Stubbs, Artistic Directors
Paul O’Dette & Stephen
Francesco Corti with
the BEMF Chamber
Ensemble
SATURDAY, FEBRUARY 8, 2025
8PM | First Lutheran Church, Boston, MA
ROBERT MEALY, Director
Phili
WELCOME
Dear Friends,
We are delighted to welcome you to the second half of our 35th Anniversary Season, with two notable BEMF concert series débuts taking place in the space of a week. The first of these is by keyboard virtuoso Francesco Corti, who performed at our June 2023 Festival, both with recorder sensation Erik Bosgraaf and in a harpsichord recital. He has garnered critical acclaim for his performances both as a keyboard soloist and conductor, in concerts throughout Europe, the United States and Canada, Latin America, Asia, and New Zealand. He joins with the incomparable Boston Early Music Festival Chamber Ensemble, directed by Robert Mealy, in a program of keyboard masterpieces for harpsichord and organ by George Frideric Handel, featuring the magnificent Richards, Fowkes & Co. Opus 10 organ at the First Lutheran Church of Boston, on Saturday, February 8. BEMF is honored to have this concert included in the proceedings of the biennial American Handel Society Conference, which is being held February 6–9 in Boston.
A mere six days later, on Friday, February 14, we welcome rising star and multiple-Grammy-nominee countertenor Reginald Mobley, alongside Grammy-nominated ensemble AGAVE in their BEMF début, to First Church in Cambridge, Congregational. They are presenting a fascinating program titled “Rum and Rebellion,” which explores through music the complex and contradictory intersection of revolution, the rum industry, and the transatlantic slave trade in Europe, South America, and the Caribbean. This unique and compelling event is not to be missed.
We hope you will join us for the final three concerts of our 24/25 Season, beginning on Friday, March 28 at St. Paul Church in Cambridge, when we present the luminous artists of Stile Antico, who are celebrating the group’s 20th anniversary year with a program of their favorite works titled “The Golden Renaissance.” Exactly one week later, on Friday, April 4 at NEC’s Jordan Hall, Les Arts Florissants returns to BEMF, in collaboration with superstar violin soloist Théotime Langlois de Swarte, for a blockbuster program which includes Vivaldi’s Four Seasons and other Venetian masterworks. Our 35th Anniversary Season ends on Sunday afternoon, April 13, again at Jordan Hall, with the much-anticipated return of Jordi Savall and Hespèrion XXI in a glorious and eclectic program of folías, variations, and improvisations, titled “Music of Fire and Love.”
All five concerts will be available for virtual viewing starting two weeks after they are performed live.
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
wildly gifted group” - The Boston Musical Intelligencer Season 27
February 22-23, 2025 at First Church in Boston
Darius Milhaud La création du monde: Suite de concert pour piano et quatour à cordes
George Rochberg Between Two Worlds (Ukiyo-e III) for flute & piano
Pavel Haas Wind Quintet, Op. 10
Alban Berg Adagio from Kammerkonzert for violin, clarinet & piano
Erich Korngold Suite for two violins, cello & piano left-hand, Op. 23
Boston Early Music Festival
MANAGEMENT
Kathleen Fay, Executive Director
Carla Chrisfield, General Manager
Maria van Kalken, Assistant to the Executive Director
Brian Stuart, Director of Marketing and Publicity
Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager
Perry Emerson, Operations Manager
Corey King, Box Office and Patron Services Director
Esme Hurlburt, Patron Services & Advertising Associate
Andrew Sigel, Publications Editor
Julia McKenzie, Director of the BEMF Youth Ensemble
Nina Stern, Community Engagement Advisor
ARTISTIC LEADERSHIP
Paul O’Dette and Stephen Stubbs, Artistic Directors
Gilbert Blin, Opera Director
Robert Mealy, Orchestra Director
BOARD OF DIRECTORS
Bernice K. Chen, Chairman | David Halstead, President
Ellen T. Harris, Vice President | Susan L. Robinson, Vice President
Adrian C. Touw, Treasurer | Peter L. Faber, Clerk
Brit d’Arbeloff | Michael Ellmann | George L. Hardman | 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.
43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764
Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org
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OCTOBER 10 - 26
Plan a trip to the UK this fall with 20 concerts of early music in Brighton on England’s South Coast. Join the mailing list to receive full programme info when available at bremf.org.uk
MEMBERS OF THE BEMF CORPORATION
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Gregory E. Bulger
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John A. Carey
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Bernice K. Chen
Joel I. Cohen
Brit d’Arbeloff
Vivian Day
Mary Deissler
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Alan Durfee†
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Lori Fay
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James A. Glazier
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George L. Hardman
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Edward B. Kellogg†
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Robert E. Kulp, Jr.
Ellen Kushner
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Miles Morgan†
Nancy Netzer
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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
Boston Early Music Festival
24/25 NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2024/25 Season:
David Halstead and Jay Santos
Sponsors of the October 2024 performance by Vox Luminis
George L. Hardman
Sponsor of the virtual presentation of AGAVE with Reginald Mobley, countertenor Sponsor of Jordi Savall, Director & viol, for his April 2025 appearance with Hespèrion XXI
Andrew Sigel
Sponsor of the virtual presentations of Vox Luminis and The Tallis Scholars
Harold I. Pratt
Sponsor of Sarah Darling, violin, for her February 2025 appearance with the BEMF Chamber Ensemble
Donald E. Vaughan and Lee S. Ridgway
Sponsors of Reginald Mobley, countertenor, for his February 2025 performance with AGAVE
Jean Fuller Farrington
Sponsor of the virtual presentation of Stile Antico
Lorna E. Oleck
Sponsor of the virtual presentation of Francesco Corti, harpsichord & organ, with the BEMF Chamber Ensemble
Not only do Named Gifts help provide the crucial financial support required to present a full season of extraordinary performances, but they are doubly meaningful in that they send a message of thanks to your most beloved artist, musicians, and directors—that their work means something to you.
You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. Thank you.
