emmanuel music

Ryan Turner ARTISTIC DIRECTOR John Harbison PRINCIPAL GUEST CONDUCTOR Craig Smith FOUNDER (1947 - 2007) Patricia Krol EXECUTIVE DIRECTOR

Michael Beattie ARTISTIC ADMINISTRATOR Jude Epsztein DIRECTOR OF DEVELOPMENT Donald Firth CONTROLLER Joanna Springer COMMUNICATIONS MANAGER Dayla Arabella Santurri PR/MARKETING ASSOCIATE Jayne West COMMUNITY CONNECTIONS COORDINATOR

BOARD OF DIRECTORS ADVISORY BOARD Kate Kush PRESIDENT Belden Hull Daniels Errol Morris Dale Flecker VICE PRESIDENT Richard Dyer Mark Morris David Vargo TREASURER Anthony Fogg Joan Nordell Eric Reustle CLERK The Rt. Rev. Alan M. Gates James Olesen Elizabeth S. Boveroux John Harbison Richard Ortner Marion Bullitt Rose Mary Harbison Ellis L. Phillips, III H. Franklin Bunn Ellen T. Harris Peter Sellars Coventry Edwards-Pitt David Hoose Russell Sherman David Kravitz Richard Knisely Sanford Sylvan Patrice Moskow Sara Lawrence-Lightfoot Christoph Wolff Charles Sherman Robert Levin Benjamin Zander Vincent Stanton, Jr. Dana Whiteside The Rev. Pamela L. Werntz, ex-officio

15 Newbury Street | Boston, MA 02116 | 617.536.3356 | emmanuelmusic.org SYNOPSIS

THE ABDUCTION FROM THE SERAGLIO Singspiel, 1782 WOLFGANG AMADEUS MOZART Libretto by Christoph Friedrich Bretzner, adapted by Gottlieb Stephanie the Younger Sung in German with English dialogue, adapted from J.D. McClatchy

SATURDAY, MAY 9, 2015 – 8:00 PM

Pre-concert conversation at 6:45 PM with Dr. Elizabeth Seitz

Konstanze Barbara Kilduff,soprano Sponsored by Butler and Lois Lampson

Belmonte Charles Blandy, tenor

Blonde Teresa Wakim, soprano Sponsored by Robert N. Shapiro Pedrillo Jason McStoots, tenor

Osmin Donald Wilkinson, bass

Pasha Selim Richard Dyer

Chorus of Janissaries

The Orchestra and Chorus of Emmanuel Music Ryan Turner, conductor Nathan Troup, director Tonight’s performance is made possible through the generosity of Alan J. and Suzanne W. Dworsky The audience is cordially invited to join Ryan Turner and the musicians at a post-concert reception in the Parish Hall directly following the performance.

This project is funded in part by grants from the Massachusetts Cultural Council and the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts, Tourism, and Special Events. SYNOPSIS

ACT I. Turkey, 1700s. Pasha Selim has bought three Europeans from pirates - Konstanze, a Spanish woman of good family; Blonde, her English maid; and THE ABDUCTION FROM THE SERAGLIO Pedrillo, servant of Konstanze’s fiancé, Belmonte. Belmonte has traced them Singspiel, 1782 to a seaside palace, where Konstanze has become the pasha’s favorite and Pe- drillo, the gardener. Blonde has been given as a gift by the pasha to his over- WOLFGANG AMADEUS MOZART seer, Osmin. Having arrived at the palace, Belmonte’s first encounter is with Libretto by Christoph Friedrich Bretzner, Osmin, who acts polite until Belmonte mentions Pedrillo, his rival for Blonde. adapted by Gottlieb Stephanie the Younger He drives Belmonte away and then rails at Pedrillo, who has come in hopes of making peace with him. Belmonte returns to find his former servant, who tells Sung in German with English dialogue, adapted from J.D. McClatchy him the pasha loves Konstanze but will not force himself on her. Pedrillo will try to arrange a meeting between Konstanze and Belmonte and an escape by boat with Blonde, if they can get past Osmin. In hiding, Belmonte yearns for SATURDAY, MAY 9, 2015 – 8:00 PM Konstanze, who soon appears with Pasha Selim. When the pasha asks her why she is always depressed by his courtship of her, Konstanze replies she cannot forget her love for her fiancé. After she leaves, Pedrillo introduces Belmonte to the pasha as a promising young architect. Pasha Selim welcomes him and, departing, arranges a conference for the next day. Osmin bars the way when Belmonte and Pedrillo try to enter the palace, but he is confused easily, and the two foreigners march him around in circles. Dizzy, Osmin does not notice they Sponsored by Butler and Lois Lampson have gained access.

BRIEF PAUSE

ACT II. In a garden, Blonde confounds Osmin with her cleverness and faces Sponsored by Robert N. Shapiro him down when he threatens her. Konstanze finds Blonde and complains of her sad state, which does not improve when the pasha again asks her to marry him. She proudly refuses, preferring torture, even death. When they have gone, Blonde and Pedrillo dance into the garden, discussing their plan of escape: they will get Osmin drunk, and all four lovers will leave on Belmonte’s ship. Later, Pedrillo goes about his business, finding Osmin cooperative, though drinking wine is against the Muslim religion. Thoroughly inebriated, the fat man weaves away with the bottle, leaving the coast clear for Belmonte to meet Konstanze. Their reunion is shared by Blonde and Pedrillo.

INTERMISSION

ACT III. Just before midnight, Pedrillo places a ladder against the ladies’ win- dow and sings a serenade, the signal for escape. But he wakes Osmin, who is not too hung over to realize what is going on and takes them all to the pasha, who is angry. Belmonte suggests the pasha collect a handsome ransom from his wealthy family, the Lostados. At this, the pasha realizes that Belmonte is the son of an old enemy, the man who exiled him from his own country. But even- tually he decides that rather than take blood for blood he will repay evil with good, freeing Konstanze and Belmonte, even Blonde and Pedrillo. This does not sit well with Osmin, who will lose Blonde, but he is promised other rewards. The grateful lovers praise their benefactor as they prepare to set sail.

- courtesy of Opera News PROGRAM NOTES PROGRAM NOTES

In January of 1781, the then 25-year-old Wolfgang Amadeus Mozart was enjoy- ing the success of his new opera, Idomeneo, in Munich when he was ordered to Vienna by his employer, the dour Archbishop of Salzburg. Mozart had long had a fraught relationship with the Archbishop, but in Vienna it was particularly tense. It was in June of 1781 when things came to a head, and instead of re- turning with the Archbishop to Salzburg, Mozart decided to quit his job (some would say that he was fired) and stay in Vienna permanently. He chose to re- main in Vienna for several reasons. First and foremost was his desire to write opera. Unlike the more conservative theater audiences in Salzburg, the Vien- nese loved opera. Moreover, Emperor Joseph II not only enjoyed Italian opera, but also had recently inaugurated the German National Theater (Burgtheater) to cater to German singspiel, a genre of musical theater that often included simpler folk-like arias, songs and ensembles as well as spoken dialogue. The other reason for Mozart’s desire to stay in Vienna was more personal. The We- ber family, whom Mozart had met years before in Mannheim, was now living in Vienna, and he had fallen in love with the 19-year-old Constanza Weber.

During the remainder of 1781 and the first half of 1782, Mozart busily worked to establish himself as the premiere composer in Vienna. He took on new stu- dents, performed regularly, wrote music at a furious pace and began publish- ing. One of the pieces that took up much of his time was his new singspiel, The Abduction from the Seraglio, commissioned by Joseph II for the German National Theater.

The plot of the singspiel tapped into the current fascination that the Viennese had with all things Turkish, as well as providing them with a conventional rescue story, particularly popular in the singspiel genre. The noblewoman, Konstanze, with her maid and man-servant, are captured by a Turkish Pasha and held in his harem. The hero, Belmonte, finds the prisoners and attempts a rescue, but is unfortunately caught in the act. The Pasha, however, forgives all and releases the prisoners. In the final scene, the characters extol the most important virtue of all, that of forgiveness.

The subject had been set to music before by Johann André, with a libretto by Christoph Friedrich Bretzner. Mozart, ever the consummate dramatist, worked with his librettist, Gottlob Stephanie, Jr., the stage manager at the Imperial Court Opera in Vienna, to make extensive changes to the original libretto in an attempt to round out the one-dimensional stock characters of the original and to imbue the work with more gravity. PROGRAM NOTES PROGRAM NOTES

For example, Mozart insisted on augmenting the role played by the Pasha’s servant, Osmin. Originally, the part was a small one, but Mozart expanded it considerably to further heighten the theme of forgiveness in the work, thereby creating one of the most memorable characters in all of opera. Osmin is the only character who remains unbending and unchanged even after the Pasha forgives all. He is pitied at the end of the opera, because of his inability to un- derstand the value of love and the importance of compassion. Mozart also changed the story’s ending in a particularly important way. In the original, Bel- monte is saved because the Pasha realizes that Belmonte is his long lost son. In Mozart’s version, Belmonte is the son of the Pasha’s worst enemy. In this way, the Pasha’s act of forgiveness is more magnanimous and surprising.

The music that Mozart wrote for the work still sounds fresh and exuberant to- day. To set the exotic scene, Mozart used Janissary (Turkish) music, complete with cymbals, bass drum and piccolos, in the overture and in various choruses. He also used his versatile style to reflect the new libretto’s well-rounded char- acters. Lesser composers wrote music for singspiels as merely light entertain- ment; Mozart instead gives us music that inhabits the world of both serious drama and the liveliest of comedy. He composed one of the singspiel’s arias in a serious Italianate style, writing to his father that “I tried to be as expressive as an Italian Bravura aria will permit” and that “[I wish to] express the loving, throbbing heart.” But other arias he composed in a more traditional comic buf- fa way, for example, giving simple, folk-like melodies to the character of Osmin.

By combining comedic and serious music in this way, the young composer, as Goethe said, “knocked everything else sideways.” In The Abduction, Mozart redefined what a singspiel was and what it could do, for here we see not just a little entertainment for an evening, but a small slice of life with all its jealousies and heartbreaks as well as joys and happiness.

The Abduction from the Seraglio was premiered in July of 1782 and was an in- stant success – in fact, it was the largest success that Mozart ever had with any theatrical work. Within a month, he married his own Constanza. The future looked bright, a future that was tragically cut short just nine years later.

©Elizabeth A. Seitz

THE ORCHESTRA OF EMMANUEL MUSIC TEXT & TRANSLATION

Violin I Bass Horn Danielle Maddon Randall Zigler Whitacre Hill Dianne Pettipaw Katherine Foss Alyssa Daly Heather Braun Rose Drucker Flute Trumpet Lena Wong Vanessa Holroyd Bruce Hall Karen Oosterbaan Jacqueline DeVoe Paul Perfetti

Violin II Piccolo Percussion Heidi Braun-Hill Vanessa Holroyd Robert Schulz Jesse Irons Etsuko Ishizuka Oboe Timpani/Percussion Betsy Hinkle Peggy Pearson Gary DiPerna Mark Oshida Jennifer Slowik Orchestra Personnel Viola Clarinet Manager Mark Berger Rane Moore Joan Ellersick Nathaniel Farny Eran Egozy Joan Ellersick Daniel Dona Bassoon Thomas Stephenson Cello Jensen Ling Rafael Popper-Keizer Cora Swenson Lee Michael Curry

THE CHORUS OF EMMANUEL MUSIC

Soprano Tenor Rehearsal Pianist & Gail Abbey* Jonas Budris* Vocal Coach Roberta Anderson David McSweeney Brett Hodgdon Margaret Johnson Eric Christopher Perry Jaylyn Olivo Erika Vogel

Alto Bass Mary Gerbi Bradford Gleim Thea Lobo Brett Johnson Deborah Rentz-Moore Mark McSweeney* Majie Zeller* * soloist THE ORCHESTRA OF EMMANUEL MUSIC TEXT & TRANSLATION

ERSTER AUFZUG ACT ONE Platz vor dem Palast des Bassa Selim A square in front of the Pasha’s palace am Ufer des Meeres. by the sea shore.

