RAVEL - LSO
RAVELThursday 25 April 2019 Barbican7.30–9.35pmLSO SEASON CONCERTFRANÇOIS-XAVIER ROTHRavel Rapsodie espagnoleRavel BoléroIntervalRavel L’heure espagnoleFrançois-Xavier Roth conductorIsabelle Druet ConcepciónJean-Paul Fouchécourt TorquemadaThomas Dolié RamiroEdgaras Montvidas GonzalveNicolas Cavallier Gomez6pm Barbican HallLSO Platforms: Guildhall ArtistsFree pre-concert recitalRecorded by BBC Radio 3 for broadcast on 30 April
WelcomeThis evening we also hosted a free preconcert recital by the Marmen Quartet fromthe Guildhall School, who performed one ofRavel’s string quartets here in the BarbicanHall. These free LSO Platforms recitalsseek to complement the repertoire in theOrchestra’s main season and showcasethe musicians of the future.elcome to this evening’s LSOconcert at the Barbican. Overrecent seasons, LSO PrincipalGuest Conductor François-Xavier Roth hasbeen exploring French repertoire with theOrchestra and tonight we continue thatquest, as we delve into Ravel’s fascinationwith all things Spanish.Following the Rapsodie espagnole and thecomposer’s best-known work, Boléro, in thefirst half, we are joined by an exceptionalcast of opera singers for the one-act comedyL’heure espagnole. Welcome to IsabelleDruet, Jean-Paul Fouchécourt, ThomasDolié and Nicolas Cavallier, who all maketheir LSO debuts this evening, and also toEdgaras Montvidas, who recently appearedwith the Orchestra and Sir Simon Rattle in aperformance of Szymanowski’s Harnasie inDecember 2018.2WelcomeI would like to thank our media partnerBBC Radio 3, which is recording tonight’sconcert for broadcast on Tuesday 30 April.I hope that you enjoy tonight’s performance,and that you are able to join us again soon.Next Wednesday Sir Simon Rattle conductsJohn Adams’ large-scale work Harmonielehre,one of the great orchestral showpieces of thelate 20th century, paired with Stravinsky’sSymphonies of Wind Instruments andHarrison Birtwistle’s The Shadow of Night.Latest NewsOn Our BlogTHE LSO IN LATIN AMERICATHE PUBLIC DOMAINThis May, the LSO tours to Latin America forthe first time in the Orchestra’s history. Withconcerts in Bogotá, Medellín, Lima, BuenosAires, Montevideo and Santiago, Sir SimonRattle conducts performances of Mahler’sFifth Symphony, Berlioz’s Symphoniefantastique and Britten’s Sinfonia daRequiem. Later in 2019, the Orchestra toursto Ireland, California, Central Europe andAsia. Follow us on social media for behindthe-scenes updates.As part of our festival of new andcontemporary music LSO Futures, 500 localsingers took part in a stirring performanceof David Lang’s the public domain on 24March. We look back on the project andthe participants’ experiences.WELCOME TO TONIGHT’S GROUPSWe are delighted to welcome two groupsattending tonight’s concert:Sky Global ProductionsBancroft’s SchoolPlease ensure all phones are switched off.Photography and audio/video recordingare not permitted during the performance.Kathryn McDowell CBE DLManaging DirectorJOHN ADAMS’ HARMONIELEHREIn the age of synth pop, Live Aid andMadonna’s Material Girl, how was a composerto write large-scale orchestral music for theconcert hall? Composed in 1985, John Adams’Harmonielehre is one of the most significantexamples of a composer grappling with theidea of a symphony in the 20th century.ARTIST PORTRAIT: DANIIL TRIFONOVPianist Daniil Trifonov tells us about hislife away from the concert stage and theexperiences that made him love music –from rock and jazz to the films of AndreiTarkovsky and Scriabin’s ‘Poem of Ecstasy’.Read these articles and more at lso.uk/blog25 April 2019
