London Symphony Orchestra
Living Music
Sunday 5 July 2015 7.30pm
Barbican Hall
THE MONSTER IN THE MAZE
Jonathan Dove The Monster in the Maze
(UK premiere, LSO co-commission)
INTERVAL
Walton Symphony No 1
Sir Simon Rattle conductor
Andrew Rees Theseus
Yvonne Howard Mother
Joshua Bloom Daedalus
Malcolm Storry Minos
London Symphony Orchestra
Guildhall Symphony Orchestra
LSO Discovery Choirs
LSO Community Choir
Simon Halsey choral director
Alasdair Middleton libretto
Thomas Guthrie stage director
Rhiannon Newman-Brown designer
London’s Symphony Orchestra
Concert finishes approx 10pm
The Monster in the Maze is a joint commission
by the Stiftung Berliner Philharmoniker,
London Symphony Orchestra and
Festival d’Art Lyrique d’Aix-en-Provence
2
Welcome
5 July 2015
Welcome
Kathryn McDowell
Welcome to tonight’s concert, which brings together
the LSO and our partners in the City’s cultural hub
– the Guildhall School and the Barbican – to close
our 2014/15 season. This year we celebrate 25 years
of LSO Discovery, the Orchestra’s education and
community programme, and tonight’s concert
marks this milestone, with young musicians,
Guildhall students and members of the local
community all coming together on the Barbican
stage to perform with the LSO.
In the second half of tonight’s concert, an orchestra
of over 120 LSO players and musicians from the
Guildhall Symphony Orchestra will play Walton’s
First Symphony. The Orchestra has a strong and
long-standing partnership with the Guildhall School,
strengthened with the launch of the jointly run
Orchestral Artistry masters specialism in September
2013. Side-by-side experiences like this performance
are one of the best training experiences and among
the best preparations for professional orchestral life.
In the first half of the concert, Sir Simon Rattle
conducts the UK premiere of a new children’s
opera by Jonathan Dove, The Monster in the Maze,
featuring the LSO, instrumental students from the
Guildhall School, soloists, and 220 singers from
the local area aged 7–70 in the LSO Community
and Discovery Choirs. The story of Theseus and
the Minotaur will be brought to life through a
semi-staging, led by Stage Director Thomas Guthrie.
We are delighted to welcome Jonathan Dove, who
joins us in the audience this evening.
Sincere thanks to all those who have supported
the singers and musicians on stage tonight, and to
Lucy Griffiths, conductor of the LSO Discovery Junior
Choir, and David Lawrence, conductor of the LSO
Discovery Senior and Community Choirs.
The Monster in the Maze is a co-commission with
the Berliner Philharmoniker and the Festival d’Aixen-Provence. It is also the first of a new series of
children’s opera commissions spearheaded by
Sir Simon Rattle, Simon Halsey and the LSO, inspired
by the canon of children’s operas established by
Benjamin Britten. Alongside productions of The
Monster in the Maze staged in Berlin, London and
Aix, the collaboration has involved a conference
at LSO St Luke’s held earlier today, exploring the
creation of new participatory work; a symposium
in Aix; the creation of an Artist Academy; and an
online sharing platform. I would like to thank all
of the partners involved and the Creative Europe
Programme of the European Union for supporting
the project.
I am very pleased to welcome The Lord Mayor of the
City of London, Alderman Alan Yarrow, and members
of the City Livery who are in attendance this evening.
I would like to take this opportunity to thank them
for their invaluable support of the LSO and the arts
in the City of London.
We are grateful to our media partner Classic FM for
their support of this concert and commitment to the
LSO throughout the 2014/15 season.
I hope that you enjoy tonight’s performance, and
that we will see you again at an LSO concert soon,
whether that is at the BBC Proms over the summer
or at the Barbican when we return in September.
Kathryn McDowell CBE DL
Managing Director
lso.co.ukWelcome
3
Welcome from Alderman Alan Yarrow
The Right Honourable The Lord Mayor of the City of London
I am delighted to welcome you all to the annual
City Livery Concert.
THE LSO THIS SUMMER:
IN LONDON AND ON TOUR
When I travel overseas, promoting the UK as a place
to do business, it’s clear that London is recognised
as more than just a trading centre. The world also
recognises London as a beacon of culture and the
arts, home to astonishing free galleries, versatile
performance spaces and some of the world’s best
music-making, among many other attractions.
Audi Summer Festival, Ingolstadt, Germany
Sat 18 & Sun 19 Jul
Mahler, Bach, Stravinsky
with Kent Nagano conductor
Much of that is done with the help of the Livery,
which continues to fund, encourage and participate
in UK arts. Tonight’s concert recognises that
contribution, but it is also part of LSO Discovery,
the London Symphony Orchestra’s education and
community programme that this year celebrates
its 25th birthday. LSO Discovery continues to take
music into schools, hospitals and families, helping
to make music accessible to all, regardless of
background or circumstance.
Tonight’s performances bring together the LSO,
Barbican and Guildhall School, highlighting the
institutions and partnerships that make the City
such a thriving cultural quarter. The concert starts
with the UK premiere of Jonathan Dove’s children’s
opera The Monster in the Maze, in conjunction with
Sir Simon Rattle, the Berlin Philharmonic Orchestra
and the Festival d’Aix-en-Provence, and I am delighted
to see talented students from the Guildhall School
featuring alongside the Orchestra in Walton’s First
Symphony, in this 80th year since its composition.
I hope you all enjoy this unique performance
showcasing some of the world’s finest musicians
and up-and-coming talent here in the City of London.
Alderman Alan Yarrow
The Rt Hon The Lord Mayor
Royal Albert Hall, BBC Proms, London
Tue 28 Jul
Prokofiev Piano Concertos Nos 1–5
with Valery Gergiev conductor
Daniil Trifonov, Sergei Babayan,
Alexei Volodin piano
Usher Hall, Edinburgh International Festival
Sun 30 Aug
Bartók and Stravinsky
with Valery Gergiev conductor
Yefim Bronfman piano
George Enescu Festival, Bucharest, Romania
Tue 8 & Wed 9 Sep
Enescu, Grieg, Stravinsky, Brahms, Mahler
with Ion Marin conductor
Lars Vogt piano
Renaud Capuçon violin
Gautier Capuçon cello
Visit lso.co.uk/tours for full details of LSO
concerts around the world
4
Programme Notes
5 July 2015
Jonathan Dove (b 1959)
The Monster in the Maze (UK premiere) (2015)
An opera for children, young people and adults
Libretto by Alasdair Middleton
SIR SIMON RATTLE CONDUCTOR
ANDREW REES THESEUS (TENOR)
or the help given to Theseus by Ariadne (Minos’
daughter); the Athenians find their way out of the
maze with the assistance of Daedalus, its architect,
who escapes with them rather than, as in the myth,
by an aerial route.
YVONNE HOWARD MOTHER (MEZZO-SOPRANO)
JOSHUA BLOOM DAEDALUS (BASS)
MALCOLM STORRY MINOS
GUILDHALL SCHOOL MUSICIANS
LSO DISCOVERY CHOIRS
LSO COMMUNITY CHOIR
SIMON HALSEY CHORAL DIRECTOR
LUCY GRIFFITHS CONDUCTOR,
LSO DISCOVERY JUNIOR CHOIR
DAVID LAWRENCE CONDUCTOR,
LSO DISCOVERY SENIOR CHOIR & LSO COMMUNITY CHOIR
THOMAS GUTHRIE STAGE DIRECTOR
RHIANNON NEWMAN-BROWN DESIGNER
ANNA CAVALIERE COSTUME SUPERVISOR
The opera is devised for a mixture of professional,
student and amateur performers: an orchestra
with professional and younger players side-by-side
in roughly equal numbers; professional soloists;
and community, youth and children’s choruses.
Dove finds a ‘special excitement’ in the involvement
of community performers, because of the way their
energy is conveyed to the audience. His music has
a corresponding driving energy, imparted by insistent
rhythmic ostinatos (repeated patterns) – though
these are made more complex by syncopations or
the use of irregular metres such as 5/4 or 7/4, or
sometimes both.
LOUISE RHOADES-BROWN PROJECTION DESIGNER
LONDON SYMPHONY ORCHESTRA
PROGRAMME NOTE WRITER
ANTHONY BURTON is a former
BBC Radio 3 music producer and
presenter, now a freelance writer.
He edited the Associated Board
The best times for operatic stories, Jonathan Dove
says, are ‘either right now or long ago and far away’.
For this project, Dove and his regular librettist
Alasdair Middleton have opted for the latter and
chosen the ancient Greek myth of the Minotaur.
Performer’s Guides, contributes
regularly to BBC Music Magazine,
and has written notes for CDs and
concert programmes at home and
abroad on thousands of works.
Minos, king of the island of Crete, has a labyrinth
in his palace in which he keeps the Minotaur – a
monster, half man and half bull – which feeds on
human flesh. To press home a military victory over
Athens, Minos decrees that the Athenians should
provide a regular supply of their young people to
be sacrificed to the monster. The Athenian hero
Theseus joins one of these shiploads, slays the
Minotaur, and sails home with the Athenian youths.
The traditional story is simplified in Dove’s opera:
there is nothing about the parentage of the Minotaur
THE CHARACTERS
In the setting of Middleton’s witty, down-to-earth
text, the individual characters are allocated welldefined modes of expression. King Minos speaks
rather than singing, to the accompaniment of wholetone fanfares and percussion. Theseus is given the
Wagnerian designation of Heldentenor, or ‘heroic
tenor’, and sings with the bluff simplicity of Wagner’s
Siegfried, often accompanied by trumpet fanfares.
Theseus’ Mother is a forceful mezzo-soprano, and
Daedalus a sombre bass-baritone.
