9 Oct programme - London Symphony Orchestra

Sunday 9 and Tuesday 11 October 2011 7.30pm
Barbican Hall
Britten War Requiem
Gianandrea Noseda conductor
Sabina Cvilak soprano
Ian Bostridge tenor
Simon Keenlyside baritone
London Symphony Chorus
Eltham College Choir Trebles
Gianandrea Noseda © Sussie Ahlburg, Sabina Cvilak © Marjan Laznik
Simon Keenlyside © Uwe Arens, Ian Bostridge © Ben Ealovega
London Symphony Orchestra
Living Music
There will be no interval during tonight’s performance
Concert ends approx 9.10pm

Welcome News
Welcome to the Barbican where, in anticipation of the Britten
centenary celebrations in 2013, we are delighted to present two
performances of the composer’s War Requiem conducted by
Gianandrea Noseda and featuring an outstanding line-up of solo
singers alongside the LSO.
This seminal work was first performed in Coventry Cathedral almost
50 years ago, in 1962, to mark the building’s reconsecration after the
original 14th-century structure was destroyed in World War II. Since
then it has become a central part of the concert hall repertoire.
It is a pleasure to welcome back to direct these performances
Gianandrea Noseda (last with the LSO at the Barbican in October
2010), a conductor with a particularly glowing reputation in the opera
world. Joining him on stage are soprano Sabina Cvilak, baritone Simon
Keenlyside and tenor Ian Bostridge. In a recently published feature
article in The Guardian, Ian Bostridge wrote that ‘The Requiem is
a masterpiece of the deepest emotional and moral depth‘ and a
‘contraption of musical ingenuity’; in today’s volatile world it is as
relevant now as it ever was.
Kathryn McDowell
LSO Managing Director
Mahler Symphony No 9: ‘Outstanding Recording’
We were delighted to hear that our LSO Live recording of Mahler’s
Ninth Symphony, conducted by Valery Gergiev, was given the
International Record Review’s Outstanding Recording award:
‘Nothing can detract from the excellence of this disc:
it is quite outstanding in every respect’
The recording can be purchased online from the LSO website
for £8.99.
lso.co.uk/lsolive
On tour in New York
Later this month, the Orchestra will give three concerts at the
Lincoln Center in New York, where it holds a residency. As well as
performing tonight’s War Requiem programme, Sir Colin Davis will join
the Orchestra for a reprise of Beethoven’s Missa Solemnis (greatly
received at this year’s BBC Proms) and LSO favourite Nikolaj Znaider
will take centre stage for the Sibelius Violin Concerto. Don’t forget to
check the tour blog for all the latest from backstage!
lso.co.uk/whatson
lsoontour.wordpress.com
Keep your finger on the Pulse with our Student Scheme
The LSO is constantly striving to bring high quality music to as wide
an audience as possible. One of the ways we do this is through
our Student Ambassador Scheme, Pulse, an initiative which has
already brought thousands of young adults closer to the LSO.
Visit the webpage below to read all about it and download an
information pack. A very warm welcome to all students attending
the 11 October concert, one of a selection of designated Student
Nights this season. We hope you enjoy it – be sure to drop us an
email to let us know how you got on.
lso.co.uk/pulse
2 Welcome & News Kathryn McDowell © Camilla Panufnik

Benjamin Britten (1913–76)
Composer Profile
‘Composing is like driving down a foggy road
toward a house. Slowly you see more details
of the house – the colour of the slates and
bricks, the shape of the windows. The notes
are the bricks and the mortar.’
Benjamin Britten
Benjamin Britten received his first piano lessons from his mother,
a prominent member of the Lowestoft Choral Society who also
encouraged her son’s earliest efforts at composition. In 1924 he
heard Frank Bridge’s tone-poem The Sea and began to study
composition with him three years later. After leaving Gresham’s
School, Holt, in 1930 he gained a scholarship to the Royal College
of Music. Here he studied composition with John Ireland and piano
with Arthur Benjamin. Britten attracted wide attention when he
conducted the premiere of his ‘Simple’ Symphony in 1934. He worked
for the GPO Film Unit and various theatre companies, collaborating
with such writers as W H Auden and Christopher lsherwood.
The first performance of his opera Peter Grimes on 7 June 1945
opened the way for a series of magnificent stage works mainly
conceived for the English Opera Group. In June 1948 Britten
founded the Aldeburgh Festival of Music and the Arts, for which
he subsequently wrote many new works. By the mid-1950s he was
generally regarded as the leading British composer, helped by the
international success of operas such as Albert Herring, Billy Budd
and The Turn of the Screw. One of his greatest masterpieces,
the War Requiem, was first performed on 30 May 1962 for the
festival of consecration of St Michael’s Cathedral, Coventry:
its anti-war message reflecting the composer’s pacifist beliefs.
A remarkably prolific composer, Britten completed works in almost
every genre and for a wide range of musical abilities, from those
of schoolchildren and amateur singers to such artists as Mstislav
Rostropovich, Julian Bream and Peter Pears.
Composer Profile © Andrew Stewart
Music’s better shared!
There’s never been a better time to bring all your friends to an LSO concert.
Groups of 10+ receive a 20% discount on all tickets, plus a host of
additional benefits. Call the dedicated Group Booking Line on 020 7382 7211
visit lso.co.uk/groups or email groups@barbican.org.uk
On Sunday 9 October we welcome the Embassy of Slovenia, Mr A Mosley
and friends and Ilsipario Musicale (Milan), and on Tuesday 11 October
we welcome The Leys School (Cambridge), Latymer Upper School
(Hammersmith) and Mr D Stewart and friends.
Programme Notes
3

