Boston Early Music Festival | 2021–2022 Season: Carolyn Sampson & Kristian Bezuidenhout by bostonearlymusicfestival

2021-2022 Season Together again!

C arolyn S am p s o n , soprano K r istian Be z u id e n ho u t , fortepiano Saturday, April 2, 2022 8pm | New England Conservatory’s Jordan Hall, Boston

BEM F.or g

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

C AR L PH I L I PP E M A N UE L BAC H

�he �omplete �orks

“He is the father, we are the kids. Those of us who know anything at all, learned it from him.” —Attributed to Wolfgang Amadeus Mozart

Published by The Packard Humanities Institute cpebach.org

Welcom e Dear Friends, Tonight we are thrilled to present a unique collaboration by two early music superstars— the dazzling English soprano Carolyn Sampson, who starred in the title role of our 2007 Festival centerpiece opera, Psyché, and the Grammy-nominated recording that followed, and the masterful South African–born fortepianist Kristian Bezuidenhout, long a beloved favorite of BEMF audiences. Celebrating the March 2022 release their new album for BIS Records, Trennung: Songs of Separation, the artists explore the timeless themes of love and separation through the songs of Wolfgang Amadé Mozart, Joseph Haydn, and three of their contemporaries. Well-loved songs share the spotlight with rare and lesser-known gems, and the program is bookended by two extended quasi-operatic scenas by August Bernhard Herbing and Haydn, respectively. Two sonatas for solo keyboard, by C. P. E. Bach and by Haydn, round out the program. We hope you will join us for the final concert of our 2021–2022 Season, on Friday, April 29 at St. Paul Church in Cambridge, when we present the outstanding musicians of Ensemble Correspondances, directed by Sébastien Daucé, in a program rooted in the Passion story, featuring the stunning Membra Jesu Nostri and other vocal pieces by Dieterich Buxtehude alongside works by Heinrich Schütz. We are also pleased to share the enclosed early announcement of our 2022–2023 Boston Early Music Festival Season. A full brochure with in-depth descriptions of all nine programs will be released in late spring. Please visit BEMF.org for the latest updates and information. Thank you for joining us for tonight’s performance, whether you are here in person or attending virtually, and please accept our best wishes for health and prosperity in the months ahead!

Kathleen Fay Executive Director

TA B LE OF C ONTENTS

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Concert Program Program Notes Artist Profiles Texts & Translations About BEMF Friends of BEMF

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Boson Early Music Fesival Man ag eme n t 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 Nina Stern, Director of Community Engagement

Ar t ist ic Lead er ship Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

B oS ton E a rly M u s ic Fest iva l , In c . 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

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Engaging Communities

Boson Early Music Fesival

Youth Re c o r d e r Wo rks h o p s n Saturday, April 9 at 12pm Brazilian Music: Rhythm, Swing, and Joy! With Cléa Galhano Explore African and Portuguese influences on Brazilian repertoire.

n Saturday, May 21 at 12pm Everything Recorder with Erik With Erik Bosgraaf Learn to breathe new life into the music of Jacob van Eyck.

Sp ec ial P r ese n tat io n n Saturday, June 4 at 10am Recorders Beyond Borders With Nina Stern, Director of Community Engagement Young students from the United States, Kenya, Brazil, and the Netherlands perform for each other and for you.

Learn mor e at B EMF.org / E n g a g in g 4

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M ember s of t he B E M F Cor p oration Jon Aaron Debra K.S. Anderson Kathryn Bertelli Mary Briggs 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 David Cook† 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 Dorothy R. Fay Kathleen Fay John Felton Frances C. Fitch Claire Fontijn Randolph J. Fuller James A. Glazier Marty Gottron Carol A. Haber David Halstead

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George L. Hardman Ellen T. Harris 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 Lois A. Lampson 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 Thomas Roney Ellen Rosand Valerie Sarles F. Williams Sarles† David W. Scudder Andrew Sigel Jacob Skowronek Arlene Snyder Jon Solins Robert Strassler Ganesh Sundaram Adrian C. Touw Peggy Ueda Donald E. Vaughan Ingeborg von Huene Nikolaus von Huene Howard J. Wagner Benjamin D. Weiss Ruth S. Westheimer Allan Winkler Hal Winslow Christoph Wolff Arnold B. Zetcher Ellen Zetcher † deceased

Boson Early Music Fesival 2 0 2 1 – 2 02 2 N a med G if t S pon sor sh ips

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2021–2022 Season:

David Halstead and Jay Santos

Sponsors of the October 2021 performance by the BEMF Vocal & Chamber Ensembles

David M. Kozak and Anne Pistell

Sponsors of the February 2022 performance by Stile Antico

Susan L. Robinson

Sponsor of the March 2022 performance by Juilliard415

Joan Margot Smith

Sponsor of the April 2022 performance by Carolyn Sampson, soprano, and Kristian Bezuidenhout, fortepiano

George L. Hardman

Sponsor of the restoration of BEMF’s 5-octave fortepiano by Robert Smith, Boston, 1984

Annemarie Altman

Sponsor of Kristian Bezuidenhout, fortepiano, for his April 2022 performance with soprano Carolyn Sampson, in memory of Dave Cook

Bernice K. Chen

Sponsor of Jordi Savall, director and bass viol, for the February 2022 performance by Le Concert des Nations

Amanda and Melvyn Pond

Partial Sponsors of Nina Stern, Director of Community Engagement, and the Engaging Communities program

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. 6

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Boson Early Music Fesival

Presents

Carolyn Sampson, soprano Kristian Bezuidenhout, fortepiano Trennung: Songs of Separation Montan und Lalage

August Bernhard Valentin Herbing (1735–1766) Text by Christian Fürchtegott Gellert (1715–1769)

Das Lied der Trennung, K. 519

Wolfgang Amadé Mozart (1756–1791) Text by Klamer Eberhard Karl Schmidt (1746–1824)

An das Clavier

Christian Michael Wolff (1707–1789) Text by Henriette Ernestine von Hagen (1760–1794)

Sonata in E minor, Wq 59/1 Presto Adagio Andantino Das Clavier

Carl Philipp Emanuel Bach (1714–1788)

Friedrich Gottlob Fleischer (1722–1806) Text by Friedrich Wilhelm Zachariä (1726–1777)

An Chloe, K. 524

Mozart Text by Johann Georg Jacobi (1740–1814)

Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 520 Mozart Text by Gabriele von Baumberg (1766–1839)

The Boston Early Music Festival thanks Joan Margot Smith for her leadership support of tonight’s performance by Carolyn Sampson and Kristian Bezuidenhout and

Annemarie Altman

for her leadership support of tonight’s performance by Kristian Bezuidenhout, in memory of Dave Cook

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Abendempfindung, K. 523

Mozart Text by Joachim Heinrich Campe (1746–1818)

Sonata in G minor, Hob. XVI:44 Moderato Allegretto

Joseph Haydn (1732–1809)

Die Verlassene, Hob. XXVIa:5

Haydn Text by Lorenz Leopold Haschka (1749–1827)

Antwort auf die Frage eines Mädchens, Hob. XXVIa:46 Das Leben ist ein Traum, Hob. XXVIa:21

Haydn Text by Anonymous

Haydn Text by Johann Wilhelm Ludwig Gleim (1719–1803)

Arianna a Naxos, Hob. XXVIb:2

Haydn Text by Anonymous

Five-octave Viennese fortepiano, by R. J. Regier, Freeport, Maine, 1998, patterned after instruments by Anton Walter, ca. 1785–1795.

Live Concert Saturday, April 2, 2022 at 8pm New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts Virtual Concert Saturday, April 9, 2022 – Saturday, April 23, 2022 BEMF.org Program subject to change. Ball Square Films & Kathy Wittman, Video Production Stephanie Rogers & Antonio Oliart Ros, Recording Engineers

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Boson Early Music Fesival 2021 Chamber Opera Series Named Gift Sponsorships Boston Early Music Festival extends sincere thanks to the following individuals and institutions for their leadership support of Telemann’s Pimpinone and Ino:

Glenn A. KnicKrehm and Constellation Center Partial Production Sponsors

Katie and Paul Buttenwieser Partial Production Sponsors

Lorna E. Oleck Sponsor of Robert Mealy, Concertmaster, Marie-Nathalie Lacoursière, Stage Co-Director, Laura Jeppesen, viola, and the Pre-Opera Video

Andrew Sigel Sponsor of Danielle Reutter-Harrah, Vespetta, and Amanda Forsythe, Ino

George L. Hardman Sponsor of Todd Williams and Nathanael Udell, natural horn

Bernice K. Chen Sponsor of Gilbert Blin, Stage Co-Director and Costume Co-Designer

John Felton and Marty Gottron Sponsors of Paul O’Dette, Artistic Co-Director

David Halstead and Jay Santos Sponsors of Stephen Stubbs, Artistic Co-Director

Susan L. Robinson Sponsor of Melinda Sullivan, Dance Director

Donald E. Vaughan and Lee S. Ridgway Sponsors of Douglas Williams, Pimpinone

Two Admirers Sponsors of Michael Sponseller, harpsichord 2 0 21–20 22 Seaso n

Friday, April 8, 2022

8pm | VIRTUAL PREMIERE Available to watch until April 22, 2022

Juilliard415

Paul Agnew, conductor Music of C. P. E. Bach

Friday, April 29, 2022 8pm | St. Paul Church, Cambridge VIRTUAL PREMIERE: Friday, May 13, 2022 at 8pm

Ensemble Correspondances

Sébastien Daucé, director

Membra Jesu NostrI: Music of Buxtehude and Schütz

Learn more at BEMF.org 10

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PROGRAM Not e s

Wolfgang Amadé Mozart

Painting by Johann Nepomuk della Croce (ca. 1780–1781)

