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Home , Armide (Lully), Atys (Lully), Atys (Piccinni), Le Bourgeois gentilhomme, Mezzetino (painting), Terpsicore

Lully: Glory without Love?

Scenes from the and comedy ballets of Jean-Baptiste Lully

IU Orchestra Pro Arte Singers IU Ballet Department Early Music Institute

Auer Concert Hall April 21 & 22, 2012 4:00 p.m.

One Thousand Forty-Sixth Program of the 2011-12 Season ______

Lully: Glory without Love?

Scenes from the operas and comedy ballets of Jean-Baptiste Lully

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IU Baroque Orchestra Pro Arte Singers IU Ballet Department Early Music Institute

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______Auer Concert Hall Saturday Afternoon, April Twenty-First Sunday Afternoon, April Twenty-Second Four O’Clock

music.indiana.edu The Program

1 Ouverture from “Psyché” Le Roi Soleil (Mace Perlman)

2 Prologue from “ “ La Nymphe de la Seine (Jenny Kim, soprano) La Gloire (Jessica Beebe, soprano) La Nymphe des Thuileries (Alicia DePaolo, soprano) La Nymphe de la Marne (Christine Buras, soprano) Wood (Madeleine Ohman) Flower Nymph (Liara Lovett) Songbird Nymph (Melissa Meng) Meadow Nymph (Jennifer Drettmann)

3 Marche à la Turque from “”

4 Ballet des Espagnols from “Le Bourgeois Gentilhomme” A noble Spaniard (William Lim, tenor) Another Spanish nobleman (Daniel Lentz, ) A third Spaniard (Benjamin Geier, Tenor) A Spanish lady, dancing the sarabande (Liara Lovett) A second Spanish lady (Melissa Meng)

5 Récit “Enfin, il est en ma puissance” from “” (Act 2, Scene 5) Armide, a Saracen sorceress at war (Katherine Polit, soprano) , a Christian prince and her enemy (Lyon Stewart) Enchanted demon-zephyrs (Jennifer Drettmann, Liara Lovett, Melissa Meng, Madeleine Ohman)

6 “Le Sommeil” from “” (Act 3, Scene 4) L’Âme danseur du sommeil (Elizabeth Edwards) Atys, the sleeper (Mace Perlman) Le Sommeil (Andrew LeVan, tenor) Morphée (Lyon Stewart, tenor) Phobétor (Daniel Lentz, baritone) Phantase (Benjamin Geier, tenor)

7 Io’s exile to the frozen climes of Scythia and the torrid land of the Chalybes from “”(Act IV, Scenes 2-3) Io, a nymph (Christine Buras, soprano) La Furie (Andrew LeVan, tenor) Two Chalybe forgers (Benjamin Geier, tenor, and Daniel Lentz, baritone) Dance of the apprentices in the belly of the forge (Elizabeth Edwards, Melissa Meng) 8 Ballet des Italiens from “Le Bourgeois Gentilhomme” Pantalone dei bisognosi, a merchant of Venice Flamminia, innamorata and daughter to Pantalone (Kathryn Summersett, soprano) Fiorello, innamorato (Daniel Lentz, baritone) Zan Mezzetino, headservant to Pantalone (Jennifer Drettmann) Arlecchino, Pantalone’s lackey (Madeleine Ohman)

9 Passacaille from “Armide” (Act V, Scene 2) Armide (Katherine Polit) Renaud, enchanted by Armide (Lyon Stewart, tenor) Enchanted demon-shepherdesses (Liara Lovett, Melissa Meng)

10 Finale from “” Dancing Hero (Elizabeth Edwards) Rejoicing Ladies of the Court (Jennifer Drettmann, Liara Lovett, Melissa Meng, Madeleine Ohman)

