RETURN OF MITSUKO UCHIDA AND ANGELA HEWITT &
SERIES DEBUT OF BENJAMIN GROSVENOR AND DANIIL
TRIFONOV HEADLINE SOUTHBANK CENTRE’S 2012/13
INTERNATIONAL PIANO SERIES
Series debuts from exciting new talents including Tchaikovsky competition
winner Daniil Trifonov (4 December 2012), London International Piano
Competition winner Bezhod Abduraimov (20 November 2012) and young British
sensation Benjamin Grosvenor (31 October 2012)
Angela Hewitt returns to Royal Festival Hall for two recitals based on Bach’s
The Art of Fugue (2 October 2012, 7 May 2013)
Series joins Southbank Centre’s The Rest Is Noise Festival with recitals by Denis
Kozhukhin (12 May 2013), Steven Osborne (29 May 2013), and three Purcell
Room recitals by Daniel Barenboim protégé, Karim Said (20 January, 3 March, 9
June 2013)
Stephen Kovacevich (19 March 2013) and Elisabeth Leonskaja (5 June 2013)
return to Queen Elizabeth Hall
Southbank Centre’s International Piano Series continues to provide a platform for the world’s
most outstanding pianists at both the Queen Elizabeth and Royal Festival Halls. The 2012/13
season champions a new generation of piano virtuosos with the Series debuts of several
exciting young artists: Benjamin Grosvenor (31 October 2012), Francesco Piemontesi (7
November 2012), Behzod Abduraimov (20 November 2012) and winner of the Tchaikovsky
competition Daniil Trifonov (4 December 2012).
In 2013, the International Piano Series joins Southbank Centre’s The Rest is Noise Festival
surveying the music of the 20th century with performances of seminal works from the
repertoire. Denis Kozhukhin (12 May 2012) plays Prokofiev’s three War Sonatas written in
the course of Second World War. Steven Osborne, a celebrated exponent of Oliver
Messiaen’s music, performs his epic cycle of Vingt Regards sur l'Enfant-Jésus (29 May
2013). Young Jordanian pianist Karim Said, a protégé of Daniel Barenboim, curates three
recitals at the Purcell Room charting the progression of keyboard music through the first half of
the 20th century with Schoenberg at its core.
At the Royal Festival Hall Angela Hewitt (2 October 2012, 7 May 2013) gives two recitals
centred around Bach’s The Art of Fugue. Mitsuko Uchida returns to play Schumann and
Schoenberg (15 January 2013). Chinese sensation Yundi returns on 18 April 2013 for Chopin
and Ravel. Alice Sara Ott makes her Royal Festival Hall recital debut following the success
of her Series debut last season.
In the Queen Elizabeth Hall Stephen Kovacevich (19 March) and Elisabeth Leonskaja (5
June) perform repertoire for which they are most celebrated. Also performing at Queen
Elizabeth Hall in the 12/13 Season are Freddy Kempf (23 January 2013), Yulianna Avdeeva
(5 February 2013), the Labèque sisters (17 February 2013), Christian Blackshaw (26
February 2013), Kirill Gerstein (4 April 2013) and Piotr Anderszewski (23 May 2013).
For further PRESS information please contact Dennis Chang or Eleonora Claps in the
Southbank Centre Press Office on 020 7921 0824 / 0962 or email
[email protected] / [email protected]
Ticket Office: 0844 847 9929
Online booking: www.southbankcentre.co.uk
LISTINGS INFORMATION:
ANGELA HEWITT
Tuesday 2 October
Royal Festival Hall, 7.30pm
Bach (arranged by Wilhelm Kempff):
Nun komm, der Heiden Heiland
Siciliano in G minor
Sinfonia in D major
Beethoven: Sonata in A major, Op. 101
Bach: The Art of Fugue (Contrapunctus I to X)
Internationally renowned for her interpretations of Bach on the modern piano, Angela Hewitt’s first of
two recitals in this year’s International Piano Series focus on composer’s final masterpiece, The Art of
Fugue. Left unfinished on Bach’s death, the work’s wonderfully intricate contrapuntal puzzles hold a
satisfying level of spiritual and mathematical unity.
Offsetting the rigour of this music, Hewitt opens the recital with three Bach transcriptions by the great
German pianist Wilhelm Kempff. Beethoven’s late Sonata in A major Op.101 completes the programme,
a work that shows the powerful influence of Bach’s fugues.
