Boston Early Music Festival: BEMF Vocal & Chamber Ensembles | October 16, 2021 by bostonearlymusicfestival

2021-2022 Season Together again!

BEMF Voc a l & C ha mber E ns emb l e s Paul O’Dette & Stephen Stubbs, Musical Directors

Saturday, October 16, 2021 7:30pm | New England Conservatory’s Jordan Hall

BEM F.or g

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

C AR L PH I L I PP E M A N UE L BAC H

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“I find the Carlophilipemanuelbachomania grow upon me so, that almost every thing else is insipid to me.” — Thomas Twining, letter to Charles Burney, 

Published by The Packard Humanities Institute cpebach.org

Dear Friends, I’m delighted to welcome you to the first concert of our 32nd annual concert series! As I write this, I have a program book open on the desk in front of me. It is for the concert by the Venice Baroque Orchestra that the Boston Early Music Festival presented on February 28, 2020—we left Emmanuel Church that night, floating on the glinting energy of Vivaldi and the echo of the glorious voice of Anne Hallenberg. None of us could have imagined that we would not all gather again, in a room brought to life by music, for nearly twenty months. It has been a tragic, disorienting, stressful, and sometimes even beautiful period since that night, and we have been able to share moments of grace and healing with a virtual Season and Festival while in-person performances have not been feasible. Finally, tonight, we have gathered again, here at the beginning of a new season, in a real room, for the joyous experience of being together, artists and audience alike, to celebrate music. It is altogether fitting that this first concert of our new season features our family—the incomparable musicians of the BEMF Vocal and Chamber Ensembles, under the leadership of our Grammy-winning Musical Directors Paul O’Dette and Stephen Stubbs—in a program devoted to Monteverdi’s late vocal works inspired by the subject of love in all its guises. The program features an outstanding roster of singers, including Grammywinning tenor Aaron Sheehan, Grammy-nominated soprano Teresa Wakim, soprano Danielle Reutter-Harrah, mezzo-soprano Cecilia Duarte, tenor Jason McStoots, and bassbaritone Jonathan Woody, alongside the all-star BEMF Chamber Ensemble with guest concertmaster Tekla Cunningham. What a treat to be able to gather once again in person! We hope you enjoy the performance this evening—or in a later virtual viewing—and that you will return for our three remaining 2021 programs, starting with the stellar Renaissance wind band Piffaro, on Sunday afternoon, November 14, at First Lutheran Church in Boston. Now, more than ever, please accept my heartfelt thanks for your continued support of and enthusiasm for the Boston Early Music Festival.

Kathleen Fay Executive Director

TABLE O F CON TENTS Concert Program Program Notes Artist Profiles Texts and Translations About BEMF Friends of BEMF 2 021–20 22 Seaso n

7 9 15 27 39 43 1

Photo: Rolf Schoellkopf

of “Nothing short

revelatory.” —Gramop

hone

Chri stop h G r au pne r

Antiochus und Stratonica ALSO AVAILABLE

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I n t ern atio n ally Award- Winning

Opera CDs

O RD E R To d ay at BE MF.O RG 2

B ost on E ar ly M us i c F est i val

Boson Early Music Fesival Man ag eme n t Kathleen Fay, Executive Director Carla Chrisfield, General Manager Maria van Kalken, Assistant to the Executive Director Brian Stuart, Director of Marketing and Publicity Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager Perry Emerson, Operations Manager Corey King, Box Office and Patron Services Manager Andrew Sigel, Publications Editor Nina Stern, Director of Community Engagement

Ar tistic L ead er ship Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

B oS t on E a rly M u s ic F est 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 ember s of the B E M F C or p oration Jon Aaron Debra K.S. Anderson Kathryn Bertelli Mary Briggs Diane Britton Douglas M. Brooks Gregory E. Bulger Julian G. Bullitt Deborah Ferro Burke John A. Carey Anne P. Chalmers Bernice K. Chen Joel I. Cohen David Cook† Brit d’Arbeloff Vivian Day Mary Deissler Peter L. DeWolf JoAnne W. Dickinson Richard J. Dix Alan Durfee Michael Ellmann Peter L. Faber Emily C. Farnsworth Dorothy R. Fay Kathleen Fay John Felton Frances C. Fitch Claire Fontijn Randolph J. Fuller James A. Glazier Marty Gottron Carol A. Haber David Halstead

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George L. Hardman Ellen T. Harris Richard Hester Jessica Honigberg Jennifer Ritvo Hughes Edward B. Kellogg Thomas F. Kelly Glenn A. KnicKrehm Christine Kodis John Krzywicki Kathryn Kucharski Robert E. Kulp, Jr. Ellen Kushner Christopher Laconi Lois A. Lampson Thomas G. MacCracken William Magretta Bill McJohn Miles Morgan Nancy Netzer Amy H. Nicholls James S. Nicolson Bettina A. Norton Scott Offen Lorna E. Oleck Henry P.M. Paap James M. Perrin Bici Pettit-Barron Amanda Pond Melvyn Pond Paul Rabin Christa Rakich Lee S. Ridgway Michael Rigsby

Douglas M. Robbe Michael Robbins Susan L. Robinson Patsy Rogers Wendy Rolfe-Dunham Loretto Roney Thomas Roney Ellen Rosand Valerie Sarles F. Williams Sarles† David W. Scudder Andrew Sigel Jacob Skowronek Arlene Snyder Jon Solins Robert Strassler Ganesh Sundaram Adrian C. Touw Peggy Ueda Donald E. Vaughan Ingeborg von Huene Nikolaus von Huene Howard J. Wagner Benjamin D. Weiss Ruth S. Westheimer Allan Winkler Hal Winslow Christoph Wolff Arnold B. Zetcher Ellen Zetcher † deceased

2011 | Niobe, Regina di Tebe | Philippe Jaroussky

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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. 6

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Boson Early Music Fesival

Presents

Boston Early Music Festival Vocal & Chamber Ensembles Paul O’Dette & Stephen Stubbs, Musical Directors Here I am, ready for kisses Hor che’l ciel, e la terra Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638

Claudio Monteverdi (1567–1643)

Chiome d’oro Concerto. Settimo libro de madrigali, Venice, 1619

Monteverdi

Eccomi pronta ai baci Concerto. Settimo libro de madrigali, Venice, 1619

Monteverdi

Sonata decimaquinta Sonate Concertate in Stil Moderno, Libro II, Venice, 1629

Dario Castello (fl. early 17th c.)

Ohimè ch’io cado Quarto scherzo delle ariose vaghezze, Milanuzzi, Venice, 1624

Monteverdi

Gira il nemico insidioso Amore Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638

Monteverdi

Lamento d’Arianna Madrigali a voce sola, Venice, 1623 – originally from L’Arianna, 1608

Monteverdi

Ogni amante è guerrier Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638

Monteverdi

Sonata decimasesta Sonate Concertate in Stil Moderno, Libro II, Venice, 1629

Castello

The Boston Early Music Festival thanks David Halstead and Jay Santos for their leadership support of tonight’s performance

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Lamento della Ninfa Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638

Monteverdi

Altri canti di Marte Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638

Monteverdi

Double-manual German harpsichord by Allan Winkler, Medford, Massachusetts, 1989, after Fleischer, property of the Boston Early Music Festival Continuo Organ by Bennett & Giuttari, Rehoboth, Massachusetts, Op. 6, 1996 Live Concert Saturday, October 16, 2021, 7:30pm New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts Virtual Concert Saturday, October 30 – Saturday, November 13, 2021 BEMF.org Boston Early Music Festival Vocal Ensemble Danielle Reutter-Harrah, soprano Teresa Wakim, soprano Cecilia Duarte, mezzo-soprano Charles Blandy, tenor Aaron Sheehan, tenor Jonathan Woody, bass-baritone Boston Early Music Festival Chamber Ensemble Tekla Cunningham, concertmaster Cynthia Roberts, violin Laura Jeppesen, viola & viola da gamba Erin Headley, lirone & viola da gamba Maxine Eilander, Baroque harp Michael Sponseller, harpsichord & organ Paul O’Dette, chitarrone Stephen Stubbs, chitarrone Antonio Oliart Ros, Recording Engineer Kathy Wittman, Videographer Program subject to change.

