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

2021-2022 Season Together again!

Le C once rt d e s N at io n s J o r di Savall , director Friday, February 25, 2022 8pm | St. Paul Church, Cambridge

BEM F.or g

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

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

�he �omplete �orks

“It seems to me that music primarily must touch the heart . . .” — C. P. E. Bach from his Autobiography ()

Published by The Packard Humanities Institute cpebach.org

Welcome Dear Friends, For more than three decades, the Boston Early Music Festival has proudly presented the great Catalan viola da gambist Jordi Savall both as a soloist and in collaboration with his ensembles Hespèrion XXI, La Capella Reial de Catalunya, and Le Concert des Nations. One of the most inspiring performers in the Early Music field, Jordi Savall is admired for his integrity and immense musical curiosity, and his creation of countless new musical and cultural projects over more than five decades has brought to light music that would otherwise have remained lost to us. He returns to BEMF with his extraordinary colleague musicians of Le Concert des Nations in a dazzling program of music written for the grand royal courts of France. These instrumental gems, spanning the 1620s through the 1740s, include works performed for Louis XIII alongside later ones for the Sun King and his successor by Marais, Rameau, François Couperin, and Leclair. We hope you will join us for the final three concerts of our 2021–2022 Season, beginning on Saturday, March 26 at First Church in Cambridge, when we present Juilliard415 directed by Paul Agnew in a program of the music of C. P. E. Bach. Then, just one week later, on Saturday, April 2 at NEC’s Jordan Hall, we present Early Music superstars Carolyn Sampson, soprano and Kristian Bezuidehout, fortepiano, in a duo recital of music by Mozart, Haydn, and their contemporaries, on the timeless themes of love and separation. And finally, on Friday, April 29, here at St. Paul Church in Cambridge, the outstanding musicians of Ensemble Correspondances, directed by Sébastien Daucé, round out our 32nd annual concert season with a program rooted in the Passion story, featuring works by Dieterich Buxtehude and Heinrich Schütz. We are also pleased to share the enclosed early announcement of our 2022–2023 Boston Early Music Festival Season. A full brochure with in-depth descriptions of all nine programs will be released in late spring. Please visit BEMF.org for the latest updates and information. Thank you for joining us for tonight’s performance, whether you are here in person or attending virtually, and please accept our warmest wishes for health and prosperity in the months ahead!

Kathleen Fay Executive Director

TABLE OF C ONTENTS

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Concert Program Program Notes Artist Profiles About BEMF Friends of BEMF

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

Ar t ist ic Lead er ship Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

B oS ton E a rly M u s ic Fest iva l , In c . 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

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Boson Early Music Fesival 2021 Chamber Opera Series Named Gift Sponsorships Boston Early Music Festival extends sincere thanks to the following individuals and institutions for their leadership support of Telemann’s Pimpinone and Ino:

Glenn A. KnicKrehm and Constellation Center Partial Production Sponsors

Katie and Paul Buttenwieser Partial Production Sponsors

Lorna E. Oleck Sponsor of Robert Mealy, Concertmaster, Marie-Nathalie Lacoursière, Stage Co-Director, Laura Jeppesen, viola, and the Pre-Opera Video

Andrew Sigel Sponsor of Danielle Reutter-Harrah, Vespetta, and Amanda Forsythe, Ino

George L. Hardman Sponsor of Todd Williams and Nathanael Udell, natural horn

Bernice K. Chen Sponsor of Gilbert Blin, Stage Co-Director and Costume Co-Designer

John Felton and Marty Gottron Sponsors of Paul O’Dette, Artistic Co-Director

David Halstead and Jay Santos Sponsors of Stephen Stubbs, Artistic Co-Director

Susan L. Robinson Sponsor of Melinda Sullivan, Dance Director

Donald E. Vaughan and Lee S. Ridgway Sponsors of Douglas Williams, Pimpinone

Two Admirers Sponsors of Michael Sponseller, harpsichord 4

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

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

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

Boson Early Music Fesival 2 0 2 1 – 2 02 2 N a med G if t S pon sor sh ips

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2021–2022 Season:

David Halstead and Jay Santos

Sponsors of the October 2021 performance by the BEMF Vocal & Chamber Ensembles

David M. Kozak and Anne Pistell

Sponsors of the February 2022 performance by Stile Antico

Susan L. Robinson

Sponsor of the March 2022 performance by Juilliard415

Joan Margot Smith

Sponsor of the April 2022 performance by Carolyn Sampson, soprano, and Kristian Bezuidenhout, fortepiano

George L. Hardman

Sponsor of the restoration of BEMF’s 5-octave fortepiano by Robert Smith, Boston, 1984

Annemarie Altman

Sponsor of Kristian Bezuidenhout, fortepiano, for his April 2022 performance with soprano Carolyn Sampson, in memory of Dave Cook

Bernice K. Chen

Sponsor of Jordi Savall, director and bass viol, for the February 2022 performance by Le Concert des Nations

Amanda and Melvyn Pond

Partial Sponsors of Nina Stern, Director of Community Engagement, and the Engaging Communities program

You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. Thank you. 6

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Boson Early Music Fesival

Presents

Le Concert des Nations Jordi Savall, director & bass viol

Les Fêtes Royales in Baroque Versailles

Louis XIII (1610–1643) Concert donné à Louis XIII en 1627 Les Ombres — Deuxième air pour les mêmes Les Suisses — Les Suissesses Les Gascons — Entrée de Mr. de Liancourt Les Valets de la Faiste Les Nimphes de la Grenouillere Les Bergers Les Ameriquains

Anonymous, collected by André Danican Philidor (ca. 1652–1730)

Louis XIV (1643–1715) Concert XLI à deux violes égales (ca. 1680): Le Retour Le Retour. En gigue. En menuet. En gigue. En courante. Ballet tendre. En pianelle

Mr. de Sainte-Colombe, le père (ca. 1640–ca. 1701)

Le Violiste du Roy Pièces de Viole du 2e, 4e et 5e livre (Paris, 1701, 1717, 1725) Marche Persane dite la Savigny Rondeau Champêtre Sarabande à l’Espagnol Fête Champêtre

Marin Marais (1656–1728)

Tonight’s concert is dedicated in loving memory to Ted Chen. Thanks to his remarkable dedication and support, he touched so many lives and brought such happiness. The Board of Directors, Staff, and Artists of BEMF 2 021–20 22 Seaso n

Les Concerts Royal Troisième Concert Royal (Paris, 1722) Prélude: Lentement Allemande: Légèrement — Courante Sarabande: Grave — Gavotte Muzette: Naïvement Chaconne: Légère

François Couperin (1668–1733)

Louis XV (1715–1774) Les Concerts du Roy

Pièces de Clavecin en Concerts (Paris, 1741) Tambourins I & II (3e Concert)

Jean-Philippe Rameau (1683–1764)

Sonate VIII à Trois in D Major, Op. 2, No. 8 “Avec un Violon ou Flûte Allemande, une Viole et Clavecin” Second livre de sonates (Paris, 1728) Adagio — Allegro Sarabanda: Largo — Allegro assai

Jean-Marie Leclair (1697–1764)

Double-manual French harpsichord by Allan Winkler, Medford, Massachusetts, 1991, after Donzelague, property of the Boston Early Music Festival. Jordi Savall’s seven-string bass viol by Barak Norman, London, 1697.

