Thursday 21 & Sunday 24 September

STRA
LSO SEASON CONCERT
STRAVINSKY INTRODUCTION from Paul Griffiths

Stravinsky The Firebird (original ballet) Writing back to a Russian friend in 1912,

VIN
Interval – 20 minutes as he worked in Switzerland on The Rite
Stravinsky Petrushka (1947 version) of Spring, Stravinsky remarked: ‘It is as
Interval – 20 minutes if twenty and not two years had passed
Stravinsky The Rite of Spring since The Firebird was composed’.
This evening we have the rare opportunity
Sir Simon Rattle conductor to relive those packed and extraordinary
two years in two hours, following the

SKY
LSO Discovery is delighted to be a beneficiary composer as he moves from fairytale in
of this year’s Lord Mayor’s Appeal. Following The Firebird through street theatre in
Sunday’s performance there will be a collection
Petrushka to prehistoric sacrifice in
in aid of the appeal – please give generously.
Visit [Link] to find out more. The Rite of Spring – all within the
boundaries of Russia, which, even though
Thursday 21 September broadcast live on he spent most of his adult life abroad,
BBC Radio 3 in spirit he never left.

These are all ballet scores, made for

spectacle – the spectacle, in Petrushka,
Sunday 24 September live streamed on the of a puppet brought to life by Vaslav
LSO’s YouTube channel and on [Link] Nijinsky, the outstanding male dancer of
his time (or perhaps any) and the eventual
choreographer of The Rite. Stravinsky’s
theatre, however, was fundamentally the
Sunday 24 September generously orchestra, with its instruments and groups
supported by Reignwood responding to one another, its capacity to
create whole worlds of rhythm and colour.
Listen. Hold still. The mind will dance. •
Thursday’s concert ends approx 9.45pm
Sunday’s concert ends approx 8.45pm

74
Igor Stravinsky in Profile  1882–1971  /  profile by Paul Griffiths

hird in a family of four sons, Before that was completed, a ballet based In 1939, soon after the deaths of his wife
he had a comfortable upbringing in on 18th-century music, Pulcinella (1919–20), and mother, he sailed to New York with
St Petersburg, where his father opened the door to a whole neoclassical period, Vera, whom he married, and with whom he
was a Principal Bass at the Mariinsky Theatre. which was to last three decades and more. settled in Los Angeles. Following his opera
In 1902 he started lessons with Rimsky- He also began spending much of his time The Rake’s Progress (1947–51) he began to
Korsakov, but he was a slow developer, in Paris and on tour with his mistress Vera interest himself in Schoenberg and Webern,
and hardly a safe bet when Diaghilev Sudeikina, while his wife, mother and children and within three years had worked out a
commissioned The Firebird. The success lived elsewhere in France. Up to the end of new serial style. Sacred works became more
of that work encouraged him to remain the 1920s, his big works were nearly all for and more important, to end with Requiem
in western Europe, writing scores almost the theatre (including the nine he wrote for Canticles (1965–66), which was performed
annually for Diaghilev. The October Diaghilev). By contrast, large-scale abstract at his funeral, in Venice. •
Revolution of 1917 sealed him off from his works began to dominate his output after
homeland; his response was to create a rural 1930, including three symphonies, of which
Russia of the mind, in such works as the the first, Symphony of Psalms (1930), marks
peasant-wedding ballet Les Noces (1914-23). also his reawakened religious observance.

FAMOUS STRAVINSKY QUOTES

I haven’t understood a bar of music The more constraints one imposes,

in my life, but I have felt it. the more one frees one.

Art is the opposite of chaos. I never understood the need for a

Art is organised chaos. ‘live’ audience. My music, because
of its extreme quietude, would be
Lesser artists borrow, happiest with a dead one.
great artists steal.
One has a nose. The nose scents
Too many pieces of music and it chooses. An artist is simply
finish too long after the end. a kind of pig snouting truffles.

