The Judas Passion Programme

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The Judas Passion Can the ultimate betrayal everThe be forgiven?

Judas Passion Can the ultimate betrayal ever be forgiven?

Monday 25 September 2017 St John’s Smith Square Monday 25 September 2017 7pm St John’s Smith Square 7pm

The Judas Passion

All Judas words for The Passion

forgiveness All words for forgiveness

Earlier in the year we invited schools to participate in a creative inspired by Earlier in thewriting year wecompetition invited schools to participate The Judas Passion .

We asked pupils and teachers in a creative writing competition inspired by to writing the pupils themeand of forgiveness Thesubmit Judasnew Passion . Weon asked teachers in any form and received many wonderful entries to submit new writing on the theme of forgiveness from the received country. We arewonderful delightedentries to present in anyacross form and many our student on the pagesto ofpresent from across winners the country.

Wefollowing are delighted this our programme. student winners on the following pages of this Firstprogramme. prize was awarded to Aoife Soni, Year 9 pupil at Headington School for poem Black Standard.

First prize was awarded tothe Aoife Soni, Year 9 pupil at Headington School for the Standard.

Second prize was awarded to poem BeckyBlack McNutt, Year 12 pupil at prize Abbey Grange Academy for her poemYear Eve. 12 Second was awarded to Becky McNutt, pupil at Abbey Grange Academy for her poem Eve.

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First prize pupil entry

Black standard First prize pupil entry Black standard Aoife Soni Headington School Aoife Soni Headington School ‘There is no God but Allah.

Muhammad is the messenger of Allah’ ‘There is no God but Allah. is the messenger of Allah’ LikeMuhammad a heart it pulsated With startling vitality Like a heart it pulsated The white stamp undulating in the waning breeze With startling vitality Such meaning and overwhelming power The white stamp undulating in the waning breeze In the small piece of cloth Such meaning and overwhelming power I will never understand In the small piece of cloth I willit’s never understand And maddening The ersatz glory And it’s maddening Which means so much and has cost so many The ersatz glory And it's rallying cry Which means so much and has cost so many Rouses love And it's rallying cry Or fear to dominate men Rouses love Or fear to Forgive medominate men God Forgive me I know I have sinned God Blood drips off my palms I know I have sinned And stains the underside of my nails Blood drips off my palms I beg You – make it stop And stains the underside of my nails I begyet YouI know – make it stop And I do not deserve Your mercy And yet I know And the faceless graves I do not deserve Your mercy Are now planted in the earth And the faceless graves No more than names on stone Are now planted in the earth No names on stone Butmore I did itthan for You ButI hear I did it for You All Is the spectral silence of shattered souls – All I hear A haunted symphony Is the spectral silence of shattered souls – Composed by none other A haunted symphony Than myself Composed by none other Than myself

Only then did I realise You had no part in this Only then did I realise It was not you who held the baton You had no part in this And at my hands It was not you who held the baton Faith turned to carnage And at my hands Love to destruction Faith turned to carnage Love Lord to destruction I am sorry Lord And I cannot forgive myself.

I am sorry Each day I stare at the pallid sky And I cannot forgive myself.

Surrounded by imprisoned air Each day I stare at the pallid sky And imprisoned light Surrounded by imprisoned air And imprisoned light Them how could They ever forgive me And Them Their cold bodies how could They ever forgive me Motionless under Their cold bodies Piled heaps of mud Motionless under Frigid countenances staring into my soul Piled heaps of mud staring into IFrigid let itscountenances riveting nature compel memy soul To the apocalyptic frame I let its riveting nature compel me The affiliated movement To the apocalyptic frame The compulsive insurgency The affiliated movement And I let it The compulsive insurgency Consume me And I let it Consume me Like a heart it pulsated With startling vitality Like a heart it pulsated The white stamp undulating in the waning breeze With startling vitality Such meaning and overwhelming power The white stamp undulating in the waning breeze In the small piece of cloth Such meaning and overwhelming power I will never understand In the small piece of cloth I willnow never understand And I lie Free from my veil of delusion And now I lie Hatred Free from my veil of delusion And love Hatred And love * Please, God, Please, God, * Forgive me * Forgive me

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*

Second Prize Pupil Entry

Eve Second Prize Pupil Entry Eve Becky McNutt Abbey Grange Academy Becky McNutt Abbey Grange Academy In the beginning was Darkness In the beginning was An artless harshness of black matter Darkness A sin splatter An artless harshness of black matter Suspending the nothing before the light A sin splatter Suspending nothing before the light ‘Let there bethe light’ he said And I caught alight ‘Let there be light’ he said The whiteness fighting the sinful spite And I caught alight Of unknowing The whiteness fighting the sinful spite The brightness was growing Of unknowing Was glowing The brightness was growing A match sparked a flame, gave a name Was glowing And I breathed A match sparked a flame, gave a name And IHe breathed ‘Eve’, called me, ‘the earth is your child’ So I cradled the land and the oceans ‘Eve’, He called me, ‘the earth is your child’ My gentlest motions gave courage to So I cradled the land and the oceans currents to flow My gentlest motions gave courage to To strong winds to blow, sky to snow currents to flow I whispered sweet songs and taught To strong winds to blow, sky to snow flowers to grow I whispered sweet songs and taught And the earth was their haven flowers to grow Andpride the earth was their haven The of my children was man The lamb whose mind could create the The pride of my children was man wildest contraptions, The lamb whose mind could create the Inventions, reactions wildest contraptions, A prodigy placed in my arms Inventions, reactions And I nurtured his mind with new mysteries A prodigy placed in my arms and charms And I nurtured his mind with new mysteries And showed benefaction and charms And showed benefaction But years passed and he grew in a different way More his own every day But years passed and he grew in a different way So obsessed with his human endeavour More his own every day His cleverness severed the cord So obsessed with his human endeavour Disarray His cleverness severed the cord Disarray

His buildings spewed poisonous clouds And the heat from his houses, it burned me His buildings spewed poisonous clouds His arrogance spurned me And the heat from his houses, it burned me I begged him to stop but his hate overturned me His arrogance spurned me He drilled through my body I begged him to stop but his hate overturned me I begged for somebody to help He drilled through my body But he strangled my throat till I choked I begged for somebody to help Silence But he strangled my throat till I choked Silence The pain of his malice, it turned me I shifted and oceans crashed down on his towns The pain of his malice, it turned me And his peoples I shifted and oceans crashed down on his towns I flattened his churches, his shrines and his steeples And his peoples What makes him deserve this?

I flattened his churches, his shrines and his steeples I cannot reverse this What makes him deserve this?

IIncannot reverse was this the beginning Darkness In the beginning was An artless harshness of black matter Darkness A sin splatter An artless harshness of black matter And now darkness covers the Eve again A sin splatter And now darkness covers the Eve again

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Contents Contents

Concert repertoire and soloists 10 Concert repertoire and soloists 10 Orchestra and Choir 12 Orchestra and Choir 12 Programme note 14 Programme note 14 In Context David Harsent In Context 18 David Harsent 18 Biographies 20 Biographies 20 Support us 24 Support us 24 Libretto David Harsent Libretto 26 David Harsent 26 OAE team 36 OAE team 36 OAE news 37 OAE news 37 Supporters 38 Supporters 38 OAE Education 42 OAE Education 42 Upcoming concerts 44 Upcoming concerts 44

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The Judas Passion

Concert repertoire The Judas Passion

and soloists Concert repertoire and soloists

Monday 25 September 2017 St John’s25 Smiths Square2017 Monday September 7pm St John’s Smiths Square 7pmconcert will finish at approximately The 8pm, there will no interval.

The concert willbe finish at approximately 8pm,Beamish there will be no interval.

Judas Passion Sally – The The Judas Passion Sally Sally Beamish Beamish – – composer DavidBeamish Harsent––composer librettist Sally Nicholas McGegan – conductor David Harsent – librettist Peter Thomson – stage director Nicholas McGegan – conductor Brenden Gunnell – Judas Peter Thomson – stage director Roderick Williams––Judas Christ Brenden Gunnell Mary Bevan – Mary Magdalene Roderick Williams – Christ Choir Bevan of the Age of Enlightenment Mary – Mary Magdalene Choir of the Age of Enlightenment A co-commission with Philharmonia Baroque A co-commission with Orchestra & Chorale, SanBaroque Francisco.

Philharmonia Orchestra & Chorale, San Francisco.

Part of Southbank Centre’s festival Belief and Beyond Belief.

Part of Southbank Centre’s festival Belief andgratefully Beyond Belief.

OAE acknowledges The the generous grants awarded The OAE gratefully acknowledges by the following individuals, Trusts the generous grants awarded and Foundations whose support has by the following individuals, Trusts made the creation and production and Foundations whose support has of The Judas Passion possible: made the creation and production Sir Richard Arnold of The Judas Passion possible: Nicholas Berwin Charitable Trust Sir Richard Arnold Boltini Trust Nicholas Berwin Charitable Trust CLASEN Boltini Trust Cockayne – Grants for the Arts and CLASEN The London Community Foundation Cockayne – Grants for the Arts and John S Cohen Foundation The London Community Foundation PRS for Music Foundation John S Cohen Foundation RVW Trust PRS for Music Foundation Sir Martin and Lady Smith OBE RVW Trust Sir Martin and Lady Smith OBE

Pre-concert event All Words for Forgiveness Pre-concert event 6pm All Words for Forgiveness Responses to the theme of forgiveness.

6pm Responses to theevent theme The pre-concert isof in forgiveness. the hall – free admission.

The pre-concert event is in the hall – free admission.

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Bethan White – Oboe (OAE Experience) Bethan White – Oboe (OAE Experience)

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The Judas Passion

Orchestra and The Judas Passion

Choir Orchestra and Choir Orchestra

Orchestra Violins 1 Kati Debretzeni Violins 1 Rodolfo Richter Kati Debretzeni Roy Mowatt Rodolfo Richter Roy Mowatt Violins 2 Aisslinn Nosky Violins 2 Daniel Edgar Aisslinn Nosky Claire Holden Daniel Edgar Claire Holden Violas Max Mandel Violas Annette Isserlis Max Mandel Annette Isserlis

Cellos Luise Buchberger Cellos Catherine Rimer Luise Buchberger Catherine Rimer Bass Cecelia Bruggemeyer Bass Cecelia Flutes Bruggemeyer Lisa Beznosiuk Flutes Neil McLaren Lisa Beznosiuk Neil McLaren Horns Richard Bayliss Horns Gavin Edwards Richard Bayliss Gavin Edwards

Trumpets David Blackadder Trumpets Phillip Bainbridge David Blackadder Phillip Bainbridge Percussion Christopher Brannick Percussion Christopher HarpsichordBrannick Robert Howarth Harpsichord Robert Lute Howarth Elizabeth Kenny Lute Elizabeth Kenny

Choir of the Age of Enlightenment Choir of the Age of Enlightenment Countertenor 1/Devil/God Christopher Field Countertenor 1/Devil/God Christopher Field Countertenor 2 Tristram Cooke Countertenor 2 Tristram Cooke 3 Countertenor David Gould Countertenor 3 David Gould 4/Chorus 2 quartet Countertenor Feargal Mostyn-Williams Countertenor 4/Chorus 2 quartet Feargal Mostyn-Williams

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Tenor 1/Caiphas Jeremy Budd Tenor 1/Caiphas Jeremy Budd 1 Tenor 2/Thief Guy Cutting Tenor 2/Thief 1 Guy Cutting Tenor 3/Chorus 2 quartet Hugo Hymas Tenor 3/Chorus 2 quartet Hugo Hymas Tenor 4/Chorus 2 quartet/Solo in The Last Supper Tom Robson Tenor 4/Chorus 2 quartet/Solo in The Last Supper Tom BassRobson 1/Devil/God William Gaunt Bass 1/Devil/God William Gaunt Bass 2/Peter Dingle Yandell Bass 2/Peter Dingle Bass 3Yandell /Chorus 2 quartet/Thief 2 Jonathan Brown Bass 3 /Chorus 2 quartet/Thief 2 Jonathan Brown

The Judas Chime was conceived by Sally Beamish, designed with advice from The Judas Chime was conceived by John Creed, John Poulter and Thomas Eisl, Sally Beamish, designed with advice from and created by Thomas Eisl.

John Creed, John Poulter and Thomas Eisl, and created by Thomas Eisl.

Max Mandel – Co-Principal Viola Max Mandel – Co-Principal Viola

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The Judas Passion

Programme The Judas Passion note Programme Jo Kirkbride

note

Jo Kirkbride

Sally Beamish – Composer © Ashley Coombes Sally Beamish – Composer © Ashley Coombes

Sally Beamish (b. 1956) The Judas Passion (2017) Sally Beamish (b. 1956) 1 The Judas Passion (2017) The Reckoning 1 2 Reckoning The The Last Supper 2 3 Last Supper The Who do you say I am?

3 4 Who do you say I am?

The agony in the Garden 4 5 agony in the Garden The Betrayal 5 6 Betrayal Christ stands before Caiaphas 6 7Christ stands before Caiaphas Christ stands before Pilate 7 8 Christ stands before Pilate To Golgotha and the Field of Blood 8 To Golgotha and the Field of Blood

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Settings of the Passion story, once one of the central pillars of the musical repertoire, Settings of the Passion story, once one of dwindled after a veritable glut in the eighteenth the central pillars of the musical repertoire, century. But in recent years they have flourished. dwindled after a veritable glut in the eighteenth Penderecki gave us his St Luke Passion in century. But in recent years they have flourished.

