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Bernstein Candide

Cambridge Philharmonic Society 2011 – 2012 Season Programme

Saturday 19 May 2012 West Road Concert Hall, Cambridge

Copland Fanfare for the Common Man

Brahms Piano Concerto No. 1 with soloist

Cordelia Williams

Rachmaninov Symphony No. 2

Saturday 30 June 2012 King’s College Chapel, Cambridge

Parry I Was Glad, Blest Pair of Sirens

Elgar In the South

Puccini Crisantemi, Messa di Gloria with soloists

Bonaventura Bottone and Dean Robinson

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Cambridge

Philharmonic

Society

Timothy Redmond Conductor

Steve Bingham Leader

Sunday 11 March 2012 West Road Concert Hall, Cambridge

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Cambridge Philharmonic Society acknowledges the continued support of our

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Cambridge Philharmonic Society is a member of Chesterton Community College Association. Registered Charity 243290

The Pye Foundation

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Programme

Bernstein

Candide

Act 1

20 Minute Interval

Act 2

Cast List

Daniel Norman Candide

Kristy Swift Cunegonde

Beverley Klein Old Lady

Geoffrey Dolton Pangloss / Martin

Bonaventura Bottone Governor / Vanderdendur /Ragotski

Jonathan McGovern Maximilian / Captain

Elizabeth Powell Paquette

Patrick Ardagh Walter Doctor / Bear Keeper / Inquisitor III / Judge III /

Tsar Ivan

Edward Lee Cosmetic Merchant, Inquisitor II / Judge II /

Charles Edward

Leandros Taliotis Junkman / Inquisitor II / Judge II / Hermann

Augustus / Croupier /Señor II

Adam Crockatt Alchemist / Inquisitor I / Judge I /

Sultan Achmet / Crook / Señor I

David Timson Narrator / King Stanislaus

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Ladies and Gentlemen,

Welcome to this evening’s performance of Leonard Bernstein’s ‘Candide’.

Bernstein’s love of theatre was at the heart of everything he did. From his

balletic and demonstrative conducting to his peerless television

programmes, which introduced so many people to classical music, he was

the embodiment of passion, enthusiasm and musical creativity. Four

decades separate his first Broadway show ‘On The Town’ (1944) from his

last opera ‘A Quiet Place’ (1983) - and in between were a dozen more

theatrical works, ballets and film scores - but the two pieces he wrote side

by side in the 1950s stand out from them all. So closely are ‘West Side

Story’ and ‘Candide’ interwoven, that music originally intended for one

often made its way into the other.

Just as Bernstein found it hard to define himself as one thing – was he a

first a pianist, composer, conductor or educator? – so these two works,

and particularly ‘Candide’, struggle to be defined as opera, musical or

operetta. Unlike ‘West Side Story’, which achieved immediate success,

‘Candide’ took many years to arrive in its current form and to take its

place in the repertoire. With its convoluted and preposterous plot

combined with its many-and-varied pastiches and musical in-jokes, a

narrated concert performance is in many ways the ideal introduction to

the work. But once you’ve been introduced to it, it’s a work you’ll never

forget! From the explosive excitement of the overture to the tear-jerking

company finale, it is a tour de force of compositional brilliance and

touching tribute from Bernstein to all the music he loved so dearly.

Timothy Redmond

Principal Conductor

Cambridge Philharmonic

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Candide Leonard Bernstein

(1918 -1990) Act One

Scene 1 Westphalia: Schloss Thunder-ten-Tronck

Scene 2 Westphalia: A Desolate Heath

Scene 3 Westphalia: The Baronial Chapel at Schloss Thunder-ten-Tronck, and the

battlefield

Scene 4 Elsewhere in Westphalia

Scene 5 Lisbon

Scene 6 Paris: Cunegonde's room

Scene 7 Cadiz: An Inn

Act Two

Scene 1 Buenos Aires: the Governor's palace

Scene 2 Somewhere in the South American Jungle

Scene 3 Governor’s Palace, three years later

Scene 4 Eldorado

Scene 5 Surinam

Scene 6 At Sea

Scene 7 Venice: Ragotski’s Casino

Scene 8 A Farm outside Venice

Born in Lawrence Massachusetts, to Ukranian Jewish immigrants, Leonard Bernstein

grew up in a family pursuing the American dream of success and prosperity. His father,

Samuel Bernstein, rose from cleaning fish in New York’s Fulton Street Market to

becoming the largest supplier of beauty parlour goods in New England. He hoped his

eldest son would join his business or become a rabbi. It was only reluctantly and with

time that he came to understand and embrace his son’s genius. When Bernstein was ten

years old, a second hand piano arrived at their overcrowded apartment. Bernstein

recalls, ‘I remember touching this thing the day it arrived, just stroking it and going mad. I

knew, from that moment to this, that music was it. There was no question in my mind

that my life was to be about music.’

Leonard Bernstein was educated at the Boston Latin School, Harvard University, and the

Curtis Institute. His time at Harvard broadened both his musical and social horizons.

Although he majored in music, he also took courses in literature and philosophy, giving

him a rich intellectual background and appreciation for many disciplines. He relished the

relatively relaxed atmosphere and the chances for social and political involvement.

While at Harvard he met the Greek conductor Dimitri Mitropoulos and fellow American

composer, Aaron Copland. Each would become an important lifelong friend of

Bernstein. After Harvard, Bernstein focused intensely on music, studying conducting

with Fritz Reiner and piano with Isabelle Vengerova at the recently founded (1924)

Curtis Institute in Philadelphia. From Curtis, he would continue his conducting studies

with Serge Koussevitzky at Tanglewood. Over the next three years, he gained

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experience and exposure in conducting circles, landing an appointment as an assistant

conductor to the New York Philharmonic in August 1943.

Bernstein stepped into the world conducting limelight in an overnight success story.

Not even three months into his new post, he was asked to fill in for a bed-ridden Bruno

Walter on 14 November 1943. With only a few hours’ notice and no time for a

rehearsal, the 25-year old Leonard Bernstein took to the podium. The live, national

broadcast concert was a triumph. The next morning, his conducting success made the

front page of the New York Times. He went on to an acclaimed conducting career which

included serving as the Music Director of the New York Philharmonic (1958-1969),

conducting major symphonies around the world, and teaching and supporting young

musicians. Initially, his exuberant and energetic conducting raised a few eyebrows. An

early critic wrote that Bernstein spent most of his time ‘fencing, hula-dancing and calling

upon the heavens to witness his agonies.’ Concertgoers were alternately thrilled or

appalled when witnessing the ‘Lenny leap.’ Caught up in a conducting passion, he could

make vertical jumps of over a foot. His appearances on the CBS television series

Omnibus as well as the televised Young People’s Concerts with the New York Philharmonic

demonstrate a lifelong passion for teaching and sharing music with everyone. As his

celebrity grew, he used his considerable resources and fame to champion many causes of

peace and civil rights. The breadth and depth of his love for music and humanity was

epitomized in Berlin on Christmas Day 1989 when he conducted Beethoven’s 9th

Symphony to celebrate the fall of the Wall.

