2023/24 Season: I Gemelli by bostonearlymusicfestival

I Gemelli

EMILIANO GONZALEZ TORO, Director & tenor ZACHARY WILDER, tenor

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8PM | New England Conservatory’s Jordan Hall, Boston, MA

2023/24 SEASON B E M 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

“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

CELEBRATING MUSIC AND PLACE

18–24 OCTOBER 2024

Photograph ©Ben Ealovega

ATOL 3622 | ABTOT 5468 | AITO 5085

The south-east corner of Sicily is blessed with many delights, among them a number of gorgeous 18th- and 19th-century theatres. This festival presents five performances in a selection of these atmospheric buildings, all of which are located amid breathtakingly beautiful Baroque towns and cities. Stay throughout in historic Ortygia, one of the loveliest coastal towns in Italy. MARTIN RANDALL FESTIVALS bring together world-class musicians for a sequence of private concerts in Europe’s most glorious buildings, many of which are not normally accessible. We take care of all logistics, from flights and hotels to pre-concert talks. Festivals in 2024 also include: Salzburg String Quartet Festival (7–12 May), Mozart Along the Danube (28 July– 4 August) and The Divine Office (30 September– 4 October).

Find out more: martinrandall.com 1-800-988-6168

The Morgan Library& Museum

Exhibitions Seeds of Knowledge: Early Modern Illustrated Herbals Through January 14, 2024

Morgan’s Bibles: Splendor in Scripture Through January 21, 2024

Music at the Morgan

Spirit and Invention: Drawings by Ying Li, piano Giambattista and Domenico Young Concert Artists Tiepolo Wednesday, January 24, 2024 Through January 28, 2024

12 PM

Medieval Money, Merchants, and Opera Prima Morality Tormento Seicento: Love and torment in the music of Through March 10, 2024

Beatrix Potter: Drawn to Nature February 23 through June 9, 2024

Monteverdi, Rossi, Merula, Caccini, and others Boston Early Music Festival Thursday, February 1, 2024 7:30 PM

Les Arts Florissants

Monteverdi and Carissimi Tuesday, February 13, 2024 7:30 PM For information visit themorgan.org/programs St. Luke’s Chamber Ensemble

The Morgan Library & Museum 225 Madison Avenue at 36th Street New York City

The concert program is made possible by assistance from Cynthia Hazen Polsky and Leon B. Polsky, the Joan and Alan Ades-Taub Family Foundation, the Esther Simon Charitable Trust, the Witherspoon Fund of the New York Community Trust, the Theodore H. Barth Foundation, and the following endowed funds: the Cynthia Hazen Polsky and Leon B. Polsky Fund for Concerts and Lectures; and the Celia Ascher Endowment Fund.

Upper: Ying-Li, photography by Shervin Lainez. Lower: Leaf of a Register of Creditors of a Bolognese Lending Society, Italy, Bologna, ca. 1390–1400. Single leaf. The Morgan Library & Museum, MS M.1056, fol. 1v detail.

WELCOM E Dear Friends, We are delighted to welcome you to the second event of our 34th Season: Le Poème Harmonique, on Friday, October 27, presented against the backdrop of NEC’s magnificent Jordan Hall. A selection of even earlier Italian Baroque masterworks are featured as we celebrate the return in mid-November of one of BEMF’s favorites, the incisive tenor Zachary Wilder, who partners with fellow tenor Emiliano Gonzalez Toro and his dynamic ensemble of eight instrumentalists, I Gemelli, founded in 2018 by Gonzalez Toro and soprano Mathilde Étienne. They make their BEMF début with “A Room of Mirrors,” a program of expressive and dazzling duets from the rich repertoire of the period, with works by d’India, Frescobaldi, Calestani, Marini, Castello, Turini, Falconieri, and Gregori. This program will also be presented in New York City at the Morgan Library & Museum on Thursday, November 16, 2023 at 7:30pm. We hope you enjoy this performance, and that you will return to Jordan Hall over Thanksgiving Weekend for BEMF’s spectacular new Chamber Opera Series production, The Dragon of Wantley. Thank you for joining us for tonight’s performance, whether live or virtually, 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

TA BLE OF C O N T E N T S

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

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Boson Early Music Fesival M AN AG E M E 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 Conor Faherty Flynn, Box Office Associate & Advertising Coordinator Andrew Sigel, Publications Editor Nina Stern, Director of Community Engagement

AR T IS T IC L E AD E R SHIP Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

B OAR D OF OVE R S E E R S Diane Britton | Gregory E. Bulger | James S. Nicolson Amanda Pond | Robert Strassler | Donald E. Vaughan

B OSTON E A RLY M U S IC FE S T 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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M E M B ER S OF T HE B E M F C OR PORATION 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 Kathleen Fay Lori Fay John Felton Frances C. Fitch Claire Fontijn James A. Glazier Marty Gottron Carol A. Haber David Halstead George L. Hardman

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Ellen T. Harris Rebecca Harris-Warrick Richard Hester Jessica Honigberg Jennifer Ritvo Hughes Edward B. Kellogg Thomas F. Kelly Glenn A. KnicKrehm Christine Kodis John Krzywicki Kathryn Kucharski Robert E. Kulp, Jr. Ellen Kushner Christopher Laconi 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

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

2023/24 SEASON n ONLINE PREMIERE: SATURDAY, OCTOBER 28 VIRTUAL AVAILABILITY: OCTOBER 28 – NOVEMBER 11

Cappella Pratensis & Sollazzo Ensemble

n FRIDAY, OCTOBER 27 | 8PM VIRTUAL AVAILABILITY: NOVEMBER 10 – NOVEMBER 24

Le Poème Harmonique VINCENT DUMESTRE, Director

n SATURDAY, NOVEMBER 18 | 8PM VIRTUAL AVAILABILITY: DECEMBER 2 – DECEMBER 16

I Gemelli

EMILIANO GONZALEZ TORO, Director & tenor ZACHARY WILDER, tenor

JOHN FREDERICK LAMPE’S

SATURDAY, NOVEMBER 25, 2023 | 8PM SUNDAY, NOVEMBER 26, 2023 | 3PM

New England Conservatory’s Jordan Hall, Boston 6

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n FRIDAY, DECEMBER 8

8PM | St. Paul Church, Cambridge

The Tallis Scholars PETER PHILLIPS, director

WHILE SHEPHERDS WATCHED

n SATURDAY, FEBRUARY 3

8PM | First Church in Cambridge, Congregational

Opera Prima

CRISTIANO CONTADIN, Director AMANDA FORSYTHE, soprano TORMENTO SEICENTO: Love and torment in the music of Monteverdi, Rossi, Merula, Caccini, and others

n FRIDAY, FEBRUARY 23

8PM | First Church in Cambridge, Congregational

Le Consort

A JOURNEY THROUGH BAROQUE EUROPE: Music by Bach, Vivaldi, Corelli, Purcell, Rameau, and others

n SATURDAY, MARCH 2

8PM | NEC’s Jordan Hall, Boston

Boston Early Music Festival Vocal & Chamber Ensembles PAUL O’DETTE & STEPHEN STUBBS, Musical Directors

A GARDEN OF EARTHLY DELIGHTS: Marco Marazzoli’s extravagant musical entertainments

n FRIDAY, APRIL 5

8PM | NEC’s Jordan Hall, Boston

Jordi Savall & Hespèrion XXI LE NUOVE MUSICHE: The Baroque Revolution in Europe (1560–1660)

n FRIDAY, APRIL 19

8PM | St. Paul Church, Cambridge

Stile Antico

A DIVINE HOPE: Dante’s journey from inferno to paradise 2 0 23/20 2 4 SEASON

Boson Early Music Fesival 2023/24 Named Gift Sponsorships

Boston Early Music Festival extends sincere thanks to the following individuals and institutions for their leadership support of our 2023/24 Season:

o Glenn A. KnicKrehm and Constellation Charitable Foundation

Sponsors of the November 2023 Chamber Opera Series production of The Dragon of Wantley

