Handel’s Messiah Glasgow Royal Concert Hall Fri 2 Jan 2026 3pm
2 Handel’s Messiah
Handel’s Messiah
Glasgow Royal Concert Hall Fri 2 Jan 2026 3pm Hallelujah! Celebrate the New Year with the RSNO’s annual performance of Handel’s Messiah. Laurence Cummings directs an all-star cast alongside the RSNO and its mighty Chorus. From ‘For Unto Us a Child is Born’ to the unforgettable Hallelujah Chorus, enjoy all the glory and joy of this truly timeless masterpiece..
HANDEL Messiah [150’] INTERVAL Parts II and III Laurence Cummings Conductor Anna Devin Soprano Claudia Huckle Contralto Nick Pritchard Tenor George Humphreys Baritone RSNO Chorus Stephen Doughty Director, RSNO Chorus Paul Whittaker BSL Performer
The performance will be recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
If viewing these notes at the concert, please do so considerately and not during performances. Please silence all mobile telephones and alerts, and refrain from taking photographs, without flash, until the end of each piece.
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Royal Scottish National Orchestra
Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan, two Diapason d’Or awards (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Award nominations. In recent years, the RSNO has cultivated an international reputation for world-class film, television and videogame soundtrack recording. The Orchestra has recorded for BAFTA-winning series Silo (Apple TV) and worked with the likes The Orchestra’s artistic team is led by Danish of GRAMMY Award-winning composer Lorne conductor Thomas Søndergård, who was Balfe on Life on Our Planet (Netflix). Other notable appointed Music Director in 2018. In March 2024, titles include Nuremberg (Sony Pictures), Now You Austrian-born conductor, composer and musician See Me: Now You Don’t (Lionsgate), Horizon: An Patrick Hahn became the Orchestra’s Principal American Saga (Warner Bros) and Star Wars Guest Conductor. Outlaws (Ubisoft). The Orchestra records at its bespoke in-house facility in Glasgow. The RSNO is supported by the Scottish Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950 and was awarded Royal Patronage in 1977. Many renowned conductors have contributed to its success, including Sir John Barbirolli, Walter Susskind, Sir Alexander Gibson, Neeme Järvi, Walter Weller, Alexander Lazarev and Stéphane Denève.
Government and is one of the Scottish National Performing Companies. The Orchestra performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness, and appears regularly at the Edinburgh International Festival and BBC Proms. The RSNO has made recent tours to China and Europe. The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s
The RSNO believes that music can enrich lives, and aims to inspire, educate and entertain people throughout Scotland and beyond with its performances, recordings and engagement programmes. Supporting schools, families, young professionals and wider communities, the RSNO delivers high-quality initiatives for all ages and abilities.
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On Stage FIRST VIOLIN Lena Zeliszewska
VIOLA Felix Tanner
BASSOON Jamie Louise White
ASSOCIATE LEADER
ASSOCIATE PRINCIPAL
ASSOCIATE PRINCIPAL
Patrick Curlett Caroline Parry Ursula Heidecker Allen Elizabeth Bamping Lorna Rough Susannah Lowdon Alan Manson
Susan Buchan Nicola McWhirter Beth Woodford
TRUMPET Christopher Hart
SECOND VIOLIN Marion Wilson ASSOCIATE PRINCIPAL
Jacqueline Speirs Kirstin Drew Nigel Mason Robin Wilson Colin McKee
CELLO Pei-Jee Ng PRINCIPAL
Kennedy Leitch Rachael Lee Sarah Digger DOUBLE BASS Nikita Naumov PRINCIPAL
Ben Burnley
PRINCIPAL
Brian McGinley TIMPANI Paul Stoneman GUEST PRINCIPAL
ORGAN Stephen Doughty HARPSICHORD Will Cole
OBOE Peter Dykes
ASSOCIATE PRINCIPAL
Laura Ritchie
Orchestra list and programme details correct at time of going to print.
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RSNO Chorus
The RSNO Chorus performs in around six different programmes in up to 20 concerts across Scotland with the Royal Scottish National Orchestra each year. The RSNO Chorus has also had great success in recording with the Orchestra. Its recordings, among others, of Prokofiev’s Alexander Nevsky, conducted by Neeme Järvi, and Holst’s The Planets, conducted by David Lloyd-Jones, have both attracted high critical acclaim.
War Requiem with the RSNO at the BBC Proms, joining the Orchestra again in the Royal Albert Hall in 2024 for Classic FM Live.