Benjamin Britten
War Requiem Op 66
1 Requiem aeternam
2 Dies Irae
3 Offertorium
4 Sanctus
5 Agnus Dei
6 Libera me
Sabina Cvilak soprano
Ian Bostridge tenor
Simon Keenlyside baritone
Although opera was to dominate Britten’s output subsequent to the
success of Peter Grimes in 1945, the desire to write a major oratoriolike
work had long been in his mind. In 1958 he was invited to write
a work to celebrate the rebuilding of Coventry Cathedral, destroyed
by bombing in 1941; and although he was given the choice of using a
sacred or secular text, he soon decided that it would take the form of
a Requiem. The decision to intersperse the text of the Requiem with
poems by Wilfred Owen, who was killed in action one week before
the end of World War I, was made soon after and they determined
the character of the War Requiem, whose first performance took
place on 30 May 1962.
Britten had set Owen’s poem The Kind Ghosts in his Nocturne of 1958.
Although one of Owen’s late poems, it has little of the darkness of
most of his war poetry, and Britten’s setting is eloquent but restrained.
It gives little indication of the way he would use Owen as counterpoint
to the Requiem Mass, interleaving the poems and the Latin text with
dramatic and often ironical effect, and contrasting the full orchestra
with a chamber group which accompanies only the songs. ‘These
magnificent poems’, Britten wrote to Dietrich Fischer-Dieskau,
baritone solo in the first performance, ‘full of the hate of destruction,
are a kind of commentary on the Mass … They will need singing with
the utmost beauty, intensity and sincerity’.
This ‘commentary on the Mass’ begins halfway through the first of
the Requiem’s six movements. The solemn intoning of ‘Requiem
aeternam’, with its dark bell-ridden textures, is interrupted first by the
brightness of the boys’ chorus, and then by the first of Owen’s poems,
4 Programme Notes
sung by the tenor. ‘Eternal rest’ is the chorus’ plea, to be met by
the fierceness of ‘What passing-bells for those who die as cattle?’.
The chorus respond with a final ‘Kyrie’, which struggles towards a
major chord – a gesture which will be repeated twice in the course
of the work, but which offers little comfort.
The Dies Irae is by some way the longest part of the War Requiem,
and the most complex. Beginning with distant fanfares which sound
as if they come from the battlefield, the chorus gradually builds
until the fanfares break out with frightening force: the day of wrath
is clearly a military action. As the violence dies away, the chamber
orchestra takes up the music of the fanfares as the baritone solo
intones ‘Bugles sang, saddening the evening air’. Now the soprano
soloist enters for the first time: she is set apart from the other soloists
by only singing the Latin text, here ‘Liber scriptus’ – the book which
sets out the day of judgement, while the chorus respond as those
who are judged.
With ironic detachment both male soloists sing cheerily of death
as ‘old chum … No soldier’s paid to kick against his powers’.
The Latin text resumes with the gentle overlapping entries of the
‘Recordare’, the women of the chorus, followed by the men’s
aggressive ‘Confutatis maledictis’, spilling over into the baritone’s
bitter portrayal of the ‘Great gun, towering towards Heaven, about
to curse’. For the first time the main orchestra joins the chamber
orchestra, with trumpet fanfares eventually bringing back a powerful
reprise of the Dies Irae music.
The transformation of the chorus’ forceful rhythms into the gentle
lilt of the Lachrymae, in which the soprano joins, is masterly. And now
Britten intersperses the words of the Requiem with the poignant
verses of ‘Move him into the sun’, the final words bringing back
the tolling bells of the opening and the second appearance of the
chorus’ Kyrie music that ended the first part, here set to the words
‘Dona eis requiem’.
Three shorter parts follow. First the Offertorium, with the brightness
of the boys’ chorus followed by the chorus, with what seems on the
face of it an almost academic fugue setting of ‘Quam olim Abrahae’.

But the ‘promise to Abraham’ ushers in the most chilling of the Owen
settings, where the two soloists tell the story of Abraham and Isaac.
Here, for the voice of God, Britten quotes from his own setting of the
story in his Second Canticle; but where in the bible story Abraham
sacrifices a ram instead of his son, here ‘the old man would not
so, but slew his son, – And half the seed of Europe one by one.’
The mood is frighteningly ironic, and as the final phrase stutters
into silence, the boys’ chorus is distantly heard; finally the chorus
repeats the ‘Quam olim Abrahae’ fugue, almost in a whisper.
‘These magnificent poems’,
Britten wrote to Dietrich Fischer-Dieskau,
baritone solo in the first performance,
‘full of the hate of destruction, are a
kind of commentary on the Mass …
They will need singing with the
utmost beauty, intensity and sincerity’.
The Sanctus is perhaps the most conventional of the Requiem settings,
with its declamatory soprano solo, triumphant brass fanfares for the
Hosanna, and the measured tread of the Benedictus. So the spare
textures of the baritone’s ‘After the blast of lightning from the East’
contrast all the more strongly, and end this fourth part in darkness.
The gentle and touching Agnus Dei is the quiet centre of the work,
and here soprano, chorus and tenor soloist are united, as the rising
and falling melody provides both the setting for the Latin text and the
accompaniment to the tenor’s ‘One ever hangs where shelled roads
part’, the roadside image of Christ uniting the two. For the only time
in the work the soloist sings the final words in Latin, ‘Dona nobis
pacem’ (give us peace).
The final part brings both the longest concerted passage of choral
and orchestral music, and by far the longest of the Owen settings,
‘Strange Meeting’. The Libera me begins with muffled percussion
in what Britten calls a march – almost a funeral march to begin with,
but constantly accelerating until with what seems like inevitability
the music of the Dies Irae returns, presaging a terrifying climax.
Slowly dying away until only a sustained minor chord is left we enter
Owen’s ‘profound dull tunnel’ where two enemy soldiers confront
each other in death. Britten chose to omit several of Owen’s lines,
including ‘I knew we stood in Hell’, perhaps because, after the
reconciliation of the two soldiers and their final words, ‘Let us sleep
now’, it would have contradicted the In paradisum of the boys’ chorus,
in which all the forces quietly join. But there is to be no real resolution,
as for the final time bells toll and the chorus ends the Requiem with
its hushed and ambiguous refrain.
Programme Note © Colin Matthews
Colin Matthews was Associate Composer with the LSO from
1992–99 and now acts as Composition Director for the
LSO’s Panufnik Young Composers Scheme.
Gianandrea Noseda returns
Thu 21 Jun 7.30pm
Beethoven Symphony No 5
Gianandrea Noseda conductor
Sponsored by BAT, Recommended by Classic FM
London Symphony Orchestra
Living Music
Tickets £10 to £35
lso.co.uk
Programme Notes
5

Benjamin Britten
War Requiem Op 66 – Libretto
‘My subject is War, and the pity of War.
The Poetry is in the pity. All a poet can do today is warn.’
Wilfred Owen
1 Requiem aeternam
Chorus
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Rest eternal grant unto them, O Lord:
and let light eternal shine upon them.
Boys
Te decet hymnus, Deus in Sion; et tibi reddetur votum in Jerusalem;
exaudi orationem meam, ad te omnis caro veniet.
Thou, O God, art praised in Sion; and unto Thee shall the vow
be performed in Jerusalem; Thou who hearest the prayer,
unto Thee shall all flesh come.
Chorus
Requiem …
Rest …
Tenor solo
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries for them from prayers or bells,
Nor any voice of mourning save the choirs,
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls’ brows shall be their pall;
6 Libretto
Their flowers the tenderness of silent minds,
And each slow dusk a drawing-down of blinds.
Chorus
Kyrie eleison. Christe eleison. Kyrie eleison.
Lord have mercy upon us. Christ have mercy upon us.
Lord have mercy upon us.
2 Dies irae
Chorus
Dies irae, dies illa,
Solvet saeclum in favilla:
Teste David cum Sibylla.
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta stricte discussurus!
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
Mors stupebit et natura,
Cum resurget creatura,
Judicanti responsura.
Day of wrath and doom impending,
Heaven and earth in ashes ending!
David’s words with Sibyl’s blending!
Oh, what fear man’s bosom rendeth
When from heaven the Judge descendeth,
on whose sentence all dependeth!
Wondrous sound the trumpet flingeth,
through earth’s sepulchres it ringeth,
all before the throne it bringeth,
Death is struck and nature quaking,
all creation is awaking,
to its judge an answer making.