Boston Early Music Festival PRESENTS
Francesco Corti, harpsichord & organ
Boston Early Music Festival Chamber Ensemble
ROBERT MEALY, director
Keyboard Masterpieces
by George Frideric Handel
(1685–1759)
Suite No. 3 in D minor, HWV 428
Prelude: Presto
Allegro
Allemande
Courante
Air & Doubles
Presto
Organ Concerto in G minor, Op. 4, No. 1
Larghetto, e staccato
Allegro
Adagio Andante
Organ Concerto in F major, Op. 4, No. 4
Allegro
Andante
Adagio Allegro
The Boston Early Music Festival thanks HAROLD I. PRATT for his leadership support of tonight’s performance by Sarah Darling, violin and LORNA E. OLECK for her support of the virtual presentation of Francesco Corti, harpsichord & organ, with the BEMF Chamber Ensemble
LIVE CONCERT
Saturday, February 8, 2025 at 8pm
The First Lutheran Church of Boston
299 Berkeley Street, Boston, Massachusetts
VIRTUAL CONCERT
Saturday, February 22, 2025 – Saturday, March 8, 2025 BEMF.org
BOSTON EARLY MUSIC FESTIVAL CHAMBER ENSEMBLE
Robert Mealy, concertmaster
Sarah Darling, violin
Laura Jeppesen, viola
Phoebe Carrai, violoncello
Heather Miller Lardin, double bass
Debra Nagy, oboe
Kathryn Montoya, oboe
Allen Hamrick, bassoon with Francesco Corti, harpsichord & organ
Program subject to change.
Ball Square Films & Kathy Wittman, Video Production
Antonio Oliart Ros, Recording Engineer
ABOUT THE INSTRUMENTS
Double-manual French harpsichord by Allan Winkler, Medford, Massachusetts, 1991, after Donzelague, property of the Boston Early Music Festival.
RICHARDS, FOWKES & CO., OPUS 10 (2000) AT FIRST LUTHERAN CHURCH
Dedicated in December 2000, the organ first sounded forth with twenty-four stops on two manuals and pedal, played by mechanical tracker action. Designed and voiced in the North German Baroque style, it is unassailably the preeminent organ in Boston for performing the organ œuvre of J. S. Bach. In addition to its primary function as a strikingly flexible liturgical instrument, Op. X—its nickname among Boston afficionados—has become the popular focus of an annual concert series that draws performers of national and international stature.
In 2010, the congregation raised the funds necessary to bring the organ to its intended size of twenty-seven stops, in good time for its tenth anniversary. Over the summer of that year, Richards, Fowkes installed and carefully voiced a Schalmei 4′ in the Rückpositiv, a Vox Humana 8′ in the [Haupt]Werk, and a Cornet 2′ in the Pedal.
Disposition:
Werk
Bourdon 16′
Rückpositiv Pedal
Gedackt 8′
Principal 8′ Principal 4′
Subbass 16′
Octave 8′
Viol D’Gamba 8′ Rohrflöte 4′ (1–10 common with Werk)
Rohrflöte 8′
Waldflöte 2′
Gedackt 8′
Octave 4′ Quinte 3′/Sesquialtera II (1–10 common with Subbass)
Spitzflöte 4′
Nasat 3′/Cornet III
Scharff V Octave 4′
Dulcian 16′ (1–10 common with Werk)
Octave 2′ Krummhorn 8′
Mixture V
Schalmei 4′ *
Posaune 16′
Trompet 8′
Trompet 8′ (common with Werk)
Vox Humana 8′ *
* the three new reed stops (2010)
Tremulant, Cimbelstern, Vogelsang Temperament after Kellner; Wind pressure 70 mm Wassersäule; a=440Hz
Couplers: Werk to Pedal, Rückpositiv to Pedal, Werk to Rückpositiv
Cornet 2′ *
Boston Early Music Festival
2024 CHAMBER OPERA SERIES
NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals and organizations for their leadership support of the 2024 performances of Don Quichotte:
Glenn A. KnicKrehm and Constellation Charitable Foundation Principal Production Sponsors
Andrew Sigel
Sponsor of Christian Immler, Don Quichotte, Emily Siar, Quiteria, Richard Pittsinger, Grisostomo, and Julian Donahue, dancer
David Halstead and Jay Santos
Sponsors of Paul O’Dette and Stephen Stubbs, Musical Directors
Lorna E. Oleck
Sponsor of the BEMF Dance Company
Diane and John Paul Britton Sponsors of Gwen van den Eijnde, Costume Designer
Bernice K. Chen
Sponsor of Gilbert Blin, Stage Director
Harriet Lindblom
Sponsor of Michael Sponseller, harpsichord in honor of Daniel Lindblom, harpsichordist and builder
Michael and Marie-Pierre Ellmann
Sponsors of Jason McStoots, Sancho Pansa
Joanne Zervas Sattley
Sponsor of Sarah Darling, viola
PROGRAM NOTES
We know Handel today through his remarkable compositions, but in his lifetime he was celebrated as a keyboard superstar as much as a composer. According to his first biographer, Handel “had an uncommon brilliancy and command of finger; but what distinguished him from all other players who possessed these same qualities, was that amazing fullness, force and energy, which he joined with them. And this observation may be applied with as much justice to his compositions as to his playing.”
We will never be able to hear Handel’s own extravagant improvisations (which, according to some of his London fans, would sometimes go on for three hours at a stretch). But the keyboard suites and organ concertos that have come down to us give us a vivid taste of his talents.
The Suite in D minor which opens our program comes from around 1717, when Handel had retreated from the London opera scene and was working for the Earl of Carnarvon (later Duke of Chandos) at his estate of Cannons outside London. Here he began focusing on producing a large corpus of keyboard music for the first time.
Soon thereafter he had finished seven suites in the grand mixed style, combining French grace with Italian fire, and composed eleven fugues of great variety. These began to circulate in manuscript copies among Handel’s friends and students, and became popular enough that two years later the enterprising publisher John Walsh (in conjunction with the Amsterdam publisher Le Cène) put together an unauthorized collection of thirty-nine of Handel’s recent harpsichord works.
This prompted Handel to take out a Royal Privilege—essentially a copyright—in 1720, which would last for fourteen years. The first publication he issued under this privilege was an authoritative collection of “Suites de Pieces pour le Clavecin,” with the explanation that “I have been obliged to publish some of the following lessons because Surrepticious and incorrect copies of them had got abroad… I will proceed to publish more, reckoning it my duty with my Small talent to Serve a Nation from which I have receiv’d so Generous a Protection.” His own publication went on to become one of the most popular collections of harpsichord music in the eighteenth century.