David M. Kozak and Anne Pistell

Sponsors of the December 2023 performance by The Tallis Scholars and Peter Phillips, Director

David Halstead and Jay Santos

Sponsors of the October 2023 performance by Le Poème Harmonique

Susan L. Robinson

Sponsor of the November 2023 performance by I Gemelli

Donald E. Vaughan and Lee S. Ridgway

Sponsors of Zachary Wilder, tenor, for his November 2023 performance with I Gemelli and Douglas Williams, Gubbins, for his November 2023 Chamber Opera Series performance in The Dragon of Wantley

Bernice K. Chen

Sponsor of Gilbert Blin, Stage Director, for the November 2023 Chamber Opera Series production of The Dragon of Wantley

o Not only do Named Gifts help provide the crucial financial support required to present a full season of extraordinary performances, but they are doubly meaningful in that they send a message of thanks to your most beloved artist, musicians, and directors—that their work means something to you. You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. Thank you. 8

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Boson Early Music Fesival

PRESENTS

I Gemelli Emiliano Gonzalez Toro, Director & tenor Zachary Wilder, tenor

A Room of Mirrors Quella che tanto

Bellerofonte Castaldi (1580–1649)

Dove ten vai

Francesco Turini (ca. 1589–1656)

La vecchia innamorata

Biagio Marini (1594–1663)

Langue al vostro languir

Sigismondo d’India (ca. 1582–1629)

Giunto alla tomba

d’India

Folia echa para mi señora Se l’aura spira Damigella tutta bella

Andrea Falconieri (1585/86–1656) Girolamo Frescobaldi (1583–1643) Vincenzo Calestani (1589–after 1617)

Piangono al pianger mio Sonata quarta

d’India Dario Castello (1602–1631)

Dialogo della rosa

d’India

Mai non disciolgasi

Annibale Gregori (d. 1633)

The Boston Early Music Festival thanks SUSAN L. ROBINSON for her leadership support of tonight’s performance by I Gemelli and

DONALD E. VAUGHAN and LEE S. RIDGWAY

for their leadership support of tonight’s performance by Zachary Wilder, tenor 2 023/ 20 2 4 SEASON

Single-manual Italian harpsichord of Zuckermann design, Stonington, Connecticut, 2015, property of New England Conservatory. Continuo organ by Bennett & Giuttari, Rehoboth, Massachusetts, property of New England Conservatory.

LIVE CONCERT Saturday, November 18, 2023 at 8pm New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts VIRTUAL CONCERT Saturday, December 2, 2023 – Saturday, December 16, 2023 BEMF.org

I GE ME L L I

Stéphanie Paulet & Leonor De Lera, violin Louise Pierrard, viola da gamba Annabelle Luis, violoncello Nacho Laguna, theorbo & Baroque guitar Pablo Fitzgerald, lute Marie-Domitille Murez, harp Yoko Nakamura, harpsichord & organ Zachary Wilder, tenor Emiliano Gonzalez Toro, Director & tenor

Program subject to change. Ball Square Films & Kathy Wittman, Video Production Antonio Oliart Ros, Recording Engineer

I Gemelli ensemble is supported by the city of Geneva, Adami, SPEDIDAM, CNM, Fondation Orange, Institut Français, and the city of Toulouse. The 2023–2024 season is made possible thanks to the generous support of Madame Aline Foriel-Destezet, main patron of the ensemble.

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PR O GRA M NOT E S “Mirrors: to this day, no expertise can explain the key to what you truly are.” R. M. Rilke, The Sonnets to Orpheus, II, 3

REFLECTIONS AND ECHOES

Few metaphors are quite as rich as that of the mirror: object and symbol, pretense or truth revealed, it illustrates the dissonance between doubt and certainty. A favorite theme for theologians and mystics since the Middle Ages, from Hildegard von Bingen to St. Augustine, the symbolic mirror is often Scripture itself. In the Renaissance, the theme of the Speculum Mundi (the Mirror of the World) is part of a double history of reflection, a double speculation inherited from Plato: the “know thyself” of Alcibiades, where the eyes of others are both mirror and regard, but also the mirage of the shadows in the Allegory of the Cave. This notion reappears in L’Orfeo by Monteverdi and Striggio, with the image of Man wandering among the echoes of the Kingdom of Shadows, then his apotheosis as a transfigured reflection of the Eye of the World. But these are vestiges of an idea deeply entrenched in the Renaissance. The start of the seventeenth century marked the beginning of the end of Harmonia Mundi and humanism. This broken harmony is an echo of Giordano Bruno’s shattered mirror: the unit of the universe now arises from a diversity of disparate pieces, put together, themselves forming a whole.

filling palaces and churches. The Baroque period flourished in a fluctuating, theatrical universe: it is the golden age of cabinets of mirrors, halls of mirrors, catoptric theatres, astonishing anamorphous paintings, where deformed shapes are set to rights by magical mirrors. The Baroque spectacle is that of lies, madness, and dizzying unreality. For the universe is trapped in a permanent state of instability, a complex, endless twisting. Man wandering the world is like the disoriented spectator of “trompe l’oeil” art, taken in by his own perceptions, like a dancer surrounded by mirrors, according to Kircher. The late sixteenth century saw a crisis of certainty in a world in profound mutation. Poetry and art portrayed the theme of metamorphosis as an impression of reality in flight: the mirror has become a symbol of the fleeting, of instability and uncertainty. Juxtaposed with the Penitent Magdalene, it elicits a meditation on the vanity of man. Held in the hand of the last king of Scotland, in the imaginary vision of Macbeth (IV, 1), it conveys the image of a nightmare. It is the lover’s inconsistency, an obsession with death, dreams, madness where blind chance reigns supreme. The motif of the mirror associated with water runs through the great European poetry movement following in the steps of Petrarch,

The new perception of the universe, between doubt and certainty, fiction and truth, follows the inexorable progress of optical science: Galileo, Kircher, Kepler, and Descartes redraw the map of the cosmos, putting mankind in orbit while exploring the infinitesimally small and the oddities of perception. It is the new reign of metamorphosis and anamorphosis. At that time, Venice was renowned for its Murano glassworks, which perfected the technique of covering glass with pewter and mercury. The resulting mirror was exported, 2 023/ 20 2 4 SEASON

VENUS WITH A MIRROR

TITIAN 13

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perfectly echoed in the mannerists (Sannazar, Ronsard, Stigliani, Tristan L’Hermite, Desmarets, Marino, and others). The Baroques saw in this theme a disturbing double image: water is a natural mirror, whether flowing fast or deceptively calm. It represents the vain hope of the poet, who, leaning over a well, seeks to find the memory of the woman reflected there. But the theme of water and its infinite transformations also illustrates the success of Ovid’s Metamorphoses, in particular the mortal seductions of the amorous mirror represented by the myth of Narcissus. For the seventeenth-century poets, the myth of Echo, corollary of Narcissus, enjoyed considerable popularity (echo verse, with the last words of a line repeated, even became a genre in its own right). The vocalis nymphe symbolizes the poetsinger’s representation of himself and of his own art; the myth of the voice confounds idea, reflection, and sound experience, placing the singer as both subject and object; it exacerbates the vanity of the mirage, and crystallizes the lyrical melancholy of the early seventeenth century.

