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Home , Agrippina (opera), Andrea Marcon, Ann Hallenberg, Apollo e Dafne (Handel), Atalanta (opera), Delphine Galou

Julian Laidig the BarbicanCentre principal funderof is thefounder and Corporation The Cityof

by Trade WindsColourPrinters Ltd;advertising by Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 following Act 2scene4(‘Sebramate’) There willbeoneinterval of 20minutes Andreas Wolf Biagio Pizzuti Francesca Aspromonte Inga Kalna Maxim Emelyanychev Il Pomo d’Oro Friday 26October 2018 6.30pm,Hall concert performance Handel located around thefoyers. online, aswell as viafeedback forms orthepods during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) Romilda

Elviro Ariodate Serse Arsamene Amastre

director/harpsichord

Atalanta

2 Maxim Emelyanychev. led by itsinspirational young director dramatic reading of Handel’s Barbican debutin2015, withahighly made anindelibleimpression onits This Italian period-instrumentensemble (1 June). Baroque cellomusicwithEdgarMoreau DiDonato (31 May) andaconcertof present Handel’s violinist Shunske Sato, whilenext year they programme of Bach andHandelwith Tomorrow themusicians return for a given thisseasonby IlPomo d’Oro. Tonight marks thefirst of four performances Welcome withJoyce

Head of Music Huw Humphreys, I hopeyou enjoy it. It promises to beacaptivating evening. cast of thehighestquality. Franco Fagioli, joinedby aninternational In thetitle-role thisevening iscountertenor altogether more profound. its often sardonic tone maskingsomething memorable charaters andcolourfularias, see itfor themasterpiece itis,fullof mere five performances. Buttoday we attention of audiences,runningfor a and initiallyitfailed to capture the Serse was oneof Handel’slastoperas

marry Romilda. Elviro reveals hisidentityto disguised asaflower seller, thatSerseisto In thecitysquare Amastre learnsfrom Elviro, Act 2 will winArsamenewithherfeminine wiles. words asa lie. isconfident thatshe has anew lover. Romilda dismisseshersister’s his love. Atalanta tells Romilda thatArsamene gives Elviro aletter for Romilda assuringherof him aroyal husbandfor hisdaughter. Arsamene returns victorious from battle,andSerse promises when shediscovers Serseloves Romilda. Ariodate Serse. Disguisedasasoldier, shevows revenge Enter Amastre, anEgyptianprincessbetrothed to love withArsamene.Romilda rebuffs Serse. giving hopeto Romilda’s sister Atalanta, in warns Romilda of theking’sintentions, thereby his brother to woo heronhisbehalf.Arsamene immediately falls inlove withherandorders Ariodate. HearingRomilda’s singing,Serse Romilda, daughter of thearmy commander with hisservant Elviro insearch of hisbeloved plane tree. Hisbrother Arsameneappears willed andself-indulgent,singsraptly to a against theGreeks ( mounted by thePersian KingSerse(Xerxes) The action issetatthetimeof theexpedition Act 1 are thebasisof thestory, the rest isfiction.’ over theHellespontto unite Asiato ) a planetree, andthebuildingof abridge (such ashisbeingdeeplyenamour’dwith Some imbicillities,andthetemerity of Xerxes to give himalongargument to explain it. easy, thatitwou’d betroubling thereader ‘The contexture of thisDrama isso very the ’s comic-ironic tone: the originallibretto immediately suggests The ‘Argument’ printed atthehead of synopsis Serse: c 470 bce ). Serse,self- Arsamene overhears theirconversation, he mustfirst secure herfather’s consent. presses Romilda to marryhim.Shesays that her deception.Serse,now more menacing, but are reconciled whenAtalanta reveals Arsamene andRomilda quarrel over theletter, Act 3 Romilda singsinpraise of truelove. arrested butreleased onRomilda’s orders. intervenes withadrawn sword. Amastre is to woo Romilda butthedisguisedAmastre advance into Europe. Serseagain attempts the Hellespontandannouncesthathewill Serse reviews hisarmy atthebridgeacross Arsamene isinastate of suicidaldespair. interval Arsamene. Serse,predictably, isincensed. Romilda sheinsistswillalways betrueto loves her. WhenSerseshows theletter to addressed to her, andproves thatArsamene then shows Sersetheletter, saying thatitwas him andsays shewilldeliver itherself.She loves Serse.Atalanta extracts theletter from Atalanta, whotells himthatRomilda now and Arsamene.Alljoininpraise of love. for her, and blessesthemarriage of Romilda Amastre embrace, hevows to renew hislove true identity. Humiliated, Serserepents. Heand forward, seizesSerse’s sword, andreveals her a human as ever, orders Arsameneto killRomilda. Like in marriage to Arsamene.Serse,unreflective he iscarryingoutSerse’swishes,gives Romilda In thefinal sceneAriodate, mistakenly believing Romilda singaduetof mutualreproach. orders hisbrother’s execution. Arsameneand and thatthey have kissed.Serseinstantly She tells SersethatArsameneisherlover, replies thatdeath,not marriage, awaits her. and accuses Romilda of betraying him.She 20minutes dea ex machina , Amastre bursts