One of three virtually forgotten composers in tonight’s program, August Bernhard Valentin Herbing began his short career as assistant organist of Magdeburg Cathedral, graduating to principal organist in 1764. In his lifetime he achieved modest fame with his collections of humorous songs (Musikalische Belustigungen) and his Musikalischer Versuch—“Musical Essay in fables and tales by Professor Gellert.” This consists of nine settings for voice and keyboard of verses by the famous Saxon poet Christian Fürchtegott Gellert, who took as his model the morality tales of La Fontaine. Each of Herbing’s settings is in effect a miniature opera for one singer, with the keyboard-asorchestra providing the scenery and stage action—a foretaste here of the ballads of Johann Zumsteeg and the young Schubert. Montan und Lalage is a story of everlasting love with a nasty, admonitory twist. Mingling recitative, song (with the vocal line often pitched perilously high), and keyboard interludes, Herbing vividly depicts the storm and shipwreck (cue for torrential scales and seething arpeggios), Lalage’s anguished sighs and Montan’s fears. Then, in a sequence of tense, shifting harmonies, he paints the terrible dilemma as to which of the lovers should sacrifice themselves. 2 021–20 22 Seaso n

Lalage proves the braver and the truer, and plunges into the ocean. But the waves will not let such a noble soul perish, and guide her safely to the shore in a florid arioso, with octave plunges to illustrate “Grab” (‘grave’). In a lilting yet chromatically troubled aria, Lalage spells out the moral to Montan: that she cannot love a man who “loves when all is well, but not in times of peril.” She then abandons him in a few bars of stark recitative. Wolfgang Amadé Mozart’s songs form a sideshow to his main concerns of opera and large-scale instrumental works. Most are simple strophic settings (i.e., with the same music for each verse) of rococo poetry that now seems coy or faded. Yet even in this selfeffacing domestic medium, Mozart remained a consummate craftsman. While most of the songs are closer to the Italian canzonetta or the operatic aria than to the Lied as we know it from Schubert onwards, even the slightest are touched by Mozart’s feel for graceful, balanced melody that cunningly avoids the banal or obvious. In a few of his later songs, including Abendempfindung, we find a true interpenetration of music and poetry that looks ahead to Schubert. Das Lied der Trennung is at once parodistic in intent—the lover luxuriating ad nauseam in 11

son, “Carolyn Samp ice charming of vo with and intelligent detail as ever.” —GRAMOP

HONE

Jea n -B a p ti st e Lu lly

PSYCHÉ

2 0 0 8 G R A M M Y N O M INEE

ALSO AVAILABLE

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I n t ern atio n ally Award- Winning

Opera CDs

O RD E R To d ay at BE MF.O RG 12

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the pain of separation—and deeply touching: a typical Mozart paradox embodied most powerfully and disconcertingly in the music of Così fan tutte. It begins as a straightforward strophic design, but breaks away for a dramatic, even melodramatic, development in distant keys before a reprise of the original tune. Mining the discreetly risqué vein popular at the time, An Chloe is a small masterpiece of understated wit. After the erotic climax (the poem’s “somber cloud”), Mozart delicately depicts the lover’s post-coital lassitude, with repeated sighs on “ermattet” (‘exhausted’). The unsnappily titled Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte seems to send up the girl’s overwrought emotions in a parody of a Mozart operatic scena, with a hint of Baroque pastiche in the suspensions and the angular dotted figures in the keyboard bass. The song might be heard as a domestic counterpart to Dorabella’s melodramatic outburst “Smanie implacabili” in Così fan tutte. In Abendempfindung Mozart transcends the mawkish album verses in music at once serene and elegiac, intensified by remote, poetic modulations. The structure (with a suggestion of sonata form) is unified by a simple keyboard cadence—an echo of the vocal line in the first verse—that recurs in different keys throughout the song. Here, more than in any of Mozart’s Lieder, Schubert is already glimpsed on the horizon. Another eighteenth-century composer who now features barely as a footnote in musical history, Christian Michael Wolff was born in Stettin (now Szczecin in Poland) and made his career there as organist in St. Mary’s Church. His reputation as a composer rested mainly on a set of sonatas for violin or flute, organ preludes, and a collection of “Odes and Songs to be sung with Keyboard and Harp.” The most impressive, and extended, of these is An das Clavier, an original combination of song and keyboard fantasia that mines the fashionable vein of Empfindsamkeit, the cult of “heightened sensibility” practiced by Carl Philipp Emanuel Bach and other North German composers in reaction to the rational, empirical strain in Enlightenment thinking. 2 021–20 22 Seaso n

Carl Philipp Emanuel Bach

Engraving by Heinrich Pfenninger (ca. 1770)

The poem’s subject—a glorying in solitude and melancholy, with the keyboard (i.e., the intimate clavichord) as confidant—was a commonplace of the day. But from it Wolff creates music both dramatic and touching, with expressively varied keyboard figuration, plangent chromatic lines (a hallmark of Empfindsamkeit), and an arresting plunge to a remote key (A-flat after C major) after the words “Verhüllet sich vor mir.” In his lifetime Carl Philipp Emanuel Bach, second son of Johann Sebastian, presented something of a contradictory figure: harpsichordist to the flute-loving Frederick the Great who was perfectly capable of turning out galant trifles, yet in the works written for his own pleasure quickly acquired a reputation for “bizarrerie”; and, from 1768, Kantor in Hamburg who produced ephemeral odes and cantatas to order while allowing his genius free rein in some of the century’s most original symphonies and keyboard works. Emanuel Bach’s most personal music represents the pinnacle of Empfindsamkeit. Dated 1784, the Sonata in E minor, Wq 59/1 (Wotquenne was to C. P. E. Bach what Köchel was to Mozart) comes from the six sets of sonatas, rondos, and fantasias for fortepiano titled “Sonaten für Kenner und Liebhaber” (i.e., for connoisseurs and amateurs, in the literal sense 13

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of the word) which Bach published during the last decade of his life. A shrewd business operator, he reported that the sonatas “sold like hot cakes.” Typically, the three brief movements of the E-minor sonata constantly foil expectations. In the opening Presto the determined march gait is frequently undermined by quizzical pauses and sudden changes of topic and texture. At the end the music trails off whimsically into a fantasy-cum-cadenza. This leads without a break into the soulful, improvisatory Adagio (a taste here of Bach’s own improvisations). Instead of the expected show of brilliance, the finale is a gently ruminative Andantino in E major, whose surface grace is ruffled by oddly shaped phrases and deflections to remote keys. True to form, the sonata ends enigmatically in mid-phrase. Like Herbing and Wolff, Friedrich Gottlob Fleischer is an all but forgotten figure today. In his lifetime, spent mainly in his native Braunschweig (Brunswick), he was dubbed “one of the greatest keyboard players of the Bach school.” He must have encountered Sebastian Bach and his sons while studying in Leipzig in 1746–1747, though there is no evidence that he had lessons with them. His sets of Oden und Lieder, published between 1745 and 1757, became widely popular in North Germany. In Das Clavier the keyboard is again the poet’s confidant and solace. Doubled throughout by the keyboard’s right hand (in the eighteenth century, singer and player were often the same person), the vocal line is both florid and chromatically tense, perfectly reflecting the melancholy sentiments of the poem. Joseph Haydn composed prolifically for the keyboard throughout his long career. While his sixty-odd solo sonatas give a less complete picture of his artistic development than the symphonies and string quartets, they, more than Mozart’s slighter body of sonatas, chart and epitomize the evolution of the Classical sonata: from the slender works written by Joseph Haydn for young female pupils in the 1750s, through the more individual sonatas of the late 1760s and early 1770s, to 2 021–20 22 Seaso n

Joseph Haydn

Portrait by Thomas Hardy (1791)

the magnificent works inspired by the new, sonorous Broadwood instruments Haydn encountered in London. Dating from around 1770—and thus contemporary with the string quartets of Opuses 9 and 17—the two-movement Sonata in G minor, Hob. XVI:44, is the earliest work Haydn designated “sonata” rather than “divertimento.” This was a period when he produced a whole raft of highly charged works in the minor mode: string quartets, sonatas, and so-called Sturm und Drang (‘Storm and Stress’) symphonies such as the Trauer, No. 44, and the “Farewell,” No. 45. Yet whereas the symphonies are predominantly agitated, this G-minor sonata is pensive and inwardlooking. In it Haydn recreates the rhapsodic, quasi-improvisatory spirit of C. P. E. Bach’s Empfindsamkeit in terms of his own more tightly structured, “goal-oriented” style. Unified by the main theme’s initial triplet upbeat, the opening Moderato rises to a magnificent, richly textured contrapuntal climax in the development, high in the keyboard. In the recapitulation that follows immediately, the main theme is sounded an octave lower than before, with an effect of deepening melancholy. The Allegretto finale, a delicately ornamental G-minor minuet with a G-major trio, sublimates galant gestures into 15