Seeing through the Many Eyes of Lully’s Life and Art by Mace Perlman As I write these words, I have yet to set foot in a rehearsal room, much less the theater in which you, precious member of our audience, are now seated. I am therefore unable to describe to you the performance you will witness today in Auer Hall. Perhaps this is as it should be since all theater happens in the present moment; and despite appearances, theater is never created by the people onstage. At best, it is set into motion by our bodies, our speech, our singing, our music, our dance … but the theatrical event itself is an energetic exchange which we artists of the theater can only hope to initiate. Its completion is in your hands alone—your hearts and minds. If this is true of all theater, it is especially true of the theatrical forms you will witness this afternoon. Lully’s tragédies en musique and his comédies-ballets were created for and under the watchful eye of the king, his sovereign, the sun around whom all court life revolved. The king’s pleasure or displeasure, the warmth of his favor or the cold shadow of his indifference, meant life or death to the work of art and to the sustained existence of its originators. Yet Louis himself was human—one of us, one of you … If it seems impossible to imagine yourself in his position, might you more easily imagine yourself as Lully, seeking—and miraculously finding—the king’s sustained support? Despite all appearances, both men are exquisitely vulnerable in this relationship of mutual need. To achieve glory, the king must be persuasively depicted in her company; and to receive love, Lully must please, or amuse, or somehow gratify …. At what human cost do we achieve power—and maintain it? When glory—the display of power—is publicly embraced, can our ability to give and receive love, our capacity for true vulnerability, remain intact? Our performance today presents these burning questions through the eyes of a multitude of characters and their many points of view. As we accompany them through Lully’s imagined stories-in-music, we will also encounter masks, an essential tool for theater-making as ancient as storytelling itself. Rarely seen in the theater today, masks were everywhere in the theater of the seventeenth century, a theatrical inheritance passed down from the Greeks, the Roman comedy, and the Italian commedia dell’arte Lullly had absorbed since childhood. Far from simply hiding the face of the actor, the mask allows the masked performer to project his or her inner landscape of thought and emotion into the furthest reaches of the theatrical space: it resonates with, amplifies, and projects— through the eyes and the entire body—the actor-as-character’s own unique experience of the dramatic situation. The mask’s gaze, its coup de masque, is the theatrical equivalent of the cinematic close-up, allowing you in the audience to share in the characters’ thoughts and longings in real time and—unlike in the cinema—in the presence of the performer. Just as importantly, your response returns to the stage to modify and enrich the performer’s own ongoing experience of the character’s situation. In this, our age of digital media, of virtual connections, of technologically mediated interactivity, we offer you a living experience of a collaborative art form whose very fragility is ultimately its strength. Thank you for joining us today to taste the first fruits of our labors and to complete the circle of our performance!

“The Dream” (“Il Sogno”) by Michelangelo Buonarroti, 1533, depicting both the many emotional states and masks of the artist’s imagination. Is the cherub’s clarion call a call to Glory; or, Cupid that he is, a call to Love? The sixteenth-century actor Giovanni Gabrielli (ca. 1599), an Italian known in France as Jean Gabriel, with a mask very much like our own modern “neutral mask.” His presence is both arresting and open ended, demonstrating a capacity for self- transformation. Both gazing out at us and the object of our gaze, he is, as the caption reminds us, “solus instar omnium” (“unique in his ability to resemble all things”).