Live Concert Friday, February 25, 2022 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts Virtual Concert Friday, March 11, 2022 – Friday, March 25, 2022 BEMF.org

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L e Co n c e r t d e s N at io ns Manfredo Kraemer, violin Charles Zebley, flute Philippe Pierlot, seven-string bass viol Rolf Lislevand, theorbo Marco Vitale, harpsichord Jordi Savall, director & seven-string bass viol

Exclusive North American management for Jordi Savall and Le Concert des Nations: Alliance Artist Management, 5030 Broadway, Suite 812, New York, NY 10034. Program subject to change.

Ball Square Films & Kathy Wittman, Video Production Stephanie Rogers & Antonio Oliart Ros, Recording Engineers

This program is presented with the support of the Departament de Cultura of the Generalitat de Catalunya and the Institut Ramon Llull. This program is presented with the financial support of the Direction Régionale des Affaires Culturelles Occitanie.

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Boson Early Music Fesival Upcoming Concerts Paul O’Dette & Stephen Stubbs, Artistic Directors

n Friday, March 4, 2022 8pm | Virtual Premiere

Stile Antico Toward the Dawn: A musical journey from evening to sunrise n Saturday, March 26, 2022 8pm | First Church in Cambridge, Congregational

Juilliard415 Paul Agnew, director

Music of C. P. E. Bach 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 Friday, April 29, 2022 8pm | St. Paul Church, Cambridge

Ensemble Correspondances Sébastien Daucé, director

Septem Verba & Membra Jesu Nostri: Music of Buxtehude and Schütz

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PROGRAM Not e s At no other point in European history have the forces of culture and state been more deeply interwoven than in France’s Ancien Régime. The aesthetics and style of French Baroque music stemmed in large part from the musical institutions of the French court that, themselves, mirrored the rise and fall of the Bourbon Dynasty—from the ascendancy of the Musique du roi during the reign of Louis XIII (1610–1643) and the opulent cultural absolutism of Louis XIV (1643–1715), to the decadence and gradual decline of the royal musical establishment under Louis XV (1715– 1774). Much of the surviving music from the reign of Louis XIII comes down to us thanks to the archival efforts of André Danican Philidor l’aîné (the elder), a music librarian and principal copyist at Versailles in the late seventeenth century. The Concert donné à Louis XIII is found among the pieces in Philidor’s Recüeil de Plusieurs vieux Airs (copied in 1690) and was originally presented as part of a celebration of Louis XIII’s name day on August 25, 1627. The concert’s constituent movements appear to have been drawn together as a pastiche from ballets de cour performed in the preceding years, with several movements attributed to Louis Constantin (ca. 1585–1657), one of the Vingt-quatre Violons du Roy (The King’s 24 Violins)—the premier string band in the king’s service. The grandeur of the occasion is reflected in the fact that the concert featured not only the Vingt-quatre Violons but also the Douze Grands Hautbois (12 Great Oboes), thus bringing together the principal ensembles of the king’s Musique de la Chambre (music of the chamber) and his Musique de la Grande Écurie (music of the great stable), respectively. Philidor’s score implies that these two five-part ensembles played in alternation rather than together, with the movements intended for the oboe band versus the violin band specified as such. But it is also conceivable that these pieces were adapted to other instrumentations in other settings, as suggested by the two-part 2 021–20 22 Seaso n

Louis XIII

Painting by Peter Paul Rubens (ca. 1622–1625)

(melody and bass line) versions of many of the movements transmitted by Philidor in yet another of his archival manuscripts. The concert opens with the dark, stately harmonies of “Les Ombres” (the shadows); but darkness soon gives way to light with the arrival of the Deuxième Air’s sprightly rhythms and shift to major. Like many of the pieces in this set, “Les Suisses” (the Swiss men) and “Les Suissesses” (the Swiss women) are duple-time dances that incorporate contrasting triple-time sections. There is reason to believe that “Les Gascons”—a reference to the inhabitants of the Gascony region of southwest France—was composed by Louis XIII himself, given the dance’s subsequent inclusion in the king’s 1635 Ballet de la Merlaison. The “Entrée de Mr. de Liancourt” refers to Roger du Plessis, Duke of Liancourt, who served as the king’s Premier gentilhomme de la Chambre du Roi, while “Les Valets de la Faiste” evokes further ‘courtiers of the celebration’. The rollicking refrain of “Les Nimphes de la Grenouillere” (nymphs of the frog pond) is followed by the naïve, lilting melody of “Les Bergers” (the shepherds). The concert concludes exuberantly with “Les 11

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Ameriquains”—a reference, perhaps, to the Algonquin and Huron peoples who were, at the time, allied with the French in a campaign against the Iroquois following the 1608 founding of Québec City in the burgeoning North American colony of New France. In stark contrast to the grandiose and extroverted nature of music at court, the works of the illusive Monsieur de Sainte-Colombe (ca. 1640–ca. 1701) are characterized above all else by their introspection and intimacy. As the only composer featured here who was not directly affiliated with the court, it is perhaps not surprising that so little is known of SainteColombe’s life—even his first name remains a matter of debate. Nevertheless, he was revered as one of the greatest viol players of his day and is credited with several significant innovations, including a new left-hand technique and the addition of a seventh string (the low A) to the bass viol. A manuscript rediscovered in the late 1960s contains the master’s 67 Concerts à deux violes esgales; that is, viol duets, most bearing colorful or descriptive nicknames, which Sainte-Colombe was known to perform with his two daughters and various students. According to a note in the manuscript, Concert XLI: Le Retour (the return) was so named “because it returns to the repeat sign before beginning the gigue section.” Several familiar dance forms follow the opening movement and the work concludes with a pianelle, a dance in triple time that appears to be entirely unique to the oeuvre of Sainte-Colombe. Sainte-Colombe’s most illustrious student was Marin Marais (1656–1728), who eclipsed his teacher to become an ordinaire of the musique de la chambre du roi at the court of Louis XIV in 1679. Marais published five books of Pièces de Viole for bass viol and continuo accompaniment between 1686 and 1725, which collectively capture both the aesthetic heights of the Grand Siècle and the zenith of the viol as a solo instrument. In “Marche Persane” (Book 5) Marais employs strident dissonances, punctuated rhythms, and other orientalist conceits to conjure a vision of when Mohammad Reza Beg and his retinue marched 2 021–20 22 Seaso n

into Paris in 1715 to serve as the Shah of Persia’s ambassador to the French court. The alluring refrain of the “Rondeau Champêtre” contrasts with the stately poise of the “Sarabande à l’Espagnol” (both from Book 2), while the boisterous “Fête Champêtre” (Book 4) evokes a rustic festival and belongs to a series of pieces entitled Suite d’un Goût Étranger (suite in a strange style), wherein Marais pushed the technical and musical demands of his writing to new heights.