‘Hewitt has become almost synonymous with Bach on the piano.’ (The Guardian)
BENJAMIN GROSVENOR
Wednesday 31 October
Queen Elizabeth Hall, 7.30pm
Bach: Partita No.4 in D
Chopin: Polonaise Op.44
Chopin: Andante Spianato and Grande Polonaise Brilliante
Scriabin: Selection of Mazurkas Op.3
Scriabin: Valse Op.38
Granados: Valses Poeticos
Gounod/Liszt: Valse de Faust OR Strauss/Schulz-Evler Blue Danube
The young British pianist Benjamin Grosvenor, described by The Independent as ‘one in a million –
several million’, makes his debut in the International Piano Series with a concert based on the theme of
dance. Since winning the BBC Young Musician of the Year piano section aged 11, Grosvenor has
enjoyed exceptional acclaim for the beauty and maturity of his performances. In 2011, aged 19, he
became the youngest soloist ever to perform in the First Night of the Proms and Decca signed him to an
exclusive recording contract.
Opening with Bach’s Fourth Partita, filled with vivid Baroque dance rhythms, he continues with two
sparkling Polonaises by Chopin. The second half focuses on the mazurka and the waltz, as evoked by
composers from Russia, Spain and central Europe.
FRANCESCO PIEMONTESI
Wednesday 7 November
Queen Elizabeth Hall, 7.30pm
Mozart: Sonata in D K.284
Schubert: Sonata in A minor, D537
Debussy: Preludes, Book II
Francesco Piemontesi, making his International Piano Series debut, has garnered a string of accolades
that mark him out as a rising star. Having won the Queen Elisabeth Competition in Brussels and taken
part in the Borlotti-Buitoni Trust and BBC New Generations young artist schemes, the young Swiss
pianist has released some notable recordings, including a recital disc dedicated to one of his mentors,
Alfred Brendel.
His concert opens with Mozart’s lively Sonata in D K284, after which he explores an enchanting rarity,
Schubert’s early A minor Sonata, D537 which includes the germ of a melody the composer went on to
use on several more occasions. The second half is devoted to Debussy’s second book of Preludes,
subtle and evocative pieces that translate into music images from poetry, nature and literature.
‘This pianist reveals a powerful gift for intimacy. You have to stop and listen.’ (The Observer)
BEHZOD ABDURAIMOV
Tuesday 20 November
Queen Elizabeth Hall, 7.30pm
Schubert: Sonata in A, D.664
Beethoven: Sonata in op.57 "Appassionata"
Liszt: Horowitz Scherzo and March
Liszt: Bénédiction de Dieu dans la solitude from (Harmonies poétiques et religieuses, S.173)
Liszt: Mephisto waltz no.1
This young pianist from Uzbekistan created tremendous excitement at the London International Piano
Competition final in 2009, which he went on to win. He is now signed to Decca and this is his
International Piano Series debut.
His concert opens with the intimate world of Schubert’s A major Sonata D664 and the heady drama of
Beethoven’s Appassionata Sonata. In the second half he offers three contrasting works by Liszt – the
Scherzo and March in its virtuoso adaptation by Vladimir Horowitz, the celestial Bénédiction de Dieu
dans la solitude and the demoniac Mephisto Waltz No.1.
‘Abduraimov’s artistry conferred its own magic, with each phrase exquisitely shaped… covering the
keyboard – and encompassing the divided trills and the scampering staccato octaves – with seemingly
effortless grace.’ (The Independent)
DANIIL TRIFONOV
Tuesday 4 December
Queen Elizabeth Hall, 7.30pm
Scriabin: Sonata No.2 in G sharp minor, Op.19 (Sonata-fantasy)
Liszt: Sonata in B minor
Chopin: 24 Preludes, Op.28
The hotly anticipated Southbank Centre debut recital of Russian pianist Daniil Trifonov, winner of the
2011 International Tchaikovsky Competition in Moscow and third prize-winner in the 2010 International
Chopin Competition in Warsaw.
The concert opens with Scriabin’s mysterious and intensely coloured Sonata No.2 and Liszt’s popular
Sonata in B minor – virtuosic and unashamedly romantic, it is often regarded as his greatest
composition for solo piano. The second half is devoted to Chopin’s exquisite miniatures, his 24
Preludes.