The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today it is one of the most successful choruses in the UK. In recent years it has performed practically every work in the standard choral repertoire along with In addition to its commitment to the Orchestra, contemporary works by renowned composers, the RSNO Chorus performs independently and has including John Adams, Magnus Lindberg, Howard been invited to perform with orchestras in many Shore and, most recently, the critically acclaimed parts of the world, establishing an international Scottish Premiere of Sir James MacMillan’s status and touring to Copenhagen, Hong Kong, Christmas Oratorio. Israel, Germany, Belfast, Australia, Trondheim, Amsterdam, Prague and, most recently, Budapest, The RSNO Chorus is directed by Stephen Doughty, who was appointed to the role at the start of the performing with the MAV Orchestra in the Liszt 2022:23 Season. Academy and Matthias Church, directed by Stephen Doughty. In 2018 it performed Britten’s
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SOPRANO 1 Alison Blair Alison Pryce-Jones Becky Ward Caroline Cradock Catherine Taylor Charlotte McKechnie Joanna Beaton Karman Leung Mhairi Hendry Mary Fraser Morag Kean Morven MacDonald Roberta Yule Sarah Greer Seonaid Eadie SOPRANO 2 Beth Kean Carol McLean Elspeth Waugh Frances Kennedy Helen Hyland Jenny Cheung Kate Adams Katie Dew Laura Gorman Mairi Therese Cleary Miriam MacDonald Sally Sandground Theresa Hoare ALTO 1 Ailie MacDougall Angela McDonald Anne Murphy Brenda Williamson Catriona Eadie Fiona Taylor Julia Haddow Julia King June Thomas Kirstie Fairnie Laura Macdonald Lauren Hadley
Linda McLauchlan Louise Reid Marrian Murray Mary Taylor Marita McMillan Maureen McCroskie Olivia Howe Gillespie Ruth Townsend Siobhan Rodger Sophy Ying Uta Engelbrecht ALTO 2 Alison Bryce Ann Firth Anne Newlands Carol Leddy Catharine Perrin Denny Henderson Eleanor McLaren Elizabeth Stevenson Gillian Downie Hilde McKenna Jane Stansfield Janette Morrison Martha Colvin Moira Allingham Sonja Crossan TENOR 1 Alex Rankine Andrew Clifford David Miller Stuart Tait TENOR 2 Calum Lowe Cosma Gottardi Frikki Walker Graham Parsonage John Harvey Kerr Noble Robert Paterson Sandy Eadie
BASS 1 Alistair Laird Andrew Lyons Andrew Matheson Fraser Dalziel Ian Mackay Keith Thomasson Mark Millington Martin Engelbrecht Martin Waddell Peter McMahon Peter Saunders Robin Watson Stephen Penman Stuart Corkindale Toby Reed BASS 2 Alan Maxwell Brian Watt Chris Morris Graeme Simpson John MacLellan Kenneth Allen Melvyn Davies Stephen Lipton Stewart Macfarlane Tim Reilly Tristan Stewart-Robertson RSNO CHORUS DIRECTOR Stephen Doughty RSNO CHORUS VOCAL COACH Polly Beck RSNO CHORUS REHEARSAL PIANIST Edward Cohen
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Laurence Cummings Conductor
© Christian Knörr
Laurence Cummings is one of Britain’s most exciting and versatile exponents of historical performance both as a conductor and a harpsichord player. A noted authority on Handel, 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 HändelFestpiele Göttingen (2011-21) and Musical Director of the London Handel Festival (19992024). Frequently praised for his stylish and compelling performances in the opera house, his career has taken him across Europe, conducting new productions at houses including the Royal Ballet and Opera (Jephtha, Bernice), Opernhaus Zürich (Belshazzar, King Arthur), Oper Frankfurt (Hercules), Dutch National Opera (Idomeneo), Theater an der Wien (Saul), Gothenburg Opera (Orfeo ed Euridice, Giulio Cesare, Alcina, Idomeneo), Theater Basel (L’incoronazione di Poppea), Halle Handel Festival (Agrippina), Théâtre du Châtelet Paris (Saul) and Opéra National de Lyon (Messiah). He has worked with directors including Barrie Kosky, Sir David McVicar, Christoph Marthaler, Deborah
Warner, Adele Thomas, Claus Guth, Oliver Mears, Sebastian Baumgarten, John Caird, Graham Vick and Peter Sellars. In the UK he has appeared regularly with 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. In recent seasons these have included the Zurich Chamber Orchestra, Frankfurt Radio Symphony, Netherlands Bach Society, Orchestra of the Age of Enlightenment, National Symphony Orchestra of Ireland, Tonkünstler Orchester Grafenegg, Music of the Baroque Chicago, St Paul Chamber Orchestra Minneapolis, St Louis Symphony, Handel and Haydn Society Boston and the RSNO. His recordings include discs with Emma Kirkby and the Royal Academy of Music on BIS, Angelika Kirchschlager and the Basel Chamber Orchestra for Sony BMG, Maurice Steger and The English Concert for Harmonia Mundi and Ruby Hughes and the Orchestra of the Age of Enlightenment on Chandos, as well as a series of live opera and concert performances recorded at the Internationale Händel-Festpiele Göttingen and released on Accent. He has released numerous solo harpsichord recital and chamber music recordings for Naxos. In addition to his commitments with the Academy of Ancient Music and Orquestra Barroca Casa da Música, highlights for 2025/26 include productions of Giulio Cesare for Oper Frankfurt and Il ritorno d’Ulisse in Patria for Garsington Opera, as well as appearances with the Manchester Camerata, Royal Liverpool Philharmonic Orchestra, Antwerp Symphony Orchestra and RSNO.
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Stephen Doughty Director, RSNO Chorus
Stephen particularly enjoys working with amateur singers, not least leading regular singing days frequently involving up to 800 amateur singers. He was Musical Director of Edinburgh Bach Choir for seven years and has enjoyed directing the Garleton Singers for over 30 years, performing with them recently at the Lammermuir Festival.
Stephen Doughty has been Chorus Director of the RSNO Chorus since the start of the 2022:23 Season. Since his arrival the Chorus has seen an influx of new members, and an abundance of varied and critically acclaimed performances, including Verdi’s Requiem, Britten’s War Requiem, Bruckner’s E Minor Mass and the Scottish premiere of Sir James MacMillan’s Christmas Oratorio. He has also directed the Chorus in new and imaginative programmes in their own right, including Rheinberger’s Mass in E flat for double choir, and concerts with percussion and organ featuring Bernstein’s Chichester Psalms, the European premiere of McIntyre’s Missa Brevis and Ives’ final major choral work, Psalm 90. Stephen’s previous 12-year tenure as Chorus Master of Belfast Philharmonic Choir included a number of world premieres, most significantly James Whitbourn’s The Seven Heavens and Philip Hammond’s Requiem for the Lost Souls of the Titanic, performed exactly 100 years since the liner went down, and further European premieres of both Stuart Scott’s Requiem Brevis, which saw the 100-strong choir separated into eight choirs spaced around the audience, and Christopher Marshall’s Earthsong.
Stephen plays harpsichord/organ continuo and orchestral piano and has given frequent organ recitals, including several on the grand Mulholland Organ in the Ulster Hall, Belfast. He is also in demand as an arranger and orchestrator, with a large portfolio of work particularly for young voices. He has produced a plethora of arrangements of the music of pianist Christopher Norton, including two publications of piano duets and a suite for wind sextet, and has received commissions from Children’s Classic Concerts, the Ulster Orchestra and the RSNO. Commissions from the BBC have seen his work being performed on BBC Alba and at the Last Night of the Proms, and his pieces feature on several recordings, including with the RSNO Chorus. Stephen is an Examiner for the Associated Board of the Royal Schools of Music.
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George Frideric Handel (1685-1759)
Messiah
consequently, less profitable. The burgeoning Protestant middle class began to look for something new, something less elitist and something they could more readily understand. Handel’s response was oratorio – dramatic, non-staged works for the concert hall, usually with a great deal of choral music, mostly with a biblical subject and always in English. Two recently completed oratorios – Saul and Israel in Egypt – were already bringing Handel success in this genre when he received an invitation from the Duke of Devonshire, Lord Lieutenant of Ireland, to visit Dublin and stage a series of concerts.