While his conducting fame flourished, Bernstein continued to compose. Throughout his

career, he composed during conducting sabbaticals and between seasons. He amassed a

great body of work including music for orchestras, choirs, small ensembles, Broadway,

opera, and film. His music captures a distinctive American sound, shaped by the

tumultuous second half of the twentieth century, from the Second World War to the fall

of the Berlin Wall. Among his compositions are West Side Story, Candide, Chichester

Psalms, Kaddish (Symphony no. 3) and the film score for On the Waterfront.

Bernstein was at home on podiums around the world, but Tanglewood, the summer

home of the Boston Symphony Orchestra, always held a large piece of his big heart. It

was there, in the bucolic Berkshires of western Massachusetts, that he first studied with

Serge Koussevitzky in 1940. When Koussevitzky died in 1951, Bernstein headed the

orchestral and conducting departments at Tanglewood for many years. Throughout his

busy career, he returned frequently to conduct and teach. When he turned 70, in 1988,

a four-day birthday bash was held at Tanglewood. The collection of musicians, artists,

and composers who came to celebrate is astonishing, including Yo-Yo Ma, Midori,

Frederica Von Stade, Lauren Bacall, and Rostopovich. The gala finished with Seiji Ozawa

addressing Bernstein across the crowd, ‘Tanglewood was your legacy. We love you

Lenny: you helped make our Tanglewood garden grow.’ Then he turned and conducted

the finale from Candide, ‘Make Our Garden Grow.’

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At Tanglewood, on 19 August 1990, Leonard Bernstein conducted his final concert:

Benjamin Britten's ‘Four Sea Interludes’ from Peter Grimes, and Beethoven's Seventh

Symphony. Afterwards, he told a friend, ‘You know it’s incredible how I did my first

concert at Tanglewood and I did my last concert at Tanglewood. There’s a real sense of

closure.’ Leonard Bernstein passed away on 14 October 1990.

Candide

Leonard Bernstein’s Candide, based on Voltaire’s picaresque novel of the same name,

traces the adventures and misfortunes of a young innocent, Candide, and his friends.

The original satire, published in 1759, was an attack on Gottfried Wilhelm Leibniz’s

philosophy that this is the best of all possible worlds. Voltaire ridicules Leibnizian

optimism as his characters reel from one calamity to the next, including the 1755 Lisbon

earthquake, the Seven Years War, and the Spanish Inquisition. Between these disastrous

historical events, the marionette-like characters suffer countless personal tragedies and

betrayals. Flowing with quicksilver wit and relentless action, it mocks religion,

government, and social mores. Voltaire’s Candide is 87 pages and was written in about

three weeks. It is a gem of political and philosophical satire. The way Voltaire’s novel is

written made for real problems in constructing the musical work, which therefore also

had to be written as a series of scenes rather than as a traditional operatic story.

The musical, an effort that evolved over more than three decades and went through at

least seven major versions and countless minor variations, began as a collaboration

between Bernstein and the playwright Lillian Hellman in 1953. The idea was to adapt

Voltaire’s novel into a piece of musical theatre that attacked the hysterical witch-hunts of

artists, writers, and musicians by Senator Joseph McCarthy and the House Un-American

Activities Committee. Teaming up with lyricists John Latouche, Richard Wilbur, and

Dorothy Parker, it was an endeavour with staggering amounts of talent. After a troubled

three-year development, it opened on Broadway in 1956. Despite the intellectual,

artistic, and musical resources invested in the show, the initial production was a flop.

Criticism ranged from citing Hellman’s script as too heavy-handed to speculating that

audiences couldn’t follow the plot. With disappointing returns, the show closed after

just 73 performances.

The score, however, was recognised as a triumph. It was a musical mélange that

included tango, polka, barcarolle, chorale, gavotte, and many other forms. Bernstein

even incorporated a 12-tone sequence (pointedly used in a song about boredom).

Bernstein would later write that ‘Candide was written as a kind of personal love letter to

European music. It’s an American’s Valentine to Europe...And it is a pastiche, it’s

eclectic, that’s the whole point of it.’ The original Broadway cast recording with Max

Adrian as Candide and Barbara Cook as Cunegonde quickly became a bestseller.

In 1973, producer Hal Prince and writer Hugh Wheeler created a one-act ‘pocket-

Candide.’ Wheeler wrote a new book, Stephen Sondheim contributed the lyrics to ‘Life is

Happiness Indeed,’ a significant amount of music was cut, political satire was replaced with

circus-like whimsy, and the orchestration reduced to 13 musicians. Prince’s production

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took place in the experimental venue of the Brooklyn Academy of Music’s Chelsea

Theatre. The production used every corner of the tiny space with scenes on various

platforms, ramps, catwalks and drawbridges. There was even a drop-down jungle. The

musicians were scattered among the audience in small groups. Hal Prince’s ‘pocket-

Candide’ was a theatrical success. Hellman had nothing to do with the production and

Bernstein very little. Prince’s production was later adapted for Broadway and delighted

larger audiences for a year-long run of more than seven-hundred performances.

Although Prince’s Candide was a box office success, much was lost in the high-jinx

comedy. Various revivals followed, including an opera house version of Candide in 1982.

But however successful these reincarnations were, none were quite right. John Mauceri,

who had been responsible for the opera house version lamented that ‘the heart, the

tears and the faith — all clearly part of Voltaire's reason for writing Candide — were

nowhere to be found in the post-Lillian Hellman versions.’ In the 1980s, Mauceri worked

closely with Bernstein to create a version for the Scottish Opera. Hugh Wheeler‘s book

was adapted by John Wells to restore the pathos and philosophical substance. Most of

the original score was reinstated and the orchestration expanded. The story is still

replete with the improbable and absurd. Death, resurrection, and wild coincidence

remain commonplace. The satire still sizzles. But the work reserves a measure of

genuine optimism, especially in the final number, ‘Make our Garden Grow’. Bernstein

conducted this version in Glasgow in 1988 as well with the London Symphony Orchestra

in 1989. It is believed that this version incorporates the final intentions of the composer.

This is this version we will perform tonight.

Candide – Scottish Opera Version

Music by Leonard Bernstein

Book by Hugh Wheeler and John Wells

Based on the satire by Voltaire

Lyrics by Richard Wilbur

With additional lyrics by Stephen Sondheim, John Latouche,

Dorothy Parker, Lillian Hellman and Leonard Bernstein

Orchestrations by Leonard Bernstein and Hershy Kay

Musical continuity and additional orchestrations by John Mauceri

Overture

Act One

Scene 1 - Westphalia: Schloss Thunder-ten-Tronck

We meet the cast of characters. Our hero is Candide, the big-hearted and illegitimate

nephew of the Baron of Thunder-ten-Tronck. He sets the tone with his outlook that Life

is Happiness Indeed (Candide). This sentiment is echoed by his cousin Cunegonde, the

prettiest and most noble maiden in the land; Maximilian, Cunegonde’s brother, whose

beauty is second only to his sister’s; and Paquette, the resourceful and highly sought-after

serving maid. The happy quartet even proclaims that Life is Absolute Perfection (Maximilian,

Cunegonde, Candide, Paquette). They are taught by the ‘paragon of human virtue,’ Dr

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Pangloss, who ensures them that this is The Best of All Possible Worlds (Pangloss,

Maximilian, Cunegonde, Candide, Paquette). With such a rosy outlook and wise teacher,

Candide and Cunegonde cannot help but fall in love. Each earnestly describes a vision of

marital bliss in Oh Happy We (Candide and Cunegonde).