GEORGE FRIDERIC HANDEL
Painting by Philip Mercier (ca. 1730)
The Suite in D minor from this collection opens in spectacular fashion with a prelude full of cascading arpeggiation, which leads into an excellent and very full-voiced fugue. If the opening prelude is spectacularly Italian and the fugue a fine example of German craft, the pensive Allemande which follows is in the great tradition of French clavecinistes. After a sonorous Courante, we hear a rhapsodically ornamented Air with five brilliant variations. The suite ends with a Presto which he later used in his Opus 7 organ concertos.
Like Bach, Handel had excellent training in organ playing, and indeed it was this which won him his first fans when he traveled to Rome at the age of 21. In January of 1707, a Roman music-lover named Francesco Valesio remarked that “a Saxon has arrived, a remarkable player on the harpsichord and organ, who today played the organ in the church of S. Giovanni to the amazement of everyone present.” Handel’s first patron in Rome, Cardinal Benedetto Pamphilj, had probably arranged for this Protestant German to amaze the Romans in this organ recital.
Pamphilj later wrote Handel into the plot of his first big oratorio, Il trionfo del tempo. In this allegory, as part of Pleasure’s display of worldly delights, she remarks on the appearance of a “graceful young man,” who is Handel himself. When Handel sets this text, he marks his arrival in the story with an extravagant organ concerto and an obbligato aria, to the delight of both Beauty and Pleasure, who remark on how this superhuman player has wings on his hands. (Later in England, his English librettist Charles Jennens heard Handel refer to Pamphilj as “an old Fool.” Jennens asked him “why Fool? because he wrote an Oratorio? Perhaps you will call me Fool for the same
reason!” Handel answered “So I would, if you flatter’d me, as He did.”)
Handel did not return to the idea of organ concertos for some twenty-eight years, since (unlike Bach) his career never involved spaces in which his organ playing would be featured. But when Handel began to devote himself to oratorios, the organ became a crucial part of the effect. In these works (to quote one of his librettists) “the Solemnity of Church-Musick is agreeably united with the most pleasing Airs of the Stage,” and the sound of the organ was one of the chief markers of this “solemnity.” Handel soon began to feature not only obbligato organ arias in these oratorios, but also his own organ concertos as part of every performance.
The organ on which he performed these concerti was not the small box organ that has become the ubiquitous continuo instrument today—but it certainly wasn’t a full church organ. When Handel moved his center of operations to John Rich’s new theater in Covent Garden, he arranged for a fairly serious upgrade in his keyboard arsenal. In March 1735, the London Daily Post reported that Handel’s latest performances of Deborah would feature “a large new Organ, which is remarkable for the Variety of Curious Stops, being a new Invention, and a great Improvement of that Instrument.” We don’t know exactly what sort of registration it had, though judging by a contemporary house organ made for Jennens, it likely had at least six stops, with one manual and no pedals.
These concertos were so successful that Handel gathered them together as his Opus 4, and had them published as solos by Walsh “from my own Copy, corrected by my Self.” (You could buy the instrumental parts separately.) These all came from various productions at Covent Garden: the G minor/G major Op. 4, No.1, was first performed as part of Alexander’s Feast in 1736, while Op. 4, No. 4, in F major, was added to Athalia in 1735.
Both these concertos find new solutions to the concerto form. The G minor concerto opens with a classic French overture, but it soon
BENEDETTO PAMPHILJ
morphs into a spacious solo with occasional commentary from the band. The organ writing is so spare that it’s clear Handel used this only as a frame for rhapsodic elaboration—and indeed the first notes of the organ are marked “Solo ad libitum.” What follows is the longest concerto movement Handel ever wrote, 158 bars of brilliant passagework for the right hand of the organ. After a largely improvised Adagio, the concerto closes with a series of variations on a minuet which first appeared in his Opus 5 trio sonatas.
The F major concerto opens with a sturdy unison ritornello that serves as a frame for extravagant solo episodes. The organ introduces the gorgeously serene Andante, which becomes a vehicle for cascading triplet figuration in the solos. The concerto is rounded
ARTIST PROFILES
off by a solo Adagio, with a walking bass line in the classic Corellian vein, and a final grand fugal Allegro. (In Athalia, this last movement introduced a chorus whose text you can clearly hear in the fugue subject: Alleluia.)
It is remarkable to think that Handel began his international career in Rome with an organ solo, and ended it in London the same way. In his last blindness, he would improvise concerto movements; the band waited for his cadential trill “before they played such fragments of symphony as they found in their books.” In the hands of a great improviser like tonight’s soloist, we can get a vivid taste of Handel’s charismatic performance style. n
— Robert Mealy
Harpsichordist and conductor Francesco Corti was born in 1984 in Arezzo, Italy, in a musical family. He studied organ in Perugia, then harpsichord in Geneva and in Amsterdam.
He was awarded top prizes at the International “Johann Sebastian Bach” Competition in Leipzig (2006) and at the Bruges Harpsichord Competition (2007).
As a soloist and conductor, he has appeared in recitals and concerts all over Europe, in the United States and Canada, in Latin America, in
Asia, and in New Zealand. He has performed in halls such as Théâtre des Champs-Élysées in Paris, Bozar in Brussels, Konzerthaus in Vienna, the Philharmonies of Berlin and Hamburg, Mozarteum and Haus für Mozart in Salzburg, Amsterdam Concertgebouw, Teatro Real in Madrid, Palau de la Música Catalana in Barcelona, Tonhalle in Zurich, and Müpa in Budapest.
He became principal guest conductor of Il Pomo d’Oro in 2018. Among other projects with this ensemble, he has conducted European
tours of Handel’s Orlando, Radamisto, Tolomeo, and Berenice, and made numerous recordings. He has been invited to lead the Freiburger Barockorchester, Akademie für alte Musik Berlin, Les Musiciens du Louvre, Tafelmusik, Kammerorchester Basel, B’Rock, and the Nederlandse Bachvereniging. He has been Musical Director at the Drottningholm Royal Court Theater since January 2023.
