Saturday 9 December 2006, 7.30pm Juan Diego Flórez tenor Vincenzo Scalera piano Mozart Dies Bildnis ist bezaubernd schön (Die Zauberflöte ) Mozart Ah! lo veggio (Così fan tutte ) Mozart Il mio tesoro (Don Giovanni ) Rossini L’esule Rossini Intesi, ah, tutto intesi (Il turco in Italia) Rossini Deh! troncate i ceppi suoi (Elisabetta, regina d’Inghilterra) interval Arias Huiracocha Morales Malhaya Morales Hasta la guitarra llora Bellini Vanne, o rosa fortunata Bellini La ricordanza Bellini Per pietà, bell’idol mio Donizetti Linda! ... Si ritirò (Linda di Chamounix) This concert will end at approx. 9.20pm, each of the two parts of the programme lasting approx. 40– 45 mins. Barbican Hall The Barbican Centre is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation. Find out first Why not download your Great Performers programme before the concert? Each programme is now available online five days in advance of each concert. For details visit www.barbican.org.uk/ greatperformers Due to the possibility of last-minute changes, the online programme content may differ slightly from that of the final printed version. Notes Wolfgang Amadeus Mozart (1756-1791) Dies Bildnis ist bezaubernd schön (Die Zauberflöte) Ah! lo veggio (Così fan tutte) • Il mio tesoro (Don Giovanni ) In the opening scene of Mozart’s Die Zauberflöte (‘The love with her; looking at the portrait, he is troubled by Magic Flute’), Prince Tamino is given a portrait of Pamina, emotions he has never felt before in ‘Dies Bildnis ist bezaubernd schön’. daughter of the Queen of the Night. He at once falls in Dies Bildnis ist bezaubernd schön, Wie noch kein Auge je gesehn! Ich fühl’ es, wie dies Götterbild Mein Herz mit neuer Regung füllt. Dies Etwas kann ich zwar nicht nennen, Doch fühl’ ich’s hier wie Feuer brennen: Soll die Empfindung Liebe sein? Ja, ja, die Liebe ist’s allein! O, wenn ich sie nur finden könnte! O, wenn sie doch schon vor mir stände! Ich würde, würde, warm und rein ... Was würde ich? Ich würde sie voll Entzücken An diesen heissen Busen drücken, Und ewig wäre sie dann mein! This portrait is entrancingly beautiful, such as no eye has ever seen before! It feels to me as if this divine image fills my heart with new excitement. It’s something that I cannot name, yet I feel it here, burning like fire: might this emotion be love? Yes, yes, it is love alone! Oh, if only I could find her! Oh, if she were already standing before me! I would – I would – warm and pure ... what would I do? Enraptured, I would press her to this ardent breast, and then she would be mine for ever! Emanuel Schikaneder (1751-1812) In Mozart’s Così fan tutte (‘That is what all women do’), two young men have disguised themselves as exotic ‘Albanians’ in order to woo each other’s fiancées and thereby test their fidelity; of course, it all goes horribly wrong. At this point, Ferrando is beginning to break down the resistance of Fiordiligi, who is engaged to his friend; in ‘Ah! lo veggio’ he rejoices at his impending victory, protesting that she is being cruel to him by continuing to hold out against his advances. (Because of its extreme difficulty, this aria is usually omitted in performances of the opera, thus depriving the audience of a glimpse of Ferrando in exultant mood – a side of his character that we do not otherwise see.) Ah! lo veggio, quell’anima bella Al mio pianto resister non sa! Non è fatta per esser rubella Agli affetti di amica pietà. In quel guardo, in quei cari sospiri Dolce raggio lampeggia al mio cor: Già rispondi a’ miei caldi desiri, Già tu cedi al più tenero amor. Ah, I see that your fair soul cannot resist my tears! It is not capable of fighting against my tender feelings of friendly compassion. In that glance, in those dear sighs a sweet ray of hope lights up my heart; already you