Choral at Cadogan 2015-16

Choral at Cadogan2015-16

22 OCTOBER 2015 — 11 MAY 2016

Contents

4 22 October — The Tallis Scholars

6 11 December — The Choir of Magdalen College, Oxford

8 11 February — Tenebrae

10 17 March — Alamire

12 20 April — The Tallis Scholars

14 11 May — Vox Luminis

I am delighted to introduce our eighth Choral at Cadogan season. The series has grown from strength to strength over recent years and consistently presents the UK and Europe’s finest vocal groups. It is a huge honour for me to welcome them to the series.

The Tallis Scholars will again appear twice. In our first concert we present an entire programme of non-Latin works, which is unusual for us. This programme also celebrates John Rutter’s 70th birthday with performances of some of his lesser known choral works. Our second concert has an intense message and features Lamentations by Tallis, Muhly & Phinot. We are also excited to premiere a set of Lamentations written for us by Matthew Martin.

For this season’s Christmas concert, it is a pleasure to welcome Daniel Hyde and the Choir of Magdalen College, Oxford, whose programme includes the festive Fantasia on Christmas Carols by Vaughan Williams.

Formidable British groups Tenebrae and Alamire, led by Nigel Short and David Skinner respectively, will both return this season to present contrasting programmes of French music. Tenebrae will perform extracts from Brumel’s choral masterpiece the Earthquake Mass along with Saint-Saëns motets, a nd chansons by Poulenc and Ravel. Alamire’s programme includes some of the finest music from Anne Boleyn’s Songbook interspersed with other motets and chansons by the greatest French composers of the 16th century.

And last but not least we welcome back Vox Luminis and their director Lionel Meunier with an a cappella Elizabethan English programme conceived around the subjects of Light and Shadow.

I look forward to welcoming you to another year of wonderful choral music here at Cadogan Hall.

Peter Phillips, Artistic Director

Contents

4 22 October — The Tallis Scholars

6 11 December — The Choir of Magdalen College, Oxford

8 11 February — Tenebrae

10 17 March — Alamire

12 20 April — The Tallis Scholars

14 11 May — Vox Luminis

I am delighted to introduce our eighth Choral at Cadogan season. The series has grown from strength to strength over recent years and consistently presents the UK and Europe’s finest vocal groups. It is a huge honour for me to welcome them to the series.

The Tallis Scholars will again appear twice. In our first concert we present an entire programme of non-Latin works, which is unusual for us. This programme also celebrates John Rutter’s 70th birthday with performances of some of his lesser known choral works. Our second concert has an intense message and features Lamentations by Tallis, Muhly & Phinot. We are also excited to premiere a set of Lamentations written for us by Matthew Martin.

For this season’s Christmas concert, it is a pleasure to welcome Daniel Hyde and the Choir of Magdalen College, Oxford, whose programme includes the festive Fantasia on Christmas Carols by Vaughan Williams.

Formidable British groups Tenebrae and Alamire, led by Nigel Short and David Skinner respectively, will both return this season to present contrasting programmes of French music. Tenebrae will perform extracts from Brumel’s choral masterpiece the Earthquake Mass along with Saint-Saëns motets, a nd chansons by Poulenc and Ravel. Alamire’s programme includes some of the finest music from Anne Boleyn’s Songbook interspersed with other motets and chansons by the greatest French composers of the 16th century.

And last but not least we welcome back Vox Luminis and their director Lionel Meunier with an a cappella Elizabethan English programme conceived around the subjects of Light and Shadow.

I look forward to welcoming you to another year of wonderful choral music here at Cadogan Hall.

Peter Phillips, Artistic Director

Thursday 22 October, 7.30pm

The Tallis ScholarsSacred Music in the VernacularOne of the by-products of specialising in renaissance sacred music is that we spend our lives working with a language none of us speaks — Latin. It is an unusual pleasure for us to sing a whole programme in vernacular languages — and to do so inevitably led us to the leading Protestant traditions: Byrd and Gibbons from the English, Schütz and Bach from the German. To these composers we have added four pieces by John Rutter, who celebrated his 70th birthday this September. These anthems show off a side to Rutter which is not as widely explored as his carols, but whose more extended style fi ts in

well with the polyphony which surrounds it in this programme.

