Boston Early Music Festival | 2021–2022 Season: Juilliard415 by bostonearlymusicfestival

2021-2022 Season Together again!

J uillia rd4 15 Paul Agnew, conductor

Saturday, March 26, 2022 8pm | First Church in Cambridge, Congregational

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

“In addition, I should like to have all the works of Carl Philipp Emanuel Bach, all of which, of course, have been published by you . . . .” —Ludwig van Beethoven Letter to Breitkopf & Härtel, October ,  Published by The Packard Humanities Institute cpebach.org

Welcom e Dear Friends, Tonight we are delighted to welcome back to BEMF the dynamic musicians of Juilliard415, led by renowned conductor Paul Agnew, in a program of brilliant instrumental works by Carl Philipp Emanuel Bach. The crown jewel of Juilliard’s prestigious Historical Performance Program, Juilliard415 brings distinguished Early Music guest artists to lead performances of masterworks by composers of the 17th through 19th centuries. The ensemble has toured extensively throughout the U.S. and to many countries around the world, including two tours of New Zealand, and made their South American début with performances in Bolivia under the auspices of the U.S. Department of State. Highly regarded by Mozart, Haydn, Beethoven, and many others, Carl Philipp Emanuel—the second surviving son of J. S. Bach—was a towering musical figure during the period in which the elegant grandeur of the Baroque gave way to the inventive dynamism of the Classical period. In addition to three of his symphonies, this evening’s concert features the Concerto for Violoncello in A major, and the recently rediscovered cantata for bass, Ich bin vergnügt mit meinem Stande. We hope you will join us for the final two concerts of our 2021–2022 Season. The first is exactly one week from tonight, on Saturday, April 2 at NEC’s Jordan Hall, when we present Early Music superstars Carolyn Sampson, soprano and Kristian Bezuidehout, fortepiano, in a duo recital of music by Mozart, Haydn, and their contemporaries, on the timeless themes of love and separation. We round out our season on Friday, April 29 at St. Paul Church in Cambridge with the outstanding musicians of Ensemble Correspondances, directed by Sébastien Daucé, in a program rooted in the Passion story, featuring works by Dieterich Buxtehude and 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

TABLE OF C ONTENTS

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Concert Program Program Notes Artist Profiles Text & Translation 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 r k sh 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.

Spec ial P r e s e n tat i o n n Saturday, June 4 at 12pm 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 BEMF.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

Juilliard415 Paul Agnew, conductor

Music of Carl Philipp Emanuel Bach (1714–1788) Symphony in E minor, Wq 178 Allegro assai Andante moderato Allegro Violoncello concerto in A major, Wq 172 Allegro Largo con sordini. Mesto Allegro assai Clara Abel, violoncello String sinfonia in C major, Wq 182/3 Allegro assai Adagio Allegretto Ich bin vergnügt mit meinem Stande, Wq deest for bass soloist and strings Arie — Recitativ — Arie Kyle Miller, baritone Symphony in D major, Wq 183/1 for strings and winds Allegro di molto Largo Presto

The Boston Early Music Festival thanks Susan L. Robinson for her leadership support of tonight’s performance

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Double-manual German harpsichord by Allan Winkler, Medford, Massachusetts, 1989, after Fleischer, property of the Boston Early Music Festival.

Live Concert Saturday, March 26, 2022 at 8pm First Church in Cambridge, Congregational 11 Garden Street, Cambridge, Massachusetts Virtual Concert Friday, April 8, 2022 – Friday, April 22, 2022 BEMF.org

Violin I Ravenna Lipchik Carmen Lavada Johnson-Pájaro Vivian Mayers William J. Drancsak III Joseph Lorang Violin II Tsutomu William Copeland Alyssa Campbell Lydia Becker Aniela Eddy

Juilliard415 Viola Amelia Sie Kako Miura Cameren Anai Williams Violoncello Clara Abel Ian van Maaren Gustavo Antoniacomi Cullen O’Neil Double Bass Logan May

Oboe Emily Ostrom Gillian Bobnak Bassoon Morgan Davison Aaron Goler Horn Megan Hurley Ryan Williamson Harpsichord Hanbyeol Lee

Flute Mei Yoshimura Stone Ellen Sauer Program subject to change. Ball Square Films & Kathy Wittman, Video Production Stephanie Rogers & Antonio Oliart Ros, Recording Engineers This concert celebrates the Packard Humanities Institute’s recent publication of C. P. E. Bach’s complete works. BEMF thanks the Packard Humanities Institute for their generous support of this concert. The performing parts, based on the critical edition Carl Philipp Emanuel Bach: The Complete Works (www.cpebach.org), were made available by the Packard Humanities Institute.

