2023/24 Season: Le Poème Harmonique by bostonearlymusicfestival

Le Poème Harmonique VINCENT DUMESTRE, Director & theorbo EVA ZAÏCIK, mezzo-soprano

FRIDAY, O CT O BER 2 7 , 2 02 3 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: I Gemelli on Saturday, November 18, presented against the backdrop of NEC’s magnificent Jordan Hall. Founded in 1998 by Vincent Dumestre, Le Poème Harmonique has won acclaim for their stylish and invigorating performances of 17th- and 18th-century repertoire. First appearing on the BEMF concert stage in 2007, and again as recently as 2017, this venerable ensemble returns with a program inspired by music composed during the reigns of Henry IV, Louis XIII, and Louis XIV. Joined by the exciting young mezzo-soprano Eva Zaïcik, they take us on a journey into the salons, the rustic kitchens, and the royal apartments of the Louvre Palace, with offerings by early French Baroque masters Lully, Charpentier, Lalande, and Moulinié, along with Italian works including ones by Cavalli, the famed Venetian composer whose operas graced Louis XIV’s wedding and other celebrations. 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

Le Poème Harmonique Vincent Dumestre, Artistic Director Eva Zaïcik, mezzo-soprano

Music for a Young King Plainte de Vénus sur la mort d’Adonis from Ballet de Flore

Jean-Baptiste Lully (1632–1687)

Musette Marche des Bergers

Michel-Richard de Lalande (1657–1726)

Air sur les Stances du Cid

Marc-Antoine Charpentier (1643–1704)

L’auzel ques sul boyssou

Etienne Moulinié (ca. 1600–after 1669)

Le bossu maumariée

Anonymous

Quand je menais les chevaux boire

Anonymous

Sinfonia from L’Egisto Sinfonia from Ercole amante

Francesco Cavalli (1602–1676)

Sinfonia A gran battaglia Aria sopra la Bergamasca

Marco Uccellini (ca. 1603/10–1680)

Dell’antro magico from Il Giasone

Cavalli

Ed è pur vero; Luci mie from Xerse

Cavalli

Aria di Fiorenza

Giovanni Battista Buonamente (late 16th c. – 1642)

The Boston Early Music Festival thanks DAVID HALSTEAD and JAY SANTOS for their leadership support of tonight’s performance by Le Poème Harmonique 2 023/ 20 2 4 SEASON

E vuol dunque from Ercole amante

Cavalli

Ah miscredente; Piangete occhi dolenti from L’Egisto

Cavalli

Double-manual French harpsichord by Allan Winkler, Medford, Massachusetts, 1991, after Donzelague, property of the Boston Early Music Festival. Continuo organ by Bennett & Giuttari, Rehoboth, Massachusetts, property of New England Conservatory.

LIVE CONCERT Friday, October 27, 2023 at 8pm New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts VIRTUAL CONCERT Friday, November 10, 2023 – Friday, November 24, 2023 BEMF.org

L E P O È ME HA R M O N I QU E

Eva Zaïcik, mezzo-soprano Fiona-Émilie Poupard & Louise Ayrton, violin Lucas Peres, viola da gamba Simon Guidicelli, double bass Camille Delaforge, harpsichord & organ Vincent Dumestre, theorbo & Artistic Director Program subject to change. Ball Square Films & Kathy Wittman, Video Production Antonio Oliart Ros, Recording Engineer Le Poème Harmonique is supported by the Ministry of Culture (DRAC of Normandy), the Region of Normandy, the Department of Seine-Maritime, the City of Rouen, SPEDIDAM, the National Music Centre, and is in partnership with the Démos Philharmonie de Paris project. Le Poème Harmonique is in residence at the Fondation Singer-Polignac as an associate artist. For its projects in Normandy, Le Poème Harmonique is supported by PGS Groupe. For the U.S. and Canada tour, the ensemble is supported by the Institut Français, CNM, SPEDIDAM, and ODIA.

