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BOSTON BAROQUE is the first permanent Baroque orchestra established in North America and according to Fanfare Magazine, is widely regarded as “one of the world’s premier periodinstrument bands.” The ensemble produces lively, emotionally charged, groundbreaking performances of Baroque and Classical works for today’s audiences performed on instruments and using performance techniques that reflect the eras in which the music was composed. Founded in 1973 as “Banchetto Musicale” by Music Director Martin Pearlman, Boston Baroque’s orchestra is composed of some of the finest periodinstrument players in the United States, and is frequently joined by the ensemble’s professional chorus and by world-class, instrumental and vocal soloists from around the globe. The ensemble has performed at major music centers across the United States and just returned from Poland for the 2015 Ludwig van Beethoven Festival with soldout performances of Monteverdi’s Vespers of 1610 in Warsaw and Handel’s Messiah in Katowice. Boston Baroque reaches an international audience with its twenty-four acclaimed recordings. In 2012, the ensemble became the first American orchestra to record with the highly-regarded UK audiophile label, Linn Records, and their release of The Creation received great critical acclaim. In April 2014, the orchestra recorded Monteverdi’s rarely performed opera, Il Ritorno d’Ulisse in patria in a salute to Boston Baroque’s 40th anniversary, which was released on Linn Records in salute to Boston Baroque’s 40th anniversary. Boston Baroque’s recordings have received three Grammy® Award Nominations: their 1992 release of Handel’s Messiah, their 1998 release of Monteverdi’s Vespers of 1610, and their 2000 release of Bach’s Mass in B Minor.

MARTIN PE ARLMAN, American conductor, harpsichordist, composer and early-music specialist, is one of this country’s leading interpreters of Baroque and Classical music. As founder and continuing music director of Boston Baroque, he has been hailed for his “fresh, buoyant interpretations,” and his “vivid realizations teeming with life.” Highlights of his work include the complete Monteverdi opera cycle, with his new performing editions of The Coronation of Poppea and The Return of Ulysses; the American premiere of Rameau’s Zoroastre; Gluck’s Iphigénie en Tauride, Alceste and Orfeo ed Euridice in May 2012; a survey of Beethoven symphonies on period instruments; seven major Handel operas and a Mozart opera series, including the North American period-instrument premiere of Don Giovanni. Mr. Pearlman made his Kennedy Center debut with The Washington National Opera in Handel’s Semele and has guest conducted the National Arts Center Orchestra of Ottawa, Utah Opera, Opera Columbus, Boston Lyric Opera, Minnesota Orchestra, San Antonio Symphony and the New World Symphony. He is the only conductor from the early music field to have performed live on the internationally televised Grammy Awards show. Recent compositions by Martin Pearlman include his 3-act Finnegans Wake: an Operoar!, as well as The Creation According to Orpheus, for solo piano, harp, percussion and string orchestra; and music for three plays of Samuel Beckett, commissioned by and premiered at New York’s 92nd Street Y and performed at Harvard University in 2007. Mr. Pearlman is Professor of Music in Historical Performance at the Boston University School of Music.

www.bostonbaroque.org

BOARD OF DIRECTORS

BOARD OF OVERSEERS

David Friend President

Susan E. Maycock, Chair

William Poorvu

Kathryn Bertelli

Suzanne H. Rollert

Lee Bromberg Vice-President

Pia Bertelli

Anne Rosenberg

Francis Gicca Treasurer

Micheline de Bievre

Carl Rosenberg

Pamela Bromberg

Joanne Sattley

John T. Christian

Robert B. Strassler

Lynda G. Christian

Amy Wertheim

Dr. John D. Constable

Ed Wertheim

Francine O. Crawford

Janice May Woodcock

Carla Heaton Clerk Dr. Marcia Angell Julian Bullitt Philip Cooper Dr. Joseph Glenmullen Marshall I. Goldman Phyllis Hoffman Susan E. Maycock Paul Nickelsberg Martin Pearlman Music Director Sheila D. Perry Gil Press Robert A. S. Silberman Dr. Mary Ann Stevenson Anne Sullivan

Rhea Gendzier

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Agrippina

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Tonight’s Opera Music Program Cast

Stephen J. Gendzier Peter T. Gibson Joan Gicca Liah Greenfeld Merritt Harbert

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Dr. Paul Hans Karyn Levitt

Orchestra

Mary Lincoln

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Nancy Netzer Dr. Robert Petersen

Synopsis and Program Notes

Dr. Veronica Petersen Lia Poorvu

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Featured Artists

ADMINISTRATION Miguel A. Rodríguez, Executive Director

Hailey Fuqua, Patron Services Manager

C.C. Cave, Director of Development

Sue Auclair, Public Relations Representative

Linda Truesdale, Development Consultant

Paul Perfetti, Artistic Administrator & Personnel Manager

David Samson, Operations Manager

Amy Sims, Librarian

Boston Baroque Interns: Robert Cross Grace Bongiovi Nicole Barbuto, Graphic Designer

17 Supporters 22 Ways to Give 25 Sponsors

Executive Director, Miguel Rodriguez

Dear Friends,

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Welcome A note from Board President, David Friend and

Welcome to the last performance of our 2014–2015 season! And with the arrival of spring, Boston Baroque has much to celebrate. Just two weeks ago, the Boston Baroque orchestra and chorus returned from a triumphant tour in Poland, performing in the prestigious 2015 Ludwig van Beethoven Easter Festival. The ensemble and guest soloists presented sold-out performances of Monteverdi’s Vespers of 1610 at the Warsaw Philharmonic Hall, and Handel’s Messiah at the newly opened NOSPR Concert Hall in Katowice.

On May 1st, our latest CD of Monteverdi’s Il ritorno d’Ulisse in patria, on Linn Records, will be released in the US, following the UK release earlier this month. We couldn’t be more proud of our ensemble and soloists, we know this is a recording you won’t want to miss, so make sure to pick up a copy in the lobby during intermission. Finally, our listenership to the Boston Baroque Radio Station continues to grow, and today is accessed weekly by over 400,000 listeners worldwide!

But tonight, you are in for a musical treat, Handel’s grand opera Agrippina, featuring the sublime voice of Susanna Phillips in the title role, and Australian countertenor sensation David Hansen as her son Nero. Enjoy the opera!

David Friend President of the Board

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Miguel A. Rodríguez Executive Director

Boston Baroque 2014|15

Agrippina

Agrippina Opera in three acts Music by Georg Friedrich Händel Libretto by Vincenzo Grimani First performance: Teatro San Giovanni Gristostomo Venice, December 1709

Act I Intermission Act II Act III Conductor, Martin Pearlman Stage direction, Mark Streshinsky Cast: Susanna Phillips Kevin Deas David Hansen Amanda Forsythe Marie Lenormand Douglas Williams Krista River Mark McSweeney

Agrippina, wife of the emperor Claudius Claudius, emperor of Rome Nero, son of Agrippina from previous marriage Poppea, a Roman lady Otho, army commander Pallas, a freedman Narcissus, a freedman Lesbo, servant of Claudius

Friday, April 24, 2015 | 7:30 PM Saturday, April 25, 2015 | 7:30 PM New England Conservatory’s Jordan Hall Boston Baroque is supported in part by the Massachusetts Cultural Council.

