Thursday, November 13, 2014, 8pm First Congregational Church
Apollo’s Fire
The Cleveland Baroque Orchestra
Jeannette Sorrell, conductor Molly Quinn & Nell Snaidas, sopranos Karim Sulayman & Oliver Mercer, tenors Kristen Dubenion-Smith, alto Jesse Blumberg, baritone Jonathan Woody, bass Apollo’s Singers
PROGRAM
Claudio Monteverdi (1567–1643) Vespers of 1610
Versicle & Response: Deus in adjutorium
Antiphon: Læva ejus sub capite meo
Psalm 109: Dixit Dom inus
Motet: Nigra sum Oliver Mercer, tenor
Antiphon: Nigra sum sed formosa
Psalm 112: Laudate pueri
Motet: Pulchra es Molly Quinn & Nell Snaidas, sopranos
Antiphon: Pulchra es et decora
Psalm 121: Læt atus sum
Motet: Duo Seraphim Karim Sulayman, Oliver Mercer & Owen McIntosh, tenors
CAL PERFORMANCES 19 PROGRAM
Antiphon: Iam hiems transit
Psalm 126 : Nisi Dominus
INTERMISSION
Motet: Audi Cœlum Karim Sulayman & Oliver Mercer (echo), tenors
Antiphon: Virgo prudentissima
Psalm 147 : Lauda, Jerusalem
Sonata sopra Santa Maria Madeline Healey, soprano
Hymn: Ave maris stella Kristen Dubenion-Smith, alto & Jesse Blumberg, baritone
Magnificat Antiphon: Sancta Maria succure miseris
Magnificat anima mea Et exultavit Quia respexit humilitatem Quia fecit mihi magna Et misericordia Fecit potentiam Deposuit potentes Esurientes Suscepit Israel Sicut locutus est Gloria Patri Sicut erat in principio
The CD recording of the Monteverdi Vespers by Apollo’s Fire, as well as other Apollo’s Fire CDs, will be on sale in the lobby during intermission and after the concert.
This tour of Apollo’s Fire is made possible by support from the National Endowment for the Arts.
Cal Performances’ 8679–867: season is sponsored by Wells Fargo.
PLAYBILL ORCHESTRA & CHORuS
APOLLO’S FIRE APOLLO’S SInGERS Jeannette Sorrell, conductor CAnTuS STRInG BAnd Molly Quinn, soloist Julie Andrijeski, concertmaster Margaret Carpenter Johanna Novom, violin Madeline Healey Adriane Post, viola Anna Lenti Kyle Miller, viola René Schiffer, cello piccolo SExTuS Rebecca Landell, cello Nell Snaidas, soloist Sue Yelanjian, contrabass Elena Mullins Sian Ricketts wInd BAnd Kathie Stewart, recorder ALTuS Bruce Dickey, cornetto Kristen Dubenion-Smith, soloist Kiri Tollaksen, cornetto Robin Bier Greg Ingles, alto sackbut Timothy Parsons Peter Christensen, tenor sackbut Nadia Tarnawsky Peter Collins, bass sackbut TEnOR COnTInuO Oliver Mercer, soloist John Lenti, theorbo Owen McIntosh (Tenor III in Duo Seraphim ) William Simms, theorbo Jeffrey Rich Peter Bennett, organ quInTuS Karim Sulayman, soloist Jeff Barnett
BASSuS I Jesse Blumberg, soloist Jason Steigerwalt
BASSuS II Jonathan Woody, soloist Michael Peters
CAL PERFORMANCES PROGRAM nOTES
THE MySTERIES OF MOnTEVERdI repeated chant—around which he weaves the most elaborate and avant-garde counterpoint E wILL PERHAPS nEVER understand why imaginable. The relationship between the Wgreat artists often create their most fixed, archaic, medieval psalm tone and the sublime works during periods of personal flamboyant and imaginative Baroque despondency and depression. From Monteverdi counterpoint that dances around it produces to Mozart, from Dostoevsky to Van Gogh, the an extraordinary level of tension and beauty— world has been graced with beauty that comes indeed, it seems to evoke the struggle between out of the suffering of artists. ancient mysticism and modern enlightenment. The winter of 1607–1608 was such a period Three years after publishing the Vespers , for Monteverdi. Exhausted and despondent Monteverdi finally escaped from his unhappy over the recent death of his wife, he was also employment in Mantua in 1613 and be came overworked and underpaid as an employee of music director at St. Mark’s Basilica in Venice. the Duke of Mantua. Thus, his father wrote to Many conductors have assumed that the Duke to request an honorable dismissal Monteverdi conceived the Vespers for the vast for his grief-stricken son, whose health was and monumental Basilica—even though he suffering as well as his spirits. had already published the piece three years The plea was ignored, and Monteverdi was before auditioning there—and that he ordered to return to work. Important things composed the piece to impress the staff at St. were afoot at the Mantuan palace, and music was Mark’s. This theory then leads to an needed: the Duke’s son, Prince Francesco, was to interpretation using large choral forces such be married to Margherita of Savoy. Though we as one would need in order to make a festive do not know for certain, it is probable that impression in the sprawling Basilica. The fact Monteverdi was ordered to compose his is, though, that Monteverdi could hardly have extraordinary Vespers for the wedding had his eye on the St. Mark’s job when he celebrations, which commenced in Mantua in published the Vespers in 1610, as the May 1608 