Schütz Deutsches Magnificat Schütz Die mit Tränen säenSchütz Ich bin eine rufende StimmeSchütz Selig sind die TotenRutter Hymn to the Creator Rutter A Choral FanfareByrd Sing joyfully Gibbons O clap your handsGibbons Lift up your headsGibbons O Lord in thy wrathByrd Exalt thyself O GodByrd Praise our LordRutter I my Best-Beloved’s amJ.S.Bach Komm, Jesu, komm

Peter Phillips director

TICKETS: £31, £27, £23, £19

ENCORE Members: pay £27 for top price t ickets

See booking information on page 19

Thursday 22 October, 7.30pm

The Tallis ScholarsSacred Music in the VernacularOne of the by-products of specialising in renaissance sacred music is that we spend our lives working with a language none of us speaks — Latin. It is an unusual pleasure for us to sing a whole programme in vernacular languages — and to do so inevitably led us to the leading Protestant traditions: Byrd and Gibbons from the English, Schütz and Bach from the German. To these composers we have added four pieces by John Rutter, who celebrated his 70th birthday this September. These anthems show off a side to Rutter which is not as widely explored as his carols, but whose more extended style fi ts in

well with the polyphony which surrounds it in this programme.

Schütz Deutsches Magnificat Schütz Die mit Tränen säenSchütz Ich bin eine rufende StimmeSchütz Selig sind die TotenRutter Hymn to the Creator Rutter A Choral FanfareByrd Sing joyfully Gibbons O clap your handsGibbons Lift up your headsGibbons O Lord in thy wrathByrd Exalt thyself O GodByrd Praise our LordRutter I my Best-Beloved’s amJ.S.Bach Komm, Jesu, komm

TICKETS: £31, £27, £23, £19

Friday 11 December, 7.30pm

The Choir of Magdalen College, OxfordFantasia on Christmas CarolsCelebrating Advent, the time the church looks forward to the joy and excitement of Christmas, the Choir of Magdalen College, Oxford take the Blessed Virgin Mary as a focal point in the opening of their programme. Two settings of the plainchant hymn, Ave Maris Stella are set side by side — a hymn numerous Renaissance composers set to more elaborate polyphony. The motet Wachet auf by JCF Bach, the ninth son of the more famous JS Bach, fuses the well-known Lutheran chorale of the same name to inventive contrapuntal effect; for this evening’s concert, each of the three movements is separated by a short Christmas chorale setting on the organ. And finally we move into more familiar territory with well-known Christmas carols by Rutter and Darke amongst others, finishing with Ralph Vaughan Williams’ magical

Fantasia on Christmas Carols.

Frescobaldi Ave Maris StellaVictoria Missa Ave Maris Stella, interspersed with three short Spanish interludes at the organ JCF Bach Wachet auf, ruft uns die StimmeSelection of carols including Ding Dong Merrily on High and In the Bleak MidwinterVaughan Williams Fantasia on Christmas Carols

Daniel Hyde directorAlexander Berry organAnna Lapwood organCeri Owen pianoJohn Myerscough cello

TICKETS: £31, £27, £23, £19

Friday 11 December, 7.30pm

The Choir of Magdalen College, OxfordFantasia on Christmas CarolsCelebrating Advent, the time the church looks forward to the joy and excitement of Christmas, the Choir of Magdalen College, Oxford take the Blessed Virgin Mary as a focal point in the opening of their programme. Two settings of the plainchant hymn, Ave Maris Stella are set side by side — a hymn numerous Renaissance composers set to more elaborate polyphony. The motet Wachet auf by JCF Bach, the ninth son of the more famous JS Bach, fuses the well-known Lutheran chorale of the same name to inventive contrapuntal effect; for this evening’s concert, each of the three movements is separated by a short Christmas chorale setting on the organ. And finally we move into more familiar territory with well-known Christmas carols by Rutter and Darke amongst others, finishing with Ralph Vaughan Williams’ magical

Fantasia on Christmas Carols.