N. 1 Arie No. 1 Aria

BELMONTE BELMONTE Hier soll ich dich denn sehen, Here shall I see you, Konstanze, dich mein Glück! Konstanze, you my hope! Lass, Himmel, es geschehen: Oh heaven, let it be so Gib mir die Ruh zurück! And restore my peace of mind. Ich duldete der Leiden, o Liebe, allzuviel! Oh love, I have suffered too much! Schenk’ mir dafür nun Freuden Now bestow happiness upon me instead Und bringe mich ans Ziel. And lead me to my goal.

N. 2 Lied und Duett No. 2 Song and Duet

OSMIN OSMIN Wer ein Liebchen hat gefunden, He who has found a sweetheart Die es treu und redlich meint, Who is faithful and true, Lohn’ es ihr durch tausend Küsse, Must reward her with a thousand kisses; Mach’ ihr all das Leben süsse, Must make her life a delight, Sei ihr Tröster, sei ihr Freund. Must be her comforter and friend. Tralallera, tralallera! Trallalera, trallalera!

Doch sie treu sich zu erhalten, But to ensure that she remains faithful Schliess er Liebchen sorglich He should lock up his sweetheart with ein; care; Denn die losen Dinger haschen Since the mischievous young things try Jeden Schmetterling, und naschen to capture every passing butterfly, and Gar zu gern vom fremden Wein. gladly sip at other people’s wine. Tralallera, tralallera! Trallalera, trallalera!

Sonderlich beim Mondenscheine, By the light of the moon in particular, Freunde, nehmt sie wohl in acht! Friends, be especially on your guard! Oft lauscht da ein junges There’s often some young gentlemen Herrchen, lurking, Kirrt und lockt das kleine Whispering sweet nothings to the little Närrchen, fools Und dann, Treue, gute And then you can say good night to Nacht! fidelity! Tralallera, tralallera! Trallalera, trallalera! TEXT & TRANSLATION TEXT & TRANSLATION

N. 3 Arie No. 3 Aria

OSMIN OSMIN Solche hergelaufne Laffen, Popinjays sprung up from nowhere Die nur nach den Weibern gaffen, with nothing but women on their minds Mag ich vor den Teufel nicht; I can’t put up with them. Denn ihr ganzes Tun und Lassen All they ever do Ist, uns auf den Dienst zu passen; Is to watch our every step, Doch mich trügt kein solch Gesicht. But I’m not duped by types like that!

Eure Tücken, eure Ränke, Your deceit and your plots, Eure Finten, eure Schwänke Your schemes and your tricks, sind mir ganz bekannt. I know them all. Mich zu hintergehen, If you’d get the better of me Müsst ihr früh aufstehen, You’ll have to get up earlier. Ich hab’ auch Verstand. I’ve got some sense too.

Drum, beim Barte des Propheten! Therefore, by the Prophet’s beard! Ich studiere Tag und Nacht, I study day and night I rack may brains, Dich so mit Manier zu töten, And I won’t rest until I see you killed, Nimm dich, wie du willst in acht. No matter how much care you take.

Erst geköpft, First you’ll be beheaded, dann gehangen, Then you’ll be hanged, dann gespießt Then impaled auf heiße Stangen; On red hot spikes; dann vebrannt, Then burned, dann gebunden, Then manacled und getaucht; And drowned; zuletzt geschunden. Finally flayed alive. TEXT & TRANSLATION TEXT & TRANSLATION

N. 4 Rezitativ und Arie No. 4 Recitative and Aria

BELMONTE BELMONTE Konstanze, dich wiederzusehen, dich! Konstanze, to see you again, you!

O wie ängstlich, o wie feurig Oh how fearfully, oh how fervently Klopft mein liebevolles Herz! My heart is beating, full of love! Und des Wiedersehens Zähre And the tears shed at seeing her again Lohnt der Trennung bangen Are recompense for the bitter pain of Schmerz. parting.

Schon zittr’ ich und wanke, I tremble, I falter, Schon zag’ ich und schwanke; I hesitate, I shrink, Es hebt sich die schwellende Brust! My heart swells and beats faster!

Ist das ihr Lispeln? Is that her whisper? Es wird mir so bange! Anxiety fills me! War das ihr Seufzen? Was that her sigh? Es glüht mir die Wange! My cheeks are afire! Täuscht mich die Liebe? Did love deceive me? War es ein Traum? Was it a dream?

N. 5 Chor der Janitscharen No. 5 Janissaries ‘ Chorus

Singt dem großen Bassa Lieder, Sing to the mighty Pasha, Töne, feuriger Gesang; Resound, fiery song; Und vom Ufer halle wider And let the shore reverberate Unsrer Lieder Jubelklang! With the joyful sound of our songs!

SOLI SOLOS Weht ihm entgegen, kühlende Winde, Waft towards him, cooling breezes, Ebne dich sanfterm wallende Flut! Flow more gently, billowing waters! Singt ihm entgegen fliegende Let your song carry towards him, Chöre, soaring choirs, Singt ihm der Liebe Freuden ins Let your song implant love’s joy in his Herz! heart! TEXT & TRANSLATION TEXT & TRANSLATION

N. 6 Arie No. 6 Aria

KONSTANZE KONSTANZE Ach ich liebte, Alas, I loved, war so glücklich, I was so happy; Kannte nicht der Liebe Schmerz; I knew nothing of love’s pain. Schwur ihm Treue, dem Geliebten, Promised to be true to my beloved, Gab dahin mein ganzes Herz. And I gave him all my heart.

Doch wie schnell schwand meine Freude, But how quickly my joy deserted me, Trennung war mein banges Los; Separation was my unhappy fate. Und nun schwimmt mein Aug’ in Tränen, And now my eyes are bathed in tears, Kummer ruht in meinem Schoss. Grief resides in my breast.

N. 7 Terzett No. 7 Trio

OSMIN OSMIN Marsch! Trollt euch fort! Away! Away! Away! Clear off! Sonst soll die Bastonade Or else the bastinado Euch gleich zu Diensten stehn! Will be straightway at your service!

BELMONTE - PEDRILLO BELMONTE - PEDRILLO Ei, ei! Das wär’ ja schade, My, wouldn’t it be a pity Mit uns so umzugehn! To treat us like that!

OSMIN OSMIN Kommt nur nicht näher, Don’t come any closer, Sonst schlag’ ich drein! Or else I’ll let fly.

BELMONTE - PEDRILLO BELMONTE - PEDRILLO Weg von der Türe! Stand back from the door! Wir gehn hinein! We’re going in!

OSMIN OSMIN Marsch, fort! Ich schlage drein! Quick march! Or I’ll let fly!

BELMONTE - PEDRILLO BELMONTE - PEDRILLO Platz, fort! Wir gehn hinein! Stand back! We’re going in!

* * * BRIEF PAUSE * * * TEXT & TRANSLATION TEXT & TRANSLATION

ZWEITER AUFZUG ACT TWO Garten am Palast des Bassa Selim. An A garden in Pasha Selim’s palace; der Seite Osmins Wohnung. Osmin’s quarters are at the side.

N. 8 Arie No. 8 Aria

BLONDE BLONDE Durch Zärtlichkeit und Schmeicheln, With tenderness and pretty words, Gefälligkeit und Scherzen Kindness and pleasantries, Erobert man die Herzen It is easy to conquer Der guten Mädchen leicht. Good girls’ hearts.

Doch mürrisches Befehlen, But surly commands, Und Poltern, Zanken, Plagen Banging about, nagging, tormenting, Macht, dass in wenig Tagen Will result, in a few days, So Lieb’ als Treu’ entweicht. In love and fidelity departing.

N.9 Duett No. 9 Duet

OSMIN OSMIN Ich gehe, doch rate ich dir, I’m going, but let me advise you den Schurken Pedrillo zu meiden. To keep away from that rascal Pedrillo.

BLONDE BLONDE Fort, pack’ dich nicht mit mir, Be off, don’t order me about, Du weißt ja, ich kann es nicht leiden. You know that I can’t abide it.

OSMIN OSMIN Versprich mir... Promise me ...

BLONDE BLONDE Was fällt dir da ein! How dare you?

OSMIN OSMIN Zum Henker! Hang it all!

BLONDE BLONDE Fort, laß mich allein! Away, leave me alone! TEXT & TRANSLATION TEXT & TRANSLATION

OSMIN OSMIN Wahrhaftig, kein Schritt von der Indeed, I won’t budge an Schwelle, inch Bist du zu gehorchen mir schwörst. Until you swear to obey me.

BLONDE BLONDE Nicht soviel, du armer Geselle, Not a bit, you poor fool, Und wenn du der Großmogul Even if you were the Great Mogul in wärst. person.

OSMIN OSMIN O Engländer! Seid ihr nicht Toren, O Englishmen, what fools you are Ihr laßt euern Weibern den Willen! To let your women have their own way! Wie ist man geplagt und geschoren, What a bother and nuisance it is Wenn solch eine Zucht man erhält! To be landed with such a creature.

BLONDE BLONDE Ein Herz so in Freiheit geboren A heart born to freedom Läßt niemals sich sklavisch behandeln; Will never submit to slavery; Bleibt, wenn schon die Freiheit verloren, Even if liberty is lost Noch stolz auf sie, lachet It is still proud to be free and laughs at der Welt! the world! Nun troll’ dich! Now be off!

OSMIN OSMIN So sprichst du mit mir? How dare you address me like that?

BLONDE BLONDE Nicht anders! Just like that.

OSMIN OSMIN Nun bleib’ ich erst hier! I’ll stay, all the more.

BLONDE BLONDE Ein andermal! Jetzt mußt du gehen. Some other time! Now you must go.

OSMIN OSMIN Wer hat solche Frechheit gesehen! Was there ever such impudence! TEXT & TRANSLATION TEXT & TRANSLATION

BLONDE BLONDE Es ist um die Augen geschehen, Your eyes are in peril Wofern du noch länger verweilst! If you stay here any longer.

OSMIN OSMIN Nur ruhig, ich will ja gern gehen, Keep quiet, I’m going, I’m going, Bevor du gar Schläge erteilst! Before you start using your fists!

N. 10 Rezitativ und Arie No. 10 Recitative and Aria

KONSTANZE KONSTANZE Welcher Wechsel herrscht in meiner Oh, what changes have been wrought Seele in my heart Seit dem Tag, da uns das Schicksal Since that day when fate trennte. parted us! O Belmonte, hin sind die Freuden, Oh Belmonte! The joys have departed Die ich sonst an deiner Seite kannte! Which I knew when by your side; Banger Sehnsucht Leiden The pains of anxious longing Wohnen nun dafür in der beklemmten Now inhabit my oppressed Brust. heart!

Traurigkeit ward mir zum Lose, Unhappiness has become my lot Weil ich dir entrissen bin. Because I have been torn from you. Gleich der wurmzernagten Rose, Like the rose, eaten by worms, Gleich dem Gras im Wintermoose, Like the grass that withers in winter Welkt mein banges Leben hin. My wretched life is fading away.

Selbst der Luft darf ich nicht sagen Not even to the air may I confide Meiner Seele bittern Schmerz, The bitter anguish of my soul, Denn, unwillig ihn zu tragen, Because, unwilling to endure it, Haucht sie alle meine Klagen The very air blows all my laments Wieder in mein armes Herz. Back into my afflicted heart. TEXT & TRANSLATION TEXT & TRANSLATION

N. 11 Arie No. 11 Aria

KONSTANZE KONSTANZE Martern aller Arten Tortures of every kind Mögen meiner warten, May await me, Ich verlache Qual und Pein. I scorn agony and pain. Nichts soll mich erschüttern. Nothing will shake me, Nur dann würd’ ich zittern, Only one thing might make me tremble: Wenn ich untreu könnte sein. If I were to be unfaithful. Lass dich bewegen, verschone mich! I implore you, spare me! Des Himmels Segen belohne The blessings of heaven shall be your dich! reward. Doch du bist entschlossen. But you are determined. Willig, unverdrossen, Willingly, unflinchingly Wähl ich jede Pein und Not. I choose every pain and grief. Ordne nur, gebiete, Well then, command, coerce me, Lärme, tobe, wüte, Roar, fulminate, rage, Zuletzt befreit mich doch der Tod. Death will liberate me in the end.