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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

Saturday, April 2, 2022

8pm | New England Conservatory’s Jordan Hall VIRTUAL PREMIERE: Saturday, April 9, 2022 at 8pm

Carolyn Sampson, soprano Kristian Bezuidenhout, fortepiano Songs of PArting: Music by Mozart, Haydn, and others

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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P ROGRAM Not e s

Carl Philipp Emanuel Bach

Engraving (ca. 1750)

During the second half of the eighteenth century, the name “Bach” usually meant not the great Johann Sebastian but one of his sons, four of whom became significant composers. By the time of Haydn, Mozart, and Beethoven, Carl Philipp Emanuel, the second oldest Bach son, was famous across northern Europe, especially for his many keyboard sonatas and concertos. Born in 1714, Emanuel (as he was known) worked from 1740 or 1741 to 1767 as keyboard player for Prussian king Frederick “the Great” at Berlin. The king was famed not only as a statesman and military commander but as an amateur flutist and composer of professional capabilities. Under his rule, Berlin became one of Europe’s greatest centers for the arts. Yet in 1768 Emanuel left for Hamburg, in northwest Germany, where he served until his death in 1788 as cantor and director of church music. There Emanuel also led frequent public concerts, following in the footsteps of Georg Philipp Telemann—his immediate predecessor in the job, who also happened to be his godfather. 2 021–20 22 Seaso n

We might suppose that a son of J. S. Bach would have been shaped musically by his father. Yet Sebastian understood that his lateBaroque style was becoming increasingly outmoded, and he encouraged his pupils to go their own ways. Emanuel later told the music historian Forkel that he and his older brother Wilhelm Friedemann deliberately created their own styles, knowing that they could not equal their father “on his own territory.” The music of the Bach sons reflected ongoing changes in European society. Eighteenthcentury Germany saw the beginnings of the modern concert tradition in the form of socalled academies—private or semi-public performances by musical clubs known as collegia musica. Today the best known of these organizations was the one that J. S. Bach led at Leipzig during the years 1729–1741. Emanuel joined his brothers and other students in their performances; a fellow member later described the teenaged Emanuel as “natural, profound, thoughtful, and at the same time personable”— qualities that would be perceived in his music as well. Leaving home for university studies at Frankfurt (Oder), there Emanuel directed his own 11

collegium musicum for several years, leading performances of both his own compositions and his father’s Coffee Cantata, among others. The presence of that work in Emanuel’s concert repertory is a reminder that vocal music was central to both his and his father’s output as composers, despite their fame as keyboard players. It is a shame that only the librettos survive for a halfdozen cantatas that Emanuel wrote at Frankfurt.

No mere student work, the cantata successfully combines elements from the music of both J. S. Bach and Telemann. The opening aria, although written in the fashionable galant texture that avoids counterpoint, has an expressively asymmetrical opening theme replete with dissonant harmonies. The instrumental introduction (ritornello) even incorporates the so-called BACH motive, formed from notes that correspond to the four letters of the family name: B-flat, A, C, B-natural (called H in German). The second aria makes the most of a seemingly uninspiring text, giving the soloist long melismas on the words teilen (grant) and Groschen (a type of coin); the expressive main theme is reminiscent of a much earlier one by Georg Philipp Telemann Sebastian (from Cantata Engraving by Valentin Daniel Preisler, 1750 161).

In 2010, however, the German musicologist Peter Wollny made the unexpected discovery of a three-movement cantata for baritone voice and strings. Ich bin vergnügt mit meinem Stande survives in its original rough-draft manuscript by the young Emanuel Bach. Dating from 1733 or 1734, the work sets a text by the Leipzig poet Christian Friedrich Henrici, known as Picander—the librettist of the Coffee Cantata, among other collaborations with J. S. Bach.

