Saturday, October 21, 2017, at 7:00 pm Pre-concert lecture by Ellen Rosand at 5:45 pm in the Stanley H. Kaplan Penthouse

Monteverdi: The Birth of Opera L’incoronazione di Poppea Music by Claudio Monteverdi Libretto by Francesco Busenello Monteverdi Choir English Baroque Soloists Sir John Eliot Gardiner , Conductor Hana Blažíková , Poppea / Fortuna Kangmin Justin Kim , Nerone Marianna Pizzolato , Ottavia Gianluca Buratto , Seneca Carlo Vistoli , Ottone Anna Dennis , Drusilla / Virtù / Pallade Reginald Mobley , Arnalta Silvia Frigato , Amore / Valletto Furio Zanasi , Soldato I / Liberto Gareth Treseder , Famigliari Zachary Wilder , Lucano Francesca Boncompagni , Damigella John Taylor Ward , Mercurio / Littore Michał Czerniawski , Nutrice Robert Burt , Soldato II Francesca Biliotti , Venere John Eliot Gardiner and Elsa Rooke , Co-Directors

This performance is also part of Great Performers. (Program continued)

Monteverdi: The Birth of Opera is made possible in part by The Gladys Krieble Delmas Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Please make certain all your electronic devices Adrienne Arsht Stage are switched off. WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Wednesda y–Thursday, November 1–2, at 7:30 pm Council, and Friends of Lincoln Center. in the Rose Theater Stabat mater (New York premiere) Public support is provided by the New York State Jessica Lang Dance Council on the Arts with the support of Governor Jessica Lang , director and choreographer Andrew M. Cuomo and the New York State Orchestra of St. Luke’s Legislature. Speranza Scappucci , conductor Endowment support for Symphonic Masters is Andriana Chuchman , soprano provided by the Leon Levy Fund. Anthony Roth Costanzo , countertenor Endowment support is also provided by UBS. MOZART: Divertimento in F major PERGOLESI: Stabat mater American Airlines is the Official Airline of Lincoln Center November 1 –11 Nespresso is the Official Coffee of Lincoln Center The Psalms Experience (U.S. premiere) Choir of Trinity Wall Street NewYork-Presbyterian is the Official Hospital of Netherlands Chamber Choir Lincoln Center Tallis Scholars Artist Catering provided by Zabar’s and Zabars.com Norwegian Soloists’ Choir 150 psalms. 150 composers. 4 choirs. 12 concerts. Visit PsalmsExperience.org for full concert schedule. The Monteverdi Choir & Orchestras would like to thank and acknowledge the Monteverdi 450th Thursday, November 9 at 7:30 pm at Church of the Anniversary Circle supporters for their support of Ascension this tour. Darkness and Light (U.S. premiere) Bernard Foccroulle , organ Regal by Meloni & Farrier Organbuilders Lynette Wallworth , video Baroque Keyboards Works by BACH, BUXTEHUDE, MESSIAEN, GRIGNY, ALAIN, TOSHIO HOSOKAWA, BERNARD FOCCROULLE, and SOFIA GUBAIDULINA

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. The Coronation of Poppea

MONTEVERDI L’incoronazione di Poppea , SV 308 (1643 ) Prologue Act I Act II (Scenes 1–3)

Intermission

Act II (Scenes 4–14) Act III

This program is approximately 3 hours and 20 minutes long, including intermission.

Please join the artists for a White Light Lounge in the Alice Tully Hall lobby following the performance.

WhiteLightFestival.org Director’s Note: Celebrating Monteverdi 450 By John Eliot Gardiner

Fifty years ago, Monteverdi epitomized for me all that was most exotic and alluring about Italian music of the early 17th century. His music spoke to audiences so directly: It demanded their attention through its glorious palette of colors and the passionate utter - ance in which it was couched, whether composed for the church, the chamber, or the theater. I became hooked, much in the same way that many people (myself included) are drawn to the works of his contemporaries: Shakespeare or John Donne, Rubens or Caravaggio—all humanists in the fullest sense of the term. These great creative artists were of a generation that lived through those turbulent, seminal years either side of 1600, a quasi-millennial moment of apocalyptic end-of-times appre hension. It was a theme that surfaces most obviously in Shakespeare’s late plays. Nor was it just the sci - entists and philosophers who contributed to the ferment of ideas that turned the intellec - tual life of Europe upside down.

Now, four centuries later, we have an opportunity to bring about a significant breakthrough in public awareness of Monteverdi’s part in this revolution. As good a place to start as any would be by celebrating and recalibrating that astonishing fusion of rich musical beauty with theatrical verisimilitude that is the hallmark of his operas. A fitting 450th-birthday pre - sent to Monteverdi, I believe, would then be to put the excitement, and perhaps also the trepidation, back into his music.

—Copyright © by John Eliot Gardiner. Excerpted from the essay “Monteverdi at the Crossroads,” published in the journal Early Music, xlv/3 (August 2017)

Please turn to page 30 for a full interview with John Eliot Gardiner. Synopsis decides to woo her instead, though his heart remains with Poppea. By Ellen Rosand

Act II The story is based on the historic Roman Mercurio apprises Seneca of Nerone’s figures Poppaea Sabina (Poppea) and death decree. which the philosopher wel - Emperor Nero (Nerone). comes, expressing his intention to commit suicide. His disciples try to dissuade him, Prologue but he orders them to prepare his fatal Fortune, Virtue, and Love debate their rela - bath, and exits. Valletto and Damigella (a tive influence over the forthcoming drama: damsel) share an erotic scene of comic Love (Amore) claims superiority and relief. This is followed by an even more promises to change the world. erotic scene, between Nerone and his Act I friend Lucano who, acknowledging Ottone approaches his beloved Poppea’s Seneca’s death, sing in praise of Poppea’s palace, hoping to be reunited with her, but beauty. Poppea and Nerone engage in yet is disillusioned to find Nerone’s soldiers another amorous exchange. Ottavia orders standing guard outside. Inside, having spent an unwilling Ottone to kill Poppea, sug - the night together, Poppea and Nerone are gesting that he disguise himself as a saying their farewells. Nerone finally extri - woman. Ottone proposes to avail himself cates himself from Poppea’s embrace by of Drusilla’s garments, and she readily promising to divorce his wife, Ottavia, and agrees. Poppea is lulled to sleep in her gar - Poppea is left to celebrate the prospect of den by Arnalta singing a lullabye. Ottone marriage, a prospect discouraged by her appears, disguised as Drusilla, and Amore nurse, Arnalta, as unrealistic. In her Roman intervenes to save Poppea from Ottone’s palace, Ottavia laments her abandonment attempt on her life. Poppea awakens and by Nerone. Her nurse and Seneca, Nerone’s thinks the culprit was Drusilla. tutor, try unsuccessfully to comfort her; the valet (Valletto) disrespectfully teases Act III Seneca; and Ottavia goes off to the temple Thinking Poppea is dead, Drusilla rejoices to pray. As Seneca muses on the transient that Ottone will finally be hers. She is glories of the world, Pallade (the goddess rudely disappointed when she is accused Athena) arrives to warn him of his political of the crime, an accusation she accepts in vulnerability, promising to send Mercurio order to protect her beloved Ottone. But (Mercury) if his death becomes imminent. he insists on confessing his guilt and Nerone announces his intention to divorce Nerone sends them both into exile. Having Ottavia and marry Poppea. Seneca tries to learned that Ottavia instigated the murder dissuade him. Furious at his opposition, attempt, Nerone feels justified in banishing Nerone dismisses him. Poppea reminds her from Rome, swearing that on this day Nerone of their happy night together and Poppea will become his wife. Ottavia bids insinuates that Seneca is the power farewell to Rome and goes into exile. behind the throne. Nerone angrily sen - Arnalta exults in her rise in fortune: She is tences the philosopher to death. Ottone now an empress’s nurse. And Nerone tries to convince Poppea to return to him crowns Poppea empress. but is cruelly rejected. Alone and fearful, he considers killing Poppea, but he —Copyright © 2017 by Lincoln Center for the remembers Drusilla, who loves him, and Performing Arts, Inc.