Tonight’s Concert In Briefany French composers wereattracted by the siren song ofexotic Spain, not least Debussyin some of his finest orchestral and pianopieces. Ravel was no less enchanted, and hisinvestment was more personal, thanksto his Basque, Spanish-speaking mother,though still characterised by the exquisiteartifice which was fundamental to hiscreative personality. His most significantforays into Spanish fantasy are gatheredtogether in tonight’s concert, and displaya fascinating range. Written straight afterL’heure espagnole, the Rapsodie espagnolehas a distinctly impressionist aura about it,with the scents and perfumes of a balmynight mingling with snatches of flamenco.Only in the final Feria does the boisterousenergy of carnival at last come to the fore.Boléro was written 20 years later, in a moreself-consciously modern and technologicalage. It is a remarkably original tour-deforce, with a single melody of extraordinarylength and hypnotic fascination repeated ina delectable array of orchestral colours as itgrows in power and weight. The ending is atonce exhilarating and terrifying.In L’heure espagnole, Ravel’s first opera, afairytale Spain is viewed through a lens ofirony and wit, as well as affection. In this/by Jeremy Thurlowdelightful farce about a footling clockmakerand his feisty wife Concepción, would-belovers are carried up and down stairs likeweights and counterbalances in a clock,passion struggles to take wing within astrictly measured hour of freedom, and theuncomplaining muleteer makes everythingpossible – even, in the end, the satisfactionof Concepción’s desire.Coming UpWednesday 1 May Barbican7.30–9.20pmThursday 30 May BarbicanJOHN ADAMSCONCERTO FOR ORCHESTRAStravinsky Symphonies of Wind InstrumentsHarrison Birtwistle The Shadow of NightJohn Adams HarmonielehreCage The SeasonsBeethoven Violin ConcertoBartók Concerto for OrchestraSir Simon Rattle conductorMichael Tilson Thomas conductor7.30–9.40pmJulia Fischer violinPROGRAMME CONTRIBUTORSJan Smaczny is Hamilton Harty Professorof Music at Queen’s University, Belfast.A writer and broadcaster on Czech music,his most recent book is a study of Dvořák’sCello Concerto.Jeremy Thurlow is a composer whose musicranges from chamber and orchestral to videoopera. Author of a book on Dutilleux and afrequent broadcaster on Radio 3, Jeremy is aFellow of Robinson College, Cambridge.Andrew Stewart is a freelance musicjournalist and writer. He is the authorof The LSO at 90, and contributes toa wide variety of specialist classicalmusic publications.Sunday 5 May Barbican7–9.05pmBERLIOZ 150: SYMPHONIE FANTASTIQUE6pm Barbican HallLSO Platforms: Guildhall Artistsfree pre-concert recitalJohn Adams HarmonielehreBerlioz Symphonie fantastiqueSunday 2 June BarbicanSir Simon Rattle conductorNEW ENGLAND HOLIDAYSStreamed live on the LSO’s YouTube ChannelIves A Symphony: New England HolidaysBeethoven Piano Concerto No 5, ‘Emperor’and available to watch back for 90 days after the7–9pmconcert. Join presenter Rachel Leach from 6.30pmfor an introduction to the music.Michael Tilson Thomas conductorDaniil Trifonov pianoLondon Symphony ChorusSimon Halsey chorus directorTonight’s Concert3
Maurice Ravel Rapsodie espagnole1234Prélude à la nuitMalagueñaHabaneraFeriamages of Spain have long been animportant part of the French musicalconsciousness. Perhaps as anantidote to the sophistication of Paris, thelure of the exotic within easy reach of thePyrenees evoked a powerful response acrossseveral generations of French composers, tothe extent that many of the ‘Spanish’ works ofthe repertoire were composed by Frenchmen.Some of the most famous of these were byRavel, who had recurrent bouts of ‘Spanishfever’ throughout his career, although nonesurpassed the Iberian heyday of 1907 whenhe wrote the Vocalise-Etude, the opera L’heureespagnole and the Rapsodie espagnole.Despite partisan criticism from the critic andcomposer Michel-Gaston Carraud, who calledit ‘slender’, and Pierre Lalo, who declared it‘pedantic’, critical opinion was, in general,favourably impressed by the Rapsodie at itsfirst performance in March 1908. It was alsothe composer’s first important orchestralpiece to come before the public and for themost part his only composition for orchestranot based on piano music or designed withsome extra-musical framework in mind.4Programme Notes1907/If Ravel did not use actual Spanish melody,his command of the melodic and rhythmicidioms of the style leave no doubt at all asto the