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P RO GRA M NOT E S

Detail from the engraving March of the King showing the south facade of the Louvre (ca. 1665) Outshone by the Palace of Versailles, which was conceived as a palace of absolute sovereignty, the Louvre nevertheless remained the heart of the kingdom of France, and a symbol and seat of royal authority that beat to the rhythm of court songs, dances, and entertainment from the reign of Henry IV to the first years of power of Louis XIV. It saw the development of refined music between 1589 and 1678, in emblematic genres and a purely French style, directly infused with popular repertoires, which inspired the composers of art music in particular. While the songs that make up our present heritage resonated in its kitchens or on the palace steps, the supremacy of the lute, viola da gamba, and of the air de cour was asserted in its salons, as an ideal of intimacy and vocal refinement which met the aspirations of literate circles and underwent an extraordinary craze at the turn of the seventeenth century. Étienne Moulinié was its final and masterful representative, before a young Florentine who arrived in France in 1646, Jean-Baptiste Lully, brought back a taste for more pomp and splendor as well as more 2 023/ 20 2 4 SEASON

JAN VAN HUCHTENBURGH (1647–1733) AFTER ADAM FRANS VAN DER MEULEN (1632–1690)

dance. His Ballet de Flore gave Louis XIV the opportunity to take on the role of the Sun in 1669, in the grand salon of the Tuileries, which earned him the appellation Sun King. All eyes and ears were also on Italy. The royal palace did not escape the influence of opera, recently born in Florence, which was quickly adopted by Rome and Venice, and brought to France by Cardinal Mazarin: as early as 1650, the latter imposed the works, among others, of Cavalli, whose porosity with popular characters and humor was yet again a source of dramatic effectiveness and delightful musicality. Ercole amante was also commissioned by the cardinal for the celebration of the marriage of Louis XIV with the Infanta of Spain, in 1662: a spectacular event, which embraced opera, court ballet, and the pièce à machines theatrical genre all at once, and would inspire many in the decades that followed—but in a genre qualified as French by Lully. n —© Claire Boisteau Translation by Rebecca James 13

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ARTIS T PROF IL E S

Since 1998, Le Poème Harmonique has brought together, around its founder Vincent Dumestre, passionate musicians devoted to the interpretation of 17th- and 18th-century music. The ensemble’s inventive and demanding programs are a testament to its enlightened approach to Baroque repertoires and to its indepth work on vocal and instrumental textures. Well known at the world’s greatest festivals and venues—Opéra-Comique, Opéra Royal de Versailles, Philharmonie de Paris, Théâtre des Champs-Élysées, the Festivals of Ambronay, Beaune, and Sablé, Wigmore Hall (London), NCPA (Beijing), Wiener Konzerthaus, Concertgebouw Bruges, BOZAR (Brussels), Oji Hall (Tokyo), Columbia University (New York), Teatro San Carlo (Naples), Accademia Santa Cecilia (Rome), St. Petersburg Philharmonic, and the BBC Proms, among others—Le Poème Harmonique is also very engaged in Normandy, the cradle of its numerous creations and where it is in residence. Recent stage projects include Lully’s Armide with Stéphanie d’Oustrac, directed by Dominique Pitoiset at the Opéra de Dijon and the Opéra Royal de Versailles, as well as the critically acclaimed production of Il Nerone ou Le Couronnement de Poppée with the Academy of the Opéra de Paris, which premiered at the Théâtre de l’Athénée in Paris. The 2023–2024 season will see a new production of the ensemble’s unique and iconic “Carnaval Baroque,” an original show at the crossroads between Baroque music and the circus arts. Galuppi’s L’uomo 2 023/ 20 2 4 SEASON

femmina, a drama giocoso directed by Agnès Jaoui at the Opéra de Dijon, the Opéra Royal de Versailles, and the Théâtre de Caen, will follow in 2024–2025. Le Poème Harmonique’s discography now includes some fifty recordings that have been regularly acclaimed by the critics and public alike. Cavalli’s Egisto, released on the Château de Versailles Spectacles label in March 2023, has received a Choc Classica and the prestigious Preis der deutschen Schallplattenkritik. Mon Amant de Saint-Jean, a portrait of song from the Baroque to the Roaring Twenties with Stéphanie d’Oustrac on Alpha Classics, has just been released, while Lully’s Armide, recorded at the Opéra Royal in May 2023, will be released in spring 2024. n

