Post on 10-Mar-2016
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SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
ARTISTIC DIRECTOR AND PRINCIPAL CONDUCTOR CHARLES DUTOIT
OCTOBER 2012 -
MAY 2013
LITTON
MATTHEWS
AN
DREW
NIC
OLA
BENEDETTISIR W
ILLARD
WHITE
SALLY
CH
ARLES
DUTOIT
KIRILL
KARABITS
ZUKERMAN
PINC
HA
S
The Royal Philharmonic Orchestra is the only London orchestra to offer a 50% discount on tickets for every own-promotion concert for a year.
Become a member from only £25 per year and enjoy benefits including:
• 50% off all RPO own promotion concerts (two tickets per concert)
• Exclusive RPO friends’ bar
• Priority booking and ticket allocation
• FREE rehearsal passes to selected concerts
• Discounted RPO CDs
• Regular newsletters and updates on the Orchestra’s activities and forthcoming events
To join the RPO friends, please telephone 020 7608 8855 or visit www.rpo.co.uk/friends
More music for less!riendsf
The Royal Philharmonic Orchestra embarks on another exciting season at Southbank
Centre’s Royal Festival Hall, with an array of outstanding artists joining the Orchestra
for a series of unmissable concerts. Captivating violinist Nicola Benedetti is sure to
dazzle in Korngold’s lush Violin Concerto, directed by the up-and-coming conductor
Diego Matheuz, graduate of the famous Venezuelan Sistema. Anticipating Britten’s
centenary, the profoundly moving War Requiem will be sung by The Bach Choir –
the choir most associated with the work. Pinchas Zukerman is joined by his daughter,
soprano Arianna Zukerman, for Mahler’s Fourth Symphony, and a stellar cast gathers
under the direction of Charles Dutoit for what promises to be an unforgettable
performance of Berlioz’ masterpiece, The Damnation of Faust.
f
Andrew Litton Conductor
Natasha Paremski Piano
Mussorgsky, orch. Rimsky-Korsakov
Night on the Bare Mountain
Tchaikovsky Piano Concerto No.1
Shostakovich Symphony No.5
A feast of Russian music, opening with Mussorgsky’s
thrilling Night on the Bare Mountain – a depiction
of the Witches’ Sabbath that brims with magic and
mischief. Mussorgsky described the piece to his friend
Rimsky-Korsakov, who completed the orchestration:
‘The form and character of my work are Russian and
original... hot-blooded and disordered.’ Shostakovich
came under fire for his own hot-blooded and disordered
music, which attacked the Russian regime. In the Fifth
Symphony, he toned down this style, finding new, subtle
ways of satirising the state. These fascinating works
frame Tchaikovsky’s First Piano Concerto, which boasts
one of the most famous of all opening themes.
RUSSIAN MASTERPIECES
Tuesday 16 October 2012, 7.30pm
Tchaikovsky Francesca da Rimini
Korngold Violin Concerto
Tchaikovsky Symphony No.6, ‘Pathétique’
An irresistible programme full of romance
and colour. Tchaikovsky tells the sad tale
of Dante’s Francesca da Rimini in his
compelling orchestral fantasy. Celebrated
violinist Nicola Benedetti performs the
gorgeous Violin Concerto by Korngold,
which sweeps the listener along in a stream
of lush orchestral sounds, vibrant violin lines
and rich harmony. The work was dedicated
to Alma Mahler, widow of Korngold’s
mentor, Gustav Mahler. Finally we are
treated to Tchaikovsky’s glorious ‘Pathétique’
Symphony. After an opening full of dark
mystery, the music blossoms into one of
Tchaikovsky’s finest themes, overflowing with
bittersweet longing and heartfelt passion.
KORNGOLD VIOLIN CONCERTO
Diego Matheuz Conductor
Nicola Benedetti Violin
Thursday 1 November 2012, 7.30pm
2
Britten War Requiem
An unmissable performance of this exceptionally
powerful work, in honour of Britten’s forthcoming
centenary and performed alongside The Bach
Choir – a choir conducted by Britten himself for his
seminal recording of the work. As a pacifist, Britten
relished the opportunity to explore the futility of war,
while paying tribute to its dead. The work combines
texts from the Latin Requiem Mass with poems by
the First World War poet Wilfred Owen. The result
is music of haunting power and exceptional beauty.
Not to be missed.
WAR REQUIEM
Tuesday 27 November 2012, 7.30pm
Poulenc Gloria
Canteloube Selection from Songs of the Auvergne
Duruflé Requiem
This programme celebrates French repertoire
which blends orchestral and vocal forces – with
magnificent results. Poulenc’s Gloria is one of
his most ambitious works, with solo soprano
and chorus expressing Latin texts for which, as a
devout Catholic, Poulenc felt a special reverence.
Canteloube’s sensual Songs of the Auvergne take
us from heavenly pleasures to earthly ones. These
glorious settings of Auvergne folk songs are sung
in the local dialect, Occitan, accompanied by
Canteloube’s colourful orchestration. Duruflé’s
Requiem dates from the mid-twentieth century,
but his use of Gregorian chant gives the work a
timeless and deeply spiritual quality.