setting. The contrast between darksensuousness and the cumulative vitalityof the dance can be felt immediately inthe first three movements. Apart fromits unforgettable colouring, the Préludemakes use of a descending four-notefigure which recurs in all the movementsapart from the Habanera . Although itdoes not partake of this unifying element,and indeed was composed some twelveyears earlier as the first of the two-pianocollection Sites auricuIaires, the Habanera inno way fractures the composition. Rather itprovides the ideal foil for the extended Feriamovement which sums up and transcendsthe moods evoked earlier. note by Jan Smaczny HABANERA (DANCE)The habanera dance form (also called acontradanza) has its earliest roots in English,Scottish and French folk styles. These stylesmelded to form the contradanse, whichwas adapted by the French court in the17th century and exported to the Americas.There it mixed with local musical styles,becoming an important genre in SouthAmerican and Cuban music. By the 18thcentury the contradanza incorporated subSaharan African rhythms and Latin Spanishmusical elements. The result, the habanera(dance of Havana), was the precursor to thedanzon, mambo and cha-cha-cha. WATCH: RAVEL ON LSO LIVERavel Le tombeau de CouperinRavel Daphnis and Chloe – Suite No 2Dutilleux L’arbre de songesDutilleux MétabolesDelage Four Hindu PoemsSir Simon Rattle conductorLeonidas Kavakos violinJulia Bullock sopranoFilmed at the Barbican in January 2016.Blu-ray and DVD available to purchase atlsolive.co.uk25 April 2019
Maurice Ravel Boléroavel tended to speak offhandedly ofBoléro – ‘unfortunately, there’s nomusic in it’ is just one of a numberof bons mots – but for all his self-deprecationhe was proud of its extraordinary daring andoriginality, and of the unerring brilliancewith which its dangerously simple plan iscarried through. The piece began life as acommission from dancer Ida Rubenstein toorchestrate six piano pieces from Albéniz’sIberia as a ballet score to be choreographedby Bronislava Nijinska and premiered atthe Opéra. They couldn’t get the rights toAlbéniz’s work, however, and soon Ravel wastalking about a new piece called Fandango,with ‘no development, no modulation (orhardly any), [just] a theme , rhythm andorchestration’. It was written in the autumnof 1928, in two months. It was now calledBoléro, but Ravel’s insistent rhythm isconsiderably slower than an actual bolero –though it has now become more famous andarguably more ‘definitive’ than the dancestyle it is modelled on.In subsequent years Ravel fought battleswith conductors such as Toscanini whowanted to drive the piece faster and fasteras it went on, against Ravel’s insistencethat holding the tempo rock-steady actuallyincreases the tension. The melody, sinuous,long, unpredictable and yet utterly natural,1928/note by Jeremy Thurlowplays a crucial part, since it will be repeatedwithout variation, except in orchestration,throughout. Its two halves contrast, the firstsunnier, the second more plangent; togetherthey trace a winding, unhurried and seductivejourney which, when finally completed,immediately demands to begin again.The music starts out pianissimo, with snaredrum and flute, changing colour for eachnew paragraph, bringing limelight to theorchestra’s soloists and tutti sections oneby one, while inexorably gaining in weightand power. Fascinatingly, the piece is notonly a hymn to sultry Orientalism but alsoto the age of factories and mass-production,a giant conveyor-belt to which every playeris coordinated. When the whole orchestrareaches full tilt, finally, a colossal change ofgear lifts the music into a new, radiant key a dazzling transfiguration of the mechanicalafter which the machine can only grind to ashuddering halt. If the piece is simple, it is aflawless simplicity which conceals craft andinspiration of a very high order. BOLERO (DANCE)The term bolero refers to two distinct stylesin Latin music. The older Spanish version(which influenced Ravel in composition ofhis Boléro) originated