Love and Duty programme by Orchestra of the Age of Enlightenment

Life, Liberty and the Pursuit of Happiness

Love and Duty with Magdalena KoĹženĂĄ

Monday 4 February 2019 Royal Festival Hall 7pm

“We hold these truths to be self-evident: that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the Pursuit of Happiness”. The American Declaration of Independence

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Thomas Jefferson’s immortal words were inspired by the brilliant energy of the Enlightenment in 18th century Europe. Even now they cast an optimistic beam over humanity and the challenges it faces. Questions about the state and the individual beat in the hearts of many in the 17th and 18th centuries. Their answers still define our lives and what freedoms, if any, we might enjoy. Some of the music in this Life, Liberty and the Pursuit of Happiness season is overtly about the grand question of human freedom. Some works have a historical context, and we can pinpoint them as reactions to particular flashpoints, such as the failed revolutions in Germany in 1848. Many pieces relate the conflict between external forces and individual identity, and sing with a voice of undaunted independence. All relate to a notion of intrinsic freedom set out by Jean-Jacques Rousseau in the decade before Jefferson and his committee sat down to draft the Declaration of Independence. “L'homme est né libre, et partout il est dans les fers,” he wrote in Du contrat social (1762): “Man is born free and everywhere he is in chains”.

Contents Introduction 03 Soloists and concert information 06 Orchestra 08 Dividing up the symphony Thomas Short 9 Programme notes Julian Haylock 11 Texts and translations 15 Support us 18 Biographies 22 OAE education 26 OAE team 29 Supporters 30 Future concerts 33

Love and Duty

Repertoire

Monday 4 February 2019 Royal Festival Hall Southbank Centre 7pm

Mozart Symphony No.40 in G minor, 1st movement

This concert will finish at approximately 9.15pm, with one 20 minute interval.

Gluck O del mio dolce ardor from Paride ed Elena Dance of the Furies from Orphée et Euridice Mozart Giunse alfin il momento – Al desio di chi t'adora from The Marriage of Figaro Symphony No 40 in G minor, 2nd movement

Giovanni Antonini conductor

Haydn Scena di Berenice

Magdalena Kožená mezzo-soprano

INTERVAL

Pre-concert talk Robert Samuels, Open University at 6pm Level 5 Function Room, Royal Festival Hall

Mozart Symphony No 40 in G minor, 3rd movement Christoph Willibald Gluck Di questa cetra in seno from Il Parnaso confuso Mozart Deh, per questo istante from La clemenza di Tito Mozart Symphony No 40, 4th movement Mozart Parto, Parto from La clemenza di Tito

Life, Liberty and the Pursuit of Happiness

Henry Tong violin

Also featured on front cover, left to right: Annette Isserlis - viola Katharina Spreckelsen - co-principal oboe

Back cover: Camilla Morse-Glover - cello Ann and Peter Law OAE Experience scheme Ursula Paludan Monberg - horn David Blackadder - principal trumpet 07

Orchestra Violin 1 Julia Wedman Rodolfo Richter Andrew Roberts Rebecca Livermore Iona Davies Stephen Rouse Deborah Diamond Nia Lewis Isabel Soteras*

Flute Lisa Beznosiuk Oboe Daniel Bates Lars Henriksson Clarinet Antony Pay Katherine Spencer

Bassoon Joe Qiu Philip Turbett Horn Roger Montgomery Martin Lawrence

Violin 2 Alice Evans Dominika Feher Claire Holden Silvia Schweinberger Roy Mowatt Christiane Eidsten Dahl Hannah Visser Susannah Foster Simone Pirri* Viola Max Mandel Nicholas Logie Katie Heller Marina Ascherson Ian Rathbone Lisa Cochrane Cello Jonathan Byers Helen Verney Ruth Alford Penny Driver Poppy Walshaw Ă ngela Lobata* Bass Cecelia Bruggemeyer Kate Brooke Carina Cosgrave Jesse Solway*

*Participants in the Ann and Peter Law OAE Experience Scheme. Help the next generation of gifted period instrument players. To find out more visit oae.co.uk/support or contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

Love and Duty

Dividing up the symphony Thomas Short

The programme which you hear tonight is an unusual one, by modern standards. Harking back to the performance customs of Mozart’s Vienna, we are dividing up his great symphony No.40 with arias drawn from The Marriage of Figaro, Il Parnaso confuso (Gluck) and La clemenza di Tito in between. Why choose to revive this way of doing things? One answer (besides the fact that it’s great fun) is that by doing so, we have the opportunity to explore the assumptions that created the current climate around classical music, for better or worse. For example, we are trained to experience symphonies as all-encompassing works, but it was not always this way (just as masterpieces by Dickens were once shared with the public in tantalising serialised chunks). The first thing to understand is that concerts as we understand them are quite a recent phenomenon. The accepted traditional formula of Overture Concerto – Interval - Symphony is really quite recent, and didn’t really exist in the time of Mozart, Beethoven or for most of 19th century. Instead, like many forms of entertainment in the 18th and 19th centuries, concerts were informed by the idea of ‘miscellany’. Public concerts were intended to appeal to as broad an audience as possible, and audiences deferred to one another’s taste in this regard. That meant you could expect to hear anything from extracts of cosmopolitan Italian opera to extremely regional musical forms in the same concert.