respond to my hot desires, already you yield to a most tender love. 2 Notes Ma tu fuggi, spietata, tu taci Ed invano mi senti languir? Ah! cessate, speranze fallaci, La crudel mi condanna a morir. But you flee, pitiless one, you are silent, and in vain you hear how I suffer? Ah, cease, false hopes! The cruel woman condemns me to die. Lorenzo da Ponte (1749-1838) While trying to seduce Donna Anna, Don Giovanni murdered her father; she then commanded her hapless fiancé, Don Ottavio, to avenge the murder. In Act II of Mozart’s Don Giovanni, Ottavio at last believes he has enough evidence to bring Don Giovanni to justice, and, in ‘Il mio tesoro’, asks his friends to look after the grieving Donna Anna while he goes to alert the authorities. Il mio tesoro intanto andate a consolar, E del bel ciglio il pianto cercate di asciugar. Ditele che i suoi torti a vendicar io vado; Che sol di stragi e morti nunzio vogl’io tornar. Meanwhile, go and console my beloved, and try to dry the tears from her fair eyes. Tell her that I go to avenge her wrongs, and that I shall return only as a messenger of death and destruction. Lorenzo da Ponte (1749-1838) Gioachino Rossini (1792-1868) L’esule • Intesi, ah, tutto intesi (Il turco in Italia) Deh! troncate i ceppi suoi (Elisabetta, regina d’Inghilterra) After William Tell, the last of his 40 or so operas, Rossini ‘retired’ from composition at the age of only 37, spending the rest of his days until his death (nearly 40 years later) in comfortable surroundings in Paris, where he enjoyed convivial company and a considerable reputation as a gourmet. Towards the end of his life he took up composing again, writing small piano pieces and songs which he called his péchés de vieillesse, or ‘sins of old age’. One of these was an aria for tenor, ‘L’esule’ (‘The Exile’), composed in the late 1860s. An exile in an idyllic far-off land pines for his home in the Italian city of Genoa. Qui sempre ride il cielo, Qui verde ognor la fronda, Qui del ruscello l’onda Dolce mi scorre al piè: Ma questo suol non è la Patria mia. Here the sky is always smiling, here the branches are always green, here the waters of the brook run sweetly at my feet; but this land is not my homeland. Qui nell’azzurro flutto Sempre si specchia il sole, I gigli e le viole Crescono intorno a me; Ma questo suol non è la Patria mia. Here the sun is always reflected in the azure waves, lilies and violets grow all around me; but this land is not my homeland. please turn page quietly 3 Notes Nell’Itale contrade È una citta regina, La Ligure marina Sempre le bagna il piè; La ravvisate? Ell’è la Patria mia. La Patria mia ell’è. On the Italian coast is the queen of cities, the sea of Liguria forever bathes her feet; do you recognise her? She is my homeland. My homeland is she. Giuseppe Torre (dates unknown) Il turco in Italia (‘The Turk in Italy’) is one of Rossini’s early comic operas, written for La Scala, Milan, in 1814, two years before The Barber of Seville. Fiorilla, a desperate Italian housewife, is bored with her ageing husband and susceptible to the charms of Selim, a glamorous visitor from Turkey. She has also wearied of the advances of an admirer, the tenor Don Narciso, who is presented by Rossini as a slightly ridiculous, self-regarding figure (no doubt to poke fun at the conventional romantic tenor hero). Narciso overhears Selim plotting to run away with Fiorilla, and in ‘Intesi, ah, tutto intesi’ sings of his determination to thwart them and win back Fiorilla. Intesi, ah, tutto intesi. In questo albergo mi guidò la fortuna. Ingrata donna, non fuggirai da me! Tutto vogl’io tentar perché mi resti; La fé mi serberai, che promettesti. I heard, ah, I heard everything. Fate led me to this place. Ungrateful woman, you shall not run away from me! I will do anything to