Paul O’Dette & Stephen Stubbs, Artistic Directors
The Tallis Scholars
PETER PHILLIPS, Director
FRIDAY, DECEMBER 6, 2024
8PM | St. Paul Church, Cambridge, MA
CELEBRATING MUSIC & PLACE
Martin Randall Festivals bring together world-class musicians for a sequence of private concerts in Europe’s most glorious buildings, many of which are not normally accessible. We take care of all logistics, from flights and hotels to pre-concert talks.
MUSIC ALONG THE RHINE | 8–15 May 2025
COTSWOLDS CHORAL FESTIVAL | 16–20 June 2025
MUSIC ALONG THE SEINE | 16–23 July 2025
HANDEL IN VALLETTA | November 2025
The Morgan Library & Museum
Exhibitions
Belle da Costa Greene: A Librarian’s Legacy
October 25, 2024 May 4, 2025
Franz Kafka
November 22, 2024 April 13, 2025
Music at the Morgan
Candice Hoyes: Belle Canto
Candice Hoyes, soprano Wednesday, January 22, 2025, 7-8:30 PM
Philip Glass’s “Metamorphosis”
Jenny Lin, piano
Saroi Tsukada, narrator
Lindsay Rosenberg, bassist Thursday, March 6, 2024, 7-8:30 PM
Film Screening and Concert: Fanny: The Other Mendelssohn
Lydia Artymiw, piano
Sheila Hayman, filmaker Thursday, May 23, 2024, 7:30-9:30 PM
For information visit themorgan.org/programs
The Morgan Library & Museum 225 Madison Avenue at 36th Street
New York, NY 10016
The concert program is supported by the Cynthia Hazen Polsky and Leon B. Polsky Fund for Concerts and Lectures, the Celia Ascher Endowment Fund, the Esther Simon Charitable Trust, the Theodore H. Barth Foundation, and the Witherspoon Fund of the New York Community Trust.
St. Luke’s Chamber Ensemble
Upper: Mr. Morgan’s Library; photography by Graham S. Haber. Lower: Philip Glass; photography by Danny Clinch.
Dear Friends,
We are delighted to welcome the incomparable Tallis Scholars directed by Peter Phillips for their 36th annual appearance with BEMF. From our very first concert season in 1989, they have enchanted Boston audiences with their impeccable intonation, clarity, and distinctive blend, which have come to epitomize the gold standard of Renaissance singing. Tonight’s glorious program in celebration of the season, In Dulci Jubilo, features the soaring chants of Hildegard von Bingen, Renaissance chant-based polyphony by Praetorius, Palestrina, Obrecht, and Victoria, and Arvo Pärt’s re-envisioning of the chant tradition; it will also be made available for two weeks of online viewing starting December 13 at 8pm.
This concert marks a very special occasion: it is alto Caroline Trevor’s 2000th concert with The Tallis Scholars. She first sang with the group in 1982, and over the decades has performed in their Boston and Cambridge concerts more times than anywhere else in the world outside of the UK. Peter Phillips credits her astounding longevity with the group to her “ideal alto sound.”
There is more BEMF magic for you later this month: Sunday, December 15 at 8pm, is the virtual premiere of our Thanksgiving Weekend Chamber Opera Series presentation, which features Georg Philipp Telemann’s delightful Don Quichotte with Christian Immler in the title role and Jason McStoots as Sancho Pansa. It will be available in virtual format through December 29.
We hope you will join us in the New Year when our 24/25 Season continues with five additional concerts, beginning in February with two notable BEMF concert series débuts. The first of these takes place on Saturday, February 8, with keyboard virtuoso Francesco Corti in collaboration with the BEMF Chamber Ensemble, in a program featuring the magnificent Richards, Fowkes, & Co. Opus 10 organ at First Lutheran Church in Boston. A mere six days later, we welcome rising star countertenor Reginald Mobley and ensemble Agave to First Church in Cambridge, Congregational, in a fascinating program titled Rum and Rebellion, exploring the crossroads of revolution, the rum industry, and the transatlantic slave trade in the Caribbean, South America, and Europe. Both concerts will be available for virtual viewing starting two weeks after they are performed live.
Thank you for attending tonight’s performance by The Tallis Scholars, whether in person or virtually, and please accept our best wishes for a joyful holiday season, and peace in the New Year.
Kathleen Fay Executive Director
Boston Early Music Festival
MANAGEMENT
Kathleen Fay, Executive Director
Carla Chrisfield, General Manager
Maria van Kalken, Assistant to the Executive Director
Brian Stuart, Director of Marketing and Publicity
Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager
Perry Emerson, Operations Manager
Corey King, Box Office and Patron Services Director
Andrew Sigel, Publications Editor
Julia McKenzie, Director of the BEMF Youth Ensemble
Nina Stern, Community Engagement Advisor
ARTISTIC LEADERSHIP
Paul O’Dette and Stephen Stubbs, Artistic Directors
Gilbert Blin, Opera Director
Robert Mealy, Orchestra Director
BOARD OF DIRECTORS
Bernice K. Chen, Chairman | David Halstead, President
Brit d’Arbeloff, Vice President | Susan L. Robinson, Vice President
Adrian C. Touw, Treasurer | Peter L. Faber, Clerk
Michael Ellmann | George L. Hardman | Ellen T. Harris | Glenn A. KnicKrehm
Robert E. Kulp, Jr. | Miles Morgan† | Bettina A. Norton
Lee S. Ridgway | Ganesh Sundaram | Christoph Wolff
BOARD OF OVERSEERS
Diane Britton | Gregory E. Bulger | Amanda Pond
Robert Strassler | Donald E. Vaughan
BOARD OF TRUSTEES
Marty Gottron & John Felton, Co-Chairs
Deborah Ferro Burke | Mary Deissler | James A. Glazier
Douglas M. Robbe | Jacob Skowronek † deceased
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Allan Winkler
Hal Winslow
Christoph Wolff
Arnold B. Zetcher
Ellen Zetcher
† deceased
Cervantes’s wayward knight is brought to life through the irresistible music of Georg Philipp Telemann!
n VIRTUAL AVAILABILITY: DECEMBER 15 – DECEMBER 29
Paul O’Dette & Stephen Stubbs, Musical Directors | Gilbert Blin, Stage Director
Robert Mealy, Concertmaster | Marie-Nathalie Lacoursière, Choreographer | Gwen van den Eijnde, Costume Designer
FILMED LIVE IN BOSTON! Join the singers, dancers, instrumentalists, designers, and directors of the BEMF Chamber Opera Series for a rare performance of Telemann’s festive serenata, Don Quichotte auf der Hochzeit des Comacho, which sees Don Quixote and his squire Sancho Panza stumble upon the idyllic wedding of wealthy sheep rancher Comacho to the beautiful Quiteria—but her childhood sweetheart Basilio is ready to disrupt the celebration even if it’s the last thing he ever does!
