Orchestre Révolutionnaire et Romantique

John Eliot Gardiner Conductor

National Youth Choir of Scotland Christopher Bell / Artistic Director

Michael Spyres / Ashley Riches / Bass-Baritone Simon Callow / Narrator

Friday Evening, October 12, 2018 at 8:00 Hill Auditorium Ann Arbor

Sixth Performance of the 140th Annual Season 140th Annual Choral Union Series This evening’s performance is supported by the Ilene H. Forsyth Choral Union Endowment Fund.

Media partnership provided by WGTE 91.3 FM and Between the Lines.

The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer.

Special thanks to Joel Howell and JooHee Suh for their participation in events surrounding this evening’s performance.

Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance.

Orchestre Révolutionnaire et Romantique appears by arrangement with Opus 3 Artists.

Mr. Spyres appears by arrangement with Helmut Fischer.

Mr. Callow appears by arrangement with Dalzell and Beresford Ltd.

Mr. Riches appears by arrangement with Askonas Holt, Ltd.

In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance.

The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Hector Berlioz Symphonie fantastique, Op. 14

Rêveries, Passions (Dreams, Passions) Un Bal (A Ball) Scène aux champs (Scene in the Country) Marche au supplice (March to the Scaffold) Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath)

Intermission

Berlioz Lélio, ou Le retour à la vie, Op.14b

Le Pêcheur (The Fisherman) Choeur d’ombres (Chorus of Shades) Chanson de brigands (Brigands’ Song) Chant de bonheur (Song of Happiness) La Harpe éolienne — Souvenirs (The Aeolian Harp — Memories) Fantaisie sur la Tempête de Shakespeare (Fantasy on Shakespeare’s The Tempest)

Mr. Spyres, Mr. Riches, Mr. Callow, National Youth Choir of Scotland

3 NOW THAT YOU'RE IN YOUR SEAT...

Berlioz called Lélio or The Return to Life a “supplement” and “conclusion” to the Symphonie fantastique and insisted that the two works should be performed together. Yet while the Fantastique has become Berlioz’s most popular work and a staple of the repertoire, Lélio is hardly ever heard these days. This “sequel” has long puzzled commentators who weren’t sure what to make of this loose assemblage of six movements, which required a narrator reciting long, hyper- Romantic monologues, plus an orchestra and a chorus, two pianists, and two vocal soloists. (Berlioz actually suggested that the two tenor arias should be sung by two different singers, which mean that there would be three soloists, although he himself did not follow that practice). Yet these huge forces are never used all at the same time; the first movement is actually a song for voice and piano! And even though the famous idée fixe of the Symphonie fantastique does occasionally appear in the 1855 revision of Lélio, is that sufficient to connect the symphony to the “lyric monodrama” (or mélologue, as Berlioz initially called it, borrowing the term from Irish poet Thomas Moore)? The real connection between the two works lies in the fact that in Lélio, we get to know the Artist — the symphony’s protagonist — in person. It is this “supplement and conclusion” that forces us to take the revolutionary innovation of the Fantastique — its extra-musical program — entirely seriously. What we are dealing with here is no longer simply a vividly illustrated story about an artist who is desperately in love and has visions, in turn tender and terrifying, about his beloved. Rather, we hear from the artist directly, and there is no doubt that he is a dramatized version of Berlioz himself: some passages in the monologues appear verbatim in Berlioz’s private correspondence. After experiencing the horrors of the scaffold and the witches’ sabbath, the artist needs to “return to life” precisely in order to devote himself to his art, and the last movement, the “Tempest” fantasy, is presented as the fruit of his labors. Berlioz effectively blurred the line between “art” and “life”: the narration mixes lyrical meditation with the composer’s critical thoughts about Shakespeare and his critics, and even with instructions and feedback given to the musicians (a nod to Hamlet, who figures prominently in the monologues as Berlioz’s alter ego.)

4 SYMPHONIE FANTASTIQUE, OP. 14 "EPISODE IN THE LIFE OF AN ARTIST" (1830)

Hector Berlioz Born December 11, 1803 in La Côte-Saint-André, France Died March 8, 1869 in Paris

UMS premiere: Detroit Symphony Orchestra conducted by Rudolf Siegel; January 1932 in Hill Auditorium.

Snapshots of History…In 1830: · Barthélemy Thimonnier is granted a patent for a sewing machine in France · The Book of Mormon is published in New York · The US Congress passes the Indian Removal Act, authorizing the President to negotiate with Native Americans in the US for their removal from their ancestral homelands

1830 was an extraordinary year in shortly before the July Revolution, the political and cultural history of clearly exudes the revolutionary spirit France. On February 25, the Comédie- of the time. Française premiered Hernani by the Berlioz claimed to “take up music 28-year-old Victor Hugo, a drama that where Beethoven had left it off.” The openly challenged the conventions Fantastique is certainly indebted of classical drama, and it came to Beethoven’s Sixth Symphony to an outright battle between the (“Pastorale”), in which a fifth conservatives and the defenders movement had been added to the of the new work. Then, in July, usual four and each movement had a the fighting hit the streets as the programmatic title. But Berlioz took revolution broke out. The Bourbon the idea of program music much dynasty, overthrown in the Great further than Beethoven had done. Revolution of 1789 but restored to In addition to providing titles for power in 1815, was finally ousted for the symphony as a whole (“Episode good, and Louis-Philippe, the “Citizen from the Life of an Artist”) and its King,” assumed the throne to preside individual movements, Berlioz wrote over an era of modernization. On an extensive literary program that he December 5, Berlioz’s Symphonie insisted should be distributed to the fantastique was performed for the audience in the concert hall. first time at the Conservatoire. The premiere was somewhat overshadowed by the political events, but the 27-year-old Berlioz’s first large orchestral work, written in the wake of the Hernani scandal and