Sponsors of Susanna Phillips: Peter Wender Cerise Jacobs Susan Maycock & Charles Sullivan

Sponsors of Amanda Forsythe: Dr. Peter Libby & Dr. Beryl Benacerraf The Crawford Foundation, Francine & Bill Crawford

Sponsors of Krista River: Lois & Butler Lampson

Sponsor of Kevin Deas: Kathryn Bertelli

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Synopsis ACT I

Orchestra VIOLIN 1 Christina Day Martinson, concertmaster Jesse Irons Julia McKenzie Lena Wong Amy Sims Katherine Winterstein VIOLIN II Sarah Darling, principal Guiomar Turgeon Laura Gulley Etsuko Ishizuka Jessica Park VIOL A Laura Jeppesen Barbara Wright Sue Seeber

VIOLONCELLO Jennifer Morsches Cora Swenson Shirley Hunt CONTR ABASS Motomi Igarashi RECORDER Aldo Abreu Roy Sansom OBOE Marc Schachman Lani Spahr

TRUMPE T Robinson Pyle Jesse Levine TIMPANI Robert Schulz THEORBO Michael Leopold HARPSICHORD Peter Sykes Michael Beattie (Recitative) PERSONNEL MANAGER Paul Perfetti

BASSOON Andrew Schwartz

Otho claims his reward from Claudius, who immediately denounces him as a traitor. Agrippina, Poppea, and Nero follow suit, leaving Otho alone, confused, and dejected. But Poppea begins to doubt his guilt, and eventually Otho convinces her that he is innocent. Meanwhile, Agrippina tells Claudius that Otho is plotting against him and persuades him to appoint Nero as Emperor. ACT III

Program notes

Production Team

by Martin Pearlman

“The audience was so enchanted with [Agrippina], that . . . the theatre at almost every pause, resounded with shouts and acclamations of viva il caro Sassone! [long live the dear Saxon] and other expressions of approbation too extravagant to be mentioned. They were thunderstruck with the grandeur and sublimity of his style: for never had they known till then all the powers of harmony and modulation so closely arrayed, and so forcibly combined.”

Mark Streshinsky, Stage Director Justin Villalta, Stage Manager Charles Schoonmaker, Costume Designer Kathryn Long, Props Master/Assistant Wardrobe Supervisor Mike Barczys of ALPS, Lighting Designer Timothy Steele, Supertitles Operator Tyler Baxter, Supernumerary 1 Mario Arevalo, Supernumerary 2 Supertitles courtesy of New York City Opera Sets by Wooden Kiwi Productions

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ACT II

Poppea convinces Claudius that, while she once thought Otho had betrayed them, it was in fact Nero who had done so. She then reveals Nero hiding in her room. Claudius dismisses his stepson, who runs to his mother to inform her of Poppea’s treachery. Agrippina confronts Claudius, berates him for succumbing to Poppea’s influence, and reveals that Otho is in love with Poppea. Claudius summons Poppea, Otho, and Nero, and orders Nero to marry Poppea, while restoring Otho to the throne. Otho pleads with Claudius to allow him to forgo the throne and marry Poppea, and Claudius agrees, finally turning the throne over to Nero and blessing the marriage of Otho and Poppea.

The orchestra performs on period instruments.

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When her husband, the Roman emperor Claudius (Claudio), appears to have drowned at sea, Agrippina plots for her son Nero (Nerone) to succeed him. However, Claudius has been saved by Otho (Ottone) and so Nero’s imminent coronation is abandoned. Otho arrives and tells Agrippina that the grateful Claudius has appointed him as his successor. He also confides that he is in love with Poppea. Agrippina, knowing that Claudius has designs on Poppea as well, and seeing an opportunity to advance her cause for Nero, tells Poppea that Otho has agreed to give her up to Claudius in return for the throne. She persuades Poppea to tell Claudio that Otho has forbidden her to see him, thus prompting Claudio to refuse Otho the crown.

This account is by Mainwaring, Handel’s first biographer, who was born well after the event. Whether or not the audience experienced the “harmony and modulation” in exactly this way, there is no doubt about the resounding success of Handel’s second opera. It ran for an extraordinary 27 performances and established the 24-year-old composer’s reputation throughout Europe. It was the first huge triumph of his career.

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SUSANNA PHILLIPS (AGRIPPINA)

PROGR AM NOTES continued.

Susanna Phillips makes her debut with Boston Baroque this season. Alabamaborn soprano Susanna Phillips, recipient

of The Metropolitan Opera’s 2010 Beverly

Agrippina was written toward the end of Handel’s formative years in Italy, and the first performances took place in Venice at the theater of San Giovanni Gristostomo during the winter carnival season of 1709–10. The cast included some of the most famous names in opera, including Margherita Durastanti, for whom Handel created the title role and who later went on to sing many of Handel’s operas in England. Poppea was sung by the soprano Diamante Maria Scarabelli, whose virtuosic technique inspired Handel to add a flashy aria to the opera during its initial run. Interestingly, the role of the hero Otho was written for a woman (Francesca Vanini-Boschi), and we therefore have a woman singing it in our production. The high role of Nero, however, was sung by a man, the castrato Valeriano Pellegrini; for that role, we have cast a man singing counter-tenor.

Sills Artist Award, continues to establish herself as one of today’s most sought-

after singing actors and recitalists. The 2014–15 season will see Phillips return to the Metropolitan Opera for a seventh

consecutive season starring as Antonia in Bartlett Sher’s production of Les Contes D’Hoffmann under the baton of

James Levine, as well as a reprise of her house debut role of Musetta in La Bohème. Additional engagements include Countess in Le Nozze di Figaro

The music of Agrippina has the wonderfully fresh and inventive spirit of Handel’s youth. But it is not entirely original: despite the fact that Handel was still a young man, he recycled many of his own earlier works—mostly works which had previously only been heard in private salons—and, in a few instances, he adapted works of other composers. These “borrowed” works became the basis of his overture and all but five of the arias in this opera, but they were extensively rewritten for Agrippina and brilliantly reveal the characters in each role. As with Messiah, Handel is said to have composed the entire opera in a mere three weeks, a feat that is astonishing even with the borrowed music.

with Paul McCreesh and the Gulbenkian Orchestra in Lisbon. Phillips’ 2014–15 orchestral engagements are highlighted by a performance

of Fauré’s Requiem with the Dallas Symphony Orchestra with Jaap van

Zweden and a return to the San Francisco Symphony for Mahler’s Fourth Symphony with Michael Tilson Thomas. Additional performances include Strauss’ Four Last Songs at the opening night gala of the Louisiana Philharmonic’s season and with the Mexico National Symphony Orchestra,

The libretto is by Cardinal Vincenzo Grimani (whose family owned the theater), and it was written expressly for Handel. That was unusual, since, for most of his other operas, Handel turned to libretti in the public domain which had already been set to music by other composers. The characters in this opera, with the exception of Lesbo, are all historical, although Grimani takes liberties with his chronology. Their story derives from the accounts by Tacitus and Suetonius, but here they are treated with a lighter—and sometimes more comical—touch than the characters in those ancient sources, or indeed than the characters in most of Handel’s later operas. Agrippina, the mother of Nero and wife of Claudius, schemes to place her son on the throne while navigating the tangled relationships of Nero, Poppea and Otho. The story has its sequel in the much earlier Monteverdi opera The Coronation of Poppea, which follows the vicissitudes of these last three characters.

a “Rival Queens” program with Elizabeth Futral and Music of the Baroque

conducted by Jane Glover, Haydn’s Die Schöpfung with Oratorio Society of New York, and Mendelssohn’s arrangement of Bach’s Matthäus-Passion with the Mendelssohn Club of Philadelphia.

