MESSIAHREIMAGINED - London Handel Festival
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MESSIAHREIMAGINED
M O N D AY 5 A P R I L 2 0 2 1 , 7 P M
St George’s, Hanover Square, London W1S 1FX
LUCY IESTYN NATHAN EDWARD
CROWE DAVIES VALE GRINT
soprano alto tenor bass-baritone
LAURENCE ADRIAN LONDON HANDEL
CUMMINGS BUTTERFIELD ORCHESTRA
conductor leader
Handel’s Church
St George’s Church, Hanover Square Mayfair community, St George’s tries to be
St George Street, London W1S 1FX responsive not only to the needs of those that
www.stgeorgeshanoversquare.org live or work in the area, but also to those who
simply pass by. Eight years ago, in partnership
St George’s was built between 1721 and 1724 to with the Cabmen’s Shelter on the northern side
the design of John James, one of Christopher of Hanover Square, the church embarked on
Wren’s assistants, as one of 50 churches for the a feeding programme for the homeless in our
Cities of London and Westminster by Act of midst. As a result homeless people no longer
Parliament in 1711. It cost just £10,000 (about just pass by but come into the church along
£850,000 in today’s terms). with worshippers, cultural tourists, concert
During two and a half centuries St George’s givers and attenders, and those who simply
has been a centre of musical activities from come in for a moment’s quiet reflection in their
the time of Thomas Roseingrave, appointed busy lives.
the church’s first organist in 1725, to our own Soon this mix of people coming to St George’s
day and the present musical director, Simon will change still further, as those emerging from
Williams. In 1978 the then organist, Denys the new Crossrail station in Hanover Square
Darlow, founded the London Handel Festival. and heading south walk down St George
The church was built when Handel was in his Street. It is with this growing, complex and
thirties. In 1723 he rented a house nearby in ever-changing social mélange in mind that St
Brook Street and remained there until his death George’s has taken the bold decision to open
in 1759. He was often to be seen in the church, up its Undercroft.
especially in his later years, and this makes St This attractive vaulted space beneath the
George’s a particularly appropriate venue for church, with a floor area greater than that of
the London Handel Festival. the church itself, has historically been used for
The past 10 years have seen an extraordinary storage. The ambitious and exciting plan is to
period of restoration and renewal at St turn an unloved and under-utilised space into a
George’s. In 2010 comprehensive repair and vibrant, accessible, multi-purpose venue. This
refurbishment of the interior of the church has been a mammoth endeavour and will shape
took place and in 2012 a brand new organ was how St George’s is used in future generations.
installed. The process of planning, crafting, The church’s vision is driven by three aims: to
and then installing a first class organ (by generate sufficient funds to support its own and
Richards, Fowkes & Company of Tennessee) others’ work with the homeless; to improve its
took a full four years and after its dedication accessibility to everyone; and to expand the
to the glory of God and a superb inaugural range of its activities.
recital in October 2012, those now coming to Work on converting the space and providing
the church as worshippers or concert-goers access to it from the church and street has
are able to hear the results of these labours now been completed and discussions are
for themselves. In January 2013 St George’s underway with potential catering partners.
and its sister church, the Grosvenor Chapel,
launched a combined weekly lunchtime recital
series known as Mayfair Organ Concerts. Both
churches are delighted that the 2020 London
Handel Festival will once more incorporate
recitals in this series into its own programme.
But the work of St George’s is not all musical!
As an enduring presence at the heart of the
Handel Supporters
We gratefully acknowledge the generous support of the following individuals and organisations:
Messiah Reimagined Supporters Patrons Circle
Anon
Ian Adams
John Chown
Moya Duffy
Nigel Fletcher and Caroline Burton
Judith Ingham
Bernard Jeffcote
Dr Alan King
Janice Liverseidge
North London Chorus Andrew Packman
Marilyn Stock
Kathryn Uhde
Aaron Watkins
Major Supporters
John Wotton
London Handel Society Endowment Fund –
Founding Gift in Memory of Howard and Nan
Hopkin Benefactors
Adrian and Jane Frost Jane Cooke
Maria Bjornson Memorial Fund Deborah Finkler
Darwin Escapes Dr Madeleine Gantley
Richard Hopkin Ellen and John Harris
Maecenas Trust David Hodges
Nigel and Françoise Jones
Carol Seymour-Newton
Director’s Circle Melissa Scott
Louise Fluker Teresa de Souza
Michael George Chris Tupker
Michael Holley
Richard Hopkin The Associate Benefactors and Friends
Richard Moat and Mary Collins of the London Handel Society and other
donors who wish to remain anonymous.
