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Looking for some Christmas gift inspiration? This year, treat your loved ones to…

The Perfect Night Out

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A Liverpool Philharmonic gift card can be exchanged for tickets to any of our events, so whether that special someone is a fan of classical, pop, rock, folk, comedy or film, it’s the ideal present! Order online at liverpoolphil.com or call 0151 709 3789.

Royal Liverpool Philharmonic Orchestra Concert Programme President The Rt Hon the Earl of Derby DL – Royal Liverpool Philharmonic Board of Directors Louise Shepherd CBE Chair of the Board Stephen Gregory Deputy Chair of the Board Sameeta Gahir Bryan Johnson Camilla Mankabady Olga Smoleń Jernice Easthope Tom Lewis David Lloyd Matthew Cooke Vanessa Reed Chief Executive Vanessa Reed Chief Conductor Domingo Hindoyan Principal Guest Conductor Andrew Manze Conductor Laureate Vasily Petrenko

A Gift That Lasts All Year

A Special Spot in the Hall

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Gift a Silver Membership to the music lover in your life and they can enjoy benefits that enhance their concert-going experience all year round. Membership includes invitations to open rehearsals, pre-concert receptions, use of our Members-only bar at Orchestra concerts (pre-booking required and subject to availability), and an invitation to our Annual Season Launch with priority booking for the Royal Liverpool Philharmonic Orchestra concert season.

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19-23 December 2025 Spirit of Christmas The Carols Matthew Hamilton Benjamin Appl Royal Liverpool Philharmonic Choir Liverpool Philharmonic Youth Choir Robert Guy Stephen Heselton Paul Whittaker OBE An interview with Benjamin Appl

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10 January 2026 Messiah George Frideric Handel Messiah The text of Messiah An interview with Laurence Cummings Fflur Wyn Reginald Mobley Nick Pritchard George Humphreys

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Royal Liverpool Philharmonic Orchestra Royal Liverpool Philharmonic Choir Royal Liverpool Philharmonic Administration

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Acknowledgements

Selected Events

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Gift a Silver Membership for £200 a year, or £16 a month.

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Friday 19 December 2025 7.30pm Saturday 2o December 2025 7.30pm Monday 22 December 2025 7.30pm* Tuesday 23 December 2025 7.30pm Benjamin Appl baritone/presenter Matthew Hamilton conductor Royal Liverpool Philharmonic Choir Matthew Hamilton Director of Choirs and Singing Liverpool Philharmonic Youth Choir Robert Guy interim director Royal Liverpool Philharmonic Orchestra Thelma Handy leader

*The performance on 22 December will be signed by BSL interpreters Paul Whittaker OBE and Stephen Heselton.

To enhance everyone’s experience of the concert, please try to keep noise to a minimum, particularly during quiet moments, and turn all devices to silent. Flash photography or recording of any performance in any format is strictly prohibited.

HOP SCOTC H CO L L ECT IO N

The Programme Troika from Lieutenant Kijé Sergei Prokofiev Carillon on Angelus ad Virginem arr. Darius Battiwalla Le Noël des Oiseaux Cécile Chaminade Hark! The Herald Angels Sing Felix Mendelssohn arr. David Willcocks Christus Natus Est Rosephanye Powell The Three Kings Peter Cornelius Grosser Herr Johann Sebastian Bach Tomorrow Shall Be My Dancing Day arr. John Gardner The First Nowell arr. David Willcocks Overture on French Carols Philip Lane The Twelve Days of Christmas Frederic Austin arr. John Rutter Rudolph the Red-Nosed Reindeer Johnny Marks arr. Roderick Elms INTERVAL Deck the Hall arr. Darius Battiwalla Let it Snow! Sammy Cahn and Jule Styne arr. Rod Dunk Ding Dong Merrily on High! arr. Malcolm Williamson Good King Wenceslas arr. Reginald Jacques See Amid the Winter’s Snow John Goss arr. Dan Forrest Mariä Wiegenlied Max Reger Jul, Jul, Stralande Jul Gustaf Nordqvist arr. Iain Farrington I Saw Three Ships arr. Mack Wilberg Veni, Veni Emmanuel Michael John Trotta On Christmas Night Bill Connor Christmas is Coming arr. Mack Wilberg O Come, All Ye Faithful John Francis Wade arr. Tim Jackson

DAVID M RO BI N SO N .C O.U K

Please join in where lyrics appear in bold.

ORCHESTRA

Troika from Lieutenant Kijé music Sergei Prokofiev

CHOIR, YOUTH CHOIR & ORCHESTRA

Eia mater Domini, Quae pacem reddidisti Angelis et homini, Cum Christum genuisti; Tuum ex ora filium Ut se nobis propitium Exhibeat et deleat Peccata: Praestans auxilium Vita frui beata Post hoc exilium.

Carillon on Angelus ad Virginem music Traditional arr. Darius Battiwalla words Traditional Angelus ad Virginem sub intrans in conclave, Virginus formidinem Demulcens, Inquit ‘Ave! Ave, regina virginum; Coeli terraeque Dominum Concipies Et paries Intacta Salutem hominum; Tu porta coeli facta, Medela criminum.’ ‘Quomodo conciperem Quae virum non cognovi? Qualiter infringerem Quod firmament vovi?’ ‘Spiritus Sancti gratia Perficiet haec omnia; Ne timeas, Sed gudeas, Secura Quod castimonia Manebit in te pura Dei potentia’ Ad haec virgo nobilis Respondens inquit ei: ‘Ancilla sum humilis Omnipotentis Dei. Tibi coelesti nuntio, Tanti secreti conscio, Consentiens, Et cupiens Videre Factum quod audio; Parata sum parere, Dei consilio’

The angel came to the Virgin, entering secretly into her room; the Virgin’s fear calming, he said, “Hail! Hail, queen of virgins: you will conceive the Lord of heaven and earth and bear him, still a virgin, to be the salvation of mankind; you will be made the gate of heaven, the cure of sins.” "How can I conceive, When I have never known a man? How can I transgress resolutions that I have vowed with a firm mind?” “The grace of the Holy Spirit shall do all this. Do not be afraid, but rejoice without a care, since your chastity will remain in you unspoilt through the power of God.” To this, the noble Virgin, replying, said to him, “I am the humble maidservant of almighty God. To you, heavenly

Spirit of Christmas

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messenger, and bearer of such a great secret, I give my consent, and wishing to see done what I hear, I am ready to obey the will of God.”

Au fond de l’air, tintez, agiles, Sonnez pour les petits oiseaux! Les nids sont freres des berceaux Fragiles.

Through the wintry air, ring also For the little birds, whose nests Are just like human cradles – So flimsy!

Beaux anges, nos freres ailés, Qui, pres de la creche, volez, Vous que Dieu sur la terre envoie, Apportez aux petits oiseaux, Grelottant parmi les roseaux, La joie!

Beauteous angels, our winged brethren, In tender flight by the Infant’s cradle, And sent by God upon the earth, Bring these little birds, Trembling with cold among the reeds, Some joy!

Hail, Mother of our Lord, who brought peace back to angels and men when you bore Christ! Pray your son that he may show favour to us and blot out our sins, giving us help to enjoy a blessed life after this exile.

SOLOIST & ORCHESTRA

Le Noël des Oiseaux

music Cécile Chaminade words Armand Sylvestre transl. John Thornley Petit Jésus, maître du ciel, Que les anges chantant Noël, Veillent sous leurs blancheurs ailées, Viens donc pour les petits oiseaux Qui frissonnent au bord des eaux Gelées!

Little Jesus, Lord of Heaven, Over whom the angels watch, singing ‘Noël’, Covering you with their white wings, Come and save the little birds Who shiver at the edge of the waters, So frozen!

Bonnes gens qui, sur le chemin, Passez un rosaire a la main, Dont l’âme a des Ave pour ailes, Priez pour les petits oiseaux Dont la neige a trempé les os Si freles!

You good folk who pass on the road With a rosary in your hand, Your soul given wings by your Hail Marys, Pray, pray for the little birds, For the snow has soaked their bones So frail!

Cloches sonores au doux bruit, Qui, pour la messe de minuit,

You bells, with such sweet sound Ringing gaily for Midnight Mass

CHOIR & ORCHESTRA

Christus Natus Est (Christ is Born) music Rosephanye Powell words Countee Cullen In Bethlehem on Christmas morn, Christus natus est. The lowly gem of love was born, Christus natus est. Bright in her crown of fiery star, Christus natus est. Judea’s town shone from afar, Christus natus est. Hosannah! Hosannah! Hosannah! Christus natus est. For bird and beast He did not come, Christus natus est. But for the least of mortal scum, Christus natus est. Who lies in a ditch? Who begs his bread? Christus natus est. Who has no stitch for back or head? Christus natus est.

ALL SING

Hosannah! Hosannah! Hosannah! Christus natus est.

music Felix Mendelssohn arr. David Willcocks words Charles Wesley

Who wakes to weep, lies down to mourn? Who in his sleep withdraws from scorn? Ye outraged dust, on field and plain, to feed the lust of madmen slain;

Hark! The Herald Angels Sing

Hark! the herald angels sing, Glory to the newborn King; Peace on earth, and mercy mild, God and sinners reconciled Joyful, all ye nations, rise, Join the triumph of the skies; With th’angelic hosts proclaim, “Christ is born in Bethlehem!”

Hosannah! Hosannah! Hosannah! Hosannah! Christus natus est. The Manger still outshines the throne; Christ must and will come to his own. Christ must and will come to his own. Christ must and will come to his own.

Hark! The herald angels sing, Glory to the newborn King Christ, by highest heaven adored, Christ, the everlasting Lord, Late in time behold him come, Offspring of the Virgin’s womb: Veiled in flesh the Godhead see; Hail th’incarnate Deity, Pleased as man with man to dwell, Jesus, our Emmanuel. Hail the heaven-born Prince of Peace! Hail the Sun of Righteousness! Light and life to all he brings, Ris’n with healing in his wings. Mild he lays his glory by, Born that we no more may die, Born to raise the sons of earth, Born to give them second birth.

Spirit of Christmas

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SOLOIST, CHOIR & ORCHESTRA

SOLOIST & ORCHESTRA

ALL SING

CHOIR, YOUTH CHOIR & ORCHESTRA

music and words Peter Cornelius Transl. H.N. Bate

music J. S. Bach words Picander transl. John Thornley

music English Traditional arr. David Willcocks words Anon.

music and words Frederic Austin arr. John Rutter

SOLOIST Three Kings from Persian lands afar, To Jordan follow the pointing star: And this the quest of the travellers three, Where the new-born King of the Jews may be. Full royal gifts they bear for the King, Gold, incense, myrrh are their offering.

Grosser Herr, o starker König, Liebster Heiland, o wie wenig Achtest du der Erden Pracht! Der die ganze Welt erhält, Ihre Pracht und Zier erschaffen, Muss in harten Krippen schlafen.