Baritone solo
Bugles sang, saddening the evening air,
And bugles answered, sorrowful to hear.
Voices of boys were by the river-side.
Sleep mothered them; and left the twilight sad.
The shadow of the morrow weighed on men.
Voices of old despondency resigned,
Bowed by the shadow of the morrow, slept.
Soprano solo and semi-chorus
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit
Quidquid latet apparebit:
Nil inultum remanebit.
Quid sum miser tunc dicturus?
Quem patronum rogaturus?
Cum vix justus sit securus.
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salve me, fons pietatis.
Lo! the book exactly worded,
wherein all hath been recorded;
thence shall judgement be awarded.
When the judge his seat attaineth,
and each hidden deed arraigneth,
nothing unavenged remaineth.
What shall I, frail man, be pleading?
Who for me be interceding,
when the just are mercy needing?
King of majesty tremendous,
who dost free salvation send us.
Fount of pity, then befriend us!
Tenor and baritone solos
Out there, we’ve walked quite friendly up to Death;
Sat down and eaten with him, cool and bland,
Pardoned his spilling mess-tins in our hand.
We’ve sniffed the green thick odour of his breath, –
Our eyes wept, but our courage didn’t writhe.
He’s spat at us with bullets and he’s coughed
Shrapnel. We chorused when he sang aloft;
We whistled while he shaved us with his scythe.
Oh, Death was never enemy of ours!
We laughed at him, we leagued with him, old chum.
No soldier’s paid to kick against his powers.
We laughed, knowing that better men would come,
And greater wars; when each proud fighter brags
He wars on Death – for Life; not men – for flags.
Chorus
Recordare Jesu pie,
Quod sum causa tuae viae:
Ne me perdes illa die.
Quaerens me, sedisti lassus:
Redemisti crucem passus:
Tantus labor non sit cassus.
Ingemisco, tamquam reus:
Culpa rubet vultus meus:
Supplicanti parce Deus.
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.
Libretto
7

Think, kind Jesus – my salvation
caused Thy wondrous incarnation;
leave me not to reprobation.
Faint and weary Thou hast sought me;
on the cross of suffering bought me;
shall such grace be vainly brought me?
Guilty, now pour my moaning,
all my shame with anguish owning;
spare, O God, Thy suppliant groaning!
Through the sinful Mary shriven,
through the dying thief forgiven,
Thou to me a hope hast given.
With Thy sheep a place provide me,
from the goats afar divide me,
to Thy right hand do Thou guide me.
When the wicked are confounded,
doomed to flames of woe unbounded,
call me, with Thy saints surrounded.
Low I kneel with heart-submission;
see, like ashes, my contrition!
Help me in my last condition!
Baritone solo
Be slowly lifted up, thou long black arm,
Great gun towering toward Heaven, about to curse;
Reach at that arrogance which needs thy harm,
And beat it down before its sins grow worse;
But when thy spell be cast complete and whole,
May God curse thee, and cut thee from our soul!
8 Libretto
Soprano solo and chorus
Dies irae …
Day of wrath …
Lacrimosa dies illa,
Qua resurget ex favilla
Judicandus homo reus:
Huic ergo parce Deus.
Ah! that day of tears and mourning!
From the dust of earth returning,
Man for judgement must prepare him:
Spare, O God, in mercy spare him!
Tenor solo
Move him into the sun –
Gently its touch awoke him once,
At home, whispering of fields unsown.
Always it woke him, even in France,
Until this morning and this snow.
If anything might rouse him now
The kind old sun will know.
Think how it wakes the seeds, –
Woke, once, the clays of a cold star.
Are limbs, so dear-achieved, are sides,
Full-nerved – still warm – too hard to stir?
Was it for this the clay grew tall? –
O what made fatuous sunbeams toil
To break earth’s sleep at all?
Soprano and chorus
Lacrimosa …
Ah! That day of tears …
Chorus
Pie Jesu Domine, dona eis requiem. Amen.
Lord, all-pitying, Jesu blest, grant them rest. Amen.

3 Offertorium
Boys
Domine Jesu Christe, Rex gloriae, libera animas
omnium fidelium defunctorum de poenis inferni,
et de profundo lacu: libera eas de ore leonis,
ne absorbeat eas tartarus, ne cadant in obscurum.
O Lord Jesus Christ, King of Glory, deliver the souls of
all the faithful departed from the pains of hell and from
the depths of the pit: deliver them from the lion’s mouth,
that hell devour them not, that they fall not into darkness.
Chorus
Sed signifer sanctus Michael repraesentet eas in
lucem sanctam: quam olim Abrahae promisisti,
et semini ejus.
But let the standard-bearer Saint Michael bring them
into the holy light: which, of old, Thou didst promise unto
Abraham and his seed.
Tenor and baritone solos
So Abram rose, and clave the wood, and went,
And took the fire with him, and a knife.
And as they sojourned both of them together,
Isaac the first-born spake and said, ‘My Father,
Behold the preparations, fire and iron,
But where the lamb for this burnt-offering?’
Then Abram bound the youth with belts and straps,
And builded parapets and trenches there,
And stretched forth the knife to slay his son.
When lo! an angel called him out of heaven,
Saying, ‘Lay not thy hand upon the lad,
Neither do anything to him. Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.’
But the old man would not so, but slew his son, –
And half the seed of Europe, one by one.
Boys
Hostias et preces tibi Domine laudis offerimus: tu
suscipe pro animabus illis, quarum hodie memoriam
facimus: fac eas, Domine, de morte transire ad vitam.
We offer unto Thee, O Lord, sacrifices of prayer and
praise: do thou receive them for the souls of those
whose memory we this day recall: make them,
O Lord, to pass from death unto life.
Chorus
Quam olim Abrahae …
Which, of old, Thou didst promise …
4 Sanctus
Soprano solo and chorus
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis. Sanctus …
Benedictus qui venit in nomine Domini.
Hosanna in excelsis. Sanctus …
Holy, Holy, Holy, Lord God of Sabaoth.
Heaven and earth are full of Thy glory:
Glory be to Thee. O Lord most high. Holy …
Blessed is he that cometh in the name of the Lord.
Glory be to Thee, O Lord most high. Holy …
Baritone solo
After the blast of lightning from the East,
The flourish of loud clouds, the Chariot Throne;
After the drums of Time have rolled and ceased.
And by the bronze west long retreat is blown,
Shall life renew these bodies? Of a truth
All death will He annul, all tears assuage? –
Fill the void veins of Life again with youth,
And wash, with an immortal water, Age?
Libretto
9

