London Symphony Orchestra: Online Concert Programme | Wed 22 Apr 2026
- Extended Concert Programme
Bristol Beacon presents
London Symphony Orchestra & London Symphony Chorus with Sir Antonio Pappano, Emily D’Angelo, David Butt Philip and William Thomas
Wed 22 April 2026, 7pm
This evening’s performance:
Sir Antonio Pappano Conductor
Emily D’Angelo Mezzo Soprano
David Butt Philip Tenor
William Thomas Bass
London Symphony Orchestra
London Symphony Chorus
Mariana Rosas Chorus Director
Elgar The Dream of Gerontius (1hr 40 mins)
There is no interval in tonight’s concert
Pre-concert talk hosted by music educator Jonathan James
Welcome
Tonight we welcome back the LSO and Sir Antonio Pappano for their second concert this season, and we extend a very warm welcome to the London Symphony Chorus, making their first appearance in the hall since the 1970s!
It is a special night for me (Simon) because for over a decade I worked for the LSO management in several roles, and I also sang with the Chorus in the Tenor section over a 30-year period. I owe the LSO and LSC so many memorable musical experiences that I will never forget.
As someone who has sung The Dream of Gerontius many times, it will be rather strange to be watching from the hall, rather than being on stage – I will try and resist the urge to sing along.
This evening is also our first presentation of one of the great choral masterpieces as part of the Orchestral Series since the re-opening of Bristol Beacon in November 2023. Elgar’s The Dream of Gerontius also gives us another opportunity to hear the refurbished Britton Organ, which was played for the first time earlier this year.
Thank you for joining us to hear these great orchestral and choral forces together for Elgar’s moving and dramatic oratorio.
With best wishes,
Simon Wales
Chief Executive, Bristol Beacon
Jonathan Dimbleby
Chair of the Board of Trustees, Bristol Beacon
Edward Elgar (1857-1934): The Dream of Gerontius
Today, Elgar’s The Dream of Gerontius is a national monument. That is both a blessing and a curse. Few English music lovers would contest its status, but there is a corresponding tendency to take it, and its content, for granted. There are some who still dismiss it as a more-or-less conventional expression of late-Victorian piety. So it’s worth remembering that at its first performance, just over a century ago, Gerontius was thought by some to be outlandishly modern, while its subject matter was viewed in other quarters with suspicion verging on paranoia.
The text of The Dream of Gerontius – by the Roman Catholic convert, Cardinal John Henry Newman – is full of doctrine which had been rejected by the Protestant churches during the Reformation. The sole human character, the dying Gerontius (the name derives from the Greek geron, meaning ‘old man’), prays for assistance to the Virgin Mary and other saints; and after his soul-searching encounter with God at the climax of Part Two Gerontius doesn’t simply pass into heaven, but is committed to Purgatory for a long, and possibly painful process of purification. For some Protestants, this would have been dangerous heresy. When Gerontius was proposed at the 1902 Three Choirs Festival, the Bishop of Worcester objected – and there were plenty who supported him. Performance in the Cathedral was only permitted once the text had been purged of ‘popish’ elements: the words ‘Jesus’, ‘Lord’ or ‘Saviour’ were substituted for ‘Mary’; ‘souls’ for ‘souls in purgatory’; ‘prayers’ for ‘masses’, and so on. It may seem faintly bizarre now, but in early 20th-century England these were still acutely sensitive issues.
As to the music, Elgar was a Wagnerian; and for many English concertgoers in 1900, Wagner was still difficult modern music. Some of it was too much even for the experienced Birmingham Festival Choir: the ‘Demons’ Chorus’ and much of the semi-chorus writing came over poorly at the Birmingham premiere (accusations of sabotage were levelled at some male members of the choir). The experience prompted one of Elgar’s most bitter outbursts: ‘I always said God was against art … I allowed my heart to open once – it is now shut against every religious feeling and every soft, gentle impulse for ever’. But the work’s fortunes soon began to change – especially when, after the 1901 German premiere of Gerontius, Richard Strauss publicly toasted Elgar as ‘the first English Meister’ – high praise indeed from the world’s most celebrated Wagnerian. Elgar’s close friend and musical confidant August Jaeger (the ‘Nimrod’ of the ‘Enigma’ Variations) was also struck by the work’s Wagnerian character and ambitions. While Elgar was still working on the score he wrote: ‘Since Parsifal nothing of this mystic, religious kind of music has appeared to my knowledge that displays the same power and beauty as yours. Like Wagner you seem to grow with your greater, more difficult subject and I am now most curious and anxious to know how you will deal with that part of the poem where the Soul goes within the presence of the almighty. There is a subject for you!’
