 Finale: ‘Schaut, o schaut’
All are horror-struck. But Agathe is not dead; she wakes from
a deep faint. The Hermit has turned aside the bullet. Thwarted,
Zamiel directed it to Kaspar. Zamiel, unseen, rises up and claims
his soul. Kaspar dies, cursing his master. Max confesses his guilt
and is condemned to exile. But the Hermit intercedes and
persuades the Prince to show mercy. The Trial Shot is abolished.
Max is given a year’s probation, at the end of which he can
marry Agathe and become Ranger. He dedicates himself to
expiation of his guilt. Agathe and the people give thanks to God.
6 Programme Notes
24 June to 15 July 2012
City of London Festival is delighted to
celebrate its 50th birthday with the LSO
Box Office 0845 120 7502 | colf.org
Festival sponsor
Mon 25 & Tue 26 Jun 8pm, St Paul’s Cathedral
LSO at St Paul’s with Sir Colin Davis
Berlioz Requiem (Grande Messe des morts)
Sir Colin Davis conductor | Barry Banks tenor
London Symphony Orchestra
London Symphony Chorus
Tickets £5 £10 £15 £21 £32 £45 £50
25 Jun sponsored by BNY Mellon
26 Jun sponsored by Mizuho International plc
Wed 27 Jun 7.30pm, Goldsmiths’ Hall
LSO Brass Quintet
A programme of golden music including
Francisco Coll, J S Bach, Ewald, Jim Parker, Gershwin & Fats Waller
LSO Brass Quintet
Timothy Jones horn | Philip Cobb trumpet | Niall Keatley trumpet
Dudley Bright trombone | Patrick Harrild tuba
Tickets £10 £20 (inc glass of wine)
Francisco Coll’s world premiere of A Golden Fanfare is
commissioned by the Worshipful Company of Goldsmiths

Carl Maria von Weber
Der Freischütz: About the Music
Weber’s evergreen masterpiece has had a chequered career. First
performed in Berlin in 1821, it created a sensation rarely equalled in
the annals of opera and quickly became the supreme expression of
German Romanticism, the symbol par excellence of the contemporary
quest for national identity (as well as a popular work outside Germanspeaking
lands). In that respect its advent was perfectly timed; it came
most carefully upon its hour.
Its subsequent history has been less fortunate. By the middle of the
19th century a sacred monument in its native country – part of the
Wagnerian blood-and-soil conception of the German spirit – it had
begun to lose its appeal elsewhere and to appear dated and even
absurd. Its co-option in the 20th century as an instrument of Nazi
ideology led in turn to a reaction and, in the years following the
World War II, it was reinvented in Marxist terms or interpreted as a
parable of existential despair or, alternatively, sent up as a naïve
fairytale ripe for ridicule. To quote the American scholar and
Freischütz-celebrator Donald Henderson, the work is regularly
subjected to productions which ‘pit the illusions of its librettist and
composer against the realities demanded by life today’. There is
seemingly no end to the indignities visited on it.
In a concert performance we can happily forget such fatuities and
give ourselves freely to the delights of this perennial score. In any
case, what is reality? Great artists re-make it. They create their own
reality – and Weber does so in Der Freischütz. His music-drama is so
vivid that the vision of the German forest world in the time following
the horrors of the Thirty Years War – its customs and enjoyments, its
daily habits, its superstitions, its hopes and fears, its terrors, its belief
in the supernatural and in the power of evil and the possibility of good –
becomes totally real.
Der Freischütz is an opera of unforgettable ‘sounds and sweet airs’:
Max’s lyrical evocation of the woods and meadows in the days of
his happiness; the intense impression of moonlight on Agathe’s
balcony and the light wind moving among the pines; the peasants’
mocking laughter, their homely waltz fading into the dusk; the lovely
lilt of Agathe’s and Ännchen’s A major duet; Ännchen’s merriment;
Kaspar’s vicious piccolos; the baleful colour of clarinets in their lowest
register, contrasted with the genial glow of the huntsmen’s horns,
representatives of the struggle at the heart of the opera; and then
the Wolf’s Glen and the evocative power of Weber’s orchestra, the
sinister, hopping birds, the rushing cataract, the fury of the storm.
Never before had music pictured nature and the natural world and
human beings’ immersion in it with such freshness and mastery.
Two centuries later, it rings as bright and true as ever.
Programme Note and Synopsis © David Cairns
Programme Notes
7

Carl Maria von Weber (1786–1826)
Composer Profile
Born in Holstein (North Germany) on 18 November 1786, Carl Maria
von Weber was the eldest of three children to Franz Anton and
Genovefa; both his parents were musical. Despite beginning a career
as a military officer, his father was discharged from the militia and
took up a number of musical directorships thereafter, including founding
a theatre company in Hamburg. His mother was a Viennese singer.
Weber had four musically gifted cousins on his father’s side, one of
whom was Constanze Weber, who married Wolfgang Amadeus Mozart
in August 1782, a catalyst in Franz’s ambitions of making the young
Weber into a child prodigy like his cousin-in-law.
A gifted violinist, Weber’s father taught the boy music and gave
him a comprehensive education. In 1798 Weber went to
Salzburg to study with Michael Haydn, younger brother of
Joseph. That same year saw Weber’s first published work –
six fughettas for piano. At the age of 14 his family moved to
Freiburg where he wrote his first opera, The Silent Forest
Maiden; it later went on to be produced in Freiburg, and
then performed in Vienna, Prague and St Petersburg. The
latter half of the first decade of the century was marred
with troubles for Weber – debt, an ill-fated affair, his father
misappropriated a vast amount of money – however, he
remained a prolific composer.
Things brightened up from 1810; he visited several cities
and spent time as Director of Opera in Prague, Director of
Opera in Dresden and also worked in Berlin promoting
and establishing German opera. The successful premiere
of Der Freischütz in Berlin in 1821 led to performances
all over Europe. His next opera, Euryanthe, was another
success and in the year of its premiere (1823) he was
invited to the Royal Opera, Covent Garden, to compose
and produce Oberon, which premiered in 1826.