make you stay with me; you will keep the promise you made to me. Tu seconda il mio disegno, Dolce amor, da cui mi viene. Deh! ricusa a tutti un bene, Che accordasti solo a me. Se il mio rival deludo! Se inganno un incostante! Per un offeso amante Vendetta egual non v’è. Ah! sì; la speme Che sento in core, Pietoso amore, Mi vien da te. Sweet Love, further my plan, which comes from you. I beg you, deny everyone the prize that you granted to me alone. If I can outwit my rival, if I can deceive an inconstant woman, for a spurned lover there’s no revenge to equal it. Ah yes, the hope I feel in my heart comes to me from you, merciful Love. Felice Romani (1788-1865) The lives and loves of English royalty, particularly the Tudors and Stuarts, were favourite subjects for Italian composers of the early 19th century. Although it dates from the same period as Il turco in Italia, Rossini’s Elisabetta, regina d’Inghilterra (‘Elizabeth, Queen of England’), written in 1815, is one of his serious operas on a grand scale, in a very different vein. 4 Queen Elizabeth is enraged to discover that her favourite, the Earl of Leicester, has secretly married; she has put him in prison, awaiting execution. The Duke of Norfolk has also incurred the Queen’s wrath, and has been banished. Deh! troncate i ceppi suoi’, he incites the populace to In ‘D revolt against the Queen and set Leicester free. Notes Deh! troncate i ceppi suoi; Deh! serbate a Elisa, al regno Il più grande fra gli eroi, Il più degno di pietà. Non ha core chi non sente La possanza d’amistà. Ah, break his chains; ah, for Elizabeth, for the kingdom save the greatest of heroes, the most deserving of mercy. He who does not feel the power of friendship has no heart. (Vendicar saprò l’offesa; Di furor questa alma accesa Quell’ingrata punirà.) (I shall avenge the insult; my soul, on fire with anger, will punish that heartless woman.) Giovanni Federico Schmidt (1775-1835), after the play by Carlo Federici (1778-1848), based on the novel The Recess, Or A Tale of Other Times, by Sophia Lee (1750-1824) interval Clotilde Arias (1901-1959) Huiracocha Rosa Mercedes Ayarza de Morales (1881-1969) Malhaya • Hasta la guitarra llora Juan Diego Flórez is a great champion of the music of his Huiracocha (or Viracocha) was a god of the Incas, native Peru, and tonight he includes three songs by two of although the cult is even older; the legend recounts that that country’s most distinguished composers of recent times. he emerged from the depths of Lake Titicaca to create the sun, moon and stars, and breathed life into Allcavica, Singer, lyricist and composer Clotilde Arias was born in ancestor of the Inca people. According to Clotilde Arias’s Iquitos on the shores of the Amazon, and went to the USA own programme note, this song ‘Huiracocha’ is in 1924 to study music, supporting herself by playing the ‘dedicated to “the Indian, the Forgotten Man of the piano for silent movies. She composed the famous Hymn Americas”. It tells of the sadness of a race calling to the of the Americas, and wrote the original Spanish lyrics for ancient god of their forefathers, who no longer hears his a number of popular songs that have become wellchildren.’ known in translation (‘Rum and Coca-Cola’, ‘You Are Everything to Me’). Huiracocha! Dios del Inca y Dios mío, De mis padres las bonanza, De mis hijos la esperanza; Ya tus tierras no florecen Huiracocha! God of the Inca and my god, the prosperity of my fathers, the hope of my children; your lands do not blossom please turn page quietly 5 Notes Y tus templos enmudecen Y en mi alma hay un vacío, Huiracocha Padre mío. En las mañanas frías De vastas serranías, Yo voy tocando mi quena; Los andes milenarios, los andes solitarios, Saben que canto mi pena; Mis palacios derruidos Hablan de mi vieja gloria Cuando