Concert Programme Winter/Spring 2022 - Bournemouth ...
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Concert Programme Winter/Spring 2022
Welcome I’m sure you’ll join me in providing a very This week we’ll perform two new works by warm welcome to our Chief Conductor, Kirill composers alive today: Elizabeth Ogonek’s Karabits, as he returns to the Orchestra and All These Lighted Things, a set of dances full the South West for the first time since the of joy; and – when we travel to give the first humanitarian crisis erupted in his native symphonic performance at the newly Ukraine, a region that has long held a very refurbished Hall for Cornwall – Unforged by special place in the hearts of BSO audiences Carmen Ho, which explodes with and musicians. opportunity. Over the past thirteen years Kirill has Sibelius’ monumental Second Symphony enriched our lives with musical discoveries closes the programme. Written during a through his ‘Voices from the East’ series of period of censorship of Finnish language and lesser-known (and often entirely lost) culture, the work provides an ecstatic symphonic works from former Soviet celebration of a nation’s pride. Whatever countries. From his homeland in Ukraine to Sibelius’ true intentions, it’s a work that music from Armenia, Azerbaijan and certainly uplifts the soul and reminds us, Turkmenistan, we have had our minds despite the challenges, of music’s universal opened to a new world through Kirill’s own power to move our emotions unlike anything version of the symphonic Silk Road;. so else. much so that The Times recently pointed out: “music lovers in Dorset may now be the Dougie Scarfe most knowledgeable in the western world Chief Executive about the symphonic pieces of eastern Europe and central Asia”. Tonight’s programme paints a landscape slightly closer to home through the vivid colours of Arnold Bax’s symphonic tone poem, Tintagel. The popular work made its first appearance in 1921 - its world premiere given by Sir Dan Godfrey and the Bournemouth Municipal Orchestra (now BSO), with an appreciative Bax in the audience.
BSO Winter/SpringSeason 2022 3
Stirring Sibelius
Lighthouse, Poole Ogonek Kirill Karabits
Wednesday 16 March All These Lighted Things Conductor
14’
Supported by Amyn Merchant
Steve Edge & Jane Fogg Leader
Bax
Tintagel Martin Handley
14’ Livestream Presenter
Interval
Sibelius
Symphony No.2
43’
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All These Lighted Things
Elizabeth Ogonek
Born: 26 May 1989 Anoka, Minnesota
1. Exuberant, playful, bright When I began working on All These Lighted
2. Gently drifting, hazy Things in 2017, I set out to write a set of
3. Buoyant mazurkas based on musical fragments from
the other two works on the programme
(Rossini’s Overture to William Tell and
Bruckner’s Fourth Symphony). I would get
up every day and scavenge for material that
I could mutate and transform into something
I thought would be interesting. Every day,
despite my efforts, I would fail miserably.
I quickly gave up on that plan. Something
inside of me was fervently committed to
the mazurka: perhaps my Polish heritage;
perhaps the joyful abandon with which
Polish people dance the mazurka; perhaps
my unabashed love of Chopin.
Chopin has been a preoccupation of mine
lately. I think it’s because the piano music
is some of the first music I really fell in
love with as a kid. When I think back to
my earliest memories as a musician, I’m
reminded of the Chopin F minor Ballade
or the Db major Nocturne or the A minor
Mazurka (op. 17, no. 4), and how my heart
would leap out of my chest as I listened to
those pieces and to so much of Chopin’s
other piano music.
Repertoire 5
There’s something about the unapologetic The title, All These Lighted Things, comes
lyricism, the manipulation of time, the from a line in a poem about dawn written
burgeoning intensity and range of by Thomas Merton. At the heart of the
expression as Chopin returned again and piece is celebration and reverence for the
again to the same forms that gets me every things that bring joy. It comes on the heels of
single time. several dark works and, thus, is a kind of first
morning light.
Eventually, the mazurka plan fell by the
wayside as well. But what stuck was All These Lighted Things was commissioned
a collection of little dance-like figures by Riccardo Muti, Zell Music Director,
that I had composed as I tried to made for the Chicago Symphony Orchestra
each iteration of my initial compositional Association. It was first performed on 28
plan work. As I thought about how time September 2017, by the CSO conducted
transformed the bones of the mazurka by Riccardo Muti.
for Chopin, it occurred to me that I could
take my dance figures and cast them © 2017 Elizabeth Ogonek.
through imaginary “filters” to see how All rights reserved.
they might bend and warp. The first dance,
for example, explores the ways in which
a tune with qualities characteristic of
the mazurka (triplet and dotted rhythms,
second beat emphasis, in three) might
fluidly transition between contentedness,
ecstasy and irrational danger. The second
dance imagines that a sarabande has been
stretched out and submerged in water.
