Boston Early Music Festival | 2022–2023 Season: Philippe Jaroussky & Ensemble Artaserse

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“The style of each composer may be more or less original; there is only one Bach, whose style is utterly original and utterly his own.”

—Johann Friedrich Reichardt on C. P. E. Bach in 1774

Published by The Packard Humanities Institute cpebach.org

Dear Friends,

We’re delighted to welcome you to the opening concert of our 33rd Season! Superstar countertenor Philippe Jaroussky returns to the BEMF stage with the stellar Ensemble Artaserse, in a dramatic and captivating program of opera arias and instrumental interludes. A rare favorite of BEMF audiences since his début at the 2011 Festival in Agostino Steffani’s Niobe, Regina di Tebe, and his triumphant return in 2019 with soprano Amanda Forsythe and the BEMF Chamber Ensemble in La storia di Orfeo, a program of arias and duets built around the Orpheus myth, Philippe Jaroussky has established himself as sui generis among his generation of countertenors. The possessor of a phenomenal technique, impeccable musicianship, and an unflagging musical curiosity, his vast repertoire extends from the core of the Italian Seicento—the operas of Monteverdi, Luigi Rossi, and Cavalli—through the Baroque to the brilliance of Vivaldi and Handel and beyond to Johann Christian Bach, to the French mélodie of the 19th and 20th centuries, and also to the music of today. On this occasion, Philippe and Ensemble Artaserse, which he founded in 2002, present a program of rarely heard 18th-century gems by Hasse, Piccinni, and Ferrandini, capped by stunning arias from Handel and Vivaldi.

We hope you enjoy the performance this evening, and that you will return for our three remaining 2022 programs, beginning exactly one week from tonight in this very room, when we welcome the award-winning Belgian ensemble Vox Luminis, directed by Lionel Meunier, in a vivid program of sacred music by Claudio Monteverdi centered around his Selva morale e spirituale. In addition, as a bonus, tonight’s attendees will be able to view a second program sung by Philippe Jaroussky, “Inspiration,” featuring liturgical and orchestral music by Vivaldi, Alessandro Scarlatti, and Pergolesi, performed in conjunction with the instrumentalists of Le Concert de la Loge, which has its virtual premiere two weeks from tonight.

Thank you for joining us this evening, and as always, please accept our heartfelt thanks for your continued support of and enthusiasm for the Boston Early Music Festival.

Kathleen Fay Executive Director

Boson Early Music Fesival

MANAGEMENT

Kathleen Fay, Executive Director

Carla Chrisfield, General Manager

Maria van Kalken, Assistant to the Executive Director Brian Stuart, Director of Marketing and Publicity Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager

Perry Emerson, Operations Manager

Corey King, Box Office and Patron Services Manager Andrew Sigel, Publications Editor

Nina Stern, Director of Community Engagement

ARTISTIC LEADERSHIP

Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director

Robert Mealy, Orchestra Director

Melinda Sullivan, Lucy Graham Dance Director

BOARD OF DIRECTORS

Bernice K. Chen, Chairman | David Halstead, President Brit d’Arbeloff, Vice President | Lois A. Lampson, Vice President Susan L. Robinson, Vice President Adrian C. Touw, Treasurer | Peter L. Faber, Clerk Michael Ellmann | George L. Hardman | Ellen T. Harris | Glenn A. KnicKrehm Miles Morgan | Bettina A. Norton | Lee S. Ridgway | Ganesh Sundaram

BOARD OF OVERSEERS

Diane Britton | Gregory E. Bulger | Robert E. Kulp, Jr. | James S. Nicolson Amanda Pond | Robert Strassler | Donald E. Vaughan

BOARD OF TRUSTEES

Marty Gottron & John Felton, Co-Chairs

Mary Briggs | Deborah Ferro Burke | Mary Deissler | James A. Glazier Edward B. Kellogg | John Krzywicki | Douglas M. Robbe | Jacob Skowronek

FESTIVAL,

43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

MEMBERS OF THE BEMF CORPORATION

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 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

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 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

ENJOY IN PERSON & ONLINE—LEARN MORE

FRIDAY, NOVEMBER 4, 2022

8PM | NEC’s Jordan Hall, Boston

VOX LUMINIS

Lionel Meunier, director

MORAL AND SPIRITUAL FOREST

Paul O’Dette & Stephen Stubbs, Artistic Directors

FRIDAY, DECEMBER 9, 2022

8PM | St. Paul Church, Cambridge

THE TALLIS SCHOLARS

Peter Phillips, director

HYMNS TO THE VIRGIN

FRIDAY, FEBRUARY 10, 2023

8PM | NEC’s Jordan Hall, Boston

BACH COLLEGIUM JAPAN

RODERICK WILLIAMS, baritone

Masaaki Suzuki, director & harpsichord

ICH HABE GENUG: MUSIC OF BACH AND TELEMANN

FRIDAY, MARCH 10, 2023

8PM | First Church in Cambridge, Congregational

QUICKSILVER

Robert Mealy & Julie Andrijeski, directors

THE (VERY) FIRST VIENNESE SCHOOL

SATURDAY, MARCH 25, 2023

8PM | NEC’s Jordan Hall, Boston

CHIAROSCURO QUARTET

SHADES OF MINOR: BEETHOVEN, SCHUBERT, AND MENDELSSOHN

SATURDAY, APRIL 22, 2023

8PM | First Church in Cambridge, Congregational

ENSEMBLE CASTOR

MIREILLE LEBEL, mezzo-soprano

Rodolfo Richter, leader

VIVALDI: FORCES OF NATURE—LOVE OF NATURE

FRIDAY, APRIL 28, 2023

8PM | St. Paul Church, Cambridge

STILE ANTICO

ENGLAND’S NIGHTINGALE: MUSIC OF WILLIAM BYRD

Boson Early Music Fesival

2022–2023 NAMED GIFT SPONSORSHIPS

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2022–2023 Season:

David Halstead and Jay Santos

Sponsors of the October 2022 performance by Philippe Jaroussky, countertenor, and Ensemble Artaserse

David M. Kozak and Anne Pistell

Sponsors of the December 2022 performance by The Tallis Scholars and Peter Phillips, director in memory of their parents

Bernice K. Chen

Sponsor of Gilbert Blin, Stage Director for the November 2022 Chamber Opera Series Production

Donald E. Vaughan and Lee S. Ridgway

Sponsors of Philippe Jaroussky, countertenor, for his October 2022 performance

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 artists—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.