N. 12 Arie No. 12 Aria

BLONDE BLONDE Welche Wonne, welche Lust What bliss, what delight Regt sich nun in meiner Brust! Holds sway within my heart! Voller Freuden will ich springen, I must hasten without delay Ihr die frohe Nachricht bringen; To bring her the news straight away Und mit lachet und mit Scherzen And with laughter and pleasantries Ihrem schwachen, kranken Herzen I will prophesy to her weak, timid heart Freud und Jubel prophezeihn. Happiness and rejoicing.

N. 13 Arie No. 13 Aria

PEDRILLO PEDRILLO Frisch zum Kampfe, Now to battle! frisch zum Streite! Now to arms! Nur ein feiger Tropf verzagt. Only cowards are afraid. Sollt’ ich zittern, sollt’ ich zagen? Should I tremble? Should I quake? Nicht mein Leben mutig wagen? Rather than valiantly risking my life? Nein, ach nein, es sei gewagt! No, oh no, I’ll take the risk! Frisch zum Kampfe! Now to battle! Frisch zum Streite! Now to arms! Nur ein feiger Tropf verzagt. Only cowards are afraid. TEXT & TRANSLATION TEXT & TRANSLATION

N. 14 Duett No. 14 Duet

PEDRILLO PEDRILLO Vivat Bacchus! Bacchus lebe! Vivat Bacchus, long live Bacchus, Bacchus war ein braver Mann! Bacchus was a fine fellow.

OSMIN OSMIN Ob ich’s wage? Ob’s ich trinke? Shall I chance it? Shall I drink it? Ob’s wohl Allah sehen kann? Can Allah see me?

PEDRILLO PEDRILLO Was hilft das Zaudern? Hinunter, What’s the use of wavering? down with hinunter! it, down with it! Nicht lange, nicht lange gefragt! Don’t delay any longer!

OSMIN OSMIN Nun wär’s geschehen, nun wär’s Now the deed is done, now I have hinunter! downed it; Das heiß’ ich, das heiß’ ich gewagt! I do declare, that’s brave!

BEIDE TOGETHER Es leben die Mädchen, Three cheers for the girls, die Blonden, die Braunen! The blondes, the brunettes, Sie leben noch! Three cheers!

PEDRILLO PEDRILLO Das schmeckt trefflich! It tastes lovely!

OSMIN OSMIN Das schmeckt herrlich! It tastes heavenly!

BEIDE TOGETHER Ah! das heiß’ ich Göttertrank! That’s what I call a drink for the Gods! Vivat Bacchus! Vivat Bacchus, Bacchus lebe! Long live Bacchus, Bacchus, der den Wein erfand! Bacchus who discovered wine! TEXT & TRANSLATION TEXT & TRANSLATION

N. 15 Arie No. 15 Aria

BELMONTE BELMONTE Wenn der Freude Tränen fliessen, When tears of joy flow freely, Lächelt Liebe dem Geliebten hold. Love kindly smiles upon the lover; Von den Wangen sie zu küssen To kiss them from her cheeks Ist der Liebe schönster, grösster Sold. Is love’s highest reward. Ach, Konstanze! Dich zu sehen, Oh, Konstanze! To behold you! Dich voll Wonne, voll Entzücken Blissfully and full of delight An mein treues Herz zu drücken. To hold you close to my faithful heart, Lohnt fürwahr nicht Kron’ und Pracht! Croesus’ treasure could not equal it.

Ah, dieses sel’ge erst Wiederfinden Were we never to be reunited, Lässt innig läßt innig mich ganz Better that we were never empfinden, to know Welchen Schmerz die Trennung The bitter pangs macht. of separation.

N. 16 Quartett No. 16 Quartet

KONSTANZE KONSTANZE Ach, Belmonte! Ach, mein Leben! Ah, Belmonte, my beloved!

BELMONTE BELMONTE Ach, Konstanze! Ach, mein Leben! Ah, Konstanze, my beloved!

KONSTANZE KONSTANZE Ist es möglich? Welch Entzücken, Can it be? What rapture! Dich an meine Brust zu drücken To hold you close to my heart Nach so vieler Tage Leid! After so many days of unhappiness!

BELMONTE BELMONTE Welche Wonne, dich zu finden! What bliss to find you! Nun muß aller Kummer schwinden! Now all grief must vanish! O wie ist mein Herz erfreut! Oh how my heart rejoices!

KONSTANZE KONSTANZE Sieh, die Freudeträne fließen! See how my tears of joy flow freely.

BELMONTE BELMONTE Holde! Laß hinweg sie küssen! Angel! Let me kiss them away!

KONSTANZE KONSTANZE Daß es doch die letzte sei! Let them be the last ones. TEXT & TRANSLATION TEXT & TRANSLATION

BELMONTE BELMONTE Ja, noch heute wirst du frei! Indeed, you shall be free this very day.

PEDRILLO PEDRILLO Also Blondchen, hast’s verstanden? Now, Blonde, have you understood? Alles ist zur Flucht vorhanden, Everything is prepared for flight. Um Schlag Zwölfe sind We will be here on the stroke of wir da! midnight.

BLONDE BLONDE Unbesorgt! Es wird nichts fehlen, Don’t worry, all will be ready, Die Minuten werd’ ich zählen, I shall count the minutes; Wär’ der Augenblick schon da! If only the moment were here already!

ALLE ALL FOUR TOGETHER Endlich scheint die Hoffnungssonne At last the sun of hope Hell durchs trübe Firmament! Illuminates the gloomy skies! Voll Entzücken, Freud und Wonne Full of rapture, joy and bliss Sehn wir unsrer Leiden End’! We can see the end of our suffering!

BELMONTE BELMONTE Doch, ach! bei aller Lust Yet, in spite of my happiness Empfindet meine Brust My heart within my breast Doch manch’ geheime Sorgen! Is full of secret care.

KONSTANZE KONSTANZE Was ist es Liebster, sprich! What is it, dearest? Tell me, Geschwind, erkläre dich! Quickly, explain yourself. O halt mir nichts verborgen! Conceal nothing from me!

BELMONTE BELMONTE Man sagt... man sagt... du seist... They say? they say? that you ...

KONSTANZE KONSTANZE Nun weiter? Go on!

PEDRILLO PEDRILLO Doch Blondchen, ach, die Leiter! But Blonde, oh that ladder! Bist du wohl soviel wert? Are you really worth it?

BLONDE BLONDE Hans Narr, schnappt’s bei dir über? You fool, have you gone mad? Ei, hättest du nur lieber It might be better Die Frage umgekehrt. If you had turned the question round! TEXT & TRANSLATION TEXT & TRANSLATION

PEDRILLO PEDRILLO Doch Herr Osmin... But Master Osmin?

BLONDE BLONDE Laß hören! Let’s hear it!

KONSTANZE KONSTANZE Willst du dich nicht erklären? Will you not explain yourself?

BELMONTE BELMONTE Man sagt... They say?

PEDRILLO PEDRILLO Doch Herr Osmin... But Master Osmin?

BELMONTE BELMONTE Du seist... That you?

PEDRILLO PEDRILLO Doch Herr Osmin... But Master Osmin?

KONSTANZE KONSTANZE Nun weiter? Go on?

BLONDE BLONDE Laß hören! Let’s hear it!

KONSTANZE KONSTANZE Willst du dich nicht erklären? Will you not explain yourself?

BELMONTE BELMONTE Ich will. Doch zürne nicht, I will. But do not be angry Wenn ich nach dem Gerücht, If, having heard a rumor, Das ich gehört, es wage, I should dare to ask you Dich zitternd, bebend frage, In fear and trembling Ob du den Bassa liebst? Whether you love the Pasha?

PEDRILLO PEDRILLO Hat nicht Osmin etwan, Has Master Osmin never, Wie man fast glauben kann, As one might well believe, Sein Recht als Herr probieret Exercised his lordly rights Und bei dir exerzieret? Upon you as your owner? Dann wär’s ein schlechter Kauf! That would be a poor bargain! TEXT & TRANSLATION TEXT & TRANSLATION

KONSTANZE KONSTANZE (zu Belmonte) (to Belmonte) O wie du mich betrübst! Oh, how you grieve me! (Sie weint) (She weeps)

BLONDE BLONDE (zu Pedrillo) (to Pedrillo) Da, nimm die Antwort drauf! Here’s my reply to you! (gibt dem Pedrillo eine Ohrfeige) (slaps Pedrillo’s face)

PEDRILLO PEDRILLO (hält sich die Wange) (rubbing his cheek) Nun bin ich aufgeklärt! Now I am in the picture.

BELMONTE BELMONTE Konstanze, ach vergib! Konstanze, oh forgive me!

BLONDE BLONDE (geht zornig von Pedrillo) (angrily walking away from Pedrillo) Du bist mich gar nicht wert! You don’t deserve me at all!

KONSTANZE KONSTANZE (seufzend sich von Belmonte (sighing as she turns away from Bel- wegwendend) monte) Ob ich dir treu verlieb? Have I remained faithful to you?

BLONDE BLONDE (zu Konstanze) (to Konstanze) Der Schlingel fragt gar an, The rogue has dared to ask Ob ich ihm treu gelieben. Whether I have remained true to him!

KONSTANZE KONSTANZE (zu Blonde) (to Blonde) Belmonte sagte man, And Belmonte has been told Ich soll den Bassa lieben! That I love the Pasha!

PEDRILLO PEDRILLO (hält sich die Wange; zu Belmonte) (rubbing his cheek) Daß Blonde ehrlich sei, I’d take my dying oath Schwör’ ich bei allen Teufeln! On Blonde’s fidelity!

BELMONTE BELMONTE (zu Pedrillo) (to Pedrillo) Konstanze ist mir treu, Konstanze is true to me, Daran ist nicht zu zweifeln! There can be no doubt about it. TEXT & TRANSLATION TEXT & TRANSLATION

KONSTANZE - BLONDE KONSTANZE- BLONDE Wenn unsre Ehre wegen When men become suspicious Die Männer Argwohn hegen, And have no faith in our honor, Verdächtig auf uns sehn, And look upon us with mistrust, Das ist nicht auszustehn! It is not to be borne.

BELMONTE - PEDRILLO BELMONTE - PEDRILLO Sobald sich Weiber kränken, When women are aggrieved Daß wir sie untreu denken, Because we think them fickle, Dann sind sie wahrhaft treu, Then they are really true Von allem Vorwurf frei! And free from all reproaches.

PEDRILLO PEDRILLO Liebstes Bondchen, ach, verzeihe! Dearest Blonde, do forgive me! Sieh, ich bau’ auf deine Treue Look, I put more faith in your fidelity Mehr jetzt ja als auf meinen Kopf! Than upon my own head!

BLONDE BLONDE Nein, das kann ich dir nicht schenken, No, you can’t get away with it. Mich mit so was zu verdenken, Suspecting me of doing that Mit dem alten, dummen Tropf! With that foolish old buffer!

BELMONTE BELMONTE Ach, Konstanze! Ach, mein Leben! Oh, Konstanze, my beloved! Könntest du mir noch vergehen, Can you ever forgive me Daß ich diese Frage tat? For having asked such a question?

KONSTANZE KONSTANZE Belmonte, wie? Du könntest glauben, Belmonte! How could you believe Daß man dir dies Herz könnt’ rauben, That anyone could steal this heart Das nur dir geschlagen hat? Which beats for you alone?