The past season included Messiah with Kammerorchester Basel and the Tölzer Knabenchor, Matthäus-Passion with Freiburger Barockorchester, Monteverdi’s Orfeo and Vivaldi’s Orlando with Il Pomo d’Oro, and Lully’s Armide at Drottningholm. The 2024–2025 season includes Handel’s Alcina and Jephtha with Il Pomo d’Oro, Terradellas’s Merope with Akademie für Alte Musik Berlin, and Cimarosa’s Il matrimonio segreto at Teatro San Carlo in Naples.
His solo recordings have been awarded some of the most prestigious prizes worldwide, including Diapason d’Or de l’Année, the Preis der Deutschen Schallplattenkritik, Gramophone’s Editor’s Choice, and Choc de Classica. His latest solo recording on the Arcana label is dedicated to Domenico Scarlatti.
He has taught in masterclasses all over the world. He is professor of harpsichord at the Schola Cantorum Basiliensis, and has been since September 2016. n
Robert Mealy is one of America’s most prominent Baroque violinists. The New York Times remarked that “Mr. Mealy seems to foster excellence wherever he goes, whether as director of the Boston Early Music Festival Orchestra, concertmaster of
the Trinity Baroque Orchestra in New York, or at The Juilliard School, as director of the historical performance program.” While still an undergraduate, he was asked to join the Canadian Baroque orchestra Tafelmusik; after graduation he began performing with Les Arts Florissants. Since then, he has recorded and toured with many ensembles both here and in Europe, and served as concertmaster for Masaaki Suzuki, Nicholas McGegan, Helmuth Rilling, Paul Agnew, and William Christie, among others. Since 2005 he has led the BEMF Orchestra in their festival performances, tours, and award-winning recordings. In New York, he is principal concertmaster at Trinity Wall Street in their traversal of the complete cantatas of J. S. Bach. He is also co-director of the acclaimed seventeenth-century ensemble Quicksilver. In summers he teaches at the American Baroque Soloists Academy in San Francisco and is often a featured artist at William Christie’s summer festival in Thiré. He made his recital début at Carnegie Hall in 2018. Recent chamber projects have ranged from directing a series of Ars Subtilior programs at The Cloisters in New York to performing the complete Bach violin and harpsichord sonatas at Washington’s Smithsonian Museum. Mr. Mealy has directed the Historical Performance Program at The Juilliard School since 2012, and has led his Juilliard students in acclaimed performances both in New York and abroad, including tours to Europe, India, New Zealand, Bolivia, and (most recently) China. Before coming to Juilliard, he taught for many years at Yale and Harvard. In 2004, he received EMA’s Binkley Award for outstanding teaching and scholarship. He still likes to practice. n
Phoebe Carrai pursued post-graduate studies in early music with Nikolaus Harnoncourt
in Salzburg, Austria, after finishing at New England Conservatory. She joined Musica Antiqua Köln in 1983, making forty discs for Deutsche Grammophon and teaching at the Hillversum Conservatory in Holland. Ms. Carrai taught at the Universität der Künste Berlin in Germany for sixteen years and is now on the faculties of The Juilliard School and the Longy School of Music of Bard College. She is director of the Harvard Baroque Chamber Orchestra and co-directed the International Baroque Institute at Longy for twenty-five years. In addition to chamber music and solo appearances, Ms. Carrai performs regularly with Juilliard Baroque, Philharmonia Baroque Orchestra, the Boston Early Music Festival Orchestra and Chamber Ensemble, Göttingen Händel Festival Orchestra and Ensemble, Arcadian Academy, Upper Valley Baroque, and Pro Musica Rara in Baltimore. Ms. Carrai has made three solo and duo recordings with Avie Records; the latest is Out of Italy. n
Described as “a tireless force of musical curiosity, skill, and enthusiasm” and “the one to up the ante” (Boston Musical Intelligencer), Sarah Darling enjoys a varied musical career as a performer, educator, and musical co-conspirator. Performing with the BEMF Orchestra since 2013, Sarah is also a member of the self-conducted orchestra A Far Cry, as well as Boston Baroque, Musicians of the Old Post Road, Emmanuel Music, the Boston Ballet Orchestra, Les Bostonades, Newton Baroque, The Boston Camerata, and the Carmel Bach Festival. Sarah studied at Harvard, Juilliard, Amsterdam, and Freiburg, and received her DMA from New England Conservatory, working with James Dunham, Karen Tuttle, Nobuko Imai, Wolfram Christ, and Kim Kashkashian. She has recorded for many labels, including three Grammy-
nominated discs and a solo album on Naxos. Sarah is active as a teacher and coach, serving on the modern and historical performance faculty of the Longy School of Music, teaching Baroque viola at New England Conservatory, and co-directing the Harvard Baroque Chamber Orchestra. n
Praised for his musicality and virtuosity, Allen Hamrick enjoys a varied career as a period bassoonist and recorder player. As a bassoonist, he has performed with the Boston Early Music Festival, Boston Baroque, the Handel and Haydn Society, the Teatro Nuovo festival, and with other ensembles across the country. He has appeared as a recorder player with Minnesota-based La Grande Bande, and has performed as a recorder player and a dulcian player with La Fiocco, delighting audiences with the “purity of his sound.” Upcoming performances include appearances with Mercury Baroque Orchestra, Teatro Nuovo, and with ACRONYM later in 2025. Allen is also an avid educator, serving as bassoon faculty for the Instrumental and Vocal Extension Program for the school system in Wellesley, Massachusetts. Allen holds music degrees from Indiana University, University of North Carolina School of the Arts, and The Juilliard School. n
Laura Jeppesen, player of historical stringed instruments, has a Master’s degree from Yale University. She studied at the