Richard and Buffy Moyse
Peter and Edwina Wardle
Acknowledgements
Founder Conductor Denys Darlow
London Handel Society
Incorporating Musical Director Laurence Cummings
London Handel Festival Associate Director/Leader Adrian Butterfield
London Handel Orchestra Festival Director Samir Savant
London Handel Singers
Festival Assistant Harry Palmer boxoffice@
London Handel Players
londonhandelfestival.org.uk
Promoted by the Orchestra Manager Anne-Marie Norman
London Handel Society Ltd Music Preparation Peter Jones
Registered Charity no. 269184
The Board of Directors of the
London Handel Festival would
Public Relations
like to thank all those involved Premier Comms
in Messiah Reimagined and is
very grateful to our community Design
of donors and those who have Baxter and Bailey
supported the London Handel
Festival philanthropically. Programme
Patrons Design Creative Melon
Notes Katie Hawks
Dame Emma Kirkby
Ian Partridge CBE
We extend special thanks to all the performers,
Board of Directors including our new collaborations with our
Chairman Richard Hopkin choral partners and our 'Sing at Home' chorus.
Deputy Chairman Michael Holley Thanks also to the production and technical
Treasurer Vicki Harrison team, and to the many volunteers who give
Ian Adams their time and skill to ensure the ongoing
Greg Batsleer success of the Festival.
Judith Ingham
Rachel Lawrence This performance is dedicated to the
Janice Liverseidge memory of Michael Ewart (1960 – 2021)
Andrew Packman
Melissa Scott
Rebecca YoungChoirs SING-AT-HOME CHORUS SCHOLAS BONOR PASTOR FINCHLEY CHILDREN’S MUSIC GROUP GUILDHALL SCHOOL JUNIOR DEPARTMENT CHAMBER CHOIR HARVARD UNIVERSITY CHOIR, USA MUSIC IN OFFICES NDR CHOIR (NORTH GERMAN RADIO CHOIR) NATIONAL YOUTH CHOIRS OF GREAT BRITAIN OTTOWA BACH CHOIR, CANADA SCUNTHORPE & DISTRICT CHORAL SOCIETY SCUNTHORPE COOPERATIVE JUNIOR CHOIR CHOIR OF ST GEORGE’S HANOVER SQUARE OLD ROYAL NAVAL COLLEGE TRINITY LABAN CHAPEL CHOIR TEXAS STATE CHORALE (TEXAS STATE UNIVERSITY), USA YORK UNIVERSITY CHAMBER CHOIR, CANADA
Samir Savant
Festival Director
Dear Audience Members,
Thank you for joining us for this unique We have managed to pull through, with
performance of Messiah Reimagined, huge thanks to our donors for their ongoing
organised by the London Handel Festi- support. Since national lockdown started,
val. Each year, we present a performance we have, somewhat miraculously, managed
of Handel’s choral masterpiece from St to put on three events, - one live and two
George’s, Hanover Square, the beautiful via live-stream. The latter two, the Final of
Georgian church in the heart of London our International Handel Singing Compe-
where Handel himself worshipped. Follow- tition and our award-winning Messiah Re-
ing the success of our first award-winning imagined.
Messiah Reimagined performance last De-
Luckily, the Festival had a huge amount of
cember which was viewed by over a quarter
support from our Trustees, to work on our
of a million people worldwide, we return
with another performance, keeping things
a little different.
The soloists and London Handel Orches-
tra will perform live under the direction
of Laurence Cummings – and the chorus-
es are pre-recorded and will be integrated
digitally into the streamed performance. We
are pleased to be joined by fifteen choirs,
comprising some 500 singers, including our
‘Stay at Home’ “all comers” chorus from
sixteen countries across five continents!