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pure pathos. Haydn expressively embellishes the repeat of the G-minor section, and then introduces a truncated version of the trio (itself a variant of the G-minor theme) as a coda. The German Lieder Haydn published in 1781 and 1784 rarely feature in recital programs today. Yet despite their often-arch texts, the best of them have a grace, wit, and depth of feeling that go beyond mere rococo charm. This was a time when Joseph II was vigorously promoting German-language culture at the expense of French and Italian. In response to the growing popularity of German songs in Viennese salons, Haydn composed two sets of twelve, announcing his intention of singing them himself “in the best houses” (his pleasing tenor voice was far above the average voix de compositeur). One of the finest songs in Haydn’s 1781 collection is the plaintive Die Verlassene, a quasi-operatic scena for an abandoned heroine. From the 1784 set, Das Leben ist ein Traum also evokes opera seria: in the broad, stately vocal line, the almost orchestrally conceived climax at “Bis wir nicht mehr an Erde kleben,” and the dramatic pauses near the end, where Haydn reinforces the question “Was ist’s?” with a shift from major to minor. Some time in the late 1790s, after his second triumphant London visit, Haydn wrote three charmingly innocent songs to anonymous poems. Of these, Antwort auf die Frage eines Mädchens is an eloquent avowal of everlasting love. “I am delighted that my favorite Arianna is well received at the Schottenhof, but I do recommend Fräulein Pepperl to articulate the words clearly, especially the passage ‘chi tanto amai’.” So wrote Haydn in March 1790 to his friend and confidante Maria Anna von Genzinger, wife of Prince Nikolaus Esterházy’s doctor. While it is unlikely that Haydn intended his recently composed dramatic cantata primarily for “Pepperl,” Maria Anna’s teenaged daughter, its keyboard, rather than orchestral, accompaniment, limited vocal range (spanning only a twelfth), 2 0 21–20 22 Seaso n

and modest virtuosity suggest that it was aimed at the cultured amateur rather than the professional. Arianna a Naxos quickly became one of Haydn’s best-loved works. In 1791 it was a hit at his London concerts, performed, improbably to us, by the castrato Gasparo Pacchierotti; and when Lord Nelson and his retinue visited the Esterházys’ Eisenstadt palace in 1800, the company was treated to a less than immaculately tuned rendering by “Mylady Hammelton.” Haydn wrote to his English publisher John Bland that he intended to orchestrate the cantata, but he never got around to it. The myth of the Cretan princess Ariadne’s desertion by Theseus on the island of Naxos has attracted composers from Monteverdi to Richard Strauss. In some sources (and in Strauss’s opera), Bacchus turns up in the nick of time to rescue her. In others she dies, halfcrazed with grief, and the anonymous text set by Haydn implies such a tragic outcome. The cantata opens with a slow, reflective recitative depicting Ariadne’s voluptuous awakening, the dawn, and her mingled languor and impatience for Theseus’s return. In a Largo aria (“Dove sei, mio bel tesoro?”) that opens with a wonderfully sensuous phrase reminiscent of the Countess’s “Dove sono?” from Figaro, she begs the gods to bring him back to her. Haydn suggests Ariadne’s underlying anxiety in an increasingly faltering vocal line, with sudden shifts from major to minor. The aria breaks off for the second recitative (“Ma, a chi parlo?”). Ariadne climbs the cliff, duly illustrated by the piano; then, after the numb realization of her abandonment (“Ei qui mi lascia”), she comes close to collapse in a poignant, “tottering” arioso (“Già più non reggo”). The daughter of Minos briefly recovers her regal dignity in the slightly formal opening of the final aria (“Ah! che morir vorrei”). But her anguish and outrage erupt in the closing F-minor Presto, with its yearning repetitions of the key phrase “Chi tanto amai,” cited by Haydn in his letter to Frau von Genzinger. n —© Richard Wigmore 2019, 2021 17

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A r tist Prof il e s

Equally at home on the concert and opera stages, Carolyn Sampson has enjoyed notable successes in the UK as well as throughout Europe and the United States. On the opera stage her roles have included the title role in Semele and Pamina in The Magic Flute for English National Opera, various roles in Purcell’s The Fairy Queen for Glyndebourne Festival Opera (released on DVD), and both Anne Truelove in The Rake’s Progress and Mélisande in Pelléas et Mélisande in Sir David McVicar’s productions for Scottish Opera. Internationally she has appeared at Opéra de Paris, Opéra de Lille, Opéra de Montpellier, and Opéra National du Rhin. She also sang the title role in Lully’s Psyché for the Boston Early Music Festival, which was released on CD and was subsequently nominated for a Grammy in 2008. Carolyn’s numerous concert engagements in the UK and Europe have included regular appearances at the BBC Proms, and with orchestras including the City of Birmingham Symphony Orchestra, The English Concert, Orchestra of the Age of Enlightenment, Scottish Chamber Orchestra, Bergen Philharmonic, Freiburger Barockorchester, Leipzig Gewandhausorchester, Orchestra dell’Accademia Nazionale di Santa Cecilia, Rotterdam Philharmonic, Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, and Vienna Symphony Orchestra. In the U.S., Carolyn has featured as soloist with the Boston, Cincinnati, Detroit, Minnesota, and Philadelphia Orchestras, and is a regular guest at the Mostly Mozart Festival. In October 2013 she made her Carnegie Hall recital début to a sold-out audience in the Weill Recital Hall. A consummate recitalist, Carolyn Sampson appears regularly at the Wigmore Hall where she was a “featured artist” in the 2014–2015 season. She has given recitals at the Oxford and Leeds Lieder, Saintes, and Aldeburgh Festivals, in Barcelona and Freiburg, at the Amsterdam Concertgebouw, Oper Frankfurt, Pierre Boulez Saal Berlin, and Vienna Konzerthaus, and on a recital tour of Japan. Alongside her longstanding relationship with the BIS label she has released multiple award-winning discs for Decca, Harmonia Mundi, and Hyperion, receiving accolades including the Choc de l’Année Classica, Gramophone magazine Editor’s Choice, BBC Music Magazine’s “Record of the Month”, an ECHO Award, and a Diapason d’Or. Her recording with Ex Cathedra for Hyperion, A French Baroque Diva, won the recital award in the 2015 Gramophone Awards. Carolyn was nominated for 2 021–20 22 Seaso n

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Artist of the Year in the 2017 Gramophone Awards, and recordings with Masaaki Suzuki and Bach Collegium Japan won Gramophone Choral Awards in 2017 and 2020. She recently released two discs on the BIS label: her first solo orchestra CD, Canteloube’s Chants d’Auvergne with Tapiola Sinfonietta and Pascal Rophé, and Trennung: Songs of Separation with Kristian Bezuidenhout. n

Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Kristian is an Artistic Director of the Freiburger Barockorchester and Principal Guest Director with The English Concert. He is a regular guest with leading ensembles including Les Arts Florissants, Orchestra of the Age of Enlightenment, Koninklijk Concertgebouworkest, Chicago Symphony Orchestra, and the Leipzig Gewandhausorchester, and has guest-directed (from the keyboard) the Orchestra of the Eighteenth Century, Tafelmusik, Collegium Vocale, Juilliard415, Kammerakademie Potsdam, and Dunedin Consort (St. Matthew Passion). He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Jean-Guihen Queyras, Isabelle Faust, Alina Ibragimova, Carolyn Sampson, Anne Sofie von Otter, Mark Padmore, and Matthias Goerne. Kristian’s rich and award-winning discography on Harmonia Mundi includes the complete keyboard music of Mozart. Recent releases include Winterreise with Mark Padmore, Bach sonatas for violin and harpsichord with Isabelle Faust, Haydn piano sonatas, and Beethoven Concerti with Freiburger Barockorchester. The 2021–2022 season sees Kristian perform with Les Siècles and François-Xavier Roth, Orquesta Nacional de España, Stuttgarter Kammerorchester, and Kammerorchester Basel as well as continuing his collaboration with Freiburger Barockorchester. In addition to many solo recitals, he continues his partnerships with Mark Padmore and Carolyn Sampson and rejoins Anne Sofie von Otter for a unique presentation of Schubert’s Winterreise under the direction of Christof Loy at Theater Basel. n

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TEXTS AND TRANSLATIONS Montan und Lalage — Herbing

Montan and Lalage — Herbing

Montan und Lalagen trieb Lieb und Not aufs Meer.

Montan and Lalage were swept away by love and distress at sea.

Nie, nie liebte sich ein Paar so rein, so treu, so sehr, als diese zärtlichen. Sie schwuren oft, ihr Leben, zum Zeichen ihrer Glut, mit freuden hinzugeben.

Never before had a couple loved so purely, so truly and so ardently as these two dears. They had repeatedly sworn to willingly give up their lives as proof of their burning love.

Ich wiess nicht, hat die See den Schwur mit angehört? Genung! Es kommt ein Sturm, der ihre Ruhe stört. Die Wellen fangen an, sich so erhöht zu türmen, Als wollten sie die Welt, und nicht ein Schiff bestürmen.

I do not know: did the sea somehow hear these proclamations? Enough! There comes a storm that disrupts their peace. The waves begin to rise to mighty heights, as if to besiege the entire world and not just the ship.

Montan und Lalage, ganz aus sich selbst gesetzt, Umfangen in der Angst, sichnoch zu guterletzt Und wollen noch umarmt, bei ihrem jähen Sterben Eins an des andern Brust, aus Zärtlichkeit verderben.

Montan and Lalage, beside themselves with fear, held each other in an embrace: for in the case of an untimely death, at least they would meet their horrible fate in the tenderness of each other’s arms.

Du meines Glükkes Rest, und auch sein Innbegriff! So seufzt noch Lalage. Darauf zerreist das Schiff. Und mitten in dem Sturm, und mitten im zerspalten, Muss noch ein schmales Brett, dies arme Paar erhalten.

Oh, you the quintessence of my hope! So lamented Lalage. Thereupon the ship was torn to pieces. And amidst the storm, and the splintering, only a narrow plank supports the loving couple.

Der Seesturm lagert sich. Sie schwimmen durch das Meer: Doch, für ein kleines Boot war diese Last zu schwer.

The sea-storm slowly settles down, they paddle through the ocean: but, for a boat so small, this load was far too great.

O! Schrie Montan bestürzt: O! das Brett wird untersinken, Und beide müssen wir, wenn eins nicht weicht, ertrinken, Wir müssen beid’ ertrinken, wenn eins nicht weicht, O das Brett wird untersinken! O, wir müssen beid’ ertrinken.

“Oh!” shouted the dismayed Montan: “Oh, the plank will sink and, unless one of us gives way, both of us will drown. We will both drown, unless one of us gives way. Oh the plank will sink! Oh both of us will surely drown.”

O! Probe voller Angst! Wer? Wer? Wer soll nun in die See? Das Leben liebt Montan, auch liebt es Lalage. Noch ist für beide nicht die Rettung zu vermuten,

Oh! Fearful trial! Who? Who? Who shall be forced into the sea? Montan was a lover of life, as was Lalage. Still, neither one could have predicted the only solution:

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Wenn eines leben soll, muss eines in die Fluten. Wer? Wer? Wer überwindet sich? Montan gewiss. Doch nein.

if one should live, the other must contend with the tide. Who? Who? Who would surrender their life? Certainly Montan. But no.