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Pro gram No tes Here I am, ready for kisses (Eccomi pronta ai baci): The many sides of love in Monteverdi’s madrigals In Claudio Monteverdi’s extraordinarily long composing career he led the way for the entire musical world from the Renaissance to the Baroque, from the a cappella madrigal to the fully realized “madrigali concertanti” replete with continuo accompaniment and obbligato strings, and from the early court opera to the world’s first public operas in Venice. The seventh book of madrigals, published under the title Concerto. Settimo libro de madrigali: à 1. 2. 3. 4. & Sei Voci, Con altri generide Canti (Venice, 1619), was a turning point, not only in Monteverdi’s publications, but in the very definition of the madrigal. No longer were madrigals assumed to be pieces for five voices, with or without continuo accompaniment: now they were concerti for one to six voices, always requiring the continuo, and frequently adding obbligato parts for strings. He published his eighth book of “madrigals” (Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638) when he was seventy-one years old, nineteen years after the seventh book. Book Eight holds a place of highest significance both for its contents and for its extensive preface. This preface serves as a kind of manifesto not only of his personal philosophy of composition, but for the aesthetic goals of modern music in his time. Monteverdi’s explicit aim was for music to express the entire range of human passions. He came to believe that there was a particular element heretofore missing from the expressive range of music, and he determined to supply it. Earlier composers, he believed, had realized only two of man’s three major passions: the soft and 2 0 21–20 22 Seaso n

the moderate. A third passion, agitation, was too important to be overlooked, and he now intended to rectify the omission: I have reflected that the principal passions or affections of our mind are three, namely, anger, moderation, and humility or supplication; so the best philosophers declare, and the very nature of our voice indicates this in having high, low, and middle registers. The art of music also points clearly to these three in its terms “agitated,” “soft,” and “moderate” (concitato, molle, and temperato). In all the works of earlier composers I have indeed found examples of the “soft” and the “moderate” but not of the “agitated,” a genus described by Plato in these words: “Take that harmony that would fittingly imitate the utterances of a brave man who is engaged in warfare.” And since I was aware that it is contrasts which greatly move our minds, and that this is the purpose which all good music should have—for this reason I have applied myself with no small diligence and toil to rediscover this genus. My development of this warlike genus has given me occasion to write certain madrigals that I have called guerrieri. And since the music played before great princes at their courts to please their delicate taste is of three kinds according to the method of performance, I have indicated these in my present work with the titles guerriera, amorosa, and rappresentativo. 9

The phrase “contrasts which greatly move our minds” explains not only the title of the book, but also the organization of the collection and nearly each work within it. For this collection, Monteverdi chose poems with highly contrasted or conflicting emotions, often depicting the lover as warrior, or the internal state of war in the lover’s heart. The two contrasting emotions of the title—warlike and amorous—become the subheadings for the two halves of the book: Canti Guerrieri for the first, and Canti Amorosi for the second. The two large works that open and close our program are emblematic of each half in turn. Hor che’l ciel, the quintessential canto guerriero, sets a magnificent sonnet by Petrarch that presents the opportunity for vivid musical contrasts: the night is serene with all of nature at peace, yet in the lover’s heart, war rages. But as seriously as he took the portrayal of war, it was love to which Monteverdi and all his poets returned as their natural subject. Love can be anything from a tragic fate to a delightful game, and no aspect of love was ignored in these works. The introduction to the Canti Amorosi is the setting of Marino’s poem Altri canti di Marte, which announces the poetic agenda “let others sing of War, I sing of Love.”

Hor che’l ciel, e la terra

(Monteverdi, Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638) With this deeply expressive setting of Petrarch’s sonnet, Monteverdi simultaneously declares his aesthetic allegiance to the venerated fourteenthcentury poet and also to the newest musical credo of limpid declamation. The piece begins with a hushed, almost motionless, depiction of the stillness of night… then erupts with the full force of Monteverdi’s new invention of musical warfare to depict the inner life of the harried lover. 10

Chiome d’oro

(Monteverdi, Concerto. Settimo libro de madrigali, Venice, 1619) One of Monteverdi’s most perennially popular pieces, this charming duet for a pair of sopranos, set against a pair of violins, dances along above a jaunty walking bass until the two moments depicting the lover’s death (in this genre, likely to be the “little death” of sexual climax), which are given an expansive and sensuous treatment.

Eccomi pronta ai baci

(Monteverdi, Concerto. Settimo libro de madrigali, Venice, 1619) Eccomi pronta ai baci is the piece which gives our program its name: this little vignette for three men’s voices begins with the trumpet call “Here I am, ready for kisses,” building to a visceral expression of outrage as the over-eager lover bites instead of kissing—and leaves marks!

Sonata decimaquinta

(Dario Castello, Sonate Concertate in Stil Moderno, Libro II, Venice, 1629) Dario Castello, whose biography is almost a perfect blank, was known to have worked at San Marco during Monteverdi’s regime as maestro di cappella there. His plastic and expressive music is the closest instrumental idiom we have to Monteverdi’s exclusively vocal output. The opening here in homophonic chords is reminiscent of the opening of Hor che’l ciel.

Ohimè ch’io cado

(Monteverdi, Quarto scherzo delle ariose vaghezze, Milanuzzi, Venice, 1624) The strophic variation, of which Ohimè ch’io cado is a brilliant example, allowed Monteverdi to compose in a popular vein without being tied to the stifling effect of normal strophic song in which, if the B o st on E ar ly M us i c F est i val

music is perfectly suited to the text of the first strophe, it can’t really fit the others.

dedicatee of Book Eight—the new Holy Roman Emperor, Ferdinand III.

Gira il nemico insidioso Amore

Sonata decimasesta

(Monteverdi, Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638) Although this piece has in common with Hor che’l ciel and Ogni amante è guerrier the use of Monteverdi’s concitato (warlike) style, it is here put to use in a jocular context that harkens back to the sixteenth-century Neapolitan canzone villanesca, which was a musical emanation of the large phenomenon of street theater known as commedia dell’arte.

Lamento d’Arianna

(from the lost opera L’Arianna, 1608) Arianna’s lament is perhaps Monteverdi’s most iconic and influential single composition. Arianna is abandoned by Theseus on the island of Naxos after having aided him in killing the Minotaur (her brother!). She has lost everything: father, mother, and country—and now Theseus. In her impassioned state she calls on the winds and monsters of the sea to overturn his boat and drown him. But no… she still loves him, and must therefore suffer and die alone. Monteverdi captures every nuance of Arianna’s emotional journey, and points the way to the future of operatic expression.

Ogni amante è guerrier

(Monteverdi, Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638) The title “Every Lover is a Warrior” expresses succinctly the atmosphere not only of this piece, but of the whole collection. Beginning with a tenor duet like those that had dominated the seventh book in 1619, the centerpiece of this work is an extended monologue for bass. It is during this section that Monteverdi pays explicit homage to the 2 021–20 22 Seaso n

(Dario Castello, Sonate Concertate in Stil Moderno, Libro II, Venice, 1629) Here we see Castello picking up Monteverdi’s idea of the stile concitato and transporting it to the realm of purely instrumental music.

Lamento della Ninfa

(Monteverdi, Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638) Amongst the various “staged” and “unstaged” compositions of Book Eight, the Lamento della Ninfa occupies a unique position. Although Monteverdi places it explicitly in the category of “genera rappresentativa,” its poetic origin is a modest canzonetta by Rinuccini, which had previously been set by other composers as a simple strophic song. Monteverdi, however, saw the potential to create a voice of the narrator for three men’s voices, and to organize the scena as a scene-setting prologue for the narrator, followed by the nymph’s hyper-expressive (one could easily say operatic) lament of lost love and abandonment, and ending with a summation from the trio.

Altri canti di Marte

(Monteverdi, Madrigali guerrieri, et amorosi…libro ottavo, Venice, 1638) This large-scale piece, designed by Monteverdi to introduce his Canti Amorosi, will serve for us as the farewell to this rich repertoire of striking contrasts, sensuous beauties, and stirring emotions. Next to the final operas, L’incoronazione di Poppea and Il ritorno d’Ulisse in patria, this is Monteverdi’s final musical will and testament. —Stephen Stubbs, 2021 11

2021-2022 Season Together again!

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

Enjoy Online & In Person—Learn more at BEMF.org! Save 10% when you subscribe to 3 or more programs n Sunday, November 14, 2021

4pm | First Lutheran Church, Boston

Piffaro

Joan Kimball & Bob Wiemken, Artistic Directors Point/Counterpoint: Fuguing in Renaissance Music

Danielle

Reutter-Harrah

The GRAMMY Award–winning BEMF Chamber Opera Series returns on Thanksgiving weekend! Saturday, November 27, 8pm Sunday, November 28, 3pm NEC’s Jordan Hall, Boston

Douglas

Williams Amanda

Forsythe B o st on E ar ly M us i c F est i val

n Friday, December 10, 2021

8pm | St. Paul Church, Cambridge

THE TALLIS SCHOLARS Peter Phillips, director

Josquin 500: Music of Josquin, Palestrina, and Byrd n Friday, February 18, 2022 8pm | St. Paul Church, Cambridge

Stile Antico Toward the Dawn: A musical journey from evening to sunrise

n Friday, February 25, 2022

8pm | St. Paul Church, Cambridge

Jordi Savall, director & Le Concert des Nations Les Fêtes Royales in Baroque Versailles n Saturday, March 26, 2022 8pm | First Church in Cambridge, Congregational

Juilliard415 & Royal Early Music Paul Agnew, director

C. P. E. Bach: Die Israeliten in der Wüste n Saturday, April 2, 2022 8pm | NEC’s Jordan Hall, Boston

Carolyn Sampson, soprano & Kristian Bezuidenhout, fortepiano Songs of Parting: Music by Mozart, Haydn, and others n Saturday, April 29, 2022 8pm | St. Paul Church, Cambridge