A passionate chamber music collaborator, this season Phillips will join Eric Owens and the Philadelphia Chamber Music Society for an all

Schubert program. She sings a recital with Brian Zeger and the Chamber Music Society of Palm Beach, and a tour of trio performances with Paul Neubauer and Anne Marie McDermott. Additional appearances include the

Handel’s success with Agrippina changed the course of his life. Among the dignitaries in the audience were Baron Kielmansegge of Hanover and Prince Ernst, the brother of the Elector of Hanover, both of whom went repeatedly to hear the new opera. Handel was soon offered a position at the court in Hanover and left Italy for Germany. As it happened, Germany would be only a brief stop on his path to London, where the greater part of his career would unfold.

2014 Chicago Collaborative Works Festival, the Emerson String Quartet in Thomasville, Georgia with Warren Jones and colleagues from the

Metropolitan Opera, and at Twickenham Fest, a chamber music festival she

co-founded in her native Huntsville, Alabama. Highly in demand by the world’s most prestigious orchestras, Phillips has appeared with the Royal Stockholm Philharmonic under Alan Gilbert,

Chicago Symphony Orchestra, San Francisco Orchestra, Philadelphia Orchestra, Oratorio Society of New York, Santa Fe Symphony, Santa Barbara Symphony, St. Louis Symphony, Orchestra of St. Luke’s, and

Santa Fe Concert Association.

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eatured artist

AMANDA FORSYTHE (POPPEA)

DAVIS HANSEN (NERO) David Hansen also makes his debut with Boston Baroque. Born in Sydney, Australia, he studied singing with Andrew

A frequent performer with Boston Baroque, American soprano Amanda Forsythe has been praised by Opera

Dalton at the Sydney Conservatorium of Music and furthered his studies with James Bowman, David Harper and

News for her “light and luster”,

“wonderful agility and silvery top notes”.

Graham Pushee. In 2004, David made his European début for the Aix-enProvence Festival in Purcell’s Dido and Aeneas. Shortly

She was a winner of the George London Foundation Awards and was sponsored by them in her New York recital début.

thereafter, he made his UK début in concerts with the Scottish Chamber Orchestra under the baton of Emmanuelle Haïm,

She also received prizes from the Liederkranz Foundation and the Walter W. Naumburg Foundation.

as well as performing the title role in Handel’s Fernando with Il Complesso Barocco under Alan

Amanda Forsythe made her European operatic début in the role of Corinna

Curtis for the Spoleto Festival, Italy. David’s debut solo recording for Sony/dhm, Rivals—Arias for Farinelli & Co., with Academia

in Il viaggio a Reims at the Rossini Opera Festival in Pesaro which led to

an immediate invitation to make her début at the Grand Théâtre de Genève

Montis Regalis and Alessandro De Marchi was released in August 2013 to critical acclaim. His

as Dalinda in Ariodante where she was proclaimed “the discovery of the

other recordings include Purcell: Music For Queen Mary, with the Academy of Ancient Music and

evening” (Financial Times). She returned to the Rossini Opera Festival to

the choir of King’s College Cambridge, available on EMI Classics, Cavalli’s Giasone and Vivaldi’s

perform the role of Rosalia in L’equivoco stravagante and Bellini duets

Griselda, both recorded for Pinchgut Opera Live. Future recordings include Bach’s Johannes-

in the ‘Malibran’ recital at the invitation of Joyce di Donato, and, most

Passion with Les Musiciens du Louvre Grenoble under Marc Minkowski for Naïve and Porpora’s Il Germanico with De Marchi for Sony Classical.

recently, Jemmy in the new production of Guillaume Tell for which she received considerable critical acclaim.

Recent engagements include Ligeti’s Le Grand Macabre for Den Norske Opera, the title-role in Cavalli’s Giasone for Pinchgut Opera, Handel’s Serse under Jean-Christophe Spinosi, Jüri

She made her débuts at the Bavarian State Opera, Munich as Dalinda in Ariodante and as Barbarina in Le nozze di Figaro at the Royal Opera

Reinvere’s Peer Gynt for Den Norske Opera, Sesto in Mozart’s La clemenza di Tito and Britten’s

House, Covent Garden and the Theatre des Champs-Elysées in Paris.

Les Illuminations with both the Norwegian Radio Orchestra and Norwegian Chamber Orchestra. To commence the 2015 season, Hansen sang the role of David in Handel’s Saul at the Wiener Musikverein under Nikolaus Harnoncourt. Later this year he will sing Nerone in Boston Early Music Festival’s production of L’Incoronazione di Poppea.  In the summer of 2015, Hansen will reunite with Alessandro De Marchi Porpora’s Il Germanico at the Innsbruck Festival of

She returned to Covent Garden to perform the roles of Manto in Steffani’s Niobe, regina di Tebe under Thomas Hengelbrock and Nannetta in Falstaff

under Daniele Gatti, described by Gramophone Magazine as “meltingly beautiful.” She also sang Nannetta for Opéra d’Angers-Nantes.

Her recordings include Mozart’s Lucio Silla: In un istante ... Parto,

Early Music.

m’affretto and Handel’s Messiah with Apollo’s Fire (Avie), Euridice in

Other forthcoming engagements include Steffani’s Les Rivali Concordi with Freiburg Baroque Orchestra, Telemaco in Monteverdi’s Il ritorno d’Ulisse in patria under De Marchi for Den

Charpentier’s La Descente d’Orphée, Arethuse in Charpentier’s Actéon,

Aglaure in Lully’s Psyché, Venus in Venus and Adonis, Manto in Stefani’s

Norske Opera, Farnace in Mozart’s Mitridate under Christophe Rousset for Théâtre Royal de la

Niobe and Minerve and La Grande Pretresse in Lully’s Thésée with Boston

Monnaie, the title-role in Gluck’s Orfeo ed Euridice under Alessandrini and concerts with Oslo Filharmonien under Harry Bicket.

Early Music Festival (CPO), Dorinda in Handel’s Orlando with Early Music

Vancouver (ATMA), Handel’s Teseo with Philharmonia Baroque and Haydn’s Creation with Boston Baroque (Linn). Her first solo CD of Handel arias will be released in October 2015 (Avie).

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eatured artist

Kevin Deas’ recent concert performances include Beethoven’s

MARIE LENORMAND (OTHO)

Symphony No. 9 with Boston Baroque, Calgary Philharmonic, Louisiana

Masterful French mezzo-soprano Marie Lenormand has been

Philharmonic, National Arts Centre Orchestra, North Carolina Symphony,

praised for her performances on the operatic and concert

Pacific Symphony, and Richmond Symphony; Verdi’s Requiem with the

stage. In the 2013–2014 season, Marie joined the Saito-Kinen

Richmond Symphony, National Philharmonic, and Winnipeg Symphony;

Festival in Japan as the White Cat and Squirrel in L’enfant,

Handel’s Messiah with Boston Baroque, Cleveland Orchestra, Kansas

Opera de Massy as Meg in Falstaff, reprises Le Prince in

City Symphony, National Philharmonic, and Seattle Symphony; Mozart’s

Cendrillon with New Orleans Opera, joins Palazzetto Bru

Requiem with the Alabama Symphony and Vermont Symphony; Bach’s St.