Whilst in London, Weber was already suffering from
tuberculosis, which then took hold entirely. He died at the house
of Sir George Smart during the night of 4/5 June 1826. Buried in
London, his remains were transferred 18 years later to the family
vault in Dresden.
8 Programme Notes

Performer’s Perspective
from the London Symphony Chorus
With Der Freischütz being such a mysterious opera,
we thought we would get an insight into the supernatural
story and what it’s like to sing.
Fabienne Morris talked to a member of the London Symphony
Chorus, who will be providing the vocal backbone to the work.
Soprano Jane Morley tells all …
What can an audience expect musically from Der Freischütz?
Folk music, hunting horns and ‘the most expressive rendering of the
gruesome that is to be found in a musical score’!
What’s your favourite part?
Being a ghost, definitely. As a chorus member you get to be jolly and/
or aghast bystanders pretty regularly. Playing dead is rare (and a treat).
Der Freischütz is an intense opera – pacts with the devil
and the like. Do you ‘get into character’ when performing?
Well that’s certainly the idea. If you believe what you’re singing
then that should come across in the performance. Having said that,
of course, Der Freischütz is one of those operas that requires a
substantial suspension of disbelief.
Is it challenging?
Every piece is challenging in its way. There are quite a lot of mood
shifts in Der Freischütz, as with most operas, but the main challenge
is putting across a lot of German text at high speed, but retaining
the clarity.
What’s it like to perform an opera minus the theatrical element?
From the pure perspective of performance, it makes things easier in a
way – you can just concentrate on the music, without worrying about
movement or potential distractions like demonic marksmen, ghosts
and assorted birdlife. Of course, that means that you have to work
twice as hard to put the emotions across to the audience.
How does it feel to work under a conductor like Sir Colin?
It’s always a joy and a privilege to work with Sir Colin. Leaving aside
his wisdom and authority, his facial expressions as he encourages us
all on are just a treat.
Do you enjoy working with the LSO on projects like these?
Absolutely. The LSO is such a virtuosic group that I’m sure we’ll hear
every detail of the score.
And finally, if you had to describe the Der Freischütz score
in three words, what would they be?
Bang on target!
LSC Interview
9

Sir Colin Davis
Conductor
‘Whenever Colin Davis
conducts … the effect is
serene. There’s a palpable
sense of direction.’
Martin Kettle on Sir Colin Davis & the LSO
The Guardian, December 2011
President of the London Symphony
Orchestra since 2006, and before that
Principal Conductor from 1995, Sir Colin
Davis performs regularly with the LSO at
the Barbican and on tour, and features on
many LSO Live recordings. He is Honorary
Conductor of the Dresden Staatskapelle and
appears regularly at the Royal Opera House,
Covent Garden. 2010 saw Sir Colin made
Conductor Emeritus of the English Chamber
Orchestra.
A highlight of Sir Colin’s 2011/12 season
was the completion last December of his
widely acclaimed Nielsen Symphonies Cycle
and Beethoven Piano Concerto series with
Mitsuko Uchida and the LSO. For the 2010/11
season, Sir Colin began in Dresden where
he conducted the Dresden Staatskapelle,
before spending the autumn in London
working with the LSO. He visited the New
York Philharmonic to perform Mahler’s Des
Knaben Wunderhorn with Ian Bostridge and
Dorothea Röschmann, before returning to the
Royal Opera House for Mozart’s The Magic
Flute. He also spent July with the LSO in
Aix-en-Provence where they performed
Mozart’s La clemenza di Tito. Sir Colin
conducted two BBC Proms concerts last
summer: one with the Gustav Mahler Youth
Orchestra and the other with the LSO,
performing Beethoven’s Missa Solemnis.
Sir Colin Davis has recorded widely with
Philips, BMG and Erato. His LSO Live disc of
Walton’s Symphony No 1 and Belshazzar’s
Feast with the LSO was released in February,
following Nielsen’s Symphonies Nos 4 and 5
and Verdi’s Otello (nominated for a 2011
Gramophone award in the Opera category).
Beethoven’s Mass in C, Haydn’s The Creation
and a boxed set of Sibelius’ Symphonies Nos
1–7 and Kullervo were released last season.
During his career Sir Colin conducted the
BBC Scottish Symphony Orchestra, moving
to Sadler’s Wells Opera House in 1959. He
spent 1967–71 as Chief Conductor of the BBC
Symphony Orchestra, became Music Director
of the Royal Opera House Covent Garden in
1971 and Principal Guest Conductor of the
Boston Symphony Orchestra in 1972. He spent
1983–92 with the Bavarian Radio Symphony
Orchestra, was Principal Guest Conductor of
the New York Philharmonic from 1998–2003
and has been Honorary Conductor of the
Dresden Staatskapelle since 1990.
Sir Colin has been awarded international
honours by Italy, France, Germany and
Finland. He was named a Member of the
Order of the Companions of Honour in the
Queen’s Birthday Honours in 2001. Sir Colin’s
recording of Sibelius’ Kullervo Symphony
received a BBC Music Magazine Award in
2007. He received The Queen’s Medal for
Music in December 2009 and an Honorary
Doctorate for Music from Cambridge
University in 2011.
10 The Artists Sir Colin Davis © Gautier Deblonde

Stephan Loges
Ottokar / Zamiel (bass-baritone)
Born in Dresden, Stephan was the
winner of the 1999 Wigmore Hall
International Song Competition.
He has given recitals throughout
the world, including Wigmore Hall
(London), Carnegie Hall (New York),
Concertgebouw (Amsterdam),
Klavierfestival Ruhr La Monnaie,
(Brussels), Schleswig-Holstein
Festival, Santiago de Compostela
and the Vocal Arts Series in Washington with pianists Roger Vignoles,
Simon Lepper, Alexander Schmalcz and Eugene Asti.