Paul O’Dette & Stephen Stubbs, Artistic Directors
Boston Early Music Festival
24/25 NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2024/25 Season:
David Halstead and Jay Santos
Sponsors of the October 2024 performance by Vox Luminis
George L. Hardman
Sponsor of the virtual presentation of Agave with Reginald Mobley, countertenor
Sponsor of Jordi Savall, Director & viol, for his April 2025 appearance with Hespèrion XXI
Andrew Sigel
Sponsor of the virtual presentations of Vox Luminis and The Tallis Scholars
Harold I. Pratt
Sponsor of Sarah Darling, violin, for her February 2025 appearance with the BEMF Chamber Ensemble
Donald E. Vaughan and Lee S. Ridgway
Sponsors of Reginald Mobley, countertenor, for his February 2025 performance with Agave
Jean Fuller Farrington
Sponsor of the virtual presentation of Stile Antico
Lorna E. Oleck
Sponsor of the virtual presentation of Francesco Corti, keyboard, with the BEMF Chamber Ensemble
Not only do Named Gifts help provide the crucial financial support required to present a full season of extraordinary performances, but they are doubly meaningful in that they send a message of thanks to your most beloved artist, musicians, and directors—that their work means something to you.
You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. Thank you.
Boston Early Music Festival PRESENTS
The Tallis Scholars
directed by PETER PHILLIPS
In Dulci Jubilo
In dulci jubilo, verse 1 Solo monody (14th c.)
In dulci jubilo, verses 2 & 4
Hieronymus Praetorius (1560–1629)
Plainchant: In principio omnes Hildegard von Bingen (1098–1179)
Salve regina Jacob Obrecht (ca. 1457–1505)
Plainchant: O virtus Sapientiae Hildegard von Bingen
Ut queant laxis Giovanni Pierluigi da Palestrina (ca. 1525–1594)
Magnificat Arvo Pärt (b. 1935) m INTERMISSION n
Plainchant: O ignis spiritus Hildegard von Bingen
Da pacem Domine Pärt
Plainchant: Salve regina Anonymous
Salve regina Hernando Franco (1532–1585)
Salve regina a8 Palestrina
Magnificat primi toni a8
Tomás Luis de Victoria (ca. 1548–1611)
In dulci jubilo Robert Lucas Pearsall (1795–1856)
The Boston Early Music Festival thanks ANDREW SIGEL for his support of the virtual presentation of The Tallis Scholars
LIVE CONCERT
Friday, December 6, 2024 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts
VIRTUAL CONCERT
Friday, December 13, 2024 – Friday, December 27, 2024 BEMF.org
THE TALLIS SCHOLARS
directed by Peter Phillips
Amy Haworth, soprano
Victoria Meteyard, soprano
Daisy Walford, soprano
Rachel Haworth, soprano
Caroline Trevor, alto
Elisabeth Paul, alto
Steven Harrold, tenor
Simon Wall, tenor
Tim Scott Whiteley, bass
Rob Macdonald, bass
Program subject to change.
Ball Square Films & Kathy Wittman, Video Production
Antonio Oliart Ros, Recording Engineer
The Tallis Scholars appear by arrangement with Alliance Artist Management.
The Tallis Scholars record for Gimell Records. Please visit their website at www.gimell.com
For more information, please visit www.thetallisscholars.co.uk
Boston Early Music Festival
2024 CHAMBER OPERA SERIES
NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals and organizations for their leadership support of the 2024 performances of Don Quichotte:
Glenn A. KnicKrehm and Constellation Charitable Foundation Principal Production Sponsors
Andrew Sigel
Sponsor of Christian Immler, Don Quichotte, Emily Siar, Quiteria, Richard Pittsinger, Grisostomo, and Julian Donahue, dancer
David Halstead and Jay Santos
Sponsors of Paul O’Dette and Stephen Stubbs, Musical Directors
Lorna E. Oleck
Sponsor of the BEMF Dance Company
Diane and John Paul Britton Sponsors of Gwen van den Eijnde, Costume Designer
Bernice K. Chen
Sponsor of Gilbert Blin, Stage Director
Harriet Lindblom
Sponsor of Michael Sponseller, harpsichord in honor of Daniel Lindblom, harpsichordist and builder
Michael and Marie-Pierre Ellmann
Sponsors of Jason McStoots, Sancho Pansa
Joanne Zervas Sattley
Sponsor of Sarah Darling, viola
PROGRAM NOTES
Now this same angel came up to the Servant brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: “In dulci jubilo…”
Thus does legend recount the composition of the medieval carol In dulci jubilo. The story, of a melody divinely communicated to its composer, echoes that of Pope Gregory I, who, it is said, wrote down the melodies of plainsong as they were dictated to him by the Holy Spirit in the form of a dove. As Peter Phillips writes, “the most traditional way to celebrate Christmas is to turn to Gregorian chant”—and this program explores chant and chant-inspired music from nearly a thousand years of sacred music.
In dulci jubilo is a “macaronic” carol, meaning its text combines vernacular language (here, German) with Latin refrains. In the Lutheran Germany of Hieronymus
Praetorius, this carol was so popular that it was interpolated into performances of the Magnificat at Vespers on Christmas Day. Accordingly, Praetorius’s version shares the ebullient rhythms and lavish double-choir spread of the liturgical setting it originally sat alongside.
More ancient still than In dulci jubilo are the plainchant-inspired melodies of twelfthcentury abbess Hildegard of Bingen. An extraordinary figure, Hildegard was a poet, scientist, and theologian, as well as a composer inspired by her own visions, who described herself as “a feather on the breath of God.” Monastic communities had been using plainchant for hundreds of years, but Hildegard’s music, while remaining monodic (that is, consisting of a single vocal line, unaccompanied), expanded it with a much larger range, the better to communicate her ecstatic love of God.
In principio omnes belongs to the end of Hildegard’s musical “morality play,” Ordo Virtutum. The action over, the singers bid the listener join them on their knees to receive the outstretched hand of God—a
HILDEGARD VON BINGEN
Illumination from Hildegard’s Scivias (1151) showing her receiving a vision and dictating to teacher
stretching-out which is musically illustrated by the long melisma which concludes the passage.
The Salve regina is one of four antiphons appointed to be sung to the Blessed Virgin Mary in various seasons of the Church year. The strength of the medieval cult of Mary meant that chants associated with her were among the most well-known of all. The familiarity of the Salve regina was no doubt bolstered by the distinctive opening of the plainchant in the “solemn” form, which provided composers with a useful and memorable four-note motif to scatter through their music.
When Jacob Obrecht wrote his version, the use of as many as six different musical parts was quite rare. His setting alternates unadorned plainchant with polyphonic sections which adapt the chant melody and use it as the basis for imitation between the parts.
Hildegard’s O virtus Sapientie hymns wisdom as a three-winged gift of God. We can hear her escaping the narrow compass of plainchant, giving the word altum, ‘high,’ the highest note of the composition—a level of “word-painting” that the composers of liturgical plainchant largely eschewed.
Ut queant laxis is a hymn appointed to be sung on the Feast of St. John the Baptist, its self-referential words concerning the opening of the lips and the act of singing. In another form, this hymn was also famous for teaching the notes of the hexachord in the music theory of the Middle Ages.