Louis XIV

Painting by Hyacinthe Rigaud (1701)

Although François Couperin (1668–1733) is primarily remembered today for his harpsichord works, he entered the service of the king as organiste du roi in 1693 and only became court harpsichordist in 1717, two years into the reign of Louis XV. But official titles notwithstanding, he was also engaged at court as a composer of chamber music, as exemplified by the four dance suites published as his Concerts Royaux. Couperin himself explains in the preface that he “composed them for the little chamber concerts to which Louis XIV had me come almost every Sunday of the year.” Like the other concerts in the set, the Troisième Concert Royal does not have a fixed instrumentation, but rather accommodates a range of performance scenarios, from harpsichord solo to instrumental trio. Couperin mentions the names of the court musicians with 13

Photo: Rolf Schoellkopf

of “Nothing short

revelatory.” —Gramop

hone

Chri stop h G r au pne r

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whom he performed these pieces; they included a violinist, a bass viol player, a bassoonist, and an oboist (who happened to be the son of the copyist Philidor), although he also specifies the flute as a possible treble instrument. Couperin published a second collection of concerts entitled Les goûts-réunis (The Tastes Reunited) in 1724, with the express purpose of incorporating elements of the Italian style that was taking Europe by storm—an aesthetic move that would have been unthinkable just a few decades earlier, and which presaged further musical developments to come.

Louis XV

Painting by Gustaf Lundberg (ca. 1740)

Following the death of Louis XIV in 1715, the monolithic culture industry centralized in Versailles gradually gave way to a more pluralistic approach to the arts as a facet of society as a whole—not just the monarchy. And so, while the influence of the court’s musical institutions subsisted well into the reign of Louis XV, French music culture increasingly developed independent of them. In this vein, Jean-Philippe Rameau (1683– 1764) represented a newer generation of musicians whose careers flourished largely outside of court circles; it was not until 1745, at the age of 60 and already famous, that Rameau finally received a royal appointment as Compositeur du Cabinet du Roi. Four years earlier, Rameau published his Pièces de clavecin en concerts, a collection of five trios 2 021–20 22 Seaso n

that feature the harpsichord in a soloistic role with an obbligato right-hand part alongside a violin (or flute) and bass viol, rather than as an accompanying continuo instrument. The final movement of the third concert consists of a pair of raucous tambourins (a kind of rustic Provençal dance); Rameau borrowed the Première Tambourin from his opera Castor et Pollux (1737) and later reused it together with the newly composed Deuxième Tambourin en rondeau in Dardanus (1744). While Rameau was regarded then, as now, as a revolutionary figure in French music, he innovated from within the prevailing style. Jean-Marie Leclair (1697–1764), in contrast, joined Couperin and others in appropriating elements of Italian music in hopes of imbuing their works with a new, hybridized style. A virtuoso violinist, Leclair studied in Italy before settling in Paris in 1723; he published his first of many collections of instrumental and chamber music that same year. Leclair eschewed the patently French genre of concert, choosing instead to adopt unabashedly the Italian construct of “sonata” for his chamber works. The Sonate VIII à Trois distinguishes itself as the only trio sonata among the sonatas for violin and continuo that otherwise comprise Leclair’s Second livre de sonates (1728). The slow–fast–slow–fast pattern of movements is characteristic of the sonata form popularized by throughout Europe by Arcangelo Corelli. His Italianate tastes notwithstanding, Leclair was appointed ordinaire de la musique by Louis XV in 1733 but resigned only four years later due to a disagreement with fellow court violinist Jean-Pierre Guignon over the directorship of the king’s orchestra—which, in any case, was hardly the ensemble it had been under Louis XIV. Ultimately, the once incomparable Vingt-quatre Violons disbanded in 1761, and less than thirty years later, the Bastille was stormed; as the monarchy fell, so too did the final vestiges of the Musique du roi. n — John McKean

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A r tis t Prof il e s Music is inevitably influenced by the personal circumstances of the person who composed it and by the social and cultural background at the time of its composition. The historical facts of each period, the composers, the instruments, the original intentions and motivations behind each score, comprise the palette for the player of ancient music, the imaginary backdrop for each new project.

performances throughout the main cities and music festivals around the world have earned the orchestra a reputation as one of the best orchestras playing period instruments and one that is capable of engaging with an eclectic and varied repertoire that includes the first music written for orchestra (the orchestra of Louis XIII, 1600–1650) up to the masterpieces of Romanticism and Classicism.

Le Concert des Nations orchestra was founded by Jordi Savall and Montserrat Figueras in 1989 during preparations for the Canticum Beatae Virgine by Marc-Antoine Charpentier in order to create an orchestra with period instruments capable of performing a repertoire that would encompass the Baroque to Romanticism (1600–1850). Its name is derived from the work of François Couperin, Les Nations, a concept that represents the meeting of musical tastes and the feeling that Art, in Europe, would always have its own mark, that of the Age of Enlightenment. Directed from the outset by Jordi Savall, Le Concert des Nations was the first orchestra made up from a majority of musicians from Latin countries (Spain, Latin America, France, Italy, Portugal, etc.), all of them being distinguished world specialists in the performance of ancient music on original period instruments and using historical criteria.