Composer Profile 75
Igor Stravinsky The Firebird  1909–10  /  note by Paul Griffiths

1 Introduction ‘Well,’ said Debussy to the his musical clothes, and moving with a
quickened, edgier pulse, is Stravinsky.
young composer who thus
First Tableau
2 The Enchanted Garden of Kashchei burst into Paris and into history, It might, though, never have happened.
3 Appearance of the Firebird, pursued by Prince Ivan ‘you have to start somewhere.’ The impresario Serge Diaghilev • had his
4 Dance of the Firebird own reasons for wanting to present his
5 Capture of the Firebird by Prince Ivan company under the banner of rebirth:
6 Supplication of the Firebird – or all its dry wit, the above comment this was his second Ballets Russes • season
Appearance of the Thirteen Enchanted Princesses was apropos. Stravinsky was 28 in Paris, and he was determined to have
7 The Princesses’ Game with the Golden Apples when The Firebird had its first a new work. (His 1909 season had been
8 Sudden Appearance of Prince Ivan performance, in Paris on 25 June 1910, and of ballets already in the repertory of
9 Round Dance of the Princesses had written quite a lot of music before, the Mariinsky Theatre in St Petersburg
10 Daybreak – Prince Ivan Penetrates Kashchei’s Palace but in many respects this was indeed where or adapted from it.) Michel Fokine, his
11 Magic Carillon, Appearance of Kashchei’s Monster Guardians, he began. It was the first of his works to be company choreographer, was the obvious
and Capture of Prince Ivan – Arrival of Kashchei the immortal – played outside Russia, and has remained person to create the dance. But who should
Dialogue of Kashchei and Prince Ivan – Intercession of the Princesses – the earliest in regular performance. Also it write the music? Diaghilev was certainly
Appearance of the Firebird was – like the imperial realm in which it was aware of Stravinsky, who had contributed
12 Dance of Kashchei’s Retinue, enchanted by the Firebird written, and whose richly varied musical two arrangements for Les Sylphides in
13 Infernal Dance of All Kashchei’s Subjects – Lullaby – culture it commemorated – a place to move the first Ballets Russes season. However,
Kashchei’s Awakening – Kashchei’s death – profound Darkness on from. Thus, while it certainly marks an he seems to have gone first to Alexander
arrival, of a composer brilliant and alert, Tcherepnine, then to Anatoly Lyadov, and
Second Tableau immediately identifiable, it is also an adieu, only towards the end of 1909, with the
14 Disappearance of Kashchei’s Palace and Magical Creations, to the late Romantic Russia in which that opening night little more than six months
Return to Life of the Petrified Knights, General Rejoicing composer had been raised as a pupil of away, to Stravinsky.
Rimsky-Korsakov (whose later music,
still very recent, was a potent influence). Stravinsky seized his opportunity, producing
The Firebird – or phoenix, born from flames, a 45-minute score of sensational magnificence.
a symbol of regeneration – was altogether Fokine – with the help of Léon Bakst •, who
a fitting subject. Rimsky-Korsakov is there designed the Firebird’s vibrant costume –
in the fire and the feathers, the highly offered the Parisian public a dazzling
chromatic harmony and the sumptuous spectacle, featuring himself as Prince Ivan,
orchestration. But the figure wearing his wife Vera Fokina as the leading princess

76 Programme Notes 21 & 24 September 2017

and Tamara Karsavina as the Firebird. or round dance: like the prince, they prove in jubilation, and time slows into a swinging
But Debussy was by no means the only their Russian blood in their music, which is pattern to create the first of the composer’s
observer to notice, besides the wonder based on traditional dances and folksongs, concluding apotheoses – a musical type
onstage, the music. Soon it leapt out of very much in the tradition of Rimsky- that would echo through his output and
the theatre pit. Before the year was out Korsakov and Tchaikovsky. still be there 55 years later at the end of
Stravinsky had created a concert suite, his Requiem Canticles. •
which he was to revise in 1919 and again As dawn comes, with trumpet calls,
in 1945. This, however, omits some Ivan enters Kashchei’s palace. But he is DIAGHILEV & THE BALLET RUSSES
extraordinary passages, besides missing not unnoticed. Magic bells start to sound
the grand sweep of the complete score, and Kashchei’s guardian monsters hobble The Ballet Russes
which unfolds as follows. forward, followed by Kashchei himself, was a ballet
with a brassy outburst that leaves the company originally
THE MUSIC stillness of unease. Kashchei roars at his conceived by Serge
uninvited guest, and silences the princesses, Diaghilev (left)
A short orchestral introduction contrasts who try briefly to intercede, with the charms based in Paris
Russian with exotic harmonic worlds, night of their khorovod. It is time for the Firebird that performed
with brilliance (featuring string harmonics), to return, and she does so, leading Kashchei between 1909 and
in a depiction of the enchanted garden and all his retinue into an Infernal Dance, 1929 throughout
of the ogre Kashchei. The Firebird enters, quick and various and weird. Stamping Europe and on tour, though the company
pursued by a prince, Ivan; she performs a rhythms suggest the approach of The Rite of never performed in Russia.
solo dance, music of shimmering and lustre Spring, which the composer was soon to begin. COSTUME & LÉON BAKST
appropriate to a fantastic and flighty creature. The company is widely regarded as the
Ivan gives chase and captures her, and she Having danced themselves into exhaustion, most influential of the 20th century, Léon Bakst (1866–1924) was a
begs for release in a passionate slow waltz. the forces of evil are caused to sleep by in part because it promoted ground-breaking revolutionary theatre designer who
the Firebird’s lullaby, again in a distinctly artistic collaborations among young was associated with Diaghilev’s
He lets her go, and they both slip aside as Russian tone. Very soon, though, Kashchei is choreographers, composers, designers, and Ballet Russes. His costumes were
13 princesses come delicately into the garden awake again, and it is the prince’s turn to dancers, all at the forefront of their fields. ornate, intricate and cast in bold
and, in a scherzo, toss golden apples to save the day by smashing the magic egg that Diaghilev commissioned music from colours to heighten the effect of this
one another. The game comes to a sudden had given him life. Quietly the scene changes. Stravinsky, Debussy and Prokofiev, artwork new choreography. The image above
stop when Prince Ivan steps forward, his Kashchei’s palace disappears, and the previous from Vasily Kandinsky, Alexandre Benois, is taken from an original design for
presence nobly intoned by a horn. But the heroes who had ventured in, all turned to Pablo Picasso and Henri Matisse, and the character of the Firebird.
princesses recover to execute a khorovod, stone, come back to life. Bell sounds ring out costume from Léon Bakst and Coco Chanel.