in Spain in the late18th century and combined elements ofthe pre-exisitng sevillana and contradanzadance styles.A bolero lilts in a moderately slow tripletime, usually featuring a triplet on thesecond beat of the bar. This style isunrelated to the Cuban bolero which issung and appeared in the late 19th century. RAVEL NEXT SEASONThursday 27 February 2020 7.30–9.40pmDAPHNIS AND CHLOEJames Hoyle Thymiaterion (world premiere)Rachmaninov Piano Concerto No 3Elizabeth Ogonek All These LightedThings – three little dances for orchestraRavel Daphnis and Chloe – Suite No 2Elim Chan conductorLukáš Vondráček pianoSunday 8 March 2020 7–9pmPIANO CONCERTO & LA VALSEStrauss Die Frau ohne Schatten – SuiteRavel Piano Concerto in G majorStrauss Death and TransfigurationRavel La valseInterval – 20 minutesThere are bars on all levels.Visit the Barbican Shop to see ourrange of Gifts and Accessories.Karina Canellakis conductorCédric Tiberghien pianolso.co.uk/201920seasonProgramme Notes5
Maurice Ravel L’heure espagnoleIsabelle Druet ConcepciónJean-Paul Fouchécourt TorquemadaThomas Dolié RamiroEdgaras Montvidas GonzalveNicolas Cavallier Gomezhen the young playwright FrancNohain’s witty and salaciousL’heure espagnole opened at theThéâtre de l’Odéon in 1904, it soon becamea hit. A loving parody of all things Spanishwith five delightfully stereotyped charactersand clocks galore, the play coordinates thesedisparate elements with perfect precision soas to bring every one of the plot’s deceptionsand surprises to comic fruition.Ravel’s unique and fascinating creativepersonality is often described in relationto parental influence: certainly his parentswere a highly unconventional couple, hisBasque mother barely literate and his fathera middle-class engineer and inventor ofSwiss heritage. To his father’s side is oftenattributed Ravel’s perfectionist concern fordetail and his crafting of music in which everycomponent fits together like clockwork. ButRavel was also fiercely proud of his mother(who grew up in Madrid) and her Basque andSpanish inheritance. As tonight’s programmedemonstrates, a certain Spanish fantasyworld continued to preoccupy him throughout6Programme Notes1911/note by Jeremy Thurlowhis life, and while this partly reflects awidespread taste for orientalist allure it alsoheld for Ravel a special, personal significance.Thus, the play’s unlikely combination ofSpanish ardour and a room full of timepiecescould have been tailor-made for Ravel.It also offered an unusual angle on the genreof opera itself. The 19th century had seenthe apotheosis of opera as an all-consumingdrama of passion and heroism. By the timehe came to consider writing his first operain his late 20s, Ravel had made his namewith a number of exquisite, original andoften challenging scores, but raw emotionalpower had not been a primary concern.L’heure’s irreverent parody of lovers’ ardourplayed to some of Ravel’s very particularstrengths in a way that a more typicallyfull-blooded ‘operatic’ tragedy might nothave done. Indeed, the characters are almostlike toys for Ravel, and this must havebeen another source of attraction for him.Perhaps an exception needs to be made forthe character of Gonzalve, a poet. Thoughhe is ridiculous there is a humanity abouthim and, as Roger Nichols has suggested,Ravel may well have sympathised with thedifficulties of an ultra-refined aesthetetrying to express down-to-earth passion.Gonzalve is the only character whom Ravelencourages to lose himself in song.SYNOPSISThe charming and ingenious plot unfolds inthe shop of a pedantic and scatterbrainedclockmaker, Torquemada, who is marriedto feisty Concepción. Every Thursday hegoes out for an hour to wind up the town’smunicipal clocks, and Concepción takes herchance to receive amorous visitors. However,when the opera begins, Torquemada has anunexpected visitor: the muleteer Ramiro,strong as an ox, has brought in his watch forrepair. Concepción reminds Torquemada thatit’s time for his weekly rounds but then findsherself stuck with Ramiro, who