Mozart - Barbican



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

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