Zane for Le Saphir, debuts her Carmen with Theatre Imperial

Matthew Passion with the Grand Rapids Symphony and Oratorio Society

de Compiegne, and joins Les Violons du Roy for concerts

of New York; St John Passion with the Bach Festival Society of Winter

in Quebec. Upcoming engagements include Candide with

the Baltimore Symphony Orchestra, Marguerite in Le pré aux clercs with the Opéra-Comique,

Park and Orquesta Sinfónica Nacional de Mexico; Ravel’s L’enfant et les

Berlioz’s Les Nuits d’été with Festival de Laon, France, Témire/ Amour in Leclair’s Scylla et

sortilèges with the New York Philharmonic; and Copland’s Old American Songs and Elgar’s The Dream of Gerontius with the Chicago Symphony.

Glaucus, with Les Nouveaux Caractères, and a concert appearance with Orchestre National d’Ile de France. Marie has sung Dorabella with l’Opéra de Rouen, Arsamene in Haendel’s Serse with Boston Baroque, Hermia in Britten’s A Midsummer Night’s Dream at Houston Grand Opera, Annio in Mozart’s Clemenza di Tito at l’Opéra d’Avignon, Siebel at Madison Opera and Cherubino at Cincinnati Opera, Siebel with Paul Groves as Faust with New Orleans Opera and at Grand Théâtre de Bordeaux in a new production by J.P.Clarac and O.Deloeil and Aloès in L’Etoile by

stage presence” (Seattle Times) with “a bass voice of splendid solidity” (Bernard Jacobson, Music Web International),

in Rachel Portman’s The Little Prince, a role she created in worldwide premiere for Houston

making him one of the most appealing

Grand Opera in 2003. In addition, she was invited to Seiji Ozawa’s Saito-Kinen Festival to sing

singing actors of his generation. He has

Lapak and cover the Fox in a new production of The Cunning Little Vixen by Laurent Pelly

collaborated with leading conductors

Siecles in Mozart’s Requiem in Aix en Provence, France, and with Houston’s Ars Lyrica, with

including Nicholas McGegan, Helmut Rilling, Sir Neville Marriner, John

Nelson, and Christoph Rousset, in such prestigious venues as Lincoln

the Southeastern Festival of Song in Atlanta and Dallas, with the Bochum Orchestra in Germany

Center, the Kennedy Center, Stuttgart’s Mozart-Saal, and the Frankfurt

singing Le nuits d’été with Steven Sloane conducting, with the Winston-Salem Symphony for

Alte Oper.

Handel’s Messiah, le Gradus ad Musicam ensemble in Nancy, France, for Pergolesi’s Stabat Mater and Berkshire Opera in Massachusetts their opening night gala.

Douglas William makes his debut with Boston Baroque. He was highly

acclaimed as “Polyphemus” in the world premiere Mark Morris Dance Group production of Handel’s Acis and Galatea (arranged by Mozart) with

KEVIN DEAS (CLAUDIUS)

A frequent guest soloist with Boston Baroque, Kevin Deas has

performances at Berkeley’s Cal Performances, Boston’s Celebrity Series

gained international renown as one of America’s leading bass-

and the Mostly Mozart Festival in New York. Other recent appearances

baritones. He is perhaps most acclaimed for his signature

include “Laurence” in Gretry’s Le Magnifique with Opera Lafayette

portrayal of the title role in Porgy and Bess, having performed

(recorded for Naxos); “Aeneas” in Dido and Aeneas, and “Polyphemus” in

it with the New York Philharmonic, Philadelphia Orchestra,

Handel’s Acis and Galatea, both with the Boston Early Music Festival; and

National Symphony, St. Paul Chamber Orchestra, Boston

Purcell’s King Arthur, with Christophe Rousset and Les Talens Lyriques

at Paris’s Salle Pleyel. Monteverdi dominates his 2014–2015 season; he

Baroque, Pacific Symphony, and the symphonies of Atlanta,

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Williams” (Anthony Tommasini, The New York Times) combines a “formidable

Chabrier at l’Opéra du Luxembourg. She made her debut with San Francisco Opera as The Fox

conducted by Seiji Ozawa. Marie has appeared in concert with François-Xavier Roth and Les

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DOUGLAS WILLIAMS (PALLAS) “The gifted young bass-baritone Douglas

Baltimore, Calgary, Houston, Milwaukee, Minnesota, Montreal,

tours Europe as “Caronte” in Orfeo, conducted by Pablo Heras-Casado

San Diego, San Francisco, Seattle, Utah, and Vancouver, and

and directed by Sasha Waltz, at Dutch National Opera, Grand Théâtre de

at the Ravinia, Vail and Saratoga festivals.

Luxembourg, Bergen, Baden-Baden, and Berlin.

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eatured artist

Douglas’s “superb sense of drama” (The New York Times) is as apparent on the concert stage

Mark Streshinsky (Stage Director)

as it is in opera. Concert highlights include Handel’s Messiah with the Detroit and Houston

Mark Streshinsky returns to Boston

Symphony Orchestras; Beethoven’s Missa Solemnis with the Cathedral Choral Society; Bach’s

Baroque after directing last season’s

St. John Passion with Les Talens Lyriques; Bach’s St. Matthew Passion with John Nelson and

production of Monteverdi’s Il ritorno

Soli Deo Gloria; Brahms’ German Requiem, Haydn’s Creation, Elgar’s Dream of Gerontius;

d’Ulisse in patria. He is currently Artistic

“Christus” in St. Matthew Passion with the St. Thomas Choir of Men and Boys; and the Ojai Festival in songs of Cowell and Ives. KRISTA RIVER (NARCISSUS) Winner of the 2004 Concert Artists Guild International Competition, Mezzo-soprano Krista River is a versatile performer who is at home in repertoire ranging from the Baroque to the 21st century. Recent notable performances include the International Water and Life Festival in Qinghai, China, recitals at Jordan Hall in Boston, the Asociación

Director of West Edge Opera in California, a post he has held since 2009. He has directed productions of Don Giovanni, a one evening version of Wagner’s Ring, an adaptation of Carmen, Handel’s Xerxes

and Strauss’ Ariadne auf Naxos. In 2012, he directed Daron Hagen’s Vera of Las Vegas and in the fall of 2010, Mark made his European debut directing

Massenet’s Manon for Palau des Artes Reina Sofia in Valencia, Spain. Mark also regularly directs for the Cincinnati Opera, debuting with the

Nacional de Conciertos in Panama City, Panama, and Weill

company in 2006 with The Tales of Hoffmann. Since then, audiences have

Recital Hall at Carnegie Hall. Performances in the Boston

seen his productions of Lucia di Lammermoor, Carmen and Eugene Onegin.

area include Sesto in Emmanuel Music’s concert production

He also directed the company’s 75th Anniversary Gala Concert. For Lyric

of Mozart’s La clemenza di Tito and Scott Wheeler’s The Construction of Boston, recorded live with Boston Cecilia. Operatic engagements range from title role in Dido in Purcell’s Dido and Aeneas with Mercury Baroque and Cherubino in Mozart’s Le nozze di Figaro with the North

Opera of Kansas City, Mark directed Handel’s Giulio Cesare, Puccini’s Madama Butterfly and a new production of The Marriage of Figaro. Mark has

also directed The Marriage of Figaro and La Cenerentola for Michigan Opera

Carolina Symphony to Hansel in Hansel and Gretel with Opera Southwest. Ms. River’s orchestral

Theater in Detroit. Other companies that have used Mark’s productions

engagements have included appearances with Boston Baroque, Boston Symphony Orchestra,

are The Dallas Opera (La Cenerentola and La Boheme) and Seattle Opera

Handel and Haydn Society, and the Pittsburgh Bach and Baroque Ensemble.