3 Welcome 4 tone, thefluid structure (many short Handel’s public–theironic, occasionallyfarcical, the very qualitiesthatseemto have displeased History, of course,hashad itsrevenge. Today Handel abandonedopera for good. After thefailure of after justfive performances andnever revived. hearing never materialised. it very indifferently’. Thepossibilityof frequent that, intheEarl’swords, ‘thesingersperform frequent hearingto bewell known’. Itdidn’thelp that tisdifficult to understand tillitcomesby any recitativ’ intervening from oneinto another composition’, adding that‘theairs…fall without Harris that Shaftesbury, wrote to thephilosopherJames one of Handel’ssupporters, thefourth Earlof fazed Londonaudiencesweaned onfull-blown of tragic-comedy andbuffoonery’ evidently 1738. WhatBurney dubbedtheopera’s ‘mixture at theKing’sTheatre, Haymarket, on15 April Charles Burney onthelibretto of was theverdict of 18th-century music historian ‘One of theworst thatHandelever setto music’ have beenlikened to Fiordiligi andDorabella, The two contrasting sisters, Romilda andAtalanta, comparisons with Mozart’sDaPonte comedies. and highseriousnesshasprovoked inevitable Serse Opera Gay had done,more blatantly, in the formal conventions of score, too, we sensethecomposerpokingfunat changing moodsandemotions. Throughout the such mercurial swiftness through agamutof doubt. Butnoother Handelopera moves with Arsamene, Amastre andRomilda are never in onwards. Thesufferings andfrustrations of of potential tragedy from themiddleof Act 2 Serse full-dress sometimes broken withrecitative, relatively few anonymous an on based acts, three in opera An HWV40Serse, Handel Frideric George ’s subtle,ambivalent mixof comedy, irony aHandelianfavourite. There are episodes adecade earlier. da capo Serse . Likening itto a‘ballad opera’, was ‘beyond alldoubtafine )–have helpedmake opera seria Serse three years later, Serse was taken off The Beggar’s The Beggar’s , as John , asJohn (1738) (1738) , premiered ,

-from-hell asSerseandthe Heidegger for the1738 seasonwere thehigh- assembled by Handelandimpresario John The star draws intheKing’sTheatre company score through hisimagination andtransfigured it’. put it,‘Handelseemsto have passedBononcini’s eminent Handelscholarthelate invariably improved andenrichedthem.Asthe ideas from Bononcini.Equallytypically, he libretto. True to form, Handelliberally ‘borrowed’ in turnadapted from amid-17th-century Venetian Handel’s future rival Bononciniin1694, whichwas as hissource SilvioStampiglia’s libretto setby Agrippina Poppea ritorno d’Ulisseinpatria and seriouscharacters (thinkof Monteverdi’s opera, withitsflexible structures andmixof comic belongs to thetradition of 17th-century Venetian emotions. Yet for allitsMozartianparallels, lightly bantering tone isoften amaskfor deeper viewed asaproto-Leporello. AsinMozart,the and Arsamene’slong-suffering servant Elviro enchantment atthe music’ssurpassingbeauty. all in ridiculous. But,as so often withMozart (above out of allrecognition. Thesituation isinherently germ of anideafrom Bononcini anddevelops it by the Victorians as‘Handel’s Largo’ –takes the exquisitely shapedmelody–slowed to adirge tree as ifaddressing alover. Handel’sserene, ‘Ombra maifu’,where heeulogisesaplane intermittently afigure of fun,asinhisopening self-important Persian king isboth dangerous and cantabile speciality seemsto have beenspinningaliquid beauty andrefinement of hissinging. Caffarelli’s in prisonfor assault.Yet allwere agreed onthe at theslightest provocation. Heeven served aspell selfish andunreliable colleague likely to explode of hisilk,Caffarelli was notoriously arrogant, a Romilda. Even by theunappetisingstandards Duparc, dubbed‘LaFrancesina’, intherole of more amenableFrench Elisabeth Così fan tutte , andHandel’sown earlyVenice opera , dulyexploited by Handel.The wilful, ). Handel’sanonymous librettist took ), amusement blurs into sheer ), amusementblurs into sheer (1685–1759) and L’incoronazione di L’incoronazione di Serse