The first Nowell the angel did say Was to certain poor shepherds in fields as they lay; In fields where they lay keeping their sheep On a cold winter’s night that was so deep

The Three Kings

The star shines out with a steadfast ray; The Kings to Bethlehem make their way, And there in worship they bend the knee, As Mary’s child in her lap they see; Their royal gifts they show to the King, Gold, incense, myrrh are their offering. Thou child of men lo, to Bethlehem The Kings are trav’ling, travel with them! The star of mercy, the star of grace, shall lead thy heart to its resting place. Gold, incense, myrrh thou canst not bring, Offer thy heart, to the infant King, Offer thy heart! CHOIR How brightly shines the morning star! With grace and truth from heav’n afar. Our Jesse tree now bloweth.

Grosser Herr

Great Lord, o mighty King, My dearest Saviour, o how little Do you care about earthly glory! He who sustains the whole world, Who created its glory and beauty, Has to sleep in a hard manger.

They looked up and saw a star, Shining in the east, beyond them far; And to the earth it gave great light, And so it continued both day and night

YOUTH CHOIR & ORCHESTRA

music arr. John Gardner words Anon.

This star drew nigh to the north-west; O’er Bethlehem it took its rest, And there it did both stop and stay, Right over the place where Jesus lay

Tomorrow Shall Be My Dancing Day

Sing, O my love, O my love, my love, my love This have I done for my true love.

Thy word, Jesu. Inly feeds us, Rightly leads us, Life bestowing. Praise, O praise such love o’erflowing.

Nowell, Nowell, Nowell, Nowell, Born is the King of Israel!

And by the light of that same star, Three wise men came from country far; To seek for a king was their intent, And to follow the star wherever it went

Tomorrow shall be my dancing day, I would my true love did so chance To see the legend of my play, To call my true love to my dance:

Of Jacob’s stem and David’s line, For Thee, my Bridegroom, King divine. My soul with love o’erfloweth.

The First Nowell

Then was I born of a Virgin pure, Of her I took fleshly substance; Thus was I knit to man’s nature, To call my true love to my dance: In a manger laid and wrapped I was, So very poor this was my chance, Betwixt an ox and a silly poor ass, To call my true love to my dance:

The Twelve Days of Christmas On the first day of Christmas My true love gave to me A partridge in a pear tree. On the second day of Christmas My true love gave to me Two turtle doves And a partridge in a pear tree. Repeat On the third day… Twelve drummers drumming, Eleven pipers piping, Ten lords a-leaping, Nine ladies dancing, Eight maids a-milking, Seven swans a-swimming, Six geese a-laying, Five golden rings, Four calling birds, Three French hens, Two turtle doves, A partridge in a pear tree.

Then enter’d in those wise men three, Full rev’rently upon their knee, And offer’d there in his presence Their gold and myrrh and frankincense Then let us all with one accord, Sing praises to our heav’nly Lord, That hath made heav’n and earth of naught, And with his blood mankind hath bought

ORCHESTRA

Overture on French Carols music Philip Lane

Then afterwards baptized I was; The Holy Ghost on me did glance, My Father’s voice heard from above, To call my true love to my dance:

Spirit of Christmas

SOLOIST, CHOIRS & ORCHESTRA

Rudolph the Red-Nosed Reindeer music and words Johnny Marks arr. Roderick Elms You know Dasher and Dancer And Prancer and Vixen, Comet and Cupid And Donner and Blitzen. But do you recall The most famous reindeer of all?

INTERVAL - 25 MINUTES Across the venue we have cakes, confectionary, ice creams, snacks and drinks including premium spirits, wines, beers and coffee. Avoid the crowds by ordering interval drinks pre-concert in the Grand Foyer, or look out for our staff who sell refreshments during the interval in the Auditorium.

Rudolph, the Red-Nosed Reindeer Had a very shiny nose And if you ever saw it You would even say it glows. All of the other reindeer Used to laugh and call him names, They never let poor Rudolph Join in any reindeer games.

CHOIR, YOUTH CHOIR & ORCHESTRA

Deck the Hall

Then one foggy Christmas Eve Santa came to say: “Rudolph with your nose so bright, Won't you guide my sleigh tonight?” Then all the reindeer loved him, As they shouted out with glee, “Rudolph the Red-Nosed Reindeer You'll go down in history!”

music Traditional arr. Darius Battiwalla words Thomas Oliphant Deck the hall with boughs of holly, Fa la la la la la la la la. 'Tis the season to be jolly, Fa la la la la la la la la. Fill the mead cup, drain the barrel, Fa la la la la la la la la. Troll the ancient Christmas carol, Fa la la la la la la la la. See the flowing bowl before us, Fa la la la la la la la la. Strike the harp and join the chorus, Fa la la la la la la la la. Follow me in merry measure, Fa la la la la la la la la. While I sing of mirth and pleasure, Fa la la la la la la la la. Fast away the old year passes, Fa la la la la la la la la. Hail the new, ye lads and lasses, Fa la la la la la la la la. Laughing, quaffing altogether, Fa la la la la la la la la. Heedless of the wind and weather, Fa la la la la la la la la.

Deck the hall with boughs of holly, Fa la la la la la la la la. 'Tis the season to be jolly, Fa la la la la la la la la. Fill the mead cup, drain the barrel, Fa la la la la la la la la. Troll the ancient Christmas carol, Fa la la la la la la la la.

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SOLOIST & ORCHESTRA

ALL SING

music and words Sammy Cahn and Jule Styne arr. Rod Dunk

music Tune from Piae Cantiones arr. Reginald Jacques words J.M. Neale

Let it Snow!

Oh, the weather outside is frightful But the fire is so delightful And since we've no place to go Let it snow! Let it snow! Let it snow! It doesn't show signs of stopping And I brought some corn for popping, The lights are turned way down low Let it snow! Let it snow! Let it snow! When we finally kiss good night, How I'll hate going out in the storm! But if you’ll really hold me tight All the way home I'll be warm. The fire is slowly dying And, my dear, we're still goodbye-ing But as long as you love me so, Let it snow! Let it snow! Let it snow!

CHOIR

Ding Dong Merrily on High! music French Traditional arr. Malcolm Williamson words G.R. Woodward Ding dong! Merrily on high In heav’n the bells are ringing: Ding dong! Verily the sky Is riv’n with Angel singing. Gloria, Hosanna in excelsis! E’en so here below, below, Let steeple bells be swungen, And “Io, io, io!” By priest and people sungen. Pray you, dutifully prime Your Matin chime, ye ringers; May you beautifully rime Your evetime song, ye singers.

Good King Wenceslas

Good King Wenceslas look’d out On the Feast of Stephen, When the snow lay round about, Deep, and crisp, and even. Brightly shone the moon that night, Though the frost was cruel, When a poor man came in sight, Gath’ring winter fuel. LOWER VOICES ‘Hither page, and stand by me, If thou know’st it telling, Yonder peasant, who is he? Where and what his dwelling?’ UPPER VOICES ‘Sire, he lives a good league hence, Underneath the mountain, Right against the forest fence, By Saint Agnes’ fountain.’ LOWER VOICES ‘Bring me flesh, and bring me wine, Bring me pine-logs hither: Thou and I will see him dine, When we bear them thither’ ALL Page and monarch, forth they went, Forth they went together: Through the rude wind’s wild lament And the bitter weather. UPPER VOICES ‘Sire, the night is darker now, And the wind blows stronger; Fails my heart, I know not how; I can go no longer’ LOWER VOICES ‘Mark my footsteps, good my page; Tread thou in them boldly: Thou shalt find the winter’s rage Freeze thy blood less coldly’ ALL In his master’s steps he trod, Where the snow lay dinted; Heat was in the very sod Which the Saint had printed. Therefore, Christian men, be sure, Wealth or rank possessing, Ye who now will bless the poor, Shall yourselves find blessing.

CHOIR & ORCHESTRA

See Amid the Winter’s Snow music John Goss arr. Dan Forrest words Edward Caswall Alleluia. See, amid the winter’s snow, Born for us on earth below, See the tender Lamb appears, promised from eternal years. Hail, thou ever blessed morn! Hail, redemption’s happy dawn! Sing through all Jerusalem: “Christ is born in Bethlehem.” Alleluia. Lo, within a manger lies He who built the lofty skies; He who, throned in light sublime, sits amid the cherubim! Alleluia. Sacred Infant, all divine, tender love was Thine, Thus to come from highest bliss down to such a world as this. Alleluia.

SOLOIST & ORCHESTRA

Mariä Wiegenlied (Mary’s Lullaby) music Max Reger words Martin Beolitz transl. John Thornley Maria sitzt im Rosenhag Und wiegt ihr Jesuskind, Durch die Blätter leise Weht der warme Sommerwind.

Mary is sitting in the rose bower Cradling her son Jesus, Through the leaves there gently blows The warm summer wind.

Zu ihren Füßen singt Ein buntes Vögelein: Schlaf, Kindlein, süße, Schlaf nun ein!

At her feet sings A bright-coloured bird: Sleep, little baby, sweet one. Sleep now!

Hold ist dein Lächeln, Holder deines Schlummers Lust, Leg dein müdes Köpfchen Fest an deiner Mutter Brust! Schlaf, Kindlein, süße, Schlaf nun ein!

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How lovely your smile, Lovelier still your joy in sleeping, Lay your sleepy little head On your mother’s breast! Sleep, little baby, sweet one, Sleep now!

CHOIR & ORCHESTRA

YOUTH CHOIR

music and words Traditional English arr. Mack Wilberg

music Michael John Trotta 18th Century Latin hymn, 9th Century Origin

I saw three ships come sailing in, On Christmas Day, on Christmas Day, I saw three ships come sailing in, On Christmas Day in the morning.

Veni, veni Emmanuel! Captivum solve Israel Qui gemit in exsilio Privatus dei filio

And what was in those ships all three? On Christmas Day, on Christmas Day; And what was in those ships all three? On Christmas Day in the morning.

Gaude, gaude, Emmanuel Nascetur pro te, Israel.

Our Saviour Christ and His lady, On Christmas Day, on Christmas Day; Our Saviour Christ and His lady, On Christmas Day in the morning.

Veni, veni rex gentium, Veni, redemptory omnium, Ut salvas tuos famulus Peccati sibi conscios

SOLOIST & YOUTH CHOIR

Jul, Jul, Stralande Jul

music Gustaf Nordqvist arr. Iain Farrington words Edvard Evers transl. John Thornley

Jul, jul, stralande jul, glans över vita skogar, Himmelens kronor med gnistrande ljus, Glimmande bagar i alla Guds hus, Psalm som är sjungen fran tid till tid, Eviga längtan till ljus och frid! Jul, jul, stralande jul, glans över vita skogar! Kom, kom, signade jul! Sänk dina vita vingar, Över stridernas blod och larm, Över all suckan ur människobarm, Över de släkten som ga till ro, Över de ungas dagande bo! Kom, kom, signade jul, sänk dina vita vingar!