Giovanni Pierluigi da Palestrina’s polyphony alternates with the chant on which it is based. He saves a sprinkling of extra contrapuntal glamor for the doxology at the end, by adding a further voice-part which follows the highest part in canon.
The luminous sounds of Estonian composer Arvo Pärt are an example of the continued relevance of chant in contemporary music. His style makes highly distinctive use of the interaction between the horizontal— melody, usually minimalistic and chantinspired—and the vertical—harmony, built off the sonority of the triad. Pärt likens the effect to the overtones of a bell, hence its name: tintinnabuli. His setting of the Magnificat draws out both the majesty and mystery of the words, even while remaining always within F minor.
In O ignis spiritus, Hildegard pays expansive tribute to the Holy Spirit, the conduit for her visions and bearer of heavenly wisdom.
Pärt’s Da pacem Domine was written in response to the terrorist bombings in Madrid in 2004. The form is based on an earlier, instrumental piece entitled Pari intervallo, meaning “equal intervals.” The bass and alto parts move in parallel, with the other parts sounding out a D minor arpeggio in belllike fashion—a characteristic expression of the composer’s tintinnabuli process. Here, though, the alto part is intoning the ninthcentury plainchant melody of the antiphon Da pacem, Domine.
The Salve regina was of great importance across the Catholic world, but especially in
JACOB OBRECHT
GIOVANNI PIERLUIGI DA PALESTRINA
Spanish Catholic practice, to the extent that its use became the focus of the independent, devotional “Salve service.” This custom was enthusiastically taken up by the colonies in the New World. A manuscript from Guatemala holds a great many settings of the antiphon, of which no fewer than five are composed by Hernando Franco, a Spaniard who spent time in Guatemala before becoming maestro de capilla at the new Mexico City Cathedral.
Palestrina’s setting is also redolent of a particular time and place: specifically, the Rome which revelled in the “polychoral” style in which different choral groups were pitted antiphonally against each other. This was a confident, declamatory style which brought the words to the fore. The composer saves the full power of his combined forces for moments of special emphasis, such as the name of Jesus, which rings out in the middle of the piece, as if to reinforce his centrality even in an ostensibly Marian motet.
The Magnificat, Mary’s hymn of praise on receiving the news that she is to bear the Christ, is not merely a Christmas text, but one used daily in Christian liturgy as evidence of God’s word made manifest. This accounts for Tomás Luis de Victoria’s eighteen settings of the text, designed to be performed at the evening service of Vespers. This Magnificat primi toni—meaning it is based on the “first tone” of plainchant
psalmody—would have been appropriate for a high feast day, perhaps Christmas itself. Unlike most of the other settings, in which verses set to polyphony alternate with simple plainchant, here the music is polyphonic throughout, and set for not one but two four-part choirs, with fragments and outlines of the psalm-tone plainchant emerging as motifs passed between the voices.
Robert Lucas Pearsall, though an amateur composer, was instrumental in the nineteenth-century revival of older musical traditions, including plainsong and Renaissance music. His setting of In dulci jubilo brings this program to a close, fittingly lending an English, madrigalian sensibility to the well-known German medieval song. The result is a joyful and popular setting, which introduced the beloved carol to new generations of choristers. n
© James M. Potter, 2024
ROBERT LUCAS PEARSALL
ARTIST PROFILES
The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned.
The Tallis Scholars perform in both sacred and secular venues, giving around 80 concerts each year. In 2013, the group celebrated their 40th anniversary with a world tour, performing 99 events in 80 venues in 16 countries. In 2020, Gimell Records celebrated 40 years of recording the group by releasing a remastered version of the 1980 recording of Allegri’s Miserere. In 2023/24, as they celebrated their 50th birthday, the desire to hear this group in all corners of the globe was as strong as ever. They have now performed well over 2,500 concerts.
Highlights of the 2024/25 season include performances in Japan, the United States, East
Asia, and a number of appearances in London as well as their usual touring schedule in Europe and the UK.
Recordings by The Tallis Scholars have attracted many awards throughout the world. In 1987, their recording of Josquin’s Missa La sol fa re mi and Missa Pange lingua received Gramophone magazine’s Record of the Year award, the first recording of early music ever to win this coveted award. In 1989 the French magazine Diapason gave two of its Diapason d’Or de l’Année awards for the recordings of a mass and motets by Lassus and for Josquin’s two masses based on the chanson L’Homme armé. Their recording of Palestrina’s Missa Assumpta est Maria and Missa Sicut lilium was awarded Gramophone’s Early Music Award in 1991; they received the 1994 Early Music Award for their recording of music by Cipriano de Rore, and the same distinction again in 2005 for their disc of music by John Browne. The Tallis Scholars were nominated for Grammy Awards in 2001, 2009, and 2010. In November 2012, their recording of Josquin’s Missa De beata virgine and Missa Ave maris stella received a Diapason d’Or de l’Année and in their 40th anniversary year they were welcomed into the Gramophone Hall of Fame by public vote. In a departure for the group,
in Spring 2015 The Tallis Scholars released a disc of music by Arvo Pärt called Tintinnabuli, which received great praise across the board.
A 2020 release including Missa Hercules Dux Ferrarie was the last of nine albums in The Tallis Scholars’ project to record and
release all of Josquin’s masses before the 500th anniversary of the composer’s death. It was the winner of the BBC Music Magazine’s much-coveted Recording of the Year Award in 2021 and the 2021 Gramophone Early Music Award. Their latest Gimell release, in October 2023, was of music by John Sheppard. n
Peter Phillips has dedicated his career to the research and performance of Renaissance polyphony, and to the perfecting of choral sound. He founded The Tallis Scholars in 1973, with whom he has now appeared in over 2,500 concerts and made over 60 recordings, worldwide. As a result of this commitment, Peter Phillips and The Tallis Scholars have done more than any other group to establish the sacred vocal music of the Renaissance as one of the great repertoires of Western classical music.
Peter Phillips also conducts other specialist ensembles. He is currently working with the BBC Singers, the Netherlands Chamber Choir, the Estonian Philharmonic Chamber Choir, Intrada (Moscow), and El Leon de Oro (Spain). He is Patron of the Chapel Choir of Merton College, Oxford.
In addition to conducting, Peter Phillips is well known as a writer. For thirty-three years
he contributed a regular music column to The Spectator. In 1995, he became the publisher of The Musical Times, the oldest continuously published music journal in the world. His first book, English Sacred Music 1549–1649, was published by Gimell in 1991, while his second, What We Really Do, appeared in 2003, and again in 2013. During 2018, BBC Radio 3 broadcast his view of Renaissance polyphony in a series of six hour-long programs entitled The Glory of Polyphony.
In 2005, Peter Phillips was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture. In 2008, Peter helped to found the chapel choir of Merton College, Oxford, where he is a Bodley Fellow, and in 2021 he was elected an Honorary Fellow of St John’s College, Oxford. n
TEXTS AND TRANSLATIONS
In dulci jubilo, verse 1 — Solo monody
In dulci jubilo,
Nun singet und seid froh!