The Minotaur, though it is given a physical form in
staged productions, does not sing or speak: instead,
its roars are represented by an offstage ‘Minotaur
band’ of horns, trombones and tubas. The adult
chorus sings, in two-part harmony in parallel octaves,
as the people of Athens, and it also chants, in precise
rhythms (notated with approximate pitches) and
lso.co.uk
LIBRETTO
On page 6
IN BRIEF
Minos, King of Crete, orders that
each year the Athenians must
Programme Notes
accompanied by un-pitched percussion, as the
people of Crete. The children’s chorus, mostly in
unison, represents the children of Athens. The
youth chorus, again in parallel two-part textures
(with options for developing voices), has the most
to do, as the Athenian youths sent for sacrifice.
5
heard approaching, to the youths’ consternation.
With a running commentary by the youths, Theseus
fights the Minotaur, defeats it and kills it. Daedalus
leads the group out of the maze.
spirits are lifted, however, when
PROLOGUE
Theseus decides to go with them,
Minos lays down the terms of the Athenians’ defeat,
and the roars of the Minotaur are heard from the
distance. The Athenians lament their fate.
King Minos realises that the Minotaur is dead and
sees the Athenians depart, having set fire to the
Cretan fleet. Back in Athens, the children think they
see an approaching sail, but the grown-ups are
dismissive until the ship finally arrives in the harbour.
All celebrate the return of the youths. Amidst the
light-filled scenes of rejoicing, the dark voice of the
Minotaur is heard: the monster is now part of the
youths’ experience.
across Daedalus, the architect
ACT ONE
The Monster in the Maze was jointly commissioned by the
of the maze, who has also been
The Athenian youths are preparing to embark for
Crete, as ‘prey for the Minotaur’. The Athenians
gather to say a sad farewell to them. Theseus
appears, enquiring what all the fuss is about; on
being told, he declares himself ready for a fight,
raising the hopes of the youths. Theseus’ mother
tries to persuade him to stay at home, and the
children of Athens weigh in with cries of ‘Don’t go!’
The youths are full of optimism, and the Athenians
of despair. Eventually Theseus prevails and boards
the ship. It sets sail over the waves, and the children
watch as it disappears from sight.
Stiftung Berliner Philharmoniker, the London Symphony
send a ship full of their young
people to Crete as ‘prey for the
Minotaur’, a monster who lurks in
The opera consists of a Prologue and two Acts,
performed without a break.
the labyrinth. The young people’s
vowing to defeat the monster.
In the labyrinth they come
imprisoned. He agrees to lead
them to the monster in the ‘dark
heart of the maze’, where Theseus
fights and kills the Minotaur. The
Athenian youths set fire to the
Cretan fleet and return to Athens,
where they are greeted with
celebrations and rejoicing.
Orchestra and the Festival d’Art Lyrique d’Aix-en-Provence,
as part of a series of commissions of children’s operas led
by Sir Simon Rattle and Simon Halsey. It was first performed
in Berlin (semi-staged, in German) on 20 June 2015, and will
be performed in Aix-en-Provence (fully staged, in French)
on 8 and 9 July 2015.
Licensed by arrangement with Edition Peters
ACT TWO
Minos observes the ship’s arrival in Crete, and the
Minotaur scents fresh flesh. The Cretan people call
for the youths to be taken to the labyrinth. At the
entrance to the maze, Theseus prepares himself to
meet danger, while the youths are more hesitant.
They meet Daedalus, whom Minos has imprisoned in
the maze that he designed. In response to Theseus’
battle-cry, Daedalus agrees to lead the Athenians
into ‘the dark heart of the maze’. The monster is
INTERVAL – 30 minutes
There are bars on all levels of the Concert Hall; ice cream
can be bought at the stands on Stalls and Circle level.
Why not tweet us your thoughts on the first half of the
performance @londonsymphony, or come and talk to
LSO staff at the Information Desk on the Circle level?
6
Libretto
5 July 2015
Jonathan Dove
The Monster in the Maze: Libretto
Libretto by Alasdair Middleton
PROLOGUE
Minos
I am Minos, King of Crete.
Listen, Athens! – you are conquered.
Conquered, crushed, defeated – you have lost.
And I, Minos, King of Crete, have won.
Athenians – you are on your knees
and on your knees, forever, you will stay.
Listen! Athens! – these are the terms of your submission.
Every year fill a ship with hope,
your hope, Athens, your children, your youth.
Fill a ship, Athens, and send it across the sea
To me, Minos, King of Crete.
On Crete a clever man has built a labyrinth, a maze,
a cunning tangle of paths and passages,
of walls and ways,
all of them deceitful, unescapable.
And in the dark heart of the labyrinth lurks –
What?
Not entirely man.
Not entirely bull.
But more savage – darker than both.
A thing of darkness that devours future, hope, youth, light.
And to this thing – the Minotaur,
I’ll feed your youth, Athens.
It will eat your future, it will rip your hope,
it will stamp your youth, your children in the sand.
The Minotaur.
A ship of youth, Athens, tipped into the labyrinth
and destroyed in darkness.
You are on your knees and on your knees, forever, you will stay.
I am Minos, King of Crete.
Hear, Athenians! the terms of your submission,
your surrender, your defeat.
Chorus of Athenians
The Cruel King of Crete commands –
And we, the conquered,
Must obey his commands.
Our children!
Our children!
His harsh command,
His cruel decree
Sends our children to their death
Across a cruel sea.
ACT ONE
Athenian Youth
We are the ones chosen to die.
This is the home,
The home we are leaving forever;
For we are the ones chosen to die.
There is the sea,
The sea that divides us from darkness and death
And the home we are leaving forever,
For we are the ones chosen to die.
Chorus of Athenians
For our sins they suffer,
For our crimes they cry.
Athenian Youth
Here is the ship
The ship that will bear us away,
Over the sea that divides us from darkness and death
And the home we are leaving forever.
Chorus of Athenians
It should be us that are suffering,
It should be us that die.
lso.co.ukLibretto
7
Athenian Youth
Near is the fear,
The terror and sadness and fear.
Far is the land of the maze and the monster,
The island of darkness and death.
Chorus of Athenians
Our children are condemned to death.
King Minos commands they sail over the sea,
Demands they are shut inside his maze.
Prey for the Minotaur, for the beast to feast upon.
Theseus enters
Theseus
What’s all this crying?
What’s all this fuss?
Theseus
Harsh Command!
Cruel decree!
I will sail with you to Crete
And then defeat the monster in its den.
Athenian Youth
It’s Theseus!
Athenian Youth
You will?
Theseus
Hello.
Theseus
I will.
If there’s a good fight that needs fighting,
I’ll fight it.
If there is a wrong that needs righting,
I’ll right it.
I will – if I can.
Athenian Youth
Theseus is clever,
Theseus can box.
His arrows are unerring;
And he works out with rocks.
Theseus
O hush.
You’re making me blush.
Athenian Youth
Theseus is modest.
Self-deprecating too.
His fists are made of marble
His aim is always true.
Theseus
Hello everyone.
What’s going on?
Athenian Youth
And he can.
He’s the man.
Theseus
Find an ordeal – and then put me through it.
Athenian Youth
Put him through it.
Theseus
An impossible task? – Stand back, watch me do it.
Athenian Youth
Watch him do it.
8
Libretto
5 July 2015
Jonathan Dove
The Monster in the Maze: Libretto (continued)
Theseus
You see a dead dragon – well, you know who slew it.
Mother
Theseus is going nowhere.
Athenian Youth
You slew it?
We knew it.
Athenian Youth
Who says so?
Theseus
Show me a widow or orphan who’s crying,
Sad salty tears that really need drying –
They can’t kill you for trying –
So I’ll try to dry them
If I can.
Athenian Youth
And he can.
He’s the man.
Theseus
I am.
If there’s a good fight that needs fighting, etc.
Athenian Youth
If there’s a fight
He’ll fight it.
If there’s a wrong
He’ll right it.
Athenian Youth
Theseus has muscles
And he has a sword.
Our future’s looking brighter
With Theseus on board.
Theseus is a hero
Theseus is our brother …
Theseus’ mother enters
Mother
His mother.
Theseus
Mother.
Mother
Off to adventure
Over the sea?
I don’t think so –
You’re coming home with me.
Athenian Youth
But Theseus has promised
To be one of the crew.
We’ll get there, and back again
If he is coming too.
Mother
Kill the Minotaur?
Are you insane?
Go into a maze?
Then get out again?
That, my son,
Is easier said than done.
Theseus
But …
lso.co.ukLibretto
9
Mother
Do not go away from me,
Over the wild and the windswept sea,
Over the water, over the wave
But stay at home with your mother
And behave.
Do not go away from me,
Over the wild and the windswept sea,
Being so boastful, being so brave
But stay at home with your mother
And behave.
Athenian Youth
Help us.
You said you would help us.
Fight for us.
You said you would fight for us.
Fight for us!
Theseus
Mother.
Athenian Youth
Help us.
You said you would help us.
Help us.
Fight for us.
Go with them,
Fight for them,
Go!
Mother
Do not go away from me –
Over the wild and the windswept sea –
Where all you’ll find is an early grave
But stay at home with your mother
And behave.
Theseus
I said I would go with them,
I said I would fight for them,
I said I would help them.
Athenian Youth
You said you would come with us,
You said you would help us,
You said you would fight for us.
Theseus
Mother, I promised them.
So you know I must go.
Mother
Theseus, no.
The children enter
Children
Don’t go! Don’t go!
Don’t say the wind is blowing!
Don’t go! Don’t go!
Don’t say the tide has turned!
Don’t go! Don’t go!
Don’t say that you are going!
Don’t go! Don’t go!
Theseus
Waves and weather wait for no man,
It’s time for us to go.
Athenian Youth
We’ll be back again in no time,
It’s time for us to go.
10 Libretto
5 July 2015
Jonathan Dove
The Monster in the Maze: Libretto (continued)
Children
Don’t go! Don’t go!
Don’t say the wind is blowing! etc.
Theseus
Her eyes are red with tears.
Her face is pale.
But a brave ship bounces on the seas,
And a bold wind fills the sail.
Children
Don’t go! Don’t go! Don’t go!
Don’t say that you are going!