Ensemble Correspondances Sébastien Daucé, director

Septem Verba & Membra Jesu Nostri: Music of Buxtehude and Schütz 2 021–20 22 Seaso n

2019 GRAMMY NOMINEE!

M arc-A n toi n e C h arpe nt i e r

Les Plaisirs de Versailles Les Arts Florissants

ALSO AVAILABLE

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Paul O’Dette & Stephen Stubbs, Musical Directors

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AR TIS T PROFI L ES About the Directors

Paul O’Dette has been described as “the clearest case of genius ever to touch his instrument” (Toronto Globe and Mail). He appears regularly at major festivals throughout the world performing lute recitals and in chamber music programs with leading early music colleagues. Mr. O’Dette has made more than 150 recordings, winning two Grammy Awards and receiving eight Grammy nominations and numerous international record awards. The Complete Lute Music of John Dowland (a 5-CD set for harmonia mundi usa) was awarded the prestigious Diapason d’Or de l’Année, and was named “Best Solo Lute Recording of Dowland” by BBC Radio 3. The Bachelar’s Delight: Lute Music of Daniel Bacheler was nominated for a Grammy as Best Solo Instrumental Recording in 2006. While best known for his recitals and recordings of virtuoso solo lute music, Paul O’Dette is also active as a conductor of Baroque opera. Together with Stephen Stubbs he won a Grammy as conductor in 2015 for Best Opera Recording, as well as an Echo Klassik Award, for their recording of Charpentier’s La Descente d’Orphée aux Enfers with the Boston Early Music Festival Chamber Ensemble. Their CDs of Conradi’s Ariadne, Lully’s Thésée, and Lully’s Psyché, with the Boston Early Music Festival Orchestra on the CPO label, were nominated for Grammys in 2005, 2007, and 2008; their 2015 BEMF CD of Steffani’s Niobe, Regina di Tebe on the Erato/Warner Classics label was also nominated for a Grammy, and received both an Echo Klassik and the coveted Jahrespreis der deutschen Schallplattenkritik. Their recording of Charpentier’s Les Arts Florissants was nominated for Grammy in 2019. In addition to his activities as a performer, Paul O’Dette is an avid researcher, having worked extensively on the performance of seventeenth-century Italian and English solo song, continuo practices, and lute repertoire. He has published numerous articles on issues of historical performance practice, and co-authored the John Dowland entry in the New Grove Dictionary of Music and Musicians. Paul O’Dette is Professor of Lute and Director of Early Music at the Eastman School of Music and Artistic Co-Director of the Boston Early Music Festival. Stephen Stubbs, who won the Grammy Award as conductor for Best Opera Recording in 2015, spent a thirty-year career in Europe. He returned to his native Seattle in 2006 as one of the world’s most respected lutenists, conductors, and Baroque opera specialists. He now lives with his family in Santa Clarita, California. In 2007, Stephen established his new production company, Pacific MusicWorks (PMW), based in Seattle, reflecting his lifelong interest in both early music and contemporary performance. The company’s inaugural presentation was a production of South African artist William Kentridge’s acclaimed multimedia staging of Claudio Monteverdi’s opera The Return of Ulysses in a co-production with the San Francisco Museum of Modern Art. PMW’s performances of the Monteverdi 2 021–20 22 Seaso n

BlueHeron 23RD SEASON

SCOTT METCALFE, ARTISTIC DIRECTOR

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 ��     ��-�� �� Missa Sine nomine a 5

 ��-��   Obrecht, Daniel-Lesur, Sanlıkol

www.blueheron.org

Season 24

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� as the seasons return

October 23-24, 2021 at First Church in Boston Samuel Barber Summer Music for wind quintet, Op. 31 Kenneth Fuchs Quiet in the Land for flute, English horn, clarinet, viola & cello Zoltán Kodály Serenade for two violins & viola, Op. 12 Anton Bruckner String Quintet in F Major, WAB 112

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617-427-8200

“a seriously awesome rendering” - The Boston Globe

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Vespers were described in the press as “utterly thrilling” and “of a quality you are unlikely to encounter anywhere else in the world.” Stephen Stubbs is also the Boston Early Music Festival’s Artistic Co-Director along with his long-time colleague Paul O’Dette. Stephen and Paul are also the musical directors of all BEMF operas, recordings of which were nominated for six Grammy awards, including one Grammy win in 2015. Also in 2015, BEMF recordings won two Echo Klassik awards and the Diapason d’Or de l’Année. In 2017, they received the Preis der deutschen Schallplattenkritik. In addition to his ongoing commitments to PMW and BEMF, other recent appearances have included Handel’s Giulio Cesare and Gluck’s Orfeo ed Euridice in Bilbao, Mozart’s Die Zauberflöte and Così fan tutte for the Hawaii Performing Arts Festival, Handel’s Agrippina and Semele for Opera Omaha, Cavalli’s La Calisto and Rameau’s Hippolyte et Aricie for Juilliard, Mozart’s Il re pastore for the Merola program, and seven productions for Opera UCLA including Cavalli’s Giasone, Monteverdi’s Poppea, and Handel’s Amadigi. In recent years he has conducted Handel’s Messiah with the Seattle, Edmonton, Birmingham, Houston, and Nova Scotia Symphony orchestras. His extensive discography as conductor and solo lutenist includes well over 100 CDs, many of which have received international acclaim and awards.

About the BEMF Vocal Ensemble Charles Blandy has been praised as “a versatile tenor with agility, endless breath, and vigorous high notes”(Goldberg);“breathtaking” (Boston Globe); and “fearless” (New York Times). He was Evangelist in Bach’s St. Matthew Passion with Emmanuel Music, and appears in their Bach Cantata series; he has performed Bach’s Mass in B Minor with both Orchestra Iowa and the American Classical Orchestra (NYC). He has sung Handel’s Messiah with the Saint Paul Chamber Orchestra, Portland Baroque Orchestra, and American Bach Soloists. With Emmanuel Music he performed in John Harbison’s The Great Gatsby, Stravinsky’s Rake’s Progress, and Mozart’s Abduction from the Seraglio. He has also appeared with Tanglewood’s Festival of Contemporary Music, Boston Early Music Festival, Boston Modern Orchestra Project, Bach Choir of Bethlehem, Handel and Haydn Society, Exsultemus, and the Charlotte Symphony. He studied at Tanglewood, Indiana University, and Oberlin College. He is originally from Troy, New York. His website is at charlesblandy.com. A soloist on the Grammy-winning album Duruflé: The Complete Choral Works, Cecilia Duarte is a versatile singer praised by the New York Times as “a creamy-voiced mezzosoprano”; she specializes in early music and contemporary opera. Role premieres include Renata in the mariachi operas Cruzar la Cara de la Luna (Houston Grand Opera, Chicago Lyric Opera, San Diego Opera, El Paso Opera, New York City Opera, and in Europe and South America) and El Milagro del Recuerdo (HGO); Jessie Lydell in A Coffin in Egypt (HGO and the Wallis Annenberg Center); Gracie in A Way Home (HGO and Opera Southwest); 2 021–20 22 Seaso n

THE BȎSTȎN CAMERATA ANNE AZÉMA ARTISTIC DIRECTOR

THE BȎSTȎN CAMERATA

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

Harriet/First Responder in After the Storm (HGO); Alicia in Some Light Emerges (HGO); and Alma in the opera web series Star Cross’d (HGO). Other operatic roles include Maria in Maria de Buenos Aires and Tituba in The Crucible. She sings regularly with Ars Lyrica Houston and Mercury Houston, and is a member of the Kaleidoscope Vocal Ensemble. Cecilia is currently working on her first solo album, Reencuentros, a compilation of Latin American songs, produced by multiple Grammy-winner Blanton Alspaugh. Danielle Reutter-Harrah has performed with Boston Early Music Festival, Seattle Symphony Orchestra, Seattle Opera, California Bach Society, Baroque Chamber Orchestra of Colorado, and Early Music Vancouver, among others. Her favorite past performances include Monteverdi’s Il ritorno d’Ulisse in patria (Melanto) and Orfeo (La Musica/Messaggiera), Purcell’s Dido and Aeneas (Dido/Belinda), Bach’s Magnificat (soprano/alto soloist) and St. Matthew Passion (alto soloist), and Handel’s Messiah (soprano/alto soloist). Most recently, she joined the Whidbey Island Music Festival for a Schubert program with harp, guitar, and violin, as well as a concert of arias by Bach, Telemann, and Krieger. She joins Pacific MusicWorks during the holiday season for their annual Navidad! concert featuring underperformed music from Central and South America. She sings frequently with Seattle’s Byrd Ensemble and teaches privately. Danielle received her BM from the University of Denver’s Lamont School of Music and her MM from the San Francisco Conservatory of Music. Aaron Sheehan regularly performs in the United States, South America, and Europe. He enjoys a reputation as a first-rate interpreter of the works of Bach, Handel, and Mozart, and sang the title role in Boston Early Music Festival’s Grammy Award–winning recording of Charpentier’s opera La Descente d’Orphée aux Enfers. He has performed concerts at Tanglewood, Lincoln Center, the Metropolitan Museum of Art, Washington National Cathedral, the Early Music Festivals of Boston (BEMF), San Francisco, Vancouver, Washington D.C., Carmel, Regensburg, and the Halle Handel Festival, and with American Bach Soloists, Boston Baroque, Handel and Haydn Society, Opera Lafayette, Pacific MusicWorks, Philharmonia Baroque, and Tafelmusik. His roles with BEMF include L’Amour and Apollon in Lully’s Psyché, the title roles in Charpentier’s Actéon, Monteverdi’s Orfeo, Steffani’s Orlando generoso, and Handel’s Acis and Galatea, Demetrius in Graupner’s Antiochus und Stratonica, Apollon in Versailles: Portrait of a Royal Domain, Orfeo in Campra’s Le Carnaval de Venise, Eurimaco in Il ritorno d’Ulisse in patria, and Liberto/Soldato in L’incoronazione di Poppea. With a voice of “extraordinary suppleness and beauty” (New York Times), Grammy-nominated soprano Teresa Wakim won First Prize at the International Soloist Competition for Early Music, and has performed under the batons of Roger Norrington, Harry Christophers, Martin Haselböck, Ton Koopman, and Nicholas McGegan. Solo engagements include Bach’s Mass in B Minor, St. John Passion, and Magnificat with the Amsterdam Baroque Orchestra, Bach’s 2 0 21–20 22 Seaso n