WhiteLightFestival.org Notes on the Program How can this be happening, we ask our - selves, as we are drawn into the vortex of By Ellen Rosand the drama. Our accumulating incredulity, even horror, is a function of the text and L’incoronazione di Poppea , SV 308 the music together. In communicating Buse - (1643 ) CLAUDIO MONTEVERDI nello’s text, the composer enhances its iron - Born May 15, 1567, in Cremona, Italy ies: By giving full expression to its meanings, Died November 29, 1643, in Venice however ambiguous, he heightens them.

Remarkably, despite its early date, Monte - Unlike its predecessors in Venice, Poppea is verdi’s L’incoronazione di Poppea (“The based on history. Drawing its material pri - Coronation of Poppea”), which premiered marily from the Annals of Tacitus, it recounts in Venice in 1643, is one of the most pow - the story of the Roman emperor Nero, who, erful and timeless works in the operatic despite the objections of his tutor Seneca, canon. It does what all the greatest operas sent his empress Ottavia into exile in order do: matches a startlingly effective and to marry his paramour, Poppea. But the complex libretto (by Francesco Busenello) librettist takes various liberties with his with music that meets it on its own terms, source, adding and expanding characters creating a composite drama immeasurably and dramatic situations. Most significantly, greater than either of its constituent parts. he shifts Seneca’s death back by three years But few acknowledged operatic master - so that it precedes Ottavia’s exile rather than pieces raise as many questions of interpre - follows it, as in Tacitus. And he places it in tation as Poppea does. Not even Don Act 2, at the exact mid-point of the opera, Giovanni —its meanings still up for debate creating a dramatic structure in two parts after more than two centuries of critical that overrides the libretto’s conventional for - scrutiny and exegesis—looms as great an mal arrangement in three acts. This bi-par - enigma. Monteverdi’s opera, even more tite structure suggests a possible interpreta - than Mozart’s, challenges the interpreter tion of the problematic work. While the by complicating aesthetic issues with philosopher is still alive, his position and moral uncertainties. influence act upon the other characters, most of whom show at least some signs of In its most obvious terms, L’incoronazione conscience: Ottavia’s moral and religious di Poppea celebrates the victory of Love. (It beliefs prevent her from avenging herself, is Amore, after all, who asserts his power despite her rage against Nerone. Ottone, over Fortune and Virtue in the Prologue and too, cannot allow himself to yield to his who saves Poppea from being murdered by anger: He cannot commit violence against Ottone at the end of the second act.) And Poppea. Even Poppea’s nurse, Arnalta, dis - the love of Poppea and Nerone (based on plays a conscience: She cannot condone the historic Roman figures Poppaea Sabina Poppea’s immoral ambition for the throne, and Emperor Nero) triumphs over all obsta - and feels pity for Ottone. And Nerone , cles—over objections of state, over legality though he resorts to intense rhetoric in his and morality. But the opera also seems to grand confrontation with Seneca, where he celebrate the defeat of reason. The stoic argues passionately for Ottavia’s replace - philosopher Seneca dies, the legitimate ment by Poppea, cannot overcome the empress Ottavia is exiled, Poppea’s inevitability of his old tutor’s logic—he can rejected lover Ottone is banished, and only dismiss him. Nerone’s concubine, the courtesan Poppea, joins him on the throne. The apparent After Seneca’s death, however, the whole immorality of the denouement casts a moral fabric of this world disintegrates. shadow over our perception of the work. Ottavia plans a murder and becomes a blackmailer. Ottone yields to his anger and increasing attraction to one another, agrees to kill Poppea. And he compounds Ottone wallows weakly in his abject guilt, his crime by exploiting Drusilla’s love for and Ottavia bids a devastating farewell to him by making her an accessory to the Rome, all of which culminate in the most murder. Arnalta now accepts Poppea’s shocking of denouements—the coronation ambitious expediency, and is only con - of Poppea. And our shock—and awe—are cerned with her own betterment in the intensified by the astounding power and new scheme of things. And Nerone, justi - beauty of Monteverdi’s music. fied by the failed murder attempt, feels free to repudiate Ottavia, the very action But was the original Venetian audience as Seneca had refused to condone. shocked as we are? Did they know that Poppea’s victory was pyrrhic? That only The significance of Seneca’s death is even two years after her coronation, according highlighted within the text itself, as two to Tacitus, a pregnant Poppea would be subsequent scenes begin with the very kicked to death by Nero , and that three words “Hor che Seneca è morto” (“Now years after that, the emperor would be that Seneca is dead”), before joining in the forced to take his own life? Or would they unraveling of the moral universe. Seneca’s have looked at Poppea as a moral lesson— death unleashes the tide of immorality. It a demonstration of the decay of Rome as opens the floodgates for the complete cor - a warning to Venetians, reminding them of ruption and ethical perversion ultimately something they had already acknowledged embodied in Poppea’s coronation. in the oligarchical structure of their govern - ment: not to concentrate power in a single The music powerfully reinforces the con - ruler, who could be fatally corrupted, lead - trast embodied in the structure of the ing to the demise of a Republic. opera as well as our encroaching sense of discomfort. It heightens the contrast Ellen Rosand, professor of music emeritus between the opera’s two parts by render - at Yale University, founded the Yale ing them equally powerful and inevitable: Baroque Opera Project, which has pre - In the first, the ambitious edge in the love sented a 17th-century Venetian opera scenes between Nerone and Poppea, the every spring for the past decade. She is infuriated lament of Ottavia, and the the author of Opera in Seventeenth- anguished indecision of Ottone all give voice Century Venice (1991) and Monteverdi’s to the conflicts within the characters, reach - Last Operas (2007), and is the general edi - ing a climax in the powerful confrontation tor of Cavalli Opere, a critical edition of the between Nerone and Seneca. The trajectory operas of Francesco Cavalli being pub - of the second half is equally inevitable: lished by Baerenreiter Verlag. Following an ironic pause, Lucano and Nerone sing a shockingly explicit duet, —Copyright © 2017 by Lincoln Center for the Poppea and Nerone demon strate their Performing Arts, Inc.