Don’t go! Don’t go! Don’t go!
Athenian Youth
Theseus is a fighter.
Theseus is the bravest.
Theseus is a hero.
Theseus, he can save us.
Theseus
Though my dinner’s on the table
My ship is on the shore;
And, oh, I love my fireside
But love adventure more.
Athenian Youth
Theseus is our brother.
Theseus is our tower.
Theseus is a lion.
Theseus has the power.
Theseus, fighter!
Theseus, bravest!
Theseus, hero!
Theseus, save us!
Mother
I curse ‘adventure’.
O Theseus return
I curse ‘brave’.
O Theseus return
I curse war.
O Theseus return.
I curse grave.
O Theseus return.
Chorus of Athenians
Now I say goodbye to my child,
Now I say goodbye.
Children
Don’t go! Don’t go! Don’t go!
Athenian Youth
Theseus, bravest!
Theseus, hero!
Theseus, save us!
Mother
I curse ‘adventure’, etc.
Chorus of Athenians
Now my eyes, my eyes fill with tears.
Now the wind, the wind fills the sails.
Now they set their hands to the oars.
Now I feel my heart start to break.
Theseus
Her eyes are red with tears.
Her face is pale.
But a brave ship bounces on the seas,
And a bold wind fills the sail.
lso.co.ukLibretto
11
Though my dinner’s on the table
My ship is on the shore;
And oh, I love my fireside
But love adventure more
Children
Don’t go! Don’t go!
Don’t say the wind is blowing!
Don’t go! Don’t go!
Don’t say the tide has turned!
Don’t go! Don’t go!
Don’t say that you are going!
Athenian Youth
Theseus, brother!
Theseus, tower!
Theseus, lion!
Theseus, power!
Theseus, fighter!
Theseus, bravest!
Theseus, hero!
Theseus, save us!
Theseus, brother! etc.
Theseus
Mother! Goodbye!
Mother
My son!
Children
Don’t go!
Come back!
Don’t go!
INTERLUDE
The ship sails to Crete
Children
Further and further they sail.
They’re almost out of sight.
Fainter and paler their light.
ACT TWO
Minos
Here they are – the children of Athens!
The hope of Athens, the future of Athens!
Young and strong and warm.
So bright! So bright!
Already a shadow is falling across the sun,
Soon you will be dark.
Listen!
Deep in the maze the monster, already,
lifts his head, smells fresh flesh.
Listen!
Deep in the maze the monster, already,
paws the sand and tosses his horns.
Look, children of Athens – the mouth of the maze gapes.
The future is swallowed.
The light extinguished.
12 Libretto
5 July 2015
Jonathan Dove
The Monster in the Maze: Libretto (continued)
Chorus of Cretans
Take them to the labyrinth.
Off to the mouth of the maze,
Where the Minotaur bellows.
The terrible bellows and horrible roar
Of the Minotaur.
The Minotaur will hunt you,
Hunt you and trample you
Grind you and stamp you
With his brass-hoofed feet.
Beaten to pulp on the sand on the floor
Beneath the brass-hoofed feet
Of the Minotaur.
The Minotaur will beat you,
Beat you and eat you –
Chundered and chewed in the foam flecked jaw
Of the Minotaur.
Hunted, stamped, trampled, beaten,
Gored and torn on the horns
Of the Minotaur.
Into the mouth of the maze!
Theseus
(Entering the maze)
Here we are on the threshold of Danger;
Here we are at the doorway to Death;
The clean air rotting.
The monster’s foul breath.
Come on!
On to the dark heart of the maze!
Athenian Youth
You go first.
No, you.
No, you.
It’s cold.
It’s dark.
It’s smelly too.
Urgh!
What is that awful stink?
Urgh – it’s …
What?
Well, what do you think?
Theseus
Stumbling on to the heart of the labyrinth,
Which is the way?
Creeping through the Dark Halls of Horror;
Past rot, past stench, past decay.
Feeling our way,
Into the dark heart of the maze!
Athenian Youth
After you –
No – after you.
It’s cold.
It’s dark.
It’s scary too.
Ow!
Who do you think you’re pushing?
Shush!
Who do you think you’re shushing?
Theseus
Ssshhhh!
Listen!
Daedalus
(In a shadow)
Always only
One step ahead.
Always hourly
Eluding the monster’s tread.
Forever hunted,
Forever hiding,
In this prison of my own devising.
In this labyrinth I built.
The architect of my own misery.
lso.co.ukLibretto
13
Athenian Youth
Is this the monster?
Forever hunted by the monster at its heart
Forever hiding, always only one step ahead.
Theseus
Shh, listen.
Theseus
I will free you.
Lead us to the monster –
Lead us to the dark heart of the labyrinth.
Daedalus
Always only
One step ahead.
Always my only companions
The dead.
Forever hunted
Forever hiding
From the Minotaur.
Daedalus
And then?
Theseus
I will kill it.
You will lead us back and out to light and freedom.
Athenian Youth
Who is it?
Athenian Youth
To light and freedom.
Theseus
Shh.
Daedalus
This way.
I taught these walls deceit.
This way.
I know each turn, each corner.
This way.
My feet familiar with each corridor.
This way.
Into the dark heart of the maze.
This way.
To the Minotaur.
Daedalus
Who’s there? Who’s there?
Theseus
Theseus the Athenian – come to kill the Minotaur.
Daedalus
To kill the Minotaur? Some hope.
Theseus
Who are you?
Daedalus
I am Daedalus.
I built this maze.
I know its secrets, but Cruel King Minos does not like his secrets known.
He locked me in here, cursed forever to wander the maze that I made.
Theseus
Slowly and carefully,
Placing one careful and slow sandalled foot in front of another,
A tentative toe,
That scarcely dares tread on the ground it has found,
Tentative footsteps progressing and passing sly corridors,
Crafty corners;
Losing and lost.
14 Libretto
5 July 2015
Jonathan Dove
The Monster in the Maze: Libretto (continued)
Athenian Youth
Slowly, carefully, quietly,
Without alerting
The thing that is lurking
Within the dark heart of the maze
Daedalus
This way.
I taught these walls deceit.
This way.
I know each turn, each corner.
This way.
In to the dark heart of the maze.
This way.
To the Minotaur.
Theseus
Slowly and carefully,
Placing one careful and slow sandalled foot in front of another,
That scarcely dares tread on the ground it has found,
Tentative footsteps progressing and passing sly corridors,
Crafty corners;
Losing and lost.
Athenian Youth
Listen!
What was that?
What?
That.
Listen!
Do you think?
What?
That was it?
Do you think?
What?
That it’s getting closer!
Is it?
What?
Too late to run?
Is it?
What?
Is it getting closer?
Oh no
What?
There!
Where?
Oh no
There!
Oh no!
There!
There it is!
Theseus!!
Theseus
(War-cry)
Athenian Youth
Theseus is clever.
Kill it, Theseus! Kill it!
Theseus can box.
Fight it!
His fists are made of marble
Your sword, Theseus!
Your sword!
And he works out with rocks.
Stab!
Smack!
Ouf!
Bang!
Thwack!
Clatter!
Bellow!
Punch it!
Twist!
Duck!
Charge!
lso.co.ukLibretto
15
Theseus has killed the monster!
IN ATHENS
Find an ordeal – and then put him through it.
An impossible task? – Stand back, watch him do it.
You see this dead monster? – well, you know who slew it.
Children
Look! Look!
Something tiny and white
Far out to sea.
Theseus
Quickly, quickly!
Back through the maze
Back to the ship
Back.
Daedalus
This way
To light and freedom
Minos
Listen!
A terrible howl of death – my blood turns black in my veins!
Listen!
The earth shakes – the Minotaur has fallen!
Listen!
The dark heart of the labyrinth has ceased to beat.
Slain!
The Minotaur is dead!
The Minotaur is dead!
Listen!
A shout of victory!
They have won!
The children have won.
Look!
In a golden ship they sail towards the sun.
After them! After them!
My ships! My ships!
My ships are on fire – their sails shredded – timbers ablaze.
They sail off to the future in a gold ship of hope.
My black ships of death are crumbling
Nothing but ashes and smoke.
Chorus of Athenians
What?
What is it?
Nothing.
A gull.
Or the sun on the sea.
Our children will never return.
Children
Look! Look!
Bigger and whiter it grows.
Chorus of Athenians
No.
Nothing.
A trick of light.
Our children will never return.
Children
Look! Look!
White and Bright!
A sail! A sail!
Chorus of Athenians
A sail!
A boat!
Can it be?
Can it really be?
16 Libretto
5 July 2015
Jonathan Dove
The Monster in the Maze: Libretto (continued)
Children
It’s them!
Brothers!
Sisters!
Chorus of Athenians
It’s them!
They have come back!
Our children have returned!
Theseus
Land at last!
Athenian Youth
We are the ones that were chosen to die,
This is the home we were leaving forever,
Over the sea that divides us from darkness and light,
Here is the ship that has borne us away
Far from the island of darkness and death,
The land of the maze and the monster,
Far from the terror and the sadness and the fear.
We have returned
Out of darkness into light.
The sun is so bright.
We walk in the sunlight,
Live in the sunlight,
Forever.
Children
Out of darkness into light.
Daedalus & Athenians
Out of darkness into light.
Mother
Look!
My son, my son!
Golden and strong,
Like the sun.
He fought the monster of darkness
And won.
Theseus
I sailed across a sea of light,
To harbour here in these wide arms.
Children
Brothers!
Sisters!
Chorus of Athenians
They have come back! They have come back!
Our children have returned!
Our children!
Look!
The lost are found.
My arms are full again.
Mother
The heart that had grown cold and old is warm and young again.
And my dream has come true again.
I have you again.
All
Out of darkness into light.
The sun is so bright.
We/They/You walk in the sunlight,
Live in the sunlight,
Forever.
