Stubbs, Artistic Directors
Paul O’Dette & Stephen
Venice Baroque Orchestra
ANDREA MARCON, Conductor CHOUCHANE SIRANOSSIAN, violin
SATURDAY, NOVEMBER 2, 2024
8PM | NEC’s Jordan Hall, Boston, MA
J O HANN CHRISTIAN B A CH
Operas and Dramatic orks
Lucio Silla
Edited by Paul Corneilson
ISBN 978-1-938325-63-2 (2024; lx, 392 pp.) $75
Published by The Packard Humanities Institute jcbach.org
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 you to the first two events of our 35th Anniversary Season: Vox Luminis on Saturday, October 26, and Venice Baroque Orchestra on Saturday, November 2, both presented against the backdrop of NEC’s magnificent Jordan Hall.
The outstanding singers and instrumentalists of Belgium’s Vox Luminis return for their fourth performance on the annual BEMF concert series, following their two concert programs at the 2023 Festival. This luminous, Gramophone Award–winning ensemble, founded in 2004 by Lionel Meunier, has been universally praised for its distinctive sound and dynamic interpretive approach to the English, Italian, and German repertoire of the 17th and 18th centuries, breathing fresh life and feeling into the great masterworks as well as illuminating lesser-known gems of the period. In celebration of their 20th anniversary, they return with a program titled “Ein Deutsches Barockrequiem,” which takes inspiration from Johannes Brahms’s beloved masterpiece, and combines various Baroque settings of the Lutheran biblical texts he chose to create unique and deeply emotional German Requiem.
We are also celebrating the much-anticipated return of the acclaimed Venice Baroque Orchestra, directed by Andrea Marcon, in their first BEMF appearance since February 2020. Admired the world over for exceptional artistry and a steadfast commitment to the rediscovery and performance of Venetian masterworks, they will be joined by astonishing violin virtuoso Chouchane Siranossian in a dazzling “battle of the bows,” featuring music by some of the greatest composer-violinists of the Venetian Baroque: Vivaldi, Tartini, Veracini, and Locatelli. Prepare yourself for an evening of fireworks and theatricality from this spectacular collaboration between star soloist and illustrious ensemble.
We hope you enjoy these performances, and that you will return to Jordan Hall over Thanksgiving Weekend for BEMF’s delightful new Chamber Opera Series production of Georg Philipp Telemann’s Don Quichotte
Thank you for joining us for tonight’s performance, whether live or virtually, and as always, please accept our heartfelt thanks for your continued enthusiastic support of the Boston Early Music Festival.
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 Manager
Andrew Sigel, Publications Editor
Julia McKenzie, Director of the BEMF Youth Ensemble
Nina Stern, Director of Community Engagement
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
BOSTON EARLY MUSIC FESTIVAL, INC.
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Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org
MEMBERS OF THE BEMF CORPORATION
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Kathryn Bertelli
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Diane Britton
Douglas M. Brooks
Gregory E. Bulger
Julian G. Bullitt
Deborah Ferro Burke
John A. Carey
Anne P. Chalmers
Bernice K. Chen
Joel I. Cohen
Brit d’Arbeloff
Vivian Day
Mary Deissler
Peter L. DeWolf
JoAnne W. Dickinson
Richard J. Dix
Alan Durfee†
Michael Ellmann
Peter L. Faber
Emily C. Farnsworth
Kathleen Fay
Lori Fay
John Felton
Frances C. Fitch
Claire Fontijn
James A. Glazier
Marty Gottron
Carol A. Haber
David Halstead
George L. Hardman
Ellen T. Harris
Rebecca Harris-Warrick
Richard Hester
Jessica Honigberg
Jennifer Ritvo Hughes
Edward B. Kellogg†
Thomas F. Kelly
Glenn A. KnicKrehm
Christine Kodis
John Krzywicki
Kathryn Kucharski
Robert E. Kulp, Jr.
Ellen Kushner
Christopher Laconi
Thomas G. MacCracken
William Magretta
Bill McJohn
Miles Morgan†
Nancy Netzer
Amy H. Nicholls
James S. Nicolson†
Bettina A. Norton
Scott Offen
Lorna E. Oleck
Henry P.M. Paap
James M. Perrin
Bici Pettit-Barron
Amanda Pond
Melvyn Pond
Paul Rabin
Christa Rakich
Lee S. Ridgway
Michael Rigsby
Douglas M. Robbe
Michael Robbins
Susan L. Robinson
Patsy Rogers
Wendy Rolfe-Dunham
Loretto Roney
Ellen Rosand
Valerie Sarles
David W. Scudder
Andrew Sigel
Jacob Skowronek
Arlene Snyder
Jon Solins
Robert Strassler
Ganesh Sundaram
Adrian C. Touw
Peggy Ueda
Donald E. Vaughan
Nikolaus von Huene
Howard J. Wagner
Benjamin D. Weiss
Ruth S. Westheimer
Allan Winkler
Hal Winslow
Christoph Wolff
Arnold B. Zetcher
Ellen Zetcher
† deceased
Paul O’Dette & Stephen Stubbs, Artistic Directors
n SATURDAY, OCTOBER 26 | 8PM
VIRTUAL AVAILABILITY: NOVEMBER 9 – NOVEMBER 23
Vox Luminis
LIONEL MEUNIER, Artistic Director
EIN DEUTSCHES BAROCKREQUIEM:
Texts from the Brahms Requiem set by German Baroque masters
n SATURDAY, NOVEMBER 2 | 8PM
VIRTUAL AVAILABILITY: NOVEMBER 15 – NOVEMBER 29
Venice Baroque Orchestra
ANDREA MARCON, Conductor | CHOUCHANE SIRANOSSIAN, violin
A VENETIAN DUEL OF BOWS: Music of Vivaldi, Tartini, Veracini, and Locatelli
Cervantes’s wayward knight is brought to life through the irresistible music of Georg Philipp Telemann!