He has sung with the Melbourne Symphony, London Symphony,
Swedish Radio Symphony, Leipzig Gewandhaus, Russian National,
Zurich Tonhalle, Iceland Symphony, Salzburg Mozarteum and Scottish
Chamber orchestras, Semperoper Dresden and Orchestra del Maggio
Muiscale in Florence, and with many period instrument groups
including the Gabrieli Consort and the Academy of Ancient Music.
Current and future plans include Mauregato in Schubert’s Alfonso
und Estrella with the Mozarteum Orchester (Salzburg) and Ivor Bolton
at the Vienna Konzerthaus; Bach Mass in B Minor in Leipzig with
The English Concert; St Matthew Passion with the Handel and Haydn
Society of Boston; Haydn’s The Seven Last Words of Christ on the
Cross with the Bergen Philharmonic Orchestra; Bruckner Requiem
with The Northern Sinfonia and Thomas Zehetmair; Mozart Coronation
Mass and Haydn Stabat Mater with the Ensemble Orchestral de Paris
and Fabio Biondi; Argenio in Handel’s Imeneo on a European tour and
Messiah in London, both with the Academy of Ancient Music, and a
recital at Wigmore Hall.
Stephan has appeared with Théâtre Royal de la Monnaie in Brussels,
Berlin Staatsoper, Royal Opera Covent Garden, Opera North, Opéra
National du Rhin in Strasbourg, and at the Edinburgh Festival.
Stephan was a member of the Dresden Kreuzchor before studying at
the Hochschule der Künste Berlin and the Guildhall School in London.
Stephan Loges © Ana Alvarez Prada
Martin Snell
Kuno (bass)
The Swiss/New Zealand bass
Martin Snell studied singing with
Patrick McGuigan at the Royal
Northern College of Music in
Manchester, and gained his first
professional stage experiences at
the International Opera Studio in
Zurich. He has been a resident
artist with Theater St Gallen,
Theater Basel and Luzerner Theater.
Since August 2005 he has worked as a freelance performer based in
Lucerne, Switzerland.
As both a concert and opera singer Martin has performed widely
throughout Europe as well as Asia and his native New Zealand
with conductors such as Bertrand de Billy, Herbert Blomstedt,
Sir Colin Davis, Peter Eötvös, Howard Griffiths, Philippe Herreweghe,
René Jacobs, Philippe Jordan, David Parry, Peter Schneider, Thomas
Hengelbrock, Morten Schuldt Jensen, Wolfgang Katchner, Jirˇí Kout,
Jeffery Tate, Alexander Polianichko, Lan Shui and Sebastian Weigle,
among many others. He has performed at the Bayreuth Festival,
where he was most recently heard as Hermann Ortel in Die
Meistersinger von Nürnberg, Reinmar von Zweter in Tannhäuser,
and Ein Steuermann in Tristan and Isolde.
Additionally, his most recent performance successes include Hunding
in Die Walküre with the RSO Berlin and Marek Janowski on tour in
Spain, Mahler’s Symphony No 8 with the Sydney Symphony Orchestra
and Vladimir Ashkenazy in Australia and New Zealand, Kuno in Stefan
Ruzowitzky’s production of Weber’s Der Freischütz under Bertrand
de Billy at the Theater an der Wien, Ariodate in Handel’s Xerxes in
New Zealand, and recently Ein Notar and cover for Baron Ochs in
Der Rosenkavalier conducted by Philippe Jordan at La Scala, Milan,
Handel’s Messiah in the Sydney Opera House and Stravinsky’s
Oedipus Rex (Téresias) in New Zealand.
Future plans include a return to Bayreuth in 2012, opera productions
in Strasbourg and Vienna, and concert appearances in Denmark,
Germany, Spain, Switzerland and New Zealand.
The Artists
11

Christine Brewer
Agathe (soprano)
Christine Brewer was born in Illinois
and began her professional career
with Opera Theatre of Saint Louis
where she has performed Ellen
Orford, Donna Anna and the title
roles in Ariadne auf Naxos, Haydn’s
Armida and Britten’s Gloriana.
She has sung Countess (New York
City Opera and Covent Garden);
Donna Anna (Edinburgh Festival
and in London, New York and Florida); Iphigenie en Tauride in Madrid;
Leonore in Fidelio in Lisbon and San Francisco; Weber’s Oberon in
London and Die Aegyptische Helena, Peter Grimes and Alceste in
Santa Fe. She sang Isolde with the BBC Symphony Orchestra and
Donald Runnicles, the Los Angeles Philharmonic and Esa-Pekka
Salonen and at the Edinburgh Festival with Jonathan Nott; Gloriana
with Richard Hickox at the Aldeburgh Festival; and Chrysothemis
(Elektra) with the Cleveland Orchestra and Franz Welser-Möst. She has
sung the Färberin (Die Frau ohne Schatten) in Chicago and at the Paris
Opera, and Ariadne for English National Opera, Opera de Lyon (Lyon
and Paris), Santa Fe and at the Metropolitan Opera.
Brewer appears with the major American and European orchestras
under Norrington, Tilson Thomas, Masur, Dohnanyi, Litton, Nelson,
Marriner, Sawallisch, Robertson, Mehta, Pappano and Rattle. Her many
recordings include Don Giovanni under Charles Mackerras, Barber’s
Vanessa under Leonard Slatkin, Fidelio with Sir Colin Davis, Britten’s
War Requiem with Kurt Masur, Verdi’s Requiem under Sir Colin Davis,
Mahler’s Eighth Symphony under Simon Rattle, Strauss’ Four Last
Songs with Donald Runnicles, and Schubert and Strauss recitals.
Brewer’s European concert appearances include the Concertgebouw
and Bayerische Rundfunk Orchestras with Mariss Jansons, the BBC
Symphony Orchestra with Jirˇí Bělohlávek, the London Philharmonic
Orchestra with Vladimir Jurowski, the LSO with Sir Colin Davis and
the Accademia Santa Cecilia with Antonio Pappano. Brewer is the
recipient of the BBC Radio 3 Listener’s Award of the 2008 Royal
Philharmonic Society Awards.