Boson Early Music Fesival PRESENTS

Philippe Jaroussky, countertenor Ensemble Artaserse Baroque Gems

Sinfonia in B-flat major

Giovanni Battista Ferrandini Allegro — Adagio — Allegro (ca. 1710–1791)

From Il Demofoonte

Johann Adolf Hasse

Recitativo: Ma che vi fece, o stelle – Aria: Sperai vicino il lido (1699–1783) Aria: Misero pargoletto

Trio Sonata in E minor, Op. 2, No. 1 Hasse Largo — Presto — Siciliano — Vivace

Gelido in ogni vena

Ferrandini

From Catone in Utica Niccolò Piccinni Recitativo: Che giurai! Che promisi! – Aria: Che legge spietata (1728–1800)

B BRIEF PAUSE b Kindly Remain Seated

From Giustino, HWV 37

George Frideric Handel Aria: Se parla nel mio cor (1685–1759)

From Rinaldo, HWV 7 Handel

Sinfonia Aria: Cara sposa

The Boston Early Music Festival thanks DAVID HALSTEAD and JAY SANTOS for their leadership support of tonight’s performance by Philippe Jaroussky and Ensemble Artaserse and

DONALD E. VAUGHAN and LEE S. RIDGWAY for their leadership support of tonight’s performance by Philippe Jaroussky

Concerto for strings in G minor, RV 156

Antonio Vivaldi Allegro — Adagio — Allegro (1678–1741)

From Il Farnace, RV 711

Vivaldi Aria: Gelido in ogni vena

From Orlando finto pazzo, RV 727 Vivaldi Aria: Se in ogni guardo

Double-manual French harpsichord by Allan Winkler, Medford, Massachusetts, 1991, after Donzelague, property of the Boston Early Music Festival.

Friday, October 28, 2022 at 8pm

New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts

ENSEMBLE ARTASERSE

Raul Orellana, violin I

Jose Manuel Navarro, violin II Marco Massera, viola Ruth Verona, violoncello Yoko Nakamura, harpsichord Josias Rodriguez Gandara, theorbo Philippe Jaroussky, countertenor & direction Program subject to change.

Ensemble Artaserse’s international tours are supported by CNM.

PROGRAM NOTES

The eighteenth century is rightly considered the era of the triumphant opera seria. With the exception of France, all of musical Europe pulsated with the virtuosic displays of the sacred masters whose art dictated much of the operatic transformation of the time. The legendary Farinelli was not the only one, and other stars enchanted the theaters: Carestini, Caffarelli, Nicolini, and Senesino deployed phenomenal technique that we can enjoy from the music written for them.

It would be unfair to forget the role played by the librettists in the prodigious development of the opera seria, first and foremost Pietro Metastasio (1698–1782), to whom most of the texts sung in this concert are due. Metastasio, whose real name was Pietro Trapassi, established a poetic model that had a decisive influence for decades. Thus, when Mozart composed his final opera, La clemenza di Tito (1791), he turned to Metastasio’s text, which had already been used by, at least, Caldara and Hasse (1735), Gluck (1752), and Galuppi (1760). Another famous example, Siroe, re di Persia, were illustrated in sound by Vinci (1726), Sarro and Porpora (1727), Handel (1728), and Hasse (1733). All the great composers of the Baroque period and many of those of the Classical era thus frequented Metastasio’s literature.

undoubtedly more languid and voluptuous than those of Venice or Rome.

Niccolò Piccinni was one of its last and greatest representatives. His rivalry with Gluck is bestknown, and is somewhat artificial: after a glorious career in Rome, Piccinni moved to Paris in 1776 at the same time that Gluck was reforming opera by turning his back on vocal artifice in order to rediscover the truth of feeling through a less abundant, more direct art. Between 1775 and 1779, the Quarrel of the Gluckistes and the Piccinnistes raged without any real winner between two composers who, in truth, admired each other.

ANTONIO VIVALDI

Engraving by François Morellon la Cave (1725)

Piccinni traveled throughout Europe: it was in Mannheim that his Catone in Utica was premiered in 1770, commissioned by Prince-Elector Karl Theodor, with the great tenor Anton Raaf (future creator of Mozart’s Idomeneo) in the title role. It is probable that Piccinni never heard his work in Mannheim, having composed it in Naples in a version where Catone was almost certainly a bass: Raaf went to Naples especially to work with Piccinni, who wrote him entirely new arias.

Singers or composers, the Italians travelled all over Europe to establish the domination of their school. In Italy itself, several aesthetics were asserting themselves, with Naples as the main focus, where both Farinelli and his teacher, Nicola Porpora, were born. The Neapolitan school, whose influence lasted well into the eighteenth century, favored a sometimesextravagant virtuosity and harmonies that were

Further north, Venice was also a thriving musical center, with La Serenissima opening the first public theaters in the time of Claudio Monteverdi. In the eighteenth century, Antonio Vivaldi attracted music lovers from all over the continent thanks to the concerts he organized with his students at the Ospedale della Pietà, a hospice for orphan girls whom Vivaldi literally transformed into virtuosos. But the “Prete Rosso” (‘Red Priest’) was also a businessman who gave his operas from 1713 onward at the Teatro Sant’Angelo—he remained attached to this establishment throughout his life. Vivaldi’s

fame went far beyond the Venetian region: his works were premiered in Rome, Florence, and Milan, not to mention Prague and Vienna. He was on his way to Vienna when he died in July 1741. Vivaldi’s vocal music reflected his instrumental production: limpid harmonies but capable of lightning chromaticisms, staggering expressive efficiency, and incredibly difficult while remaining very vocal (he also wrote for exceptional divi and dive). In “Gelido in ogni vena,” from the opera Il Farnace (1727), the voice literally trembles with fear, while the strings draw icy tremors that seem to spring directly from “L’Hiver” of the Four Seasons. Conversely, a winged lightness unfolds in “Se in ogni guardo,” an aria from Orlando finto pazzo (1714), a work that differs considerably from the famous Orlando furioso in 1727.

The text of “Gelido in ogni vena” was also set to music as an independent aria by Giovanni Battista Ferrandini, but this time as taken from the Metastasio opera Siroe, re di Persia (1726). Vivaldi’s subsequent incorporation of the aria text, slightly modified, in Il Farnace, an opera with a libretto by Antonio Maria Lucchini, is a sign that the librettos of the time were not impervious to additions and modifications according to the needs of the moment, or even the whims of the singers. Although Ferrandini moved to Munich at a very young age, employed as an oboist by the Bavarian court at the age of twelve, he was another product of the Venetian school. His fame was indirect: the sacred cantata Il Pianto di Maria (1739) was long attributed to Handel, but research in the 1990s showed that Ferrandini was actually the author. All of Ferrandini’s operas were produced in Munich, where he was held in high esteem; he was commissioned to write the music for the coronation of Emperor Charles VII in 1742, and his Catone in Utica (a libretto by Metastasio, which he set to music after Vinci, Torri, and Vivaldi) opened the Residenztheater in 1753. A few years later he returned to his native country and retired to Padua. In 1771 he was visited by the Mozarts, father and son, who greatly admired his work.