Unfortunately, Cunegonde’s parents, the Baron and Baroness, do not approve of the

humble bastard wedding their noble daughter. Candide is swiftly rewarded for his

advances with banishment.

Scene 2 - Westphalia: A Desolate Heath

Resigned to his fate, in this best of all possible worlds, Candide trusts that It Must Be So

(Candide). Our despondent optimist sets off to wander the world. He is soon recruited

to join the Bulgar army and fight against the Abars.

Scene 3 - Westphalia: The Baronial Chapel at Schloss Thunder-ten-Tronck,

and the Battlefield

On the verge of war, the Baron’s family congregate in the chapel and sing Westphalia

Chorale (Chorus), a prayer for survival. Schloss Thunder-ten-Tronck is attacked, and

everyone massacred, Battle Music (Instrumental). Candide returns, searching among the

ruins for Cunegonde. On finding her corpse, he sings Candide’s Lament (Candide).

Scene 4 - Elsewhere in Westphalia

Candide continues to wander the world, starving and alone. He gives his last coins to a

beggar with a tin nose whose body has been ravaged by syphilis. It turns out that the

beggar is his old teacher, Pangloss. Despite his condition, Pangloss is unshaken in his

optimism, and explains to his Dear Boy (Pangloss) all the benefits of Love’s divine disease.

Scene 5 - Lisbon

Reunited, Pangloss and Candide board a ship sailing for Lisbon. As they arrive, an

earthquake strikes, a volcano erupts, and 30,000 people die. Pangloss and Candide

survive. Viewed suspiciously, they are brought before the Grand Inquisitor at an Auto-da-

Fe (Pangloss, Chorus) to be publicly tried and tortured as heretics. Pangloss protests that

he is ‘too sick to die’ and proceeds to recount the lineage of his affliction. Unfortunately,

the inquisitors are unmoved. Pangloss is hanged. Candide is flogged and banished.

Candide continues his travels, still adhering to Pangloss’s teaching. Unable to see the

good in the injustice he has witnessed, he laments that It Must Be Me (Candide).

Scene 6 - Paris: Cunegonde's Room

The story now shifts to Paris, the city of dancing and lights, Paris Waltz (Instrumental). A

mysterious beauty has captured the hearts of a rich Jew, Don Issachar, and the Cardinal

Archbishop of Paris. We encounter the beauty in moment of solitary reflection; she is

Cunegonde. She laments her fall from virtue, but dripping with diamonds and pearls,

resigns herself to Glitter and Be Gay (Cunegonde). In a shimmering aria, she comforts

herself, trilling that ‘If I’m not pure, at least my jewels are.’

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By happy coincidence, Candide wanders into Paris and hears his beloved’s voice.

Amazed to find each other, they proclaim their enduring love in the duet, You Were

Dead, You Know (Cunegonde, Candide). The reunion is interrupted by the arrival of first

the Jew and then the Archbishop. In a flutter of well-meaning confusion, Candide kills

them both.

With the help of Candide’s companion, the Old Lady, Candide and Cunegonde flee Paris.

Scene 7 - Cadiz: An Inn

The fugitives take refuge in Cadiz and compare their misfortunes. After the Old Lady

tells her story, they discover they have been robbed. Ever resourceful, the Old Lady

sings for their supper. Her key to survival has been to adapt quickly to the swells of fate.

Her talent, she explains, is that I Am Easily Assimilated (The Old Lady, Chorus).

To escape from the French Police, Candide accepts a commission to fight for the Jesuits

in South America. Candide, Cunegonde, and the Old Lady board a ship. In the Quartet

Finale (Candide, Cunegonde, The Old Lady, Captain and Chorus) they sail away with hearts

full of hope, headed to the New World.

Act Two

Scene 1 - Buenos Aires: the Governor's Palace

Candide, Cunegonde, and the Old Lady arrive in Buenos Aires. Amazingly, Maximilian

and Paquette, alive again, arrive at the same time, disguised as slave girls. The hot

blooded governor of Buenos Aires immediately falls in love with Maximilian and

purchases the slaves. On discovering his error, he dispatches Maximilian and Paquette to

the Jesuits. The Governor then transfers his affections to the nearby and equally

beautiful Cunegonde, grandly proclaiming My Love (Governor, Cunegonde). She insists that

he must wed her if he is to bed her. He hurries off to prepare himself. Meanwhile, the

Old Lady urges Candide to hide in the jungle from the French police. Left alone, the Old

Lady and Cunegonde celebrate their feminine tricks and wiles as they celebrate that We

Are Women (Cunegonde, Old Lady).

Scene 2 – Somewhere in the South American Jungle

Candide finds and joins the Jesuits who are piously singing the Pilgrims Procession. He is

amazed to discover that the Mother Superior is Paquette and Father Superior,

Maximilian. In the midst of a joyous reunion, Candide declares his undying love for

Cunegonde. Maximilian is furious that the bastard Candide would dare to think of

marrying his chaste sister. Candide inadvertently, but conveniently, kills Maximilian, and

flees once again.

Scene 3 - Governor’s Palace, Three Years Later

The Governor still has not married Cunegonde. The Old Lady and Cunegonde languish

in luxury. In response to their incessant complaints, the Governor shouts Quiet!

(Governor, Cunegonde, the Old Lady).

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Scene 4 – Eldorado

Wandering and starving in the jungle, Candide stumbles upon the land of Eldorado

(Instrumental), a country surrounded by unscalable mountains. The cobblestones are

gems, the dust in the streets is gold, and everywhere there is peace, prosperity, and

golden sheep. The people of Eldorado welcome Candide to their paradise. Yet, despite

their generosity and goodness, Candide cannot forsake his love for Cunegonde. Taking a

few golden sheep laden with golden stones to win her back, Candide leaves Eldorado,

singing the Ballad of Eldorado (Candide, Chorus).

Scene 5 - Surinam

Candide arrives at Dutch colony of Surinam, seeking passage to Venice where, he

believes, he will be reunited with Cunegonde. He meets Martin, a professional pessimist.

Candide attempts to share Pangloss’s philosophy with Martin. Martin, however, simply

scoffs at the Words, Words, Words (Martin). A local villan, Vanderdendur, offers Candide

a splendid sailing ship, headed that very afternoon for Venice, in exchange for his golden

sheep. Pleased with his good fortune, Candide hands over his golden sheep and boards

the ship. As he sails away, Vanderdendur chuckles over Candide’s naiveté while the

people of Surinam wish him a Bon Voyage (Vanderdendur, Chorus).