When I do ask white Age he saith not so:
‘My head hangs weighed with snow’.
And when I hearken to the Earth, she saith:
‘My fiery heart shrinks, aching. It is death.
Mine ancient scars shall not be glorified.
Nor my titanic tears, the sea, be dried’.
5 Agnus Dei
Tenor solo
One ever hangs where shelled roads part.
In this war He too lost a limb,
But His disciples hide apart;
And now the Soldiers bear with Him.
Near Golgotha strolls many a priest,
And in their faces there is pride
That they were flesh-marked by the Beast
By whom the gentle Christ’s denied.
The scribes on all the people shove
And bawl allegiance to the state,
But they who love the greater love
Lay down their life; they do not hate.
Chorus
Agnus Dei, qui tollis peccata mundi: dona eis
requiem. Agnus Dei, qui tollis peccata mundi:
dona eis requiem sempiternam.
O Lamb of God, who takest away the sins of the world,
grant them rest. O Lamb of God, who takest away the sins
of the world, grant them eternal rest.
Tenor solo
Dona nobis pacem.
Grant us Thy peace.
10 Libretto
6 Libera me
Soprano solo and chorus
Libera me, Domine, de morte aeterna, in die illa
tremenda: quando coeli movendi sunt et terra:
dum veneris judicare saeculum per ignem.
Tremens factus sum ego et timeo, dum discussio
venerit, atque ventura ira. Dies illa, dies irae,
calamitatis et miseriae, dies magna et amara valde.
Libera me, Domine …
Deliver me, O Lord, from death eternal, in that fearful
day: when the heavens and the earth shall be shaken:
when Thou shalt come to judge the world by fire. I am in
fear and trembling till the sifting be upon us, and the
wrath to come. O that day, that day of wrath, of calamity
and misery, a great day and exceeding bitter. Deliver me, O Lord …
Tenor and baritone solos
It seemed that out of battle I escaped
Down some profound dull tunnel, long since scooped
Through granites which titanic wars had groined.
Yet also there encumbered sleepers groaned,
Too fast in thought or death to be bestirred.
Then, as I probed them, one sprang up, and stared
With piteous recognition in fixed eyes,
Lifting distressful hands as if to bless.
And no guns thumped, or down the flues made moan.
‘Strange friend,’ I said, ‘here is no cause to mourn’,
‘None’, said the other, ‘save the undone years,
The hopelessness. Whatever hope is yours,
Was my Iife also; I went hunting wild
After the wildest beauty in the world,

For by my glee might many men have laughed,
And of my weeping something had been left,
Which must die now. I mean the truth untold,
The pity of war, the pity war distilled.
Now men will go content with what we spoiled,
Or, discontent, boil bloody, and be spilled.
They will be swift with swiftness of the tigress,
None will break ranks, though nations trek from progress.
‘Miss we the march of this retreating world
Into vain citadels that are not walled.
Then, when much blood had clogged their chariot-wheels
I would go up and wash them from sweet wells.
‘Even from wells we sunk too deep for war,
Even the sweetest wells that ever were.
‘I am the enemy you killed, my friend.
I knew you in this dark; for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold.
Let us sleep now …’
Boys, soprano solo and chorus
In paradisum deducant te Angeli: in tuo adventu
suscipiant te Martyres, et perducant te in civitatem
sanctam Jerusalem. Chorus Angelorum te
suscipiat, et cum Lazaro quondam paupere aeternam
habeas requiem.
Into Paradise may the Angels lead thee: at thy coming
may the Martyrs receive thee, and bring thee into the holy
city Jerusalem. May the Choir of Angels receive thee, and
with Lazarus, once poor, mayest thou have eternal rest.
Boys
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Rest eternal grant unto them, O Lord:
and let light eternal shine upon them.
Chorus
Requiescant in pace. Amen.
May they rest in peace. Amen.
Reprinted by permission of Harold Owen and Chatto and Windus Ltd
English text of Requiem Mass according to the English Missal
Copyright 1961 by Boosey & Hawkes Music Publishers Ltd
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.
LSO Watch, Listen & Learn
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Libretto
11

Gianandrea Noseda
Conductor
‘Noseda gave the orchestra
its head when necessary and
they made a jubilant noise …
obviously enjoying themselves
under his leadership.’
Seen and Heard on Noseda and the LSO,
May 2008
Gianandrea Noseda serves as Music Director
of the Teatro Regio Torino, Chief Guest
Conductor of the Israel Philharmonic and
Conductor Laureate of the BBC Philharmonic
in Manchester. Since 2001 he has been
Artistic Director of the Stresa Festival, and
was appointed Victor de Sabata Guest
Conductor with the Pittsburgh Symphony
Orchestra. Noseda became the first
foreign Principal Guest Conductor at the
Mariinsky Theatre in 1997 and has been the
Principal Guest Conductor of the Rotterdam
Philharmonic and of the Orchestra Sinfonica
Nazionale della RAI.
Noseda regularly conducts many of the
leading orchestras including the Chicago
Symphony, New York Philharmonic, London
Symphony Orchestra, Philadelphia Orchestra,
Swedish Radio Symphony Orchestra, Oslo
Philharmonic, DSO Berlin, Frankfurt Radio
Symphony Orchestra, Orchestre National
de France, Orchestre de Paris and the NHK
Symphony Orchestra. In future seasons
he will make his debut with the Cleveland
Orchestra and LA Philharmonic.
As Music Director of the Teatro Regio
Torino, Noseda has conducted many opera
productions including Salome directed by
Robert Carsen, Massenet’s Thaïs (available
on Arthaus DVD), Verdi’s La traviata directed
by Laurent Pelly and Mussorgsky’s Boris
Godunov directed by Andrei Konchalovsky
(Opus Arte DVD). In summer 2010 he led
the Teatro Regio forces in their first ever
residency in Japan and China and in May
2011 he toured them in Spain and at the
Théâtre des Champs-Elysées in Paris.
Noseda’s privileged relationship with the
Metropolitan Opera began in 2002 with
Prokofiev’s War and Peace and has continued
to this day with La forza del destino (2006),
Un ballo in maschera (2007) and with new
productions of Il trovatore (2009) and La
traviata (2010). In June 2011 he conducted
Lucia di Lammermoor on the Met’s Japan tour.
Noseda’s intense collaboration with the
BBC Philharmonic continues with studio
recordings, subscription concerts at The
Bridgewater Hall and annual appearances at
the BBC Proms in London. Live performances
of Beethoven’s complete symphonies from
The Bridgewater Hall, Manchester by the BBC
Philharmonic conducted by Noseda in 2005
attracted the historical figure of 1.4 million
download requests in a BBC trial which
was offered as part of BBC Radio 3’s The
Beethoven Experience.
An exclusive Chandos artist since 2002,
his discography includes Prokofiev, Karlowitz,
Dvorˇák, Smetana, Shostakovich, Liszt’s
Symphonic works, Rachmaninov (the operas
and the symphonies), Mahler and Bartók.
An extensive survey of the music of the
Italian composers of the 20th century has
included Respighi, Dallapiccola, Wolf-Ferrari
(Diapason d’or in France) and Casella.
He has also recorded for Deutsche
Grammophon conducting the Vienna
Philharmonic Orchestra in Anna Netrebko’s
debut album and the Teatro Regio Torino
Orchestra for a Mozart album featuring
Ildebrando D’Arcangelo.
Gianandrea Noseda is closely involved with
the next generation of musicians through his
tireless work with youth orchestras such as
the Orchestra of the Royal College of Music
in London, National Youth Orchestra of Great
Britain and the Orchestra Giovanile Italiana.
In summer 2010 he toured with the European
Union Youth Orchestra throughout Europe.
Gianandrea Noseda holds the honour
of Cavaliere Ufficiale al Merito della
Repubblica Italiana.
12 The Artists Gianandrea Noseda © Sussie Ahlburg