With their multitude of princely courts and autonomous cities with theaters, the Germanic countries represented an essential professional

reservoir for Italian musicians. The Hamburg Opera, in particular, enjoyed incomparable prestige thanks to the influence of its musical director, Reinhard Keiser, himself a brilliant composer whose superb production is now being discovered. Not surprisingly, German geniuses often made the trip to Italy, drawing abundantly on innovations from the south; two of them established themselves as giants of Italian opera.

Born near Hamburg, Johann Adolf Hasse was a tenor hired by Keiser for the Opera company; he quickly took off and was taught by Porpora in Naples where he settled in 1722. He adopted his master’s style entirely, with a formidable vocal virtuosity and voluptuous chromaticism. Hasse also met Farinelli (who became a friend and appreciated his music above all else), composing for all the great voices of the time, in particular Faustina Bordoni, one of the legends of the Baroque era, whom he married in 1730. Hasse also established a privileged collaboration with Metastasio and his career spread throughout Europe, his dozens of operas earning him phenomenal fame. He was one of the founders of pre-classicism, uniting Neapolitan vocality with an orchestral density no doubt inherited from his German origins.

In 1748, he composed Il Demofoonte for the Dresden Opera. The libretto was one of Metastasio’s most famous and had already been set to music many times, notably by Caldara, Vivaldi, and Gluck. Faustina Bordoni sang the role of Dircea and the great Carestini the role of Timante who, in the arias “Misero pargoletto” and especially “Sperai vicino il lido” with its contrasting sequences, was able to display his technical perfection, agility, and length of breath combined, without forgetting the art of the musical phrase which made his glory.

The other German giant of the opera seria was Georg Friedrich Händel, or George Frideric Handel in his anglicized version, for the composer spent most of his life in London and adopted English nationality. Like Hasse, Handel passed through the Hamburg Opera where, at the age of nineteen, he wrote his first opera score, Almira (1705). Divided between

Venice, Naples, and especially Rome, his stay in Italy (1706–1710) confirmed his passion for Italian opera, and Handel met with a success that earned him the nickname “Il Caro Sassone” (the dear Saxon).

In Rome, he developed his musical language in contact with musicians employed by the great aristocratic families, such as Alessandro Scarlatti and especially Arcangelo Corelli. Corelli’s influence was essential: the Olympian harmonies and the nobility of Handel’s singing were born in the crucible of Corellian art. Even in the dramatic paroxysms of his operas, Handel retained an intrinsic bearing that set him apart from his Neapolitan colleagues.

Handel established himsel in London in stages.

In 1711, his opera Rinaldo, with Nicolini in the title role, was an extraordinary success. To this day, Rinaldo is among his most famous works, and the somber “Cara sposa,” in which Rinaldo mourns the fate of his beloved Almirena, kidnapped by the magician Armida, displays Handel’s incredible melodic

ARTIST PROFILES

Countertenor Philippe Jaroussky has established himself as one of the major singers in the international musical world as confirmed by the French Victoires de la Musique (“Revelation Artiste Lyrique” in 2004, “Artiste lyrique de l’année” in 2007 and 2010) and at the Echo Klassik Awards in Germany in 2008 in Munich (Singer of the Year), in 2009 in Dresden (with L’Arpeggiata), and again in 2016 in Berlin.

An impressive mastery of vocal technique allows performances full of nuance and vocal acrobatics. Philippe Jaroussky’s vast repertoire of the Baroque era ranges from the refinements

and dramatic

instincts. The reception given to Rinaldo convinced him that the English public was ready to receive Italian innovations: Handel had found his life’s purpose and, from 1720 onward, worked obstinately to impose the opera seria in England, composing immense masterpieces— Giulio Cesare, Alcina, Ariodante, and many others. Gradually, however, the enthusiasm of the early years faded, as English music lovers grew tired of the clichés attached to Italian opera and resented the capricious attitude of the great singers. The composer’s art never wavered: Il Giustino (1737) was produced in a period of extreme financial difficulty but was praised for its effort to modernize musical language, the aria “Se parla nel mio cor” retaining Handel’s supreme musical refinement.

Handel was finally forced to give up, but only to start again: with Messiah in 1741, the time of the English oratorio had arrived, and Handel brought this genre to unheard-of heights. n

of the Italian Seicento with Monteverdi, Sances, and Rossi, to the staggering brilliance of Handel and Vivaldi, the latter recently being one of his most performed composers. Philippe is also tirelessly at the forefront of musical research and made strong contributions to the discovery—or rediscovery—of composers such as Caldara, Porpora, Steffani, Telemann, and Johann Christian Bach.

Lately, he has also explored the very different repertoire of French melodies accompanied by pianist Jérôme Ducros. He has recently proposed his own vision of Berlioz’s Les Nuits d’Été with performances at the

GEORGE FRIDERIC HANDEL

Portrait attributed to Balthasar Denner (1726–1728)

Auditorio Nacional in Madrid and at the Elbphilharmonie in Hamburg.

Increasingly captivated by contemporary works, Jaroussky performed a song cycle composed by Marc-André Dalbavie from the sonnets of Louise Labé. He premiered Kaija Saariaho’s opera Only the Sound Remains, specifically written for his voice, at Nederlande Opera Ballet in Amsterdam in March 2016.

Philippe Jaroussky has had the pleasure of collaborating with some of the best Baroque ensembles. He has performed to high acclaim in the most prestigious festivals and concert halls around the world.

In 2002, he founded Ensemble Artaserse, which currently performs throughout Europe and across the globe.

In January 2017, Philippe inaugurated the new Elbphilharmonie in Hamburg. He was invited as its first artist in residence. The 2019–2020 season marked the twentieth anniversary of his career with a number of major events such as the inclusion of his statue at the Musée Grévin in Paris, the publication of the biographical book Seule compte la musique, and the release of the three-CD anthology Passion.

March 2021 saw Philippe Jaroussky’s début as a conductor at the head of his Artaserse ensemble with the production of Alessandro Scarlatti’s oratorio Il primo omicidio. This program was performed at venues including

the Salzburg Festival and Opéra de Montpellier, which will become the residence of Philippe and Artaserse for the next three seasons.