In England, bizarre combinations of music could exist on the same program, ranging from Italian arias to local glee music. As one anonymous French essayist wrote in 1756, ‘variety is the soul of the concert.’ Audiences were also known to curate their own ‘miscellany’ in an evening. A highly cultured individual might attend their preferred act of a play, and then half a concert . Concert culture also varied tremendously by city. Symphonies travelled widely, but differing local tastes and conditions made for quite different performances. In London, a highly commercialised concert hall tradition had existed since the 1670s. In Vienna, the greater involvement of the aristocracy within the arts meant that more of a private salon culture persisted, despite the growing popularity of large-scale concerts. This meant that the tradition of splitting a symphony continued there well into the 19th century. Tonight’s concert perhaps most resembles the style of ‘benefit’ or virtuoso concerts popular in the first half of the 19th century. In Vienna, Mozart’s symphonies and arias could be frequently heard at Tonkünstler-Societät concerts, organised to benefit the widows of professional musicians. His self-promoted concerts were cleverly structured to exploit his fame as a performer. If audiences applauded loudly enough Mozart would improvise, taking further applause as a cue to perform more wild improvisations (to the point where he sometimes needed to be reminded to return to the printed programme!) In other ways, we are drawing on a 19th century concert tradition in which singers could attract large crowds using selections of beloved songs from operas, which were often a unifying point of taste for the public.

A programme from a concert at the Hanover Square Rooms, 1826. England's first subscription concerts commenced there under the partnership of JC Bach and Carl Friedrich Abel. For exactly one century it was the principal concert venue in London.

The emergence of the symphony, which gradually transformed from simple form used at the beginning of the operas and in church services to an increasingly complex, four-movement work, demanded a new kind of concert experience. We know that this greater reverence for the form was also expected by composers. Tired of audiences missing his works, Haydn reportedly moved his symphonies into the second half of the program to ensure that latecomers didn’t miss them. By the time works like Beethoven’s idealistic Ninth were being programmed with regularity, performing (and enjoying) symphonies came to be seen as a serious, even political act.

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The attentiveness with which the emerging middle-classes attended concerts demonstrated a desire to support serious artistic endeavours. Concerts in themselves became a kind of social performance of these fashionable new values. This is not to say that the ‘modern’ form of concerts is wrong – we know that many works would suffer if they were divided up. But perhaps we can also look backwards to an era of ‘miscellany’ to inspire and invigorate the way we now experience concerts. For instance, tonight's concert gives us the the opportunity to experience each movement separately, as a miraculous and perfect example of Mozart’s ground-breaking mature style of composition.

Love and Duty

Programme notes Julian Haylock

Wolfgang Amadeus Mozart (1756–1791) Symphony No.40 in G minor Molto allegro Andante Menuetto. Allegretto Allegro assai It seems barely conceivable that Mozart could have composed his last three symphonies (Nos. 39-41) in just six weeks, especially as we have no firm evidence as to why he should have undertaken such a mammoth task. Most striking is No.40 in G minor, in which he explores the dark side of his creative psyche as never before. And little wonder, as he appears to have been on the brink of a nervous collapse when he composed it. Just a few months after completing this transcendental masterwork, he wrote in desperation to his wife, Constanza: 'If people could see into my heart, I should almost feel ashamed. To me everything is cold – cold as ice.' Then shortly after that: 'I can't describe what I have been feeling – a kind of emptiness which hurts me dreadfully, a kind of longing which is never satisfied.' This is music that appears to strain at the leash, its expressive intensity tearing at the very fabric out of which Mozart’s music is meticulously fashioned. Yet – and this is the tantalising dichotomy – his formal control is so absolute that at no point is there the slightest hint of structural imbalance. Such is the G minor Symphony’s expressive intensity, articulated by a startling series of novel expressive devices, that it proved a beacon of inspiration for the Romantic generation that followed.

The brief ‘vamp-until-ready’ opening can be heard resonating in countless similar examples through the 19th and 20th centuries, while the searing anguish of the Menuetto and inconsolable Sturm und Drang finale redefined the expressive parameters of the genre. At nearly every turn one finds Mozart rethinking conventional procedures with a scorching imperativeness and virtuoso élan that left his contemporaries – with the honourable exception of Joseph Haydn – trailing in his wake.

Christoph Willibald Gluck (1714–1787)

O del mio dolce ardor from Paride ed Elena Dance of the Furies from Orphée et Euridice Gluck was born the son of a head forester who did everything in his power to prevent his son becoming a musician. Yet from such humble beginnings, he went on to transform the prevailing Neapolitan form of exhibitionist opera, with its virtuoso stratospherics, into something infinitely more subtle, realistic and natural. Melodies were allowed to flow smoothly without embellishment, and the various musical sections became more subtly integrated by the use of an early form of Leitmotif, which Wagner would later adopt in his epic music-dramas. Magdalena Kožená opens tonight’s recital, based around the twin themes of love and duty, with the poignantly reflective aria O del mio dolce ardor (‘Oh, desired object of my sweet ardour’) from Gluck’s Paride ed Elena, premiered in Vienna in November 1770. This is followed by an orchestral showpiece from Orfeo ed Euridice, whose 1762 premiere had first proclaimed Gluck the master of a radical new style of opera. 011

When in 1774 he adapted it for French tastes as Orphée, he took the opportunity to highlight the famous story of Orfeo’s rescue of his beloved Euridice from the underworld with a series of balletic interludes, including the vibrant Dance of the Furies.