5 EPISODE IN THE LIFE OF AN ARTIST

In the first edition of 1845, the the beginning of the firstallegro program read as follows: constantly recurs in every movement of the symphony. The transition The composer’s intention has from a state of dreamy melancholy, been to treat of various states interrupted by several fits of aimless in the life of an artist, insofar as joy, to one of delirious passion, with they have musical quality. Since its impulses of rage and jealousy, its this instrumental drama lacks the returning moments of tenderness, its assistance of words, an advance tears, and its religious solace, is the explication of its plan is necessary. subject of the first movement. The following program, therefore, should be thought of as if it were the Second Movement: A Ball spoken text of an opera, serving to The artist is placed in the most varied introduce the musical movements circumstances: amid the hubbub of and to explain their character and a carnival, in peaceful contemplation expression. of the beauty of nature — but everywhere, in town, in the meadows, First Movement: Daydreams, Passions the beloved vision appears before The composer imagines that a young him, bringing trouble to his soul. musician, troubled by that spiritual sickness which a famous writer* Third Movement: Scene in the Country has called “le vague des passions,” One evening in the country, he hears sees for the first time a woman who in the distance two shepherds playing possesses all the charms of the ideal the ranz des vaches**; this pastoral being he has dreamed of, and falls duet, the effect of his surroundings, desperately in love with her. By some the slight rustle of the trees gently strange trick of fancy, the beloved stirred by the wind, certain feelings vision never appears to the artist’s of hope which he has been recently mind except in association with a entertaining — all combine to bring musical idea, in which he perceives an unfamiliar peace to his heart, and the same character — impassioned, a more cheerful color to his thoughts. yet refined and diffident — that he He thinks of his loneliness; he hopes attributes to the object of his love. soon to be alone no longer... But This melodic image and its model suppose she deceives him!... This pursue him unceasingly like a double mixture of hope and fear, these idée fixe. That is why the tune at thoughts of happiness disturbed by

*The “famous writer” is François-René Chateaubriand (1768–1848), whose René was widely read at the time. In this book, Chateaubriand defined “the vagueness of passion” as an emotional state that “precedes the development of great passions, when all the faculties, young, lively, and whole, but closed, have only acted on themselves, without aim and without object.” **The ranz des vaches is “a type of Swiss mountain melody played on the alphorn by herdsmen to summon their cows.” (Harvard Dictionary of Music)

6 dark forebodings, form the subject the sabbath... A roar of joy greets her of the adagio. At the end, one of arrival... She mingles with the devilish the shepherds again takes up orgy... Funeral knell, ludicrous parody the ranz des vaches; the other no of the “Dies irae,” sabbath dance. The longer answers... Sounds of distant sabbath dance and the “Dies irae” in thunder... solitude... silence... combination.

Fourth Movement: March to the Scaffold The artist, now knowing beyond doubt that his love is not returned, poisons himself with opium. The dose of the narcotic, too weak to take his life, plunges him into a sleep accompanied by the most terrible visions. He dreams that he has killed the woman he loved, and that he is condemned to death, brought to the scaffold, and witnesses his own execution. The procession is accompanied by a march that is sometimes fierce and somber, sometimes stately and brilliant; loud crashes are followed abruptly by the dull thud of heavy footfalls. At the end of the march, the first four bars of the idée fixe recur like a last thought of love interrupted by the fatal stroke.

Fifth Movement: Dream of a Witches’ Sabbath He sees himself at the witches’ sabbath, in the midst of a ghastly crowd of spirits, sorcerers, and monsters of every kind, assembled for his funeral. Strange noises, groans, bursts of laughter, far-off shouts to which other shouts seem to reply. The beloved tune appears once more, but it has lost its character of refinement and diffidence; it has become nothing but a common dance tune, trivial and grotesque: it is she who has come to

7 Anyone having read this program is come from Berlioz’s unfinished opera likely to remember the witches, the Les Francs-Juges (The Self-Appointed execution, and the ball, but it is easy Judges, 1826), a tale about a band of to forget the very first sentence, vigilantes in medieval Germany (we according to which these figures have only indirect knowledge of this and events are represented “insofar connection since the march does as they have musical quality” (dans not survive in its original form). Some ce qu’elles ont de musical). In other critics have argued that the presence words, the program isn’t entirely of these self-borrowings diminishes “extra-musical,” since it depends the relevance of the program (after upon musical types such as dance, all, some of the music was originally march, or plainchant, endowing them composed with other ideas in mind), with concrete meanings. Music and but in reality, the program and the program are strongly interdependent: new context effectively change the the musical style of the symphony, with meaning of these borrowed themes its many unusual features, would hardly which fit in perfectly with the newly make sense without the program, but composed materials. the program itself is full of musical To start at the beginning — references. the slow introduction to the first Some of the dreams described movement — there is so much more in the program were undoubtedly to it than that tune taken from a Berlioz’s own (and we know that he childhood essay. It contains some had tried opium shortly before writing highly agitated passages where the the symphony). There was a woman conventional melody is suddenly in real life who seemed to him to swept away by utterly new sounds. “possess all the charms of the ideal The allegro agitato has been said to being”; this idée fixe was named Harriet be a fairly regular sonata movement; Smithson, an Irish-born actress playing yet the exposition is extremely brief Shakespearean roles in an English and consists merely of the first company in Paris. Berlioz fell madly in appearance of the idée fixe, followed love with Smithson after seeing her on by what could be described as stage just once, and his passion was transition material (containing some burning for several years even though truly hair-raising modulations). The he had never met her in person. development section is interrupted The Symphonie fantastique by a passage in which all thematic reflects Berlioz’s intense feelings relationships are suspended: all we at the time of his infatuation with hear is ascending and descending Harriet Smithson; yet some of the chromatic scales in the strings, work’s themes came from earlier with frightening interjections from compositions. The tune of the woodwinds and horns. Then, a three- opening largo was taken from a song measure general rest follows, after of Berlioz’s adolescence, and parts of which all the rules of the sonata form the idée fixe may be found in an early are thrown overboard. It is at this cantata. Most importantly, the fourth- point that we hear the only complete movement march seems to have recapitulation of the idée fixe (but not