He has continued as a conductor in 2022, with numerous concerts in Paris, Lyon, Montpellier, Budapest, and at the Epau and Halle Festivals.

At the end of May and beginning of June 2022, in Paris and Montpellier, Philippe conducted his first opera from the pit, Handel’s Giulio Cesare, with a superlative cast of singers including Sabine Devieilhe, Gaëlle Arquez, Franco Fagioli, Carlo Vistoli, and Lucile Richardot.

During the 2022–2023 season, Philippe conducts the stage production of Sartorio’s Orfeo at Opéra de Montpellier. He performs the role of Ruggiero in a production of Handel’s Alcina alongside Cecilia Bartoli in Monte Carlo. In addition, Philippe is in recital across the Atlantic with guitarist Thibaut Garcia at the Festival Internacional Cervantino in Guanajuato and at Bellas Artes in Mexico City, and with Les Violons du Roy and MarieNicole Lemieux in Montreal and Quebec City. He joins Artaserse for concerts in Boston, San Diego, and Toronto, and performs with L’Arpeggiata and Christina Pluhar at Carnegie Hall in New York.

Philippe Jaroussky has been an exclusive artist with Erato/Warner Classics for many years and has received numerous awards for his outstanding discography.

In March 2017, a project dear to his heart came to fruition: the Academy Philippe Jaroussky. In its first five years, the Academy has supported young musicians suffering from cultural isolation, through original, extensive, and demanding teaching.

In 2019, Philippe Jaroussky was appointed Officier des Arts et des Lettres by the French government. n

In 2002, after many collaborations in the most prestigious Baroque ensembles in France and Europe, several musicians decided to form Ensemble Artaserse. Those friends were Christine Plubeau (viola da gamba), Claire Antonini (theorbo), Yoko Nakamura (harpsichord and organ) and, of course, Philippe Jaroussky (countertenor). In October 2002, they gave a first and highly acclaimed concert in the Théâtre du Palais-Royal in Paris of the Musiche a voce sola by the Italian composer Benedetto Ferrari. This music was immediately recorded and released by the French label Ambroisie, and received a number of very prestigious awards, including Diapasondecouverte by the magazine Diapason, 10 de Classica-Repertoire, and Timbre de diamant by the magazine Opera International.

Over the twenty years since, Artaserse has established a reputation as one of the most exciting period instrument ensembles. With an ability to adapt to numerous repertoires including music by Antonio Vivaldi and George Frideric Handel, the ensemble has been invited to perform in the most prestigious venues,

series, and festivals in Europe, Asia, North and South America, and around the world with great success.

In recent seasons, Artaserse has collaborated with many great singers including countertenor Andreas Scholl, contraltos Marie-Nicole Lemieux and Nathalie Stutzmann, and sopranos Cecilia Bartoli and Emőke Baráth.

For the first time, in May and June of 2022, Ensemble Artaserse and Philippe Jaroussky were in the pit for the stage production of Handel’s Giulio Cesare at the Théâtre des Champs-Élysées and Opéra de Montpellier. They will be in residence at the Opéra de Montpellier in the following seasons.

In addition to Ferrari’s Musiche a voce sola, the ensemble’s discography includes two widely acclaimed albums for Virgin Classics, Virtuoso cantatas by Vivaldi and Beata Vergine with 17th-century Italian music devoted to the Virgin Mary (Timbre de Platine from Opera International). Artaserse has recorded several albums for Erato/Warner Classics: Pietà, which explores Vivaldi’s sacred music; The Handel Album, which combines famous arias with unpublished operas by the composer; Ombra mai fu, which opens the doors to the fascinating world of Cavalli’s operas; and La Vanità del Mondo, a CD that gathers true sacred jewels from the 17th and 18th centuries. For the recently released album Dualità, on which Emőke Baráth sings the great arias of Handel’s operas, Philippe Jaroussky makes his début as the conductor of a recording. n

TEXTS AND TRANSLATIONS

Ma che vi fece / Sperai vicino il lido — Hasse

Ma che vi fece, o stelle, la povera Dircea, che tante unite sventure contro lei?

Voi, che inspiraste i casti affetti alle nostr’alme; voi, che al pudico imeneo fosti presenti, defendetelo, o numi; io mi confondo.

M’oppresse il colpo a segno, che il cor mancommi, e si smarrì l’ingegno.

Sperai vicino il lido Credei calmato il vento; Ma trasportar mi sento Fra le tempeste ancor.

E da uno scoglio infido Mentre salvar mi voglio, Urto in un altro scoglio Del primo assai peggior.

—Pietro Metastasio

Misero pargoletto — Hasse Misero pargoletto

Il tuo destin non sai. Ah non gli dite mai Qual era il genitor.

Come in un punto, oh dio, Tutto cambiò d’aspetto! Voi foste il mio diletto, Voi siete il mio terror.

—Pietro Metastasio

Gelido in ogni vena — Ferrandini

Gelido in ogni vena Scorrer mi sento il sangue. L’ombra del figlio esangue M’ingombra di terror.

E per maggior mia pena Veggio che fui crudele

A un’anima fedele, A un innocente cor.

But what has she done to you, O stars, the poor Dircea, that so many of you join together in misfortunes against her!

You, who inspired the chaste affections of our souls; you, who at the modest wedding were present, defended it, O Gods; I am confused. The blow struck me deeply, so that my heart failed me and my skill was lost. I hoped the shore was nearby; I thought the winds had calmed; But I feel myself

Amidst the storms again.

And when, from a perfidious rock, I want to safeguard myself, I am hurt by another one Much worse than the first.

—Pietro Metastasio

Unhappy child, You do not know your destiny. Ah! never tell him Who his father was.

How in an instant, oh God, Everything seemed changed! You were my beloved, You are now my greatest fear. Like ice in every vein, I feel my blood flow. The shade of my lifeless son Paralyzes me with terror. And worse than that pain, I see that I was cruel

To a loyal soul, To an innocent heart.

Che giurai! Che promisi! / Che legge spietata — Piccinni

Che giurai! che promisi! a qual comando ubbidir mi conviene! e chi mai vide più misero di me?

La mia tiranna quasi su gli occhi miei si vanta infida; ed io l’armi le porgo, onde m’uccida.

Che legge spietata, Che sorte crudele D’un alma piagata, D’un core fedele, Servire, soffrire, Tacere e penar.

Se poi l’infelice Domanda mercede, Si sprezza, si dice Che troppo richiede Che impari ad amar.