(La Traviata). In 2007, Mark received great critical success directing the

world premier of David Carlson’s and Colin Graham’s Anna Karenina which

MARK MCSWEENEY (LESBOS)

celebrated the opening of the Ziff Opera House in Miami.

Baritone Mark McSweeney has appeared as soloist with many of the area’s leading ensembles, including the Handel and Haydn Society, the Cantata Singers, and the New England

Mark has been a member of the staging staffs of San Francisco Opera, New York City Opera, Dallas Opera, Los Angeles Opera and Seattle Opera.

Bach Festival. He has had a long association with Emmanuel

He has also served on the faculties of West Coast Opera Works and Bay

Music, appearing in many performances of oratorio, recital,

Area Summer Opera Theater Institute in San Francisco, Opera North in

and opera, as well as in the Bach Cantata Series. He has been

New Hampshire and Des Moines’ Metro Opera’s young artist programs,

heard in recital at the Museum of Fine Arts, Harvard University,

staging opera scenes with young singers. He has also worked with vocal

and on public radio broadcasts. In the area of contemporary

students at the San Francisco Conservatory of Music.

music, he has appeared as Chou en-Lai in Adams’ Nixon in

China at Australia’s Adelaide Festival, with the Minnesota Contemporary Ensemble in Harbison’s

Words from Paterson, with Collage New Music in Andrew Imbrie’s Four Songs, and in the Boston premieres of new works by Lee Hyla and Peter Lieberson.

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Boston Baroque 2014|15

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upporter

CHARLES SCHOONMAKER is a costume designer with extensive credits in television, theatre and dance. He is the recipient of four Daytime Emmy Awards for his work in television. Last season he designed Il ritorno d’ Ulisse in patria for Boston Baroque. Theatre productions in New York include Limonade tous les Jours (The Cell Theatre), 9/11 Portraits (Union Square Theatre), and Portrait of Jennie (Henry Street Settlement). His works on Boston area stages include Venus in Fur, God of Carnage and A Long and Winding Road at the Huntington; Tarzan (North Shore Music Theatre); Nine, Reckless, and The Light in the Piazza (SpeakEasy Stage Company); Harriet Jacobs (Underground Railway Theater); 33 Variations and Grey Gardens (Lyric Stage Company. Other credits include The Nibroc Trilogy, Love Song, and Blackbird (Chester Theatre Company), and The Einstein Project, Faith Healer, End Game, and The Birthday Boy (Berkshire Theatre Festival). His regional credits include Chicago, La Cage aux Folles, and Cagney! (Riverside Theatre, Vero Beach, Florida), and Miss Margarida’s Way (Bay Street Theatre, Sag Harbor, New York). In the field of concert dance his credits include Alvin Ailey American Dance Theatre, The Limon Company, The Atlanta Ballet, The Richmond Ballet, and The Juilliard School. His television credits include “Another World,” “All My Children,” and “As The World Turns.” He holds an MFA from New York University, and he serves on the faculty at Bennington College.

Congratulations Boston Baroque Musicians For three triumphant performances in Poland earlier this month as part of the 2015 Ludwig van Beethoven Easter Festival

Standing ovation after a performance of Handel’s Messiah at the NOSPR Concert Hall in Katowice, Poland.

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Boston Baroque 2014|15

Agrippina

Boston Baroque acknowledges with deepest gratitude the following individuals and organizations whose support helps to ensure performances and recordings of the highest caliber. ANGEL ($25,000+) ANONYMOUS (2) Julian & Marion Bullitt Calderwood Charitable Foundation The Crawford Foundation, Francine & Bill Crawford David Friend & Margaret Shepherd Francis & Joan Gicca National Endowment for the Arts Paul Nickelsberg Olive Bridge Fund Lia & William Poorvu BENEFACTOR ($10,000+) Sam & Janet Bain Kathryn Bertelli Pam & Lee Bromberg Columbia Construction Company Ernst & Young, LLP Esther B. Kahn Charitable Foundation Miriam Friend Diane & Marc Greenwald Carla & George Heaton Massachusetts Cultural Council Carl & Anne Rosenberg David & Marie Louise Scudder The Diana Davis Spencer Foundation The Perkin Fund GUARANTOR ($5,000+) Bessie Pappas Charitable Foundation, Inc. Mary L. Corneille & John F. Cogan Jr. Phil & Beth Cooper E. Nakamichi Foundation Marshall & Merle Goldman M. O. Harbert Cerise Lim Jacobs, for Charles Paul & Elizabeth Kastner Susan Maycock & Charles Sullivan Robert & Jane Morse Creelea & Anthony Pangaro Robert & Veronica Petersen Gil Press & Liah Greenfeld Steve & Gerry Ricci Anne & Richard Rosenfeld Joanne Zervas Sattley Robert Silberman

Mary Alice & Vincent Stanton Dr. Mary Ann Stevenson Anne Sullivan Tee Taggart & Jack Turner The Abbey Group Edward & Amy Wertheim Robert Zevin LEADER ($2,500+) ANONYMOUS (3) Dr. Marcia Angell Ann & Gordon Getty Foundation The Barrington Foundation, Inc. Katharine Burnett John & Carroll Cabot Cambridge Trust Company C.C. Cave & Peter Rothstein The Revds Elizabeth & Brian Chace Fay Chandler Lynda & John Christian Sylvia & John Constable Mr. & Mrs. William G. Coughlin Peter DeRoetth Seth Goldman & Julie Farkas Stephen & Rhea Gendzier Timothy & Jane Gillette Joseph Glenmullen Martha & Todd Golub Alexandra & Paul Hans Hammond Residential Real Estate The Harbert Foundation Phyllis & Robert Hoffman Dr. Peter Libby & Dr. Beryl Benacerraf Joey Lopez Alex Lopez Larry Marks & Toby Axelrod Margaret & William Morton Museum of Fine Arts J&M Brown Company, Inc. Mrs. Edward C. Johnson III Seth A. & Beth S. Klarman Mary Lincoln Willie Lockeretz New England Finish Systems, Inc. Peabody Essex Museum Sheila D. Perry Bob & Mandy Preyer Miguel A. Rodriguez & Barry A. Hume Gjertrud Schnackenberg Susan Sloan & Arthur Clarke Barbara Ketcham Wheaton Janice May & William Woodcock

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Supporters

continued.