The Language of the Baroque by Alison Calhoun What we are presenting to you this weekend, in our two performances of Lully: Glory or Love?, arrives at a critical time in the history of baroque performance. As a French scholar, I was drawn to Indiana University by the department of French and Italian, but I was also attracted to the possibility of collaborating with the Early Music Institute. My idea of a kind of meeting of the minds was to unite people working on Early Modern France and Italy, from the disciplines of history, musicology, history of art, dance, literature, theater and music. The setting for the academic collaboration was familiar and almost banal: invite speakers to give papers on topics related to the French Baroque, for example, in a conference. This was exactly what we accomplished just one week ago in the “Languages of the Baroque” meeting, in which experts delivered papers on the topic of the baroque from diverse perspectives. But, as a theater specialist, I felt a particular piece missing: what about performance? A little over a year ago, when I approached Paul Elliott, director of the Early Music Institute, with the idea of putting together a production of some of Lully’s operas, I was received with warmth, interest, and positivity. Paul made it clear that, given the short notice, it would not be simple to organize. But, much to my delight, Paul assured me there would be students and faculty alike very willing to mount such a production. He shortly thereafter introduced me to Nigel North, Mace Perlman, Catherine Turocy, and William Gray, who would become the core leaders of this project. The strengths of this team also represent one of the major challenges to baroque , parodied by Molière in Le Bourgeois gentilhomme: uniting so many specialized parts into one, coherent production. Indeed, during some of my initial trips from Ballantine Hall to the Jacobs School of Music, although I may only have been passing through a few buildings, it nevertheless felt like I was entering another world. But I have come to understand that although we communicate in different languages, we all share a passion for the parole baroque, to borrow from Eugène Green. This baroque language has brought us, and will hopefully continue to bring us, together to be interdisciplinary, in the purest sense of the term. The expression of the parole baroque, brought to life most memorably since 2005 in the Poème Harmonique’s filmed stagings of Lully’s works, has taken a long time to grow. Looking back, it was William Christie’s 1986-87 production of Lully’s Atys, performed by his troupe Les Arts florissants, that marked the first significant revival of French baroque opera. Despite his success, it would take Christie nearly 30 years before he would see the kind of recognition that comes along with presenting one’s work on the stage of New York’s Metropolitan Opera. This year, Christie conducted The Enchanted Island, a pastiche of baroque opera music with a new in English, performed at the Met, but also broadcast live as part of the Met’s Live in HD season, and therefore seen by audiences across the globe. Indeed, 2012 would seem to represent the apex for baroque opera, at least in terms of sheer reach and availability. We no longer need to talk about baroque opera’s revival: it has arrived. Now our job is to preserve its privileged status and to test its limits with newer and more original productions.

Visions, Dreams, and Appearances in Lully’s French Baroque by Ayana Smith “All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.” (Shakespeare, As You Like It) While Shakespeare famously compared life to theater, seventeenth-century French writers strove to represent “all the world,” as truthfully or naturally as possible, in the theater. The aim of seventeenth-century French theater was verisimilitude— literally meaning the “semblance of the truth.” But this truthfulness was not an aping of reality; rather, it was a suggestion of what could happen, what was possible, what would best represent the passions of human experience, and provoke the passions of the audience likewise. Eliminating the impossibilities of time and distance was a primary concern. But within the strict five-act division of French classical theater, and the traditional unities of time, place, and action, a variety of marvelous and fantastical things could be represented, as long as they suggested a grain of truthfulness. This aesthetic of verisimilitude allowed for visual spectacle, for representation of sleep, dreams, enchantment, and illusion. For, as Descartes wrote (and he was echoed by other important thinkers in both France and Italy): “Painters themselves, even when they aim to represent sirens and satyrs, using the most fantastic and extraordinary forms, cannot grant them natures absolutely new, but can only create a medley of the members of different animals; or, if they happen to imagine something so novel that nothing at all similar has ever been seen before, and therefore purely fictitious and absolutely false, it is at least certain that the colors of which this is composed are real.” Illusion was sometimes more realistic than reality itself, for fantastic situations could provoke emotional and psychological responses that were truthful, and fables or mythology could provide a dressed-up version of an historical truth—just as Descartes’s fictitious creatures were created with true colors. But this does not mean that just anything could be considered verisimilar. In the seventeenth century, it was believed that images—processed in the intellect and mitigated by judgment—were a vehicle for representing truthfulness. For this reason, Lully’s music dramas included plenty of visual spectacles. Yet images, and the senses in general, could also be deceitful and were not to be trusted. Therefore Lully’s tragédies en musique in particular use visual tactics—sleep, dreams, and phantasms— to question the nature of truth versus appearances. Drama, music, dance, and spectacle were the primary ingredients of Lully’s comedies-ballets and tragedies en musique. Lully and his primary textual collaborators (Benserade, Molière, and Quinault) created several new forms of music drama at the court of Louis XIV. The comedies ballets incorporated songs into spoken plays and used moments of entertainment—the divertissement—as intemèdes or interludes between the acts. Molière’s Bourgeois gentilhomme, an excerpt of which you will see tonight, uses performance, and performance-within-performance, to satirize several elements of contemporary court life: the use of music and dance to increase power and propaganda at court, the political failures of the Turkish ambassador, and the self-aggrandizement of the merchant class by poorly imitating the lifestyle of the king himself. The “March of the Ceremony of the Turcs” combines all these into one divertissement. Thedivertissement , essentially unique to French music drama, is also an important feature of the tragedies en musique and incorporates the solo airs, choruses, dances, and court ballets already entrenched in the French musical traditions prior to Lully’s Alceste of 1673, the first tragédie en musique, to a text by Quinault. The divertissement is often the moment of the greatest illusion, and while the narrative may stand still, it is often a pivotal moment of the hero’s or heroine’s dramatic trajectory. It is during this moment when a character is most influenced by imagination, by supernatural forces, the gods, or by enchantment, and when the conflict between truth and appearance is most apparent. The divertissement also most captures the crucial moments concerning the main characters’s choices between the two themes of tonight’s performance—glory or love? The divertissement usually occurs towards the end of each act, but sometimes, and ingeniously, Quinault and Lully blurred the distinctions between plot, narrative, and spectacle. As Lully’s career progressed, and as his musical writing matured, he became ever more skilled at uniting the dramatic forces at his disposal—writing affective airs, capturing the passions through music, and using the orchestra to imitate the dramatic qualities of plot and spectacle. Lully’s orchestra, with its precise, rhythmic, and rhetorical powers, became the envy of all Europe. As you sit back, listen, see, and imagine, allow yourself to be drawn into the marvels of , the rich dramatic, musical, and visual traditions, and find yourself being drawn into the passions represented by Molière, Quinault, and Lully. Artistic Staff