His taste for the arts, creative feeling for Baroque aesthetics, explorer’s flair, and love of collective projects naturally led Vincent Dumestre to delve into the repertoire of the 17th and 18th centuries and in 1998 create the tailor-made ensemble, Le Poème Harmonique. Vincent Dumestre is today one of the most inventive and versatile artisans of the Baroque revival as a conductor and director, while continuing to pursue his first love—playing plucked string instruments. 15

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He graduated from the École du Louvre (art history) and the École normale de musique de Paris (classical guitar), and studied lute, Baroque guitar, and theorbo with Hopkinson Smith, Eugène Ferré, and Rolf Lislevand, playing with the Ricercar Consort, La Grande Écurie et la Chambre du Roy, Hespèrion XX, and many other ensembles. An enthusiastic collaborator with artists from other disciplines such as puppeteers (Mimmo Cuticchio), directors (Omar Porras, Benjamin Lazar), choreographers (Julien Lubeck, Cécile Roussat), and circus artists (Mathurin Bolze), he is in demand with Le Poème Harmonique on the world’s great stages for Baroque music, and is also regularly invited as guest conductor with the ensembles musicAeterna, Musica Florea, Arte dei Suonatori, the Orchestre régional de Normandie, Capella Cracoviensis, and Orkiestra Historyczna. His recordings have received the highest prestigious awards from the press, such as the Diapason d’Or and Choc de l’année 2022 from Classica for Le Bourgeois Gentilhomme (Château de Versailles Spectacles), and the Diamant from Opéra Magazine for Vivaldi’s Nisi Dominus (Alpha Classics). Vincent Dumestre is an Officier de l’Ordre des Arts et des Lettres and a Chevalier de l’Ordre national du Mérite. n

Very early on noticed for the beauty and length of her voice, the fullness and flexibility of which allow her to sing Monteverdi as well as Berlioz, Rossini, and Bizet, Eva Zaïcik has established herself as one of the most remarkable singers of her generation. In addition, she cultivates a musical diversity favoring the most daring explorations alongside leading musicians. 2 023/ 20 2 4 SEASON

In 2018, when the mezzo-soprano won Second Prize at the Queen Elisabeth Competition, she was also honored as a Lyrical Revelation at the Victoires de la Musique Classique and with a Second Prize at the Voix Nouvelles Competition. These distinctions only confirmed an already considerable career, which has seen her collaborate with first-class conductors including William Christie (she was a member of the Jardin des Voix in 2017), Vincent Dumestre, Hervé Niquet, Christophe Rousset, Philippe Herreweghe, Laurence Equilbey, Emmanuelle Haïm, René Jacobs, Cornelius Meister, and Alain Altinoglu. She has recently performed Carmen and Rosina (Rossini’s Il barbiere di Siviglia) at the Capitole in Toulouse, Vénus in Idoménée by Campra at the Opéra de Lille and at the Staatsoper in Berlin, and Vespro della Beata Vergine by Monteverdi with Pygmalion and Raphaël Pichon in a staging by Pierre Audi. She sang Berio’s Folk Songs and excerpts from Mahler’s Kindertotenlieder with great success with the Mahler Chamber Orchestra at the Saint-Denis Festival. Eva has also performed Berlioz’s Les nuits d’été, conducted by Michael Schønwandt with the Aalborg Sinfoniorkester, Beethoven’s Missa solemnis with Philippe Herreweghe and Collegium Vocale Gent, and Mozart’s Requiem with the Münchner Philharmoniker. She has been invited by the festivals in Salzburg, Gstaad, Beaune, Chambord, Cluny, Lessay, Lisieux, and the William Christie Festival in Thiré. She maintains a special bond with Justin Taylor and Le Consort around several Baroque programs given throughout Europe. This collaboration materialized at Alpha Classics with the CDs Venez, chère ombre (2018) and Royal Handel (2021), both of which were selected as a Choc of Classica magazine and the “Choice of the month” by France Musique. A recording with Le Poème Harmonique and Vincent Dumestre was released last year on Alpha: Nisi Dominus, a musical journey centered on the figure of woman and on divine praise, featuring the well-known work by Vivaldi. n 17