Elements of the slow, stately dance surface
only occasionally. Lastly, the third dance is
more communal. Each section begins with
a small grouping of instruments and, like a
fly strip, begins to attract more and more
members of the orchestra doing their own
thing until the independent lines become
indistinguishable. The result is a composite
sound made up of all the kinks and quirks
that give way to individual personalities.
Tintagel
Arnold Bax
Born: 8 November 1883 Streatham
Died: 3 October 1953 Cork
Dan Godfrey, founder of what is now the Throughout his life Ireland was his second
Bournemouth Symphony Orchestra, greatly home, its landscape, folklore and literature
admired Bax’s music; writing in an article of his prime inspiration. Apart from his music
1923 he commented that, “of the modernists he also wrote poetry under the pseudonym
Arnold Bax stands first at the moment, and Dermot O’ Byrne. Another important musical
I regard him as the leader of the British influence was the music of the Russian
impressionist school.” Undoubtedly, Bax nationalist composers whose works he
was one of the major creative forces in heard on a visit to Russia in 1910. Bax was
British composition during the inter-war knighted in 1937 and from 1942 until his
years, when he wrote the backbone of his death was Master of the King’s, and briefly,
achievement – a cycle of seven symphonies the Queen’s Musick. His orchestral works
spanning the years 1922 to 1939. Also were only part of a prolific output, he also
significant among his orchestral works is left a fine body of chamber and instrumental
his Symphonic Variations for piano and music, and his score for David Lean’s film of
orchestra (1917), and his colourful tone Dickens’s Oliver Twist (1948) was hailed as a
poems such as The Garden of Fand (1913- major contribution to the genre.
16), November Woods (1917) and Tintagel
composed between 1917 and 1919. The Bax described himself as a “tireless hunter
latter is Bax’s most enduring work which of dreams”, and it was to seascapes that
has remained in the orchestral repertoire time and again he returned in the dreams
ever since its première, by the Bournemouth that created his music. He loved to spend
Municipal Orchestra on 20 October 1921 time alone beside the Atlantic, the ocean
conducted by Godfrey. of that Celtic twilight world of mystery and
magic that he evoked supremely in Tintagel,
Bax studied at the Royal Academy of Music Bax aiming to “evoke a tone-picture of
between 1900 to 1905; however, the major the castle-crowned cliff of Tintagel, and
formative influence on him was not musical, more particularly the wide distances of the
rather it was through the culture of Ireland, Atlantic as seen from the cliffs of Cornwall
and particularly the work of Yeats that he on a sunny but not windless day.”
found himself.
Repertoire 7 The composer succeeds brilliantly with all the elements of the scene being vividly realised in sound; indeed from the very opening bars the image of swelling waves flecked with foam is unmistakable. The ruined castle “now so ancient and weather- worn as almost to be an emanation of the rock on which it is built”, appears on the brass; the “serene almost limitless space of ocean” is evoked by an expansive melody on the violins. “With the increasing tumult of the sea” shadowy figures of history and legend are conjured up: King Arthur, King Mark, Tristan and Isolde. The many “passionate and tragic incidents of their times” are unleashed in tempestuous music which incorporates a motif from Wagner’s Tristan und Isolde. It surges to its conclusion in the rich colours of the composer’s masterly orchestral palette. Andrew Burn Interval
Symphony No.2
Jean Sibelius
Born: 8 December 1865 Hämeenlinna, Finland
Died: 20 September 1957 Järvenpää, nr. Helsinki
1. Allegretto In 1900 an aristocrat admirer of Sibelius’
2. Tempo andante ma rubato music, Baron Axel Carpelan, raised funds
3. Vivacissimo to enable the composer to devote himself
4. Finale: Allegro moderato wholly to creative work for up to a year
including travel to Italy. By February 1901
he was ensconced with his family in
Rapallo, where he planned to write a new
symphony. Progress proved rapid, and by
the time of his return to Finland in May, his
Second Symphony in the key of D major,
his opus 43, was drafted. Work continued
during the autumn and winter when he
made substantial revisions to the score and
orchestrated it. The premiere was given
by the Helsinki Philharmonic, with Sibelius
conducting, on 8 March 1902.