Argentinean pianist Martha Argerich, who was on the jury in Warsaw, said of Trifonov’s playing: „...he
has everything and more. What he does with his hands is technically incredible. It‟s also his touch – he
has tenderness and also the demonic element. I never heard anything like that’ (quoted in the Financial
Times).
The New York Times commented, ‘Mr. Trifonov has scintillating technique and a virtuosic flair. He is
also a thoughtful artist ... he can play with soft-spoken delicacy, not what you associate with competition
conquerors.’
MITSUKO UCHIDA
Tuesday 15 January
Royal Festival Hall, 7.30pm
Schoenberg: 6 Little pieces for piano, Op.19
Schumann: Waldszenen, Op.82 for piano
Schumann: Sonata No.2 in G minor, Op.22
Schumann: Gesänge der Frühe for piano, Op.133
A chance to hear the outstanding Mitsuko Uchida – regarded as one of today’s greatest pianists –
explore some of Schumann’s most fascinating and beautiful piano works. Waldszenen is an intimate
hymn to nature, and the Gesänge der Frühe (Songs of Dawn) were among the composer’s last works,
pieces of touching purity and reflection.
In contrast, Uchida performs Schoenberg’s Op.19, a set of short pieces in a suitably Schumannian
format.
‘[Uchida] always hears the music in Schumann’s bravura. …Schumann the poet and virtuoso evoked in
perfect balance.’ (Sunday Times).
KARIM SAID
Sunday 20 January 2013
Purcell Room, 1.00PM
Berg: Piano Sonata, Op.1
Debussy: Masques for piano
Schoenberg: 3 Pieces for piano, Op.11
Janácek: Sonata I.X.1905 (From the Street)
Schoenberg: 6 Little pieces for piano, Op.19
Karim Said, the young Jordanian-born pianist and protégé of Daniel Barenboim, performs a trilogy of
recitals tracing the progress of piano music through the 20th century.
The first brings together four composers who, at the start of the 20th century, were poised on the cusp
between the old world and the new. Each responded to this period of significant social and artistic
change by creating a unique personal language.
Berg's Op.1 Piano Sonata harks back towards Wagner in a richly chromatic, tormented masterpiece.
Debussy's Masques distils the French genius's quirky, inventive and impressionistic style. Janácek's
Sonata of 1905 is an intensely-felt response to the killing of a student during a political demonstration.
And in two sets of Schoenberg's early piano pieces, a miniature form worthy of Schubert or Schumann
meets the syntax of a new century that today still sounds startlingly inventive.
FREDDY KEMPF
Wednesday 23 January
Queen Elizabeth Hall, 7.30pm
Beethoven: Sonata Op. 81a “Les Adieux”
Liszt/Verdi: Miserere (from Il Trovatore)
Chopin:
Ballades 3 & 4
Interval
Schumann: Kreisleriana
Operatic inspiration mixes with some of the most-loved works from the Romantic piano repertoire in
British pianist Freddy Kempf’s return to the International Piano Series. The concert opens with
Beethoven’s Sonata Les Adieux, which conjures a potent tale of parting, absence and reunion. Liszt’s
transcription from Verdi’s Il Trovatore succeeds in transferring grand opera to the piano. Epic poetic
narratives are suggested in the two Chopin Ballades performed, and Schumann’s Kreisleriana is a
series of imaginative dreamscapes inspired by the tales of ETA Hoffmann.
YULIANNA AVDEEVA
Tuesday 5 February
Queen Elizabeth Hall, 7.30pm
Bach: French Overture B Minor BWV 831
Ravel: Gaspard de la nuit
Interval
Schumann: Sonata No.1 in F sharp minor, Op.11
Young Russian pianist Yulianna Avdeeva, first-prize winner in the 2010 International Chopin
Competition, Warsaw, performs a recital of contrasting key works by Bach, Ravel and Schubert.
She opens with Bach’s French Overture, a substantial keyboard work which sees Bach writing in the
French Baroque style, full of opportunities to display intricate fingerwork and clarity of texture. Next
comes Ravel’s Gaspard de la nuit, three musical scenes of macabre magic. Schumann’s Piano Sonata
No.1 plunges the listener into a world of turbulent Romanticism: an impassioned musical love-letter to
Clara Wieck, whom Schumann later married, it is by turns effusive, virtuosic and intensely poetic.