Programme Notes 77
Igor Stravinsky Petrushka  1910–11, rev 1947  /  note by Paul Griffiths

1 The Shrovetide Fair composer was playing him would have to Other dramas here have to do with the The quick tempos, the concertinas and
2 In Petrushka’s Cell be a ballet, not some kind of piano concerto. treatment of what, in his later conversations the major keys are all easy to hear; the
3 In the Blackamoor’s Cell A puppet, did he say? Well then, that was it: with Robert Craft, he called the ‘Russian cabbage soup, the sweat and the boots
4 The Shrovetide Fair (Evening) Petrushka, the story from the Russian export style’. The Firebird had been an might need a little bit of imagination.
fairs, about a thing of wood and string unashamed instance, as had most of the The first scene features mechanical
nce he had arrived in Paris with that does indeed gain human feelings, other scores Diaghilev had brought to Paris rhythms, sharp cuts from one kind of
The Firebird, Stravinsky stayed. with tragic consequences. so far, including Borodin’s Polovtsian Dances music to another, and textures built
The success of his first score and Rimsky-Korsakov’s Sheherazade. from accumulations of rotating motifs.
for Diaghilev meant there would have to However unlikely this narrative may be But Petrushka looks at that style with ironic Tunes are spliced together, or placed with
be another, and he immediately started work in terms of chronology, it serves to show detachment. The fanfare-like gesture at the accompanying figures that are just spinning
on what would emerge as The Rite of Spring. the weight Stravinsky wanted his ballet start of the second scene is a speeded-up on the spot. Almost anything can happen,
But then, according to his own account, scores to have as self-sufficient music. version of a theme that had been luscious provided it happens on time.
he got sidetracked: It also shows how the drama on stage in Sheherazade. In the first scene, when
Petrushka and his fellow puppets perform Events in the first scene turn from the
— a Russian Dance, the music offers a general to the specific. At first the musical
machine-made portrait of national style. activity is that of the excited crowd at the
The great impresario smelt a show in the air: the music his
Again in the last scene, the different St Petersburg Shrovetide Fair •, with
young composer was playing him would have to be a ballet. dances interlock like cogwheels in a piece of instruments (a hurdy-gurdy, two musical
— machinery, so that the human spectators boxes) and dancers among the throng.
at the fair seem more artificial than the Attention focuses cinematically on
‘I wanted to refresh myself by composing was equalled for him, if not surpassed, painted dolls in the Showman’s booth. the Showman and his three puppets:
an orchestral piece in which the piano by a drama happening within the score – Petrushka, the Ballerina and the Blackamoor.
would play the most important part … the drama of a piano playing tricks on the By the time he was composing this, In a magical passage the Showman charms
In composing the music, I had in mind orchestra, of figures and instruments in Stravinsky was full of enthusiasm. them into life, and they step down from
a distinct picture of a puppet, suddenly liaison and combat. The puppet-piano in In January 1911, following a Christmas visit their stage as they give their Russian Dance.
endowed with life.’ the second scene he saw as ‘exasperating to St Petersburg, he wrote to a friend:
the patience of the orchestra with diabolical ‘My last visit to Petersburg did me much The second scene conveys Petrushka’s
Continuing this story, he tells how he was cascades of arpeggios. The orchestra in turn good, and the final scene is shaping up bitterness and despair, which he feels
visited by Diaghilev – both of them were retaliates with menacing trumpet blasts. excitingly … quick tempos, concertinas, at his dependence on the Showman and
living on the Swiss riviera, around Lake The outcome is a terrific noise which reaches major keys … smells of Russian food – at his unrequited love for the Ballerina.
Geneva – and the great impresario smelt its climax and ends in the sorrowful and shchi [cabbage soup] – and of sweat She visits him, but flees at the violence of
a show in the air: the music his young querulous collapse of the poor puppet’. and glistening leather boots.’ his advances.