Ich, ich, rief hier Lalage, ich will dein Eretter sein. Doch, dass du ewig weisst, Dass dich mein Tod erhalten, So stosse mich ins Meer.

“I, I,” cried Lalage, “I will be your savior. That you forever remember that my death has ensured your survival. So, cast me into the sea.”

Montan, nicht zu erkalten, stösst auch das zärtlichste, Das treuste Herz hinab.

Montan, to escape death, pushed this most tender and loyal of hearts off the edge!

Doch, doch, edle Lalage, zu edel für dies Grab! Die See kennt deinen wert, Und lässt es dir gelingen, Und weiss dich ohne Brett Gesund ans Land zu bringen.

But, noble Lalage, too noble for such a death! The sea knows your worth, and will let you succeed, and knows, without a plank, to bring you safely back to shore.

Hier, trifft nun Lalage den Freund erettet an. Er fleht und bittet sie, er bittet sie.

Here, Lalage encounters her rescued lover. He begs and pleads with her.

O! spricht sie: Geh, Montan! Ich habe dich geliebt, dich durch das Meer geleitet Das Leben dir geschenket, Du mir den Tod bereitet. Verlasse mich nunmehr, Weil mich ein Herz betrübt, Das in der Ruhe zwar, Doch in gefahr nicht liebt. Sei stets beglückt, Montan! Dich werd ich niemals hassen! Bestrafen will ich dich!

“Oh!” says she: “Away, Montan! I did love you, led you through the sea and gave you the gift of life, and you prepared death for me. Now, take your leave, for I am saddened by a heart that loves when all is well, but not in times of peril. Fare thee well, Montan! Although I cannot bring myself to hate you! You must be made to pay!”

Drauf, hat sie ihn verlassen. —Christian Fürchtegott Gellert

Whereupon, she left him. —Translation by Christel Thielmann, Kristian Bezuidenhout, and Paul O’Dette

Das Lied der Trennung — Mozart

Song of Parting — Mozart

Die Engel Gottes weinen, Wo Liebende sich trennen! Wie werd’ ich leben können, O Mädchen, ohne dich? Ein Fremdling allen Freuden, Leb’ ich fortan dem Leiden! Und du? Vielleicht auf ewig Vergisst Luisa/sie mich!

The angels of God weep when lovers part! How shall I be able to live, O maid, without you? A stranger to all joy, I shall live, henceforth to suffer! And you? Perhaps Luisa will forget me for ever!

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Im Wachen und im Traume, Werd ich Luise nennen; Den Namen zu bekennen, Sei Gottesdienst für mich; Ihn nennen und ihn loben Werd ich vor Gott noch droben. Und du? Vielleicht auf ewig Vergisst Luisa/sie mich!

In waking and in dreaming I will call Luisa’s name! Confessing that name is my sacrament! Before God above I will still invoke and praise her! And you? Perhaps Luisa will forget me for ever!

Ich kann sie nicht vergessen! Der kleinste Blick der Sonne Gemahnt an jene Wonne Der schönsten Augen mich! Aus jedem Sterne leuchtet Ein Blick, der Liebe beichtet! Und du? Vielleicht auf ewig Vergisst Luisa/sie mich!

I cannot forget her! The merest sight of the sun reminds me of the bliss those fairest of eyes bestowed on me! Every star gleams With a look that speaks of love! And you? Perhaps Luisa will forget me for ever!

Vergessen raubt in Stunden, Was Liebe jahrlang spendet. Wie eine Hand sich wendet, So wenden Herzen sich. Wenn neue Huldigungen Mein Bild bei ihr verdrungen, O Gott! Vielleicht auf ewig Vergisst Luisa mich!

Forgetting steals away in hours what love took years to give. As easily as turning a hand a heart may change. If new wooers have supplanted me, O God! Perhaps Luisa will forget me for ever!

Ach denk an unser Scheiden! Dies tränenlose Schweigen, Dies Auf- und Niedersteigen Des Herzens drücke dich Wie schweres Geist-Erscheinen, Wirst du wen anders meinen, Wirst du mich einst vergessen, Vergessen Gott und dich.

Ah, think of our leave-taking! Without a word, without a tear, my spirits now high, now low, may this oppress and haunt you, if you ever love another, if you ever forget me, may I forget God, and you.

Ach denk an unser Scheiden! Dies Denkmal, unter Küssen Auf meinen Mund gebissen, Das richte mich und dich! Dies Denkmal auf dem Munde, Komm ich zur Geisterstunde, Mich warnend anzuzeigen Vergisst Luisa/sie mich. —Klamer Eberhard Karl Schmidt

Ah, think of our parting! Let the kisses imprinted on my mouth be our memorial! And let these kisses, as I approach the ghostly hour, be a warning and a reminder that Luisa has forgotten me. —Translation by Richard Stokes

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An das Clavier — Wolff

Ode to the Clavichord — Wolff

Erleichtre meine Sorgen, Sanfttröstendes Clavier! Der Hoffnung lichter Morgen Verhüllet sich vor mir. Lass deine treue Saiten Mein Herz zur Ruhe leiten, Dem ein geheimer Gram Längst alle Ruh benahm.

Assuager of my cares, softly consoling clavichord! The bright morning of hope veils itself before me. Let your faithful strings calm my heart, which a secret sorrow has for a long time deprived of all tranquillity.

In kummervollen Tagen, Hast du mich oft erquickt. Noch muss ich Fesseln tragen: Noch bin ich unbeglückt. Hilf mir mein Leid versüssen. Die Welt soll es nicht wissen; Dir klag’ ich es nur dir: Du seufzest ja mit mir.

In troubled days you have often refreshed me. Yet I must still endure my fetters; I have not yet been made happy. Help me sweeten my suffering. The world shall not know it; I lament it to you, only you: indeed, you sigh with me.

Auf weichgedämpften Chorden Ertönet dein Gesang Voll rührender Accorden, Im holden Lautenklang. Gieb meiner Trauerlieder Den stillen Nächten wieder Sing, bis Aurora scheint, Und bis ich ausgeweint. —Henriette Ernestine von Hagen

On softly muted strings your song resounds full of touching chords, in lovely lute-like sounds. Return my laments to the silent nights; sing, until dawn appears and until I can cry no more. —Translation by Annette Richards

Das Clavier — Fleischer

The Clavichord — Fleischer

Du Echo meiner Klagen, Mein treues Saitenspiel, Nun kömmt nach trüben Tagen Die Nacht, der sorgen Ziel. Gehorcht mir, sanfte Saiten, Und helft mein Leid bestreiten – Doch nein, lass mir mein Leid Und meine Zärtlichkeit.

O echo of my laments, my faithful stringed instrument, now after dismal days comes the night, the goal of sorrows. Obey me, gentle strings, and help combat my suffering; but no, leave me my pain, and my tenderness.

Wenn ich untröstbar scheine, Lieb ich doch meinen Schmerz; Und wenn ich einsam weine, Weint doch ein liebend’ Herz. Die zeit nur ist verloren, Die ich mit goldnen Toren Bei Spiel und Wein und Pracht So fühllos durchgelacht.

If I appear to be inconsolable, nonetheless I love my pain; and if I cry alone, nonetheless it is a loving heart that cries. Only that time is lost that I wasted unfeelingly with idle fools in games, wine, and glamor.

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Ihr holden Saiten, klinget In sanfter Harmonie! Flieht, was die Oper singet, Und folgt der Phantasie. Seid sanft, wie meine Liebe, Besinget ihre Triebe Und zeigt durch eure Macht, Dass sie euch siegend macht. —Friedrich Wilhelm Zachariä

Sound, you fair strings, in gentle harmony! Flee, from what is sung at the opera but instead pursue fantasy. Be gentle, like my love, sing about its desires and show through your powers that love makes you victorious. —Translation by Annette Richards and Reinhild Steingröver

An Chloe — Mozart

To Chloe — Mozart

Wenn die Lieb’ aus deinen blauen, Hellen, offnen Augen sieht, Und vor Lust, hineinzuschauen, Mir’s im Herzen klopft und glüht; Und ich halte dich und küsse Deine Rosenwangen warm, Liebes Mädchen, und ich schliesse Zitternd dich in meinen Arm,

When love looks out of your blue, bright and open eyes, and the joy of gazing into them causes my heart to throb and glow, And I hold you and kiss your rosy cheeks warm, sweet girl, and clasp you trembling in my arms,

Mädchen, Mädchen, und ich drücke Dich an meinen Busen fest, Der im letzten Augenblicke Sterbend nur dich von sich lässt; Den berauschten Blick umschattet Eine düst’re Wolke mir; Und ich sitze dann ermattet, Aber selig neben dir. —Johann Georg Jacobi

Sweet girl, sweet girl, and press you firmly to my breast, where until my dying moment I shall hold you tight— My ecstatic gaze is blurred by a somber cloud; and I sit then exhausted, but blissful, by your side. —Translation by Richard Stokes

Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte — Mozart

Louise’s lover’s letters — Mozart

Erzeugt von heisser Phantasie, In einer schwärmerischen Stunde Zur Welt gebrachte! – geht zu Grunde! Ihr Kinder der Melancholie!

Begotten by ardent fantasy, born in an emotional moment! Perish, ye children of melancholy!

Ihr danket Flammen euer Sein: Ich geb’ euch nun den Flammen wieder, Und all die schwärmerischen Lieder; Denn ach! er sang nicht mir allein.

You owe your existence to flames, to flames I now return you and all those passionate songs; for ah! he did not sing for me alone.

Ihr brennet nun, und bald, ihr Lieben, Ist keine Spur von euch mehr hier: Doch ach! der Mann, der euch geschrieben, Brennt lange noch vielleicht in mir. —Gabriele von Baumberg

Now you are burning, and soon, my dears, not a trace of you will remain: but ah! the man who wrote you, may smolder long yet in my heart. —Translation by Richard Stokes

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Abendempfindung — Mozart

Evening thoughts — Mozart

Abend ist’s, die Sonne ist verschwunden, Und der Mond strahlt Silberglanz; So entflieh’n des Lebens schönste Stunden Flieh’n vorüber wie im Tanz!