Mozart Giunse alfin il momento – Al desio di chi t'adora from Le Nozze di Figaro (The Marriage of Figaro) Two years before composing the G minor Symphony that opened tonight’s programme, Mozart had expected great things from the Viennese premiere of his sparkling new opera Le Nozze di Figaro, a parody of the intrigues and scandalous goings-on in the upper echelons of society. Vienna’s privileged gentry failed to see the joke, and after nine performances one of the most popular of all operas was unceremoniously taken off. It was not until Figaro was first performed in Prague later that year (1786) that the composer discovered an audience capable of appreciating the work's myriad subtle twists of plot and breathless pace. We hear Giunse alfin il momento – Al desio di chi t'adora (‘At last comes the moment – Come, hurry my beloved’), in which Susanna teases the eavesdropping Figaro that she is going to keep her assignation with Count Almaviva, composed by Mozart for a Viennese revival of Figaro in 1789 to replace the fourth-act aria Deh vieni, non tardar.

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Franz Joseph Haydn (1732–1809) Scena di Berenice Having first gained permission from his employers, the powerful Esterhazy family of Austro-Hungary, between 1791 and 1795 Haydn composed a matchless series of 12 symphonies for London that stand at the summit of his creative output. It was during his second visit to the British capital that he composed Scena di Berenice, a stand-alone concert aria which explores the moral dilemma faced by the Queen of Palestine between her formal betrothal to Antigano and her undying love for his son, Demetrio, who, faced by the unbearable thought of losing Berenice, has vowed to kill himself. Cast as a recitative-aria-recita tive-aria, Haydn’s highly dramatic setting leaves no emotional stone unturned. Premiered in May 1795 as part of Haydn’s final London benefit concert, which also featured symphonies nos.103 and 104, Scena di Berenice was written specifically for the celebrated Italian diva, Brigida Giorgi Banti, who had recently moved to London at the start of an eight-season run as principal soprano at the King’s Theatre. The handbill for the original concert described Banti as possessing ‘a clear, sweet, equable voice, her low and high notes equally good, her recitative admirably expressive.’ The concert proved a great success and netted Haydn some 4,000 florins – around £100,000 in today’s money.

Gluck Di questa cetra in seno from Il Parnaso confuso Gluck’s light-hearted one-act opera (or azione teatrale) Il Parnaso confuso (‘Parnassus in Turmoil’) was premiered privately at Vienna’s Schönbrunn Palace in January 1765 in celebration of Archduke Joseph of Austria’s marriage to Maria Josepha of Bavaria. It was in many ways an extraordinary occasion as all four female roles were taken by archduchesses of the Habsburg family – Maria Amalia, Maria Elisabeth, Maria Carolina and Maria Josepha – while sat at the harpsichord continuo was no less than the future Emperor Leopold II. It must have caused great amusement to see the four young royals playing out Metastasio’s lively libretto in which the Muses can’t agree over a subject for the wedding celebrations. We hear Di questa cetra in sono (‘Deep within these harp strings is a longing’), an exquisite andante sung by Erato, with a magical accompaniment featuring pizzicato violins and double basses.

Mozart Deh per questo istante Parto, parto, ma tu, ben mio from La clemenza di Tito Mozart’s penultimate opera, La clemenza di Tito, was composed to mark the coronation celebrations of Leopold II, King of Bohemia. He was initially given two months to compose the entire score, although due to various delays most of the work was accomplished in just three weeks. We learn from a contemporary newspaper report that La clemenza was the hottest ticket in town: ‘The Estates had spared no expense in performing the opera, even going as far as to send a special agent to Italy in order to secure the best singers … The demand for tickets was so great that many local and foreign visitors, including persons of high degree, could not gain entry.’ As the opera opens, Vitellia, daughter of the deposed Emperor, Vitellius, has fallen passionately in love with Titus, his replacement. Titus considers marriage to three other women before finally deciding upon Vitellia, although by now, out of jealousy, she has arranged for him to be assassinated with the help of her devoted admirer, Sextus (sung originally by a male castrato soprano). In Deh per questo istante ‘Ah, for this single moment’), Sextus, who stands accused of planning the Emperor’s murder, refuses to give up the name of his accomplice (Vitellia), while in Act I’s Parto, parto, ma tu, ben mio (‘I go, but dearest make peace with me’), Sextus sings of his undying love for Vitellia in a glorious outpouring of melody shared with a solo clarinet – the part was written specifically for Mozart’s friend, Anton Stadler, for whom he also composed his Clarinet Quintet and Concerto, and who travelled to Prague especially to perform in the premiere. © Julian Haylock

19th century watercolour depicting a scene from Le Nozze di Figaro

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Love and Duty

Texts and translations O del mio dolce ardor from Paride ed Elena Gluck O del mio dolce ardor bramato oggetto! L’aura che tu respiri alfìn respiro. Ovunque il guardo io giro Le tue vaghe sembianze Amore in me dipinge, Il mio pensier si finge le più liete speranze, E nel desìo che così m’empie il petto. Cerco te, chiamo te, spero e sospiro!

You are the object of my desire! The air that you breathe at last I may breathe. Wherever I turn my gaze Love paints for me your lovely features. My thoughts are of the most happy hopes and in the desire that fills my heart I seek you, I call you, I hope and I sigh!

Giunse alfin il momento - Al desìo di chi t'adora from The Marriage of Figaro Mozart Giunse alfìn il momento Che godrò senza affanno In braccio all'idol mio. Timide cure, Uscite dal mio petto, A turbar non venite il mio diletto!