Sabina Cvilak
Soprano
Sabina Cvilak is quickly becoming
one of the world’s leading lyric
sopranos, enjoying an international
career in opera and concert. Her US
debut as Mimì in La bohème at the
Washington Opera (2008) reviewed
by the Met Weekly, ‘Soprano Sabina
Cvilak brings real pathos and
presence to her Mimì and she is
one of the best sopranos to grace
the WNO in seasons’, was such a triumph that it brought her back to
Washington to play Micaela in a new production of Bizet’s Carmen,
and as Liù in a new production of Puccini’s Turandot the season after.
She has worked with such eminent conductors as Bruno Aprea,
Marco Armiliato, Semyon Bychkov, Placido Domingo, Mikko Franck,
Daniel Harding, Marek Janowski, Fabio Luisi, George Pehlivanian,
Peter Schneider, Emmanuel Villaume, Ralf Weikert, Keri-Lynn Willson
and Simone Young.
Her recent engagements have included La bohème (playing Mimì) at
the Opera de Palma de Mallorca, at the Finnish National Opera and in
Koeln, Otello (playing Desdemona) and Così fan tutte (playing Fiordiligi)
at the Palm Beach Opera, Smetana’s The Bartered Bride (playing
Marenka) in Valencia and Carmen (playing Micaela) in Pamplona,
Beethoven’s Symphony No 9 with the Royal Scottish National
Orchestra of Glasgow and War Requiem at the Festival de
St Denis in Paris.
Sabina Cvilak was born in Maribor (Slovenia) and graduated in
Ljubljana where she studied with Annemarie Zeller and Kurt Widmer.
Sabina Cvilak © Marjan Laznik, Ian Bostridge © Ben Ealovega
Ian Bostridge
Tenor
Ian Bostridge was a post-doctoral
fellow in history at Corpus Christi
College, Oxford, before embarking
on a full-time career as a singer.
His international recital career
includes the world’s major
concert halls and the Edinburgh,
Munich, Vienna, Aldeburgh and
Schubertiade Festivals, including
artistic residencies at the Vienna
Konzerthaus, the Amsterdam Concertgebouw, the Barbican, Carnegie
Hall, the Luxembourg Philharmonie and the Wigmore Hall.
In opera he has sung Tamino and Jupiter in Semele and Aschenbach
in Death in Venice at English National Opera, Quint in The Turn of the
Screw, Don Ottavio in Don Giovanni and Caliban in The Tempest for
the Royal Opera, Don Ottavio in Vienna and Nerone in L’Incoronazione
di Poppea, Tom Rakewell in The Rake’s Progress, Male Chorus in
The Rape of Lucretia in Munich and Aschenbach in Britten’s Death
in Venice in Brussels and Luxembourg.
His many award-winning recordings include Schubert with Graham
Johnson (Gramophone Award 1996); Tom Rakewell with Sir John
Eliot Gardiner (Grammy Award 1999); Schumann with Julius Drake
(Gramophone Award 1998), The Turn of the Screw with Daniel Harding
(Gramophone Award 2003) and Billy Budd (Grammy Award 2010).
His concert engagements include the Berlin Philharmonic,
Vienna Philharmonic, Chicago Symphony, Boston Symphony,
BBC Symphony, Rotterdam Philharmonic, Royal Concertgebouw,
New York Philharmonic and Los Angeles Philharmonic Orchestras
under such conductors as Sir Simon Rattle, Seiji Ozawa, Sir Colin
Davis, Mstislav Rostropovich, Daniel Barenboim and James Levine.
In January 2010 he sang the world premiere of Henze’s Opfergang
with the Accademia Santa Cecilia in Rome under Antonio Pappano.
In 2001 he was elected an honorary fellow of Corpus Christi College,
Oxford. He was created a CBE in the 2004 New Year’s Honours.
The Artists
13