Nigel North, music director Nigel North is a former faculty member of the Guildhall School of Music & Drama in London and the Musik Hochschule in Germany. As a lutenist, he worked with many of the world’s leading baroque ensembles and was a founding member of the ensemble Romanesca. North has produced numerous recordings, including a series titled Bach on the Lute. He is the author of Continuo Playing on the Lute, Archlute, and Theorbo.

Mace Perlman, stage director and writer/text and language coach/actor Mace Perlman is a classically trained actor whose physical education for the theater began with two years under Marcel Marceau at his École Internationale de Mimodrame in . Following studies at Stanford University (B.A. and M.A. in Humanities with a specialization in Baroque Studies), his training continued at the world-renowned Piccolo Teatro di Milano, where he also acted in Giorgio Strehler’s productions of Goethe›s Faust and Goldoni’s The Servant of Two Masters—the same production which has toured the globe since 1947 and played to sold-out audiences at the 2005 Lincoln Center Festival. In the U.S., Perlman’s acting has taken him from the Pearl Theatre to Hartford Stage, with work which has included numerous Shakespearean roles, most notably Mercutio in Romeo and Juliet, the Fool in King Lear, the Welsh Captain Fluellen in Henry V, Antonio in The Merchant of Venice, and Claudius in Hamlet. He most recently played Creon in Sophocles’ Antigone, under the direction of Karin Coonrod in Forlì, Italy. Perlman’s teaching, using the masks of the commedia dell’arte, has led to master classes from the Stella Adler Conservatory to the Williamstown Theatre Festival. He has taught and performed in the masks at more than 20 universities and conservatories nationwide. The recipient of Stanford University’s Robert M. Golden Award for Excellence in Scholarship and Performance, Perlman is currently working to develop the Academy of Renaissance Theatre, a cultural institution to be located in his native Greenwich, Conn., and comprised of a professional company of players together with a school of theater, language, and Renaissance culture.