But at that crucial point in the story Elgar’s Wagnerian nerve temporarily failed him. ‘Please remember that none of the “action” takes place in the presence of God’, he replied to Jaeger. ‘I would not have tried that, neither did Newman. The Soul says “I go before my God” – but we don’t – we stand outside’. Fortunately, Jaeger was unimpressed and began a campaign to get the composer to have another go: ‘I have tried and tried and tried, but it seems to me the weakest page of the work! Do re-write it! … It seems mere whining to me and not at all impressive’. At first Elgar resisted, but eventually he gave in; could it be that an inner voice was also telling him that Jaeger was right – that he’d been too timid? The end result is perhaps the most original moment in the whole score. As Gerontius goes to be ‘consumed, yet quicken’d, by the glance of God’, there is an awe-inspiring crescendo; then the full orchestra, with organ and four percussionists, delivers a lacerating Parsifal-like discord – but only for a split second: Elgar marks it fffz-p. The effect is like a blinding flash of light, infinitesimally brief, but leaving the eyes and brain reeling. Now we understand why Gerontius cries ‘Take me away’ – the music has made that quite clear.
Elgar learnt another important lesson from Wagner – though as with every influence on Gerontius, he digested it so thoroughly that the listener hears only authentic Elgar. Before Wagner, operas and oratorios tended to be arranged in ‘numbers’: arias, duets, ensembles, choruses – all more or less detachable from the larger dramatic context. Wagner found a way of making dramatic works evolve continuously, seamlessly, like huge symphonies. Elgar achieves something very similar in The Dream of Gerontius. Some sections – like the Angel’s beautiful lullaby ‘Softly and gently’ at the end of Part Two – can be performed separately, with the help of a little surgery; but there are details (for instance recollections of earlier themes) which only make complete sense if this music is heard in its proper place. And the sense of sustained symphonic current is essential to the work’s message. Early in Part Two, Gerontius’s disembodied soul describes how ‘a uniform and gentle pressure tells me that I am not self-moving but, borne forward on my way.’ Elgar’s music conveys the sense of that ‘uniform and gentle pressure’ with subtle power. We can feel that we too are ‘borne forward’, through the Demons Chorus, through the angelic hymn ‘Praise to the Holiest in the height’, to the final, agonising yet transfiguring encounter with God.
That process – slow but inexorable – can be felt at the very beginning of the orchestral Prelude. Clarinets, bassoons and violas introduce a quiet, lamenting theme, at first unaccompanied, then continuing against a slow, heavy tread from double basses and low woodwind. Slow as it is, there is a sense, as in all great symphonies, that something could grow from this. The theme doesn’t merely provide the impetus; it’s also a melodic seed. The outline of the first four notes (A – G sharp – A – G natural) has an influence on many of the important motifs in Gerontius. The Prelude leads without a break into Gerontius’s first words; ‘Jesu, Maria …’ Elgar’s music registers movingly the dying man’s wavering between hope and dread. Other voices join with him: souls on earth and in heaven, praying for his deliverance. There is an impassioned declaration of faith (‘Sanctus fortis’), more choral prayers, then the moment of death: ‘and I fain would sleep, the pain has wearied me’. The almost heart-breaking sadness of this passage may be a reflection of the dark, depressive side of Elgar’s character. The critic Ernest Newman remembered how, not long after the premiere of Gerontius, Elgar’s wife Alice ‘tactfully steered the conversation away from the topic of suicide that had suddenly arisen; she whispered to me that Edward was always talking of making an end of himself.’