Hamburg Hochschule, and at the Brussels Conservatory with Wieland Kuijken. She has been a Woodrow Wilson Designate, a Fulbright Scholar, and a fellow of the Bunting Institute at Harvard. A prominent member of Boston’s early music community, she has long associations with The Boston Museum Trio, Boston Baroque, the Handel and Haydn Society, BEMF, Blue Heron, and Aston Magna. She has performed as soloist with conductors Christopher Hogwood, Edo de Waart, Seiji Ozawa, Craig Smith, Martin Pearlman, Harry Christophers, Grant Llewellyn, and Bernard Haitink. She has an extensive discography of solo and chamber works, including the gamba sonatas of J. S. Bach and music of Marin Marais, Buxtehude, Rameau, Telemann, and Clérambault. She teaches at Wellesley College and Harvard University where she has won awards of special distinction for innovative teaching. n
Heather Miller Lardin is principal double bassist of the Handel and Haydn Society, director of the Temple University Early Music Ensemble, and co-director of the Philadelphiabased period instrument ensemble Night Music. Other recent engagements have included Tempesta di Mare, Choral Arts Philadelphia, Bach Choir of Bethlehem, Bach Akademie Charlotte, Staunton Music Festival, and Brandywine Baroque. Intensely curious about all things historical bass, Heather designs online and in-person workshops engaging like-minded players worldwide. Her Baroque Double Bass course is available on discoverdoublebass.com. In addition to serving on the faculties of Amherst Early Music and the Viola da Gamba Society of America Conclave, Heather has presented recitals, workshops, and master classes at Yale University, James Madison University, and Peabody Conservatory. She makes her home in
the Western suburbs of Philadelphia, where she started playing bass in sixth-grade orchestra. n
Kathryn Montoya appears with a variety of orchestral and chamber music ensembles, including the Boston Early Music Festival Orchestra, Tafelmusik, and Apollo’s Fire. She received her degrees at Oberlin Conservatory and Indiana University School of Music, Bloomington. While at IU she received the prestigious Performer’s Certificate and was awarded a Fulbright Scholarship to study in Germany. Kathryn teaches historical oboes at Oberlin Conservatory and has been on the faculty of Longy’s International Baroque Institute, the Baroque Performance Institute at Oberlin, SFEMS workshops, and has given masterclasses in the U.S. and China. She enjoys a varied musical career, performing for the Grammy Award–winning recording of Charpentier’s La Couronne de Fleurs with BEMF and Tony Award–winning production of Twelfth Night and Richard III on Broadway with Shakespeare’s Globe of London. Kathryn can regularly be found in Hereford, England, converting an 18th-century barn into a home with her husband, James. n
Debra Nagy is recognized as “a baroque oboist of consummate taste and expressivity” (Cleveland Plain Dealer). As Artistic Director of Les Délices, she has acquired a reputation for creating concert experiences that “can’t help but getting one listening and thinking in
fresh ways” (San Francisco Classical Voice), and she plays principal oboe with the Handel and Haydn Society, Apollo’s Fire, Boston Early Music Festival, and other ensembles around the country. In addition to recording over 40 CDs with repertoire ranging from 1300 to 1800, Debra was awarded a 2022 Cleveland Arts Prize (Mid-Career Artist) and honored with the 2022 Laurette Goldberg Prize from Early Music America for her work on Les Délices’ acclaimed web series and podcast SalonEra. When not rehearsing, performing, or dreaming up new projects, Debra can be found cooking up a storm in her kitchen or commuting by bike from her home in Cleveland’s historic Ohio City neighborhood. n
The Boston Early Music Festival Chamber Ensemble was established in October of 2008, and delighted the public a month later at the inauguration of the Boston Early Music Festival Chamber Opera Series, which débuted in Boston with a production of John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The BEMF Chamber Ensemble is an intimate subset of the BEMF Orchestra. Depending upon the size and scale of a project, the BEMF Chamber Ensemble is led by one or both of BEMF’s Artistic Directors, Paul O’Dette and Stephen
Stubbs, or by BEMF’s Orchestra Director Robert Mealy, and features the best Baroque instrumentalists from around the world. The BEMF Chamber Ensemble’s third CD on the CPO label, the Charpentier opera double bill of La Descente d’Orphée aux Enfers and La Couronne de Fleurs, won the Grammy Award in 2015 for Best Opera Recording. Their fifth CD, Steffani’s Duets of Love and Passion, featuring sopranos Amanda Forsythe and Emőke Baráth, tenor Colin Balzer, and bass-baritone Christian Immler, was released in September 2017 in conjunction with a sixcity tour of North America, and received a Diapason d’Or. Their sixth CD—of Johann Sebastiani’s 1663 Matthäus Passion—was recorded immediately prior to their presenting a concert of the work at the prestigious Musikfest Bremen, and was released in February 2018. The seventh CD, a return to Charpentier featuring Les Plaisirs de Versailles and Les Arts Florissants, was nominated for a Grammy in 2019, and the eighth, Lalande’s Les Fontaines de Versailles and Le Concert d’Esculape, was released in September 2020. Their ninth CD, featuring Pergolesi’s La serva padrona and Livietta e Tracollo, was released in December 2023, and the tenth, a combination of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Reuil, is scheduled to be released in Spring 2025. 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 MarcAntoine 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
International Baroque Opera • Celebrated Concerts • World-Famous Exhibition
PHOTO: KATHY WITTMAN
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 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, John Frederick Lampe’s The Dragon of Wantley, and most recently Telemann’s Don Quichotte. 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
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!