78 Programme Notes 21 & 24 September 2017

In the third scene she goes to his rival, the
magnificent Blackamoor. Their love-making
is witnessed by Petrushka, who rushes in
and is promptly ejected. BENOIS’ SHROVETIDE FAIR

The last scene returns to the world outside, Set designer Alexandre Benois drew on
now to observe individuals and groups, several 19th century paintings of the
each defined by characterful, folksy music. St Petersburg Shrovetide Fair in order to
Everything comes to a stop when the create his vision for the opening scene
puppets burst out. With his scimitar of Petrushka. For example, structures
the Blackamoor kills Petrushka, but the and elements from this painting by
Showman reassures everyone that these Konstantin Makovsky, Shrovetide in
are only puppets, and the crowd disperses St Petersburg (right), appear in act one
in the evening snow. The Showman goes including show booths, and a large
to drag the ‘corpse’ away, stopping in samovar (the large urn to the bottom
amazement when he sees Petrushka’s left of the painting).
ghost sneering at him.

Where Stravinsky had written The Firebird

as a pupil of Rimsky-Korsakov, now he • Konstantin Yegorovich Makovsky (1839–1915)
was part of a new entourage, Diaghilev’s, Festivities on Admiraltesky Square
working with colleagues whose talents during Shrovetide, St Petersburg 1869
sharpened his own: Alexandre Benois •,
who created the scenario and the designs, • Alexandre Nikolayevich Benois (1870–1960)
Michel Fokine, who did the choreography, set design for Petrushka 1911
and the dancers Vaslav Nijinsky and
Tamara Karsavina, who were in the
starring roles when the ballet was first
presented, in Paris on 13 June 1911.
The musical magic, though, is all his own,
made more streamlined in his 1947 revision. •

Programme Notes 79
Igor Stravinsky The Rite of Spring  1913  /  note by Paul Griffiths