But this is not the end of Gerontius’s journey. The words of the Priest (‘Go forth upon thy journey, Christian soul’) mark the soul’s passing into the next world. Then in Part Two comes the meeting with the Angel, the encounter with demons, the angelic hymn, and the spiritual thunderbolt when Gerontius has his split-second encounter with God. With sure dramatic instinct, Elgar reserves the most beautiful of all the melodies of Gerontius – the Angel’s consoling ‘Softly and gently’ – for the very end. More than a century after Gerontius was almost denied entry to Worcester Cathedral, this music is now loved by Christians of many denominations, as well as by music-lovers with no particular faith. Even without faith, one can still be moved by Elgar’s heartfelt expression of loss and hope in the face of death: ‘Farewell, but not for ever!’
© Stephen Johnson
Sir Antonio Pappano
Conductor
One of today’s most sought-after conductors, Sir Antonio Pappano is renowned for his charismatic leadership and inspiring performances across both symphonic and operatic repertoires. He is Chief Conductor of the London Symphony Orchestra, and Conductor Laureate of the Royal Opera and Ballet Covent Garden and Music Director Emeritus of the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, having held the position of Music Director at both institutions from 2002-2024 and 2005-2023 respectively. Nurtured as a pianist, repetiteur and assistant conductor at many of the most important opera houses of Europe and North America, including at the Lyric Opera of Chicago and several seasons at the Bayreuth Festival as musical assistant to Daniel Barenboim, Pappano was appointed Music Director of Oslo’s Den Norske Opera in 1990, and from 1992-2002 served as Music Director of the Théâtre Royal de la Monnaie in Brussels. From 1997-1999 he was Principal Guest Conductor of the Israel Philharmonic Orchestra.
Pappano is in demand as an opera conductor at the highest international level, including with the Metropolitan Opera New York, the State Operas of Vienna and Berlin, the Bayreuth and Salzburg Festivals, Lyric Opera of Chicago and the Teatro alla Scala, and has appeared as a guest conductor with many of the world’s most prestigious orchestras, including the Berlin and Vienna Philharmonic Orchestras, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Bavarian Radio, the Czech Philharmonic Orchestra, the Orchestre de Paris and the Royal Concertgebouw Orchestra, as well as the New York Philharmonic Orchestra, Chicago and Boston Symphonies, the Philadelphia and Cleveland Orchestras. He maintains a particularly strong relationship with the Chamber Orchestra of Europe.
Highlights of the 2025/26 season and beyond include return visits to the Chamber Orchestra of Europe, the Royal Concertgebouw Orchestra, the Czech Philharmonic, and guest appearances with the Swedish Radio Symphony and the Orchestra of the Royal Danish Opera, and he continues the acclaimed new Ring Cycle at the Royal Opera with a new production of Siegfried. In his second season as Chief Conductor of the London Symphony, Pappano takes the orchestra on wide-ranging tours to major European capitals and festivals, and a residency in Hanoi, Vietnam, as well as concerts at London’s Barbican Centre with concertante performances of Wagner’s Tristan und Isolde, and symphonic repertoire from Bernstein, Britten and Copland, to Macmillan, Musgrave, Mahler, and further recordings of Vaughan Williams and Elgar for LSO Live.
Pappano has been an exclusive recording artist for Warner Classics (formerly EMI Classics) since 1995, and his discography features numerous complete operas, including Don Carlo, La Rondine, Guillaume Tell, Il Trittico, Werther, Il Trovatore, Tristan und Isolde, and Aida. 2022 saw the release on Sony Classical of Verdi’s Otello, and a disc of Verdi duets with Jonas Kaufmann and Ludovic Tezier, and Vaughan William’s 4th and 6th symphonies for LSO Live, and in 2023 Warner released the first studio recording of Puccini’s Turandot with the complete conclusion by Alfano, recorded in Rome with Accademia Nazionale di Santa Cecilia.
Pappano’s orchestral recordings with the Accademia Nazionale di Santa Cecilia include Strauss’s Ein Heldenleben, Rachmaninov’s 2nd, Mahler’s 6th, Dvořák’s 9th and Tchaikovsky’s 4th, 5th and 6th symphonies, Respighi’s Roman Trilogy, Rossini’s Stabat Mater, Petite Messe Solenelle and selected Overtures, Britten’s War Requiem, and Verdi’s Requiem, and his discography also documents his work with other ensembles including the London Symphony and Berlin Philharmonic Orchestras, and the orchestras of the Royal Opera House and the Théâtre Royal de la Monnaie, in music ranging from Pergolesi and Mendelssohn through to Panufnik, Boesmans and Maxwell Davies. Numerous productions from the Royal Opera House have been released on DVD, including Carmen, Les Troyens, Parsifal, Simon Boccanegra, Le nozze di Figaro, and Manon Lescaut. His recordings have received extensive accolades including Classic BRIT, ECHO Klassik, BBC Music Magazine and Gramophone Awards.