Simon Keenlyside
Baritone
Simon Keenlyside was born in
London. He made his operatic
debut with Hamburg State Opera
as Count Almaviva in Mozart’s The
Marriage of Figaro and has since
sung an extensive repertoire with
the world’s major opera companies
and festivals. He won an Olivier
Award in 2006 for both the title-role
in Billy Budd for English National
Opera and Winston in Lorin Maazel’s 1984 for the Royal Opera. His
future operatic plans include Posa in La Traviata, Renato in Verdi’s
Un ballo in maschera, the title roles in Rigoletto and Wozzeck, and
Germont Père in La Traviata at the Vienna State Opera; the title roles
in Eugene Onegin, Wozzeck and Don Giovanni at the Bayerische
Staatsoper, Munich; Macbeth at the Deutsche Oper Berlin; and the
roles of Germont Père, Eugene Onegin, Wozzeck, Count Almaviva
and Rigoletto at the Royal Opera House.
Simon enjoys extensive concert work under the baton of many leading
conductors, appearing with the Chamber Orchestra of Europe, the
Berlin and Vienna Philharmonic orchestras, the City of Birmingham and
London Symphony Orchestras, the Cleveland and Boston Symphony
Orchestras, and the Philharmonia Orchestra. A renowned recitalist,
Simon appears regularly in the world’s great recital venues, and has
recorded four recital discs with Malcolm Martineau, of Schubert,
Strauss, Brahms, and most recently, an English song disc to be released
this autumn, as well as a disc of Schumann Lieder with Graham
Johnson. He has also recorded Des Knaben Wunderhorn under Simon
Rattle, the title role in Don Giovanni under Claudio Abbado, Carmina
Burana under Christian Thielemann, Marcello in La Bohème under
Riccardo Chailly, the title role in Billy Budd under Richard Hickox and
Papageno in The Magic Flute under Charles Mackerras.
In 2007 he was given the ECHO Klassik award for Male Singer of the
Year, and in 2011, he was honoured with Musical America’s Vocalist
of the Year Award. Simon was made a CBE in 2003.
14 The Artists
Eltham College Choir
Trebles
Under the direction of Alastair
Tighe, the Eltham College Trebles
are drawn from the Junior and
Senior Schools of Eltham College
in South London. Eltham College
is an independent boys’ day
school, with a co-educational sixth
form, and was founded in 1842.
The College excels academically
and has an extensive extracurricular
programme, with music and music-making at the heart
of the College’s endeavours. The College Trebles are one of over 30
ensembles which rehearse and perform regularly both at the College
and elsewhere.
Recently Eltham’s musicians have been heard at the Barbican,
Royal Festival Hall, St Paul’s Cathedral, Cadogan Hall, St John’s,
Smith Square, Blackheath Halls, Eltham Palace and the Old Royal Naval
College, Greenwich. The Trebles have performed and recorded with
the London Symphony Orchestra and London Symphony Chorus,
under the direction of Valery Gergiev and Sir Colin Davis. They have
also performed in Basel and Paris with the Mariinsky Orchestra and
Chorus under the direction of Valery Gergiev, and performed with
the Berlin Philharmonic conducted by Sir Simon Rattle during the
orchestra’s residency in London earlier this year. They made their
debut at the BBC Proms this summer in a performance of Havergal
Brian’s Gothic Symphony.
Simon Keenlyside © Uwe Arens

LSO Pulse
Student Scheme – Welcome
Welcome students…
To the first LSO Pulse concert of the year! With seven successful
seasons under our belt we are looking forward to another great
year of student concerts, receptions, socialising, Aftershock
(our classical club night) and finally, free drinks.
LSO Pulse is a student scheme offering £6 tickets for selected LSO
performances, which can be acquired through the convenience of
your mobile phone (because we at LSO Pulse realise that daytime TV
can be surprisingly time-consuming). By signing up, you will receive
a unique pin code that will enable you to start purchasing student
tickets for you and your chums. We also offer all our students the
opportunity to become ambassadors, and work with the Orchestra
to promote LSO concerts and events in their university or college.
In return for hard work, we give rewards to those who sell the most
tickets including LSO Live downloads, Barbican vouchers, chances
to meet soloists and conductors, a trip to Paris to watch the LSO
perform, plus lots of general love/affection.
So this 2011/12 season, for the bargain price of just £6, you could be
transported (not literally) to 19th century Germany with performances
showcasing the likes of Beethoven, Wagner, Strauss or another of
those serious German Romantic types. Alternatively, if Russia’s more
your thing, this season will not disappoint as Gergiev continues his
thrilling celebration of Tchaikovsky – everyone’s favourite sugar
plum fairy. And let us not forget February’s American extravaganza,
featuring Copland’s Clarinet Concerto, Ellington’s swinging Harlem
and music by Bernstein who wrote West Side Story.
Just to reiterate, all of this is available to you for just £6 a ticket
so please be sure to check for details of upcoming events on
our website and Facebook pages. But for now, let me wish you
a wonderful evening here at the Barbican!
Stephanie Ramplin
LSO Marketing Intern, administrator of LSO Pulse
Like us on facebook
bit.ly/pulsefacebook
LSO Pulse
15

LSO Pulse
Student Programme Notes
Britten’s War Requiem
‘I hope it’ll make people think a bit’
The year was 1962. The Cold War continued to rage as Soviets
and Americans went head to head over the Cuban Missile Crisis,
threatening nuclear conflicts that would affect the lives of people
across the world. Fifties icon Marilyn Monroe was immortalised in
print by artist Andy Warhol after her untimely death, following an
alleged suicidal drug overdose. Exploding onto the popular music
scene, the Beatles released their first single Love Me Do to screaming
hoards of fans whilst American singer Bob Dylan continued to berate
the bureaucracy, channelling anti-authoritarian attitudes into old-time
American folk tunes. And across cities, thousands gathered to actively
protest the war in Vietnam, calling for fighting to cease.
During that same year Britten conceived the subject of tonight’s
concert; his monumental War Requiem which premiered on 30 May
1962, commemorating the 20 million lives lost during World War II
only a few decades prior. With the 60s in full swing, the memory of
the War had begun to fade away as society entered a new chapter
where people witnessed social change and economic growth.
Packed with bitter, poetical irony and brimming with dissonant military
fanfares Britten’s War Requiem brought about a sober reminder of
the futile and merciless nature of the war and, by implication, the
many problems still permeating contemporary society. Employing the
full force of the symphony orchestra, matched by a booming chorus,
Britten constructs a poignant rumination on the pity of war, using the
traditional Requiem as his vessel.
16 LSO Pulse
Benjamin Britten:
The respectable outcast
The son of a dentist and amateur musician, Britten spent his early
years nestled in a quiet seaside town on the coast of Suffolk playing
and writing music (cue obsession with the sea). Respectable next
steps were a scholarship at the Royal College of Music and career
in cinematic composition where he met anti-imperialist W H Auden
with whom he collaborated on several musical projects. These early
left-wing political explorations later grew into full-fledged pacifism for
Britten who staunchly protested violence, choosing to veto his military
service during World War II on the grounds that it was morally wrong.
Sometime during the 1930s Britten also met Peter Pears who was to
become his lifelong partner and muse, but struggled to fit in a society
that misunderstood his sexuality as well as his political beliefs. These
themes have been extensively explored by scholars, many of whom
suggest Britten’s music to be an ‘allegory of his suppressed political/
sexual voice’ etc, whether you subscribe to this view is up to you –
let us just assume for now that Britten wrote music that was
‘message’ orientated.
Revolutionary motivations aside, Britten’s primary focus was to write
music for ‘the people’ and he achieved real success as a composer,
the zenith of which was reached with his opera Peter Grimes in 1945.
Britten spent the next couple of decades composing more operas
which continued to explore some of his favourite themes: outcasts
and the sea.
At the age of 48, Britten wrote the War Requiem, celebrating the 1962
opening of the newly renovated Coventry Cathedral which had been
destroyed during World War II bombings. Premiering to great popular
acclaim, the War Requiem was hailed as a contemporary masterpiece,
and has since become one of the few classical works written since 1945
to enter into the fixed repertoire. Not bad for a sea-obsessed hermit.