CHAMBER MUSIC FESTIVAL

Folktales & Myths October 23 & 24, 2021

emmanuelmusic.org

BREMF@HOME 19 – 28 NOVEMBER

MYTHS & LEGENDS Brighton Early Music Festival’s digital offering BREMF@home returns to your screens this fall with ten high quality early music events 19 – 28 November 2021. Programmes include Italian madrigals from Fieri Consort and Monteverdi String Band; Mendelssohn’s Midsummer Night’s Dream filmed in a beautiful Tudor house and garden; and a programme tracing The Legend of London in the 17th century with Lux Musicae London.

More details at bremf.org.uk 20

BREMF brightonemf

brightonearlymusic brightonemf

B o ston E ar ly Mus i c F est i val

Wedding Cantata with the Cleveland Orchestra, Bach’s Missa Brevis with the San Francisco Symphony, Bach’s Magnificat and St. Matthew Passion with Wiener Akademie Orchester, Mozart’s Exsultate, jubilate with the Handel and Haydn Society and New World Symphony, and Handel’s Messiah with the Charlotte, San Antonio, Tucson, Alabama, and Houston Symphonies. In addition, she performs often with Apollo’s Fire, Pacific MusicWorks, Boston Baroque, and the Boston Early Music Festival, with whom she has recorded multiple acclaimed recordings, including the 2015 Grammy-winning La Descente d’Orphée aux Enfers by Marc-Antoine Charpentier. Bass-baritone Jonathan Woody is a soughtafter performer of early and new music across North America. He is regularly featured with leading historically informed orchestras including Portland Baroque Orchestra, Opera Lafayette, and Apollo’s Fire, and with ensembles including Les Délices, TENET Vocal Artists, and the Choir of Trinity Wall Street. Established in the world of new music as both performer and composer, Jonathan has had works commissioned and performed by the Choir of Trinity Wall Street, the Handel and Haydn Society, and the Cathedral Choral Society, and has premiered Pulitzer Prize–winning works including Du Yun’s Angel’s Bone and Ellen Reid’s p r i s m. Jonathan is committed to racial equity in the field of the performing arts, and currently serves on Early Music America’s Task Force for Inclusion, Diversity, Equity, and Access. Currently based in Brooklyn, New York, Jonathan holds degrees from McGill University and the University of Maryland, College Park. More information can be found at www.athloneartists.com/artists/jonathan-woody. The Boston Early Music Festival Vocal Ensemble débuted in November of 2008 in Boston with John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon. The ensemble is a collection of fine young singers dedicated to presenting choice operatic and other treasures as both soloists and members of the chorus, under the leadership of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs. The BEMF Vocal and Chamber Ensemble’s début recording of Charpentier’s Actéon, on the CPO label, was released in November 2010. Subsequent CPO releases include Blow’s Venus and Adonis in June 2011, the Charpentier opera double bill of La Descente d’Orphée aux Enfers and La Couronne de Fleurs in February 2014, which won the Grammy Award in 2015 for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera), Handel’s Acis and Galatea in November 2015, Charpentier’s Les Plaisirs de Versailles and Les Arts Florissants, which was nominated for a Grammy in 2019, and Lalande’s Les Fontaines de Versailles and Le Concert d’Esculape in September 2020. The BEMF Vocal Ensemble has mounted successful tours of its 2 021–20 22 Seaso n

��-�� SEASON

Reimagining, Rediscovering!

The Best of All Worlds — Online and In Person

Dramatic Return October 2

Earthly Baroque March 12

Sounding Joy December 18

Taking Inspiration April 30

French Baroque Cantatas and instrumental works

Festive, Classical-era Christmas selections

Instrumental selections that walk on the wild side

Handel and the fascinating musicians who caught his ear

Plus a new Delving Deeper episode: Sites and Sounds of Early Sudbury February 12

For more information, and to receive our season brochure, visit OldPostRoad.org

Join us for MUSICA SACRA’S FALL 2021 CONCERTS!

concerts

Reflections on the Present

www.musicasacra.org 617-349-3400

Music for Today’s Times october 23, 2021, 8:00 pm

all performances on saturdays at first church congregational 11 garden street cambridge, massachusetts

A European Christmas december 11, 2021, 7:00 pm

and

live streamed MUS I CA SACR A P.O.Box 381336 Cambridge, MA 02238-1336

(Note the time: to accommodate families)

Check our website for information about

Spring 2022 Concerts!

MARY BEEKMAN a r t i s t i c d i r e c to r

“. . . uncommonly fresh and direct — almost like breaking news.” —the boston globe

B o ston E ar ly Mus i c F est i val

chamber opera productions, including a four-city North American Tour of Acis and Galatea in early 2011 that included the American Handel Festival in Seattle, and a North American Tour of the Charpentier double bill in 2014.

About the BEMF Chamber Ensemble Violinist Tekla Cunningham specializes in bringing the music of the Baroque, Classical, and Romantic eras to life with vivid and expressive historically informed performances. Praised as “a consummate musician whose flowing solos and musical gestures are a joy to watch,” her performances have been described as “ravishingly beautiful” and “stellar.” She is Co-Artistic Director of Pacific MusicWorks in Seattle, Artist-in-Residence at the University of Washington, and Founder and Director of the Whidbey Island Music Festival. She plays regularly as concertmaster and principal player with the American Bach Soloists. Her new release Stylus Phantasticus with Pacific MusicWorks is delighting critics: “Tekla is a marvel…an endlessly songful bird.” Early Music America describes the recording as follows: “Played with verve, the music presented here reaffirms the old notion that instrumental music can have the flair of any theatrical spectacle.… a stellar vessel for the boldest showmanship.” Tekla plays on a violin made by Sanctus Seraphin in Venice in 1746. Her website is at www.teklacunningham.com. Maxine Eilander has had a thirty-year career performing on historical harps throughout Europe and the United States. She is the harpist for Pacific MusicWorks in Seattle and the Boston Early Music Festival. Recordings featuring Maxine as a soloist include Handel’s Harp, released on ATMA, with all of Handel’s obbligato music written for the harp, including his famous harp concerto, which she has also recorded with Tafelmusik (A Baroque Feast, Analekta). The release of William Lawes’ Harp Consorts on ATMA garnered much favorable press, including five stars from Goldberg Magazine. Other recordings include Sonata al Pizzico, Italian music for harp and Baroque guitar with duo partner Stephen Stubbs (ATMA), and Teatro Lirico, released on the ECM label. In 2012, she was invited to perform Handel’s Harp Concerto at the prestigious World Harp Congress in Vancouver. Maxine is adjunct professor of historical harps at the Thornton School of Music, USC. She also teaches in her home studio in Santa Clarita, California, as well as online Zoom sessions. Together with Stephen Stubbs she has begun publishing music through Proteamusic.com. Since 1980, Erin Headley has performed and recorded worldwide with an impressive array of ensembles, including Tragicomedia and Les Arts Florissants. She has also been a familiar artist at BEMF since 1997. As the world’s leading authority on the lirone, Erin has recently turned her attention to completing a documentary website, The Lirone: Stairway to Heaven, covering the instrument’s 200-year history in Florence and Rome (lirone.org). Based on her long 2 021–20 22 Seaso n

Boson Early Music Fesival 24

Sharing c! the musi

2019 | Orlando

CONVIVIUM MUSICUM

Michael Barrett, music director CHOI R FOR RENAISSANCE MUSIC

Cornucopia Music of Abundance

Saturday, November 2oth

Harvard-Epworth Church, Cambridge

Visit BEMF.org for “BEMF at Home” Enjoy video excerpts from over a decade of BEMF Opera productions!