In 1992, Le Concert des Nations made its operatic début with Una cosa rara by Martín i Soler and went on to continue its operatic work with Monteverdi’s L’Orfeo, performed for the first time in 1993 and again in 1999, 2001, and 2002 at the Gran Teatre del Liceu in Barcelona, the Gran Teatro Real in Madrid, and in Beaune, Vienna, and Metz. In 1995, another opera by Martín i Soler was performed in Montpellier, Il burbero di buon cuore, and in 2000, Celos aun del Ayre matan by Juan Hidalgo and Calderón de la Barca was performed in a concert version in Barcelona and Vienna. Other notable opera productions are Vivaldi’s Farnace, premiered at the Teatro de la Zarzuela in Madrid (2001) and recorded, and Monteverdi’s L’Orfeo, which was finally recorded on DVD by the BBC/Opus Arte (2002), as was The Seven Last Words of Our Saviour on the Cross by Haydn in a co-production between Element Productions and Alia Vox (2007). n

Right from the beginning, Le Concert des Nations aimed to raise awareness about a historical repertoire of great quality through performances that rigorously respected the original spirit of each work, but performed with a revitalizing impulse. Good examples of this are the first recordings of Charpentier, J. S. Bach, Haydn, Mozart, Handel, Marais, Arriaga, Beethoven, Purcell, Dumanoir, and more recently the recordings made under the Alia Vox label of Lully, Biber, Bach, Boccherini, Rameau, and Vivaldi. The impact of the works and composers chosen, the recordings made and their 2 0 21–20 22 Seaso n

For more than fifty years, Jordi Savall, one of the most versatile musical personalities of his generation, has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless researcher into early music, he interprets and performs the repertory both as a gambist and a conductor. His activities as a concert performer, teacher, researcher, and creator of new musical and cultural projects have made him a leading figure in the reappraisal of historical music. Together with Montserrat Figueras, he founded the ensembles Hespèrion XXI (1974), La Capella Reial de Catalunya 17

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(1987), and Le Concert des Nations (1989), with whom he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around the world. Through his essential contribution to Alain Corneau’s film Tous les Matins du Monde, which won a César for the best soundtrack, his busy concert schedule (140 concerts per year), his recordings (six albums per year), and his own record label, Alia Vox, which he founded with Montserrat Figueras in 1998, Jordi Savall has proved not only that early music does not have to be elitist, but that it can appeal to increasingly diverse and numerous audiences of all ages. As the critic Allan Kozinn wrote in the New York Times, his vast concert and recording career can be described as “not simply a matter of revival, but of imaginative reanimation.” Savall has recorded and released more than 230 albums covering the Medieval, Renaissance, Baroque, and Classical music repertoires, with a special focus on the Hispanic and Mediterranean musical heritage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music Award, and the Grammy Award. His concert programs have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican, and North American musicians. In 2008 Jordi Savall was appointed European Union Ambassador for intercultural dialogue and, together with Montserrat Figueras, was named “Artist for Peace” under the UNESCO Goodwill Ambassadors program. He has played a seminal role in the rediscovery and performance of Una cosa rara and Il burbero di buon cuore by the composer Vicente Martín i Soler. He has also conducted Le Concert des Nations and La Capella Reial de Catalunya in performances of Monteverdi’s 2 021–20 22 Seaso n

L’Orfeo, Vivaldi’s Farnace, Fux’s Orfeo ed Euridice, and Vivaldi’s Il Teuzzone. Jordi Savall’s prolific musical career has brought him the highest national and international distinctions, including honorary doctorates from the Universities of Evora (Portugal), Barcelona (Catalonia), Louvain (Belgium), and Basel (Switzerland), the order of Chevalier de la Légion d’Honneur (France), the Praetorius Music Prize awarded by the Ministry of Culture and Science of Lower Saxony, the Gold Medal of the Generalitat of Catalonia, and the prestigious Léonie Sonning Prize, which is considered the Nobel prize of the music world. “Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time” (The Guardian). n

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“This is a

ne” o t s e il m y r o t la e rev e ramophon —G

George Frideric Handel

Almira

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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. 24

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

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

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

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

The twenty-first biennial Boston Early Music Festival in June 2021 took place virtually, and featured a video presentation of André Campra’s extraordinary Le Carnaval de Venise from the June 2017 Festival. The twenty-second Festival, in June 2023, will have as its centerpiece Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which will feature the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan. BEMF introduced its Chamber Opera Series during its annual concert season in 25

November 2008, with a performance of John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Lully, 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. Danielle Reutter-Harrah in BEMF’s 2021 production of Telemann’s Pimpinone Photo: Kathy Wittman

BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Jean-Baptiste Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in B os t on E ar ly Mus i c F est i val

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

Ce leb r ate d C o n ce rt s

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

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

Wo r l d - fa m ou s E x h i b i tion

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

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

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

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

Please join the Friends of the Boston Early Music Festival by donating at one of several levels: • • • • • • • • •

Friend Partner Associate Patron Guarantor Benefactor Leadership Circle Artistic Director’s Circle Festival Angel

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

T hr ee way s t o g ive:

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

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

• Increase your philanthropic impact with a Matching Gift from your employer. • Make a gift of appreciated stocks or bonds to BEMF. • Planned Giving allows you to support BEMF in perpetuity while achieving your financial goals. • Direct your gift to a particular area that interests you with a Named Gift. Questions? Please e-mail Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Thank you for your support! 28

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

Friends of the

Boson Early Music Fesival

This list reflects donations received from July 1, 2020 to January 20, 2022 FESTIVAL ANGELS ($25,000 or more) Anonymous (2) Bernice K. & Ted† Chen Brit d’Arbeloff Susan Donaldson David R. Elliott† Peter L. & Joan S. Faber Donald Goldstein David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm Miles Morgan Susan L. Robinson Andrew Sigel, in memory of Richard Sigel & Carol Davis Joan Margot Smith Donald E. Vaughan & Lee S. Ridgway ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Anonymous (6) Annemarie Altman, in memory of Dave Cook Katie & Paul Buttenwieser Susan Denison Tony Elitcher & Andrea Taras James A. Glazier Ellen T. & John T. Harris Barbara & Amos Hostetter David M. Kozak & Anne Pistell Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Bill McJohn Lorna E. Oleck Fritz Onion Nina & Timothy Rose Karen Tenney & Thomas Loring 2 021–20 22 Seaso n

LEADERSHIP CIRCLE ($5,000 or more) Anonymous Mary Briggs & John Krzywicki Diane & John Paul Britton Douglas M. & Aviva A. Brooks Beth Brown, in memory of Walter R.J. Brown Marie-Pierre & Michael Ellmann Nicole Faulkner Lori Fay & Christopher Cherry John Felton & Marty Gottron Victor & Ruth McElheny Ruth McKay & Don Campbell Hadley & Jeannette Reynolds Kenneth C. Ritchie & Paul T. Schmidt David & Marie Louise† Scudder Keith S. Tóth & John B. Herrington III Maria van Kalken & Hal Winslow Will & Alexandra Watkins Christoph & Barbara† Wolff BENEFACTORS ($2,500 or more) Anonymous (4) Alan Brener Pamela & Lee Bromberg John A. Carey Robert & Elizabeth Carroll Joan & Frank Conlon Linzee Coolidge Jean Fuller Farrington Kathleen Fay Dr. Katherine Goodman Maarten Janssen & Rosan Kuhn-Daalmeijer Robert E. Kulp, Jr. Drs. Peter Libby & Beryl Benacerraf Harriet Lindblom, in memory of Daniel Lindblom Mark & Mary Lunsford Stephen Moody Michael & Karen Rotenberg Joanne Zervas Sattley