Spirit of Christmas

I Saw Three Ships

Christmas, radiant Christmas, shining over white forests, With heavenly crowns of glistening lights, Glimmering arcades in all the houses of God, Hymns that are sung from age to age, Eternal longing for light, and for peace! Christmas, radiant Christmas, shining over white forests!

Pray, wither sailed those ships all three? On Christmas Day, on Christmas Day; Pray, wither sailed those ships all three? On Christmas Day in the morning

Come, come, blessed Christmas! Lower your white wings Over the blood and alarms of battle, Over all the sighs from the hearts of mankind, Over loved ones going to their rest, Over the young at the dawn of their lives! Come, come, blessed Christmas! Lower your white wings!

And all the angels in Heav’n shall sing, On Christmas Day, on Christmas Day, And all the angels in Heav’n shall sing, On Christmas Day in the morning.

O, they sailed into Bethlehem, On Christmas Day, on Christmas Day; O, they sailed into Bethlehem, On Christmas Day in the morning. And all the bells on Earth shall ring, On Christmas Day, on Christmas Day; And all the bells on Earth shall ring, On Christmas Day in the morning.

Veni, Veni Emmanuel

Veni veni o oriens, Solare nos adveniens, Noctis depelle nebulas. Dirasque mortis tenebras.

O come, O come, the “I am” that is with us, Break the bond of the captive people! Who mourn in exile, Derived of the incarnation of the Father. Rejoice, rejoice! The great “I am” Will be born for you. O come, gatherer of all nations, Come to make all whole, To save your servants From their separateness O come thou light of life (Morningstar) To shine on us by your coming, Dispel the clouds of night, Drive away the shadows of death.

And all the souls on earth shall sing, On Christmas Day, on Christmas Day; And all the souls on earth shall sing, On Christmas Day in the morning. Then let us all rejoice amain! On Christmas Day, on Christmas Day; Then let us all rejoice amain! On Christmas Day in the morning. And all the bells on earth shall ring, All the souls on earth shall sing, This day!

Spirit of Christmas

ORCHESTRA

SOLOIST FIRST VERSE THEN ALL SING

music Bill Connor

music J.F. Wade arr. Tim Jackson Transl. F Oakeley et al.

On Christmas Night

CHOIR, YOUTH CHOIR & ORCHESTRA

Christmas is Coming

music Traditional English carol arr. Mack Wilberg words additional lyrics by David Warner

O Come, All Ye Faithful

Matthew Hamilton Director of Choirs and Singing

Adeste fideles Læti triumphantes, Venite, venite in Bethlehem. Natum videte Regem angelorum:

Matthew Hamilton is an inspiring choral leader, celebrated for his work with renowned choirs and ensembles across a broad repertoire.

Christmas is coming, the goose is getting fat; Please do put a penny in the old man’s hat.

Venite adoremus Venite adoremus Venite adoremus Dominum.

If you haven’t got a penny, a ha’penny will do; If you haven’t got a ha’penny, then God bless you! If you haven’t got a penny, don’t wonder what to do You are always rich enough to say ‘Yes, God bless you!’

O come, all ye faithful, joyful and triumphant, O come ye, o come ye to Bethlehem; Come and behold Him, born the King of angels

Christmas is coming, and with a jolly band; Please do slip a penny in a lonely hand.

O come, let us adore Him; O come, let us adore Him; O come, let us adore Him, Christ, the Lord!

Christmas is coming, the shop is brim with toys; Please do give a penny to the orphan boys. If you haven’t got a guinea, or even half a crown, If you only have a pence or two, then don’t you fret or frown. Just reflect upon your blessings, and all your kith and kin, And remember that in giving all, you let the season in! Christmas is coming, the figgy pudding’s here; Please do give a penny with your Christmas cheer!

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God of God, Light of Light, Lo! He abhors not the Virgin’s womb; Very God, Begotten not created! Sing, choirs of angels; sing in exultation; Sing, all ye citizens of heav’n above! Glory to God, in the highest! Yea, Lord, we greet Thee, born this happy morning; Jesu, to Thee be glory giv’n! Word of the Father, now in flesh appearing!

If you haven’t got a penny, a ha’penny will do; If you haven’t got a ha’penny, then God bless you! Christmas is coming, the goose has gotten fat; Please do give a penny for a fine new hat!

Particularly renowned as a director of symphonic choruses, Matthew currently holds two major positions in the UK: Choral Director at the Hallé (since 2015) and Director of Choirs and Singing at Royal Liverpool Philharmonic (since 2023). At both establishments he has been involved in largescale choral projects, acclaimed recordings and broadcasts, and performances across the UK and abroad, in addition to leading open-access singing events for hundreds of participants. As a guest conductor Matthew has appeared with BBC Singers, Netherlands Chamber Choir, Choeur de Radio France, ChorWerk Ruhr, and many of the UK’s symphonic choruses. He has worked regularly with the National Youth Orchestra,

encouraging and enabling the orchestra to sing as part of their performances. He has prepared choirs for conductors including Gustavo Dudamel, Sir Mark Elder, Edward Gardner, Valery Gergiev, Daniel Harding, Domingo Hindoyan, Fabio Luisi, Michael Tilson Thomas, Andris Nelsons, Gianandrea Noseda, and Kahchun Wong, and for festivals including Edinburgh International Festival, St Magnus Festival, Manchester International Festival, Brighton Festival, Spitalfields Festival, and BBC Proms, where he has worked on music from Birtwistle to the Pet Shop Boys. Matthew read music at Oxford before studying at the University of Manchester and the Royal Welsh College of Music and Drama (RWCMD). He was made an inaugural Honorary Associate of RWCMD in 2018.

Spirit of Christmas

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Royal Liverpool Philharmonic Choir

Benjamin Appl baritone/presenter Baritone Benjamin Appl is praised for a voice that “belongs to the last of the old great masters of song” with “an almost infinite range of colours” (Süddeutsche Zeitung). A former BBC New Generation Artist, Wigmore Hall Emerging Artist and ECHO Rising Star, he was named Gramophone Young Artist of the Year in 2016. Having studied in both Munich and London, he was later mentored by Dietrich Fischer-Dieskau, whom he describes as “an invaluable and hugely formative influence.” Appl appears regularly at major festivals and venues worldwide including Ravinia, Schubertiade Schwarzenberg, Wigmore Hall, Concertgebouw Amsterdam, the Elbphilharmonie and Carnegie Hall. Recent orchestral partners include the Royal

Concertgebouw, Oslo Philharmonic, Philadelphia Orchestra, Staatskapelle Dresden, Vienna Symphony and the Royal Liverpool Philharmonic with whom he was Artist in Residence in the 2024/25 season. On the opera stage, Appl’s highlights include Papageno Die Zauberflöte at the Hamburgische Staatsoper and Opéra Rouen, his role and house debut as Harlequin Ariadne auf Naxos at Gran Teatre del Liceu Barcelona and he looks forward to his upcoming house and role debut at the Teatro Real Madrid as Mercutio Roméo et Juliette. His recordings span Bach and Schubert to Hans Sommer and Sibelius. Recent releases for Alpha Classics include Lines of Life, For Dieter (2025) and The Christmas Album (2024) as well as award-winning Heimat (2017) for Sony Classics.

SOPRANOS Faye Louise Ahsam O’Hara Suzanne Bell Rachel Hannah Bell-King Ruth Brown * Anne-Marie Brzezicki Catherine Butters Effie Cadwallader Gemma Caro Jen Coombs Emily Copping Shelagh Crosbie *^ Laura Duthie Hannah Dutton Sarah Dyas Beatrix Flynn Clare Griffiths * Claire Hetherington Patricia Heyes Christine Hill Olivia Holmes Charlotte Krahé Atim Laber-Craig Clare Ledingham + Lindsey Macdonald Anna Macleod Susan Main Nina Maryanji Melissa McCarthy Ellie McCormick Amelita Mercer Fiona Miller Katharyn Parry Nia-Laoise Phelan Ella Ryrie Ella Rose Sansbury Imogen Scoular

Laura Smoult Jade Tagoe Hannah Williams * Alexandra Worthington – ALTOS Helen Allwood Brigid Bell Kirsty Carpenter Julie Ann Carr Maggie Casaus * Sarah Cole Barbara Davison ^ Sophie D’Souza Karen Duffy Gill Faragher Greta Fenney Edith Firth Susan Gadd Phoebe Garvie Jane Grimes * Clare Hulme Lauren Emma Jessop Jan Jones Denise Kennedy Alison Knight * Jo Lynes + Michelle Maskell Jenny McLardy Athena Florence Mensah Samantha Mills Lowri Wyn Owen Nicola Panagiotakis Janice Perkins Helen Pritchard Sarah Pumfrey Helen Rice Karine Sá Brasil

Susan Smith * Clary Amelia Taylor Helena Thomas Wendy Thorpe Rachel Tuson Emma Ward Janet Wareing * Jan Wolfenden + Nichola Wright – TENORS Peter Bates * David Blake Mark Bloor Richard Costain Daniel Evans George Grayston Taran Harris Andrew Hobson Bill Kingdon + Julian Rendell Marco Roda Phil Sykes Kristine Szulik Marcus Williams Jon Wimpeney Robert Paul Wynn + – BASSES Edward Abrahamson Andrew Barney Ken Black Simon Cleaver + Jim Cooke * Jonathan Davies Patrick Dumican Julian Eyre John Findlow

Paul Flight Adrian Griffiths * James Hawkins * Timothy Hill David Holt John Keogh Douglas Ligertwood Max Lozowsky Robert Macdonald Gary McCreadie Andrew McGowan * Matteo Ressa + Jack Roberts Andrew Rushworth Ruediger Juergen Ruwe Robin Stopford Tony Tudor David Wetherell * – DIRECTOR OF CHOIRS AND SINGING Matthew Hamilton VOCAL COACH Jenny Rust ACCOMPANIST Eve Taylor CHORAL MANAGER Louise Madden *Denotes 25 Years’ Service ^ Choir Librarians + Choir Consultation Group

Spirit of Christmas

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Liverpool Philharmonic Youth Choir Liverpool Philharmonic Youth Choir is Youth Company’s flagship auditioned choir for young people aged 12-19. The choir performs throughout the year, not only at Liverpool Philharmonic Hall, but across the region. A mixed choir of sopranos, altos, tenors and basses, the Youth Choir regularly performs with the Royal Liverpool Philharmonic Orchestra and Choir. The Youth Choir’s repertoire covers a wide variety of musical styles including classical, jazz, folk and world music, and the group regularly collaborates with a variety of guest musicians, ensembles and choirs. Over the years, the Youth Choir has regularly had new and exciting works commissioned for performance, including music by previous Rushworth Composition Prize winners Bethan Morgan-Williams, Richard Miller and Grace-Evangeline Mason. The Youth Choir was invited to sing at the closing ceremony of the London 2012 Olympics, a performance that was broadcast live to a worldwide audience of over 900 million people. In 2008, the Youth Choir performed for Queen Elizabeth, who served as patron of Liverpool Philharmonic from 1958 until her death.