‘Avdeeva strikes chords with precision, every note perfectly tempered. Her pacing is born of intelligent
feeling and clarity of thought. (The Guardian)
ALICE SARA OTT
Tuesday 12 Feb
Royal Festival Hall 7.30pm
Schubert: Sonata in D, D.850
Mussorgsky: Pictures at an Exhibition
It was with the music of Liszt that the young German pianist Alice Sara Ott first shot to fame, stepping in
to replace Lang Lang at short notice with a performance that The Times said 'rings out with a freedom,
fluidity and lack of contrivance which is entirely refreshing.'
Since then, John Amis has declared, 'During my long life I have heard Gieseking, Cortot, Lipatti,
Horowitz, Richter, Michelangeli, Schnabel, Brendel, Lupu, Perahia and many other great pianists added to them now is Alice Sara Ott, no doubt about that.' (Classical Source)
CHRISTIAN BLACKSHAW
Tuesday 26 Feb
Queen Elizabeth Hall, 7.30pm
Schumann: Kinderszenen, Op. 15
Schubert: Sonata in A major, D. 959
Interval
Schumann: Etudes Symphoniques, Op. 13 [including Op. posth.]
Rarely heard in concert for well over a decade, British pianist Christian Blackshaw – ‘a musician’s
musician’ (Pianist Magazine) – returns to the International Piano Series.
His recital opens with Schumann’s exquisite depictions of childhood memories. It continues with
Schubert’s penultimate sonata, the A major D959, in which Romantic expansiveness contrasts with
moments of profound introspection.
Finally there is Schumann’s Etudes Symphoniques, an extended set of virtuoso variations involving a
magnificent journey of character and contrast.
‘His performances reveal all the old virtues – elegance, inwardness, delicacy of touch, poetry of feeling’
(The Financial Times).
KARIM SAID
Sunday 3 March 2013
Purcell Room, 1.00PM
Schoenberg: 5 Pieces for piano, Op.23
Webern: Kinderstück (Children's piece) for piano
Webern: Piece (in the tempo of a minuet) for piano
Eisler: 4 Pieces for piano, Op.3
Schoenberg: Suite, Op.25
The 1920s in Vienna was a period of vibrant artistic experimentation, diversity of style and potent
musical adventure.
During this time Schoenberg devised his system of so-called 12-note composition as a means of
bringing order to his radical musical language. During this second recital in Karim Said's trio of concerts,
hear Schoenberg's early explorations into this idiosyncratic sound world in the 5 Pieces Op.23, and also
a later piece he devoted totally to this revolutionary method, the Suite Op.25.
The concert continues with two pieces by Anton Webern, arguably Schoenberg's most celebrated
disciple. Webern is famed for his ability to condense his thoughts to their bare essence. Each of the
performed pieces is only a minute and a half long.
Hanns Eisler was another of Schoenberg's pupils and Said performs his 4 Piano Pieces, Op.3, which, in
the words of musicologist Theodor Adorno, 'vacillate between rebellious trickery and steadfast
tenderness'.
STEPHEN KOVACEVICH
Tuesday 19 March
Queen Elizabeth Hall, 7.30pm
Beethoven: Piano Sonata in C minor, Op.10 No.1
Beethoven: Piano Sonata in E, Op.109
Interval
Schubert: Piano Piece in E flat, D.946 No.2
Schubert: 12 German Dances for piano, D.790
Schubert: Impromptu in G flat, D.899 No.3
Brahms: Intermezzo in A, Op.76 No.6
Brahms: Intermezzo in A minor, Op.76 No.7
Brahms: Rhapsody in G minor, Op.79 No.2
Brahms: Capriccio in D minor, Op.116 No.7
Brahms: Rhapsody in E flat, Op.119 No.4
Stephen Kovacevich has been described by The Telegraph as 'a resolute defender of the musical high
ground, and someone who keeps returning to the great works and finding something new in them.'
He has chosen a programme featuring Beethoven, Schubert and Brahms, three composers for whom
he has been immensely acclaimed throughout his outstanding career, which spans four decades.
At this concert he presents two contrasting masterpieces from among Beethoven's sonatas - the
dazzling and dramatic early Sonata in C minor, Op.10 No.1, and Sonata in E, Op.109, a late work full of
structural originality and mystical reflectiveness.
The intimate side of Schubert is represented by an irrepressively melodic Impromptu, the E flat
Klavierstücke and the 12 German Dances. The concert ends with a selection of Brahms's most dynamic
and touching late piano pieces.