Raymond A. & Marilyn Smith Anna Watkins GUARANTORS ($1,000 or more) Anonymous (5) Anonymous, in memory of Martha Davidson Judy Anderson & Tom Allen Jeffrey & Jennifer Allred, in memory of F. Williams Sarles Barry & Sarita Ashar Louise Basbas Dee Dee & John Brinkema, in memory of our son, Bobby Brinkema Susan Bronn David C. Brown David L. Brown, in memory of Larry Phillips Dinah Buechner-Vischer James Burr Shannon Canavin & Kevin Goodrich David J. Chavolla Carla Chrisfield & Benjamin D. Weiss J. R. Colofiore Dr. & Mrs. Franklyn W. Commisso Richard & Constance Culley The Cusack Family, in memory of J. Howland Auchincloss Belden & Pamela Daniels Terry Decima Peter & Katie DeWolf Alan Durfee Thomas G. Evans Dorothy Ryan Fay Michael E. Fay Martin & Kathleen Fogle Claire Fontijn, in memory of Dr. Arthur Fontijn Bruce A. Garetz David & Harriet Griesinger Peter B. & Harriette Griffin Phillip Hanvy Dr. Robert L. Harris 29

Rebecca & Ronald Harris-Warrick H. Jan & Ruth H. Heespelink Michael Herz & Jean Roiphe James & Ina Heup Jane Hoover Thomas & Sonja Ellingson Hout Ronald Karr Barry Kernfeld & Sally McMurry Alan M. King Fran & Tom Knight Robert & Mary La Porte Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Catherine Liddell Shenkiat Lim MAFAA William & Joan Magretta John S. Major & Valerie Steele David McCarthy Amy Meyer Marilyn Miller Robert Neer & Ann Eldridge John M. & Bettina A. Norton Keith Ohmart & Helen Chen Clara M. & John S. O’Shea John R. Palys Neal J. Plotkin & Deborah Malamud Amanda & Melvyn Pond Tracy Powers Paul Rabin & Arlene Snyder Alice Robbins & Walter Denny Jose M. Rodriguez & Richard A. Duffy Patsy Rogers Thomas & Loretto Roney Kevin Ryan & Ozerk Gogus Irwin Sarason, in memory of Suzanne Sarason Suzanne Sarason† Len & Louise Schaper Lynne & Ralph Schatz Arah Schuur Cynthia Siebert Dr. Glenn Sigl & Mr. John Self Elizabeth Snow Kerala & Richard Snyder Murray & Hazel Somerville, in honor of Robert Mealy Catherine & Keith Stevenson Campbell Steward David & Jean Stout Lisa Teot Adrian & Michelle Touw 30

Peter Tremain Kathy H. Udall Reed & Peggy Ueda David H. Van Dyke, in memory of Janet E. Van Dyke Patrick Wallace & Laurie McNeil Peter J. Wender Sarah Chartener Whitehead Kathleen Wittman & Melanie Andrade Ellen & Arnold Zetcher PATRONS ($500 or more) Anonymous (11) Druid Errant D.T. Allan-Gorey Debra K.S. Anderson Eric Hall Anderson Laila Awar Neil R. Ayer, Jr. & Linda Ayer Mary Baughman Jeffrey Bauman William & Ann Bein Seth Boorstein, in memory of Joan Boorstein Patricia Boyd Elizabeth A.R. & Ralph S. Brown, Jr., in honor of Kathleen Fay Julie Brown & Zachary Morowitz Robert Burger Robert Burton & Karen Peterson Elizabeth Canick Eleanor Anne Carlson Joseph & Françoise Connors Geoffrey Craddock Martina Crocker, in memory of William T. Crocker Eric & Margaret Darling Paul & Elizabeth De Rosa Carl E. Dettman JoAnne Walter Dickinson Ellen Dokton & Stephen Schmidt Charles & Sheila Donahue Diane L. Droste John W. Ehrlich Charles & Elizabeth Emerson David Emery & Olimpia Velez Susan Fairchild & Jeff Buxbaum Austin & Eileen Farrar Gregg, Abby & Max Feigelson Charles Fisk & Louis Risoli Kent Flummerfelt, in memory of Jane Flummerfelt

Lloyd Foster Elizabeth French Jonathan Friedes & Qian Huang Frederick & Barbara Gable Sandy Gadsby & Nancy Brown Sarah M. Gates Martha Gruson Eric Haas, in memory of Janet Haas Hope Hare Joan E. Hartman Jasjit & Donald L. Heckathorn Mary Hepburn, in honor of Laura Jeppesen Jennifer L. Hochschild & C. Anthony Broh Linda Hodgkinson Beth F. Houston George Humphrey Charles Bowditch Hunter Jean Jackson, in memory of Louis Kampf Judith L. Johnston & Bruce L. Bush, in memory of Daniel Lindblom Patrick G. Jordan Marietta B. Joseph Robert L. Kleinberg Wilfred & Leslie Kling Jason Knutson Neal & Catherine Konstantin Kathryn Mary Kucharski Frederick V. Lawrence, in memory of Rosemarie Lawrence Sarah Leaf-Herrmann Joanne & Carl Leaman Clare Walker Leslie & David Leslie Susan Lewinnek Lawrence & Susan Liden Marcia & Philip Lieberman Joan Lippincott Roger & Susan Lipsey James Liu & Alexandra Bowers Dr. Gary Ljungquist Robert & Janice Locke Kenneth Loveday Dr. & Mrs. Bruce C. MacIntyre Quinn MacKenzie Jeffrey & Barbara Mandula Carol Marsh Anne H. Matthews June Matthews Anne & William McCants Amy & Brian McCreath B o s t on E ar ly Mus i c F est i val