PATRON ($1,000+) ANONYMOUS (4) John Allario Mary Baughman & Roger Wallace Jack & Marilyn Brandt Susan Bromley Paul & Patricia Buddenhagen Kim & Lawrence Buell Katie & Paul Buttenwieser Karl Case Century Bank Eugene Cox & Owen Jander Paula Cronin Curtis & Christiane Cutter Belden & Pamela Daniels Micheline de Bièvre Yuriko Kuwabara & Sunny Dzik Gabor Garai & Susan Pravda Avra Goldman & Steven Greenberg Ethan & Julie Goldman Margaret Hornady-David & Don David Lisbeth Tarlow Robert Kleinberg Andreas Kuehnel Ray & Sue Kwasnick Estate of Charlotte Loeb Bill Nigreen & Kathleen McDermott Ruth & Victor McElheny* NorthStar Asset Management, Inc. Pamela E. Pinksy Memorial Wendy Shattuck & Samuel Plimpton Arlene T. Rodriguez The Rothstein Foundation Ronald G. Sampson Henry Steiner Cynthia Strauss & Harry Sherr LP Charitable Trust Technical Development Corporation Katharine M. & Leo S. Ullman Peter J. Wender Peter & Robin Wohlauer PARTNER ($500+) Marylene Altieri & Keith Glavash Bank of America Anthony & Susan Barbuto Richard & Mahala Beams Boston Symphony Orchestra

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Kenneth & Suzanne Keniston Susan H. Bush David J. Chavolla Rev. Paul T. Clifford Mark & Joanne Cushing Brian & Alice Davidson Mary-Catherine Deibel Mary Jo & Max Diem Carol Lazarus & Paul Donovan Harold & Ann Dvorak Nicole Faulkner Suzanne Radio Finkelstein Garry & Angela Fischer Rhoda L. & Henry S. Frank Foundation Fred Franklin & Kaaren Grimstad Eugene & Joan Goodheart Winifred Gray Mary J. Greer William & Sandra Hayes Isabella Stewart Gardner Museum Marvin & Madeleine Kalb Helen & Rudolph Kass Robert & Andrea Katz Kip & Kally Kumler Raymond & Sue Kwasnik Suzanne & David Larsen League of American Orchestras David & Peggy Lewis Lorraine Lyman Roderick MacFarquhar Nancy E. Macmillan Rosann C. Madan Ms. Lee McClelland Myron Miller Ellen G. Moot Mount Washington Bank Susan L. Porter Tracy Powers Florence Preisler Helen & Peter Randolph Kathryn Riley George & Christina Roman Michael & Karen Rotenberg Alan & Natalie Rothstein Cynthia & Grant Schaumburg Helen Schultz Robert Shapiro Stephen & Alicia Symchych Optimum Technologies

Ann Teixeira Lisa Teot Steve Weiner & Don Cornuet Ruth Susan Westheimer ASSOCIATE ($250+) ANONOYMOUS (5) Anonymous, In Memory of Susie Kaplan David & Sandy Bakalar Elizabeth Barker Audrey & Leonard Berman Dr. Spyros Braoudakis* Maureen Breckenridge C. Anthony Broh & Jennifer L. Hochschild Pauline Ho Bynum* Gregory Bulger & Richard Dix Martin Carmichael & Dr. Lisa Gruenberg Keith Ohmart & Helen Chen John W. Conway Terry Decima David Ferris Robert Kuttner & Joan Fitzgerald Mary Ann Frye Edward Gadsby Anu & Kenneth Gerweck* Michael & Susan Goldman Sylvia & Roy A. Hammer Suzanne & Easley Hamner Kenneth S. Loveday & Ellen Hoffman John & Hilary Hopkins* Drs. Andrew & Monique Dave Jick Amy Ruth Nevis & Matthew A. Kamholtz Katz, Nannis + Solomon, PC Libby Keller & David Savitz Arthur & Enid Kerman Maria & Wes Kussmaul Gail & Erik Lawson Dale Linder Jane Roland Martin George McCormick Irene Nichols Joan & Roderick Nordell John J. O’Connor Allen Olsen & Sally Zimmerman

Boston Baroque 2014|15

Aaron Pailes & Gillian Davies Cecily & Stephen Parkhurst Martin Pearlman & Martha Ondras Paul Perfetti & Sara Glidden Charles & Ursula Pike Florence Preisler Eugene & Abigail Record Kathy & Marion Reine Nancy & Ronald Rucker Margery & Jim Sabin Bob & Barbara Schmitz A. Hugh & Susan Scott Ronald A. Seletsky & Family Campbell Steward Adele M. Thomas Charitable Foundation, Inc. Konstantin & Kirstin Ilse Tyurin Heidi Vernon Margaret Griffin & Roger Weiss T. Walley Williams III Jane Young Geraldine Zetzel CONTRIBUTOR ($100+) ANONYMOUS (13) Anonymous, In memory of 343 Anonymous, In Memory of John Grimes Katharine Allison Spiros Antoniadis Donald Antonioli & Robert Goepfert Newell Augur & Suzanne Tenney Rosalind C. Barnett & Nat Durlach James Beck K.R. Beckman & Ted Postol John & Tamara Bell Monty & Nancy Bieber Biogen Idec Foundation David Bliss & Judy Uhl Mr. & Mrs. Charles Blyth Elizabeth S. Boveroux Bromfield Gallery Carole Charnow & Clive Grainger Allison Crump Sarah Cummer Susan & Doug Dahl Eric & Margaret Darling John & Sally Davenport Charles & Sheila Donahue Michael & Marie-Pierre Ellmann Martin Elvis & Giuseppina Fabbiano Brenda & Monroe Engel Rashi & Ruth Fein Agrippina

Donald & Nancy Feldman Cynthing Field Lindsay & Alan Fisch Dale Flecker & Jaylyn Olivo Andy Friedland & Marilyn Levitt Tania & Jerome Friedman Diane Garfield & Peter Gross Alice Garabedian Robert & Kathleen Garner Dr. Mark & Paulette Gebhardt Barbara Godard Drs. Michael Goldstein & Lidia Schapira David & Harriet Griesinger Anne & James Haney John Harper & Ellen Tohn Mary Hepburn & Ryan Ostebo Dr. James & Debra Herstoff Gerald & Nina Holton Patricia & John Jacoby Eleanor Johnson Virginia L. Kahn Louis Kampf & Jean Jackson Robert W. Kent Richard & James Kinny-Giglio Margot Kittredge Stacy Kohlmeier Joyce Kulhawik Nancy Kurtz Thomas Lavin & Susan Wing Dorothy Leef Irma & Simmons Lessell Laurence & Gloria Lieberman Judith Karp & Harry O. Lohr, Jr. John Maher & Ellen Sarkisian Charles Maier June Matthews Barbara McAllister Carol & N. Carlile Miller Randolph Monti* Paula Morse Cornelius & Elizabeth Moynihan Dr. Paul & Christina Murphy Laura Need & Scott McKay John & Marianne Nelson Virginia Newes Mark & Patricia Ostrem John Palys Anne W. Pardo Charles & Marjorie Parsons Leslie & William Patton Gene & Margaret Pokorny John Pratt Michael Welles & Leslie Price Mike & Laura Prichard Suzanne Putzeys

John Silletto & Barbra Rabson Nancy B. Roberts Ben & Jennifer Roe Allan Rogers Jay K. Rosengard Phil & Catherine Saines Donna Saunders & Michael Chubrich Stephen & Toby Schlein Robert & Sylvia Scholnick Stephen & Peg Senturia James & Rita Sheinin Donna Sirutis Frank L. & Lark G. Smith Gregg D. Sorensen Carol A. Stearns Mary Stokey Caroline & Alan Strout Dr. Elizabeth Swinton Sandra Tropp Anne & John Turtle Donald Vaughn & Lee Ridgeway Helen Vendler Cynthia & Sidney Verba Maurice Weinrobe & Trudy Ernst Deborah & Mark Weinstein Denise Wernikoff Marilee Wheeler Jane & Robbie White Sheryl White Wes Williams Charlotte Bensdorp Wilson Richard & Susan Winickoff June Johnson-Wolff & Richard H. Wolff Ioannis Yannas Warren & Nikki Zapol FRIENDS ($50+) ANONYMOUS (10) Edward S. Ginsberg & Alice Adler R. Allen Judith Bergson Vesna Besarabic Edwin & Fern Beschler Mark Blumberg Elizabeth Boveroux Laura Breeden & Richard Ferber Mark Breibart Ethel Bullitt & Colin Devonshire Joan & Frank Christison-Lagay Roger Cleghorn Seldon F. Cooper Ken & Nancy Crasco William A. Daggett Nancy Devereaux