Il Il

impotence of Serse’soutrage. were traditionally intheminor)onlyenhances remarked, themajorkey here (suchinvocations seething, scythingviolins.AsWinton Deanhas opera seria in ‘Crudefurie’,anover-the-top parody of an ‘Per rendermi beato’, Serseerupts,absurdly, Towards theend,after hisinsouciantlove song Handelian combination),richlyscored for strings. music of mingledtenderness andnobility(atypical a sympathetic figure in‘Ilcore spera eteme’, reveal hisunderlyinganguish.Thekingislikewise episodes, each onedifferently harmonised, that that alternates vehement coloratura withadagio he gives vent to hisconflicting emotions inmusic Romilda, he cannot bring himself to reject her; and the endof thefirst half.Even as herages against human, inhisaria‘Sebramate’, placed tonight at Serse isathismostformidable, butalsomost cadenzas here. can guessthatCaffarelli improvised elaborate reflects onhisgrowing passionfor Romilda. We by two stretches marked king’s pomposity. Even here, formality isbroken French Baroque –adig,perhaps,at the orchestral introduction suggestsastrutting fledged ariaisSerse’s‘Piùchepenso’,whose are likewise briefandto thepoint.Thefirst fully an orchestral introduction. Thefollowing solos scene withateasing, throwaway Serse whenhehearshisname.Romilda endsthe and sensuousbeauty),quicklyinterrupted by gently mockingsong(another fusionof humour to betheintroduction to theoffstage Romilda’s wafting from asummerhouse.Thisturnsout ‘sweet music’for recorders andmuted strings and hissleep-deprived servant Elviro overhear arias andrecitative. Serse’sbrother Arsamene typifies theopera initswayward minglingof short of timeandfashion’ (Burney) initiates ascenethat This ‘charmingslow cavatina …outof thereach trademark humansympathy. Noneof theirroles The other characters are alldrawn withHandel’s invocation to thefuries,complete with ad libitum as Serse asSerse , shorn of , shornof

arioso at nothing to ensnare her man.Inherjauntyfinal blithe sexual confidence of awoman whowillstop ‘Un cennoleggiadretto’. Theariaepitomises the Burney’s summaryof Atalanta’s tripping,trilling ‘Gay andpleasing,butinacomicstyle’was pensive endto aHandelopera. up asafinal gently syncopated ‘Caro voi siete’ whichistaken Arsamene; and,after thedénouement,in infinitely; inherduetof misunderstanding with Handelian melodiesthatseemsto expand paean to enduringlove ononeof thosesupple inner strength: inthearia‘Chicedealfurore’, a Larghetto epianissimo con l’ombre’, anetherealised minuetmarked expresses herlove inthecavatina ‘Nemmen rare inBaroque opera heroines. Shethen as awoman of spirit,withasenseof humour off Serse’slust,immediately announcesherself in love withArsamenewhileforever fending in Handel’sheroic of the1720s. Romilda, demands thekindof vocal virtuositycelebrated all costs. voglio’, proclaiming hisresolve to winRomilda at locates hisinneralphamaleintheexplosive ‘Sì,la his desolationwithrestless shiftsof key. Hethen che tutta fé’ inAct 2,asicilianothatunderlines key. Arsamene’smostmoving solois‘Quella predominantly slow(ish), soulfulandin theminor piece developed from Bononcini), hismusicis the resigned fatalism of ‘Meglioinvoi’ (another Marchesini, nicknamed‘LaLucchesina’.From Lucca-born mezzo-soprano MariaAntonia brother Arsamenewas played in1738 by the Serse’s sorely tried,ultimately vindicated ‘Voi medite’. true feelings for Arsamene,orinherdulcetminuet mio ben’,abittersweet sicilianothathintsat her a manipulative flirt, whetherinheropening‘Sì,sì, typically, Handelmakes Atalanta more thanjust shoulders andgoesoff to find anew lover. Yet, (‘No, no, se tu mi sprezzi’) she shrugs her (‘No,no,setumisprezzi’) sheshrugsher

coro : an unusually serene and : anunusuallyserene and . Romilda later reveals her