Libretto by Alasdair Middleton
lso.co.uk
2015/16 Season Highlights
LSO Season 2015/16 Highlights
Concerts at the Barbican
London’s Symphony Orchestra
2015/16 SEASON OPENING
CREATIVE GENIUSES
MAN OF THE THEATRE
SHAKESPEARE 400
with Bernard Haitink
with Sir Simon Rattle
with Valery Gergiev
with Sir John Eliot Gardiner
and Gianandrea Noseda
Bruckner Symphony No 7
Debussy Pelléas et Mélisande
Stravinsky The Firebird
Mendelssohn
Tue 15 Sep 2015
directed by Peter Sellars
Fri 9 Oct 2015
A Midsummer Night’s Dream
Sat 9 & Sun 10 Jan 2016
Mahler Symphony No 4
Produced by the LSO and the Barbican
Sun 20 Sep 2015
Tue 16 Feb 2016
Stravinsky The Rite of Spring
Sun 11 Oct 2015
Ravel, Dutilleux and Delage
Sun 28 Feb 2016
Brahms Symphony No 1
with Leonidas Kavakos
Bartók The Miraculous Mandarin
Wed 23 Sep 2015
Wed 13 Jan 2016
Sun 18 Oct 2015
Bruckner Symphony No 8
Thu 14 Apr 2016
Berlioz Romeo and Juliet
020 7638 8891
lso.co.uk
17
18 Composer Profile
5 July 2015
Jonathan Dove
Composer Profile
‘Not since Benjamin Britten has a
British composer succeeded in
writing operas which communicate
with such clarity and coherence
to their audience as those by
Jonathan Dove.’
Gramophone
COMPOSER PROFILE WRITER
ANTHONY BURTON
Jonathan Dove was born in London, the son of
architects, and was playing the organ in his local
parish church by the age of twelve. After reading
music at Cambridge, where he studied composition
with Robin Holloway, he worked on the music staff
at Glyndebourne, and as a freelance keyboard
player, animateur, composer and orchestrator.
His appointment as Music Advisor to the Almeida
Theatre in north London in 1990 launched him as
a composer for the theatre, and he has become
especially well known as a composer of operas.
These now number 28, including Flight (1998), which
has been performed internationally and recorded,
and was revived last month by Opera Holland Park,
two operas for television, and The Enchanted Pig
(2006), The Adventures of Pinocchio (2007) and
Swanhunter (2009) – all with librettos by Alasdair
Middleton – for young audiences.
Throughout his career Dove has been closely
involved in community-based projects, and he has a
special gift for inspiring and responding to creativity
in the participants, giving them a sense of ownership
in the finished work. As well as three community
operas for Glyndebourne, he has written Work in
Progress to celebrate the completion of The Sage,
Gateshead in 2005, three pieces for the London
Borough of Hackney, and the award-winning cantata
On Spital Fields (2005) for the Spitalfields Festival, in
east London, of which he was artistic director from
2001 to 2006.
Dove’s straightforward, essentially diatonic, musical
language is especially suitable for choral music, and
his choral compositions range from popular anthems
to the large-scale There Was a Child for soloists,
children’s and adult choruses and orchestra (2009),
written in memory of the son of a friend. But he has
also written several works for orchestra, including
concertos for flute (The Magic Flute Dances, 1999)
and trombone (Stargazer, 2001 – commissioned and
premiered by the London Symphony Orchestra), as
well as Gaia Theory for last year’s BBC Proms.
lso.co.uk
Interview with Jonathan Dove
19
Jonathan Dove
In Conversation
Jonathan Dove speaks to Benjamin Picard, LSO Marketing
Co-ordinator, about his musical background, inspirations
and the process of creating a new opera.
An inspiring story
MORE INTERVIEWS ONLINE
To watch videos about
The Monster in the Maze,
including interviews with the
T
he first step with writing an opera is always
finding the story. For The Monster in the Maze,
I went looking for a story, one that you could tell
with groups of children and groups of young people.
creative team behind the project
and footage of rehearsals in
Berlin and Aix-en-Provence, visit
monsterinthemaze.com
Out of conversations with my regular collaborator
Alasdair Middleton came the idea of telling the story
of the young people who are sent, as a sacrifice, to
Crete but are saved from death at the hands of the
Minotaur by Theseus. It’s a story which involves big
groups of people and big action. So the first thing is
really getting the action clear and trying to work out
how we’re telling the story, what are the scenes and
who are the characters.
A new thing for me in this is to have one character
who doesn’t sing at all, one character who is
speaking – an actor – which I thought could be
helpful for an audience who might not be used to
opera. Having an actor as King Minos really sets up
the drama at the beginning.
Writing for the community
T
he exciting thing about writing for amateurs is
that they get to do something that they don’t
do every day, so there’s a particular energy, an
excitement in the act of performing. It’s somehow
different from a professional group who are doing it
absolutely all the time.
I’m certainly looking to create music that is as simple
and direct as possible. I’m also aware that I’m writing
music for singers who may not read music and are
going to have to memorise, in this case, 50 minutes
of music, so it has to be catchy, something that they
can hold in their minds.
From the story to the music
W
hen I first encounter a story that I think
might become an opera, I am aware that,
in a way, there’s a ‘smell of music’ – that
there’s something in there that I sense might yield
something musically exciting. This might be a sound
for voices, or it might be for the orchestra.
Right from the beginning I knew that the Minotaur
would just be an instrumental sound. The Minotaur
is partly human but, significantly, partly animal, so
an instrumental sound creates that animal presence.
The Minotaur is represented by a large group of
brass instruments, who we sense as an ominous
presence from the very beginning of the piece.
Discovering opera
A
s a child I was very excited by music, but
also very excited by theatre. I sang in the
school choir, and I played the viola in the
London Schools Symphony Orchestra, which was
an amazing experience of orchestral music. But
I also made model theatres and went to theatre
productions whenever I could. And then, in my
early twenties, when I started working for a living
as a jobbing musician, I fell into the world of opera
and realised that it combined my passions in one
medium – symphonic music, theatre and singing,
all coming together. For me, it’s the most exciting
thing I can think of.
20 Programme Notes
5 July 2015
William Walton (1902–83)
Symphony No 1 in B-flat minor (1931–35)
1
ALLEGRO ASSAI
2
SCHERZO: PRESTO, CON MALIZIA
3
ANDANTE CON MALINCOLIA
4
MAESTOSO –
BRIO ED ARDENTEMENTE VIVACISSIMO MAESTOSO
PROGRAMME NOTE WRITER
SIR SIMON RATTLE CONDUCTOR
LEWIS FOREMAN
GUILDHALL SYMPHONY ORCHESTRA
LONDON SYMPHONY ORCHESTRA
LSO PREMIERE OF WALTON 1
Walton’s First Symphony was
the most eagerly awaited new
British symphony since Elgar’s
Second, a work composed more
than 20 years before. The burden
of expectation weighed heavily
on Walton’s shoulders – even
on his best days he wasn’t the
fastest man on manuscript and
the premiere had already been
The 1930s was the decade in which British composers
embraced the symphony. Both Elgar’s symphonies
and Vaughan Williams’ first two date from before
World War I, while Arnold Bax’s first and Bliss’ A Colour
Symphony appeared soon after it. But between 1930
and 1939 was heard five of Bax’s, Vaughan Williams’
Fourth, Ernest John Moeran’s G minor, as well as
Edmund Rubbra’s first two symphonies. If we add
other examples of Cyril Rootham, George Lloyd,
Armstrong Gibbs and the Dyson Symphony in G
major, we are describing a lively scene indeed.
put back a year. As the date
approached, the symphony
still lacked a finale!
There were frantic negotiations
between publisher, promoter
and the LSO. Again the premiere
was postponed. A month later it
still wasn’t complete. Conductor
Hamilton Harty affirmed ‘Whether
it’s complete or not, we will
play what we’ve got’, which
the Orchestra duly did. The
performance was received with
tremendous enthusiasm, not least
because the LSO tore into this
virtuoso music with, according to
some reports, ferocious zeal.
In the middle of all this activity, or perhaps because
of it, the young William Walton, already established
as a big name by his Viola Concerto (1929) and epic
short oratorio Belshazzar’s Feast (1931), produced
one of the most dramatic symphonic scores of
his time. When it had been learned that Walton
was writing a symphony it created unprecedented
public interest. Indeed the widespread interest
in early performances of the symphony has only
subsequently been paralleled by the reception
accorded Britten’s War Requiem nearly 30 years later.
Walton had referred to his oratorio Belshazzar’s
Feast as a symphony in three movements, and so,
at a time when the symphony was considered the
pre-eminent form by a British musical public that
had just taken Sibelius to its heart, it is natural that
Walton would wish to cast his musical thoughts
as an orchestral symphony. However, he had
considerable trouble in getting the symphony on to
paper, and although he started work early in 1932,
he kept getting stuck. In an interview with Edward
Greenfield he explained that the first idea to emerge
was the flute tune at the beginning of the slow
movement, but he only managed to write down
20 bars. As he developed his thoughts, he produced
what we now know as the haunting theme of the
first movement.
It is interesting to note Walton’s later revelation that
while the slow movement was the first to be written,
he at the same time wrote what would become the
end of the last movement, to be heard only after the
earlier movements had been performed without it.
By 1934 Walton had managed to commit to paper
the first three movements. In despair, Herbert Foss,
Walton’s confidant at his publisher, Oxford University
Press, proposed the performance of the incomplete
score, and this was performed by the London
Symphony Orchestra to a tremendous reception in
the Queen’s Hall, London, in December 1934. There
would be two further incomplete performances
before the finale was ready to Walton’s satisfaction.
Within a month of its first complete performance,
on 6 November 1935, it was recorded by the Decca
Record Company with Sir Hamilton Harty conducting.
We first hear long held low notes, B-flat, F and then
a G. This is characteristic of Walton’s technique, as
is the driving rhythm which is now introduced. Over
the rhythm arches the soaring thematic outlines
of the movement. Four motifs constitute the most
important ideas of the first movement, the two
features already mentioned plus a falling figure in
the bass near the beginning, and a long held theme
first heard on the oboe and including a turn in the
lso.co.uk
Programme Notes
21
William Walton
Composer Profile
melodic line which gives it a haunting character.