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Supporters Duane Downey Wendy Rolfe & Benjamin Dunham David Dysert Ken Dzus John & Rebecca Edmondson Sarah Failla & Sivan Etedgee Mary Jean Farrington Martin Flusberg & Helen Tager-Flusberg Paula Folkman Carole Friedman & Gail Koplow Susan & Russell Garland Jane Hans Harold Hakwes Edith & George Henderson Marianne Hudec Judith Huenneke Brett Johnson & Dave McSweeney Coppélia Kahn Susan Richey & Thomas Kane Edwin Taylor & Carla Kirmani-Taylor Ann Kneisel Jasper Lawson David Lawton Birila Leivi Michael & Sandra Lindheimer Mr. & Mrs. Robert L. Loud Beth & Kevin Mahar Scott & Laura Malkin Louisa Malkin Richard & Candace Mandel Judith Martin & Robert Biggert Stephen L. & Mary Lou Miller Jeffrey & Mary Mitchell Donna Moores Mark Mulligan & Arend Sluis Virginia Murray Kevin & Una Nugent Samuel & Elizabeth Otis Beverly & Richard Peiser Peter C. Perdue & Linda Warner Robin & David Ray Mildred Reardon Emily Rideout Kathryn L. Riley David J. Roberts Ada R. Robinson

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continued.

Suzanne & Gordon Rollert Justin Burke-Samson & David Samson Ted & Esther Scott Hon. John W. Sears Christa Seid-Graham Maureen Siegel Amy Sims Maynard Terrell Deborah Tucker Anne Umphrey Tony White, in honor of James Leslie White Brown Williams Daniel & Lynn Winkler Paul Monsky & Beverly Woodward Anonymous Bebe & Ken Wunderlich

This list, compiled on April 8, 2015 includes all gifts made within the last 18 months. We make every effort at accuracy in these listings, but sometimes mistakes do occur. Please let us know if we have listed you incorrectly. We regret that space limitations preclude listing gifts under $50. Every contribution is appreciated.

Our newly formed Opera Guild aims to give voice to baroque opera and vocal performers by supporting Boston Baroque’s yearly productions of important and sometimes rarely performed operatic works. We would like to thank the following for their founding support.

If you are interested in joining these individuals and institutions in their commitment to Boston Baroque’s future, please send your tax-deductible contribution to 10 Guest Street, Suite 290, Boston, MA 02135. (return envelope provided in program book); call Boston Baroque’s Development office at 617.987.8600 x118 or donate online at www. bostonbaroque.org.

OPERA GUILD FOUNDING MEMBERS PRODUCING CIRCLE MEMBERS Impresario Circle ($10,000+) Francine & Bill Crawford Winifred Gray

*denotes members of the monthly giving Continuo Players group

Conductor Circle ($5,000+) Kathryn Bertelli Diane & Marc L. Greenwald Lois & Butler Lampson

In Memory of Marc Roberts C.C. Cave & Peter Rothstein Francine & Bill Crawford Frank & Joan Gicca Carla & George Heaton Phyllis & Robert Hoffman Martin Pearlman & Martha Ondras Lia & William Poorvu Gil Press & Liah Greenfeld Miguel A. Rodriguez & Barry A. Hume Robert Silberman & Nancy Netzer Anne Sullivan

Concertmaster Circle ($2,500+) Cerise Jacobs Susan Maycock & Charles Sullivan Creelea & Anthony Pangaro Gil Press & Liah Greenfeld Principal Circle ($1,000+) Susan Bromley Paul & Patricia Buddenhagen Katharine Burnett Paul & Catherine Buttenwieser Dr. Peter Libby & Dr. Beryl Benacerraf Phil Cooper

MATCHING CORPORATE GIFTS Bank of America Biogen Idec Foundation Century Bank IBM

Bill Nigreen & Kathleen McDermott Lia & William Poorvu Miguel A. Rodriguez & Barry A. Hume David and Marie Louise Scudder Peter J. Wender COMPRIMARIO GUILD MEMBERS ($150+) Toby Axelrod & Larry Marks Michael & Marie-Pierre Ellmann Pauline Ho Bynum David J. Chavolla Andy Friedland & Marilyn Levitt Robert Silberman Anne-Marie Soulliere & Lindsey Kiang Ann Teixeira Donald Vaughn & Lee Ridgeway Stephen Weiner & Donald Cornuet

For more information about Boston Baroque’s Opera Guild, please call 617.987.8600 x118, or visit our website: www.bostonbaroque.org

Boston Baroque 2013|14

Agrippina

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A gift today means music tomorrow!

Embrace the BOLD!

YES, I’d like to support Boston Baroque with a gift of: ❑ $50 (Friend)

❑ $100 (Contributor)

❑ $250 (Associate)

❑ $1,000 (Patron)

❑ $2,500 (Leader)

❑ other $

❑ $500 (Partner)

2015| 2016 Season

I would like to join the Continuo Players with a monthly contribution of: ❑ $5

❑ $15

❑ other $

❑ $25

❑ Please charge my gift to the following credit card: Number:

Exp. date:

Signature:

Friday, Oct. 23, 2015 | 8PM NEC’s Jordan Hall, Boston

*

❑ Enclosed is my check payable to Boston Baroque ❑ I am giving $

VIVALDI’S JUDITHA TRIUMPHANS

through my Donor Advised Fund

Name

Daniela Mack, mezzo-soprano as Juditha Leah Wool, mezzo-soprano as Holofernes Amanda Forsythe, soprano as Vagaus And the Boston Baroque Chorus

Address

HANDEL’S MESSIAH

City, state, zip

Friday and Saturday December 11 & 12, 2015 7:30 PM | NEC’s Jordan Hall

Email

*

Jeanine De Bique, soprano Christopher Lowrey, countertenor Thomas Cooley, tenor Dashon Burton, bass-baritone And the Boston Baroque Chorus

Please list me in the program book as follows:

NEW YEAR’S CELEBRATION

MOZART’S THE MAGIC FLUTE

Thursday, Dec. 31, 2015 | 8 PM Friday and Saturday Friday, Jan. 1, 2016 | 3 PM April 15 & 16, 2016 7:30 PM | NEC’s Jordan Hall Sanders Theatre, Cambridge A semi-staged audience favorite featuring tenor Nicholas Phan as Tamino and soprano Leah Patridge

Vivaldi’s Four Seasons with concertmaster Christina Day Martinson— and other Baroque concertos.

as Pamina.

BEETHOVEN AND BEZUIDENHOUT

* Denotes Boston Baroque debut

Friday and Saturday March 4 & 5, 2016 8 PM | NEC’s Jordan Hall Presenting internationally acclaimed fortepianist Kristian Bezuidenhout on Beethoven’s Piano Concerto No.2.

*

Program also includes: Beethoven’s glorious Ah, perfido! and Haydn’s Scena di Berenice, featuring soprano Ana Maria Labin.

*

❑ I/We wish to remain anonymous. Your gift is tax deductible to the extent provided by law.