The nationalist overtones, which are so
implicit in the finale’s romantic triumph,
ensured an immediate success, and this was
soon repeated elsewhere, particularly in
England and Germany.
In this symphony, Sibelius composed music
of great mastery, ingeniously adapting the
Classical four-movement design.
For example, it opens both beautifully and
purposefully with a subject on the strings,
which only reaches its full potential as the
movement proceeds. The music is endlessly
inventive with many fine themes which are
woven together in a fabric of great subtlety.Repertoire 9
One theme seems especially worthy of Both the scherzo and the trio are repeated,
comment: that which dominates the second then on its third appearance the scherzo
subject group. It is wholly idiomatic and material leads through a masterly transition
perhaps forms the work’s most important and directly into the finale. This has a broad
reference-point. Played by flutes, oboes and and noble principal theme and a clear
clarinets, it comprises a long-sustained note, solemn march-like second subject. The latter
then a slow trill, and finally an expressive has woodwinds above a discreet timpani roll,
descending phrase. No other composer has the perfect foil to the inexorable progress
created music like it. of the main agenda. In the later stages the
outlines of the principal material broaden
The sombre and dramatic slow movement to reach a blazing magnificence of sound.
begins with an extraordinary pizzicato Although Sibelius would write even greater
passage, alternating between cellos and music as the years progressed, the rousing
basses, whose heavy rhythm sets the triumph he expressed here will ensure that
agenda. As the music proceeds so the the Second Symphony will remain the most
expressive range grows, with rich string popular of the seven.
writing and broad melodic contours.
A terrific, almost monumental force is Terry Barfoot
generated in the climaxes, and the coda is
highly dramatic too. Dark and fragmentary
recollections of earlier themes are
contrasted against savage woodwind trills
and rushing string passages.
The scherzo is based on a powerful
accumulation of fragments, demanding great
accuracy in performance. The rhythmic
intensity sweeps the music on towards a
trio section which makes a striking contrast
with its stillness and calm. Here the oboe’s
theme starts out with nine repetitions of the
same note, a further example of the stylistic
tendency noted in the first movement.Composer Profile
Elizabeth Ogonek
Still in her early thirties, Elizabeth Ogonek, Two years later, as though birds was
established her reputation as a composer, premiered by the London Symphony
both in her native United States and Britain, Orchestra as part of the LSO Panufnik
as well as further afield, with a series of Composers Scheme, and this led to a LSO
vibrant, engaging works. Her music has commission, Sleep & Unremembrance in
been described by the critic of the Chicago 2016. Both works were performed at the
Tribune as “shimmering”, “dramatic” and Barbican Centre, conducted by François-
“painstakingly crafted”. Xavier Roth. Meanwhile, in 2015, Falling
Up, for mixed instrumental quartet, was
Born in 1989 in Minnesota, Ogonek grew commissioned by the Royal Philharmonic
up in New York City. She studied at Indiana Society. In 2018 her music was first heard
University, the University of South Carolina, at the BBC Proms in a collaboration with
and in London, at the Guildhall School of Gerard McBurney.
Music and Drama for her doctorate. Her
composition teachers include Stephen Most recently, Ogonek’s Cloudline, a joint
Hartke and Julian Anderson. Alongside her BBC Proms and Los Angeles Philharmonic
composing she has worked in academia: commission, was given its first performance
from 2015 to 2021 she taught at Oberlin in last season’s Proms season by the BBC
Conservatory, and currently, she is an National Orchestra of Wales conducted by
Assistant Professor of Composition at Ryan Bancroft.
Cornell University.