Frescobaldi Ave Maris StellaVictoria Missa Ave Maris Stella, interspersed with three short Spanish interludes at the organ JCF Bach Wachet auf, ruft uns die StimmeSelection of carols including Ding Dong Merrily on High and In the Bleak MidwinterVaughan Williams Fantasia on Christmas Carols

Daniel Hyde directorAlexander Berry organAnna Lapwood organCeri Owen pianoJohn Myerscough cello

TICKETS: £31, £27, £23, £19

Thursday 11 February, 7.30pm

Tenebrae Le Choeur Chant du CoeurFrench choral music of penance and praise from the twelfth to the twentieth centuries. The wide appeal of the a cappella choral writing of French composers such as Poulenc, de Séverac and Messiaen owes as much to their use of austere textures and disciplined techniques as to the refined, Gallic sensuousness which appeals so directly to the heart. The stark, plainly homophonic style of Brumel is the timeless partner of Poulenc’s restrained choral miniatures but the ground-breaking developments in part-writing by Pérotin are the perfect preparation for Poulenc’s Figure humaine many centuries later, a work which set higher expectations of choral singing than had been envisaged in the choral world. As much as the function of the writing in these programmes is a reflection of the architecture of the buildings it was conceived for, there is a thread which connects the spirit of the music — in the ecclesiastical repertoire it is an essence of understanding of prayer through singing, and, in the

secular, an expression of mankind’s ability to triumph over the greatest of adversity.

Pérotin Viderunt Omnes Brumel Lamentations of JeremiahPoulenc Quatre motets pour un temps de pénitenceMessiaen O sacrum conviviumPoulenc Salve Regina Duruflé Quatre motetsde Séverac Tantum ergoPoulenc Figure humaine

Nigel Short director

TICKETS: £31, £27, £23, £19

Thursday 11 February, 7.30pm

Tenebrae Le Choeur Chant du CoeurFrench choral music of penance and praise from the twelfth to the twentieth centuries. The wide appeal of the a cappella choral writing of French composers such as Poulenc, de Séverac and Messiaen owes as much to their use of austere textures and disciplined techniques as to the refined, Gallic sensuousness which appeals so directly to the heart. The stark, plainly homophonic style of Brumel is the timeless partner of Poulenc’s restrained choral miniatures but the ground-breaking developments in part-writing by Pérotin are the perfect preparation for Poulenc’s Figure humaine many centuries later, a work which set higher expectations of choral singing than had been envisaged in the choral world. As much as the function of the writing in these programmes is a reflection of the architecture of the buildings it was conceived for, there is a thread which connects the spirit of the music — in the ecclesiastical repertoire it is an essence of understanding of prayer through singing, and, in the

secular, an expression of mankind’s ability to triumph over the greatest of adversity.

Pérotin Viderunt Omnes Brumel Lamentations of JeremiahPoulenc Quatre motets pour un temps de pénitenceMessiaen O sacrum conviviumPoulenc Salve Regina Duruflé Quatre motetsde Séverac Tantum ergoPoulenc Figure humaine

Nigel Short director

TICKETS: £31, £27, £23, £19

Thursday 17 March, 7.30pm

AlamireAnne Boleyn’s SongbookMusic & Passions of a Tudor QueenAnne Boleyn is without doubt the most famous of Henry VIII’s six wives. She was brought up for a time under the guardianship of Margaret of Austria, who was patron to some of the most famous composers in all of Europe, and then in the French court before her return to England in 1522. It was in France where the young Anne developed her keen musical tastes, and when a collection of her favourite works began to be assembled into what is now known as the Anne Boleyn Songbook (Royal College of Music, MS 1070). The book probably remained in her possession until her execution in 1536, when she was accused of adultery with no less than five men including her own brother, George, and lutenist Mark Smeaton.