A CHAMBER OF MIRRORS

The giant against whom all Italian composers were measured throughout the seventeenth century was Monteverdi, the absolute monarch of vocal music and, if not inventor, at least the genial promoter of new forms. We have chosen to focus on the reflections of this tutelary figure, evoking the master rather than the citer. It was Monteverdi who “invented” the opera duet, and more precisely the tenor duet, in L’Orfeo (1607), representing the dialogue between Orpheus and Apollo in a virtuosic and symbiotic style: the voices entwine in a profusion of melisma in which it is difficult to distinguish which of the two gods is the father and which the son. The technique was further developed in the seventh book of madrigals by that same Monteverdi, a genuine laboratory of modern music. It was therefore quite natural for the ensemble I Gemelli to produce a recital based on twinned voices, and particularly in this tenor tessitura, which dominated the others in the 2 023/ 20 2 4 SEASON

early seventeenth century. We have chosen to represent the peak of the Baroque era, in a program that mirrors the tutelary figure of the great Claudio. Here, the Damigella is not that of the Scherzi Musicali, but a piece by Calestani; Dove ten vai is a direct quotation from L’Orfeo, but in a duet version by Turini, while Gregori’s boisterous ciaccona is an obvious reference to Zefiro torna. Here the poems seem to be able to change musical garb, with composers setting many of these same works to music. Poets and musicians echo each other as if in a hypnotic hall of mirrors, with the Baroque predilection for arabesques and volutes. In addition to the Baroque period’s circumvolutions and exuberance of form, we have included its taste for the bizarre: raw dissonances passed down from the madrigal and strange harmonies (Giunto alla tomba) give the program a touch of spice. A Room of Mirrors reflects a time when all forms lived together in contrast and profusion. Seventeenth-century opera was modelled on a fusion of great genres: the commedia dell’arte playing on contrasts, tragi-comedy reflecting the ambivalence of life, and the pastorale with its optical illusion techniques (disguises, magic, metamorphoses, fantasy, extraordinary events, and mirrors). In our little Theatrum Mundi, the sublime pathos of Tancred’s lament counters the drinking song (with its erotic overtones) in Damigella tutta bella, the burlesque comedy of the Vecchia innamorata rejoins the ethereal pastorale of the Dialogo della rosa, while the gentle melancholy of Se l’aura spira is transformed into an instrumental folia. The Gemelli theme also applies to the instruments and their new forms: the incoming violin rivalling for virtuosity and expressivity with the tenors’ voices. The viols sing (Langue al vostro languir), while the trebles flutter over the ostinato basses, breaking free of the dance through the technique of variation. Before parting ways, voices and instruments blend and intertwine, giving us a short glimpse of the extraordinary musical creativity of the time. n —Mathilde Étienne Translation by Elizabeth Cencetti 15

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ARTIS T PROF IL E S

In 2019, the ensemble I Gemelli made a remarkable début on the international Baroque scene with an acclaimed first disc (Cozzolani’s Vespro, rewarded by a Choc Classica, Toccata’s CD of the month, and Diapason d’Or 2019) followed by Monteverdi’s L’Orfeo at the Théâtre des Champs-Élysées. The ensemble continued to build momentum with the release of Soleil noir, a recital dedicated to Francesco Rasi (Diapason d’Or 2021, Diamant Opéra Magazine, Opera News Critics Choice, ffff Télérama…) and of L’Orfeo (5 Diapasons, Diamant d’Opéra Magazine, Figaro’s Disc of the Year…). Founded in 2018 by Emiliano Gonzalez Toro and Mathilde Étienne, the ensemble I Gemelli specializes in 17th-century vocal music. Its vocation is to champion the major pieces of this period as well as lesser-known or even unpublished scores. Unlike a leadership coming from the orchestra pit or the continuo, the ensemble follows a conductor-singer in a declamatory investigation, adapting to the rhetoric of the text. Historically informed, the ensemble I Gemelli plays on period instruments, collaborating closely with academics and musicologists for the development of each program. The guest artists are both leading figures on the international scene and talents from the new generation of singers and instrumentalists. 2 0 23/ 20 2 4 SEASON

I Gemelli has performed at the Théâtre des Champs-Élysées, Opéra de Versailles, Capitole de Toulouse, Victoria Hall in Geneva, Arsenal de Metz, and Angers-Nantes Opéra. The ensemble has been invited to the festivals of Ambronay, Sablé, Pontoise, Freiburg, Regensburg, La Moutte, Krakow, Vilnius, Royan, Carouge, Onex, Kretinga, Quimper, to the Concerts d’Automne Tours, as well as the Grands Concerts de Lyon. In 2022, the label Gemelli Factory was created in order to carry out the ambitious projects of the ensemble and its artists, providing the necessary means for a controlled phonographic production. The first disc released by Gemelli Factory, A Room of Mirrors, immediately impressed the public and the critics by getting a Gramophone Editor’s Choice, a Diapason d’Or, a Diamant d’Opéra Magazine, a Clé resmusica, a Clic Classique News, Opera News Critic’s Choice, and a Coup de cœur Forumopéra. In 2023, Monteverdi’s Il ritorno d’Ulisse in patria garnered the highest distinctions upon its release: Diapason d’Or, CHOC Classica, Diamant d’Opéra Magazine, and others. The 2023–2024 season sees the ensemble’s début in Belgium, Spain, the United States, and Canada, as well as the recording of Monteverdi’s Vespers for Gemelli Factory. n 17

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and very recently, Basilio in Le nozze di Figaro at the Théâtre du Capitole in Toulouse.

If he is one of the most inventive figures on the musical scene, Emiliano Gonzalez Toro is first and foremost an exceptional singer: with his technical mastery, a beauty of tone, his inventive expressiveness, and a passionate love of texts, he has tackled the masterpieces of the 17th and 18th centuries with the greatest ensembles and the greatest conductors. From Paris (Opéra de Paris, Théâtre des Champs-Élysées, Châtelet, Philharmonie) to Amsterdam (Concertgebouw and Opera), from Toulouse (Théâtre du Capitole), Lille (Opéra), Strasbourg (Opéra du Rhin) to Zürich (Opéra and Tonhalle), Barcelona (Teatre del Liceu, Palau de la Música, and L’Auditori), Madrid (Teatro Real and Auditorio nacional), and Geneva (Grand Théâtre and Victoria Hall), Emiliano has been applauded all over Europe. French Baroque opera is one of the main artistic thrusts of his activity. Rameau occupies a central place: he has performed the title role in Platée with Christophe Rousset and Dardanus with Raphaël Pichon, and multiple roles in Les Paladins with William Christie. Lully is not ignored, as witness Roland, Alceste, Armide, and Phaéton sung with Christophe Rousset. Emiliano’s breathtaking virtuosity makes him an ideal interpreter of the masters of opera seria: Aquilo in Farnace with Diego Fasolis and Vitaliano in Il Giustino with Ottavio Dantone, Andrea Marcon, and René Jacobs for Vivaldi; Giuliano in Rodrigo and Tempo in Il trionfo del Tempo with Thibault Noally, and of course the tenor part in Messiah with Hervé Niquet for Handel. Emiliano regularly takes on Mozart roles, such as Agenore in Il re pastore with William Christie, alongside Rolando Villazon; the High Priest in Idomeneo with Emmanuelle Haïm then Jérémie Rhorer, 2 023/ 20 2 4 SEASON