Michael P. McDonald Thomas Michie Alan & Kathy Muirhead Joan L. Nissman & Morton Abromson Richard & Lois Pace, in honor of Peter Faber William J. Pananos Eugene Papa Robert Parker Henry Paulus David & Beth Pendery Julia Poirier, in memory of Marc Poirier Gene & Margaret Pokorny Harold I. Pratt Susan Pundt Anne & Dennis Rogers Ellen Rosand Nancy & Ronald Rucker Carlton & Lorna Russell Paul Rutz, in memory of Sandra Henry Valerie Sarles Sharon Scaramozza Charles & Mary Ann Schultz Neil & Bonnie Schutzman Alison M. Scott Wendy Shattuck & Sam Plimpton Chuck Sheehan Michael Sherer David Shukis & Susan Blair Bettina Siewert, M.D. & Douglas L. Teich, M.D., in memory of David Elliott Ronald W. Stoia Theresa & Charles Stone Carl Swanson Ralph & Jeanine Swick Kenneth P. Taylor Lonice Thomas Mark S. Thurber & Susan M. Galli Edward P. Todd Nancy M. Tooney Peter & Kathleen Van Demark David Vargo & Sheila Collins Delores & Robert Viarengo Geoffrey Westergaard, in memory of David Eisler Allan & Joann Winkler Michael Wise & Susan Pettee Susan Wyatt The Zucker Family 2 021–20 22 Seaso n

ASSOCIATES ($250 or more) Anonymous (12) Jonathan B. Aibel & Julie I. Rohwein David A. & Connie D. Allred, in memory of F. Williams Sarles Helen Mae Allred & Sandy Grimmett, in memory of F. Williams Sarles Nicholas Altenbernd Lois Banta Elaine Beilin Helen Benham John Birks Sarah Bixler & Christopher Tonkin Sally & Charlie Boynton Derick & Jennifer Brinkerhoff Peter Bronk & Susan Axe-Bronk Caroline Bruzelius Andrew J. Buckler Carlo Buonomo Frederick Byron Anne Chalmers & Holly Gunner, in honor of Kathy Fay & the BEMF Staff Mary Chamberlain Peter Charig & Amy Briemer JoAnne Chernow Alex M. Chintella Floyd & Aleeta Christian Daniel Church & Roger Cuevas John K. Clark & Judith M. Stoughton Drs. Martin & Janet Cohen Sherryl & Gerard Cohen Edward L. Corbosiero Derek Cottier & Lauren Tilly Mary Cowden Christopher Curdo Elizabeth C. Davis Carl & May Daw Mr. & Mrs. Patrick J. Day Leigh Deacon Ellen R. Delany Robert Dennis Katharine B. Desai Mr. & Mrs. Dennis Dewitt Michael DiSabatino, in honor of Nancy Olson Tamar & Jeremy Kaim Doniger John F. Dooley Mark Elenko David & Noel English

Lori Fay & Christopher Cherry, in memory of Gerry Weber Janet G. Fink Gary Freeman Sarah French Anne & Walter Gamble Stephen L. Gencarello Hans Gesell Barbara Godard The Goldsmith Family Nancy L. Graham The Graver Family Lorraine & William Graves Winifred Gray Mary Greer Laury Gutierrez & Elsa Gelin Suzanne & Easley Hamner Eric & Dee Hansen Joseph & Elizabeth Hare G. Neil & Anne Harper Barbara & Samuel L. Hayes III Catherine & John Henn Roderick J. Holland Jessica Honigberg Sterling & Margaret Hopkins David Howlett John Hsia Keith & Catherine Hughes Alex Humez Francesco Iachello Laura Jeppesen & Daniel Stepner Paul & Alice Johnson Robin Johnson David K. Jordan Dian Kahn Lorraine Kaimal, in memory of Jagadish C. Kaimal Elizabeth Kaplan Robert Kauffman & Susan Porter Thomas F. Kelly & Peggy Badenhausen Louis & Susan Kern Peggy Kimball George Kocur Crystal Komm & Christopher Potter Scott-Martin Kosofsky & Betsy Sarles Benjamin Krepp & Virginia Webb Joseph Kung Katharine Kush Bruce Larkin Tom Law Jasper Lawson William & Betsy Leitch 31

Rob & Mary Joan Leith Diana Lempel Philip Le Quesne Alison Leslie Ricardo & Marla Lewitus Mary Maarbjerg Rodolfo Machado & Jorge Silvetti Peter G. Manson & Peter A. Durfee Marietta Marchitelli Carol & Pedro Martinez Margaret Matlin, Ph.D. James McBride Lee McClelland William McLaughlin John McLeod & Margaret Angelini David Montanari & Sara Rubin Randall E. & Karen Moore Rodney & Barbara Myrvaagnes Debra Nagy, in honor of Robert Mealy Lindsay & Mark Nelsen Paul & Rebecca Nemser Nancy Nicholson Caroline Niemira Nancy Olson & Charles Di Sabatino Louise Oremland John & Sandra Owens Kevin Oye & June Hsiao Cosmo & Jane Papa Tony & Kathy Pell Joseph L. Pennacchio Pauline & Mark Peters Bici Pettit-Barron Elizabeth V. Phillips Hon. W. Glen Pierson & Mr. Charles P. Reed Anne & François Poulet Rodney J. Regier Sandy Reismann & Dr. Nanu Brates Michael Robbins Marge Roberts Liz & David Robertson Arthur & Elaine Robins Sherry & William Rogers Alison & Jeff Rosenberg, in honor of Martha Gottron & John Felton Lois Rosow Rusty Russell Catherine & Phil Saines Raymond Schmidt & Stephen Skuce Robert & Barbara Schneider 32

Robert & Ann Schoeller Richard Schroeder & Jane Burns Helen Schultz Joyce Schwartz Michael & Marcy Scott-Morton Miriam N. Seltzer Terry Shea & Seigo Nakao Alexander & Kathy Silbiger Mark Slotkin Jon Solins Joseph Spector & Dale Mayer Louisa C. Spottswood Paola Stone Monica Strauss & Mark Vangel Jonathan Swartz Richard Tarrant Suzanne G. Teich Pierre Trepagnier & Louise Mundinger John & Dorothy Truman Donald Twomey & Michael Davison Dr. Tyler J. Vanderweele Robert Volante Richard & Virginia von Rueden Esther Weinstein Mary E. Wheat Barbara K. Wheaton Susan & Charles Wilkes John Wolff & Helen Berger Donald G. & Jane C. Workman Ellen L. Ziskind PARTNERS ($100 or more) Anonymous (29) Andrew Adler Joseph Aieta III Thomas Albanese Kenneth Allen & Hugh Russell Thomas Allen Cathy & William Anderson Robert Anderson Julie Andrijeski & J. Tracy Mortimore Laurie Andrus Jeffrey Angell Renee Ashley Katrina Avery & Thomas Doeppner Susan P. Bachelder Antonia L. Banducci Tim Barber & Joel Krajewski Dr. David Barnert & Julie A. Raskin Jim & Judy Barr Arthur & Susan Barsky