FIRST PERFORMANCE Dublin, 13 April 1742 DURATION 150 minutes The young Handel was a man of the theatre. He produced his first opera while in his teens, and in his early twenties lived in Italy where he met both Scarlatti and Corelli. Handel returned to his native Germany to take up the position of Kapellmeister to Prince George, Elector of Hanover (who in 1714 would become King George I), but it was a trip to London in 1710 and the success of his opera Rinaldo which set him on the road to riches. He settled permanently in London two years later, and for the next 30 years devoted much of his creative energies to supplying English audiences with Italian opera. Between 1712 and 1741, Handel produced over 40 works for the London stage, which brought him success, fame and money. Many, including Giulio Cesare, Alcina, Ariodante and Serse, remain in the repertoire today. Throughout the 1730s, however, Italian opera became increasingly less fashionable and,
Shortly after receiving this invitation, and in the space of just over three weeks in late August and early September 1741, Handel created a new oratorio. His friend Charles Jennens, who had provided the libretto for Saul and, possibly, Israel in Egypt, prepared the text, constructing his libretto from short biblical contemplations on the life of Christ and Christian redemption. Jennens had high hopes of the new work, writing to a friend that he fully expected Handel to ‘lay out his whole Genius and Skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other Subject. The Subject is Messiah.’ Handel arrived in Dublin in November 1741, and immediately set about arranging a subscription series of six concerts of his music to be held between December and February. These proved so popular that a second series was quickly organised, but it was not until March 1742 that Handel met with various committees to discuss a charity concert, to be given in April, that would feature Messiah. Though the premiere was set for 13 April, Handel, ever mindful of the power of the press, arranged for a public rehearsal several days before. It caused a much-publicised sensation,
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so much so that hundreds had to be turned away from the official first performance. As the Dublin News-Letter reported: Yesterday Morning, at the Musick Hall, there was a publick Rehearsal of the Messiah, Mr. Handel’s new sacred Oratorio, which in the opinion of the best judges, far surpasses anything of that Nature, which has been performed in this or any other Kingdom. The elegant Entertainment was conducted in the most regular Manner, and to the entire satisfaction of the most crowded and polite Assembly. In order to make available the greatest space, it was requested that ‘the Ladies who honour this Performance with their Presence would be pleased to come without Hoops [in their dresses], and Gentlemen to remove their Swords. As it will greatly increase the Charity, by making Room for more company.’ Handel had his own organ shipped to Ireland for the occasion, and the combined choirs of St Patrick’s and Christ Church cathedrals, a total of 16 men and 16 boys, provided the chorus. Several of the cathedrals’ men sang solo roles, though the soprano and alto soloists were singers that Handel brought from London. Messiah was a triumph. A report of the first performance in the Dublin Journal of April 17 described it as … the most finished piece of music. Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear. There were about 700 People in the Room, and the Sum collected for that Noble and Pious Charity amounted to about £400.
One Dublin clergyman, the Rev. Delaney, was so overcome by the alto soloist’s rendering of ‘He was despised’ that he reportedly leapt to his feet and cried out: ‘Woman, for this be all thy sins forgiven thee!’ Following the pattern of Italian Baroque opera, Messiah is organised into three parts. Part I deals with prophecies concerning Christ’s coming, and an account of the Christmas story, beginning with the chorus ‘For unto us a child is born’, that mixes both Old and New Testament sources. Part I ends with the chorus singing ‘His yoke is easy, His burden is light’. Part II tells of Christ’s passion, crucifixion, resurrection and ascension, culminating in the trumpets, drums and chorus triumphantly proclaiming ‘Hallelujah!’ It was at this point, during one of the early London performances of Messiah, that as the chorus sang ‘For the Lord God omnipotent reigneth’, King George II reportedly spontaneously rose to his feet in a spirit of exaltation, and remained standing for the rest of the chorus. Audiences across the world have repeated this practice ever since. Part III is an extended hymn of thanksgiving, and a meditation on the theme of Christian redemption. Here is some of Handel’s most inspired writing. It begins with the radiant soprano aria ‘I know that my redeemer liveth’, includes the bass aria ‘The trumpet shall sound’ and concludes with the majestic chorus ‘Worthy is the Lamb’ and the exultant fugal ‘Amen’. © Mark Fielding
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Part I OVERTURE RECITATIVE – TENOR Comfort ye, 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 Ev’ry valley shall be exalted, and every mountain and hill made low, the crooked straight and the rough places plain. CHORUS 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 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 – CONTRALTO But who may abide the day of His coming? And who shall stand when He appeareth? For He is like a refiner’s fire. CHORUS And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. RECITATIVE – CONTRALTO Behold, a virgin shall conceive and bear a Son, and shall call his name Emmanuel, God with us.
AIR – CONTRALTO & 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 For Behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall rise 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 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 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. PASTORAL SYMPHONY RECITATIVE – SOPRANO There were shepherds abiding in the field, keeping watch over their flock by night. RECITATIVE – SOPRANO 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. RECITATIVE – SOPRANO 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.
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RECITATIVE – SOPRANO And suddenly there was with the angel a multitude of the heavenly host, praising God and saying: CHORUS Glory to God in the highest, and peace on earth, goodwill towards men. AIR – SOPRANO 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 – CONTRALTO Then shall the eyes of the blind be opened, and the ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing. DUET – SOPRANO & CONTRALTO He shall feed His flock like a shepherd: and He shall gather the lambs with His arm, 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 His yoke is easy and His burden is light. INTERVAL Part II CHORUS Behold the Lamb of God that taketh away the sin of the world. AIR – CONTRALTO 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 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. And with His stripes we are healed. CHORUS And with His stripes we are healed. CHORUS 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 All they that see Him laugh Him to scorn: they shoot out their lips, and shake their heads, saying: CHORUS He trusted in God that He would deliver Him: let Him deliver Him, if He delight in Him. RECITATIVE – TENOR 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 Behold, and see if there be any sorrow like unto His sorrow. RECITATIVE – SOPRANO He was cut off out of the land of the living; for the transgression of Thy people was He stricken. AIR – SOPRANO But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. CHORUS 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.