Emiliano Gonzalez Toro founded the ensemble I Gemelli with Mathilde Étienne to share his vast experience of the Italian Seicento (in particular, Claudio Monteverdi), which he loves and serves marvellously. In 2019, I Gemelli made a stunning début at the Théâtre des Champs-Élysées with L’Orfeo, the most emblematic work of all, with Emiliano singing the title role. Shortly afterward, the Théâtre du Capitole in Toulouse hosted this production for two evenings, followed by an equally acclaimed semi-staged version at L’Arsenal in Metz. In 2021, he conducted and sang the title role in Il ritorno d’Ulisse in patria before taking on L’incoronazione di Poppea in May 2023, two productions that he conducted at the Théâtre des Champs-Élysées in Paris, the Victoria Hall in Geneva, and L’Arsenal in Metz. In September 2023, the Gemelli Factory label released a recording of Il ritorno d’Ulisse in patria. This new work by the I Gemelli ensemble, co-directed by Emiliano Gonzalez Toro and Mathilde Étienne, was immediately awarded a Diapason d’Or, a Choc by Classica, and a Diamant by Opéra Magazine. The 2023–2024 season opened with a major tour of Il ritorno d’Ulisse in patria, taking in Europe’s greatest concert halls. Emiliano will be conducting and singing Monteverdi’s Vespro della Beata Vergine in Geneva, as a prelude to the recording for Gemelli Factory (to be released in 2025). Other collaborations include the role of Dancaire in Carmen with René Jacobs, and Aeneas in Graupner’s Dido, Queen of Carthage with La Cetra in Basel and Amsterdam with Andrea Marcon. Emiliano will also be touring and recording Bach’s Mass in B Minor with Pygmalion and Raphaël Pichon. This rich season will come to a close with the release of a new album (again for the Gemelli Factory label) fusing Latin music and opera: La misa criolla by Ariel Ramirez with The Amazing Keystone Big Band and a number of prestigious guests. n 19

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With a commanding vocal presence and a captivating musical finesse, American tenor Zachary Wilder emerges as an exemplary interpreter of 17th- and 18th-century repertoires, spanning from Monteverdi to Mozart. His artistry has garnered demand from esteemed conductors and ensembles on both sides of the Atlantic, perfectly embodying the fervor of grand sacred masterworks and the opulence of operatic performances, with a widely acclaimed stage presence. He now collaborates with a constellation of well-known ensembles such as Pygmalion, Les Arts Florissants, L’Arpeggiata, Les Talens Lyriques, Le Concert d’Astrée, the Boston Early Music Festival, Bach Collegium Japan, the Handel and Haydn Society, Nederlandse Bachvereniging, and Nederlands Kamerkoor. His associations with the latter two ensembles frequently culminate in extensive tours, notably as the Evangelist in Bach’s Christmas Oratorio under the baton of Christophe Rousset in 2022. Beyond the confines of the beauties of early music, his collaborations with symphony orchestras such as the Royal Philharmonic Orchestra, the San Francisco Symphony Orchestra, and the Saint Louis Symphony Orchestra, allow him to tackle later repertoires. Notable performances include Vaughan Williams’s On Wenlock Edge and Britten’s Nocturne with the Charlottesville Symphony Orchestra, and the role of Mark in Frank Zappa’s 200 Motels, first at the Musica Festival in Strasbourg and later at the Philharmonie in Paris. Maintaining an evercurious musical spirit, Zachary portrayed the Spirit of Light in The Tale of Genji at Tokyo’s legendary Kabukiza Theater, under the direction of Ebizo Ichikawa. 2 023/ 20 2 4 SEASON

Recent seasons have been punctuated by significant undertakings, including the expansive Monteverdi 450 tour led by Sir John Eliot Gardiner, Handel’s Radamisto with Il Pomo d’Oro conducted by Francesco Corti, with whom a solid collaboration has been established, as evidenced by the August 2023 production of Purcell’s The Fairy Queen at the Drottningholm Opera. He triumphantly interpreted the role of Erinda in the revival of Sartorio’s L’Orfeo at the Opéra de Montpellier, directed by Philippe Jaroussky and staged by Benjamin Lazar. Noteworthy collaborations also encompass Zachary’s portrayal of Basilio in Mozart’s Le nozze di Figaro alongside Raphaël Pichon as well as of Agenore in Mozart’s Il re pastore at the Mozarteum in Salzburg, conducted by Christina Pluhar. Zachary’s 2023–2024 season promises remarkable intensity. Highlights include his role as Telemaco in Monteverdi’s Il ritorno d’Ulisse in patria, in partnership with the esteemed tenor and conductor Emiliano Gonzalez Toro, featuring an extensive tour across prominent European cities (Toulouse, Brussels, Barcelona, Madrid, Tours, Nantes, Bordeaux, and others). Additionally, he will participate in a tour of the St. Matthew Passion with the Freiburger Barockorchester (Montpellier, Paris, Barcelona, Budapest, Zurich, Seoul, etc.) conducted by Francesco Corti, as well as his return to the Christmas Oratorio with the Nederlands Kamerkoor and the Concerto Köln led by Peter Dijkstra. A revival of Il re pastore at Müpa in Budapest, under the baton of Christina Pluhar, sees Zachary returning to the role of Agenore. His expansive discography encompasses over forty recordings for esteemed labels including Ricercar, CPO, Soli Deo Gloria, Harmonia mundi, Glossa, Atma, La Música, and Aparté with the direction of luminaries such as William Christie, John Eliot Gardiner, Masaaki Suzuki, Christophe Rousset, and Raphaël Pichon. Notably, his special partnership with ensemble I Gemelli has yielded exceptional recordings of Monteverdi’s L’Orfeo and Il ritorno d’Ulisse in patria alongside the critically acclaimed A Room of Mirrors, which gathers arias and duets from the Italian Seicento, and elicited enthusiastically rave reviews from the press. n 21

TEXTS AND TRANSLATIONS Quella che tanto — Bellerofonte Castaldi Quella che tanto Servita, adorata, Sempre al mio pianto Fù sorda e spietata, Onde ferita di strale amoroso Ahi che mia vita Fù senza riposo, Non più mi dona tormento Ma gioia e contento, Non più martire Ma lieto gioire.

She who was so Revered and adored Was always merciless And deaf to my weeping. Hence, wounded by an amorous arrow, Ah, since my life Was restless, It no longer gives me torment But joy and contentment, No longer suffering, But joyful rejoicing.

Fa la la la la Sì che viva mai sempre l’Amore Che dolce afflige il core. Viva Amor, viva la donna mia C’hor m’è cortese e già sì cruda e ria.

Fa la la la la Long live Love, Which sweetly afflicts the heart, Long live Love, long live my woman Who now is courteous to me and was so cruel and wicked.

Quella bellezza Mirabile in terra Non mi disprezza Ne più mi fa guerra, Onde felice Godere il tesoro Ahi pur mi lice Di quella ch’adoro. Dopo la pioggia e’l baleno Vien chiaro e sereno: Già sospirando Hor vivo cantando.

That beauty, Admirable on earth, Does not despise me Nor is at war with me; Hence, I am allowed To savor the treasures Of the one I adore; After rain and lightning, There come clear and serene skies; I now live, singing, While already sighing.

Dove ten vai — Francesco Turini Dove, ah, dove ten vai, Unico del mio cor dolce conforto? Poiché non lunge omai Del mio lungo cammin si scopr’il porto, Perché ti parti e m’abbandoni, ahi, lasso, Sul periglioso passo? Qual bene or più m’avanza Se fuggi tu, dolcissima Speranza? —Alessandro Striggio (1573–1630)

Where, ah where are you going, You who are my heart’s only sweet comfort? Now that I can see the destination Of my long journey that is not far away? Why do you go, why do you abandon me, alas, At this perilous point? What good will I have left If you flee from me, sweetest Hope?

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La vecchia innamorata — Biagio Marini Una vecchia sdentata e bavosa, Bobetta e rognosa Di me innamorà, Un putta polita e galante, D’aspetto prestante, Fuggendo mi va, Tal che sprezzo chi m’ama e m’adora Languisco per una che morte mi dà. Ah, ah dimmi Amor che sarà?

A toothless, drooling, Hunchbacked and scruffy Old woman is in love with me, While a courteous, gallant And dashing Girl flees from me, So that I scorn she who loves and adores me And I languish for one who gives me death. Ah, ah tell me Love, what will be.

Colarini, camise e stringhette, Mutande e calzette La vecchia mi dà, E la Putta mi dona dolori, Travagli e rancori Che strugger mi fa; Tal che sprezzo la roba e’l diletto, Seguendo l’ingiuria, l’affanno e’l dispetto. Ah, ah, fammi, Amor, fortuna!