Here Alamire explores the finest works in the Songbook by some of the greatest composers of the early 16th century, including Compère, Brumel, Mouton, and Josquin. Performances by Alamire are interspersed with French chansons and instrumental items for lute, harp and voice. The programme concludes with a most haunting setting of O Deathe rock me asleep, not from the Songbook but possibly linked to Anne’s fate while awaiting her execution in the Tower of London.

Mouton Tota pulchra es Anonymous Venes regrets, venes tous Anonymous Fer pietatis opem miseris mater Desprez Stabat mater dolorosa Compère Paranymphus salutat virginem de Sermisy Jouyssance vous donneray Anonymous Laudate Dominum omnes gentes Anonymous Maria Magdalena et altera Maria Anonymous O virgo virginum de Févin Tempus meum est ut revertar Anonymous Popule meus quid feci tibi Mouton In illo tempore Anonymous Gentilz galans compaingnonsBrumel Sicut lilium inter spinas Josquin Praeter rerum seriem Anonymous, attrib. Boleyn O Deathe rock me asleep

TICKETS: £31, £27, £23, £19

Thursday 17 March, 7.30pm

AlamireAnne Boleyn’s SongbookMusic & Passions of a Tudor QueenAnne Boleyn is without doubt the most famous of Henry VIII’s six wives. She was brought up for a time under the guardianship of Margaret of Austria, who was patron to some of the most famous composers in all of Europe, and then in the French court before her return to England in 1522. It was in France where the young Anne developed her keen musical tastes, and when a collection of her favourite works began to be assembled into what is now known as the Anne Boleyn Songbook (Royal College of Music, MS 1070). The book probably remained in her possession until her execution in 1536, when she was accused of adultery with no less than five men including her own brother, George, and lutenist Mark Smeaton.

Here Alamire explores the finest works in the Songbook by some of the greatest composers of the early 16th century, including Compère, Brumel, Mouton, and Josquin. Performances by Alamire are interspersed with French chansons and instrumental items for lute, harp and voice. The programme concludes with a most haunting setting of O Deathe rock me asleep, not from the Songbook but possibly linked to Anne’s fate while awaiting her execution in the Tower of London.

Mouton Tota pulchra es Anonymous Venes regrets, venes tous Anonymous Fer pietatis opem miseris mater Desprez Stabat mater dolorosa Compère Paranymphus salutat virginem de Sermisy Jouyssance vous donneray Anonymous Laudate Dominum omnes gentes Anonymous Maria Magdalena et altera Maria Anonymous O virgo virginum de Févin Tempus meum est ut revertar Anonymous Popule meus quid feci tibi Mouton In illo tempore Anonymous Gentilz galans compaingnonsBrumel Sicut lilium inter spinas Josquin Praeter rerum seriem Anonymous, attrib. Boleyn O Deathe rock me asleep

TICKETS: £31, £27, £23, £19

Wednesday 20 April, 7.30pm

The Tallis Scholars‘O Death, come close mine eyes’The title of this varied programme is taken from Gibbons’ ineffable The Silver Swan, to which I invited Matthew Martin to add a pendant in 2013. Since then I also asked him to write a set of Lamentations, which will be receiving its world premiere tonight. In addition Nico Muhly’s Lamentations were commissioned by the Lincoln Center in New York for us — so there is a small tradition going there. The Tallis and Phinot Lamentations further amplify this penitential mood. The programme ends with Byrd’s great cry for mercy, which sets the words of the preacher Savonarola,

penned just before his execution, adding extra meaning to our title.

Pärt Sieben Magnificat Antiphonen Pärt MagnificatMuhly Lamentations Tallis Miserere Tallis Lamentations I Martin Lamentations – world premiere Martin/Gibbons The Silver Swan Gibbons O Lord, in the wrathPhinot Lamentations Byrd Infelix ego

Magnificat Antiphonen Magnificat

Lamentations

Lamentations I Lamentations – world premiere

Martin/Gibbons The Silver SwanO Lord, in the wrath

Lamentations Infelix ego

director

TICKETS: £31, £27, £23, £19

Wednesday 20 April, 7.30pm

The Tallis Scholars‘O Death, come close mine eyes’The title of this varied programme is taken from Gibbons’ ineffable The Silver Swan, to which I invited Matthew Martin to add a pendant in 2013. Since then I also asked him to write a set of Lamentations, which will be receiving its world premiere tonight. In addition Nico Muhly’s Lamentations were commissioned by the Lincoln Center in New York for us — so there is a small tradition going there. The Tallis and Phinot Lamentations further amplify this penitential mood. The programme ends with Byrd’s great cry for mercy, which sets the words of the preacher Savonarola,

penned just before his execution, adding extra meaning to our title.