Scene 6 - At Sea

The ship sinks. But Candide is miraculously picked up by a passing galley, carrying five

deposed kings. The ship is rowed by Pangloss, who once again has come back to life.

While he rows the ship, Pangloss tutors the kings in gentle philosophy. They expound

on their newfound desire for the simple life in the Kings Barcarolle, declaring intentions to

forsake riches and luxury for a humble life of cultivating chickens.

Scene 7 – Venice: Ragotski’s Casino

The boat safely arrives at the port of Venice during Carnival. The characters enter

Ragotski’s casino, lured by the call of Money, Money, Money (Chorus). Pangloss and the

kings are soon embracing the simple life of gambling. As ever, Candide searches for

Cunegonde. The Old Lady and Cunegonde are there, in disguise and employed by the

casino to encourage the gamblers and shift the odds in favour of the house. Maximilian,

having come back to life for the third time, is the Prefect of Police and Paquette is the

queen-bee prostitute.

In What's the Use? (The Old Lady, Ragotski, Maximilian, Crook and Chorus) a band of

tricksters, swindlers, and crooks bemoan their positions on the totem pole of

corruption. While Pangloss has great luck at the gambling tables, the masked Cunegonde

and the Old Lady angle for Candide’s money with tales of woe. The Venice Gavotte

(Cunegonde, The Old Lady, Candide, Pangloss) interlaces Candide’s sympathy for their

situations with Pangloss’s squandering his winnings on the ladies of the night. As the

quartet ends, the women’s masks fall. Candide is dismayed to find that the love he

suffered and searched the world for has come to Nothing More Than This (Candide):

Cunegonde vying for his bag of gold.

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Scene 8 - A Farm Outside Venice

Candide, Cunegonde, Paquette, Pangloss and the Old Lady retire to a quiet life on a

farm. They have just enough money to survive. Candide speaks to no one. No longer

believing that this is the best of all possible worlds, they wonder if there could be such a

thing as a Universal Good (Chorus).

Finally, Candide speaks. They have seen and done much. They are not who they were,

but they can still be for each other. He asks Cunegonde to marry him. Together they

vow to Make Our Garden Grow (Ensemble, Finale).

We’re neither pure nor wise nor good;

We’ll do the best we know.

We’ll build our house, and chop our wood,

And make our garden grow.

Melissa Fu

CANDIDE

Music by Leonard Bernstein, Lyrics by Richard Wilbur

Additional lyrics by Stephen Sondheim, John La Touce, Lillian Hellman,

Dorothy Parker and Leonard Bernstein

Book adapted from Voltaire by Hugh Wheeler

Orchestrations by Leonard Bernstein and Hershy Kay with additional

orchestrations by John Mauceri

Narration for concert version by Erik Haagensen

Performed with the permission of Boosey and Hawkes Music Publishers Limited

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DANIEL NORMAN Candide

After reading Engineering at Oxford, Daniel Norman

studied singing in Banff, Tanglewood and at the Royal

Academy of Music. He has an international career of

concert, opera, broadcast and recording engagements,

and has appeared in the opera houses of Paris, Verona, St

Petersburg, Munich, Wexford, Lyon, Boston,

Glyndebourne and Covent Garden. He lives in Oxford

with his wife and three sons.

In the last year he has sung Stravinsky Renard in Paris and

Helsinki with Avanti, Britten War Requiem in Taipei,

Westminster and Coventry, Nigel Osborne Differences in Demolition in Srebrenica and

Vienna, Beethoven 9th Symphony in Barcelona with Sir Neville Marriner, Schubert

Schwanengesang at the Oxford Lieder Festival and Wagner Meistersinger at

Glyndebourne.

He is currently on tour with Opera North, as Goro in Madame Butterfly and Flavio in

Norma.

His latest recording credits include Britten Winter Words and Who are these Children?

with Christopher Gould for BIS Records, Beethoven 9th Symphony with the Minnesota

Orchestra and Arne Artaxerxes (Classical Opera Company). His live recording of St

Nicolas with the BBC Concert Orchestra was the cover CD for the Christmas 2009

BBC Music Magazine.

Upcoming plans include Squeak in Billy Budd at ENO, Basilio in Nozze di Figaro at

Glyndebourne, a second CD of Britten songs (including all five Canticles), Beethoven 9 in

Aldeburgh, a recital and live recording of Wolf songs for Oxford Lieder, Raphael in

Donald Crockett’s new Opera The Face in Boston and Los Angeles and Mime in Das

Rheingold for Opera de Oviedo.

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KRISTY SWIFT Cunegonde

Australian born soprano Kristy Swift has performed

extensively throughout her native country, and Europe.

After graduating as valedictorian of her year with an

Honours degree in Voice from Queensland University, she

continued her education at the Victorian College of the

Arts. She was engaged as a soloist in the 2004 Melbourne

International Arts Festival, singing the first soprano part in

Couperin's Leçons de ténèbres. This performance and

subsequent recitals were broadcast nationally on Australia's

ABC Classic FM. A baroque enthusiast, Kristy co-starred in

two sell-out seasons of Finding Farinelli for numerous

Australian arts festivals, bringing the dazzling repertoire of

the castrati to life. She also sang Angelica in Orlando for 'Independent Classics' in

Melbourne, to critical acclaim. Other performances in Australia include two seasons as

Norina in Don Pasquale for the Lyric Opera of Melbourne, Guenevere in Camelot for the

National Theatre, Australia and a national tour of Hansel And Gretel for Opera Australia.

In the 2007/08 season, Kristy performed the role of Olympia in Les Contes D'Hoffman for

the Netherlands' Nationale Reisopera.

Her roles in the UK include Atalanta in Xerxes for Iford Opera, Oscar in Un Ballo In

Maschera and Micaela in Carmen. Concert performances include the soprano solos in

Orff's Carmina Burana, Mozart's Coronation Mass (K. 317) and Exsultate, Jubilate (K. 165),

Haydn's Creation and Kleine Orgelmesse and both Gounod's and Rossini's Petite Messe

Solenelle. Kristy has also performed solo Handel cantatas in Mainz and Engers with

selected musicians from Musica Antiqua, Köln. She is the recipient of numerous awards

and scholarships, including Australia's largest and most prestigious award for opera

singers, the Herald Sun Aria (2006). She also won the National Oratorio Award in

Canberra (2008) and the Robert Salzer scholarship at the Australian National Liederfest

(2004).

She has appeared as a guest artist on morning television in Australia, and her voice is also

heard in the British film, Over The Edge, starring Fenella Fielding, which was released in

2010.

Recent performances include Paquette in Candide with the London Symphony Orchestra,

the title-role Theodora with Opera Bergen, Norway, First Spirit/cover Noemi Cendrillon

with the Royal Opera House, Covent Garden. Future roles include Yum Yum with

Opera Queensland, Australia, and Solomon's Queen/First Harlot in Solomon with Capelli

Cracoviensis, conducted by Alessandro de Marchi.