BELMONTE - PEDRILLO BELMONTE - PEDRILLO Ach, verzeihe! Oh, forgive me!

BELMONTE - PEDRILLO BELMONTE - PEDRILLO Ich bereue! I am repentant!

KONSTANZE - BLONDE KONSTANZE - BLONDE Ich verzeihe deiner Reue! I forgive your remorse.

ALLE ALL FOUR Wohl, es sei nun Abgetan! Well, let this be the end of the matter! Es lebe die Liebe! Long live love Nur sie sei uns teuer; Let us value nothing else! Nichts fache das Feuer Let nothing kindle Der Eifersucht an. The fire of jealousy. TEXT & TRANSLATION TEXT & TRANSLATION

* * * INTERMISSION * * * DRITTER AUFZUG ACT THREE Platz vor dem Palast des Bassa Selim. In front of the Pasha Selim’s palace. Auf einer Seite der Palast des On the side of the palace of the Pasha, Bassa; gegenüber die Wohnung des across from Osmin’s dwelling; behind Osmin; hinten Aussicht auf das Meer. a view to the sea. Es ist Mitternacht. It is midnight.

N. 17 Arie No. 17 Aria

BELMONTE BELMONTE Ich baue ganz auf deine Stärke, Oh love, I build upon your strength, Vertrau’, o Liebe, deiner Macht, I rely upon your power; Denn ach! Was wurden nicht für Werke Consider what works Schon oft durch dich zustand’ gebracht! Have been achieved by you! Was aller Welt What all the world unmöglich scheint, thinks impossible. Wird durch die Liebe doch vereint. Will yet be brought about through love.

N. 18 Romanze No. 18 Romance

PEDRILLO PEDRILLO In Mohrenland gefangen war In Moorish lands imprisoned lay Ein Mädel hübsch und fein; A girl, pretty and delicate; Sah rot und weiss, war schwarz von Haar, Rosy cheeks, white skin, black hair, Seufzt Tag und Nacht und weinte gar, She sighed day and night, she even wept, Wollt’ gern getröstet sein. Longing to be rescued.

Da kam aus fremdem Land daher Then came from foreign lands Ein junger Rittersmann; A young knight Den jammerte das Mädchen sehr, Who took pity on the maiden. Ha, rief er, wag’ ich Kopf und Ehr’, Hey, he cried, I’ll risk my life and honor Wenn ich sie retten kann. If only I can rescue her.

Ich komm’ zu dir in finstrer Nacht, I’ll come to you at dead of night, Lass, Liebchen, husch mich ein! Dearest, let me in quickly; Ich fürchte weder Schloss nach Wacht, I fear neither padlocks nor watchmen, Holla, horch auf, um Mitternacht Hey ho, take heed, at midnight Sollst du erlöset sein. You shall be saved.

Gesagt, getan; Glock’ Zwölfe stand No sooner said than done, on the stroke Der tapfre Ritter da; Of midnight the brave knight was there; Sanft reicht sie ihm die weiche Hand, Gently she gave him her white hand, Früh man die leere Zelle fand; Next morning her cell was found to be Fort war sie Hopsasa! empty; She was gone, up and away! TEXT & TRANSLATION TEXT & TRANSLATION

N. 19 Arie No. 19 Aria

OSMIN OSMIN Ha, wie will ich triumphieren, Oh, how I shall triumph Wenn sie euch zum Richtplatz When they conduct you to the place of führen execution Und die Hälse schnüren zu! And put the garrote round your throats!

Hüpfen will ich, lachen, springen I shall gambol, laugh and jump about Und ein Freudenliedchen singen, And sing a song of delight, Denn nun hab’ ich vor euch Ruh. Since I am rid of you at last.

Schleicht nur säuberlich No matter how softly und leise, and carefully you prowl, Ihr verdammten Haremsmäuse, You confounded harem mice, Unser Ohr entdeckt euch schon, Our ear is bound to detect you! Und eh’ ihr uns könnt entspringen, And ere you can escape us Seh ich euch in unsern You find yourselves caught in our Schlingen, snares Und erhaschet euren Lohn. And will get your just deserts.

N. 20 Rezitativ und Duett No. 20 Recitative and Duet

BELMONTE BELMONTE Welch ein Geschick! O Qual der Seele! What cruel fate! What grief! Hat sich denn alles wider mich Has everything conspired verschworen! against me? Ach, Konstanze! Oh, Konstanze! Durch mich bist du verloren! Through my fault you are in peril! Welch eine Pein! What agony!

KONSTANZE KONSTANZE Laß, ach Geliebter, Beloved, laß dich das nicht quälen. do not let it trouble you. Was ist der Tod? What is death? Ein Übergang zur Ruh! It leads to peace. Und dann, an deiner Seite, And furthermore, by your side, Ist er Vorgefühl der Seligkeit. It is a foretaste of bliss. TEXT & TRANSLATION TEXT & TRANSLATION

BELMONTE BELMONTE Engelseele! Welch holde Güte! Angelic being! What sweet perfection! Du flößest Trost in mein erschüttert You bring comfort to my distracted Herz, heart. Du linderst mir den Todesschmerz You ease the mortal pain, Und ach, ich reiße dich ins And I, alas, take you into the grave with Grab. me.

Meinetwegen willst du sterben! You must die on my behalf! Ach, Konstanze! Darf ich’s wagen, O, Konstanze, how dare I Noch die Augen aufzuschlagen? Lift my eyes to you? IIch bereite dir den Tod! I am the cause of your death!

KONSTANZE KONSTANZE Belmonte, du stirbst meinetwegen! Belmonte, you die because of me! Ich nur zog dich ins Verderben It is I who brought about your ruin, Und ich soll nicht mit dir sterben? And should I not die with you? Wonne ist mir dies Gebot! This precept is bliss for me.

BEIDE TOGETHER Ach, Geliebte, dir zu leben Noble soul, to live for you Ist mein Wunsch und all mein Streben; Is my desire and all I strove for. Ohne dich ist mir’s nur Pein, Without you, to live on in this world Länger auf der Welt zu sein. Brings me nothing but pain.

BELMONTE BELMONTE Ich will alles gerne leiden. Gladly will I suffer everything,

KONSTANZE KONSTANZE Ruhig sterb’ ich dann mit Freuden, Peacefully and joyfully will I die,

BEIDE TOGETHER Weil ich dir zu Seite bin. Because you will be by my side. Um dich Geliebte, For you beloved, Gäb’ ich gern mein Leben hin! I would gladly give my life. O welche Seligkeit! Oh what delight! Mit dem Geliebten sterben To die with the beloved Ist seliges Entzücken! Is enchanted bliss! Mir wonnevollen Blicken With radiant looks Verläßt man da die Welt. We shall depart this world. TEXT & TRANSLATION TEXT & TRANSLATION

N. 21a Vaudeville No. 21a Vaudeville

BELMONTE BELMONTE Nie werd’ ich deine Huld verkennen; Never will I forget your benevolence; Mein Dank sei ewig dir geweiht; Forever shall I sing your praises. An jedem Ort zu jeder Zeit In every place, at every time Werd’ ich dich groß und edel nennen. I shall proclaim you great and noble.

ALLE ALL Wer so viel Huld Anyone who can forget such vergessen kann, graciousness Den seh’ man mit Verachtung an! Deserves to be looked upon with scorn.

KONSTANZE KONSTANZE Nie werd’ ich im Genuß der Liebe Never, even while rejoicing in love, Vergessen, was der Dank Shall I forget what gratitude gebeut, commands; Mein Herz, der Liebe nur geweiht, My heart, devoted to love from now on, Hegt auch dem Dank geweihte Feels emotions inspired by gratitude as Triebe. well.

ALLE ALL Wer so viel Huld vergessen Anyone who can forget such kann, graciousness Den seh’ man mit Verachtung an! Deserves to be looked upon with scorn.

PEDRILLO PEDRILLO Wenn ich es je vergessen könnte, If ever I were to forget Wie nah’ ich am Erdrosseln war. How close I came to being strangled, Und all der anderen Gefahr; And all the other perils? Ich lief’, als ob der Kopf mir brennte I’d run as though my head were on fire.

ALLE ALL Wer so viel Huld vergessen kann, Anyone who can forget such Den seh’ man mit Verachtung an! graciousness Deserves to be looked upon with scorn. TEXT & TRANSLATION TEXT & TRANSLATION

BLONDE BLONDE Herr Bassa, ich sag’ recht mit Freuden My Lord Pasha, full of joy I thank you Viel Dank für Kost und Lagerstroh. Most heartily for board and lodging. Osmin, das Schicksal will es so, But I am truly glad Ich muß von dir auf ewig scheiden. That you allow me to depart from here. Denn seh’ er nur das Tier dort an, Just look upon that beast there, ob man so was ertragen kann. Is that to be endured?

OSMIN OSMIN Verbrenne sollte man die Hunde, These dogs, we ought to burn them, Die uns so schändlich hintergehn, Who tricked us so shamefully! Es ist nicht länger anzusehn. I can bear it no longer; Mir stockt die Zunge fast im Munde, My tongue is almost paralyzed Um ihren Lohn zu Through not being able to order their ordnen an: reward: Erst geköpft, First you’ll be beheaded, dann gehangen, Then you’ll be hanged, dann gespießt Then impaled auf heiße Stangen; On red hot spikes, dann vebrannt, Then burned, dann gebunden, Then manacled und getaucht; And drowned; zuletzt geschunden. Finally flayed alive.

KONSTANZE - BELMONTE - BLONDE KONSTANZE - BELMONTE - BLONDE - - PEDRILLO PEDRILLO Nichts ist so häßlich als die Rache; Nothing is as loathsome as revenge; Hingegen menschlich gütig sein, But to be humane and kind Und ohne Eigennutz verzeihn, And to forgive without self-interest – Ist nur der großen Seelen Sache! Only a great soul is capable of that. Wer dieses nicht erkennen kann, Anyone who can forget such graciousness Den seh’ man mit Verachtung an! Deserves to be looked upon with scorn.

N. 21b Chor der Janitscharen No. 21b Janissaries ‘ Chorus

CHOR CHORUS Bassa Selim lebe lange, Long live Pasha Selim! Ehre sei sein Eigentum! Let him be honored! Seine holde Scheitel prange Let his exalted brow be wreathed Voll von Jubel, voll von Ruh. With rejoicing and renown.

The audience is cordially invited to join Ryan Turner and the musicians at a post-concert reception in the Parish Hall directly following the performance.

German ©Gottlob Stephanie, Jr. English Translations ©Opera Folio.com ABOUT EMMANUEL MUSIC Get Involved

There are many ways to get involved behind the scenes and increase your engagement as a member of the Emmanuel Music community. support our mission When you make a gift to Emmanuel Music you directly support our mission of enriching the life of the community through the transformative power of music. Every gift plays a role in our success: you can underwrite a cantata or a soloist or make a gift to support the Annual Fund, students of the Bach Institute program, or the Hercules Society. Our donors make the exceptional work of our talented musicians happen, both on the stage and in education and outreach programs.

Members of the Emmanuel Music donor family enjoy a variety of privileges and benefits to enhance the concert-going experience. become a board member Are you interested in making a difference in your community, in expanding your leadership opportunities, and in becoming an insider in the region’s nonprofit arts and cultural scene? Emmanuel Music Board members are part of the inner circle responsible for oversight, planning, and serving as ambassadors for our wonderful musical mission.

If you love the music we present you may find a satisfying role as a member of our Board. Useful experience and skills include finance and accounting, media technology, advocacy, fundraising, human resources, government relations, legal, management, marketing, develop- ment, public relations, and strategic planning. We seek a diverse Board in terms of race, age, and gender. volunteer Help one of Boston’s cherished music organizations by becoming a volunteer. Emmanuel Music currently offers a broad range of activities for volunteers: from general office work like filing and helping with mailings to concert support such as ushering or working the box office and concessions. All of our volunteers are valued partners in helping Emmanuel Music main- tain its legacy of musical excellence.