Catherine Turocy, stage director/choreographer/period movement coach Catherine Turocy, recognized as today’s leading choreographer/ reconstructor in the field of eighteenth-century dance, with over 60 baroque operas to her credit, has been decorated by the French Republic as a Chevalier in the Order of Arts and Letters. She received the prestigious BESSIE Award in for sustained achievement in choreography, and the Natalie Skelton Award for Artistic Excellence. In 1980, she received the Dance Film Association Award for The Art of Dancing video. NEA International Exchange Fellowships supported extended visits where she lived in London and Paris. A founding member of the Society for Dance History Scholars, Turocy lectures around the world. She has served as consultant to Clark Tippett of American Ballet Theatre and Edward Villella of the Miami City Ballet. As a writer, she has contributed chapters to dance history text books, as well as articles to Opera News and Dance Magazine, many of which have been translated into French, German, Japanese, and Korean. A chapter in Janet Roseman’s book, Dance Masters: Interviews with Legends of Dance, published by Routledge, is dedicated to Turocy’s work. As a sought-after period stage director/choreographer, Turocy has worked for 11 years at the Handel Festival in Goettingen, Germany. In New York, she works closely with Concert Royal, directed by James Richman. Highlights include Gluck’s Orfeo, Handel’s and Terpsicore, Rameau’s Pygmalion, Les Indes Galantes, Le Temple de la Gloire, and Les Fetes d’Hebe, among others. Turocy is currently on faculty at The Juilliard School in the newly formed program Historical Performance.

Alison Calhoun, French language and culture consultant Alison Calhoun is an American Council of Learned Societies New Faculty Fellow in the Department of French and Italian, where she specializes in Early Modern French Drama, especially where it intersects with music. Calhoun has written about Lully and Quinault collaborations and is currently working on the relationship between early opera and the novel in France. She is delighted to be joining IU as a full-time faculty member beginning next autumn.

Paul Elliott, director/chair, Early Music Institute; vocal coach Paul Elliott made his solo debut in England in 1972 and is most widely known for his performances of early music, having performed with European ensembles including The Academy of Ancient Music, The Early Music Consort of London, The London Early Music Group, Musica Antiqua Köln, The Deller Consort (1975- 85), Pro Cantione Antiqua, and The Hilliard Ensemble, of which he was a founder member. Since 1985, Elliott has been based in the United States. Performances have included Mozart’s Idomeneo, staged in ’s Shedd Aquarium, appearances at the Kalamazoo Bach Festival, the San Antonio Festival, and concerts with the San Francisco Symphony Orchestra, the St. Paul Chamber Orchestra, The City Musick in Chicago, and the Canadian baroque orchestra, Tafelmusik. With The Theatre of Voices, his recordings have included Proverb by Steve Reich for Nonesuch and Fragments, Hoquetus, The Age of Cathedrals, and Monastic Song for Harmonia Mundi (USA). He makes frequent appearances with the San Francisco Bay Area early music ensemble Magnificat Baroque. Elliott holds the CMVT (Certified McClosky Voice Technician) designation from the -based McClosky Institute of Voice, of which he is a past-president. He is an honorary fellow (Hon FASC) of the London-based Academy of St.Cecilia. William Jon Gray, direvctor, Pro Arte Singers; chair, Choral Conducting Department William Jon Gray teaches graduate-level conducting, choral literature, and score study. He served for three seasons as associate conductor of the Carmel Bach Festival in California, where he prepared and performed major choral/orchestral works in collaboration with internationally renowned conductor Bruno Weil. He served as interim conductor of the Indianapolis Symphonic Choir, preparing the choir for performances with Raymond Leppard and the Indianapolis Symphony Orchestra. As artistic director of the Bach Chorale Singers, Gray has received high praise for his performances of major choral/orchestral works. The Bach Chorale Singers’ 1998 commercially released CD recording, In Praise of the Organ: Latin Choral and Organ Music of Zoltán Kodály, under Gray’s direction, received national attention and critical acclaim in American Record Guide and The American Organist. Gray served as artistic director of the Masterworks Chorus and Orchestra of Washington, D.C., from 1986 to 1993. He has been assistant conductor of the Handel and Haydn Society of Boston and has appeared as guest conductor with the National Chamber Orchestra, the Lafayette Symphony Orchestra, and the Handel and Haydn Society. Gray studied at Indiana University, The Juilliard School, New England Conservatory, and Boston University, and has studied conducting with Robert Porco, Thomas Dunn, and Richard Pittman. Gray worked and performed frequently with Robert Shaw and has appeared as a member of the Robert Shaw Festival Singers in recordings and concerts in France, and in concerts at Carnegie Hall.