el sol, tu emblema santo, Entretejía mi historia. Ya no entona sus canciones La dulce ñusta sagrada, Ya no liba el Inca altivo De noble copa dorada. Donde estás que no me escuchas Y no sabes de mis luchas, Huiracocha! Dios del Inca y Dios mío, De mis padres las bonanza, De mis hijos la esperanza; A tus tierras no florecen Y tus templos enmudecen Y en mi alma hay un vacío, Huiracocha Padre mío. and your temples are silent and in my soul there is a void, Huiracocha my father. In the cold mornings of the vast mountain ranges I walk, playing my Indian flute; the ancient Andes, the lonely Andes know that I sing of my sorrow; my ruined palaces speak of my former glory when the sun, your sacred emblem, wove my tale. The gentle sacred princess No longer intones her hymns, the proud Inca no longer pours a libation from the noble golden chalice. That is why you do not hear me and you do not know of my struggles, Huiracocha! God of the Inca and my god, the prosperity of my fathers, the hope of my children; your lands do not blossom and your temples are silent and in my soul there is a void, Huiracocha my father. Clotilde Arias (1901-1959) Born in Lima, Rosa Mercedes Ayarza de Morales was a child prodigy, giving her first public performance at the age of eight. She went on to become an important figure in establishing a musical tradition in Peru, as a composer and conductor, director of zarzuelas or folk-operas, and collector of Peruvian folk songs. She furthered the international careers of a number of Peruvian opera singers, including Lucrecia Sarria, Alejandro Granda, Ernesto Palacio and Luis Alva Talledo (better known as the tenor Luigi Alva). Her own compositions include many elements of Peruvian folk music; these two songs, ‘Malhaya’ and ‘Hasta la guitarra llora’ are among her best known. Malhaya, el amor, malhaya, Y quien me enseñó a querer, Que habiendo nacido libre Yo solo me cautivé. Dime mamititita donde has estado? Que todita la noche Yo te he buscado, yo te he buscado, zamba! Así decía un enfermo de amores que se moría. Cierto será? A curse, a curse on love, and on the one who taught me to love; having been born free I alone made myself captive. Tell me, little mama, where have you been? All night long I have looked for you, I have looked for you, half-breed girl! So said a victim of love who was dying. Can you be sure? Rosa Mercedes Ayarza de Morales (1881-1969) 6 Notes Hasta la guitarra llora, Siendo un madero vacío, Como no he de llorar yo Si me quitan lo que es mío. Si mañana te acordaras De que me quisiste un día, Sabrás entonces que hay penas Que nos acortan la vida. Tu representas las olas Y yo las playas del mar, Vienes a mí me acaricias, Ay, me das un beso y te vas. Quien sabes con otro dueño Tienes amores quien sabe, Tu mal agradecimiento Lo pagarás tu más tarde. Piénsalo bien, qué vas a hacer, No vayas a tropezar conmigo Otra vez y vuelvas a caer De nuevo para mí poder. Quién sabe! Even the guitar cries, though it is only a hollow piece of wood, while I have no reason to cry if they take away what is mine. If tomorrow you grant me what you wanted from me one day, then you will know that there are troubles that shorten our lives. You are like the waves and I the beaches of the sea, you come to me and caress me, alas, you give me a kiss and you go away. Who knows if you make love with another master, who knows? Later you’ll pay for your ingratitude. Think about it: what are you going to do? You won’t run into me another time and fall for me all over again. Who knows? Rosa Mercedes Ayarza de Morales (1881-1969) Vincenzo Bellini (1801-1835) Vanne, o rosa fortunata • La ricordanza Per pieta, bell’idol mio Bellini and Donizetti were the greatest Italian opera composers of the generation between Rossini and Verdi. Their speciality was