5 Programme note 6 not over-bright, was sungin1738 by theVenetian general andRomilda’s father Ariodate, dutifulbut two basses,both insecondaryroles. Serse’s Unusually inHandel,thecastof her final cavatina ‘Cagion sonio’. poignancy, andinthetenderness andcandourof is thinkingof Serse,heof Romilda) into intense ‘Gran pena’,whichtransmutes irony (Amastre her feelings emerges inher‘love duet’withSerse without anorchestral introduction. Thedepthof offese’, orthesplenetic‘Animainfida’, burstingin cangio’, thebellicoseswagger of ‘Sapràdellemie with, whetherinthestalking octave unionsof ‘Se She isemphaticallysomeonenot to bemessed disguise, Amastre singsaptly‘masculine’music. Counter ’. Asawronged woman inmale agreeably’. Another writer calledhervoice ‘A person, withatolerable face; shesingseasilyand good orbad, sheistall andhasavery graceful Mary Pendarves: ‘…hervoice isnot extraordinarily with delightfulfrankness by thecomposer’sfriend the Bolognesealto Antonia Merighi,described Amastre, betrothed to Serse,thenjilted by him,for Handel fashioned therole of theEgyptianPrincess Serse included included Programme note andsynopsis ©Richard Wigmore opera renaissance inthe1920s. resurface untilthefirst twitchings of theHandel Serse flopped in1738. Except for afew popularsongs, antics may have beenonereason why theopera the intrusionof farce into show. For London’sbeaumonde,perplexed by London. Inmodernstagings Elviro cansteal the harmonised, surely originated onthestreets of Elviro’s simpleditties,unaccompanied orsketchily to thesoundsinhisearsof criesinthestreet’. best songshave several of thembeenowing recalled thathe‘told methatthehintsof hisvery seller. Handel’sfriendLady Luxborough later Antonio Lottini) opensAct 2disguisedasaflower servant Elviro (played by theintermezzo singer In theopera’s mostovertly comicscene,the self-doubt. coloratura: aptfor amanwithoutscintillaof sturdy, no-nonsensevein, withboutsof rugged his depthandpower. Histwo briefariasare in Antonio Montagnana, atruebassfamed for quicklydisappeared from view, not to opera seria , the servant’s , theservant’s programme withcellistEdgar Moreau; arecital programme withtheLabèquesisters; anItalian Concertgebouw;a Haydn–Mozart and Madrid; Pergolesi’s at Versailles; inParis, Amsterdam Cologne, Amsterdam andLondon; Tamerlano His many projects withIl Pomo d’Oro include Joyce DiDonato. Patrizia Ciofi, Katia andMarielleLabèque Lemieux, Alexei Lubimov, TheodorCurrentzis, Franco Fagioli, DmitrySinkovsky, Marie-Nicole Sabata, JuliaLezhneva, SophieKarthäuser, as Riccardo Minasi,Max EmanuelCencic,Xavier He hascollaborated withsuchrenowned artists symphony orchestras. 12 andhassinceconducted both Baroque and He made hisconductingdebutattheage of many international keyboard competitions. Uspenskaya. Hehasbeenaprize-winnerat studying fortepiano andharpsichord withMaria Rozhdestvensky attheMoscow Conservatory and education intheconductingclassof Gennady Nizhny Novgorod MusicSchool,continuinghis musicians andfirst studiedconductingatthe conductors. Hewas bornin1988 to afamily of representative of the risinggeneration of young Maxim Emelyanychev isanoutstanding Maxim Emelyanychev About the performers of Baroque arias withCencic;and‘InWar Maxim Emelyanychev atVersailles andinHamburg, , director/harpsichord

Rodelinda at the atthe

Orchestra Sinfonica diMilanoGiuseppeVerdi, National deLyon, BelgianNationalOrchestra, Lugano; andinvitations to conducttheOrchestre with theOrchestra dellaSvizzera Italiana in for concertsinthecurrent season;hisdebut Toulouse andSeville, to whichhewas reinvited Highlights lastseasonincludedareturn to Beethoven andBrahms. National duCapitole deToulouse inaconcertof Die EntführungausdemSerail Zurich Opera, conductinganew production of In the2016–17 seasonhemade debuts withthe these in2014. Sevilla, Galicia andtheReal Orquesta Sinfónicade Nacional deEspaña,Real Filharmoníade Sofia Sinfonietta, Varsovia, Orquesta international arena withorchestras suchasthe Novgorod Philharmonic,before moving into the Soloists of Nizhny Novgorod andtheNizhny such astheNationalPhilharmonicof , orchestras started inRussia,withensembles His career asaconductor of symphony worldwide andwas alsorecorded. and Peace’ withJoyce DiDonato, whichtoured disc isof Mozart’spianosonatas. harpsichordist withRiccardo Minasi. Hislatest Haydn inwhichheappears asconductor and Arie Napolitane award andearnedcriticalacclaim for hisalbum Mask. Hehasalsoreceived a Russian theatre’s highestaward, theGolden Maxim Emelyanychev hasbeenawarded Enlightenment attheGlyndebourneFestival. Orchestra andthe Orchestra of theAge of Symphony Orchestra, Scottish Chamber Orchestre National duCapitole deToulouse, de Sevilla, Orchestra dellaSvizzera Italiana, the Philharmonic orchestras, Real Orquesta Sinfónica the Netherlands,Royal andSt Petersburg Highlights thisseasonincludeconcertswith and theSt Petersburg Symphony Orchestra. Philharmonic, Orchestre NationaldeBordeaux Scottish ChamberOrchestra, Royal Liverpool withCencicandanalbumof , andtheOrchestre Gramophone with thelastof