8 in the home key), followed by more the oboe. The meadow scene has a development, including a wonderful symmetrical structure; after the idée counterpoint to the idée fixe played by fixe, the main theme returns, followed the solo oboe (we are told that it was by a coda in which we hear the ranz a compositional afterthought). The des vaches again. idée fixe, in varied form, is soon taken The fourth movement, “March to up by the whole orchestra, but by this the Scaffold,” is one of the wonders time we are clearly in the coda of the of orchestration, with effects such movement. The first segment of the as the pizzicatos (plucked strings) of idée fixe and a series of C-Major and the divided double basses and the F-Major chords end the movement, innovative tremolos of the timpani. The to be played, according to Berlioz’s movement’s first idea is a seven-note instructions, “as soft as possible.” descending scale figure superimposed The second movement (“A Ball”) on a six-note rhythmic pattern. had originally stood in third place, Because of this discrepancy, the but Berlioz soon reversed the two music never repeats itself exactly. The movements, so that a central slow second idea is a regular march theme movement is now flanked by a dominated by the distinctive sonority dance and a march. The ball scene of the brass, especially the trombones starts with a transition from the first and ophicleide (the ancestor of the movement’s C Major to A Major, the tuba Berlioz used). At the end of this key of the waltz that follows. The movement, the solo clarinet intones dance is twice interrupted by the idée the idée fixe, as the artist’s last thought fixe that appears in foreign keys to before the guillotine comes down on “disturb the artist’s peace of mind.” him with a fatal blow. The ranz des vaches that opens It is perhaps in the last movement the third movement (“Scene in the that Berlioz went the farthest in his Country”) is a dialogue between innovations of both sound and musical the English horn and the oboe (the form. The slow introduction to this latter positioned, according to the movement with its special uses of instructions, behind the scene). It is percussion and novel wind effects not an actual quote from an alpine creates an eerie suspense, into which folksong; yet Robert Schumann found bursts a cruel parody of the idée fixe, it so convincing that he wrote in first scored for C clarinet, and then for his famous review of the symphony: the shrill-sounding small E-flat clarinet. “Just wander about the Alps and other It is the image of the artist’s beloved shepherds’ haunts and listen to the turned into a witch and showing up at shawms and alphorns; that’s exactly the sabbath! The “devilish orgy” begins the way they sound.” The movement’s with the Gregorian melody of the “Dies main theme is introduced by the irae,” the sequence from the Mass of flute and the first violins (the same the Dead, presented in slow notes by combination that played the idée fixe the bassoons and tubas, repeated in a for the first time!) and brought to a faster tempo by the horns, and finally climax by the full orchestra. The idée transformed into a dance tune by the fixe is then heard again in the flute and woodwind. The witches begin a round

9 dance which is eventually combined with the “Dies irae” and brings the symphony to a truly blood-curdling close. Many listeners in the 1830s were completely taken aback by the novelties of Berlioz’s symphony. The musicologist François-Joseph Fétis wrote a scathing review, but even as great a musician as Mendelssohn found it “utterly loathsome” and depressing, even though he had met Berlioz and found him a thoroughly likable person. It is all the more surprising that Schumann devoted one of the longest and most analytical of his critical essays to the Fantastique. Schumann had not heard the piece and knew it only from Liszt’s published piano transcription. His admiring review, written in response to Fétis’s attack and published in 1835, went a long way toward making the French composer’s name known in German musical circles and toward launching Berlioz’s international career.

10 LÉLIO, OU LE RETOUR À LA VIE, OP.14B (THE RETURN TO LIFE) (1831, REV. 1855)

Berlioz

UMS premiere: This piece has never been performed on a UMS concert.

Snapshots of History…In 1885: · Michigan State University is established · The Panama Railway becomes the first railroad to connect the Atlantic and Pacific Oceans · Walt Whitman’s Leaves of Grass is published

By the time the Symphonie fantastique music was recycled, with revisions, was premiered, Berlioz was engaged, from earlier compositions. Yet their though not to Harriet Smithson, who juxtaposition, with the newly added refused to have anything to do with connecting recitation, unifies these him at that point. His new idée fixe disparate movements in an original was named Camille Moke, a 19-year- sequence, consisting of a ballad old piano virtuoso. But Berlioz had about a mysterious encounter; a had the bad luck of winning the spooky evocation of ghosts; a forceful Prize, which required him to expression of coarse masculinity; leave Paris and reside at the Villa an outpouring of romantic love; a Medici in the Eternal City. (In one of brief moment of introspection — all his letters, he referred to this sojourn followed by the concluding Big Work, as an “exile.”) It was there that he once again inspired by Shakespeare: received the letter in which Camille the Fantasy on The Tempest. (The (or, rather, her mother) broke off original title of the entire piece was the engagement; the young woman simply Le retour à la vie [The Return was to marry the wealthy piano to Life]; the name “Lélio,” taken manufacturer Camille Pleyel. The story from a novel by George Sand, was of how Berlioz left Rome in a fury, not added until 1855, when the work ready to murder both Camilles, has was published, following a repeat been told frequently. Abandoning his performance under Liszt in Weimar.) savage plans halfway through the long According to Berlioz’s instructions in trip to Paris, the composer channeled the score, the orchestra, chorus, and his feelings into his art instead, just soloists are supposed to be hidden, as “Lélio” did, and composed an with only the actor-reciter standing overture after Shakespeare’s King onstage; but the work was never Lear before embarking on what performed that way, not even during eventually became The Return to the composer’s lifetime. Life. It would not be entirely correct If Shakespeare was one of Berlioz’s to say that he wrote this work during greatest heroes, the other was the summer of 1831, because all the Goethe. (It is no coincidence that two