2020 was certainly a turbulent year for the
Festival, indeed for all the performing arts.© Angelo Hornak finances and secure the future of the Festi- sure we can look forward later this year to val for the time being, as well as our audi- full churches and concert halls for our live ence members, two thirds of whom opted events, but for now we face an uncertain to convert their ticket purchases into full financial future, so if you are able to help or partial donations. I am so very grateful with any donations, or connections to, or to all these generous individuals for their ideas for sources of philanthropic income, spontaneous support, and pleased that we please visit our website www.london-han- were able to pass all of the donated funds del-festival.com/support-us/. received directly to the performers. Many We have been delighted with the reaction of the Festival’s artists are freelancers, and to our innovative Messiah Reimagined, and the impact on their work during lockdown so encouraged by all the enthusiasm for it has been almost unthinkable. that we recommend you keep an eye out We are so pleased to bring you Messiah for another performance planned towards Reimagined as a free live-streamed event the end of 2021. If you would like to sing this evening, which will also be available to with us on that occasion in our ‘Sing at view on our YouTube channel afterwards - Home’ chorus, please visit our website in www.youtube.com/londonhandelfestival. the coming weeks to book a place - www. We are sorry that we could not have a live london-handel-festival.com. audience, but it would be too difficult for Thank you for reading and for your support. us to manage with the changing lockdown situation in the United Kingdom. This is an expensive undertaking for us, with the added costs of live streaming and no ticket income, but we were determined to do it, to support our brilliant musicians and to bring music to you all in these dark times. We are
HANDEL MESSIAH HMV 56
‘...he has made a fine Entertainment of it, tho’ not near Messiah is a statement both
so good as he might & ought to have done. I have with of Jennens’ faith and of Han-
great difficulty made him correct some of the grossest del’s. Jennens was a high An-
faults in the composition, but he retained his Over- glican who believed firmly in
ture obstinately, in which there are some passages the importance of the mys-
unworthy of Handel, but much more unworthy of the teries of revelation, resurrec-
Messiah.’ tion and redemption. He was
filled with concern at the
It seems extraordinary that caused: ‘The Nobility did me
rise of Deism, which argued
anyone could have been the Honour to make among the mystery out of Chris-
quite so negative about one themselves a Subscription tianity: reason was all you
of the pinnacles of the orato- for 6 Nights, which did fill a needed; revelation was irrel-
rio, let alone its creator and Room of 600 Persons, so that evant. God created the uni-
librettist (and good friend of I needed not sell one single verse, and He had no need
Handel), Charles Jennens. Ticket at the Door, without to act in it through history
But Messiah was a window
Vanity the Performance was and miracles. Deism pound-
into Jennens’ soul, and per-
received with a general Ap- ed the pillars of Christianity
haps Handel might never
probation.’ which Jennens felt should
have lived up to his expecta-
remain untouchable. Messi-
tions. Jennens possibly took Handel performed Messiah ah was, therefore, Jennens’
some umbrage from Handel’s thirty-six times, and it be- refutation of Deism, and his
apparent attitude to it: initial- came a fundraiser for the restatement of the centrality
ly slow to get around to writ- Foundling Hospital, to which of mystery.
ing it, he laid it aside when
he bequeathed his score
he decided that he needed Handel also believed in the
and parts. It is now his most
something of ‘gayer turn’ for importance of history and
performed work, and iron-
the 1739 season (L’Allegro). mystery. He created the Old
ic that it is the chief reason
When he did start compos- Testament English oratorio,
for Jennens’ own fame. Jenn-
ing, he finished it within a and there are many instances
ens vowed that ‘I will put no
month. Jennens had planned in both Messiah and his mu-
more sacred words into his
a London performance of it sic more generally suggesting
in Holy Week; Handel took it hands, to be thus abus’d’, but the centrality of mystery to
to Dublin, giving its premiere he soon relented, and includ- his faith. Handel clearly felt
there (without Jennens) in ed various Biblical passag- the significance of Messiah:
April 1742. Perhaps seeking es in Belshazzar two years he signed off the manuscript
a little conciliation, Handel later: perhaps he was not so SDG (Soli Deo Gloria, ‘To
wrote to Jennens of the ex- disappointed with Messiah God alone be glory’), and his
citement ‘his’ oratorio had after all. revisions of Messiah werenot merely variants to suit Handel was well aware of Bach’s Kreuzige choruses in
different singers, but genu- this biblical typology. A great his Passions (‘He trusted in
ine improvements, following example is the chorus ‘Since God’). The scene ends with
Jennens’ suggestions. by man came death’. This is the aria ‘Behold and see,’ an
in an A B A B structure: the
1 1 2 2
air of bare loneliness. Inter-
The oratorio is in three parts, A sections are written in a estingly, this aria is in E mi-
corresponding with the three deliberately antiquated style nor, the key of the Overture,
mysteries: revelation, res- (harking back to the renais- and a key symbolising hope
urrection and redemption. sance); the B sections are after hardship. This aria is
Most of the text of Messiah written in the most modern answered by the next, ‘But
comes from the Old Testa- style, so that the music, as Thou didst not leave’, in A
ment, emphasising biblical well as the text, reflects the major (itself perhaps refer-
typology. Typology is the ‘modern’ antitype of the ‘an- ring to the Part I chorus ‘And
belief that the Old Testament cient’ type. the Glory of the Lord’).