n SATURDAY, NOVEMBER 30 | 8PM
n SUNDAY, DECEMBER 1 | 3PM
VIRTUAL AVAILABILITY: DECEMBER 15 – DECEMBER 29
n FRIDAY, DECEMBER 6 | 8PM
VIRTUAL AVAILABILITY: DECEMBER 13 – DECEMBER 27
The Tallis Scholars
PETER PHILLIPS, Director
IN DULCI JUBILO: Music of Praetorius, von Bingen, Lassus, Victoria, and others
n SATURDAY, FEBRUARY 8 | 8PM
VIRTUAL AVAILABILITY: FEBRUARY 22 – MARCH 8
Francesco Corti,
harpsichord & organ with the BEMF Chamber Ensemble
ROBERT MEALY, Director
KEYBOARD MASTERPIECES BY HANDEL
n FRIDAY, FEBRUARY 14 | 8PM
VIRTUAL AVAILABILITY: FEBRUARY 28 – MARCH 14
Agave
REGINALD MOBLEY, countertenor
RUM AND REBELLION
n FRIDAY, MARCH 28 | 8PM
VIRTUAL AVAILABILITY: APRIL 11 – APRIL 25
Stile Antico
THE GOLDEN RENAISSANCE: A journey through Stile Antico’s favorite music
n FRIDAY, APRIL 4 | 8PM
VIRTUAL AVAILABILITY: APRIL 18 – MAY 2
Les Arts Florissants
THÉOTIME LANGLOIS DE SWARTE, violin
VIVALDI’S FOUR SEASONS AT 300
n SUNDAY, APRIL 13 | 3PM
VIRTUAL AVAILABILITY: APRIL 27 – MAY 11
Jordi Savall & Hespèrion XXI
MUSIC OF FIRE AND LOVE: An eclectic program of folías, variations, and improvisations
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:
Andrew Sigel
Sponsor of Christian Immler, Don Quichotte, Emily Siar, Quiteria, Richard Pittsinger, Grisostomo, and Julian Donahue, dancer, for their November 2024 Chamber Opera Series performances in Telemann’s Don Quichotte Sponsor of the virtual presentations of Vox Luminis and The Tallis Scholars
David Halstead and Jay Santos
Sponsors of the October 2024 performance by Vox Luminis
Lorna E. Oleck
Sponsor of the BEMF Dance Company for our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Sponsor of the virtual presentation of Francesco Corti, keyboard, with the BEMF Chamber Ensemble
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
Diane and John Paul Britton
Sponsors of Gwen van den Eijnde, Costume Designer, for our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Bernice K. Chen
Sponsor of Gilbert Blin, Stage Director, for our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Michael and Marie-Pierre Ellmann
Sponsors of Jason McStoots, Sancho Pansa, for his November 2024 Chamber Opera Series performance in Telemann’s Don Quichotte
Harold I. Pratt
Sponsor of Sarah Darling, violin, for her February 2025 appearance with the BEMF Chamber Ensemble
Joanne Zervas Sattley
Sponsor of Sarah Darling, viola, for her appearance with the BEMF Chamber Ensemble in our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
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
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
Venice Baroque Orchestra
ANDREA MARCON,
Conductor
CHOUCHANE SIRANOSSIAN, violin
A Venetian Duel of Bows
Concerto for strings in G minor, RV 157
Antonio Vivaldi
Allegro — Largo — Allegro (1678–1741)
Concerto in E minor, “Il Favorito”, RV 277, Op. 11, No. 2
Vivaldi for solo violin, strings, and basso continuo
Allegro — Andante — Allegro
Sonata in D minor, Op. 2, No. 12
Francesco Maria Veracini
Passagallo: Largo assai e come stà, ma con grazia; Andante (1690–1768)
Capriccio cromatico con due soggetti, e loro rovesci veri: Allegro ma non presto Adagio
Ciaccona: Allegro ma non presto
Concerto in A major for solo violin, strings, and basso continuo, D 96
Giuseppe Tartini
Allegro — Largo andante — Presto (1692–1770)
Concerto in C minor, Op. 3, No. 2 Pietro Antonio Locatelli for solo violin, strings, and basso continuo from L’arte del violino (1695–1764) Andante — Largo — Andante
Concerto in D major, “Grosso Mogul”, RV 208 Vivaldi
Allegro — Recitativo: Grave — Allegro
Tonight’s concert is dedicated in loving memory to our longtime friend, member of the BEMF Board of Directors, and devoted enthusiast of the Venice Baroque Orchestra, MILES MORGAN.
Thanks to his love of music, remarkable dedication, and generous support, Miles touched so many lives and brought us such happiness.
The Board of Directors, Staff, and Artists of BEMF
Double-manual French harpsichord, Opus 39, by Richard Kingston, Ft. Mill, South Carolina, 1977, property of the Boston Early Music Festival.
LIVE CONCERT
Saturday, November 2, 2024 at 8pm
New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts
VIRTUAL CONCERT
Friday, November 15, 2024 – Friday, November 29, 2024 BEMF.org
VENICE BAROQUE ORCHESTRA
VIOLIN I
Gianpiero Zanocco
Giacomo Catana
Ilaria Marvilly
Mauro Spinazzè
VIOLIN II
Giorgio Baldan
David Mazzacan
Giuseppe Cabrio
VIOLA
Marialuisa Barbon
Massimiliano Simonetto
VIOLONCELLO
Irene Liebau
Milan Vrsajkov
DOUBLE BASS
Alessandro Pivelli
HARPSICHORD
Andrea Marcon
SOLO VIOLIN
Chouchane Siranossian
Program subject to change.