For more information, visit www.emmanuelmusic.org or contact us at [email protected] or 617.536.3356 to discuss how you would like be involved. ABOUT EMMANUEL MUSIC

Ryan Turner conducts Handel’s Susanna, April 5, 2014. Photo by Julian Bullitt.

Emmanuel Music, a collective group of singers and instrumentalists, was founded in 1970 by Craig Smith to perform the complete cycle of over 200 sacred cantatas of J. S. Bach in the liturgical setting for which they were intended, an endeavor twice completed and a tradition which continues today. Artistic Director Ryan Turner has led the ensemble since 2010.

Over the years, Emmanuel Music has garnered critical and popular acclaim through its presentations of large-scale and operatic works by Bach, Handel, Schubert, and Mozart as well as its in-depth exploration of the complete vocal, piano, and chamber works of Debussy, Brahms, Schubert, and Schumann. A recent highlight was the Boston and Tanglewood premiere of John Harbison’s opera The Great Gatsby.

A unique aspect of Emmanuel performances is its selection of vocal and instrumental soloists from a corps of musicians who have long been associated with the group. Emmanuel Music has given rise to renowned musicians at the local, national, and international level; its long-standing association with Principal Guest Conductor John Harbison has also yielded a wealth of creative artistry.

Emmanuel Music has achieved international recognition from audiences and critics alike in its innovative collaborations with leading visionaries among the other arts, including the Mark Morris Dance Group and stage director Peter Sellars. Emmanuel Music made its European debut in 1989 in Brussels at the Théâtre Royal de la Monnaie, and its New York City debut at Lincoln Center in 2001.

In a schedule that totals over fifty performances per year, guest conductors have included Seiji Ozawa, Christopher Hogwood, Christoph Wolff, Robert Levin, Julian Kuerti, David Hoose, and Christopher Shepard.

Emmanuel Music has been the subject of numerous national radio and television specials, and has completed ten recording projects featuring works of Heinrich Schütz, John Harbison, and J. S. Bach, including the critically acclaimed bestseller Bach Cantatas BWV 82 and 199 featuring Lorraine Hunt Lieberson on the Nonesuch label (hailed as one of the Top CDs of the Year by The New York Times), Mozart Piano Concertos and Fantasies, with Russell Sherman on the Emmanuel Music label, and the latest release on the AVIE label, Lorraine at Emmanuel. ABOUT THE ARTISTS ABOUT THE ARTISTS

Ryan Turner, now in his fifth year as Artistic Director of Emmanuel Music, brings both talent and heart to his music- making as a conductor, a programmer, and singer. Praising his most recent performance of John Harbison’s The Great Gatsby, critics described him as “a thinking man’s conductor” and remarked on his, “supple, even liquid shaping of phrase, impeccable technique and truly refreshing communication of the intimacy of ensemble playing.” Born in 1972 and raised in El Paso, Texas, Mr. Turner attended Southern Methodist University in Dallas. He arrived in Boston in 1995 to continue his studies at the Boston Conservatory. He joined Emmanuel Music in 1997 as a tenor soloist and chorus member, making his debut as a guest conductor in 2006. Since his appointment as Artistic Director, Mr. Turner has programmed and conducted over one hundred fifty Bach cantatas, the Bach St John Passion, B Minor Mass and Christmas Oratorio, and major works and operas by Stravinsky, Mozart, Handel, and John Harbison. A champion of new music, Ryan Turner has programmed and premiered the works of composers John Harbison, James Primosch, Brett Johnson, and Ben Hogue.

As an opera conductor, Mr. Turner’s repertoire ranges from Handel to Mozart to Martin. He has made guest appearances with the Boston Lyric Opera, Longy School of Music and Boston College. He returns to the Boston Lyric Opera in the Fall of 2015 to conduct Philip Glass’ In the Penal Colony. Turner teaches on the voice and early music faculty at the Longy School of Music of Bard College. He was the Director of Choral Activities at Phillips Exeter Academy from 2006 to 2012. From 2006 to 2009 he served as the Acting Director of the SongFest Bach Institute in California, founded by Craig Smith. From 2001 to 2010 Mr. Turner presided as Music Director of the Concord Chorale and Chamber Orchestra. He has also served as Assistant Director of Choral Activities at the University of Rhode Island, as Interim Director of Choral Activities at Plymouth State University, and as Music Director of the Concord Chorus.

Ryan Turner has appeared as tenor soloist in oratorio, recital, and opera. Some highlights include his appearances with the Mark Morris Dance Group in Handel’s L’Allegro, il Penseroso ed il Moderato, six seasons with the Carmel Bach Festival, and singing the role of Ferrando in Cosi fan tutte with Opera Aperta. Mr. Turner made his Carnegie Hall debut as the tenor soloist in Handel’s Messiah in 2008. He has sung solos in over forty Bach cantatas with Emmanuel Music. His discography includes Bach BWV 67 with Emmanuel Music, Praetorius’ Christmas Vespers with Apollo’s Fire, and Kapsberger Apotheosis with Ensemble Abendmusik.

Ryan Turner lives north of Boston with his wife, soprano Susan Consoli, and their two children, Aidan and Caroline. ABOUT THE ARTISTS ABOUT THE ARTISTS

Boston-based director Nathan Troup maintains a body of work that spans standard operatic repertoire, premieres of new works of music theatre, and his uniquely curated projects of multidisciplinary theatre. Recent engagements include mu- sical assistant to choreographer Jessica Lang on her compa- ny’s story ballet The Wanderer set to Schubert’s Die Schöne Müllerin at the NextWave Festival at the Brooklyn Academy of Music; The Song of the Mud: Music of World War I for the Mu- seum of Fine Arts, Boston; and his recent productions of The Rape of Lucretia and Mohamed Fairouz’s Sumeida’s Song garnered recognition as Best of Boston 2014 by ArtsImpulse for direction, design and overall produc- tion. He’s worked with the companies of Guerrilla Opera, Emmanuel Music, The Glimmerglass Festival, Wolf Trap Opera, Fort Worth Opera, Boston Lyric Opera, the Castleton Festival, and Des Moines Metro Opera. He has served on the facul- ties of the New England Conservatory and Boston University’s Opera Institute, and as artist-inresidence at Webster University and Viterbo University. Mr. Troup recently directed Stravinsky’s The Rake’s Progress at The Boston Conservatory where he currently serves as Associate Director of Opera Studies, and is on the directing staff of the Des Moines Metro Opera Apprentice Artist Program. From 2004-2007, he was a staff member at Emmanuel Music, in addition to singing in the choir. More recently, he assisted on the group’s 2014 production of A Little Night Music. nathantroup.com

Charles Blandy has been praised as “unfailingly, tirelessly lyrical” (Boston Globe); “a versatile tenor with agility, endless breath, and vigorous high notes” (Goldberg Early Music Magazine). This season he performs Bach’s Mass in B Minor with the American Classical Orchestra (NYC) at Lincoln Center and St. Matthew Passion with the American Bach Soloists (San Francisco). He appears with Boston Early Music Festival in works of Monteverdi: Il Ritorno d’Ulisse, Vespers, and L’Orfeo. With Emmanuel Music he will sing the role of Belmonte in Mozart’s Abduction from the Seraglio. He is a regular in Emmanuel’s Bach cantata series and has appeared in John Harbison’s The Great Gatsby; as the Evangelist in the Bach Passions; and in Stravinsky’s Rake’s Progress, Mozart’s Magic Flute, and Handel’s Ariodante. In recent years he has sung with the Portland Baroque Orchestra, the National Chorale, Bach Choir of Bethlehem, Handel and Haydn Society, Boston Baroque, Charlotte Symphony, Berkshire Choral Festival, and Pittsburgh Bach and Baroque. He is adept in contemporary music: He appeared in the world premiere of Osvaldo Golijov’s Ainadamar starring Dawn Upshaw; premiered Rodney Lister’s chamber song cycle Friendly ABOUT THE ARTISTS ABOUT THE ARTISTS

Fire with Collage New Music; appeared with Boston Modern Orchestra Project in Thomson’s Four Saints in Three Acts; and is on a Naxos CD of Scott Wheeler’s Construction of Boston. His studies have been at Tanglewood, Indiana University, and Oberlin College. He is originally from Troy, NY. His website is at charlesblandy. com.

Richard Dyer’s most recent appearance in musical theater was when he performed, with a few helpful transpositions, the role of Nanki-Poo in The Mikado in 1959. In between those performances and this one his principal occupation was writ- ing about music in The Boston Globe and many other news- papers and magazines, as well as the New Grove Dictionaries of Music, Opera, and American Music, the Encyclopedia Americana, and the Metropolitan Opera Encyclopedia of Op- era; he was twice the winner of the Deems Taylor/ASCAP award for distinguished music criticism. Since his retirement from The Globe in 2006 after 33 years there, he has remained active as a teacher (at the Tanglewood Music Center, Aspen, the Bard Graduate Vocal Arts Program); he has written program notes and interviews or given talks for the Boston Symphony, Opera Boston, the Bos- ton Lyric Opera, and Boston Midsummer Opera and several other organizations and spent four seasons on the board of Emmanuel Music. He has covered Euro- pean and Asian tours by the Boston Symphony, the Opera Company of Boston, and the Boston Philharmonic Youth Orchestra. He has served on the eight differ- ent juries of four international piano competitions as well as at the Miss America Pageant. He is delighted to have been invited to perform a speaking role in Die Entfuhrung aus dem Serail, and is even more relieved than the audience tonight that he won’t have to sing.

Coloratura soprano Barbara Kilduffbegan her career as a national winner of the Metropolitan Opera auditions, going from there to win first prize in the famed Munich International Competition and the silver medal in the Tchaikovsky Competition in Moscow. Within a year of these competitions, Ms. Kilduff made favorable debuts with the Bavarian, Vienna and Hamburg State Operas, all in the demanding role of Zerbinetta in Richard Strauss’ Ariadne auf Naxos, a role she went on to sing in Basel, Vancouver, Athens and Cologne. Zerbinetta was also the role in which she made her 1987 Metropolitan Opera debut with Jessye Norman, conducted by James Levine. In the same season Ms. Kilduff also appeared as Adele in Die Fledermaus. The following season she appeared as Cleopatra in Julius Caesar under Trevor Pinnock, and as Blondchen in Die Entfuehrung aus dem Serail under James Levine. Her La Scala debut was in the role of Blondchen, ABOUT THE ARTISTS ABOUT THE ARTISTS

this time under Wolfgang Sawallisch. Further performances throughout Europe and America include Sophie in Der Rosenkavalier at the Bavarian State Opera, in New York, San Diego and Vienna; Queen of Shemakhan in Rimsky-Korsakov’s The Golden Cockerel under Mistislav Rostropovich; the Nightingale and Fire in Ravel’s L’Enfant et les Sortileges under Charles Dutoit; Orff’sCarmina Burana with the St Louis Symphony under Leonard Slatkin; and Schoenberg’s Von Heute auf Morgen under Pierre Boulez in Ludwigshafen, Milan, Rome and Vienna. Opera performances in the Boston area include Norina (Don Pasquale) with the Newton Symphony Orchestra under Geoffrey Rink and Lucia in Lucia di Lammermoor with Granite State Opera under Phillip Lauriat, as well as Queen of the Night in The Magic Flute and Morgana in Alcina with Emmanuel Music under Craig Smith. Ms. Kilduff has appeared often in concert with Dedham Choral Society under Jonathan Barnhart, with Coro Allegro under David Hodgkins, and with Masterworks Chorale under Steven Karidoyanes. She sang Beethoven’s Missa Solemnis with the New Bedford Symphony under David MacKenzie and with Masterworks Chorale under Steven Karidoyanes. She performed the world premiere of Luis Bacalov’s Cantos para Nuestros Tiempos (Psalms for Our Times) under William Thomas, Haydn’s Creation with the National Symphony Orchestra of Costa Rica and an Opera Gala Concert with the Charleston Symphony Orchestra conducted by Jeffrey Rink. She was Isabella in Robert Smith’s A Place of Beauty, a celebration of the life of Isabella Stewart Gardner, David Feltner conducting, and she was Miss Havisham in Miss Havisham’s Wedding Night— both productions of John Whittlesey’s Boston Intermezzo. Ms. Kilduff has made many recordings of both opera and oratorio, and has given recitals in artists’ series across the United States. She has been a visiting faculty member at Boston University’s College of Fine Arts and the New England Conservatory of Music, and is currently a faculty member at Phillips Academy in Andover.