As a pianist, Antonio Pappano appears as an accompanist with some of the most celebrated singers, including Joyce DiDonato, Diana Damrau, Gerald Finley and Ian Bostridge. He has also partnered singers and instrumental soloists on disc, including in operatic recitals with Nina Stemme, Plácido Domingo, Anna Netrebko and Jonas Kaufmann, concerto recordings with soloists including Leif Ove Andsnes, Maxim Vengerov, Janine Jansen, Jan Lisiecki and Beatrice Rana, and chamber recitals with Ian Bostridge, Barbara Bonney and Joyce DiDonato. He has a strong commitment to nurturing young singers and instrumentalists, close connections with the Aldeburgh and Verbier Festivals, leading concerts and masterclasses.
Antonio Pappano was born in London to Italian parents and moved with his family to the United States at the age of 13. He studied piano with Norma Verrilli, composition with Arnold Franchetti and conducting with Gustav Meier. His awards and honours include Gramophone’s ‘Artist of the Year’ in 2000, the 2003 Olivier Award for Outstanding Achievement in Opera, the 2004 Royal Philharmonic Society Music Award, and the Bruno Walter prize from the Académie du Disque Lyrique in Paris. In 2012 he was created a Cavaliere di Gran Croce of the Republic of Italy, and a Knight of the British Empire for his services to music, and in 2015 he was named the 100th recipient of the Royal Philharmonic Society’s Gold Medal, the body’s highest honour. He has also developed a notable career as a speaker and presenter and has fronted several critically-acclaimed BBC Television documentaries including Opera Italia, Pappano’s Essential Ring Cycle and Pappano’s Classical Voices.
Emily D’Angelo
Mezzo Soprano
Canadian mezzo-soprano Emily D’Angelo is one of the most compelling artists of her generation. A graduate of the University of Toronto and the Metropolitan Opera’s Lindemann Young Artist Development Program, she is a prizewinner of major international competitions including Operalia. A Deutsche Grammophon exclusive artist, she released her debut album enargeia in 2021, followed by freezing in 2024, which earned her the 2025 Opus Klassik Award for ‘Female Singer of the Year.’
In the 2025/26 season, D’Angelo returns to the Royal Opera House in the title role of Handel’s Ariodante and to the Vienna State Opera as Sesto in La clemenza di Tito. On the concert stage, she makes her debut with the Philadelphia Orchestra in Bernstein’s Symphony No. 1 ‘Jeremiah’, and appears as Cherubino in Le nozze di Figaro with the Boston Symphony Orchestra at Tanglewood.
She returns to Spain for Mahler’s Symphonies Nos. 2 and 3, and appears in Oviedo in works by Rossini and De Falla. She also sings the opening concert of Salzburg Mozart Week 2026 with the Danish Chamber Orchestra. Further appearances include the Whitsun Festival in Baden-Baden and the Bregenz Festival.
emilydangelo.com
David Butt Philip
Tenor
One of the most exciting tenors Britain has to offer today, David Butt Philip is quickly becoming a firm favourite on the major international stages. An alumnus of the Jette Parker Young Artist Programme, his recent debuts in roles such as the title role of Lohengrin and Stolzing in Die Meistersinger von Nürnberg at the Wiener Staatsoper; Florestan in Fidelio and the Prince in Rusalka at the Royal Opera House; Bacchus in Ariadne auf Naxos at the Edinburgh International Festival and Bayerische Staatsoper; and the title roles in Der Zwerg and Lohengrin at Deutsche Oper Berlin have earned him major critical and public acclaim.