TEXTS AND TRANSLATIONS Plainte de Vénus sur la mort d’Adonis — Jean-Baptiste Lully Ah, quelle cruauté de ne pouvoir mourir Et d’avoir un cœur tendre et formé pour souffrir !

Ah, what cruelty it is not to be able to die And to have a tender heart trained to suffer!

Cher Adonis que ton sort est funeste, Et que le mien est digne de pitié ! Vien, monstre furieux, viens dévorer le reste, Et n’en fay pas à moitié, Que les traits de la mort auraient pour moi de charmes ! Mais sur mes jours ils n’ont point de pouvoir, Et ma divinité réduit mon désespoir A d’éternels soupirs, à d’éternelles larmes.

Dear Adonis, how tragic is your fate, And mine worthy of pity! Come, furious monster, come and devour the rest, And not halfheartedly, How charming death’s features would seem to me! But over my days they have no power, And my divinity reduces my despair To eternal sighs and eternal tears.

Ah, quelle cruauté de ne pouvoir mourir Et d’avoir un cœur tendre et formé pour souffrir !

Ah, what cruelty it is not to be able to die And to have a tender heart trained to suffer!

Vous le voulez, Destins, est-il possible Que lui mourant je conserve le jour, Et ne devrais-je pas paraître aussi sensible A sa mort qu’à son amour ? Lui qui des dieux jaloux attira le tonnerre, Qui m’aima tant, que je n’aimai pas moins, Et qui par de si doux, et de si tendres soins M’ôta le goût du Ciel en faveur de la Terre.

How is it possible, Fates, for you to wish That he dies and I remain, And that his death should not Touch me as did his love? He who drew thunder from the jealous gods, Who loved me so much, and who I loved no less, By such gentleness and tenderness Stole my taste for Heaven in favor of the Earth.

Les Stances du Cid — Marc-Antoine Charpentier Percé jusques au fond du cœur D’une atteinte imprévue aussi bien que mortelle, Misérable vengeur d’une juste querelle, Et malheureux objet d’une injuste rigueur, Je demeure immobile, et mon âme abattue Cède au coup qui me tue. Si près de voir mon feu récompensé, O Dieu! l’étrange peine ! En cet affront mon père est l’offensé, Et l’offenseur le père de Chimène !

Pierced to the core By a blow as unexpected as it is mortal, Wretched avenger in a just quarrel, And miserable object of an unfair severity, I am transfixed, and my stricken soul Yields to the blow that kills me. So close to seeing my love rewarded, O God, the bitter pain! In this affront my father is the offended one, And the offender is the father of Chimène!

Que je sens de rudes combats ! Contre mon propre honneur mon amour s’intéresse : Il faut venger un père, et perdre une maîtresse ; L’un m’anime le cœur, l’autre retient mon bras. Réduit au triste choix, ou de trahir ma flamme, Ou de vivre en infâme,

What fierce conflict I feel! My love takes sides against my honor I must avenge a father and lose a lover; One stirs my wrath, the other restrains me. Reduced to the sad choice of betraying my love Or living in infamy,

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Des deux côtés mon mal est infini. O Dieu ! l’étrange peine ! Faut-il laisser un affront impuni ? Faut-il punir le père de Chimène ?