and e clipsed all other events for preceding St. Mark’s music director was still several years. The eminent Monteverdi scholar alive and healthy, and no one could have Iain Fenlon has argued convincingly that the foreseen his unexpected death two years later, Vespers were most likely composed for resulting in a job opening. performance in Mantua in 1608, n ot for Venice By contrast, there is much evidence to suggest in 1610 where the work was published. that the Vespers were composed and conceived Monteverdi’s Vespers are an extraordinary for Mantua. It is apparent even from a quick and revolutionary setting of the five psalms, glance at the score that the Vespers were written hymn, and Magnificat, which make up a for the same vocal and instrumental ensemble Roman Catholic Vespers service. In addition as Monteverdi’s opera L’Orfeo— that is, the small to these standard movements, Monteverdi virtuoso ensemble who performed in Mantua in included four motets (sometimes called 1607 . Both works call for two sopranos, two “concertos”) for one, two, three, and six voices, tenors (one with major solo demands), two respectively, based primarily on love poetry basses, and a small part for alto. The ranges of from the Song of Solomon . There is also an these singers are nearly identical in the two instrumental sonata movement over which is works, including the unusually low tessitura of woven the chant “Sancta Maria ora pro nobis.” the lead tenor. The instrumentation is the same. What makes Monteverdi’s setting of the Finally, the opening Toccata from L’Orfeo Psalms and the Magnificat so remarkable is reappears as the opening Respond in the Vespers ; that he uses the traditional psalm tones that both are based on material that may well have would normally be chanted in a Vespers been the fanfare for the Duke of Mantua. service, but turns them into a kind of cantus On May 25, 1608, it is reported that a firmus —that is a kind of slow-moving, “solemn Vespers” service was celebrated at the
PLAYBILL PROGRAM nOTES church of St. Andrea in Mantua, as part of the approach to the Vespers, using singers one on wedding festivities mentioned above. This was a part to create a kind of madrigal ensemble. a major event, in which Prince Francesco was Other conductors take a n 18th century (or installed as the first member of a new order of later!) approach, evoking the image of St. knights. The term “solemn” Vespers means Mark’s and using a large Handel-sized chorus polyphonic (rather than merely chanted); so, of 25 to 35 and soloists with operatic voices. as Iain Fenlon has suggested, it is highly The fact is that Monteverdi was neither a probable that the music performed at this Renaissance composer nor an 18th-century service was Monteverdi’s Vespers . Of course, High Baroque composer. H e was a Monteverdi may have eventually performed revolutionary, living at the end of the his Vespers at St. Mark’s when he took up Renaissance and pushing the limits to forge employment there, and he may well have used the new style, which we call Baroque (just as the work as his audition piece for the post. But Beethoven forged the Romantic style out of it is clear that he did not originally conceive the Classical period two centuries later). He the piece for that space. used the finest professional singers and Most conductors who oppose the large- instrumentalists in the region and gave them scale “St. Mark’s” approach to this piece have daringly avant-garde music to perform— assumed that Monteverdi conceived the music that uses the tools of the Renaissance Vespers for the small ducal chapel at Mantua, and stretches them to convey the flamboyant, which could have only accommodated a one- emotional imagery of the early Baroque. This on-a-part performance (ten singers). However, is music full of sudden contrasts, freedom of there is no record of any festive event taking expression, and spontaneous flights of place in that chapel during 1608–1610 for imagination. I do not think it is ideally suited which music as flamboyant as Monteverdi’s to a massive Handelian chorus, nor can the Vespers would have been appro priate. On the necessary contrasts be achieved by a one-on- contrary, Monteverdi’s work would have been a-part madrigal ensemble. extremely appropriate for the wedding We take the cue for our performance from festivities at St. Andrea church; the sensuous the setting of St. Andrea church in Mantua on love poetry contained in Monteverdi’s text, that spring day in 1608: the grand opening of drawn from the Song of Solomon , is ideal for a festivities for an extraordinary royal wedding. wedding celebration but would certainly seem The excitement of the cantor is palpable as he out of place at any other Vespers service. intones the chant that sets the drama in All of this impacts