Emanuel’s cantata was probably composed while he was still studying with his father, yet stylistically it owes much to their older contemporary Georg Philipp Telemann. Like members of the Bach family, Telemann today is best known for his instrumental compositions. Yet his vocal works are more numerous and were highly respected in his day, and Sebastian encouraged his pupils to emulate the more popular Telemann. Emanuel composed music for only the first three movements in Picander’s libretto. Yet this was sufficient to give it the symmetrical three-movement form of many of Telemann’s cantatas: two arias joined by a recitative, all for a single vocal soloist. The poem is an early version of one that J. S. Bach later set to music as a sacred cantata (BWV 84). One can imagine the father assigning this text to his son as a lesson in both composition and acceptance of one’s “station” or place in life. 12

At Berlin, Emanuel took a long thirty-year break from the regular composition of vocal music. In addition to accompanying the king in his famous private palace concerts, Emanuel joined in the city’s burgeoning arts scene. Most concerts of the time were informal events by modern standards, lacking printed programs and sometimes performed without rehearsal by mixed bands of amateurs and professionals. Yet Emanuel’s music for these gatherings—like that of his Berlin colleagues, such as the royal opera composer Carl Heinrich Graun and his brother, the concertmaster Johann Gottlieb Graun—demands considerable virtuosity. The musicians also need to understand the special version of galant style favored at mid-century Berlin. This style is described today by the German word empfindsam, meaning “sensitive” or “expressive.” Marked by precisely articulated embellishments, in the hands of Emanuel Bach this style also incorporates sharp contrasts of “light and shade,” as they were called, as well as rhetorical gestures and dramatic pauses. We hear little of Sebastian B o s t on E ar ly Mus i c F est i val

Bach’s famous counterpoint in these works, yet Emanuel’s surprising harmonies and sudden changes of key echo similar things in his father’s music. Not yet Classical, as we understand the term, this music has nevertheless left the Baroque far behind. A typical concert or “academy” of the time opened with a symphony, or rather a sinfonia. The Italian word signified not the large fourmovement type of composition written later by Haydn and Mozart, but a slighter three-movement work, typically used as an opera overture. Emanuel’s eighteen sinfonias, composed at both Berlin and Hamburg, remain close to those by the Graun brothers and even King Frederick. The three sinfonias played tonight nevertheless reveal substantial distinctions, reflecting the fact that they were composed at different stages of the composer’s career and for somewhat different purposes.

Serious symphonies in minor keys were rare, however, and with the publication of this work Emanuel demonstrated that a symphony could be more than a noisy opening for a night at the theater. As in many symphonies of this type, the three movements are played without a break. Only the concluding Allegro follows the so-called sonata form that would be standard for many movements in Classical symphonies. The first Allegro is punctuated by dramatic restatements of the jagged theme heard at the opening, whose final appearance softens into a bridge to the second movement. The latter echoes the quieter arias of Graun’s operas, where flutes add color to a flowing melodic line. Better-known than the handful of symphonies that Emanuel composed at Berlin were the fortytwo concertos that he composed or revised before leaving the city in 1768. All exist in versions for keyboard and strings, presumably performed by the composer himself in concerts sponsored by several musical societies in the city. Three of these concertos also exist in versions for flute and for violoncello. The violoncello versions were almost certainly written first, but the composer revised the A-major work at some point.

Earliest of these is the E-minor symphony of 1756, the composer’s fifth such work. Little is known about the circumstances of its composition or first performance, but the year marked the beginning of the Seven Years’ War, which pitted Prussia and England against France and Austria. The war soon led to a cessation of most musical activities in the capital city, yet Emanuel was able to publish the Thus, what we hear tonight work in 1759—in a scaledis probably not the original down version without wind version of 1753, composed instruments. The latter, as perhaps for one of Emanuel’s in many eighteenth-century colleagues at the royal court, works, are preserved only in such as the Bohemianmanuscript copies and were born Ignaz Mara. All three conceived by the composer violoncello concertos reflect as optional additions. Prussian interest in the King Friedrich Wilhelm II instrument, which would be Painting by Anton Graff, ca. 1788 favored by King Friedrich Perhaps on the basis of that printed edition, the E-minor Wilhelm II (dedicatee of symphony received remarkable praise from Haydn’s and Mozart’s “Prussian” quartets and JohannAdolf Hasse,the leading opera composer Beethoven’s opus 5 sonatas). Nevertheless, the of the day. He told the English writer Charles writing for the orchestral strings in the quick Burney in 1772 that it was the finest symphony outer movements is as lively and challenging he had ever seen—at a time when Haydn had as that for the soloist. Equally remarkable is already written many such compositions. the expressively fragmented main melody of 2 021–20 22 Seaso n