Sunday, November 21st United Parish of Brookline

“rich, vital sound” – New York Times complete season info: 617-320-7445

w w w.c o nv iv ium .o rg B o st on E ar ly M us i c F est i val

research, each episode includes music from her recordings, to offer a showcase for the lirone’s stunning repertoire. Each soundscape becomes a Musica illuminata, with period paintings, scores, historical documents, narrations, and filmed staged performances. An essential part of the website is virtual instruction for lirone players with lessons based on the instrument’s sublime repertoire. Support for Erin’s work has included generous funding from the Arts and Humanities Research Council of Great Britain, a doctoral fellowship at the University of Southampton, a residency at Villa I Tatti in Florence, and a Penn State Distinguished Alumna award. Laura Jeppesen studied at the Hamburg Hochschule and the Brussels Conservatory and received a Master’s degree from Yale University. She has been a Woodrow Wilson Designate, a Fulbright Scholar, and a fellow of the Bunting Institute at Harvard. A prominent member of Boston’s early music community, she has long associations with The Boston Museum Trio, Boston Baroque, the Handel and Haydn Society, the Boston Early Music Festival, and Aston Magna. She has performed as soloist with conductors Christopher Hogwood, Edo de Waart, Seiji Ozawa, Craig Smith, Martin Pearlman, Harry Christophers, Grant Llewellyn, and Bernard Haitink. She has an extensive discography, including the gamba sonatas of J. S. Bach and music of Marin Marais, Buxtehude, Rameau, Telemann, and Clérambault. She has won awards of special distinction in teaching at Harvard in 2015 and 2019 and she is a 2017 recipient of a Mellon grant for innovative teaching at Wellesley College. Cynthia Roberts is one of America’s leading Baroque violinists, appearing as soloist, concertmaster, and recitalist throughout the U.S., Europe, and Asia. She is a faculty member of The Juilliard School and also teaches at the Curtis Institute, University of North Texas, and the Oberlin Baroque Performance Institute. She has given master classes at the University of Music and Performing Arts Vienna, Indiana University, Eastman, the Cleveland Institute, Cornell, Rutgers, Minsk Conservatory, LeopoldMozart-Zentrum Augsburg, Shanghai Conservatory, Vietnam National Academy of Music, and for the Jeune Orchestre Atlantique in France. She performs regularly with the Trinity Baroque Orchestra, Smithsonian Chamber Players, Tafelmusik, and the Boston Early Music Festival. She has performed as concertmaster of Les Arts Florissants and appeared with Bach Collegium Japan, Orchester Wiener Akademie, the London Classical Players, and the Taverner Players. She was featured as soloist and concertmaster on the soundtrack of the Touchtone Pictures film Casanova. Her recording credits include Sony, CPO, and Deutsche Harmonia Mundi. 2 021–20 22 Seaso n

Michael Sponseller is recognized as one of the outstanding American harpsichordists of his generation. A highly diversified career brings him to festivals and concert venues all around the world in recital, concerto soloist, and active continuo performer on harpsichord, organ, and fortepiano. After studies at the Oberlin Conservatory of Music with Lisa Goode Crawford and Royal Conservatoire The Hague, he garnered prizes at the International Harpsichord Competitions of Montréal and Bruges, including First Prizes at both American Bach Soloists and Jurow International Harpsichord Competitions, all before the age of 25. Since then, Mr. Sponseller appears regularly as harpsichordist and continuo organist with such Baroque ensembles as Aston Magna, Washington Bach Consort, Boston Early Music Festival Orchestra, Atalante, Tragicomedia, and Pacific MusicWorks, and with the Los Angeles Philharmonic. He is a regular presence at Boston’s Emmanuel Music Bach Cantata Series. In 2014, he became Associate Director of Bach Collegium San Diego. Mr. Sponseller can be heard on over 20 recordings from CPO, Avie, Delos, Centaur, Eclectra, and Naxos. The Boston Early Music Festival Chamber Ensemble was established in October of 2008, and delighted the public a month later at the inauguration of the Boston Early Music Festival Chamber Opera Series, which débuted in Boston with a production of John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon. The BEMF Chamber Ensemble is an intimate subset of the BEMF Orchestra. Depending upon the size and scale of a project, the BEMF Chamber Ensemble is led by one or both of BEMF’s Artistic Directors, Paul O’Dette and Stephen Stubbs, or by BEMF’s Orchestra Director Robert Mealy, and features the best Baroque instrumentalists from around the world. The BEMF Chamber Ensemble’s third CD on the CPO label, the Charpentier opera double bill of La Descente d’Orphée aux Enfers and La Couronne de Fleurs, won the Grammy Award in 2015 for Best Opera Recording. Their fifth CD, Steffani’s Duets of Love and Passion, featuring sopranos Amanda Forsythe and Emőke Baráth, tenor Colin Balzer, and baritone Christian Immler, was released in September 2017 in conjunction with a six-city tour of North America, and received a Diapason d’Or. Their sixth CD—of Johann Sebastiani’s 1663 Matthäus Passion—was recorded immediately prior to their presenting a concert of the work at the prestigious Musikfest Bremen, and was released in February 2018. The seventh CD, a return to Charpentier featuring Les Plaisirs de Versailles and Les Arts Florissants, was nominated for a Grammy in 2019, and the eighth, Lalande’s Les Fontaines de Versailles and Le Concert d’Esculape, was released in September 2020.

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TE XTS AND TRAN S L AT ION S Hor che’l ciel, e la terra Hor che’l ciel, e la terra e’l vento tace E le fere e gli augelli il sonno affrena, Notte il carro stellato in giro mena, E nel suo letto il mar senz’onda giace.

Now that heaven, earth, and wind are silent And slumber enthralls the beasts and birds, Night leads her starry chariot about And in her bed, the sea lies waveless.

Veglio, penso, ardo, piango, e chi mi sface Sempre m’è innanzi, per mia dolce pena. Guerra è il mio stato, d’ira e di duol piena; E sol di lei pensando ho qualche pace.

I wake, I think, I burn, I weep, for her whose face Is ever before me, to my sweet pain. War is my condition, full of both anger and grief, And only by thinking of her do I find some peace.

Così suol d’una chiara fonte viva Move’l dolce e l’amaro, ond’io mi pasco Una man sola mi risana e punge, E perchè’l mio morir non giunga a riva, Mille volte il dì moro, e mille nasco, Tanto dalla salute mia son lunge. —Text by Francesco Petrarca (Rime, CLXIV)

Thus, from a single clear living spring Come both the sweet and bitter on which I feed, A single hand both heals and wounds me, And since my torment has no end, A thousand times a day I die, and a thousand times reborn, So far am I from my salvation!

Chiome d’oro Chiome d’oro Bel tesoro, Tu mi leghi in mille modi Se t’annodi, Se ti snodi.

Tresses of gold Beautiful treasure You bind me in a thousand ways Whether you are knotted Or loosened.

Candidette Perle elette, Se le rose che coprite Discoprite, Mi ferite.

Whitest Most perfect pearls (teeth) If the roses which cover you, Reveal you, I am wounded.

Vive stelle Che sì belle E sì vaghe risplendete, Se ridete M’ancidete.

Bright stars (eyes) Which so beautifully And so gracefully shine If you laugh, You kill me.

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Preziose, Amorose, Coralline labbra amate, Se parlate Mi beate.

Precious, Amorous, Beloved lips of coral, If you speak, You bless me.

O bel nodo Per cui godo! O soave uscir di vita! O gradita Mia ferita!

O beautiful knots Which delight me! O sweet exit from this life! O how I enjoy My wounds!

Eccomi pronta ai baci Eccomi pronta ai baci Baciami, Ergasto mio, ma bacia in guisa Che dei denti mordaci Nota non resti nel mio volt’incisa; Perché altri non m’additi e in essa poi Legga le mie vergogne e i baci tuoi. Ai! Tu mordi e non baci, Tu mi segnasti, ai! ai! Poss’io morir se più ti bacio mai.

Here I am, ready for kisses Kiss me, my Ergasto, but kiss in such a way That no trace of biting teeth May leave a scar to mark my face; So that others may not point to it and in it Read my shame and your kisses. Ah! You bite and do not kiss, You leave a tell-tale sign, Ah! Ah! May I die if I ever kiss you again!

Ohimè ch’io cado Ohimè ch’io cado, ohimè, Ch’inciampo ancora il piè Pur come pria, E la sfiorita mia Caduta spene Pur di novo rigar, Con fresco lagrimar Hor mi conviene.

Alas, I fall, alas, For my foot slips again As it did before, And my withered, Lost hopes For renewed cruelty I must now water With fresh tears.

Lasso, del vecchio ardor Conosco l’orme ancor Dentro nel petto; Ch’ha rotto il vago aspetto E i guardi amati

Alas, that old passion I recognize again Within my heart; A beautiful face And a loving glance have broken

B o st on E ar ly M us i c F est i val

Lo smalto adamantin Ond’armaro il meschin Pensier gelati.

The hard enamel and Icy thoughts with which I, wretch, Armed myself.