Pärt Sieben Magnificat Antiphonen Pärt MagnificatMuhly Lamentations Tallis Miserere Tallis Lamentations I Martin Lamentations – world premiere Martin/Gibbons The Silver Swan Gibbons O Lord, in the wrathPhinot Lamentations Byrd Infelix ego

Magnificat Antiphonen Magnificat

Lamentations

Lamentations I Lamentations – world premiere

Martin/Gibbons The Silver SwanO Lord, in the wrath

Lamentations Infelix ego

director

TICKETS: £31, £27, £23, £19

Wednesday 11 May, 7.30pm

Vox LuminisLight and Shadow Music at the time of Elizabeth IWith this programme we have the opportunity to perform some of my favourite a cappella works from the Great English Renaissance, arguably, the Golden Age of British Music. ‘Light’ in the context of this programme is reflected in the themes of birth, new beginning, day and joyfulness. ‘Shadow’, on the other hand, will see us singing about the more solemn, but no less rich subjects of death, ending and night. We are looking forward to sharing with you some of the most popular works from the

reign of Queen Elizabeth I along with some lesser known gems.

Tallis O nata luxTallis Videte miraculumWhite Christe, qui lux es et diesSheppard In manus tuasByrd Ne irascaris Domine – Civitas Sancti TuiTomkins When David HeardRamsey How are the Mighty Fall’nWeelkes Death hath deprived meTallis Hear the voice and prayerSheppard In paceMorley Funeral Sentences: The First dirge Anthem; The Second dirge Anthem; The Third dirge Anthem

Lionel Meunier director

TICKETS: £31, £27, £23, £19

Wednesday 11 May, 7.30pm

Vox LuminisLight and Shadow Music at the time of Elizabeth IWith this programme we have the opportunity to perform some of my favourite a cappella works from the Great English Renaissance, arguably, the Golden Age of British Music. ‘Light’ in the context of this programme is reflected in the themes of birth, new beginning, day and joyfulness. ‘Shadow’, on the other hand, will see us singing about the more solemn, but no less rich subjects of death, ending and night. We are looking forward to sharing with you some of the most popular works from the

reign of Queen Elizabeth I along with some lesser known gems.

Tallis O nata luxTallis Videte miraculumWhite Christe, qui lux es et diesSheppard In manus tuasByrd Ne irascaris Domine – Civitas Sancti TuiTomkins When David HeardRamsey How are the Mighty Fall’nWeelkes Death hath deprived meTallis Hear the voice and prayerSheppard In paceMorley Funeral Sentences: The First dirge Anthem; The Second dirge Anthem; The Third dirge Anthem

Lionel Meunier director

TICKETS: £31, £27, £23, £19

The SixteenWednesday 16 December 2015, 7.30pm

The Virgin Mother and Child

Harry Christophers conductor

Focusing on the relationship between the Virgin Mother and Child, this year’s programme contrasts the serene and beautiful sounds of early Renaissance polyphony with the dramatic intensity of music by some of today’s most admired composers.

The evening will open with the Gloria from Tallis’s magnifi cent seven-part Christmas Mass Puer natus est, followed by Tavener’s haunting The Lamb — a piece he claimed came to him ‘fully formed, so all I had to do was write it down’ (Tavener, 1982).

Like Tavener and many of the composers featured in this programme, James MacMillan’s music is deeply rooted in the Catholic faith; his piece O Radiant Dawn compares Christ’s bringing of light and eternal life to the brilliant rising sun.

With a selection of traditional and modern carols including Gabriel Jackson’s luscious The Christ Child, this programme will provide a peaceful antidote to the pre-Christmas rush!