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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 of Hosts, He is the King of Glory. AIR – CONTRALTO Thou art gone up on high; Thou hast led captivity captive, and received gifts for men, yea, even for Thine enemies, that the Lord God might dwell among them.
Part III AIR – SOPRANO 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 The Lord gave the word, great was the company of the preachers.
CHORUS 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.
AIR – SOPRANO How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.
RECITATIVE – BARITONE 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.
AIR – BARITONE Why do the nations so furiously rage together, and who 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.
AIR – BARITONE 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.
CHORUS Let us break their bonds asunder, and cast away their yokes from us. RECITATIVE – TENOR He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision. AIR – TENOR Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel. CHORUS Hallelujah: for the Lord God Omnipotent reigneth. The kingdom of this world has 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!
AIR – SOPRANO 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 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.
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Anna Devin Soprano
Company and Kilkenny Arts Festival; La Bergère Louis XV and La Chauve-Souris in L’enfant et les sortilèges for La Scala Milan; soprano soloist in Deborah Warner’s production of Messiah for Opéra National de Lyon; Michal in Saul for the Théâtre du Châtelet Paris and Glyndebourne Festival; the title role in La Calisto in David Alden’s iconic production; and Celia in Lucio Silla in Madrid under Ivor Bolton.
Irish soprano Anna Devin has gained recognition across the world for her work in the Baroque and Classical repertoire, particularly her interpretation of Handel’s heroines. Highlights of the 2025/26 season include Nicomede in Scarlatti’s Mitridate Eupatore with Vespres d’Arnadi in Barcelona and Madrid under Dani Espasa, Handel’s Messiah with the RSNO under Laurence Cummings, Schumann’s Das Paradis und die Peri with the National Symphony Orchestra of Ireland under Alexander Shelley, and Angelica in Orlando with Longborough Festival Opera under Christopher Moulds. Anna’s successes on the opera stage include Gretel in Hänsel und Gretel, Nanetta in Falstaff and Lauretta in Gianni Schicchi for the Royal Opera House; Rosina in Il barbiere di Siviglia for English National Opera; Cleopatra in Giulio Cesare for Blackwater Valley Opera Festival, Early Opera
Recent concert highlights include Haydn’s Paukenmesse with the London Philharmonic Orchestra under Vladimir Jurowski; Handel’s Messiah in Benjamin Appl’s conducting debut with the Royal Liverpool Philharmonic Orchestra; a tour of Pergolesi’s Stabat Mater with the Irish Chamber Orchestra, conducted by Christian Curnyn; a programme at the Winter Chamber Music Festival with the Fidelio Trio; Bach’s Mass in B Minor on tour with the Orchestra of the Age of Enlightenment; the title role in Handel’s Rodelinda with the Moscow Philharmonic, conducted by Christopher Moulds; and a performance with the Orquestra Simfònica de Barcelona i Nacional de Catalunya in a world premiere by Josep Maria Guix.
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Claudia Huckle Contralto
Blumenmädchen/Stimme von Oben in Parsifal for Opéra de Paris; and Erda/Flosshilde Das Rheingold at the Bregenzer Festspiele. She has also sung Erda for Oper Leipzig, Grand Théâtre de Genève and Opera North. She made her debut at La Scala Milan singing The Omniscient Seashell in Strauss’ Die Ägyptische Helena, conducted by Franz Welser-Möst.
Anglo-German contralto Claudia Huckle was a Grand Final Winner of the Metropolitan Opera National Council Auditions and the first female recipient of Operalia’s Birgit Nilsson Prize for singing Wagner. She has appeared with opera companies and orchestras across Europe and the USA. The 2025/26 season sees Claudia debut with the Accademia Nazionale di Santa Cecilia as Schwertleite Die Walküre. On the concert platform, she sings Amastre in a semi-staged performance of Serse with the Academy of Ancient Music and Laurence Cummings and performs with the RSNO in Handel’s Messiah. Recent opera highlights include Dritte Dame Die Zauberflöte for Opéra de Paris; Prince Orlofsky Die Fledermaus for Grange Festival; The Innkeeper Boris Godunov for the Bayerischer Staatsoper; Galatea Aci, Galatea e Polifemo for the London Handel Festival; Meg Page Falstaff at the Teatro del Maggio Musicale Fiorentino; and at the Bregenzer Festspiele as Suzuki Madama Butterfly, a role she has also sung for Zürich Opera and Glyndebourne on Tour;
Claudia’s notable concert appearances include Mahler’s Symphony No8 with the Royal Philharmonic Orchestra and for her 2018 Proms debut with the BBC National Orchestra of Wales; Delius’ A Mass of Life with the BBC Symphony Orchestra under Sir Mark Elder for the BBC Proms; Das Lied von der Erde with the Stuttgart Ballet, 1st Norn Götterdämmerung with the London Philharmonic Orchestra and Vladimir Jurowski; Dritte Dame Die Zauberflöte at the Edinburgh International Festival under Maxim Emelyanychev; Haydn’s Paukenmesse at the Maggio Musicale Fiorentino under Zubin Mehta; Bach’s St Matthew Passion with Dunedin Consort and on tour with the Orchestra of the Age of Enlightenment. Claudia has recorded Mahler’s Das Lied von der Erde in the composer’s own arrangement for piano, with the conductor and pianist Justin Brown and tenor Nicky Spence, on the Champs Hill Records label. Claudia studied at the Royal College of Music in London, the New England Conservatory in Boston and the Curtis Institute of Music in Philadelphia. She is a graduate of the DomingoCafritz Young Artist Program at Washington National Opera.
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Nick Pritchard Tenor
partner Ian Tindale. The album includes songs by Benjamin Britten, Imogen Holst and the first recording of Daniel Kidane’s Songs of Illumination, commissioned for Nick by Leeds International Song. He has given recitals with Simon Lepper, Sholto Kynoch, Christopher Glynn, Graham Johnson and Malcolm Martineau, with performances at London’s Wigmore Hall, Oxford International Song Festival and at the Ryedale, Aldeburgh and Lammermuir festivals.