—Pietro Metastasio

Se parla nel mio cor — Handel

Se parla nel mio cor Intrepiedo valor Voce è del Fato.

Nè degg’io disprezzar Ma lieto io vo’ ascoltar Suono sì grato.

Anonymous; adapted from Pietro Pariati, after Nicolò Beregan’s Il Giustino

Cara sposa — Handel

Cara sposa, amante cara, Dove sei?

Deh! Ritorna a’ pianti miei. Cara sposa, amante cara, dove sei?

Del vostro Erebo sull’ara Colla face del mio sdegno Io vi sfido o spirti rei!

What I swore! What I promised!

What command I must now obey!

And who ever saw me more wretched?

My tyrant, almost before my eyes, vaunts her faithlessness, and I offer her the weapons with which to kill me.

How merciless is the punishment, How cruel the fate Of an afflicted soul, A faithful heart, To serve, to suffer, To be silent and to grieve.

If the wretch

Then asks for mercy, He is scorned, and is told That he asks too much And must learn how to love.

—Giacomo Rossi

If intrepid valor Is speaking to my heart, It is the voice of fate.

Far from disregarding it, I must listen joyfully To its welcome sound.

Dear bride, dear beloved, Where are you?

I beg you, come back, hear my tears! Dear bride, dear beloved, where are you?

From the altar of the dark Erebus, With the fire of my scorn, I challenge you to appear, O evil spirits!

Gelido in ogni vena — Vivaldi

Gelido in ogni vena Scorrer mi sento il sangue. L’ombra del figlio esangue M’ingombra di terror.

E per maggior mia pena Vedo che fui crudele

A un’anima innocente Al core del mio cor.

—Pietro Metastasio

Se in ogni guardo — Vivaldi

Se in ogni guardo Tu vibri un dardo, Mille alme e mille Con le pupille Potrai piagar.

Ma se adirata Di brando armata Bellezza vaga Cerchi far piaga In vano tenti di trionfar.

—Grazio Braccioli

Like ice in every vein, I feel my blood flow.

The shade of my lifeless son Paralyzes me with terror.

And worse than that pain, I see that I was cruel

To an innocent soul, To the heart of my heart.

If with each glance You throw a dart, A thousand, thousand souls Would you wound With your eyes.

But if in anger You seek to hurt A charming beauty With armed weapons, In vain will you attempt to triumph.

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.

AMANDA FORSYTHE IN BEMF’S 2013 PRODUCTION OF HANDEL’S ALMIRA PHOTO: KATHY WITTMAN

Boson Early Music Fesival

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.

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

InternatIonal Baroque opera

• CeleBrated ConCerts

• World-Famous exhIBItIon

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.

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

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.

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

A STANDING OVATION FOR LA STORIA DI ORFEO IN NOVEMBER 2019

PHOTO: KATHY WITTMAN

FRIENDS OF THE

Boson Early Music Fesival

This list reflects donations received from July 1, 2021 to September 23, 2022

FESTIVAL ANGELS

($25,000 or more)

Anonymous (3) Bernice K. & Ted† Chen Brit d’Arbeloff David R. Elliott†

Peter L. & Joan S. Faber David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm David M. Kozak & Anne Pistell, in memory of their parents Miles Morgan Susan L. Robinson Andrew Sigel, in memory of Richard Sigel & Carol Davis Joan Margot Smith Piroska Soos†

ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more)

Anonymous, in memory of Ted Chen Katie & Paul Buttenwieser Susan Denison Susan Donaldson Tony Elitcher & Andrea Taras Donald Goldstein Ellen T. & John T. Harris Barbara & Amos Hostetter Ruth McKay & Don Campbell Lorna E. Oleck Nina & Timothy Rose Karen Tenney & Thomas Loring Donald E. Vaughan & Lee S. Ridgway

LEADERSHIP CIRCLE ($5,000 or more)

Anonymous (4) Annemarie Altman Mary Briggs & John Krzywicki

Diane & John Paul Britton

Marie-Pierre & Michael Ellmann

Lori Fay & Christopher Cherry James A. Glazier

Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Victor & Ruth McElheny Bill McJohn David Scudder, in memory of Marie Louise Scudder Christoph & Barbara† Wolff

BENEFACTORS

($2,500 or more)

Alan Brener

Douglas M. & Aviva A. Brooks Beth Brown, in memory of Walter R.J. Brown

Joan & Frank Conlon Linzee Coolidge Jean Fuller Farrington Kathleen Fay Dr. Katherine Goodman John Felton & Marty Gottron Maarten Janssen & Rosan Kuhn-Daalmeijer Robert E. Kulp, Jr. Stephen Moody Kenneth C. Ritchie & Paul T. Schmidt Keith S. Tóth & John B. Herrington III Maria van Kalken & Hal Winslow Will & Alexandra Watkins

GUARANTORS

($1,000 or more)

Anonymous (6)

Dee Dee & John Brinkema, in memory of Bobby Brinkema Pamela & Lee Bromberg

James Burr

Shannon Canavin & Kevin Goodrich

John A. Carey Carla Chrisfield & Benjamin D. Weiss J. R. Colofiore Mary Cowden

Richard & Constance Culley

The Cusack Family, in memory of J. Howland Auchincloss Belden & Pamela Daniels

Peter & Katie DeWolf

Dorothy Ryan Fay†

Michael E. Fay Peter B. & Harriette Griffin

Phillip Hanvy H. Jan & Ruth H. Heespelink

Michael Herz & Jean Roiphe Jane Hoover

Alan M. King Fran & Tom Knight

Amelia J. LeClair & Garrow Throop

Drs. Peter Libby & Beryl Benacerraf Catherine Liddell Harriet Lindblom, in memory of Daniel Lindblom Mark & Mary Lunsford William & Joan Magretta John S. Major & Valerie Steele David McCarthy Marilyn Miller John M. & Bettina A. Norton Clara M. & John S. O’Shea Alice Robbins & Walter Denny, in honor of Kathy Fay Michael Robbins

Jose M. Rodriguez & Richard A. Duffy Michael & Karen Rotenberg Kevin Ryan & Ozerk Gogus Irwin Sarason, in memory of Suzanne Sarason Joanne Zervas Sattley

Lynne & Ralph Schatz

Arah Schuur

Cynthia Siebert

Raymond A. & Marilyn Smith

Elizabeth Snow

Kerala & Richard Snyder

Murray & Hazel Somerville, in honor of Robert Mealy David & Jean Stout

Lisa Teot

Adrian & Michelle Touw Kathy H. Udall

Patrick Wallace & Laurie McNeil Peter J. Wender Allan & Joann Winkler

PATRONS

($500 or more)