7 About the performers 8 Julian Laidig Innsbruck andSalzburg festivals, collaborating artist, appearing at theHalle,Ludwigsburg, He hasalsoachieved distinctionasaconcert and make hisdebutattheTeatro Real inMadrid. Future seasons seehimreturn to theRoyal Opera Buenos Aires andZurichOpera. title-role in Opéra deLilleandtheThéâtre deCaen; andthe Disinganno Garden; Piacere ( ( for theOpéra NationaldeLorraine; Idamante Opéra NationaldeParis; Arsace ( Roles onthestage include Eliogabalofor the d’Oro andtheVenice Baroque Orchestra. tours withtheBasleChamberOrchestra, IlPomo Cavalli’s debut for Dutch NationalOpera inthe title-role of Scala, ,asAndronico ( Highlights lastseasonincludehisdebutatLa production of Bavarian State Opera asNerone inanew State Opera asRuggiero ( Orchestra; andmakes debutsattheHamburg he alsotours AsiawiththeVenice Baroque European concerttour withIlPomo d’Oro; the Staatstheater andinthecurrent This seasonhesingsthetitle-role in Il Pomo d’Oro released earlierthisyear. followed thiswithanalbumof Handelariaswith with ArmoniaAtenea andGeorge Petrou; he solo debutrecording withthelabel He hasanexclusive contract withDG,makinghis and technique aswell asthebeautyof hisvoice. of ourtime,renowned for hisartistry Franco Fagioli istheleading virtuoso Franco Fagioli Franco Fagioli GiulioCesare ) for theRoyal Opera House,Covent ) for the Aix-en-Provence Festival, Agrippina Serse Il trionfo delTempo edel . He also undertook concert . Healsoundertook concert . for the Teatro Colónin Tamerlano ) and at the ) andatthe Serse ) and his ) andhis Rossini at at ) ,

Ribalta Luce Studio Vivica Genaux Caffarelli and Pergolesi’s title-roles inGluck’s His award-winning discography includesthe Muti andChristophe Rousset. Manuel Quintana, , Riccardo ,René Jacobs, José Alessandrini, AlanCurtis,GabrielGarrido, regularly withsuchconductors asRinaldo of hertwo-decade career, shehasperformed at City of ’sHandelPrizein2017. Inthecourse Fairbanks, Alaska, andwas therecipient of the Mezzo-soprano VivicaGenauxhailsfrom Vivica Genaux , re diPersia Caldara’s with regular collaborators and Castrucci, Galuppi andVivaldi andappearing Köln inSisteron for a programme of musicby Chicago andIstanbul, aswell asjoiningConcerto She alsoappeared inconcertBucharest, inaugural course. founded theV/vox Academy, supervisingits del lago she alsoreprised therole of Malcolm( Diana ( Arsamene ( (Handel’s career. Inaddition to role debutsasLepido Last year marked several milestones inher andtheWienerStaatsoper. Rudolfinum, theThéâtre desChamps-Élysées in the , New York, Prague’s Chicago Symphony Center, theBarbicanCentre, Beijing’s NationalCentre for thePerforming Arts, many of theworld’s leading venues, including ) attheSalzburg WhitsunFestival and and , Vinci’s La Concordia de’pianeti Adriano inSiria Serse Il maestro Porpora ) attheWienerKonzerthaus, andthesoloalbums ) atVersailles andEternità and ) atOpéra nationalduRhin, Arsamene Orfeo edEuridice , Handel’s and . Catone inUtica , Hasse’s , Hasse’s and Arias for Arias for La donna La donna

, , Giulia Papetti Delphine Galou masterclasses around theworld. expertise withyoung singershasledto hergiving her enthusiasmfor sharingherexperience and revival of thisunjustlyneglected composer, and advocacy of Hassehascontributed greatly to the acclaimed CDandDVD/Blu-ray recordings. Her career isdocumented inanarray of critically been honoured withnumerous awards, andher the dramatic intensity of herportrayals. Shehas garnered praise for herbravura technique and of Baroque and Particularly celebrated for herinterpretations extends to 65roles, including42travesti parts. Her operatic repertoire spansfour centuriesand Zelmira DC, for herrole debutasEmma(Rossini’s In AprilVivicaGenauxwillreturn to Washington, and gives aconcertwithPinchgutOpera. her role debutasMandane(Hasse’s tour. InDecembershetravels to to make Festival andArsameneinthecurrent European title-role in ‘Vivica &Viardot’, inSpain.Shehasalsosungthe her Pauline Viardot-themed multimediashow, Salle Gaveau andadditional performances of Handel andAlessandro Scarlatti–atParis’s Génies enItalie’ –apresentation of musicby Engagements thisyear have included‘Deux in Barcelona andGrenoble. Hasse andVivaldi withLesMusiciens duLouvre She alsoperformed aprogramme of Handel, e George EnescuFestival andVivaldi’s for anall-Vivaldi concertatthe studied piano andsinging alongsidephilosophy Delphine Galouwas borninParis and Delphine Galou ) withWashington ConcertOpera. at Paris’s Théâtre desChamps-Élysées. bel canto Amastre atBeaune’sBaroque Opera music, she has music, shehas Artaserse La La Gloria )