Rev. Joseph & Nancy Bassett Alan H. Bates Joseph Baxer & Barbara Anne Bacewicz Trevor & Dax Bayard-Murray Lawrence Bell Alan Benenfeld Aliesha Bennett Susan Benua Elliot Beraha Nadine Berenguier & Bernd Widdig John C. Berg & Martha E. Richmond Noel & Paula Berggren Judith Bergson Michael & Sheila Berke Larry & Sara Mae Berman Elaine Bianco William Birdsall Barbara R. Bishop Thomas N. Bisson, in memory of Carroll Bisson Katharine C. Black Deborah Boldin & Gabriel Rice Marylynn Boris Richard Borts Dr. Edmund A. Bowles Ann Boyer Katherine Bracher, in memory of Margriet Tindemans Susan Brainerd Spyros Braoudakis Susan Brefach & Don Estes Joel Bresler Laura Brewer & Neil Gershenfeld Catherine & Hillel Shahan Bromberg Amy Brown & Brian Carr Margaret H. Brown Nevin C. Brown L.T. Bryan Susan Bryant Russell & Dee Burgett Jean C. Burke John H. Burkhalter III Sally & Harold Burman Judi Burten, in honor of Phoebe Larkey’s 95th birthday Susan H. Bush Kevin J. Bylsma Pauline Ho Bynum Lisa Cacciabaudo Nicholas Calapa B os t on E ar ly Mus i c F est i val

John Caldwell Daniela Cammack Joseph Cantey Dennis J. & Barbara Carboni Pamela Carley & Lawrence Zukof James & Angela Carrington R. Cassels-Brown Verne & Madeline Caviness, in honor of Hildegard von Bingen Robert B. Christian Edward Clark & Joan Pritchard John Clark Alan Clayton-Matthews Alan M. Cohen & Marian Rambelle Joel I. Cohen, in honor of Anne Azéma, Officier, Ordre des arts et des letters de la République française Maria & Charles Coldwell Matthew Coleman Carol & Alex Collier Lois Evelyn Conley, in memory of Philip R. Conley Dorothea Cook & Peter Winkler Peter B. Cook Rita & Norman Corey, in honor of Jeanne Crowgey Robert Cornell Nelson Correa Mary C. Coward & John Empey Dan & Sidnie Crawford David Croll & Lynne Ausman Matthew & Ellen Cron Katherine Crosier, in memory of Carl C. Crosier Ruth Cross Gray F. Crouse Edwina J. Cruise Frank Cunningham & Anne Black Daniel Curtis Warren R. Cutler James Cyphers Matthew Dahl Gilbert Daniels Ruta Daugela Karen Davis, in honor of Amanda Forsythe Judith & Robert DeIasi Kate Delaney Jeffrey Del Papa Deborah & Forrest Dillon Sarah Dillon & Peter Kantor 2 021–20 22 Seaso n

Kathryn Disney Mark Dodd & Linda Brock Charles & Beverly Donohue Annette I. Dorsky Priscilla Drucker Laura Duffy Rev. S. Blake Duncan Ben Dunham & Wendy Rolfe-Dunham John Dunton & Carol McKeen Robert Echols Philip & Deborah Edmundson Ms. Helen A. Edwards Karen M. El-Chaar, Esq. Anne Engelhart & Douglas Durant Charles Epstein Jane Epstein Paula Erikson Jake Esher Laureen Esser Richard Fabian Susan Farr Lila M. Farrar Marilyn Farwell Peter Fejer Grace A. Feldman, in memory of J.P. Feldman Kevin Feltz Annette Fern Janine Ferretti Robert & Janeth Filgate Carol L. Fishman Jocelyn Forbush Deborah Fox & Ron Epstein Patrick Joseph Fox, in honor of Dr. Nancy Olsen Lillian Fraker Matthew P. Fraleigh Elizabeth Fraser Peter Frick Carole Friedman Friends R. Andrew Garthwaite William Gasperini Dr. Aisling Gaughan & Kent Russel Thatcher Lane Gearhart Ronald & Gisela Geiger Gary Gengo Monica & David Gerber David & Susan Gerstein Michael Goldberg Susan Goldhor, in memory of Aron Bernstein

Diane Goldsmith Jeffrey Goldsmith Lisa Goldstein Joseph Grafwallner Kim T. Grant Frances Gratz John C. Gray Jr. Ellen & James Green Margaret Griffin & Roger Weiss Thomas H. & Lori B. Griswold John Gruver & Lynn Tilley Peter F. Gustafson Christine Guth Joshua Guttman Richard & Les Hadsell Harry & Sharen Hafner Barbara & Markos Hankin Patrick & Judith Hanlon Benjamin F. Harris David J. Harris, MD Elizabeth Harris Jill B. Hartman Elwood Headley Deborah Healey Diane Hellens Karin Hemmingsen Elizabeth Durfee Hengen Steve Herbert & Ursula Ziegler Olmo Heredia-Blanco Katherine A. Hesse Raymond Hirschkop John & Olivann Hobbie Ellsworth Hood, in memory of Margaret Hood Victoria Hoover Margaret Hornick Valerie Horst & Benjamin Peck Chris & Marie R. Hudson Judith & Alan Hudson Michelle Humphreys Priscilla Hunt & Victor Lesser Robert Hunt & Irene Winter Joe Hunter & Esther Schlorholtz Charles & Nan Husbands, in honor of Paul O’Dette Willemien Insinger Charlotte Isaacs Susan L. Jackson Deborah L. Jameson Susan Jaster & Ishmael Stefanov-Wagner Donna Jeker Gayle Johnson 33

Robert & Selina Johnson June Kagdis Robert & Susan Kaim Joan Kapfer & Michael Jorrin Ward Keeler Martha Keith Alison Kelley Seamus & Marjorie Kelly Roger & Mary Jane Kelsey Joseph J. Kesselman, Jr. David Kessler David P. Kiaunis John R. Kimball Jeremy Kindall Leslie & Kimberly King John N. Kirk Gerhart & Brigitte Klein Naomi Reed Kline Kathryn Kling Carol & Arnold Klukas Sara M. Knight Christine Kodis Ellen Kranzer Barbara & Paul Krieger Katherine Krueger Jan Krzywicki & Susan Nowicki Bob Kunzendorf & Liz Ritvo David Laibstain Dennis G. Lamser Peter A. Lans Charles E. Larmore Stephen J. Leahy Drs. Lynne & Sid Levitsky Michael Lew Calien Lewis & Martha Mickles Ellen R. Lewis Susan & Walter Lichtenstein Rebecca Lightcap Signe Lindberg Jose & Rebecca Lora Liz Loveland Daniel Lynch & Elaine Dow Deidre Lynch Sandra & David Lyons Mary Malloy & Stuart Frank Thomas & Susan Mancuso Douglas & Amanda Maple Judith Mason Sally Mayer Donna McCampbell Dr. & Mrs. James R. McCarty, in memory of William R. Dowd 34