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the slow movement, which, when taken up by the violoncello, becomes a dialogue with the violins. Emanuel remained a faithful employee of King Frederick through the war, which ended in 1763, leading to a renewal of concert life in Berlin. Yet five years later the composer was in Hamburg. There he immediately established himself at the center of the city’s busy concert life, composing and publishing collections of symphonies and concertos, as well as vocal and instrumental chamber music. One set of pieces that he did not publish, but which nevertheless became well known, were six symphonies composed in 1773 for Gottfried van Swieten, Austrian ambassador to Berlin. Van Swieten arrived there in 1770, two years after the composer’s departure. The two may never have met, but they evidently exchanged letters. Van Swieten would have known compositions by Emanuel Bach through mutual acquaintances at Berlin, where he might have had the symphonies performed in private concerts. Later, in Vienna, van Swieten helped transmit the music of J. S. Bach to Mozart, also writing the German librettos for Haydn’s oratorios Creation and The Seasons. He reportedly gave Emanuel instructions to compose the six symphonies as he wished—that is, disregarding the conventions of the time, which favored simple music accessible to undiscerning listeners. The resulting works are remarkable for their virtuoso treatment of the string orchestra—to which the composer never added wind parts—and for their sometimes-startling musical ideas. The violinist and composer Wilhelm Friedrich Reichardt, who led the first Hamburg performances of these symphonies, described them as “the high, bold, humorous compositions of a genial spirit.” The word “humorous” might have pointed to the music’s continual surprises, for these symphonies come as close as anything in the orchestral repertory to the improvisational fantasy style for which the composer’s keyboard music is famous. 2 021–20 22 Seaso n

The C-major symphony is the third in the set. Like the symphony in E minor, it opens with the ensemble playing in unison. But whereas the earlier work is agitated, this one is conversational, shifting repeatedly between witty and expressive ideas. The composer signed his name musically at the beginning of the slow movement, where the bass line contains the distinctive BACH motive. The same sequence of notes also occurs in the first movement, and the concluding Allegretto— surprisingly wistful for a final movement— begins with a related idea. Three years after completing the string symphonies for van Swieten, Emanuel was working on four “orchestra symphonies.” His last symphonies, they were published in 1780 with a dedication to the future king Friedrich Wilhelm II. The designation as “orchestra symphonies” reflected the fact that they include solo or obbligato parts for flutes, oboes, bassoon, and horns. Emanuel led performances of the works during summer 1776 at Hamburg; reports mention participation by forty players (professionals “and a few amateurs”), the largest ensemble the city had seen in recent years. The first of these symphonies opens arrestingly with a long note that is repeated by the violins, growing shorter each time as other instruments enter beneath it. The idea is repeated in a quiet episode for oboes and bassoon; loud and soft versions of the motive alternate with other ideas through the remainder of the first movement. The symphony as a whole is an example of what the composer called “comic” music, by which he meant compositions lacking a fulllength slow movement. After the customary transition passage, the Largo begins in the surprising key of E-flat, whose subdued color contrasts with the bright D major of the outer movements. Soon, however, another transition passage leads to the dancelike concluding Presto. n —David Schulenberg Harpsichordist David Schulenberg is the author of books on the music of J. S. and C. P. E. Bach. He teaches at Wagner College and Boston University. 15