Boston Early Music Festival
This list reflects donations received from June 1, 2023 to January 13, 2025
FESTIVAL ANGELS
($25,000 or more)
Anonymous (2)
Bernice K. Chen
Brit d’Arbeloff
Peter L. Faber
David Halstead & Jay Santos
George L. Hardman
Glenn A. KnicKrehm
Jeffrey G. Mora, in memory of Wendy Fuller-Mora
Miles Morgan†
Lorna E. Oleck
Susan L. Robinson
Andrew Sigel
Joan Margot Smith
Piroska Soos†
Donald E. Vaughan & Lee S. Ridgway
Marilee Wheeler Trust
ARTISTIC DIRECTORS’ CIRCLE
($10,000 or more)
Anonymous (5)
Katie & Paul Buttenwieser
Susan Denison
Tony Elitcher & Andrea Taras
Marie-Pierre & Michael Ellmann
Jean Fuller Farrington
Lori Fay & Christopher Cherry
Clare M. S. Fewtrell†
James A. Glazier
Donald Peter Goldstein, M.D., in memory of Constance Kellert Goldstein
Ellen T. & John T. Harris
Barbara & Amos Hostetter
David M. Kozak & Anne Pistell, in memory of their parents
Robert E. Kulp, Jr., in memory of James Nicolson, Miles Morgan & Ned Kellogg
Mr. & Mrs. Thomas G. MacCracken
Bill McJohn
Joanne Zervas Sattley
David Scudder, in memory of Marie Louise Scudder
Elisabeth Thompson
Christoph Wolff
LEADERSHIP CIRCLE
($5,000 or more)
Anonymous
Diane & John Paul Britton
Beth Brown, in memory of Walter R.J. Brown
Gregory E. Bulger & Richard Dix
Peter & Katie DeWolf
Susan Donaldson
Kathleen Fay, in memory of Dorothy Ryan Fay
Mei-Fung Kerley, in memory of Ted Chen
Alan M. King
Harriet Lindblom, in memory of Daniel Lindblom
Heather Mac Donald & Erich Eichman
Bettina A. Norton
Harold I. Pratt
Kenneth C. Ritchie & Paul T. Schmidt
Nina & Timothy Rose
Ruth W. Tucker
Maria van Kalken & Hal Winslow, in memory of Adrian van Kalken
BENEFACTORS
($2,500 or more)
Anonymous (2)
Annemarie Altman
Douglas M. & Aviva A. Brooks
Amy Brown & Brian Carr
Carla Chrisfield & Benjamin D. Weiss
Jeffrey Del Papa
David Emery & Olimpia Velez
John Felton & Marty Gottron
Phillip Hanvy
John S. Major & Valerie Steele
Victor & Ruth McElheny
Brian Pfeiffer
Catherine & Phil Saines, in honor of Barbara K. Wheaton
Paul L. Sapienza PC CPA
Raymond A. & Marilyn Smith
Richard K. & Kerala J. Snyder
Adrian & Michelle Touw
Will & Alexandra Watkins
Allan & Joann Winkler
Ellen & Arnold Zetcher
GUARANTORS
($1,000 or more)
Anonymous (11)
A.M. Askew
Ann Beha & Robert Radloff
Mary Briggs & John Krzywicki
The Honorable Leonie M. Brinkema & Mr. John R. Brinkema
Pamela & Lee Bromberg
James Burr
Betty Canick
John A. Carey
Robert & Elizabeth Carroll
David J. Chavolla
Bernice Chen & Mimi Kerley, in memory of Ted Chen
Peter S. Coleman
Dr. & Mrs. Franklyn Commisso
Mary Cowden
Geoffrey Craddock
Richard & Constance Culley
Belden & Pamela Daniels
Mary Deissler
Carl E. Dettman
John W. Ehrlich
Charles & Elizabeth Emerson
Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin
Bruce A. Garetz
Alexander Garthwaite
George & Marla Gearhart
Dr. Robert L. Harris
Rebecca & Ronald Harris-Warrick
H. Jan & Ruth H. Heespelink
Michael Herz & Jean Roiphe
James & Ina Heup
Jessica Honigberg
Jane Hoover
Thomas M. Hout & Sonja Ellingson Hout
Thomas F. Kelly & Peggy Badenhausen
Barry D. Kernfeld & Sally A. McMurry
Art & Linda Kingdon
Fran & Tom Knight
Neal & Catherine Konstantin
Kathryn Mary Kucharski
Robert & Mary La Porte
Amelia J. LeClair & Garrow Throop
John Leen & Eileen Koven
Dr. Peter Libby, in memory of Dr. Beryl Benacerraf
Lawrence & Susan Liden
Mark & Mary Lunsford
MAFAA
William & Joan Magretta
David McCarthy & John Kolody
Amy & Brian McCreath
Michael P. McDonald
Rebecca Nemser, in memory of Paul Nemser
Keith Ohmart & Helen Chen
Louise Oremland
Richard & Julia Osborne
Neal J. Plotkin & Deborah Malamud
Gene & Margaret Pokorny
Amanda & Melvyn Pond
Tracy Powers
Susan Pundt
Paul Rabin & Arlene Snyder
Christa Rakich & Janis Milroy
Alice Robbins & Walter Denny, in honor of Kathy Fay
Arthur & Elaine Robins
Sue Robinson
Jose M. Rodriguez & Richard A. Duffy
Patsy Rogers
Lois Rosow
Michael & Karen Rotenberg
Carlton & Lorna Russell
Kevin Ryan & Ozerk Gogus, in memory of Dorothy Fay
Lynne & Ralph Schatz
Susan Schuur
Laila Awar Shouhayib
Cynthia Siebert
Elizabeth Snow
Hazel & Murray Somerville
Ted St. Antoine
Catherine & Keith Stevenson
Theresa & Charles Stone
Carl Swanson
Lisa Teot
Paula & Peter Tyack
Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP
Peter J. Wender
PATRONS
($500 or more)
Anonymous (6)
Morton Abromson & Joan Nissman
Nicholas Altenbernd
Brian P. & Debra K. S. Anderson
Eric Hall Anderson
Tom & Judy Anderson Allen
Louise Basbas
Michael & Sheila Berke
Susan Bromley
Julie Brown & Zachary Morowitz
Robert Burger
Frederick Byron
John Campbell & Susanna Peyton
Anne Chalmers & Holly Gunner
Mary Chamberlain
JoAnne Chernow
Joseph Connors
David Cooke
Eric & Margaret Darling
Kathryn Disney
Ellen Dokton & Stephen Schmidt
Ross Duffin & Beverly Simmons
Austin & Eileen Farrar
Mary Fillman & Mary Otis Stevens
Martin & Kathleen Fogle
Jonathan Friedes & Qian Huang
Sandy Gadsby & Nancy Brown
Sarah M. Gates
David & Harriet Griesinger
Laury Gutierrez & Elsa Gelin
Joan E. Hartman
Catherine & John Henn
Ian Hinchliffe & Marjorie Shapiro
Phyllis Hoffman
Wayne & Laurell Huber
Charles Bowditch Hunter
Jean Jackson, in memory of Louis Kampf
Paul & Alice Johnson
Richard Johnson & Annmarie Linnane
Robin Johnson
Patrick G. Jordan
Barbara & Paul Krieger
Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence
Susan Lewinnek
Catherine Liddell
Roger & Susan Lipsey
James Liu & Alexandra Bowers
Mary Maarbjerg
Quinn Mackenzie
Marietta Marchitelli
Carol Marsh
Carol & Pedro Martinez
Anne H. Matthews
June Matthews
Marilyn Miller
Ray Mitzel
Paul Monsky & Beverly Woodward
Nancy Morgenstern, in memory of William & Marjorie Pressman
Alan & Kathy Muirhead
Robert Neer & Ann Eldridge
Clara M. & John S. O’Shea
Richard† & Lois Pace, in honor of Peter Faber
William J. Pananos
Henry Paulus
David & Beth Pendery
Joseph L. Pennacchio
Phillip Petree
Hon. W. Glen Pierson & Hon. Charles P. Reed
Martha J. Radford
Sandy Reismann & Dr. Nanu Brates
Michael Rogan & Hugh Wilburn
Ellen Rosand
Rusty Russell, in honor of Kathy Fay
Cheryl K. Ryder
Richard Schroeder & Dr. Jane Burns
Charles & Mary Ann Schultz
Wendy Shattuck & Sam Plimpton
Harvey A. Silverglate, in memory of Elsa Dorfman
Mark Slotkin
Lynne Spencer
Louisa C. Spottswood
Ann Stewart
Ronald W. Stoia
David & Jean Stout, in honor of Kathy Fay
Ralph & Jeanine Swick, in memory of Alan & Judie Kotok
Douglas L. Teich, M.D.