It is evening, the sun has vanished, and the moon sheds its silver light; so life’s sweetest hours speed by, flit by as in a dance!

Bald entflieht des Lebens bunte Szene, Und der Vorhang rollt herab. Aus ist unser Spiel! Des Freundes Träne Fliesset schon auf unser Grab.

Soon life’s bright pageant will be over, and the curtain will fall. Our play is ended! Tears wept by a friend flow already on our grave.

Bald vielleicht mir weht, wie Westwind leise, Eine stille Ahnung zu – Schliess’ ich dieses Lebens Pilgerreise, Fliege in das Land der Ruh’.

Soon perhaps, like a gentle zephyr, a silent presentiment will reach me, and I shall end this earthly pilgrimage, fly to the land of rest.

Werdet ihr dann an meinem Grabe weinen, Trauernd meine Asche seh’n, Dann, o Freunde, will ich euch erscheinen Und will Himmel auf euch weh’n.

If you then weep by my grave and gaze mourning on my ashes, then, dear friends, I shall appear to you bringing a breath of heaven.

Schenk’ auch du ein Tränchen mir Und pflücke mir ein Veilchen auf mein Grab; Und mit deinem seelenvollen Blicke Sieh’ dann sanft auf mich herab.

May you too shed a tear for me and pluck a violet for my grave; and let your compassionate gaze look tenderly down on me.

Weih’ mir eine Träne und ach! Schäme dich nur nicht, sie mir zu weih’n, O sie wird in meinem Diademe Dann die schönste Perle sein. —Joachim Heinrich Campe

Consecrate a tear to me and ah! Be not ashamed to do so; In my diadem it shall become the fairest pearl of all. —Translation by Richard Stokes

Die Verlassene — Haydn

The Forsaken Maid — Haydn

Hör auf, mein armes Herz, so bang zu schlagen! Er spottet deiner Leiden, deiner Klagen! Er schloss durch Leichtsinn sich das Tor der Reue, Der Ungetreue!

Cease, my heart, your fearful beating! He laughs at your sorrow, your lamenting! He thoughtlessly closed the door of remorse, the faithless one!

Weil ich, o Falscher, dich so sehr geliebet, Hast du dies Bubenstück an mir verübet. Und doch kann ich, obschon er mich verlassen, Nicht ganz ihn hassen.

It is because I, O false one, loved you so much, that you played on me this knavish trick. And yet I cannot, though he has left me, hate him with all my heart.

Weh mir! O schonet ihn, ihr Rächerinnen! Kehrt wider mich eu’r grimmiges Beginnen! Dies Herz, das noch den Frevler kann vertreten, Müsst ihr erst töten! —Lorenz Leopold Haschka

Alas! O spare him, you avenging spirits! Turn on me your fierce deeds! You must first kill this heart that can still plead for the offender! —Translation by Richard Stokes

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Antwort auf die Frage eines Mädchens — Haydn

Answer to a Maiden’s Question — Haydn

Denkst du auch so innig meiner, Wie ich liebend denke deiner? Wohl, trautes Mädchen, denk ich dein, Wohl, jener süssen Wonnestunden, Die, ach! zu schnell mir hingeschwunden, Wenn heiss dein Herz an meinem schlug. Vergessen sollt ich deine Liebe, Vernichten die so schönen Triebe, Die ich für dich, die ich für dich im Herzen trug?

Do you think of me as tenderly as I lovingly think of you? Indeed, dear maiden, I think of you, of those sweet hours of bliss that, alas, have vanished so swiftly from me, when your heart beat ardently against mine. Should I forget your love and banish those beautiful desires that I bore for you in my heart?

Nein, nein! Ewig, ewig denk ich dein! Ich denke dein im Todesschlummer, Wenn tot dies Herz von stillem Kummer, Verloschen dieser Augen Licht. Dann spriesst aus meines Herzens Mitte Ein Blümchen noch in voller Blüte; Dies Blümchen heisst, dies Blümchen heisst: Vergissmeinnicht. —Anonymous

No, no! I shall think of you forever! I shall think of you in the sleep of death, when my heart has died from silent sorrow and the light of my eyes has gone out. Then from the center of my heart a little flower will shoot, still in full bloom; this flower is called: forget-me-not. —Translation by Richard Wigmore

Das Leben ist ein Traum — Haydn

Life Is a Dream — Haydn

Das Leben ist ein Traum! Wir schlüpfen in die Welt und schweben Mit jungem Zahn Und frischem Gaum Auf ihrem Wahn Und ihrem Schaum, Bis wir nicht mehr an Erde kleben: Und dann, was ist’s, was ist das Leben? Das Leben ist ein Traum!

Life is a dream! We slip into the world and float With young teeth and fresh palate on its illusions and froth, till we can cling to earth no more: and then—what is this life? Life is a dream!

Das Leben ist ein Traum: Wir lieben, uns’re Herzen schlagen, Und Herz an Herz Gefüget kaum, Ist Lieb’ und Scherz Ein leerer Schaum, Ist hingeschwunden, weggetragen! Was ist das Leben? hör ich fragen: Das Leben ist ein Traum! —Johann Wilhelm Ludwig Gleim

Life is a dream: we love, our hearts throb, and hardly has heart joined heart, when love and jest, turn to empty bubbles, vanish and are borne away! What, I hear you ask, is life? Life is a dream! —Translation by Richard Stokes

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Arianna a Naxos — Haydn

Arianna at Naxos — Haydn

Recitativo Teseo mio ben, dove sei tu? Vicino d’averti mi parea ma un lusinghiero sogno fallace m’ingannò. Già sorge in ciel la rosea Aurora e l’erbe e i fior colora Febo uscendo dal mar col crine aurato. Sposo adorato, dove guidasti il piè? Forse le fere ad inseguir ti chiama il tuo nobile ardor. Ah vieni, O caro ed offrirò più grata preda a tuoi lacci. Il cor d’Arianna amante, che t’adora costante, stringi con nodo più tenace e più bella la face splenda del nostro amor. Soffrir non posso d’esser da te diviso un sol momento. Ah di vederti, O caro, già mi stringe il desio. Ti sospira il mio cuor. Vieni, idol mio.

Recitative Theseus my beloved where are you? I seem to have you near me, but a flattering treacherous dream deceives me. Already rose-colored Dawn is rising in the sky and Phoebus colors the grass and flowers rising from the sea with his golden hair. Adored husband, where have your footsteps led you? Perhaps your noble ardor calls you to pursue wild beasts. Ah come, my dearest, and I shall offer a more pleasing prey to your snares. Arianna’s loving heart, which adores you faithfully, clasps the splendid light of our love with a firmer knot. I cannot bear to be apart from you for a single moment. Ah beloved, I am consumed with longing to see you. My heart sighs for you. Come, my idol.

Aria Dove sei, mio bel tesoro? Chi t’invola a questo cor? Se non vieni, io già mi moro, Né resisto al mio dolor. Se pietade avete, O Dei, Secondate i voti miei; A me torni il caro ben. Dove sei? Teseo!

Aria Where are you, my treasure? Who stole you from this heart? If you do not come, already I die, nor resist my grief. If you have pity, O Gods, fulfill my desires; return my dear beloved to me. Where are you? Theseus!

Recitativo Ma, a chi parlo? Gli accenti eco ripete sol. Teseo non m’ode, Teseo non mi risponde, e portano le voci e l’aure e l’onde. Poco da me lontano esser egli dovria. Salgasi quello che più d’ogni altro s’alza alpestro scoglio: ivi lo scoprirò. Che miro? O stelle! Misera me! Quest’è l’argivo legno, Greci son quelli. Teseo! Ei sulla prora! Ah, m’inganassi almen … No no, non m’inganno. Ei fugge, ei qui mi lascia in abbandono. Più speranza non v’è, tradita io sono.

Recitative But to whom am I speaking? Only echo repeats my words. Theseus does not hear me, Theseus does not answer me, and my voice is carried by the wind and the waves. He must not be far from me. Let me climb the highest of these steep rocks: I shall discover him thus. What do I see? O heavens! Miserable me! That is the wooden argosy, those men are Greeks. Theseus! He is on the prow! O may I at least be mistaken… no, no, I am not mistaken. He flees, he leaves me abandoned here. There is no longer any hope for me, I am betrayed.

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Teseo, Teseo, m’ascolta Teseo! Ma oimè! Vaneggio. I flutti e il vento lo involano per sempre agli occhi miei. Ah, siete ingiusti, O Dei se l’empio non punite! Ingrato! Perchè ti trassi dalla morte? Dunque tu dovevi tradirmi? E le promesse, e i giuramenti tuoi? Spergiuro! Infido! Hai cor di lasciarmi! A chi mi volgo? Da chi pietà sperar? Già più non reggo: Il piè vacilla, e in così amaro istante sento mancarmi in sen l’alma tremante.

Theseus, listen to me Theseus! But alas! I am raving. The waves and wind are stealing him from my eyes for ever. Ah, you are unjust, O Gods, if you do not punish the infidel! Ungrateful man! Why did I snatch you away from death? So you had to betray me? And your promises and your oaths? Perjurer! Infidel! Have you the heart to leave me? To whom can I turn? From whom can I hope for pity? I can already bear no more: my step falters, and in so bitter a moment I feel my trembling soul weaken.

Aria Ah! che morir vorrei In si fatal momento, Ma al mio crudel tormento Mi serba ingiusto il ciel. Misera abbandonata Non ho chi mi consola. Chi tanto amai s’invola, Barbaro ed infidel.

Aria Ah, how I should like to die in so fatal a moment, but the heavens unjustly keep me in my cruel torment. Wretched and abandoned I have no one to console me. He whom I loved so much has fled, barbarous and unfaithful. —Translation by Misha Donat

—Anonymous

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2011 | Niobe, Regina di Tebe | Philippe Jaroussky

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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. 34

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Aaron Sheehan in BEMF’s 2017 production of Campra’s Le Carnaval de Venise Photo: Kathy Wittman

Boson Early Music Fesival International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

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).