Not your average requiem
Britten’s War Requiem is a work of contrasts. Secular drama plays out
against a sacred Mass, soloists are pitted against the choir, and war
comes face to face with its adversaries. Having been given the choice
between a sacred or secular text, Britten opted for a hybrid model
using the traditional Latin Mass for the Dead as a framework (Missa
pro defunctis in Latin) through which he interspersed a collection of
modern poems by Wilfred Owen. Written in the trenches of World
War I, Owen’s poetry provides an evocative, first-hand account of a
desolate war to which he fell victim. One week before fighting ceased,
Owen was killed in France. His family were notified of his death one
hour after peace was declared.
Owen’s poetry, first appearing halfway through the Requiem aeternam
(Grant them eternal rest), is rich in imagery and allusion and provides
a dramatic commentary that runs throughout the Requiem. Initially,
the poetry challenges the sacred text, beginning with the tenor
who asks the choir: ‘What passing-bells for those who die as cattle?’.
Later, the tenor and baritone adopt a different approach by
sarcastically discussing the futility of their mission in a cheery jaunt
about ‘old chum’ death, accompanied by the chamber orchestra.
However, it is during the retelling of the story of Abraham and Isaac
during the Offertorium that Owen’s poetry speaks its most blunt and
disturbing message. Here, the concluding lines of the poem – ‘But the
old man would not so/but slew his son/And half the seed of Europe,
one by one’ – tells of the leaders who sent their children off to war,
summing up the chilling reality of the situation.
Like Owen, Britten also makes use of a rich palette of imagery,
portrayed through the combination of three separate ensembles.
A lugubrious march-like passage in the lower strings sets the mood
for the Requiem aeternam dominated by the tri-tone, most commonly
known (thanks to a medieval monk) as the ‘devil’s interval’. Sweeping
gestures in the brass recall the ominous approach of the cavalry
and announce the arrival of the Dies irae (Day of wrath) building to
a massive climax, bugles blaring out in full force. Snatches of snare,
timpani and dissonant brass fanfare remain throughout, a constant
allusion to the bayonets and bugles of Owen’s war. Following five
movements of unrest, it is not until the final movement of the
Requiem that all ensembles join together for the lines of Owen’s
last poem, led by the tenor and baritone.
When asked about his War Requiem, Britten often avoided
commenting on the music but was not afraid to stress its significance,
describing it as one of his ‘most important works’. Rarely choosing
to discuss the musical merits of the composition, Britten remained
modest in his responses, content in knowing that people had
understood, as he explained to a friend, ‘the main point really’.
Programme Note by Stephanie Ramplin
LSO Marketing Intern, administrator of LSO Pulse
Join us next time …
… on Sunday 6 November when Marin Alsop conducts
Richard Einhorn’s beautifully haunting score Voices of Light,
accompanied by a silent film screening of Carl Dreyer’s
The Passion of Joan of Arc – an emotional raw portrayal
of the 15th-century heroine.
Visit lso.co.uk/pulse for details
Are you a student but not already
a member of Pulse?
Scan this QR code to join now, or text STUDENT to 60123
LSO Pulse
17

On stage
First Violins
Carmine Lauri
Lennox Mackenzie
Nigel Broadbent
Ginette Decuyper
Jörg Hammann
Maxine Kwok-Adams
Claire Parfitt
Elizabeth Pigram
Laurent Quenelle
Harriet Rayfield
Colin Renwick
Ian Rhodes
Sylvain Vasseur
Rhys Watkins
David Worswick
Second Violins
Thomas Norris
Sarah Quinn
Miya Vaisanen
David Ballesteros
Richard Blayden
Matthew Gardner
Philip Nolte
Andrew Pollock
Paul Robson
Eleanor Fagg
Stephen Rowlinson
Julia Rumley
Samantha Wickramasinghe
18 The Orchestra
Violas
Gillianne Haddow
German Clavijo
Anna Green
Robert Turner
Heather Wallington
Jonathan Welch
Michelle Bruil
Elizabeth Butler
Philip Hall
Caroline O’Neill
Fiona Opie
Cellos
Alastair Blayden
Jennifer Brown
Mary Bergin
Noel Bradshaw
Daniel Gardner
Hilary Jones
Minat Lyons
Penny Driver
Nicholas Gethin
Double Basses
Colin Paris
Patrick Laurence
Matthew Gibson
Thomas Goodman
Jani Pensola
Nikita Naumov
Simo Vaisanen
Flutes
Gareth Davies
Patricia Moynihan
Piccolo
Sharon Williams
Oboes
Rachael Clegg
Holly Randall
Cor Anglais
Christine Pendrill
Clarinets
Chris Richards
Chi-Yu Mo
E-flat Clarinet
Chi-Yu Mo
Bass Clarinet
Katherine Lacy
Bassoons
Fany Maselli
Joost Bosdijk
Contra-bassoon
Dominic Morgan
Horns
David Pyatt
Angela Barnes
Antonio Geremia Iezzi
Jonathan Lipton
Tim Ball
Jeffrey Bryant
Brendan Thomas
Trumpets
Philip Cobb
Paul Mayes
Gerald Ruddock
Robin Totterdell
Trombones
Katy Jones
James Maynard
Bass Trombone
Paul Milner
Tuba
Patrick Harrild
Timpani
Nigel Thomas
Percussion
Antoine Bedewi
David Jackson
Jeremy Cornes
Benedict Hoffnung
Christopher Thomas
Sam Walton
Piano
John Alley
Organ
Catherine Edwards
Chamber Orchestra
First Violin
Roman Simovic Leader
Second Violin
Evgeny Grach
Viola
Edward Vanderspar
Cello
Rebecca Gilliver
Double Bass
Rinat Ibragimov
Flute/Piccolo
Adam Walker
Oboe/Cor Anglais
Juan Pechuan Ramirez
Clarinet
Andrew Marriner
Bassoon
Daniel Jemison
Horn
Timothy Jones
Percussion
Neil Percy
Harp
Bryn Lewis
LSO String
Experience Scheme
Established in 1992, the
LSO String Experience
Scheme enables young string
players at the start of their
professional careers to gain
work experience by playing in
rehearsals and concerts with
the LSO. The scheme auditions
students from the London
music conservatoires, and 20
students per year are selected
to participate. The musicians
are treated as professional
’extra’ players (additional to
LSO members) and receive
fees for their work in line with
LSO section players. Students
of wind, brass or percussion
instruments who are in their
final year or on a postgraduate
course at one of the London
conservatoires can also
benefit from training with LSO
musicians in a similar scheme.
The Scheme is supported by:
The Barbers’ Company
The Carpenters’ Company
Charles and Pascale Clark
The Ironmongers’ Company
LSO Friends
Musicians Benevolent Fund
The Polonsky Foundation
Editor
Edward Appleyard
edward.appleyard@lso.co.uk
Photography
Mark Harrison, Kevin Leighton,
Bill Robinson, Alberto Venzago,
Nigel Wilkinson
Print
Cantate 020 7622 3401
Advertising
Cabbell Ltd 020 8971 8450