Mark S. Thurber & Susan M. Galli
John & Dorothy Truman
Reed & Peggy Ueda
Richard Urena
Patrick Wallace & Laurie McNeil
Robert Warren
Polly Wheat & John Cole
Scott & Barbara Winkler
Kathleen Wittman & Melanie Andrade, in memory of John Wittman
ASSOCIATES
($250 or more)
Anonymous (12)
Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier
Elizabeth Alexander
Julie Andrijeski & J. Tracy Mortimore
Carl Baker & Susan Haynes
William & Ann Bein
Lawrence Bell
Helen Benham
Susan Benua
Noel & Paula Berggren
Barbara R. Bishop
Wes Bockley & Amy Markus
Deborah Boldin & Gabriel Rice
James Bowman
David Breitman & Kathryn Stuart
C. Anthony Broh & Jennifer L. Hochschild
David C. Brown
Darcy Lynn Campbell
Joseph Cantey
Peter Charig & Amy Briemer
Floyd & Aleeta Christian
Daniel Church & Roger Cuevas
Priscilla H. Claman
John K. Clark & Judith M. Stoughton
Sherryl & Gerard Cohen
Derek Cottier & Lauren Tilly
Tekla Cunningham & David Sawyer
Warren R. Cutler
Leigh Deacon
William Depeter
Michael DiSabatino, in honor of Nancy Olson
Charles & Sheila Donahue
Alan Durfee†
Chuck Epstein & Melia Bensussen
The Rev’d Richard Fabian
Gregg, Abby & Max Feigelson
Charles Fisk
Fred Franklin, in memory of Kaaren Grimstad
Elizabeth French
Fred & Barbara Gable
Monica & David Gerber
The Graver Family
Mary Greer
Thomas H. & Lori B. Griswold
Sonia Guterman, in memory of Martin Guterman
Dr. Joanna Haas
Eric & Dee Hansen
Deborah Haraldson
Rebecca & Richard Hawkins
Diane Hellens
Katherine A. Hesse
David Hoglund
Amy & Seamus Hourihan
Keith L. & Catherine B. Hughes
Brian Hussey
Francesco Iachello
Chris & Klavs Jensen
Michele Jerison
Edward & Kathleen Kelly
David P. Kiaunis
Robert L. Kleinberg
Forrest Knowles
Jay Carlton Kuhn, Jr.
Christopher Larossa
Jasper Lawson
David A. Leach & Laurie J. LaChapelle
William Leitch
Rob & Mary Joan Leith
Robert & Janice Locke
William Loutrel & Thomas Fynan
Sally Mayer
Donna McCampbell
Anne McCants
Andrew Modest & Beth Arndtsen
Stephen Moody
Agatha Morrell
Gene Murrow
Nancy Nuzzo
Nancy Olson
Eugene Papa
Jane P. Papa
John Parisi
Susan Pettee & Michael Wise
Elizabeth V. Phillips
Stephen Poteet
Anne & François Poulet
Lawrence Pratt & Rosalind Forber
Brandon Qualls
Virginia Raguin
Julia M. Reade & Robert A. Duncan
Rodney J. Regier
Hadley & Jeannette Reynolds
Marge Roberts
Paul Rutz
Susan Sargent
David Schneider & Klára Móricz
Mr. Terry Shea & Dr. Seigo Nakao
Jacob & Lisa Skowronek
David Snead & Kate Prescott
Jon Solins
Jeffrey Soucy
Victoria Sujata
Jonathan Swartz
Ken & Margo Taylor
Kenneth P. Taylor
Elizabeth Trumpler, in memory of Donald Trumpler
Peter & Kathleen Van Demark
Robert Viarengo
Robert & Therese Wagenknecht
Thomas & LeRose Weikert
Juanita H. Wetherell
Sarah Whittaker
Susan Wyatt
PARTNERS
($100 or more)
Anonymous (10)
Anonymous, in memory of Dorothy Ryan Fay
Anonymous, in memory of Thomas Roney
Vilde Aaslid
Anne Acker
Joseph Aieta III
Mr. Neale Ainsfield & Dr. Donna Sieckmann
Joanne Algarin
Druid Errant D.T. Allan-Gorey
Ken Allen
Neil R. Ayer, Jr. & Linda Ayer
Susan P. Bachelder
Eric & Rebecca Bank
Dr. David Barnert & Julie Raskin
Rev. & Mrs. Joseph Bassett
Alan Bates & Michele Mandrioli
Elaine Beilin
Alan Benenfeld
Judith Bergson
Larry & Sara Mae Berman
John Birks
Sarah Bixler & Christopher Tonkin
Moisha Blechman
Claire Bonfilio
Sally & Charlie Boynton
Sibel Bozdogan
Joel Bresler
Andrew Brethauer
Derek & Jennifer Brinkerhoff
Catherine & Hillel Shahan Bromberg
David L. Brown
Lawrence Brown
Margaret H. Brown
John H. Burkhalter III
Judi Burten, in memory of Phoebe Larkey
William Carroll
Bonnie & Walter Carter
Robert B. Christian
Deborah J. Cohen
Carol & Alex Collier
Anne Conner
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
Jim Diamond
Forrest Dillon
Paul Doerr
Tamar & Jeremy Kaim Doniger
Ben Dunham & Wendy Rolfe-Dunham
John Dunton & Carol McKeen
Peter A. Durfee & Peter G. Manson
Jane Edwards
Mark Elenko
Anne Engelhart & Douglas Durant
David English
Jake Esher
Lila M. Farrar
Marilyn Farwell
Margot Fassler
Ellen Feingold
Grace A. Feldman, in honor of Bernice Chen
Annette Fern