bel canto (‘beautiful singing’), lyrical vocal lines and delicate accompaniments giving singers every opportunity to display their beauty of tone and artistry of execution. In his short life, Bellini wrote a dozen operas, including La sonnambula and Norma; less well known are his charming solo songs – including ‘Vanne, o rosa fortunata’, ‘La ricordanza’ and ‘PPer pietà, bell’idol mio’ – tender and intimate encapsulations of the composer’s fragile art. Vanne, o rosa fortunata, A posar di Nice in petto Ed ognun sarà costretto La tua sorte invidiar. Go, fortunate rose, to be placed on Nike’s bosom, and everyone will be obliged to envy your fate. please turn page quietly 7 Notes Oh, se in te potessi anch’io Transformarmi un sol momento; Non avria più bel contento Questo core a sospirar. Oh, if only I too could be transformed into you for a moment; my heart could have no finer joy to long for. Ma tu inchini dispettosa, Bella rosa impallidita, La tua fronte scolorita Dallo sdegno e dal dolor. But, lovely rose grown pale, you disdainfully incline your face, drained of colour by anger and sorrow. Bella rosa, è destinata Ad entrambi un’ugual sorte; Là trovar dobbiam la morte, Tu d’invidia ed io d’amor. Lovely rose, the same fate is destined for both of us; there on her bosom we shall find death, you from envy and I from love. (Author unknown) Era la notte, e presso di Colei Che sola al cor mi giunse e vi sta sola, Con quel pianger che rompe la parola, Io pregava mercede a martir miei. It was night, and beside the one who alone had reached my heart, and alone dwelt within it, with such weeping that words are silenced, I prayed for pity on my torment. Quand’Ella, chinando gli occhi bei, Disse (e il membrarlo sol me, da me invola): Ponmi al cor la tua destra, e ti consola: Ch’io amo e te sol’amo intender dei. When she, lowering her lovely eyes, said (and the mere memory of it enraptures me still): ‘Place your hand on my heart, and be comforted; for I love you and I shall love only you.’ Poi fatta, per amor, tremante e bianca, In atto soävissimo mi pose La bella faccia sulla spalla manca. Having done this out of love, white and trembling, in a most tender gesture she leaned her lovely face on my left shoulder. Se dopo il dolce assai più duol l’amaro; Se per me nullo istante a quel rispose, Ah! quant’era in quell’ora il morir caro! Since, after such sweetness, bitter pain hurts far more keenly, since for me no moment can compare to it, ah, how sweet would it have been to die in that hour! Count Carlo Pepoli (1796-1881) Per pietà, bell’idol mio, Non mi dir ch’io sono ingrato; Infelice e sventurato Abbastanza il Ciel mi fa. For pity’s sake, my fair treasure, do not tell me that I am ungrateful; Heaven has already made me unhappy and unfortunate enough. Se fedele a te son io, Se mi struggo ai tuoi bei lumi, Sallo amor, lo sanno i Numi, Il mio core, il tuo lo sa. Whether I am faithful to you, whether I languish in the gaze of your lovely eyes, Love knows, the gods know, my heart knows it, and so does yours. Pietro Metastasio (1698-1782), from Artaserse 8 Notes Gaetano Donizetti (1797-1848) Linda! ... Si ritirò (Linda di Chamounix) When not chronicling the real or imagined exploits of English royalty, 19th-century composers had a liking for stories set in exotic locations such as Scotland, Switzerland or the Black Forest. Donizetti and his librettist opted for the Alpine setting of Chamounix, where Linda, a poor farmer’s daughter, has fallen in love with Carlo, who is actually a rich Viscount although he has told her he is a penniless artist. But Carlo’s mother thinks Linda is not good enough for him, and has commanded him to marry someone more suitable. Carlo comes in search of Linda, but cannot bring himself to tell her about this discouraging turn of