Ball Square Films & Kathy Wittman, Video Production
Antonio Oliart Ros, Recording Engineer
Venice Baroque Orchestra is represented in North America by FAS Arts Management.
PROGRAM NOTES
It has been said that the violin is among the most versatile and acoustically perfect musical instruments. Not only can it sing with a beauty and emotional appeal akin to the human voice, it is also capable of seemingly supernaturally inspired heights of agility, virtuosity, and even frenzy. Through the seventeenth century, and into the eighteenth, the craftsmanship of the violin reached its peak of refinement in the work of such legendary violin makers as the Amati family, Andrea Guarneri and, above all, Antonio Stradivari in Italy; and the Tyrolese Jacob Stainer in the north. It may come as no surprise, then, that during this same period, a new generation of violin virtuosi took Europe’s music stages by storm, including all the composers on this program: Vivaldi, Tartini, Veracini, and Locatelli.
This program compares and contrasts the various styles and musical personalities of the four in a “duel of the bows,” the sort of thing a privileged music-lover in the mideighteenth century might have been lucky enough to experience. The violin bow itself has a long and storied history and today is sometimes the subject of debates about its various historic iterations and the pros and cons they embody, both in terms of the playing and the hearing of this music. The first half of the eighteenth century saw the shorter and lighter “Baroque” bow evolve, no doubt at the demand of performers and composers such as those represented here, toward the longer and weightier “modern” bow.
Nor is it a coincidence that it should be the most illustrious of all contemporary Venetian ensembles presenting this duello. In their note for the recording Duello d’archi a Venezia, Chouchane Siranossian and Andrea Marcon wrote that Venice in the early eighteenth century “became the setting for merciless rivalries… The violin became an instrument of confrontation, an ideal weapon for demonstrating virtuosity and technical prowess. The player’s ultimate
goal was to astonish and shock the listener and to demonstrate his own bravura, to the point that certain narcissistic tendencies of the player were often exaggerated.”
Though not directly represented on this program, the influence of Arcangelo Corelli (1653–1713) is everywhere apparent in the music presented here. It is, perhaps above all, to the talents and efforts of this preeminent figure that we owe the “violin culture” that arose in Italy and spread across Europe during this time. By virtue of his skills as composer, performer, and promoter, Corelli elevated instrumental forms such as the sonata and concerto to new prominence and encouraged the prodigious violin virtuosity that arose in the generations to follow.
Like Corelli, Antonio Vivaldi (1678–1741) was a skilled violinist and, above all, a prolific composer of music for his instrument, most notably the various types of Baroque string concertos, for which he is best remembered today. Especially in Italy, the concerto was foremost among the large instrumental forms that gained popularity around the turn of the century, thanks in large part to Vivaldi’s contributions. The Vivaldian concerto exists in many permutations that reveal the composer’s perpetual ingenuity, the three most common being works for one or a few soloists and orchestra—what we typically think of as a solo or double concerto today; the concerto grosso, which contrasts a small group of soloists with the full orchestra; and the orchestral concerto without separate solo parts per se (sometimes also called sinfonia).
ANTONIO VIVALDI
All three are represented on this program. The Concerto for strings in G minor, RV 157, is an orchestral concerto without soloist(s); its three-movement scheme is typical of the form and the time. The opening Allegro is remarkable for its chaconne-like ostinato bass, while sequences and suspensions recall Corelli. The dotted rhythmic figure upon which the brief Largo middle movement is built suggests French forms. The final movement, also Allegro though of a much more aggressive and tempestuous nature than the opening, calls to mind the famous finale to the “Summer” concerto from Vivaldi’s Four Seasons.
The Concerto in E minor, “Il Favorito,” RV 277, Op. 11, No. 2, is a much longer work than RV 157, of the solo concerto kind. (The subtitle was not Vivaldi’s own; it was assigned later, perhaps by some publisher for whom the work was a favorite, either musically or monetarily.) Here again, a typical three-movement form is used, beginning with the ritornello type of which Vivaldi was undisputed master, in which various iterations of a refrain (the ritornello) for the full ensemble alternate with varied episodes in which the soloist demonstrates the virtuosity or beauty (or both) of her playing depending upon the affect—the emotional intent—of the movement.
Like all the composers on this program, Francesco Maria Veracini (1690–1768) had a professional association with Venice and, also like the others, he earned an international reputation as both a virtuoso violinist and a composer. His Sonata in D minor, Op. 2, No. 12, is written for violin and basso continuo. In Veracini’s time, the almost ubiquitous basso continuo typically
included one or more (often unspecified) harmonic instruments such as harpsichord or theorbo/lute and a low melodic instrument such as violoncello, bassoon, or viola da gamba, to reinforce the bass line. The opening movement of Op. 2, No. 12, begins with a descending chromatic melody in the violin, one that seems more typical of a bass line and which is, in fact, soon taken up by one of the continuo group in a lower octave, played in almost perfect canon with the top voice. The title Passagallo tells us to expect some sort of repeating pattern as the foundation of the music: at first it is this canonic melody that repeats several times before giving way to variations in the violin over the opening harmonic progression, with the intermittent restatement of the opening melody in the continuo. The second movement, Capriccio cromatico, begins in a manner strikingly similar to the first, with a descending chromatic melody in imitation, though the two lines diverge sooner here. The Adagio that follows is also highly chromatic, with echoes of the first movement in the continuo. The work ends with a bright dance movement, Ciaccona, another form built on a repeating musical element, again featuring canonic imitation between violin and continuo. This finale moves us from D minor to D major and features the work’s most virtuosic display. Eventually, we return to the minor mode and the opening chromatic canon, though the virtuosity continues to the end.