Born and brought up in Wells, Somerset, Butt Philip was a chorister at Peterborough Cathedral. He is a graduate of the Royal Northern College of Music, the Royal Academy of Music, and the National Opera Studio, and was also a Samling Artist, an Associate of the Royal Academy of Music, and winner of the prestigious John Christie Award in 2011.
William Thomas
Bass
British bass William Thomas is fast making a name for himself as one of today’s most promising young singers. His operatic roles in the 2025/26 season include Hebrew in Samson et Dalilah and Sparafucile in Rigoletto for the Royal Ballet and Opera, Colline in La bohème for Teatro dell’Opera di Roma, Mr Flint in Billy Budd for the Glyndebourne Festival and Ormonte in Partenope for the English National Opera. Appearances on the concert stage include Berlioz’s Roméo et Juliette with Robin Ticciati and Symphonieorchester des Bayerischen Rundfunks, Hérode in L’enfance du Christ at Palau de les Arts Reina Sofia in Valencia, a tour of Johannes-Passion with Il Pomo d’Oro, Messiah and Mozart’s Requiem with the Monteverdi Choir and Orchestra, and The Dream of Gerontius with the London Symphony Orchestra, under the baton of Sir Antonio Pappano.
A graduate of the opera course at the Guildhall School of Music and Drama, William has been awarded a number of major prizes, including winning the Kathleen Ferrier Award, John Christie Award, and Veronica Dunne International Singing Competition.
London Symphony Orchestra
The London Symphony Orchestra believes that extraordinary music should be available to everyone, everywhere – from orchestral fans in the concert hall to first-time listeners all over the world.
The LSO was established in 1904 as one of the first orchestras shaped by its musicians. Since then, generations of remarkable talents have built the LSO’s reputation for quality, ambition and a commitment to sharing the joy of music with everyone. The LSO performs some 70 concerts every year as Resident Orchestra at the Barbican, with its family of artists: Chief Conductor Sir Antonio Pappano, Conductor Emeritus Sir Simon Rattle, Principal Guest Conductors Gianandrea Noseda and François-Xavier Roth, Conductor Laureate Michael Tilson Thomas, and Associate Artists Barbara Hannigan and André J Thomas. The LSO has major artistic residencies in Paris, Tokyo and at the Aix-en-Provence Festival, and a growing presence across Asia and Australia.
Through LSO Discovery, the LSO’s learning and community programme, 60,000 people each year experience the transformative power of music. The Orchestra’s musicians are at the heart of this unique programme, leading workshops, mentoring bright young talent, and visiting schools, hospitals and community spaces. The home of much of this work is LSO St Luke’s, the LSO’s venue on Old Street. In 2025, following a programme of works, the LSO will open up the venue’s facilities to more people than ever before, with new state-of-the-art recording facilities and dedicated spaces for LSO Discovery.
The LSO’s record label LSO Live is a leader among orchestra-owned labels. LSO Live brings to life the excitement of a live performance in a catalogue of over 200 acclaimed recordings and reaches millions through streaming services and online broadcasts. As a leading orchestra for film, the LSO has entertained millions with its recordings of classic scores, from epic film scores like Star Wars to an appearance in the Oscar-nominated film Maestro.
Through inspiring music, learning programmes and digital innovations, the LSO’s reach extends far beyond the concert hall. And thanks to the generous support of The City of London Corporation, Arts Council England, corporate supporters, trusts and foundations, and individual donors, the LSO is able to continue sharing extraordinary music with as many people as possible, across London, and the world.