provided types, or pre-figur-
ings, to Christ’s antitype (an- A typological arrangement Messiah works on so many
swering figure) in the New of biblical passages hardly levels. It is full of good tunes
Testament. For example, to sounds like the basis for a ‘fine and fine choruses, but it
describe Christ’s birth, Jenn- Entertainment’, but Handel is also immensely skilful-
ens cleverly mingles passag- suffuses the work with high ly wrought in both musical
es from the Gospels with drama and moments of both terms and in theological.
Old Testament prophecies, reflection and jubilation. The When Jennens wrote that
highlighting the reciprocity scene of Christ’s birth is al- ‘I hope he will lay out his
of the two Testaments. The most conventional dramat- whole genius & Skill upon
third part is largely taken ic oratorio writing: Luke’s it, that the Composition may
from St Paul, but starts with Gospel provides dramatic excell all his former Compo-
a passage from Job. And the recitative, and Handel uses sitions, as the Subject excels
two Pauline passages in the the orchestra and choir as every other Subject’, he need
second part, ‘How beauti- shepherds and angels (even not have worried.
ful are the feet’ and ‘Their suggesting that the trumpets
Katie Hawks 2018
sound is gone out’, are Paul’s started the chorus ‘Glory to
own quotations from the God’ far away, as if flittering
Psalms and Isaiah – show- in heaven). Another scene
ing the connection between of high drama is Christ’s
Old and New Testaments. passion. The chorus ‘Surely
Jennens’ use of typology was he has borne our griefs’ is a
part of the anti-Deist stance: French overture, followed by
the Deists played down the a fugue, whose subject may
importance of the Old Testa- represent the cross. Then
ment, viewing it as one tradi- we have a series of contrast-
tion of mythology. ing choruses and recitatives,
including the equivalent ofPART ONE 1. Sinfonia 2. Comfort ye my people (tenor-recitative) 3. Ev’ry valley shall be exalted (tenor-air) 4. And the glory of the Lord (chorus) 5. Thus saith the Lord (bass-recitative) 6. But who may abide the day of his coming (alto-air) 7. And he shall purify (chorus) 8. Behold, a virgin shall conceive (alto-recitative) 9. O thou that tellest good tidings to Zion (alto-air and chorus) 10. For behold, darkness shall cover the earth (bass-recitative) 11. The people that walked in darkness (bass-air) 12. For unto us a child is born (chorus) 13. Pifa (Pastoral Symphony) 14a) There were shepherds abiding in the field (soprano-recitative) 14b) And lo, the angel of the Lord came upon them (soprano-recitative) 15. And the angel said unto them (soprano-recitative) 16. And suddenly there was with the angel (soprano-recitative) 17. Glory to God (chorus) 18. Rejoice greatly, O daughter of Zion (soprano-air) 19. Then shall the eyes of the blind (alto-recitative) 20. He shall feed his flock (alto/soprano-air) 21. His yoke is easy, and his burthen is light (chorus) Interval of 15 minutes PART TWO 22. Behold the lamb of God (chorus) 23. He was despised (alto-air) 24. Surely he hath borne our griefs (chorus) 25. And with his stripes we are healed (chorus) 26. All we like sheep have gone astray (chorus) 27. All they that see him laugh him to scorn (tenor-recitative) 28. He trusted in God (chorus) 29. Thy rebuke hath broken his heart (tenor-recitative) 30. Behold, and see if there be any sorrow (tenor-air) 31. He was cut off out of the land of the living (tenor-recitative) 32. But thou didst not leave his soul in hell (tenor-air) 33. Lift up your heads, O ye gates (chorus) 34. Unto which of the angels said he at any time (tenor-recitative) 35. Let all the angels of God worship him (chorus)
36. Thou art gone up on high (alto-air)
37. The Lord gave the word (chorus)
38. How beautiful are the feet (soprano-air)