The old woman gives me collars, Shirts and laces, Underwear and socks; The girl gives me pains, Suffering and rancor, Making me suffer; Thus, I despise my things and my pleasure, Running after insults, distress, and spite. Ah, ah, give me luck, Love!

A la vecchia gli dago, gli grido, La burlo e sì rido Con più le instizzà, A la Putta m’inchino e piego, La supplico e priego, Che m’habbi pietà. Ma la sorda non sente i miei guai, E la vecchia mi lascia già mai.

I torment the old woman, I shout at her, I taunt her and laugh when she gets offended; I bow and bend towards the girl, I beg her To have mercy on me; But the deaf one does not hear my troubles, And the old one never leaves me alone.

Mille gonne, mill’acque, mill’arti, In tutte le parti La Vecchia si fa, E la Putta polita e modesta, Né in viso né in testa Sporchezza si dà, Tal che è mejo morire per Fia, Che viver per Vecchia dipinta e polia.

The old woman makes herself a thousand skirts, Washes and adorns All parts of her body; The girl, composed and modest, Does not stain herself, Neither on her head, nor on her face. Hence, it is better to die for a female youth, Than to live for an old, painted and polished hag.

Giunto alla tomba — Sigismondo d’India Giunto alla tomba, ove al suo spirto vivo Dolorosa prigion’ il ciel prescrisse, Di color, di calor, di moto privo Gia marmo in vista al marmo il viso affisse.

Having come to the tomb, where his living soul Was condemned to a woeful prison by the heavens: Deprived of color, heat, and motion, He fixed his marble gaze on the marble.

Al fin sgorgando un lagrimoso rivo, In un languido oimè proruppe, e disse: O sasso amato tanto, amaro tanto, Che dentro hai le mie fiamme, e fuor’ il pianto! —Torquato Tasso (1544–1595)

Streams of tears gushed from his eyes And he burst into a weak “Alas,” saying: “Oh stone, beloved and bitter, Inside, you have my flames, and outside my tears!”

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Se l’aura spira — Girolamo Frescobaldi Se l’aura spira tutta vezzosa, La fresca rosa Ridente sta, La siepe ombrosa Di bei smeraldi D’estivi caldi Timor non ha. A balli, a balli, liete venite, Ninfe gradite, Fior di beltà. Or, che sì chiaro il vago fonte Dall’alto monte Al mar sen’ va, Suoi dolci versi spiega l’augello, E l’arboscello Fiorito sta. Un volto bello All’ombra accanto Sol si dia vanto D’haver pietà. Al canto, al canto, Ninfe ridenti, Scacciate i venti Di crudeltà.

If the charming breeze blows, The fresh rose Laughs And the shady hedge Of beautiful emeralds Does not fear The summer heat. Come, come to dance, come merrily, Fair nymphs, Flowers of beauty. Now, as the clear, beautiful stream Flows from the mountain To the sea, The birds release their sweet verses And the young Tree blossoms. May a beautiful face In the nearby shade Alone be proud of Displaying compassion. Come, come to sing, Laughing nymphs, Drive away the winds Of cruelty.

Damigella tutta bella — Vincenzo Calestani Damigella Tutta bella Versa, versa quel bel vino, Fa che cada La rugiada Distillata di rubino.

Damsel, Fair and pretty, Pour, pour that good wine Make the Ruby dew fall.

Ho nel seno Rio veneno Che vi sparse Amor profondo, Ma gittarlo E lasciarlo Vo’ sommerso in questo fondo.

In my breast I carry An evil poison, Sown there by deep Love. But now I will Throw it away And leave it submerged in this sediment.

Damigella Tutta bella Di quel vin tu non mi satii, Fa che cada La rugiada Distillata da topatii.

Damsel, Fair and pretty, You do not satiate me With that Good wine, Make the topaz dew fall.

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Ah, che spento Io non sento Il furor de gl’ardor miei, Men cocenti Meno ardenti Sono, ohimè, gli incendi etnei.

Ah, I do not feel That the fury Of my ardor is extinguished. Alas, Etna’s fires Are less scorching And less searing.

Nova fiamma Più m’infiamma Arde il cor foco novello, Se mia vita Non s’aita Ah ch’io vengo un Mongibello! —Gabriello Chiabrera (1552–1638)

A new flame Inflames me more, A new fire burns my heart, If my life Does not help itself, Ah, may I become a volcano!

Piangono al pianger mio — Sigismondo d’India Piangono al pianger mio le fere, e i sassi A’ miei caldi sospir traggon sospiri. L’aer d’intorno nubiloso fassi, Mosso anch’egli a pietà de’ miei martiri. Ovunque io poso, ovunque io volgo i passi, Par che di me si pianga e si sospiri. Par che dica ciascun, mosso al mio duolo: “Che fai tu qui meschin, doglioso e solo?” —Ottavio Rinuccini (1562–1621)

Wild animals weep at my weeping, And stones draw sighs from my warm sighs. The sky around me too becomes cloudy, Moved by pity for my suffering. Wherever I rest, wherever I walk, It is as if I am wept and sighed for. Each thing seems to say, moved by my grief: “What are you doing here, poor wretch, sad and alone?”

Dialogo della rosa — Sigismondo d’India Mopso Che fai, Tirsi gentile? Perché non canti i fregi, Perché non canti i pregi Del giovinetto Aprile?

Mopsus What are you doing, gentle Thyrsis? Why do you not sing of the beauty, Why do you not sing of the virtue Of young April?

Tirsi Da qual fior il mio canto Prenderò, Mopso mio? Cantar forse degg’io Del flessuoso acanto? L’immortal amaranto? O pur la bionda calta, Che d’aurato color le piagge smalta?

Thyrsis Which flower will I take My song from, my Mopsus? Should I perhaps sing Of the pliable acanthus? Of the immortal amaranth? Or of the blonde marigold, Which coats the slopes with its golden color?

Mopso Canta, Tirsi, di quella Ch’è più cara agli amanti, Canta gli onori e i vanti Della rosa novella.

Mopsus Sing, Thyrsis, of that flower Which is dearest to lovers, Sing of the honor and pride Of the spring rose.

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Tirsi Rose, rose beate, Lascivette figliuole Della terra e del sole, Le dolcezze odorate, Che dal grembo spirate, Ponno quel tutto in noi Che il sol, che l’aura e che la pioggia in voi.

Thyrsis Roses, blessed roses, Enticing daughters Of the earth and the sun, The sweetness inhaled, Which is breathed out of your womb, Instills in us all That the sun, the air, and the rain instilled in you.

A due voci Rose, rose beate,… —Giambattista Marino (1569–1625)

For two voices Roses, blessed roses…

Mai non disciolgasi — Annibale Gregori Mai non disciolgasi Dal mio cor misero Il laccio nobile Che lo legò. Fra le catene Mi goderò E di mie pene Alla bella cagion m’inchinerò.

May the noble snares That bound my Wretched heart Never dissolve. Among the chains I will be content And I will bow down To the beautiful cause of my pains.

Mio cor distruggasi A’ rai bellissimi, Ché sempr’amabile Mio duol sarà. Gode il mio petto Di ferita, Hor che diletto Pietosa donna all’alma mia darà.

My heart destroys itself In the beautiful rays Because my sorrow Will be ever sweet. My breast enjoys The wound Now that a merciful woman Will give delight to my soul.

Dispieghi all’aure Sue trecce mobili O pur racchiudale Senza mercè, Da me spietata Ritorc’il piè, Ché voglia ingrata Può disdegnar ma non cangiar mia fè.

May she unfold Her flowing locks in the breeze, Or keep them enclosed Without pity, May she mercilessly Turn away from me; For ungrateful desire Can scorn my loyalty, but it cannot change it.