At last comes the moment when, without reserve, I can rejoice in my lover's arms: timid scruples, hence from my heart, and do not come to trouble my delight.

Oh, come par che all'amoroso foco L'amenità del loco, La terra e il ciel risponda, Come la notte i furti miei seconda!

Oh how the spirit of this place, the earth and the sky, seem to echo the fire of love! How the night furthers my stealth!

Al desìo di chi t'adora, Vieni, vola, o mia speranza!

Come, hurry, my beloved, To the desires of the one who adores you!

Morirò, se indarno ancora Tu mi lasci sospirar.

I shall die if you leave me Still to sigh in vain.

Le promesse, i giuramenti, Deh! rammenta, o mio tesoro!

The promises, and vows; (Of) those! Remember, my darling!

E i momenti di ristoro Che mi fece Amor sperar!

And those moments of solace, Which love made me hope for!

Ah! ch'io mai più non resisto All'ardor che in sen m'accende! Chi d'amor gli affetti intende, Compatisca il mio penar.

Ah, I can no longer resist The passion that is burning in my heart! Let those who understands the pains of love, Have sympathy with my suffering. 015

Scena di Berenice Haydn Berenice Berenice, che fai? Muore il tuo bene, stupida, e tu non corri? Oh Dio! Vacilla l’incerto passo; un gelido mi scuote insolito tremor tutte le vene, e a gran pena il suo peso il piè sostiene.

Berenice Berenice, what are you doing? Your beloved is dying, and yet you, like a fool, do not run to him? Oh God, my uncertain footsteps falter! A strange, icy chill courses through my veins, and only with great pain can my feet support their burden.

Dove son? Qual confusa folla d’idee tutte funeste adombra la mia ragion? Veggo Demetrio: il veggo che in atto di ferir… Fermati! Vivi!d’Antigono io sarò. Del core ad onta volo a giurargli fè: dirò che l’amo; Dirò… Misera me, s’oscura il giorno, balena il ciel! L’hanno irritato i miei meditati spergiuri. Ahimè! Lasciate ch’io soccorra il mio ben, barbari Dei. Voi m’impedite, e intanto forse un colpo improvviso…

Where am I? What muddled folly of dark thoughts clouds my reason? I see Demetrius: I see him in the act of striking… Stop! Live! I shall marry Antigono. In spite of my true feelings, I fly to swear my fidelity to him. I shall say I love him; I shall say... Wretched me! The daylight fades, the heavens flash with lightning! My intended perjury has angered them. Alas! Let me come to the aid of my beloved, cruel Gods! You block my way, and meanwhile perhaps some sudden blow…

Ah, sarete contenti; eccolo ucciso. Aspetta, anima bella: ombre compagne a Lete andrem. Se non potei salvarti potrò fedel… Ma tu mi guardi, e parti?

Ah, you will be content: behold him, killed. Wait, my beloved soul-mate; let our shades go as companions to Lethe. Though I was unable to save you, I can still be faithful… But you look at me, and leave?

Aria Non partir, bell’idol mio: Per quell’onda all’altra sponda voglio anch’io passar con te.

Do not go, my beloved; I too want to cross that river to the other side with you.

Recitativo Me infelice! Che fingo? Che ragiono? Dove rapita sono dal torrente crudel de’ miei marìiri? Misera Berenice, ah, tu deliri!

Unhappy me! What am I pretending? What am I thinking? Where am I being dragged off by the cruel torrent of my anguish? Wretched Berenice, ah, you are delirious!

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Aria Perché, se tanti siete, che delirar mi fate, perché, non m’uccidete, affanni del mio cor? Crescete, oh Dio, crescete finché mi porga aita con togliermi di vita l’eccesso del dolor.

Why, since you are so numerous, you who cause me to rave, why do you not kill me, torments of my heart? Increase, oh God, increase, until the surfeit of grief at least comes to my aid by taking away my life.

Di questa cetra in seno from Il Parnaso confuso Gluck Di questa cetra in seno Pien di dolcezza, e pieno D'amabili deliri Vieni, e t'ascondi, Amor. E tal di questa or sia La tenera armonia, Che immerso ognun sospiri Nel tuo felice ardor.

Love, with this lyre come listen, Come unto me and glisten my heart with illumination. Show how to inspire affection. Let all who hear our petition, harmonious erudition, in sweetest anticipation, grant them a glimpse of perfection.

Deh per questo istante from La clemenza di Tito Mozart Sesto Deh, per questo istante solo Ti ricorda il primo amor. Che morir mi fa di duolo Il tuo sdegno il tuo rigor.

Sextus Ah, for this single moment remember our former love, for your anger, your severity, make me die of grief.

Di pietade indegno è vero, Sol spirar io deggio orror. Pur saresti men severo, se vedessi questo cor.

Unworthy of pity, it is true, I ought only to inspire horror. Yet you would be less harsh if you could read my heart.

Disperato vado a morte; Ma il morir non mi spaventa. Il pensiero mi tormenta Che fui teco un traditor!

In despair I go to death, but dying does not affright me. The thought that I was a traitor to you tortures me!

(Tanto affanno soffre un core, Né si more di dolor!)

(A heart can suffer such anguish and yet not die of sorrow!)