1965, Arvo Pärt his Passio in 1982 and, more Penderecki gave us his St Luke Passion in recently, James MacMillan completed his 1965, Arvo Pärt his Passio in 1982 and, more settings of the Gospels of St John and St Luke, recently, James MacMillan completed his with the Mark and Matthew Passions to follow settings of the Gospels of St John and St Luke, in the coming years. Sally Beamish and David with the Mark and Matthew Passions to follow Harsent’s new setting, then, follows something in the coming years. Sally Beamish and David of a new tradition – but theirs is a Passion with Harsent’s new setting, then, follows something a difference. Commissioned by the Orchestra of a new tradition – but theirs is a Passion with of the Age of Enlightenment and Philharmonia a difference. Commissioned by the Orchestra Baroque Orchestra and Chorale, this Passion of the Age of Enlightenment and Philharmonia tells the other side of the story – that of Baroque Orchestra and Chorale, this Passion Judas, ‘the betrayer’. And unlike more familiar tells the other side of the story – that of portrayals which paint Judas as story’s villain, Judas, ‘the betrayer’. And unlike more familiar in The Judas Passion Beamish and Harsent portrayals which paint Judas as story’s villain, present Judas in a new light, asking: ‘Does Judas in The Judas Passion Beamish and Harsent choose, or is he chosen, to betray Christ? What present Judas in a new light, asking: ‘Does Judas is unforgiveable? What motivates us to behave choose, or is he chosen, to betray Christ? What as we do, and to what extent do we all follow is unforgiveable? What motivates us to behave the callings of our own heart – or the callings of as we do, and to what extent do we all follow whatever voice we choose to name. God’s voice, the callings of our own heart – or the callings of or the Devil’s?’ whatever voice we choose to name. God’s voice, or the Devil’s?’

This is not the first time that Beamish has reflected upon the Passion narrative in music: This is not the first time that Beamish has her 1995 Viola Concerto explores the role of reflected upon the Passion narrative in music: Peter and his denial of Christ as the subtext her 1995 Viola Concerto explores the role of of its musical narrative. And Peter’s theme – Peter and his denial of Christ as the subtext ‘a descending, plaintive six-note motif’ – makes of its musical narrative. And Peter’s theme – itself heard in The Judas Passion too, notably ‘a descending, plaintive six-note motif’ – makes when Peter denounces Christ for the third time itself heard in The Judas Passion too, notably (‘I don’t know this man’). But the lament that when Peter denounces Christ for the third time follows this denunciation, with its stripped back (‘I don’t know this man’). But the lament that orchestration – just harpsichord, double bass, follows this denunciation, with its stripped back lute and flutes – paints an evocative picture of orchestration – just harpsichord, double bass, the Baroque. It is one of several pivot points in lute and flutes – paints an evocative picture of this ultra-modern yet ultra-historical work. Here the Baroque. It is one of several pivot points in is a twenty-first-century composer writing for this ultra-modern yet ultra-historical work. Here instruments that are more than four hundred is a twenty-first-century composer writing for years old. The shadow of Bach – for so long instruments that are more than four hundred synonymous with the Passion narrative – looms years old. The shadow of Bach – for so long large in a score that is scattered with canons synonymous with the Passion narrative – looms and fugues, recitatives and arias. But Beamish large in a score that is scattered with canons drills deeper too, summoning Chassidic chanting and fugues, recitatives and arias. But Beamish as the chorus recounts the events of the Last drills deeper too, summoning Chassidic chanting Supper, even offering fragments of imagined as the chorus recounts the events of the Last music from the temples of Jesus’ time. And Supper, even offering fragments of imagined yet... the harmonies are unmistakeably of the music from the temples of Jesus’ time. And twenty-first century, the language is current, yet... the harmonies are unmistakeably of the this is an ancient story – indeed, one of the most twenty-first century, the language is current, ancient of all stories – presented in a way that this is an ancient story – indeed, one of the most is all too reminiscent of our own modern times. ancient of all stories – presented in a way that is all too reminiscent of our own modern times.

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Beamish’s Passion is not so much a biblical work as a human one. Judas is presented as an Beamish’s Passion is not so much a biblical everyman – he is as relevant to us now as he was work as a human one. Judas is presented as an more than two millennia ago. When we hear everyman – he is as relevant to us now as he was the whispering crowds incite his name and watch more than two millennia ago. When we hear as he is coerced into taking the thirty pieces the whispering crowds incite his name and watch of silver (‘What will you take for him? What will as he is coerced into taking the thirty pieces you take? We need a reckoning’), it is impossible of silver (‘What will you take for him? What will not feel sympathy for him. ‘If that’s your price’, you take? We need a reckoning’), it is impossible Judas replies softly, unable to refuse, ‘then pay not feel sympathy for him. ‘If that’s your price’, it’. In this version of events, Judas is a reluctant Judas replies softly, unable to refuse, ‘then pay participant. ‘I do it because I must’, he says it’. In this version of events, Judas is a reluctant solemnly. And when each of Jesus’ disciples asks participant. ‘I do it because I must’, he says at the Last Supper, ‘Is it me?’, Judas does not solemnly. And when each of Jesus’ disciples asks speak. He knows his fate has already been sealed. at the Last Supper, ‘Is it me?’, Judas does not ‘The man is already chosen’ says a voice that is speak. He knows his fate has already been sealed. at once both God and the Devil.

‘The man is already chosen’ says a voice that is at once both God and–the Devil.

Here is another pivot Judas has been chosen, but for good or for evil? In Beamish’s score, Here is another pivot – Judas has been chosen, God and the Devil are interchangeable, they but for good or for evil? In Beamish’s score, are sung by two voices always in rhythmic unison.

God and the Devil are interchangeable, they ‘And the Devil went into Judas’, Mary exclaims in are sung by two voices always in rhythmic unison. horror, ‘the Devil or God.’ If Judas betrays Jesus, ‘And the Devil went into Judas’, Mary exclaims in he will see Jesus sentenced to death. But in doing horror, ‘the Devil or God.’ If Judas betrays Jesus, so, he will also see Jesus receive the promise he will see Jesus sentenced to death. But in doing of eternal life: ‘You will rid me of the man that so, he will also see Jesus receive the promise clothes me’, Jesus tells him. ‘What you are here of eternal life: ‘You will rid me of the man that to do, go and do it now.’ Jesus, like Judas, accepts clothes me’, Jesus tells him. ‘What you are here his fate: both have a sacrifice to make. to do, go and do it now.’ Jesus, like Judas, accepts his fate: both have a sacrifice to make.

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Just as God and the Devil are shown here to be interchangeable, so the parallels between Just as God and the Devil are shown here to Jesus and Judas are brought to the fore. Vocally, be interchangeable, so the parallels between Beamish has Judas sung by a tenor and Jesus Jesus and Judas are brought to the fore. Vocally, by a baritone, but by writing many of their Beamish has Judas sung by a tenor and Jesus lines in a similar range, she draws attention by a baritone, but by writing many of their to the qualities that the two share while also lines in a similar range, she draws attention highlighting their ‘very different colours’. At to the qualities that the two share while also times, Beamish goes a step further – Jesus and highlighting their ‘very different colours’. At Judas are united in their thoughts. ‘My God, my times, Beamish goes a step further – Jesus and God’, they sing together in unison as Jesus is Judas are united in their thoughts. ‘My God, my crucified, ‘why have you forsaken me?’ Theirs is God’, they sing together in unison as Jesus is a relationship that is intertwined and indivisible. crucified, ‘why have you forsaken me?’ Theirs is a relationship is intertwined indivisible.

If the story is athat familiar one, then and this is an alternative reading of it. A more sympathetic, If the story is a familiar one, then this is an more modern presentation of events. And key alternative reading of it. A more sympathetic, to the change of perspective is the inclusion more modern presentation of events. And key of a female voice who, amidst all the drama and to the change of perspective is the inclusion against the noise of the baying crowd, comments of a female voice who, amidst all the drama and and narrates with quiet restraint. This is the against the noise of the baying crowd, comments voice of Mary Magdalene. In Bach’s Passions, and narrates with quiet restraint. This is the Mary is not given her own role – instead, a series voice of Mary Magdalene. In Bach’s Passions, of arias for the female voice reflect the idea Mary is not given her own role – instead, a series of the ‘pieta’ – the woman’s role as a grieving of arias for the female voice reflect the idea mother. Against the backdrop of an all-male of the ‘pieta’ – the woman’s role as a grieving chorus (who are, by turn, disciples, narrators, mother. Against the backdrop of an all-male and members of the crowd), Harsent’s libretto chorus (who are, by turn, disciples, narrators, gives Mary her voice, and although her tone and members of the crowd), Harsent’s libretto is mournful, she does not present a picture gives Mary her voice, and although her tone of panic and desperation. Hers is the voice of is mournful, she does not present a picture reason, the reality check, the one who quietly of panic and desperation. Hers is the voice of recounts Jesus’ miracles even as those around reason, the reality check, the one who quietly him call blasphemy. And it is Mary who asks recounts Jesus’ miracles even as those around the ‘ultimate question’: If he can’t be saved, who him call blasphemy. And it is Mary who asks can be saved? If he can’t be forgiven, who can the ‘ultimate question’: If he can’t be saved, who be forgiven? can be saved? If he can’t be forgiven, who can be forgiven?

The compassion and softness that give nuance to Harsent’s libretto are reflected in Beamish’s The compassion and softness that give nuance score, which focuses keenly on the unique to Harsent’s libretto are reflected in Beamish’s and at times almost ethereal sound of the score, which focuses keenly on the unique Baroque orchestra. The result, says Beamish, and at times almost ethereal sound of the ‘is a transparent language... the glassy sound Baroque orchestra. The result, says Beamish, of the strings, and the lyrical beauty of the flutes; ‘is a transparent language... the glassy sound the open, sometimes raw, natural horns and of the strings, and the lyrical beauty of the flutes; trumpets suggesting ancient ritualistic brass the open, sometimes raw, natural horns and and animal horns; and the delicate tracery trumpets suggesting ancient ritualistic brass of harpsichord and lute. From time to time, the and animal horns; and the delicate tracery soundworld is drawn together by the sustained of harpsichord and lute. From time to time, the tones of chamber organ.’ As the work opens, soundworld is drawn together by the sustained we hear layers of gathering strings, their soft, tones of chamber organ.’ As the work opens, ‘glassy’ texture reverberating as though built we hear layers of gathering strings, their soft, from the echoes of something unseen and long ‘glassy’ texture reverberating as though built past. This, too, is a pivot-point – as though the from the echoes of something unseen and long opening itself represents the transition from past. This, too, is a pivot-point – as though the Bach to Beamish, from ancient to modern. opening itself represents the transition from The music, in Beamish’s own words ‘takes as a Bach to Beamish, from ancient to modern. starting point fragments of Bach’s St Matthew The music, in Beamish’s own words ‘takes as a Passion’, which are then worked into her own starting point fragments of Bach’s St Matthew language with the use of ‘magic squares’. This Passion’, which are then worked into her own compositional technique, which was often used language with the use of ‘magic squares’. This

by Beamish’s mentor, the late Sir Peter Maxwell compositional technique, which was often used Davies, allows everything from melody and

by Beamish’s mentor, the late Sir Peter Maxwell harmony, to phrase length and dynamics to Davies, allows everything from melody and be dictated by a pre-conceived set of patterns. harmony, to phrase length and dynamics to Thus, in The Judas Passion we hear actual echoes be dictated by a pre-conceived set of patterns. of Bach, but only ever as ‘fleeting glimpses’, Thus, in The Judas Passion we hear actual echoes transmuted into Beamish’s own voice. of Bach, but only ever as ‘fleeting glimpses’, transmuted into Beamish’s own voice.

While such intricate procedures may not be readily audible, there are more obvious nods to While such intricate procedures may not be modernity here too, notably in Beamish’s bold readily audible, there are more obvious nods to use of percussion, which incorporates hammers, modernity here too, notably in Beamish’s bold whips and nails to depict with raw realism the use of percussion, which incorporates hammers, brutality of Jesus’ persecution on the Cross. whips and nails to depict with raw realism the And at the heart of this percussion array is an brutality of Jesus’ persecution on the Cross. altogether new instrument, the ‘Judas Chime’, And at the heart of this percussion array is an comprising 30 ‘pieces of silver’ and intended altogether new instrument, the ‘Judas Chime’,

by Beamish as ‘a visual as well as an aural focus’. comprising 30 ‘pieces of silver’ and intended It provides a startling centrepiece – a reminder

by Beamish as ‘a visual as well as an aural focus’. that at the heart of this devastating story is It provides a startling centrepiece – a reminder the spectre of greed and selfishness, a heap of that at the heart of this devastating story is unwanted money that is cast to the ground and the spectre of greed and selfishness, a heap of abandoned at the height of Judas’ anguish, its unwanted money that is cast to the ground and monetary worth irrelevant. ‘My face on these abandoned at the height of Judas’ anguish, its coins’, Judas cries out in despair, ‘my name on monetary worth irrelevant. ‘My face on these them. For all time: my face, my name, his blood. coins’, Judas cries out in despair, ‘my name on No matter the gift, no matter the mystery... them. For all time: my face, my name, his blood. no matter that I did what I was chosen to do.’

No matter the gift, no matter the mystery...

Whether Judas ever had a choice, whether no matter that I did what I was chosen to do.’

God, the Devil, or the mob themselves are to Whether Judas ever had a choice, whether blame, history will remember Judas’ actions God, the Devil, or the mob themselves are to as a betrayal, not as a sacrifice. blame, history will remember Judas’ actions as a betrayal, not as a sacrifice.

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The Judas Passion

In context The Judas Passion

In context David Harsent – librettist David Harsent – librettist

Judas is the ur-betrayer, the worst of the worst.

It’s enough to say, ‘You Judas…’ for whoever Judas is the ur-betrayer, the worst of the worst. offended you to know how strongly you feel.

It’s enough to say, ‘You Judas…’ for whoever It’s an accusation so deep, so heartfelt, that offended you to know how strongly you feel. it sets aside notions of forgiveness. But when It’s an accusation so deep, so heartfelt, that considering acts of extremism, whatever their it sets aside notions of forgiveness. But when nature, we must look to motive. Why did Judas considering acts of extremism, whatever their betray Christ? [Or, more pertinently perhaps, nature, we must look to motive. Why did Judas did Judas betray Christ?] The Gospels tell us betray Christ? [Or, more pertinently perhaps, that ‘the Devil went into Judas’, but that seems did Judas betray Christ?] The Gospels tell us a vague, metaphorical account of motive, unless that ‘the Devil went into Judas’, but that seems we are to take it that Judas was, in fact, seized a vague, metaphorical account of motive, unless and directed by the Devil, in which case it would we are to take it that Judas was, in fact, seized be proper to ask in what way he was responsible and directed by the Devil, in which case it would for his actions. be proper to ask in what way he was responsible for his actions.