It is said that, after hearing Veracini play, Giuseppe Tartini (1692–1770) was so motivated that he withdrew from the public sphere to perfect his technique. There is also evidence that he was a pupil of Veracini at some point. Eventually, he
FRANCESCO MARIA VERACINI
GIUSEPPE TARTINI
founded an internationally renowned music school and authored several educational treatises both theoretical and practical. Unusual for a time when church and theater were primary sources of income for most successful European composers, Tartini’s compositional output is limited almost exclusively to violin works, especially concertos and sonatas. In fact, he is best remembered today for his so-called “Devil’s Trill” sonata. The Concerto in A major, D 96, while no less virtuosic in its own way, is somewhat more elegant and refined than that work. Tartini achieves a beautiful balance of cohesion and variety in the alternating ritornello and solo sections of the opening Allegro, with figuration and ornamentation at once idiomatic (for the instrument and period) and individualistic, as well as thrillingly virtuosic. The Largo andante that follows reveals a lovely lilting melody unfolding over a gently pulsing accompaniment, while the Presto finale closes the work in a joyful dance.
The more athletic style of Pietro Antonio Locatelli (1695–1764) is sometimes considered the beginning of modern instrumental virtuosity. His work certainly stretched the sonic and emotional range of the instrument beyond the accepted conventions of his day—it is no surprise he was such an inspiration for the great nineteenth-century violin superstar Nicolo Paganini. The Concerto in C minor for violin, strings, and basso continuo comes from Locatelli’s famous Op. 3 collection, L’arte del violino. It is from this set of twelve concertos, first published in 1733, that his even more famous set of twenty-four capricci are drawn, including those in the first and last movements of the present work. (And
it is doubtless this collection that inspired Paganini’s own collection of caprices.) The opening Andante has a certain dance-like quality, especially the upward-skipping main theme. A typical ritornello form here feels quite modern when the first solo episode picks up this opening theme and begins developing it. When it arrives, the solo Capriccio feels like a modern concerto cadenza, after which a final ritornello brings back the full orchestra to end the movement. The lilting theme of the Largo has an elegant, even galant, sensibility, refined further by the singing episodes given to the soloist. In the final Andante, dance is again suggested, and another cadenza-like Capriccio dazzles us with characteristically Locatellian bravura.
The concert ends with Vivaldi’s brilliant “Grosso Mogul” Concerto in D major, RV 208. Its nickname may have come from some obscure association with an opera libretto, Il gran Mogol, set by several composers of the day. Vivaldi’s recently discovered Flute Concerto, RV 431a, bears the same subtitle, and his opera Argippo, RV 697a, is based upon a reworking of the same libretto. The opening Allegro is all youthful energy and ebullience, with an orchestral ritornello that calls to mind trumpet flourishes alternating with solo episodes of typically Vivaldian fireworks. Perhaps it is no surprise that a work associated with an opera libretto should use the character of recitative—a rhythmically free section of a vocal work, usually harmonically active and lightly accompanied, in which words are delivered for maximum comprehension— for its middle movement. Since obviously no words are present here, it is perhaps the restless harmonic progression coupled with the fact that the soloist is accompanied only very sparsely by the continuo, that suggest the operatic technique. (Vivaldi was a prolific opera composer.) The finale, another Allegro, is the work’s most virtuosic, and its most surprising. n
Gabe Alfieri
PIETRO ANTONIO LOCATELLI
ARTIST PROFILES
Founded in 1997 by Baroque scholar and harpsichordist Andrea Marcon, the Venice Baroque Orchestra (VBO) is recognized as one of the premier ensembles devoted to period instrument performance. The Orchestra receives wide critical acclaim for its concert and opera performances throughout North America, Europe, South America, Japan and Korea, Taiwan and China.
The Orchestra has appeared in many more cities across the United States than any other Baroque orchestra in history. They also maintain the most frequent touring schedule to Asia. Recently, the international prestige of the Venice Baroque Orchestra was remarked by the invitation to perform at the 51st Festival Internacional Cervantino, the most important cultural festival of Mexico and South America.
Committed to the rediscovery of 17th- and 18th-century masterpieces, under Mr. Marcon’s leadership VBO has given the modern-day premieres of Francesco Cavalli’s L’Orione, Vivaldi’s Atenaide and Andromeda liberata, Benedetto Marcello’s La morte d’Adone and Il trionfo della poesia e della musica, and Boccherini’s La Clementina. With Teatro La Fenice in Venice, the Orchestra has staged Cimarosa’s L’Olimpiade, Handel’s Siroe, and Galuppi’s L’Olimpiade, and reprised Siroe at the Brooklyn Academy of Music in New York in its first full staging in the United States. The
Orchestra has been seen worldwide through several television specials, including films by the BBC, ARTE, NTR (Netherlands), and NHK. They are the subject of three recent video recordings, and their performances were also featured on Swiss TV in the documentary film by Richard Dindo, Vivaldi in Venice.