39. Their sound is gone out (chorus)
40. Why do the nations so furiously rage together? (bass-air)
41. Let us break their bonds asunder (chorus)
42. He that dwelleth in heaven (tenor-recitative)
43. Thou shalt break them (tenor-air)
44. Hallelujah (chorus)
PART THREE
45. I know that my redeemer liveth (soprano-air)
46. Since by man came death (chorus)
47. Behold, I tell you a mystery (bass-recitative)
48. The trumpet shall sound (bass-air)
49. Then shall be brought to pass (alto-recitative)
50. O death, where is thy sting? (alto/tenor-duet)
51. But thanks be to God (chorus)
52. If God be for us (soprano-air)
53. Worthy is the Lamb that was slain (chorus)
LONDON HANDEL ORCHESTRA
Violin 1: Oboe:
Adrian Butterfield James Eastaway (recording)
William Thorp Mark Baigent (recording)
Kathryn Parry
Bassoon:
Violin 2: Mark Wilson (recording)
Oliver Webber
Theresa Caudle Trumpet:
Diane Moore David Blackadder
Stephen Keavy (recording)
Viola:
Rachel Byrt Timpani:
Peter Collyer Benedict Hoffnung (recording)
Cello: Harpsichord/chamber organ:
Katherine Sharman Alastair Ross
Melanie Woodcock
Bass:
Cecelia BruggemeyerJudgement of Paris all for Chandos; a solo
Lucy Crowe Handel disc - ll Caro Sassone – with the
Born in Staffordshire, Lucy English Concert/ Bicket for Harmonia
Crowe studied at the Royal Mundi, and Handel’s Queens with London
Academy of Music, where Early Opera for Signum Records.
she is now a Fellow.
With repertoire ranging Iestyn Davies
from Purcell, Handel and
After graduating in
Mozart to Donizetti’s Adina,
Archaeology and
Verdi’s Gilda and Janacek’s Vixen, she has
Anthropology from St
sung with opera companies throughout the
John’s College, Cambridge,
world, including the Royal Opera House,
Iestyn Davies studied
Covent Garden, the Glyndebourne Festival,
singing at the Royal
English National Opera, the Teatro Real
Academy of Music, London.
Madrid, the Deutsche Oper Berlin, the
An esteemed Handelian, he has delighted
Bavarian State Opera, Munich, and the audiences globally with his vocal agility in
Metropolitan Opera, New York. roles such as Orlando, Rinaldo, Ottone/
In concert, she has performed with many of Agrippina and David/Saul. His intelligent
the world’s finest conductors and orchestras and considered interpretations have led to
including City of Birmingham Symphony fruitful collaborations with Thomas Adés,
Orchestra/Haïm, Oramo and Nelsons, the George Benjamin and Nico Muhly.
Berlin Philharmonic/Harding and Nelsons, Iestyn received an Olivier Award nomination
Vienna Philharmonic/Nelsons, Orchestra for singing the role of Farinelli in Farinelli
of the Age of Enlightenment/Egarr, Scottish and the King opposite Mark Rylance at
Chamber Orchestra/Nézet-Séguin, the the Globe Theatre. The production was
Monteverdi Orchestra/Gardiner, the subsequently performed in the West End
Orchestra dell’Accademia Nazionale di and on New York’s Broadway.
Santa Cecilia/Pappano and the London On the opera stage he has appeared at
Symphony Orchestra/Rattle. the Royal Opera House, Covent Garden,
A committed recitalist she has appeared Glyndebourne Festival Opera, English
at the Amsterdam Concertgebouw, New National Opera, La Scala Milan, the
York’s Carnegie Hall, and the Aldeburgh, Metropolitan Opera, New York, the Chicago
Edinburgh, Mostly Mozart and Salzburg Lyric Opera, the Salzburg Festival, and in
Festivals, and is a regular guest at the BBC Munich, Vienna and Zurich. In concert, his
Proms and Wigmore Hall. appearances have included la Scala Milan,
Her recordings include Mendelssohn’s the Concertgebouw Amsterdam, Zurich
Lobgesang with the LSO/ Gardiner; Tonhalle, Théâtre des Champs-Élysées
Handel’s Il Pastor Fido and Handel & in Paris, the Barbican in London, Lincoln
Vivaldi with La Nuova Musica/David Centre New York and the BBC Proms.