WhiteLightFestival.org Illumination

Poppaea at the Theatre By Charles Pelham Mulvany

Dark tresses made rich with all treasures, Earth’s gold-dust, and pearls of the sea,— She is splendid as Rome that was Caesar’s, And cruel as Rome that was free!

Could I paint her but once as I found her, From her porphyry couch let her lean, With the reek of the circus around her— Who is centre and soul of the scene;

Grey eyes that glance keen as the eagle When he swoops to his prey from on high; Bold arms by the red gold made regal— White breast never vexed with a sigh;

And haughty her mien as of any Her sires whom the foemen knew well, As they rode through the grey mist at Cannae, Ere consul with consular fell.

Unabashed in her beauty of figure— Heavy limbs and thick tresses uncurled To our gaze, give the grace and the vigour Of the race that has conquered the world.

And fierce with the blood of the heroes— In their sins and their virtues sublime— Sits the Queen of the world that is Nero’s, And as keen for a kiss or a crime!

But the game that amuses her leisure Loses zest as the weaker gives way; And the victor looks up for her pleasure— Shall he spare with the sword-point or slay?

Half-grieving she gathers her tresses, Now the hour for the game has gone by; And those soft arms, so sweet for caresses, Point prone as she signs, ‘Let him die.’

For poetry comments and suggestions, please write to [email protected]. Meet the Artists Bach’s complete church cantatas on the label Soli Deo Gloria. In recognition of his work, Mr. Gardiner has received several international prizes and honorary doctor - ates from the University of Cambridge, E K R

A University of Lyon, New England Con - L C -

Y servatory of Music, University of Pavia, T T E

N and the University of St. Andrews. He is an A

C John Eliot honorary member of the Royal Academy of M I

S Gardiner Music, and an honorary fellow of King’s Founder and artistic director of the College, London, of the British Academy, Monteverdi Choir, the English Baroque and of King’s College, Cambridge. In 2008 Soloists, and the Orchestre Révolutionnaire Mr. Gardiner received the prestigious Royal et Romantique, John Eliot Gardiner is one of Academy of Music Bach Prize. He was the most versatile conductors of our time. made Chevalier de la Légion d’honneur in He appears regularly with leading sym - 2011 and was given the Order of Merit of phony orchestras such as the London Sym - the Federal Republic of Germany in 2005. In phony Orchestra, Gewandhaus Orchestra the U.K., he was made a Commander of the of Leipzig, Royal Concertgebouw, Bayer - British Empire in 1990 and awarded a ischer Rundfunk, and at the Royal Opera knighthood for his services to music in the House, Covent Garden. Formerly artistic 1998 Queen’s Birthday Honours List. director of the Opéra de Lyon (1983–88) and founding music director of its orches - In 2013, following the publication of his tra, his opera projects included Gluck’s long-awaited book on Bach, Music in the Orphée and Alceste , Verdi’s Falstaff , and Castle of Heaven (Allen Lane), he won the Berlioz’s Les Troyens at the Théâtre du Critics’ Circle’s Outstanding Musician Châtelet in Paris. At Opéra Comique he award. In 2014 Mr. Gardiner became the conducted new productions that included first ever President of the Bach Archive in Carmen , Pelléas et Mélisande, and Weber/ Leipzig. He became the inaugural Chris- Berlioz’s Le Freischütz . toph Wolff Distinguished Visiting Scholar at Harvard University in 2014–15 and was Acknowledged as a key figure in the early recently awarded the Amsterdam Con cert - music revival of the past five decades, Mr. gebouw Prize. Gardiner has led his own ensembles in a number of large-scale tours, including a year-long Bach Cantata Pilgrimage in 2000 to celebrate the 250th year of the com - poser’s death. This past year he has led a seven-month tour celebrating the 450th anniversary of Claudio Monteverdi’s birth, Hana Blažíková culminating in these performances of the composer’s three surviving operas at Alice Soprano Hana Blažíková ( Poppea/Fortuna ) Tully Hall. specializes in the interpretation of Baroque, Renaissance, and medieval music, per - The extent of Mr. Gardiner’s repertoire is forming with ensembles and orchestras illustrated by over 250 recordings for major around the world, including Collegium record companies and by numerous interna - Vocale Gent, Bach Collegium Japan, Sette tional awards including Gramophone’s Special Voci, Amsterdam Baroque Orchestra & Achievement Award for live recordings of Choir, L’Arpeggiata, Gli Angeli Genève,

WhiteLightFestival.org Neder landse Bachvereniging, Tafelmusik, Orlofsky in Die Fledermaus at Opéra Colle gium 1704, Collegium Marianum, Comique under Marc Minkowsi. Other Musica Florea, and L’Armonia Sonora, recent engagements include Oreste in La among others. She has performed at many belle Hélène at Théâtre du Châtelet; Sesto world festivals, including Edinburgh Inter - in La clemenza di Tito (Montpellier); national Festival, Festival Oude Muziek Cherubino in Le nozze di Figaro and the Utrecht, Tage Alter Musik Regensburg, title role in the world premiere of Pym Resonanzen, Festival de Sablé, Hong Kong (Heidelberg); Idamante in Idomeneo Arts Festival, Chopin i jego Europa, (Giessen); Sesto in Giulio Cesare at the Bachfest Leipzig, and Festival de Saintes. Handel Week Festival (Oak Park, Illinois); Menelao in Cavalli’s Elena (Montpellier, In 2010 and 2013, Ms. Blažíková took part Angers, Nantes, Rennes); Enea in Vinci’s in a highly acclaimed world tour of Bach’s Didone abbandonata along with his solo St. Matthew Passion under the direction of recital Gelosia at the Rococo Theatre at Philippe Herreweghe, and in 2011 made Schloss Schwetzingen; and a Handel con - her Carnegie Hall debut performing with cert at Styriarte in Graz. He also played Masaaki Suzuki’s Bach Collegium Japan. Speranza in L’Orfeo during the current Other performance highlights include Monteverdi tour under the baton of John Bach’s St. John Passion with the Boston Eliot Gardiner. Upcoming engagements Sym phony Orchestra (2011) and the stage include Giulio Cesare in Glyndebourne production Orfeo Chamán with L’Arpeggiata under the musical direction of William in Bogota (2014). Ms. Blažíková also appears Christie, and Arsilda in Bratislava, Caen, on more than 30 CDs, including a well- Lille, Luxem bourg, Versailles, and Dijon. known series of Bach cantatas with Bach Collegium Japan. Mr. Kim was born in South Korea and grew up in Chicago. He studied voice, opera, and Born in Prague, Ms. Blažíková sang in the musical theater at Northwestern University children’s choir Radost Praha and played and at the Royal Academy of Music in the violin before turning to solo singing. In London. He is a winner of the Metropolitan 2002 she graduated from the Prague Opera‘s National Council Auditions, the Les Conservatory under the tutelage of Ji ří Azuriales prize, the International Singing Kotou č, and later undertook further study Competition for Baroque Opera Pietro with Poppy Holden, Peter Kooij, Monika Antonio Cesti (Innsbruck), Oxford Lieder‘s Mauch, and Howard Crook. Ms. Blažíková Young Artist Platform Award, the Michael additionally presents concerts in which she Head English song prize, the Prix Thierry accompanies herself on Gothic and Mermod, and the Stuart Burrows Inter - Romanesque harp and is also a member of national Voice Award. Tiburtina Ensemble, a vocal ensemble that specializes in Gregorian chant and early medieval polyphony.