In both events my pain is infinite. O God! Fresh agony! Can I let this offender go unpunished? Can I punish the father of Chimène?

Père, maîtresse, honneur, amour, Noble et dure contrainte, aimable tyrannie, Tous mes plaisirs sont morts, ou ma gloire ternie : L’un me rend malheureux, l’autre indigne du jour. Cher et cruel espoir d’une âme généreuse, Mais ensemble amoureuse, Digne ennemi de mon plus grand bonheur, Fer, qui causes ma peine, M’es-tu donné pour venger mon honneur ? M’es-tu donné pour perdre ma Chimène ?

Father, lover, honor, or beloved, Noble and harsh constraint, sweet tyranny, All my delight is dead, or honor dulled: One makes me unhappy, the other unworthy. Dear and cruel hope of a generous soul, In love, at the same time, Worthy foe of my greatest pleasure, Blade, that creates my pain, Were you given me to avenge my honor? Have you given me to lose my Chimène?

L’auzel ques sul bouyssou — Etienne Moulinié L’auzel ques sul bouyssou, Digos una cansou Allegro la mia vidou. E bai ten tout d’un vol Veire la Margarido, Li raconta mon dol.

Bird sitting in the bush Sings a song That tells the story of my life. Then fly away Go to Marguerite, Tell her of my pain.

E digos li d’abort, Que yeu souy deja mort Despey quieu nou ley visto E qu’absent de son oel Yeu ey larmo tant tristo Quieu bouldrio’ estr’al tombel.

And tell her first That I almost died Since I last saw her And that without her gaze I have tears so sad That I wish I were in the grave.

Le bossu maumariée — Anonymous Mon père m’a mariée à un bossu : Le premier jour de mes noces, il m’a battue. Tu ne la verras plus, Petit bossu, ta femme ! Tu ne la verras plus, Petit bossu tordu !

My father married me to a hunchback: On my first wedding day he beat me. You will see her no more, little hunchback, your wife! You will see her no more, you twisted little hunchback!

Je m’en allis au jardin prier Vénus ; La prière que j’ai faite est advenue : Tu ne la verras plus, Petit bossu, ta femme ! Tu ne la verras plus, Petit bossu tordu !

I went to the garden to pray to Venus; My prayer came true: You will see her no more, little hunchback, your wife! You will see her no more, you twisted little hunchback!

J’ai trouvé le bossu mort sur ses écus : Je l’ai fait ensevelir dans de l’aglu. Tu ne la verras plus, Petit bossu, ta femme !

I found the hunchback dead on his shields: I had him buried in glue. You will see her no more, little Hunchback, your wife!

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Tu ne la verras plus, Petit bossu tordu !

You will see her no more, you twisted little hunchback!

Je l’ai fait ensevelir dans de l’aglu. J’ai fait de trois fétus Tu ne la verras plus, Petit bossu, ta femme ! Tu ne la verras plus, Petit bossu tordu !

I had him buried in glue. I made three piles You will see her no more, little hunchback, your wife! You will see her no more, you twisted little hunchback!

Quand je menais les chevaux boire — Anonymous Quand je menais les chevaux boire j’entendis le coucou chanter Il me disait dans son langage « ta bien-aimée ils vont l’enterrer » « Ah que dis-tu méchante bête j’étais près d’elle hier au soir » Mais quand je fus dedans la lande j’entendis les cloches sonner Et je fus dedans l’église j’entendis les prêtres chanter Donnais du pied dedans la châsse « réveillez-vous si vous dormez ! » « Non je ne dors ni ne sommeille, je vous attends dedans l’Enfer Vois ma bouche est pleine de terre et la tienne est pleine d’amour Auprès de moi reste une place et c’est pour toi qu’on l’a gardée. »

When I was leading the horses to drink I heard the cuckoo sing He said to me in his language, “your beloved, they will bury her.” “Ah what are you saying you wicked beast, I was near her last night.” But when I was on the moor I heard the bells ringing, And I was inside the church I heard the priests singing. I kicked the shrine: “Wake up if you’re asleep!” “No, I neither sleep nor slumber, I wait for you in Hell. See my mouth is full of earth and yours is full of love, There is still a place for me and it is for you that it has been kept.”