Bates for Harmonia Mundi; Lutoslawski An acclaimed recitalist, with repertoire
with the BBC Symphony Orchestra/ ranging from Dowland to Clapton, he is a
Gardner, Handel’s Alceste with the Early regular guest at Carnegie Hall, New York
Opera Company/Curnyn and Eccles’ The and has curated residencies at both theWigmore Hall and Saffron Hall. by Ruben Jais, Britten Serenade for Tenor,
Among his accolades are a Grammy Horn and Strings at the Hong Kong
Award, three Gramophone Awards for solo Festival, and Mozart Mass in C Minor with
recital recordings, the Royal Philharmonic the Bach Choir conducted by David Hill.
Society Young Artist of the Year, and the Nathan is a committed recitalist and has
2013 Critics’ Circle Awards for Exceptional appeared at the Wigmore Hall, the Three
Young Talent (Singer). In 2017 he was Choirs Festival, the Temple Recital Series
awarded an MBE by the Queen for his with Julius Drake, the Hong Kong Festival,
services to music. the Housman, Gurney, Warlock and Ireland
Societies with Graham Johnson, and the
Nathan Vale Crush Room ROH with Audrey Hyland.
Recordings include, Love’s Voice (Songs
Former Winner of both by Finzi, Gurney, Ireland and Venables) for
First Prize and the SOMM Records, and a collection of Quilter
Audience Prize at the songs recordings for Nimbus records. This
London Handel Singing season he will be returning to Nimbus to
Competition, Nathan record the songs of Armstrong Gibbs.
Vale attended the Royal His operatic engagements have included
College of Music, where Lurcanio Ariodante at the Bolshoi
he studied with Ryland Davies. He was Opera, Belfiore La finta giardiniera for
awarded an Independent Opera Vocal Luxembourg Opera, First Priest & First
Scholarship to the National Opera Studio, Armed Man The Magic Flute for ENO,
where he was further supported by the Evangelist Johannes Passion (fully staged)
Elmley Foundation, ENO, the Nicholas Teatro Massimo Palermo, Oronte Alcina
John Trust and The Seary Trust. and Lurcanio Ariodante for English
With the Aarhus Symphony Orchestra, he Touring Opera, First Prisoner Fidelio
has sung the Christmas Oratorio conducted for Glyndebourne Festival, Grimoaldo
by Harry Chistophers and Arias St John Rodelinda for Iford Opera, Emilio
Passion conducted by Paul Goodwin and Partenope for Les Azuriales Opera, roles
with the RAI Symphony Orchestra, Die in the newly commissioned opera To
Erste Walpurgisnacht conducted by Sir See the Invisible by Emily Howard at the
Neville Marriner and Theory / Arithmetic Aldeburgh Festival, and Mr Buchanan in
L’enfant et les sortilèges conducted by The Opera Group’s revival of the award-
Jeffrey Tate. Other highlights include winning production of Street Scene.
Evangelist St Matthew Passion with
the London Handel Society conducted
by Laurence Cummings and with the
Northern Sinfonia conducted by Thomas
Zehetmair, Handel Ode for St Cecilia’s
Day with both the Israeli Camerata and the
Riga Chamber Choir conducted by Avner
Byron, Arias St Matthew Passion with the
Orchestra Sinfonica di Milano conductedEngagements in 2019/2020 included
Edward Grint concerts with Les Arts Florissants on tour
British bass-baritone in their Madrigal concerts, Acis & Galatea
Edward Grint studied and Acteon with the Early Opera Company,
at King’s College, Messiah with the Irish Baroque Orchestra
Cambridge as a choral and with The Hanover Band, a programme
scholar, and at the of Baroque music at the Wigmore Hall for
International Benjamin La Nuova Musica, Missa Solemnis with
Britten Opera School the Oxford Bach Choir, St John Passion
at The Royal College of Music. He has with Les Musiciens du Louvre in Gdansk
become sought after particularly as a and Aix-en- Provence and Jupiter Castor
performer of the baroque repertoire and et Pollux for the Early Opera Company at
engagements this season and next include the Opéra de Tours.