11 of Berlioz’s greatest works from the to the soldiers and students in The 1830s and 1840s, Roméo et Juliette Damnation of Faust as well. The rough and , would pleasures of a swashbuckling life pay tribute to these two giants.) So are rendered musically by powerful it is fitting thatLélio should begin — rhythms, harmonies that refuse to after the opening narration — with bend to the rules, and a group of the setting of a Goethe ballad (in a high-energy male voices. French version by Albert du Boys, Two gentle lyrical movements disguised in the monologues as follow, adapted from Berlioz’s Hamlet’s friend Horatio). Surprisingly, cantata La Mort d’Orphée (1827). the ballad — “The Fisherman” — is In “Song of Happiness,” for tenor scored for tenor voice and piano solo (“the imaginary voice of Lélio,” alone (at one point, the first violins Berlioz noted), it is once again the enter with the idée fixe from the orchestration that demands our Fantastique). Even though Berlioz attention. The harp and the English chose not to orchestrate the song, horn play prominent solos against the style of the music is rather the lush sound of the strings, divided theatrical: the vocal line, with its into 10 parts instead of the usual four. many high notes and elaborate To lighten up the sonority, Berlioz melismas (groups of notes sung omitted the double basses here. to the same syllable), is definitely The brief “Aeolian Harp” movement operatic, and the final words (“he that comes next echoes the melody disappears”), almost whispered, of the “Song of Happiness,” as a create a powerful dramatic effect. distant memory of that bliss. The (Compare the chamber-like intimacy aeolian harp, an instrument whose of Schubert’s Der Fischer, a setting of strings vibrate in the wind, played the same poem.) an important role in the Romantic The texts for the remaining imagination, carrying associations musical movements, like those of the of love as in a famous poem by monologues, are by Berlioz himself. Samuel T. Coleridge that Berlioz may The “Chorus of Shades” came have known in the French translation from Berlioz’s Mort de Cléopâtre, a by Charles-Augustin Sainte-Beuve. cantata written for the Rome Prize in The main event of Lélio, the work 1829. This gloomy chorus abounds for which the artist has returned in startling harmonies and its to life, is his musical response orchestration, with soft brass chords, to Shakespeare’s Tempest, an plucked strings, and eerie percussion adaptation of an earlier “Ouverture” sounds, was as radically modern as on the same subject. Unsurprisingly any music written at the time. in the present context, the movement The “brigands” of the third is essentially a paean to Miranda movement (which may be based on and her pure love by a chorus of an earlier “Pirate Song,” now lost) “airy spirits” (without bass voices) seem to be related to the men we will to a luminous accompaniment by encounter in the (purely instrumental) piccolo, flutes, and a piano duet finale ofHarold in Italy, and perhaps playing in a high register. Perhaps

12 to underscore the switch from brief, overshadowed the Symphonie introductory character sketches fantastique in terms of critical to the actual work, the language response. There was an abundance changes from French to Italian here, of positive reviews in the papers, and a choice also influenced by Berlioz’s it was this concert that definitively sojourn in Rome. (Berlioz’s Italian, established Berlioz as a composer to by the way, was rather rudimentary). be reckoned with. Caliban’s dark shadow is evoked as In the audience that night was Ariel’s airy passages alternate with Harriet Smithson, for whom Berlioz more “earthy,” and occasionally had reserved a box seat. As the menacing, sections. The movement composer related in his Memoirs, ends with extended, ecstatic fanfares when Smithson realized that she was celebrating Miranda’s wedding to the “Juliet” and “Ophelia” the narrator the (unnamed) Ferdinand, but this is was speaking about, she finally by no means the conclusion of the agreed to meet the composer face entire work. After the joyous sounds to face. Less than a year later, they die down, the Artist dismisses the were married; their only son, Louis, musicians to be left alone with his was born in August 1834. Unhappy reveries as the violins play the idée ever after, they separated in 1843. fixe motif one last time. Smithson died in 1854, a year before When The Return to Life received its Lélio was published with a dedication premiere at the Paris Conservatoire to Louis Berlioz. on December 9, 1832, it actually Program notes by Peter Laki.

13 TEXTS AND TRANSLATIONS

I. Le Pêcheur I. The Fisherman

L’onde frémit, l’onde The waves are trembling, the waves s’agite, are stirring, Au bord est un jeune pêcheur. A young fisherman is on the shore; De ce beau lac le charme excite The charm of this beautiful lake Dans l’âme une molle langueur. Arouses a soft languor in his soul. A peine il voit, à peine il guide He barely sees, he barely guides Sa ligne errante sur les flots, His errant rod on the ripples. Tout à coup sur le lac limpide Suddenly from the limpid lake S’élève la nymphe des eaux. the water nymph emerges.

Elle lui dit: Vois la lumière She spoke to him: “See the light Descendre dans mes flots d’azur, As it descends into my azure waves, Vois dans mes flots Phœbé se plaire See how Phoebe enjoys herself here Et briller d’un éclat plus pur! And shines with the purest glow! Vois comme le ciel sans nuage See how the cloudless sky Dans les vagues paraît Appears even more beautiful among plus beau! the waves! Vois enfin, vois ta propre image See your own image Qui te sourit du fond Smiling at you from the bottom of the de l’eau! water!”