Unsers Herzens Wonne liegt
In praesepio,
Und leuchtet als die Sonne
Matris in gremio, Alpha es et O!
In quiet joy
Now sing with hearts aglow! Our delight and pleasure lies In a manger; Like sunshine is our treasure
In the mother’s lap.
Thou art Alpha and Omega!
In dulci jubilo, verses 2 & 4 — Hieronymus Praetorius
O Jesu parvule
Nach dir ist mir so weh!
Tröst’ mir mein Gemüte
O puer optime
Durch alle deine Güte
O princeps gloriae.
Trahe me post te!
Ubi sunt gaudia
Nirgend mehr denn da!
Da die Engel singen
Nova cantica,
Und die Schellen klingen
In regis curia.
Eia, wären wir da!
In principio omnes — Hildegard von Bingen
In principio omnes creaturae viruerunt, in medio flores floruerunt, postea viriditas descendit, et istud vir proeliator vidit et dixit:
Hoc scio, sed aureus numerus nondum est plenus.
Tu ergo, Paternum speculum, aspice, in corpore meo fatigationem sustineo, parvuli etiam mei deficiunt.
Nunc memor esto, quod plenitudo, quae in primo facta est, arescere non debuit, et tunc in ti’ habuisti, quod oculus tuus numquam cederet, usque dum corpus meum vide res plenum gemmarum.
Nam me fatigat, quod omnia membra mea in irrisionem vadunt. Pater, vide, vulnera mea tibi ostendo.
Ergo nunc, omnes homines, genua vestra ad Patrem vestrum flectite, ut vobis manum suam porrigat.
O tiny Jesus
For thee I long alway; Comfort my heart’s blindness, O best of boys
With all Thy loving kindness, O prince of glory
Draw me after Thee!
Where are joys
In any place but there?
There are angels singing
New songs
And there the bells are ringing In the king’s court O that we were there!
In the beginning all creation was verdant, flowers blossomed in the midst of it; later, greenness sank away.
And the champion saw this and said: “I know it, but the golden number is not yet full You then, behold me, mirror of your fatherhood: in my body I am suffering exhaustion, even my little ones faint.
Now remember that the fullness which was made in the beginning need not have grown dry, and that then you resolved that your eye would never fail until you saw my body full of jewels.
For it wearies me that all my limbs are exposed to mockery: Father, behold, I am showing you my wounds.”
So now, all you people, bend your knees to the Father, that he may reach you his hand.
Salve regina — Jacob Obrecht
Salve Regina, mater misericordiae; Vita, dulcedo, et spes nostra, salve.
Ad te clamamus, exsules filii Hevae. Ad te suspiramus, gementes et flentes In hac lacrimarum valle.
Eia ergo, advocata nostra, Illos tuos misericordes oculos ad nos converte. Et Jesum, benedictum fructum ventris tui, Nobis post hoc exsilium ostende. O clemens, O pia, O dulcis Virgo Maria.
O virtus Sapientiae — Hildegard von Bingen
O virtus Sapientie, que circuiens circuisti, comprehendendo omnia in una via que habet vitam, tres alas habens, quarum una in altum volat et altera de terra sudat et tercia undique volat.
Laus tibi sit, sicut te decet, O Sapientia.
Hail Queen, mother of mercy; Our life, our sweetness, and our hope, hail! To you we cry, the exiled children of Eve. To you we sigh, mourning and weeping In this vale of tears.
Come then, our advocate, Turn your pitying eyes towards us, And when our exile is over, show us Jesus, The blessed fruit of your womb. O merciful, O holy, O sweet Virgin Mary.
O Wisdom’s energy! Whirling, you encircle
And everything embrace In the single way of life. Three wings you have: One soars above into the heights, One from the earth exudes, And all about now flies the third. Praise be to you, as is your due, O Wisdom.
Ut queant laxis — Giovanni Pierluigi da Palestrina
Ut queant laxis resonare fibris mira gestorum famuli tuorum, solve polluti labiis reatum, sancte Joannes.
Ille promissi dubius superni perdidit promptae modulos loquelae; sed reformasti genitus peremptae organa vocis.
Gloria Patri genitaeque Proli et tibi compar utriusque semper Spiritus alme Deus unus omni tempore saecli. Amen.
For thy spirit, holy John, to chasten Lips sin-polluted, fettered tongues to loosen; So by thy children might thy deeds of wonder Meetly be chanted.
Scarcely believing message so transcendent, Him for a season power of speech forsaketh, Till, at thy wondrous birth, again returneth Voice to the voiceless.
Praise to the Father, to the Son begotten, And to the Spirit, equal power, possessing, One God whose glory, through the lapse of ages, Ever resoundeth. Amen.
Magnificat — Arvo Pärt
Magnificat anima mea Dominum.
Et exultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
Ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est: et sanctum nomens eius.
Et misericordia eius a progenie in progenies timentibus eum.
Fecit potentiam in brachio suo: dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.
Esurientes implevit bonis: et divites dimisit inanes.
Suscepit Israel, puerum suum, recordatus misericordiae suae.
Sicut locutus est ad patres nostros, Abraham et semini eius in saecula.
Magnificat anima mea Dominum. m
My soul doth magnify the Lord and my spirit hath rejoiced in God my Savior. For he hath regarded the lowliness of his handmaiden:
For behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me: and holy is his Name. And his mercy is on them that fear him throughout all generations.
He hath showed strength with his arm: he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel: as he promised to our forefathers, Abraham and his seed, forever. My soul doth magnify the Lord.
INTERMISSION n
O ignis spiritus — Hildegard von Bingen
O ignis spiritus paracliti, vita vite omnis creature, sanctus es vivificando formas.
Sanctus es ungendo periculose fractos, sanctus es tergendo fetida vulnera.
O spiraculum sanctitatis, o ignis caritatis, o dulcis gustus in pectoribus et infusio cordium in bono odore virtutum.
O fons purissime, in quo consideratur quod Deus alienos colligit et perditos requirit.
O lorica vite et spes compaginis membrorum omnium et o cingulum honestatis: salva beatos.
O fire of the spirit and defender, the life of every life created: Holy are you—giving life to every form.
Holy are you—anointing the critically broken. Holy are you—cleansing the festering wounds.
O breath of holiness, O fire of love, O taste so sweet within the breast, that floods the heart with virtues’ fragrant good.
O clearest fountain, in which is seen the mirrored work of God: to gather the estranged and seek again the lost.
O living armor, hope that binds the every limb, O belt of honor: save the blessed.
Custodi eos qui carcerati sunt ab inimico, et solve ligatos quos divina vis salvare vult.
O iter fortissimum, quod penetravit omnia in altissimis et in terrenis et in omnibus abyssis, tu omnes componis et colligis.
De te nubes fluunt, ether volat, lapides humorem habent, aque rivulos educunt, et terra viriditatem sudat.
Tu etiam semper educis doctos per inspirationem Sapientie letificatos.
Unde laus tibi sit, qui es sonus laudis et gaudium vite, spes et honor fortissimus, dans premia lucis.