We might begin by looking more closely at the weight of guilt and moral opprobrium We might begin by looking more closely in the word ‘betray’. The Koine Greek word – at the weight of guilt and moral opprobrium paradidomi – that the King James scholars in the word ‘betray’. The Koine Greek word – consistently give as ‘betray’, in fact means paradidomi – that the King James scholars something like ‘deliver’ or ‘hand over’. consistently give as ‘betray’, in fact means The handing over of Christ by Judas to the something like ‘deliver’ or ‘hand over’.

Sanhedrin, the second handing over of Christ by The handing over of Christ by Judas to the the Sanhedrin to the Romans, the insistence that Sanhedrin, the second handing over of Christ by he must be put to death in the face of Pilate’s the Sanhedrin to the Romans, the insistence that [more than somewhat unlikely] reluctance, he must be put to death in the face of Pilate’s these are all stages in a narrative that leads to [more than somewhat unlikely] reluctance, the salvific moment – the death of Christ on the these are all stages in a narrative that leads to cross – without which Humankind lies beyond the salvific moment – the death of Christ on the redemption; and Judas’s role in that progression cross – without which Humankind lies beyond has to be part of our reckoning. It’s clear that he redemption; and Judas’s role in that progression enabled the events that led to Christ’s sacrifice, has to be part of our reckoning. It’s clear that he but we have to wonder what he believed himself enabled the events that led to Christ’s sacrifice, to be doing – what he took to be his purpose. but we have to wonder what he believed himself to be doing – what he took to be his purpose.

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Suppose, for a moment, that Judas knew his role but not its outcome: that in handing Christ Suppose, for a moment, that Judas knew his over, he believed he was doing what he had role but not its outcome: that in handing Christ been chosen to do. It’s worth remembering over, he believed he was doing what he had the passage from John’s Gospel that tells us: been chosen to do. It’s worth remembering ‘For God so loved the world that He gave His only the passage from John’s Gospel that tells us: begotten son…’ Gave – handed over – delivered.

‘For God so loved the world that He gave His only The notion of Divine direction seems clearly begotten son…’ Gave – handed over – delivered. evident in this, and in my libretto the voice that The notion of Divine direction seems clearly prompts Judas to his actions might be that evident in this, and in my libretto the voice that of the Devil, might be that of God. And just as, prompts Judas to his actions might be that if Judas was steered by the Devil’s hand, he of the Devil, might be that of God. And just as, can’t be held responsible for what he did, the if Judas was steered by the Devil’s hand, he same must apply if he was led by the hand of can’t be held responsible for what he did, the God. Christ himself told the Disciples ‘…some same must apply if he was led by the hand of standing here shall not taste of death till they God. Christ himself told the Disciples ‘…some see the Son of Man coming in his kingdom’. standing here shall not taste of death till they Having heard this, was Judas expecting Jesus see the Son of Man coming in his kingdom’. to reveal himself to the Sanhedrin, by some Having heard this, was Judas expecting Jesus miraculous means, as the Son of God? Or was to reveal himself to the Sanhedrin, by some he, as has been suggested, a Zealot, a Jewish miraculous means, as the Son of God? Or was radical, who thought Jesus a false Messiah who he, as has been suggested, a Zealot, a Jewish had failed actively to oppose Roman rule, and radical, who thought Jesus a false Messiah who was happy to deliver him to his fate? This latter had failed actively to oppose Roman rule, and theory – Judas as disaffected political agitator – was happy to deliver him to his fate? This latter seems problematical. When he saw what his theory – Judas as disaffected political agitator – actions had led to, he hanged himself. If Judas seems problematical. When he saw what his had knowingly brought Christ to the cross, what actions had led to, he hanged himself. If Judas would have brought Judas to the tree? had knowingly brought Christ to the cross, what would have brought Judas to the tree?

There is a Gospel of Judas, dated at 3 or 4 CE, a Gnostic text found in Middle Egypt around 1978 There is a Gospel of Judas, dated at 3 or 4 CE, a and finally published in 2006. It’s impossible, Gnostic text found in Middle Egypt around 1978 here, to describe and discuss this codex in detail, and finally published in 2006. It’s impossible, though I should mention that it doesn’t tell the here, to describe and discuss this codex in detail, story of Christ’s Passion. However, one line that though I should mention that it doesn’t tell the struck me as central to the notion of Judas as story of Christ’s Passion. However, one line that enabler found its way into my libretto. There struck me as central to the notion of Judas as comes a moment when Jesus calls the Disciples enabler found its way into my libretto. There to him and asks them to stand before him and comes a moment when Jesus calls the Disciples hold his gaze. None of them can do this save to him and asks them to stand before him and Judas; whereupon Jesus tells Judas: ‘You are hold his gaze. None of them can do this save the best of them, for you will free me of the man Judas; whereupon Jesus tells Judas: ‘You are who clothes me.’ In the Gospel accounts of the the best of them, for you will free me of the man Easter story, Christ the Redeemer, the Risen who clothes me.’ In the Gospel accounts of the Christ, Christ Pantocrator, is freed into His glory Easter story, Christ the Redeemer, the Risen by the progression that takes Jesus from the last Christ, Christ Pantocrator, is freed into His glory supper to the cross and, yes, Judas is the prime by the progression that takes Jesus from the last mover in that. I used the line from the Gospel supper to the cross and, yes, Judas is the prime of Judas to point up the possibility of Divine mover in that. I used the line from the Gospel direction, to offer the notion that Judas was of Judas to point up the possibility of Divine born to the task. direction, to offer the notion that Judas was born to the task.

If Christ is the Saviour of Humankind, Judas is our scapegoat. I was brought up a Baptist If Christ is the Saviour of Humankind, Judas [I would not now describe myself as a Christian, is our scapegoat. I was brought up a Baptist though I no longer strive to refute the [I would not now describe myself as a Christian, unknowable] and one of the many certainties though I no longer strive to refute the in all that evangelical froth and fervour was that unknowable] and one of the many certainties Judas was both loathsome and unredeemable. in all that evangelical froth and fervour was that Take, for example, a moment described in the Judas was both loathsome and unredeemable.

Gospel of John when, two days before the Take, for example, a moment described in the Passover feast [and so the Last Supper], Mary Gospel of John when, two days before the of Bethany anoints Christ with spikenard – a very Passover feast [and so the Last Supper], Mary costly oil. The Gospel of John tells us that Judas of Bethany anoints Christ with spikenard – a very objected to this, saying that the spice could costly oil. The Gospel of John tells us that Judas have been sold and the money given to the objected to this, saying that the spice could poor. Judas was the Disciples’ banker; he carried have been sold and the money given to the the money-bag. John states that Judas made poor. Judas was the Disciples’ banker; he carried this objection because he wanted the money the money-bag. John states that Judas made for himself: that he intended to steal it; that he this objection because he wanted the money was a thief. for himself: that he intended to steal it; that he was a thief. the ‘betrayal’: earlier evidence of This precedes Judas’s culpability. Here we have the stereotype This precedes the ‘betrayal’: earlier evidence of of the money-grubbing Jew and an example Judas’s culpability. Here we have the stereotype [it seems likely] of what helped feed Christian of the money-grubbing Jew and an example anti-Semitism. It certainly informed Sunday [it seems likely] of what helped feed Christian School accounts of Judas as near-bestial and anti-Semitism. It certainly informed Sunday normalized a bizarre canonical distinction School accounts of Judas as near-bestial and between Jesus and the Disciples over here and normalized a bizarre canonical distinction ‘the Jews’ – those who called for Christ to be between Jesus and the Disciples over here and crucified – over there. ‘the Jews’ – those who called for Christ to be crucified – over there.

My purpose, in attempting to write Judas out of hell, is to set him before an audience and My purpose, in attempting to write Judas out bring him to a new judgment. Someone both of hell, is to set him before an audience and vile and justifiably despised: an agent of the bring him to a new judgment. Someone both Devil, or a man whose God-given task was to vile and justifiably despised: an agent of the set in train an event that would be the salvation Devil, or a man whose God-given task was to of Humankind? You decide. set in train an event that would be the salvation of Humankind? You decide.

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The Judas Passion

Biographies The Judas Passion Biographies

Sally Beamish – composer

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Sally in Beamish Born London–incomposer 1956, Sally Beamish initially trained as a viola player at the Royal Northern Born in London in 1956, Sally Beamish initially College of Music before moving to Scotland trained as a viola player at the Royal Northern in 1990 to develop her career as a composer.

College of Music before moving to Scotland Her music embraces many influences, in 1990 to develop her career as a composer. particularly jazz and Scottish traditional music, Her music embraces many influences, in a catalogue boasting over 200 compositions particularly jazz and Scottish traditional music, including solo, duo, chamber, orchestra, vocal, in a catalogue boasting over 200 compositions choral, ballet and opera works. including solo, duo, chamber, orchestra, vocal, choral,themes ballet and works. in Beamish’s Celtic are opera often present music. One such piece, Reed Stanzas, for the Celtic themes are often present in Beamish’s Elias Quartet, received its premiere at the 2011 music. One such piece, Reed Stanzas, for the BBC Proms and won a Royal Philharmonic Society Elias Quartet, received its premiere at the 2011 Award. Flodden, written for the Scottish Chamber BBC Proms and won a Royal Philharmonic Society Orchestra to commemorate the 500th Award. Flodden, written for the Scottish Chamber anniversary of the eponymous battle, was Orchestra to commemorate the 500th premiered in September 2013 and shortlisted for anniversary of the eponymous battle, was both a Royal Philharmonic Society and a BASCA premiered in September 2013 and shortlisted for Award. Spinal Chords, one of the PRS 20×12 both a Royal Philharmonic Society and a BASCA Olympic commissions, with text by The Times Award. Spinal Chords, one of the PRS 20×12 Journalist Melanie Reid, toured the UK in 2014 Olympic commissions, with text by The Times with the Orchestra of the Age of Enlightenment Journalist Melanie Reid, toured the UK in 2014 and narrator Juliet Stevenson. with the Orchestra of the Age of Enlightenment and narrator Stevenson.

2016 markedJuliet Beamish’s 60th birthday and included two works as part of Shakespeare 2016 marked Beamish’s 60th birthday and 400: a full-length ballet of The Tempest included two works as part of Shakespeare for Birmingham Royal Ballet and Houston 400: a full-length ballet of The Tempest Ballet, with choreographer David Bintley, and for Birmingham Royal Ballet and Houston A Shakespeare Masque with Poet Laureate, Ballet, with choreographer David Bintley, and Dame Carol Ann Duffy, for Ex Cathedra. She A Shakespeare Masque with Poet Laureate, completed three piano concertos with the first, Dame Carol Ann Duffy, for Ex Cathedra. She Hill Stanzas for Ronald Brautigam, receiving its completed three piano concertos with the first, world premiere with the Amsterdam Sinfonietta Hill Stanzas for Ronald Brautigam, receiving its in March 2016. The second, Cauldron of the world premiere with the Amsterdam Sinfonietta Speckled Seas premiered in December 2016 in March 2016. The second, Cauldron of the with Martin Roscoe and the BBC Scottish Speckled Seas premiered in December 2016 Symphony Orchestra under Thomas Dausgaard. with Martin Roscoe and the BBC Scottish The third, City Stanzas, premiered in January Symphony Orchestra under Thomas Dausgaard.

2017 with soloist Jonathan Biss and the The third, City Stanzas, premiered in January Saint Paul Chamber Orchestra conducted 2017 with soloist Jonathan Biss and the

by Mischa Santora in Minnesota.

Saint Paul Chamber Orchestra conducted

by Mischa Santora in Minnesota.

David Harsent – librettist

Nicholas McGegan – conductor

DavidHarsent Harsentis–alibrettist David poet and librettist. He has published eleven volumes of poetry. Legion David Harsent is a poet and librettist. He has won the Forward Prize for best collection 2005; published eleven volumes of poetry. Legion Night [2011] was triple shortlisted in the UK won the Forward Prize for best collection 2005; and won the Griffin International Poetry Prize.

Night [2011] was triple shortlisted in the UK His most recent collection, Fire Songs, won and won the Griffin International Poetry Prize. the 2014 T.S. Eliot Prize. His forthcoming His most recent collection, Fire Songs, won collection, Salt, will be published in October the 2014 T.S. Eliot Prize. His forthcoming

by Faber & Faber. collection, Salt, will be published in October

by Faberhas & Faber.

Harsent collaborated with a number of composers, though most often with Harsent has collaborated with a number Harrison Birtwistle. Birtwistle/Harsent of composers, though most often with collaborations have been performed at the Harrison Birtwistle. Birtwistle/Harsent Royal Opera House, BBC Proms, the Aldeburgh collaborations have been performed at the Festival, The Concertgebouw, The London Royal Opera House, BBC Proms, the Aldeburgh South Bank Centre, The Salzburg Festival, Festival, The Concertgebouw, The London the Holland Festival, the Megaron [Athens] South Bank Centre, The Salzburg Festival, and Carnegie Hall. the Holland Festival, the Megaron [Athens] and Carnegie Hall. of the Royal Society of Harsent is a Fellow Literature and a Fellow of the Hellenic Authors Harsent is a Fellow of the Royal Society of Society. In 2013 he received an Honorary Literature and a Fellow of the Hellenic Authors Doctorate from the University of Roehampton Society. In 2013 he received an Honorary where he is now Professor of Creative Writing.

Doctorate from the University of Roehampton where he is now Professor of Creative Writing.

NicholasMcGegan McGeganhas – conductor Nicholas been Music Director of San-Francisco-based Philharmonia Baroque Nicholas McGegan has been Music Director since 1985. He is also Principal Guest Conductor of San-Francisco-based Philharmonia Baroque of Pasadena Symphony. since 1985. He is also Principal Guest Conductor ofpioneer Pasadena Symphony.

A in exporting historically informed performance beyond the world of period A pioneer in exporting historically informed instruments to wider conventional symphonic performance beyond the world of period forces, Nicholas has appeared with many instruments to wider conventional symphonic of the leading orchestras in Europe and forces, Nicholas has appeared with many worldwide. He served as Principal Guest of the leading orchestras in Europe and Conductor of Scottish Opera and Principal worldwide. He served as Principal Guest Conductor of the Drottningholm Slottsteater Conductor of Scottish Opera and Principal in Sweden.

Conductor of the Drottningholm Slottsteater in Sweden.