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Left to right: Matthew Truscott – violin/co-leader Ursula Paludan Monberg – horn Henry Tong – violin

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Parto, parto from La clemenza di Tito Mozart Sesto Parto, ma tu ben mio, Meco ritorna in pace; Sarò qual più ti piace, Quel che vorrai farò. Guardami, e tutto oblio, E a vendicarti io volo; A questo sguardo solo Da me si penserà. Ah, qual poter, oh Dei! Donaste alla beltà.

Sextus I go, but, my dearest, make peace again with me. I will be what you would most have me be, do whatever you wish. Look at me, and I will forget all and fly to avenge you; I will think only of that glance at me. Ah, ye gods, what power you have given beauty!

A performance of Il Parnaso confuso in 1765, painting by Johann Franz Greipel

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Love and Duty

Biographies

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Giovanni Antonini Born in Milan, Giovanni studied at the Civica Scuola di Musica and at the Centre de Musique Ancienne in Geneva. He is a founder member of the Baroque ensemble “Il Giardino Armonico”, which he has led since 1989. With this ensemble, he has appeared as conductor and soloist on the recorder and Baroque transverse flute in Europe, United States, Canada, South America, Australia, Japan and Malaysia. He is Artistic Director of the Wratislavia Cantans Festival in Poland and Principal Guest Conductor of the Mozarteum Orchester and Kammerorchester Basel. He has performed with many prestigious artists including Cecilia Bartoli, Kristian Bezuidenhout, Giuliano Carmignola, Isabelle Faust, Sol Gabetta, Sumi Jo, Viktoria Mullova, Katia and Marielle Labèque, Emmanuel Pahud and Giovanni Sollima. Renowned for his refined and innovative interpretation of the classical and baroque repertoire, Antonini is also a regular guest with the Berliner Philharmoniker, Concertgebouworkest, Tonhalle Orchester, Mozarteum Orchester, Leipzig Gewandhausorchester, London Symphony Orchestra and Chicago Symphony Orchestra. His opera productions have included Mozart’s Le Nozze di Figaro and Handel’s Alcina at Teatro alla Scala in Milano and Opernhaus Zurich, Handel’s Giulio Cesare and Bellini’s Norma with Cecilia Bartoli at Salzburg Festival. In 2018 he returned to Opernhaus Zurich for Idomeneo. In the 2018/19 season, performances include debuts with Yomiuri Nippon Symphony (soloists Viktoria Mullova & Avi Avital) and Czech Philharmonic Orchestra, return visits to Kammerorchester Basel for concert performances of Fidelio and Don Giovanni, as well as Handel Orlando at Theater an der Wien. With Il Giardino Armonico, Antonini has recorded numerous CDs of instrumental works by Vivaldi as part of his wider recorded repertoire of seventeenth and eighteenth century Italian composers, J.S. Bach (Brandenburg Concertos)

and Biber and Locke for Teldec. With Naïve he recorded Vivaldi’s opera Ottone in Villa, and in the recent years he has been recording with Il Giardino Armonico for Decca, including Alleluia with Julia Lezhneva. With the Kammerorchester Basel he has recorded Beethoven Symphonies and most recently a disc of flute concertos with Emmanuel Pahud entitled Revolution. In 2013 he conducted a recording of Bellini’s Norma for Decca in collaboration with Orchestra La Scintilla. Antonini is artistic director of the Haydn 2032 project, created to realise a vision to record and perform with Il Giardino Armonico and Kammerorchester Basel, the complete symphonies of Joseph Haydn by the 300th anniversary of the composer’s birth. Volumes 1-6 have been released on the Alpha Classics label with two further volumes planned for release each year in the future.

Magdalena Kožená Magdalena Kožená was born in the Czech city of Brno and studied voice and piano at the Brno Conservatory and later with Eva Bláhová at Bratislava’s Academy of Performing Arts. She has been awarded several major prizes both in the Czech Republic and internationally, culminating in the Sixth International Mozart Competition in Salzburg in 1995. Magdalena was signed by Deutsche Grammophon in 1999 and immediately released her first album of Bach arias on its Archiv label. Her recital debut recording, an album of songs by Dvořák, Janáček and Martinů, appeared on Deutsche Grammophon’s yellow label in 2001 and was honoured with Gramophone’s Solo Vocal Award. She was named Artist of the Year by Gramophone in 2004 and has won numerous other awards since, including the Echo Award, Record Academy Prize, Tokyo, and Diapason d’or. In 2017 she began a long-term relationship with Dutch classical music label Pentatone, and is due to release an album with them in 2019.