by waitingin the shop for Torquemada’s return willscupper all her plans. When she asks himhow many men it would take to carry oneof the grandfather clocks up to her room,Ramiro is delighted at having something todo – he is no conversationalist. Hoisting itonto his shoulders he sets off up the stairs,just as her first visitor, Gonzalve, arrives.Lost in poetic transports of rapture, dreamyGonzalve is still rhapsodising when Ramiroreturns. Concepción has now devised a plan,however. She tells Ramiro she has changedher mind about which clock she would likein her room; while he goes off to fetch thefirst clock back down she hides Gonzalve in asecond clock, which Ramiro then cheerfullycarries off upstairs. By such means sheis able to rendezvous upstairs with firstGonzalve and then a second visitor, theelderly banker Don Iñigo Gomez, withoutRamiro ever realising. However, Gomezproves no better a lover than Gonzalve –overweight, he gets stuck in his clock –and eventually she vents her frustrationat the hopelessness of both admirers.When Ramiro comes back down carryingthe clock containing Gomez, barely breakingsweat, it dawns on Concepción that he isthe real man she has been searching for:she orders him back upstairs once again,this time without any clocks.Left downstairs, Gonzalve and Gomez arejust struggling out of their clocks whenTorquemada comes back; he is delightedto sell them the valuable timepieces theyappear to be so interested in. Concepciónand Ramiro return; Gomez remains stuckfast until Ramiro effortlessly pulls him out,and they all join, for the only ensemble inthe whole opera, to draw a spurious moral:in the pursuit of love, the time will comefor the muleteer!Keeping his singers relatively close to sungconversation for the most part, Ravelcaptures every comic twist while giving full25 April 2019
Maurice Ravel in Profilereign to his extraordinary gift for orchestralcolours. From the enchanting opening,where the ticking of myriad clocks createsa magical forest of sound, to the dazzlingSpanishness in the first scene with Ramiro,to the foolish ecstacies of Gonzalve, the comicindignities of Gomez and the perfect wit ofthe final quintet, the music is sheer delight. 1875–1937 /profile by Andrew Stewartlthough born in the rural Basquevillage of Ciboure, Ravel was raisedin Paris. First-rate piano lessonsand instruction in harmony and counterpointensured that the boy was accepted as apreparatory piano student at the ParisConservatoire in 1889.As a full-time student, Ravel explored awide variety of new music and forged a closefriendship with the Spanish pianist RicardoViñes. Both men were introduced in 1893 toChabrier, who Ravel regarded as ‘the mostprofoundly personal, the most French ofour composers’. Ravel also met and wasinfluenced by Erik Satie around this time.In the decade following his graduation in1895, Ravel scored a notable hit with thePavane pour une infante défunte for piano(later orchestrated). Even so, his works wererejected several times by the backwardlooking judges of the Prix de Rome fornot satisfying the demands of academiccounterpoint. In the early years of the 20thcentury he completed many outstandingworks, including the evocative Miroirs forpiano, and his first opera, L’heure espagnole.also met Igor Stravinsky and first heard theexpressionist works of Arnold Schoenberg.During World War I, he enlisted with themotor transport corps, and returned tocompos it ion slowly after 1918, completingLa valse for Diaghilev and beginning work onhis second opera, L’enfant et les sortilèges.In 1909 Ravel was invited to write a largescale work for Serge Diaghilev’s BalletsRusses, completing the score to Daphnisand Chloe three years later. At this time heFrom 1932 until his death, he sufferedfrom the progressive effects of Pick’sDisease and was unable to compose.Spain had a considerable influence on the—‘I’ve written only one masterpiece, Boléro Unfortunately, there’s no music in it.’Ravel to composer Arthur Honegger—composer’s creative personality, and hismother’s Basque heritage is reflected ina wide variety of works, together with hisliking for the formal elegance of 18thcentury French art and music. Composer Profile7