Walton uses trills and wide spanning leaps of what
were then unfamiliar melodic intervals.
Walton was born in Oldham, Lancashire, the son
of a local choirmaster and singing teacher. At the
age of ten he became a chorister at Christ Church
Cathedral in Oxford, and an undergraduate at the
age of 16, but he never took a degree. He received
encouragement from various leaders of Oxford
musical life, though as a composer he remained
essentially self-taught.
The Scherzo is of note for its unique marking
‘with malice’. Its use of violent cross-rhythms and
aggressive discords, while being excitingly new in
1934, is perhaps more remarkable for still sounding
fresh today. The passionate intensity of the soaring
lines of the slow movement that follows rises to
what is Walton’s most impassioned climax, before
sinking back once more to the icy fluting of its opening.
As we have seen, Walton was aware of the
character his finale would take before he could
actually complete it on paper. He had a problem
in considering the use of fugal textures in a
symphony and in the static ceremonial character of
the fanfaring that surrounds them, but in the end
Walton successfully provided a unifying finale to this
dramatic music. Brilliant and expansive, it set the
tone for many of his later non-symphonic songs.
COMPOSER PROFILE WRITER
LEWIS FOREMAN
WALTON on LSO LIVE
Listen again to Walton’s Symphony
Was this work anything other than pure music?
The pure musical expression of some personal
drama, perhaps? Does anyone write a movement
headed ‘with malice’ for non-programmatic
reasons? ‘The trouble was, Willy changed girlfriends
between movements’, one commentator observed.
Fortunately, the music can be appreciated on totally
musical grounds: one of the greatest 20th century
symphonies, it is certainly Walton’s masterpiece.
His earliest music still heard today is the
unaccompanied choral piece A Litany (‘Drop, drop,
slow tears’) written when he was only 14. He was
established as a name by the succès de scandale
of Façade, Edith Sitwell’s poems recited through
a megaphone to his music, first heard privately
at the Sitwells’ home in January 1922 when the
composer was 19. The ensuing press rumpus
actually followed the first public performance at the
Aeolian Hall in Bond Street 18 months later. Over the
succeeding years Walton gradually refined this score,
its evolution marking his own emergence as an
individual voice. In the long-term its royalties became
a major strand of his income.
No 1 at home with LSO Live’s recording,
conducted by Sir Colin Davis, which
also features the brilliantly vivid
oratorio Belshazzar’s Feast.
£8.99
lsolive.lso.co.uk
His reputation as a composer of achievement dates
from the premiere of his Viola Concerto in 1929.
Belshazzar’s Feast (1931) and the Symphony in B-flat
minor (1934–35) consolidated this reputation as
the leading young composer of the day. In the later
1930s Walton became known for his film music and
various shorter works, notably Portsmouth Point and
Siesta, and these would soon be joined by his notable
orchestral marches, starting with Crown Imperial
written for the Coronation of George VI in 1937.
22 LSO Discovery at 25
5 July 2015
LSO Discovery
25 Years of Music-Making
CLOCKWISE FROM TOP LEFT
The LSO Community Choir;
Students from the Guildhall School;
A workshop with LSO musicians
in Aix-en-Provence
This summer marks the 25th anniversary of LSO
Discovery. Our celebrations, from community singing
days to concerts in the Barbican Hall, highlight many
themes and activities which continue to evolve in a
changing environment.
In 2011 the National Plan for Music Education
established music hubs around England, bringing
together instrumental teaching and wider
partnerships with cultural organisations. The LSO
works closely with the hubs in East London to devise
projects that inspire young people and encourage
them to continue their musical exploration. We offer
related professional training for classroom teachers
or instrumental tutors to underpin this aim.
For students planning an orchestral career in an
increasingly competitive and international environment,
our Orchestral Artistry course with the Guildhall
School offers broad-based advanced training.
The recent popularity of choirs and singing across
the country (partly promoted on TV by LSO-trained
animateur Gareth Malone) has chimed with the
LSO Sing initiative, developing our LSO Discovery
and Community choirs and the London Symphony
Chorus, under the leadership of Simon Halsey.
International collaboration is at the fore in our
three-year children’s opera programme starting with
tonight’s performance of The Monster in the Maze,
co-commissioned with partners in Aix and Berlin and
conducted by Sir Simon Rattle.
Whether breaking the mould with informal concerts
at LSO St Luke’s open to all ages, developing online
resources for audiences at home, or visiting children
in hospitals, the outstanding musicians of the LSO
together with our family of music leaders make LSO
Discovery’s programme truly unique.
Judith Ackrill, Head of LSO Discovery
lso.co.uk
Sir Simon Rattle
Conductor
Artist Biographies
‘Rattle conducts with missionary zeal,
as if he believes in every note.’
Sir Simon Rattle was born in Liverpool and studied
at the Royal Academy of Music. From 1980 to 1998
he was Principal Conductor and Artistic Adviser
of the City of Birmingham Symphony Orchestra,
becoming Music Director in 1990. In 2002 he took
up his current position of Artistic Director and Chief
Conductor of the Berlin Philharmonic, where he will
remain until 2018. In September 2017 he will become
Music Director of the London Symphony Orchestra.
Chief Conductor
and Artistic Director
Berlin Philharmonic
Principal Artist
Orchestra of the Age of Enlightenment
Rattle has made over 70 recordings for EMI and
has received numerous prestigious international
awards for his recordings on various labels. Releases
on EMI include Stravinsky’s Symphony of Psalms
(2009 Grammy Award for Best Choral Performance)
Berlioz’s Symphonie fantastique, Ravel’s L’enfant
et les sortilèges, Tchaikovsky’s The Nutcracker,
Mahler’s Symphony No 2, Bizet’s Carmen, and
Stravinsky’s The Rite of Spring. Rattle’s most recent
releases (the Bach Passions and Schumann’s
Symphonies) have been for Berliner Philharmoniker
Recordings – the orchestra’s new in-house label,
established in early 2014.
23
The Times
Festival, Rattle has conducted staged productions of
Beethoven’s Fidelio, Mozart’s Così fan tutte, Britten’s
Peter Grimes, Debussy’s Pelléas et Mélisande,
Strauss’ Salome and Bizet’s Carmen, a concert
performance of Mozart’s Idomeneo and many
contrasting concert programmes, all with the Berlin
Philharmonic. He also conducted Wagner’s complete
Ring Cycle with the Berlin Philharmonic for the Aixen-Provence Festival, Salzburg Easter Festival, and
most recently at the Deutsche Oper, Berlin and the
Wiener Staatsoper.
Simon Rattle has strong long-standing relationships
with the leading orchestras in Europe and the
US, initially working closely with the Los Angeles
Philharmonic and Boston Symphony Orchestras,
and more recently with the Philadelphia Orchestra.
He regularly conducts the Vienna Philharmonic,
with which he has recorded the complete
Beethoven symphonies and piano concertos (with
Alfred Brendel) and is also a Principal Artist of the
Orchestra of the Age of Enlightenment and Founding
Patron of Birmingham Contemporary Music Group.
Founding Patron
Birmingham Contemporary
Music Group
Rattle and the Berlin Philharmonic tour regularly
within Europe, North America and Asia. The partnership
has also broken new ground with the education
programme Zukunft@Bphil, earning the Comenius
Prize in 2004, the Schiller Special Prize from the city
of Mannheim in May 2005, the Golden Camera and
the Urania Medal in Spring 2007. He and the Berlin
Philharmonic were also appointed International UNICEF
Ambassadors in the same year – the first time this
honour has been conferred on an artistic ensemble.
In 2013 Simon Rattle and the Berlin Philharmonic
took up a residency at the Baden-Baden Easter
Festival performing Mozart’s The Magic Flute
and a series of concerts. For the Salzburg Easter
His plans for the 2015/16 season include the
Beethoven Cycle with the Berlin Philharmonic,
with concerts in Europe and New York; staged
performances of Debussy’s Pelléas et Melisande
in Berlin and London; and a production of Wagner’s
Tristan and Isolde at Baden-Baden. Future
engagements will see him return to the Bavarian
Radio Symphony Orchestra, the Metropolitan Opera
and the Orchestra of the Age of Enlightenment.
Simon Rattle was knighted in 1994 and in the New
Year’s Honours of 2014 he received the Order of
Merit from Her Majesty the Queen. He will be a
Carnegie Hall ‘Perspectives’ artist during the
2015/16 and 2016/17 seasons.
24 Artist Biographies
5 July 2015
Andrew Rees
Theseus (Tenor)
Yvonne Howard
Mother (Mezzo-soprano)
Born in Carmarthen, West Wales,
Andrew Rees gained a scholarship
to study at the Royal Northern
College of Music, Manchester,
and completed his studies on
the Opera Course at the Guildhall
School. He was a Jerwood Young
Artist at English National Opera
and later became a principal tenor
at the company.
In opera, he has performed for
the Royal Opera, Covent Garden,
Chelsea Opera Group, Grange
Park Opera, Longborough Festival
Opera, Northern Ireland Opera,
Opera Holland Park and Welsh National Opera, as well as for AngersNantes Opera, the National Theater Weimar, the New Israeli Opera,
the Nederlandse Reisopera and the Stadttheater St Gallen. Concert
highlights have included performances with the BBC Scottish
Symphony Orchestra, the Hallé, the Finnish Radio Symphony
Orchestra and the NDR Sinfonieorchester, Hamburg.
His recordings include Narraboth in Strauss’ Salome (Chandos) and
Doctor Yes in Mark-Anthony Turnage’s Anna Nicole (Opus Arte).
Conductors with whom he has worked include Stefan Asbury,
Stephen Barlow, Brad Cohen, Paul Daniel, Sir Mark Elder, Edward
Gardner, Antony Hermus, Lothar Koenig, Jiri Kout, Charles Mackerras,
Gianluca Marcianò, Sakari Oramo, Anthony Negus, Sir Antonio Pappano,
George Pehlivanian, Donald Runnicles and Mark Wigglesworth.