Mi tiraneggiano Le guancie tenere E ’l volto placido Che’l cor m’aprì; Egli mi dice La nott’ e ’l dì Che ben felice Mi potrà far colei che mi ferì.

Her tender cheeks And serene face Which opened my heart Oppress me. My heart tells me of The night and the day In which she, who has wounded me Will make me happy.

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Io perciò sentomi Sì dolce attraere Che d’esser libero Non curo più. O bella o cara Mia servitù, Di doglia amara Dolce vittrice entr’al mio cor sei tu.

I therefore feel myself So sweetly attracted That I no longer Care to be free. Oh beautiful, Oh cherished servitude, You are the vanquisher of bitter pain In my heart.

Così d’amor pregiavasi Tirsi tra l’herbe tenere: Mai non trovò pietà Ché la cruda involavasi Al dolce stral di Venere, Troppo avara beltà! Al fin per crudeltà Divenne il miser cenere Ed hor lo piange invan chi morto l’ha.

Thus, Thyrsis lauded himself In the soft grass. He never found pity, For the cruel one fled Following Venus’ trail, Too much avaricious beauty. In the end, because of cruelty, The wretch became ash, And now is mourned in vain by those who behold him dead. —Translations by Giovanna Baviera

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2023 | Alcina

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. 30

B OS T ON E AR LY M US I C F E ST I VAL

BEMF’S 2023 PRODUCTION OF DESMAREST’S CIRCÉ 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).

I N TER NATI ONA L BA RO QU E O PE 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. The twenty-second biennial Boston Early Music Festival, A Celebration of Women, 2 023/ 20 2 4 SEASON

was held in June 2023 and featured Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which saw the return of the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan. The twenty-third Festival, in June 2025, will have as its centerpiece Reinhard Keiser’s 1705 opera Octavia. BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon. The series focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the 31

SCENE FROM BEMF’S 2022 PRODUCTION OF LULLY’S IDYLLE SUR LA PAIX PHOTO: KATHY WITTMAN

opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Jean-Baptiste Lully, Francesca Caccini’s Alcina, the first opera written by a woman, a combination of Telemann’s Pimpinone and Ino, and most recently joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil. Acis and Galatea was revived and presented on a four-city North American Tour in early 2011, which included a performance at the American DANIELLE REUTTER-HARRAH IN BEMF’S 2021 PRODUCTION OF TELEMANN’S PIMPINONE PHOTO: KATHY WITTMAN

Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011. BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and B OS T ON E AR LY M US I C F E ST I VAL

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. BEMF’s newest recording, of Desmarest’s Circé, the 2023 Festival opera, was released concurrently with the opera’s North American premiere.

C E LEB R ATE D C ON 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).

WORL D - FA MOUS E XH IBIT ION

The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition, in their first-ever visit to the United States. Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. n

THE BEMF ORCHESTRA AT THE JUNE 2023 FESTIVAL PHOTO: KATHY WITTMAN 2 023/ 20 2 4 SEASON

BECOME A FRIEND OF THE

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

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T HR E E WAY S TO 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

OT H E R WAY S TO SHOW 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! 34

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This list reflects donations received from June 1, 2022 to October 11, 2023 FESTIVAL ANGELS ($25,000 or more) Anonymous (3) Bernice K. Chen Brit d’Arbeloff Peter L. & Joan S.† Faber Dorothy Ryan Fay† David Halstead & Jay Santos Glenn A. KnicKrehm David M. Kozak & Anne Pistell, in memory of their parents Miles Morgan Lorna E. Oleck Susan L. Robinson Andrew Sigel Joan Margot Smith Piroska Soos† ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Anonymous Diane & John Paul Britton Katie & Paul Buttenwieser Susan Denison Susan Donaldson Marie-Pierre & Michael Ellmann Lori Fay & Christopher Cherry, in memory of Dorothy Ryan Fay Clare M. S. Fewtrell James A. Glazier Donald Goldstein, in memory of Constance Kellert Goldstein George L. Hardman Ellen T. & John T. Harris Barbara & Amos Hostetter Kenneth C. Ritchie & Paul T. Schmidt Karen Tenney & Thomas Loring Donald E. Vaughan & Lee S. Ridgway Christoph Wolff LEADERSHIP CIRCLE ($5,000 or more) Anonymous (3) Mary Briggs & John Krzywicki Elizabeth Davidson, in honor of David Morris Tony Elitcher & Andrea Taras 2 0 23/ 20 2 4 SEASON

Jean Fuller Farrington Robert E. Kulp, Jr. Marianne & Terry Louderback Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Victor & Ruth McElheny Bill McJohn Ruth McKay & Don Campbell Joanne Zervas Sattley David Scudder, in memory of Marie Louise Scudder BENEFACTORS ($2,500 or more) Anonymous (2) Anonymous, in honor of Bernice K. Chen Annemarie Altman Pamela & Lee Bromberg Douglas M. & Aviva A. Brooks Beth Brown, in memory of Walter R.J. Brown Gregory E. Bulger & Richard Dix Kathleen Fay, in memory of Dorothy Ryan Fay John Felton & Marty Gottron Dr. Peter Libby, in memory of Dr. Beryl Benacerraf Harriet Lindblom, in memory of Daniel Lindblom John S. Major & Valerie Steele Keith Ohmart & Helen Chen Harold I. Pratt Nina & Timothy Rose Raymond A. & Marilyn Smith Keith S. Tóth & John B. Herrington III Adrian & Michelle Touw Maria van Kalken & Hal Winslow, in memory of Adrian van Kalken Will & Alexandra Watkins Ellen & Arnold Zetcher GUARANTORS ($1,000 or more) Anonymous (8) Eric Hall Anderson, in memory of William Wolk Amy Brown & Brian Carr

David L. Brown, in memory of Larry Phillips Robert Burger James Burr Betty Canick John A. Carey Robert & Elizabeth Carroll Bernice Chen & Mimi Kerley, in memory of Ted Chen Carla Chrisfield & Benjamin D. Weiss Joseph E. Coppola Jeffrey Del Papa Peter & Katie DeWolf Ross Duffin & Beverly Simmons, in honor of Kathleen Fay Henk Elderhorst David Emery & Olimpia Velez Peter L. Faber, in memory of Joan S. Faber Michael E. Fay Sarah M. Gates David & Harriet Griesinger Phillip Hanvy Dr. Robert L. Harris Rebecca & Ronald Harris-Warrick Michael Herz & Jean Roiphe Sally Hodges Jessica Honigberg Jane Hoover Thomas M. Hout & Sonja Ellingson Hout, in honor of Kathy Fay for her hard work Alan M. King Art & Linda Kingdon Fran & Tom Knight Frederick V. Lawrence, in memory of Rosemarie Lawrence Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Lawrence & Susan Liden Mark & Mary Lunsford MAFAA William & Joan Magretta David McCarthy & John Kolody Marilyn Miller Stephen Moody Jeffrey G. Mora, in memory of Wendy Fuller-Mora Sheila A. Murphy 35

Robert Neer & Ann Eldridge Rebecca Nemser, in memory of Paul Nemser John M.† & Bettina A. Norton Richard & Julia Osborne Neal J. Plotkin & Deborah Malamud Tracy Powers Susan Pundt Christa Rakich & Janis Milroy Alice Robbins & Walter Denny, in honor of Kathy Fay Michael Robbins Jose M. Rodriguez & Richard A. Duffy Patsy Rogers Michael & Karen Rotenberg Carlton & Lorna Russell Kevin Ryan & Ozerk Gogus, in memory of Dot Fay Catherine & Phil Saines Susan Sargent & Tom Peters Lynne & Ralph Schatz Laila Awar Shouhayib Alexander & Kathy Silbiger Elizabeth Snow Richard K. & Kerala J. Snyder David & Jean Stout, in honor of Glenn KnicKrehm Lisa Teot Paula & Peter Tyack Peter J. Wender Allan & Joann Winkler PATRONS ($500 or more) Anonymous (6) Morton Abromson & Joan Nissman Tom & Judy Anderson Allen, in memory of Dorothy Fay Tom & Judy Anderson Allen, in memory of Adrian van Kalken Nicholas Altenbernd William & Ann Bein Michael & Sheila Berke Dee Dee & John Brinkema, in memory of Bobby Brinkema Susan Bromley Carolyn Bryant-Sarles Robert Burton & Karen Peterson Frederick Byron Joseph Cantey Anne Chalmers & Holly Gunner Mary Chamberlain Sherryl & Gerard Cohen 36