Performance highlights include extensive tours of Europe, the United States, and Asia with countertenor Philippe Jaroussky; concerts with contralto Marie-Nicole Lemieux in France and Belgium; concerts with Avi Avital in Italy, Croatia, Germany, Spain, France, Mexico, and a twelve-concert tour of the United States and Canada; performance in the Frauenkirche with soprano Karina Gauvin for the Dresdner Musikfestspiele; and a tour with mezzosoprano Magdalena Kožená including the Istanbul Festival and the Mariinsky Theatre in St. Petersburg. Highly unusual for a Baroque ensemble, the VBO premiered Philip Glass’s violin concerto The American Four Seasons. With violinist Robert McDuffie, the orchestra appeared in twenty-eight cities across the continent in 2010.
The orchestra’s recording of Tartini’s violin concertos with Chouchane Siranossian as a soloist under the baton of Andrea Marcon, released in 2020, received enthusiastic reviews. The album received the Preis der Deutschen Schallplattenkritik in March 2020, the Choc
Classica 2020, the ICMA 2021 in the Baroque Instrumental category, as well as the Premio della critica discografica Franco Abbiati – III Edizione – 2021
Their recording of Vivaldi concertos with Avi Avital was released by Deutsche Grammophon in 2015. The previous release, featuring Philippe Jaroussky in Porpora arias on the Erato label, received a Grammy nomination. The 2012 release on Naïve, a pasticcio of Metastasio’s L’Olimpiade featuring the recording premieres of many 18th-century opera arias, was awarded Choc du Monde de la Musique. The VBO has an extensive discography with Sony and Deutsche Grammophon. Their world-
Conductor, organist, and harpsichordist Andrea Marcon is one of the most renowned musicians and specialists for early music. He was born in Treviso and received a diploma in Early Music from Basel’s Schola Cantorum Basiliensis for his organ and harpsichord studies with Jean-Claude Zehnder and conducting with Hans-Martin Linde. He has also been inspired by Jordi Savall as well as Luigi Ferdinando Tagliavini, Hans Van Nieuwkoop, Jesper Christensen, Harald Vogel, and Ton Koopman.
He won first prize in the organ competition at Innsbruck in 1986 and, in 1991, first prize for harpsichord at Bologna. Today, Andrea Marcon is internationally recognized as a leading interpreter for music of the Classical and Early Romantic periods, and is professor of harpsichord, organ, and interpretation at the Schola Cantorum Basiliensis.
In 1997, he founded the Venice Baroque Orchestra (VBO), today one of the leading Baroque ensembles in the world. Since
premiere recording of Andromeda liberata for DG was followed by violin concertos with Giuliano Carmignola, Vivaldi sinfonias and concertos for strings, Vivaldi motets and arias with soprano Simone Kermes, two discs with Ms. Kožená featuring Handel arias and Vivaldi arias, Vivaldi violin concertos with Viktoria Mullova and Mr. Carmignola, and Italian arias with Patricia Petibon. The orchestra’s earlier discography on Sony with Mr. Carmignola includes The Four Seasons, previously unrecorded Vivaldi concertos, and a collection of Bach arias featuring Angelika Kirchschlager. The orchestra has also been honored with the Diapason d’Or, ECHO Klassik Award, and the Edison Award. n
2009, he has been artistic director of the La Cetra Barockorchester & Vokalensemble Basel. In fact, his partnership with La Cetra Barockorchester Basel began back in 1999 with the ensemble’s very first concert. Since then, he has led it from highlight to highlight with highly acclaimed productions of operas and ballets at the Theater Basel, as well as in international concert tours with stars such as Magdalena Kožená and Patricia Petibon.
For many years, Andrea Marcon has performed in all the major concert halls worldwide. He performs with leading singers and well-known instrumental soloists. Andrea Marcon is a regular guest conductor at the Frankfurt Opera and the Festival d’Aix-en-Provence, and he has been invited by the Berlin Philharmonic, BR, WDR, HR, NDR, and RSB radio orchestras, Orchestre Philharmonique de Monte-Carlo, Danish National Symphony Orchestra, Mozarteumorchester Salzburg, Luzerner Sinfonieorchester, Münchner Philharmoniker, Bamberger Symphoniker, Camerata Salzburg, and Mahler Chamber Orchestra.
He has been heralded for his performances of Marcello’s Il trionfo della poesia e della musica; Vivaldi’s Orlando furioso, Atenaide, Tito Manlio, Gloria, Magnificat, and Juditha triumphans; Cavalli’s Calisto and Giasone; Monteverdi’s Orfeo and Vespers; Handel’s Messiah, Ariodante, and Alcina; and Bach’s cantatas and Mass in B minor. His repertoire
also spans Haydn, Mozart, Beethoven, and Schubert symphonies, early Rossini operas, and symphonies by Brahms and Mahler.
Over 75 often award-winning recordings as conductor, harpsichordist, and organist document the rich repertoire with which he is still engaged today. For his recordings he was awarded four times with the Preis der Deutschen Schallplattenkritik. Mr. Marcon’s recordings as conductor also received many accolades, including the Diapason d’Or, Choc du Monde
Chouchane Siranossian is one of the leading virtuosos on the international Baroque scene today, both as a soloist and alongside many prestigious orchestras. Her mastery of the instrument, nourished by her musical research and her exemplary experience, has made her a highly sought-after musician of marked individuality. “It is the privilege of exceptional artists to attract the limelight. The violinist Chouchane Siranossian belongs to that category” (Diapason). When Chouchane is not on stage or researching, she devotes herself to her passion for mountaineering and ski touring.