His discography of over 100 releases includes the world-premiere recording of Handel’s His discography of over 100 releases includes Susanna, which attracted both a Gramophone the world-premiere recording of Handel’s Award and a Grammy nomination. In 2010 Susanna, which attracted both a Gramophone he was made an OBE. Award and a Grammy nomination. In 2010 he was made an OBE.

Peter Thomson – stage director PeterisThomson – stage and director Peter a writer, director actor. After graduating from Oxford, he began his career Peter is a writer, director and actor. After as an actor, and played lead roles in numerous graduating from Oxford, he began his career West End, repertory and fringe productions. as an actor, and played lead roles in numerous Peter has gained extensive experience in both West End, repertory and fringe productions. directing and writing; to date he has had over Peter has gained extensive experience in both thirty plays produced on BBC radio, and fifteen directing and writing; to date he has had over stage plays in theatres around the UK. He thirty plays produced on BBC radio, and fifteen has also written numerous plays for children. stage plays in theatres around the UK. He Peter’s ongoing projects include four plays for has also written numerous plays for children. radio; a short film – Mole; a collection of short Peter’s ongoing projects include four plays for stories; and collaborations with Sally Beamish radio; a short film – Mole; a collection of short on an opera and a musical. stories; and collaborations with Sally Beamish 21 on an opera and a musical.

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Brenden Gunnell – Judas

Mary Bevan – Mary Magdalene

Brenden Gunnell – Judas American tenor Brenden Patrick Gunnell recently made his debut as Hüon de Bordeaux American tenor Brenden Patrick Gunnell in a new production of Oberon at the Opera recently made his debut as Hüon de Bordeaux festival of the Munich State Opera, and in a new production of Oberon at the Opera had outstanding success in the title role of festival of the Munich State Opera, and Peter Grimes at the Saarbruck State Theatre. had outstanding success in the title role of Peter Grimes atMahoney the Saarbruck State Theatre.

He sang Jimmy in Mahagonny and Maler in Lulu at the Teatro dell’Opera di He sang Jimmy Mahoney in Mahagonny and Roma and the title role of Mozart’s Idomeneo Maler in Lulu at the Teatro dell’Opera di at the Teatro La Fenice. He made his debut Roma and the title role of Mozart’s Idomeneo at the Glyndebourne Festival in 2015 in at the Teatro La Fenice. He made his debut Mozart’s Abduction from the Seraglio, and at the Glyndebourne Festival in 2015 in also performed Königssohn in Humperdinck’s Mozart’s Abduction from the Seraglio, and Königskinder at the Semperoper Dresden. also performed Königssohn in Humperdinck’s Königskinder at the Semperoper Dresden.

Mary Bevan –season, Mary Magdalene In the 2017/18 Mary Bevan debuts at the Teatro Real in Madrid as Rose Maurrant In the 2017/18 season, Mary Bevan debuts in Weill’s Street Scene, and sings the title role at the Teatro Real in Madrid as Rose Maurrant in Turnage’s new opera Coraline for the Royal in Weill’s Street Scene, and sings the title role Opera at the Barbican. In concert, Mary will in Turnage’s new opera Coraline for the Royal join the Orchestra of the Age of Enlightenment Opera at the Barbican. In concert, Mary will as Mary in Sally Beamish’s The Judas Passion join the Orchestra of the Age of Enlightenment in the UK and on tour in the United States; as Mary in Sally Beamish’s The Judas Passion singing Bach’s Christmas Oratorio on tour in the UK and on tour in the United States; in Australia with the Choir of London and singing Bach’s Christmas Oratorio on tour Australian Chamber Orchestra; and Handel’s in Australia with the Choir of London and Messiah with the Academy of Ancient Music.

Australian Chamber Orchestra; and Handel’s Messiah with the Academy of Ancient Music.

Choir of the Age of Enlightenment

Roderick Williams – Christ RoderickWilliams Williamsenjoys – Christ Roderick relationships with all the major UK opera houses and is particularly Roderick Williams enjoys relationships with associated with the baritone roles of Mozart. all the major UK opera houses and is particularly He has sung world premieres of operas by, associated with the baritone roles of Mozart. among others, David Sawer, Sally Beamish, He has sung world premieres of operas by, Michael van der Aa, Robert Saxton and among others, David Sawer, Sally Beamish, Alexander Knaifel and concert repertoire Michael van der Aa, Robert Saxton and with all the BBC orchestras and many other Alexander Knaifel and concert repertoire orchestras and ensembles internationally. with all the BBC orchestras and many other Festival appearances include BBC Proms orchestras and ensembles internationally.

[Last Night 2014], Edinburgh, Cheltenham, Festival appearances include BBC Proms Aldeburgh and Melbourne. In 2016 he won the [Last Night 2014], Edinburgh, Cheltenham, RPS Singer award and the prize for best choral Aldeburgh and Melbourne. In 2016 he won the composition at the British Composer Awards.

RPS Singer award and the prize for best choral composition at the British Composer Awards.

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Choir of the Age of of Enlightenment The Choir of the Age Enlightenment is a group of professional singers, who have taken part The Choir of the Age of Enlightenment is a group in many of the OAE’s recordings over the years, of professional singers, who have taken part including Monteverdi’s Vespers of 1610, Purcell’s in many of the OAE’s recordings over the years, Dido and Aeneas, Bach Cantatas with Gustav including Monteverdi’s Vespers of 1610, Purcell’s Leonhardt, and Mozart’s Così fan tutte with Dido and Aeneas, Bach Cantatas with Gustav Sir Simon Rattle. It has also appeared frequently Leonhardt, and Mozart’s Così fan tutte with on radio and television with the Orchestra, Sir Simon Rattle. It has also appeared frequently perhaps most memorably in July 2000 on radio and television with the Orchestra, performing Bach’s B Minor Mass at the BBC perhaps most memorably in July 2000 Proms. In 2013 the Choir performed the Brahms performing Bach’s B Minor Mass at the BBC Requiem at the BBC Proms with Marin Alsop Proms. In 2013 the Choir performed the Brahms and the OAE. One review praised ‘the most Requiem at the BBC Proms with Marin Alsop homogenous sound I think I’ve ever heard from and the OAE. One review praised ‘the most a choir … they rightly received the loudest homogenous sound I think I’ve ever heard from ovation of the night’. a choir … they rightly received the loudest ovation of the night’.

Orchestra of the Age of Enlightenment Orchestra of the Age of Enlightenment Just over three decades ago, a group of inquisitive London musicians took a long hard Just over three decades ago, a group of look at that curious institution we call the inquisitive London musicians took a long hard Orchestra, and decided to start again from look at that curious institution we call the scratch. They began by throwing out the Orchestra, and decided to start again from rulebook. Put a single conductor in charge? scratch. They began by throwing out the No way. Specialise in repertoire of a particular rulebook. Put a single conductor in charge? era? Too restricting. Perfect a work and then No way. Specialise in repertoire of a particular move on? Too lazy. The Orchestra of the Age era? Too restricting. Perfect a work and then of Enlightenment was born. move on? Too lazy. The Orchestra of the Age of Enlightenment wasensemble born.

And as this distinctive playing on period-specific instruments began to get a And as this distinctive ensemble playing on foothold, it made a promise to itself. It vowed to period-specific instruments began to get a keep questioning, adapting and inventing as long foothold, it made a promise to itself. It vowed to as it lived. Those original instruments became keep questioning, adapting and inventing as long just one element of its quest for authenticity. as it lived. Those original instruments became Baroque and Classical music became just one just one element of its quest for authenticity. strand of its repertoire. Every time the musical Baroque and Classical music became just one establishment thought it had a handle on what strand of its repertoire. Every time the musical the OAE was all about, the ensemble pulled out establishment thought it had a handle on what another shocker: a Symphonie Fantastique here, the OAE was all about, the ensemble pulled out some conductor-less Bach there. All the while, another shocker: a Symphonie Fantastique here, the Orchestra’s players called the shots. some conductor-less Bach there. All the while, thefirst Orchestra’s theIdeas shots.and At it felt likeplayers a minorcalled miracle. talent were plentiful; money wasn’t. Somehow, At first it felt like a minor miracle. Ideas and the OAE survived to a year. Then to two. Then talent were plentiful; money wasn’t. Somehow, to five. It began to make benchmark recordings the OAE survived to a year. Then to two. Then and attract the finest conductors. It became to five. It began to make benchmark recordings the toast of the European touring circuit. and attract the finest conductors. It became It bagged distinguished residencies at the the toast of the European touring circuit.

Southbank Centre and Glyndebourne Festival It bagged distinguished residencies at the Opera. It began, before long, to thrive.

Southbank Centre and Glyndebourne Festival Opera.

It began, before long, to thrive.

And then came the real challenge.

The ensemble’s musicians were branded eccentric And then came the real challenge. The idealists, and that they were determined ensemble’s musicians were branded eccentric to remain. In the face of the music industry’s idealists, and that they were determined big guns, the OAE kept its head. It got organised to remain. In the face of the music industry’s but remained experimentalist. It sustained big guns, the OAE kept its head. It got organised its founding drive but welcomed new talent. but remained experimentalist. It sustained It kept on exploring performance formats, its founding drive but welcomed new talent. rehearsal approaches and musical techniques.

It kept on exploring performance formats, It searched for the right repertoire, instruments rehearsal approaches and musical techniques. and approaches with even greater resolve.

It searched for the right repertoire, instruments It kept true to its founding vow. and approaches with even greater resolve.

It kept true to its founding vow.

In some small way, the OAE changed the classical music world too. It challenged those In some small way, the OAE changed the distinguished partner organisations and brought classical music world too. It challenged those the very best from them, too. Symphony and distinguished partner organisations and brought opera orchestras began to ask it for advice. the very best from them, too. Symphony and Existing period instrument groups started to opera orchestras began to ask it for advice. vary their conductors and repertoire. New ones Existing period instrument groups started to popped up all over Europe and America. vary their conductors and repertoire. New ones popped upstory all over Europe and And so the continues, withAmerica. ever more momentum and vision. The OAE’s series And so the story continues, with ever more of nocturnal Night Shift performance have momentum and vision. The OAE’s series redefined concert parameters. Its new home of nocturnal Night Shift performance have at London’s Kings Place has fostered further redefined concert parameters. Its new home diversity of planning and music-making. Great at London’s Kings Place has fostered further performances now become recordings on the diversity of planning and music-making. Great Orchestra’s in-house CD label. The ensemble has performances now become recordings on the formed the bedrock for some of Glyndebourne’s Orchestra’s in-house CD label. The ensemble has most ground-breaking recent productions. formed the bedrock for some of Glyndebourne’s It travels as much abroad as to the UK regions: most ground-breaking recent productions.

New York and Amsterdam court it, Birmingham It travels as much abroad as to the UK regions: and Bristol cherish it.

New York and Amsterdam court it, Birmingham and Bristol cherish Remarkable peopleit. are behind it. Simon Rattle, the young conductor in whom the OAE placed Remarkable people are behind it. Simon Rattle, so much of its initial trust, still cleaves to the the young conductor in whom the OAE placed ensemble. Iván Fischer, the visionary who so much of its initial trust, still cleaves to the punted some of his most individual musical ensemble. Iván Fischer, the visionary who ideas on the young orchestra, continues to punted some of his most individual musical challenge it. Mark Elder still mines for luminosity, ideas on the young orchestra, continues to shade and line. Vladimir Jurowski, the podium challenge it. Mark Elder still mines for luminosity, technician with an insatiable appetite for shade and line. Vladimir Jurowski, the podium creative renewal, has drawn from it some technician with an insatiable appetite for of the most revelatory noises of recent years. creative renewal, has drawn from it some And, most recently, John Butt has conducted of the most revelatory noises of recent years. his experiments in Bach inside it. All five of them And, most recently, John Butt has conducted share the title Principal Artist. his experiments in Bach inside it. All five of them share title Principal Artist.

Of thethe instrumentalists, many remain from those brave first days; many have come since.

Of the instrumentalists, many remain from All seem as eager and hungry as ever. They’re those brave first days; many have come since. offered ever greater respect, but continue only All seem as eager and hungry as ever. They’re to question themselves. Because still, they pride offered ever greater respect, but continue only themselves on sitting ever so slightly outside to question themselves. Because still, they pride the box. They wouldn’t want it any other way. themselves on sitting ever so slightly outside the box. by They wouldn’t want it any other way.

Written Andrew Mellor Written by Andrew Mellor

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Support us Support us The past 30 years have seen the OAE grow to become onepast of the world’s leading period instrument The 30 years have seen the OAE grow toorchestras become performing to a global audience of over 5 million people one of the world’s leading period instrument orchestras each year. to a global audience of over 5 million people performing eacheducation year.

Our work reaches over 12,000 participants . The Night Shift, our pioneering annually across the UK Our education work reaches over 12,000 participants late nightacross series the of informal tours UK. The performances, Night Shift, ournow pioneering annually internationally audiences of overnow 4,000 late night seriesattracting of informal performances, tours each year.

We love what we do and we’re proud of internationally attracting audiences of over 4,000our international fordo performing warmth, each year. Wereputation love what we and we’rewith proud of our imagination and expertise. international reputation for performing with warmth, imagination expertise.

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Our boxmilestones office sales, touringour We have reached these without and public funding brings in 70% of the income we need loyal band of supporters. Our box office sales, touring and generosity of our in donors is vital to makewe upneed the and the public funding brings 70% of the income remaining 30%. Without support, and the generosity of our this donors is vitalwe tocould makenot up the realise our ambitious plans to continue our pioneering remaining 30%. Without this support, we could not work onour theambitious concert platform and beyond. realise plans to continue our pioneering work on the concert platform and beyond.

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Images opposite, left to right: Steven Devine – Co-Principal Keyboard Images opposite, left to right: Roger Montgomery – Principal Horn Steven Devine – Co-Principal Keyboard Simone Jandl – Co-Principal Viola Roger Montgomery – Principal Horn Simone Jandl – Co-Principal Viola

Supporting our projects Every year, the OAE curates a season full of Supporting our projects inspiring and unique projects. We are always Every year, the OAE curates a season full of looking for enlightened individuals who are inspiring and unique projects. We are always interested in supporting this aspect of our looking for enlightened individuals who are work. Project supporters enjoy the chance to interested in supporting this aspect of our meet players and soloists and be involved in work. Project supporters enjoy the chance to the creative process from the early stages right meet players and soloists and be involved in up to the performance. the creative process from the early stages right up to the performance.