In the USA, Ogonek’s career and profile
Her links with the UK date back to 2011, took a significant leap forward with her
when her Ringing the Quiet, for large appointment in 2015 as the Chicago
chamber ensemble, was performed under Symphony Orchestra’s Mead Composer-
the auspices of the Britten-Pears Young in-Residence, a post she held jointly with
Artists’ Programme. Samuel Adams until 2018.Repertoire 11 The appointment resulted in three new During the current season the US premiere works: In Silence (after Biber) (2017), a of Cloudline will take place by the Los chamber violin concerto, premiered by Angeles Philharmonic, and there are also Benjamin Beilman; The Water Cantos new works for the Boston Symphony (Notes from Quiet Places) (2018), for twelve Orchestra and Andris Nelsons and the instrumentalists, the first performance San Francisco Symphony with Elim Chan. of which was conducted by Esa-Pekka All in all, Elizabeth Ogonek continues to Salonen; and lastly, All These Lighted forge ahead as among the most significant Things (2017), which was commissioned by American composers of her generation. Riccardo Muti, Zell Music Director for the Chicago Orchestra Association. Muti and Andrew Burn the Chicago Symphony Orchestra gave the first performance on 28 September 2017. The work’s European premiere was given by the London Symphony Orchestra in 2020. For Ogonek, poetry is, she says, “incredibly important” as a springboard for her compositions, and in her doctoral research she explored the relationship between words and music. Many of her works, like All These Lighted Things arise from a text or includes words set to music, in that instance a poem by the poet and Trappist monk, Thomas Merton. In as though birds, both the writings of the French anarchist and art critic Félix Fénéon as well as Ogonek’s long-term collaborator, poet and playwright Jonathan Dubow, were catalysts for the work.
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Allianz Musical Insurance is a trading name of Allianz Insurance plcBiographies 13
Kirill Karabits
Conductor
Kirill Karabits has been visits to the Minnesota he conducted a performance of
Chief Conductor of the Orchestra, Bamberger Der fliegende Holländer at the
BSO for thirteen years Symphoniker, Orchestre Wagner Geneva Festival. Music
and their relationship has National Captiole de Toulouse, Director of the Deutsches
been celebrated worldwide. Antwerp Symphony Orchestra, Nationaltheatre Weimar from
Together they have made many as well as the BBC Proms with 2016-19, Karabits conducted
critically acclaimed recordings, the BSO. acclaimed productions of
performed regularly at the BBC Wagner’s Die Meistersinger
Proms and appeared together Highlights of the 2021/22 von Nürnberg and Tannhäuser
at London’s Barbican Centre season include Kirill’s debut as well as Mozart’s Da Ponte
as part of the Beethoven with the Prague Radio Cycle (Le nozze di Figaro, Don
celebrations in the 19-20 Symphony Orchestra, as well Giovanni, and Così fan tutte).
season. as a number of US debuts
which include the Pittsburgh Working with the next
Karabits has worked with Symphony, Baltimore generation of bright musicians
many of the leading ensembles Symphony, and St Louis is of great importance to
of Europe, Asia and North Symphony orchestras. This Karabits and as Artistic
America, and has enjoyed a season sees Kirill return to the Director of I, CULTURE
special relationship with the Orchestre Philharmonique de Orchestra he conducted
Russian National Orchestra Strasbourg, and the Opéra them on their European tour
with whom he returned to the Montpellier for a production of in August 2015 with Lisa
Edinburgh Festival in the 2018- Pélléas. Batiashvili as soloist and a
19 season, and more recently summer festivals tour in 2018.
embarked on extensive A prolific opera conductor, In 2012 and 2014 he conducted
European and North American Karabits has worked with the the televised finals of the
tours with Mikhail Pletnev Deutsche Oper, Opernhaus BBC Young Musician of the
which included his New York Zürich (Boris Godunov) and Year Award and has recently
debut at the Lincoln Center. Oper Stuttgart (Death in debuted with the National
Venice), Glyndebourne Festival Youth Orchestra of Great
Recent highlights include Opera (La bohème and Eugene Britain on a UK tour including
Kirill’s debut with the Dallas Onegin), Staatsoper Hamburg a sold out performance at the
Symphony, and the Russian (Madama Butterfly), English Barbican.
National Youth Symphony National Opera (Don Giovanni),
Orchestra, as well as return Bolshoi Theatre and Kirill was named Conductor
of the Year at the 2013 Royal
Philharmonic Society Music
Awards.Martin Handley Presenter Martin Handley is an Martin introduced the BSO’s experienced broadcaster first livestreamed concert in best known for presenting 2020, following the longest BBC Radio 3’s Breakfast and break from the stage in the In Concert programmes. His Orchestra’s 127-year history. broadcasting career began at the BBC World Service, where he shared live classical music, including BBC Proms concerts, with listeners around the globe. Alongside his busy broadcasting career he has coached young singers for the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, the National Opera Studio, and the Royal Academy of Music. A musician and actor, Martin has combined performing musically and vocally for as long as he can remember! He’s worked as a repetiteur and conductor in Germany, as head of music and conductor for the Royal Danish Opera, and as chorusmaster and conductor for both English National Opera and Australian Opera.