Engagements this season and beyond include Pang in Puccini’s
Turandot for Northern Ireland Opera, the revival of Anna Nicole at
the Royal Opera, Raffaele in Verdi’s Stiffelio for Chelsea Opera Group,
Melot in Wagner’s Tristan und Isolde at the Théâtre des ChampsÉlysées, Beethoven’s Symphony No 9 on tour with the Warsaw
Philharmonic, and Grace Williams’ Missa Cambrensis with the
BBC National Orchestra of Wales.
Yvonne Howard studied at the
Royal Northern College of Music.
She made her debut at the
Royal Opera House as Mercedes
(Bizet’s Carmen)‚ where she
has also sung Suzuki (Puccini’s
Madame Butterfly)‚ Cornelia
(Handel’s Giulio Cesare)‚ Berta
(Rossini’s The Barber of Seville)‚
Second Norn (Wagner’s Der
Ring des Nibelungen)‚ Leonore
(Beethoven’s Fidelio) and Mother
(Humperdinck’s Hansel and Gretel).
Recent and future engagements
include Bellini’s Norma (Opera
Holland Park); Caesonia in Detlev Glanert’s Caligula (English National
Opera and Teatro Colón‚ Buenos Aires); Katisha in Gilbert and Sullivan’s
The Mikado (ENO); Fricka in Wagner’s Das Rheingold and Die Walküre,
and roles in Britten’s Peter Grimes, The Turn of the Screw and
A Midsummer Night’s Dream (all Opera North); Mrs Grose in The Turn
of the Screw (Northern Ireland Opera); Mother in Hansel and Gretel
and Mademoiselle Paturelle in Offenbach’s Vert-Vert (Garsington); the
title role in Holst’s Savitri with Choros Chamber Choir; and Sieglinde in
Wagner’s Die Walküre with the Hallé Orchestra under Sir Mark Elder.
Further UK appearances include roles in Puccini’s Tosca, Verdi’s Rigoletto
and Falstaff, Walton’s Troilus and Cressida, Gounod’s Romeo and Juliet
and Jonathan Dove’s Swanhunter (Opera North); Handel’s Xerxes‚ Verdi’s
Falstaff, Tchaikovsky’s Eugene Onegin and Mozart’s The Marriage of
Figaro (ENO); Norma (ETO); Verdi’s Aida (Royal Albert Hall); Donizetti’s
Roberto Devereux and Beethoven’s Fidelio (Opera Holland Park).
Notable concert repertoire includes Angel in Elgar’s The Dream of
Gerontius‚ Verdi’s Requiem and the song cycles of Mahler and Berlioz.
Recordings include Wagner’s Die Walküre with Sir Mark Elder (Hallé)‚
Handel’s Messiah (Arte Nova Classics)‚ Troilus and Cressida‚ Boris
Godunov and The Bartered Bride (Chandos), as well as Marilyn
Klinghoffer in the TV film of John Adams’ The Death of Klinghoffer.
lso.co.uk
Artist Biographies
Joshua Bloom
Daedalus (Bass)
25
Malcolm Storry
Minos
Australian bass Joshua Bloom
studied on the Young Artist
Programme of Opera Australia,
and later the Merola and Adler
Fellowship Programmes at the
San Francisco Opera.
Recent engagements have
included Masetto in Mozart’s
Don Giovanni (Metropolitan
Opera and Los Angeles Opera);
Escamillo in Bizet’s Carmen, the
title role in The Marriage of Figaro,
Rodolfo in Bellini’s La sonnambula
and Leporello in Don Giovanni
(Opera Australia); Harašta in
Janáček’s The Cunning Little Vixen (New York Philharmonic); Leporello
in Don Giovanni, Alidoro in Rossini’s La Cenerentola, Don Fernando in
Beethoven’s Fidelio and Harašta in The Cunning Little Vixen (Garsington
Opera); Truffaldino in Strauss’ Ariadne auf Naxos (Metropolitan
Opera); Quince in Britten’s A Midsummer Night’s Dream (Bari and
Reggio Emilia); Colline in Puccini’s La bohème (Royal Philharmonic
Orchestra); Angelotti in Puccini’s Tosca (Los Angeles Opera); Collatinus
in Britten’s The Rape of Lucretia (Teatro Dante Alighieri, Ravenna);
and appearances with San Francisco Opera, Santa Fe Opera and
the Wiener Staatsoper.
Engagements in the 2014/15 season include Colline in Puccini’s
La bohème (Washington National Opera) and the Pirate King in Gilbert
and Sullivan’s The Pirates of Penzance for English National Opera.
In concert, Bloom has appeared with the Melbourne, Queensland,
Adelaide and Western Australian Symphony orchestras, as well as
with the New York Philharmonic, the LA Philharmonic and the
Birmingham Contemporary Music Group.
British actor Malcolm Storry
established his career in the
theatre in the 1970s and 1980s,
with regular roles as an associate
artist with the Royal Shakespeare
Company. Throughout his career
he has appeared on stage in
productions for the National
Theatre (Oedipus, The Royal Hunt
of the Sun, A Midsummer Night’s
Dream), the Old Vic (After Aida),
Wyndhams Theatre (Art), Almeida
Theatre (The Tempest), Theatre
Royal Drury Lane (The Lord of the
Rings) and Donmar Warehouse
(Life is a Dream), among others.
His many television appearances have included roles in Father Brown,
The Shadowline, Midsomer Murders, Doc Martin, New Tricks, Above
Suspicion, Jekyll, Dead Clever, The Debt, Sword of Honour, The Knock,
Children of the New Forest, Food for Ravens, Heartbeat, Pie in the Sky,
Wycliffe, Inspector Morse, Dangerfield, A Pinch of Snuff, Redemption,
Pride and Extreme Prejudice, The Return of Sherlock Holmes,
Dogfood Dan and the Camarthen Cowboy, Startrap, Death of a Son,
The Beiderbecke Tapes, Boon, The Secret World of Polly Flint,
Yesterday’s Dreams, The Singing Detective, The Professionals,
Bread or Blood, Pay for Today and Rumpole of the Bailey.
He also appeared as a presenter in the documentary The Search
for Shakespeare.
He has featured in a number of films, including The Princess Bride,
The Last of the Mohicans, The Scarlet Letter and Under Suspicion.
26 Artist Biographies
5 July 2015
Simon Halsey
Choral Director
Simon Halsey is a sought-after conductor of
choral repertoire at the very highest level and an
ambassador for choral singing across the world.
Since 2001 he has been Principal Conductor of the
Rundfunkchor Berlin, the permanent partner of the
Berliner Philharmoniker, and he has recently been
made their Conductor Laureate. In the UK, Halsey
has been Chorus Director of the City of Birmingham
Symphony Orchestra Choruses for over 30 years
and, in 2012, was appointed Choral Director of the
LSO and London Symphony Chorus. In this position,
Halsey leads choral activities across the LSO’s
performance and education programmes.
Choral Director
London Symphony Orchestra
London Symphony Chorus
Chorus Director
City of Birmingham Symphony
Simon Halsey is also Artistic Director of the Berliner
Philharmoniker’s Youth Choral Programme, as well
as Director of the BBC Proms Youth Choir. Since
2014 he has been Artistic Advisor of the Choir
Academy of the Schleswig-Holstein Musik Festival.
Making singing a central part of these world-class
institutions, Halsey has been instrumental in changing
the level of symphonic choral singing across Europe.
Orchestra Choruses
Conductor Laureate
Rundfunkchor Berlin
Artistic Director
Berlin Philharmonic
Youth Choral Programme
Director
BBC Proms Youth Choir
Since becoming Choral Director of the London
Symphony Orchestra and London Symphony Chorus
in 2012, Halsey has been credited with bringing
about a ‘spectacular transformation’ (London
Evening Standard) of the LSC. In 2014/15 the LSO and
LSC performed Schumann’s Das Paradies und die
Peri with Sir Simon Rattle. In addition to its work with
the LSO, the choir joined the Gewandhausorchester
Leipzig and Alan Gilbert for a performance of
Beethoven’s Ninth Symphony at the BBC Proms,
and the BBC Philharmonic and Juanjo Mena for
Beethoven’s Fidelio in Manchester. In 2014 Halsey
also conducted the LSC in a series of a cappella
concerts across the UK, including Tallis’ Spem in
alium and Rachmaninov’s Vespers.
Simon Halsey is Professor and Director of Choral
Activities at the University of Birmingham, where he
directs a postgraduate course in Choral Conducting,
in association with the CBSO. Halsey is in great
demand as a teacher at other universities and has
presented masterclasses at top universities such as
Princeton and Yale. In 2011 Schott Music published
his book and DVD on choral conducting, Chorleitung:
Vom Konzept zum Konzert, as part of its ‘Master
Class’ series.
Halsey has worked on numerous recording projects,
many of which have won major awards, including
the Gramophone Award, Diapason d’Or and Echo
Klassik. He has won three Grammy Awards for his
recordings with the Rundfunkchor Berlin: 2007,
2008 (Best Choral Performances) and 2011 (Best
Opera Performance). As part of a new relationship
with Deutsche Grammophon, Halsey and the
Rundfunkchor Berlin recorded Spheres with violinist
Daniel Hope, as well as Morgenlicht, a choir-only
recording of German hymns, both released in
2013. Highlights of his discography with the CBSO
Chorus on EMI Classics include Elgar’s The Dream
of Gerontius with the CBSO, Sir Simon Rattle, Dame
Janet Baker and John Shirley-Quirk; Beethoven’s
Ninth Symphony with the Vienna Philharmonic and
Sir Simon Rattle; and Mahler’s Symphony No 2 with
the CBSO, Sir Simon Rattle, Dame Janet Baker and
Arleen Auger.