events. In ‘Linda! … Si ritirò’ he can foresee only a miserable future. Linda! … Si ritirò. Povera Linda! Non sa che l’orgogliosa madre mia Scoprì già il nostro amor, Ch’or da lei parto; Che s’oggi non istringo un odioso imeneo, Che già conchiuse il suo voler tiranno Un ordine real ... Mi strapperà dal seno l’infelice Qual vile seduttrice! Un sol momento Veder io la volea. No, non mi sento Or più coraggio: addio. Il ciel ti consoli, angelo mio. Linda! … She’s gone indoors. Poor Linda! She doesn’t know that my proud mother has found out about our love, and that I have just come from her; that if I do not at once agree to a hateful marriage, her tyrannical wishes will be backed up by royal decree ... She’ll snatch the poor girl from me as if she were a common slut! I wanted to see her just for a moment. No, now I feel my courage has deserted me: farewell. May Heaven bring you comfort, my angel. Se tanto in ira agli uomini È l’amor nostro, o cara, Il duro laccio infrangasi Di questa vita amara. Lassù nel cielo un termine La nostra guerra avrà. Linda, non son colpevole; Un traditor non sono: Ah! ben di te più misero, Pietà merto, perdono: Un ampio mar di lagrime Il viver mio sarà. If our love arouses such anger in other people, my darling, then let us break the harsh bonds of this bitter life. In heaven above our battles will have an end. Linda, I am not to blame; I am no traitor. Ah, I am surely more wretched than you, I deserve pity and forgiveness; my life will be a wide ocean of tears. Libretto by Gaetano Rossi (1774-1855), after the drama La grâce de Dieu by Adolphe-Philippe d’Ennery (1811-1899) and Gustave Lemoine (1802-1885) Programme notes and translations by Jonathan Burton © 2006 9 About the performers Juan Diego Flórez tenor Born in Lima, Peru, Juan Diego Flórez studied at the Curtis Institute in Philadelphia, before making his operatic debut as Corradino in Rossini’s rarely performed late opera, Matilde di Shabran – a role which brought him to international stardom when he sang it at short notice at the Rossini Opera Festival in Pesaro in 1996. Since then, Flórez has become the Rossini tenor of choice at all the major international opera houses. He has appeared at the Metropolitan Opera House, New York; Vienna State Opera; Salzburg Festival; San Francisco Symphony and Opera; Munich’s Bayerische Staatsoper; Gran Teatre del Liceu, Barcelona; Paris Opéra; Zurich Opera; Lyric Opera of Chicago; and Deutsche Oper Berlin (in concert); while at the Royal Opera, Covent Garden, he has sung in Donizetti’s Elisabetta, regina d’Inghilterra, Rossini’s Otello, La Cenerentola, Bellini’s La sonnambula and Donizetti’s Don Pasquale. Vincenzo Scalera piano Vincenzo Scalera was born in New Jersey, USA, of ItalianAmerican parents and began piano studies at the age of five. He graduated from Manhattan School of Music and worked as assistant conductor with the New Jersey State Opera. He continued his studies in Italy and, in 1980, joined the staff of the Teatro alla Scala, Milan, as coach and pianist, assisting Claudio Abbado, Riccardo Chailly, Gianandrea Gavazzeni and Carlos Kleiber, among others. He has taken part in many important music festivals, including Edinburgh, Martina Franca, Jerusalem, Istanbul, Les Choregies d’Orange and Carinthischer Sommer Ossiach as well as the Rossini Opera Festival in Pesaro. He is the chosen partner of many celebrated singers, appearing with them in the world’s major musical centres. His discography includes many recitals: Sumi Jo/La Promessa, Renata Scotto/Complete Songs of Verdi, The Future engagements for Flórez, in a diary already filling Comeback Concerts of José Carreras and Carlo up to 2013, include Il barbiere di Siviglia at the Met; La Bergonzi in Concert, as well as, on video, Bergonzi fille du régiment at Covent Garden