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A r tis t Prof il e s Launched in 2009, Juilliard Historical Performance is a full-scholarship program for advanced graduate students who specialize in early music on period instruments. At the heart of the program is a distinguished faculty that includes some of today’s most respected performers and scholars in the field, who teach studio lessons, coach chamber music, and lead rehearsals for public performances in New York City and beyond. Juilliard415, the school’s principal periodinstrument ensemble, brings major figures in the field of early music to lead performances of both rare and canonical works by composers of the 17th through 19th centuries. The many distinguished guests who have led Juilliard415 include Harry Bicket, William Christie, Monica Huggett, Nicholas McGegan, and Jordi Savall. Juilliard415 travels extensively in the U.S. and abroad, and has performed on five continents, with notable appearances at the Boston Early Music Festival, Leipzig Bachfest, and Utrecht Early Music Festival, where Juilliard was the first-ever conservatory in residence. Juilliard415 made its South American début with a tour to Bolivia, sponsored by the U.S. Department of State, and has twice toured to New Zealand. With its frequent musical collaborator, the Yale Institute of Sacred Music, the ensemble has performed throughout Scandinavia, Italy, Japan, Southeast Asia, the UK, and India. In a concert with the Bach Collegium Japan conducted by Masaaki Suzuki, Juilliard415 played a historic period-instrument performance of Mendelssohn’s Elijah at the Leipzig Gewandhaus in Germany. Previous seasons have been notable for side-by-side collaborations with Les Arts Florissants at the Philharmonie de Paris and with Philharmonia Baroque in San Francisco. Notable also are concerts directed by such eminent musicians as Ton Koopman, Kristian Bezuidenhout, and the late Christopher Hogwood. Juilliard415 has performed major oratorios and Baroque operas every year since its founding, including a rare fully staged production of 2 0 21–20 22 Seaso n

Rameau’s Hippolyte et Aricie during the 2017–2018 season. During the 2018–2019 season, the ensemble presented Purcell’s Dido and Aeneas at Opera Holland Park in London and the Royal Opera House of Versailles. The ensemble has also had the distinction of premiering new works for period instruments, most recently in The Seven Last Words Project, a Holy Week concert at the Cathedral of St. John the Divine for which the ensemble commissioned works from seven leading composers, including Nico Muhly, Caroline Shaw, and Tania León. Juilliard Historical Performance has been able to resume its activity in 2021–2022, including a collaboration with Philharmonia Baroque, concerts in New York, and performances in the Netherlands with the Royal Conservatoire The Hague. They will also tour Germany with the Yale Institute of Sacred Music. The season sees the return of Masaaki Suzuki, Pablo HerasCasado, William Christie, and Paul Agnew, plus a full schedule of public chamber music performances in New York City, at the Joye of Aiken Festival, South Carolina, and in Thiré and Paris, France, with members of Les Arts Florissants. n

An artist of international renown and an accomplished teacher, British tenor and conductor Paul Agnew has made his mark on all the main international stages as a specialist in the music of the 17th and 18th centuries and as the performer of choice for the high-tenor roles of the French Baroque. After studying at Magdalen College, Oxford, he met William Christie in 1992 and subsequently became a close collaborator of the conductor and his ensemble Les Arts Florissants, while continuing 17

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to perform with such other conductors as Marc Minkowski, Ton Koopman, Paul McCreesh, Jean-Claude Malgoire, Sir John Eliot Gardiner, Philippe Herreweghe, and Emmanuelle Haïm. In 2007, his career took a new turn when he began conducting certain projects for Les Arts Florissants. From 2011 to 2015, he undertook a complete cycle of Monteverdi’s madrigals, a project for which he directed nearly 100 concerts throughout Europe and made three recordings for harmonia mundi, the first of which won the Gramophone Award in 2016. He has conducted Les Arts Florissants in such productions as the ballet Doux Mensonges (Opéra de Paris), a new production of Rameau’s Platée (Theater an der Wien, Paris’s Opéra Comique, and New York’s Lincoln Center), and created a new production of L’Orfeo as part of the celebration of Claudio Monteverdi’s 450th anniversary—not to mention many concert programs. He is artistic director of the Festival de Printemps – Les Arts Florissants, which takes place in churches throughout the region of the Vendée, since its creation in 2017, and is co-director of Le Jardin des Voix, Les Arts Florissants’ academy for young singers. This interest in the training of new generations of musicians has led him to conduct the Orchestre Français des Jeunes Baroque, the European Union Baroque Orchestra and, in 2017, the European Baroque Academy in Ambronay. Dedicated to musical education for all, he has devised educational concerts such as Le Voyage de Monsieur Monteverdi and La Lyre d’Orphée. As a guest conductor, Paul Agnew regularly conducts orchestras such as the Staatsphilharmonie Nürnberg, the Staatskapelle Dresden, the Liverpool Philharmonic Orchestra, the Royal Scottish National Orchestra, the Norwegian Chamber Orchestra, the Finnish Radio Symphony Orchestra, the Seattle Symphony Orchestra, the Houston Symphony Orchestra, the Maggio Musicale Fiorentino, and the Akademie für Alte Musik Berlin. Recent highlights also include a new production of Platée staged by Rolando Villazon at the Semperoper Dresden and a new reading of Gesualdo’s six books of madrigals with Les Arts Florissants also recorded by 2 021–20 22 Seaso n