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Legacies are crucial to our fundraising and help By leaving a legacy to the OAE you will be helping to sustain and increase the scope of our work. to shape the Orchestra’s future ensuring we By leaving a legacy to the OAE you will be helping can continue to inspire, enthuse and challenge to shape the Orchestra’s future ensuring we audiences for years to come. can continue to inspire, enthuse and challenge audiences years to come.

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Libretto

The Judas Passion Libretto The David Judas Harsent Passion David Harsent The Reckoning: Judas and the Sanhedrin The Reckoning: Judas and the Sanhedrin At moments the Chorus will divide – Chorus [1], Chorus [2]. When not specified, At moments the Chorus will divide – it will be full Chorus.

Chorus [1], Chorus [2]. When not specified, it will be full Chorus.

Chorus Better that man had not been born Chorus who sold his soul, who gave himself up Better that man had not been born to Satan, who bartered the Son of Man, who sold his soul, who gave himself up who made a deal with darkness, whose tears to Satan, who bartered the Son of Man, went for nothing, whose love was all corruption. who made a deal with darkness, whose tears Ju-das Ju-das Ju-das Ju-das Ju-das… went for nothing, whose love was all corruption.

Ju-das Ju-dasofJu-das Ju-das The purpose this chant is toJu-das… point up the ‘jew’ in Judas. During the next few lines, The purpose of this chant is to point up Judas makes his entrance. the ‘jew’ in Judas. During the next few lines, Judas makes Chorus [1] his entrance.

Judas … what will you take for him?

Chorus [1] What will you take to deliver him to us, Judas … what will you take for him? to deliver him to justice, deliver the blasphemer?

What will you take to deliver him to us, Judas to deliver him to justice, deliver the blasphemer?

Nothing. I’ll do it because I must.

Judas Two voices from the Chorus – Devil/God Nothing.

I’ll do it because I must.

Yes, because you must!

Two voices from the Chorus – Devil/God Because you were chosen for this.

Yes, because you must!

Chorus [2] Because you were chosen for this.

It was the Devil who spoke to Judas … the Devil, Chorus [2] or it was God? It was the Devil who spoke to Judas … the Devil, Chorus or it was[1] God? We need a reckoning. What will you take?

Chorus [1] Judas We need a reckoning. What will you take?

Nothing. I do it because it fell to me.

Judas His hand on mine.

Nothing. I do it because it fell to me.

Devil/God His hand on mine.

Yes, you are chosen for this. Do what they want.

Devil/God Chorus Yes, you [2] are chosen for this. Do what they want.

It was God who spoke to Judas … God, or else Chorus [2] the Devil.

It was God who spoke to Judas … God, or else the Devil.

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Judas His hand on mine…

Judas His hand on mine…

Mary makes her entrance.

Mary makes Chorus [1] her entrance.

We need an exchange, a settlement.

Chorus [1] You know how to strike a bargain.

We need an exchange, a settlement.

Mary You know how to strike a bargain.

Judas the banker. Judas the paymaster…

Mary Chorus [1]banker. Judas the paymaster…

Judas the Judas … Judas …

Chorus [1] Judas … Judas Jesus makes his…entrance.

Jesus makes Chorus [2] his entrance.

He shall grow up as a root out of dry ground Chorus [2] despised of men and the least of them.

He shall grow up as a root out of dry ground despised of men and the least of them.

Chorus [2] A man of sorrows and acquainted Chorus [2] with heartbreak.

A man of sorrows and acquainted Judas with heartbreak.

A man of sorrows and acquainted Judas with heartbreak.

A man of sorrows and acquainted with heartbreak.

Chorus [1] Ju-das … Ju-das … Ju-das …

Chorus [1] What will you take for him?

Ju-das … Ju-das … Ju-das …

How much for the blasphemer?

What will you take for him?

Judas How much for the blasphemer? [reflective: not a response to the Chorus] Judas His hand on mine. [reflective: not a response to the Chorus] Chorus His hand[1] on mine.

What will you take?

Chorus [1] An honest trade: a contract.

What will you take?

Thirty pieces of silver – recompense An honest trade: a contract. for a slave gored by a neighbour’s ox.

Thirty pieces of silver – recompense Will you settle for that? for a slave gored by a neighbour’s ox.

Will you settle, Judas the Jew? Will you settle for that?

Devil/God Will you settle, Judas the Jew? The price of death, of life: Judas, take it.

Devil/God The price of death, of life: Judas, take it.

Judas If that’s your price, then pay it.

Judas If that’s your price, then pay it.

Chorus [1] So we’re agreed on that? We can deal on that?

Chorus [1] So we’re agreed on that?

We can deal on that?

Judas looks towards Jesus.

Judas Judaslooks towards Jesus.

I do it because I must. His hand on mine.

Judas I do it because I must. His hand on mine.

The Last Supper The Last Supper Chorus In an upper room they sat together to eat, Chorus Jesus and those who followed him.

In an upper room they sat together to eat, He took a towel and tied it round his waist.

Jesus and those who followed him.

He filled a bowl with water to wash their feet.

He took a towel and tied it round his waist.

Chorus He filled a bowl with water to wash their feet.

Despised of men and least of them.

Chorus Mary Despised of men and least of them.

He washed the feet of the chosen.

Mary Chorus He washed the feet of the chosen.

A man of sorrows and acquainted with heartbreak.

Chorus Jesus A man of sorrows and acquainted with heartbreak.

It is time… Soon I shall leave you.

Jesus I gave God’s word to the world as I gave it to you.

It is time… Soon I shall leave you.

I came to the world but I am not of the world.

I gave God’s word to the world as I gave it to you.

Where I go, I go alone. I will be lost, then found.

I came to the world but I am not of the world.

Mary I go, I go alone. I will be lost, then found.

Where He broke bread, he poured wine.

Mary He broke bread, he poured wine.

Mary He said: This bread is my body…

Mary Chorus He said: This bread is my body…

He said: This bread is my body…

Chorus He said: This bread is my body…

Jesus …this bread is my body: you must eat it.

Jesus …this bread is my body: you must eat it.

Mary He said: this wine is my blood…

Mary Chorus He said: this wine is my blood…

He said: this wine is my blood…

Chorus He said: this wine is my blood…

Jesus …this wine is my blood: you must drink it.

Jesus …this wine is my blood: you must drink it.

Mary When they had eaten, when they had drunk, Mary He said: When they had eaten, when they had drunk, He said: Mary One of you will deliver me to death.

Mary Jesus One of you will deliver me to death.

One of you will deliver me to death.

Jesus One you will deliver me to death.

Soloof voices from the Chorus Is it me?

Solo voices from the Chorus Is it me?

Is it me?

Is it me?

Is it me? [etc] Is it me?

Devil/God [etc] He is chosen … the man is already chosen.

Devil/God Jesus He is chosen … the man is already chosen.

Stand before me, each of you.

Jesus Stand still, and look at me.

Stand before me, each of you.

Stand look atof me.

Jesus facesstill, theand members the Chorus, one at a time. None can hold position. They flinch and Jesus faces the members of the Chorus, one at look away. Finally, Jesus turns to Judas. He holds a time. None can hold position. They flinch and his ground and looks Jesus in the face. What Jesus look away. Finally, Jesus turns to Judas. He holds next utters seems only to be heard by Judas. his ground and looks Jesus in the face. What Jesus next utters seems only to be heard by Judas.

Jesus Judas … You are the best of them.

Jesus You will rid me of the man who clothes me.

Judas … You are the best of them.

Mary You will rid me of the man who clothes me.

Jesus dipped bread in the oil and gave it to Judas.

Mary Jesusdipped bread in the oil and gave it to Judas.

Jesus This bread is my body.

Jesus This is my body.

Jesusbread and Judas mime the passing of the bread.

The hand of Jesus rests a moment on that of Judas.

Jesus and Judas mime the passing of the bread.

Judas The hand of Jesus rests a moment on that of Judas.

His hand on mine.

Judas His hand on mine.

Mary And so he knew…

Mary Chorus And so he knew…

And so he knew…

Chorus And so he knew…

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Jesus [to Judas] Jesus What you must do, do quickly. [to Judas] Mary you must do, do quickly.

What And the Devil went into Judas…

Mary Chorus And the Devil went into Judas…

The Devil took hold of Judas…

Chorus The Devil took hold of Judas…

Mary The Devil or God. Mary Chorus The Devil or God. The Devil or God. Chorus The Devil or God. Devil/God Deliver him. Hand him over.

Devil/God Judas Deliver him. Hand him over.

This voice is the voice of the Devil.

Judas Devil/God This voice is the voice of the Devil.

Hand him over to them…

Devil/God Judas Hand him over to them…

This voice is the voice of God. Judas Devil/God This voice is the voice of God. …to those who despise him…

Devil/God Judas …to those who despise him…

Voice of the Devil Judas Devil/God Voice of the Devil …to those who fear him.

Devil/God Judas …to those who fear him.

Voice of God. Judas Devil/God Voice of God. Deliver him to death…

Devil/God Judas Deliver him to death…

The Devil…

Judas Devil/God The Devil… …deliver him to life.

Devil/God Judas …deliver him to life. …or God. Judas Jesus …or God. What you are chosen to do, go and do it now.

Jesus What you are chosen to do, go and do it now.

Judas exits.

Judas Mary exits.

Judas…

Mary Chorus Judas…

Judas went out; and it was night.

Chorus Judas went out; and it was night.

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Who Do You Say I Am? Who Do You Say I Am? Jesus What do people say of me?

Jesus Who do they say I am?

What do people say of me?

Chorus Who do they say I am?

They say prophet.

Chorus They say man of miracles.

They say prophet.

Marysay man of miracles.

They They say blasphemer and fool.

Mary They say lawbreaker.

They say blasphemer and fool.

Chorus They say lawbreaker.

A man with a gift, a man with a devil.

Chorus Mary A man with a gift, a man with a devil.

They say messiah, they say deceiver.

Mary Chorus They say messiah, they say deceiver.

They say rabbi, leader, healer…

Chorus Marysay rabbi, leader, healer…

They …bringer of good news…

Mary Chorus …bringer of good news… …bringer of darkness…

Chorus …bringer of darkness…

Mary …man of light, man of sorrow.

Mary Chorus …man of light, man of sorrow. …man of light, man of sorrow.

Chorus …man of light, man of sorrow.

Jesus And what do you say?

Jesus Chorus And what do you say?

Sometimes man, sometimes word; Chorus sometimes door, sometimes path.

Sometimes man, sometimes word; Sometimes bread, sometimes seed; sometimes door, sometimes path. sometimes truth, sometimes grace.

Sometimes bread, sometimes seed; sometimes sometimes grace.

Peter steps truth, out from the Chorus.

Peter Petersteps out from the Chorus.

I say you are Christ, Son of the Living God. Peter I say you are Christ, Son of the Living God. Jesus Who must suffer and be killed Jesus and come back from the dead.

Who must suffer and be killed Chorus and come back from the dead.

Who must suffer and be killed Chorus and come back from the dead.

Who must suffer and be killed and come back from the dead.

Peter I will go with you – to prison or to death.

Peter Jesus I will go with you – to prison or to death.

Peter, this night you will betray me…

Jesus Peter this night you will betray me…

Peter, …to prison…

Peter Jesus …to prison… …at cockcrow you will deny me…

Jesus Peter …at cockcrow you will deny me… …or to death!

Peter …or to death!

The Agony in the Garden The Agony in the Garden Chorus At Gethsemene, Jesus went aside to pray.

Chorus Jesus At Gethsemene, Jesus went aside to pray.

Should I suffer this?

Jesus Should I give myself over to this?

Should I suffer this?

ChorusI give myself over to this?

Should He raised his hands to heaven. He shook.

Chorus His sweat fell to the ground and sweetened He raised his hands to heaven. He shook. the dust.

His sweat fell to the ground and sweetened He prayed: a man in pain, a man in fear. the dust.

Jesus He prayed: a man in pain, a man in fear.

I do it because I must. I suffer because I must.

Jesus I give myself over to death because I must.

I do it because I must. I suffer because I must.

But the man who delivers me to this: I give myself over to death because I must. better that man had not been born.

But the man who delivers me to this: Judas better that man had not been born.

I do it because I must: because I’m chosen.

Judas IDevil/God do it because I must: because I’m chosen.

Because you are chosen; because it falls to you.

Devil/God Jesus Because you are chosen; because it falls to you.

I will be rid of the man who clothes me.

Jesus I will be rid of the man who clothes me.

Jesus Not man, but spirit and grace; Jesus not man, but pathway; not man, but sacrifice.

Not man, but spirit and grace; Chorus not man, but pathway; not man, but sacrifice.

Not man, but spirit and grace; Chorus not man, but pathway; not man, but sacrifice.

Not man, but spirit and grace; not man, but pathway; not man, but sacrifice.

Jesus Who will die to live, as I must?

Jesus Who will find me dead and living, Who will die to live, as I must? find me man and ghost, Who will find me dead and living, find me as I was and find me changed? find me man and ghost, find me as I was and find me changed?

Jesus Who will believe this?

Jesus Who will fasten to this?

Who will believe this?

Who will preach this?

Who will fasten to this?

Chorus Who will preach this?

Who will believe this?

Chorus Who will fasten to this?

Who will believe this?

Who will preach this?

Who will fasten to this?

Who will preach this?

Jesus Not man, but spirit and grace; Jesus not man, but pathway; not man, but sacrifice.

Not man, but spirit and grace; Mary not man, but pathway; not man, but sacrifice.

They came for him with torches and swords.

Mary Chorus They came for him with torches and swords.

Ju-das Ju-das Ju-das etc Chorus Jesus Ju-das Ju-das Ju-das etc [over Chorus] Jesus Judas… [over Chorus] Judas…

Judas moves to Jesus…

Judas moves to Jesus…

Chorus Ju-das Ju-das Ju-das etc Chorus Ju-das Ju-das Ju-das etc …and kisses him. …and kisses him.

Jesus [over Chorus] Jesus Judas… [over Chorus] Jesus Judas… …with a kiss, of course, how else but with a kiss?

Jesus Mary …with a kiss, of course, how else but with a kiss?

How else but with a kiss?

Mary Jesus How else but with a kiss?

Who have you come for?

Jesus Voice from the Chorus Who have you come for?[2] Jesus of Nazareth.