Marianna Pizzolato

Kangmin Justin Mezzo-soprano Marianna Pizzolato ( Ottavia ) Kim made her debut at the Rossini Opera Festival with Il viaggio a Reims , becoming Countertenor Kangmin Justin Kim ( Nerone ) an acclaimed interpreter of the main Rossini recently made his Paris debut as Prince roles as well as for Baroque and 18th-cen - tury repertoire. Ms. Pizzolato regularly sings him self as one of the most versatile basses at prestigious venues and festivals world - of his generation. His recent engagements wide, including Royal Opera House, Covent include performances in Monteverdi’s Garden, Opéra National de Paris, Tokyo L’Orfeo and Vespers on tour in the U.S., as Nikikai Opera Theatre, Belcanto Opera well as at Wigmore Hall and in Versailles Festival, Teatro de la Maestranza, Gran under the baton of John Eliot Gardiner; Teatre del Liceu, Opéra Royal de Wallonie, Guglielmo Ratcliff at the Wexford Festival Teatro di San Carlo, and Teatro Massimo, Opera; Sarastro in Die Zauberflöte in Liège; working with conductors such as Bruno and a solo recital at Wigmore Hall. Future Campanella, Daniele Gatti, Riccardo Muti, engagements include I due Foscari in Antonio Pappano, and Alberto Zedda. Amsterdam, Faccio’s Amleto and Tur andot at the Bregenzer Festspiele, Semiramide in Her 2016–17 season engagements London for Opera Rara, Berlioz’s Roméo et included Beethoven’s Ninth Symphony at Juliette in Beirut, Le nozze di Figaro in the Menuhin Festival Gstaad and in Zurich, and Don Giovanni in Bilbao. Wrocław (concert and recording) with Kammerorchester Basel under Giovanni Mr. Buratto’s other recent highlights include Antonini; Tancredi in Bremen (concert ver - Bach’s B-minor Mass with Jordi Savall in sion) with Accademia Bizantina and Ottavio Madrid and Barcelona; both Mozart’s and Dantone; Rossini’s Stabat Mater in Jommelli’s Betulia liberata with Riccardo Edinburgh with Accademia Nazionale di Muti in Salzburg and Ravenna, and in Santa Cecilia under Antonio Pappano, and Wrocław under Corrado Rovaris; Bach’s St. at the Tanglewood Festival with the Boston John Passion with Eduardo López Banzo in Symphony Orchestra under Charles Dutoit; Spain and Germany; Macbeth at the Chausson’s Poème de l’amour et de la mer Salzburg Festival, Rome, and Chicago with with the Bremen Philharmoniker; Il viaggio Riccardo Muti, and at La Scala; Le nozze di a Reims at Bolshoi Theatre; La donna del Figaro in Barcelona with Christophe lago in Liège under Michele Mariotti; Rousset; and La bohème with Riccardo Falstaff in Madrid; as well as recitals in Chailly. He has also performed in Monte- Rouen. Last season, Ms. Pizzolato made verdi’s L’Orfeo with Christophe Rousset her Metropolitan Opera debut with her per - and Les Talens Lyriques in Nancy and Paris; formance of Hedwige in Guillaume Tell. La bohème in Rome, Palermo, and This season, she joined John Eliot Gardiner Amsterdam; I Puritani in Florence; Rigoletto in the worldwide tour of Il ritorno di Ulisse at the Macerata Opera Festival; and Verdi’s in patria and L’incoron azione di Poppea in Requiem in Manchester under Mark Elder. honor of the 450th anniversary of Monteverdi’s birth. Ms. Pizzolato has recorded for EMI, Virgin Classics, Dynamic, Naïve/Opus 111, Naxos, and Opera Rara.