Please complete this page and return it to: Boston Baroque, 10 Guest Street, Suite 290, Boston, MA 02135

Thank you for your support!

Daniela Mack Soprano

To find out more about other giving oppportunities or to make a gift securely online, please go to:

Jeanine De Bique Soprano

Kristian Bezuidenhout Fortepiano

Nicholas Phan Tenor

www.bostonbaroque.org | 617.987.8600 22 |

Boston Baroque 2013|14

617.987.8600 | bostonbaroque.org

Leah Partridge Soprano

Subscription packages start at $165!

2014–2015

Corporate Sponsors Boston Baroque recognizes the support of our Corporate Partners this season.

Boston Baroque’s

This newly formed group of volunteers looks to give voice to baroque opera and vocal performers by assisting and supporting Boston Baroque’s yearly productions of important and sometimes rarely performed works. Through its many programs and initiatives, the Opera Guild inspires conversations about opera within its membership and works to encourage an appreciation of the art form within the community. Among the principal benefits of the Opera Guild Producing Circle is the opportunity to attend our series of Vocal Showcases. Held in the ‘salon style’, each Vocal Showcase offers the opportunity to meet and listen to some of our guest artists in a private and more intimate social setting. Membership to the Opera Guild begins at $150, and Producing Circle membership begins at $1,000. For membership information contact C.C. Cave, Director of Development at 617.987.8600 x118.

JOIN US!

For information on how to join our Corporate Partnership program, please contact C. C. Cave at 617.987.8600 x118

We’re here because you’re here. Cambridge Trust is a proud sponsor of Boston Baroque. At Cambridge Trust, we offer a full range of personal banking, business banking, and wealth management services without forgetting what’s truly important — personal attention from people you come to know and trust. Come see the difference. Step into one of our convenient branches, call us at 617-876-5500, or visit www.cambridgetrust.com. Welcome to Life’s Bank.

PERSONAL BANKING BUSINESS BANKING WEALTH MANAGEMENT

Cambridgetrust.com

Cambridge • Boston • Belmont • Concord • Lexington • Lincoln • Weston Member FDIC

LONGY SCHOOL OF MUSIC OF BARD COLLEGE

CELEBRATING 100 YEARS OF MUSICAL EXCELLENCE

Founded in 1915. Pioneering then, pioneering today. Join us this fall as we launch our 100th year with a season full of exciting performances and celebratory events.

www.glimmerglass.org (607) 547-2255

longy.edu/longy100

THE MAGIC FLUTE Mozart /Schikaneder

july 10 - august 23

MACBETH Verdi / Piave

july 11 - august 22

CATO IN UTICA

CANDIDE

july 18 - august 22

july 19 - august 21

Vivaldi / Metastasio

Bernstein /Wheeler

Fringe concert ad_de la Guerre ad 4/1/15 11:16 AM Page 1

Fringe Concert, Boston Early Music Festival Friday, June 12 at 10 AM

The First Lutheran Church, 299 Berkeley Street, Boston

Hubbub: A new, free festival for children and families Saturday, June 20 from 9 AM - 4 PM

RUMBARROCO’s performance at 9:30 AM Copley Square, Boston www.hubbubfest.org

"Rumbarroco bridges Early music and Latin rhythms delightfully" South Florida Classical

For more information please visit www.ladm.org or call us at 617-417-7174

SPRING IS HEATING UP AT BOSTON LYRIC OPERA! TICKETS SELLING FAST FOR OUR PASSIONATE NEW PRODUCTION!

Ryan Turner Artistic Director

MOZART

DON GIOVANNI Citi Performing Arts CenterSM Shubert Theatre

2015/16 SEASON JUST ANNOUNCED! BLO.ORG | 866.348.9738

Opera in Concert in German with dialogue in English MATTHU PLACEK

MAY 1 - 10 | 2015

W.A. Mozart

Kostanze Belmonte Blonde Pedrillo Osmin Pasha

Barbara Kilduff, soprano Charles Blandy, tenor Teresa Wakim, soprano Jason McStoots, tenor Donald Wilkinson, bass Richard Dyer

INFO AND TICKETS www.emmanuelmusic.org 617-536-3356 Emmanuel Church 15 Newbury Street, Boston

Saturday, May 9, 2015 at 8 PM The Orchestra and Chorus of Emmanuel Music Emmanuel Church 15 Newbury Street, Boston Tickets: $30; $60; $95; $150; students $10

CORO ALLEGRO David Hodgkins, Artistic Director

Boston’s acclaimed classical chorus for members, friends, and allies of the LGBT community

2014/15 Season American Visions Sunday, November 9, 2014 nec’s Jordan Hall

Lenten Meditations Sunday, March 15, 2015 Church of the Covenant For more information or to purchase tickets, visit

coroallegro.org

Infinite Majesty Sunday, May 17, 2015 Church of the Covenant

Orchid Technologies Engineering and Consulting, Inc. Electronic Product Design, Development and Prototyping

www.orchid-tech.com 978-461-2000

Bo on Early Music Fe ival

JUNE 7–14, 2015 | INVENTION & DISCOVERY

2015

O P E R AT I C

CENTERPIECE

ULISSE | Ale\.#('#&() 7dhidcJc^kZgh^inI]ZVigZ!7dhidc

8da^c7VaoZg!Ja^hhZ BVgn":aaZcCZh^!EZcZadeZ

POPPEA | Ale\0&(+ 7dhidcJc^kZgh^inI]ZVigZ!7dhidc

GXlcFË;\kk\&Jk\g_\eJklYYj#Bjh^XVa9^gZXidgh >`cY\ik9c`e#HiV\Z9^gZXidgsIfY\ikD\Xcp#8dcXZgibVhiZg Don’t miss this celebration of Monteverdi with staged productions of his three surviving operas! I]ZBdciZkZgY^Ig^ad\n^hi]ZXZciZge^ZXZd[VlZZ`adc\;Zhi^kVa l^i]&+jc[dg\ZiiVWaZXdcXZgih[gdbVXXaV^bZYVgi^hihVcY ZchZbWaZh!i]ZldgaY"[Vbdjh:m]^W^i^dc!VcYhdbjX]bdgZ

6bVcYV;dghni]Z!EdeeZV 9Vk^Y=VchZc!CZgdcZ

ORFEO | Ale\(*

CZl:c\aVcY8dchZgkVidgnÉh?dgYVc=Vaa!7dhidc 6VgdcH]ZZ]Vc!Dg[Zd B^gZ^aaZ6hhZa^c!:jg^Y^XZ

ORDER TODAY!

www.BEMF.org | 617-661-1812

TERRIFIC PERFORMANCES START HERE.

JUST RELEASED ON LINN RECORDS!

Monteverdi’s Il ritorno d’Ulisse in patria

Available in the lobby for $35 3-CDs Relive the April 2014 production!

2014-15 PERFORMANCE SEASON

Over 1,000 concerts a year to choose from — and every single one is chosen by members of NEC’s amazing faculty to challenge and express the artistry of our supremely talented students. For you, it means great music beautifully played!

Agrippina For details on our free concerts, go to necmusic.edu

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I heard the news today, oh boy. 90.9

Left to right, top to bottom:

Bob Oakes Tom Ashbrook Jeremy Hobson Robin Young Sacha Pfeiffer Bill Littlefield Anthony Brooks Meghna Chakrabarti www.wbur.org

BOSTON’S NPR NEWS STATION

®