one’s interpretation motion: Deus in adjutorium meum intende . because there are so many questions left open “God, make speed to save me”—the ordinary by the score. The Vespers publication of 1610 words of the Vespers, but not so ordinary (which is not even a score but a set of e ight today. The company o f 37 mu sicians responds individual part-books) is typical of the time with electrifying joy, launching the fanfare, in that it contains minimal information about the pageantry, and the royal procession of the how the piece is to be performed. There are Gonzaga family and the House of Savoy. few indications of instrumentation, and none Thus, our evocation of the “solemn at all of tempo, dynamics or articulation. Vespers” at St. Andrea church employs forces Nor do we know what size of forces he appropriate to a church of that size—20 conceived. While most scholars agree that singers and 16 instrumentalists. In choosing instrumental parts were performed with only for these midsize forces, I h ope to have one player to a part at this period, there is captured the fleetness, flexibility, and dynamic much disagreement about how many singers contrast that Monteverdi must have intended. should be used. Monteverdi lived on the cusp between the Renaissance and Baroque periods. © Jeannette Sorrell, Cleveland, Ohio Some conductors take a “Renaissance”
CAL PERFORMANCES TExTS & TRAnSLATIOnS
Claudio Monteverdi: Vespers of 1610
Versicle & Response: deus in adjutorium Versicle & Response: deus in adjutorium
Cantor: Deus in adjutorium meum intende. Cantor: O God, make speed to save me. Chorus: Domine ad adiuvandum me festina. Chorus: O Lord, make haste to help me. Gloria Patri, et Filio, Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Ghost, Sicut erat in principio, et nunc et semper, et in As it was in the beginning, now and forever, world secula seculorum. without end. Amen. Alleluia. Amen. Alleluia.
Antiphon: Læva ejus sub capite meo Antiphon: Læva ejus sub capite meo
Læva ejus sub capite meo, et dextera ilius His left hand is under my head and his right hand amplexabitur me. embraces me.
Psalm 109: dixit dominus Psalm 109: dixit dominus
Dixit Dominus Domino meo: sede a dextris meis, The Lord said unto my Lord: sit thou at my right donec ponam inmicos tuos scabellum pedum hand, until I make thine enemies thy footstool. tuorum. The Lord shall send the rod of thy strength out of Virgam virtutis tuæ emittet Dominus ex Sion: Sion; dominare in medio inimicorum tuorum. Rule thou in the midst of thine enemies. Tecum principium in die virtutis tuæ; Thine is the foundation in the day of thy power; In splendoribus sanctorum In the beauties of holiness I have born thee from ex utero ante luciferum genui te. the womb before the morning star.
Iuravit Dominus et non pœnitebit eum; The Lord hath sworn and will not repent; thou art tu es sacerdos in æternum a priest forever after the order of Melchisedech. secundum ordinem Melchisedech. Dominus a dextris tuis confregit The Lord at thy right hand has broken kings in the in die iræ suæ reges. day of his anger. Iudicabit in nationibus, He will judge the nations, implebit ruinas; He will fill them with ruins: conquassibit capita in terra multorum. He will break the heads in the populous land.
De torrente in via bibet: He shall drink of the torrent on the way: propterea exaltabit caput. therefore he shall lift up his head. Gloria Patri et Filio… Glory be to the Father and to the Son…
Motet: nigra sum Motet: nigra sum
Nigra sum sed formosa filiæ Jerusalem, I am a black but beautiful daughter of Jerusalem. Ideo dilexit me Rex, et introduxit in cubuculum So the King loved me, and led me into his suum et dixit mihi: bedroom and said to me: Surge, amica mea, et veni. Arise, my love, and come away. Iam hiems transiit Now winter has passed, imber abiit et recessit, the rain has gone, flores apparuerunt in terra nostra; and flowers have appeared in our land; tempus putationis advenit. The time of pruning has come.
PLAYBILL TExTS & TRAnSLATIOnS
Antiphon: nigra sum sed formosa Antiphon: nigra sum sed formosa
Nigra sum sed formosa, filiæ Jerusalem: ideo I am a black but beautiful daughter of Jerusalem. So dilexit me rex et introduxit me in cubiculum suum. the King loved me, and led me into his bedroom.
Psalm 112 : Laudate pueri Psalm 112 : Laudate pueri
Laudate pueri Dominum: Praise the Lord, ye children! laudate nomen Domini. Praise the name of the Lord. Sit nomen Domini benedictum, Blessed be the name of the Lord, ex hoc nunc, et usque in seculum. from this time forth for evermore. A solis ortu usque ad occasum, From sunrise to sunset, laudabile nomen Domini. the Lord’s name is worthy of praise. Excelsus super omnes gentes Dominus, The Lord is high above all nations et super cœlos gloria eius. and his glory above the heavens.