Described by critics as “a gifted young tenor with wonderful comedic talents” and as having an “alluring tenor voice” and “bright, clear and fully-fledged tenor sonority,” Jason McStoots has performed around the world as well as in the US. His recent appearances include Boston Early Music Festival’s production of Handel’s Almira (Tabarco), his European debut in Bach’s Christmas Oratorio and a Japanese tour of the St. Matthew Passion under the direction of Joshua Rifkin, Monteverdi’s Vespers in Seattle and Portland under Stephen Stubbs, and Mozart’s Abduction from the Seraglio. He has appeared with such groups as Boston Lyric Opera, Pacific MusicWorks, Boston Camerata, New Haven Symphony, Tragicomedia, and the Tanglewood Music Center. He can be heard on recordings with Blue Heron as well as on the Grammy-nominated recording of Lully’s Pysché and on recordings of Charpentier, John Blow, and Handel with the Boston Early Music Festival on the CPO label. ABOUT THE ARTISTS ABOUT THE ARTISTS

Praised for her “bejeweled lyric soprano” (Boston Globe), as “a marvel of perfect intonation and pure tone” (New York Arts), and with a voice of “extraordinary suppleness and beauty” (New York Times), soprano Teresa Wakim was first prize winner of the 2010 International Soloist Competition for Early Music in Brunnenthal, Austria. Much sought after in Europe and North America for her interpretations of concerted repertoire, she has performed under the batons of such conductors as Roger Norrington, Harry Christophers, Laurence Cum- mings, Martin Haselböck, Ton Koopman, and Nicholas McGegan. Noted solo engagements include Bach’s Mass in B Minor, St. John Passion, and Magnificat with the Amsterdam Baroque Orchestra, Bach’s Wedding Cantata and Men- delssohn’s Hear My Prayer with the Cleveland Orchestra, Bach’s Missa Brevis with the San Francisco Symphony, Monteverdi’s Vespers with Boston Baroque, ABOUT THE PRE-CONCERT SPEAKER Bach’s Magnificatwith Wiener Akademie Orchester, Brahms’s Ein Deutsches Requiem with the Omaha Symphony, Bach’s Mass in B Minor with Louisiana Philharmonic, Mozart’s Exsultate Jubilate with New World Symphony and the Handel and Haydn Society, Handel’s Messiah with the Charlotte, San Antonio, Alabama, and Tucson symphonies, and Orff’sCarmina Burana with Boston Landmarks Orchestra. In addition, she performs with many of North America’s top early music ensembles, including Mercury Baroque Orchestra, Apollo’s Fire, Vancouver Early Music, Dallas Bach Society, and Atlanta Baroque Orchestra. She has portrayed and recorded operatic roles from Monteverdi to Mozart, in- cluding the roles of Flore, Aréthuse, and Daphne on the 2015 Grammy-winning Best Opera Recording of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs with the Boston Early Music Festival.

American bass-baritone Donald Wilkinson is celebrating his 31st year as a professional singer and member of Emmanuel Music and the Handel and Haydn Society. For 25 years he has been a soloist and ensemble member of The Boston Camerata, under the direction of Joel Cohen and Anne Azéma. He has enjoyed a distinguished career in concert, opera, oratorio, recital, and contemporary music, and has appeared throughout the US and Canada. He made his European debut performing the role of Dionysos in the world premiere of Theodore Antoniou’s opera The Bacchae at the Acropolis in Athens, Greece. Since that debut, he has appeared in Australia, New Zealand, Finland, Sweden, Germany, France, England, and Holland. He has performed under such acclaimed conductors as Seiji Ozawa, Craig Smith, Michael Tilson Thomas, Gunther Schuller, John Harbison, Ryan Turner, Grant Llewellyn, Christopher Hogwood, Gil Rose, and ABOUT THE ARTISTS ABOUT THE ARTISTS

Oliver Knussen. Mr. Wilkinson’s discography includes Ned Rorem’s soon-to-be- released Our Town on BMOP Sound; the role of President Abraham Lincoln in the world premiere recording of Eric Sawyer’s Our American Cousin, also on BMOP Sound; the title role in the internationally acclaimed Johnny Johnson by Kurt Weill on Erato Disques; and John Harbison’s Recordare on Koch International Classics. Mr. Wilkinson was a recipient of a Tanglewood fellowship. He teaches voice at Phillips Exeter Academy, Andover, and currently resides in Nahant, MA. In 2014, Mr. Wilkinson created and produced the first Nahant Music Festival (nahantmusicfestival.org).

ABOUT THE PRE-CONCERT SPEAKER

Elizabeth Seitz received her doctorate from Boston University with a dissertation on the early works of Manuel de Falla and his relationship to the Impressionist movement. She is a full-time faculty member at the Boston Conservatory, where she teaches a wide range of undergraduate and graduate musicology courses, including seminars on J. S. Bach, Schubert, Berlioz, Britten, and Mozart, among others. She has also taught at New England Conservatory of Music, and Boston, Tufts, Northeastern, Washington, and Brown universities. In addition to teaching, Ms. Seitz participates in a variety of community outreach programs. She has lectured on topics ranging from Machaut to MTV for audiences of varying ages; she lectures at the Boston Symphony Orchestra, the New York Philharmonic, the San Francisco Symphony, Boston Museum of Fine Arts, Tanglewood, and the Rockport Chamber Music Festival. Elizabeth Seitz is the author of the musicological murder mystery Dissertation Most Deadly and is currently working on a sequel, Murder Most Melodious. EMMANUEL MUSIC THANKS ALL MUSICIANS WHO HAVE SHARED THEIR ART IN 2014-15 COMMUNITY CONNECTIONS

Gail Abbey Rose Drucker Roxanne Layton Roy Sansom Matthew Anderson Eran Egozy Robert Levin Dylan Sauerwald Roberta Anderson Joan Ellersick Margaret Lias Robert Schulz Sarah Atwood Carola Emrich-Fisher Jensen Ling Kristen Severson Steve Banzaert Terry Everson Thea Lobo Charles Sherman Michael Beattie Cassandra Extavour Lisa Lynch Bebo Shiu Christopher Belluscio Nathaniel Farny Danielle Maddon Jennifer Slowik Mark Berger David Feltner Liza Malamut Kamala Soparkar Sylvia Berry Neal Ferreira Emily Marvosh Michael Sponseller Cheryl Bishkoff Kathleen Flynn Clark Matthews Timothy Steele Anne Black Katherine Foss David McFerrin Thomas Stephenson Charles Blandy Benjamin Fox Julia McKenzie Daniel Stepner Hans Bohn Sarah Freiberg Ellison Hannah McMeans Roksana Sudol Mary-Lynne Bohn Peggy Friedland Clare McNamara Cora Swenson Lee Andrea Bonsignore Mary Gerbi Jason McStoots Paul Max Tipton Heather Braun Bradford Gleim David McSweeney Nicholas Tolle Heidi Braun-Hill Joshua Gordon Mark McSweeney Lynn Torgove Lila Brown Katherine Growdon Pamela Mindell Seth Torres Jonas Budris Paul Guttry Reggie Mobley Giomar Turgeon Abra Bush John Harbison Vincent Monaco Ryan Turner Robert Byrd Rose Mary Harbison Adrian Morehan Erik Van Heyningen Sasha Callahan Amanda Hardy Rane Moore Erika Vogel Sarah Cantor Jane Harrison Sachiko Murata Lee Wadenpfuhl Sebastian Chaves Olav Chris Henriksen Martin Near Jason Wang Carrie Cheron Noriko Herndon Esther Ning Yau Brenna Wells Ya-Fei Chuang Daniel Hershey Lynn Nowels Gregory Whitaker Brian Church Whitacre Hill Jaylyn Olivo Dana Whiteside Peter Cirelli Randy Hiller Karen Oosterbaan Donald Wilkinson Kendra Colton Betsy Hinkle Mark Oshida Shari Alise Wilson Susan Consoli Brett Hodgdon Camila Parias Lauren Winter Jacob Cooper Vanessa Holroyd Peggy Pearson Katherine Winterstein Robert Couture Joseph Holt Paul Perfetti Heather Wittels Michael Curry Jesse Irons Eric Perry Martin Wittenberg Anthony D’Amico Etsuko Ishizuka Dianne Pettipaw Lena Wong Sarah Darling Laura Jeppesen Rafael Popper-Keizer Majie Zeller Colin Davis Brett Johnson William Prapestis Randall Zigler Carley DeFranco Margaret Johnson Anne Rabbat Heloise Degrugillier Frank Kelley Arthur Rawding Pamela Dellal Richard Kelley Deborah Rentz-Moore Jacqueline DeVoe Barbara Kilduff Krista River Gabriela Diaz Agnes Kim Margaret Rood Charles Dimmick David Kravitz David Russell Gary DiPerna Barbara La Fitte Karyl Ryczek Daniel Dona Gabriel Langfur Jason Sabol EMMANUEL MUSIC THANKS ALL MUSICIANS WHO HAVE SHARED THEIR ART IN 2014-15 COMMUNITY CONNECTIONS

Roy Sansom Community Connections Program Dylan Sauerwald Emmanuel Music is grateful to The Rowland Foundation for its support of this program. Robert Schulz Kristen Severson Community Collaborations Charles Sherman Emmanuel Music works in partnership Bebo Shiu with staff and faculty at a variety of Jennifer Slowik Boston-area schools and performing arts Kamala Soparkar organizations to develop in-depth Michael Sponseller opportunities for young musicians. Partner organizations include the Boston Timothy Steele Arts Academy; the Perkins School for the Thomas Stephenson Blind; the Boston Children’s Chorus; and Daniel Stepner the Dever, Murphy, and McCormick public Roksana Sudol schools in Dorchester. Each year Cora Swenson Lee instrumentalists and vocalists from Daniel Doña, violist with the Arneis Emmanuel Music’s core ensemble work Paul Max Tipton Quartet, works with a student at with over 1000 young student musicians Nicholas Tolle Boston’s Dever-McCormack School through collaborative performances, Lynn Torgove as part of Emmanuel Music’s Community Connections Program. master classes, workshops, and recitals. Seth Torres Through their intense engagement with Giomar Turgeon professional musicians at the highest level, these young students are given an extraordinary opportunity to Ryan Turner experience inspiration, fulfillment, and joy from music-making. Several Erik Van Heyningen students who have participated in Emmanuel Music’s Community Connections Erika Vogel programs have gone on to study music at the college level. Countless others Lee Wadenpfuhl have pursued other careers, yet kept music as an important part of their lives. Jason Wang Subsidized Tickets Brenna Wells Gregory Whitaker Emmanuel Music, through its Community Connections Program, offers Dana Whiteside numerous Boston-area schools and organizations working with underserved Donald Wilkinson populations access to subsidized tickets for Emmanuel Music concerts. Students, their families, and staff from the Boston Children’s Chorus, Project Shari Alise Wilson STEP, the Boston Arts Academy, and other Boston public schools benefit from Lauren Winter this exceptional opportunity. Katherine Winterstein Heather Wittels Martin Wittenberg greater boston Lena Wong choral consortium Majie Zeller Randall Zigler COMMUNITY CONNECTIONS Lorraine Hunt Lieberson Fellows

The Lorraine Hunt Lieberson Fellowship honors young artists who have enthusiastically participated within the Emmanuel community of musicians and demonstrated exceptional artistic talent.