Want to get involved? Liverpool Philharmonic Youth Choir welcomes applications from sopranos, altos, tenors and basses for auditions at the beginning of each school term. If you would like to find out more about membership, please contact youthcompany@liverpoolphil.com

SOPRANOS Adriana Escriu Aleksandra Potapova Alexandra Visockis- Malys Annabell Odion-Amedu Andrea Castiniera- Mosquera Anna Kelly Aoife Oliviera Cassandra McCloy Chloe Smith Cillian McIllroy Cooper Kennedy Elamara Burdekin Ellana Bennett Emily Ross Esme Clay Hannah Wilkinson Indigo Hutchinson Isla Jordan Jacob Alcock James Kneale Jasmine Wentworth- Wood Jessica Lloyd Johanna Jacob Luyen Nguyen Maggie McCalliog Michael O’Hanlon Molly Barlow Niamh Williams Pippa Main-Clay Priyanka Gowda Rosa Miller Ruby Johnston-Thomas Sienna Agrimi Sophia Davidson Sophia Shaw

ALTOS Anaya Murphy Anna Quint Annie Liptay Dominik Drabik Elizabeth Grimes Emily O’Hanlon Freya Jones Hope Jenkins Jaye Lau Kashaya Yakou Lana Jackson Lizzy Rae Mullen Lucy Bovill Rebekah Wilkinson Scarlett Coney Sienna Boardman Sofia Shakespeare – TENORS Albie Emery Charles Fisher Harry Dwerryhouse Jamie Gilchrist Maximus Downes – BASSES Aaron Freddy Louie Kavanagh Lyle Houghton Myles McCabe Miller Patrick Roose – PIANO ACCOMPANIST Caroline Smith

Born with severe hearing loss, Robert didn’t hear birdsong until having a life-changing operation as a child. Music wasn’t just a passion – it was his revelation. Now, as an internationally recognised conductor, he transforms that early silence into powerful, electrifying performances that leave audiences on their feet. From his early days as a professional freelance viola player with the Royal Liverpool Philharmonic Orchestra and Opera North as well as playing alongside the Allegri String Quartet, to now standing on the podium with world-class ensembles, he has built a career defined by bold leadership, relentless energy, and a belief that music transforms lives. He has conducted 65 world premieres and led orchestras and choirs from London’s West End to Hong Kong.

Robert Guy

Interim Director, Liverpool Philharmonic Youth Choir

As Principal Conductor of Liverpool Philharmonic Youth Orchestra, he nurtures the next wave of talent and as co-founder of NEW Sinfonia, he is making classical music accessible to all. A passionate educator, he leads the ensemble programme at the University of Manchester. His work has been featured on BBC radio and recorded for Sony PlayStation.

Stephen Heselton is a musician and Registered British Sign Language Interpreter who brings a unique perspective to performing and creating music. With a profound hearing loss in one ear due to meningitis, he went on to study at Leeds Conservatoire, earning a Diploma in Popular Music and degrees in Composition for Film and Television and Music Production. Stephen plays several instruments, with drums as his main focus, and performs both as a session musician and with bands around the UK. After learning British Sign Language, he began working with Music and the Deaf, combining his love of music with his commitment to accessibility and inclusion.

Stephen Heselton BSL Interpreter

Spirit of Christmas

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An interview with

Paul Whittaker OBE BSL Interpreter Born in Huddersfield in 1964, Paul has been Deaf all his life. Trained as a pianist and organist, he has a music degree from Wadham College, Oxford and a post-graduate diploma from the RNCM, and spent 27 years running a charity to help Deaf people enjoy music. For the last ten years he has worked freelance, focusing mostly on signed song, public speaking and signing classical music performances. In 2007 he was awarded an OBE for Services to Music and has received Honorary Degrees from the University of Huddersfield and the Open University in recognition of his work. As well as appearing with many orchestras, ensembles and choirs in the UK – including the Royal Liverpool Philharmonic Orchestra, RPO, SCO, RSNO, The Sixteen, The Bach Choir,

Tenebrae, Dunedin Consort and The King’s Singers – Paul has appeared at the BBC Proms, Edinburgh Festival and the Cumnock Tryst. Since 2012 he has worked regularly with the Mahler Chamber Orchestra and has recently worked with orchestras and ensembles in Berlin and Malmö to develop music projects with Deaf people there. Paul has been invited to work on new projects in Darmstadt and Bern in 2026. In addition to his classical work, Paul is the BSL leader for Rock Choir here in the UK. One of his biggest joys, however, is working with the National Youth Choir of Scotland Creative Learning Department to devise BSL resources based on Kodály methods, which led to a book Sing, Sign, Play being published online in 2024.

Benjamin Appl He’s back in Liverpool – and bringing plenty of Christmas spirit with him! We caught up with Benjamin Appl about his favourite festive traditions and what’s coming up in the concert. We can’t wait to welcome you back to the Hall and celebrate Christmas with you! What do you enjoy most about the festive season? I’m absolutely thrilled to be returning to Liverpool at the end of the year to round off my residency with the Orchestra in such a joyful way. Over the years, Liverpool and the wonderful Royal Liverpool Philharmonic Orchestra audiences have become almost a third home for me – after Germany and London – and there’s no better moment to share together than Christmas, which is all about togetherness. I’ve loved Christmas since childhood. For someone who travels so much, this time of year is a chance to pause, reflect, and focus on what really matters: spending time with the people we love and cherish. What do Christmas celebrations look like for you? Do you and your family have any special traditions? Christmas is definitely the time of year with the most traditions for me. I once tried spending it in South Africa, and it just didn’t feel right – for me, it has to be a white Christmas in Bavaria, surrounded by festive markets and that magical winter atmosphere. My family has a slightly eccentric passion: we collect nativity scenes from all over the world. Setting them all up takes about a week, but that week of preparation – everyone working together – has always been the most special part. Of course, there are plenty of Christmas biscuits and Stollen, lots of carol singing, and always a real Christmas tree with beeswax candles. But most of all, it’s about being together as a family – and that’s what makes it truly magical.

Spirit of Christmas

Tell us a little bit about what’s coming up in Spirit of Christmas. What are you most looking forward to? We’ve tried to find a great balance between the Christmas songs and carols that UK audiences know and love, the favourites that Liverpool audiences expect, and a few from my own home in Germany. I’m also hoping to introduce some of our own festive tunes along the way. What excites me most is discovering new melodies together with the wonderful Orchestra and Choirs – and bringing people together through music in that very special Christmas spirit. You’ll be performing a few tracks from your Christmas album – how did you decide which pieces to include in this evening’s programme? Putting the programme together wasn’t easy! We had to consider all the forces involved – the two Choirs and the Orchestra – and find the right balance. There’s reflective, heartfelt music, joyful, swinging pieces, a few new discoveries, and, of course, the beloved classics. Working with the Artistic Team and Matthew Hamilton, I think we’ve found a really beautiful mix – and I can’t wait to share it with everyone. You’re not only singing, but hosting too! What do you have planned for the concert? Honestly, I’m almost more nervous about that than singing! But I believe the speaking voice connects in a more direct and natural way than a classically trained

singing voice. In a Christmas concert, where we’re all singing along together, that feels just right. I’ll be introducing some pieces and performers, sharing a few Christmas traditions from Germany, and generally trying to entertain… if a German can ever truly manage that! What song always makes it onto your Christmas playlist? Why? For me, it has to be ‘Stille Nacht’ – ‘Silent Night’. It’s the first carol every child learns, and a Christmas Mass without it just wouldn’t feel complete. It’s amazing how this one song brings people back to church each year, even if they don’t usually go, and instantly evokes childhood memories and Christmas traditions. Written by a priest and a schoolteacher in a tiny Bavarian village near Salzburg, it somehow still strikes the perfect emotional chord. And finally, what’s top of your Christmas list this year? After the Christmas concerts, I’m most looking forward to a few peaceful days with my loved ones – reading, baking, cooking, and just enjoying each other’s company. A little snow would make it truly magical!

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And as well as the music, Benjamin Appl has another German Christmas tradition to share – his family recipe for a tasty festive treat… If there’s one cookie that instantly screams Christmas in Germany, it’s Zimtsterne – or ‘cinnamon stars’ for those of us who don’t speak fluent biscuit. Crunchy, nutty, and packed with warming cinnamon, these little stars are traditionally made with almonds (sometimes a cheeky bit of hazelnut sneaks in) and topped with a snowy icing that looks like it fell straight from a winter wonderland. These cookies are simple, yet magical. Just a handful of ingredients and a bit of love, and you’ll have a batch that’s crunchy, chewy and utterly addictive.

INGREDIENTS 2 egg whites 180g icing sugar 300g ground almonds 2 teaspoons ground cinnamon 1 teaspoon vanilla extract For icing: 1 egg white 125g icing sugar 1. Whip it up – Beat the egg whites until stiff peaks form. Then add in the icing sugar gradually, whisking all the while. 2. Mix the magic – Keep whisking as you stir in the cinnamon (feel free to add more or less to taste) and vanilla extract, then fold the ground almonds in with a spatula, creating a pliable dough. Add a touch more nuts or sugar if it’s too sticky. 3. Roll and cut – Flatten the dough on a non-stick surface or baking paper until it’s about 1/3 inch thick. Cut out star shapes, re-roll scraps, and cut again. 4. Prepare the icing – Beat the egg white to stiff peaks , then add the icing sugar bit by bit whilst whisking. Brush, spoon or pipe – whatever feels fancy – the icing onto each biscuit and drag to the points of the star. 5. Baking time – on a lined baking tray, bake the biscui ts at 180°C/gas mark 4 for 10-12 minutes. When they’r e still a bit squishy, and the icing is still white, remove and leave on the tray to firm up for 10-15 minutes. 6. Cool and store – Transfer to a wire rack to cool completely, then into an airtight container, and resist eating them all at once (good luck!). They’ll keep for up to two weeks if they survive that long. These cinnamon stars aren’t just cookies — they’re a ritual, a memory, and a little bite of Christmas magic . And honestly, once you’ve tried them, there’s no going back.

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George Frideric Handel

HANDEL

Messiah

(1685 - 1759)

A SACRED ORATORIO

George Frideric Handel was born on 23 February 1685 in the German university town of Halle. He was the first in his family to display any musical gift but despite this, his father dissuaded Handel from following his talent, instead wanting his young son to study law. It was only thanks to his mother, who smuggled a keyboard into the attic of their home, that Handel was able to teach himself the fundamentals of music and composition. When he was seven, he played the organ at the Duke of Sachse-Weissenfels’ court, and his performance was so impressive that his father was won over.