Juris Sˇ ulcs Dantone, hasbeencriticallyacclaimed. disc, Passion underLeonard SlatkinandBach’s et lessortilèges Ensemble underThomasHengelbrock, a DVD of Rossini’s . Othernotable releases include Sardelli and Savall, Vivaldi opera project: includes anumberof instalments inNaïve’s Delphine Galou’sextensive discography in Reggio EmiliaandFerrara. Theater anderWien;andthetitle-role in Penelope ( Bradamante ( e delDisinganno Covent Garden; Disinganno( Paris; Steffani’s furioso venues, singingthetitle-role inVivaldi’s She hasappeared atleading international music ensembles. regular collaborations withprestigious early associated withBaroque repertoire andenjoys of theprofessional world. Sheisnow particularly musicianship quicklybrought herto theattention at theSorbonne.Herstrikingvocal qualitiesand of thevery few singers to have beenawarded the won theLatvianTheatre Award twice andisone studies attheRoyal Academy of Music. Shehas Latvian National Opera shecontinuedher Academy. After herfirst engagements with the singing andmusicologyattheLatvian Music Soprano IngaKalna, borninRiga,studied Inga Kalna Inga Kalna Agitata attheThéâtre desChamps-Élysées in 1714 conducted by Marc Minkowski. Herlatest Petite Messesolennelle Niobe Il ritorno d’Ulisseinpatria , withAccademia Bizantinaunder L’incoronazione diDario Romilda Alcina withtheOrchestre Nationalde Niobe withtheBalthasar-Neumann ) attheBerlinStaatsoper; ) atOpéra deLausanne; underFederico Maria attheRoyal Opera House, Il trionfo delTempo underJordi underDantone, ) at the ) atthe under under Orlando L’enfant L’enfant St John

9 About the performers 10 and Hindemith’s Jacobs, Vivaldi’s Her discography includes Albrecht, Marc Soustrot andSimone Young. , Stefan Soltesz, Gerd such asRiccardo Muti,IngoMetzmacher, a Liedersinger. Shehasworked with conductors also inhighdemandtheconcerthallandas In addition to heropera activities IngaKalna is Elvira ( d’Oro. AtRigaOpera House shesings on thecurrent European tour withIl Pomo Prague’s NationalTheatre andRomilda ( Emmanuelle HaïminStockholm andVitellia ( This year’s highlightshave includedPiacere Madrid, Staatsoper Berlin,andinToronto. the Teatro delLiceu,Barcelona, , ( Alcina in Italia Violetta ( Desdemona ( Her roles includeDonnaAnna( festivals andtheBerlinStaatsoper. Dresden, InnsbruckandAix-en-Provence the latter shehasappeared frequently atthe Staatsoper) and Il trionfo delTempo edelDisinganno former shehassungAlcina(WienerStaatsoper), Marc Minkowski andRené Jacobs. Underthe She alsoenjoys aclosemusical relationship with Milan, andtheWienerStaatsoper. at theOpéra NationaldeParis, LaScala, of Alcina,withwhichshemade herdebut She isparticularlyassociated withtherole Theatre, , andtheSalzburg Festival. Théâtre duCapitole, Toulouse, Bolshoi Tampere Opera, Opéra deLausanne,the the NetherlandsOpera, Vlaamse Opera, as aguestartist.Shehasalsoappeared at Opera, where shestillregularly appears In 1999 shejoinedtheHamburg State and theBruceMillarMemorialTrust Award. she hasreceived theGoldberg Operatic Prize Great MusicAward of Latviafive times.IntheUK La clemenzadiTito Il trionfo delTempo edelDisinganno Serse and Ernani ) andthetitle-roles in La traviata underMaxim Emelyanychev. ) attheSalzburg Festival, LaScala, Agrippina Mathis derMaler ) andthetitle-role in Lucio Silla ), DonnaFiorilla( ) underMinkowski at ), Elettra ( . She has sung Lucio Cinna . ShehassungLucioCinna Rinaldo (); under under Alan Curtis, underAlanCurtis, Idomeneo under Young Don Giovanni under under (Berlin (Berlin Il turco ) with ) with ), ), . , ), ),