Bournemouth Symphony
Bournemouth Symphony OrchestraOrchestra
Championing the role of culture in people’s lives
Championing the role of culture in people’s lives
One ofofthe
One UK’s
the best-loved
UK’s orchestras,
best-loved Bournemouth
orchestras, Symphony Orchestra
Bournemouth Symphony is a
professional ensemble known for championing the role of culture in people’s lives.
Orchestra is a professional ensemble known for championing the
With residencies in Bournemouth, Bristol, Exeter, Portsmouth and Poole, it is the largest
role
cultural provider inin
of culture people’s
the lives.
South West With residencies
of England, serving one ofin
theBournemouth,
biggest and most
Bristol, Exeter, Portsmouth and Poole, it is the largest cultural
diverse regions.
provider in the South West of England, serving one of the biggest
The BSO, under its Chief Conductor Kirill Karabits, is known for pushing artistic boundaries, and its
and most diverse regions in the country.
ongoing series of music from former Soviet states, Voices from the East, continues to gain praise.
Boasting an enviable list of principal conductors, since its founder, Sir Dan Godfrey, including
The BSO,Silvestri,
Constantin underSiritsCharles
ChiefGroves
Conductor
and Marin Kirill Karabits,
Alsop, the BSO has is given
known for pushing
memorable
artistic boundaries,
performances worldwide andandis its ongoing
broadcast series
regularly of music
on BBC Radio 3from former
and Classic FM. Soviet
states, Voices from the East, continues to gain praise. Boasting an
The Orchestra’s
enviable inaugural
list of livestreamed
principal series, which
conductors since featured Sir John Eliot
it's founder, SirGardiner, Benjamin
Dan Godfrey,
Grosvenor and Alina Ibragimova, was widely praised by audiences and critics alike, with the BSO
including
making historyConstantin
as one of theSilvestri, Sir Charles
first British orchestras Groves
to return to theand
stageMarin Alsop,
in 2020. In 2021,the
Horn
first
playerfemale principal
Felix Klieser conductor
made a memorable UKof a major
concerto debutUKasorchestra, the BSO has and
the BSO’s Artist-in-Residence,
given memorable
the Orchestra resumed performances
its symphonic touring worldwide
of the SouthandWest.with regular live
broadcasts on BBC Radio 3 and Classic FM.
Committed to new music, the BSO celebrates a triptych of contemporary works written by women
The Orchestra’s
in 2021/22, inaugural
with premiere and of
performances groundbreaking
works by Carmen Ho, concert
Franghizlivestreams,
Ali-Zadeh and Elizabeth
Ogonek. During the pandemic, the BSO also gave premieres
which featured Sir John Eliot Gardiner, Mark Wigglesworth, by composers Shirley J. Thompson
Benjamin
and Magnus Lindberg.
Grosvenor and Alina Ibragimova, was widely praised by audiences and
critics
The BSOalike, with thewith
was recognised BSO making
the Royal historySociety’s
Philharmonic as oneImpact
of theAward
first inBritish
2019 for its work
orchestras to returnfor
in improving opportunities todisabled
the stage in 2020.
musicians, Horn
and BSO player
Resound Felix
– the Klieser
world’s first makes
professional disabled-led ensemble at the core of a major
his UK concerto debut as the BSO's new Artist-in-Residence, as orchestra – continues to receive
the
international attention for igniting change. Challenging access to high-quality music for all, the
Orchestra resumes symphonic touring in 2021.
BSO leads hundreds of events each year, from award-winning work in health and care settings to
partnerships with schools and music education hubs.