Quis sicut Dominus Deus noster, Who is like the Lord our God, qui in altis habitat et humilia who dwells on high and looks down on the respicit in cœlo et in terra, humble things in heaven and earth, suscitans a terra inopem raising the helpless from the earth and lifting the et de stercore erigens pauperem, poor man from the dung heap to place him ut collocet eum cum principibus, alongside princes, with the princes of the people? cum principibus populi sui?
Qui habitare facit sterilem in domo, He makes a home for the barren woman, a joyful matrem filiorum lætantem. mother of children. Gloria Patri et Filio… Glory to the Father and to the Son, etc…
Motet: Pulchra es Motet: Pulchra es
Pulchra es, amica mea, You are beautiful, my love, suavis et decora filia Jerusalem. sweet and comely daughter of Jerusalem. Pulchra es, amica mea, You are beautiful, my love, terribilis ut castrorum acies ordinata. terrible as the sharp lines of a military camp. Averte oculos tuos a me, Turn your eyes from me, quia ipsi me avolare fecerunt. because they have put me to flight.
Antiphon: Pulchra es et decora Antiphon: Pulchra es et decora
Pulchra es et decora, filia Jerusalem: You are beautiful, comely daughter of Jerusalem, terribilis ut castrorum acies ordinata. terrible as the sharp lines of a military camp.
Psalm 121 : Lætatus sum Psalm 121 : Lætatus sum
Lætatus sum in his quæ dicta sunt mihi: I was glad when they said unto me: in domum Domini ibimus. we shall go into the house of the Lord. Stantes erant pedes nostri in atriis tuis Jerusalem; Our feet were standing within thy gates, O Jerusalem; Jerusalem, quæ ædificatur ut civitas Jerusalem, which is built as a city that is compact cuius participatio eius in id ipsum. together. Illuc enim ascenderunt tribus, For thither ascend the tribes of the Lord, tribus Domini, testimonium Israel to testify unto Israel,
CAL PERFORMANCES TExTS & TRAnSLATIOnS ad confitendum nomini Domini. to give thanks to the name of the Lord. Quia illic sederunt sedes in iudicio, For there are the seats of judgment, sedes super domum David. the seats over the house of David. Rogate quæ ad pacem sunt Jerusalem O pray for the peace of Jerusalem, et abundantia diligentibus te. and may prosperity attend those who love thee. Fiat pax in virtute tua Peace be within thy strength, et abundantia in turribus tuis. and prosperity within thy towers. Propter fratres meos et proximos meos For my brothers’ and my neighbors’ sake, I will ask loquebar pacem de te. for peace for thee; Propter domum Domini Dei nostri for the sake of the house of the Lord God, I have quæsivi bona tibi. sought blessings for thee. Gloria Patri et Filio… Glory be to the Father and to the Son…
Motet: duo Seraphim Motet: duo Seraphim
Duo Seraphim clamabant alter ad alterum: Two Seraphim were calling one to the other:
Sanctus, sanctus, sanctus Dominus Deus Sabaoth: Holy, holy, holy Lord God of Hosts; plena est omnis terra gloria eius. the whole earth is full of his glory. Tres sunt qui testimonium dant in cœlo: There are three who give testimony in heaven: Pater, Verbum et Spiritus Sanctus: The Father, the Word, and the Holy Spirit: et hi tres unum sunt. and these three are one. Sanctus, sanctus, sanctus… Holy, holy, holy…
Antiphon: Iam hiems transit Antiphon: Iam hiems transit
Iam hiems transiit, imber abiit, et recessit: For lo, the winter is past, the rains are over and gone. surge, amica mea, et veni. Arise, my love, and come away.