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BEVERLEY KLEIN Old Lady

Beverley Klein has appeared widely in theatre including the

role of Bernarda in Bernarda Alba for UnionTheatre, Mrs

Hardcastle in The Kissing-Dance with the Jermyn Street

Theatre, The Old Lady in Candide for English National

Opera at The Coliseum and Japanese tour, Golde in Fiddler

on the Roof at the Savoy Theatre (WOS Nomination), The

Witch in Into The Woods at the Linbury Studio, ROH,

Enchantress in The Enchanted Pig for The Opera Group,

Linbury Studio, and New Victory Theatre NYC; Mrs

Hedges in Restoration with the Headlong Theatre Company,

Shawntel in Jerry Springer, The Opera at the Assembly

Rooms, Edinburgh Festival, Gladys in The Holy Terror at the Duke of York’s, Mrs Peachum

in The Threepenny Opera at the Donmar; Wedding Day at the Cro Magnons at the Soho

Theatre, Six Characters Looking For An Author at the Young Vic, The Woman Who Cooked

Her Husband at Snarling Beasties; the title role in Piaf at the Nottingham Playhouse, York

Theatre Royal, and Oldham Coliseum – for which she won Manchester Evening News

Best Actress Award.

She has sung with various companies including Opera North, playing Mrs Lovett in

Sweeney Todd (Manchester Evening News nomination) and Madame Odette in Arms and

the Cow; for the National Theatre as the Old Woman in Candide, the Nurse in Romeo and

Juliet, Ida in Honk, The Ugly Duckling, Olga in Summerfolk, Mrs Peachum in The Villains'

Opera; for Chichester Festival Theatre as Miss Jones in How to Succeed in Business Without

Really Trying (TMA nomination) and Gertrude Stein in Six Pictures of Lee Mille; for Carl

Rosa Opera as Ruth in The Pirates of Penzance, Little Buttercup in HMS Pinafore

and Orlovsky in Die Fledermaus; for Gloria Theatre Co as La Zambinella, Sarrasine; Joan

Smith, A Judgement in Stone at the Lyric, Hammersmith, Miss Klein in Night After Night at

the Royal Court Theatre as well as the original cast of Les Miserables at the RSC,

Barbican Theatre and Palace Theatre.

Her television and film appearances include Casualty, Gimme,Gimme,Gimme, Absolutely,

Paris, Inspector Morse and Swinging With The Finkels.

Beverley will soon be seen in Ripper St for BBC TV, and as The Duchess in Me and My

Girl at Kilworth House.

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GEOFFREY DOLTON Pangloss

Geoffrey Dolton studied at the Royal Academy of

Music, the National Opera Studio, and in Milan with a

Peter Moores Foundation scholarship. He made his

debut as Guglielmo in Cosi fan Tutte for Opera North.

Since then he has sung principal roles for every major

company in the UK. He has worked in Hong Kong,

Adelaide and Auckland, as well as Venice and many

other cities around Europe.

He has performed in recital on Radio 3, and has recorded for Opera Rara, most notably

in Donizetti’s Emilia di Liverpool. His television appearances include Jonathan Dove’s When

She Died, about the death of Princess Diana, and John Lunn’s Zoe, first performed at

Glyndebourne.

He has received critical acclaim for his Dr Bartolo in Barber of Seville with the Savoy

Opera, Njegus in Merry Widow for WNO and Kalenik in Rimsky Korsakov’s May Night

Garsington, as well as The Duke of Plaza Toro in The Gondoliers for ENO and Popolani in

Offenbach’s Bluebeard for Buxton Festival. Recently he created the role of Dr

Needlemeier in Skin Deep, a new commission for Opera North by David Sawer and

Armando Iannucci. He played Ripafratta in Mirandolina by Martinu for Garsington, Don

Alfonso, Cosi Fan Tutte for Opera North, and Mendo in Don Chisciotte in Sierra Morena

with Rene Jacobs in the Holland festival.

Most recently he sang the role of Frank Maurrant in Weill’s Street Scene at the Young

Vic. Later this year he will return to Garsington to sing the role of Don Andres in

Offenbach’s La Perichole.

BONAVENTURA BOTTONE Governor

Bonaventura has been described by the New Grove

Dictionary of Opera as ‘a superb actor, with a strong

lyrical voice, making a magnificent Loge.

He trained at the Royal Academy of Music in London, by

which he was later honoured with a fellowship in 1998.

He has performed at the Royal Opera House, Covent

Garden, Glyndebourne Festival, Opéra de Paris, Bayerische

Staatsoper Munich, Metropolitan Opera New York, Lyric

Opera Chicago, Los Angeles, Houston Grand Opera,

Santiago di Chile, Opera Queensland, La Fenice Venice, La

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Scala Milan, English National Opera, Welsh National Opera and Scottish Opera.

His operatic repertoire encompasses over one hundred leading roles which includes La

Bohème, Madama Butterfly, Ballo in Maschera, Der Rosenkavalier, Rigoletto, Capriccio, Viaggio

a Reims, Eugene Onegin, Das Rheingold, Die Meistersinger, Andrea Chénier, Die Zauberflöte,

Don Pasquale, L’elisir d’amore, Candide, Die Fledermaus, L’heure espagnole, Conte Ory, Les

Huguenots, Il Tabarro, La Traviata, Otello, Troilus and Cressida, Falstaff, Cavalleria Rusticana, La

Favorita, Il Seraglio, Salome, Adriana Lecouvreur and Damnation de Faust.

He has sung with numerous prominent international conductors, including Maurizio

Arena, Richard Bonynge, James Conlon, Sir Andrew Davis, Jacques Delacote, Sir Edward

Downes, Sir Mark Elder, Rafael Frühbeck de Burgos, Sir Bernard Haitink, Emmanuel Joel,

Vladimir Jurowski, James Levine, Sir Charles Mackerras, Sir Neville Marriner, Marc

Minkowski, Antonio Pappano, Nicola Rescigno, Carlo Rizzi, Jeffrey Tate, Yan Pascal

Tortellier and Emmanuel Villaume; and with directors including Tim Albery, John Copley,

John Cox, Colin Graham, Piero Faggioni, David McVicar, Jonathan Miller, Elijah

Moshinsky, Jean-Pierre Ponelle, David Pountney, and Graham Vick. Bonaventura sung

under Leornard Bernstein in Candide and was also in the first Scottish Opera production.

His recordings include Die Fledermaus with Luciano Pavarotti and Joan Sutherland, Lucia di

Lammermoor with Edita Gruberova and Alfredo Kraus, Faust et Hélène by Lili Boulanger,

Hugh the Drover, The Mikado with Eric Idle, Candide, Der Zerbrochene Krug, A Little Night

Music, Street Scene, The Student Prince and Otello with Charles Craig.