Carlo Vistoli After studying classical guitar and piano, countertenor Carlo Vistoli ( Ottone ) began Gianluca Buratto his vocal training in 2005 with William Matteuzzi and Sonia Prina. He is a graduate With a noble and rounded voice, Gianluca of the Conserva torio Frescobaldi Ferrara Buratto ( Seneca ) is rapidly establishing (Renaissance and Baroque singing) and of WhiteLightFestival.org Alma Mater Studiorum at the University of Thomas Adès’s Life Story accompanied by Bologna (cultural heritage). He made his the composer at Lincoln Center’s White stage debut in 2012–13 as Sorceress in Light Festival, a program of Russian oper - Purcell’s Dido and Aeneas in Cesena and atic arias with Philharmonia Baroque Ravenna, Italy, and later appeared at Teatro Orchestra & Chorale (San Francisco), Orff’s Comunale di Bologna as Licida in Carmina Burana with the Orquestra Myslive ček’s L’Olimpiade. Gulbenkian (Lisbon), Bach’s Christmas Oratorio with the Australian Chamber Mr. Vistoli has won several prestigious Orchestra at the Sydney Opera House, and awards in international competitions such Haydn’s Die Schöpfung with Orchestra as the fourth International Competition Ensemble Kanazawa (Japan). Ms. Dennis’s “Città di Bologna” in 2012, and in the BBC Proms appearances include perfor - Baroque category of the fifth Renata mances with the City of Birmingham Tebaldi International Voice Competition in Symphony Orchestra, BBC Symphony 2013. The 2016–17 season saw his Orchestra, Britten Sinfonia, and the appearance in concerts with Le Jardin des Orchestra of the Age of Enlightenment. Voix, performances of Monteverdi’s L’Orfeo with Les Arts Florissants, along In 2016 Ms. Dennis performed Rosmene in with his debut at Festival d’Aix-en- Handel’s Imeneo at the Internationale Provence in Cavalli’s Erismena . Opera per - Händel-Festspiele Göttingen; Despina at formances include the title role of Handel’s the Lichfield Festival; Iphigénie en Tauride Tamerlano with Les Ambassadeurs and at the Internationale Gluck Opern Festspiele Alexis Kossenko; Purcell’s King Arthur in in Nuremberg; and Pergolesi’s Stabat mater Rome and Bologna; Piritoo in Elena by with the Orquestra Gulbenkian in Lisbon. Cavalli, conducted by Garcia Alarcon in a Other recent operatic roles include Paride in Festival d’Aix-en-Provence production; and Gluck’s Paride ed Elena (Nuremberg Opera Tolomeo in Handel’s Giulio Cesare House); Katherine Dee in Damon Albarn’s (Shanghai) with Opera Fuoco. Dr Dee (English National Opera); Emira in Handel’s Siroe with Laurence Cummings Mr. Vistoli has been a member of Le Jardin (Internationale Händel-Festspiele Göttingen); des Voix conducted by William Christie, Bersi in Andrea Chénier (Opera North); and with whom he toured France, Australia, Ilia in Mozart’s Idomeneo, directed by and Asia, and performed in Paris, Moscow, Graham Vick (Birmingham Opera Com - New York, and at the Lucerne Festival. In pany). A keen interpreter of contemporary 2015 he took part in the world premiere of music, Ms. Dennis has created roles in pre - L’Amore che move il sole by Adriano mieres of Francisco Coll’s Café Kafka (Royal Guarnieri at the Ravenna Festival. Opera House, Opera North), Jonathan Dove’s The Walk From The Garden (Salisbury Festival), Edward Rushton’s The Shops (Bregenz Festspiele), Will Tuckett’s Pleasure’s Progress (Royal Opera House), and Yannis Kyriakides’s An Ocean of Rain (Aldeburgh Festival). Anna Dennis Ms. Dennis’s recordings include Rameau’s Soprano Anna Dennis (Drusilla/Virtù/ Anacréon of 1754 with the Orchestra of Pallade) studied at the Royal Academy of the Age Enlightenment, Handel’s Siroe, re Music with Noelle Barker. Her concert per - di Persia and Joshua with Laurence formances have included Britten’s War Cummings and FestspielOrchester Requiem at the Berlin Philharmonie, Göttingen, and a CD of Russian composer Elena Langer’s chamber works, Landscape Thirty Years’ War. This autumn he is set to with Three People , on Harmonia Mundi. release an anticipated recording of Bach’s Magnificat. R E D N I L

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L Reginald Mobley Silvia Frigato Noted for his clear diction, pure tone, and innovative ornamentation, countertenor Winner of the 2007 Francesco Provenzale Reginald Mobley (Arnalta) is highly sought International Baroque Singing Competition after for Baroque, Classical, and modern in Naples, soprano Silvia Frigato (Amore/ repertoire. This season Mr. Mobley returns Valletto) continues to perform at numerous to the Academy of Ancient Music for prestigious concert venues and festivals, Purcell’s King Arthur at the Barbican in collaborating with such artists as Rinaldo London, ahead of Handel’s Messiah with Alessandrini, Fabio Biondi, Gianluca the Royal Scottish National Orchestra and Capuano, Claudio Cavina, Ottavio Dantone, extensive tours to North America and Antonio Florio, John Eliot Gardiner, Lorenzo Europe with John Eliot Gardiner and the Ghielmi, Philippe Herreweghe, Sigiswald Monteverdi Choir & Orchestras. Next sum - Kuijken, Stefano Montanari, and Federico mer he tours with harpsichord/pianist Maria Sardelli. Henry Lebedinsky in a program featuring 200 years of music by black composers. Ms. Frigato recently starred in Monte - verdi’s Vespro della Beata Vergine with the Past performance highlights include the Monteverdi Choir and Gardiner, L’incoro- premiere of a reconstruction of Bach’s St. nazione di Poppea at the Teatro alla Scala Mark Passion , led by Matthew Halls at the (Milan), and Jommelli’s L’isola disabitata at Oregon Bach Festival; a premiere of Eric Teatro San Carlo (Naples), both under Banks’s Aluta continua: The passion of Rinaldo Alessandrini. After her debut at David Kato Kisule with Coro Allegro; con - Maggio Musicale Fiorentino with Gluck’s certs of Bach’s Easter Oratorio and Lully’s Orfeo ed Euridice (2014), she returned as Te Deum with Bach Collegium San Diego; Yniold in Daniele Abbado’s new production and an extensive tour performing Bach’s of Pélleas et Mélisande under the baton of St. Matthew Passion with the Monteverdi Daniele Gatti (2015). In addition, Ms. Choir and the English Baroque Soloists led Frigato was chosen by Gardiner for the first by John Eliot Gardiner, with whom he also and second editions of Accademia Monte - made his debut at the BBC Proms in verdiana (Sarteano, Italy), where she per - August. Further highlights of the 2016–17 formed in the opening concert of the season included several performances Incontri in Terra di Siena festival. with the Seattle Symphony and the Calgary Philharmonic Orchestra, as well as an inno - Future plans include Vagaus in Juditha tri - vative project with the Academy of Ancient umphans at the Teatro Comunale (Ferrara, Music entitled Bach Reconstructed . Italy); Monteverdi’s Vespro della Beata Vergine with Ensemble Matheus and Jean- Mr. Mobley will soon release a new disc Christophe Spinosi on tour in France; with the Agave Baroque Ensemble entitled Biber’s Missa Salisburgensis with Collegium Peace in Our Time , which focuses on the 1704 and Václav Luks in Salzburg; and 400th anniversary of the beginning of the Martin’s Mirandolina (title role) and La son - WhiteLightFestival.org nambula (Lisa) at Teatro La Fenice in Venice. and BWV 70 at the Cité de la musique in Ms. Frigato has sung and recorded unpub - Paris, Berlin’s Philhar monie, and at lished music by Manna and Feo with the London’s Cadogan Hall. Mr. Treseder has Fondazione Pietà de’ Turchini in Naples for since performed as a concert soloist in the Brilliant Classics. Soli Deo Gloria (SDG) recordings Live at Milton Court: Handel Bach Scarlatti and J.S. Bach: Motets . He also performed the role of the Shepherd in Stravinsky’s Oedipus Rex alongside the London Symphony Orchestra at the Bar bican and for the orchestra’s CD release. Furio Zanasi Recent solo performances include Baritone Furio Zanasi (Soldato I/Liberto) Handel’s Dixit Dominus for the Prince of began his musical activity devoting himself Wales at Buckingham Palace; Monte - to early music, with a repertoire spanning verdi’s Vespers at Carnegie Hall, King’s madrigals and oratorios to cantatas and College, Cambridge, and the Château de Baroque opera. He has appeared at major Versailles; Mozart’s Requiem at Royal opera houses and at prestigious festivals in Albert Hall; Handel’s Messiah at Colston Italy as well as all over Europe, the U.S., Hall (Bristol); Men delssohn’s Elijah at St. and Japan, singing under renowned con - John’s Smith Square (London); Schu mann’s ductors. His operatic roles have included Paradies und die Peri as the Jüngling at Orfeo in Monteverdi’s opera, recorded by Gewandhaus (Leipzig); Scar latti’s Stabat Naive, in which he appeared on tour as Mater at Cologne’s Phil harmonie and well as in a new production at Den Norske Vienna’s Konzerthaus; Elgar’s The Dream of Opera & Ballett in Oslo. Mr. Zanasi has also Gerontius at Trinity College, Cambridge; performed Ulisse in Il ritorno d’Ulisse in Bach’s Cantata BWV 198 , “ Trauer Ode,” at patria at La Scala in Milan, where he took Duomo di Pisa; and Orff’s Carmina Burana part in the Monteverdi trilogy directed by at the Gloucester Cathedral. Robert Wilson, under the baton of Rinaldo Alessandrini. Additionally, Mr. Zanasi has Mr. Treseder also composes sacred choral recorded more than 60 CDs for various works, which have been performed and record labels as well as for many of the recorded across the U.K., North America, main European radio stations. and Australia. A Song Was Heard at Christ - mas and Blessed be that Maid Marie were recently recorded by the BBC Singers, and several works have since been published by Boosey & Hawkes.