2019/20 with theLondon Symphony Orchestra
ROOTS & ORIGINS50 YEARS WITH THE LSORUSSIAN ROOTSARTIST PORTRAITSir Simon RattleMichael Tilson ThomasGianandrea NosedaAntoine TamestitSeason Opening Concert14 September 2019Berlioz: Romeo and Juliet10 November 2019Shostakovich’s Sixth31 October 2019Messiaen’s Éclairs sur l’au-delà15 September 2019HALF SIX FIXProkofiev: Symphony No 513 November 2019Tchaikovsky’s Fifth3 & 28 November 2019Jörg Widmann’s Viola Concertowith Daniel Harding19 April 2020Brahms & Rachmaninov18 & 19 September 2019Berg & Beethoven’s Seventh16 January 2020Beethoven:Christ on the Mount of Olives19 January & 13 February 2020Beethoven’s Ninth Symphony16 February 2020Bartók: Duke Bluebeard’s Castle23 April 2020Mahler’s Fourth Symphony26 April 2020Michael Tilson Thomas, Tchaikovsky& Prokofiev14 November 2019SMALL SCALEShostakovich’s Seventh5 December 2019Shostakovich’s Ninth30 January & 9 February 2020James MacMillan: St John Passion5 April 2020Berio Voci with François-Xavier Roth11 June 2020Walton Viola Concertowith Alan Gilbert14 June 2020BBC Radio 3 Lunchtime Concerts:Antoine Tamestit & Friends8 & 15 May; 5 & 26 June 2020, LSO St Luke’sLSO Chamber OrchestraMozart Concertos12 & 13 October 2019,LSO St Luke’sRameau, Purcell, Handel15 December 2019,Milton Court Concert HallGrainger4 June 2020Produced by the LSO and Barbican. Part of theLSO’s 2019/20 Season and Barbican Presents.Gershwin, Ives, Harris & Bernstein6 June 2020Explore the new season atlso.co.uk/201920season
François-Xavier Roth conductorrançois-Xavier Roth is one of today’smost charismatic and enterprisingconductors. He has been GeneralMusic Director of the City of Cologne since2015, leading both the Gürzenich Orchestraand the Opera, and is the first-ever AssociateArtist of the Philharmonie de Paris. He wasthe winner of the 2000 Donatella Flick LSOConducting Competition, becoming PrincipalGuest Conductor of the LSO in 2017.With a reputation for inventive programming,his incisive approach and inspiring leadershipare valued around the world. He works withleading orchestras, including the RoyalConcertgebouw, Staatskapelle Berlin, BostonSymphony, Munich Philharmonic and ZürichTonhalle. In 2018/19, he returns to the BerlinPhilharmonic and appears with the ClevelandOrchestra, San Francisco Symphony, BavarianRadio Symphony and Montreal Symphony.In 2003, he founded Les Siècles, aninnovative orchestra performing contrastingand colourful programmes on modern andperiod instruments, often within the sameconcert. With Les Siècles, he has givenconcerts throughout Europe and toured toChina and Japan. They recreated the originalsound of Stravinsky’s The Rite of Spring inits centenary year and, subsequently, withthe Pina Bausch and Dominique Brun dance10Artist Biographiescompanies in London, Paris, Frankfurt,Beijing, Nanjing, Shanghai and Tokyo.Les Siècles was nominated for GramophoneMagazine’s first Orchestra of the YearAward in 2018.Following the success of their explorationsof Post-Romanticism and Debussy, FrançoisXavier Roth continues to work closely withthe London Symphony Orchestra. His concertsin the 2018/19 season have featured atypically wide range of works, from Haydnthrough Strauss, Bartók and Scriabin toPhilippe Manoury and Donghoon Shin.In his fourth Cologne opera season, heleads new productions of Strauss’ Salomeand Offenbach’s La Grande-Duchesse deGérolstein, which marks the bicentenary ofthe composer’s birth in Cologne. With theGürzenich Orchestra, he will feature theRhenish composer Schumann, and exploreworks which disrupt traditional orchestralforms and think them anew. He continuesa focus on the composer Philippe Manoury,with the premiere of Lab.Oratorium, thethird of the trilogy of works commissionedby the Orchestra, which will also be playedin Hamburg and Paris. He recently tookthe Orchestra on tour to Turin, Zürich