Magdalena has worked with many of the world’s leading conductors, Claudio Abbado, Pierre Boulez, Gustavo Dudamel, Sir John Eliot Gardiner, Bernard Haitink, Nikolaus Harnoncourt, Mariss Jansons, Sir Charles Mackerras and Sir Roger Norrington. Her list of distinguished recital partners includes the pianists Daniel Barenboim, Yefim Bronfman, Malcolm Martineau, András Schiff and Mitsuko Uchida, with whom she has performed at such prestigious venues as Carnegie Hall, Wigmore Hall, Alice Tully Hall, the Concertgebouw, Amsterdam, and at the Aldeburgh, Edinburgh and Salzburg festivals. Magdalena’s understanding of historical performance practices has been cultivated in collaboration with outstanding period-instrument ensembles, including the English Baroque Soloists, the Gabrieli Consort and Players, Il Giardino Armonico, Les Musiciens du Louvre, La Cetra Barockorchester Basel, the Orchestra of the Age of Enlightenment, Venice Baroque Orchestra and Le Concert d’Astrée. She is also in demand as soloist with the Berlin, Vienna and Czech Philharmonics and the Cleveland, Philadelphia and Royal Concertgebouw Orchestras. Magdalena’s operatic roles include Zerlina in Don Giovanni at the Salzburger Festspiele in (2002), returning in 2013 as Idamante, a role she has also sung for the Glyndebourne Festival and in Berlin and Lucerne. Magdalena made her first appearance at New York’s Metropolitan Opera in 2003 as Cherubino in Mozart’s Le nozze di Figaro and has since been a regular guest, including amongst others the title-role in Jonathan Miller’s production of Debussy’s Pelléas et Mélisande in 2010/11. Other opera credits also include Oktavian in Richard Strauss’s Der Rosenkavalier (Staatsoper Berlin 2009 and Osterfestspiele Baden Baden 2015), the title-role in Bizet’s Carmen (Osterfestspiele and Sommerfestspiele Salzburg 2012), Charpentier’s Médée (Theater Basel 2015) and Martinů’s Juliette (Staatsoper Berlin 2016). More recent highlights for Magdalena include a Héroïnes baroques tour with Emmanuelle Haim and Concert d’Astrée in early 2018, and a flamenco and Spanish baroque tour of Europe in 2017. Here she was joined by Spanish Baroque ensemble Private Musicke, and Antonio El Pipa with his Compañía de Flamenco, where they entwined the roots of raw flamenco with the music of the Spanish Baroque era in venues such as the Elbphilharmonie in Hamburg and the home of flamenco - Madrid and Barcelona.

Magdalena began the 2018-19 season by joining the baroque ensemble, Collegium 1704 on a tour of the Czech Republic. In December 2018 she made her role debut as Phèdre in Rameau’s Hippolyte et Aricie at the Deutsche Staatsoper under the baton of Sir Simon Rattle. Other engagements this season include Handel’s Messiah with the Deutsches Symphonie-Orchester Berlin and Robin Ticciati, a recital tour with pianist Mitsuko Uchida, Das Lied von der Erde with Sir Simon Rattle, and the Czech Philharmonic, and St. John’s Passion both with the Berliner Philharmoniker, and the Orchestra of the Age of Enlightenment. Orchestra of the Age of Enlightenment In 1986, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning and inventing as long as it lived. Residencies at the Southbank Centre and the Glyndebourne Festival didn’t numb its experimentalist bent. A major record deal didn’t iron out its quirks. Instead, the OAE examined musical notes with ever more freedom and resolve. That creative thirst remains unquenched. The Night Shift series of informal performances are redefining concert formats. Its base at London’s Kings Place has fostered further creativity, such as Bach, the Universe and Everything, a trailblazing Sunday morning series with contributions from esteemed scientists. And from 2017, it started Six Chapters of Enlightenment, six extraordinary seasons exploring the music, science and philosophy of the golden age from which the Orchestra takes its name. Now more than thirty years old, the OAE is part of our musical furniture. It has even graced the outstanding conducting talents of Elder, Rattle, Jurowski, Iván Fischer, John Butt and Sir András Schiff’s with a joint title of Principal Artist. But don’t ever think the ensemble has lost sight of its founding vow. Not all orchestras are the same. And there’s nothing quite like this one. Written by Andrew Mellor.

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Lubbock Fine is proud to support the Orchestra of the Age of Enlightenment We are a full service, contemporary firm of chartered accountants based in the city of London, and we’d like to meet you. Along with proudly supporting the arts, our professional team provides specialist accounting, audit and tax advice to a wide range of clients across the full commercial and personal spectrum. Our many clients rely on us to act as a “trusted advisor” across both their commercial and personal matters. Why not give us a call to arrange a free, initial meeting or chat? Please contact partner Russell Rich russellrich@lubbockfine.co.uk or feel free to call him on 020 7490 7766.

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OAE education

OAE TOTS at Saffron Hall

A programme to involve, empower and inspire Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players.

This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.

Last season we undertook

265 workshops 54 concerts in 33 towns, cities and villages with over 20,165 people across the country.

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A still from our film made with local schools in Darlington.

2018-19: Musical Communities To sit alongside Life, Liberty and the Pursuit of Happiness, in 2018-19 we will be creating a programme of events inspired by the communities we live and work in, exploring how we can work together to build relationships and how music can be a fantastic tool for creativity. Our FLAGSHIP project for 2019-21 will begin with preparation for our first community opera, Regeneration, which will tour to County Durham, Norfolk, London, Suffolk and Plymouth over the three years of the project. Our TOTS programme will be inspired by the work of great masters Bach, Handel and Mozart in a series of concerts titled The World Around Us. Our Schools programme will focus on 'variations' and how things change. Our Special Needs programme will see culminations of our newly created Fairy Queen project for SEN settings and a new project for all six special schools in Ealing.

Our Nurturing Talent programme will see our OAE Experience students involved in projects throughout the year, a new composition project at Huddersfield University, teacher training and a new course for young musicians to delve into the world of baroque and classical music. Finally, our Opera programme will continue with works inspired by the work of the great masters and a collaboration with Glyndebourne education on a new community opera by Howard Moody called Agreed.