Future engagements include Dream of Gerontius with Harrogate Choral Society, Puccini’s

Messa di Gloria with the Cambridge Philharmonic Society and Basilio in Le Nozze di Figaro

with the Royal Opera.

JONATHAN MCGOVERN Maximilian

Winner of the 2nd Prize at this year's Kathleen Ferrier

Awards and the Karaviotis Prize at the Les Azuriales

Ozone Young Artists Competition 2011, Jonathan

McGovern graduated with a first-class honours degree

in Music from King’s College London. He completed a

PGD in Vocal Studies at the Royal Academy of Music

and continued his studies with Royal Academy Opera,

learning with Philip Doghan and Audrey Hyland. He

graduated with distinction, receiving both a Dip RAM,

the highest award for a postgraduate student, as well as ‘The Queen’s Commendation

for Excellence’, given to the best all-round student of the year. He was also winner of

the gold medal and 1st Prize at the Royal Over-Seas League Annual Music Competition

2010 and held a Sybil Tutton Award administered by the Musicians Benevolent Fund.

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Recent operatic roles include Wu Tianshi and Pokayne in the première of Sir Peter

Maxwell Davies’ opera Kommilitonen!, Shane in Postcards from Dumbworld at Belfast Grand

Opera Hosue, Delfa in Cavalli’s Il Giasone, Sid with Royal Academy Opera in John

Copley’s first Albert Herring, Fiorello and Figaro cover Barber of Seville on tour with

Armonico Consort Opera and Don Parmenione L’Occasione fa il ladro for RAO. Most

recently, he made his ENO debut as Jake in the world première of Two Boys by Nico

Muhly. In September he joined the Britten-Pears Young Artist Programme to reprise the

role of Sid for the Britten Festival in a new production conducted by Steuart Bedford and

directed by Oliver Mears. Jonathan will return to ENO later this season as Yamadori

Madam Butterfly.

Increasingly in demand as a recitalist, he has performed with pianists Julius Drake, Simon

Lepper, Timothy End, James Baillieu and James Cheung. Recent highlights include an all

Schubert programme with Julius Drake at St Olave’s Hart Street, a recital with Simon

Lepper in the ‘Spring Voices’ series at the National Portrait Gallery and recitals at

Chester Music Festival, the City Music Society, St James’ Piccadilly and the Forge

Camden with Timothy End, with whom he held a residency at the Royal Over-Seas

League recital series at the Edinburgh Festival 2010. He is a member of the Royal

Academy of Music Song Circle with whom he has appeared at Wigmore Hall and at the

King’s Place Festival. Engagements this season include recitals for Opera de Lille (with

Simon Lepper), his Royal Over-Seas League Prizewinner’s recital in January 2012, a

Kirckman Concert Society recital with pianist James Cheung and the Ferrier Celebration

Concert, all at Wigmore Hall, and at the Machynlleth Festival.

In concert, he appears with the Orchestra of the City at St James's Piccadilly in Mahler's

Songs of a Wayfarer and later this year at Southwark Cathedral in Faure's Requiem.

ELIZABETH POWELL Paquette

Born in Scunthorpe, Elizabeth Powell is studying on the

Opera Course at the Royal Academy of Music with with

Janice Chapman and Jonathan Papp. She is the recipient

of the Eva Turner Scholarship for sopranos with

dramatic potential.

For the Opéra de Baugé, she has sung Helena in A

Midsummer Night’s Dream, Euridice in Orfeo ed Euridice,

Michaëla in Carmen, Kitty Bell in Martha; for the Little

Opera Company, Mrs. Grose in The Turn of the Screw

(scenes). In scenes at the RAM, she has appeared as Blanche in Les Dialogues des

Carmélites, Fox in The Cunning Little Vixen, Nero in L’incoronazione di Poppea, Héro in

Béatrice et Bénédict, Eudoxie in La Juive.

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On the concert platform, she has sung Elijah for Penzance Choral Society, Gounod’s

Messe Solennelle de Sainte Cécile and Handel’s O Praise the Lord for Buckingham Choral

Society, Schubert’s Mass in C and Mass in G for East London Chorus, Rutter’s Magnificat

for Thurrock Choral Society, a Light Summer Concert with Scunthorpe Choral Society,

concerts in Italy with the Georg Solti Accademia di Bel Canto.

Elizabeth sang with the Cambridge Philharmonic Society for our successful 1791 Mozart

Day in last year’s season.

PATRICK ARDAGH WALTER Doctor

Patrick Ardagh-Walter trained in baroque opera in

Paris, singing roles at the Opéra Comique and Opéra

de Metz and recording sacred music and opera with

some of France’s foremost baroque ensembles. A

lasting enthusiasm for new music brought work with

the Ensemble Intercontemporain and Electric Phoenix

and as a soloist for BBC Radio 3, Radio France, Swiss

Radio and with London Sinfonietta. As bass of the

Swingle Singers he performed in operas by Berio and

Azio Corghi at La Scala Milan and Théâtre du Châtelet

in Paris. Recent roles have included Sarastro in Magic

Flute, Banquo in Macbeth and Zaccharia in Nabucco as well as contemporary works by

Peter Eötvös in the Holland Festival and the Barbican Hall, by Geoffrey Alvarez at Smith

Square, for Heinz Holliger in Bern and for ENO Baylis in London. He often sings with

the chorus of the Royal Opera, Covent Garden and can be heard on more than 50 CDs

and in many film soundtracks. He studies with David Jones in New York and Cathy Pope

in England, and teaches the Alexander Technique alongside his singing career.

Patrick sang with the Cambridge Philharmonic Society for our successful 1791 Mozart

Day in last year’s season.

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EDWARD LEE Cosmetic Merchant

Edward was a finalist in the Kathleen Ferrier Bursary for Young

Singers and recently sang tenor solo in Les Noces by Stravinsky

at LSO St. Luke’s and touring France including Auditorium

Saint-Germain, Paris and Opéra de Rouen with the Guildhall

Sinfonietta & Leonardo Gasparini.

Edward’s operatic experience includes Spoletta in Puccini’s

Tosca, Dritte Diener in Strauss’ Capriccio, cover for The Prince

in Prokofiev’s The Love for 3 Oranges and Lenia in Eliogabalo by

Cavalli, all for Grange Park Opera; Raleigh in Merrie England by

Edward German for Opera South, Alfred in J.Strauss’ Die Fledermaus for Orchestra of St

Paul's, Covent Garden, Don Ottavio in Don Giovanni for Soho Theatre, Almaviva in

Barber of Seville and Beppe in Pagliacci with OperaUpClose, the title role Mozart’s

Impresario, Eusabio in Rossini’s L'occasione fa il Ladro with Opera Minima and Demetrius in

MacKenzie-Thurley’s Dream with English Pocket Opera.

Edward's future plans include Guillot & Triquet (cover) in Eugene Onegin and

Odysseus/Paris in Rachel Leach’s In the Belly of a Horse with English Touring Opera, the

title role Kashchei the Immortal by Rimsky-Korsakov and The Lover in Sibelius’ Maiden in

the Tower for Buxton Festival Opera and Guest Soloist for New Year Opera Gala Tour

of China with the Orchestra of St. Paul’s.