Dell’antro magico — Francesco Cavalli Dell’antro magico Stridenti cardini Il varco apritemi E fra le tenebri Del negro ospizio Lasciatemi. Sull’ arca orribile Del lago stigio I fuochi splendino E sù ne mandino Fumi che turbino La luce al sol.

The strident hinges Of the bewitched cave Make open the way, And through the depths Of the dark dwelling Let me pass. On the wretched altar Of the stygian lake Let the brilliant fires burn And offer up Shades which hide The light of the sun.

Dall’abbruciate glebe gran monarca dell’ombre intento ascoltami, e se i dardi d’Amor già mai ti punsero, adempi, o re dei sotterranei popoli, l’amoroso desio che ’l cor mi stimola,

From this desolate land, Listen to me attentively Great monarch of the depths, And if you have ever been struck by the dart of Love, Fulfill, O King of the subterranean peoples, The loving desire that stirs in my heart,

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e tutto Averno alla bell’opra uniscasi: i mostri formidabili, del bel vello di Frisso sentinelle feroci infaticabili, per potenza d’abisso si rendino a Giasone oggi domabili.

And all Averno with thee! May the frightening monsters, Fierce and tireless guardians Of the Golden Fleece, Be from the power of the depths Now subdued by Jason.

Dall’arsa Dite quante portate serpi alla fronte, furie, venite, e di Pluto gli imperii a me svelate. Già questa verga io scuoto, già percuoto il suol col piè;

From the burning Dite With all the serpents That you bear on your brow, Furies, come, And reveal to me the powers of Pluto. I shake this wand, My feet Strike the ground;

Orridi demoni, spiriti d’Erebo, volate a me.

Horrid demons, Spirits of Erebo, Fly to me.

Cosi indarno vi chiamo? Quai strepiti, quai sibili, Non lascian penetrar nel cieco baratro Le mie voci terribili?

In vain do I call you? What noise, what hissing, Prevents my terrible words from Reaching the blind depths?

Dalla sabbia di Cocito Tutta rabbia quà v’invito, Al mio soglio Qua vi voglio. Achesi tarda più? Numi Tartarei sù, sù, sù!

From the sands of Cocytus In rage I summons you, To my throne Here you must come. Why delay any longer? Go, go, divinities of Tartarus!

Sì, sì, sì, vincerà il mio re, a suo prò deità di la giù pugnerà; sì, sì, sì, vincerà, vincerà.

Yes, yes my king shall win, for his sake gods from below he will fight; yes, yes he will win, he will win.

Ed è pur vero; Luci mie — Francesco Cavalli Ed è pur vero, oh care, che persisti costante, e sei d’un marmo, e sei d’un Aspe Amante? Come per abbruciarti può trovar tanto ardar chi ardor non sente? Ah che da seize algente nascon le mie facelle: questo è vostro rigor, v’intendo, oh stelle! 2 023/ 20 2 4 SEASON

Is it true, my poor heart, That you persist, constant, to love a marble heart, to love the heart of an Asp? How can one who feels no ardor find such flames with which to burn? From a heart of stone my love bursts forth. How severe you are, O Stars!... 21

Luci mie, voi che miraste quel bel sol che m’abbagliò, vai che semplici cercaste il crin d’or che mi legò, voi che del mio penar la colpa avete, di dover lagrimar non vi dolete! Occhi miei, voi che godeste lo splendor d’una beltà, ch’ al mirarla par celeste, ma infernale ai dual che dà, voi che del mio penar la colpa avete, di dover lagrimar non vi dolete!