TICKETS: £45 (premium seats), £36, £28, £20, £16

ENCORE Members and Sixteen Patrons: 10% off

Plainsong Puer natus

Thomas Tallis Gloria (from Mass Puer Natus)

John Tavener The Lamb

Boris Ord Adam lay ybounden

Traditional Rejoice and be merry

James MacMillan O Radiant Dawn

Gabriel Jackson The Christ-child

William Byrd Ave Maria

Thomas Tallis Videte miraculum

Howard Skempton Adam lay ybounden

Richard Pygott Quid petis, O fi li?

Traditional A child is born in Bethlehem

John Tavener O, do not move (a miniature Ikon of the Nativity)

Alec Roth Song of the Shepherds

Peter Phillips O beatum et sacrosanctum diem

Robert Parsons Ave Maria

Plainsong Nesciens mater

Walter Lambe Nesciens mater

Monday 8 February 2016, 7.30pm

Handel’s Dixit DominusFull of virtuosity, vibrant colour and dynamic energy, this programme showcases some of Handel’s most majestic works. His Dixit Dominus perfectly captures the Italian style of the period. Written during the composer’s time in Italy in the early 18th century it is amongst his earliest autographed works and also one of his fi nest.

Handel Arrival of the Queen of Sheba from SolomonHandel Chandos: Anthem No.11 ‘Let God Arise’Handel Coronation: Anthem ‘Let thy Hand be Strengthened’Handel Overture to JephthaHandel Dixit Dominus

Coming up at Cadogan Hall

Tuesday 29 September 2015, 7.30pm

Sophie Bevan sings Mozart, Haydn & Beethoven

The Orchestra of Classical OperaSophie Bevan sopranoIan Page conductor

Tuesday 13 October 2015, 7.30pm

Rosenblatt Recitals: Leo NucciArias and songs by Rossini, Verdi, Bellini and Donizetti

Sunday 25 October 2015, 7pmChelsea Opera Group Chorus and OrchestraWagner: Das Liebesverbot

Friday 30 October 2015, 7.30pmBrussels Philharmonic R. Strauss Four Last SongsMahler Symphony No. 4

Susan Gritton sopranoYoel Levi conductor

Monday 2 November 2015, 7.30pm

Royal Philharmonic OrchestraMozart Regina coeli, Ch’io mi scordi di te?… Non temer, amato beneMozart Piano Concerto No. 23 in AHaydn Lord Nelson Mass

City of London ChoirTom Poster pianoRachel Nicholls sopranoVictoria Simmonds mezzo-sopranoJeffrey Lloyd-Roberts tenorDarren Jeffery baritoneHilary Davan Wetton conductor

Tuesday 24 November 2015, 7pmNew Sussex OperaMignon

Friday 19 February 2016, 7.30pm Russian State Ballet and Opera HousePuccini’s Madam Butterfl y

The SixteenWednesday 16 December 2015, 7.30pm

The Virgin Mother and Child

Harry Christophers conductor

Focusing on the relationship between the Virgin Mother and Child, this year’s programme contrasts the serene and beautiful sounds of early Renaissance polyphony with the dramatic intensity of music by some of today’s most admired composers.

The evening will open with the Gloria from Tallis’s magnifi cent seven-part Christmas Mass Puer natus est, followed by Tavener’s haunting The Lamb — a piece he claimed came to him ‘fully formed, so all I had to do was write it down’ (Tavener, 1982).

Like Tavener and many of the composers featured in this programme, James MacMillan’s music is deeply rooted in the Catholic faith; his piece O Radiant Dawn compares Christ’s bringing of light and eternal life to the brilliant rising sun.

With a selection of traditional and modern carols including Gabriel Jackson’s luscious The Christ Child, this programme will provide a peaceful antidote to the pre-Christmas rush!