Tenor Nick Pritchard is fast gaining recognition for his performances of the music of Bach and, in particular, his interpretation of the Evangelist in the Passions. 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 for Deutsche Grammophon with Sir John Eliot Gardiner was nominated for a GRAMMY Award for Best Choral Performance in 2023. This Season sees him performing Bach with Les Arts Florissants (Paul Agnew), the Tonkünstler Orchestra (Stefan Gottfried), Monteverdi Choir and Orchestra (Peter Whelan), Arcangelo (Jonathan Cohen), the Academy of Ancient Music (Laurence Cummings) and at the Thomaskirche Leipzig as part of the Bachfest Leipzig (Andreas Reize). Other highlights include Messiah with the RSNO and Royal Liverpool Philharmonic Orchestra, and Haydn’s The Creation under Václav Luks with the Orchestra of the Age of Enlightenment. Nick celebrates the release of his debut recital album in 2025 on the Signum label, titled Little Wanderer, with his long-term collaborative
Other recent concert highlights include Mendelssohn’s Lobgesang with the Orchestra of the Age of Enlightenment and Sir András Schiff, George Benjamin’s Written on Skin (John/ Angel 3) with the Finnish Radio Symphony conducted by the composer, Britten’s St Nicolas for the Aldeburgh Festival in a recreation of the first concert given at the festival in 1948, his Japanese debut with the Yomiuri Nippon Symphony Orchestra under Masato Suzuki, and Bach Passions (Evangelist) with the Residentie Orkest (Richard Egarr), Stavanger Symphony (Masato Suzuki) and Irish Baroque (Peter Whelan). Operatic engagements include a new production by Oliver Mears of Bernstein’s A Quiet Place for the Royal Ballet and Opera, and his debut at Park Avenue Armory in a world premiere cocommission with the Asia Society, performing a selection of Bach cantatas staged by Peter Sellars. Other opera roles include Oronte Alcina for Opera North, A Midsummer Night’s Dream at the Aldeburgh Festival, Die Zauberflöte for Glyndebourne on Tour and Irish National Opera, Così fan tutte for Opera Holland Park, The Return of Ulysses for RBO and The Indian Queen for Opéra de Lille, Théâtre de Caen, Opera Vlaanderen and Grand Théâtre Luxembourg.
18 Handel’s Messiah
George Humphreys Baritone
Papageno Die Zauberflöte, Music Teacher Ariadne auf Naxos, title role Don Giovanni, Count Almaviva and Valentin Faust all as an ensemble member at the Salzburger Landestheater; title role Eugene Onegin at the Buxton Festival, Leporello Don Giovanni at Nederlandse Reisopera; and roles at English National Opera, Welsh National Opera, the Aldeburgh Festival and the Royal Opera House.
In the 2025/26 season, George Humphreys will perform the title role in Mozart’s Don Giovanni, Onegin in Tchaikovsky’s Eugene Onegin and Franz Biberkopf in Vivan and Ketan Bhatti’s Berlin Alexanderplatz at the Salzburger Landestheater. On the concert platform, he appears in Handel’s Messiah with both the RSNO and the Royal Liverpool Philharmonic Orchestra. Previous engagements include Lord Sidney in Rossini’s Il viaggio a Reims, Peter Besenbinder in Humperdinck’s Hänsel und Gretel, Plunkett in Flotow’s Martha, Il Conte in Haydn’s Il mondo alla rovescia and Kilian in Weber’s Der Freischütz, all at the Salzburger Landestheater. Operatic appearances also include Count Almaviva Le nozze di Figaro for Glyndebourne Festival on Tour; Figaro Il barbiere di Siviglia, Zurga Les pêcheurs de perles, Falke Die Fledermaus, Roberto (Nardo) La finta giardiniera, Escamillo Carmen, Prior Walter Angels in America,
Recent concert highlights include Mahler’s Symphony No8 with Daniel Harding and the Swedish Radio Orchestra, Bach’s Weihnachts Oratorium with the Australian Chamber Orchestra, Dido and Aeneas at London’s Wigmore Hall, the Matthäus Passion at the London Handel Festival and performances of Handel’s Messiah with the Gabrieli Consort, Orchestra of the Age of Enlightenment and City of Birmingham Symphony Orchestra. He has given Lieder recitals at Opéra de Lille, Opernhaus Zürich, Wigmore Hall and the Oxford Lieder Festival, and was recently made an Associate of the Royal Academy of Music. George was born in Oxford and educated at St John’s College, Cambridge, the Royal Academy of Music and the International Opernstudio Zürich.
RSNO: Scotland’s National Orchestra 19
Paul Whittaker BSL Performer
Paul Whittaker was born in Huddersfield in 1964 and has been deaf all his life. After being awarded a music degree from Wadham College Oxford and a postgraduate diploma from the Royal Northern College of Music, he founded Music and the Deaf, a charity he ran for 27 years before leaving to pursue a freelance career. Paul has signed many shows and concerts across the UK, and performed with The King’s Singers, Voces 8, Tenebrae, Children’s Classic Concerts, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra and at many festivals, including the Cumnock Tryst and the BBC Proms. He previously signed with the RSNO for the Scottish premiere of Sir James MacMillan’s Christmas Oratorio in November 2023, and the New Year 2025 performance of Handel’s Messiah. Paul was awarded an OBE for services to music in 2007 and continues to promote music and deafness wherever possible.
20 Handel’s Messiah
Come and Sing
Carmina Burana
SAT 24 JAN 2026 Glasgow Royal Concert Hall Participant session 10.30am-5.30pm Public concert 7.30pm Orff Carmina Burana Stephen Doughty Conductor RSNO Chorus RSNO Youth Chorus Patrick Barrett Director, RSNO Youth Choruses Ever wondered what it feels like to sing live at the Glasgow Royal Concert Hall with Scotland’s National Orchestra? Now’s your chance to find out, in this scratch performance of Orff’s outrageously tuneful Carmina Burana – 60 minutes of life, lust and monks behaving badly!
Book now at
rsno.org.uk
Whether you’re a choral society regular or only ever sing in the shower, absolutely everyone is welcome to join in. Spend the day rehearsing under the expert guidance of RSNO Chorus Director Stephen Doughty, before putting on a public performance in the evening accompanied by the RSNO. The ability to read music would be beneficial to those taking part on the day. Participation tickets (£28): To book your place visit rsno.org.uk/come-and-sing Audience tickets (£15): Book online at rsno.org.uk or phone the Glasgow Royal Concert Hall Box Office on 0141 353 8000.