Janet G. Fink
Carol L. Fishman
Dr. Jonathan Florman
Howard C. Floyd
Gary Freeman
Marica & Jeff Freyman
Friends
Michael Gannon
R. Andrew Garthwaite
Gisela & Ronald Geiger
Stephen L. Gencarello
William Glenn
The Goldsmith Family
Lisa Goldstein
Nancy L. Graham
Lorraine & William Graves
Winifred Gray
Judith Green & James Kurtz
Deborah Grose
John Gruver & Lynn Tilley
Peter F. Gustafson
Eric Haas, in memory of Janet Haas
Richard & Les Hadsell
Suzanne & Easley Hamner
Judith & Patrick Hanlon
Joyce Hannan
David J. Harris, MD
Sam & Barbara Hayes
Karin Hemmingsen
Marie C. Henderson, in memory of A. Brandt Henderson
Rebecca Henderson
Roderick J. Holland
Jackie Horne
Valerie Horst & Benjamin Peck
John Hsia
Judith & Alan Hudson
Constance Huff
Joe Hunter & Esther Schlorholtz
Susan L. Jackson
Karen Johansen & Gardner Hendrie
M.P. Johnson
Robert & Selina Johnson
Tim Johnson, in memory of Bill Gasperini
Judith L. Johnston & Bruce L. Bush, in memory of Daniel Lindblom
David K. Jordan
Marietta B. Joseph
David Keating
Mr. & Mrs. Seamus C. Kelly
Louis & Susan Kern
Joseph J. Kesselman, Jr.
Holly Ketron
Leslie & Kimberly King
Maryanne King
Pat Kline
Valerie & Karl KnicKrehm
George Kocur
Leslie Kooyman
Valerie Krall
Ellen Kranzer
Peter A. Lans
Claire Laporte
Bruce Larkin & Donna Jarlenski
Diana Larsen
Joanne & Carl Leaman
Alison Leslie
Drs. Sidney & Lynne Levitsky
Ellen R. Lewis
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
Anna Mansbridge
Robert & Traute Marshall
Timothy Masters
Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D.
Mary McCallum
Lee McClelland
Heidi & George McEvoy
Dave & Jeannette McLellan
Cynthia Merritt
Susan Metz, in memory of Gerald Metz
Eiji Miki†
Marg Miller
Nicolas Minutillo
Rosalind Mohnsen
David Montanari & Sara Rubin
Michael J. Moran, in memory of Francis D. & Marcella A. Moran
Stefanie Moritz
Rodney & Barbara Myrvaagnes
Debra Nagy
Cindy K. Neels
Arthur & Charlotte Ness, in memory of Ingolf Dahl
Nancy Nicholson
Jeffrey Nicolich
Caroline Niemira
Lee Nunley
Leslie Nyman
Michael & Jan Orlansky
Patricia T. Owen
David & Claire Oxtoby
John R. Palys
Theodore Parent, in memory of Ruth Parent
Susan Patrick, in memory of Don Partridge
Jonah Pearl
Elizabeth Pearson-Griffiths
John Petrowsky
Bici Pettit-Barron
Susan Porter & Robert Kauffman
George Raff
Deborah M. Reisman
Melissa Rice
Dennis & Anne Rogers
Sherry & William Rogers
Stephanie L. Rosenbaum
Paul Rosenberg & Harriet Moss
Peter & Linda Rubenstein
Charlotte Rutherfurd
Patricia & Roger Samuel
Mike Scanlon
Richard L. Schmeidler
Robert & Barbara Schneider
Clem Schoenebeck, in memory of Bill Schoenebeck
R. Scholz & M. Kempers
Lynn & Mary Schultz
Michael Schwartz
Alison M. Scott
David Sears
Jean Seiler
David Seitz & Katie Manty
Aaron Sheehan & Adam Pearl
Michael Sherer
Kathy Sherrick
Susan Shimp
Rena & Michael Silevitch
John & Carolyn Skelton
Elliott Smith & Wendy Gilmore
Jennifer Farley Smith & Sam Rubin
Richard Snow
William & Barbara Sommerfield
Scott Sprinzen
Gail St. Onge
Esther & Daniel Steinhauer
Barbara Strizhak, in memory of Elliott Strizhak
Richard Stumpf
Jacek & Margaret Sulanowski
Robert G. Sullivan & Meriem Pages
Richard Tarrant
John & Barbara Tatum
Lisa Terry
Meghan K. Titzer
Janet Todaro
Edward P. Todd
Peter Townsend
Pierre Trepagnier & Louise Mundinger
Konstantin & Kirsten Tyurin
Barbara & John VanScoyoc
Richard & Virginia von Rueden
Cheryl S. Weinstein
The Westner Family
The Rev. Roger B. White, in memory of Joseph P. Hough
Susan & Thomas Wilkes
David L. Williamson
Phyllis S. Wilner
John Wolff & Helen Berger
Jerome Yavarkovsky & Catherine Lowe
Paulette York & Richard Borts
David Yutzler
Ellen L. Ziskind
The Zucker Family
Lawrence Zukof & Pamela Carley
† deceased
FOUNDATIONS & CORPORATE SPONSORS
Anonymous (2)
Aequa Foundation
American Endowment Foundation
Appleby Charitable 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
The virtuous Empress Octavia is betrayed by her increasingly erratic husband, Nero, putting all of Rome on the brink of rebellion in Keiser’s monumental work for the famed Hamburg Opera in 1705.