Anonymous (5) Morton Abromson & Joan Nissman Barry & Sarita Ashar Louise Basbas John Birks

Tracey Blueman & Brandon L. Bigelow Elizabeth A.R. & Ralph S. Brown, Jr., in honor of Kathleen Fay Julie Brown & Zachary Morowitz Carolyn Bryant-Sarles

Robert Burton & Karen Peterson Robert & Elizabeth Carroll David J. Chavolla Sherryl & Gerard Cohen Dr. & Mrs. Franklyn W. Commisso Geoffrey Craddock Eric & Margaret Darling Carl E. Dettman JoAnne Walter Dickinson Diane L. Droste

Ross Duffin & Beverly Simmons, in honor of Kathleen Fay Alan Durfee

Charles & Elizabeth Emerson Thomas G. Evans Martin & Kathleen Fogle Claire Fontijn, in memory of Dr. Arthur Fontijn Elizabeth French Frederick & Barbara Gable Bruce A. Garetz Sarah M. Gates

David & Harriet Griesinger Elizabeth Hardy, in memory of Renate Wolter-Seevers

Dr. Robert L. Harris Sally Hodges Linda Hodgkinson Thomas & Sonja Ellingson Hout George Humphrey Robert & MaryEllen James Paul & Alice Johnson Judith L. Johnston & Bruce L. Bush, in memory of Daniel Lindblom

Ronald Karr

Barry Kernfeld & Sally McMurry Jason Knutson

Kathryn Mary Kucharski

Robert & Mary La Porte Frederick V. Lawrence, in memory of Rosemarie Lawrence Sarah Leaf-Herrmann

Joanne & Carl Leaman John Leen & Eileen Koven Rob & Mary Joan Leith Lawrence & Susan Liden

Marcia & Philip Lieberman Roger & Susan Lipsey

James Liu & Alexandra Bowers Dr. Gary Ljungquist Kenneth S. Loveday MAFAA

Jeffrey & Barbara Mandula June Matthews Amy & Brian McCreath Alan & Kathy Muirhead Robert Neer & Ann Eldridge Keith Ohmart & Helen Chen Richard & Lois Pace, in honor of Peter Faber William J. Pananos Henry Paulus Kitty Pell Gene & Margaret Pokorny Amanda & Melvyn Pond

Tracy Powers Harold I. Pratt Paul Rabin & Arlene Snyder Martha J. Radford

Arthur & Elaine Robins Phil & Catherine Saines

Suzanne Sarason† Sharon Scaramozza

Len & Louise Schaper

Wendy Shattuck & Sam Plimpton

Laila Awar Shouhayib

Bettina Siewert, M.D. & Douglas L. Teich, M.D., in memory of David Elliott Catherine & Keith Stevenson

Campbell Steward Theresa & Charles Stone

Carl Swanson Peter Tremain Reed & Peggy Ueda Michael Wise & Susan Pettee

Kathleen Wittman & Melanie Andrade Louisa Woodville

ASSOCIATES

($250 or more)

Anonymous (8)

Nicholas Altenbernd Debra K.S. Anderson

Margaret Angelini & John McLeod Neil R. Ayer, Jr. & Linda Ayer

Mary Baughman

William & Ann Bein

Michael & Sheila Berke

Peter Bronk & Susan Axe-Bronk Caroline Bruzelius

Carlo Buonomo

Robert Burger Frederick Byron Elizabeth Canick Anne Chalmers & Holly Gunner Mary Chamberlain JoAnne Chernow Floyd & Aleeta Christian John K. Clark & Judith M. Stoughton Derek Cottier & Lauren Tilly Donna Cubit-Swoyer Warren R. Cutler Elizabeth C. Davis Carl & May Daw Leigh Deacon Ellen R. Delany

Jeffrey Del Papa Katharine B. Desai Ellen Dokton & Stephen Schmidt Charles & Sheila Donahue Ms. Helen A. Edwards

David Emery & Olimpia Velez

David & Noel English Susan Fairchild & Jeff Buxbaum Austin & Eileen Farrar

Lori Fay & Christopher Cherry, in memory of Gerry Weber Gregg, Abby & Max Feigelson Charles Fisk & Louis Risoli Kent Flummerfelt, in memory of Jane Flummerfelt Jonathan Friedes & Qian Huang Sandy Gadsby & Nancy Brown

The Goldsmith Family The Graver Family Laury Gutierrez & Elsa Gelin Eric & Dee Hansen

G. Neil & Anne Harper

Joan E. Hartman

Jasjit & Donald L. Heckathorn Diane Hellens James & Ina Heup Jennifer L. Hochschild & C. Anthony Broh Roderick J. Holland Jessica Honigberg Alex Humez

Charles Bowditch Hunter Jean Jackson Patrick G. Jordan Dian Kahn Elizabeth Kaplan Thomas F. Kelly & Peggy Badenhausen Louis & Susan Kern Robert L. Kleinberg Scott-Martin Kosofsky & Betsy Sarles Jasper Lawson Susan Lewinnek Joan Lippincott

Robert & Janice Locke Rodolfo Machado & Jorge Silvetti Quinn MacKenzie Marietta Marchitelli

Carol Marsh Anne H. Matthews Anne & William McCants William McLaughlin David Montanari & Sara Rubin

Arthur Ness & Charlotte Kolczynski Kevin Oye & June Hsiao John R. Palys Eugene Papa Robert Parker David & Beth Pendery Joseph L. Pennacchio Hon. W. Glen Pierson & Hon. Charles P. Reed Anne & François Poulet Rodney J. Regier Marge Roberts Patsy Rogers

Sherry & William Rogers Ellen Rosand Alison & Jeff Rosenberg, in honor of Martha Gottron & John Felton Nancy & Ronald Rucker Carlton & Lorna Russell Rusty Russell

Paul Rutz, in memory of Sandra Henry Charles & Mary Ann Schultz Alison M. Scott

David Sears

Harvey A. Silverglate, in memory of Elsa Dorfman Louisa C. Spottswood Paola Stone, in memory of Edmondo Malanotte

Monica Strauss & Mark Vangel Ralph & Jeanine Swick

Richard Tarrant Kenneth P. Taylor

Lonice Thomas Mark S. Thurber & Susan M. Galli

Edward P. Todd Nancy M. Tooney

John & Dorothy Truman Peter & Kathleen Van Demark Delores & Robert Viarengo Thomas & LeRose Weikert