Psalm 126 : nisi dominus Psalm 126 : nisi dominus
Nisi Dominus ædificaverit domum, Except the Lord build the house, in vanum laboraverunt qui ædificant eam. they labor in vain that build it. Nisi Dominus custodierit civitatem, Except the Lord keep the city, frustra vigilat qui custodit eam. the watchman waketh but in vain. Vanum est vobis ante lucem surgere: It is vain for you to rise before dawn: surgite postquam sederitis, rise when you have sat down, qui manducatis panem doloris. ye who eat the break of sorrow, Cum dederit dilectis suis somnum; when he has given sleep to those he loves. ecce hereditas Domini, filii: Behold, children are an inheritance of the Lord, merces, fructus ventris. a reward, the fruit of the womb. Sicut sagittæ in manu potentis: As arrows in the hand of the mighty, ita filii excussorum. so are children of the vigorous. Beatus vir qui implevit desiderium sum ex ipsis: Blessed is the man who has fulfilled his longing by them: non confundetur cum loquetur he shall not be perplexed when he speaks to his inimicis suis in porta. enemies at the gate. Gloria Patri et Filio... Glory be to the Father and to the Son…
PLAYBILL TExTS & TRAnSLATIOnS
Motet: Audi C œlum Motet: Audi C œlum
Audi cœlum verba mea, plena desiderio Hear, o heaven, my words, full of desire and suffused et perfusa gaudio. (Audio.) with joy. (I hear.) Dic, quæso, mihi: Quæ est ista Tell me, I pray: who is she quæ consurgens ut aurora who rising like the dawn, shines, rutilat, ut benedicam? (Dicam.) that I may bless her? (I shall tell you.) Dic, nam ista pulchra ut luna, Tell, for she is beautiful as the moon, electa ut sol replet lætitia exquisite as the sun which fills with joy terras, cœlos, maria. (Mary.) the earth, the heavens and the seas. (Mary.) Maria Virgo illa dulcis, Mary, that sweet Virgin prædicata de prophetis Ezechiel foretold by the prophet Ezechiel, porta orientalis, (Talis.) gate of the rising sun, (such is she!) Illa sacra et felix porta, that holy and happy gate per quam mors fuit expulsa, through which death was driven out, introducta autem vita, (Ita.) but life brought in, (even so!) Quæ semper tutum est medium who is always a sure mediator inter homines et Deum, between man and God, pro culpis remedium. (Medium.) a remedy for our sins. (A mediator.) Omnes hanc ergo sequamur, All mankind, let us all follow her quæ cum gratia mereamur vitam æternam. by whose grace we gain Eternal life. Consequamur. (Sequamur.) Let us seek after her. (Let us follow.) Præstet nobis Deus Pater May God the Father grant us this, hoc et Filius et Mater, and the Son and the Mother, cuius nomen invocamus, on whose name we call, dulce miseris solamen. (Amen.) sweet solace for the unhappy. (Amen.) Benedicta es, Virgo Maria, Blessed art thou, Virgin Mary, in seculum secula. world without end.
Antiphon: Virgo prudentissima Antiphon: Virgo prudentissima
Virgo prudentissima, quo progrederis quasi aurora O wisest Virgin, where art thou going in this valde rutilans, filia Sion, deepest red of dawn? Daughter of Zion, tota formosa et suavis es, thou art so calm, so sweet, pulchra ut luna: so beautiful, that thou drawest electa ut sol. the moon and sun unto the Heavens.
Psalm 147 : Lauda, Jerusalem Psalm 147 : Lauda, Jerusalem
Lauda Jerusalem, Dominum: Praise the Lord, O Jerusalem: Lauda Deum tuum, Sion. praise thy God, O Sion. Quoniam confortavit seras portarum tuarum; For he hath strengthened the bars of your gates: benedixit filiis tuis in te. he hath blessed thy children within thee. Qui posuit fines tuos pacem, He maketh peace in thy borders, et adipe frumenti satiat te. and filleth thee with the finest of the wheat. Qui emittit eloquium suum terræ: He sendeth forth his commandment upon earth: velociter currit sermo eius. his word runneth very swiftly. Qui dat nivem sicut lanam; He giveth snow like wool: nebulam sicut cineram spargit. he scattereth the cloud like ashes. Mittit crystallum suam sicut bucellas: He casteth forth his ice like morsels: ante faciem frigoris eius quis sustinebit? who will stand before his cold?
CAL PERFORMANCES TExTS & TRAnSLATIOnS
Emittet verbum suum, et liquefaciet ea: He will send out his word and melt them: flabit spiritus eius, He will cause his wind to blow et fluent aquæ. and the waters will flow. Qui annuntiat verbum suum Jacob: He showeth his word unto Jacob, iustitias et judicia sua Israel. his statutes and judgments unto Israel. Non fecit taliter omni nationi: He hath not dealt so with any nation: et iudicia sua non manifestavit eis. and he has not shown his judgments to them. Gloria Patri et Filio… Glory be to the Father and to the Son, etc…
Sonata sopra Santa Maria Sonata sopra Santa Maria
Sancta Maria, ora pro nobis. Holy Mary, pray for us. ( Sung eleven times )
Hymn: Ave maris stella Hymn: Ave maris stella
Ave maris stella, dei mater alma, Hail, star of the sea, life-giving mother of God Atque semper virgo, felix cœli porta. and perpetual virgin, happy gate of heaven. (Chanted, then repeated as hymn ) Sumens illud ave, Gabrielis ore, Receiving that “ave,” from the mouth of Gabriel, Funda nos in pace mutans Evae nomen. keep us in peace, reversing the name “Eva.” (Ritornello ) Solva vincla reis, profer lumen cæcis, Loosen the chains from the guilty, Mala nostra pelle, bona cunctis posce. bring forth light to the blind, drive out our ills, ask for blessings for all. (Ritornello ) Monstra te esse matrem: Show yourself to be his mother: Sumat per te preces, may he receive through you our prayers Qui pro novis natus tulit esse tuus. who, born for us, deigned to be yours. (Ritornello ) Virgo singularis, inter omnes mitis, Peerless virgin, gentle above all others, Nos culpis solutos mites fac et castos. when we are pardoned for our sins, make us gentle and pure. (Ritornello ) Vitam præsta puram, iter para tutum, Grant us a pure life, prepare a safe journey, Ut videntes Jesum semper collætemur. so that seeing Jesus we may rejoice forever.