Da pacem Domine — Arvo Pärt
Da pacem, Domine, in diebus nostris quia non est alius qui pugnet pro nobis nisi tu Deus noster.
Guard those enchained in evil’s prison, and loose the bonds of those whose saving freedom is the forceful will of God.
O mighty course that runs within and through the all—up in the heights, upon the earth, and in the every depth— you bind and gather all together.
From you the clouds flow forth, the wind takes flight, the stones their moisture hold, the waters rivers spring, and earth viridity exudes. You are the teacher of the truly learned, whose joy you grant through Wisdom’s inspiration.
And so may you be praised, who are the sound of praise, the joy of life, the hope and potent honor, and the giver of the gifts of light.
Grant peace, O Lord, in our time because there is no one else who will fight for us, if not you, our God.
Salve regina — Plainchant, Franco & Palestrina
Salve Regina, mater misericordiae; Vita, dulcedo, et spes nostra, salve. Ad te clamamus, exsules filii Hevae. Ad te suspiramus, gementes et flentes In hac lacrimarum valle.
Eia ergo, advocata nostra, Illos tuos misericordes oculos ad nos converte. Et Jesum, benedictum fructum ventris tui, Nobis post hoc exsilium ostende. O clemens, O pia, O dulcis Virgo Maria.
Hail Queen, mother of mercy; Our life, our sweetness, and our hope, hail! To you we cry, the exiled children of Eve. To you we sigh, mourning and weeping In this vale of tears.
Come then, our advocate, Turn your pitying eyes towards us, And when our exile is over, show us Jesus, The blessed fruit of your womb. O merciful, O holy, O sweet Virgin Mary.
Magnificat primi toni — Tomás Luis de Victoria
Magnificat anima mea Dominum.
Et exultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
Ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est: et sanctum nomen eius.
Et misericordia eius a progenie in progenies: timentibus eum.
Fecit potentiam in brachio suo: dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.
Esurientes implevit bonis: et divites dimisit inanes.
Suscepit Israel puerum suum, recordatus misericordiae suae.
Sicut locutus est ad patres nostros: Abraham et semini eius in saecula.
Gloria Patri, et Filio, et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.
Amen.
In dulci jubilo — Robert Pearsall
In dulci jubilo,
Let us our homage show.
Our heart’s joy reclineth, In praesepio.
And like a bright star shineth, Matris in gremio.
Alpha es et O!
O Jesu parvule I yearn for thee alway. Hear me, I beseech thee, O puer optime.
My prayer let it reach thee, O princeps gloriae.
Trahe me post te!
My soul doth magnify the Lord: and my spirit hath rejoiced in God my Savior. For he hath regarded the lowliness of his handmaiden.
For behold, from henceforth, all generations shall call me blessed. For he that is mighty hath magnified me, and holy is his name.
And his mercy is on them that fear him throughout all generations.
He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seats and hath exalted the humble and meek.
He hath filled the hungry with good things and the rich he hath sent empty away.
He remembering his mercy hath holpen his servant Israel, as he promised to our forefathers: Abraham and his seed for ever.
Glory be to the Father, and to the Son, and to the Holy Ghost.
As it was in the beginning, is now, and ever shall be: world without end.
Amen.
In quiet joy
Let us our homage show.
Our heart’s joy reclineth, In a manger;
And like a bright star shineth, In the mother’s lap.
Thou art Alpha and Omega!
O tiny Jesus
I yearn for thee alway.
Hear me, I beseech thee, O best of boys
My prayer let it reach thee, O prince of glory.
Draw me after Thee!
O Patris caritas!
O Nati lenitas!
Deeply were we stained
Per nostra crimina
But thou hast for us gained
Coelorum gaudia
O that we were there!
Ubi sunt gaudia
Where if that they be not there?
There are angels singing
Nova cantica,
There the bells are ringing
In regis curia.
O that we were there!
O love of the Father!
O gentleness of the Son!
Deeply were we stained
Through our sins
But Thou hast for us gained The joy of heaven
O that we were there!
Where are the joys,
Where if that they be not there?
There are angels singing
New songs,
There the bells are ringing
In the king’s court.
O that we were there!
Make a Difference
Boston Early Music Festival PLANNED GIVING
Play a vital and permanent role in BEMF’s future with a planned gift. Your generous support will create unforgettable musical experiences for years to come, and may provide you and your loved ones with considerable tax benefits.
Join the BEMF ORPHEUS SOCIETY by investing in the future of the Boston Early Music Festival through a charitable annuity, bequest, or other planned gift. With many ways to give and to direct your gift, our staff will work together with you and your advisors to create a legacy that is personally meaningful to you.
To learn more, please call us at 617-661-1812, email us at kathy@bemf.org, or visit us online at BEMF.org/plannedgiving.
BEMF’S 2023 PRODUCTION OF DESMAREST’S CIRCÉ
Boston Early Music Festival
The Boston Early Music Festival (BEMF) is universally recognized as a leader in the field of early music. Since its founding in 1980 by leading practitioners of historical performance in the United States and abroad, BEMF has promoted early music through a variety of diverse programs and activities, including an annual concert series that brings early music’s brightest stars to the Boston and New York concert stages, and the biennial weeklong Festival and Exhibition, recognized as “the world’s leading festival of early music” (The Times, London). Through its programs BEMF has earned its place as North America’s premier presenting organization for music of the Medieval, Renaissance, and Baroque periods and has secured Boston’s reputation as “America’s early music capital” (Boston Globe).
INTERNATIONAL BAROQUE OPERA
One of BEMF’s main goals is to unearth and present lesser-known Baroque operas performed by the world’s leading musicians armed with the latest information on period singing, orchestral performance, scenic design, costuming, dance, and staging. BEMF operas reproduce the Baroque’s stunning palette of sound by bringing together today’s leading operatic superstars and a wealth of instrumental talent from across the globe to one stage for historic presentations, all zestfully led from the pit by the BEMF Artistic Directors Paul O’Dette and Stephen Stubbs, and creatively reimagined for the stage by BEMF Opera Director Gilbert Blin. Biennial centerpiece productions feature both the Boston Early Music Festival Orchestra and the Boston Early Music Festival Dance Company.
The twenty-second biennial Boston Early Music Festival, A Celebration of Women, was held in June 2023 and featured Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge. The twenty-third Festival, in June 2025, will have as its centerpiece Reinhard Keiser’s 1705 opera Octavia.
BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon. The series features the artists of the Boston Early Music Festival Vocal and Chamber Ensembles and focuses on the wealth of chamber operas composed during the Baroque period, while providing an
International Baroque Opera • Celebrated Concerts • World-Famous Exhibition
PHOTO: KATHY WITTMAN
increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Jean-Baptiste Lully, Francesca Caccini’s Alcina, the first opera written by a woman, a combination of Telemann’s Pimpinone and Ino, joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil, and most recently John Frederick Lampe’s The Dragon of Wantley. Acis and Galatea was revived and presented on a four-city North American Tour in early 2011, which included a performance at the American Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011.
BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award
for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/ Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on
SCENE FROM BEMF’S 2023 PRODUCTION OF LAMPE’S THE DRAGON OF WANTLEY
PHOTO: KATHY WITTMAN
Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in September 2017 in conjunction with a six-city North American tour, and a recording of Johann Sebastiani’s St. Matthew Passion was released in March 2018. Four Baroque opera releases followed in 2019 and 2020: a disc of Charpentier’s chamber operas Les Plaisirs de Versailles and Les Arts Florissants was released at the June 2019 Festival, and has been nominated for a Grammy Award; the 2013 Festival opera, Handel’s Almira, was released in late 2019, and received a Diapason d’Or. Lalande’s chamber opera Les Fontaines de Versailles was featured on a September 2020 release of the composer’s works; Christoph Graupner’s opera Antiochus und Stratonica was released in December 2020. BEMF’s recording of Desmarest’s Circé, the 2023 Festival opera, was released concurrently with the opera’s North American premiere, Pergolesi’s La serva padrona and Livietta e Tracollo was released in December 2023, and the newest recording, Telemann’s Ino and opera arias for soprano featuring Amanda Forsythe, was released in October 2024.
CELEBRATED CONCERTS
Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, which always include the acclaimed Boston Early Music Festival Orchestra led by Orchestra Director Robert Mealy, and which often feature unique, once-in-a-lifetime collaborations and programs by the spectacular
array of talent assembled for the Festival week’s events. In 1989, BEMF established an annual concert series bringing early music’s leading soloists and ensembles to the Boston concert stage to meet the growing demand for regular world-class performances of early music’s beloved classics and newly discovered works. BEMF then expanded its concert series in 2006, when it extended its performances to New York City’s Gilder Lehrman Hall at the Morgan Library & Museum, providing “a shot in the arm for New York’s relatively modest early-music scene” (New York Times).
WORLD-FAMOUS EXHIBITION
The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition, in their first-ever visit to the United States. Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. n
THE BEMF ORCHESTRA AT THE JUNE 2023 FESTIVAL PHOTO: KATHY WITTMAN
BECOME A FRIEND OF THE
Boston Early Music Festival
Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists.
Our membership organization, the FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.
PLEASE JOIN THE FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL BY DONATING AT ONE OF SEVERAL LEVELS:
• Friend
$45
• Partner $100
• Associate $250
• Patron $500
• Guarantor $1,000
• Benefactor $2,500
• Leadership Circle $5,000
• Artistic Director’s Circle $10,000
• Festival Angel $25,000
THREE WAYS TO GIVE:
• Visit BEMF.org and click on “Give Now”.
• Call BEMF at 617-661-1812 to donate by telephone using your credit card
• Mail your credit card information or a check (payable to BEMF) to Boston Early Music Festival, 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764
OTHER WAYS TO SHOW YOUR SUPPORT:
• Increase your philanthropic impact with a Matching Gift from your employer.
• Make a gift of appreciated stocks or bonds to BEMF.
• Planned Giving allows you to support BEMF in perpetuity while achieving your financial goals.
• Direct your gift to a particular area that interests you with a Named Gift.
QUESTIONS? Please e-mail Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Thank you for your support!
FRIENDS OF THE
Boston Early Music Festival
This list reflects donations received from June 1, 2023 to November 7, 2024
FESTIVAL ANGELS
($25,000 or more)
Anonymous (2)
Bernice K. Chen
Brit d’Arbeloff
Peter L. Faber
David Halstead & Jay Santos
George L. Hardman
Glenn A. KnicKrehm
Jeffrey G. Mora, in memory of Wendy Fuller-Mora
Miles Morgan†
Lorna E. Oleck
Susan L. Robinson
Andrew Sigel
Joan Margot Smith
Piroska Soos†
Donald E. Vaughan & Lee S. Ridgway
Marilee Wheeler Trust
ARTISTIC DIRECTORS’ CIRCLE
($10,000 or more)
Anonymous (2)
Katie & Paul Buttenwieser
Susan Denison
Tony Elitcher & Andrea Taras
Marie-Pierre & Michael Ellmann
Lori Fay & Christopher Cherry
Clare M. S. Fewtrell†
Donald Peter Goldstein, M.D., in memory of Constance Kellert Goldstein
Ellen T. & John T. Harris
Barbara & Amos Hostetter
David M. Kozak & Anne Pistell, in memory of their parents
Bill McJohn
Karen Tenney & Thomas Loring
Christoph Wolff
LEADERSHIP CIRCLE
($5,000 or more)
Anonymous (2)
Diane & John Paul Britton
Gregory E. Bulger & Richard Dix
Peter & Katie DeWolf
Susan Donaldson
Jean Fuller Farrington
Kathleen Fay, in memory of Dorothy Ryan Fay
James A. Glazier
Mei-Fung Kerley, in memory of Ted Chen
Robert E. Kulp, Jr., in memory of James Nicolson, Miles Morgan & Ned Kellogg
Mr. & Mrs. Thomas G. MacCracken
Heather Mac Donald & Erich Eichman
Bettina A. Norton
Harold I. Pratt
Joanne Zervas Sattley
David Scudder, in memory of Marie Louise Scudder
Maria van Kalken & Hal Winslow, in memory of Adrian van Kalken
BENEFACTORS
($2,500 or more)
Anonymous
Annemarie Altman
Douglas M. & Aviva A. Brooks
Amy Brown & Brian Carr
Beth Brown, in memory of Walter R.J. Brown
David Emery & Olimpia Velez
John Felton & Marty Gottron
Harriet Lindblom
John S. Major & Valerie Steele
Victor & Ruth McElheny
Brian Pfeiffer
Kenneth C. Ritchie & Paul T. Schmidt
Nina & Timothy Rose
Catherine & Phil Saines, in honor of Barbara K. Wheaton
Paul L. Sapienza PC CPA
Raymond A. & Marilyn Smith
Adrian & Michelle Touw
Allan & Joann Winkler
GUARANTORS
($1,000 or more)
Anonymous (10)
A.M. Askew
Ann Beha & Robert Radloff
Mary Briggs & John Krzywicki
The Honorable Leonie M. Brinkema & Mr. John R. Brinkema