L’onde frémit, l’onde The waves are trembling, the waves s’agite, are stirring, Vient mouiller les pieds du pêcheur. They wet the fisherman’s feet. Il entend la voix qui l’invite, He hears the voice inviting him, Il cède à son charme trompeur. He yields to its deceitful charm. Elle disait d’une voix tendre, She spoke in a tender voice, D’une voix tendre elle chantait. In a tender voice she sang. Sans le vouloir, Without wanting it, without defending sans se défendre, himself, Il suit la nymphe, il disparaît. He follows the nymph, and disappears.

Text: Albert du Boys, after Johann Wolfgang von Goethe

14 II. Chœur d’ombres II. Chorus of Shades

Froid de la mort, nuit de la tombe, Coldness of death, night of the grave, Bruit éternel des pas du temps, Eternal stomping of the steps of time, Noir chaos où l’espoir succombe, Black chaos where hope succumbs, Quand donc finirez-vous? When, o when will you end? You, the Vivants! living! Toujours, toujours la mort vorace Voracious death will always Fait de vous un nouveau festin, Make a new feast of you, Sans que sur la terre on se lasse And the earth will never tire De donner pâture à sa faim. Of feeding its hunger.

Text: Hector Berlioz

III. Chanson de brigands III. Brigands’ Song

J’aurais cent ans à vivre encore, Even if I had a hundred years to live, Cent ans et plus, riche et content, A hundred and more, rich and happy, J’aimerais mieux être brigand I would rather be a brigand Que pape ou roi que Than a Pope or a King whom one l’on adore. adores. Franchissons rochers et torrents! Let’s go over rocks and torrents! Ce jour est un jour de largesses, This is a day of generosity! Nous allons boire à nos maîtresses We shall drink to our mistresses Dans le crâne de leurs amants. From the skulls of their lovers!

Allons, ces belles éplorées Why, these beautiful weepers Demandent des consolateurs, Need someone to console them: En pleurs d’amour changeons ces Let’s turn their tears into tears of love, pleurs, Let’s form some happy unions! Formons de joyeux hyménées! Everyone should go to confession A la montagne, au vieux couvent On the mountain, at the old Chacun doit aller à confesse monastery, Avant de boire à sa maîtresse Before drinking to their mistresses Dans le crâne de son amant. From the skulls of their lovers!

Zora ne voulait pas survivre Zora did not want to outlive A son brave et beau défenseur. Her brave and handsome protector. “Le Prince est mort, percez mon “The Prince is dead, pierce my cœur! heart! Au tombeau laissez-moi le suivre!” Let me follow him to the grave!” Nous l’emportons au roc ardent! We will take her to the ardent rock, Le lendemain, folle d’ivresse, The next day, mad with ecstasy, Elle avait noyé sa tristesse She has drowned her sorrows Dans le crâne de son amant. In the skull of her lover!

15 Fidèles et tendres colombes, You faithful and tender little doves, Vos chevaliers sont morts. Eh bien! Your knights are dead—ah well! Mourir pour vous fut leur destin. It was their fate to die for you, D’un pied léger foulez leur tombes! Trample their graves with a light foot! Pour vous plus de tristes moments! No more sad moments for you! Gloire au hasard qui nous Glory to the stroke of luck that rassemble! brought us together! Oui, oui, nous allons boire ensemble Yes, yes, we are going to drink Dans le crâne de vos amants. From the skulls of your lovers!

Quittons la campagne! Let’s leave the countryside! Le vieil ermite nous attend. The old hermit is waiting. Au couvent! To the monastery! Capitaine, nous te suivons, Captain, we follow you. Nous sommes prêts. We are ready. Allons à la montagne! Let’s go to the mountains!

Text: Hector Berlioz

IV. Chant de bonheur IV. Song of Happiness

Ô mon bonheur, ma vie, mon être tout O my joy, my life, my whole being, entier, mon Dieu, mon univers! my God, my universe! Est-il auprès de toi quelque bien que Is it some happiness at your side that j’envie? I desire? Je te vois, tu souris, I see you, you smile, les cieux me sont ouverts! the skies are open to me!

L’ivresse de l’amour pour nous est For us, love’s passion is trop brûlante, too intense, Ce tendre abattement est plus this tender drowsiness brings more délicieux. delight. Repose dans mes bras, repose cette Rest in my arms, rest your charming tête charmante. head. Viens! Viens! Ô ma rêveuse amante, Come, come, my dreamy love, sur mon cœur éperdu, viens clore tes to my anxious heart. Come, close your beaux yeux! lovely eyes.

16 VI. Fantaisie sur la Tempête de VI. Fantasy on Shakespeare’s The Shakespeare Tempest

Miranda! Miranda! Miranda! Miranda! Vien chi t’è destinato sposo, Your betrothed is coming, conoscerai l’amore. you shall know love. D’un novello viver The dawn of a new life l’aurora va spuntando per te. will break for you. Miranda, addio! Miranda, farewell!

Miranda, è desso, è tuo sposo, Miranda! It is him, your fiancé. sii felice! Be happy!

Caliban, orrido mostro, Caliban, horrid monster, temi lo sdegno d’Ariello! fear Ariel’s wrath!

O Miranda, ei t’adduce, Oh, Miranda, he is taking you away, tu parti, o Miranda, you are leaving, oh Miranda, non ti vedrem ormai we shall never see you again delle piaggie dell’aura nostra sede, on the shores of our golden country, noi cercarem invano we shall look in vain lo splendente e dolce fiore for the resplendent, sweet flower che sulla terra miravan. that was so admired on earth. Addio, Miranda! Farewell, Miranda!