The RSNO is supported by the Scottish Government
RSNO: Scotland’s National Orchestra 21
Every Child, Every Community
Your support can brighten a child’s day. Will you help us bring the joy of music to children across Scotland? Scan the QR code to be taken to our donate page or visit rsno.org.uk/every-child
22 Handel’s Messiah
RSNO Benefactors, Patrons and Circle members We are grateful to all our individual supporters for their generous philanthropy and loyalty. Your support enables the Orchestra to achieve its most ambitious goals and to continue inspiring people across Scotland both on and off the concert stage.
RSNO Benefactors
RSNO Conductors’ Circle
Sir Ewan and Lady Brown Gavin and Kate Gemmell Kat Heathcote and Iain Macneil Ms Chris Grace Hartness
Ardgowan Charitable Trust Stina Bruce Jones Ian and Evelyn Crombie Kenneth and Julia Greig Shirley Murray David and Alix Stevenson Rolf and Celia Thornqvist Eric and Karen Young
RSNO Patrons
Learning and Engagement Patrons
Geoff and Mary Ball Lady Rebecca Fraser George Ritchie Stephen Sweeney Valerie Wells
William Brown, W.S The Dundee RSNO Circle Committee Neil and Nicola Gordon Professor Gillian Mead, FRSE Nicholas and Alison Muntz Maurice and Nicola Taylor Charitable Trust
Chair Patrons Assistant Conductor
Second Violin
Cello
The Solti Foundation Chair
The Nigel & Margot Russell Chair
Mr Jamie & Kyle Anderson Weir
Celia Llácer First Violin
Maya Iwabuchi LEADER
Dunard Fund Chair
Tamás Fejes ASSISTANT LEADER
The Bill and Rosalind Gregson Chair
Marion Wilson ASSOCIATE PRINCIPAL
Pei-Jee Ng PRINCIPAL
Sophie Lang
Betsy Taylor ASSOCIATE PRINCIPAL
Emily Nenniger
Kennedy Leitch ASSISTANT PRINCIPAL
The Ian & Evelyn Crombie Chair Mr Jamie & Kyle Anderson Weir
Viola
The Maxwell Armstrong Chair
The David and Anne Smith Chair
Rachael Lee
Tom Dunn PRINCIPAL
The Christine and Arthur Hamilton Chair
Elizabeth Bamping
Lisa Rourke SUB PRINCIPAL
Double Bass
Alan Manson
Francesca Hunt
Ursula Heidecker Allen
The James and Iris Miller Chair The WL and Vera Heywood Chair The Hugh and Linda Bruce-Watt Chair
Liam Lynch
Mr Kyle Anderson Weir
Lorna Rough
The Sir Richard Dunbar Chair
The Cathy & Keith MacGillivray Chair The Meta Ramsay Chair
The Rolf and Celia Thornqvist Chair
Beth Woodford
Mr Jamie & Kyle Anderson Weir
Nikita Naumov PRINCIPAL
The Gregor Forbes John Clark Chair
Michael Rae ASSISTANT PRINCIPAL
James Wood Bequest Fund Chair
RSNO: Scotland’s National Orchestra 23
Flute
Clarinet
Trumpet
The David and Anne Smith Chair
The Shirley Murray Chair
Ms Chris Grace Hartness
Katherine Bryan PRINCIPAL
Timothy Orpen PRINCIPAL William Knight
Oboe
Adrian Wilson PRINCIPAL The Hedley Wright Chair
Peter Dykes ASSOCIATE PRINCIPAL
The Turcan Connell Chair
Horn
Timpani
Paul Philbert PRINCIPAL
Ms Chris Grace Hartness
David McClenaghan SUB-PRINCIPAL
Staff
Alison Murray ASSISTANT PRINCIPAL
COMMUNITY SINGING ASSISTANT
Martin Murphy ASSISTANT PRINCIPAL
We are also grateful to those who give but who wish to remain anonymous.
Witherby Publishing Group Charitable Trust Chair
The Springbank Distillers Chair
Cor Anglais
Mr & Mrs Pierre and Alison Girard
In memory of a dear friend, Fiona H
The Gordon Fraser Charitable Trust Chair
Henry Clay PRINCIPAL
Christopher Hart PRINCIPAL
Chiko Parkinson
Supported by ScotRail
Andrew McLean
The Catherine McLagan Chair
If you would like to discuss how you can become an RSNO Patron, please contact Constance Fraser, Head of Development (Individuals and Partnerships), at constance.fraser@rsno.org.uk
RSNO Circle Virtuoso Ms Catherine Y Alexander Mrs A M Bennett Mr Alan and Mrs Carolyn Bonnyman Dame Susan and Mr John Bruce Stephen and Morny Carter Francesca and Eoghan Contini Mackie Dr Clive Criper Scott and Frieda Grier Judith and David Halkerston Iain MacNeil and Kat Heathcote Martin and Carola Gordon Miss A McGrory Miss M Michie Mr James Miller CBE Mrs Abigail Morrison Nicholas and Alison Muntz Meta Ramsay Mr and Mrs W Semple Gregor and Lesley Stewart Mr Ian Taft Claire and Mark Urquhart Raymond and Brenda Williamson Margaret Duffy and Peter Williamson Symphony Mr John Brownlie Mr A Campbell
Dr K Chapman and Ms S Adam Sir Sandy and Lady Crombie Mr W G Geddes Elizabeth Gibb Dr Robert Gibb Mr I Gow Mr J D Home Christine Lessels Katharine M E Liston Mrs A McQueen Mr Iain Percival Mr and Mrs David Robinson Ian and Janet Szymanski Dr C Cradock and Dr S Todd Nelson and Barbara Waters Philip Whitely and Robert H Mackay Concerto Neil Barton Miss D Blackie Dr C M Bronte-Stewart Dr F L Brown Mr and Mrs Burnside David Caldwell Ms H Calvert Ross Cavanagh Myk Cichla Terry and Joan Cole Dr J Coleiro Mr and Mrs B H Cross
Christine and Jo Danbolt Mr P Davidson Steven J Davis Mr and Mrs K B Dietz Mr C Ffoulkes William Findlay Mr and Mrs M Gilbert Simon and Fiona Guest Lord and Lady Hamilton Mrs S Hawthorn P Hayes Dr and Mrs P Heywood Ms H Kay Mr and Mrs W Kean Nicholas Kilpatrick Christine Lessels Morag MacCormick Mr and Mrs Marwick Mr S Marwick Mrs Sandra Maxwell Mr and Mrs G McAllister Mrs M McDonald Dr A H McKee Mr Rod McLoughlin Morag Millar Mrs B Morinaud Dr and Mrs D Mowle Mr K R and Dr C C Parish Ms A and Miss I Reeve Mrs E M Robertson