bsolive.com
bsolive.com
Programme Cover 20/21 Autumn.indd 3 09/09/2021 12:216 Bournemouth Symphony Orchestra
The Orchestra
Patron First Violins Flutes/Piccolo
HRH Princess Alexandra Amyn Merchant (Leader) Owain Bailey
Mark Derudder Robert Manasse
Chief Conductor Edward Brenton Susie Hodder-Williams
Kirill Karabits Kate Turnbull Y
Karen Leach Y Oboes
Principal Guest Conductor Magdalena Gruca-Broadbent Edward Kay *
Mark Wigglesworth Jennifer Curiel Y Holly Randall
Tim Fisher Y
Associate Guest Conductor Julie Gillett-Smith Y Cor Anglais
David Hill MBE Kate Hawes Y Rebecca Kozam
Joan Martinez
Conductor Laureate Stuart McDonald Clarinets/Bass Clarinet
Andrew Litton Mackenzie Richards Barry Deacon *
Sarah Baldwin Helen Paskins
Conductor Emeritus Dan Bayley
Marin Alsop Second Violins
Carol Paige * Bassoons
Auguste Janonyte Tammy Thorn *
Emma Lisney Emma Selby
Vicky Berry Y
Lara Carter Y Contra Bassoon
Agnieszka Gesler Kim Murphy
Laura Custodio-Sabas
Janice Thorgilson Horns
Georgina Leo Alexander Wide * d
BSO Associates Victoria Gill Ruth Spicer Y
Musicians in the Community Colm O’Reilly Alex Willett
Patrick Bailey Rachel Bunn Kevin Pritchard Y
Matt Harrison David McQueen
Jonathan James Violas
Sam Mason Tom Beer * Trumpets
Hugh Nankivell Jacoba Gale Y Tom Watts
Neil Valentine Liam Buckley Peter Turnbull Y
Alison Kay Holly Clark
Judith Preston Y
Eva Malmbom Trombones
Rachel Stacy Kevin Morgan * Y
Anna Barsegjana Robb Tooley
Mabon Rhyd
Knarika Karapetjana Bass Trombone
Stephen Williams
Cellos
Jesper Svedberg * Tuba
Thomas Isaac Andy Cresci * Y
Hannah Arnold
Philip Collingham d Timpani
Judith Burgin Geoff Prentice *
Kate Keats
Gemma Connor Percussion
Melody Lin Matt King * Y
Ben Lewis
Double Basses Stefan Beckett
David Daly * Y
Nicole Boyesen Y Harp
Joe Cowie Eluned Pierce * Y
Nickie Dixon
Jane Ferns Y * Principal
Martin Henderson Y Long Service Award
d Diversity ChampionBournemouth Symphony Orchestra 17
The Team
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Dougie Scarfe Kim Ricketts
Chair
Andrew Flockhart Executive Assistant to Chief Executive Accounting Technician
Natalie Wright Nicola Randall
Deputy Chair Head of Concerts & Artistic Planning Head of Development
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Adrian Dunford Planning & Artists Manager Development Manager
Steve Edge Philippa Matthews d Faith Bayley
Matt King
Orchestra Manager Development Manager
Carol Paige
Liz Williams d Ashley Eldridge-Ford d
Lord Shaftesbury
Mary O’Sullivan Deputy Orchestra Manager Development Manager
Adam Glynn Rebecca Kemp
Vice Presidents
Nigel Beale Orchestra Administration Officer Senior Development Officer
Brendan O’Brien Emma Fisher William Cainen
Colin Patrick DL Librarian Development Officer
Alastair Simpson Jade Grassby
Assistant Librarian Development Officer
Carmen Ho Matt Mears
Senior Stage Manager Head of Marketing
Scott Caines Anthony Brown
Stage Manager Senior Marketing Manager
Katharina Wallace Johanna Perkins d
Head of BSO Participate Digital Marketing Manager
Lucy Warren d Emilie Barton
Head of BSO Participate (Maternity) Publications Officer
Bea Hankey d Ivor Kemp Y
BSO Participate Programme Manager Marketing Assistant
Jess Craig d Ellie Oates
BSO Participate Programme Manager Ticket Sales Assistant
Jamie Harris Lisa Spencer
BSO Participate Coordinator Marketing Intern
Catherine Hoolihan Abigail Caveney
BSO Participate Coordinator Senior Digital Officer
Lauren Glover d Richard Berry
BSO Participate Administrator Digital Officer
Emily Christian Samuel Tucker
Y Long Service Award
Head of Human Resources Communications Manager
d Diversity Champion
Jenny Wingfield d Claire Rawles d
Head of Finance & Operations Communications Officer
Teresa Woolley Heidi O’Neill d
Management Accountant
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The Pointer Family Trust Thriplow Charitable Trust
Talbot Village Trust The Cressy Foundation
The Valentine Charitable Trust The D’Oyly Carte Charitable Trust
The Flaghead Charitable Trust The Pitt-Rivers Charitable Trust
The Michael & Ilse Katz Foundation Gess Charitable Trust
Marchus Trust Homelands Charitable Trust
Bedhampton Charitable Trust
We would also like to thank our Patrons and Performance Champions, those who have remembered the BSO in their Will,
and everyone who supports us through donations, membership or by volunteering their time.You can also read