Sally Matthews
Ännchen (soprano)
Sally Matthews was the winner of
the 1999 Kathleen Ferrier Award.
She studied at the Guildhall School,
was a member of the Royal Opera
Young Artist programme and was
part of the BBC New Generation
Artists scheme. She currently
studies with Paul Farringdon.
Current and future highlights
include Countess in The Marriage of
Figaro for the Glyndebourne Festival and Royal Opera, Covent Garden;
the title role in Handel Deidamia for Netherlands Opera; Blanche at
the Bayerische Staatsoper, Munich as well as Mahler Symphony No 2
and Beethoven Symphony No 9 with the Berlin Philharmonic and
Sir Simon Rattle; Poulenc Gloria with the Orchestra dell’Academia
Nazionale di Santa Cecilia, Rome and Antonio Pappano, and Mendelssohn
Lobesgesang with the Mahler Chamber Orchestra. She will also give
recitals in London, Amsterdam and Stuttgart, with Simon Lepper.
Sally has sung with all the UK orchestras and throughout Europe in
concerts with conductors including Sir Simon Rattle, Bernard Haitink,
Robin Ticciati, Lorin Maazel, Kent Nagano, Daniel Harding, Seiji Ozawa,
Antonio Pappano, Michael Tilson Thomas and Sir Colin Davis.
Appearances at Covent Garden have included Fiordiligi in Così fan
tutte; Sifare in Mitridate and Anne Truelove in The Rake’s Progress;
at Bayerische Staatsoper, Cavalli’s La Calisto, the title role in Unsuk
Chin’s Alice in Wonderland, Blanche in Les Dialogues des Carmélites
and Governess in The Turn of the Screw. She recently made her
Vienna Staatsoper debut singing Donna Anna in Don Giovanni.
Recent concert highlights have included Brahms Requiem with
Bernard Haitink and the Chamber Orchestra of Europe, Strauss Four
Last Songs with Robin Ticciati and the Bamberg Symphony Orchestra
and Schumann Paradies und die Peri with the Berlin Philharmonic and
Bayerische Rundfunk orchestras, both with Sir Simon Rattle.
12 The Artists Christine Brewer © Christian Steiner, Sally Matthews © Johan Persson

Falk Struckmann
Kaspar (bass-baritone)
Falk Struckmann was born in
Heilbronn, Germany. He has
recently taken part in productions
of The Flying Dutchman, Lohengrin,
Meistersinger von Nürnberg, The
Ring, Parsifal, Fidelio and Elektra,
Salome and Wozzeck.
In the 1990s Struckmann made
his debut at La Scala, Milan, as
Siegfried under Riccardo Muti and
at the New York Met as Wozzeck under James Levine. He has sung in
numerous premieres especially at the Vienna State Opera including
The Flying Dutchman, Lohengrin, Die Frau ohne Schatten and Otello.
Falk Struckmann holds the honorary title of Kammersänger at both
the Berlin and the Vienna State Opera. After his debut at the Bayreuth
Festival in 1993, as Kurwenal (Tristan und Isolde) in a production
of Heiner Müller, he also sang The Ring under James Levine and
under Christian Thielemann in 2006, as well as Parsifal. Struckmann
appeared in Tristan und Isolde and Duke Bluebeard’s Castle at the
Salzburg Festival. He made his London debut in Parsifal at the Royal
Opera Covent Garden, in The Flying Dutchman at the Paris Opera and
also sang in Tristan und Isolde and The Ring under Bertrand de Billy at
the Liceu in Barcelona.
In recent years, Falk Struckmann is increasingly active at the Hamburg
State Opera and Vienna State Opera. Most recently he sang at La Scala
as Barak in Die Frau ohne Schatten. This season Struckmann will make
his role debut as Gurnemanz in a new production of Parsifal at the
Nederlandse Opera in Amsterdam under the baton of Ivan Fischer.
Falk Struckmann works with leading conductors and stage directors
including Daniel Barenboim, James Levine, Christian Thielemann,
Bertrand de Billy, Simone Young, Kirill Petrenko, Claudio Abbado,
Riccardo Muti and Ivan Fischer.
Simon O’Neill
Max (tenor)
A native of New Zealand, Simon
O’Neill has rapidly established
himself as one of the leading heldentenors
on the international stage.
Notable debuts have included:
Siegmund in Die Walküre at La Scala
and the Berlin Staatsoper with
Daniel Barenboim; the Bayreuth
Festival in the title roles of
Lohengrin with Andris Nelsons
and Parsifal with Daniele Gatti; the Metropolitan Opera in Idomeneo
with James Levine; the Royal Opera House in The Bartered Bride
with Charles Mackerras; the Salzburg Festival in The Magic Flute with
Riccardo Muti, and the Vienna Staatsoper as Parsifal with Christian
Thielemann.
At extremely short notice Simon made his debut in the title role of
Verdi’s Otello in concert at the Barbican with the London Symphony
Orchestra conducted by Sir Colin Davis (2009). His performance
was widely acclaimed by critics, who described his portrayal of
the infamous protagonist as ‘thrilling’, ‘a tremendous debut in the
title-role, giving notice that he is the best heroic tenor to emerge
over the last decade’. He has also performed the Glagolitic Mass and
Beethoven’s Ninth Symphony with the LSO.
Recent London appearances have included Stolzing in Die Meistersinger
von Nürnberg, and the title role of Lohengrin and Florestan in Fidelio
at the Royal Opera House. His performances as Siegmund in Die
Walküre at the Royal Opera House, with Antonio Pappano, La Scala
with Daniel Barenboim and at the Metropolitan Opera with Donald
Runnicles, were performed to critical acclaim.