and at the Met, La Celebrates Gigli. Other videos include three recitals with Scala, Milan, Vienna and Santiago; and Donizetti’s Carreras: In Vienna, In Concert, and Comeback Concert L’elisir d’amore in Torino. He recently made his highly in Spain. As a harpsichordist, he recorded the soundtrack successful debut at the BBC Proms in a Spanish-flavoured of the video of Rossini’s La Cenerentola under the programme. direction of Claudio Abbado, and the world premiere recording of Rossini’s Il viaggio a Reims, also with Since 2001 he has been an exclusive artist for Decca. Abbado. Recent award-winning releases include Il barbiere di Siviglia; Great Tenor Arias with Carlo Rizzi, Bel Canto He has taught at the Renato Scotto Opera Academy in and Rossini Arias; on DVD, Il barbiere di Siviglia from the Savona, Italy, and is presently on the staff of the Academy Teatro Real in Madrid; a live recording, from the 2004 of La Scala, Milan. Pesaro Rossini Festival production, of Matilde di Shabran on CD and on DVD; and Donizetti’s La fille du régiment filmed at the Teatro Carlo Felice, Genoa, while his fourth album, Sentimiento Latino, features popular songs from his native South America and Spain. Awards include the Abbiati Prize conferred by Italian music critics (2000), the Rossini d’Oro in Pesaro (2000) and Aureliano Pertile’s Prize (2001). 10 Barbican Committee Chairman John Barker OBE Barbican Music Department Head of Music Robert van Leer Deputy Chairman Barbara Newman CBE Concert Hall Manager Vicky Atkinson Mary Lou Carrington Stuart Fraser Christine Cohen OBE Jeremy Mayhew Maureen Kellett Joyce Nash OBE John Owen-Ward John Robins Patrick Roney CBE Lesley King-Lewis Music Programmers Gijs Elsen Bryn Ormrod Barbican Directorate Managing Director Sir John Tusa Artistic Director Graham Sheffield Event Managers Kate Packham Kirsten Siddle Fiona Todd Event Coordinator Nick Fielding Production Assistant Corinna Woolmer Programming Consultant Angela Dixon Technical Manager Eamonn Byrne Programming Assistants Andrea Jung Katy Morrison Deputy Technical Manager Ingo Reinhardt Concerts Planning Manager Frances Bryant Music Administrator Thomas Hardy Head of Marketing Chris Denton Technical Supervisors Mark Bloxsidge Steve Mace Technicians Maurice Adamson Jasja van Andel Jason Kew Gabriele Nicotra Martin Shaw Commercial and Venue Services Director Mark Taylor Music Marketing Manager Jacqueline Barsoux Product and Building Services Director Michael Hoch Marketing Executives Naomi Engler Bethan Sheppard Finance Director Sandeep Dwesar Performing Arts Marketing Assistant Sarah Hemingway Stage Supervisors Christopher Alderton Paul Harcourt Media Relations Managers Miles Evans Nicky Thomas Stage Assistants Ademola Akisanya Michael Casey Andy Clarke Trevor Davison Heloise Donnelly-Jackson Hannah Wye HR Director Diane Lennan Executive Assistant to Sir John Tusa Leah Nicholls Acting Senior Production Manager Eddie Shelter Production Managers Katy Arnander Jessica Buchanan-Barrow Alison Cooper Stage Manager Elizabeth Burgess Deputy Stage Manager Julie-Anne Bolton Technical & Stage Coordinator Colette Chilton Programme edited by Edge-Wise, artwork by Jane Denton; printed by Vitesse London; advertising Barbican Centre by Cabbell (tel. 020 8971 8450) Silk Street London EC2Y 8DS Please make sure that all digital watch alarms and mobile phones are switched off during the performance. In accordance with the requirements of the licensing authority, sitting or standing in Administration 020 7638 4141 any gangway is not permitted. No smoking, eating or drinking is allowed in the auditorium. No Box Office 020 7638 8891 cameras, tape recorders or any other recording equipment may be taken into the hall. www.barbican.org.uk 11
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