The Fellowship honors Lorraine Hunt Lieberson (1954-2006) who began her musical career as a violist in the Orchestra of Emmanuel Music under the direction of Craig Smith. By the mid-1980s, she had become a full-time singer and moved into the ranks of the Emmanuel Chorus, honing her craft both as an ensemble musician and soloist in the environment of intellectual rigor and collegial support unique to Emmanuel. Her association with Emmanuel Music continued throughout her highly acclaimed career and included legendary accounts of Bach cantata arias, the role of Dejanira in Handel’s Hercules, and a riveting performance of Bach Cantatas BWV 82 and 199 staged by Peter Sellars and performed in major international venues. (Celebrated recordings of these performances are available through Emmanuel Music). Lieberson’s talent was nurtured and developed within the Emmanuel Music community of musicians, and in particular, the weekly Bach Cantata performances. It is in this spirit that we celebrate and support the young musicians identified each year as Lorraine Hunt Lieberson Fellows. The 2014-2015 Lorraine Hunt Lieberson Fellows:

Critics have praised Brenna Wells for her “angelic,” “soaring,” and “captivating” soprano voice. Her operatic roles include Galatea in Acis and Galatea, First Witch Purcell’s Dido and Aeneas, La Musique in Charpentier’s Les Plaisirs de Versailles, and she was Première Nymphe de l’Acheron in the Boston Early Music Festival’s production and Grammy-nominated recording of Lully’s Psyché. Ms. Wells has sung and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, Seraphic Fire, and the Handel and Haydn Society. She has appeared in many festivals world-wide including the London Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, and BBC Proms, and in both 2008 and 2009, she was selected to perform in the Early Music Seminars, at the Fondazione Giorgio Cini in Venice, Italy. Highlights from recent seasons include her soloist debut COMMUNITY CONNECTIONS COMMUNITY CONNECTIONS at Symphony Hall under the direction of Harry Christophers, as well as soloist debuts with Emmanuel Music, Boston Baroque, Ensemble VIII, and Boston Cecilia among others. She performed in the Yale Choral Artists’ inaugural season, under the baton of William Christie, and returned as a soloist in their performance of Mozart’s Mass in C Minor under director Jeffrey Douma. The 2013-2014 season included solo appearances with the Handel and Haydn Society, Boston Baroque, Collage New Music, Connecticut Early Music Festival, and with the Boston Early Music Festival’s tour of the Charpentier Opera Double Bill: La Descente d’Orphée aux Enfers and La Couronne de Fleurs to Victoria, British Columbia and New York. This season’s highlights include appearances with Emmanuel Music as their Lorraine Hunt Lieberson Fellow, Seraphic Fire, Handel and Haydn Society, Boston Baroque, Ensemble Viii, and the Yale Choral Artists.

Boston based cellist and baroque cellist praised for playing “with maturity and panache,” Cora Swenson Lee began her studies in Chicago at the age of four. Her most influential teachers have been Eastman School of Music professor Alan Harris, Chicago Symphony member Richard Hirschl, and long- time cellist of the renowned Vermeer Quartet, Marc Johnson. Ms. Swenson Lee holds a Bachelor Degree in Cello Performance with highest distinction from the Eastman School of Music (2010) and a Masters Degree in Cello Performance from Boston University College of Fine Arts (2012). An avid chamber musician, Ms. Swenson Lee performs regularly as a member of Boston Baroque and Trio Speranza. She has performed in venues across the United States and internationally, including appearances at the San Francisco Early Music Society, Trinity Church and Jordan Hall in Boston, Quigley Chapel and DePaul University in Chicago, and Odori Park in Sapporo, Japan, with former Vienna Philharmonic concertmaster Werner Hink and principal clarinetist Peter Schmiedl. A passionate educator, Ms. Swenson Lee runs a small private studio in Boston, and along with her colleagues in the Boston Public Quartet, is part of the new Celebrity Series of Boston initiative Artists in Community, which brings free concerts and school presentations to several Boston communities. Ms. Swenson Lee has participated in master classes by musicians including Steven Isserlis, Malcolm Bilson, and Pamela Frank. She has performed under conductors including David Zinman, Fabio Luisi, Leonard Slatkin, and Nicholas McGeegan. She has also worked with artists such as James Dunham, Rachel Barton Pine, Larry Combs, the Vermeer Quartet, the Ying Quartet, Pacifica Quartet and members of the Metropolitan Opera Orchestra. HERCULES SOCIETY Hercules Society The Hercules Society was established in 1999 to support the performance of Handel’s Hercules, featuring Lorraine Hunt Lieberson in the role of Dejanira. In subsequent years, the Society has underwritten major operas, oratorios, and performances in the Evening Concert Series. We gratefully acknowledge Hercules Society members who made gifts between April 16, 2014 and April 15, 2015. For information on becoming a member, please contact Jude Epsztein Bedel, Director of Development, at [email protected] or call 617-536-3356.

PILLAR OF HERCULES AUGEAN STABILIZER $5,000 and above $2,500 to $4,999 The Barrington Foundation Paul and Katie Buttenwieser* Julian and Marion Bullitt* Belden and Pamela Daniels* Kate and Tom Kush Mary Eliot Jackson* Butler and Lois Lampson Vincent and Mary Alice Stanton

NEMEAN LION $1,000 to $2,499 Richard and Mahala Beams Harold J. Carroll Victoria Cowling Chu and Michael Chu David Cook and Annemarie Altman Sarah M. Gates* Rachel Jacoff Margaret and Peter Johnson Paul E. Keane and Linda Baron Davis Kathryn and Edward Kravitz Drs. Peter Libby and Beryl Benacerraf Edward and Joan Mark* Ruth and Victor McElheny Robert Meyers George and Martha Mutrie Joan and Roderick Nordell Jaylyn Olivo and Dale Flecker Sheila D. Perry William and Lia Poorvu John Pratt* David and Marie Louise Scudder Robert N. Shapiro Jeffrey Thomson and David Janero M. T. Tosteson Peter Wender

*Hercules Society Founder CONCERT UNDERWRITING Emmanuel Music Concert Underwriting 2014-2015

Timely, generous support is critical for artistic planning. We are especially grateful to the fol- lowing individuals for helping us underwrite the 2014-2015 season.

Support of the Artistic Season Community Connections Program The Klarman Family Foundation The Rowland Foundation

The Position of Artistic Director The Bach Institute H. Franklin and Betsy Bunn Drs. Peter Libby and Beryl Benacerraf Belden and Pamela Daniels Oberlin College and Conservatory

Evening Concert Series Lindsey Chapel Series Alan J. and Suzanne W. Dworsky Cynthia Livingston and Richard Shader The Mattina R. Proctor Foundation Joan Margot Smith Chamber Music Series Sarah M. Gates Soloist Underwriting Kate and Tom Kush Charles L. Felsenthal John Pratt Butler and Lois Lampson Drs. Peter Libby and Beryl Benacerraf Robert N. Shapiro The Cantata Series Anonymous (5) Mary Eliot Jackson Gail and Darryl Abbey Errol Morris and Julia Sheehan The Barrington Foundation Jaylyn Olivo and Dale Flecker Hanna and James Bartlett Parish of Emmanuel Church H. Franklin and Betsy Bunn Ruth Tucker and Dan Hazen Donald David and Margaret Hornady-David David Vargo and Sheila Collins Coventry Edwards-Pitt and Estate of F. Blair Weille Matthew Weinzierl Young Music Fund, Emmanuel Church Charles L. Felsenthal Sarah M. Gates

We welcome the opportunity to discuss additional underwriting opportunities for the 2014-2015 artistic season and beyond. For more information, please contact Jude Epszten Bedel, Director of Development, at [email protected] or call 617.536.3356. CUMULATIVE GIVING CUMULATIVE GIVING Emmanuel Music Cumulative Giving April 16, 2014 – April 15, 2015 We gratefully acknowledge gifts to Emmanuel Music received between April 16, 2014 and April 15, 2015. Contributions to Emmanuel Music provide support essential to achieving our mission of enriching the life of the community through the transformative power of music. With over 40 free concerts a season, our ticket sales cover less than 20% of our operating budget. Financial support is essential to our continuing success. For questions or comments, please contact Jude Epsztein Bedel, Director of Development, at Jude@emmanuelmusic. org or call 617.536.3356. $50,000+ Kathryn and Edward Kravitz Anonymous $2,500+ David Kravitz and Majie Zeller Joan Margot Smith Gail and Darryl Abbey Robert Levin and Ya-Fei Chuang Young Music Fund, Emmanuel Church Paul and Katie Buttenwieser Camille^ and William Malamud David Cook and Annemarie Altman Edward and Joan Mark $10,000+ Coventry Edwards-Pitt and Ruth and Victor McElheny Anonymous Matthew Weinzierl Robert Meyers The Barrington Foundation Patricia Krol and Mark Morris Elizabeth Boveroux Stephen Chiumenti George and Martha Mutrie Julian and Marion Bullitt Errol Morris and Julia Sheehan Joan and Roderick Nordell H. Franklin and Betsy Bunn Olive Bridge Fund Perkins School for the Blind Pamela and Belden Daniels Robert M. Shaprio Sheila D. Perry Eran Egozy and Yukiko Ueno-Egozy Charles Sherman and William and Lia Poorvu Drs. Peter Libby and Amy Poliakoft Diana Post and Hal Churchill Beryl Benacerraf Vincent Stanton, Jr. and Viva Fisher Frank and Denise Quattrone The Klarman Family Foundation Vincent and Mary Alice Stanton Foundation Kate and Tom Kush David Stevens and Eric Reustle Butler and Lois Lampson Marjorie Albright David Rockefeller, Jr. Cynthia Livingston and David and Marie Louise Scudder Richard Shader $1,000+ Robert N. Shapiro Mattina R. Proctor Foundation Anonymous (2) M. T. Tosteson Rowland Foundation The Atlantic Philanthropies Debra and Ian Wallace David Vargo and Sheila Collins Richard and Mahala Beams Peter Wender F. Blair Weille^ Willa and Taylor Bodman Dana Whiteside Thomas Burger and Andrée Robert Robert Zevin $5,000+ Pauline Ho Bynum Anonymous (2) Harold J. Carroll $500+ Hanna and James Bartlett Victoria Cowling Chu and Anonymous (5) Charles L. Felsenthal Michael Chu Roberta Anderson Dale Flecker and Jaylyn Olivo Pamela Dellal and Roy Sansom and David Dysert Sarah M. Gates Arnold H. and Beth Baiter Timothy and Jane Gillette Dianne B. Gazarian The Barton Family Trust Margaret Hornady-David and Don David John and Rose Mary Harbison Olivier Bedel and Mary Eliot Jackson Ann S. Higgins Jude Epsztein Bedel Massachusetts Cultural Council John Hsia James and Margaret Bradley Oberlin Conservatory and College Rachel Jacoff Jean Brenner John Pratt Margaret and Peter Johnson Mary and Kenneth Carpenter Ruth Tucker and Dan Hazen Paul E. Keane and Fay Chandler^ Linda Baron Davis Scott Corey Dunbar CUMULATIVE GIVING CUMULATIVE GIVING