In ter nati onal Ba ro qu e O p e ra 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. 2 021–20 22 Seaso n

The twenty-first biennial Boston Early Music Festival in June 2021 took place virtually, and featured a video presentation of André Campra’s extraordinary Le Carnaval de Venise from the June 2017 Festival. The twenty-second Festival, in June 2023, will have as its centerpiece Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which will feature the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan. BEMF introduced its Chamber Opera Series during its annual concert season in 35

November 2008, with a performance of John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series focuses on the wealth of chamber operas composed during the Baroque period, while providing an 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 Lully, Francesca Caccini’s Alcina, the first opera written by a woman, and most recently a combination of Telemann’s Pimpinone and Ino. 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. Danielle Reutter-Harrah in BEMF’s 2021 production of Telemann’s Pimpinone Photo: Kathy Wittman

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; Jean-Baptiste 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 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 B o s t on E ar ly Mus i c F est i val

September 2017 in conjunction with a sixcity 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.

Ce leb r ate d C o n ce rt s

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).

Wo r l d - fa m ou s E x h i b i tion

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

A standing ovation for La storia di Orfeo in November 2019 Photo: Kathy Wittman

2 021–20 22 Seaso n

B e c o me a F r i e n d o f t h e

Boson Early Music Fesival 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 Partner Associate Patron Guarantor Benefactor Leadership Circle Artistic Director’s Circle Festival Angel

$45 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 $25,000

T hr ee way s t o g ive:

• 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

O t h e r way s t o sho w y our suppor t:

• 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! 38

B os t on E ar ly Mus i c F est i val

Friends of the

Boson Early Music Fesival

This list reflects donations received from July 1, 2020 to March 2, 2022 FESTIVAL ANGELS ($25,000 or more) Anonymous (4) Bernice K. & Ted† Chen Brit d’Arbeloff Susan Donaldson David R. Elliott† Peter L. & Joan S. Faber Donald Goldstein David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm Miles Morgan Susan L. Robinson Andrew Sigel, in memory of Richard Sigel & Carol Davis Joan Margot Smith Donald E. Vaughan & Lee S. Ridgway ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Anonymous (4) Annemarie Altman, in memory of Dave Cook Katie & Paul Buttenwieser Susan Denison Tony Elitcher & Andrea Taras Marie-Pierre & Michael Ellmann James A. Glazier Ellen T. & John T. Harris Barbara & Amos Hostetter David M. Kozak & Anne Pistell Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Victor & Ruth McElheny Bill McJohn Lorna E. Oleck Fritz Onion Nina & Timothy Rose 2 021–20 22 Seaso n

David Scudder, in memory of Marie Louise Scudder Karen Tenney & Thomas Loring LEADERSHIP CIRCLE ($5,000 or more) Anonymous Mary Briggs & John Krzywicki Diane & John Paul Britton Douglas M. & Aviva A. Brooks Beth Brown, in memory of Walter R.J. Brown Nicole Faulkner Lori Fay & Christopher Cherry John Felton & Marty Gottron Ruth McKay & Don Campbell Hadley & Jeannette Reynolds Kenneth C. Ritchie & Paul T. Schmidt Keith S. Tóth & John B. Herrington III Maria van Kalken & Hal Winslow Will & Alexandra Watkins Christoph & Barbara† Wolff BENEFACTORS ($2,500 or more) Anonymous (4) Alan Brener Pamela & Lee Bromberg John A. Carey Robert & Elizabeth Carroll Joan & Frank Conlon Linzee Coolidge Jean Fuller Farrington Kathleen Fay Dr. Katherine Goodman Maarten Janssen & Rosan Kuhn-Daalmeijer Robert E. Kulp, Jr. Drs. Peter Libby & Beryl Benacerraf Harriet Lindblom, in memory of Daniel Lindblom Mark & Mary Lunsford Stephen Moody Michael & Karen Rotenberg Joanne Zervas Sattley

Raymond A. & Marilyn Smith Anna Watkins GUARANTORS ($1,000 or more) Anonymous (5) Anonymous, in memory of Martha Davidson Anonymous, in honor of Kathy Fay Judy Anderson & Tom Allen Jeffrey & Jennifer Allred, in memory of F. Williams Sarles Barry & Sarita Ashar Louise Basbas Dee Dee & John Brinkema, in memory of our son, Bobby Brinkema Susan Bronn Julie Brown & Zachary Morowitz David C. Brown David L. Brown, in memory of Larry Phillips Dinah Buechner-Vischer James Burr Shannon Canavin & Kevin Goodrich David J. Chavolla Carla Chrisfield & Benjamin D. Weiss J. R. Colofiore Dr. & Mrs. Franklyn W. Commisso Richard & Constance Culley The Cusack Family, in memory of J. Howland Auchincloss Belden & Pamela Daniels Terry Decima Peter & Katie DeWolf Alan Durfee Charles & Elizabeth Emerson Thomas G. Evans Dorothy Ryan Fay Michael E. Fay Martin & Kathleen Fogle Claire Fontijn, in memory of Dr. Arthur Fontijn Bruce A. Garetz 39

David & Harriet Griesinger Peter B. & Harriette Griffin Phillip Hanvy Dr. Robert L. Harris Rebecca & Ronald Harris-Warrick H. Jan & Ruth H. Heespelink Michael Herz & Jean Roiphe James & Ina Heup Jane Hoover Thomas & Sonja Ellingson Hout Ronald Karr Barry Kernfeld & Sally McMurry Alan M. King Fran & Tom Knight Robert & Mary La Porte Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Catherine Liddell Shenkiat Lim MAFAA William & Joan Magretta John S. Major & Valerie Steele David McCarthy Amy Meyer Marilyn Miller Robert Neer & Ann Eldridge John M. & Bettina A. Norton Keith Ohmart & Helen Chen Clara M. & John S. O’Shea John R. Palys Neal J. Plotkin & Deborah Malamud Amanda & Melvyn Pond Tracy Powers Paul Rabin & Arlene Snyder Alice Robbins & Walter Denny Jose M. Rodriguez & Richard A. Duffy Patsy Rogers Thomas & Loretto Roney Kevin Ryan & Ozerk Gogus Irwin Sarason, in memory of Suzanne Sarason Suzanne Sarason† Len & Louise Schaper Lynne & Ralph Schatz Arah Schuur Wendy Shattuck & Sam Plimpton Cynthia Siebert Dr. Glenn Sigl & Mr. John Self Elizabeth Snow Kerala & Richard Snyder Murray & Hazel Somerville, in honor of Robert Mealy 40

Catherine & Keith Stevenson Campbell Steward David & Jean Stout Lisa Teot Adrian & Michelle Touw Peter Tremain Kathy H. Udall Reed & Peggy Ueda David H. Van Dyke, in memory of Janet E. Van Dyke Patrick Wallace & Laurie McNeil Peter J. Wender Sarah Chartener Whitehead Kathleen Wittman & Melanie Andrade Ellen & Arnold Zetcher PATRONS ($500 or more) Anonymous (12) Druid Errant D.T. Allan-Gorey Debra K.S. Anderson Eric Hall Anderson Laila Awar Neil R. Ayer, Jr. & Linda Ayer Mary Baughman Jeffrey Bauman William & Ann Bein Tracey Blueman & Brandon L. Bigelow Seth Boorstein, in memory of Joan Boorstein Patricia Boyd Elizabeth A.R. & Ralph S. Brown, Jr., in honor of Kathleen Fay Carlo Buonomo Robert Burger Robert Burton & Karen Peterson Elizabeth Canick Eleanor Anne Carlson John K. Clark & Judith M. Stoughton Joseph & Françoise Connors Geoffrey Craddock Martina Crocker, in memory of William T. Crocker Eric & Margaret Darling Paul & Elizabeth De Rosa Carl E. Dettman JoAnne Walter Dickinson Ellen Dokton & Stephen Schmidt Charles & Sheila Donahue Diane L. Droste John W. Ehrlich David Emery & Olimpia Velez

Susan Fairchild & Jeff Buxbaum Austin & Eileen Farrar Gregg, Abby & Max Feigelson Charles Fisk & Louis Risoli Kent Flummerfelt, in memory of Jane Flummerfelt Lloyd Foster Elizabeth French Jonathan Friedes & Qian Huang Frederick & Barbara Gable Sandy Gadsby & Nancy Brown Sarah M. Gates Martha Gruson Eric Haas, in memory of Janet Haas Hope Hare Joan E. Hartman Jasjit & Donald L. Heckathorn Mary Hepburn, in honor of Laura Jeppesen Jennifer L. Hochschild & C. Anthony Broh Linda Hodgkinson Beth F. Houston Alex Humez George Humphrey Charles Bowditch Hunter Jean Jackson, in memory of Louis Kampf Judith L. Johnston & Bruce L. Bush, in memory of Daniel Lindblom Patrick G. Jordan Marietta B. Joseph Robert L. Kleinberg Wilfred & Leslie Kling Jason Knutson Neal & Catherine Konstantin Kathryn Mary Kucharski Frederick V. Lawrence, in memory of Rosemarie Lawrence Sarah Leaf-Herrmann Joanne & Carl Leaman Clare Walker Leslie & David Leslie Susan Lewinnek Lawrence & Susan Liden Marcia & Philip Lieberman Joan Lippincott Roger & Susan Lipsey James Liu & Alexandra Bowers Dr. Gary Ljungquist Robert & Janice Locke Kenneth Loveday Dr. & Mrs. Bruce C. MacIntyre B o s t on E ar ly Mus i c F est i val