lso.co.uk
Orchestra Credits
Violin 1
Benjamin Marquise Gilmore, Leader
Leah Meredith (Andonov)
Clare Duckworth
Stefano Mengoli
Ginette Decuyper
Maxine Kwok
Harriet Rayfield
Sylvain Vasseur
Julia Rumley
Grace Lee
Dmitry Khakhamov
Djumash Poulsen
Shoshanah Sievers
Ricky Gore
Miriam Teppich
Polina Makhina
Violin 2
Julián Gil Rodríguez, Principal
Thomas Norris, Co-Principal
Miya Väisänen
David Ballesteros
Helena Buckie
Alix Lagasse
Belinda McFarlane
Iwona Muszynska
Andrew Pollock
Paul Robson
Louise Shackelton
Chelsea Sharpe
Juan Gonzalez Hernandez
Cindy Foster
Viola
Malcolm Johnston, Sub-Principal
Anna Bastow
Mizuho Ueyama
Germán Clavijo
Steve Doman
Julia O’Riordan
Sofia Silva Sousa
Thomas Beer
Robert Turner
Fiona Dalgliesh
Sally Belcher
Lukas Bowen
Cello
David Cohen, Principal
Laure Le Dantec
Daniel Gardner
Amanda Truelove
Joanna Twaddle
Orlando Jopling
Henry Hargreaves
Anna Beryl
Simon Thompson
Victoria Harrild
Double Bass
Rodrigo Moro Martín, Principal
Patrick Laurence
Joe Melvin
Lars Radloff
Axel Bouchaux
Johane Gonzalez
Simon Oliver
Adam Wynter
Flute
Amy Yule, Principal
Imogen Royce
Piccolo
Sharon Williams, Principal
Oboe
Olivier Stankiewicz, Principal
Rosie Jenkins
Cor Anglais
Sarah Harper
Clarinet
Chris Richards, Principal
Chi-Yu Mo
Bass clarinet
Ferran Garcerà Perelló, Principal
Bassoon
Daniel Jemison, Principal
Joost Bosdijk
Contrabassoon
Martin Field, Principal
Horn
Timothy Jones, Principal
Angela Barnes
Tommaso Rusconi
David Sztankov
Kiersten Gustafson
Trumpet
Sérgio Pacheco, Guest Principal
Adam Wright
Katie Smith
Trombone
Jackson Howard, Guest Principal
Jonathan Hollick
Bass Trombone
Paul Milner, Principal
Tuba
Ben Thomson, Principal
Timpani
Nigel Thomas, Principal
Percussion
Sam Walton, Co-Principal
David Jackson
Mark McDonald
Benedict Hoffnung
Harp
Bryn Lewis, Principal
Suzy Willison-Kawalec
Organ
Richard Gowers
London Symphony Chorus
The London Symphony Chorus was founded in 1966 to complement the work of the London Symphony Orchestra (LSO). The LSC has performed with many leading orchestras: frequently with the LSO, and, also, with the Berlin Philharmonic, Vienna Philharmonic, Leipzig Gewandhaus, Los Angeles Philharmonic, New York Philharmonic and, more recently, with Les Siècles, the South-Western Radio Symphony Orchestra (SWR) (Stuttgart) and with the Simón Bolívar Symphony Orchestra of Venezuela.
The 2024-2025 season’s concerts included Puccini’s La Rondine, Vaughan Williams’ A Sea Symphony, Tippett’s A Child of Our Time and Beethoven’s 9th Symphony under Sir Antonio Pappano; Shostakovich’s 2nd Symphony ‘To October’ and Brahms’ Schicksalslied under Gianandrea Noseda; Mahler’s 2nd Symphony under Michael Tilson Thomas; Symphonic Gospel under Dr André J Thomas; Mahler’s 3rd Symphony under Gustavo Dudamel; Mahler’s 8th Symphony with the London Philharmonic Orchestra and Choir under Edward Gardner; and the UK premiere of No Friend But the Mountains under Joseph Young.
In recent seasons the LSC has performed Mendelssohn’s Elijah and Britten’s War Requiem under Sir Antonio Pappano; Orff’s Carmina Burana and Shostakovich’s 3rd and 13th Symphonies under Gianandrea Noseda; Mahler’s 3rd Symphony under Michael Tilson Thomas; Szymanowski, Janáček and Brahms under Sir Simon Rattle; Schubert’s Mass in A flat, Beethoven’s 9th Symphony and Ravel’s Daphnis and Chloe under François-Xavier Roth; Bruckner’s Te Deum under Nathalie Stutzmann; Holst’s The Planets under Jaime Martín; Debussy’s Nocturnes under Susanna Mälkki; The Dante Project under Thomas Adès and Koen Kessels at the Royal Opera House; Howard Goodall’s Never to Forget (online during lockdown and, subsequently, in St Paul’s Cathedral); Duruflé’s Requiem under Lionel Sow (chorus director of the Chœur de l’Orchestre de Paris); Julian Anderson’s Exiles, a joint LSO/LSC commission; and Errollyn Warren’s After Winter under Simon Halsey, the LSC’s Chorus Director Emeritus.