London Symphony Chorus
President
Sir Colin Davis CH
President Emeritus
André Previn KBE
Vice Presidents
Claudio Abbado
Michael Tilson Thomas
Patron
Simon Russell Beale
Chorus Director
Joseph Cullen
Chairman
James Warbis
Accompanist
Roger Sayer
The London Symphony Chorus was formed in 1966, and while maintaining
special links with the London Symphony Orchestra, has also partnered
the principal UK orchestras and internationally has worked with the Berlin
and Vienna Philharmonic orchestras, Boston Symphony Orchestra and the
European Union Youth Orchestra, among others.
Along with regular appearances at the major London venues, the LSC
tours extensively throughout Europe and has visited North America, Israel,
Australia and the Far East. This season’s highlights include visits to Bonn,
Paris and New York with the LSO under Sir Colin Davis and Gianandrea
Noseda, and concerts with the BBC Philharmonic, BBC Scottish Symphony
Orchestra and the London Symphony Orchestra.
The chorus has recorded widely, with recent releases including Haydn’s
The Seasons, Walton’s Belshazzar’s Feast and Verdi’s Otello, and the world
premiere issue of MacMillan’s St John Passion. The chorus also partners the
LSO on Gergiev’s recordings of Mahler’s Symphonies Nos 2, 3 and 8, while
the men of the chorus took part in the recent Gramophone award-winning
recording of Götterdämmerung with the Hallé under Sir Mark Elder.
In 2007, the London Symphony Chorus established its Choral Conducting
Scholarships, which enable aspiring young conductors to gain valuable
experience with a large symphonic chorus. The chorus has also
commissioned new works from composers such as Sir John Tavener, Sir
Peter Maxwell Davies, Michael Berkeley and Jonathan Dove, and took part
in the world premiere of James MacMillan’s St John Passion with the LSO
and Sir Colin Davis in 2008, and in the second London performance in
February 2010.
The London Symphony Chorus is always interested in recruiting new
members, welcoming applications from singers of all backgrounds, subject
to an audition. Open Rehearsals are also being held for those who might
be interested in auditioning. For further information, call Helen Lawford,
Auditions Secretary, on 020 8504 0295 or visit www.lsc.org.uk.
Sopranos
Kerry Baker, Angel Belsey, Julia Chan, Ann Cole,
Shelagh Connolly, Lucy Craig, Emma Craven, Sara Daintree,
Anna Daventry, Lucy Feldman, Lorna Flowers, Eileen Fox,
Sarah Hall, Jessica Harris, Carolin Harvey, Emily Hoffnung*,
Kuan Hon, Gladys Hosken, Claire Hussey, Debbie Jones*,
Olivia Knibbs, Helen Lawford*, Clare Lovett, Meg Makower,
Alison Marshall, Margarita Matusevich, Irene McGregor,
Marta Lozano Molano, Jane Morley, Jeannie Morrison,
Dorothy Nesbit, Jennifer Norman, Emily Norton,
Maggie Owen, Isabel Paintin, Andra Patterson,
Carole Radford, Liz Reeve, Sarah Rennix, Mikiko Ridd,
Chen Shwartz, Bridget Snasdell, Amanda Thomas*,
Rebecca Thomson, Isobel Timms
Altos
Liz Boyden, Gina Broderick*, Jo Buchan*, Lizzy Campbell,
Sarah Castleton, Noel Chow, Rosie Chute, Liz Cole,
Janette Daines, Zoe Davis, Maggie Donnelly, Diane Dwyer,
Linda Evans, Lydia Frankenburg*, Amanda Freshwater,
Tina Gibbs, Yoko Harada, Valerie Hood, Jo Houston,
Lis Iles, Sue Jones, Vanessa Knapp, Gilly Lawson, Sue Lee,
Selena Lemalu, Belinda Liao, Anne Loveluck, Aiofe McInerney,
Caroline Mustill, Alex O’Shea, Susannah Priede, Lucy Reay,
Clare Rowe, Maud Saint Sardos, Lis Smith, Jane Steele,
Claire Trocmé, Curzon Tussaud, Agnes Vigh, Sara Williams,
Mimi Zadeh, Magdalena Ziarko
Tenors
David Aldred, Paul Allatt, Robin Anderson, Antoine Carrier,
John Farrington, Matt Fernando, Matthew Flood,
Andrew Fuller*, Simon Goldman, Stephen Hogg,
Warwick Hood, Tony Instrall, John Marks, Simon Marsh,
Alastair Mathews, John Moses, Malcolm Nightingale,
Rhydian Peters, Mattia Romani, Peter Sedgwick,
Takeshi Stokoe, Richard Street, John Streit,
Anthony Stutchbury, Malcolm Taylor, Owen Toller,
James Warbis*, Brad Warburton, Robert Ward*,
Paul Williams-Burton
Basses
David Armour, Bruce Boyd, Gavin Buchan, Andy Chan,
James Chute, Damian Day, Thomas Fea, Ian Fletcher,
Robert French, Robert Garbolinski*, John Graham,
Jean-Christophe Higgins, Robin Hall, Owen Hanmer*,
Christopher Harvey, Anthony Howick, Alex Kidney*,
Thomas Kohut, Gregor Kowalski*, Jonathan Kubiak,
Georges Leaver, Geoffrey Newman, William Nicholson,
Peter Niven, Timothy Riley, Alan Rochford, Malcolm Rowat,
Nicholas Seager, Edwin Smith*, Gordon Thomson,
Martin Vallas, Nicholas Weekes, Paul Wright
* denotes member of Council
The Chorus
19

London Symphony Orchestra
Season 2011/12
Opera and Choral Highlights
with Marin Alsop and Sir Colin Davis
Resident at the Barbican
lso.co.uk
020 7638 8891
Marin Alsop uncovers
Joan of Arc
November 2011
‘Freshly startling dramatic power.’
The Times
London Symphony Orchestra
Living Music
Sir Colin Davis conducts
Weber’s Der Freischütz
April 2012
‘Colin Davis, the [LSO’s] lion in
winter, is a passionate champion…’
Financial Times
Marin Alsop conducts
Fri 4 Nov 7.30pm
Honegger Joan of Arc at the Stake (concert performance)
Sun 6 Nov 7.30pm
Richard Einhorn Voices of Light (film & music)
Sir Colin Davis conducts
Thu 19 & Sat 21 Apr 7.30pm
Weber Der Freischütz (concert performance)
with soloists Christine Brewer, Sally Matthews,
Falk Struckmann and Simon O’Neill
Thu 19 Apr part of UBS Soundscapes