Quinn MacKenzie Jeffrey & Barbara Mandula Carol Marsh Anne H. Matthews June Matthews Anne & William McCants Amy & Brian McCreath Michael P. McDonald Thomas Michie Alan & Kathy Muirhead Joan L. Nissman & Morton Abromson Richard & Lois Pace, in honor of Peter Faber William J. Pananos Eugene Papa Robert Parker Henry Paulus David & Beth Pendery Julia Poirier, in memory of Marc Poirier Gene & Margaret Pokorny Harold I. Pratt Susan Pundt Anne & Dennis Rogers Ellen Rosand Nancy & Ronald Rucker Carlton & Lorna Russell Paul Rutz, in memory of Sandra Henry Valerie Sarles Sharon Scaramozza Charles & Mary Ann Schultz Neil & Bonnie Schutzman Alison M. Scott Chuck Sheehan Michael Sherer David Shukis & Susan Blair Bettina Siewert, M.D. & Douglas L. Teich, M.D., in memory of David Elliott Ronald W. Stoia Paola Stone, in memory of Edmondo Malanotte Theresa & Charles Stone Carl Swanson Ralph & Jeanine Swick Kenneth P. Taylor Lonice Thomas Mark S. Thurber & Susan M. Galli Edward P. Todd Nancy M. Tooney 2 021–20 22 Seaso n

Peter & Kathleen Van Demark David Vargo & Sheila Collins Delores & Robert Viarengo Geoffrey Westergaard, in memory of David Eisler Allan & Joann Winkler Michael Wise & Susan Pettee Louisa Woodville Susan Wyatt The Zucker Family ASSOCIATES ($250 or more) Anonymous (11) Jonathan B. Aibel & Julie I. Rohwein David A. & Connie D. Allred, in memory of F. Williams Sarles Helen Mae Allred & Sandy Grimmett, in memory of F. Williams Sarles Nicholas Altenbernd Lois Banta Alan H. Bates Elaine Beilin Helen Benham John Birks Sarah Bixler & Christopher Tonkin Sally & Charlie Boynton Derick & Jennifer Brinkerhoff Peter Bronk & Susan Axe-Bronk Caroline Bruzelius Andrew J. Buckler Frederick Byron Anne Chalmers & Holly Gunner, in honor of Kathy Fay & the BEMF Staff Mary Chamberlain Peter Charig & Amy Briemer JoAnne Chernow Alex M. Chintella Floyd & Aleeta Christian Daniel Church & Roger Cuevas Drs. Martin & Janet Cohen Sherryl & Gerard Cohen Edward L. Corbosiero Derek Cottier & Lauren Tilly Mary Cowden Christopher Curdo Elizabeth C. Davis Carl & May Daw Mr. & Mrs. Patrick J. Day Leigh Deacon Ellen R. Delany

Robert Dennis Katharine B. Desai Mr. & Mrs. Dennis Dewitt Michael DiSabatino, in honor of Nancy Olson Tamar & Jeremy Kaim Doniger John F. Dooley Mark Elenko David & Noel English Lori Fay & Christopher Cherry, in memory of Gerry Weber Janet G. Fink Gary Freeman Sarah French Anne & Walter Gamble Stephen L. Gencarello Hans Gesell Barbara Godard The Goldsmith Family Nancy L. Graham The Graver Family Lorraine & William Graves Winifred Gray Mary Greer Laury Gutierrez & Elsa Gelin Suzanne & Easley Hamner Eric & Dee Hansen Joseph & Elizabeth Hare G. Neil & Anne Harper Barbara & Samuel L. Hayes III Catherine & John Henn Roderick J. Holland Jessica Honigberg Sterling & Margaret Hopkins David Howlett John Hsia Keith & Catherine Hughes Francesco Iachello Laura Jeppesen & Daniel Stepner Paul & Alice Johnson Robin Johnson David K. Jordan Dian Kahn Lorraine Kaimal, in memory of Jagadish C. Kaimal Elizabeth Kaplan Robert Kauffman & Susan Porter Thomas F. Kelly & Peggy Badenhausen Louis & Susan Kern Peggy Kimball George Kocur Crystal Komm & Christopher Potter 41

Scott-Martin Kosofsky & Betsy Sarles Benjamin Krepp & Virginia Webb Joseph Kung Katharine Kush Bruce Larkin Tom Law Jasper Lawson William & Betsy Leitch Rob & Mary Joan Leith Diana Lempel Philip Le Quesne Alison Leslie Ricardo & Marla Lewitus Mary Maarbjerg Rodolfo Machado & Jorge Silvetti Michele Mandrioli Peter G. Manson & Peter A. Durfee Marietta Marchitelli Carol & Pedro Martinez Margaret Matlin, Ph.D. James McBride Lee McClelland William McLaughlin John McLeod & Margaret Angelini David Montanari & Sara Rubin Randall E. & Karen Moore Rodney & Barbara Myrvaagnes Debra Nagy, in honor of Robert Mealy Lindsay & Mark Nelsen Paul & Rebecca Nemser Nancy Nicholson Caroline Niemira Nancy Olson & Charles Di Sabatino Louise Oremland John & Sandra Owens Kevin Oye & June Hsiao Cosmo & Jane Papa Tony & Kathy Pell Joseph L. Pennacchio Pauline & Mark Peters Bici Pettit-Barron Elizabeth V. Phillips Hon. W. Glen Pierson & Mr. Charles P. Reed Anne & François Poulet Rodney J. Regier Sandy Reismann & Dr. Nanu Brates Michael Robbins Marge Roberts 42

Liz & David Robertson Arthur & Elaine Robins Sherry & William Rogers Alison & Jeff Rosenberg, in honor of Martha Gottron & John Felton Lois Rosow Rusty Russell Catherine & Phil Saines Raymond Schmidt & Stephen Skuce Robert & Barbara Schneider Robert & Ann Schoeller Richard Schroeder & Jane Burns Helen Schultz Joyce Schwartz Michael & Marcy Scott-Morton Miriam N. Seltzer Terry Shea & Seigo Nakao Alexander & Kathy Silbiger Harvey A. Silverglate, in memory of Elsa Dorfman Mark Slotkin Jon Solins Joseph Spector & Dale Mayer Louisa C. Spottswood Monica Strauss & Mark Vangel Jonathan Swartz Richard Tarrant Suzanne G. Teich Pierre Trepagnier & Louise Mundinger John & Dorothy Truman Donald Twomey & Michael Davison Dr. Tyler J. Vanderweele Robert Volante Richard & Virginia von Rueden Esther Weinstein Mary E. Wheat Barbara K. Wheaton Susan & Charles Wilkes John Wolff & Helen Berger Donald G. & Jane C. Workman Ellen L. Ziskind PARTNERS ($100 or more) Anonymous (31) Greg Abbe Andrew Adler Joseph Aieta III Thomas Albanese Kenneth Allen & Hugh Russell Thomas Allen

Cathy & William Anderson Robert Anderson Julie Andrijeski & J. Tracy Mortimore Laurie Andrus Jeffrey Angell Renee Ashley Katrina Avery & Thomas Doeppner Susan P. Bachelder Peter Bals Antonia L. Banducci Tim Barber & Joel Krajewski Dr. David Barnert & Julie A. Raskin Jim & Judy Barr Arthur & Susan Barsky Rev. Joseph & Nancy Bassett Joseph Baxer & Barbara Anne Bacewicz Trevor & Dax Bayard-Murray Lawrence Bell Alan Benenfeld Aliesha Bennett Susan Benua Elliot Beraha Nadine Berenguier & Bernd Widdig John C. Berg & Martha E. Richmond Noel & Paula Berggren Judith Bergson Michael & Sheila Berke Larry & Sara Mae Berman Elaine Bianco William Birdsall Barbara R. Bishop Thomas N. Bisson, in memory of Carroll Bisson Katharine C. Black Wes Bockley & Amy Markus Deborah Boldin & Gabriel Rice Marylynn Boris Richard Borts Dr. Edmund A. Bowles Ann Boyer Katherine Bracher, in memory of Margriet Tindemans Susan Brainerd Spyros Braoudakis Susan Brefach & Don Estes Joel Bresler Laura Brewer & Neil Gershenfeld Catherine & Hillel Shahan Bromberg Amy Brown & Brian Carr Margaret H. Brown Nevin C. Brown L.T. Bryan B o s t on E ar ly Mus i c F est i val

Susan Bryant Russell & Dee Burgett Jean C. Burke John H. Burkhalter III Sally & Harold Burman Judi Burten, in honor of Phoebe Larkey’s 95th birthday Susan H. Bush Kevin J. Bylsma Pauline Ho Bynum Lisa Cacciabaudo Nicholas Calapa John Caldwell Daniela Cammack Joseph Cantey Dennis J. & Barbara Carboni Pamela Carley & Lawrence Zukof James & Angela Carrington R. Cassels-Brown Verne & Madeline Caviness, in honor of Hildegard von Bingen Robert B. Christian Edward Clark & Joan Pritchard John Clark Alan Clayton-Matthews Alan M. Cohen & Marian Rambelle Joel I. Cohen, in honor of Anne Azéma, Officier, Ordre des arts et des letters de la République française Joel I. Cohen & Anne Azéma Maria & Charles Coldwell Matthew Coleman Carol & Alex Collier Lois Evelyn Conley, in memory of Philip R. Conley Dorothea Cook & Peter Winkler Rita & Norman Corey, in honor of Jeanne Crowgey Robert Cornell Nelson Correa Mary C. Coward & John Empey Dan & Sidnie Crawford David Croll & Lynne Ausman Matthew & Ellen Cron Katherine Crosier, in memory of Carl C. Crosier Ruth Cross Gray F. Crouse Edwina J. Cruise Donna Cubit-Swoyer 2 021–20 22 Seaso n

Frank Cunningham & Anne Black Daniel Curtis William David Curtis Warren R. Cutler James Cyphers Matthew Dahl Gilbert Daniels Ruta Daugela Karen Davis, in honor of Amanda Forsythe Judith & Robert DeIasi Kate Delaney Jeffrey Del Papa Richard DesRosiers Deborah & Forrest Dillon Sarah Dillon & Peter Kantor Kathryn Disney Mark Dodd & Linda Brock Charles & Beverly Donohue Annette I. Dorsky Priscilla Drucker Laura Duffy Rev. S. Blake Duncan Ben Dunham & Wendy Rolfe-Dunham John Dunton & Carol McKeen Robert Echols Philip & Deborah Edmundson Ms. Helen A. Edwards Karen M. El-Chaar, Esq. Anne Engelhart & Douglas Durant Charles Epstein Jane Epstein Paula Erikson Jake Esher Laureen Esser Richard Fabian Susan Farr Lila M. Farrar Marilyn Farwell Peter Fejer Grace A. Feldman, in memory of J.P. Feldman Kevin Feltz Annette Fern Janine Ferretti Robert & Janeth Filgate Carol L. Fishman Jocelyn Forbush Deborah Fox & Ron Epstein Patrick Joseph Fox, in honor of Dr. Nancy Olsen Lillian Fraker