KIRILL GERSTEIN
Thursday 4 April
Queen Elizabeth Hall, 7.30pm
Haydn: Variations in F minor, Hob.XVII/6 (Un Piccolo divertimento)
Brad Mehldau: Variations on a melancholy theme (w.t.)
Brahms: 28 Variations on a theme by Paganini for piano, Op.35
Interval
Brahms: 3 Intermezzi, Op.117
Stravinsky: 3 Movements from Petrushka transc. for piano
Kirill Gerstein, acclaimed as 'brilliant, perceptive and stunningly fresh' (The New York Times), comes to
Southbank Centre with a vivid programme showcasing the contrasting styles in which he excels ranging from the classical era to a contemporary-jazz premiere.
His recital opens with Haydn's lyrical F Minor Variations, followed by the world premiere of a new work
written specially for him by jazz musician Brad Mehldau. He then tackles the demanding virtuosity of
Brahms's Paganini Variations. The second half opens with Brahms's very different Op.117 Intermezzi, a
gateway into a gentle, reflective world.
The grand finale features extracts from Stravinsky's kaleidoscopic ballet Petrushka transcribed for solo
piano.
YUNDI
Thursday 18 April
Royal Festival Hall, 7.30pm
Ravel: Gaspard de la nuit
Chopin: Preludes
The object of adulation the world over, the young Chinese pianist Yundi brings to Royal Festival Hall a
programme featuring two of the composers for whom he has received most acclaim, Ravel and Chopin.
Ravel’s Gaspard de la nuit places the pianist’s virtuosity at the service of powerful, poetic and
supernatural imagery. Chopin’s 24 Preludes are a colourful sequence of intense musical imaginings.
Yundi has made a number of highly praised recordings for Deutsche Grammophon and EMI, and has
been described The Times as possessing ‘something beyond the dazzle of any new star... there is
always an artist in firm control, sculpting both tone and phrasing.’
ANGELA HEWITT
Tuesday 7 May
Royal Festival Hall, 7.30pm
Bach: (arr. Eugen d’Albert) Passacaglia in C minor, BWV 582
Beethoven: Sonata in A-flat, Op. 110
Interval
Bach: The Art of Fugue
(Contrapunctus XI to XIII; 4 Canons, Contrapunctus XIV)
In the second of her two recitals this season, Angela Hewitt returns to Bach’s The Art of Fugue, the
composer’s fascinating and intricate journeys in high-Baroque counterpoint.
Her recital begins with a transcription of Bach’s C minor Passacaglia written in the grand romantic style
th
by the 19 -century composer-pianist Eugen d’Albert.
She follows this with Beethoven’s penultimate Piano Sonata, Op.110 in A flat, in which Bach-influenced
fugues meet the searching, philosophical world characteristic of Beethoven’s late compositions.
Humour, mysticism and virtuosity all play a vital role.
‘If you want the sheer joy of human creation and recreation, then go to a piano recital by Angela Hewitt’
(The Times).
DENIS KOZHUKHIN
Sunday 12 May
Queen Elizabeth Hall, 3pm
Prokofiev: Sonata No.7 in B flat, Op.83
Prokofiev: Sonata No.8 in B flat, Op.84
Prokofiev: Sonata No.6 in A, Op.82
Hear Prokofiev's War Sonatas performed at the International Piano Series debut by young Russian
pianist Denis Zozhukhin - described by Le Soir as 'already in the company of the greats'.
Prokofiev's Piano Sonatas Nos. 6, 7 and 8, composed during World War II, are said to represent the
composer's true feelings against the Soviet regime under Stalin. Sometimes spiky and uncompromising,
at others introverted and lyrical, these works find Prokofiev pushing at the boundaries of the piano's
ability to express the extremes of human experience.
After winning third prize in the Leeds International Piano Competition in 2006, Denis Kozhukhin was the
outright winner of the Queen Elisabeth Competition in Brussels in 2010, where he was praised for his
'radiant musicality' and 'stunning technical mastery'.
PIOTR ANDERSZEWSKI
Thursday 23 May
Queen Elizabeth Hall, 7.30pm
(Programme TBC)
Acclaimed by The Telegraph for performing recitals that ‘make you glad to be alive’, the PolishHungarian pianist Piotr Anderszewski is an artist noted for exceptional musical intensity and originality.