andVienna, performing Mahler’s Symphony No 5.Recordings include the complete tone poemsof Richard Strauss, while Principal Conductorof the SWR Sinfonieorchester Baden-Baden& Freiburg (2011–16) and, with Les Siècles,the three Stravinsky ballets (The Rite of Springwon German Record Critics’ and EdisonKlassiek Prizes). The first releases in acomplete Ravel cycle for Harmonia Mundiinclude Daphnis and Chloe (GramophoneOrchestral Album of the Year 2018) andMa mère l’Oye. Mirages, a vocal recital withSabine Devieilhe for Erato, won the Victoiresde la Musique Classique Recording of the Year.He has conducted two albums commemoratingDebussy’s centenary (including Jeux andNocturnes) and the 150th anniversary ofBerlioz’s death (Harold in Italy and Les nuitsd’été). With the Gürzenich Orchestra, hehas just released Mahler’s Third Symphony,following their recording of the Fifth.A tireless champion of contemporary music,and music education, he has been conductorof the ground-breaking LSO PanufnikComposers Scheme since its outset in 2005.Roth has premiered works by Yann Robin,Georg-Friedrich Haas, Hèctor Parra and SimonSteen-Anderson, and collaborated withcomposers like Pierre Boulez, Wolfgang Rihm,Jörg Widmann and Helmut Lachenmann. Forhis achievements, François-Xavier Roth wasmade a Chevalier of the Légion d’honneur. 25 April 2019
François-Xavier Rothin 2019/20The Miraculous Mandarin19 December 2019HALF SIX FIXThe Wooden Prince18 March 2020The Wooden Prince& Stravinsky Violin Concerto19 March 2020BARTÓKDukas Symphony in C22 March 2020Stravinsky’s Firebird11 June 2020Panufnik Composers Workshop26 March 2020, LSO St Luke’sExplore the new season atlso.co.uk/201920season
Isabelle Druet ConcepciónJean-Paul Fouchécourt Torquemadareturn to the title role in Bizet’s Carmen atthe Opéra de Saint-Etienne, a role she hasalready performed at the Opéra Nationalde Lorraine and Opernhaus Düsseldorf. Shehas once again been invited to the Opéra deParis (where she sings Tisbé in Rossini’s LaCenerentola), and takes up the part of Babathe Turk in Stravinsky’s The Rake’s Progressat the Opéra de Nice.qually at home in opera as she isin recital, Isabelle Druet crossesthe centuries from Monteverdito Britten with ease.A musician with an atypical background,she first trained in theatre before takingher first steps as a singer in contemporaryand traditional music, while at the sametime studying singing at the Conservatoirede Paris. Awards quickly followed, includinga win at the prestigious Queen ElisabethCompetition 2008, and an award at theVictoires de la musique classique. Shehas sung at many of the world’s leadingopera houses and with the most renownedensembles. The 2018/19 season marks her12Artist BiographiesShe also continues her collaboration withconductor François-Xavier Roth in severalconcerts, in Bach’s St John Passion withthe Gürzenich Orchester, Mahler’s Das Liedvon der Erde with the Tonhalle-OrchesterZürich, and in tonight’s role as Concepción inRavel’s L’heure espagnole on tour in Aix-enProvence, Grenoble and Evian.She made her debut at the Paris Operain 2011 in the role of Le Page in Strauss’Salomé. Among her many other roles onstage, in addition to Bizet’s Carmen, shehas performed the title role in Rossini’sL’Italiana in Algeri at the Opéra-Théâtrede Metz, Dido in Purcell’s Dido & Aeneason tour and in Brussels, Tisbé in Rossini’sLa Cenerentola, La Ciesca in Puccini’s GianniSchicchi and Annina in Verdi’s La traviataat the Opéra national de Paris. Festival, Choregies d’Orange, Théâtredes Champs-Elysées, Edinburgh Festival,Opera de Lyon, Geneva Opera and SalzburgFestival. He has also appeared with theBerlin Philharmonic Orchestra, at Opera deBordeaux, Saito Kinen Festival, and withthe Boston Symphony and BBC SymphonyOrchestras. Fouchécourt has worked withconductors including James Levine, MarcMinkowski, William Christie, René Jacobs,Charles Dutoit, Seiji Ozawa, Myung-WhunChung, Valery Gergiev, James Conlon andSir Simon Rattle.ean-Paul Fouchécourt is oneof the foremost interpreters ofthe French