Edward sang the role of Dr Blind in Die Feldermaus with the Cambridge Philharmonic

Society.

LEANDROS TALIOTIS Junkman

London-born baritone Leandros Taliotis has performed

extensively throughout the UK and mainland Europe. Following

studies at Cambridge University and the Royal College of Music

where he held a scholarship, he was invited to join Flanders

Opera Studio for the 2003-2004 season. During this time,

Leandros performed in recitals and opera scenes in Antwerp,

Ghent and Amsterdam and sang the role of Sid in Albert Herring

at De Vlaamse Opera, Antwerp, a role which he subsequently

sang to critical acclaim at Cosenza Opera House, Italy.

Following stepping-in as Belcore in the final dress rehearsals of L’elisir d’amore in Duisburg

in February 2008, Leandros was engaged at Deutsche Oper am Rhein for the 2008-2009

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season, singing roles as the Flemish Deputy in Don Carlos, Huntsman in Rusalka, the Spirit

in Monteverdi’s L’Orfeo) and the Young Prisoner in Janacek’s From the House of the Dead

in the opera houses of Düsseldorf and Duisburg.

Other engagements have include Zurga The Pearl Fishers with the Northampton Festival

opera, Dandini La Cenerentola for OperaFour, Tempter, Herald of Hakon, Welsh Herald

The Martyrdom of St. Magnus, Maxwell Davies with the Norwegian National Opera/

Oslokammermusikk Festival, Morales Carmen with Opera à la Carte in UK, France and

Ireland, Belcore in L’elisir d’amore with Vox Lirika Opera, Lockit in The Beggar’s Opera

with the Surrey Opera, Tarquinius in The Rape of Lucretia and Adonis in The Judgement of

Calliope - Henze for Dartington Festival, Lakai in Ariadne auf Naxos for Aldeburgh

Productions, Papageno in Die Zauberflöte, Sharpless in Madame Butterfly, Elviro in Xerxes

and Junius in The Rape of Lucretia with the British Youth Opera.

A busy concert schedule has included engagements in Belgium, Holland, Germany, Japan,

France, Greece, the Seychelles and throughout the United Kingdom. Highlights include

the European premiere of Christos Hatzis Everlasting Light at the Megaron in Athens and

the Queen Elizabeth Hall, the world premiere of Will Todd A Song of Creation, Pilatus St

John Passion at the Barbican, Carmina Burana in Antwerp and Ghent, Belshazzar’s Feast in

Manchester, Elijah and Das Lied von der Erde in London and Recitals at the Warwick and

Leamington Festival and London’s Hellenic centre for the Young Greek Masters series.

Leandros continues his vocal studies with Russell Smythe and Liane Keegan and has

participated in masterclasses with Sir Thomas Allen, Regina Resnik, Roger Vignoles,

Phillip Langridge, Wolfgang Holzmair, Friedrich Gürtler, Charles Mackerras and Elisabeth

Söderström.

Leandros sang with the Cambridge Philharmonic Society for our successful 1791 Mozart

Day in last year’s season.

ADAM CROCKATT Alchemist

Adam Crockatt hails from London, England, and studied at

The Guildhall School of Music and Drama, under the

tutelage of Adrian Thompson.

Recent work includes singing Dick Johnson in

OperaUpClose’s production of Fanciulla Del West under the

direction of Robert Chevara, 4ème Jeune Homme in

Wexford Opera’s production of La Coeur De Célimène

(Thomas), as well as chorus for their production of Maria

(Statkowski). He also recently performed as Don Ottavio in OperaUpClose’s

production of Don Giovanni.

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Previous work includes singing Laurie in Mark Adamo’s new opera Little Women with

Banff Opera, chorus for Grange Park Opera’s productions of Rigoletto and Tristan Und

Isolde, Head Oompa Loompa in the European Premiere of The Golden Ticket with the

Wexford Festival Opera, where he also performed in the chorus for Mercadante’s

Virginia.

In his spare time he writes pop music, singing and playing guitar in his band, Everybody Be

Cool.

DAVID TIMSON Narrator

David Timson has appeared in classical and modern

plays all over the country and abroad. David has

worked extensively in BBC Radio Drama since winning

the BBC Student Prize in 1971 (now known as the

Carleton Hobbes Award). He has made over a

thousand broadcasts, ranging from the title-role in

Nicholas Nickleby and Dostoevsky’s The Idiot to

numerous short stories and the Woman’s Hour serial.

Television appearances include parts in The Bill, Eastenders, Casualty, The Ruth Rendell

Mysteries and Poirot. David was in the film of The Russia House with Sean Connery, and

worked with Mike Leigh on Topsy-Turvey.

David is also a trained singer (Baritone), and has appeared in many musicals. He played

the Baker in Sondheims’s Into the Woods at Ipswich, and Judge Lagus in Dave Clark’s rock

musical Time in the West End, with Cliff Richard; Sir Joseph Porter in HMS Pinafore for

Opera della Luna, as part of the Covent Garden Festival and Major-General Stanley in

The Pirates of Penzance at the Kilworth Theatre in Leicestershire.

Since 1997, David has been working regularly for Naxos Audio-Books, recording many

poetry and prose compilations. He has recorded the complete Sherlock Holmes stories,

and has directed four of the successful series of Shakespeare’s plays recorded in

conjunction with Cambridge University Press. In 2001, he won the Spoken Word

Publishers Association Awards for Best Original Production: The History of Theatre, which

he wrote; and Best Drama Production: Richard III (with Kenneth Branagh) which he

directed. In 2002 he won the Audio-Book of the Year Award for his reading of A Study

in Scarlet. He directed his first production for BBC Radio 3 Bequest to the Nation with

Kenneth Branagh as Nelson. Since then he has directed The Rivals, Fuente Ovejuna, An

Ideal Husband, Cyrano de Bergerac, Arms and the Man, Goethe’s Faust, and Beaumarchais’

Marriage of Figaro. Since 2003 David has been a teacher at the Royal Academy of

Dramatic Art.

David has performed with the Cambridge Philharmonic Society in Walton’s Henry V and

in Die Fledermaus.

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TIMOTHY REDMOND

Conductor

Timothy Redmond conducts and presents

concerts throughout Europe. He is a regular

guest conductor with the Royal Philharmonic

Orchestra, both in the recording studio and

the concert hall, and conducts many of the

UK's leading orchestras.

He has given concerts with the London

Symphony Orchestra, Royal Liverpool

Philharmonic, the Ulster and BBC

Philharmonic Orchestras, the Orchestra of

Opera North and the BBC Concert Orchestra. He works regularly with the Hallé and

Northern Sinfonia, has a long-standing association with the Manchester Camerata, and in

2006 was appointed principal conductor of the Cambridge Philharmonic. He has

recently guest-conducted orchestras in Bosnia, Estonia, Finland, Italy, Macedonia,

Slovenia and the US and broadcasts regularly on TV and radio.