The LSC tours extensively in Europe. Recent tours have included Paris, Baden-Baden and Luxembourg under Sir Simon Rattle with the LSO; Monte Carlo and Aix-en-Provence under Kazuki Yamada with the Orchestre Philharmonique de Monte-Carlo; and Stuttgart, Berlin, Freiburg, Dortmund and Hamburg under Teodor Currentzis with the South-Western Radio (SWR) Symphony Orchestra.
With the LSO, the LSC performed Mahler and Bernstein in Maestro, the 2023 Oscar-nominated biopic of Leonard Bernstein, starring Bradley Cooper and Carey Mulligan, with Yannick Nézet-Séguin as music advisor.
The LSC is an independent charity run by its members and it engages actively in the musical life of London and further afield. In addition to seeking new members and audiences it also commissions and performs new works. The LSC is an international ensemble, with members from over 25 countries.
lsc.org.uk
Chorus Credits
Soprano
Georgie Bateman
Francesca Calori
Alana Clark
Alice Dee
Esther Elbro
Amy Fidler
Joanna Gueritz
Isobel Hammond
Cora Hardy
Emma Harry
Claire Hussey
Debbie Jones
Alice Jones
Frankie Mosely
Andrea Navarro Lovera
Alexandra Ollendorff
Maggie Owen
Janina Pescinski
Eleanor Sterland
Jessica Villiers
Franziska Bräumer
Elise Crambes
Harriet Crawford
Maja Dabagh
Emily Dick
Dandy Freeman
Sophie Hill
Sally Ho
Denise Hoilette
Caddy Kroll
Marylyn Lewin
Feldman Lucy
Gill O’Neill
Deborah Staunton
Hilary Todd
Eleri Williams
Rachel Wilson
Alto
Kate Aitchison
Enid Armstrong
Lauren Bagge
Nicola Bedwin
Gina Broderick
Jo Buchan
Sherae Callum
Sheila Cobourne
Linda Evans
Amanda Freshwater
Sophie George
Rachel Green
Yoko Harada
Edda Hendry
Emily Hoffnung
Catherine Hulme
Elisabeth Iles
Carolyn Jarvis
Cristina Jerney
Jill Jones
Vanessa Knapp
Anna Korbel
Gosia Kuzmicz
Gilly Lawson
Anne Loveluck
Sarah McCartney
Liz McCaw
Aoife McInerney
Jane Muir
Dorothy Nesbit
Helen Palmer
Beth Potter
Susannah Priede
Natalia Riley
Ellie Saipe
Lis Smith
Ali St-Denis
Karen Taylor-Paul
Linda Thomas
Rafaela Tripalo
Kathryn Wells
Zoe Williams
Tenor
Paul Allatt
Matteo Anelli
Erik Azzopardi
Joaquim Badia
Kyle Berry
Philipp Boeing
Tom Bracewell
Oliver Burrows
Kevin Cheng
Conor Cook
James David
Michael Delany
Colin Dunn
Matthew Fernando
Andrew Fuller
Simon Goldman
Jude Lenier
Tim Lloyd
Alastair Mathews
Olwyn McCollin
Daniel Owers
Davide Prezzi
Diego Richardson
Nishikuni
Chris Riley
Michael Scharff
Peter Sedgwick
Chris Straw
Richard Street
Malcolm Taylor
James Warbis
Robert Ward
Leonard Wong
Bass
Joseph Al Khalili
Roger Blitz
Ian Boughton
Gavin Buchan
Greg Callus
Andy Chan
Steve Chevis
Matthew Clarke
Damian Day
Douglas Jones
Robert Garbolinski
Gerald Goh
John Graham
Bryan Hammersley
Robert Hare
J C Higgins
Anthony Howick
Alex Kidney
Gregory Love-Storkan
Hector Macandrew
Alex Mackinder
Owen Hanmer
Alan Rochford
Jesús Sanchez Sanzo
Rob Sanders Hewett
Matthew Smith
Rod Stevens
Richard Tannenbaum
Dan Tarbuck
Johannes Thom
Gordon Thomson
Philip Townley
Graham Voke
Anthony Wilder