Sit laus Deo Patri, Praise be to God the Father, Summo Christo decus, glory to Christ most high, Spiritui Sancto, and to the Holy Spirit, Tribus honor unus. triple honor in one. Amen. Amen.
PLAYBILL TExTS & TRAnSLATIOnS
MAGnIFICAT MAGnIFICAT
Antiphon: Sancta maria succurre miseris Antiphon: Sancta maria succurre miseris
Sancta Maria succurre miseris, Holy Mary, come to the aid of us poor ones; iuva pusillanimes, strengthen the faint-hearted, refove flebiles: console those who weep, ora pro popula, pray for your people, interveni pro clero, be a help to the priests, intercede pro devoto femineo sexu: intercede for pious women, sentiant omnes tuum iuvamen, may all feel your aid quicunque celebrant tuam sanctam festivitatem. who celebrate your holy festival. Magnificat anima mea Dominum. My soul doth magnify the Lord Et exultavit spiritus meus in Deo salutari meo. And my spirit hath rejoiced in God my savior. Quia respexit humilitatem ancillæ suæ, ecce enim For he hath regarded the lowliness of his ex hoc beatam me dicent omnes generationes. handmaiden, for behold, from henceforth all generations shall call me blessed. Quia fecit mihi magna qui potens est et sanctum For he that is mighty hath magnified me, and holy nomen eius. is his name. Et misericordia eius a progenie in progenies And his mercy is on them that fear him timentibus eum. throughout all generations. Fecit potentiam in brachio suo; He hath showed strength with his arm; dispersit superbos mente cordis sui. he hath scattered the proud in the imagination of their hearts. Deposuit potentes de sede et exaltavit humiles. He hath put down the mighty from their seat and hath exalted the humble and meek. Esurientes implevit bonis, et divites dimisit inanes. He hath filled the hungry with good things and the rich he hath sent empty away. Suscepit Israel puerum suum, recordatus He, remembering his mercy, has helped his misericordiæ suæ. servant Israel, Sicut locutus est ad patres nostros, Abraham et as he promised to our forefathers, Abraham and simini eius in secula. his seed forever. Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Holy Ghost Sicut erat in principio, et nunc, et semper et in as it was in the beginning, now and forever, world secula seculorum. without end. Amen. Amen.
CAL PERFORMANCES ABOuT THE ARTISTS
series, which has drawn national attention for creative programming. The ensemble has re - leased 20 commercial CDs, and currently records for the British label Avie. Since the en - semble’s introduction into the European CD market in 2010, the recordings have won rave reviews in the London press. Four of the en - semble’s CDs have become bestsellers on the Billboard classical chart: Monteverdi’s Vespers, Bach’s “Brandenburg” Concertos, and Ms. Sorrell’s two crossover programs, Come to the River and Sacrum Mysterium: A Celtic s
n Christmas Vespers . r u B
i s i S Jeannette Sorrell (con - AMEd FOR the classical god of music and ductor ) has quickly Nthe sun, Apollo’s Fire was founded in gained international at - 1992 by the award-winning young harpsi - tention as a leading cre - s n r chordist and conductor Jeannette Sorrell. u ative voice among the B
i s Ms. Sorrell envisioned an ensemble dedicated i S new generation of early to the Baroque ideal that music should evoke music conductors. Ms. Sorrell was one of the the various Affekts , or passions, in the listen - youngest students ever accepted to the presti - ers. Apollo’s Fire is a collection of creative gious conducting courses of the Aspen and the artists who share Ms. Sorrell’s passion for Tanglewood music festivals. She studied con - drama and rhetoric. ducting under Robert Spano, Roger Apollo’s Fire made its London début in Norrington, and Leonard Bernstein, and 2010 in a sold-out concert at Wigmore Hall, harpsichord with Gustav Leonhardt in with a BBC broadcast. Apollo’s Fire returned Amsterdam. She won both First Prize and the to Europe in autumn 2011 and spring 2014, Audience Choice Award in the 1991 Spivey and has been met with standing ovations in International Harpsichord Competition, com - Madrid (Royal Theatre), Bordeaux (Grand peting against over 70 harpsichordists from Théàtre de l’Opéra), Lisbon, Metz, Europe, Israel, the United States, and the Birmingham, and Bregenz. Soviet Union. Apollo’s Fire has also toured throughout Ms. Sorrell founded Apollo’s Fire in 1992 . North America, appearing at the Aspen Music Since then, she and the ensemble have built Festival, the Boston Early Music Festival, the one of the largest audiences of any Baroque Library of Congress, the Tropical Baroque orchestra in North America. She has led Festival