Folle, credev’io pur D’aver schermo sicur Da un nud’arciero; E pur io sì guerriero Hor son codardo Ne vaglio sostener Il colpo lusinghier D’un solo sguardo.

Fool! That I believed I had a secure shield Against the naked archer; And yet I, such a warrior, Am now such a coward That I cannot endure The enticing blow Of a single glance.

O campion’ immortal Sdegno come si fral Hor fugge indietro A sott’armi di vetro Incauto errante M’hai condotto infedel Contro spada crudel D’aspro diamante.

O immortal champion Disdain! How pathetically You now flee And with armor of glass, Incautiously erring, You, traitor, have led me into The tip of a cruel sword Of hard diamonds.

O come sa punir Tirann’Amor l’ardir D’alma rubella, Una dolce favella Un seren volto, Un vezzoso mirar, Sogliono rilegar Un cor disciolto.

Oh, how well he knows how to punish, Tyrannical Love, the daring Of a rebellious soul; A sweet word, A lovely face, A charming glance, Can bind again A liberated heart.

Occhi belli, ah se fù, Sempre bella virtù Giusta pietate, Deh voi non mi negate Il guardo e’l riso, Che mi sia la prigion Per sì bella cagion Il Paradiso.

Beautiful eyes, if it has always been for you, That Virtue is kind And Mercy just, Oh, do not deny me The glance and the laughter That make my prison, With such beauty, Into a Paradise.

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Gira il nemico insidioso Amore Gira il nemico insidioso Amore La rocca del mio core. Su presto, ch’egli qui poco lontano, Armi alla mano!

The enemy, insidious Love, encircles The fortress of my heart. Quickly, act, for he is not far from here, Take up arms!

Nol lasciamo accostar, ch’egli non saglia Sulla fiacca muraglia, Ma facciam fuor una sortita bella; Butta la sella!

Don’t allow him to approach, nor leap Onto the weak rampart, But rather let us sally forth boldly, Saddle the horses!

Armi false non son, ch’ei s’avvicina Col grosso la Cortina. Su presto, ch’egli qui poco discosto, Tutti al suo posto!

Those are not fake weapons, he is nearing The gate with his forces. Quickly, act, for he is not distant, Everyone to his post!

Vuol degl’occhi attaccar il baloardo, Con impeto gagliardo. Su presto, ch’egli qui senz’alcun fallo, Tutti a cavallo!

He wants to attack the bastion of my eyes With an impetuous charge. Quickly, act, for he is here and no mistake, Everyone to his horse!

Non è più tempo, ohimè, ch’egli ad un tratto, Del cor padron s’è fatto. A gambe, a salvo chi si può salvare All’andare!

There is no more time, alas, for at a stroke He has become the master of my heart. To foot, save yourselves if you can, Fly!

Cor mio, non val fuggir, sei morto e servo D’un tiranno protervo, Che’l vincitor, che già dentro alla piazza, Grida: “Foco, ammazza!” —Text by Giulio Strozzi

My heart, you cannot flee, you are dead and the servant Of an arrogant tyrant, For the conqueror, already inside the court, Cries: “Fire, slaughter!”

Lamento d’Arianna Lasciatemi morire! E chi volete voi che mi conforte In così dura sorte, In così gran martire? Lasciatemi morire!

Let me die! And who do you think can comfort me In such a harsh fate, In such great suffering? Let me die!

B o ston E ar ly Mus i c F est i val

O Teseo, o Teseo mio, Sí, che mio ti vo’ dir, che mio pur sei, Benché t’involi, ahi crudo, a gl’occhi miei.

O Theseus, my Theseus, Yes, I still call you mine, for mine you are, Even though you flee, cruel one, from my eyes.

Volgiti, Teseo mio, Volgiti Teseo, o Dio! Volgiti indietr’a rimirar colei Che lasciato ha per te la patria e’l regno, E’n queste arene ancora, Cibo di fere dispietate e crude, Lascierà l’ossa ignude.

Turn back my Theseus, Turn back, O God! Turn back to see again, she Who for you forsook both country and kingdom. And who, here and now, is left, A prey to fierce and merciless wild animals, Leaving only her bare bones behind.

O Teseo, o Teseo mio, Se tu sapessi, o Dio! Se tu sapessi, ohimè, come s’affanna La povera Arianna, Forse, forse pentito, Rivolgeresti ancor la prora al lito.

O Theseus, my Theseus, If you knew, O God! If you only knew, alas, how she suffers The poor Arianna, Perhaps you would repent And turn your prow back to shore.

Ma con l’aure serene Tu te ne vai felice, Et io qui piango. A te prepara Atene Liete pompe superbe, Et io rimango Cibo di fere in solitarie arene. Te l’uno e l’altro tuo vecchio parente stringeran lieti, Et io più non vedrovi, o Madre, o Padre mio!

But with gentle breezes You go happily on your way, While I am left here to cry. For you Athens Prepares great feasts, While I remain, Food for beasts on lonely sands. You will embrace both of your elderly parents, And I will never see you again, O Mother, O Father!

Dove, dov’è la fede, Che tanto mi giuravi? Così nell’alta sede Tu mi ripon de gl’Avi? Son queste le corone, onde m’adorn’il crine? Questi gli scettri sono? Queste le gemm’e gl’ori? Lasciarmi in abbandono A fera che mi strazzi e mi divori?

Where is the faithfulness You swore so ardently? Thus do you seat me On the high throne of your ancestors? Are these the crowns to adorn my locks? Are these the scepters? The jewels and gold? To abandon me To wild beasts who will tear me apart and devour me?

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Ah Teseo, ah Teseo mio, Lascierai tu morire? In van piangendo, In van gridando aita? La misera Arianna Che a te fidossi e Ti diè gloria e vita.

Ah, my Theseus, Will you leave me to die? Weeping in vain, And calling for help? The wretched Arianna who trusted you, And who gave you glory And saved your life?

Ahi, che pur non rispondi! Ahi, che più d’Asp’è sordo a miei lamenti! O nembi, o turbi, o venti, Sommergetelo voi dentr’a quell’onde! Correte, orche e balene e delle membra immonde, Empiete le voragini profonde!

Alas, you don’t answer! Alas, you are more deaf than a serpent to my laments! O storm clouds, O turbulence and whirlwinds, Submerge him beneath these waves! Fly, you whales and sea monsters, and with his foul limbs, Fill the whirlpool deeps!

Che parlo? Ahi, che vaneggio? Misera, ohimè, che chieggio?

But what am I saying? Ah, what am I raving? Wretch, alas, what am I asking for?

O Teseo, o Teseo mio, Non son, non son quell’io, Che i feri detti sciolse: Parlò l’affanno mio, parlò il dolore; Parlò la lingua sì, ma non gia’l core.

O Theseus, my Theseus, It is not me Who unleashed those wicked words: It was my suffering that spoke, and my pain; My tongue spoke, yes, but not my heart.

Misera, ancor do loco A la tradita speme, e non si spegne. Frà tanto scherno ancor d’Amor il foco? Spegni tù morte omai le fiamme indegne.

Wretch that I am, I still give a place To my betrayed hopes, instead of extinguishing them? Amidst such scorn the fire of Love still burns? Death, put an end to those unworthy flames!

O Madre, o Padre, O de l’antico Regno Superbi alberghi, Ov’ebbi d’or la Cuna. O servi, o fidi Amici (Ahi, fato indegno!) Mirate, ove m’ha scorto empia fortuna, Mirate, di che duol m’ha fatto erede L’amor mio, la mia fede, E l’altrui inganno. Così va, chi tropp’ama e troppo crede. —Text by Ottavio Rinuccini

O Mother, O Father, O proud dwellings of my Childhood kingdom, Where my golden cradle stood. O servants, O friends (Ah, unworthy fate!) See, where cruel fate has led me, See, what sorrow I have inherited For my love, for my faithfulness And his betrayal! So it goes for one who loves too much, and trusts too much.

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B oston E ar ly Mus i c F est i val

Ogni amante è guerrier Ogni amante è guerrier: nel suo gran regno Ha ben Amor la sua milizia anch’egli. Quella fiorita età che’l duro pondo Può sostener de l’elmo e de lo scudo Negli assalti d’amor fa prove eccelse, Nè men scontio è veder tremula mano Per troppo età vibrar la spade e l’hasta Che sentir sospirar canuto amante.

Every lover is a warrior; in his great empire Love too has his militia. The flourishing age (youth), which can bear The heavy weight of helmet and shield Amidst the assaults of love, will prove its mettle. Nor is it less displeasing to see a hand, tremulous with age, Shaking a sword or lance, Than it is to hear the sighs of a gray-haired lover.