Gareth Treseder Welsh tenor Gareth Treseder ( Famigliari ) became an apprentice for John Eliot Gardiner’s Monteverdi Choir upon graduat - Zachary Wilder ing from the University of Bristol and the Royal Welsh College of Music & Drama. A former member of William Christie’s Le Solo engagements during his apprentice - Jardin des Voix, tenor Zachary Wilder ship included Bach’s Cantatas BWV 61 (Lucano) has performed throughout Europe and the U.S. with groups such as I

Les Arts Florissants, Collegium Vocale T T E

Gent, Orchestre de Chambre de Paris, San G G U

Antonio Symphony, Cappella Mediter - A E R ranea, American Bach Soloists, and Early D N

A Francesca Opera Company, with appearances at the N A I

G Boncompagni Boston Early Music Festival and Festival d’Aix-en-Provence. Soprano Francesca Boncompagni (Damigella ) works with prestigious Baroque A keen performer of Baroque repertoire, ensembles such as Les Arts Florissants, Mr. Wilder has performed Un sylphe in Collegium Vocale Gent, Modo Antiquo, La Rameau’s Zaïs in France and Amsterdam Venexiana, Accademia Bizantina, De with Les Talens Lyriques (CD released on Labyrintho, and Cappella della Pietà dei Aparté); Tirsi in Gagliano’s La Dafne in Turchini, and has been a permanent mem - Bruges with Leonardo García Alarcón and ber of the ensemble RossoPorpora since Cappella Mediterranea; and St. John 2013. She has worked with such conduc - Passion (Brussels, Barcelona, Seville) with tors as Claudio Cavina, Federico Maria Philippe Herreweghe . Other performance Sardelli, Walter Testolin, Antonio Florio, highlights have included Damon in Acis Ottavio Dantone, Paul Agnew, William and Galatea with the American Bach Christie, Philippe Herreweghe, and Frans Soloists; Septimius in Handel’s Theodora Br űggen, and has sung in distinguished con - with Early Music Vancouver; Haydn’s Die cert halls that include Palazzetto Bru Zane sieben letzten Worte unseres Erlösers am (Venice), Tonhalle Zurich, Cité de la Kreuze with Orchestre de Chambre de Musique, Théâtre des Champs-Élysées, Paris under Leonardo García Alarcón; Alte Oper (Frankfurt), Tokyo Bunka Kaikan Bach’s Mass in B minor with the Grand and Tokyo Opera City Concert Hall, and Rapids Symphony; and Lucano in L’incoro - Berlin’s Philharmonie. Recent highlights nazione di Poppea and Telemaco in Il include a production of Monteverdi’s Orfeo ritorno d’Ulisse in patria, both for the and Il Vespro della Beata Vergine con - Boston Early Music Festival. ducted by John Eliot Gardiner, with perfor - mances in the U.S., London, and Versailles, In 2016 Mr. Wilder debuted with the San as well as the current tour celebrating the Francisco Symphony performing Handel’s 450th anniversary of Monteverdi’s birth. Messiah . Other recent engagements include Everardo in Zingarelli’s Giulietta e Ms. Boncompagni has recorded for Romeo with Theater und Orchester Pentatone, Phi, Virgin Classics, Brilliant Heidelberg; Mozart’s Requiem at St. Paul’s Classics, France Musique, Stradivarius, and Cathedral under John Rutter; performances Deutsche Harmonia Mundi. Born in Arezzo, and a recording of Bach’s Magnificat with Italy, she studied violin, graduating with dis - Arion Baroque Orchestra in Montreal; tinction in 2005 from the Istituto Superiore Trasimede and L’Interesse in Cavalli’s di Studi Musicali “Rinaldo Franci” in Siena, L’Oristeo in Marseille; Euryale in Lully’s and the same year, began her formal vocal Persée in Paris and Versailles (also training with Donatella Debolini. In 2007 Ms. recorded); Beethoven’s Ninth Symphony Boncompagni attended William Christie’s Le with the Mercury Orchestra in Houston; Jardin des Voix academy for young singers, and Zadok in Handel’s Solomon in Hanover. and took part in the documentary Baroque Académie, produced and broadcast by France 3. In 2008 she won first prize in the Baroque singing competition F. Provenzale