in Miami, the Ojai Music Festival in Apollo’s Fire in sold-out concerts at London’s California, and major venues in Boston, Wigmore Hall, Madrid’s Royal Theatre Toronto, Los Angeles, and the San Francisco (Teatro Real), the Grand Théâtre de l’Opéra in Bay Area. The ensemble performed an eleven- Bordeaux, Boston’s Early Music Festival, and concert tour of Monteverdi’s Vespers in 2010 the Aspen Music Festival, among others. and a nine-concert tour of Bach’s Ms. Sorrell made her début with the “Brandenburg” Concertos in 2013. Apollo’s Pittsburgh Symphony in 2013 as conductor Fire is currently signed to Columbia Artists and soloist in the complete “Brandenburg” Management for exclusive representation in Concertos. She has also appeared as conduc - North and South America, and is managed in tor or conductor or soloist with the Los Europe by Intermusica. Angeles Chamber Orchestra, Seattle At home in Cleveland, Apollo’s Fire enjoys Symphony, the Opera Theatre of St. Louis sold-out performances at its subscription with the St. Louis Symphony, Handel and
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Haydn Society (Boston), the Omaha Recent notable engagements include per - Symphony, Grand Rapids Symphony, Arizona formances with the Folger Consort, the Opera, and has appeared with the Cleveland Washington Bach Consort, the Cathedral Orchestra as guest keyboard artist. Upcoming Choral Society, the Evolution Contemporary engagements include a début with New World Music Series, and the Mark Morris Dance Symphony in Miami and a return engagement Group. Ms. Dubenion-Smith is also the co- with the Pittsburgh Symphony. founder of the award-winning Medieval en - In addition t o 20 CDs with Apollo’s Fire, semble Eya, based in Washington, D.C., as Ms. Sorrell has released four discs of Mozart well as serving as cantor at the Washington and a recording of Handel’s Messiah . Ms. Sorrell National Cathedral. Originally from has attracted national attention and awards for Michigan, Ms. Dubenion-Smith graduated creative programming. She holds an honorary from Alma College before moving to doctorate from Case Western University, two Baltimore to complete her studies in voice at special awards from the National Endowment the Peabody Institute. for the Arts for her work on early American music, and an award from the American Oliver Mercer (tenor )’s recent opera roles in - Musicological Society. Passionate about clude Eurimaco in Monteverdi’s L’incoronazione guiding the next generation of performers, di Poppea with Iford Festival Arts, conducted by Ms. Sorrell has led many Baroque projects for Christian Curnyn, Acis in Handel’s Acis and students at Oberlin Conservatory. Galatea with Mid Wales Opera, and Don Pelagio in Haydn’s La Canterina with Bampton GuEST ARTISTS Classical Opera. The works of Monteverdi have continually played a large part in his repertoire. Jesse Blumberg (baritone ) is equally at home He received critical acclaim for performances of on opera, concert, and recital stages, having the title role in L’Orfeo for Opera Theater performed roles at Minnesota Opera, Company Ireland and Silent Opera, London, Pittsburgh Opera, Boston Early Music Festival, multiple performances of Vespro della beata vir - Boston Lyric Opera, and at London’s Royal gine , as well as performances of excerpts from Festival Hall. He has made concert appearances the books of madrigals. Future Monteverdi proj - with American Bach Soloists, Boston Baroque, ects include a production of L’Orfeo with Oratorio Society of New York, TENET/ English National Opera in spring 2015 . Early Green Mountain Project, Pacific MusicWorks, French repertoire is also an area of specialty, Apollo’s Fire, and on Lincoln Center’s with past performances of operas by American Songbook series. Mr. Blumberg has Charpentier, Rameau, and Gretry. A frequent performed recitals with the New York Festival guest artist with Apollo’s Fire, Mr. Mercer is an of Song, Marilyn Horne Foundation, and the active concert soloist, specializing in the works Mirror Visions Ensemble. His 2014–2015 of Handel, Mozart, and Bach. se ason includes a European tour with the Boston Early Music Festival and débuts Molly quinn (soprano ) has captivated audi - with Hawaii Opera Theatre and Atlanta Opera. ences in repertoire ranging from Monteverdi Mr. Blumberg is also the founder and artistic to the Rolling Stones. As a member of New director of Five Boroughs Music Festival, which York’s TENET, Ms. Quinn has been featured brings chamber music of many genres to every in many acclaimed projects, including corner of New York City. UNO+ONE: Italia Nostra (Avie Records). She is a soloist on Trinity Wall Street Choir and Kristen dubenion-Smith (mezzo-soprano ) Trinity Baroque Orchestra’s 2013 Grammy enjoys an active performing career in orato - Award-nominated recording of Handel’s Israel rio, opera and sacred vocal chamber music, in Egypt (Musica Omnia) and has appeared particularly specializing in music of the with the ensemble in London, Moscow, Medieval, Renaissance, and Baroque eras. Paris, Carnegie Hall, and Alice Tully Hall. In