Ribalta Luce Studio Gardiner; Rossi’s Francesca Aspromonte Francesca Aspromonte Enrico Onofri andIlPomo d’Oro. her first soloalbum– Francesca Aspromonte hasjustrecorded L’ Nazionale diSanta CeciliainRome; andCavalli’s Mozart’s MassinCminorattheAccademia Cremona andontour withAccademia Bizantina; Bremen Festival; European tours of Festival; thetitle-role inPorpora’s title-role inHasse’s Current andfuture engagements includethe and Vivaldi’s St JohnPassion Il piedi diCristo and Luxembourg; Caldara’s at Versailles; Zerlina( also issuedonDVD; thetitle-role inCavalli’s L’Orfeo Recent engagements includeMonteverdi’s Ambronay, Aix-en-Provence andBremen festivals. Opéra NationaldeMontpellier, aswell asatthe Opéra deNancy, BOZAR inBrusselsand Albert Hall,Grand Théâtre duLuxembourg, Teatro LaFenice, WienerMusikverein, Royal Wigmore Hall,WienerKonzerthaus, ’s Hall, New York, Opéra Royal deVersailles, She hasperformed atsuchvenues asCarnegie working withFernando Cordeiro Opa. from theMozarteum inSalzburg. Sheiscurrently Santa CeciliawithRenata Scotto andgraduating singing, studyingattheAccademia Nazionaledi piano andharpsichord, before switching to Soprano Francesca Aspromonte initiallystudied Arianna inCreta and attheAix-en-Provence Festival and in Geneva andatVersailles; Bach’s Vespers inPrague and Dresden; Cavalli’s attheWienerKonzerthaus; withIlPomo d’Oro; at theOpéra ComiqueinParis. L’Orfeo conducted by SirJohnEliot Don Giovanni Prologue ontour inFrance, at the Innsbruck attheInnsbruck Atalanta La Maddalena ai atLaFenice. – with –with La Iole ) in Nancy ) inNancy Serse Rinaldo at the atthe and and in in paragone inVerona; Macrobio ( and Belcore ( San Carlo,;Taddeo ( Reims Prudenzio inanew production of Guglielmo ( Among recent andfuture highlightsare Symphony attheBelliniTheatre inCatania. Paris. HehasalsosunginBeethoven’s Ninth pietra delparagone Teatro Massimo;andFabrizio andPacuvio ( Siviglia Giovanni Teatro ComunaleinFlorence; thetitle-role in Schicchi ( at theSalzburg WhitsunFestival; Sharpless andMaribor;Massenet’s include therole of Leporello ( di Lammermoor Competition andsangtherole of Enrico( He recently won the47thToti dalMonte ( and Schaunard ( Felice Theatre inGenova, appearingasMarcello He subsequentlyjoinedtheensembleof theCarlo Academy undertheguidanceof . the Opera Studio of ’s Santa Cecilia Bruson andAlessandro Corbelliandattended He thenstudiedwithRolando Panerai, Renato the conservatory of hishomecity. highest honoursinpianoandvocal studiesfrom piano studiesattheage of 8,graduating withthe Biagio Pizzutiwas borninSalernoandbeganhis Biagio Pizzuti Massimo inPalermo. Hemade hisdebut at and DrMalatesta ( ( Biagio Pizzuti Roméo et Juliette Lucia diLammermoor inAmsterdam; Schaunard attheTeatro ) andMasetto ( ) attheTheater anderWienandthe inFerrara; DonBartolo ( ) inCagliari; Leporello inBasle; Enrico Così fan tutte L’elisir d’amore Elviro ). Otheroperatic appearances La bohème ), recording thelatter for Decca. ) inSpoleto; Betto ( ) attheThéâtre duChâtelet, Don Giovanni ) inTreviso andFerrara; ) in Liverpool; Don ) inLiverpool; Don ) and Grégorio ) andGrégorio ) inFlorence; Fauré’s L’italiana inAlgeri Don Giovanni La pietra del ) attheTeatro Il viaggio a Il barbiere di Cléopâtre ) atPalermo’s Gianni Gianni Lucia Lucia ) in ) in La La Don Don