Voice from the Chorus [2] Jesusof Nazareth.

Jesus Here I am.

Jesus Judas Here I am.

Who have you come for?

Judas Voice from the Chorus Who have you come for?[3] Jesus of Nazareth.

Voice from the Chorus [3] Jesusof Nazareth.

Jesus Here I am.

Jesus MaryI am.

Here Who have you come for?

Mary 29 Who have you come for?

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Voice from the Chorus [4] Jesus of Nazareth.

Voice from the Chorus [4] Jesusof Nazareth.

Jesus Here I am.

Jesus Judas Here I am.

Jesus of Nazareth. Here he is. Take him.

Judas Jesus of Nazareth. Here he is. Take him.

Betrayal

Mary The cock crowed.

Mary Chorus The cock crowed.

The cock crowed.

Chorus The cock crowed.

Mary Peter went out to the darkness and wept…

Mary Peter went out to the darkness and wept…

Christ Stands Before Caiaphas

Betrayal Chorus Peter followed; the others fled. Jesus was taken Chorus before Caiaphas and the temple priests.

Peter followed; the others fled. Jesus was taken Peter stood in the courtyard. before Caiaphas and the temple priests.

A woman saw him and said: Peter stood in the courtyard.

Mary A woman saw him and said: You came here with him – Mary the man they accuse. You’re one of them.

You came here with him – Chorus the man they accuse. You’re one of them.

Another woman said, Yes – you were with him…

Chorus Mary woman said, Yes – you were with him…

Another …you came here with the Nazarene.

Mary Peter …you came here with the Nazarene.

He is nothing to me. Who is he?

Peter Who do you mean?

He is nothing to me. Who is he?

Chorus Who do you mean?

Others said, You’re a Galilean…

Chorus Mary said, You’re a Galilean…

Others …you know the man, you were with him Mary at Gethsemane. …you know the man, you were with him Peter at Gethsemane.

No! You’re wrong. I don’t know him.

Peter Mary No! You’re wrong. I don’t know him.

The man they call the Christ…

Mary Chorus The man they call the Christ… …miracle-worker, magician, Chorus blasphemer, holy fool, lawbreaker, …miracle-worker, magician, a man with a gift, a man with a devil. blasphemer, holy fool, lawbreaker, Peter a man with a gift, a man with a devil.

Listen to me – I don’t know who he is; Peter I don’t know this man.

Listen to me – I don’t know who he is; I don’t know this man.

Christ Stands Before Caiaphas Chorus They brought him before Caiaphas…

Chorus They brought him Caiaphas steps outbefore of theCaiaphas…

Chorus.

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Caiaphas Caiaphassteps out of the Chorus.

Is this the man?

Caiaphas Judas Is this the man?

Jesus of Nazareth. Here he is.

Judas Caiaphas Jesus of Nazareth. Here he is.

What is said against him?

Caiaphas What is said against him?

Chorus He said I will destroy the temple and rebuild it Chorus in three days.

He said I will destroy the temple and rebuild it He said I am King of the Jews. in three days.

He said I am the Son of God. He said I am King of the Jews.

He said I can forgive sins.

He said I am the Son of God. He said no man comes to the Father except by me.

He said I can forgive sins.

Trickster, blasphemer, magician, miracle-maker.

He said no man comes to the Father except by me.

Caiaphasblasphemer, magician, miracle-maker.

Trickster, What miracles?

Caiaphas Mary miracles?

What His shadow on the water, then the man.

Mary The storm died round him. The boat settled His shadow on the water, then the man. in the calm…

The storm died round him. The boat settled Judas in the calm… …and what do you think I am, he asked, if not decoy, Judas if not storm-light, if not lure, if not dream-stock, …and what do you think I am, he asked, if not decoy, if not black to your white? if not storm-light, if not lure, if not dream-stock, Chorus if not black to your white?

Blasphemy!

Chorus Mary Blasphemy!

Spittle and clay on the eyes of the cureless blind…

Mary Judas Spittle and clay on the eyes of the cureless blind… …they laughed as the world returned.

Judas Chorus …they laughed as the world returned.

Blasphemy!

Chorus Blasphemy!

Mary A woman with an issue of blood twelve years.

Mary She stooped and caught his hem, A woman with an issue of blood twelve years. finger and thumb…

She stooped and caught his hem, Judas finger and thumb… …a jolt ran through him and she was cured.

Judas Chorus …a jolt ran through him and she was cured.

Blasphemy!

Chorus Judas Blasphemy!

Mary of seven devils – he turned them out Judas from each of the seven portals…

Mary of seven devils – he turned them out Maryeach of the seven portals… from …she bled and laughed and wept.

Mary Chorus …she bled and laughed and wept.

Blasphemy!

Chorus Mary Blasphemy!

The man came out in his shroud Mary laughing behind the gauze. The stench The man came out in his shroud of the grave was on him: stench of death… laughing behind the gauze. The stench Judas of the grave was on him: stench of death… …a table was set for the feast; Judas the dead man sat down with the rest and ate his fill. …a table was set for the feast; Chorus the dead man sat down with the rest and ate his fill.

Blasphemy!

Chorus Caiaphas Blasphemy! [to Jesus] Caiaphas Do you lay claim to this? Did you cure the blind, [to Jesus] walk on water, raise a man from the dead?

Do you lay claim to this? Did you cure the blind, Did you do that? Are you a necromancer? walk on water, raise a man from the dead?

Mary/Chorus Did you do that? Are you a necromancer?

Jesus was silent.

Mary/Chorus Caiaphas Jesus was silent.

Are you the Christ?

Caiaphas Judas/Chorus Are you the Christ?

Jesus was silent.

Judas/Chorus Caiaphas Jesus was silent.

Are you the Son of God? Caiaphas Jesus Are you the Son of God? You want me to say I am. I say I am.

Jesus Caiaphas/Chorus You want me to say I am. I say I am.

Blasphemy!

Caiaphas/Chorus Jesus Blasphemy!

Caiaphas, you will see me in my glory…

Jesus Caiaphas/Chorus Caiaphas, you will see me in my glory…

Blasphemy!

Caiaphas/Chorus Blasphemy!

Jesus …but you will die in your sins.

Jesus Judas …but you will die in your sins.

Sometimes man, sometimes word Judas Sometimes door, sometimes path.

Sometimes man, sometimes word Sometimes door, sometimes path.

Mary They blindfolded him.

Mary They beat him and spat on him.

They blindfolded him.

Chorus They beat him and spat on him.

They blindfolded him.

Chorus They beat him and spat on him.

They blindfolded him.

They beat him and spat on him.

The Chorus divides.

The Chorus Chorus [1] divides.

If you’re a prophet prophesy Chorus [1] who it is that strikes you, who it is that spits on you.

If you’re a prophet prophesy Judas who it is that strikes you, who it is that spits on you.

Sometimes bread, sometimes seed Judas Sometimes truth, sometimes grace.

Sometimes bread, sometimes seed Chorus [2] truth, sometimes grace.

Sometimes He said: The Son of Man will be betrayed.

Chorus [2] He said: I will suffer and die. On the third day He said: The Son of Man will be betrayed.

I will return from the dead.

He said: I will suffer and die. On the third day Judas I will return from the dead.

He said: What you are here to do, Judas go and do it now. He said: He said: What you are here to do, go and do it now. He said: Judas You are the best of them, Judas you will rid me of the man that clothes me.

You are the best of them, Jesus you will rid me of the man that clothes me.

You are the best of them, Jesus you will rid me of the man that clothes me.

You are the best of them, you will rid me of the man that clothes me.

Christ Stands Before Pilate Christ Stands Judas Before Pilate In this section, – in effect – stands in for Pilate. And the questions he asks could In this section, Judas – in effect – stands in as easily be his as questions asked by Pilate. for Pilate. And the questions he asks could as easily be his as questions asked by Pilate.

Mary He stood before Pilate, then, who asked: Mary Judas He stood before Pilate, then, who asked: Are you the King of the Jews?

Judas Jesus Are you the King of the Jews?

You say this.

Jesus You say this.

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Mary Pilate said: Many condemn you.

Mary Many have come to testify against you.

Pilate said: Many condemn you.

Chorus Many have come to testify against you.

Jesus was silent.

Chorus Marywas silent.

Jesus Pilate said: You must answer them.

Mary Chorus Pilate said: You must answer them.

Jesus was silent.

Chorus Marywas silent.

Jesus Pilate went out to the crowd. He said: Mary Judas Pilate went out to the crowd. He said: This man has done nothing wrong.

Judas This man hasdivides: done nothing wrong.

The Chorus The Chorus Chorus [1] divides: He’s a blasphemer, a rabble-rouser…

Chorus [1] Chorus He’s a blasphemer, a rabble-rouser…

Crucify him!

Chorus Chorushim!

[2] Crucify …he preaches sin to the people…

Chorus [2] Chorus …he preaches sin to the people…

Crucify him!

Chorus Chorushim!

[2] Crucify …he offends against our law and yours…

Chorus [2] Chorus …he offends against our law and yours…

Crucify him!

Chorus Judas Crucify him!

Are you the Son of God? Are you the Christ?

Judas Mary Are you the Son of God? Are you the Christ?

Pilate said: I can release him to you, or Mary I can release Barabbas…

Pilate said: I can release him to you, or IChorus can release Barabbas…

Barabbas! Barabbas!

Chorus Judas Barabbas! Barabbas!

What evil has this man done?

Judas Chorus What evil has this man done?

Crucify him!

Chorus Judas Crucify him!

There is no fault in him.

Judas Chorus There is no fault in him.

Barabbas! Barabbas! Barabbas!

Chorus Barabbas! Barabbas! Barabbas!

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Judas I wash my hands of this…

Judas IChorus wash my hands of this…

Crucify him … crucify him…

Chorus Judas Crucify him … crucify him…

I cleanse myself of this.

Judas I cleanse myself of this.

Judas exits.

Judas exits.

To Golgotha and to the Field of Blood To Golgotha and to the Field of Blood Chorus The half-death, then. Roped and flogged.

Chorus The flesh of his back near-flensed.

The half-death, then. Roped and flogged.

When they had done, they cut him down The flesh of his back near-flensed. from the whipping-post and dressed him in purple…

When they had done, they cut him down from Marythe whipping-post and dressed him in purple… …on his head a cap of thorns driven hard Mary into the skin, …on his head a cap of thorns driven hard scraping the bone, blood matting his hair… into the skin, …and the crossbeam hoisted to his shoulders… scraping the bone, blood matting his hair…

Chorus …and the crossbeam hoisted to his shoulders… …on his head a cap of thorns driven hard Chorus into the skin, …on his head a cap of thorns driven hard scraping the bone, blood matting his hair… into the skin, …and the crossbeam hoisted to his shoulders… scraping the bone, blood matting his hair…

Chorus …and the crossbeam hoisted to his shoulders… …the Via Dolorosa … the Way Chorus of Sorrow … crippled by pain … he fell … …the Via Dolorosa … the Way women followed, weeping… of Sorrow … crippled by pain … he fell … women Jesus followed, weeping…

Women, weep for yourselves, weep Jesus for your children, weep…

Women, weep for yourselves, weep the pain man will heap on man is limitless. for your children, weep…

Chorus the pain man will heap on man is limitless.

Women, weep for yourselves, weep Chorus for your children, weep…

Women, weep for yourselves, weep the pain man will heap on man is limitless. for your children, weep… the pain man will heap on man is limitless.

Mary If they do these things in a green tree Mary what shall be done in the dry?

If they do these things in a green tree Chorus what shall be done in the dry?

Ju-das … Ju-das … Ju-das … Ju-das Chorus [repeat] Ju-das … Ju-das … Ju-das … Ju-das [repeat] Judas enters. He throws down the thirty pieces of silver in front of the Chorus. In that moment, Judas enters. He throws down the thirty pieces the Chorus is silenced. of silver in front of the Chorus. In that moment, the Chorus is silenced.

Judas My face on these coins; my name on them.

Judas For all time: my face, my name, his blood.

My face on these coins; my name on them.

No matter the gift; no matter the mystery; For all time: my face, my name, his blood. no matter his hand on mine; No matter the gift; no matter the mystery; no matter that I did what I was chosen to do. no matter his hand on mine; Chorus no matter that I did what I was chosen to do.

See to that yourself.

Chorus The money is yours, the guilt is yours: See to that yourself.

Ju-das, Ju-das, Ju-das, Judas the Jew. The money is yours, the guilt is yours: Ju-das, Ju-das, Ju-das, Judas the Jew. Judas exits.

Judas exits.

Chorus They came to Golgotha, hill of skulls, a place Chorus of blood and screams, of men at work They came to Golgotha, hill of skulls, a place with ropes and winches and hammers of blood and screams, of men at work and nails and flesh. with ropes and winches and hammers They nailed him, then hauled him up. and nails and flesh.

They Marynailed him, then hauled him up.

Women at the foot of the cross.

Mary Chorus [1] Women at the foot of the cross.

Women at the foot of the cross.

Chorus [1] Women Chorus at the foot of the cross.

Thieves crucified with him, one on either side.

Chorus Thief [1]crucified with him, one on either side.

Thieves [he steps out] Thief [1] Are you the Christ? Then save yourself and us. [he steps out] Are you the Christ? Then save yourself and us.

Judas enters.

Judas enters.

Thief [2] [he steps out] Thief [2] He is the Christ. [he steps out] He is the Christ.

Judas Christ save me!

Judas Thief Christ[2] save me!

Christ, save me!

Thief [2] Christ, Mary save me!

Here at the foot of the cross.

Mary Judas Here at the foot of the cross.

Here in the Field of Blood…

Judas Thief [2] Here in the Field of Blood…

We are sinners. He is the Christ.

Thief [2] We are sinners. He is the Christ.

Judas Christ save me!

Judas Thief Christ[2] save me!

Christ save me!

Thief [2] Christ save me!

Jesus I will find you in Paradise…

Jesus I will find you in Paradise…

Judas …in the Field of Blood…

Judas Chorus …in the Field of Blood… …in the Field of Blood…

Chorus …in the Field of Blood…

Mary …at the foot of the cross…

Mary Chorus …at the foot of the cross… …at the foot of the cross…

Chorus …at the foot of the cross…

Mary Who cannot weep, come learn of me.