Saturday 10 January 2026 7pm Laurence Cummings conductor Fflur Wyn soprano Reginald Mobley countertenor Nick Pritchard tenor George Humphreys baritone

For three years, Handel studied the organ at home in Halle, before moving to Berlin and becoming an assistant organist at a local cathedral. Nevertheless, Handel’s father insisted that he turn his attention once again to law, and sent his son away to study the subject. Upon his father’s death in 1697 however, Handel returned to music. In 1703, he went to Hamburg, finding work as a musician and staging his first opera Almira at the Hamburg Opera. Over the next few years, he travelled across Europe. He spent a significant amount of time in London (a place for which he felt a great affinity), later making the city his permanent home and becoming a naturalised Englishman.

Royal Liverpool Philharmonic Orchestra Thelma Handy leader Royal Liverpool Philharmonic Choir Matthew Hamilton Director of Choirs and Singing

It is requested that the audience reserves applause for the end of the first half of the performance immediately prior to the interval, and the end of the work. There will be one interval, between Part One and Part Two. The first half will last about 55 minutes, the second half about 70 minutes. To enhance everyone’s experience of the concert, please try to keep noise to a minimum, particularly during quiet moments, and turn all devices to silent. Flash photography or recording of any performance in any format is strictly prohibited.

In 1752, Handel underwent an operation on his eyes – the procedure was unsuccessful, and he became completely blind. Nevertheless, the composer still conducted and produced a performance of his great work, Messiah, every year. It was after one of these performances that Handel collapsed and later died in 1759. Over three thousand people attended Handel’s funeral and he was buried at Westminster Abbey, heralded as the greatest composer of his day.

During time back in Germany, Handel had worked in the court of Elector George of Brunswick – the man who later ascended the English throne as King George I. Now, while in London, Handel wrote his famous Water Music for one of George’s processions down the Thames. This elevated his status, and Handel went on to dominate the English opera scene for over a decade with his expressive, intricate and spirited works. Eventually though, fashions changed and his audiences were drawn to operas staged by his competitors. This led to a grave period of not only financial ruin, but serious ill health for the composer. Years later, Handel finally returned with new work, but he had left the operatic world behind and was instead focusing on choral music. In 1742, his biggest success came along – Messiah. With its beautifully impressive and memorable score, the work quickly became incredibly popular, and has remained that way ever since. A vast number of vibrant choral works followed, as did his grand composition, Music for the Royal Fireworks Suite. Handel by Balthasar Denner, 1728

Messiah

A beloved tradition

GEORGE FRIDERIC HANDEL

Messiah

A Sacred Oratorio Handel’s Messiah was originally composed to feature in Easter celebrations, premiering in Dublin on April 13, 1742, to a packed audience of over 700 people and to great acclaim. Performed for the first time in London almost a year later, the work was less well received, but with every performance, its popularity grew. Today, Messiah is a beloved musical Christmas staple, performed by orchestras and choirs around the world over the festive season. Handel composed Messiah in the space of just 24 days in the summer of 1741, having received the text – adapted words from the King James Bible – from his friend and librettist Charles Jennens. The work mixes Italian opera with German Passion and English anthem, resulting in a masterpiece of incredibly enduring popularity which appeals, as Mozart said, “to all sorts and conditions of men”. Part One of Messiah journeys from the foretelling of Christ’s arrival in the Old Testament, to the Messiah’s birth in the New Testament. Its musical scope is varied and impressive – a sombre Sinfonia is followed by the calming ‘Comfort ye’ and the evocative ‘Every valley’. Striking moments follow in ‘And the glory of the Lord’ and ‘For unto us a Child is born’, highlighting the sublime power of Handel’s choral writing. The Pastoral Symphony heralds the story of Christ’s arrival, with the following text detailing ‘shepherds abiding in the field’ and the angels singing ‘Glory to God’, before the rousing aria ‘Rejoice greatly’ and the gentle ‘He shall feed His flock’. Part One ends with the chorus perfectly demonstrating the great vocal mastery Handel demanded of his singers. Part Two highlights Christ’s suffering and death. The chorus delivers a regal opening, which is followed by the heartfelt – almost operatic – aria ‘He was despised’. The expressive ‘All we like sheep’ delivers great anguish and drama, then the tenor’s ‘Thy rebuke hath broken His heart’ and ‘Behold, and see’ pack a particularly poignant punch. Glimmers of hope emerge in the following arias, before the chorus delivers ‘Let us break their bonds asunder’ with great force. Handel reflects the stark brutality of ‘Thou shalt break them’ in his music, a mood which is then

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shattered by the glorious ‘Hallelujah’ chorus. Part Three brings peace after the emotional and spiritual turbulence of Part Two – perhaps most so in the heartening ‘I know that my Redeemer liveth’, which details Christ’s resurrection. The arrestingly powerful recitative ‘Behold, I tell you a mystery’ carries contrasts of prophecy and assurance, pain and comfort, then gives way to the triumphant aria ‘The trumpet shall sound’ which, naturally, features sublime music for the trumpet. The work’s concluding chorus ‘Worthy is the Lamb’ radiates a soaring spiritual joy, bringing Messiah to a magnificent and awe-inspiring close.

An annual tradition for ensembles of all shapes and sizes across the globe, Handel’s Messiah holds a very special place in the classical repertoire. Over the years, it’s been revised and reimagined, recorded and performed thousands of times, yet its power and brilliance always shines through. Everyone who experiences the piece has a special Messiah memory – and we asked the performers in this evening’s concert for theirs. “There’s something truly special about Messiah that I don’t think we talk about enough... Every time we perform this work, as many times as it’s been performed, it is always new. Every single performance is a snowflake – completely unique because of the people who are there. And not just the singers and players, but also the listeners, and I think that’s incredible.”

Reginald Mobley, countertenor

“So many amazing Messiah memories over nearly 30 years with great soloists, conductors and of course always with our great Orchestra. Here’s a special non-musical memory – a Messiah one January in the 80s. It was a cold but dry night, we had a wonderful sing and the concert went very well with a wonderfully appreciative audience, then we came out to find thick snow on the ground. What an atmosphere - magical!”

Jane Grimes, Choir member

“I have performed Messiah with the Choir 15 times with different conductors, and every one has been different… For me, Natalie Stutzmann and Paul Agnew are stand-outs… Every conductor wants to put their own stamp on their Messiah… and, as a result, there have been some outstanding performances… It doesn’t matter how many times I sing the Messiah (and I have played it almost as many times on violin and viola), it lifts my heart with joy because it is just the most wonderful piece of music.” soprano, Choir member

“Handel’s Messiah holds particular significance for me, as it was one of the first major works I performed as a professional soloist. It continues to inspire me each time I sing it, and I can’t wait to dive back into its drama and beauty with the exceptional artists also performing in this concert.”

“Aside from Benjamin Appl’s amazing rapport with the choir, not to mention his talent, his sense of humour shone through during rehearsals for last January’s performance! At one point, his words to the timpanist were: ‘Could you do a big thing there?’ But the timpanist knew what he meant!”

Fflur Wyn, soprano

Tony Tudor, Choir member

“One of my most memorable Messiah moments would be Ian Tracey likening the basses to John Wayne when singing ‘He was truly the son of God’! I’m not sure how many people knew about the film Wayne was in but it certainly made me laugh. I caught Ian’s eye and he had a smile that seemed to soften his blow.”

“What I enjoy about the Messiah is that it makes me feel like Christmas is just round the corner, although I suppose in this case that’s about 350 days. I also can’t think of another piece that is so familiar and yet always so fresh and exciting. And I love coming to Liverpool, so I’m very much looking forward to that.”

Sarah Dyas, Choir member

George Humphreys, baritone

Messiah

PART ONE Sinfonia orchestra Recitative tenor Isaiah 40:1-3 Comfort ye, My people, saith your God: speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness, “Prepare ye the way of the Lord, make straight in the desert a highway for our God.” Air tenor Isaiah 40:4 Every valley shall be exalted, and every mountain and hill made low, the crooked straight and the rough places plain. Chorus Isaiah 40:5 And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. Recitative baritone Haggai 2:6-7; Malachi 3:1 Thus saith the Lord of Hosts: Yet once a little while, and I will shake the heavens and the earth, the sea and the dry land; and I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the covenant, whom ye delight in; behold, He shall come, saith the Lord of Hosts. Air countertenor Malachi 3:2 But who may abide the day of His coming? And who shall stand when He appeareth? For He is like a refiner’s fire.

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Chorus Malachi 3:3 And He shall purify the sons of Levi that they may offer unto the Lord an offering in righteousness. Recitative countertenor Isaiah 7:14; Matthew 1:23 Behold, a Virgin shall conceive and bear a Son, and shall call his name Emmanuel, “God with us.” Air & Chorus Isaiah 40:9; 60:1 countertenor & chorus O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. Recitative baritone Isaiah 60:2-3 For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the gentiles shall come to Thy light, and kings to the brightness of Thy rising. Air baritone Isaiah 9:2 The people that walked in darkness have seen a great light, and they that dwell in the land of the shadow of death, upon them hath the light shined. Chorus Isaiah 9:6 For unto us a Child is born, unto us a Son is given and the government shall be upon His shoulder: and His name shall be called Wonderful! Counsellor! The Mighty God! The everlasting Father! The Prince of Peace.

Messiah

Pastoral Symphony orchestra

PART TWO

Recitative soprano Luke 2:8-11,13 There were shepherds abiding in the field keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them; and they were sore afraid. And the Angel said unto them, Fear not, for behold I bring you good tidings of great joy, which shall be to all people: for unto you is born this day, in the City of David, a Saviour which is Christ the Lord. And suddenly there was with the angel a multitude of the heavenly host, praising God and saying:

Chorus John 1:29 Behold the Lamb of God, that taketh away the sin of the world.

Chorus Luke 2:14 Glory to God in the highest, and peace on earth, goodwill towards men. Air soprano Zechariah 9:9-10 Rejoice greatly, O daughter of Zion! Shout, O daughter of Jerusalem! Behold thy King cometh unto thee. He is the righteous Saviour, and He shall speak peace unto the heathen. Recitative countertenor Isaiah 35:5-6 Then shall the eyes of the blind be opened and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. Duet Isaiah 40:11; soprano & countertenor Matthew 11:28-29 He shall feed His flock like a shepherd; and He shall gather the lambs with His arms, and carry them in His bosom, and gently lead those that are with young. Come unto Him all ye that labour, and are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Chorus Matthew 11:30 His yoke is easy, and His burden is light.

INTERVAL - 20 minutes Across the venue we have cakes, confectionary, ice creams, snacks and drinks including premium spirits, wines, beers and coffee. Avoid the crowds by ordering interval drinks pre-concert in the Grand Foyer, or look out for our staff who sell refreshments during the interval in the Auditorium.

Air countertenor Isaiah 53:3; 50:6 He was despised and rejected of men, a man of sorrows and acquainted with grief. He gave His back to the smiters and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting. Chorus Isaiah 53:4-5 Surely He hath borne our griefs, and carried our sorrows. He was wounded for our transgressions: He was bruised for our iniquities: the chastisement of our peace was upon Him. Chorus And with His stripes we are healed.