24 Handel’s Messiah
Dr and Mrs G K Simpson Mrs Henrietta Simpson Dr Norma Smith Mr and Mrs A Stewart David and Helen Strachan Mr I Strachan Mr G Stronach Dr G R Sutherland Mr and Mrs J B Watson Mr and Mrs D Weetman Helen and Peter Wilde David W Wren Roderick Wylie Sonata Mr and Mrs G H Ainsley Mr K Allen Dr A D Beattie Jenny Beattie Mrs H Benzie Mr R Billingham Lord and Lady Borthwick John Bradshaw and Shiona Mackie Mrs Bryan Andrew Burrows Mrs C M Campbell Miss S M Carlyon Amanda Carter-Fraser Alan Clevett Lady Coulsfield Adam and Lesley Cumming Mrs C Donald J Donald and L Knifton Mr John Duffy Mr R M Duncan Brigadier and Mrs C C Dunphie Mrs E Egan Mr R Ellis Mr R B Erskine Dr E Evans Dr A Ewing David Ferrier Kenneth Forbes Mr D Fraser Ms J Gardner Philip and Karen Gaskell Mrs M Gibson Mrs M Gillan
Mrs J K Gowans Dr J and Mrs H Graham Professor and Mrs A R Grieve Dr P J Harper Dr N Harrison Mr and Mrs R J Hart Bobby and Rhona Hogg Mr and Mrs F Howell Mrs A Hunter Inez Hutchison Professor R N Ibbett Thomas Jakobsen Burns Geoffrey and Elizabeth Johnston Ms K Lang Dr D A Lunt Mrs Jean C Martin Mr and Mrs J Martin Ms S McArthur Jean McCutcheon Mr M McGarvie Mrs S McGeachan Hon Lord McGhie Dr Colin McHardy Ms H L McLaren Margaret McLay Libby McLean Mr and Mrs B Mellon Kathryn Michael Simon Michaelson Mr I Mills Mrs P Molyneaux Kenneth M Murray Bruce and Christine Nelson Alastair Ogilvie Mr and Mrs K O’Hare Mr and Mrs K Osborne Dr G Osbourne Mr A Ownsworth Mr R Parry John Paterson Misses J and M Penman Mr J W Pottinger Miss J A Raiker Mr M Rattray Alastair Reid Ms F Reith Dr and Mrs D Robb Anne Robertson
Mr I Robertson Ms A Robson Sheriff Linda Ruxton Mrs J Shanks Mr J A Shipley Dr M J and Mrs J A Shirreffs Richard and Gillian Shirreffs Ana Smith Mrs E Smith Mr M Smith Dr and Mrs B Stack Mrs Lorna Statham Mrs R F Stewart Mr and Mrs B Tait Lisbeth Thoms Dr and Mrs T Thomson Mr C Turnbull Dr Morag Ward Dr Alex Watson Mr W Watters Alan Weddell Mr and Mrs D Weetman Mr R Young Thank you to all our members of the Circle, including Overture members and those who wish to remain anonymous.
If you would like to discuss how you can become an RSNO Circle member, please contact Polly Lightbody, Individual Giving and Partnerships Officer, at polly.lightbody@rsno.org.uk
RSNO: Scotland’s National Orchestra 25
Charitable Trusts and Foundations Charitable trusts and foundations have a distinguished history of supporting the RSNO, both on and off the stage. From one-off donations for specific concerts and musicians’ chairs, to multi-year funding for our community engagement initiatives, including our Schools Programme, every grant in support of our work is truly appreciated. We are grateful to the following trusts and foundations for their generosity: Aberdeen Endowments Trust ABO Sirens Fund Adam Mickiewicz Institute Alexander Moncur Charitable Trust Alma & Leslie Wolfson Charitable Trust Adam Mickiewicz Institute Balgay Children’s Society Boris Karloff Charitable Foundation Brownlie Charitable Trust Castansa Trust CMS Charitable Trust Common Humanity Arts Trust Cookie Matheson Charitable Trust Cruden Foundation David and June Gordon Memorial Trust Dunclay Charitable Trust Educational Institute of Scotland Ettrick Charitable Trust Fidelio Charitable Trust Forteviot Charitable Trust Gannochy Trust Gaelic Language Promotion Trust Gordon Fraser Charitable Trust Great Britain Sasakawa Foundation Harbinson Charitable Trust Hobart Charitable Trust Hugh Fraser Foundation James Wood Bequest Fund Jennie S Gordon Memorial Foundation Jean & Roger Miller’s Charitable Trust Jimmie Cairncross Charitable Trust John Scott Trust Fund John Mather Trust Jones Family Charitable Trust JTH Charitable Trust Leach Family Charitable Trust Leng Charitable Trust Lethendy Charitable Trust Marchus Trust McGlashan Charitable Trust
Meikle Foundation Mickel Fund Miss E C Hendry Charitable Trust Miss Jean R Stirrat’s Charitable Trust Murdoch Forrest Charitable Trust N Smith Charitable Settlement Nancie Massey Charitable Trust Noel Coward Foundation Northwood Charitable Trust Nugee Foundation Pear Tree Fund for Music PF Charitable Trust Pump House Trust Q Charitable Trust R J Larg Family Trust Ronald Miller Foundation Rowena Alison Goffin Charitable Trust Russell Trust Scops Arts Trust Scott Davidson Charitable Trust Scottish Enterprise Solti Foundation Souter Charitable Trust Stanley Morrison Charitable Trust Stevenston Charitable Trust Sylvia Aitken Charitable Trust Tay Charitable Trust Thriplow Charitable Trust Tillyloss Trust W A Cargill Fund W M Mann Foundation W M Sword Charitable Trust Walter Scott Giving Group Wavendon Foundation Weir Charitable Trust Zich Trust We are also grateful to a number of trusts that wish to stay anonymous.