Chouchane Siranossian started the 2024–2025 season with a re-invitation from the International Chopin and His Europe Festival in Warsaw with the {oh!} Orkiestra Historyczna. Highlights of the season include the United States and South American tour with the Venice Baroque Orchestra with concerts in São Paulo, Miami, Boston, and San Diego, as well as her début with the Bavarian Radio Symphony Orchestra under the direction of Andrea Marcon. She is also a regular guest with the Dortmunder Philharmoniker and the Orquestra de València, and will play for the first time with
de la Musique, the Vivaldi Award of the Cini Foundation, Germany’s ECHO Klassik Award, the Edison Award, the International Classical Music Award, and two Grammy nominations.
In 2021, Andrea Marcon received the HändelPreis, the award of the City of Halle, which was presented to him during the Handel Festival.
Information about Andrea Marcon’s new artistic-educational project, Frau Musika, can be found at fraumusika.eu. n
the Orquestra Metropolitana de Lisboa. She will perform diverse chamber music programs including ones at the Kretinga Early Music Festival in Lithuania, Santander, and Geneva.
In the previous season, the violinist impressed audiences as Artist in Residence at the Leipzig Bach Festival (including her début with the Gewandhausorchester Leipzig) and at the Bodenseefestival (including a concert with the Bruckner Orchester Linz).
She began studying the violin with Tibor Varga in Sion, then was admitted at the age of fifteen to Pavel Vernikov’s class at the Conservatoire National Supérieur de Musique de Lyon. In 2002, she began training with Zakhar Bron at the Musikhochschule Zürich, and obtained her soloist’s diploma with the highest honors in 2007. Shortly afterwards, she became concertmaster of the Sinfonieorchester St. Gallen in Switzerland, where she remained until her decisive encounter with Reinhard Goebel. She then devoted herself intensely to the study of early music with him at the Salzburg Mozarteum and regularly worked with him as a soloist.
She also participates in the creation of new works, collaborating with such composers as Daniel Schnyder, Marc-André Dalbavie, Aaron Kernis, Bechara El Khoury, Éric Tanguy, Benjamin Attahir, and Thomas Demenga.
Chouchane Siranossian performs as a soloist on both modern and Baroque violin, with partners including Leonardo García Alarcón, Bertrand Chamayou, Andrea Marcon, Jos van Immerseel, Christophe Rousset, Andreas
Spering, and Thomas Hengelbrock as well as orchestras such as Gewandhausorchester Leipzig, Bamberger Symphoniker, Les Siècles, Stuttgarter Kammerorchester, and Venice Baroque Orchestra. She performs in major concert halls such as the Théâtre des ChampsÉlysées, Palau de la Música Catalana, Wigmore Hall London, Bozar Brussels, KKL Luzern, Philharmonie Köln, Warsaw Philharmonic Hall, and Brucknerhaus Linz, as well as at prestigious festivals such as the Rheingau Musik Festival, Bachfest Leipzig, Dresdner Musikfestspiele, Thüringer Bachwochen, and Heidelberger Frühling.
As an Alpha Classics exclusive artist, Chouchane Siranossian released her latest album Duello d’archi a Venezia in June 2023 with the Venice Baroque Orchestra under Andrea Marcon. The album was awarded the Clef d’Or ResMusica. Her previous album in 2021, Bach before Bach with Leonardo García Alarcón and Balázs Máté, was awarded the Diapason d’Or, the Muse d’Or of Muse Baroque, and a Pizzicato Supersonic. Siranossian’s recording of Tartini’s violin concertos with the Venice Baroque Orchestra under Andrea Marcon,
released in 2020, received enthusiastic critical acclaim and various awards such as the Preis der Deutschen Schallplattenkritik in March 2020, the Choc Classica 2020, the International Classical Music Award (ICMA) 2021 in the Baroque Instrumental category as well as the Premio della critica discografica Franco Abbiati – III Edizione – 2021. In the same year she released the violin concertos by Andreas Romberg, recorded with the Capriccio Barockorchester; the disc was highly acclaimed by the press, won the Muse d’Or, and was nominated for the ICMA in 2022. Her first solo album, Time Reflexion, was awarded a Diapason Découverte in 2015. Her recording of the Mendelssohn Concerto with Anima Eterna Brugge, In Time, and the CD L’Ange et le Diable in duo with Jos van Immerseel, both received numerous prizes, including ICMAs (in 2017 and 2019).
Chouchane plays on two violins: a Baroque violin by Giuseppe and Antonio Gagliano, and a violin by Giovanni Battista Guadagnini made available by courtesy of Fabrice Girardin, luthier at La Chaux-de-Fonds. Her website is at www.chouchane-siranossian.com/en/ n
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 October 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
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
Karen Tenney & Thomas Loring
Christoph Wolff
LEADERSHIP CIRCLE
($5,000 or more)
Anonymous
Diane & John Paul Britton
Gregory E. Bulger & Richard Dix
Peter & Katie DeWolf
Susan Donaldson
Jean Fuller Farrington
James A. Glazier
Mei-Fung Kerley, in memory of Ted Chen
Robert E. Kulp, Jr.