These qualities inspired the distinguished film director Bruno Monsaingeon to make three films about
him.
Critics have deemed him ‘breathtaking’ and ‘unforgettable’ (The Independent), and he occasionally likes
to surprise his public. ‘We found him already waiting for us on stage – lounging on a sofa, sipping tea,
leafing through a magazine... Anderszewski strolled to the piano like a guest at the party whose turn it
was to play. He got a different kind of attention as a result, and a different quality of silence.’ (The
Independent)
STEVEN OSBORNE
Wednesday 29 May 2013
Queen Elizabeth Hall, 7.30pm
Messiaen: Vingt Regards sur l‟enfant Jesus
An opportunity to hear Steven Osborne’s critically acclaimed performance of Messiaen’s passionately
spiritual meditations Vingt Regards sur L‟enfant Jesus. Osborne’s recording of this great piano work for
Hyperion earned an ecstatic reception, with critics celebrating its ‘towering authority and technical
achievement’ (Gramophone), as well as described it as ‘outstanding’ (The Independent) and ‘aweinspiring’ (The Sunday Times).
A brilliant summation of Messiaen’s mystical and highly-influential compositional style, Vingt Regards
sur L‟enfant Jesus is a cycle of 20 pieces reflecting the ecstatic and radiant nature of the composer’s
own profound faith. The work makes immense technical demands upon its performer, who must create
on the piano sonorities resembling an organ or a full orchestra, and whose intellectual grasp of
Messiaen’s mathematical rhythms must be as secure as his speed, accuracy and versatility.
‘Osborne’s revelatory performance is a blinding tour de force of interpretive and pianistic
incandescence.’ (Classic FM Magazine).
ELISABETH LEONSKAJA
Wednesday 5 June
Queen Elizabeth Hall, 7.30pm
Ravel: Valses nobles et sentimentales
Enescu: Sonate No. 1
Debussy: 3 Préludes:
Le vent dans la plaine: Animé
La fille aux cheveux de lin: Très calme et doucement expressif
Feux d‘artifice Modérément animé
Brahms: Sonata No.3 in F minor
Born in Georgia and trained in Moscow, Elisabeth Leonskaja was much influenced by the great pianist
Sviatoslav Richter, with whom she often performed in a duo. She opens her recital by showcasing three
th
very different composers from the early 20 century, Ravel, Enescu and Debussy, all of whom
developed individual harmonic styles that could convey a fabulous range of atmospheres.
KARIM SAID
Sunday 9 June 2013
Purcell Room, 1.00PM
Webern: Variations for piano, Op.27
Schoenberg: Piece for piano, Op.33a
Schoenberg: Piece for piano, Op.33b
Cage: The Perilous Night
Wolpe: 3 Pieces for youngsters for piano
Gerhard: 3 Impromptus for piano
Boulez: Notations I - XII for piano
By the middle of the 20th century Schoenberg's radical legacy had sparked myriad reactions from
composers of the next generation.
Beginning with the concentrated, edgy Variations by Webern and two pieces by Schoenberg himself,
Karim Said has also chosen for this final recital in his series short works by five composers who each
took Schoenberg's influence on board in a different way.
John Cage's The Perilous Night is a haunting musical meditation on lost love. The piano is 'prepared' to
create the illusion of percussion and pizzicato. Stefan Wolpe's Three Pieces for Youngsters offers a
taste of this radical Modernist pioneer's colourful creations. The Spanish composer Roberto Gerhard's
Three Impromptus hold echoes of Andalusian and Catalan music. And Pierre Boulez rose to the
greatest prominence among all the advocates of 12-note music - his 12 Notations, written when he was
20, display dazzling precocity.
NOTES TO EDITORS
Southbank Centre is the UK’s largest arts centre, occupying a 21-acre site that sits in the midst of
London’s most vibrant cultural quarter on the South Bank of the Thames. The site has an extraordinary
creative and architectural history stretching back to the 1951 Festival of Britain. Southbank Centre is
home to the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room and The Hayward as well as The
Saison Poetry Library and the Arts Council Collection. The Royal Festival Hall reopened in June 2007
following the major refurbishment of the Hall and redevelopment of the surrounding area and facilities.
Southbank Centre is home to Resident Orchestras, the London Philharmonic Orchestra, the
Philharmonia Orchestra, London Sinfonietta, and the Orchestra of the Age of Enlightenment.