Mary Chorus Who cannot weep, come learn of me.

The sky darkened – a dust-storm across the sun, Chorus animals went to ground, birds broke on the wind.

The sky darkened – a dust-storm across the sun, Then it was still. Then the wild lament: animals went to ground, birds broke on the wind.

Jesusit was still. Then the wild lament: Then Eloi, Eloi, lama sabachthani…

Jesus Eloi, Eloi, lama sabachthani…

Jesus My God … My God … why are you lost to me?

Jesus Judas My God … My God … why are you lost to me?

My God … My God … why are you lost to me?

Judas My God … My God … why are you lost to me?

Judas I was called to sin-as-virtue, to virtue-as-sin, Judas blood money, innocent blood, field of blood – I was called to sin-as-virtue, to virtue-as-sin, the impulse lay in me: dreams of darkness, blood money, innocent blood, field of blood – voices out of darkness. Of course with a kiss: the impulse lay in me: dreams of darkness, kiss of repentance, kiss of inexpressible sorrow. voices out of darkness. Of course with a kiss: Better unborn…but I was born to this. kiss of repentance, kiss of inexpressible sorrow.

What I did I was chosen to do.

Better unborn…but I was born to this.

What I gave I was asked to give.

What I did I was chosen to do.

What I lost I was told to lose.

What I gave I was asked to give.

My only purpose, his death and mine.

What I lost I was told to lose.

My only purpose, his death and mine.

Mary A man of sorrows…

Mary Chorus A man of sorrows…

A man of sorrows…

Chorus A man of sorrows…

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Judas [anguished] Judas Christ come for me in hell. [anguished] Christ Mary come for me in hell. …and acquainted with heartbreak.

Mary Chorus …and acquainted with heartbreak. …and acquainted with heartbreak.

Chorus …and acquainted with heartbreak.

Jesus Father, into your hands…

Jesus Judas Father, into your hands…

Lord, find me in hell…

Judas Jesus Lord, find me in hell… …I commend my spirit.

Jesus Judas …I commend my spirit. …deliver me from hell.

Judas …deliver mehis from hell.

Judas turns back: has died.

Judas turns his back: has died.

Chorus Unredeemable, hell-born, despised of men Chorus and the least of them – Judas the Jew. Unredeemable, hell-born, despised of men Devil/God and the least of them – Judas the Jew. Chosen for this; born to this; his only purpose…

Devil/God Mary for this; born to this; his only purpose…

Chosen If he can’t be saved, who can be saved?

Mary If he can’t be forgiven, who can be forgiven?

If he can’t be saved, who can be saved?

Jesus If he can’t be forgiven, who can be forgiven?

It is finished.

Jesus It is finished.

Jesus turns his back: has died.

Jesus Maryturns his back: has died.

His death … our salvation … this and only this.

Mary Chorus His death … our salvation … this and only this.

His death … our salvation … this and only this.

Chorus His death … our salvation … this and only this.

Devil/God Chosen for this: born to this: his only purpose…

Devil/God Chosen for this: born to this: his only purpose…

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Chorus The Hill of Skulls, the Field of Blood, the tree.

Chorus Everything written, everything known, The Hill of Skulls, the Field of Blood, the tree. the mission, the sacrifice, voices of men, voices Everything written, everything known, of angels, salvation, retribution, life in light the mission, the sacrifice, voices of men, voices and death in darkness … this and only this: of angels, salvation, retribution, life in light The Hill of Skulls, the Field of Blood, the tree. and death in darkness … this and only this: Everything written, everything known, The Hill of Skulls, the Field of Blood, the tree. the mission, the sacrifice, voices of men, voices Everything written, everything known, of angels… the mission, the sacrifice, voices of men, voices Mary of angels…

Who cannot weep, come learn of me.

Mary Who cannot weep, come learn of me.

Cecelia Bruggemeyer – Double Bass Cecelia Bruggemeyer – Double Bass

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OAE team OAE team Chief Executive Crispin Woodhead Chief Executive Director of Finance and Crispin Woodhead Operations Director of Finance and Ivan Rockey Operations Development Ivan Rockey Director Emily Stubbs Development Director Director of Marketing Emily Stubbs and Audience Development Director of Marketing John Holmes and Audience Development Director of Press John Holmes Katy Bell Director of Press Projects Katy Bell Manager Jo Perry Projects Manager Orchestra Jo Perry Manager Philippa Brownsword Orchestra Manager Choir Manager Philippa Brownsword David Clegg Choir Manager Projects Officer David Clegg Hannah Bache Projects Officer Librarian Hannah Bache Colin Kitching Librarian Education Director Colin Kitching Cherry Forbes Education Director Education Officer Cherry Forbes Andrew Thomson Education Officer Andrew Thomson

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Board of Directors Sir Martin Smith [Chairman] Board of Directors Luise Buchberger Sir Martin Smith [Chairman] Steven Devine Luise Buchberger Denys Firth Steven Devine Nigel Jones Denys Firth Max Mandel Nigel Jones David Marks Max Mandel Roger Montgomery David Marks Olivia Roberts Roger Montgomery Susannah Simons Olivia Roberts Katharina Spreckelsen Susannah Simons Mark Williams Katharina Spreckelsen Crispin Woodhead Mark Williams OAE Trust Crispin Woodhead Sir Martin Smith [Chair] OAE Trust Edward Bonham Carter Sir Martin Smith [Chair] Paul Forman Edward Bonham Carter Julian Mash Paul Forman Imogen Overli Julian Mash Rupert Sebag-Montefiore Imogen Overli Diane Segalen Rupert Sebag-Montefiore Leaders Diane Segalen Kati Debretzeni Leaders Margaret Faultless Kati Debretzeni Matthew Truscott Margaret Faultless Players’ Artistic Matthew TruscottCommittee Luise Buchberger Players’ Artistic Committee Steven Devine Luise Buchberger Max Mandel Steven Devine Roger Montgomery Max Mandel Katharina Spreckelsen Roger Montgomery Katharina Spreckelsen The OAE is a registered charity number 295329 and a registered company number 2040312 The OAE is a registered charity number 295329 Registered office: and a registered company number 2040312 Kings Place, 90 York Way, London N1 9AG Registered office: Telephone 020 7239 9370 Kings Place, 90 York Way, London N1 9AG info@oae.co.uk Telephone 020 7239 9370 Design and art direction –LucienneRoberts+ info@oae.co.uk Photography – Angela Moore Design and art direction –LucienneRoberts+ Photography – Angela Moore

Finance Officer Fabio Lodato Finance Officer Digital Content Officer Fabio Lodato Zen Grisdale Digital Content Officer Marketing Zen Grisdaleand Press Officer Thomas Short Marketing and Press Officer Head ofShort Individual Giving Thomas Alex Madgwick Head of Individual Giving Development Alex Madgwickand Events Administrator Development and Danielle Robson Events Administrator Development Manager Danielle Robson Catherine Kinsler Development Manager Trusts andKinsler Foundation Catherine Manager Trusts and Foundation Andrew Mackenzie Manager Development Trainee Andrew Mackenzie Ben Carr Development Trainee Programme Editor Ben Carr Genevieve Arkle Programme Editor Genevieve Arkle

OAE news OAE news The World Cup of Opera We’ve been invited to be the house band for the first The World Cup of Opera ever Glyndebourne Opera Cup, a new competition We’ve been invited to be the house band for the first designed to discover the best young singers from ever Glyndebourne Opera Cup, a new competition around the world. With preliminary rounds in London, designed to discover the best young singers from Philadelphia and Berlin, it’s truly an international around the world. With preliminary rounds in London, competition. The semi-finals [Thursday 22 March 2018] Philadelphia and Berlin, it’s truly an international and final [Saturday 24 March 2018] at Glyndebourne competition. The semi-finals [Thursday 22 March 2018] will be ticketed and open to the public. There will also and final [Saturday 24 March 2018] at Glyndebourne be an accompanying TV series on Sky Arts. will be ticketed and open to the public. There will also glyndebourne.com be an accompanying TV series on Sky Arts. glyndebourne.com

The Marriage of Figaro in cinemas Speaking of Glyndebourne, our 2016 The Marriage of Figaro in cinemas production of Le Nozze di Figaro [The Marriage Speaking of Glyndebourne, our 2016 of Figaro] [pictured above] gets an outing in production of Le Nozze di Figaro [The Marriage cinemas this Autumn as part of Glyndebourne’s of Figaro] [pictured above] gets an outing in annual tour. It’s showing in 11 locations between cinemas this Autumn as part of Glyndebourne’s Sunday 15 October and Friday 1 December. Visit annual tour. It’s showing in 11 locations between glyndebourne.com and go to ‘Cinema & Online’ Sunday 15 October and Friday 1 December. Visit to see if there’s a screening near you. glyndebourne.com and go to ‘Cinema & Online’ to see if there’s a screening near you.

Bach, the Universe and Everything Don’t forget our new Sunday morning series Bach, the Universe and Everything for inquiring and curious minds starts at Don’t forget our new Sunday morning series Kings Place on Sunday 22 October. Combining for inquiring and curious minds starts at performances of Bach Cantatas with fascinating Kings Place on Sunday 22 October. Combining talks about science and physics, there is performances of Bach Cantatas with fascinating no better way to start a Sunday morning. talks about science and physics, there is kingsplace.co.uk no better way to start a Sunday morning. kingsplace.co.uk 37 37

Supporters Supporters

OAE Thirty Circle

The is particularly grateful OAEOAE Thirty Circle to the following members of The OAE is particularly grateful the Thirty Circle who have so to the following members of generously contributed to the the Thirty Circle who have so re-financing of the Orchestra generously contributed to the through the OAE Trust. re-financing of the Orchestra Thirty Patrons Trust. throughCircle the OAE Bob and Laura Cory Thirty Circle Patrons Sir Martin Smith and Bob and Laura Cory Lady Smith OBE Sir Martin Smith and Thirty Circle Members OBE Lady Smith Victoria and Thirty Circle Members Edward Bonham Carter Victoria and Nigel Jones and Edward Bonham Carter Françoise Valat-Jones Nigel Jones and Selina and David Marks Françoise Valat-Jones Julian and Camilla Mash Selina and David Marks Mark and Rosamund Williams Julian and Camilla Mash Mark and Rosamund Williams Our Supporters Ann Peter Law OAE Our and Supporters Experience scheme Ann and Peter Law OAE Ann and Peter Law Experience scheme Principal Sponsor Ann and Peter Law Principal Sponsor Corporate Partners Apax Partners Corporate Partners E.S.J.G. Limited Apax Partners Lubbock Fine Chartered E.S.J.G. Limited Accountants Lubbock Fine Chartered Mark Allen Group Accountants Parabola Land Mark Allen Group Stephen Levinson Parabola Land at Keystone Law Stephen Levinson Swan Turton at Keystone Law Swan Turton

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

Su Li and Stephen Gibbons – Season Patrons Violin Bob and Laura Cory Su Li and Stephen Gibbons – Season Patrons The Mark Williams Foundation – Adrian Frost Violin Bob and Laura Cory Co-Principal Bassoon Bruce Harris The Mark Williams Foundation – Adrian Frost John Armitage Charitable Trust Jenny and Tim Morrison – Co-Principal Bassoon Bruce Harris Second Violin Nigel Jones and John Armitage Charitable Trust Jenny and Tim Morrison – Andrew Nurnberg – Françoise Valat-Jones Second Violin Nigel Jones and Co-Principal Oboe Selina and David Marks Andrew Nurnberg – Françoise Valat-Jones Jonathan Parker Charitable Trust – Sir Martin Smith and Co-Principal Oboe Selina and David Marks Co-Principal Cello Lady Smith OBE Jonathan Parker Charitable Trust – Sir Martin Smith and Philip and Rosalyn Wilkinson Professor Richard Portes CBE FBA – Co-Principal Cello Lady Smith OBE Mark and Rosamund Williams Co-Principal Bassoon Philip and Rosalyn Wilkinson Professor Richard Portes CBE FBA – Olivia Roberts – Project Patrons Mark and Rosamund Williams Co-Principal Bassoon Violin Julian and Annette Armstrong Olivia Roberts – Project Patrons John and Rosemary Shannon – JMS Advisory Limited Violin Julian and Annette Armstrong Principal Horn Julian and Camilla Mash John and Rosemary Shannon – JMS Advisory Limited Roger and Pam Stubbs – Haakon and Imogen Overli Principal Horn Julian and Camilla Mash Sub-Principal Clarinet Roger and Pam Stubbs – Aria Patrons Haakon and Imogen Overli Crispin Woodhead and Sub-Principal Clarinet Denys and Vicki Firth Christine Rice – Aria Patrons Crispin Woodhead and Stanley Lowy Principal Timpani Denys and Vicki Firth Christine Rice – Gary and Nina Moss Stanley Lowy Education Patrons Principal Timpani Rupert Sebag-Montefiore Gary and Nina Moss John and Sue Edwards – Eric Tomsett Education Patrons Rupert Sebag-Montefiore Principal Education Patrons John and Sue Edwards – Chair Patrons Eric Tomsett Mrs Nicola Armitage Principal Education Patrons Felix Appelbe and Patricia and Stephen Crew Chair Patrons Mrs Nicola Armitage Lisa Bolgar Smith – The Nigel Gee Foundation Felix Appelbe and Patricia and Stephen Crew Co-principal Cello Venetia Hoare Lisa Bolgar Smith – The Nigel Gee Foundation Mrs Nicola Armitage – Rory and Louise Landman Co-principal Cello Venetia Hoare Education Director Professor Richard Portes CBE FBA Mrs Nicola Armitage – Rory and Louise Landman Hugh and Michelle Arthur – Education Director Professor Richard Portes CBE FBA Violin Hugh and Michelle Arthur – Victoria and Violin Edward Bonham Carter – Victoria and Principal Trumpet Edward Bonham Carter – Anthony and Celia Edwards – Principal Trumpet Principal Oboe Anthony and Celia Edwards – Sir Vernon and Lady Ellis – Principal Oboe Co-Principal Viola Sir Vernon and Lady Ellis – James Flynn QC – Co-Principal Viola Co-Principal Lute/Theorbo James Flynn QC – Paul Forman – Co-Principal Lute/Theorbo Co-Principal Cello Paul Forman – Co-Principal Bassoon and Co-Principal Cello Co-Principal Horn Co-Principal Bassoon and Co-Principal Horn

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

OAE Friends for their ongoing generosity and enthusiasm.