Part One: travinsky’s third project for summer. However, Michel Fokine, were many – the performance was
The Adoration of the Earth Diaghilev loomed even before the Diaghilev’s choreographer, was fully accompanied by shouts, catcalls, derisory
1 Introduction first, The Firebird, was finished: occupied with preparing Daphnis et Chloé, comments, angered ripostes and even
2 Auguries of Spring it was to be an enactment on the modern to Ravel’s music, so Stravinsky’s new score fistfights. But then, how should people have
3 Game of Capture stage of the spring rituals of the ancestral would have to remain silent another year. sat calmly while the world was changing?
4 Round-Dances of Spring peoples of north east Europe. The guiding
5 Games of the Rival Tribes spirit was Nicolas Roerich, a Russian artist- —
6 Procession of the Sage archaeologist-ethnologist-seer then in his The performance was accompanied by shouts, catcalls,
7 The Sage mid-thirties, who planned the scenario
8 Dance of the Earth and, in due course, designed the sets and derisory comments, angered ripostes and even fistfights.
costumes for what was finally called, But then, how should people have sat calmly while the world was changing?
Part Two: in Russian, Vesna svyashchennaya
—
The Sacrifice (Holy Spring), and entered history as
9 Introduction Le Sacre du printemps, or The Rite of Spring. By the time rehearsals began in January Though set in prehistory, The Rite was
10 Mysterious Circles of the Young Girls 1913, Diaghilev had given the task of the first music of the machine age,
11 Glorification of the Chosen One Roerich and Stravinsky started work in choreographing ancient rites – and modern and its energy and din have resounded on.
12 Evocation of the Ancestors the spring (fittingly) of 1910, but by autumn rhythms – to Nijinsky, who had made his This insistent, repetitive noise was meant
13 Ritual Action of the Ancestors the composer had set aside his sketches to debut as a dance inventor with L’après-midi to be provocative. Stravinsky had passed
14 Sacrificial Dance concentrate on Petrushka, and he did not d’un faune, to Debussy’s Prélude, the year through a belated musical adolescence;
return to the project until the summer of before. In March Pierre Monteux, who he was ready both to kick over his Russian
1911, after Petrushka had reached the stage was to conduct, began rehearsals in Paris, traces (no more exotic colour and folklore
as the star item of Diaghilev’s third Paris and wrote to the composer, in Switzerland: à la Rimsky-Korsakov and Borodin)
season. By the end of September – writing and to prove himself to his new Parisian
from his home in Clarens, on Lake Geneva, ‘What a pity that you could not … friends, who included Debussy and Ravel.
where most of the composition was done – be present for the explosion of The Rite.’ For three centuries music had been based
he was able to report good progress to on the regular rhythmic patterns of civilised
Roerich, and to remark how ‘the music is But Stravinsky was certainly there two dance. The Rite of Spring changed all that.
coming out very fresh and new’. In the spring months later, for the premiere on 29 May 1913, The unit now was not the orderly bar but
of the following year he played through what when the explosion of the music from the the eruptive beat. Bar lengths could alter
he had composed, which included the whole pit of the Théâtre des Champs-Elysées from moment to moment, creating a
of the first part, to Diaghilev and Nijinsky. was answered by an outburst from the turmoil of syncopations. Beats could be
All seemed set for a premiere the coming auditorium. By all accounts – and there grouped to create themes whose identities

80 Programme Notes 21 & 24 September 2017

are principally rhythmic. A musical work Stravinsky realised that The Rite was of ‘The Augurs of Spring: Dances of the An ‘Introduction’ also opens the second part,
could not only sound like a machine but unrepeatable. However, the work’s most Young Girls’. With no change to its insistent ‘The Sacrifice’, this time with wafting
be one, rotating on cogwheels of rhythm, essential and radical qualities – pulsing pulse, this section accumulates layers of harmonies from different groups, altogether
chopping up lengths of time. rhythm, repetition, the use of rhythmic tune and repeated figure, then breaks into suggesting a forest of colour. Trumpets
shape as theme, the creation of continuity a racing speed for the ‘Ritual of Abduction’, sound a warning note, and horns announce
The Rite of Spring is machine-like, through breaks, the evocation of antiquity with excited horn calls and fizzing strings. the folksong-like theme of the ‘Mystic
too, in its form, being made of bits by modern means – stayed with him right Calm is restored by a melody for clarinets Circles of the Young Girls’, a theme taken
and pieces, with abrupt cuts from one through the half century and more of his linked together two octaves apart, against up by strings and passed around the
thing to another. To that extent it is one composing life to come. More than that, trills from flutes. This opens ‘Spring Rounds’, orchestra. But the peaceful atmosphere
of the first pieces of music made like they are with us still, for composers in every a dance continuing at a heavy rhythm and is interrupted again by brass warnings,
a film. There are no developing themes; generation have gone on living in the long soon moving to a threatening climax, from and a steady barrage of drumming leads
instead sections are related at the most summer this spring ushered in. which the music bursts off again rapidly, into the quick slicing movements and
fundamental levels of their musical scale rushes of ‘Glorification of the Chosen One’.
(often one of the old scales of eastern — The end is being prepared. Almost all the
European folksong), rhythmic unit and wind instruments lift their voices together
The Rite of Spring is machine-like, too, in its form, being made of
tempo. The climax in each of the two in ‘Evocation of the Ancestors’, followed
parts comes when pulsation becomes bits and pieces, with abrupt cuts from one thing to another. by ‘Ritual Action of the Ancestors’, which
rampant, in the ‘Dance of the Earth’ and To that extent it is one of the first pieces of music made like a film. begins ominously and develops immense
the ‘Sacrificial Dance’. Ritual is recreated power. Its energy is left swilling around a few
—
as arithmetic. We know that spring is low woodwind instruments, then slips away
brought about not by human sacrifice The first of the ballet’s two parts, only to lead to a return of the calm episode, into the ‘Sacrificial Dance’. Unprecedented,
but by the rotation of our planet – ‘Adoration of the Earth’, begins with a slightly differently scored. Now the outcome even within this score, for its rhythmic
by, indeed, the ‘dance of the earth’, slow and supple ‘Introduction’ scored largely is the exuberant ‘Ritual of the Rival Tribes’, savagery, driven by a pulse that refuses
a dance of force and distance and angle. for woodwind instruments. A lone bassoon with hurtling gestures and stand-offs. to stay still, here the music ends – indeed,
But spring’s creation of new life does calls out over the sleeping orchestra and An awesome, menacing march is started by forcibly ends itself. •
indeed entail death, the death of what is eventually answered by a cor anglais; trombones, who keep going amid the throng,
was. So it is here, as musical ideas then other groups stir themselves, already and introduce ‘The Procession of the Sage’.
are beaten to death in these great in conflicting metres. Activity stops. There is a pause. Four quiet bars – ‘The
culminations of sound, and as the The bassoon’s call is heard again, and this Sage’ – suggest a moment of anticipation
late Romantic orchestra, the orchestra time elicits a pounding rhythm of massed and a crucial act, to a chord for string
of Mahler and Richard Strauss, discovers strings mimicking drums with heavy soloists playing harmonics. This unleashes
unsuspected powers. offbeat accents from horns – the music the mighty ‘Dance of the Earth’.