) the ViennaFestival; hisreturn to LaMonnaieas at theTeatro Real inMadrid, LaMonnaieandat Recent highlightsincludeGuglielmo( Sylvain Cambreling. Spering, ,Bertrand deBillyand , Eduardo LópezBanzo,Andreas Jean-Christophe Spinosi, DeMarchi, Jérémie Rhorer, Raphaël Pichon,Peter Dijkstra, William Christie,Marcus Creed, HelmutRilling, concert halls,working withconductors suchas is aregular guestatmajoropera housesand The young Germanbass- Andreas Wolf Andreas Wolf He hasrecorded Le Dancaïre ( Verona’s Arena Opera Festival asMoralès and Schoenberg’s and Ephraimite inaconcertperformance of Opera andtheKomische OperBerlin;Man Wien; Zoroastre (Handel’s ( Opera; Elviro ( and Jupiter (Rameau’s Magic Flute Other opera appearances includePapageno ( series of productions attheBavarian State Opera. title-role of Leporello ( and ‘Coronation’ Mass, Bach cantatas, performed Mozart’sRequiem, MassinCminor He isalsosought after intheconcerthalland has L’infedeltà delusa Aeneas at theSallePleyel inParis; Aeneas ( and theBerlinPhilharmonie;Curio ( Andreas Wolf L’incoronazione diPoppea ) attheBeauneFestival; andNanni(Haydn’s ) inNew York andMoscow; Clito (Handel’s Don Giovanni ) inGeneva; Falke ( Moses undAron Serse Ariodate ) for the Aix-en-Provence Festival. Serse ) andLittore andTribuno ) lastsummer. Platée and ); andto Madrid inthe Orlando ) at the Theater an der ) attheTheater ander Agrippina ) at Stuttgart ) atStuttgart attheTeatro Real Die Fledermaus , as well as a , aswell asa Dido and Dido and ) at Scottish ) atScottish Così fan tutte for DG. Christmas Christmas ) The The ) ) 11 About the performers 12 Veronica Bohm Lucia Giraudo Daniela Nuzzoli Chiharu Abe Evgeny Sviridov 1 EmelyanychevMaxim Harpsichord Director/ Il Pomo d’Oro Il was awarded the‘Chocdel’année2013’ by the – underMinasi’sdirection. Thelastof these ( – Max EmanuelCencic( recorded three soloCDswiththree Diapason d’Or Sinkovsky assoloistandconductor, won a violin concertos ‘perPisendel’withDmitry ‘L’imperatore’). Asecondrecording of Vivaldi’s winning first recording (Vivaldi violinconcertos, conductor Riccardo Minasiledto anaward- The group’s collaboration withviolinistand skill andartisticintegrity. combines stylisticknowledge, thehighesttechnical Emelyanychev they form anensemblethat Together withitsyoung Russiandirector Maxim period-instrumentalists to befound worldwide. formations. Itsmusiciansare amongthefinest committed to instrumental performance invarious with aspecialfocus onopera, butequally Il Pomo d’Oro isanorchestra founded in2012 Il Pomo d’Oro Bach’s conducted by RinaldoAlessandrini;Handel’s also sanginMoscow; ( and to Stuttgart Opera asLeporello, arole he State Opera for Schreker’s national duRhin;areturn to theBavarian role in Highlights of lastseasonincludedthetitle- Moderato Apollo eDafne Requiem, Haydn’s Bad Guys The Marriage of Figaro Christmas Oratorio. and , ) andFranco Fagioli ( Alexander’s Feast St Matthew Passion . In2012, IlPomo d’Oro also with HollandBaroque; and , L’Allegro, ilPenseroso edil Stabat mater Venezia Violin 2 Lola Fernández Giulio D’Alessio Viola Alessia Pazzaglia Ha-Na Lee Giacomo Catana Dimitris Karakantas and Die Gezeichneten Arias for Caffarelli and Handel’s andHandel’s attheOpéra ), Apollo eDafne C Bach’s , J CBach’s . ), ) Greece, ahumanitarian project which aimsto In 2016 itbecameanambassador of ElSistema and attheGulbenkianFoundation inLisbon. ensemble-in-residence attheBarbicanCentre and Munich’sHerkulessaal. Thisseasonitis Hall, Theater anderWien,BerlinPhilharmonie Théâtre desChamps-Élysées inParis, theWigmore European venues andfestivals, includingthe Il Pomo d’Oro Bach’s violinconcertos withShunsuke Sato. and Pisendel.Earlierthisyear itrecorded adiscof Platti, Graziani, Vivaldi, Locatelli, Tartini, Leclair released instrumental works by Haydn, Boccherini, Serse in Utica Tamerlano Il Pomo d’Oro hasreleased five operas: Handel’s and soprano Emoke Baráth. Ibragimova, countertenor JakubJózefOrli´nski Additionally, ithasworked withviolinist Alina Peace with mezzo-soprano Joyce DiDonato, Cencic andthefollowing year made itsfirst CD recorded mezzo-soprano AnnHallenberg Capezzuto, aswell astwo discswiththeSwedish ancient Venetian The ensemblehasalsorecorded acollectionof Sinkovsky, whichwas released inOctober 2013. of concertos for two violinswithMinasiand to Naïve’s Vivaldi Editionwas arecording French magazine workshops andmusiclessons. encouraging creativity, aswell asgivingconcerts, identity by offering themmusicaleducation and combat refugee children’s lossof homeand Petra Ambrosi Christopher Palameta /Flute Grigory Krotenko Double Cristina Vidoni Leonhard Bartussek Cello willbereleased next month.Ithasalso ,

both directed by Maxim Emelyanychev. andStradella’s Arie Napoletane , Partenope has performed at all the major hasperformed atallthemajor barcarole Classica and La . A further contribution . Afurthercontribution with Max Emanuel withMax Emanuel , sung by Vincenzo , sungby Vincenzo Daniel Zapico Daniel Zapico Theorbo Katrin Lazar /Flute . In2015 it , Vinci’s . Handel’s . Handel’s In War & Catone Catone