This season and beyond Simon performs Die Walküre at the Royal
Opera House, The Metropolitan Opera, La Scala, Teatro Massimo
Palermo, Houston Grand Opera and at the Vienna, Berlin, and Munich
Staatsoper; Parsifal at the Vienna Staatsoper, Teatro Real Madrid and
Covent Garden; Tosca in Tokyo, Nixon in China in San Francisco, Otello
and Götterdämmerung in Houston and Otello in Sydney, and makes
further significant returns to the Metropolitan Opera.
The Artists
13

Gidon Saks
A hermit (bass)
Gidon Saks was born in Israel and
brought up in South Africa. He trained
at the Royal Northern College of
Music and at the University of
Toronto. He was a member of the
Ensemble of the Canadian Opera
and later received a full scholarship
to the Zurich Opera Studio.
Recent opera highlights include
Nick Shadow in The Rake’s Progress
for Staatsoper Berlin, Kaspar in Der Freischütz for Opéra Comique and
the BBC Proms under Sir John Eliot Gardiner, Fasolt in Das Rheingold
for La Fenice under Jeffrey Tate, a Duke Bluebeard’s Castle revival
and Hagen in Götterdämmerung in La Coruna. His critically acclaimed
performance as Claggart (Billy Budd) with the LSO under Daniel
Harding won a Grammy Award 2010 for Best Opera Recording.
In the UK Saks sang Villains in Les contes d’Hoffmann at the Royal
Opera House under Antonio Pappano, the title role in Boris Godunov,
Nick Shadow in The Rake’s Progress and Hagen for ENO, Leporello,
Achillas, Sarastro for Scottish Opera; Don Pizarro, Count Figaro, Daland
and Kochubei in Mazeppa for Welsh National Opera.
Saks has created several roles including George Moscone in Stewart
Wallace’s Harvey Milk directed by Christopher Alden (Houston Grand
Opera, New York City Opera and San Francisco Opera) which was also
recorded for Teldec under Donald Runnicles; Hamilcar in Fénélon’s
Salammbô (Bastille), and the Messenger in Alexander Goehr’s Arianna
(Royal Opera House). His recordings include Abbot in Britten’s Curlew
River with Sir Neville Marriner, the Gravedigger in Weill’s Silbersee,
title role in Handel’s Hercules under Minkowski and Saul with René
Jacobs, which won a Gramophone Award. Gidon Saks is also active
as a director/designer and is visiting Professor of Voice at the
Conservatoire of Ghent in Belgium.
Future plans include Nick Shadow in Berlin and Opéra National de
Paris, Enrico in Anna Bolena for Oper Köln, Beethoven Symphony No 9
for the Royal Liverpool Philharmonic, and recitals with Roger Vignoles.
Marcus Farnsworth
Kilian (baritone)
Marcus Farnsworth was awarded
first prize in the 2009 Wigmore Hall
International Song Competition and
the Song Prize at the 2011 Kathleen
Ferrier Competition. Recent and
future opera plans include Eddy
in Mark-Anthony Turnage’s Greek
for Music Theatre Wales; Novice’s
Friend in a new production of
Britten’s Billy Budd for English
National Opera and the title role in Britten’s Owen Wingrave as part of
the International Chamber Music Festival in Nuremberg.
In concert, he appears regularly singing Bach Cantatas and Passions
(Christus and Arias) with the Academy of Ancient Music and the
Gabrieli Consort. Other recent highlights include Nielsen Symphony
No 3 with the LSO and Sir Colin Davis, Aeneas in Purcell’s Dido and
Aeneas for the Early Opera Company and Christian Curnyn and Peter
Maxwell Davies’ Eight Songs for a Mad King with the Wermlands
Opera Orchestra, Karlstad, Sweden.
Future plans include a return to the Newbury Spring Festival to
sing Vaughan Williams’ Dona Nobis Pacem, Haydn’s Paukenmesse
with the BBC Scottish Symphony Orchestra and Bernard Labadie,
appearances with the BBC Symphony Orchestra in the 2012/13
and 2013/14 seasons and at the Wigmore Hall Britten Festival with
Malcolm Martineau and Julius Drake, as well as recitals throughout
the UK with pianists James Baillieu, Simon Lepper, Iain Burnside and
Joseph Middleton. Marcus will also take part in a European tour and
recording of Thomas Larcher’s Die Nacht der Verlorenen for baritone
and ensemble.
Marcus was a chorister at Southwell Minster and went on to study
at Chetham’s School of Music before going on to read music at the
University of Manchester and completing his studies at the Royal
Academy of Music.
14 The Artists Gidon Saks © Johan Persson, Marcus Farnsworth © Benjamin Ealovega

Lucy Hall
Four Bridesmaids (soprano)
Lucy Hall is a 25 year-old soprano
from Nottinghamshire. She is
currently a scholar on the Opera
Course at the Guildhall School,
under the tutelage of Susan
McCulloch. In 2010, Lucy was
awarded a first class honours
degree from the Guildhall and
won the Dove Memorial Prize
for being the highest marked
graduate of 2010 across any discipline; she also won the Ann Wyburd
Prize for best lieder. Last month she was awarded a finalist prize in
the 2012 Handel Singing Competition.
Lucy enjoys a varied career and performs in oratorio, opera and
song recitals across the UK. She has performed in venues including
the Royal Albert Hall (Songs of Praise Big Party) Barbican Centre and
The Bridgewater Hall, and has worked with orchestras such as the
Hallé, Royal Philharmonic and BBC Concert, as well as with members
of the London Symphony Orchestra for the world premiere of Edward
Rushton’s oratorio Cicadas.
Lucy is the recipient of a number of awards. Last year she was
awarded the Southwell Choral Society Bursary, Peggy Oldham Award,
and an Ian Fleming Charitable Trust Award. In 2011, she won the
Best Song Prize in the National Mozart Singing Competition, a
Countess of Munster award, a Sybil Tutton award and the highest
prize at the Simon Fletcher Charitable Trust awards.