Text: Hector Berlioz

Translations by Peter Laki.

17 ARTISTS

Sir (conductor) Maestro Gardiner’s book, Music in the is founder and artistic director of Castle of Heaven: A Portrait of Johann the Monteverdi Choir (MC), English Sebastian Bach, was published in October Baroque Soloists (EBS), and Orchestre 2013 by Allen Lane, leading to the Prix des Révolutionnaire et Romantique (ORR), and Muses award (Singer-Polignac). Among a key figure both in the early music revival numerous awards in recognition of his and as a pioneer of historically informed work, including the Concertgebouw Prize performances. He is a regular guest of the in 2016, Maestro Gardiner holds several world’s leading symphony orchestras and honorary doctorates and was awarded a conducts repertoire from the 17th to the knighthood for his services to music in the 20th century. 1998 Queen’s Birthday Honours List. The extent of Maestro Gardiner’s Maestro Gardiner and the Monteverdi repertoire is illustrated in the extensive ensembles recently celebrated the catalogue of award-winning recordings 450th anniversary of Monteverdi’s birth with his own ensembles and leading with staged performances of his three orchestras. Since 2005 the Monteverdi surviving operas across Europe and in the ensembles have recorded on their US. Recordings in 2017 included two Bach independent label, Soli Deo Gloria, releases with Soli Deo Gloria: Magnificat in established to release the live recordings E-Flat and St. Matthew Passion, along with made during Maestro Gardiner’s Bach a Symphony Orchestra recording Cantata Pilgrimage in 2000. His many of Mendelssohn’s Symphony No. 2. recording accolades include two Grammy Awards and he has received more Founded in 1989 by Sir John Eliot Gramophone Awards than any other living Gardiner, the Orchestre Révolutionnaire artist. et Romantique (ORR) aims to bring the Maestro Gardiner has also conducted stylistic fidelity and intensity of expression opera productions at of the renowned English Baroque Soloists House, Covent Garden; at the Vienna State to the music of the 19th and early-20th Opera; and at Teatro alla Scala, . centuries. From 1983–1988 he was artistic director of From its inception, the ORR has won Opéra de Lyon, where he founded its new plaudits internationally, notably for its orchestra. Following the success in 2008 interpretation of the works of Beethoven, of Verdi’s Simon Boccanegra at the Royal which it performed extensively and Opera House, Maestro Gardiner returned recorded for Deutsche Grammophon in there in 2012 to conduct Verdi’s , the 1990s. The Orchestra has recently and in 2013 Mozart’s Le nozze di Figaro, returned to this repertoire with successful to coincide with the 40th anniversary tours of Beethoven symphonies and Missa since his (ROH) debut. Solemnis in Europe and the US, including In 2015, he returned to ROH to conduct a live recording of Missa Solemnis by the Gluck’s Orphée et Eurydice, with the MC company’s own record label, Soli Deo and EBS, co-directed by Hofesh Shechter Gloria. and John Fulljames. The Orchestra has also been acclaimed An authority on the music of J. S. Bach, for its interpretations of all the major early

18 Romantic composers, starting with Hector concert pianist Kristian Bezuidenhout. In Berlioz. The Orchestra performed and 2017, the Orchestra focused on Berlioz recorded his Symphonie fantastique in with performances of La Damnation de the hall of the old Paris Conservatoire, Faust at the BBC Proms and Festival where the very first performance took Berlioz. place in 1830. In 1993, together with the Monteverdi Choir, the Orchestra gave the Formed in 1996 by its artistic director first modern performances of the newly and conductor Christopher Bell, the rediscovered Messe Solennelle. They National Youth Choir of Scotland is an later joined forces to perform L’Enfance outstanding choir for young people aged du Christ at the Proms as well as the first 16–25. Membership is granted by annual complete staged performances in France auditions to singers born, residing, or of Berlioz’s masterpiece , given studying in Scotland. at the Théâtre du Châtelet in Paris. The National Youth Choir of Scotland Other critically acclaimed initiatives has performed at events all over the have included a project entitled Schumann UK and internationally, including the Revealed, performed at the Barbican and Edinburgh International Festival, BBC including recordings of the complete Proms, XX Commonwealth Games Opening Schumann symphonies and Das Paradies Ceremony, Festival Berlioz, the Grant und die Peri. In 2007–08, Brahms: Roots Park Music Festival, and Grand Teton and Memory was performed at the Salle Music Festival. The Choir has also toured Pleyel and the Royal Festival Hall, setting internationally to Ireland (2000), Sweden Brahms’s four symphonies in the context (2001), the US (2004 and 2016), Hungary of his most significant choral works (2007), Germany (2010), and Central and music of the 16th to 19th centuries Europe (2013). that Brahms himself transcribed and In 2012, the Choir became the first youth conducted. Operas by Weber (Oberon and company to win a Royal Philharmonic Le Freyschütz), Bizet (Carmen), Chabrier Society Music Award in the Ensemble (L’Etoile), Verdi (Falstaff), and Debussy category, which was given in celebration (Pelléas et Mélisande) have also been of outstanding achievement over the performed in new productions in France, previous year, including a critically Italy, and London. acclaimed performance at the Edinburgh Most recently, the ORR has been International Festival of Duruflé’sRequiem focusing again on Berlioz, performing with the Scottish Chamber Orchestra and Berlioz’s Symphonie fantastique and , and a five-star Gala Concert Beethoven’s Symphony No. 5 at the BBC performance of Walton’s Belshazzar’s Proms in 2015, followed by performances Feast with the Royal Scottish National at the Edinburgh International Festival Orchestra. and Festival Berlioz of Berlioz’s Lélio In 2017, the Choir returned to the BBC and Symphonie fantastique. In 2016 the Proms under Sir John Eliot Gardiner Orchestra returned to the Proms with to perform Berlioz’s The Damnation of Berlioz’s Roméo et Juliette as part of Faust, and to the Lammermuir Festival in Shakespeare 400. More recently, the Scotland under Christopher Bell. The Choir Orchestra toured a program of Beethoven, also performed at the Passchendaele Schubert, and Brahms with acclaimed Centenary Commemorations in Ypres,