Pamela & Lee Bromberg
James Burr
Betty Canick
John A. Carey
Robert & Elizabeth Carroll
Bernice Chen & Mimi Kerley, in memory of Ted Chen
Carla Chrisfield & Benjamin D. Weiss
Peter S. Coleman
Dr. & Mrs. Franklyn Commisso
Mary Cowden
Belden & Pamela Daniels
Mary Deissler
Jeffrey Del Papa
Carl E. Dettman
Charles & Elizabeth Emerson
Phillip Hanvy
Dr. Robert L. Harris
Rebecca & Ronald Harris-Warrick
Michael Herz & Jean Roiphe
Jessica Honigberg
Jane Hoover
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Barry Kernfeld & Sally McMurry
Alan M. King
Art & Linda Kingdon
Neal & Catherine Konstantin
Amelia J. LeClair & Garrow Throop
John Leen & Eileen Koven
Dr. Peter Libby, in memory of Dr. Beryl Benacerraf
Lawrence & Susan Liden
Mark & Mary Lunsford
MAFAA
William & Joan Magretta
David McCarthy & John Kolody
Michael P. McDonald
Rebecca Nemser, in memory of Paul Nemser
Keith Ohmart & Helen Chen
Louise Oremland
Richard & Julia Osborne
Neal J. Plotkin & Deborah Malamud
Amanda & Melvyn Pond
Tracy Powers
Susan Pundt
Paul Rabin & Arlene Snyder
Christa Rakich & Janis Milroy
Alice Robbins & Walter Denny, in honor of Kathy Fay
Sue Robinson
Jose M. Rodriguez & Richard A. Duffy
Patsy Rogers
Lois Rosow
Michael & Karen Rotenberg
Carlton & Lorna Russell
Kevin Ryan & Ozerk Gogus, in memory of Dorothy Fay
Lynne & Ralph Schatz
Susan Schuur
Cynthia Siebert
Elizabeth Snow
Richard K. & Kerala J. Snyder
Hazel & Murray Somerville
Ted St. Antoine
Lisa Teot
Paula & Peter Tyack
Peter J. Wender
PATRONS
($500 or more)
Anonymous (6)
Morton Abromson & Joan Nissman
Eric Hall Anderson
Tom & Judy Anderson Allen
Susan Bromley
Frederick Byron
John Campbell & Susanna Peyton
Mary Chamberlain
David J. Chavolla
Joseph Connors
Geoffrey Craddock
Richard & Constance Culley
Kathryn Disney
John W. Ehrlich
Mary Fillman & Mary Otis Stevens
Martin & Kathleen Fogle
Claire Fontijn, in memory of Arthur Fontijn
& Sylvia Elvin
Bruce A. Garetz
Alexander Garthwaite
Sarah M. Gates
George & Marla Gearhart
David & Harriet Griesinger
James & Ina Heup
Phyllis Hoffman
Jean Jackson, in memory of Louis Kampf
Richard Johnson & Annmarie Linnane
Paul & Alice Johnson
Robin Johnson
Fran & Tom Knight
Kathryn Mary Kucharski
Robert & Mary La Porte
Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence
Catherine Liddell
Roger & Susan Lipsey
James Liu & Alexandra Bowers
Quinn Mackenzie
Marietta Marchitelli
Carol Marsh
Amy & Brian McCreath
Marilyn Miller
Alan & Kathy Muirhead
Robert Neer & Ann Eldridge
Clara M. & John S. O’Shea
Richard† & Lois Pace, in honor of Peter Faber
William J. Pananos
Henry Paulus
Phillip Petree
Hon. W. Glen Pierson & Hon. Charles P. Reed
Gene & Margaret Pokorny
Martha J. Radford
Arthur & Elaine Robins
Ellen Rosand
Cheryl K. Ryder
Richard Schroeder & Dr. Jane Burns
Wendy Shattuck & Sam Plimpton
Kathy & Alexander Silbiger Fund
Harvey A. Silverglate, in memory of Elsa Dorfman
Lynne Spencer
Louisa C. Spottswood
Catherine & Keith Stevenson
Ann Stewart
Ronald W. Stoia
Theresa & Charles Stone
David & Jean Stout, in honor of Kathy Fay
Carl Swanson
Ralph & Jeanine Swick, in memory of Alan & Judie Kotok
Kenneth P. Taylor
Douglas L. Teich, M.D.
Reed & Peggy Ueda
Richard Urena
Patrick Wallace & Laurie McNeil
Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP
Polly Wheat & John Cole
Kathleen Wittman & Melanie Andrade, in memory of John Wittman
ASSOCIATES
($250 or more)
Anonymous (7)
Anonymous, in honor of Nancy Olson
Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier
Elizabeth Alexander
Nicholas Altenbernd
Brian P. & Debra K. S. Anderson
Julie Andrijeski & J. Tracy Mortimore
Louise Basbas
William & Ann Bein
Noel & Paula Berggren
Michael & Sheila Berke
James Bowman
David Breitman & Kathryn Stuart
David C. Brown
Robert Burger
Darcy Lynn Campbell
Joseph Cantey
Anne Chalmers & Holly Gunner
Peter Charig & Amy Briemer
JoAnne Chernow
Sherryl & Gerard Cohen
Derek Cottier & Lauren Tilly
Tekla Cunningham & David Sawyer
Warren R. Cutler
Eric & Margaret Darling
Leigh Deacon
Michael DiSabatino, in honor of Nancy Olson
Ellen Dokton & Stephen Schmidt
Charles & Sheila Donahue
Alan Durfee†
The Rev’d Richard Fabian
Charles Fisk
Fred Franklin, in memory of Kaaren Grimstad
Elizabeth French
Jonathan Friedes & Qian Huang
Fred & Barbara Gable
Sandy Gadsby & Nancy Brown
The Graver Family
Sonia Guterman, in memory of Martin Guterman
Laury Gutierrez & Elsa Gelin
Dr. Joanna Haas
Eric & Dee Hansen
Joan E. Hartman
Rebecca & Richard Hawkins
Diane Hellens
Katherine A. Hesse
David Hoglund
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Francesco Iachello
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Patrick G. Jordan
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Jasper Lawson
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William Leitch
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Susan Lewinnek
William Loutrel & Thomas Fynan
Mary Maarbjerg
Anne H. Matthews
June Matthews
Sally Mayer
Donna McCampbell
Ray Mitzel
Stephen Moody
Nancy Nuzzo
Eugene Papa
John Parisi
David & Beth Pendery
Joseph L. Pennacchio
Susan Pettee & Michael Wise
Stephen Poteet
Anne & François Poulet
Lawrence Pratt & Rosalind Forber
Michael Rogan & Hugh Wilburn
Rusty Russell, in honor of Kathy Fay
Susan Sargent
David Schneider & Klára Móricz
Charles & Mary Ann Schultz
Laila Awar Shouhayib
Jacob & Lisa Skowronek
Mark Slotkin
David Snead & Kate Prescott
Jeffrey Soucy
Victoria Sujata
Jonathan Swartz
Mark S. Thurber & Susan M. Galli
John & Dorothy Truman
Peter & Kathleen Van Denmark
Robert Viarengo
Robert & Therese Wagenknecht
Robert Warren
Thomas & LeRose Weikert
Scott & Barbara Winkler
Beverly Woodward & Paul Monsky
PARTNERS
($100 or more)
Anonymous (12)
Anonymous, in memory of Dorothy Ryan Fay Anonymous, in memory of Thomas Roney
Vilde Aaslid
Anne Acker
Joseph Aieta III
Joanne Algarin