Timothy Redmond is well-known as a conductor of contemporary music. Since working

closely with Thomas Adès on the premiere of The Tempest at Covent Garden, he has

conducted critically-acclaimed productions of Powder Her Face for the Royal Opera

House and St Petersburg’s Mariinsky Theatre. In 2010 he conducted the world premiere

of The Golden Ticket, Peter Ash and Donald Sturrock’s new opera based on Charlie and

the Chocolate Factory, for Opera Theatre of St Louis. Last season he conducted the

work’s European premiere at the Wexford Festival and gave the first performance of a

new oratorio by Edward Rushton with the London Symphony Orchestra.

In the opera house he has conducted productions for Opera North, English National

Opera, English Touring Opera, Almeida Opera, at the Bregenz, Tenerife and Aldeburgh

Festivals and for New York’s American Lyric Theater. Recordings include Dreams with

the French cellist Ophélie Gaillard and the RPO (Harmonia Mundi), discs with Natasha

Marsh and Mara Carlyle for EMI, and CDs with the Northern Sinfonia and Philharmonia.

His 2011/12 season includes concerts with the Hallé, Manchester Camerata, Sinfonia Viva

and Northern Sinfonia, several engagements with the Macedonian Philharmonic in Skopje

and his debut with the BBC Symphony Orchestra. In May 2012 he will collaborate with

Valery Gergiev on The Rite of Spring and Oedipus Rex before conducting a concert of jazz-

inspired works to conclude the LSO’s Stravinsky Festival.

Timothy Redmond read music at Manchester University and studied oboe and

conducting at the Royal Northern College of Music, where he held the RNCM’s Junior

Fellowship in Conducting. He furthered his studies in masterclasses with George Hurst,

Ilya Musin, Yan Pascal Tortelier and Pierre Boulez.

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STEVE BINGHAM

Leader

Steve Bingham studied violin with Emmanuel

Hurwitz, Sidney Griller and the Amadeus Quartet

at the Royal Academy of Music from 1981 to

1985, where he won prizes for orchestral leading

and string quartet playing. In 1985 he formed the

Bingham String Quartet, an ensemble which has

become one of the foremost in the UK, with an

enviable reputation for both classical and

contemporary repertoire. The Quartet has

recorded numerous CDs and has worked for

radio and television both in the UK and as far

afield as Australia. The Quartet has worked with distinguished musicians such as Jack

Brymer, Raphael Wallfisch, Michael Collins and David Campbell.

Steve has appeared as guest leader with many orchestras including the BBC Scottish

Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and

English Sinfonia. He has given solo recitals both in the UK and America and his concerto

performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and

Sibelius, given in venues as prestigious as St John’s, Smith Square and the Royal Albert

Hall. Steve is also Artistic Director of Ely Sinfonia.

In recent years Steve has developed his interest in improvisation, electronics and World

music, collaborating with several notable musicians including guitarist Jason Carter and

players such as Sanju Vishnu Sahai (tabla), Baluji Shivastrav (sitar) and Abdullah Ibrahim

(piano). Steve’s debut solo CD Duplicity was released in November 2005, and has been

played on several radio stations including BBC Radio 3 and Classic FM. The Independent

gave it a 4-star review. Steve released his second solo CD, Ascension, in November

2008. You can find out more about Steve on his web site at www.stevebingham.co.uk.

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PHILHARMONIC ORCHESTRA

First Violins

Steve Bingham (Leader)

Kate Clow (Co-Leader)

Paul Anderson

Graham Bush

Roz Chalmers

Hilary Crooks

Adele Martin

Sean Rock

John Richards

Sarah Ridley

Gerry Wimpenny

Second Violins

Emma Lawrence

Jenny Barna

Fiona Cunningham

Rebecca Forster

Anne Mcaleer

Edna Murphy

Katrin Ottersbach

Debbie Saunders

Ariane Stoop

Pat Welch

Violas

Ruth Donnelly

Gavin Alexander

Liz Andrews

Alex Cook

Robert Heap

Jo Holland

Samara Humbert-

Hughes

Emma Mccaughan

Robyn Sorensen

Cellos

Vivian Williams

Sarah Bendall

Anna Edwards

Melissa Fu

Clare Gilmour

Helen Hills

Jessica Hiscock

Mercedesz Milner

Lucy Mitchell

Lucy O’Brien

Amy Shipley

Double Bass

Sarah Sharrock

Stephen Beaumont

Elspeth Coult

Susan Sparrow

Flute

Cynthia Lalli

Alison Townend

Piccolo

Alison Townend

Oboe

Rachael Dunlop

Jenny Sewell

Cor Anglais

Jenny Sewell

Clarinet

Sarah Whitworth

Graham Dolby

Bassoon

Neil Greenham

Jenny Warburton

Horn

Carole Lewis

Helene Cort

Trumpet

Andy Powlson

Naomi Wrycroft

Trombones

Denise Hayles

Tomas Leakey

Tuba

Alan Sugars

Timps

Dave Ellis

Percussion

Derek Scurll

James Shires

Harp

Lizzy Scorah

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PHILHARMONIC CHORUS

Soprano 1

Helen Bache

Jane Cook

Olivia Downs

Katie Karnezos

Ros Mitchell

Jan Moore

Caroline Potter

Brenda Reckelberg

Mary Richards

Josephine Roberts

Anne Sales

Pat Sartori

Paddy Smith

Alison Vinnicombe

Soprano 2

Cathy Ashbee

Eleanor Bell

Nicola Bown

Susannah Cameron

Joanne Clare

Susan Earnshaw

Christine Halstead

Maggie Hook

Diana Lindsay

Ursula Lyons

Binnie Macellari

Vaerly Mahy

Suzie McCave

Liz Popescu

Vicky Potruff

Ann Read

Lindsey Shaw-Miller

Pip Smith

Catharine Warren

Alto 1

Helen Black

Margaret Cook

Carline Courtney

Anne-Cecile Dingwall

Alison Dudbridge

Leonie Isaacson

Sarah Johnson

Ruth Jordan

Anya Kothari

Jan Littlewood

Julia Napier

Caroline Shepherd

Sarah Upjohn

Helen Wheatley

Alto 2

Kate Baker

Jane Bower

Alison Deary

Tabitha Driver

Jane Fenton

Jane Fleming

Stephanie Gray

Hilary Jackson

Anne Matthewman

Sue Purseglove

Gill Rogers

Oda Stoevesandt

Chris Strachan

Claudia West

Nell Whiteway

Tenor

Aidan Baker

Jeremy Baumberg

David Griffiths

Ian MacMillan

Chris Price

David Reed

Stephen Roberts

Martin Scutt

Graham Wickens

John Williams

Bass

Richard Birkett

Andrew Black

Neil Caplan

Chris Coffin

Paul Crosfield

Brian Dawson

Dan Ellis

Chris Fisher

Patrick Hall

Lewis Jones

Paul Rendle

Harrison Sherwood

Mike Warren

David White

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