19 Belgium, broadcast live on the BBC. This the London Proms (Missa Solemnis year has seen the Choir in residence conducted by Gardiner), and the Théâtre at the Edinburgh International Festival des Champs-Elysées Paris (Mitridate, re di performing at the opening concert in Ponto). Haydn’s Creation and a special matinee Future seasons will see his debuts concert conducted by Christopher Bell. at the , the , and Opera Philadelphia, as Michael Spyres (tenor) was born in well as his return to the Opéra National Mansfield, Missouri where he grew up of Paris and to the Zurich Opera House. in a family of musicians. He began his Mr. Spyres has worked with conductors studies in the US and continued them at including , Sir John Eliot the Vienna Conservatory. He first sprang Gardiner, Sir Andrew Davis, Sir Mark Elder, to international attention in 2008 in the Valery Gergiev, Fabio Luisi, Alberto Zedda, title role of Rossini’s at the Rossini , Emmanuelle Haïm, in Wildbad Festival and as an ensemble Christophe Rousset, and Evelino Pidò. member of Deutsche Oper Berlin where he made his debut as Tamino in Die Ashley Riches (bass-baritone) studied Zauberflöte. English at King’s College, Cambridge Since then he has appeared at many where he sang in the Chapel Choir under of the world’s most prestigious opera . From 2012–14 he was theatres, concert halls, and festivals a member of the Jette Parker Young Artist such as the Teatro alla Scala (Belfiore inIl Program at the Royal Opera House, where viaggio a Reims and Rodrigo in La donna he made his debut in a duet with Robert del lago), the (Betulia Alagna and represented the house at a Liberata), the Royal Opera House Covent gala celebrating young artist programs at Garden (), the the Bolshoi Theatre. He is currently a BBC Barcelona (Les Contes d’Hoffmann), the New Generation Artist. Lyric Opera of Chicago (Die Fledermaus Highlights of this season include Creon and The Merry Widow), in Stravinsky’s Oedipus Rex with Sir John Bruxelles (Arnold in Guillaume Tell, and Eliot Gardiner and the , Mitridate, re di Ponto), the Dutch National Purcell’s The Fairy Queen with Richard Opera (Libenskoff in ), Egarr and the Academy of Ancient Music, a the Semperoper Dresden (Gianetto in La European tour of Bach’s Christmas Oratorio gazza ladra), the Théâtre des Champs- with Masaaki Suzuki and the Orchestra Elysées of Paris (Mitridate, Pirro in of the Age of Enlightenment, Ferryman ), Carnegie Hall (Beatrice di Tenda in Britten’s Curlew River with the Britten and Missa solemnis), Leipzig Gewandhaus Sinfonia at the new Elbphilharmonie in (Mendelssohn’s Lobgesang), the Bunka Hamburg, the Pirate King in Mike Leigh’s Kaikan Hall in Tokyo (La damnation de production of The Pirates of Penzance Faust), the Aix-en-Provence Festival at , the title role (Tempo in Il trionfo del tempo e del in Mozart’s for Opera disinganno), the Rossini Opera Festival Holland Park, and with song recitals and Pesaro (Baldassare in , a recordings with Simon Lepper, Sholto solo recital, Rodrigo in La donna del lago, Kynoch, Anna Tilbrook, and Joseph and the title role of Aureliano in Palmira), Middleton.

20 His song discography includes Christmas Carol, Inside Wagner’s Head, Poulenc’s Chansons Gaillardes with Juvenalia, The Man Jesus, and Tuesday Graham Johnson (Hyperion), the songs at Tesco’s. He has appeared in many of Arthur Sullivan with David Owen films includingA Room with a View, Four Norris (Chandos), and a world-premiere Weddings and a Funeral, Shakespeare in recording of Shakespeare’s Sonnets of Love, Phantom of the Opera, The Man Who Mario Castelnuovo-Tedesco with Emma Invented Christmas, and Victoria & Abdul. Abbate (Resonus). He has also recorded He directed Shirley Valentine in the West Handel’s L’Allegro, il Penseroso ed il End and on Broadway, Single Spies at Moderato with the Gabrieli Consort and the National Theatre, and Carmen Jones Paul McCreesh (Gabrieli), Bach’s St. at the Old Vic, as well as the film ofThe Matthew Passion (bass arias, Pilate) with Ballad of the Sad Café. He has written the Monteverdi Choir (Soli Deo Gloria), biographies of Oscar Wilde, Charles and Bach’s St. John Passion (Jesus) with Laughton, and Charles Dickens, and Crouch End Festival Chorus, the first three autobiographical books: Being An recording in English for over 50 years. Actor, Love Is Where It Falls, and My Life in Pieces. The third volume of his massive Simon Callow (narrator) is an actor, author, Orson Welles biography, One Man Band, and director. He studied at Queen’s appeared in 2016; Being Wagner: The University in Belfast and then trained as Triumph of the Will, a short biography of an actor at the Drama Centre in London. Wagner, was published last year. Music He joined the National Theatre in 1979, is his great passion, and he has made where he created the role of Mozart many appearances with the London in Peter Shaffer’s Amadeus. His many Philharmonic Orchestra, the London one-man shows include The Mystery of Symphony Orchestra, and the London Charles Dickens, Being Shakespeare, A Mozart Players.