Rachael Fernandez, stage manager Rachel Fernandez is a sophomore undergraduate studying stage management through the Individualized Major Program, with minors in French and Music. Her most recent credits include assistant stage manager for A Midsummer Night’s Dream in the Department of Theatre and Drama and stage manager for the Contemporary Voices dance concert, a joint production with the Department of Theatre and Drama and Department of Dance. Also a member of the Singing Hoosiers, Fernandez is from Louisville, Ky.

Soloists and Dancers

Jessica Beebe, soprano, is a student of Paul Elliott and Costanza Cuccaro. In her three years as a master’s student of voice in the Early Music Institute at Indiana University, she has participated in multiple choral, chamber, and contemporary ensembles, such as Pro Arte, Concentus, University Singers, and Vox Reflexa. Beebe has also performed as a soloist at IU in oratorios such as Handel’s and Judas Maccabaeus and Bach’s B Minor Mass, St. John Passion, and Magnificat, as well as in choral ensembles, Monteverdi’s Vespro della Beata Vergine 1610, Vivaldi’s , and Mozart’s Requiem. With IU Opera Theater, she was in the chorus of Mark Adamo’s Little Women and has sung the roles of Dido in Purcell’s Dido and Aeneas and Despina in Mozart’s Così fan tutte. Christine Buras, soprano, is currently pursuing a master’s degree in early music voice performance at Indiana University, where she studies with Paul Elliott and Mary Ann Hart. She received her bachelor’s degree in music history and theory from the University of Chicago, and she previously sang as a chorister for six years at Washington National Cathedral. Buras has performed as a soloist in several works, including Bach’s St. John Passion, St. Matthew Passion, and Christmas Oratorio; Handel’s Messiah, , and Judas Maccabaeus; Arvo Pärt’s Passio; and Mozart’s Requiem.

Alicia DePaolo is a graduate student at Indiana University, where she studies with Paul Elliott and is pursuing a Master of Music in Early Music Vocal Performance. A Connecticut native, she received her bachelor’s degree from Smith College, where she studied with soprano Jane Bryden and, upon graduating, received the Heidi Fiore Prize for vocal performance, the Smith College Alumnae Scholarship, and the Susan Rose Fellowship in Music. DePaolo has appeared as a soloist with the Bloomington Early Music Festival, Indiana University’s Pro Arte Singers and Concentus, the Smith College Chamber Singers, and the Smith College Euridice Ensemble. She has also participated in the Amherst Early Music Festival, the Baroque Performance Institute at Oberlin, and Tafelmusik Baroque Summer Institute, where she appeared as a soloist in Charpentier’s Missa assumpta est Maria, under the direction of Ivars Taurins.

Jennifer Drettmann received her formal training at The Dreyfoos School of the Arts. She also trained for two summers at the Joffrey Ballet in Chicago, Ill. She performed lead roles in works created by Margo Sappington and Kathryn Posin, as well as in traditional pieces affiliated with the Joffrey Ballets repertoire.

Before coming to Indiana University, Ellie Edwards trained for 10 years at the Atlanta Ballet Centre for Dance Education in Atlanta, Ga. She has trained with Rosemary Miles, Dora Manela, Paolo Sousa, Emily Cook, Molina, and Armando Luna under the direction of Sharon Story. Edwards has attended several summer programs, including the Chautauqua Dance program (’07,’09), Pacific Northwest Ballet’s Summer Intensive (’08), and Houston Ballet’s Summer Intensive (’10). She has been in a number of ballets, including The Nutcracker, Snow White, The Sleeping Beauty, Serenade, The Great Gatsby, Pinocchio, and Giselle, as well as other small ballets and pieces.