O, eyes who reflect the beautiful sun that blinds you, you who naively seek the golden hair that enveloped me, you alone, are the cause of my sorrows, should I pity you if you weep? O, eyes, who relish her beauty’s splendor, celestial when you admire her, cursed when she harms you, you alone are to blame for my sorrows, should I pity you if you weep?

E vuol dunque — Francesco Cavalli E vuol dunque Ciprigna, Per far contro di me gl’ultimi sforzi De’ più pungenti oltraggi Favorir chi le voglie hebbe si intese Ad offendermi ogn’hora. Che ne gl’impuri suoi principi ancora Prima d’esser m’offese? Chi pria di spirar l’aure Spiro desio si dannegiarmi, E doppo haver da petto mio Tratti i primi alimenti al viver suo Con ingrata insolenza D’uccidermi tentando osò ferirmi Ah, ch’intesi intesi disegni Ma non sia ch’a disfarli Altri m’insegni.

So, to inflict the most bitter outrage upon me, Juno, Venus wishes to protect him who still offends me! To offend me openly He who offended me before he even existed, who before he even drew breath, hatched the desire to harm me! And after receiving immortality from me, Venus dares to wound me by seeking to kill me? Ah, I have understood all their designs. I will not wait to be outstripped before I foil them.

Di reciproco affetto Ardon Hyllo e Iole E sol per mio dispetto L’iniqua Dea non vuole Ch’Imeneo li congiunga. Anzi procura per mio scomo maggiore Ch’il nodo maritale ond’è ristretto Ercole a Dejanira alfin si rompa; A ciò ch’Iole a questi Del di lei genitore empio omicida Con mostruosi amplessi oggi s’innesti. E con qual’arte oh Dio? con arti indegne D’ogni anima più vil, non che divina.

Hyllus like Iole burns with love… And it is only to offend me that the perverse goddess opposes this Hymen. She seeks to undo the marital knot that binds Hercules to Deianira so that Iole will submit to the monstrous embrace of the man who killed her father! What an outrageous device from a soul as vile as it is divine!

Ma in Amor ciò ch’altri fura Più d’Amor gioia non è E un’ insipida ventura Ciò ch’egli in dono ovver pietà non diè.

But in love, what is stolen Is no longer love’s bliss; It is an insipid adventure When the other does not consent.

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In Amor ciò ch’altri fura Più d’Amor gioia non è.

In love, what is stolen Is no longer love’s bliss.

Se non vien da grata arsura volontaria all’altrui fè can gia affatto di natura come con dita d’odio ogni mercé. In Amor…

When an agreeable pleasure Is not given freely to the other, It changes its nature, As if all were covered with hatred. In love… —Translation © Richard Neel

Ah miscredente; Piangete occhi dolenti — Francesco Cavalli Ah miscredente, ah ingrato non hà flagel Cocito egual al tuo peccato Inventi puri inventi novi strazi e tormenti il Giudice d’Averno che non potrà in eterno con feroce martire le colpe tue punire Troppo è grave il tu’ errore O Lidio traditore.

Ah doubting, ungrateful one Cocytus knows no scourge equal to your sin. The Judge of Averno may well invent new tortures and torments, but he cannot eternally mercilessly punish your faults. Your mistake is too great O Lidio, traitor!

Piangete occhi dolenti è al flebil pianto mio pianga la fonte, e il rio. Articolate accenti frontose, e mute piante de miei casi infelici selvaggie spettatrici, E narrate, narrate pietose à chi di quasen passa l’empia mia sorte, ahi lassa è l’altrui tradimento. Al mesto mio lamento, e Progne, e Filomena accompagnino i loro queruli, e tristi canti.

Weep, eyes of pain, and before the flood of my tears so weep the spring and the stream. Whisper, trees of many fronds, of my unhappy fate, wild spectators, And tell, tell of my fate with compassion to those who pass by, Alas, such is the treachery of others. That my sorrowful lament is joined by the plaintive, sad songs of Procne and Philomela.

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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. 26

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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 27

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! 30

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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 31

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 32

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

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B OST 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