Baroque repertoire.His performances and large discography,featuring over 100 recordings, include worksby Rameau, Lully and Campra. He hasalso mastered repertoire from Berlioz toOffenbach, Ravel, Britten and Verdi.His career has taken him to major operahouses and orchestras around the world.He has performed numerous roles with LesArts Florissants under the baton of artisticdirector William Christie, Les Musiciensdu Louvre conducted by Marc Minkowski,Netherlands Opera, Metropolitan Opera,Antwerp Opera, Paris Opera, Aix en ProvenceFouchécourt is well known for his portrayalof Rameau’s Platée, having performedthe part at the Royal Opera House, ParisOpera, Opera de Bordeaux, Geneva Opera,New York City Opera, the Salzburg WhitsunFestival and with the Philharmonia BaroqueOrchestra. He is also known for his King Ouff Iin Chabrier’s L’Etoile for the Cincinnati andGeneva Operas, Austin Lyric Opera, NewYork City Opera, the Staatsoper Berlin andrecently in Bergen.Jean-Paul Fouchecourt has recently decidedto dedicate part of his time to passing on hisexpertise to young singers, and is now ArtisticDirector of the Studio de l’Opera de Lyon. 25 April 2019
Thomas Dolié RamiroEdgaras Montvidas GonzalveMarc Minkowski’s Musiciens du Louvre, therole of Hylas in Destouches’ Issé with theensemble Les Surprises at the Festival deMusique Baroque de Pontoise and at theRoyal Opera of Versailles. He also performedtonight’s role of Ramiro in L’heure espagnolewith François-Xavier Roth in Les Siècles inAix-en-Provence, Evian-les-bains, Grenobleand Soissons.he winner of ‘lyrical artistrevelation’ at the 2008 Victoiresde la musique classique awards,Thomas Dolié is one of the most appreciatedFrench baritones of
Boléro, but Ravel’s insistent rhythm is considerably slower than an actual bolero – though it has now become more famous and arguably more ‘definitive’ than the dance-style it is modelled on. In subsequent years Ravel
Ravel Favorites Thursday, October 1 / 7:30 PM Yannick Nézet-Séguin Conductor Lisa Batiashvili Violin Ravel Le Tombeau de Couperin Szymanowski Violin Concerto No. 1 Chausson Poème, for violin and orchestra Ravel Bolero We open our new season with two of Ravel
4 Ravel and the piano Roy Howat [71] 5 Harmony in the chamber music Mark DeVoto [97] 6 Ravel and the orchestra Michael Russ [118] 7 Ballet and the apotheosis of the dance Deborah Mawer [140] 8 Vocal music and the lures of exoticism and irony Peter Kaminsky [162] 9 Ravel’s operatic spe
r e w a Mh a r o b e4D Emily Kilpatrick. 21 Larger questions of the complex relationship between Ravel the man and Ravel the musician, and between his private and public personas, underpinned Benjamin Ivry’s thought-provoking biography Maurice Ravel: A Life, published in 2000, 22 and have subsequently been taken up by others. 23 Arguably
the LSO’s Principal Trumpet Philip Cobb for a performance of Haydn’s Trumpet Concerto, alongside works by Debussy and Shostakovich. Kathryn McDowell CBE DL LSO Managing Director. lso.co.uk Programme Notes 5 Ludwig van Beethoven (1770–1827) Piano Sonata No 18 in E-flat major Op 31
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heritage and father’s mechanical brain greatly influenced Ravel and nowhere more so that in his Bolero composition of 1928. Ravel had piano lessons from the age of 6 and progressed quickly performing in public at the age
vision. The early piano work of Ravel is in 1905. It was the work that Ravel used for . Sonatine. competition at the very beginning. However, it received multiple after playingapplauses and they are greatly admired by the listeners. Later it was promoted and published, w
An Introduction to Thermal Field Theory Yuhao Yang September 23, 2011 Supervised by Dr. Tim Evans Submitted in partial ful lment of the requirements for the degree of Master of Science in Quantum Fields and Fundamental Forces Department of Physics Imperial College London. Abstract This thesis aims to give an introductory review of thermal eld theo- ries. We review the imaginary time formalism .