Born in London, Simon Halsey sang in the choirs of
New College, Oxford, and King’s College, Cambridge,
before studying conducting at the Royal College of
Music. He was awarded The Queen’s Medal for Music
2014 and recently received a CBE in the Queen’s
Birthday Honours. He was awarded the Officer’s Cross
of the Order of Merit of the Federal Republic of
Germany in 2011, and holds three honorary doctorates.
lso.co.uk
LSO Discovery Choirs
27
LSO Discovery Choirs
On Stage
The LSO Discovery Choirs are made up of over 100 young people aged
seven and upwards who live or go to school in Hackney, Islington
or the City of London (Junior Choir) or any London borough (Senior
Choir). Formed in June 2004 by Gareth Malone, the Choirs have sung at
Windsor Castle for His Royal Highness The Prince of Wales, with Dave
Brubeck, with the LSO at the Barbican, and in the premiere of Edward
Rushton’s oratorio Cicadas alongside the LSO Community Choir and
LSO players. The Choirs also performed at the Olympic Torch Relay for
Islington Council in July 2012. The Junior Choir is conducted by Lucy
Griffiths and the Senior Choir is conducted by David Lawrence.
LUCY GRIFFITHS
Lucy Griffiths is a conductor, workshop leader, and animateur, and
is Assistant Director of Music at the University of Warwick, where
she motivates music-making amongst students, staff and the local
community. An expert in music education, she was formerly Director of
the Royal Liverpool Philharmonic Training Choirs and lectured in choral
conducting at the Royal Welsh College of Music and Drama.
DAVID LAWRENCE
David Lawrence is one of the UK’s most versatile conductors, working
with orchestras, symphony choruses and youth choirs, both in the UK
and internationally. Recently nominated for a Gramophone Award, he
currently holds the Guinness World Record for conducting the UK’s
largest choir, and adjudicates at choral festivals and competitions.
JUNIOR CHOIR
Leo Adjaye
Ashana Asomani
Ilaria Balestra Lawrence
Jael Balgobin
Delina BirhaneGhetaceu
Ellen Blann
Neena Brokenshire
Destina Cinar
Ali Cinar
Marnie Clark Course
Carina Clewley
Megan Crooks
Agathe Danzin
Poppy Dawid
Eve Dawit
Juanita Debrah
Khya Dillon
Elliott Fossiez Revenu
Achille Fossiez Revenu
Sole Galeone
Inji Galliet-Jakoby
Jessica George
Freya Goodsir
Neo Hunt
Caleb Hunter
Saskia Hunter
Mario Ikuomola-Andre
Zadie Jennings
Ruby Johnson
Nissa Khaliq-Rattray
Georgia Kinsella
Darcy Lamb
Melody Lane
Soma Lengyel
Cora Lloyd-Prieto
Leona Maneechak
Evelyn-Rose Masol
Aiyana Mason
Maeve McAllister
Beatrice Meaker
Raffaele Mele
Kitty Morgan
Maud Morris
Rosa Ovayolu
Ilka Parry
Alice Paulton
Ezra Roy Little
Killian Scortichini
Sharon Segaye
Angela Shaqiri
Gaia Siddle
Tsion Tafari
Tehya Teo
Lia Tesfai
Cedric Tomlin
Sebastian Veliz Boguski
Grace Wenban Williams
Khian West
Mimi Wilson
Thea Wilson
Luba Wilson-Max
SENIOR CHOIR
Carlotta Balestra
Lawrence
N’Dea Balgobin
Orchid Balgobin
George Benson
Holly Brown*
Brieanna Burton
George CarringtonJohnson
Alby D’Rozario-Gray
Olivia Ferrari
Skye Fitzgerald
McShane
Ludovic Goetz-Hunter
Anastasiia Golovina*
Esmee Graber
Josie Howe
Kira Howe
D’Carlos IkuomolaAndre
Sumia Ismaili
Kitty Kelly
Theodore Lamarche
Jessica Magnus
Valentino Makambo
Kai Malloy
Abel Masho
Lakshmi Maslen
Chavdar Mazgalov*
Natasha Merchant
Catherine Michel*
Eleanor Neate*
Judah Olajide
Ebenezer Poku
Georgia Renvoize
Tennessee Renvoize
Ruby Riley
Jack Roberts*
Lyra Robinson-Winning
Andreas SalcedoCespedes
Topsy Sallows
Leticia Sandoval-Solyom
Elizabeth Simpson
Caspar Singh*
Imogen Smith
Martha Thornborrow
Aurele Tobelem
Valentin Truman
Michael Vickers*
Sadie Wilcox
Julia Willers
Debora Yohannes
* Undergraduate singers from the
Guildhall School
28 LSO Community Choir
5 July 2015
LSO Community Choir
On Stage
The LSO Community Choir offers weekly music-making sessions for
adults who live and work in the community surrounding LSO St Luke’s.
The 100-strong group is conducted by David Lawrence and undertakes
regular large-scale performances at the Barbican, as well as termly
concerts at LSO St Luke’s.
Highlights from the Choir’s vibrant history include a performance
with the South African trumpet legend Hugh Masekela, which was
broadcast on BBC Four TV, and performances with the LSO as part of
LSO Discovery’s Rites of Passage concerts. Other recent performances
include Andrew Smith’s Norwegian Requiem with trumpet virtuoso
Arve Henriksen, keyboard maestro Ståle Storløkken and Choralia,
the choir of Wells Cathedral School, as part of the UBS Soundscapes:
Eclectica concert series at LSO St Luke’s. The Choir also performs
regularly for the local community as part of the Whitecross Street Party.
SOPRANOS
Jasmine Allen
Alison Archibald*
Jenny Bell
Julie Bruscini
Nevo Burrell
Sandrina Carosso*
Maria Coonick
Liz Cunningham
Eilish Dempsey
Gabrielle Fisher
Suzanna Hamilton
Annie Hawker
Della Hirons
Angelina Kennedy
Jan Newbigin
Sheila Ogilvie
Rosaline Ogunro
Rachel Owen
Ruth Paker
Pauline Pearson
Hannah Ross
Anna Standley
Anne Stansfield
Rachel Starling
Carol Stewart
Maggie Tyler
Fotini Vergottis
ALTOS
Daphne Alexander
Rosa Amoroso
Adrienne Banks
Jo Barton
Jane Bickerton
Annie Blackmore
Elzbieta Chandrasena
Deborah Cherry
Jacqueline Chow
Madeline Church
Emma Coften
Tania Cohen
Anne Corbett
Sarah Crook-Chai
Linda Crow
Claire Deakin
Moe Faulkner
Christine Finlan
Janet Fitch
Bernadette Hancock
Beverley Heath
Alison Hunter
Marie-Helene Jeeves
Pauline Jenkins
Patricia McGeough
Mel Palmer
Grace Payne
Dilys Rees
Tessa Sheridan*
Ellen Sinclair
Shirin Tata
Rosemary Taylor
Marianne Viola
Carolyn Wagstaff
TENORS
Nick Brittain*
Jill Courtnell
Tara Frances*
Rory Guy
James Hill
Yvonne Jacobs-Jones*
Julian Macqueen
Johnas Manangan
Esther Meecham
Zina Nour
Lily O’Brien
Mena Rego
Steven Smith
Milan Stamenkovic
Jill Sutherland
Karen Wheeler
Peter Wylie
BASSES
Neil Campbell
Ollie Craske
Adam Dale
Charles Dean
Gabriel Diaz-Emparanza
Kimmett Edgar
Will Ellsworth-Jones*
Romney Fox
Dan Knight
Jason Lord
Matthew Miller
Benjamin Press
Robert Shutes
Pete Sutton*
Richard Taylor
Paul Tilley
Paul Turley
* denotes LSO
Community Choir
Voice representative
The LSO Community and LSO Discovery Choirs are generously supported by
The John S Cohen Foundation, The Slaughter and May Charitable Trust, and
the Rothschild Charities Committee.
The Community Choir is open to people who live or work in EC1.
There is no audition process but there is currently a waiting list.
If you would like to be added to the list or would like any further
information, please email [email protected].
They also form part of LSO Sing, the LSO and LSC Choral programme,
which is generously supported by the J Paul Getty Jnr Charitable Trust,
and Sir Siegmund Warburg’s Voluntary Settlement.
lso.co.uk
Artist Biographies
Alasdair Middleton
Libretto
29
Thomas Guthrie
Stage Director
Alasdair Middleton was born
in Yorkshire and trained at
Drama Centre, London.
His work as a librettist includes
Diana and Actaeon (Royal Ballet),
The Walk from the Garden
(Aegeas Salisbury International
Arts Festival), Life Is A Dream
(Birmingham Opera Company),
Mansfield Park (Heritage Opera),
Swanhunter (Opera North),
The Enchanted Pig (The Young
Vic, ROH2), The Adventures of
Pinocchio (Opera North) and
the cantata On Spital Fields
(Spitalfields Festival, winner of a Royal Philharmonic Society Award),
all with his regular collaborator Jonathan Dove.
His work with Paul Englishby has included Pleasure’s Progress (ROH2),
Who Is This That Comes (Opera North) and The Crane Maiden (KAAT
Yokohama). Other librettos have included The World Was All Before
Them, On London Fields (winner of a Royal Philharmonic Society
Award), A Bird In Your Ear (New York City Opera), The North Wind
Was A Woman (a song cycle for Dawn Upshaw), Everything Money
Can Buy (Selfridges), and The Feathered Friend.
He has written four plays: Aeschylean Nasty, Shame On You Charlotte,
Casta Diva and Einmal.
An innovative director, musician,
singer, writer and actor working
in classical music and theatre,
Guthrie recently completed
two years as Young Artist Stage
Director at the Royal Opera
House, Covent Garden. In 2014
he directed a revival of Rossini’s
The Barber of Seville for the Royal
Opera House, and directed and
performed in Purcell’s The Fairy
Queen for Middle Temple Hall.
This year he has been assistant
director to Sir David McVicar for
Giordano’s Andrea Chénier and
Mozart’s The Magic Flute, at the
ROH, revived Andrea Chénier for the NCPA, Beijing, and produced a
new Easter show for Classical Opera Company, J C Bach’s Adriano in
Siria. He will also direct Tavener’s The Veil of the Temple in Norway and
a revival of Stephen McNeff’s award-winning Tarka the Otter for the
Two Moors Festival.