Mr. & Mrs. Thomas G. MacCracken
Heather Mac Donald & Erich Eichman
Bill McJohn
Bettina A. Norton
Harold I. Pratt
Joanne Zervas Sattley
David Scudder, in memory of Marie Louise Scudder
Maria van Kalken & Hal Winslow
BENEFACTORS
($2,500 or more)
Anonymous
Annemarie Altman
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Amy Brown & Brian Carr
Beth Brown, in memory of Walter R.J. Brown
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Kathleen Fay, in memory of Dorothy Ryan Fay
John Felton & Marty Gottron
Harriet Lindblom
John S. Major & Valerie Steele
Victor & Ruth McElheny
Kenneth C. Ritchie & Paul T. Schmidt
Nina & Timothy Rose
Catherine & Phil Saines, in honor of Barbara K. Wheaton
Paul L. Sapienza PC CPA
Adrian & Michelle Touw
Will & Alexandra Watkins
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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
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Bernice Chen & Mimi Kerley, in memory of Ted Chen
Carla Chrisfield & Benjamin D. Weiss
Peter Coleman
Dr. & Mrs. Franklyn Commisso
Mary Cowden
Belden & Pamela Daniels
Mary Deissler
Jeffrey Del Papa
Carl E. Dettman
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Jessica Honigberg
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Dr. Peter Libby, in memory of Dr. Beryl Benacerraf
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MAFAA
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Keith Ohmart & Helen Chen
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Neal J. Plotkin & Deborah Malamud
Amanda & Melvyn Pond
Tracy Powers
Susan Pundt
Paul Rabin & Arlene Snyder
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Alice Robbins & Walter Denny
Sue Robinson
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Patsy Rogers
Lois Rosow
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Kevin Ryan & Ozerk Gogus, in memory of Dorothy Fay
Lynne & Ralph Schatz
Susan Schuur
Cynthia Siebert
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Hazel & Murray Somerville
Ted St. Antoine
Lisa Teot
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Peter J. Wender
PATRONS
($500 or more)
Anonymous (5)
Morton Abromson & Joan Nissman
Eric Hall Anderson
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Susan Bromley
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Mary Chamberlain
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Geoffrey Craddock
Richard & Constance Culley
Kathryn Disney
John W. Ehrlich
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Bruce A. Garetz
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Sarah M. Gates
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James & Ina Heup
Phyllis Hoffman
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Fran & Tom Knight
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Catherine Liddell
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Elizabeth Snow
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Ann Stewart
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David & Jean Stout, in honor of Kathy Fay
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Ken & Margo Taylor
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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 (8)
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
David L. 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
Warren R. Cutler
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The Graver Family
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William Leitch
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Susan Lewinnek
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Mary Maarbjerg
Quinn MacKenzie
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June Matthews
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Ray Mitzel
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Eugene Papa
John Parisi
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Susan Pettee & Michael Wise
Stephen Poteet
Anne & François Poulet
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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
Ronald W. Stoia
Jonathan Swartz
Mark S. Thurber & Susan M. Galli
John & Dorothy Truman
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
Catherine & Hillel Shahan Bromberg
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
William Depeter
Jim Diamond
Michael DiSabatino, in honor of Nancy Olson
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
Marica & Jeff Freyman
Friends
Thomas Fynan
Michael Gannon
Gisela & Ronald Geiger
Stephen L. Gencarello
Monica & David Gerber
William Glenn
The Goldsmith Family
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
Sonia Guterman
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
Francesco Iachello
Susan L. Jackson
Chris & Klavs Jensen
Michele Jerison
Karen Johansen & Gardner Hendrie
Robert & Selina Johnson
Tim Johnson, in memory of Bill Gasperini
David K. Jordan
Marietta B. Joseph
David Keating
Kathleen Kelly
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
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
Eiji Miki†
Marg Miller
Nicolas Minutillo
Gene Murrow
Rodney & Barbara Myrvaagnes
Arthur & Charlotte Ness
Nancy Nicholson
Jeffrey Nicolich
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
Paul Rutz
Patricia & Roger Samuel
Mike Scanlon
Richard L. Schmeidler
Robert & Barbara Schneider
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
Richard Snow
Jon Solins
Scott Sprinzen
Gail St. Onge
Esther & Daniel Steinhauer
Barbara Strizhak, in memory of Elliott Strizhak
Victoria Sujata
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
FRIENDS
($45 or more)
Anonymous (3)
Anonymous, in memory of Cheryl Parkhurst
Mr. Neale Ainsfield & Dr. Donna Sieckmann