TICKETS: £45 (premium seats), £36, £28, £20, £16

ENCORE Members and Sixteen Patrons: 10% off

Plainsong Puer natus

Thomas Tallis Gloria (from Mass Puer Natus)

John Tavener The Lamb

Boris Ord Adam lay ybounden

Traditional Rejoice and be merry

James MacMillan O Radiant Dawn

Gabriel Jackson The Christ-child

William Byrd Ave Maria

Thomas Tallis Videte miraculum

Howard Skempton Adam lay ybounden

Richard Pygott Quid petis, O fi li?

Traditional A child is born in Bethlehem

John Tavener O, do not move (a miniature Ikon of the Nativity)

Alec Roth Song of the Shepherds

Peter Phillips O beatum et sacrosanctum diem

Robert Parsons Ave Maria

Plainsong Nesciens mater

Walter Lambe Nesciens mater

Monday 8 February 2016, 7.30pm

Handel’s Dixit DominusFull of virtuosity, vibrant colour and dynamic energy, this programme showcases some of Handel’s most majestic works. His Dixit Dominus perfectly captures the Italian style of the period. Written during the composer’s time in Italy in the early 18th century it is amongst his earliest autographed works and also one of his fi nest.

Handel Arrival of the Queen of Sheba from SolomonHandel Chandos: Anthem No.11 ‘Let God Arise’Handel Coronation: Anthem ‘Let thy Hand be Strengthened’Handel Overture to JephthaHandel Dixit Dominus

Coming up at Cadogan Hall

Tuesday 29 September 2015, 7.30pm

Sophie Bevan sings Mozart, Haydn & Beethoven

The Orchestra of Classical OperaSophie Bevan sopranoIan Page conductor

Tuesday 13 October 2015, 7.30pm

Rosenblatt Recitals: Leo NucciArias and songs by Rossini, Verdi, Bellini and Donizetti

Sunday 25 October 2015, 7pmChelsea Opera Group Chorus and OrchestraWagner: Das Liebesverbot

Friday 30 October 2015, 7.30pmBrussels Philharmonic R. Strauss Four Last SongsMahler Symphony No. 4

Susan Gritton sopranoYoel Levi conductor

Monday 2 November 2015, 7.30pm

Royal Philharmonic OrchestraMozart Regina coeli, Ch’io mi scordi di te?… Non temer, amato beneMozart Piano Concerto No. 23 in AHaydn Lord Nelson Mass

City of London ChoirTom Poster pianoRachel Nicholls sopranoVictoria Simmonds mezzo-sopranoJeffrey Lloyd-Roberts tenorDarren Jeffery baritoneHilary Davan Wetton conductor

Tuesday 24 November 2015, 7pmNew Sussex OperaMignon

Friday 19 February 2016, 7.30pm Russian State Ballet and Opera HousePuccini’s Madam Butterfl y

A B C D

SEATS 8

D C B A

FEDCBA

Booking informationTickets £31, £27, £23, £19ENCORE Members pay £27 for top price t ickets ENCORE Members receive priority booking, reduced booking fees, a dedicated telephone line, discounts on selected shows and drinks at the bar, invitations to special events. To join ENCORE, please call the Box Office on 020 7730 4500.

Series discounts* Series discounts are available on top and second price tickets for all concerts in the series. To qualify for the discount the same number of tickets must be bought for each event.

Book 6 concerts and save 30% Book 4 or 5 concerts and save 20% Book 2 or 3 concerts and save 10%

*Note: Series discounts cannot be used in

conjunction with any other offer

Group bookings Book 10 or more tickets and save 10% Book 20—29 tickets and save 20% Book 30 or more tickets and save 30% School groups: group discount plus free tickets for teachers

Online booking: w w w.cadoganhall .com/choral Our system allows you to check the exact location and view from your seat before you book. Series discounts are available online. Booking fee £3

Telephone booking: 020 7730 4500 Monday —Saturday: 10am—6pm Sunday: 3pm —8pm (concert days only) Booking fee £3

In person The Box Office, 5 Sloane Terrace, London SW1X 9DQ Monday—Saturday: 10am—6pm Sunday: 3pm—8pm (concert days only) No booking fee

GALLERY

STALLS

EATON SQUARE

KINGS ROAD

Getting to Cadogan HallThe easiest way to travel to Cadogan Hall is by public transport. Located two minutes walk from Sloane Square tube, served by District and Circle lines, just one stop from Victoria station which has both mainline and additional tube connections.