Christine Coughlin Ann Boomer Milligan Charles Freifeld and Marilyn Ray Smith Robert and Margaret Faulkner Lynn Nowels and James Olesen Salome Fung Tom and Jody Gill William J. Pananos GE Foundation* Robert and Anne Goble Dianne Pettipaw David Getz Phillip M. Henry Rosemary Reiss and Avner Ash Kitty Gladstone Deborah A. Hoover Dayla Arabella Santurri and Ron and Elizabeth Goodman Samuel Clowes Huneke Stephen E. Gobish Nadja Gould Willie Lockeretz Micho and William Spring Winifred P. Gray William A. Lokke William and Lisa Strouss Mary Jewett Greer Christopher Lydon Elizabeth and Peter Thomson Jane Günter-McCoy and Seth T. McCoy Danielle Maddon and Grenny Thoron The Rev. Constance A. Hammond Geoffrey Steadman Ryan Turner and Susan Consoli Suzanne and Easley Hamner Bill Nigreen and Robert and Binney Wells Margaret Hanni Kathleen McDermott The Rev. Pamela L. Werntz and John Heiss Eric and Anne Nordell Ms Joy Howard Randy Hiller Winifred and Leroy Parker Marilee Wheeler Ellen Hinkle Peggy Pearson James White Leslie M. Holmes Plimpton-Shattuck Fund at Edith and Leon Lamont Wiltsee Margot Dennes Honig Boston Foundation Ben and Mary Jaffee Ellis L. Phillips, III $100+ Ann G. Johnson Bernie and Sue Pucker Anonymous (4) E. Dolores Johnson David Satz Michael and Serafin Anderson Brett Johnson and David McSweeney Mr. Robert A. Schuneman Thomas W. Barber Rosemary S. Kean Schwab Charitable Fund Ann Marie Barone Sutti and Ehud Koch Ute and Roy Tellini Linda Cabot Black Dr. A.A. Koeller Mr. Cyril Yansouni Tom and Susan Blandy Jane Bryden and Chris Krueger Winsor Music Inc. Marie-Paule Bondat and Sara and Eben Kunz Michael Karr Terry Kutolowski and Rick Muth $250+ Esther Breslau Debroah Lemont Anonymous (2) Alan Brock and James D. Baleja Fred and Jean Leventhal Alchemy Foundation The Budris Family James C. Liu and Alexandra G. Bowers Lois Beattie Mary Chamberlain Peter and Elisabeth Loizeaux Michael Beattie Lynn Cohen Frederick MacArthur Mr. J. Buffington Dr. John D. Constable Barbara T. Martin Penelope Caponigro Sally R. Coughlin Jane Roland Martin Bill Chapman Charles and Carol Cox Susan Maycock and Charles M. Sullivan David Chavolla Bruce and Susan Creditor Ellen Mayo John and Cindy Coldren Fay Dabney Suzanne McAllister and Ralph Engstrom Warren Cutler John and Sally Davenport Knox and Carlotta Mellon Marie-Pierre and Mary-Catherine Deibel and Carol Monica Michael Ellmann Reid Fleming Roslin P. Moore Wendy and Clark Grew Barbara DeVries Donna and Alec Morgan Frank and Susan Kelley Charles and Sheila Donahue Peggy Morrison J.B. Kittredge and Elsa Dorfman and Nancy Mueller Winand van Eeghen Harvey Silverglate Ellen and John O’Connor Susan Larson and Jim Haber Ursula Ehret-Dichter Henry Paulus Rebecca A. Lee Michel and Françoise Epsztein Bonnie Payne and Roger Tobin Charles and Pauline Maier Jane Farber and Jeffrey Tarter Nancy Peabody Pierre de St. J. Macbeth and Harriet Feinberg John Petrowsky CUMULATIVE GIVING ACKNOWLEDGEMENTS

Harold I. Pratt Paul H. Carr Cornelis L. Thieme Deborah and Caesar Raboy Paula Chasan Lynn Torgove Janice Randall Suzanne Colburn Stewart and Sondra Vandermark Pauline Ratta Gretchen Conklin Martin and Phyllis Wilner Kelly Reed and Kenneth Williams Allan and Grace Dibiase Robert Wyckoff and Maya Hasegawa Adam Reeves and Anne Kelly Allison Donelan ^Deceased Margo Risk Jessi Eisdorfer *Matching Gift Allan Rodgers Brenda and Monroe Engel Virginia Rogers and William Hobbie Jean Fuller Farrington David Roochnik and William Faucon Gina Marie Crandell Gaby Friedler Lee and Shirley Rosen Keith Glavash and Marylène Altieri Frank Sander Dave and Lynne Harding Linda Abbey Saripalli and Linda Heffner Cedric Saripelli Winifred Hentschel Michael J. Scanlon Edwin and Mary Hiller Nancy Shafman and Mark Kagan Marcia Jacob Joseph Shandling John Hancock Financial Services* Andrew Sigel Walter S. Jonas Jill and David Silverstein Peter and Cornelia Keenan Jean Chapin Smith John and Jonell Kenagy Mr. and Mrs. Richard Southgate Michael Kerpan and Patricia Suhrcke Joel Stein Donald Langbein Alan Strauss Peter A. Lans Ann B. Teixeira Mary Lincoln Erin E.M. Thomas Carol Marshall Allen R. and Karen L. Thompson Ralph and Sylvia Memolo Tyler and Marcia Tingley Barbara B. Merrifield Doris Tsao Jeffrey and Mary Mitchell Victor and Mary Tyler Tim Montgomery William L. Vance Martha Moor Charles Warren Eileen and Lawrence Moyer Joel and Bonni Weinstein Cornelius and Elizabeth Moynihan Michael Welsh Elizabeth Nordell and Rudy Perrault Ed and Amy Wertheim Hazel O’Donnell T. Walley Williams, III Eugene Papa Katherine B. Winter POD LLC* Heather Wittels Carmen Puopolo Carl Woodbury Peter and Linda Rubenstein Carol P. Woodworth Nancy and Ronald Rucker Evelyn S. Wyman Jo Sandman Stephen and Toby Schlein $50+ Effie A. Shumaker Anonymous (4) Rena and Michael Silevitch Helen Glikman and Dan Bartley Diane Sokal and Randolph Meiklejohn Timothy E. Blackburn Robert Solonche Christopher Buckley Susan Swan Mike Budreski Barbara and Robert Tinker Suzanne Carleo CUMULATIVE GIVING mozartmozartACKNOWLEDGEMENTS EMMANUEL MUSIC ACKNOWLEDGES GENEROUS IN-KIND CONTRIBUTIONS: • Musicians of Emmanuel Music who share their artistry with us on a weekly basis throughout the season • The clergy, vestry, and staff of Emmanuel Church • Julian Bullitt for sharing his technical and photographic expertise • Jim Bradley for his ongoing operational support • Bill Prokipchak and Jaiyi Li for weekend administrative and operations support • Pamela Dellal, for her magnificent texts and translations • Lois Beattie for her ongoing administrative support • Taj Boston for offering special dinners for concertgoers • Patrice Moskow for her invaluable editorial and administrative support • Ellen Mayo, for coordinating our volunteer activities • Volunteers for this evening’s concert: Beth Baiter, Catherine-Mary Donovan, Gabby Friedler, Galen Gilbert, Ron Johns, Walter Jonas, Mary Kingsley, Ellen Mayo, Patrice Moskow, and Bill Prokipchak. • Susan Larson, for her “way with words” • Members of the Boston Musician’s Association, Local 9-535 of the American Federation of Musicians

Cantigas de Santa Maria

and Cantigas d’Amigo

Shannon Canavin, Artistic Director

Exquisite voices… th Exhilarating performances. Written in the 13 century, these gorgeous Galician -Portuguese songs of miracles and love bridge the gap of time and space to capture the imagination and transport us to unearthly realms. Performed by a trio of female voices and a consort of medieval instruments, this program is sure to captivate your mind and soul.

Shannon Canavin, Elise Groves & Thea Lobo, voices Laura Jeppesen, vielle DanielTuesday, Meyers, May Medieval 26, 2015 winds at& percussion 7:30pm St. Anthony’s Portuguese Church Creamy tone and pristine blend Boston Classical Review 400 Cardinal Medeiros Way, Cambridge “ .” “An– intimate and joyful Freewill offering gratefully accepted

musical experience.” 857-998-0219 • www.exsultemus.org Boston Musical Intelligencer –

www.NEPhilharmonic.org 855-463-7445 Innovation & Tradition in Concert

Stepping Stones of the 20th Century: Miracles and rhapsodies Celebrating Gunther Schuller at 90 Saturday, FEbruary 27, 2016, 8 Pm SuNday, OctObEr 25, 2015, 3 Pm brian robiSon MauriCe ravel Shéhérazade (1903) In Search of the Miraculous (2002) anton von Webern SerGei raChManinoFF Six Pieces for Orchestra (1909) Rhapsody on a Theme of Paganini, op. 43 (1934) irvinG Fine Toccata Concertante (1947) bernarD hoFFer DMitri ShoStakoviCh October (1967) MacNeil/Lehrer Variations (2009) bOStON PrEmiErE Gunther SChuller roY harriS Symphony no. 3 (1939) The Past Is in the Present (1994) From the Seas to the heavens neP’s annual Family Concert: Saturday, aPril 30, 2016, 8 Pm Musical Characters Daniel hertzberG Spectre of the Spheres (2012) SuNday, dEcEmbEr 13, 2015, 3 Pm NEP call FOr ScOrES wiNNEr, bOStON PrEmiErE John aDaMS The Chairman Dances (1985) alban berG GeorGe antheil Tom Sawyer Overture (1949) Violin Concerto (“To the Memory of an Angel”) (1935) danielle maddon, soloist ConCerto With neP YounG artiSt CoMPetition Winner Jean SibeliuS The Oceanides (1914) rob kaPiloW Elijah’s Angel (1998) DaviD rakoWSki Symphony no. 6 (2016) boston city Singers, Jane money, director NEP cOmmiSSiON, wOrld PrEmiErE

LONGY SCHOOL OF MUSIC OF BARD COLLEGE CELEBRATING 100 YEARS OF MUSICAL EXCELLENCE

Founded in 1915. Progressive then, progressive today.

Join us in September as we launch our 100th year with a season full of exciting performances and celebratory events. longy.edu/longy100 75th Diamond Anniversary Season Let's Celebrate Together! Crowning Achievements HANDEL HAYDN Coronation Anthems Coronation Mass TOM VIGNIERI ~ commissioned world premiere ~ Fri, May 8, 2015 at 8PM ¥ Sanders Theatre, Cambridge Free Parking ¥ Special Dining Offers ¥ Check website for details MasterworksChorale.org ¥ (617) 858-6785 Steven Karidoyanes, conductor 75th Diamond Anniversary Season Let's Celebrate Together! Crowning Achievements HANDEL HAYDN the british Coronation Anthems Coronation Mass are coming RALPH VAUGHAN WILLIAMS TOM VIGNIERI ~ commissioned world premiere ~ THE SIR JOHN IN LOVE WILLIAM WALTON Fri, May 8, 2015 at 8PM ¥ Sanders Theatre, Cambridge BRITISH THE BEAR Free Parking ¥ Special Dining Offers ¥ Check website for details ARTHUR SULLIVAN INVASION THE ZOO MasterworksChorale.org ¥ (617) 858-6785 KINGS, QUEENS, MAY–JUNE 2015 SAINTS AND SINNERS Steven Karidoyanes, conductor FIVE MONODRAMAS Learn more and buy tickets at THOMAS ADÈS ODYSSEYOPERA.ORG POWDER HER FACE

Believing is not a condition of beloving or belonging here. If you like what you hear tonight, you’ll love Sunday mornings at Emmanuel Church. Sacred music gains tremendous resonance from being heard in the context for which it was intended. Come experience worship in our Sanctuary, where Christian tradition meets thoughtful progressive perspectives. As the ensemble- in-residence at Emmanuel Church, Emmanuel Music enhances our worship with sacred motets and Bach cantatas during our weekly service of Holy Eucharist, September to May. Join us Sundays at 10:00am at 15 Newbury Street.

Emmanuel Church in the City of Boston - 15 Newbury St., Boston MA 02116 - www.emmanuelboston.org Play a Role today.

Support over 200 of Boston’s most outstanding musicians and over 50 performances each year. Ensure that most of our concerts remain free and open to the public, while en- joying special benefits to enhance your concert-going experience.

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Thank you for your support! To discuss other giving opportunities, please contact Jude Epsztein Bedel, Director of Development, at 617.536.3356. Your gift is tax-deductible to the fullest extent of the law.