Dr. Franklyn & Mary Beth Commisso Joseph Connors Linzee Coolidge Richard & Constance Culley Belden & Pamela Daniels Carl E. Dettman Alan Durfee Helen Edwards Gabriel Ellsworth Thomas G. Evans Austin & Eileen Farrar Nicole Faulkner Daniel & Paula Fay Charles Fisk & Louis Risoli Claire Fontijn, in memory of Dr. Arthur Fontijn Frederick & Barbara Gable Christopher K. Gaffney, in memory of Bill Crocker Bruce A. Garetz Elizabeth Hardy, in memory of Renate Wolter-Seevers David J. Harris, MD James & Ina Heup Linda Hodgkinson Laura Jeppesen & Daniel Stepner Paul & Alice Johnson Barry Kernfeld & Sally McMurry Kathryn Mary Kucharski Robert & Mary La Porte Jasper Lawson Catherine Liddell Roger & Susan Lipsey James Liu & Alexandra Bowers Jeffrey & Barbara Mandula Marietta Marchitelli Carol Marsh Carol & Pedro Martinez June Matthews Amy & Brian McCreath Alan & Kathy Muirhead Louise Oremland Richard & Lois Pace, in honor of Peter Faber John R. Palys William J. Pananos Hon. W. Glen Pierson & Hon. Charles P. Reed Gene & Margaret Pokorny Amanda & Melvyn Pond Pamela Posey Paul Rabin & Arlene Snyder Mahadev & Ambika Raman

Sandy Reismann & Dr. Nanu Brates Sue Robinson Ellen Rosand Richard Schroeder & Dr. Jane Burns Charles & Mary Ann Schultz Susan Schuur Wendy Shattuck & Sam Plimpton Louisa C. Spottswood Catherine & Keith Stevenson Campbell Steward Paola Stone, in memory of Edmondo Malanotte Carl Swanson Lonice Thomas Reed & Peggy Ueda Richard Urena Thomas & LeRose Weikert John C. Wiecking Susan Wyatt ASSOCIATES ($250 or more) Anonymous (8) Anonymous, in memory of Dorothy Ryan Fay Anonymous, in honor of Marco Horvat & Faenza Joseph Aieta III Elizabeth Alexander Debra K. S. & Brian Anderson, in honor of Kathleen M. Fay Julie Andrijeski & J. Tracy Mortimore Margaret Angelini & John McLeod† Barry & Sarita Ashar Louise Basbas Noel & Paula Berggren Todd A. Breitbart David Breitman & Kathryn Stuart David C. Brown Elizabeth A.R. Brown & Ralph S. Brown, Jr., in honor of Kathleen Fay David J. Chavolla JoAnne Chernow Floyd & Aleeta Christian Priscilla H. Claman Christopher Curdo Warren R. Cutler Eric & Margaret Darling Carl & May Daw Leigh Deacon Kathryn Disney Tamar & Jeremy Kaim Doniger

B OST ON E AR LY M US I C F E ST I VAL

Charles & Elizabeth Emerson Chuck Epstein & Melia Bensussen Lila M. Farrar Grace A. Feldman, in honor of Bernice Chen Patrick Joseph Fox, in honor of Dr. Nancy Olson Elizabeth French Jonathan Friedes & Qian Huang Sandy Gadsby & Nancy Brown Joseph Glenmullen, M.D. Philip Glynn The Goldsmith Family Eric Haas, in memory of Janet Haas Eric & Dee Hansen Joan E. Hartman Mary Hepburn, in honor of Laura Jeppesen David Hoglund Amy & Seamus Hourihan Charles B. Hunter Jean Jackson, in memory of Louis Kampf Robin Johnson David Keating Thomas F. Kelly & Peggy Badenhausen Robert L. Kleinberg George Kocur Katharine & Tom Kush, in honor of Michael Ellmann William & Betsy Leitch Rob & Mary Joan Leith Susan Lewinnek Robert & Janice Locke Kenneth S. Loveday Rodolfo Machado & Jorge Silvetti Quinn Mackenzie Anne H. Matthews Sally Mayer James McBride Lee McClelland Ray Mitzel John Nelson Henry & Judy Paap Cosmo & Jane P. Papa Eugene Papa Henry Paulus Kitty Pell Joseph L. Pennacchio Phillip Petree Susan Pettee & Michael Wise Anne & François Poulet 2 0 23/20 2 4 SEASON

Hadley & Jeannette Reynolds Marge Roberts Arthur & Elaine Robins Nancy & Ronald Rucker Rusty Russell Mark Slotkin Ted St. Antoine Ann Stewart Ronald W. Stoia Melinda Sullivan & Larry Friedman Mark S. Thurber & Susan M. Galli Nancy M. Tooney Peter & Kathleen Van Demark Mark Vangel, in memory of Monica Strauss Delores & Robert Viarengo Patrick Wallace & Laurie McNeil Dr. Alan J. Ward Beverly Woodward Michael Wyatt Ellen L. Ziskind The Zucker Family PARTNERS ($100 or more) Anonymous (15) Anonymous, in memory of Dorothy Ryan Fay Anonymous, in memory of Adrian van Kalken Vilde Aaslid Maria Adams Mr. Neale Ainsfield & Dr. Donna Sieckmann Druid Errant D.T. Allan-Gorey Kenneth Allen & Hugh Russell William Ames Cathy & William Anderson Margarete Arndt Neil R. Ayer, Jr. & Linda Ayer Carl C. Baker & Susan R. Haynes Antonia L. Banducci Dr. David Barnert & Julie A. Raskin Alan Bates & Michele Mandrioli George Beach Lawrence Bell Alan Benenfeld Susan Benua Judith Bergson Larry & Sara Mae Berman Ann & Richard Bingham, in honor of Kathy Udall John Birks

Sarah Bixler & Christopher Tonkin Katharine C. Black Moisha Blechman Deborah Boldin & Gabriel Rice Richard Borts Patricia Boyd Sally & Charlie Boynton Joel Bresler Catherine & Hillel Shahan Bromberg Lawrence Brown Robert Brown Caroline A. Bruzelius, in memory of Kristin Mortimer John H. Burkhalter III Judi Burten, in memory of Phoebe Larkey Kevin J. Bylsma John Campbell Eleanor Carlson William Carroll Richard & Lois Case Peter Charig & Amy Briemer Robert B. Christian Daniel Church & Roger Cuevas John K. Clark & Judith M. Stoughton Deborah J. Cohen 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 Anne Conner Derek Cottier & Lauren Tilly Robert B. Crane Martina Crocker, in memory of William T. Crocker Gray F. Crouse Donna Cubit-Swoyer Ruta Daugela Kate Delaney William Depeter Michael DiSabatino, in honor of Nancy Olson Paul Doerr Charles & Sheila Donahue John Dunton & Carol McKeen Mark Elenko Jake Esher Richard Fabian Marilyn Farwell Margot Fassler Gregg, Abby & Max Feigelson 37