Benjamin Geier, tenor, is currently completing his D.M. in Choral Conducting at the Jacobs School of Music. He has studied voice with Brian Horne, Robert Harrison, Paul Elliott, and Scharmal Schrock while at Indiana University. Born in Seoul, South Korea, soprano Jenny Ji-Sun Kim is from Commack, N.Y. She completed her bachelor’s at IU and attended the Manhattan School of Music Preparatory College. She performed in The Turn of the Screw at the Tanglewood Institute and Marie in La Fille du Régiment at Classical Singing in New York. Kim has performed several roles in workshops, including (Le Nozze di Figaro), Peep-Boh (The Mikado), Gilda (Rigoletto), Rosina (The Barber of Seville), Tytania (A Midsummer Night’s Dream), Adele (Die Fledermaus), Pamina (Die Zauberflöte), Mademoiselle Silberklang (Der Schauspieldirektor), and Olympia (The Tales of Hoffmann). While at Jacobs, Kim was Der Knabe in Mendelssohn’s Elijah, the Israelitish woman in Handel’s Judas Maccabaeus with the Pro Arte Singers, the soprano soloist in Carmina Burana and Rutter’s Requiem at the New York Summer Music Festival, the soprano soloist in Rossini’s Petite Messe Solennelle with maestro Gary Thor Wedow, and the soprano soloist in Haydn’s Grosse Mariazeller Messe with the Catskill Choral Society. Fall 2009 marked her debut at IU Opera Theater, as Papagena in Die Zauberflöte. In spring 2011, she sang La Conversa in Suor Angelica, and, in spring 2012, she sang Emmie in Albert Herring. In fall 2008, she studied with Sylvia McNair and is currently a second-year master’s student of Mary Ann Hart.

Daniel Thomas Lentz most recently sang the solos in Buxtehude’s Membra Jesu nostri cantata with Concentus. In 2011, he was bass soloist in Nun komm, der Heiden Heiland BWV 62, part of the Bloomington Bach Cantata Project. Lentz received his Bachelor of Music degree from The College of Wooster and his Master of Music degree from Indiana University. He has sung in numerous operas at IU. He has sung lead roles at the Bay View Music Festival in Michigan and at College of Charleston (CofC), S.C., in conjunction with Piccolo Spoleto Festival USA. He has taught as an adjunct voice faculty member at CofC. He plans to begin studies on the Doctor of Music degree in the fall. He studies with mezzo- soprano Patricia Stiles.

Andrew LeVan is in his second year of study for a master’s degree in vocal performance and is a current student in the studio of Brian Horne. He was recently seen as Mayor Upfold in IU Opera’s production of Benjamin Britten’s Albert Herring.

William Lim hails from the Philippines and is currently pursuing his Master of Music in Voice at IU, under the tutelage of Robert Harrison. His operatic credits include Mayor Upfold in Britten›s Albert Herring, Gherardo in Puccini’s Gianni Schicchi, and Guillot de Morfortaine in Massenet’s Manon. This is his first engagement with the Early Music Institute.

Liara Lovett was born and raised in the greater D.C. area. She began her ballet training at the age of four with Ballet Nova. There, she studied under Constance Walsh and Paul Wegner. She has spent summers at Houston Ballet, the Harid Conservatory, and the Kirov Academy of Ballet. Notable roles include Clara and Dew Drop in The Nutcracker. Melissa Meng is from Vestal, N.Y., where she has been dancing since age four. At age 14, she began training with Rafael Grigorian at the Rafael Grigorian School of Classical Ballet, where she performed roles such as Stepsister in Cinderella and Snow Queen and Sugar Plum Fairy in The Nutcracker. Meng has attended summer programs at the New York State Summer School of the Arts School of Ballet, Central Pennsylvania Youth Ballet, Kaatsbaan Extreme Ballet, and Pittsburgh Ballet Theatre. She is a freshman pursuing a degree in ballet with an outside field in applied health sciences.

Madeleine Ohman, from Boston, Mass., received her pre-professional training from Boston Ballet School from the time she was five years old, studying with Margaret Tracey, Andre Reyes, Kathleen Mitchell, and Christopher Hird. She has received additional instruction from summer programs on scholarship, such as Burklyn Ballet, Boston Ballet, and the School of American Ballet. As a student, Ohman performed annually with Boston Ballet in Mikko Nissenen’s The Nutcracker, as well as other productions. At the Indiana University Jacobs School of Music, she has received the Premier Young Artist Award Scholarship and is majoring in ballet and kinesiology.