Associate Patrons Noël and Caroline Annesley Associate Patrons David and Marilyn Clark Noël and Caroline Annesley Christopher and Lesley Cooke David and Marilyn Clark David Emmerson Christopher and Lesley Cooke Ian S Ferguson and David Emmerson Dr Susan Tranter Ian S Ferguson and Jonathan and Tessa Gaisman Dr Susan Tranter Noel De Keyzer Jonathan and Tessa Gaisman Marc-Olivier and Agnes Laurent Noel De Keyzer Madame M Lege-Germain Marc-Olivier and Agnes Laurent Sir Timothy and Lady Lloyd Madame M Lege-Germain Michael and Harriet Maunsell Sir Timothy and Lady Lloyd David Mildon in memory of Michael and Harriet Maunsell Lesley Mildon David Mildon in memory of Andrew and Cindy Peck Lesley Mildon Michael and Giustina Ryan Andrew and Cindy Peck Ivor Samuels and Gerry Wakelin Michael and Giustina Ryan Emily Stubbs and Ivor Samuels and Gerry Wakelin Stephen McCrum Emily Stubbs and Shelley von Strunckel Stephen McCrum Rev’d John Wates OBE and Shelley von Strunckel Carol Wates Rev’d John Wates OBE and Mr J Westwood Carol Wates Tim Wise Mr J Westwood Young Ambassador Patrons Tim Wise Pamela Dow Young Ambassador Patrons William Norris Pamela Dow Young WilliamPatrons Norris Josh Bell and Adam Pile Young Patrons Marianne and William Josh Bell and Adam Pile Cartwright-Hignett Marianne and William Sam Hucklebridge Cartwright-Hignett Joseph Cooke and Sam Hucklebridge Rowan Roberts Joseph Cooke and Gold Friends Rowan Roberts Mr and Mrs C Cochin de Billy Gold Friends Mrs A Boettcher Mr and Mrs C Cochin de Billy Geoffrey Collens Mrs A Boettcher Hugh Courts Geoffrey Collens Roger Mears and Joanie Speers Hugh Courts Roger Mears and Joanie Speers

For more information on supporting the OAE please contact: Emily Stubbs For more information on supporting the OAE please contact: Development Director Emily Stubbs emily.stubbs@oae.co.uk Development Director 020 7239 9381 emily.stubbs@oae.co.uk 020 7239 9381 Silver Friends Boltini Trust Dennis Baldry Boshier-Hinton Foundation Silver Friends Boltini Trust Haylee and Michael Bowsher Brian Mitchell Charitable Dennis Baldry Boshier-Hinton Foundation Michael Brecknell Settlement Haylee and Michael Bowsher Brian Mitchell Charitable Christopher Campbell The Charles Peel Charitable Trust Michael Brecknell Settlement Michael A Conlon Chapman Charitable Trust Christopher Campbell The Charles Peel Charitable Trust Mr and Mrs Michael Cooper Cockayne – Michael A Conlon Chapman Charitable Trust Simon Edelsten London Community Foundation Mr and Mrs Michael Cooper Cockayne – Norman and Sarah Fiore John S Cohen Foundation Simon Edelsten London Community Foundation Malcolm Herring Derek Hill Foundation Norman and Sarah Fiore John S Cohen Foundation Patricia Herrmann D’Oyly Carte Charitable Trust Malcolm Herring Derek Hill Foundation Peter and Sally Hilliar Dunard Fund Patricia Herrmann D’Oyly Carte Charitable Trust Ruth and David Samuels Ernest Cook Trust Peter and Sally Hilliar Dunard Fund Rupert and Alice King Fenton Arts Trust Ruth and David Samuels Ernest Cook Trust Stephen and Roberta Rosefield Garfield Weston Foundation Rupert and Alice King Fenton Arts Trust Susannah Simons The Golden Bottle Trust Stephen and Roberta Rosefield Garfield Weston Foundation Her Honour Suzanne Stewart Goldsmiths’ Company Charity Susannah Simons The Golden Bottle Trust Idlewild Trust Her Honour Suzanne Stewart Goldsmiths’ Company Charity Bronze Friends Jack Lane Charitable Trust Idlewild Trust Keith Barton JMCMRJ Sorrell Foundation Bronze Friends Jack Lane Charitable Trust Dan Burt J Paul Getty Jnr General Keith Barton JMCMRJ Sorrell Foundation Tony Burt Charitable Trust Dan Burt J Paul Getty Jnr General Anthony and Jo Diamond John Lyon’s Charity Tony Burt Charitable Trust Mrs SM Edge The Mark Williams Foundation Anthony and Jo Diamond John Lyon’s Charity Mrs Mary Fysh Michael Marks Charitable Trust Mrs SM Edge The Mark Williams Foundation Ray and Liz Harsant National Foundation for Mrs Mary Fysh Michael Marks Charitable Trust Auriel Hill Youth Music Ray and Liz Harsant National Foundation for Nigel Mackintosh Nicholas Berwin Charitable Trust Auriel Hill Youth Music Angus Macpherson Orchestras Live Nigel Mackintosh Nicholas Berwin Charitable Trust Julian Markson Palazzetto Bru-Zane Angus Macpherson Orchestras Live Paul Rivlin The Patrick Rowland Foundation Julian Markson Palazzetto Bru-Zane Alan Sainer PF Charitable Trust Paul Rivlin The Patrick Rowland Foundation Gillian Threlfall PRS Foundation Alan Sainer PF Charitable Trust Mr and Mrs Tony Timms Pye Charitable Settlement Gillian Threlfall PRS Foundation Mrs Joy Whitby RK Charitable Trust Mr and Mrs Tony Timms Pye Charitable Settlement David Wilson RVW Trust Mrs Joy Whitby RK Charitable Trust Schroder Charity Trust David Wilson Trusts and foundations RVW Trust The Shears Foundation Apax Foundation Schroder Charity Trust Trusts and foundations Valentine Charitable Trust Arts Council England The Shears Foundation Apax Foundation Violet Mauray Charitable Trust Catalyst Fund Valentine Charitable Trust Arts Council England Arts Council England Violet Mauray Charitable Trust Catalyst Fund Small Capital Grants Arts Council England Arts Council England Small Capital Grants Strategic Touring Fund Arts Council England 39 Strategic Touring Fund 39

OAE Advert 14.5x10.5cm_2012_v2_PRESS.pdf

1

31/08/2012

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Lubbock Fine is proud to be associated with The Orchestra of the Age of Enlightenment and wishes it every success.

LF Creative, the dedicated arts and music division of Lubbock Fine, provides specialist accounting and tax advice for musicians.

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Contact Clive Patterson clivepatterson@lubbockfine.co.uk

CMY

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Russell Rich russellrich@lubbockfine.co.uk Russell Bedford House, City Forum, 250 City Road, London EC1V 2QQ

www.lfcreative.co.uk

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Discover the world’s best classical music reviews magazine today SUPERB RECORDINGS

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We are devoted to exploring the artists stamping their mark on recording today, with captivating features and exclusive interviews.

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OAE Education OAE Education

A programme to involve, empower and inspire A programme to involve, and inspire Over the past twenty yearsempower our OAE Education family has grown to include of people nationwide Over the past twentythousands years our OAE Education family through creative musical projects.

In 2016–17 we worked has grown to include thousands of people nationwide with overcreative 20,500 people,projects. delivered than 250 through musical Inmore 2016–17 we worked workshops and performed over 80 concerts in 22 cities, with over 20,500 people, delivered more than 250 towns and villages across England. workshops and performed over 80 concerts in 22 cities, towns and villages across England.

Our participants come from a wide We take inspiration from the range of backgrounds and we pride Our participants come from a wide ourselves in working flexibly, adapting range of backgrounds and we pride to the needs of local people and the ourselves in working flexibly, adapting places where they live. The extensive to the needs of local people and the partnerships we have built up over many places where they live. The extensive years helps us to engage fully with all the partnerships we have built up over many communities we work with to ensure years helps us to engage fully with all the maximum and lasting impact. communities we work with to ensure maximum and lasting impact.

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OAE’s repertoire, instruments and We take inspiration from the players, which makes for a vibrant, OAE’s repertoire, instruments and challenging and engaging programme players, which makes for a vibrant, where everyone is involved; players, challenging and engaging programme animateurs, composers, participants, where everyone is involved; players, teachers, partners and stakeholders all animateurs, composers, participants, have a valued voice in the work we do. teachers, partners and stakeholders all have a valued voice in the work we do.

Vision 4 Music Vision 4 Music In 2017–18 we will be creating a programme of 2017–18 events inspired by creating the question we asked In we will be a programme in our Musical Landscapes flagship project: of events inspired by the question we asked ‘What world do we want to create for tomorrow?’ in our Musical Landscapes flagship project: ‘What world do we want to create for tomorrow?’

Vision 4 Music will encompass all our strands in our residency work.

Vision 4 Music will encompass all Our TOTS programme will be based our strands in our residency work. on ‘Stories of old’. Our OPERA and Our TOTS programme will be based SCHOOLS work will focus on a newly on ‘Stories of old’. Our OPERA and written opera based on Purcell’s SCHOOLS work will focus on a newly Fairy Queen by Hazel Gould and James written opera based on Purcell’s Redwood. Our NURTURING TALENT Fairy Queen by Hazel Gould and James work will be extended to include Redwood. Our NURTURING TALENT general teacher training, endangered work will be extended to include instrument work and a new summer general teacher training, endangered school for post A Level students. Finally, instrument work and a new summer our SPECIAL NEEDS programme will school for post A Level students. Finally, be expanded to seven groups across the our SPECIAL NEEDS programme will country with our new Our Band project. be expanded to seven groups across the country with our new Our Band project.

Support our education programme Support our education programme The work we do could not happen without the support of our generous donors.

The work we do could not happen without If you would like to support our Education the support of our generous donors. programme please contact: If you would like to support our Education programme please contact: Alex Madgwick Head of Individual Giving Alex Madgwick alex.madgwick@oae.co.uk Head of Individual Giving 020 7239 9380 alex.madgwick@oae.co.uk 020 7239 9380

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Upcoming concerts Upcoming concerts

Handel’s Semele Wednesday 18 October 2017 Handel’s Semele Royal Festival Hall, Southbank Centre Wednesday 18 October 2017 7pm Royal Festival Hall, Southbank Centre When Handel premiered Semele at Covent 7pm Garden in 1744, he shocked audiences expecting When Handel premiered Semele at Covent something solemn for Lent with this steamy, Garden in 1744, he shocked audiences expecting sexy story of gods having affairs with mortals. something solemn for Lent with this steamy, sexy story of gods having affairs with mortals.

Bach, the Universe and Everything Bach Ich glaube, lieber Herr Bach, the Universe and Everything [I believe, dear Lord, help my unbelief] Bach Ich glaube, lieber Herr Sunday 22 October 2017 [I believe, dear Lord, help my unbelief] Kings Place Sunday 22 October 2017 11.30am Kings Place Marvel at our extraordinary universe and the 11.30am music of Bach in our new Sunday morning series Marvel at our extraordinary universe and the for curious minds. music of Bach in our new Sunday morning series for curious minds.

Bach, the Universe and Everything Bach Wachet! Betet!

Bach, the Universe and Everything [Watch! Pray!]

Bach Wachet! Betet!

Sunday 26 November 2017 [Watch! Pray!]

Kings Place Sunday 26 November 2017 11.30am Kings Place With a little bit of singing and conversation 11.30am afterwards, our very own Sunday service is a With a little bit of singing and conversation place to bond with music lovers and revel in the afterwards, our very own Sunday service is a wonders of science. place to bond with music lovers and revel in the wonders of science.

Mozart: Master of Deception with Rachel Podger Mozart: Master of Deception Monday 27 November 2017 with Rachel Podger St John’s Smith Square Monday 27 November 2017 7pm St John’s Smith Square Mozart was the ultimate musical genius – and 7pm the ultimate game player. He tore up the Mozart was the ultimate musical genius – and rulebook, and if you hear his music twice, you the ultimate game player. He tore up the never have quite the same experience. rulebook, and if you hear his music twice, you never have quite the same experience.

Rachel Podger at West London Synagogue Sunday 10 December Rachel Podger at West London Synagogue West London Synagogue Sunday 10 December 6.30pm West London Synagogue Rachel Podger and singers from our 6.30pm Rising Stars programme join forces to Rachel Podger and singers from our perform Mozart and Gluck.

Rising Stars programme join forces to perform Mozart and Gluck.

Bach, the Universe and Everything Bach Darzu ist erschienen Bach, the Universe and Everything [For this the Son of God appeared] Bach Darzu ist erschienen Sunday 17 December 2017 [For this the Son of God appeared] Kings Place Sunday 17 December 2017 7.30pm Kings Place Feel invigorated, energised and inspired 7.30pm for the week ahead – there is no better way Feel invigorated, energised and inspired to start a Sunday morning. for the week ahead – there is no better way to start a Sunday morning.

Christmas Oratorio Friday 22 December 2017 Christmas Oratorio St John’s Smith Square Friday 22 December 2017 7.30pm St John’s Smith Square Parts 1, 2, 3 and 6 of Bach's majestic 7.30pm festive masterpiece. In collaboration with Parts 1, 2, 3 and 6 of Bach's majestic The Choir of Trinity College Cambridge festive masterpiece. In collaboration with The Choir of Trinity College Cambridge Handel’s Messiah Saturday 23 December 2017 Handel’s Messiah St John’s Smith Square Saturday 23 December 2017 7.30pm St John’s Smith Square We join forces with Polyphony for Handel’s 7.30pm visionary, ecstatic Messiah.

We join forces with Polyphony for Handel’s visionary, ecstatic Messiah.

Visit oae.co.uk for more details on all upcoming concerts Visit oae.co.uk for more details on all upcoming concerts 44 44

Lisa Beznosiuk – Principal Flute [above] and Luise Buchberger [front cover] – Co-Principal Cello Lisa Beznosiuk – Principal Flute [above] and Luise Buchberger [front cover] – Co-Principal Cello Principal sponsor oae.co.uk orchestraoftheageofenlightenment Principal sponsor oae.co.uk theoae orchestraoftheageofenlightenment oae_photos theoae oae_photos