Programme Notes 81
London Symphony Orchestra on stage 21 & 24 September
Leader Second Violins Cellos Flutes Bassoons Trombones
Roman Simovic David Alberman Tim Hugh Gareth Davies Rachel Gough Peter Moore
Thomas Norris Alastair Blayden Alex Jakeman Daniel Jemison James Maynard
First Violins Sarah Quinn Jennifer Brown Julian Sperry Joost Bosdijk
Carmine Lauri Miya Väisänen Noel Bradshaw Bass Trombone
Lennox Mackenzie David Ballesteros Eve-Marie Caravassilis Piccolos Contra Bassoons Paul Milner
Clare Duckworth Matthew Gardner Daniel Gardner Sharon Williams Dominic Morgan
Nigel Broadbent Julian Gil Rodriguez Hilary Jones Patricia Moynihan Martin Field Tubas
Ginette Decuyper Naoko Keatley Amanda Truelove Ross Knight
Gerald Gregory Belinda McFarlane Victoria Simonsen Oboes Horns Patrick Harrild
Maxine Kwok-Adams Iwona Muszynska Morwenna del Mar Olivier Stankiewicz Timothy Jones
Claire Parfitt Paul Robson Rosie Jenkins Laurence Davies Timpani
Laurent Quenelle Louise Shackelton Double Basses Maxwell Spiers Angela Barnes Nigel Thomas
Harriet Rayfield Helena Smart Colin Paris Ruth Contractor Alexander Edmundson
Colin Renwick Hazel Mulligan Patrick Laurence Jonathan Lipton Percussion
Sylvain Vasseur Matthew Gibson Cor Anglais Michael Kidd Neil Percy
William Melvin Violas Thomas Goodman Christine Pendrill Brendan Thomas David Jackson
Shlomy Dobrinsky Edward Vanderspar Joe Melvin Sarah Willis Sam Walton
Eleanor Fagg Gillianne Haddow Jani Pensola Clarinets Tim Ball Tom Edwards
Malcolm Johnston Nicholas Worters Andrew Marriner Jeremy Cornes
Anna Bastow Benjamin Griffiths Chris Richards Trumpets Jacob Brown
Regina Beukes Philip Cobb
Lander Echevarria E-flat Clarinet David Elton Harps
Julia O’Riordan Chi-Yu Mo Gerald Ruddock Bryn Lewis
Robert Turner Niall Keatley Nuala Herbert
Heather Wallington Bass Clarinets Robin Totterdell Imogen Barford
Jonathan Welch Katy Ayling Paul Mayes
Samuel Burstin Duncan Gould Christian Barraclough Piano / Celeste
Stephen Doman Philip Moore
Bass Trumpet Simon Crawford-Philips
Philip Goodwin

82 On Stage 21 & 24 September 2017

The Times The Arts Desk

The Telegraph The Guardian

Sir Simon Rattle’s highly anticipated
recording of Debussy’s evocative opera,
featuring Christian Gerhaher, Magdalena Kožená,
Gerald Finley and Bernarda Fink.

Visit [Link]/thisisrattle to discover

an exclusive online preview with insights from
the artists, or purchase the SACD + Pure Audio
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Available October
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[Link]