Henry & Judith Feldman Hans & Ruth Fisher Carol L. Fishman Dr. Jonathan Florman Deborah Fox & Ron Epstein Gary Freeman Robert Freeman Alexander Garthwaite Gisela & Ronald Geiger Stephen L. Gencarello David & Susan Gerstein Barbara Godard Michael Goldberg Lisa Goldstein Joseph Grafwallner Nancy L. Graham The Graver Family Lorraine & William Graves Mary Greer Thomas H. & Lori B. Griswold Deborah Grose John Gruver & Lynn Tilley Peter F. Gustafson Sonia Guterman Laury Gutierrez & Elsa Gelin Judy & Wayne Hall Suzanne & Easley Hamner Donatus Hayes Karin Hemmingsen Marie Henderson, in memory of A. Brandt Henderson Catherine & John Henn Katherine A. Hesse Carole Hilton Raymond Hirschkop John & Olivann Hobbie Roderick J. Holland Valerie Horst & Benjamin Peck John Hsia Judith & Alan Hudson Keith L. & Catherine B. Hughes Alex Humez Brian Hussey Francesco Iachello Susan L. Jackson Michele Jerison Robert & Selina Johnson Patrick G. Jordan Dian Kahn Elizabeth Kaplan Seamus & Marjorie Kelly Louis & Susan Kern Joseph J. Kesselman, Jr. 38

David P. Kiaunis Rebecca Klein Pat Kline Sara M. Knight Jason Knutson Leslie Kooyman Valerie Krall Ellen Kranzer Benjamin Krepp & Virginia Webb Jay Carlton Kuhn, Jr. Carol Lafontaine Peter A. Lans Claire Laporte David A. Leach & Laurie J. LaChapelle Carl & Natalie Leaman William Lebow Alison Leslie Dr. Gary Ljungquist Laura Loehr Mary Maarbjerg Ted MacDonald & Yuan Wang Patrick Macey Dr. Bruce C. MacIntyre Beth Mahar Louise Malcolm, in memory of W. David Malcolm Jr. Peter G. Manson & Peter A. Durfee Sarah P. Marsh Donna McCampbell Anne McCants Michael P. McDonald Heidi & George McEvoy Dave & Jeannette McLellan Gerald & Susan Metz Ruth Milburn Margo Miller Deborah Mintz David Montanari & Sara Rubin Jennifer Moxley & Steve Evans Gene Murrow Myrna Nachman Nancy Nicholson Caroline Niemira Nancy Nuzzo Leslie Nyman Nancy Olson & Charles Di Sabatino Michael & Jan Orlansky Clara M. & John S. O’Shea Patricia Owen Beth Parkhurst, in memory of Cheryl M. Parkhurst Susan Patrick, in memory of Don Partridge

Jonah Pearl Elizabeth Pearson-Griffiths John Percy John Petrowsky Bici Pettit-Barron Elizabeth V. Phillips Susan L. Porter & Robert S. Kauffman Charles & Elizabeth Possidente Stephen Poteet & Anne Kao Lawrence Pratt & Rosalind Forber Sheila Reese Rodney J. Regier Norm Rehn Melissa Rice Douglas Riis Dennis & Anne Rogers Sherry & William Rogers Stephanie L. Rosenbaum Philip W. Rosenkranz Lois Rosow Peter & Linda Rubenstein, in memory of Malcolm Cole Paul Rutz, in memory of Sandra Henry Cheryl K. Ryder Roger & Patricia Samuel Melbert Schwartz Alison M. Scott David Sears Jean Seiler Mr. Terry Shea & Dr. Seigo Nakao Chuck Sheehan Michael Sherer Susan Shimp Dr. Glenn Sigl & Mr. John Self Harvey A. Silverglate, in memory of Elsa Dorfman Hana Sittler Jacob & Lisa Skowronek Elliott Smith & Wendy Gilmore Jennifer Farley Smith & Sam Rubin David Snead & Kate Prescott Richard Snow Scott Sprinzen Kathryn Steely Esther & Daniel Steinhauer Mary Stevens John Strasswimmer Barbara & Elliott Strizhak Richard Stumpf Victoria Sujata Jonathan Swartz Lois Swirnoff B OS T ON E AR LY M US I C F E ST I VAL

Lee & Judith Talner Richard Tarrant Meghan K. Titzer Janet Todaro Peter Townsend Pierre Trepagnier & Louise Mundinger John & Dorothy Truman Lynette Tsiang John & Anne Turtle Barbara & John VanScoyoc Richard & Ginny von Rueden Lee Vorderer & Robert Bass Robert & Therese Wagenknecht Robert Warren Janice & Ty Waterman Cheryl S. Weinstein Marina & Robert Whitman Susan & Charles Wilkes David L. Williamson Phyllis S. Wilner Scott Winkler & Barbara Slover John Wolff & Helen Berger Lawrence Zukof & Pamela Carley † 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 2 023/20 2 4 SEASON

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 Women On The Move LLC MATCHING CORPORATIONS 21st Century Fox Allegro MicroSystems Amazon Smile AmFam Analog Devices Aspect Global Automatic Data Processing, Inc. Biogen Carrier Global Dell, Inc. Exelon Foundation FleetBoston Financial Corporation Genentech, Inc. 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 Vertex Pharmaceuticals Xerox Foundation 39

“Intimate ic.” and dramaNtGLLOOBBEE TO N G OSSTO — HEE BBO —TTH

George Frideric Handel

ACIS AND GALATEA

B OS T ON E AR LY M US I C F E ST I VAL

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

FRIDAY, DECEMBER 8, 2023 | 8PM St. Paul Church, Cambridge, MA

The Tallis Scholars PETER PHILLIPS, Director

WHILE SHEPHERDS WATCHED

AMHERST EARLY MUSIC

Festival n Online Classes n Workshops n Music Publications n Concerts

UPCOMING WORKSHOPS CityRecorder!

A workshop dedicated to recorder players October 21-22, 2023 in New York City at the Ella Baker School Co-directed by Valerie Horst and Wendy Powers

Renaissance Flute Consort Weekend

Directed by Amanda Markwick, with Na'ama Lion October 21-22, 2023 Rainer Beckmann, Saskia Coolen, Wendy Powers, at the Allen House, in West Newton, MA Letitia Berlin, and Daphna Mor in performance at the 2023 Amherst Early Music Festival

See website for information and to register... and stay tuned for all of AEM's workshops, online classes, and the 2024 Amherst Early Music Festival ~ June 30 to July 14 at Union College in Schenectady, NY! We hope you'll join us!

amherstearlymusic.org

Henry Desmarest’s

CIRCÉ ALSO AVAILABLE

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I N T E RN ATION A LLY AWARD- WINNING

Opera CDs

O R D E R T O D AY AT BE MF.O R G

That Feeling You Get

classical.org | on-air • online • in the app

Boson Early Music Fesival

CHAMBER OPERA SERIES presents

JOHN FREDERICK LAMPE’S

SATURDAY, NOVEMBER 25 | 8PM SUNDAY, NOVEMBER 26 | 3PM

New England Conservatory’s Jordan Hall, Boston, MA

Teresa Wakim

Margery

A fire-breathing dragon is terrorizing the Yorkshire countryside, and only the local squire, Moore of Moore Hall, can save the day.

Emily Siar

If only he can be bothered to put down his beer.

Aaron Sheehan

The Dragon of Wantley, the most popular operatic production of the entire 18th century in England, enjoyed a 45-year run. Lampe deftly lampoons the excesses of Handelian opera in this hilarious farce of 1736.

Mauxalinda

Moore

John Taylor THE Ward

This all-new production is led by BEMF’s GRAMMY-winning Musical Directors Paul O’Dette and Stephen Stubbs and acclaimed Stage Director Gilbert Blin—an all-star roster of 18 singers, dancers, and instrumentalists combined with period-inspired staging and lavish costumes, bring this rollicking masterpiece to life in a must-see operatic event!

Douglas Williams

ORDER TODAY! BEMF.org | 617-661-1812

Dragon Gubbins