Support our education programme

The work we do could not happen without the support of our generous donors. If you would like to support our Education programme please contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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Life, Liberty and the Pursuit of Happiness

Ursula Paludan Monberg horn

To advertise in our programmes, please contact Catherine Kinsler Development Manager catherine.kinsler@oae.co.uk Telephone 020 7239 9370

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OAE team

Chief Executive Crispin Woodhead

Finance Officer Fabio Lodato

Director of Finance and Governance Ivan Rockey

Digital Content Officer Zen Grisdale

Development Director Emily Stubbs Director of Marketing and Audience Development John Holmes Director of Press Katy Bell Projects Director Jo Perry General Manager Edward Shaw Orchestra Manager Philippa Brownsword Choir Manager David Clegg Projects Officer Ella Harriss

Marketing and Press Officer Thomas Short Box Office and Data Manager Carly Mills Head of Individual Giving Marina Abel Smith Development Officer Helena Wynn Development Coordinator Kiki Betts-Dean Development Manager Catherine Kinsler Trusts and Foundations Manager Andrew Mackenzie Development Coordinator Andrea Jung

Librarian Colin Kitching Education Director Cherry Forbes Education Officer Andrew Thomson

The OAE is a registered charity number 295329 and a registered company number 2040312 Registered office: Kings Place, 90 York Way, London N1 9AG Telephone 020 7239 9370 info@oae.co.uk Design and art direction –LucienneRoberts+ Photography – Alex Grace Programme Editor - Thomas Short

Board of Directors Sir Martin Smith [Chairman] Steven Devine Denys Firth Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Imogen Overli Olivia Roberts Andrew Roberts Susannah Simons Katharina Spreckelsen Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith [Chair] Edward Bonham Carter Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery (Chair) Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

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Supporters

The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and Patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.

OAE Thirty Circle We are particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust. Thirty Circle Patrons Bob and Laura Cory Sir Martin Smith and Lady Smith OBE Thirty Circle Members Victoria and Edward Bonham Carter Nigel Jones and Françoise Valat-Jones Selina and David Marks Julian and Camilla Mash Mark and Rosamund Williams Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

Corporate Partners E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Parabola Land Stephen Levinson at Keystone Law Swan Turton Corporate Associates Aston Lark Belgravia Gallery Kirker Holidays Zaeem Jamal Event Sponsors Ambriel Sparkling Wine Markson Pianos

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Season Patrons Julian and Annette Armstrong Adrian Frost Bruce Harris John Armitage Charitable Trust Nigel Jones and Françoise Valat-Jones Selina and David Marks Sir Martin Smith and Lady Smith OBE Mark and Rosamund Williams

Professor Richard Portes CBE FBA – Co-Principal Bassoon Olivia Roberts – Violin John and Rosemary Shannon – Principal Horn Roger and Pam Stubbs – Sub-Principal Clarinet Crispin Woodhead and Christine Rice – Principal Timpani

Project Patrons Julian and Camilla Mash Haakon and Imogen Overli Philip and Rosalyn Wilkinson

Education Patrons John and Sue Edwards – Principal Education Patrons Mrs Nicola Armitage Patricia and Stephen Crew Rory and Louise Landman Andrew & Cindy Peck Professor Richard Portes CBE FBA

Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage – Education Director Hugh and Michelle Arthur – Viola Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards – Principal Oboe Sir Vernon and Lady Ellis – Co-Principal Viola Ian S Ferguson and Dr Susan Tranter Double Bass James Flynn QC – Co-Principal Lute/Theorbo Paul Forman – Co-Principal Cello, Co-Principal Violin and Co-Principal Horn Jenny and Tim Morrison – Second Violin Andrew Nurnberg – Co-Principal Oboe Jonathan Parker Charitable Trust – Co-Principal Cello

Rising Stars Supporters Annette and Julian Armstrong Mrs Rosamund Bernays Denys and Vicki Firth Mr Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Mr Peter Lofthouse Mr Mark Loveday Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli The Reed Foundation Associate Patrons Julia and Charles Abel Smith Nick Allan Noël and Caroline Annesley Mrs A Boettcher David and Marilyn Clark David Emmerson Jonathan and Tessa Gaisman Peter and Sally Hilliar Noel De Keyzer Madame M Lege-Germain Sir Timothy and Lady Lloyd Michael and Harriet Maunsell MM Design - France Roger Mears and Joanie Speers

For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381 David Mildon in memory of Lesley Mildon John Nickson & Simon Rew Andrew and Cindy Peck Emily Stubbs and Stephen McCrum Shelley von Strunckel Ivor Samuels and Gerry Wakelin Rev’d John Wates OBE and Carol Wates Mr J Westwood Young Ambassador Patrons Rebecca Miller William Norris Young Patrons Joseph Cooke and Rowan Roberts David Gillbe Nina Hamilton Marianne and William Cartwright-Hignett Sam Hucklebridge Alex Madgwick Natalie Watson Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Geoffrey Collens Chris Gould Silver Friends Dennis Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Dr Elizabeth Glyn Malcolm Herring Patricia Herrmann Rupert and Alice King Cynthia and Neil McClennan Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart

Bronze Friends Tony Baines Keith Barton Mr Graham Buckland Dan Burt Anthony and Jo Diamond Mrs SM Edge Mrs Mary Fysh Ray and Liz Harsant The Lady Heseltine Auriel Hill Stephen Larcombe Julian Markson Stephen and Penny Pickles Anthony and Carol Rentoul Alan Sainer Gillian Threlfall Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson Trusts and foundations Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Ashley Family Foundation Arts Council England Barbour Foundation Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement Catherine Cookson Charitable Trust The Charles Peel Charitable Trust Chapman Charitable Trust Chivers Trust Cockayne – Grant for the Arts London Community Foundation John S Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Esmee Fairbairn Foundation Fenton Arts Trust Fidelio Charitable Trust Foyle Foundation GarfieldWeston Foundation Geoffrey Watling Charity The Garrick Club Charitable Trust The Golden Bottle Trust Goldsmiths’ Company Charity Idlewild Trust

Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity Lord and Lady Lurgan Trust The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Old Possum’s Practical Trust Orchestras Live Palazzetto Bru-Zane Paul Bassham Charitable Trust The Patrick Rowland Foundation PF Charitable Trust Pitt-Rivers Charitable Trust PRS Foundation Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust Sir James Knott Trust Small Capital Grants Stanley Picker Trust Strategic Touring Fund The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Sobell Foundation Valentine Charitable Trust Violet Mauray Charitable Trust The 29th May 1961 Charitable Trust

We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm.

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Future concerts

Visit oae.co.uk for more details on all our upcoming concerts.

Bach, the Universe & Everything

Blockbuster piano music

Cosmic Dawn

Brahms Piano Concertos with Sir András Schiff

Sunday 24 February 2019 Kings Place 11.30am Marvel at our extraordinary universe and the beauty of classical music with our Sunday morning series for curious minds. How did the universe emerge from its dark ages after the big bang? Dr Emma Chapman tells us about her work researching early stars. We perform a cantata that Bach wrote when he was very busy - he produced six in one month while he was writing the St John Passion. This one is more flamboyant than many, with the violins getting the chance to shine. Rowan Pierce - soprano Nick Pritchard - tenor Dingle Yandell - bass Steven Devine - director Choir of the Age of Enlightenment With Dr Emma Chapman Royal Astronomical Society Fellow, Imperial College London To book, visit kingsplace.co.uk/btuae

Monday 18 - Tuesday 19 March 2019 Royal Festival Hall 7pm One of the world’s best pianists, Sir András Schiff, plays some of world’s best piano music. Written 22 years apart, Brahms’ only piano concertos are snapshots of his life. The first is youthful, raw and expressive; the second is mature, structured and wiser. We performs these blockbuster piano concertos over two nights with Sir András Schiff, an extraordinary pianist and one of the world’s finest musicians. To complement the piano concertos, he also conducts music by Brahm’s mentor and inspiration, Robert Schumman, exploring the complex interplay between political turmoil and personal anguish in composer’s life.

To book, visit southbankcentre.co.uk/oae

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KIRKER MUSIC FESTIVALS F O R

D I S C E R N I N G

T R A V E L L E R S

Kirker Holidays offers an extensive range of independent and escorted music holidays. These include tours to leading festivals in Europe such as the Puccini Festival in Torre del Lago and the Verdi Festival in Parma, as well as Glyndebourne, Buxton and opera weekends in Vienna, Milan and Venice. We also host our own exclusive music festivals on land and at featuring internationally acclaimed musicians. For those who prefer to travel independently we arrange short breaks with opera, ballet or concert tickets, to all the great classical cities in Europe.

THE KIRKER MUSIC FESTIVAL IN TENERIFE A SEVEN NIGHT HOLIDAY | 12 JANUARY 2019 For our fourth exclusive music festival on the island of Tenerife, we will present a series of six concerts featuring the Gould Piano Trio, pianist Benjamin Frith, soprano Ilona Domnich and violist Simon Rowland-Jones. Staying at the 5* Hotel Botanico, surrounded by lush tropical gardens, we shall also enjoy a programme of fascinating excursions. Highlights include the Sitio Litro Orchid Garden, a cable car journey to the peak of Mount Teide and a visit to the primeval cloud forest of the Anaga Mountains. We will also visit historic and picturesque villages along the spectacular north coast, including Garachico with its 17th century convent. Price from £2,698 per person (single supp. £375) for seven nights including flights, transfers, accommodation with breakfast, six dinners, six private concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

THE KIRKER MUSIC FESTIVAL IN MALLORCA A SIX NIGHT HOLIDAY | 29 MAY 2019 The works of Frédéric Chopin are central to our Festival in Mallorca and for our seventh visit we will be joined by the Phoenix Piano Trio, Marta Fontanals-Simmons, soprano and Lorena Paz Nieto, mezzo-soprano. Based in the village of Banyalbufar, we will discover the gloriously unspoilt north coast of Mallorca. There will be visits to the picturesque artists’ village of Deia, the capital Palma and the villa of San Marroig. Our series of private concerts includes a recital in the monastery at Valldemossa where Chopin spent three months with his lover the aristocratic Baroness Dudevant, better known as the writer George Sand. Price from £2,290 per person (single supp. £189) for six nights including flights, accommodation with breakfast, two lunches, six dinners, five concerts, all sightseeing and gratuities and the services of the Kirker Tour Leader.

Speak to an expert or request a brochure:

020 7593 2284 quote code GOG www.kirkerholidays.com

Perfectly tuned insurance

Because helping even the youngest musician strikes a chord with us Our Music policy has been carefully designed to allow you to enjoy playing your instrument with complete peace of mind, whatever your age. Lark Music is focused on protecting your possessions and supporting the musical arts.

www.larkmusic.com Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010. Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY Aston Lark Limited is authorised and regulated by the Financial Conduct Authority.

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