UMS ARCHIVES

This evening’s concert marks the third performances under UMS auspices by Sir John Eliot Gardiner and Orchestre Révolutionnaire et Romantique, following their UMS debuts in January 2004 as part of Hill Auditorium’s Re-Opening Weekend. They most recently appeared under UMS auspices in January 2006 in Hill Auditorium with the Monteverdi Choir in a performance of Mozart’s and Mass in c minor. UMS welcomes the National Youth Choir of Scotland, Michael Spyres, Ashley Riches, and Simon Callow as they make their UMS debuts this evening.

21 ORCHESTRE RÉVOLUTIONNAIRE ET ROMANTIQUE Sir John Eliot Gardiner / Conductor

Violin I Clarinet Peter Hanson / Leader Nicola Boud Madeleine Easton Fiona Mitchell Miranda Playfair Martin Gwilym-Jones E-flat and Bass Clarinet Beatrice Philips Fiona Mitchell Roy Mowatt Rachel Rowntree Bassoon Clare Hoffman Veit Scholz Emil Chakalov Thomas Quinquenel Davina Clarke Antoine Pecquer Fiona Stevens Nathaniel Harrison Gabrielle Maas Harp Violin II Gwyneth Wentink Lucy Jeal Anne Denholm Jayne Spencer Elizabeth Bass Julia Hanson Rachel Wick Iona Davies Anne Schumann Horn Håkan Wikström Anneke Scott Nancy Elan Joseph Walters Gaëlle-Anne Michel Jeroen Billiet Alice Evans Martin Lawrence Jenna Sherry Trumpet/Cornet Viola Neil Brough Oliver Wilson Robert Vanryne Alexandru-Mihai Bota Michael Harrison Monika Grimm Paul Sharp Catherine Musker Lisa Cochrane Trombone Sophie Renshaw Adam Woolf Joe Ichinose Miguel Tantos Sevillano Mark Braithwaite James Buckle

Cello Ophicleide Robin Michael Marc Girardot Catherine Rimer Jeffrey Miller Olaf Reimers Ruth Alford Percussion Filipe Quaresma Robert Kendell Lucile Perrin Tim Palmer Daisy Vatalaro Nigel Bates Steve Gibson Bass Tony Lucas Valerie Botwright Cecelia Bruggemeyer Piano Markus Van Horn Mathieu Pordoy Elizabeth Bradley Nathalie Steinberg Jean Ané

Flute For Opus 3 Artists Marten Root David V. Foster / President & CEO Lina Leon Leonard Stein / Senior Vice President, Director, Touring Division Oboe Bill Bowler / Manager, Artists & Attractions Michael Niesemann Tania Leong / Associate, Touring Division Rachel Chaplin Kay McCavic / Tour Manager

22 NATIONAL YOUTH CHOIR OF SCOTLAND Christopher Bell / Artistic Director

Soprano I Tenor II Carey Andrews Daniel Doolan Christina Callion Sonny Fielding Alison Croal Archie Inns Hannah Miller Brandon Low Beth Mitchell Fraser Macdonald Lorna Murray Scott McClure Rosie Pudney Euan McDonald Dmitri Olayzola Soprano II Sandy Rowland Rhona Christie Marcus Swietlicki Lauren McKinney Rachel McLean Bass I Alison Ross Christopher Brighty Kirsty Stirling Ross Cumming Nicol Halcrow Alto I Cyro Logan Amy Bilsborough Cameron Nixon Ava Dinwoodie Alan Rowland Karla Grant Peter Saunders Kirsty Hobkirk Steven Warnock Hannah Leggatt Melissa McDonald Bass II Abby McKinlay Daniel Barrett Rebecca Pennykid Paul Ersfeld Mandujano Ellen Smith Gavin Findlay Cameron Kehoe Alto II Ross Macnaughton Eilidh Bremner Callum McCandless Anna MacLeod Josh McCullough Carla Page Nicholas Springthorpe Kenneth Thomson-Duncan Tenor I Conrad Watt Lewis Gilchrist Andrew Gough Robert Guthrie Matthew McKinney Rory McLatchie David Norris Michael Scanlon David Walsh

23 TONIGHT'S VICTOR FOR UMS:

Ilene H. Forsyth Choral Union Endowment Fund

Supporter of this evening’s performance by Orchestre Révolutionnaire et Romantique.

MAY WE ALSO RECOMMEND...

10/24 Yuja Wang and Martin Grubinger, Jr. 11/1 Czech Philharmonic Orchestra 2/9 Israel Philharmonic

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

10/19–20 Post-Performance Artist Q&A: Hubbard Street Dance Chicago (Power Center Auditorium) Must have a ticket to that evening’s performance to attend.

10/20 You Can Dance: Hubbard Street Dance Chicago (Ann Arbor Y, 400 W. Washington Street, 1:30 pm) Registration opens 45 minutes prior to the start of the event.

10/22 Master Class: Yuja Wang and Martin Grubinger, Jr. (Hankinson Rehearsal Hall, Earl V. Moore Building, 1100 Baits Drive, 7:00 pm)

10/24 Pre-Show Lobby Takeover Performances: Rite of Spring (Hill Auditorium Mezzanine Lobby, 6:30 and 7:00 pm) Must have a ticket to the Yuja Wang and Martin Grubinger, Jr. performance to attend.

Educational events are free and open to the public unless otherwise noted.