Katherine Polit is pursuing a Doctor of Music in Vocal Literature and Performance at the Indiana University Jacobs School of Music, where she studies with Patricia Wise. Recently, she was a soprano soloist for Haydn’s Lord Nelson Mass with St. Paul’s Episcopal Church in Indianapolis and Bach’s St. John Passion with the Columbus Philharmonic. She has performed the roles of Despina (Così fan tutte) at Indiana University, Lauretta (Gianni Schicchi and Buoso’s Ghost) at the Bay View Music Festival, Musetta (La Bohème) and Yum-Yum (The Mikado) with Opera in the Ozarks, Madame Goldentrill (The Impresario), Papagena (The Magic Flute) and Flora (The Turn of the Screw) with The University of Texas, and Susanna (Le Nozze di Figaro) with the Austrian American Mozart Academy. Polit has earned a Bachelor of Humanities and Arts in Music and Modern Languages from Carnegie Mellon University and a Master of Music in Opera Performance from The University of Texas at Austin. She also holds a Performer Diploma from Indiana University, where she received the Performer’s Certificate for excellence in recital and was a winner of the annual Friends of Music Travel Grant Competition.

Tenor Lyon Stewart is in his second year at Indiana University, pursuing a B.M. in Vocal Performance with Scharmal Schrock. Lyon began his musical career in the choir of the Washington National Cathedral and has also performed at the Kennedy Center on numerous occasions.

Kathryn Summersett, soprano, is a native of upper Michigan and is currently pursuing a D.M. in Early Music at Indiana University while studying with Paul Elliott. She has soloed thrice at Boston Early Music Festival and was reviewed in Early Music America Fall 2009 as having “high notes” that “were especially evenly placed and focused.” She earned her M.M. at the University of North Texas, under Jennifer Lane, in 2011, and received the Adams/Nordstroms Early Music Award on her departure.

We would like to thank the New York Baroque Dance Company for their generosity in lending us the dancers’ costumes. Nigel North (musical director) Mace Perlman (stage director and writer/text and language coach/actor) Catherine Turocy (stage director/choreographer/period movement coach) Alison Calhoun (French language and culture consultant) Paul Elliott (director, Early Music Institute; vocal coach) William Jon Gray (director, Pro Arte Singers) Juan Carlos Zamudio (assistant director, Pro Arte Singers) Sarah Edgar (assistant choreographer) Rachel Fernandez (stage manager)

Baroque Orchestra Dessus (1st Violins) Basse (Cello and Viola da Trumpets Valerie Gordon gamba) Kris Kwapis Maria Romero Ramos Hannah Robbins Bruno Lourensetto Alice Culin-Ellison Maria Martinez Vanessa Castillo Rainer Eudeikis Percussion Armee Hong Jeremy Shih Brian McNulty Toma Iliev Adam Ayers David Schumm Continuo Haute Contre (2nd Violins) Adrienne Shipley, Harpsichord Valerie Weber Oboes Ignacio Prego, Harpsichord Borislava Iltcheva Luke Conklin Paul Kieffer,Theorbo Ji-Woon Jung Sarah Huebsch Patrick Gordon-Seifert, Archlute & Baroque Guitar Taille (Violas) Bassoon Hannah Robbins, Viola da Caroline Weeks Daniel Ponder gamba Stefon Flego Maria Martinez, Cello Recorder/flute Quinte (Violas) Mee Jung Ahn Stephanie Raby Ellen Jameson Gina Rico Luke Conklin

Pro Arte Singers

Soprano Alto Te nor Bass Jessica Beebe Alice Baldwin Mason Copeland Nicholas Bergin Christine Buras Brennan Hall Colin DeJong Nathan Blustein Mathilda Edge Michael Linert Samuel Green Paul Child Jenny Kim Alyssa Martin Andrew LeVan Kornilios Michailidis Arwen Myers Alto (cont.) Michael Porter Nathaniel Olson Kimberly Redick Hanmo Qian Daniel Rakita Stephen Pace Hannah Spence Zhizhong Xie Jonathan Rudy Laura Thoreson Adam Walton Bernadette Wagner Juan Carlos Zamudio Dancers Jennifer Drettmann Elizabeth Edwards Liara Lovett Melissa Meng Madeleine Ohman