Peter McCormick Kathleen McDougald George McKee Sharon McKinley Dave & Jeannette McLellan Cynthia Merritt Gerald & Susan Metz Ruth Milburn George D. & Barbara A. Miller Margo Miller Mary Lou Miller Myron Miller Nicolas Minutillo Nathaniel & Judith Mishkin Robert C. Mitchell Richard Molitor Kathleen Moore Martha Morton Wes & Sandy Mott, in memory of Harry Nargiss Mouatta Jennifer Moxley & Steve Evans Lynn Mulheron Seanan Murphy Myrna Nachman Arthur Ness & Charlotte Kolczynski Katharine Newhouse Amy Nicholls Jeffrey Nicolich Lyle & Patricia Nordstrom Nancy Nuzzo Karen Oakley & John Merrick Herbert G. Ogden & Catherine Thomas Clifford & Frances Olsen Monika Otter David & Claire Oxtoby Gene & Cheryl Pace Faith Parker Beth Parkhurst, in memory of Cheryl M. Parkhurst Susan Patrick Susan Patrick, in memory of Don Partridge Sally & Rand Peabody Jim Pendleton Phillip Petree John Petrowsky Rebecca Petteys Andrea Phan Lys McLaughlin Pike Mary Platt

Theodore Popoff & Dorothy Silverstein Susan Porter Charles & Elizabeth Possidente David Posson Stephen Poteet & Anne Kao Susanne & John Potts Dr. Olena Prokopovych Virginia Raguin, in memory of Christopher Chieffo Christa Rakich & Janis Milroy Sarah & Eben Rauhut Sandra Ray John & Sue Reed Ruth E. Reiner Susan Reutter-Harrah Emery & Joyce Rice Julia & Stephen Roberts Julia W. Robinson Randy Robinson Sue Robinson Richard Rodgers Michael Rogan & Hugh Wilburn Paul Rosenberg & Harriet Moss Barbara Roth Peter & Linda Rubenstein Lisa & Gary Rucinski James V. Ryan Cheryl K. Ryder Kate Salfelder Gregory Salzman Susan Sargent & Tom Peters Josef Schmee David Schneider & Klára Móricz Raymond Schneider Fred Scholz Elly Schottman Michael Schreiner Lynn & Mary Schultz Peter Schuntermann Susan Schuur Judith Arlene Schwantes Jeffrey Schwotzer Janet Scudder & Carl Fristrom David Sears Jean Seiler Maureen Shea Ann Shedd & Mark Meess Aaron Sheehan & Adam Pearl Kathy Sherrick Marilyn Shesko Kazuki Shintani Daniel & Ruth Shoskes B o s t on E ar ly Mus i c F est i val

Barbara Sidley, in memory of Nathan T. Sidley Michael & Rena Silevitch Harvey A. Silverglate, in memory of Elsa Dorfman Hana Sittler Sandra Sizer John & Carolyn Skelton Ellen & Jay Sklar Elizabeth Wade Smith Elliott Smith & Wendy Gilmore Gregory Smith Jim Smith & Joan Miller David Snead & Kate Prescott William & Barbara Sommerfield Piroska Soos Gabriella Spatolisano Kathleen Moretto Spencer Joseph & Kelley Spoerl Scott Sprinzen George Stalker & Jean Keskulla Douglas H. Steely & Palma A. Bickford Bruce Steiner Esther & Daniel Steinhauer Ann Stewart Mary Stokey Helen Stott Elliott & Barbara Strizhak Alan & Caroline Strout Imogene A. Stulken & Bruce Brolsma Richard Stultz Richard Stumpf Jacek & Margaret Sulanowski Ronald Suleski Bob & Eileen Sullivan Richard & Louise Sullivan Robert G. Sullivan & Meriem Pages Jack Summers Ganesh & Monika Sundaram Timothy Swain Nancy Rutledge Swan Lois Swirnoff Elizabeth Sylvester Jeffrey & Boryana Tacconi, in memory of Nikolay Tonev Margaret W. Taft, in memory of Seymour Hayden Jocelyn R. Tager, Ph.D. & Michael Fredrickson Ryan Taliaferro Lee & Judith Talner 2 021–20 22 Seaso n

Eleanor H. Tejirian Roy W. & Ute Tellini Lisa Terry John Thier, in honor of Essential Workers Judith Ogden Thomson Donald Trageser Joseph Tulchin, in memory of Kate Heery Tulchin John & Anne Turtle Barbara & John VanScoyoc Judy von Loewe Mandy Waddell & Irene Cramer Robert & Therese Wagenknecht Rosemary Waldrop Sonia Wallenberg Hilary & John Ward Marian M. Warden Prof. Eldon L. Wegner Thomas & LeRose Weikert Cheryl S. Weinstein Ronald Weintraub The Westner Family Peter White Rev. Roger B. White, in memory of Joseph P. Hough Marina & Robert Whitman Robert Williams, in honor of Annette Fern David L. Williamson Phyllis Wilner Dr. & Mrs. Randall S. Winn Charlotte Winslow Renate Wolter-Seevers Jeff & Lisa Woodruff John H. & Susan Yost Kurt-Alexander Zeller † deceased FOUNDATIONS & CORPORATE SPONSORS Anonymous (2) Aequa Foundation American Endowment Foundation Applied Technology Investors BNY Mellon Charitable Gift Fund Bank of America Charitable Gift Fund The Barrington Foundation, Inc. The Bel-Ami Foundation The Boston Foundation Boston Private Bank & Trust Company

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

Boson Early Music Fesival Opera • Concerts • Exhibition June 4–11, 2023 in Boston Our 22nd biennial extravaganza is a

CELEBRATION OF WOMEN CENTERPIECE OPERA: Circé

Music by Henry Desmarest (1661–1741) Libretto by Louise-Geneviève Gillot de Saintonge (1650–1718)

CHAMBER OPERA: Alcina Music by Francesca Caccini (1587–ca. 1641) Libretto by Ferdinando Saracinelli (d. 1640)

Learn more at BEMF.org

Boston Early Music Festival | 2021–2022 Season: Jordi Savall

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