Harmonia Mundi, the first volume of which won the Gramophone Award in 2020. During the 2021–2022 season, he inaugurates a new series of concerts—“Bach, a life in music”— dedicated to Johann Sebastian Bach’s cantatas. Since 2020, Paul Agnew is Musical Co-Director of Les Arts Florissants. n

Originally from San Francisco, California, baritone Kyle Miller is a recent graduate of The Juilliard School. Miller performed on the Perelman Stage at Carnegie Hall as the baritone soloist in Stravinsky’s Les Noces. Other concert works include Stravinsky’s Pribaoutki and Brahms’s Ein Deutsches Requiem. Some former operatic roles include Figaro in The Barber of Seville, Demetrius in A Midsummer Night’s Dream, Moralès in Carmen, and Conte Almaviva in Le nozze di Figaro. He was a Gerdine Young Artist for Opera Theatre of Saint Louis’s 2020 and 2021 seasons and was awarded the Richard Gaddes Career Award. He is also a proud recipient of the Novick Career Advancement Award. This summer, he will be an Apprentice Artist at Santa Fe Opera singing the role of Fiorello in Il barbiere di Siviglia and covering the role of Le Dancaïre in Carmen. n

Born into a family of musicians, violoncellist Clara Abel found a delight for music at an early age. Her particular love of chamber music led her to study with Joel Krosnick at Juilliard, where she received her Bachelor’s 19

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Degree in 2018, and her Master’s in 2020 as a proud recipient of the Kovner Fellowship. In response to her growing artistic curiosity she joined the school’s Historical Performance program in 2020 to continue her studies with Phoebe Carrai. Clara has studied and performed at the Kneisel Hall, Norfolk, Clasclás, and Thy Chamber Music Festivals, as well as the Juilliard String Quartet Seminar

and Honors Chamber Music Program. She was recently praised in the Danish newspaper Nordjyske for her “gorgeous tone and fine solo playing.” Clara continues to be captivated by a variety of musical styles, and is equally at home performing in concert halls, living rooms, museums, schools, and soup kitchens in an effort to share her belief that music is for everyone. n

TEXT AND TRANSLATION Ich bin vergnügt mit meinem Stande

I am content with my station

Arie Ich bin vergnügt mit meinem Stande, den mir der liebe Gott beschert. Was soll ich viel nach großen Dingen, mit Ungeduld und Mühe ringen, ich bin ja nicht der kleinen wert.

Aria I am content with my station that dear God bestows on me. However much I should strive for great things with impatience and effort; I am not even worthy of the small things.

Recitativ Im Schweiße meines Angesichts mit saurer Müh und Not verdien ich zwar mein täglich Brot, und doch verdien ich nichts, Gott schenkt es mir aus lauter Gnaden; es ist ein Weniges, was kann es schaden, bin ich doch stets vergnügt dabei. Der Segen Gottes machet reich, und hab ich gleich nicht immer überlei, so hab ich doch zu meiner Sättigung noch alle Zeit genug. Hat Gott dem Nächsten mehr beschieden, ich gönn es ihm: Er hab es auch mit Frieden.

Recitative In the sweat of my brow, with bitter effort and need, indeed I earn my daily bread, and yet I deserve nothing. God grants me it from pure mercy; be it a trifle, what harm is done, still I am ever thereby pleased. God’s blessing gives wealth, and though I have not always quite an excess, still I always have enough for my sufficiency. If God has given my neighbor more, I begrudge not: Let him have joy with it too.