appearances with Les Arts Florissants, Les
Musiciens du Louvre, the Early Opera Laurence Cummings
Company, La Nuova Musica and the Irish Laurence Cummings is one
Baroque Orchestra. He is a prizewinner of Britain’s most exciting
of the International Singing Competition and versatile exponents
for Baroque Opera, Pietro Antonio of historical performance
Cesti in Innsbruck, the London Handel both as conductor and
Competition and won the Clermont harpsichord player. He
Ferrand competition in France. has been Musical Director
Recent engagements include Polifemo in of the London Handel Festival since 1999
Handel’s Aci, Galatea e Polifemo at the and Artistic Director of the Internationale
London Handel Festival, St John Passion Händel-Festspiele Göttingen since 2012,
and Dixit Dominus with Les Musiciens as well as Music Director of the Orquestra
du Louvre, The Creation with the Royal Barroca Casa da Música in Porto. His most
Choral Society, Haydn Schöpfungsmesse recent appointment is Music Director of
with the City of London Choir, Brahms the Academy of Ancient Music from the
Requiem at St Alban’s Cathedral, Mass in 2021- 22 season. He is the William Crotch
B Minor with the Gabrieli consort, Handel Professor of Historical Performance at the
Chandos Anthems at the Halle Händel- Royal Academy of Music.
Festspiele , Christmas Oratorio, Messiah He has conducted productions for
and Venus and Adonis with the Dunedin English National Opera, Glyndebourne
Consort, and Handel Dixit Dominus with Festival Opera, Buxton Festival Opera,
Les Musiciens du Louvre. Edward also Opera North, Royal Academy of Music,
appeared in Mozart Mass in C Minor at Garsington Opera, English Touring
the Salzburg Festival (Norrington), Acis & Opera, Opera Theatre Company, Linbury
Galatea with Banquet Celeste, Sorceress/ Theatre Covent Garden, Göteborg
Spirit Dido and Aeneas with the LPO Opera, Opernhaus Zurich, Opéra de
(Norrington), Mass in B Minor with the Lyon, and the Handel and Haydn Society.
BBC Symphony Orchestra. He regularly conducts The EnglishConcert and the Orchestra of the Age of music. The orchestra appears throughout Enlightenment and has worked with the the London Handel Festival at venues Hallé, Bournemouth Symphony, Britten across the capital, and has now performed Sinfonia, Royal Northern Sinfonia, Royal the great majority of Handel’s operas, Liverpool Philharmonic, Ulster Orchestra, oratorios and orchestral works as well as Royal Scottish National Orchestra, Royal numerous works by his contemporaries. Academy of Music Baroque Orchestra, The orchestra also gives concerts across Scottish Chamber Orchestra, Saint the country and abroad outside the Festival Paul Chamber Orchestra, Kansas City period, and has appeared at the Chelsea, Symphony, Wiener Akademie, National Windsor, Three Choirs and Oslo Church Symphony Orchestra (Washington), Music Festivals and at the Barber Institute. Zurich Chamber Orchestra, Jerusalem Recordings include the first recording of Symphony, Basel Chamber Orchestra, the 1732 version of the oratorio Esther Musikkollegium Winterthur, and Moscow (2007) which was Editor’s Choice in Chamber Orchestra. Gramophone magazine, a live recording His numerous recordings include the first of Joshua (2009) and Chandos Anthems recording of Handel’s newly discovered (2018). The orchestra made its debut at the Gloria with Emma Kirkby, and Handel Royal Opera House, Covent Garden, in Arias with Angelika Kirchschlager and 2019 in a critically acclaimed production the Basel Chamber Orchestra for Sony of Berenice as part of the London Handel BMG. Highlights this season include a new Festival, the first time the work had been production of Belshazzar at Zürich Opera performed there since Handel directed it and Saul at the Théâtre du Châtelet, himself in 1737! along with appearances with the Croatian Baroque Ensemble, The English Concert, Bournemouth Symphony Orchestra, Academy of Ancient Music, and the MDR Orchester; as well as his regular commitments at the London and Göttingen Handel Festivals and Casa da Música. London Handel Orchestra The London Handel Orchestra was formed in 1981 by Denys Darlow to perform at the annual London Handel Festival. The orchestra is made up of some of London’s finest period instrument players and is today directed by Adrian Butterfield and Laurence Cummings. It has gained an excellent reputation for historically Programme designed by informed performance and contributed greatly to the revival of interest in Handel’s creativemelonline.co.uk
We need your help… In addition to giving valuable philanthropic support by joining as a Friend, please consider getting involved with us in another way by volunteering your time and skills, or by hosting a musician in your home. For most of our events, we need a team of volunteer stewards who help to make our audiences feel welcome, check tickets, direct people to their seats and sell programmes. We are looking to recruit volunteers for future Festival events who are confident, friendly and enjoy interacting with the general public. In return, you will get to enjoy the music and meet like-minded enthusiasts whilst supporting a great charity. There are other specific year-round volunteering opportunities available, including help with social media, general administration or concert logistics. If you have a particular skill to offer, we would be delighted to hear from you. Many of our musicians are looking for hosts who can provide free accommodation within easy travelling distance of central London. This is a perfect way to welcome a musician into your home, and it is a rewarding experience for everyone! If you would like to get involved, and to find out more about anything described above, please contact Harry Palmer by email at boxoffice@ londonhandelfestival.org.uk. Thanks in advance for your interest.