If you would like more information about our work and how you can make a difference, please contact Niamh Kelly, Trusts and Projects Manager, at niamh.kelly@rsno.org.uk
26 Handel’s Messiah
A big Thank You to our supporters FUNDERS
CORPORATE SUPPORTERS
Ecosse
PRINCIPAL MEDIA PARTNER
PRINCIPAL TRANSPORT PARTNER
BROADCAST PARTNER
PARTNERS Adelaide Place • Age Scotland • Black Lives in Music • Charanga • Children’s Classic Concerts Children’s Hospices Across Scotland • Classic FM • Douglas Academy • Dundee Science Centre Dunedin Consort • Edinburgh Zoo • Education Scotland • Fanzclub • Gig Buddies • GMAC Film Heads of Instrumental Teaching Scotland • Hebrides Ensemble Kibble • Luminate • Marine Conservation Society MARSM • Music Education Partnership Group • ParentZone • The Pyramid at Anderston Royal Conservatoire of Scotland • Scottish Book Trust • Scottish Chamber Orchestra Scottish Refugee Council • Sistema Scotland • St Mary’s Music School • Tayside Healthcare Arts Trust Trees for Life • University of Glasgow • V&A Dundee • Visible Fictions
With thanks to Mr Hedley G Wright and the Springbank Distillery for their support of the RSNO
If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Constance Fraser, Head of Development (Individuals and Partnerships), at constance.fraser@rsno.org.uk
RSNO: Scotland’s National Orchestra 27
Royal Scottish National Orchestra PATRON His Majesty The King ARTISTIC TEAM Thomas Søndergård MUSIC DIRECTOR
Patrick Hahn
PRINCIPAL GUEST CONDUCTOR
RSNO BOARD OF DIRECTORS
Elected Directors Gregor Stewart CHAIR
Gail Blain
HONORARY TREASURER
CONDUCTOR EMERITUS
Ruth Binks Kayla-Megan Burns Ken Hay Kat Heathcote MBE Don Macleod David Robinson John Stewart David Strachan Cllr Edward Thornley
DIRECTOR, RSNO CHORUS
Julia Miller
Celia Llácer
ASSISTANT CONDUCTOR
Ellie Slorach
ENGAGEMENT CONDUCTOR
Kellen Gray
ASSOCIATE ARTIST
Neeme Järvi
CONDUCTOR LAUREATE
Alexander Lazarev Stephen Doughty Patrick Barrett
NOMINATED DIRECTOR
Player Directors Katherine Bryan Christopher Hart David Hubbard William Knight David McClenaghan Lorna Rough SCHOOLS ADVISORY GROUP Ruth Binks Pam Black Norman Bolton Martin Greig Neil Millar Mae Murray
COMPANY SECRETARY
DIRECTOR, RSNO YOUTH CHORUSES
CHIEF EXECUTIVE
Dylan Findlay
ASSISTANT STAGE MANAGER
Seonaid Eadie
Alistair Mackie CHIEF EXECUTIVE
Ted Howie
FACILITIES MANAGER
Katie Kean
Dr Jane Donald
DEPUTY CHIEF EXECUTIVE
Charlotte Jennings
EXECUTIVE ASSISTANT (MATERNITY LEAVE COVER)
Nicola Kelman
EXECUTIVE ASSISTANT (MATERNITY LEAVE)
PLANNING
Tammo Schuelke
LEARNING AND ENGAGEMENT
Andrew Stevenson DIRECTOR OF ENGAGEMENT
Anna Crawford
ENGAGEMENT DELIVERY MANAGER (MATERNITY LEAVE)
Rachel Naismith
DIRECTOR OF ARTISTIC PLANNING
ENGAGEMENT DELIVERY MANAGER (MATERNITY COVER)
ARTISTIC PLANNING MANAGER
ENGAGEMENT PRODUCER
ARTISTIC PLANNING OFFICER
COMMUNITY CHORUS AND PARTNERSHIPS COORDINATOR SUPPORTED BY SCOTRAIL
Xander van Vliet
Maisie Leddy
Rachel Pullin
Chiko Parkinson
Richard Payne
HEAD OF LIBRARY SERVICES
EXTERNAL RELATIONS OFFICER
COMMUNICATIONS AND MARKETING OFFICER
Niamh Kelly
TRUSTS AND PROJECTS MANAGER
Polly Lightbody
INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER
Graham Ramage GRAPHIC DESIGNER
Sam Stone
INFORMATION SERVICES MANAGER
Ross Williamson
VIDEO PRODUCER (MARKETING)
AUDIO
Hedd Morfett-Jones STUDIO MANAGER
Sam McErlean
Megan Bousfield
EXTERNAL RELATIONS
MEDIA MANAGER AND AUDIO ENGINEER
Christine Walker
Dr Jane Donald
TRAINEE AUDIO ENGINEER
DIRECTOR OF EXTERNAL RELATIONS
LIBRARY ASSISTANT CHORUS MANAGER
ORCHESTRA MANAGEMENT
Matthias Van Der Swaagh HEAD OF ORCHESTRA MANAGEMENT
Brodie Smith
DEPUTY ORCHESTRA MANAGER
Megan Walker
ORCHESTRA AND PROJECTS OFFICER
OPERATIONS AND PRODUCTION
Craig Swindells HEAD OF PRODUCTION
Ashley Holland STAGE MANAGER
Carol Fleming
HEAD OF MARKETING
Constance Fraser
HEAD OF DEVELOPMENT (INDIVIDUALS AND PARTNERSHIPS)
Kirsten Reid
HEAD OF DEVELOPMENT (TRUSTS AND PROJECTS) (MATERNITY LEAVE)
Lisa Ballantyne
PARTNERSHIPS OFFICER
Keilidh Bradley
Ahan Sengupta
FINANCE AND CORPORATE SERVICES
Susan Rennie HEAD OF FINANCE
Jade Wilson FINANCE OFFICER
Abby Dennison
FINANCE ADMINISTRATOR
Phoebe Connolly FINANCE ASSISTANT
GRADUATE ANIMATOR
Ian Brooke
PROGRAMMES EDITOR
Fred Bruce
TRUSTS AND PROJECTS ADMINISTRATOR
Clara Cowen
MARKETING MANAGER
Contents © Copyright RSNO and named authors.
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