Recent performance highlights include the role of Barbarina in
The Marriage of Figaro for British Youth Opera and Handel Messiah at
Arundel Cathedral and Nottingham’s Royal Concert Hall. Future plans
include covering the role of Sandrina in Mozart La finta giardiniera for
the Festival d’Aix 2012, and performing the role in Luxembourg and
Toulon in 2013. She will record and tour Mozart Requiem with Festival
d’Ambronnay in September and next year embarks on a tour of Israel
singing the part of Michal in Saul.
Malcolm Sinclair
Narrator
Malcolm trained at Hull University
and the Bristol Old Vic School.
His career began in the major
UK regional theatres, his parts
including Hamlet, Benedick, Peer
Gynt and others. At the Royal
Shakespeare Company he has
played Horatio and Buckingham;
at the National Theatre he
originated roles in David Hare’s
Racing Demon and The Power of Yes, starred in Alan Bennett’s Habit
of Art as Benjamin Britten, and won the Clarence Derwent Award
for his performance in House/Garden written and directed by Alan
Ayckbourn. At the Donmar Warehouse he was nominated for an
Olivier for Privates on Parade. In the West End he has appeared in My
Fair Lady, By Jeeves, Journey’s End, What the Butler Saw, Cressida,
Hay Fever and Ivanov. He is returning to the National in the summer in
Shaw’s The Doctors’ Dilemma.
On television his appearances include Midsomer Murders, Foyle’s
War, Poirot, Judge John Deed and many more. He played Freddie
Fisher in five series of Pie in the Sky. In the autumn he will be seen
in Parade’s End, Henry V and the new series of Silk. His films include
Casino Royale and V for Vendetta.
For the Boston Symphony he performed Shakespeare to Mendelssohn’s
A Midsummer Night’s Dream music under Seiji Ozawa, and
Schoenberg’s A Survivor in Warsaw under Mariss Jansons, which he
repeated with the LPO at the Royal Festival Hall. He has performed
Stravinsky’s A Soldier’s Tale for the BBC under Thomas Adès at St
John’s, Smith Square, and with the Nash Ensemble under Lionel
Friend for the Istanbul Festival. In Liverpool he was the Orator in
Bliss’s Morning Heroes under Vernon Handley. He has performed a
programme of the work of Ivor Gurney with Jan Carey and Ian and
Jennifer Partridge. Most recently he has read the letters of Janáček
in a programme with Sheffield’s Ensemble 360, which includes the
composer’s Intimate Letters Quartet.
Malcolm is President of British Equity, the trade union for performers.
The Artists
15

Oliver Gooch
Assistant Conductor
16 The Artists
Oliver Gooch studied at Cambridge
University, the Guildhall School
and at the National Opera Studio.
As Artistic Director of Opera East
Productions, Oliver has toured
projects including Britten’s chamber
operas, Mozart’s da Ponte operas
and the critically acclaimed Rake’s
Progress.
Oliver conducts regularly in
concert and has frequently collaborated with the Royal Opera
(assistant conductor on Il Trovatore and La Traviata), Glyndebourne
Festival (assistant to Charles Mackerras on The Magic Flute),
Glyndebourne on Tour (assistant conductor on The Marriage of Figaro
and Albert Herring), Opera North (assistant conductor on I Capuleti
and The Adventures of Mr Broucek), Buxton Festival (Riders to the
Sea, Savitri and The Wandering Scholar), Iford Festival (Rusalka,
Rigoletto, Lucia di Lammermoor, Eugene Onegin and Hansel and
Gretel) and for Stanley Hall Opera. He made his US debut with Dicapo
Opera conducting Susa’s Dangerous Liaisons and returned for the US
premiere of Janáček’s Šárka.
Recent and future engagements include Carmen and Madama
Butterfly (Raymond Gubbay), Heart of Darkness (ROH2/Linbury)
and The Magic Flute on tour in Italy. He makes his debut with
the Hallé in 2013.
Amanda Holden
Narration author / translator
Amanda Holden first wrote for the
opera house when she co-translated
the libretto of Mozart’s Don Giovanni
for Jonathan Miller’s production at
ENO in 1985. Since then she has
translated around 50 more opera
texts as well as concert works,
lieder, music theatre and plays.
Several of her translations have
been commissioned by ENO, most
recently Rameau’s Castor and Pollux (2011) for which she received a
nomination in the 2012 Olivier Awards and Caligula by Detlev Glanert,
which will open at the Coliseum in May. Amanda’s librettos include
Bliss, Brett Dean’s first opera (Opera Australia) and The Silver Tassie
for Mark-Anthony Turnage (ENO), for which she received the Olivier
Award for Outstanding Achievement in Opera in 2001.
Amanda read music at Oxford University, then went on a scholarship
to the Guildhall School, where she later taught piano while working
as an accompanist. She also worked in music therapy and began
the department at the Charing Cross Hospital. In the mid-1980s she
founded the Viking/Penguin Opera Guides; her most recent edition
is The Concise Penguin Guide to Opera and a complete web edition
is now in preparation.

London Symphony Chorus
President
Sir Colin Davis CH
President Emeritus
André Previn KBE
Vice Presidents
Claudio Abbado
Michael Tilson Thomas
Patron
Simon Russell Beale
Guest Chorus
Director
James Morgan
Chairman
James Warbis
Accompanist
Roger Sayer
The London Symphony Chorus was formed in 1966 and, while
maintaining special links with the London Symphony Orchestra,
has also partnered the principal UK orchestras and internationally
has worked with the Berlin and Vienna Philharmonic orchestras,
Boston Symphony Orchestra and the European Union Youth
Orchestra, among others.
Along with regular appearances at the major London venues,
the LSC tours extensively throughout Europe and has visited North
America, Israel, Australia and the Far East. This season’s highlights
include visits to Bonn, Paris and New York with the LSO under
Sir Colin Davis and Gianandrea Noseda, and concerts with the
BBC Philharmonic, BBC Scottish Symphony Orchestra and the
London Symphony Orchestra.