Druid Errant D.T. Allan-Gorey
Ken Allen
Neil R. Ayer, Jr. & Linda Ayer
Carl Baker & Susan Haynes
Eric & Rebecca Bank
Dr. David Barnert & Julie Raskin
Rev. & Mrs. Joseph Bassett
Alan Bates & Michele Mandrioli
Lawrence Bell
Alan Benenfeld
Helen Benham
Susan Benua
Judith Bergson
Larry & Sara Mae Berman
John Birks
Sarah Bixler & Christopher Tonkin
Moisha Blechman
Wes Bockley & Amy Markus
Deborah Boldin & Gabriel Rice
Sally & Charlie Boynton
Joel Bresler
Andrew Brethauer
Catherine & Hillel Shahan Bromberg
David L. Brown
Lawrence Brown
Margaret H. Brown
John H. Burkhalter III
Judi Burten, in memory of Phoebe Larkey
William Carroll
Bonnie & Walter Carter
Floyd & Aleeta Christian
Robert B. Christian
Daniel Church & Roger Cuevas
John K. Clark & Judith M. Stoughton
Deborah J. Cohen
Carol & Alex Collier
Anne Conner
David Cooke
Robert B. Crane
Elizabeth & David Cregger
Martina Crocker
Katherine Crosier, in memory of Carl C. Crosier
Gray F. Crouse
Donna Cubit-Swoyer
Alicia Curtis & Kathy Pratt
Ruta Daugela
Carl & May Daw
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Jim Diamond
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Tamar & Jeremy Kaim Doniger
John Dunton & Carol McKeen
Peter A. Durfee & Peter G. Manson
Jane Edwards
Mark Elenko
David English
Chuck Epstein & Melia Bensussen
Jake Esher
Lila M. Farrar
Marilyn Farwell
Margot Fassler
Gregg, Abby & Max Feigelson
Ellen Feingold
Grace A. Feldman, in honor of Bernice Chen
Carol L. Fishman
Dr. Jonathan Florman
Howard C. Floyd
Gary Freeman
Marica & Jeff Freyman
Friends
Thomas Fynan
Michael Gannon
Gisela & Ronald Geiger
Stephen L. Gencarello
Monica & David Gerber
William Glenn
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Lisa Goldstein
Lorraine & William Graves
Winifred Gray
Judith Green & James Kurtz
Mary Greer
Thomas H. & Lori B. Griswold
Deborah Grose
John Gruver & Lynn Tilley
Peter F. Gustafson
Eric Haas, in memory of Janet Haas
Judy & Wayne Hall
Suzanne & Easley Hamner
David J. Harris, MD
Sam & Barbara Hayes
Marie C. Henderson, in memory of A. Brandt Henderson
Rebecca Henderson
Catherine & John Henn
Roderick J. Holland
Jackie Horne
Valerie Horst & Benjamin Peck
John Hsia
Constance Huff
Keith L. & Catherine B. Hughes
Joe Hunter & Esther Schlorholtz
Brian Hussey
Susan L. Jackson
Michele Jerison
Karen Johansen & Gardner Hendrie
Robert & Selina Johnson
Tim Johnson, in memory of Bill Gasperini
David K. Jordan
Marietta B. Joseph
David Keating
Mr. & Mrs. Seamus C. Kelly
Joseph J. Kesselman, Jr.
Holly Ketron
Leslie & Kimberly King
Maryanne King
Pat Kline
Valerie & Karl KnicKrehm
George Kocur
Leslie Kooyman
Valerie Krall
Ellen Kranzer
Barbara & Paul Krieger
Jay Carlton Kuhn, Jr.
Peter A. Lans
Claire Laporte
Bruce Larkin & Donna Jarlenski
Diana Larsen
Joanne & Carl Leaman
Alison Leslie
Drs. Sidney & Lynne Levitsky
Ellen R. Lewis
Robert & Janice Locke
Laura Loehr
Sandra & David Lyons
Desmarest Lloyd MacDonald, in memory of Ned Kellogg
Dr. Bruce C. MacIntyre
Louise Malcolm, in memory of W. David Malcolm, Jr.
Jeffrey & Barbara Mandula
Timothy Masters
Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D.
Mary McCallum
Anne McCants
Lee McClelland
Heidi & George McEvoy
Dave & Jeannette McLellan
Cynthia Merritt
Susan Metz, in memory of Gerald Metz
Eiji Miki†
Marg Miller
Nicolas Minutillo
Stefanie Moritz
Gene Murrow
Rodney & Barbara Myrvaagnes
Arthur & Charlotte Ness
Nancy Nicholson
Jeffrey Nicolich
Caroline Niemira
Lee Nunley
Leslie Nyman
Michael & Jan Orlansky
Patricia T. Owen
David & Claire Oxtoby
John R. Palys
Jane P. Papa
Ruth & Ted Parent
Susan Patrick, in memory of Don Partridge
Jonah Pearl
Elizabeth Pearson-Griffiths
John Petrowsky
Bici Pettit-Barron
Elizabeth V. Phillips
Susan Porter & Robert Kauffman
George Raff
Rodney J. Regier
Deborah M. Reisman
Melissa Rice
Marge Roberts
Dennis & Anne Rogers
Sherry & William Rogers
Stephanie L. Rosenbaum
Peter & Linda Rubenstein
Charlotte Rutherfurd
Paul Rutz
Patricia & Roger Samuel
Mike Scanlon
Richard L. Schmeidler
Robert & Barbara Schneider
R. Scholz & M. Kempers
Lynn & Mary Schultz
Alison M. Scott
David Sears
Jean Seiler
David Seitz & Katie Manty
Mr. Terry Shea & Dr. Seigo Nakao
Aaron Sheehan & Adam Pearl
Michael Sherer
Kathy Sherrick
Susan Shimp
Rena & Michael Silevitch
John & Carolyn Skelton
Elliott Smith & Wendy Gilmore
Richard Snow
Jon Solins
Scott Sprinzen
Gail St. Onge
Esther & Daniel Steinhauer
Barbara Strizhak, in memory of Elliott Strizhak
Robert G. Sullivan & Meriem Pages
Richard Tarrant
Lisa Terry
Meghan K. Titzer
Janet Todaro
Edward P. Todd
Peter Townsend
Pierre Trepagnier & Louise Mundinger
Donald & Elizabeth Trumpler
Konstantin & Kirsten Tyurin
Barbara & John VanScoyoc
Richard & Virginia von Rueden
Cheryl S. Weinstein
The Westner Family
Juanita H. Wetherell
The Rev. Roger B. White, in memory of Joseph P. Hough
Susan & Thomas Wilkes
David L. Williamson
Phyllis S. Wilner
John Wolff & Helen Berger
Susan Wyatt
Jerome Yavarkovsky & Catherine Lowe
Paulette York & Richard Borts
David Yutzler
Ellen L. Ziskind
The Zucker Family
Lawrence Zukof & Pamela Carley
† deceased
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Anonymous (2)
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Jewish Communal Fund
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Grantham, Mayo, van Otterloo & Co. LLC
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Community Gifts Through Harvard University
Houghton Mifflin Harcourt
IBM Corporation
Intel Foundation
Investment Technology Group, Inc. (ITG)
Microsoft Corporation
MLE Foundation, Inc.
Natixis Global Asset Management
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That Feeling You
The virtuous Empress Octavia is betrayed by her increasingly erratic husband, Nero, putting all of Rome on the brink of rebellion in Keiser’s monumental work for the famed Hamburg Opera in 1705.