WhiteLightFestival.org in Naples. Ms. Boncompagni now attends the Advanced Vocal Ensemble Studies pro - gram with Evelyn Tubb and Anthony Rooley at the Schola Cantorum Basiliensis in Basel. Michał Czerniawski Polish countertenor Michał Czerniawski (Nutrice ) studied singing at the Stanislaw John Taylor Moniuszko Music Academy in Gdansk and Ward the Guildhall School of Music and Drama in London. He has worked extensively with Baritone John Taylor Ward ( Mercurio such performers and conductors as /Littore ) is highly acclaimed for his dynamic Masaaki Suzuki, Mark Padmore (Aldeburgh expressiveness and tone, alongside an Music), and William Christie (Le Jardin des impressive sense of clarity and precision. Voix, on world tour, and for Les Arts This season, he has appeared as a principal Florissants’ 30th anniversary concert at artist on five continents, joining ensembles Opéra Comique). such as Les Arts Florissants (as a laureate of Le Jardin des Voix), Collegium Vocale Ghent, Mr. Czerniawski’s concert repertoire the Boston Camerata, and the Grammy includes Handel’s Messiah and Solomon Award–winning ensemble Room ful of with Solomon’s Knot; Pergolesi’s Stabat Teeth. Other recent credits include several mater with Krákow Chamber Opera; Salve roles in the Boston Early Music Festival’s Regina at the London Handel Festival; and cycle of Monteverdi operas, the premiere Scarlatti’s Il primo omicidio at the Inter - staging of Orfeo Chamán with L’Arpeggiata, national Wratislavia Cantans Festival. His and performances of Vivier’s Kopernikus opera engagements have included Cor- and Kaija Saariaho’s La Passion de Simone rindo in Cesti’s L’Orontea at Innsbrucker under the direction of Peter Sellars. Festwochen der alten Musik and Wigmore Hall with David Bates and La Nuova Mr. Taylor is a graduate of the Eastman Musica; Purcell’s The Fairy Queen at School of Music and holds two advanced Teatr Wielki w Poznaniu and Opera na degrees from Yale University. He is a recip - Zamku w Szczecin; Handel’s Acis and ient of the Yale School of Music Alumni Galatea and Gassmann’s L’Opera Seria Association Prize (2013), the Harriet Hale with the New European Opera; Peri’s Woolley Scholarship (2013), the Carmel Euridice with the British Youth Opera; Bach Festival’s Virginia Best Adams Vocal Steffani’s Orlando Generoso at the Barber Master Class Fellowship (2014), and the Institute of Fine Arts at the University of Helpmann Award for Best Chamber Birmingham; and The Fairy Queen , Ensemble Concert (Australia, 2015). He is Monteverdi’s L’incoronazione di Poppea , the co-founder and associate artistic direc - Cavalli’s Giasone , and Handel’s Agrippina tor of the Lakes Area Music Festival in with the English Touring Opera. Future Minnesota, as well as a founding core engagements include performances at member of Cantata Profana, which was Göttingen International Handel Festival recognized with Chamber Music America’s and at Bachfest Leipzig. 2015 award for Adventurous Programming. Holland Park); as well as the world pre - mieres of Family Matters for Tête à Tête and Stephen Barlow’s King ‚ as Henry II‚ in Canterbury Cathedral.

Robert Burt Tenor Robert Burt (Soldato II) studied at the Guildhall School of Music and Drama. Since then, his career has taken him to opera houses and concert halls around the world. Francesca Biliotti Mr. Burt is most associated with the role of Iro in Monteverdi’s Il ritorno d’Ulisse in Contralto Francesca Biliotti (Venere) has patria , which he has sung for Opera North received numerous awards and recognition and Deutsche Oper am Rhein‚ and at for her singing, including first prize at the Chicago Opera Theater‚ Grand Théâtre de Camera Barocco section of the Opera Rinta Genève‚ Teatro Real (Madrid), Festival vocal competition (2009). She was also a d’Aix-en-Provence, and on DVD conducted finalist at the fifth International Competition by William Christie. He has also worked “Città di Bologna,” and in 2012 was named with Christie on Cesti’s Il Tito (Strasbourg) winner of the Francesco Albanese compe - and Purcell’s Fairy Queen (Glyndebourne). tition, finalist of the la Citta Sonora compe - tition in Milan, and best mezzo-soprano at Recent and future plans include Dance the Franca Mattiucci international competi - Master in Manon Lescaut (Royal Opera tion in Asti, Italy. In 2013 Ms. Biliotti took House); Pirelli in Sweeney Todd (Adelphi second place at the 67th European Theatre‚ London); Mopsa and Flute in The Community competition for young opera Fairy Queen under Laurence Cummings singers in Spoleto, where she trained with (Glyndebourne); Arnalta in L’incoronazione Lella Cuberli and Renato Bruson; per - di Poppea (Montpellier); Evangelist in St. formed in several concerts; and sang the John Passion and Beadle in Sweeney Todd lead role in Mario Guido Scappucci’s con - (Nederlandse Reisopera); Red Queen in temporary opera Euridice . Alice in Wonderland ‚ Dr. Blind in Die Fledermaus , Goro in Madama Butterfly, Born in Venice, Ms. Biliotti graduated from and Biaso in I Gioielli della Madonna (Opera the Università Luigi Bocconi in Milan in Holland Park). 2004. Recent performances include a recital of cantatas by Vivaldi and Marcello Further engagements include Pirelli (Tuscia Operafestival); Maddalena in (Chichester Festival Theatre); Evangelist in Verdi’s Rigoletto (Brescia, Italy); soloist in a staged St. John Passion (Nederlandse Vivaldi’s Dixit Dominus with the Moscow Reisopera); Kittywake and Landlord in Ludd Soloists Chamber Orchestra under the and Isis (Royal Opera House); Arnalta in baton of Yuri Bashmet (International Music Madrid; Mopsa and Flute in The Fairy Festival in Yaroslavl, Russia); Isabella in Queen with William Christie and Les Arts Rossini’s L’italiana in Algeri and Angelina in Florissants (Paris‚ Caen, and New York); La Cenerentola (Teatro Nuovo Turino); and King Bobeche in Bluebeard (Grange Park the title role in Gluck’s Orfeo (Teatro Opera); Snout in A Midsummer Night’s Olimpico, Vicenza, Italy). She has also per - Dream (English National Opera); L’Incredi - formed as a soloist in Bach’s St. Matthew bile in Andrea Chénier ‚ Fiorello in Il barbiere Passion, Mozart’s Requiem , and Handel’s di Siviglia , and Hadji in Lakmé (Opera Messiah.