Sloane Square UndergroundTwo minutes walk Upon exiting Sloane Square Station, turn immediately right, passing the Royal Court Theatre. (You will see Cadogan Hall’s tower immediately before you). Cross over Cliveden Place and walk up Sedding Street to the Hall.

BusSloane Street one minute walk Frequent bus services stop in Sloane Square and neighbouring streets including King’s Road, Sloane Street and Lower Sloane Street. Bus services include numbers 11, 19, 22, 137, 211, 319, 360 and c1.

Taxi RankSloane Square one minute walk Taxis are numerous in the area and there is a taxi rank located on Sloane Square opposite the Underground Station.

ParkingA limited number of bays are available on Sloane Terrace, Wilbraham Place and Sedding Street after 6.30pm.

Special Offer from NCP Car Park, Cadogan Place6 hours parking for £10 Cadogan Hall audience members may obtain a discounted ticket for the car park when they purchase a concert ticket. Car park tickets are held at the Box office, please drop in to collect one or ask for one to be posted to you when you are booking your concert ticket.

A B C D

11 234

D C B A

FEDCBA

Booking informationTickets £31, £27, £23, £19ENCORE Members pay £27 for top price t ickets ENCORE Members receive priority booking, reduced booking fees, a dedicated telephone line, discounts on selected shows and drinks at the bar, invitations to special events. To join ENCORE, please call the Box Office on 020 7730 4500.

Series discounts* Series discounts are available on top and second price tickets for all concerts in the series. To qualify for the discount the same number of tickets must be bought for each event.

Book 6 concerts and save 30% Book 4 or 5 concerts and save 20% Book 2 or 3 concerts and save 10%

*Note: Series discounts cannot be used in

conjunction with any other offer

Group bookings Book 10 or more tickets and save 10% Book 20—29 tickets and save 20% Book 30 or more tickets and save 30% School groups: group discount plus free tickets for teachers

Online booking: w w w.cadoganhall .com/choral Our system allows you to check the exact location and view from your seat before you book. Series discounts are available online. Booking fee £3

Telephone booking: 020 7730 4500 Monday —Saturday: 10am—6pm Sunday: 3pm —8pm (concert days only) Booking fee £3

In person The Box Office, 5 Sloane Terrace, London SW1X 9DQ Monday—Saturday: 10am—6pm Sunday: 3pm—8pm (concert days only) No booking fee

GALLERY

STALLS

EATON SQUARE

KINGS ROAD

Getting to Cadogan HallThe easiest way to travel to Cadogan Hall is by public transport. Located two minutes walk from Sloane Square tube, served by District and Circle lines, just one stop from Victoria station which has both mainline and additional tube connections.

Sloane Square UndergroundTwo minutes walk Upon exiting Sloane Square Station, turn immediately right, passing the Royal Court Theatre. (You will see Cadogan Hall’s tower immediately before you). Cross over Cliveden Place and walk up Sedding Street to the Hall.

BusSloane Street one minute walk Frequent bus services stop in Sloane Square and neighbouring streets including King’s Road, Sloane Street and Lower Sloane Street. Bus services include numbers 11, 19, 22, 137, 211, 319, 360 and c1.

Taxi RankSloane Square one minute walk Taxis are numerous in the area and there is a taxi rank located on Sloane Square opposite the Underground Station.

ParkingA limited number of bays are available on Sloane Terrace, Wilbraham Place and Sedding Street after 6.30pm.

Special Offer from NCP Car Park, Cadogan Place6 hours parking for £10 Cadogan Hall audience members may obtain a discounted ticket for the car park when they purchase a concert ticket. Car park tickets are held at the Box office, please drop in to collect one or ask for one to be posted to you when you are booking your concert ticket.

Cadogan Hall Sloane Terrace, London SW1X 9DQ www.cadoganhall.com

Choral at Cadogan 2015-16

Documents

Transcript of Choral at Cadogan 2015-16