Arie Lieber Gott, es ist das Deine, teile du jedem deinen Groschen zu. Was mir nötig, gibst du mir, vor die Gabe dank ich dir und gönne dem Nächsten von Herzen das Seine. —Christian Friedrich Henrici (alias Picander) (1700–1764)

Aria Dear God, it is yours, apportion to each his penny. Whatever I need, you give to me; I thank you for the gift, and hold no envy of my neighbor for what is his own. —Translation © 2015 by Ruth B. Libbey

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

Juilliard Historical Performance Administration Robert Mealy, Director Karin Brookes, Administrative Director Rosemary Metcalf, Assistant Administrative Director Sophia Ennocenti, Schedule and Administrative Coordinator Camellia Aftahi, Administrative Apprentice Masayuki Maki, Chief Tuner and Coordinator for Historical Keyboard Collection

Ju i lli a r d Hist or ic al Per for mance Facu lty Violin: Elizabeth Blumenstock, Robert Mealy, Cynthia Roberts Cello: Phoebe Carrai Viola da Gamba: Sarah Cunningham Bass: Douglas Balliett Flute: Sandra Miller Oboe: Gonzalo Ruiz Bassoon: Dominic Teresi Plucked Instruments: Daniel Swenberg, Charles Weaver Harpsichord: Richard Egarr, Béatrice Martin, Peter Sykes Continuo Skills: Avi Stein Core Studies: Thomas Forrest Kelly, Robert Mealy, Peter Sykes Historical Theory/Improvisation: Peter Sykes, Charles Weaver Secondary Lessons: Nina Stern (recorder), John Thiessen (trumpet), Todd Williams (horn) Artists in Residence: William Christie, Richard Egarr, Rachel Podger

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2011 | Niobe, Regina di Tebe | Philippe Jaroussky

Make a Difference

Boson Early Music Fesival 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. 24

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

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 25

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 os 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 xh 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

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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! 28

B o s 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 Karen Tenney & Thomas Loring 2 021–20 22 Seaso n

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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 Catherine & Keith Stevenson Campbell Steward David & Jean Stout 30

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

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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 Peter & Kathleen Van Demark David Vargo & Sheila Collins Delores & Robert Viarengo 2 021–20 22 Seaso n

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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 Susan Bryant Russell & Dee Burgett Jean C. Burke B os t on E ar ly Mus i c F est i val

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 Frank Cunningham & Anne Black Daniel Curtis William David Curtis 2 021–20 22 Seaso n

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 Victoria Hoover Margaret Hornick Valerie Horst & Benjamin Peck 33

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 Michael Lew Calien Lewis & Martha Mickles Ellen R. Lewis 34

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 Gregory Salzman Susan Sargent & Tom Peters Josef Schmee B o s t on E ar ly Mus i c F est i val

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 Richard Stultz Richard Stumpf Elizabeth C. Sulak 2 021–20 22 Seaso n

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 Phyllis Wilner Dr. & Mrs. Randall S. Winn Charlotte Winslow

Renate Wolter-Seevers Jeff & Lisa Woodruff Mr. & Mrs. Dwayne Wrightsman John H. & Susan Yost Kurt-Alexander Zeller † deceased FOUNDATIONS & CORPORATE SPONSORS Anonymous (2) Aequa Foundation American Endowment Foundation Applied Technology Investors BNY Mellon Charitable Gift Fund Bank of America Charitable Gift Fund The Barrington Foundation, Inc. The Bel-Ami Foundation The Boston Foundation Boston Private Bank & Trust Company Lynde and Harry Bradley Foundation, Inc. Gregory E. Bulger Foundation Burns & Levinson LLP The Catherine and Paul Buttenwieser Foundation Cabot Family Charitable Trust Cambridge Community Foundation Cambridge Trust Company Cedar Tree Foundation Cembaloworks of Washington City of Cambridge The Columbus Foundation Combined Jewish Philanthropies Community Foundation of Western MA Connecticut Community Foundation Constellation Charitable Foundation The Fannie Cox Foundation The Crawford Foundation CRB Classical 99.5, a GBH station 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 35

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 Scofield Auctions, Inc. Schwab Charitable The Seattle Foundation Shalon Fund 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 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. Google 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 Xerox Foundation

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

Boston Early Music Festival | 2021–2022 Season: Juilliard415

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artist Profiles