The Chorus has recorded widely, with recent releases including
Haydn’s The Seasons, Walton’s Belshazzar’s Feast and Verdi’s
Otello, and the world premiere issue of MacMillan’s St John Passion.
The Chorus also partners the LSO on Gergiev’s recordings of
Mahler’s Symphonies Nos 2, 3 and 8, while the men of the Chorus
took part in the recent Gramophone award-winning recording of
Götterdämmerung with the Hallé under Sir Mark Elder.
In 2007, the London Symphony Chorus established its Choral Conducting
Scholarships, which enable aspiring young conductors to gain valuable
experience with a large symphonic chorus. The Chorus has also
commissioned new works from composers such as Sir John Tavener,
Sir Peter Maxwell Davies, Michael Berkeley and Jonathan Dove, and
took part in the world premiere of James MacMillan’s St John Passion
with the LSO and Sir Colin Davis in 2008, and in the second London
performance in February 2010.
The London Symphony Chorus is always interested in recruiting new
members, welcoming applications from singers of all backgrounds,
subject to an audition. Open Rehearsals are also being held for those
who might be interested in auditioning.
For further information, call Helen Lawford, Auditions Secretary,
on 020 8504 0295 or visit lsc.org.uk.
Sopranos
Kerry Baker, Carol Capper, Julia Chan, Ann Cole, Victoria Collis,
Shelagh Connolly, Lucy Craig, Emma Craven, Sara Daintree,
Anna Daventry, Lucy Feldman, Lorna Flowers, Eileen Fox,
Joanna Gueritz, Maureen Hall, Sarah Hall, Carolin Harvey,
Kuan Hon, Bethany Horak-Hallett, Gladys Hosken, Claire Hussey,
Debbie Jones*, Helen Lawford*, Alison Marshall,
Margarita Matusevich, Jane Morley, Dorothy Nesbit,
Jenny Norman, Emily Norton, Isabel Paintin, Andra Patterson,
Mikiko Ridd, Chen Shwartz, Amanda Thomas*, Julia Warner
Altos
Gina Broderick*, Jo Buchan*, Lizzy Campbell, Sarah Castleton,
Rosemary Chute, Janette Daines, Zoe Davis, Maggie Donnelly,
Diane Dwyer, Linda Evans, Lydia Frankenburg*,
Amanda Freshwater, Christina Gibbs, Yoko Harada,
Valerie Hood, Jo Houston, Elisabeth Iles, Vanessa Knapp,
Selena Lemalu, Belinda Liao, Anne Loveluck, Etsuko Makita,
Aoife McInerney, Jane Muir, Caroline Mustill, Siu-Wai Ng,
Lucy Reay, Clare Rowe, Maud Saint-Sardos, Nesta Scott,
Lis Smith, Jane Steele, Claire Trocme, Curzon Tussaud,
Agnes Vigh, Sara Williams, Mimi Zadeh
Tenors
David Aldred, Paul Allatt, Robin Anderson, Antoine Carrier,
Ingram Cheung, John Farrington, Matthew Flood,
Andrew Fuller*, Simon Goldman, Warwick Hood, Tony Instrall,
John Marks, Alistair Mathews, Malcolm Nightingale,
Dan Owers, Stuart Packford, Harold Raitt, Peter Sedgwick,
Takeshi Stokoe, Anthony Stutchbury, Malcolm Taylor,
Owen Toller, James Warbis*, Brad Warburton, Robert Ward*,
Paul Williams-Burton
Basses
David Armour, Bruce Boyd, Andy Chan, Steve Chevis,
James Chute, Damian Day, Thomas Fea, Ian Fletcher,
Robert Garbolinski*, Robin Hall, Owen Hanmer*,
Antony Howick, Alex Kidney*, Thomas Kohut, Gregor Kowalski*,
Georges Leaver, Tim Riley, Alan Rochford, Malcolm Rowat,
Nic Seager, Ed Smith*, Gordon Thomson, Nick Weekes
*denotes Council Member
London Symphony Chorus
17

LSO Season 2012/13
Sir Colin Davis at 85
You couldn’t mistake his decisive beat
or propensity for drama.
Geoff Brown, The Times
In his 85th birthday year Sir Colin Davis focuses on
composers with whom he is particularly associated.
Mozart and Schubert bookend the series, and in
between there is a particular focus on English
composers – Elgar and Walton – as well as his
beloved Sibelius and Beethoven. Sir Colin re-visits
his operatic roots too with concert performances
of Benjamin Britten’s The Turn of the Screw and
will conduct the Orchestra and London Symphony
Chorus in Mozart’s Requiem.
Tickets from £10
Resident at the Barbican
lso.co.uk
020 7638 8891
Thu 27 Sep 2012 7.30pm
Sir Colin Davis’ 85th Birthday Concert
Schubert Rondo in A major for Piano Duet
Mozart Piano Concerto No 10 for Two Pianos
Elgar / Payne Symphony No 3
Mitsuko Uchida piano
Radu Lupu piano
Recommended by Classic FM
Wed 5 Dec 2012 7.30pm
Queen’s Medal for Music Gala Concert
Sir Peter Maxwell Davies Fanfare (LSO commission)
Tchaikovsky Violin Concerto
Elgar Enigma Variations
Maxim Vengerov violin
London Symphony Orchestra
Living Music
Sun 13 Jan 2013 7.30pm
Mozart Requiem
Elgar Cello Concerto
Mozart Requiem
Mitsuko Uchida, Pianist
Colin has the singular ability to
share his deep love of music with
audiences and musicians alike.
His Berlioz and Sibelius were a
revelation to music-lovers. But if
I were to choose one composer
whose joy and sorrow he can
express with never-ending pleasure,
it is Mozart. I feel privileged to have
shared so much music with Colin.