A FRENCH CONNECTION
David Hill Conductor
Sarah Fox Soprano
Kitty Whately Mezzo-soprano
Benedict Nelson Baritone
The Bach Choir
Tuesday 5 February 2013, 7.30pm
David Hill Conductor
Sally Matthews Soprano
John Mark Ainsley Tenor
Alan Opie Baritone
The Bach Choir
Eltham College Trebles
Promoted in
association with
Promoted in
association with
Poulenc Gloria
Canteloube Selection from Songs of the Auvergne
Duruflé Requiem
This programme celebrates French repertoire
which blends orchestral and vocal forces – with
magnificent results. Poulenc’s Gloria is one of
his most ambitious works, with solo soprano
and chorus expressing Latin texts for which, as a
devout Catholic, Poulenc felt a special reverence.
Canteloube’s sensual Songs of the Auvergne take
us from heavenly pleasures to earthly ones. These
glorious settings of Auvergne folk songs are sung
in the local dialect, Occitan, accompanied by
Canteloube’s colourful orchestration. Duruflé’s
Requiem dates from the mid-twentieth century,
but his use of Gregorian chant gives the work a
timeless and deeply spiritual quality.
Borodin Prince Igor Overture
Prokofiev Piano Concerto No.3
Tchaikovsky Symphony No.1, ‘Winter Daydreams’
An enchanting programme of Russian masterworks
overflowing with inventive themes and glittering sonorities.
Borodin was a composer of colourful orchestration and
irresistible melodies. The Overture to his opera Prince Igor
begins in a mysterious vein, but is soon effervescing with
excitement. Prokofiev began sketching his Third Piano
Concerto in 1917, completing it in Brittany in 1921. Full
of evocative textures, the Concerto develops a relationship
between piano and orchestra that encompasses lively
dialogue and profound intimacy. In his First Symphony,
‘Winter Daydreams’, Tchaikovsky vividly conjures up blustery
and atmospheric scenes with his characteristic dramatic flair.
ENCHANTING RUSSIA Kirill Karabits Conductor
Alexei Volodin Piano
Wednesday 20 March 2013, 7.30pm
Berlioz The Damnation of Faust
Charles Dutoit is renowned as a supreme
interpreter of Berlioz’ epic masterpiece,
which was described by the composer as
a ‘légende dramatique’. Berlioz became
transfixed by Goethe’s version of the
Faust story, declaring: ‘I could not put it
down. I read it incessantly, at meals, in
the theatre, in the street.’ The tale that
so gripped Berlioz is illuminated by his
uniquely beautiful music, full of exquisite
orchestral colours and fluid vocal writing.
Charles Dutoit is joined for this concert
performance by a truly stellar cast, each
celebrated for their outstanding expressive
powers. Unmissable.
THE DAMNATION OF FAUST
Charles Dutoit Conductor
Ruxandra Donose Mezzo-soprano
Paul Groves Tenor
Benedict Nelson Baritone
Sir Willard White Bass-baritone
London Symphony Chorus
New London Children’s Choir
Tuesday 30 April 2013, 7.30pm
2
Pinchas Zukerman
Conductor/ Violin
Arianna Zukerman Soprano
Mozart Piano Concerto No.25
Mahler Symphony No.1
Two expansive and powerful masterpieces, directed by
the inimitable Charles Dutoit. Louis Lortie performs Mozart’s
Piano Concerto No.25, with its impressive scale and
enthralling contrasts between light and shade. Mahler
told Sibelius that ‘the symphony must be like the world, it
must embrace everything’. Mahler’s First Symphony (initially
subtitled the ‘Titan’) does just that, opening with spacious
sounds evoking nature waking up. After a dancing second
movement comes the brilliantly macabre third, in which a
minor-key rendition of Frère Jacques – begun on double
bass – contrasts eerily with brash marching music. The
glorious finale resolves these conflicts, its final bars among
the most dazzling and life-affirming ever written.
‘TITAN’ SYMPHONY
Tuesday 14 May 2013, 7.30pm
Mozart Violin Concerto No.3, ‘Strassburg’
Mahler Symphony No.4
Elegant and moving music from two of the
finest composers ever to call Vienna their
home. Mozart’s Third Violin Concerto, written
when he was only nineteen, is full of youthful
charm, with a slow movement of tender
romance. The final rondo features a lively
dance tune associated with Strasbourg,
from which the Concerto gets its nickname.
Mahler’s Fourth Symphony, which opens with
jingling sleigh-bells, is one of his most delicate.
Yet there is all the contrast you’d expect
from Mahler: a quirky scherzo and a slow
movement of yearning beauty, ending with the
finale’s soprano solo unfolding a child’s vision
of Heaven.
VIENNA’S FINESTWednesday 29 May 2013, 7.30pm
Charles Dutoit Conductor
Louis Lortie Piano
‘TITAN’ SYMPHONY
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“The strings are highly impressive...the RPO offers muscular
brass and first-class woodwinds. The rhythmic intricacies and
sharp contrasts in mood and tempi were dextrously handled by
Dutoit and the musicians delivered the music with fleet bravura.”
CHICAGO CLASSICAL REVIEW
“Hats off to the RPO who sounded reborn.”
THE INDEPENDENT
“Karabits has a superb ear for orchestral colour, and the
RPO do sensuousness uncommonly well. The end result
was rich yet delicate, with wonderfully liquid woodwind
solos and an exquisite sheen on the strings.”
THE GUARDIAN
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