Guthrie’s own production company, GOT Company, received critical
acclaim for its recent show at Spitalfields Festival, Death Actually,
which includes the world’s first staging of three Bach motets and an
orchestration of Schubert’s Die Schöne Müllerin with a puppet, strings,
guitars and percussion. A passionate advocate for music education,
Guthrie has also worked with Streetwise Opera, leading regular music
theatre workshops with London’s homeless people.
Guthrie began his musical training as a boy under George Guest at
St John’s College, Cambridge. He returned to Cambridge to read
Classics at Trinity College, before winning a scholarship to study at the
Royal Northern College of Music, where prizes included the Schubert
Prize, and an ESU scholarship to study with Sir Thomas Allen in Chicago.
As a baritone, Guthrie has sung in some of the world’s most prestigious
venues, and has recently re-trained as a tenor, explaining, ‘Tenors
definitely have all the fun, and are more likely to play the love interest!’.
He lives in London and is a proud dad to two boys aged ten and eight.
30 Artist Biographies / Guildhall Symphony Orchestra
Rhiannon Newman-Brown
Designer
Rhiannon has eleven years of
experience in the theatre, opera
and events industry as a set and
costume designer, art director,
production manager and producer.
Opera set and costume designs
have included: community opera
The Freedom Game (Surrey Arts,
Royal Albert Hall) the Royal Opera
House Youth Opera Company
Triple Bill (Royal Opera House
Gala, Linbury Theatre), Road Rage
(Garsington Opera), Handel’s
Tamerlano, Mozart’s Così fan
tutte and Tchaikovsky’s Eugene
Onegin (opera by definition), and the double-bill On Off and When I am
Old (Glyndebourne Youth Opera). She was a course leader for the Royal
Opera House’s Write an Opera project.
Theatre set and costume designs have included: The River Line (Jermyn
Street Theatre), Fewer Emergencies and City of Lost Angels (The Print
Room), James and the Giant Peach (Nuffield Theatre), Judgement at
Nuremberg and To Kill a Mockingbird (Tricycle Theatre).
Other positions have included Props Production Manager for the
London 2012 Olympic Ceremonies, Art Director for Secret Cinema,
Producer for Secret Cinema Presents Back to the Future, Art Director
for Alice’s Adventures Underground and Creative Producer for Bourne
and Hollingsworth.
5 July 2015
Guildhall Symphony Orchestra
On stage
Rated No 1 specialist institution in the UK by The Guardian University
Guide 2013 and 2014, the Guildhall School is one of the world’s leading
conservatoires and drama schools. Studying music at Guildhall involves
intensive, dedicated learning, mostly at one-to-one level; surrounded
by actors, stage managers and theatre technicians, Guildhall musicians
are part of a thriving arts community next door to one of Europe’s
leading arts centres, the Barbican Centre, and learn from the School’s
renowned international teaching staff while collaborating in world-class
music-making.
The School’s relationship with the LSO and the Barbican is a pioneering
cultural alliance between a world-class orchestra, arts centre and
conservatoire in the City of London, offering an unrivalled programme
for audiences and transformative opportunities for young people.
Guildhall musicians benefit from many opportunities as a result of
this alliance, including LSO Platforms: Guildhall Artists, a concert
series which showcases senior Guildhall musicians performing
complementary repertoire on the Barbican stage before LSO concerts;
and Orchestral Artistry, an exciting new postgraduate specialism for
instrumentalists seeking a career in orchestral playing, part of the
Guildhall Artist Masters programme and delivered in association with
the LSO. Students on this course receive orchestral training, sectionals
and audition training from Guildhall professors and LSO players, as
well as the chance to take part in masterclasses, chamber coaching
and Q&A sessions with LSO players and international artists working
with the LSO. This evening’s concert features many students from
this course, as well as instrumentalists from other undergraduate
and postgraduate programmes at the Guildhall School.
The latest development in the cultural alliance is the appointment of
Sir Simon Rattle as Artist in Association with the Guildhall School and
the Barbican Centre, which will be undertaken alongside his role as
Music Director of the LSO from the 2017/18 season. Driving forward
Sir Simon’s desire to bring performance, orchestral practice, artistic
creation, learning and discovery together in a single vision for the
future, this appointment promises further exciting side-by-side
projects for Guildhall School orchestral musicians in the future.
lso.co.uk
Guildhall Symphony Orchestra
Guildhall Symphony Orchestra
The Monster in the Maze
Guildhall Symphony Orchestra
Walton Symphony No 1
CELLOS
Anaïs Laugenie
Samuel Justitz
Thomas Marlin
Daniel Benn
Martti Laivuori
Ben Petrover-Shiboleth
FIRST VIOLINS
Nihat Agdac
Katherine Meyers
Dorothea
Chatzigeorgiou
Lucia Veintimilla Macian
Monika Chmielewska
Danica Smith
Oliver Cave
Catherine Poplyansky
DOUBLE BASSES
Oskari Hanhikoski
Siret Lust
FLUTE / PICCOLO
Rosie Bowker
OBOE
Grace Warren
CLARINET
Alejandro Villanueva
Canovas
BASSOON
Tom Hickman
HORNS
Jonathan Quaintrell-Evans
Molly Flanagan
Daniel de Souza
Catriona Igoe
Margrethe Lysholm
TRUMPET
Matthew Rainsford
TROMBONES
Andrew McCoy
Jane Salmon
BASS TROMBONE
Barnaby Medland
TUBA
George Ellis
PERCUSSION
Merlin Jones
Vonald Chow
Dorothy Raphael
SECOND VIOLINS
Anna Roder
Claudia Sanson
Ana Vale
William Newell
Alan Estruga Castello
Angela Jung
Hikaru Matsukawa
Venetia Jollands
VIOLAS
Christoph Slenczka
Henrietta Hill
Valerie Albrecht
Christopher Deakins
Francis Gallagher
Sue Yeon Lee
Fraser Keddie
Wai Bun Chan
CELLOS
Ben Petrover-Shiboleth
Samuel Justitz
Thomas Marlin
Daniel Benn
Anaïs Laugenie
Martti Laivuori
Solene Chevalier
DOUBLE BASSES
Siret Lust
Oskari Hanhikoski
Gwendolyn Reed
Joseph Straker
Martin Ludenbach
Giacomo Banella
FLUTE
Rosie Bowker
FLUTE / PICCOLO
Rebecca Griffiths
OBOES
Grace Warren
Zoe Cartlidge
CLARINETS
Stephen Williams
Alejandro Villanueva
Canovas
BASSOONS
Tom Hickman
Cerys Ambrose Evans
31
HORNS
Jonathan QuaintrellEvans
Margrethe Lysholm
Daniel de Souza
Molly Flanagan
TRUMPETS
Matthew Rainsford
Michael Mason
Oscar Whight
TROMBONES
Kris Garfitt
Jane Salmon
BASS TROMBONE
Barnaby Medland
TUBA
George Ellis
TIMPANI
Dorothy Raphael
PERCUSSION
Vonald Chow
32 The Orchestra
5 July 2015
London Symphony Orchestra
On stage
FIRST VIOLINS
VIOLAS
Gordan Nikolitch Leader Paul Silverthorne
Carmine Lauri
Malcolm Johnston
Lennox Mackenzie
Regina Beukes
Clare Duckworth
Anna Bastow
Ginette Decuyper
Lander Echevarria
Jorg Hammann
Robert Turner
Gerald Gregory
Heather Wallington
Maxine Kwok-Adams
Jonathan Welch
Laurent Quenelle
CELLOS
Harriet Rayfield
Rebecca Gilliver
Colin Renwick
Alastair Blayden
Ian Rhodes
Jennifer Brown
SECOND VIOLINS
Hilary Jones
David Alberman
Amanda Truelove
Thomas Norris
Hester Snell
Sarah Quinn
Morwenna Del Mar
Miya Väisänen
DOUBLE BASSES
Matthew Gardner
Colin Paris
Naoko Keatley
Nicholas Worters
Belinda McFarlane
Patrick Laurence
Philip Nolte
Thomas Goodman
Andrew Pollock
Joe Melvin
Paul Robson
Simo Väisänen
FLUTES
Adam Walker
Alex Jakeman
PICCOLO
Sharon Williams
OBOES
Timothy Rundle
Michael O’Donnell
CLARINETS
Andrew Marriner
Chi-Yu Mo
BASSOONS
Daniel Jemison
Joost Bosdijk
CONTRA BASSOON
Dominic Morgan
IF YOU LIKED THIS, YOU MIGHT LIKE …
HORNS
Timothy Jones
Angela Barnes
Alexander Edmundson
Jonathan Lipton
Andrew Budden
TRUMPETS
Philip Cobb
Gerald Ruddock
Daniel Newell
TROMBONES
Dudley Bright
James Maynard
BASS TROMBONE
Paul Milner
TUBA
Patrick Harrild
TIMPANI
Nigel Thomas
PERCUSSION
Neil Percy
David Jackson
HARP
Bryn Lewis
Sun 26 Jun 2016 7pm, Barbican
Peter Maxwell Davies The Hogboon
(world premiere, LSO commission)
Berlioz Symphonie fantastique
Sir Simon Rattle conductor
LSO Discovery Choirs
London Symphony Chorus
Simon Halsey choral director
Guildhall School Musicians
London Symphony Orchestra
lso.co.uk | 020 7638 8891
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 15 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
Help Musicians UK
The Garrick Charitable Trust
The Lefever Award
The Polonsky Foundation
London Symphony Orchestra
Barbican
Silk Street
London
EC2Y 8DS
Registered charity in England No 232391
Details in this publication were correct
at time of going to press.
Editor
Edward Appleyard
[email protected]
Photography
Igor Emmerich, Kevin Leighton,
Bill Robinson, Alberto Venzago
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