Marina & Robert Whitman John Wolff & Helen Berger Susan Wyatt Ellen L. Ziskind

The Zucker Family

PARTNERS

($100 or more)

Anonymous (12) Greg Abbe Maria Adams Martha Ahrens Druid Errant D.T. Allan-Gorey Tom & Judy Anderson Allen, in honor of Kathy & Maria Julie Andrijeski & J. Tracy Mortimore Renee Ashley

Peter Bals

Lois Banta Dr. David Barnert & Julie A. Raskin Rev. Joseph & Nancy Bassett

Alan H. Bates & Michele Mandrioli

Trevor & Dax Bayard-Murray, in memory of Roger Lakins Elaine Beilin Lawrence Bell

Alan Benenfeld Helen Benham Judith Bergson Larry & Sara Mae Berman

Ann & Richard Bingham, in honor of Kathy Udall Barbara R. Bishop Thomas N. Bisson, in memory of Carroll Bisson Sarah Bixler & Christopher Tonkin

Wes Bockley & Amy Markus

Deborah Boldin & Gabriel Rice

Richard Borts Sally & Charlie Boynton

David Breitman & Kathryn Stuart Joel Bresler

Laura Brewer & Neil Gershenfeld Derick & Jennifer Brinkerhoff

Catherine & Hillel Shahan Bromberg

David C. Brown

Robert Brown Susan Bryant Andrew J. Buckler

Russell & Dee Burgett Jean C. Burke

John H. Burkhalter III

Judi Burten, in honor of Phoebe Larkey Joseph Cantey Pamela Carley & Lawrence Zukof Eleanor Anne Carlson Richard & Lois Case Robert B. Christian Daniel Church & Roger Cuevas Edward Clark & Joan Pritchard

John Clark

Joel I. Cohen, in honor of Anne Azéma Dr. Martin Cohen & Dr. Rae Jacobs Cohen

Saul B. & Naomi R. Cohen Carol & Alex Collier Lois Evelyn Conley

Joseph & Françoise Connors

Mary C. Coward & John Empey Dan & Sidnie Crawford Martina Crocker

Matthew & Ellen Cron Gray F. Crouse Christopher Curdo James Cyphers

Ruta Daugela

Mr. & Mrs. Patrick J. Day Kate Delaney Richard DesRosiers

Mr. & Mrs. Dennis Dewitt

Deborah & Forrest Dillon Michael DiSabatino, in honor of Nancy Olson

Kathryn Disney Tamar & Jeremy Kaim Doniger Priscilla Drucker

Laura Duffy John W. Ehrlich Karen M. El-Chaar, Esq. Mark Elenko

Anne Engelhart & Douglas Durant Charles Epstein Jane Epstein Paula Erikson Jake Esher Richard Fabian Lila M. Farrar Marilyn Farwell Nicole Faulkner Grace A. Feldman, in honor of Bernice Chen Kevin Feltz Annette Fern Janet G. Fink Carol L. Fishman Dr. Jonathan Florman Patrick Joseph Fox, in honor of Dr. Nancy Olsen Gary Freeman Peter Frick Friends

Ronald & Gisela Geiger Stephen L. Gencarello Monica & David Gerber Hans Gesell Barbara Godard Michael Goldberg Diane Goldsmith Jeffrey Goldsmith Lisa Goldstein Nancy L. Graham Kim T. Grant Lorraine & William Graves Winifred Gray Mary Greer Thomas H. & Lori B. Griswold John Gruver & Lynn Tilley Peter F. Gustafson

Suzanne & Easley Hamner Barbara & Markos Hankin David J. Harris, MD Elizabeth Harris

Barbara & Samuel L. Hayes III Donatus Hayes

Elwood Headley Karin Hemmingsen Catherine & John Henn Katherine A. Hesse

Peter & Peg Hewitt Raymond Hirschkop John & Olivann Hobbie Sterling & Margaret Hopkins Valerie Horst & Benjamin Peck Beth F. Houston David Howlett Wayne & Laurell Huber Judith & Alan Hudson Keith & Catherine Hughes Joe Hunter & Esther Schlorholtz

Francesco Iachello

Deborah L. Jameson Donna Jeker Gayle Johnson Robert & Mary Johnson Robert & Selina Johnson Robin Johnson David K. Jordan Marietta B. Joseph June Kagdis Lorraine Kaimal David Keating Seamus & Marjorie Kelly

Roger & Mary Jane Kelsey Joseph J. Kesselman, Jr. David P. Kiaunis John N. Kirk Rebecca Klein Pat Kline Kathryn Kling George Kocur Crystal Komm & Christopher Potter Ellen Kranzer

Benjamin Krepp & Virginia Webb Lisa Kugelman Bob Kunzendorf & Liz Ritvo

Peter A. Lans

Tom Law David A. Leach & Laurie J. LaChapelle William Lebow

Alison Leslie Ricardo & Marla Lewitus

Rebecca Lightcap Laura Loehr Mary Maarbjerg

Dr. & Mrs. Bruce C. MacIntyre

Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D. Sally Mayer Lee McClelland George McKee

Mr. Daniel P. Melish, in memory of William Paul Melish Gerald & Susan Metz

Amy Meyer

Margo Miller

Nathaniel & Judith Mishkin Richard Molitor

Jennifer Moxley & Steve Evans

Rodney & Barbara Myrvaagnes Myrna Nachman

Debra Nagy, in honor of Robert Mealy Paul & Rebecca Nemser

Jeffrey Nicolich Caroline Niemira Lyle & Patricia Nordstrom

Nancy Nuzzo

Karen Oakley & John Merrick David & Claire Oxtoby Cosmo & Jane Papa

Faith Parker

Susan Patrick, in memory of Don Partridge Pauline & Mark Peters

Phillip Petree

John Petrowsky

Bici Pettit-Barron Elizabeth V. Phillips Susan Porter

David Posson

Stephen Poteet & Anne Kao Susan Pundt

Christa Rakich & Janis Milroy Sandra Ray Susan Reutter-Harrah Julia & Stephen Roberts

Liz & David Robertson

Randy Robinson Sue Robinson Sue Robinson Dennis & Anne Rogers Philip W. Rosenkranz Lois Rosow