Isaiah 53:5

Chorus Isaiah 53:6 All we like sheep have gone astray: we have turned every one to his own way: and the Lord hath laid on Him the iniquity of us all. Recitative tenor Psalm 22:7 All they that see Him laugh Him to scorn: they shoot out their lips and shake their heads, saying: Chorus Psalm 22:8 He trusted in God that He would deliver Him: let Him deliver Him if He delight in Him. Recitative tenor Psalm 69:20 Thy rebuke hath broken His heart: He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. Air tenor Lamentations 1:12 Behold, and see if there be any sorrow like unto His sorrow. Recitative soprano Isaiah 53:8 He was cut off out of the land of the living: for the transgressions of Thy people was He stricken. Air soprano Psalm 16:10 But Thou didst not leave His soul in hell: nor didst Thou suffer Thy Holy One to see corruption. Chorus Psalm 24:7-10 Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in. Who is the King of Glory? The Lord strong and mighty, the Lord mighty in battle. Who is the King of Glory? The Lord of Hosts, He is the King of Glory.

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Air countertenor Psalm 68:18 Thou art gone up high, Thou hast led captivity captive, and received gifts for men, yea, even for Thine enemies, that the Lord God might dwell among them. Chorus Psalm 68:11 The Lord gave the word: great was the company of the preachers. Air soprano Isaiah 52:7 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. Air baritone Psalm 2:1-2 Why do the nations so furiously rage together: why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His Anointed. Chorus Psalm 2:3 Let us break their bonds asunder, and cast away their yokes from us.

Air baritone 1 Corinthians 15:52-53 The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality. Air soprano Romans 8:31 If God be for us, who can be against us? Who shall lay anything to the charge of God’s elect? It is God that Justifieth. Who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us. Chorus Revelation 5:12-13 Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom and strength, and honour, and glory, and blessing. Blessing and honour, glory and power be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever. Amen.

Recitative tenor Psalm 2:4 He that dwelleth in heaven shall laugh them to scorn: the Lord shall have them in derision. Air tenor Psalm 2:9 Thou shalt break them with a rod of iron: Thou shalt dash them in pieces like a potter’s vessel. Chorus Revelation 19:6, 11:15, 19:16 Hallelujah! For the Lord God Omnipotent reigneth: the kingdom of this world is become the Kingdom of our Lord, and of His Christ, and He shall reign for ever and ever, King of Kings, and Lord of Lords. Hallelujah!

PART THREE Air soprano Job 19:25-26; 1 Corinthians 15:20 I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth: and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep. Chorus 1 Corinthians 15:21-22 Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. Recitative baritone 1 Corinthians 15:51-52 Behold, I tell you a mystery: we shall not all sleep but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet. © Gareth Jones

Messiah

An interview with

Laurence Cummings Thank you for joining us for our annual performance of Messiah. Tell us a little bit about the piece – what makes it so timeless? Messiah, for me, is about hope and redemption. The work tells the story of Jesus Christ’s birth, his death by crucifixion and his ultimate resurrection. Whatever your beliefs, Handel’s treatment of the biblical texts is so steeped in human empathy that it transcends a literal understanding and shows that despite the terrible things mankind is capable of, there exists the possibility of change and transformation through love and kindness.

The alto (or countertenor) is us, the onlookers. It is he that demands of the audience, whether we are up to the task of having everything turned upside down with Jesus’ arrival in ‘But who may abide the day of his coming’. He invokes the true wretchedness of our cruelty to our fellow humankind in ‘He was despised’ and dares to hope for resurrection in ‘Thou art gone on high’.

The bass (or baritone) is the voice of God and His mystery. From the gloom of part One to the bright glory of part Three he shows us the true transformation of Messiah, from darkness to light.

Conductor and harpsichord player Laurence Cummings is one of Britain’s most exciting and versatile exponents of historical performance. A noted authority on Handel, the Guardian has written of him “he now ranks as one of the composer’s best advocates in the world. Selfeffacing on the podium, faithful above all to the score, he matches Handel’s energy and invention with unmistakable lyricism, generosity and dignity.”

How do you feel about orchestras playing baroque music on modern instruments?

Oratorios are theatre of the mind; unlike operas, there is no visible set or costumes or even a list of characters in this case. But the way the performers relay the layers of meaning in the text through music, allows it to enter into the hearts and souls of the audience and draw them into our music-making to form a convection current between the stage and the public.

tells us to leave things to God to sort out in ‘Thou shal’t break them’ allowing us to join in a rousing ‘Hallelujah’.

What are you most looking forward to about returning to Liverpool? I am so looking forward to working with the orchestra and chorus again. I can’t wait to get stuck into the powerful rhetoric of Messiah. I also love Liverpool! Walking around the city inspires me with its beautiful Georgian architecture, incredible cathedrals and arts galore and it brings back wonderful memories of childhood holidays and former visits.

Laurence Cummings conductor

I was very fortunate when I left college, that I was asked to play for back-to-back Handel productions. The first was in Ireland and I put the harpsichord in the back of my old Vauxhall Cavalier Estate and toured village halls and arts centres performing Handel operas. I was immediately drawn to Handel’s understanding of the human condition. He has an aria for every mood and emotion you might ever feel. Whether mildly annoyed because the bus is late, or that you believe your lover to be dead (in Handel opera they usually appear fully alive around the next corner), there is an aria for you!

I love it! We’ve come a long way since the early days of Historical Performance. Research into playing techniques is still developing. We have more and more information about the playing techniques of the time and this gives us tools to achieve what ultimately all the treatises of yore tell us to do; the duty of the musician is to move the soul of the listener. I remember the players of the Royal Liverpool Philharmonic Orchestra being so engaged with the rhetoric of the music and also very receptive to the historical ideas of note shape and detailed articulations to match the vocal texts.

maintains to the end as she sings the hymn of faith, ‘I know that my Redeemer’, and the almost defiant ‘If God be for us, who can be against us?’ in Part Three.

The tenor is the Evangelist of the piece. He has a purity of faith that drives him to ask us to prepare our lives for the arrival of the Messiah. It’s going to be a bumpy ride! Every valley and mountain will be inverted, rough places will become smooth but his opening comforting words show us that things will come good in the end. It is the tenor who mirrors back to us the horror of what we, the monstrous crowd have done to Jesus in the arioso ‘Thy rebuke have broken His heart’ and then

You’re a true expert on Handel – what first drew you to the composer and his work?

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Messiah is such a powerful piece of music – what should our audience listen out for in particular? Unlike other Handel oratorios, Messiah isn’t a straightforward narrative. Instead, it acts like a meditation on the life of Christ. Charles Jennens chose the texts, which largely come from the Old Testament, emphasising the prophetic nature of the story. The chorus plays a very crucial role. They are by turns the congregation of the early church, a host of angels, the baying mob demanding Jesus’ crucifixion, and finally the messengers of the wisdom of resurrection and its transcendent glory. The soloists are not assigned specific characters as in other oratorios, but I feel they fulfil individual roles: The soprano is the last to appear and tells the nativity story, bestowing upon her an angelic quality which she

He is Music Director of the Academy of Ancient Music and Orquestra Barroca Casa da Música in Porto and has previously held positions as Artistic Director of the Internationale Händel-Festspiele Göttingen, and Musical Director of the London Handel Festival. Frequently praised for his compelling performances, his career has taken him across Europe, conducting productions at houses including Royal Ballet and Opera Covent Garden (Jephtha, Bernice), Opernhaus Zurich (Belshazzar, King Arthur), Oper Frankfurt (Hercules), Dutch National Opera (Idomeneo), Theater an der Wien (Saul), and Opera de Lyon (Messiah). He has appeared regularly for Glyndebourne Festival Opera, English National Opera, Garsington

Opera and Opera North. Equally at home on the concert platform, he is regularly invited to conduct both period and modern instrument orchestras worldwide. He has made recordings with Emma Kirkby and Royal Academy of Music, Angelika Kirschlager and the Basel Chamber Orchestra, and Maurice Steger and The English Concert, and had a series of live performances recorded at the Göttingen International Handel Festival. He has released numerous solo harpsichord recital and chamber music recordings for Naxos. 2025/26 highlights include productions of Guilio Cesare for Oper Frankfurt and Il ritorno d’Ulisse for Garsington Opera, as well as appearances with Manchester Camerata, Royal Scottish National Orchestra, Royal Liverpool Philharmonic Orchestra and Antwerp Symphony Orchestra. He was an organ scholar at Christ Church Oxford where he graduated with first class honours. Until 2012 he was Head of Historical Performance at the Royal Academy of Music which led to both baroque and classical orchestras forming part of the established curriculum. He is now the William Crotch Professor of Historical Performance.

Messiah

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Fflur Wyn soprano Welsh soprano Fflur Wyn has appeared in leading and diverse roles across many European houses. This includes 1st Niece Peter Grimes (Royal Danish Opera); Jemmy Guillaume Tell, Iphis Jephtha, Blonde Die Entführung aus dem Serail and Dorinda Orlando (Welsh National Opera); Pamina The Magic Flute, Vivetta L’Arlesiana, Alice Alice’s Adventures in Wonderland, and the title role in Lakmé (Opera Holland Park); Malinka/Etherea/Kunka The Adventures of Mr Brouček (Grange Park Opera); La Plus Jeune Fille Au Monde (La Monnaie); Lucia The Rape of Lucretia (Potsdamer Winteroper); Waldvogel Siegfried (Longborough Festival Opera); Esilena Rodrigo (Göttingen International Handel Festival); and Celia Lucio Silla (Buxton Opera). With Opera North, her wide-ranging repertoire includes Euridice Orfeo ed Euridice, Sophie Der Rosenkavalier, Susanna The Marriage of Figaro, Morgana Alcina, Marzelline Fidelio, Servilia La Clemenza di Tito, Blue Fairy Pinocchio, Waldvogel Siegfried, Achsah Joshua, Gretel Hänsel und Gretel, Clerida Croesus, and Sophie Werther. Other credits include Floriana Zazà (Opera Rara), Mimi Vert-

Vert (Garsington Opera), and Nedda I Pagliacci (Cambridge Philharmonic Orchestra). Fflur has collaborated with distinguished conductors such as Sir Colin Davis, Sir Charles Mackerras, Seiji Ozawa, Sir Richard Armstrong, Harry Bicket, Carlo Rizzi, David Hill, Daniel Reuss, Thomas Zehetmair, David Parry, Christian Curnyn and Paul McCreesh. She has appeared with major ensembles including the RIAS Kammerchor, Copenhagen Philharmonic, Cappella Amsterdam, Academy of Ancient Music, Gabrieli Consort, The English Concert, Orchestra of the Age of Enlightenment, Royal Philharmonic, London Philharmonic and Royal Scottish National orchestras, among others. She has also appeared in recital at Kings Place, St John’s Smith Square, Wilton’s Music Hall, the Howard Assembly Room and the Oxford Lieder Festival, as well as in performances at the Wigmore Hall, the Concertgebouw and the Théâtre des Champs - Élysées.