Ambo le notti gelide e serene E l’amante e’l guerrier traggon veggiando, Questi a salvar del capitan le tende, Questi a guardar l’amanti mura intento. Non mai di faticar cessa il soldato, Nè ripose già mai verace amante. Ambo sormonteran de’monti alpestri Le dure cime, ambo torrenti e fiumi Tra piogge e nembi varcheran sicuri. Non del vasto ocean l’onde spumanti, Non d’Euro o d’Aquilon l’orribil fiato Frenar potrà l’impetuosi cori Se di solcar il mar desio gli sprona. Chi, se non quei che l’amorosa insegna Segue o di Marte, al ciel notturno e fosco Può la poggia soffrir, le nevi e’l vento? Taccia pur dunque omai, lingua mendace, Di più chiamar otio e lascivia amore, Ch’amor affetto è sol di guerrier core.

Warrior and lover both spend the quiet cold nights without sleep, This one protects the captain’s tents, The other intently guards the beloved’s walls, The warrior never ceases his labors And the true lover never rests. Both scale the arduous summits Of rugged peaks, both cross torrents and rivers With firm steps amidst rain and storms. Neither the foaming waves of the vast ocean, Nor the terrible blasts of the east or north winds Can restrain their impetuous hearts If the desire to cross the sea spurs them on. Who but they who follow the banner of Love Or of War, in the dark and gloomy night Could endure the rain, the snow, and the wind? Let lying tongues be still And never again call love lazy and wanton, For love is a passion of the warrior heart alone. (Text continues; please turn page quietly)

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Io che nell’otio nacqui è d’otio vissi, Che, vago sol di riposata quiete, Trappassava non pur l’hore notturne Ma’i giorni intieri ancor tra molli piume, È tra grat’ombre, d’ogni cura scarco, Il fresco mi godea d’un’aura lieve Col roco mormorar d’un picciol rivo Che fea tenor degli augelletti al canto— Io stesso, poi che generosa cura Di bellissimo Amor mi punse il core All’hor che’l guardo volsi al divin lume Che sfavillar vid’io da quei belli occhi E’l suono udì che da rubini e perle Mi giunse al cor d’Angelica favella, Sprezzando gli agi di tranquilla vita, Non pur chiuggo a i gran dì tra il sonno i lumi, Ma ben sovente ancor e stelle e sera Cangiar vigile amante in Sol e in alba.

I, who was born in idleness and lived in idleness, Who desired nothing but restful ease, Spent not merely my nights But also entire days as well on my soft feather bed, And midst pleasing shades, free of all cares, Enjoyed the refreshment of gentle breezes With the gentle murmur of a little stream That played the tenor to the soprano of the birds’ song— Yet I, once the noble cares Of most beauteous love pierced my heart, At the moment when I turned my gaze toward the divine light Which I saw sparkling in those beautiful eyes, And heard the sound from rubies and pearls (lips and teeth) Of that angelic voice which pierced my heart, I now despise the comforts of the tranquil life, And no longer close my eyes to sleep in broad daylight, But now, quite often, this wakeful lover sees the stars and the night Change into the sun and the dawn.

Spesso carco di ferro all’ombra oscura M’en vo sicur ove il desio mi spinge, E tante soffro ogni hor dure fatiche, Amoroso guerrier, ch’assai m’en greve Misura in un col valoroso Hispano Tentar pugnando l’ostinato Belga, O pur la dove innunda i larghi campi L’Istro Real, cinto di ferro il busto, Seguir tra l’armi il chiaro e nobil sangue Di quel Gran Re ch’or su la Sacra Testa Posa il splendor del Diadema Augusto; Di quel Gran Re ch’alle Corone, ai Lauri, Alle spoglie, ai trionfi il ciel destina. O sempre glorioso, o sempre invitto,

Often, armed in iron, at dead of night I go with sure step wherever my desire drives me. And such hard labors do I constantly endure As a warrior of love, that it would be much less a burden To contest at once with the valorous Spaniard While attempting to battle the obstinate Belgian, Or—there where the regal Danube floods the broad fields, My breast girded in iron, To follow in arms the famous, noble scion Of that great king who now upon his sacred head Wears the splendor of the imperial diadem; Of that great king for whom crowns, laurels, Spoils, and triumphs, are predestined by Heaven. O, ever glorious, ever unconquered one,

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

Segui felice e fortunato a pieno L’alte vittorie e gloriose imprese, Che forse un dì questa mia roca cetra Ritornerà non vil nei tuoi gran pregi All’hor ch’al suon de l’armi Canterò le tue palme e i chiari allori. Quando l’hostil furor depresso è domo Dal tuo invitto valor, dal tuo gran senno, Udrà pien di spavento e di terrore L’Oriente sonar belliche squille, E sovra gran destrier di ferro adorno Di stupor muti i faretrati Sciti Tra mille e mille cavaglier’ e duci Carco di spoglie, O gran Fernando Ernesto, S’inchineranno alla tua invitta spada, Vinti cedendo le Corone e i Regni.

May you pursue, full of happiness and good fortune, Your exalted victories and glorious enterprises. Perhaps one day my poor lyre Will be found not unworthy to sing your great praises When, to the sounds of battle, I shall sing of your victories and proud laurels. When the enemy’s rage has been cast down and vanquished By your invincible valor, by your great wisdom, The Orient, full of fear and terror, shall hear The shrill sounds of war, And, on a great steed adorned with chain mail, The quiver-bearing Scythians, struck dumb in amazement, Will see you midst thousands and thousands of knights and captains, Laden with spoils, O mighty Fernando Ernesto, And will bow down before your invincible sword, And conquered, yield their crowns and empires to you.

Ma per qual ampio Egeo spieghi le vele Sì dal porto lontano, ardito amante! Riedi, che meco il mio cortese amico Veggio ch’a si gran corso, a sì gran volo, Di pallido timor dipinge il viso.

But on the wide Aegean sea you hoist your sails So far from port, bold lover! Return with me, for my noble friend I see, at so great a journey, so great a flight, Your face becomes pale with fear.

Riedi, ch’al nostr’ardir, ch’al nostro canto, Ch’ora d’armi e d’amor confuso suona, Scorger ben puote omai ch’Amor e Marte È quasi in cor gentil cortese affetto. —Text by Ottavio Rinuccini

Return, so that our courage, our song, In which the sounds of love and war are intermingled, May clearly show that Love and Mars Are both courtly sentiments in a noble heart.

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Lamento della Ninfa Non havea Febo ancora Recato al mondo il dì Ch’una donzella fuora Del proprio albergo uscì. Sul palidetto volto Scorgease il suo dolor, Spesso gli venia sciolto Un gran sospir dal cor. Si calpestando fiori Errava hor qua hor là, I suoi perduti amori Così piangendo va:

Phoebus had not yet Given daylight back to the world When a maiden emerged From her house. On her pale face Her sorrow could be seen, Often she unleashed A great sigh from her heart. Crushing the flowers underfoot She strayed now here, now there, Her lost love Thus she bewailed:

“Amor” dicea: il ciel Mirando, il piè fermò. “Amor, dov’è la fè Che’l traditor giurò? Fa che ritorni il mio Amor com’ei pur fu, O tu m’ancidi ch’io Non mi tormenti più.” (Miserella! Ah più no, no, Tanto gel soffrir non può.) “Non vo’ più ch’ei sospiri Se non lontan da me; No, no ch’ei martiri Più non dirammi affè. Perchè di lui mi struggo

“Amor,” she said: looking Into the heavens, standing still. “Amor, where is the faithfulness That the traitor swore? Make my love return to me As he once was, Or kill me, that I may No longer torment myself.” (Ah poor girl! No more, no more, She cannot bear such scorn.) “I don’t want him to sigh any more Unless he be far from me; No, nor his sufferings Be recounted to me, I swear. Because I torture myself for his sake

Tutt’orgoglioso sta, Che sì, che sì, se’l fuggo Ancor mi pregherà. Se ciglio ha più sereno Colei che’l mio non è, Già non rinchiude in seno, Amor, sì bella fè. Nè mai sì dolci baci, mai, Da quella bocca havrai,

He is filled with pride, But yes, yes, if I would flee him He would come begging me again. If she has a visage more beautiful Than mine, She! She! Yet enclosed in her heart is not Such a beautiful faithfulness as mine, Amor. Never again such sweet kisses, never, From that mouth shall you have,

B o st on E ar ly M us i c F est i val

Nè più soave—ah, taci, Taci, che troppo il sa.”

Nor ever the sweeter…ah, be silent, Be silent, for you know it only too well.”

Si tra sdegnosi pianti Spargea le voci al ciel, Così ne’ cori amanti Mesce amor fiamma e gel. —Text by Ottavio Rinuccini

And so, amongst indignant tears, She sent her words to the heavens, Thus it is in lover’s hearts, Love mingles fire and ice.

Altri canti di Marte Altri canti di Marte e di sua schiera Gli arditi assalti e l’honorate imprese, Le sanguigne vittorie e le contese, I trionfi di Morte horrida e fera.

Let others sing of Mars and his brigade: The bold assaults and glorious deeds, The bloody victories and the contests, The triumphs of horrid, cruel death.

Io canto, Amor, di questa tua guerriera: Quant’hebbe a sostener mortali offese, Com’un guardo mi vinse, un crin mi prese. Historia miserabile ma vera.