Gene Arnould
Antonia L. Banducci
Lois Banta
Iris Bass
J. Robert Beatty
Leslie Becker & William Loomis
Elaine Beilin
Lawrence Berman
Martha Birnbaum
Katharine C. Black
Judith Mary Bloomgarden
Dr. Emile L. Boulpaep, in memory of Elisabeth Boulpaep
Louise Bourgault
Rhys Bowen & Rebecca Snow
Andrew Brethauer
Margaret Brewer
Edgar Bridwell
Carolyn Bryant-Sarles
John Caldwell
Shannon Canavin & Kevin Goodrich
Nancy L. Cantelmo
R. Cassels-Brown
Joan Christison-Lagay
Walter Collins
Virginia Hammond Conmy & Family, in memory of Thomas Kemper Roney
Jeanne Conner
Jane Connolly
Peter B. Cook
Marjorie & Andrew Cooke
Steve & Suzanne Cooper
Francine Crawford
Mary & Jeremy Curtis
William David Curtis
Robert Dennis
Deborah & Forrest Dillon
Sarah Dillon & Peter Kantor
Paul Doerr
David Doolittle
Diane L. Droste
Ben Dunham & Wendy Rolfe-Dunham
Michael Durgin, in honor of Dorothy, Lori & Kathy Fay
Anne Engelhart & Douglas Durant
Jane & Robert Evans
Noel, in honor of Amy Fagan
Martha Ferko
Helaine Fingold
Janet G. Fink
Frances Conover Fitch
Louise Forrest-Bowes
Edward W. Freedman
Robert Freeman
Cameron Freer
Joseph Gaken
R. Andrew Garthwaite
Hans Gesell
Joseph Grafwallner
Nancy L. Graham
Richard & Les Hadsell
Margaret Hanley
Judith & Patrick Hanlon
Laurence Hannan
Charles Haverty & Alexandra Glucksmann
Donatus Hayes
Marie C. Henson
Martin Herbordt
Carole Hilton
Kalon Ho
Patricia G. Hoffman
Margaret Hornick
Judith & Alan Hudson
Dian Kahn
Lynn Kearny
Kevin Kellogg
Suzanne Berger Keniston
David & Alice Kidder
Jim & Claudette Klimes, in memory of Tom Roney
Betty Landesman
Jane Lappin
Charles E. Larmore
Fred Lemmons
Liz Loveland
Ky Lowenhaupt & Daniel Sullivan
Elizabeth McNab
Gerald & Susan Metz
Andrew Modest & Beth Arndtsen
Rosalind Mohnsen
Kathleen Moore
Michael J. Moran, in memory of Francis D. & Marcella A. Moran
Stefanie Moritz
Martha Morton
Peter & Mary Muncie
Prof. Myrna Nachman
Jennie Needleman
John & Marianne Nelson
Paul Neuhauser
Ruth Nisse
Gene & Cheryl Pace
Dr. Lewis J. Patsavos
Ruth Peacock
Rebecca Pechefsky & Erik Ryding
Andrea Phan
Virginia Raguin
Marian Rambelle
Professor Julia Williams Robinson
Gregory Salzman
Peter Schulz
Kathryn Scott
Deborah Shulman
Susan & Joseph Silverman
John & Carolyn Skelton
Elliott Smith & Wendy Gilmore
Jennifer Farley Smith & Sam Rubin
William & Barbara Sommerfield
Katie Stewart, in memory of Thomas K. Roney
Rita Teusch
Michael Thompson
JoAnn Udovich
Sonia Wallenberg
John Wand
Kincade & Elizabeth Webb
Bob & Binney Wells
Sarah Whittaker
Joe Winn
Mary Beth Winn
Robin Zora
† deceased
FOUNDATIONS & CORPORATE SPONSORS
Anonymous (2)
Aequa Foundation
American Endowment Foundation
Applied Technology Investors
BNY Mellon Charitable Gift Fund
Bank of America Charitable Gift Fund
The Barrington Foundation, Inc.
The Bel-Ami Foundation
The Boston Foundation
Boston Private Bank & Trust Company
Lynde and Harry Bradley Foundation, Inc.
Gregory E. Bulger Foundation
Burns & Levinson LLP
The Catherine and Paul Buttenwieser Foundation
Cabot Family Charitable Trust
Cambridge Community Foundation
Cambridge Trust Company
Cedar Tree Foundation
Cembaloworks of Washington
City of Cambridge
The Columbus Foundation
Combined Jewish Philanthropies
Community Foundation of Western Massachusetts
Connecticut Community Foundation
Constellation Charitable Foundation
The Fannie Cox Foundation
The Crawford Foundation
CRB Classical 99.5, a GBH station
Daffy Charitable Fund
The Dusky Fund at Essex County Community Foundation
Eastern Bank Charitable Foundation
Fidelity Charitable
Fiduciary Trust Charitable
French Cultural Center / Alliance Française of Boston
Ann and Gordon Getty Foundation
GlaxoSmithKline Foundation
Goethe-Institut Boston
The Goldman Sachs Philanthropy Fund
The Florence Gould Foundation
GTC Law Group
Haber Family Charitable Foundation
Hausman Family Charitable Trust
The High Meadow Foundation
Houghton Mifflin Harcourt
The Isaacson-Draper Foundation
The Richard and Natalie Jacoff Foundation, Inc.
Jewish Communal Fund
Key Biscayne Community Foundation
Konstantin Family Foundation
Maine Community Foundation
Makromed, Inc.
Massachusetts Cultural Council
Mastwood Foundation
Morgan Stanley
National Endowment for the Arts
Newstead Foundation
Barbro Osher Pro Suecia Foundation
The Packard Humanities Institute
Plimpton-Shattuck Fund at The Boston Foundation
The Mattina R. Proctor Foundation
REALOGY Corporation
Renaissance Charitable
The Saffeir Family Fund of the Maine Community Foundation
David Schneider & Klára Móricz Fund at Community Foundation of Western Massachusetts
Schwab Charitable
Scofield Auctions, Inc.
The Seattle Foundation
Shalon Fund
Kathy & Alexander Silbiger Fund of the Triangle Community Foundation
TIAA Charitable Giving Fund Program
The Trust for Mutual Understanding
The Tzedekah Fund at Combined Jewish Philanthropies
The Upland Farm Fund
U.S. Small Business Administration
U.S. Trust/Bank of America
Private Wealth Management
Vanguard Charitable
Walker Family Trust at Fidelity Charitable
Archie D. & Bertha H. Walker Foundation
Marian M. Warden Fund of The Foundation for Enhancing Communities
The Windover Foundation
Women On The Move LLC
MATCHING CORPORATIONS
21st Century Fox
Allegro MicroSystems
Amazon Smile
AmFam
Analog Devices
Aspect Global
Automatic Data Processing, Inc.
Biogen
Carrier Global
Dell, Inc.
Exelon Foundation
FleetBoston Financial Corporation
Genentech, Inc.
Grantham, Mayo, van Otterloo & Co. LLC
John Hancock Financial Services, Inc.
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
Novartis US Foundation
NVIDIA
Pfizer
Pitney Bowes
Salesforce.org
Silicon Valley Community Foundation
Takeda
Tetra Tech
United Technologies Corporation
Verizon Foundation
Vertex Pharmaceuticals
Xerox Foundation