Reginald Mobley countertenor GRAMMY-nominated American countertenor Reginald Mobley is globally renowned for his interpretation of baroque, classical and modern repertoire, and leads a prolific career on both sides of the Atlantic. An advocate for diversity in music and its programming, Reginald became the first-ever Programming Consultant for the Handel & Haydn Society following several years of leading H&H in its community engaging Every Voice concerts. Reginald is leading a research project in the UK, funded by the AHRC, to uncover music by composers from diverse backgrounds and he is also Visiting Artist for Diversity Outreach with Apollo’s Fire and Artistic Advisor at the Portland Baroque Orchestra. Highlights of recent seasons include a diverse range of recitals with piano and continuo (Chicago, De Bijloke in Gent, Wigmore Hall, MA Festival in Bruges, Bayreuth Baroque festival) as well as regular appearances with major orchestras and specialized ensembles in North America - the Philharmonia Baroque Orchestra, Early Music Vancouver, Collegium San Diego, Agave, Seraphic Fire, and Washington Bach Consort - in Europe:

Nederlandse Bachvereniging, Wiener Akademie, Monteverdi Choir, Academy of Ancient Music, Cambridge, English Baroque Soloists, Bach Oxford Soloists, Dunedin Consort (Aldeburgh and Edinburgh festivals) and Orchestre de Chambre de Paris (Festival de Saint-Denis). Reginald has also been invited to tour Australia with Bach Akademie Australia and Japan for a series of concerts with Bach Collegium Japan under the baton of Maestro Suzuki. His first solo CD with Alpha Classics was released in June 2023 to coincide with a major series of concerts with pianist Baptiste Trotignon at the Aixen-Provence and BBC Proms festivals. The CD won both an Opus Klassik and an Edison Klassiek award. A second Alpha recording is a tribute to English baroque music (Purcell, Dowland…) and its influence on modern American repertoire (with theorbo/guitar and viola da gamba/double bass), and has already been distinguished on German radio (NDR) and won a ‘Diamant’ from Opéra Magazine. Reginald also features on several albums including with the Monteverdi Choir, Agave Baroque, and Stuttgart Bach Society.

Messiah

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Nick Pritchard tenor Tenor Nick Pritchard is fast gaining recognition for his performances of Bach’s music, in particular his interpretation of the Evangelist in the Passions. Described as a ‘masterly Evangelist’ in The Guardian, he has sung the role in Bach’s St John Passion and St Matthew Passion around the world, and his recording of the St John Passion with Sir John Eliot Gardiner was nominated for a Grammy Award (2023). Highlights this season include a performance of Bach with Les Arts Florissants (Paul Agnew), Messiah with the Royal Liverpool Philharmonic Orchestra, and Haydn’s The Creation with the Orchestra of the Age of Enlightenment. Also highly regarded as a recitalist, Nick has performed with Simon Lepper, Sholto Kynoch, Christopher Glynn, Graham Johnson and Malcolm Martineau, on stages including Wigmore Hall, Oxford International Song Festival, and at Ryedale, Edinburgh International and Aldeburgh Festivals. This year he released his debut recital album for the Signum label, titled Little Wanderer, with his longterm collaborative partner Ian Tindale.

Other recent concert highlights include Mendelssohn’s Lobgesang with the OAE, Britten’s St Nicolas for the Aldeburgh Festival, his Japanese debut with the Yomiuri Nippon Symphony Orchestra under Masato Suzuki, and Handel’s L’allegro, il penseroso ed il moderato and Bach’s B Minor Mass on a North American tour. Equally at home on the operatic stage, he recently performed in Oliver Mears’ production of Bernstein’s A Quiet Place and made his debut at Park Avenue Armory performing a selection of Bach cantatas staged by Peter Sellars. Other opera performances have included Die Zauberflöte for Glyndebourne on Tour, and Così fan tutte for Opera Holland Park. A regular performer of new music, he sang in Mark Simpson’s Pleasure (Opera North, Aldeburgh). He has performed with ensembles including L’Orchestre de Chambre de Paris, BBC National Orchestra of Wales, Gabrieli Consort and Britten Sinfonia (BBC Proms debut, Mozart Requiem under David Bates).

George Humphreys baritone Noted for his “mesmerizing voice” (Time Out), “authority and confidence” (Opera Magazine) and “tree-height” (Online Merker), baritone George Humphreys lives in Salzburg, where he is a member of the solo ensemble at the Salzburger Landestheater. Equally at home on the concert or opera stages, George’s repertoire has ranged from the music of Bach and Handel up to that of contemporary composers such as Peter Maxwell Davies and Peter Eötvös. His recent opera appearances in Salzburg include Figaro in Il Barbiere di Siviglia, Escamillo in Carmen, and all the major Mozart baritone roles. Highlights elsewhere include Count Almaviva in Le Nozze di Figaro at Glyndebourne, the title role in Eugene Onegin at the Buxton International Festival, Leporello with the Nederlandse Reisopera, and Demetrius in Britten’s A Midsummer Night’s Dream at the Aldeburgh Festival. On the concert platform, recent highlights include Mahler’s Symphony

No.8 with Daniel Harding and the Swedish Radio Orchestra, Mahler’s Lieder eines fahrenden Gesellen with the Mozarteum Orchester Salzburg, Bach’s St. Matthew Passion with the Academy of Ancient Music and Bach’s Christmas Oratorio with the Australian Chamber Orchestra. He has appeared regularly at English National Opera and the London and Göttingen Handel Festivals and has given Lieder recitals at Lille Opera, Opernhaus Zürich, the Wigmore Hall in London and the Oxford Lieder Festival. George was born in Oxford and was a chorister at Christ Church Cathedral, touring and recording extensively. He subsequently studied at St. John’s College, Cambridge, the Royal Academy of Music and the International Opernstudio Zürich. George is an Associate of the Royal Academy of Music and is a recipient of the Worshipful Company of Musicians’ Silver Medal.

Royal Liverpool Philharmonic Orchestra Domingo Hindoyan was appointed Chief Conductor of the Royal Liverpool Philharmonic Orchestra in 2021, joining a distinguished line of musicians who have led the Orchestra during its illustrious history. In 2018 Andrew Manze was appointed Principal Guest Conductor, and in 2021 Vasily Petrenko became Conductor Laureate. The Orchestra gives over 70 concerts each season in its home, Liverpool Philharmonic Hall. Liverpool Philharmonic premieres and commissions more music than any other UK orchestra, with over 300 works premiered and commissioned in the last 20 years. The Royal Liverpool Philharmonic Orchestra has long been a unique ambassador for Liverpool through an extensive touring schedule throughout the UK and internationally, and through broadcasts and recordings. The latest addition to the Orchestra’s critically acclaimed recordings catalogue is Beethoven: Piano Concerto No. 3, Piano Sonatas 24 & 28 – a recording with Domingo Hindoyan and pianist Karim Said. The Orchestra has received numerous recording accolades, such as the Gramophone Orchestral Recording of the Year and BBC Music Magazine Awards. The Orchestra has recorded the Vaughan Williams symphony cycle twice (with Vernon Handley and more recently with Andrew Manze) and the Rachmaninov, Shostakovich, and Tchaikovsky symphonies with Vasily Petrenko. Collaborations with international artists from rock, pop, folk and dance music include Liverpool’s own Sir Paul McCartney, Elvis Costello, Orchestral Manoeuvres in the Dark, Ian Broudie and the Lightning Seeds, Echo and The Bunnymen, Cast, The Unthanks and Liverpool superclub, Cream.

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Royal Liverpool Philharmonic Orchestra CHIEF CONDUCTOR Domingo Hindoyan

Sophie Coles

PRINCIPAL GUEST CONDUCTOR Andrew Manze

# Dr E Vivori / Alex Kidson

CONDUCTOR LAUREATE Vasily Petrenko CHORUSMASTER Matthew Hamilton

# Mr & Mrs G Goodchild / C van Solkema in memory of Roz Kelly

– FIRST VIOLINS Thelma Handy † L

# The JA Shone Memorial Trust / Andrew Hobson

Adi Brett AL Andrew Harvey JAL # Val Willis

Mihkel Kerem JAL # Val Willis

Peter Liang Martin Richardson † # Tim and Kay in memory of Julia and Josh

Concettina Del Vecchio

# Val Willis

Kate Marsden

James Justin Evans † # Rob and Val Howell / Mrs Alison Cohen

Sally Anne Anderson

# Sally Cottrell & Linda Leggett

David Rimbault Olga Smoleń

# Mr & Mrs Paul and Ann Wynn

Frances Evans # Robin Moor

Joana Correia Rodrigues Chu Yu (Joe) Yang – VIOLAS Catherine Marwood SL

# John Hawley and Isobel Smith

Gwendolyn Cawdron

Fiona Stunden † # Jean Cross

Rachel Jones

# Robert & Pamela Ferguson

# anonymous patron

Susanna Poole

# Claire Deegan and Paul Holt / Alan Poole

Elizabeth Lamberton # Peter Eustance / Mike & Joanne Jones

Emily Mowbray

# In House Lawyer (Services) Limited

Rebecca Steventon

# anonymous patron

Ian Fair

– CELLOS Hilary Browning †

# Jill Salisbury-Hughes in memory of Paula

Ian Bracken † Gethyn Jones †

# Yvonne Dempsey in memory of Michael

Ruth Owens

# Ian & Kathy Taphouse / Carolyn Waite

# Linda Harrison

Alexander Holladay

# anonymous patron

Mark Lindley

Qian Wu

– SECOND VIOLINS Kate Richardson SL † # Mrs Jean Bingham

# Viv Hollinshead

# Mr Christopher Elliott

# Robin Bloxsidge and Nick Riddle

Simon Griffiths

# Mr D & Dr A Davidson Lund / Anonymous patron

Stephen Nicholls

# Mike and Steph Griffith

Timothy Nicholson

Ashley Frampton † Nigel Dufty †

Anthony Williams # Carolyn Waite

# The Sterlings

# Robin Bloxsidge and Nick Riddle

# Maestro! Touring & in memory of Joan McLarnon

– FLUTES Cormac Henry SL

– TRUMPET Hannah MacKenzie

Helen Wilson

– TROMBONES Simon Cowen SL

# Gill Porter

# Howard & Sue Rogers

– PICCOLO Sameeta Gahir

# Steph & Mike Griffith in memory of Eileen Lee

Catrin Ruth Davies †

David Ruby †

HORNS Timothy Jackson SL

# Janet Birch in memory of June

# Michael and Margaret Swinson

Nadia Debono

# Carmel Stewart

# Pam Swift / Ian & Kathy Taphouse

Nathan Knight

# Andrew Walker

# Jon and Sally Sheard

Sarah Hill

Ruth McNamara

# Christen Herbert

– OBOES Helena Mackie SL

# Richard Bryson in memory of Jenny / Emma & David Harris

Stephan Mayer

DOUBLE BASSES Marcel Becker SL

# Howard and Sue Rogers

# Maestro! Touring and in memory of Mary Riddoch

– COR ANGLAIS Drake Gritton #Mary Kennan

– CLARINETS Miquel Ramos Salvadó SL # Robin Bloxsidge and Nick Riddle

Emma Burgess

# Mr WJ & Mrs CJ Bowley, and an anonymous patron

– BASSOON Rebekah Abramski # Bryan Lecky

– CONTRABASSOON Gareth Twigg

# Mike & Joanne Jones

# Mr Eric Jennings

Simon Powell

– BASS TROMBONE Simon Chappell

# Peter and Gwen Goodhew / Mr Eric Jennings

– TUBA Robin Haggart † # anonymous patron

– TIMPANI Neil Hitt SL # Lorna Dobson

– PERCUSSION Matthew Brett SL # Dr VJ Martlew

Josephine Frieze # Peter and Susan Rathe

Scott Lumsdaine

# John Horne

– HARP Elizabeth McNulty SL # Mrs AV Gardner

# Susie and Roger Greenwood

Anna Stuart # Judith Knowles

Anna Crawford

# Dr Elaine McMahon

# denotes that a musician has been adopted by a donor through Liverpool Philharmonic’s Adopt a Player scheme. If you would like to find out more about this scheme, or other ways that you can support our artistic and learning activities, please contact our fundraising team on 0151 210 2921 or fundraising@liverpoolphil.com – they will be pleased to assist you.