I sing, Love, of your [female] warrior, How many mortal wounds I had to endure, How a glance conquered me, a tress ensnared me. A sad story, but true.

Due belli occhi fur l’armi onde traffitta Giacque, e di sangue invece amaro pianto Sparse lunga stagion l’anima afflitta.

Two beautiful eyes were the arms that pierced, And in the place of bitter tears, drew blood, Pouring forth for so long from my afflicted soul.

Tu per lo cui valor la palma e’l vanto Hebbe di me la mia nemica invitta, Se desti morte al cor, dà vita al canto. —Text by Gian Battista Marino

You, through whose valor the honor and glory Taken from me are given my invincible enemy, If you give death to my heart, give life to my song! —All translations by Stephen Stubbs

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Tenor Aaron Sheehan in the 2017 production of Campra’s Le Carnaval de Venise Photo: Kathy Wittman

Boson Early Music Fesival International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

The Boston Early Music Festival (BEMF) is universally recognized as a leader in the field of early music. Since its founding in 1980 by leading practitioners of historical performance in the United States and abroad, BEMF has promoted early music through a variety of diverse programs and activities, including an annual concert series that brings early music’s brightest stars to the Boston and New York concert stages, and the biennial weeklong Festival and Exhibition, recognized as “the world’s leading festival of early music” (The Times, London). Through its programs BEMF has earned its place as North America’s premier presenting organization for music of the Medieval, Renaissance, and Baroque periods and has secured Boston’s reputation as “America’s early music capital” (Boston Globe).

In te r nat i onal Ba roq u e O p e ra One of BEMF’s main goals is to unearth and present lesser-known Baroque operas performed by the world’s leading musicians armed with the latest information on period singing, orchestral performance, scenic design, costuming, dance, and staging. BEMF operas reproduce the Baroque’s stunning palette of sound by bringing together today’s leading operatic superstars and a wealth of instrumental talent from across the globe to one stage for historic presentations, all zestfully led from the pit by the BEMF Artistic Directors Paul O’Dette and Stephen Stubbs, and creatively reimagined for the stage by BEMF Opera Director Gilbert Blin. 2 021–20 22 Seaso n

The twenty-first biennial Boston Early Music Festival in June 2021 took place virtually, and featured a video presentation of André Campra’s extraordinary Le Carnaval de Venise from the June 2017 Festival. The twenty-second Festival, in June 2023, will have as its centerpiece Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which will feature the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan. BEMF introduced its Chamber Opera Series during its annual concert season in 39

November 2008, with a performance of John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Lully, and most recently Francesca Caccini’s Alcina, the first opera written by a woman. Acis and Galatea was revived and presented on a four-city North American Tour in early 2011, which included a performance at the American Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011. Soprano Amanda Forsythe in the 2014 production of Pergolesi’s La serva padrona Photo: Kathy Wittman

BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Jean-Baptiste Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in B o st on E ar ly M us i c F est i val

September 2017 in conjunction with a sixcity North American tour, and a recording of Johann Sebastiani’s St. Matthew Passion was released in March 2018. Four Baroque opera releases followed in 2019 and 2020: a disc of Charpentier’s chamber operas Les Plaisirs de Versailles and Les Arts Florissants was released at the June 2019 Festival, and has been nominated for a Grammy Award; the 2013 Festival opera, Handel’s Almira, was released in late 2019, and received a Diapason d’Or. Lalande’s chamber opera Les Fontaines de Versailles was featured on a September 2020 release of the composer’s works; Christoph Graupner’s opera Antiochus und Stratonica was released in December 2020.

C eleb r ate d C on certs

Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, which always include the acclaimed Boston Early Music Festival Orchestra led by Orchestra Director Robert Mealy, and which often feature unique, once-in-a-lifetime collaborations and programs by the spectacular array of talent assembled for the Festival week’s events. In 1989, BEMF established an annual concert series bringing early music’s leading soloists and ensembles to the Boston concert stage to meet the growing demand for regular world-class performances of

early music’s beloved classics and newly discovered works. BEMF then expanded its concert series in 2006, when it extended its performances to New York City’s Gilder Lehrman Hall at the Morgan Library & Museum, providing “a shot in the arm for New York’s relatively modest early-music scene” (New York Times).

Wo r ld - fa m ou s E x h i b it 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.

A standing ovation for La storia di Orfeo in November 2019 Photo: Kathy Wittman

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B ec o me a F r i e n d o f t h e

Boson Early Music Fesival Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists. Our membership organization, the Friends of the Boston Early Music Festival, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.

Please join the Friends of the Boston Early Music Festival by donating at one of several levels: • Friend • Partner • Associate • Patron • Guarantor • Benefactor • Leadership Circle • Artistic Director’s Circle • Festival Angel

$45 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 $25,000

T hr ee way s t o g ive:

• Visit BEMF.org and click on “Give Now”. • Call BEMF at 617-661-1812 to donate by telephone using your credit card • Mail your credit card information or a check (payable to BEMF) to Boston Early Music Festival, 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764

Oth e r way s t o sho w y our suppor t:

• Increase your philanthropic impact with a Matching Gift from your employer. • Make a gift of appreciated stocks or bonds to BEMF. • Planned Giving allows you to support BEMF in perpetuity while achieving your financial goals. • Direct your gift to a particular area that interests you with a Named Gift. Questions? Please e-mail Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Thank you for your support! 42

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This list reflects donations received from July 1, 2020 to September 13, 2021 FESTIVAL ANGELS ($25,000 or more) Anonymous (2) Bernice K. & Ted (†) Chen Susan Donaldson David R. Elliott (†) Peter L. & Joan S. Faber Donald Goldstein David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm Miles Morgan Susan L. Robinson Andrew Sigel, in memory of Richard Sigel & Carol Davis Joan Margot Smith ARTISTIC DIRECTOR’S CIRCLE ($10,000 or more) Anonymous (3) Annemarie Altman, in memory of Dave Cook Brit d’Arbeloff Susan Denison Ellen T. & John T. Harris Barbara & Amos Hostetter Lorna E. Oleck Fritz Onion Nina & Timothy Rose Karen Tenney & Thomas Loring Donald E. Vaughan & Lee S. Ridgway LEADERSHIP CIRCLE ($5,000 or more) Anonymous (3) Mary Briggs & John Krzywicki Diane & John Paul Britton Katie & Paul Buttenwieser Tony Elitcher & Andrea Taras Marie-Pierre & Michael Ellmann Nicole Faulkner 2 021–20 22 Seaso n

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Susan Bronn David C. Brown David L. Brown, in memory of Larry Phillips Dinah Buechner-Vischer John A. Carey Carla Chrisfield & Benjamin D. Weiss Dr. Joseph Colofiore Linzee Coolidge Richard & Constance Culley Belden & Pamela Daniels Terry Decima Peter & Katie DeWolf Dorothy Ryan Fay Michael E. Fay Martin & Kathleen Fogle Peter B. & Harriette Griffin Phillip Hanvy Rebecca & Ronald Harris-Warrick H. Jan & Ruth H. Heespelink Michael Herz, in memory of Eric Herz James & Ina Heup Thomas & Sonja Ellingson Hout Ronald Karr Alan M. King Fran & Tom Knight Helen Kraus & Stephen Moody Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Drs. Peter Libby & Beryl Benacerraf Shenkiat Lim Daniel (†) & Harriet Lindblom MAFAA William & Joan Magretta John S. Major & Valerie Steele Amy Meyer Robert Neer & Ann Eldridge John M. & Bettina A. Norton Keith Ohmart & Helen Chen John R. Palys Neal J. Plotkin & Deborah Malamud Alice Robbins & Walter Denny Jose M. Rodriguez & Richard A. Duffy Thomas & Loretto Roney 43

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Eric Haas, in memory of Janet Haas Hope Hare Dr. Robert L. Harris Jasjit & Donald L. Heckathorn Mary Hepburn, in honor of Laura Jeppesen Jennifer L. Hochschild & C. Anthony Broh Beth F. Houston George Humphrey Jean Jackson, in memory of Louis Kampf Marietta B. Joseph Barry Kernfeld & Sally McMurry Wilfred & Leslie Kling Neal & Catherine Konstantin Robert & Mary La Porte Frederick V. Lawrence, in memory of Rosemarie Lawrence Joanne & Carl Leaman Clare Walker Leslie & David Leslie Catherine Liddell James Liu & Alexandra Bowers Jeffrey & Barbara Mandula Anne & William McCants Michael P. McDonald Thomas Michie Marilyn Miller Alan & Kathy Muirhead Joan L. Nissman & Morton Abromson Clara M. & John S. O’Shea William J. Pananos Henry Paulus Julia Poirier, in memory of Marc Poirier Amanda & Melvyn Pond Tracy Powers Harold I. Pratt Susan Pundt Paul Rabin & Arlene Snyder Anne & Dennis Rogers Patsy Rogers Carlton & Lorna Russell Irwin Sarason, in memory of Barbara Sarason Valerie Sarles Charles & Mary Ann Schultz Neil & Bonnie Schutzman Wendy Shattuck & Sam Plimpton Chuck Sheehan

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