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2012, she also sang backup for rock legends Mr. Sulayman recently completed three sea - the Rolling Stones. Recently, she has appeared sons at the Marlboro Music Festival and en - with the Clarion Music Society, Connecticut gagements at Lincoln Center, the Kennedy Early Music Festival, the Folger Consort, the Center, Carnegie Hall, New York City Opera, Mostly Mozart Festival, and with conductor Boston Lyric Opera, Chicago Opera Theater, Joshua Rifkin. Ms. Quinn was a 2013 season Cité de la Musique, the Casals Festival, Aspen Virginia Best Adams Fellow at the Carmel Music Festival, and the International Bach Bach Festival. She attended the University of Festival. His discography includes the title role Cincinnati-College Conservatory of Music. in Handel’s Acis and Galatea , and two releases for Naxos in works of Philidor and Grétry, as Of Uruguayan-American descent, nell well as forthcoming releases on the Avie and Snaidas (soprano ) is recognized for her spe - Furious Artisans labels. Mr. Sulayman’s musi - cialization in historical performance practice, cal education began with violin studies at age in particular the repertoire of Italy and Spain. three, followed by years as a boy alto soloist, She began her career singing in zarzuelas in which included performances with the New York City’s Repertorio Español. Favorite Chicago Symphony Orchestra under Sir projects include her many appearances with Georg Solti and the St. Louis Symphony under the Boston Early Music Festival, singing with Leonard Slatkin. He holds degrees from the the Los Angeles Philharmonic at the Holly wood Eastman School of Music and Rice University, Bowl, recording the movie-soundtrack of The and he also studied improvisation at the Producers with Mel Brooks in the booth, and Second City Training Center in Chicago. co-directing and creating Sephardic Journey with conductor Jeannette Sorrell for Apollo’s Jonathan woody (bass-baritone ) is a sought- Fire. Ms. Snaidas was featured on CBC radio after performer of early and new music in as one of the leading interpreters of Spanish New York and nationwide. Equally comfort - Renaissance-Sephardic song and has recorded able as soloist and ensemble member, for Sony Classical, Sono Luminus, Koch Mr. Woody is a member of the Grammy- International, and Naxos. In addition to serv - nominated Choir of Trinity Wall Street, where ing as Spanish and Latin American language he has been featured in performances of coach to many of the leading early music en - works by Handel and Bach. He performs reg - sembles in the United States, Ms. Snaidas is the ularly across the United States; recent engage - co-Artistic Director of GEMAS, a new concert ments include the Oregon Bach Festival Vocal series devoted to early music of the Americas. Fellowship, the Carmel Bach Festival Virginia Her latest recording, The Kingdoms of Castille , Best Adams Fellowship, and performances was nominated for Grammy in 2012 . She is with the Green Mountain Project, the Clarion also one of a few number of early music per - Music Society, Antioch Chamber Ensemble, formers to currently serve on the board of di - TENET, Signal Ensemble, the Prototype rectors of Early Music America. Festival, Brooklyn Baroque, and Gotham Chamber Opera. Mr. Woody has recorded With a vast repertoire that spans from the with the Choir of Trinity Wall Street under the Renaissance to contemporary music, Karim Musica Omnia label, most recently being fea - Sulayman (tenor ) has firmly established him - tured on the première recording of Ralf Yusuf self as a sophisticated and versatile artist. This Gawlick’s Missa Gentis Humanæ for eight season he will début and record the role of voices. Upcoming engagements include per - Eurillo in Scarlatti’s Gli equivoci nel sembiante formances with BAM’s Next Wave Festival, with Haymarket Opera, perform Messiah with Bach Collegium San Diego, Handel and Atlanta Baroque Orchestra, and return to Haydn Society, and Nashville Symphony, and Apollo’s Fire for multiple engagements. touring with Pegasus Early Music.
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