Matthew P. Fraleigh Elizabeth Fraser Peter Frick Carole Friedman Friends R. Andrew Garthwaite William Gasperini Dr. Aisling Gaughan & Kent Russel Thatcher Lane Gearhart Ronald & Gisela Geiger Gary Gengo Monica & David Gerber David & Susan Gerstein Michael Goldberg Susan Goldhor, in memory of Aron Bernstein Diane Goldsmith Jeffrey Goldsmith Lisa Goldstein Robert & Day Gotschall Joseph Grafwallner Kim T. Grant Frances Gratz John C. Gray Jr. Ellen & James Green Margaret Griffin & Roger Weiss Thomas H. & Lori B. Griswold John Gruver & Lynn Tilley Peter F. Gustafson Christine Guth Joshua Guttman Richard & Les Hadsell Harry & Sharen Hafner Barbara & Markos Hankin Patrick & Judith Hanlon Benjamin F. Harris David J. Harris, MD Elizabeth Harris Jill B. Hartman Donatus Hayes Elwood Headley Deborah Healey Diane Hellens Karin Hemmingsen Elizabeth Durfee Hengen Steve Herbert & Ursula Ziegler Olmo Heredia-Blanco Katherine A. Hesse Raymond Hirschkop John & Olivann Hobbie Ellsworth Hood, in memory of Margaret Hood 43

Victoria Hoover Margaret Hornick Valerie Horst & Benjamin Peck Chris Marie R. Hudson Judith & Alan Hudson Michelle Humphreys Priscilla Hunt & Victor Lesser Robert Hunt & Irene Winter Joe Hunter & Esther Schlorholtz Charles & Nan Husbands, in honor of Paul O’Dette Willemien Insinger Charlotte Isaacs Susan L. Jackson Deborah L. Jameson Susan Jaster & Ishmael Stefanov-Wagner Donna Jeker Gayle Johnson Robert & Selina Johnson June Kagdis Robert & Susan Kaim Joan Kapfer & Michael Jorrin Ward Keeler Martha Keith Alison Kelley Seamus & Marjorie Kelly Roger & Mary Jane Kelsey Joseph J. Kesselman, Jr. David Kessler David P. Kiaunis John R. Kimball Jeremy Kindall Leslie & Kimberly King John N. Kirk Gerhart & Brigitte Klein Naomi Reed Kline Kathryn Kling Carol & Arnold Klukas Sara M. Knight Christine Kodis Ellen Kranzer Barbara & Paul Krieger Katherine Krueger Jan Krzywicki & Susan Nowicki Bob Kunzendorf & Liz Ritvo David Laibstain Dennis G. Lamser Peter A. Lans Charles E. Larmore David A. Leach & Laurie J. LaChapelle Stephen J. Leahy Drs. Lynne & Sid Levitsky 44

Michael Lew Calien Lewis & Martha Mickles Ellen R. Lewis Susan & Walter Lichtenstein Rebecca Lightcap Signe Lindberg Jose & Rebecca Lora Liz Loveland Daniel Lynch & Elaine Dow Deidre Lynch Sandra & David Lyons Mary Malloy & Stuart Frank Thomas & Susan Mancuso Douglas & Amanda Maple Judith Mason Sally Mayer Donna McCampbell Dr. & Mrs. James R. McCarty, in memory of William R. Dowd Peter McCormick Kathleen McDougald George McKee Sharon McKinley Dave & Jeannette McLellan Mr. Daniel P. Melish, in honor of William Paul Melish, from whom my love of music came Cynthia Merritt Gerald & Susan Metz Ruth Milburn George D. & Barbara A. Miller Margo Miller Mary Lou Miller Myron Miller Nicolas Minutillo Nathaniel & Judith Mishkin Robert C. Mitchell Richard Molitor Kathleen Moore Martha Morton Wes & Sandy Mott, in memory of Harry Nargiss Mouatta Jennifer Moxley & Steve Evans Lynn Mulheron Seanan Murphy Elizabeth Murray Myrna Nachman Arthur Ness & Charlotte Kolczynski Katharine Newhouse Amy Nicholls Jeffrey Nicolich

Lyle & Patricia Nordstrom Nancy Nuzzo Karen Oakley & John Merrick Herbert G. Ogden & Catherine Thomas Clifford & Frances Olsen Monika Otter David & Claire Oxtoby Gene & Cheryl Pace Faith Parker Beth Parkhurst, in memory of Cheryl M. Parkhurst Susan Patrick Susan Patrick, in memory of Don Partridge Sally & Rand Peabody Jim Pendleton Phillip Petree John Petrowsky Rebecca Petteys Andrea Phan Lys McLaughlin Pike Mary Platt Theodore Popoff & Dorothy Silverstein Susan Porter Charles & Elizabeth Possidente David Posson Stephen Poteet & Anne Kao Susanne & John Potts Dr. Olena Prokopovych Virginia Raguin, in memory of Christopher Chieffo Christa Rakich & Janis Milroy Sarah & Eben Rauhut Sandra Ray John & Sue Reed John Regier Ruth E. Reiner Susan Reutter-Harrah Emery & Joyce Rice Julia & Stephen Roberts Julia W. Robinson Randy Robinson Sue Robinson Richard Rodgers Michael Rogan & Hugh Wilburn Paul Rosenberg & Harriet Moss Barbara Roth Peter & Linda Rubenstein Lisa & Gary Rucinski James V. Ryan Cheryl K. Ryder Kate Salfelder B o s t on E ar ly Mus i c F est i val

Gregory Salzman Susan Sargent & Tom Peters Josef Schmee David Schneider & Klára Móricz Raymond Schneider Fred Scholz Elly Schottman Michael Schreiner Lynn & Mary Schultz Peter Schuntermann Susan Schuur Judith Arlene Schwantes Jeffrey Schwotzer Janet Scudder & Carl Fristrom David Sears Jean Seiler Maureen Shea Ann Shedd & Mark Meess Aaron Sheehan & Adam Pearl Kathy Sherrick Marilyn Shesko Kazuki Shintani Daniel & Ruth Shoskes Barbara Sidley, in memory of Nathan T. Sidley Michael & Rena Silevitch Hana Sittler Sandra Sizer John & Carolyn Skelton Ellen & Jay Sklar Elizabeth Wade Smith Elliott Smith & Wendy Gilmore Gregory Smith Jennifer Farley Smith & Samuel Rubin Jim Smith & Joan Miller David Snead & Kate Prescott William & Barbara Sommerfield Piroska Soos Gabriella Spatolisano Kathleen Moretto Spencer Joseph & Kelley Spoerl Scott Sprinzen George Stalker & Jean Keskulla Douglas H. Steely & Palma A. Bickford Bruce Steiner Esther & Daniel Steinhauer Ann Stewart Mary Stokey Helen Stott Elliott & Barbara Strizhak Alan & Caroline Strout Imogene A. Stulken & Bruce Brolsma 2 021–20 22 Seaso n

Richard Stultz Richard Stumpf Elizabeth C. Sulak Jacek & Margaret Sulanowski Ronald Suleski Bob & Eileen Sullivan Richard & Louise Sullivan Robert G. Sullivan & Meriem Pages Jack Summers Ganesh & Monika Sundaram Timothy Swain Nancy Rutledge Swan Lois Swirnoff Elizabeth Sylvester Jeffrey & Boryana Tacconi, in memory of Nikolay Tonev Margaret W. Taft, in memory of Seymour Hayden Jocelyn R. Tager, Ph.D. & Michael Fredrickson Ryan Taliaferro Lee & Judith Talner Eleanor H. Tejirian Roy W. & Ute Tellini Lisa Terry John Thier, in honor of Essential Workers Judith Ogden Thomson Donald Trageser Joseph Tulchin, in memory of Kate Heery Tulchin John & Anne Turtle Barbara & John VanScoyoc Judy von Loewe Mandy Waddell & Irene Cramer Robert & Therese Wagenknecht Rosemary Waldrop Sonia Wallenberg Hilary & John Ward Marian M. Warden Prof. Eldon L. Wegner Thomas & LeRose Weikert Cheryl S. Weinstein Ronald Weintraub The Westner Family Peter White Rev. Roger B. White, in memory of Joseph P. Hough Marina & Robert Whitman Robert Williams, in honor of Annette Fern David L. Williamson

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B o s t on E ar ly Mus i c F est i val

2019 GRAMMY NOMINEE!

M ar c-A n to i n e C h ar pe nt i e r

Les Plaisirs de Versailles Les Arts Florissants

ALSO AVAILABLE

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I n t ern atio n ally Award- Winning

Opera CDs

O RD E R To d ay at BE MF.O RG 2 021–20 22 Seaso n

“This is a

ne” o t s e il m y r o t la e rev ramophone —G

George Frideric Handel

Almira

ALSO AVAILABLE

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I n t ern atio n ally Award- Winning

Opera CDs

O RD E R To d ay at BE MF.O RG 48

B o s t on E ar ly Mus i c F est i val

Boson Early Music Fesival Opera • Concerts • Exhibition June 4–11, 2023 in Boston Our 22nd biennial extravaganza is

A CELEBRATION OF WOMEN CENTERPIECE OPERA: Circé

Music by Henry Desmarest (1661–1741) Libretto by Louise-Geneviève Gillot de Saintonge (1650–1718)

CHAMBER OPERA: Alcina Music by Francesca Caccini (1587–ca. 1641) Libretto by Ferdinando Saracinelli (d. 1640)

Learn more at BEMF.org