Please support our work
The London Handel Festival is an annual We offer several levels of support, with
a range of benefits designed to bring you
celebration of the work of George closer to our work. Please note that the
Frideric Handel. Each year we present amount for each level is the suggested
a critically acclaimed season of concerts, minimum donation per year.
recitals, talks and walks, and everyone is
Friend of London Handel Society
welcome. Since the very beginning the - £40 per annum
Festival has been supported by those • Priority booking for all performances, many
passionate about Handel’s music. of which sell out
• Invitations to private events organised
A major aim of the Festival is to specially for our supporters
encourage and promote young talent. • Regular e-newsletter
The annual Handel Singing Competition
Associate Benefactor - £250 per annum
was inaugurated in 2002, and past All of the benefits above +
finalists include singers who have gone • Personal acknowledgement in donor lists on
on to stellar international careers, such website (if desired)
as Ruby Hughes, Iestyn Davies and • Advance notification of Festival calendar of
events
Lucy Crowe.
• Special events designed to give ‘behind the
Our supporters make a huge contribution scenes’ access
to the Festival each year, helping us to Benefactor - £500 per annum
maintain our high artistic standards whilst All of the benefits above +
keeping ticket prices affordable. We do • Personal acknowledgement in donor lists in
printed programmes (if desired)
not receive any public subsidy and ticket
• Two free Festival programmes on request
sales alone do not cover all of our costs.
• Personalised communication from Festival
Therefore we are reliant on our loyal Director, including review of each Festival
group of supporters for our continued
success each year, in particular to Patrons Circle – £1,200 per annum
All of the benefits above +
support our artistic ambitions to nurture
• Priority booking before other supporters
young talent and explore Handel’s lesser
• Opportunity to designate support towards a
known repertoire. Please join us. particular project
• Annual Season Preview event
If you wish to join or to renew your Director’s Circle – £5,000 per annum
All of the benefits above +
membership, please visit
• Opportunity to support specific concert/
www.london-handel-festival.com project/prize
or e-mail • Exclusive access to rehearsals and to meet
boxoffice@londonhandelfestival.org.uk musicians
• Regular meetings with Festival Director to
Thank you for your support. share viewsA Handel Legacy
The London Handel Society is the charity as you have done. We are a registered charity
which runs the annual London Handel Festival. (no. 269184), and so any gifts made to us are
We have been very fortunate in receiving a exempt from tax.
small but significant number of legacies in Please do not hesitate to contact me personally
recent years, which have made a valuable if you are thinking of supporting us in this way,
contribution to our continued growth and or have already remembered us in your Will.
success. Ticket sales alone do not cover the I would be happy to discuss specific wording
costs of running the Festival, and therefore which you might wish to use, and also if there
we are hugely reliant on the generosity of is a particular area of our work which interests
our family of supporters, including our legacy you and how you might therefore designate
donors, for our survival. your gift.
We are lucky to have such a loyal audience and
core group of supporters and it is to you I turn
Richard Hopkin
to ask if you would consider remembering the
Chairman, London Handel Society
London Handel Society in your Will?
chairman@londonhandelfestival.org.uk
A gift made in your Will ensures that future
generations can enjoy Handel’s music as muchYou can also read