Peter & Linda Rubenstein, in memory Malcolm Cole Gregory Salzman

R.F. Scholz & M.B. Kempers

Richard Schroeder & Jane Burns Lynn & Mary Schultz

Joyce Schwartz Melbert Schwartz

Jean Seiler

Miriam N. Seltzer

Terry Shea & Seigo Nakao Aaron Sheehan & Adam Pearl Michael Sherer

Alexander & Kathy Silbiger Mark Slotkin

Elizabeth Wade Smith Elliott Smith & Wendy Gilmore

Jennifer Farley Smith & Samuel Rubin

Jon Solins

Joseph Spector & Dale Mayer Scott Sprinzen Kathryn Steely Elliott & Barbara Strizhak

Imogene A. Stulken & Bruce Brolsma Richard Stultz

Richard Stumpf Elizabeth C. Sulak Nancy Rutledge Swan Jonathan Swartz Lois Swirnoff

Elizabeth Sylvester

Jeffrey & Boryana Tacconi, in memory of Nikolay Tonev Pierre Trepagnier & Louise Mundinger Dr. Tyler J. Vanderweele Judy von Loewe Richard & Virginia von Rueden Lee Vorderer & Robert Bass

Robert & Therese Wagenknecht

John Wand Hilary & John Ward Prof. Eldon L. Wegner Cheryl S. Weinstein Esther Weinstein Mary E. Wheat Barbara K. Wheaton

The Rev. Roger B. White, in memory of Joseph P. Hough Susan & Charles Wilkes Robert Williams, in honor of Annette Fern David L. Williamson Phyllis S. Wilner Charlotte Winslow Mr. & Mrs. Dwayne Wrightsman

FRIENDS

($45 or more)

Anonymous (9) Lynn Abell Mr. Neale Ainsfield & Dr. Donna Sieckmann

Kimberly Anderson Nancy Angney Morgana Asselin Carl Baker

Antonia L. Banducci Iris Bass George Beach Elliot Beraha

Nadine Berenguier & Bernd Widdig John C. Berg & Martha E. Richmond Noel & Paula Berggren Lawrence M. Berman Elaine Bianco Keith Binka Meredith Birdsall Fred Blair

Dr. Emile L. Boulpaep, in memory of Elisabeth Boulpaep Dr. Edmund A. Bowles Katherine Bracher, in memory of Margriet Tindemans Jill Brand Peter Brase Todd A. Breitbart Andrew Brethauer Stuart & Nina Brown Sally & Harold Burman Pauline Ho Bynum John Caldwell Pamela Cameron Nancy L. Cantelmo Marie M. Carter R. Cassels-Brown Maria A. Cervone

Cynthia Cetlin

Antonia H. Chayes Jeanne Conner

Marjorie & Andrew Cooke Steve & Suzanne Cooper Robert B. Crane Frank Cunningham & Anne Black William David Curtis Ms. Ann Daiber Dan Danielsen William Depeter Peter A. Douglas

Duane R. Downey

Ben Dunham & Wendy Rolfe-Dunham John Dunton & Carol McKeen Jane Edwards Jan Elliott Janet Fagan Noel & Amy Fagan Ellen Feingold

Suzanne Ferguson Carlos Fittante

Tamzen Flanders Denise Fox-Barber Elizabeth Fraser Robert Freeman

Marica & Jeff Freyman Carole Friedman Rebecca Gifford Dr. Paul Goldberg

Robert & Day Gotschall Joseph Grafwallner Deborah Grose Richard & Les Hadsell Gregory Hagan & Leslie Brayton Jimmy Hamamoto John & Nancy Hammond Patrick & Judith Hanlon Joseph & Elizabeth Hare Charles Haverty & Alexandra Glucksmann Rebecca Hecht Joseph Heise Carole Hilton Diane Hobbs Patricia G. Hoffman David Hoglund Kay Holloway Margaret Hornick Connie Huff DeeAnne Hunstein

Robert Hunt & Irene Winter

Rt. Rev. & Mrs. Ihloff Harold & Elaine Isaacson Checker Ives Susan L. Jackson Michele Jerison Carol Kalinoski Joanne Keesey Martha Keith Sharon Kennedy Leslie & Kimberly King Gerhart & Brigitte Klein Nancy Koch

Christine Kodis Beatrice Kovasznay Betty Landesman Charles E. Larmore Susan Larsen & James Haber Alan LaRue, Pam Wolfson & Therese LaRue Stephen J. Leahy Donna Letteriello Jo-Lin Liang Diane Luchese Edward & Carol Lundergan Daniel Lynch & Elaine Dow Sandra & David Lyons Ted MacDonald & Yuan Wang Peter Marton Jameson & Maria Marvin Heidi & George McEvoy Barbara McGuire Jeffrey Meese Heidi Meyer Dennis Lee Milford Mary Lou Miller Robert Milne Susan Miron & Burton D. Fine Kathleen Moore Randall E. & Karen Moore Dr. John D. Moores Michael J. Moran Stefanie Moritz Holly & Jimmy Morris Martha Morton Herbert Motley Peter & Mary Muncie Elizabeth Murray Roger E. Nelson Howard Nenner & Pamela White Nancy Nicholson Barbara Noble Charlotte Nolan Patricia O’Brien Clifford & Frances Olsen Louise Oremland Michael Orlansky John & Sandra Owens Gene & Cheryl Pace Karen Payton Jonah Pearl Andrea Phan Larry Pratt & Rosalind Forber Marian Rambelle Marjorie Randell-Silver

Dave Regan

John Regier Norm Rehn Sandy Reismann & Dr. Nanu Brates

Nancy Roberts Julia W. Robinson Paul Rosenberg & Harriet Moss Barbara Roth Cheryl K. Ryder Brian Sands, in honor of James Glazier David Schneider & Klára Móricz Raymond Schneider Elin Schran Michael Schreiner Judith Arlene Schwantes Kathryn Scott David Seitz & Katie Manty Maria T. Sensale Craig D. Shaw Chuck Sheehan Michael & Rena Silevitch Susan & Joseph Silverman John & Carolyn Skelton Karen P. Smith Ruth L. Smith

William & Barbara Sommerfield Douglas H. Steely & Palma A. Bickford Esther & Daniel Steinhauer Joseph Steinkrauss

William Stewart Martin Sullivan Robert G. Sullivan & Meriem Pages

Paul Sweeny & Barbara Kaufman Rick Tagliaferri Roy W. & Ute Tellini Rita Teusch

Meghan K. Titzer Troy Tomilonus John & Anne Turtle Neil Umbreit Barbara & John VanScoyoc

Nathaniel Wallace Sonia Wallenberg

Phil & Mary Warbasse Tracy & Rich Weeks, in honor of Kathy Udall Karen Wilkin

Renate M. Winter Jan Wojcik

G. Mead Wyman

John & Emily Zimmatore

† 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

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

That Feeling You Get