Royal Liverpool Philharmonic Choir The Royal Liverpool Philharmonic Choir is an auditioned adult symphony chorus comprising over 100 singers from across the North West region who volunteer their time to bring the highest standard of symphonic choral music to audiences in Liverpool and beyond.

# Mr Eric Jennings

Sophie McQueen

L Leader AL Associate Leader JAL Joint Assistant Leader SL Section Leader † Honorary Life Member of the Royal Liverpool Philharmonic Society

Royal Liverpool Philharmonic Choir

Please note that not every Orchestra member takes part in every event, and that guest players join the Orchestra on occasion. At some events, a separate sheet listing the players taking part is available.

The Choir was founded in 1840, in parallel with the Royal Liverpool Philharmonic Orchestra, with the aim of complementing the Orchestra in performances across the nation. Now, 185 years later, the Choir still regularly perform with the Orchestra in their home venue, Liverpool Philharmonic Hall, as well as other UK venues, such as the Royal Albert Hall. Led by Director of Choirs and Singing Matthew Hamilton, the Choir boasts an impressive schedule of concerts every season, with repertoire ranging from Christmas classics to large scale symphonic works. Highlights for the remainder of the 2025/26 season include Rossini’s Petite Messe Solennelle as part of Liverpool Philharmonic’s Choral Celebration, and a season finale of Elgar’s The Dream of Gerontius.

Want to get involved? The Royal Liverpool Philharmonic Choir accepts applications all year round – scan the QR code to find out more and apply. For a list of Choir members, see page 19. For more information about Matthew Hamilton, see page 17.

Royal Liverpool Philharmonic Administration CHIEF EXECUTIVE’S DEPARTMENT

HUMAN RESOURCES Emma Breuilly Head of HR Rhiannon Asante HR and Recruitment Coordinator

DEVELOPMENT

LEARNING Zoë Armfield Head of Learning Jordan Armstrong Youth Company Producer Nicola Hopson Learning Projects Manager Nikita Robinson Learning Officer Isobel Mortimer Learning Officer (Liverpool Philharmonic in Barrow) Sophie Turner Youth Operations Manager (Maternity Leave) Montserrat Romero Youth Operations Manager (Maternity Cover)

Vanessa Reed Chief Executive

Charlie Taylor Head of Philanthropy Celia Makin-Bell Head of Trusts and Foundations Gemma Lynch Individual and Corporate Giving Manager Kitty Rae Stakeholder Event Manager Laura Connelly Development Assistant

ARTISTIC PLANNING

Sandra Parr † Artistic Planning Director (Orchestra and Ensembles) Katy Wakeford-Brown Artistic Planning and Digital Programme Manager Louise Madden Choral Manager Sian Waller Operations and Special Projects Manager Rosemary Barton Artistic Planning Officer Adam Webster Music Librarian Eve Klein Assistant Music Librarian PROGRAMMING (HALL & EVENTS) Richard Haswell Head of Programme Adam Ghidouche Programme Manager (Music) Sophie Dand Programme Manager (Spoken Word, Private Hire and Film) Moira Hall Hall and Events Administrator

FINANCE, IT AND FACILITIES Stephan Heaton Executive Director (Finance & IT)

FINANCE Bill Woosey Financial Accountant Michelle Flynn Management Accountant Joanne Stobbart Accounts Assistant Paul Murphy Accounts Assistant FACILITIES Alan Mcleod Head of Facilities Steve Bragger † Building and Maintenance Manager Hector Williams Premises Officer Peter Johnson Building Maintenance Operative Cameron Simon Maintenance Operative Raymond Hughes Evening Facilities Assistant

Learning Projects Coordinators Sam Heller, Alex Starkey, Hannah Foster IN HARMONY LIVERPOOL PHILHARMONIC John Connolly Artistic Director Nadeen Kemp Producer Alexandra Dunn Deputy Artistic Director Kirsty Porter Officer Sally Anne Anderson Lead Musician Alice Braithwaite Lead Musician Matthew Thompson Musician Jonathan Hering SEND Musician Megan Thompson Lead Musician Ria Nolan Lead Musician Matt Humphries Lead Musician (Creative) Stefan Mather Musician PRODUCTION Emma Carey Head of Production and Technical Services Chris Tann Recording Manager Ian McCreadie Technical Manager Production Technicians Luke Hamilton, Aaron Wilson, Millie McKenzie, Anthony Leigh, Faye Larty, Libby Foster, Matthew Fairrie Technical Staff

IT Ronan McClafferty † Head of Systems

Patrick Coyle, Sam Bailey, Anna Culkin, Matthew Fairrie, Alexander France, Rowan Gorst-Gaudie, Jonathon Hamer, Sam Hepworth, Alex Hewitt, Max Holden, Per Jakobsen, Clementine Jones, Kathryn Lea-Wilson, Elizabeth Lumen, Alex Marshall, Owen Martin, Joe Miri, Dominic Moreno, Grady Renshaw, Benjamin Riley, Jonah Rogers, William Shacklady, William Sutcliffe, Rachael Foster, Samuel Smee, Libby Foster, Mathew Colfar, Ellen McGovern, Emily Bond, Ezra Russell, Matthew Kowalski, Mia McEvoy, Ollie Roper, Adam Dundas, Max Wilson, Claire Davies, Gabriel Roberts, William Akers

PERFORMANCE AND LEARNING

FOOD AND BEVERAGE Lucy Jones Head of Food and Beverage Rhiannon Wain Food and Beverage Manager

Peter Garden Chief Operating Officer ORCHESTRA MANAGEMENT Carys Williams Head of Orchestra Management Alexandra Swift Orchestra Personnel Manager Emily Burton Assistant Orchestra Manager Julian Munro Orchestra Stage and Operations Manager Conor Prescott Stage and Transport Manager

Food and Beverage Duty Managers Stephanie Roberts, Natalie Dando, Tim Hughes, Danielle Youds Bar Staff

Jacob Armstrong, Isobel Bardsley, Alana Bennett, Geraldine Bennett, Laurence Cotton, Chelsea Dew, Leo Dunn, Nanci Farley, Emillie Foster, Remy Garvey, Leah Gould, Joe Greenwood, Meg Howe, Rob Kearley, Abby Livingstone, Michael Maloney, Amy O’Rouke, James Platt, Lydia Potter, Andrew Potter-Jones, Sam Roberts, Indianna Salinas, Joe Spence, Charlie Telfer,

Jessica Thomas, Alfie Vesey, Grace Williams, Rebecca Hamilton, Chloe Nicholls-Anthony, Elizabeth Gardner, Ellie Jane Searle, Florence Holyland, Hannah Watson, Molly Tierney, Paula Parker, Thomas Roberts, Tom Hudson, Zizi Peck, Josh Morris, Leonie Brailsford, Caitlin Meehan, Sam Hyland, James McGuigan, Jacob Emmanuel, Sophia Sampson, Maksymilian Gajewski

VISITOR EXPERIENCE James Seddon Head of Visitor and Events Operations Eilidh Browne Visitor Experience Manager Event Managers

Helen Kerr, Connor Moore, Helen O’Sullivan, Adam Pringle, Zee Jones, Aimee Kelly

Stage Door Receptionists

Carol Bullen, Jackie Mogan, Elizabeth Paes, George Abbott, Zachary Holzberg, Grant Lenton

Stewards

Connor Barlow, Sarah Bell. Tom Curtis, Emily Chapple, Beth Clarke, Hannah Clarke, Lisa Edmanson, Elizabeth Hann, Laura Hawes , David Humphreys, Halima Jonas, Peter King, Grant Lenton, Phoebe Lovstrom, Thomas McIntyre, Dean Rowlands, Bret Smith, Laura Spallen, Claire Speed, Rebecca Woodnutt, Nicholas Turner, Abbie Williams, Aidan Maj, Isabella Pakpahan, Andrea Perkins, Annemarie Youds, Barney Weightman, Daniel McCreanor, Graham Smillie, Hervey Bracken, Kevin Heffey, Libby Foster, Elizabeth Paes , Ruby Shrimpton, John Lippitt, Jane Stenhouse, Del Derrick, Ed Virgo, Helen Croft, Joshua Williams, Kevin Lloyd Williams, Mohan Welstand-Keryk, Rosie Wilkinson, Ryan Lawless, Zachary Holzberg, Hosanna Starkey, Dylan Young, Harry Searing , Joe Lyman, Joseph Houghton, Lucy Hiscock, Lynn Keeling, Matteo Ressa, Suzanne Zeverona, Alexander Green, Colette Fitzgerald, Elaine Hibbert

AUDIENCES

Charlie Rachwal Director of Audiences MARKETING & COMMUNICATIONS Suzie Banks Head of Marketing Elizabeth Heague Head of Marketing (Maternity Cover) Jessica Strawson Head of Communications and External Affairs Megan McGurk Social Media Manager Chris Bennett-Hulme † Marketing Manager Abi Collins Marketing Manager Lauren McKiernan Graphic Designer Katya Parkes Editorial Manager Bethan Niesyty Marketing and Communications Assistant Emily Head Marketing Assistant BOX OFFICE Jamey Wood † Box Office Manager Cal Cairns Assistant Box Office Manager (Customer Services) Hermione Marshall Assistant Box Office Manager (Systems & Data) Alex Beechey † Box Office Supervisor Box Office Assistants Carol Parr, Jane Richardson, Lucy Quine, Fabienne Thornton, Nicola Evans, Graham Smillie, Andrea Perkins, Zoe Lambrakis

† denotes Honorary Life Member of the Royal Liverpool Philharmonic Society.

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