WhiteLightFestival.org Elsa Rooke Monteverdi Choir Elsa Rooke (co-director) has worked as a Founded by John Eliot Gardiner as part of stage manager, assistant director, dra - the breakaway period instrument move - maturge, and director throughout Europe. ment of the 1960s, the Monteverdi Choir Trained by drama coach Alain Garichot, she has always focused on bringing a new per - has taught acting to young singers, includ - spective to its repertoire. With a combina - ing William Christie’s Académie des Arts tion of consummate choral technique and Florissants, and was appointed director of historically-informed performance practice, one of France’s major drama schools (Saint- the choir has been consistently acclaimed Étienne). A long-term collaborator with over the past 50 years as one of the best Adrian Noble, she has revived many opera choirs in the world. productions for him over the past 15 years. Among a number of trailblazing tours was Ms. Rooke directed the European pre - the Bach Cantata Pilgrimage in 2000, dur - mieres of both Dominick Argento’s ing which the choir performed all 198 of Postcard from Morocco and Conrad Susa Bach’s sacred cantatas in more than 60 and Anne Sexton’s Transformations for the churches throughout Europe and America. Opéra de Lausanne. Other credits as stage The entire project, recorded by the com - director include productions for the Opéra pany’s record label Soli Deo Gloria, was National de Bordeaux, Opéra National de critically hailed. The Monteverdi Choir has Lyon, Théâtre des Champs Élysées, and over 150 recordings to its name and has Grand Théâtre de Genève ( The Turn of the won numerous prizes. Screw , A Midsummer Night’s Dream, Cener entola, Idomeneo, Hansel und Gretel, The choir is also committed to training Dialogues des Carmélites, Comédie sur le future generations of singers through the Pont ). More recently, Ms. Rooke wrote the Monteverdi Apprentices Programme. libretto (in English, French, and German) for Many apprentices go on to become full a new opera based on the life and works of members of the choir, and former choir Annemarie Schwarzenbach: Le ruisseau members have also gone on to enjoy suc - noir , composed by Guy-François Leuen- cessful solo careers. berger. The production, which she also directed, was commissioned by the Haute Last season the choir took part in a variety École de Musique de Genève and con - of projects across different repertoires, ducted by Michael Wendeberg (Théâtre du from an extensive tour of Bach’s St. Grütli, Geneva). She also worked in partner - Matthew Passion (performed from mem - ship with Gwenaël Morin on Peter ory) with the English Baroque Soloists, to Handke’s Introspection (Théâtre de la Berlioz’s Roméo et Juliette at the BBC Bastille, Paris), and on four plays by Rainer Proms, to the Festival Berlioz with the Werner Fassbinder in which she also per - Orchestre Révolutionnaire et Romantique. formed (Théâtre du Point du Jour, Lyon). Under the direction of Gardiner, the choir also collaborated with both the London Born in Paris, Ms. Rooke completed her Symphony Orchestra on Mendelssohn’s PhD in literature and music on 20th-cen - Ein Sommernachtsrtaum and the Zurich tury opera at the Sorbonne. Invited to pub - Tonhalle Orchestra on Janá ček’s Glagolitic lish papers and give talks on this subject, Mass . The Monteverdi Choir has also par - she has also translated novels, essays, ticipated in several staged opera produc - and opera librettos from English and Italian tions, including Le Freischütz (2010) and into French. Carmen (2009) at the Opéra Comique in Paris, and Les Troyens at the Théâtre du Passion , released by Soli Deo Gloria in Châtelet. Most recently, the choir per - March 2017. formed Gluck’s Orphée et Eurydice at the Royal Opera House, Covent Garden, work - White Light Festival ing in collaboration with the Hofesh I could compare my music to white light, Shechter Dance Company. which contains all colors. Only a prism can divide the colors and make them appear; English Baroque Soloists this prism could be the spirit of the listener. The English Baroque Soloists have long —Arvo Pärt. Now in its eighth year, the been established as one of the world’s White Light Festival is Lincoln Center’s leading period instrument orchestras. annual exploration of music and art’s power Throughout their repertoire, ranging from to reveal the many dimensions of our inte - Monteverdi to Mozart and Haydn, they are rior lives. International in scope, the multidis - equally at home in chamber, symphonic, ciplinary festival offers a broad spectrum of and operatic performances, and the distinc - the world’s leading instrumentalists, vocal - tive sound of their warm and incisive play - ists, ensembles, choreographers, dance ing is instantly recognizable. companies, and directors, complemented by conversations with artists and scholars The ensemble has performed at many of and post-performance White Light Lounges. the world’s most prestigious venues, includ - ing La Scala in Milan, the Concertgebouw Lincoln Center’s Great Performers in Amsterdam, and the Sydney Opera Initiated in 1965, Lincoln Center’s Great House. During the 1990s, the English Performers series offers classical and con - Baroque Soloists performed Mozart’s temporary music performances from the seven mature operas and recorded all of world’s outstanding symphony orchestras, his piano concer tos and mature sym - vocalists, chamber ensembles, and recital ists. phonies. The English Baroque Soloists are One of the most significant music presen - regularly involved in joint projects with the tation series in the world, Great Per formers Monteverdi Choir, with whom they runs from October through June with offer - famously took part in the trailblazing Bach ings in Lincoln Center’s David Geffen Hall, Cantata Pilgrimage in 2000, performing all of Alice Tully Hall, Walter Reade Theater, and Bach’s sacred cantatas throughout Europe. other performance spaces around New They also toured Gluck’s Orphée et Eurydice York City. From symphonic masterworks, in Hamburg and Versailles, following a lieder recitals, and Sunday morning coffee staged production at the Royal Opera concerts to films and groundbreaking pro - House, Covent Garden, in collaboration with ductions specially commissioned by the Hofesh Shechter Dance Company. Lincoln Center, Great Performers offers a rich spectrum of programming throughout Highlights in 2016 included tours of Bach’s the season. Magnificat in E-flat major, Lutheran Mass in F major, and Cantata “Süßer Trost” with Lincoln Center for the Performing the Monteverdi Choir in venues around Arts, Inc. Europe, as well as Bach’s St. Matthew Lincoln Center for the Performing Arts Passion and a mixed program of Mozart’s (LCPA) serves three primary roles: presen - Symphonies Nos. 39–41, Requiem, and ter of artistic programming, national leader Great Mass in C minor. in arts and education and community rela - tions, and manager of the Lincoln Center The most recent recording by the English campus. A presenter of more than 3,000 Baroque Soloists is of Bach’s St. Matthew free and ticketed events, performances,

WhiteLightFestival.org tours, and educational activities annually, Award–winning Live From Lincoln Center , LCPA offers 15 programs, series, and festi - which airs nationally on PBS. As manager of vals including American Songbook, Great the Lincoln Center campus, LCPA provides Performers, Lincoln Center Festival, Lincoln support and services for the Lincoln Center Center Out of Doors, Midsummer Night complex and the 11 resident organizations. Swing, the Mostly Mozart Festival, and the In addition, LCPA led a $1.2 billion campus White Light Festival, as well as the Emmy renovation, completed in October 2012. I L L E N N A I G

O M I S S A M Monteverdi Choir

Tenor Bass Hugo Hymas Alex Ashworth Graham Neal Samuel Evans Lawrence Wallington I L L E N N A I G

O M I S S A M English Baroque Soloists

Violin Cello Chitarrone/Lute Recorders Kati Debretzeni, Leader Marco Frezzato David Miller Rachel Beckett Iona Davies Alex McCartney Catherine Latham Henry Tong Gamba/Lirone Josías Rodríguez Gándara Anne Schumann, Kinga Gáborjáni Jørgen Skogmo Cornetti Second Principal Frithjof Smith Henrietta Wayne Bass Dulcian Richard Thomas Davina Clarke Valerie Botwright Györgyi Farkas Harp Viola Harpsichord Gwyneth Wentink Fanny Paccoud Antonio Greco Lisa Cochrane Paolo Zanzu

WhiteLightFestival.org Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Daniel Soto, Associate Producer, Public Programming Walker Beard, Production Coordinator Nana Asase, Assistant to the Artistic Director Olivia Fortunato, Programming Assistant Dorian Mueller, House Program Coordinator Janet Rucker, Company Manager

For the White Light Festival Supertitles created by Kenneth Chalmers, adapted by James Halliday Supertitles operated by Megan Young

For The Coronation of Poppea Rick Fisher, Lighting Designer Isabella Gardiner, Patricia Hofstede, Costumes Matthew Muller, Production Manager Noel Mann, Stage Manager Paolo Zanzu, Antonio Greco, Music Assistants Matteo Dalle Fratte, Language Coach