Tim Hugh cello
Soloists include: Elizabeth Watts, Daniela Lehner,
Maximilian Schmitt, Andrew Foster-Williams
London Symphony Chorus
Recommended by Classic FM
Thu 16 & Thu 18 Apr 2013 7pm
The Turn of the Screw
Britten The Turn of the Screw (concert performance)
Soloists include:
Andrew Kennedy Prologue, Peter Quint
Sally Matthews Governess
Catherine Wyn-Rogers Mrs Grose
plus 4 Oct 2012 Mozart / Mahler 18 Oct 2012 Beethoven / Elgar 29 Nov 2012 Beethoven / Walton
9 Dec 2012 Sibelius 24 & 26 Mar 2013 Schubert / Brahms 16 & 18 Jun 2013 Mendelssohn / Schubert

On stage
First Violins
Carmine Lauri Leader
Lennox Mackenzie
Nigel Broadbent
Ginette Decuyper
Jörg Hammann
Maxine Kwok-Adams
Claire Parfitt
Elizabeth Pigram
Laurent Quenelle
Harriet Rayfield
Ian Rhodes
Sylvain Vasseur
Rhys Watkins
David Worswick
Julia Rumley
Erzsebet Racz
Second Violins
David Alberman
Thomas Norris
Sarah Quinn
Miya Vaisanen
Richard Blayden
Iwona Muszynska
Philip Nolte
Andrew Pollock
Paul Robson
Hazel Mulligan
Gabrielle Painter
Katerina Mitchell
Ingrid Button
Raja Halder
Violas
Edward Vanderspar
Gillianne Haddow
Malcolm Johnston
German Clavijo
Lander Echevarria
Anna Green
Richard Holttum
Robert Turner
Jonathan Welch
Natasha Wright
Elizabeth Butler
Arun Menon
Cellos
Rebecca Gilliver
Alastair Blayden
Jennifer Brown
Mary Bergin
Noel Bradshaw
Daniel Gardner
Hilary Jones
Minat Lyons
Amanda Truelove
Morwenna Del Mar
Double Basses
Colin Paris
Nicholas Worters
Patrick Laurence
Thomas Goodman
Jani Pensola
Joseph Melvin
Paul Sherman
Simo Vaisanen
Flutes
Gareth Davies
Siobhan Grealy
Piccolos
Sharon Williams
Patricia Moynihan
Oboes
Domenico Orlando
Fraser MacAulay
Clarinets
Chris Richards
Chi-Yu Mo
Bassoons
Daniel Jemison
Joost Bosdijk
Horns
David Pyatt
Angela Barnes
James Pillai
Jonathan Durrant
Meredith Moore
Trumpets
Roderick Franks
Gerald Ruddock
Trombones
Mark Templeton
Rebecca Smith
Bass Trombone
Paul Milner
Timpani
Nigel Thomas
Surtitle Operator
Paula Kennedy
LSO String
Experience Scheme
Established in 1992, the
LSO String Experience
Scheme enables young string
players at the start of their
professional careers to gain
work experience by playing in
rehearsals and concerts with
the LSO. The scheme auditions
students from the London
music conservatoires, and 20
students per year are selected
to participate. The musicians
are treated as professional
’extra’ players (additional to
LSO members) and receive
fees for their work in line with
LSO section players.
The Scheme is supported by:
The Barbers’ Company
The Carpenters’ Company
Charles and Pascale Clark
Fidelio Charitable Trust
The Ironmongers’ Company
Robert and Margaret Lefever
LSO Friends
Musicians Benevolent Fund
The Polonsky Foundation
List correct at time of
going to press
See page xv for London
Symphony Orchestra members
Editor
Edward Appleyard
edward.appleyard@lso.co.uk
Photography
Mark Harrison, Kevin Leighton,
Bill Robinson, Alberto Venzago,
Nigel Wilkinson
Print
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The Orchestra
19

Inbox
Your thoughts and comments about recent performances
‘Superbly led’
Gillian and Paul Gee
Alina Ibragimova is a superb
violinist. She was always good,
but has improved greatly since
we last saw her quite some time
ago. She certainly surpassed the
vast majority of other violinists,
and moved us greatly (this
doesn’t happen often…) We
have rarely heard anyone play so
expressively both musically and
otherwise.
The Orchestra was, as ever,
superbly led by the wonderful
Carmine Lauri.
Glinka, Mendelssohn & Rimsky-
Korsakov with Rafael Frühbeck
de Burgos & Alina Ibragimova,
25 Mar
20 Inbox
‘Sumptuous’
Steven Isle
We thought the Scheherazade
was sumptuous and the soloists
wonderful. As an amateur cellist
I particularly enjoyed tht part.
Alina was great … there
was incredible feeling in her
interpretation and it is of course
a very demanding piece in terms
of technique and stamina
Congratulations to them all!
Glinka, Mendelssohn & Rimsky-
Korsakov with Rafael Frühbeck
de Burgos & Alina Ibragimova,
25 Mar
‘Thrilled to bits’
Lien Guidon
Last week I was just thrilled
to bits. It was a wonderful
experience as it was the first
time I heard the LSO. I found the
orchestra vibrant, with a brass
section particularly colourful
and the wind section intense.
As far as I could see, Robin
Ticciati was passionately
conducting every musician with
his baton and seeming to pull
invisible strings, to which they
responded brilliantly.
Strauss, Mahler & Brahms with
Robin Ticciati, 15 Mar
Send us your thoughts on
tonight’s concert
Using a smartphone QR code reader,
scan this barcode to go to our reviews page,
email comment@lso.co.uk, or go to our
facebook or twitter pages
@yestomhughesyes
I had a lovely first
@londonsymphony last night.
Inspiring and wonderful, relaxed
and unpretentious. Lucky to have
world-class art on my doorstep.
Schumann & Bruckner with
Daniel Harding & Nicholas
Angelich, 12 Apr
@MrWilliamBrown
Fantastic wind and brass
playing in Bruckner 6 at the
@londonsymphony tonight.
Daniel Harding is officially one
of my favourite conductors.
Schumann & Bruckner with
Daniel Harding & Nicholas
Angelich, 12 Apr
twitter.com/londonsymphony
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