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Home , John Dryden, The Indian Queen (opera)

CORO CORO Purcell: Purcell: The Fairy Queen Love’s Goddess Sure was Blind “A performance “...breaks new ground in like this shows scholarship, matching it dimensions of with performances of the Purcell’s genius that highest order...” The are all too rarely bbc music magazine heard on disc.” gramophone Indian cor16005 cor16024 Queen

Bright Orb of Harmony Ravish’d with Sacred Extasies Julie Cooper Henry Purcell. James MacMillan Dowland. Campian. Humfrey . Purcell Kirsty Hopkins “Bright Orb of Elin Manahan Thomas Jeremy Budd Harmony deserves Miller Mark Dobell to be set among that constellation of previous “An outstanding release.” Matthew Long dazzling recordings by international Ben Davies an ensemble that is record review less a choir, more Eamonn Dougan an institution.” Stuart Young cor16069 gramophone cor16081 recommended The Sixteen To find out more about The Sixteen, concert tours, and to buy CDs visit harry christophers www.thesixteen.com cor16129 as Henry Purcell quite simply the recitative in our language”. But for me one of the greatest delights of rehearsing, Wgreatest English composer of all time? performing and recording was the depth of detail we could go I recall with fondness the late Allan Wicks, into to allow Purcell’s instrumental writing to leap off the page. His string writing who was my choirmaster at Canterbury is second to none, where the viola really does provide a middle texture which is Cathedral, saying to me, a few years before adventurous, sonorous and as important as all the other parts. There is a plethora he died: “Harry, I always knew Purcell of detail, colour and characterisation to be explored in every symphony, air and was a great composer but it is only now that I Borggreve Marco Photograph: dance. But above all there is a wealth of variety capped by exquisite writing for understand why”. You may think this is a trumpet, oboes and recorders. rather odd thing to say but Purcell is one of many composers who have so benefited Like Mozart and Schubert, Henry Purcell lived all too short a life – he lived just from the period-instrument movement. We over 30 years – and for that reason it was left to his brother Daniel to complete The are now bold enough to believe and adhere to Indian Queen. Daniel was no Henry but his final Hymeneal allows a little his harmonies, his unique setting of text and light relief. Act V, which was the last music that Henry wrote, is a perfect Dido- his at times outrageous dramatic effects. esque ending to The Indian Queen proper and just proves how we as music lovers suffer when these geniuses die young. Purcell was a brilliant music dramatist but he was not an composer. Based on Dryden’s , Purcell’s music from The Indian Queen deals with the conflict between the Mexicans and Peruvians and principally with Queen Zempoalla who at the end of the calls upon the magician Ismeron to tell her of the future: but, of course, it doesn’t quite turn out the way the Queen intended. This recording was made possible by the generous support of the following: I am blessed with wonderful singers in The Sixteen and there is so much exceptional vocal music for them to revel in but none better than the extraordinary recitative Stephen Harker · Simon Haslam · Sir Thomas Hughes-Hallett KB “You twice ten hundred deities” for the aforesaid magician Ismeron which opens Roger Mayhew · Timothy & Damaris Sanderson Act III, and was described by the historian Charles Burney as “the best piece of

2 3 Henry Purcell (1659-1695) 9 Why should men quarrel here, where all possess 1.28 1 Kirsty Hopkins soprano Catch 2.24 bl To all lovers of music, performers and scrapers By ancient prophecies we have been told 4.16 (John Carr; 1686-7) Jeremy Budd tenor, Kirsty Hopkins soprano Mark Dobell, Jeremy Budd, Matthew Long tenor bm Trumpet Tune 0.44

• bn The Indian Queen (1695) ACT II Symphony 4.26 bo ( and Sir Robert Howard) I come to sing great Zempoalla’s story 1.21 Matthew Long tenor bp What flatt’ring noise is this 2.41 First Music 2 Air 1.20 Jeremy Budd, Mark Dobell, Matthew Long tenor 3 Hornpipe 0.49 Eamonn Dougan bass bq Second Music 4 Air 1.06 Begone, curst fiends of Hell 0.54 Matthew Long tenor 5 Hornpipe 1.00 br We come to sing great Zempoalla’s story 0.50

• 6 • ACT I Overture 2.54 bs 7 ACT III You twice ten hundred deities 5.24 Trumpet Tune 0.34 Eamonn Dougan bass 8 Prologue Wake, Quivera, our soft rest must cease 2.09 bt Symphony: The God of Dreams rises 1.04 Jeremy Budd tenor

4 5 bu Seek not to know what must not be reveal’d 2.40 Daniel Purcell (1664-1717) Julie Cooper soprano The Masque of Hymen (1695) cl Trumpet Overture 2.43 (John Dryden and Sir Robert Howard) cm Ah, how happy are we 2.01 Jeremy Budd, Mark Dobell tenor cs cn Symphony 1.07 We, the spirits of the air 1.20 ct Soloists: Kirsty Hopkins, Julie Cooper soprano To bless the genial bed with chaste delights 1.24 Ben Davies bass co I attempt from love’s sickness to fly in vain 3.51 cu Come all, come all 1.02 Julie Cooper soprano Soloist: Julie Cooper soprano Third Act Tune: Rondeau dl I’m glad I have met him 0.52 Kirsty Hopkins soprano, Eamonn Dougan bass dm • Good people, I’d make you all blest if I could 0.38 Ben Davies bass ACT IV cp They tell us that your mighty powers 4.22 dn My honey, my pug 1.32 Kirsty Hopkins soprano Kirsty Hopkins soprano, Eamonn Dougan bass cq Fourth Act Tune: Air 1.02 do The joys of wedlock soon are past 2.09 Julie Cooper soprano dp • Sound, sound the trumpet, let Love’s subjects know 1.49 Mark Dobell tenor ACT V cr While thus we bow before your shrine 5.41 dq Make haste, make haste to put on Love’s chains 1.13 Soloist: Stuart Young bass Ben Davies, Stuart Young bass

dr Trumpet Air 0.26 ds Let loud Renown with all her thousand tongues 0.52 Total playing time 72.27

6 7 Henry Purcell The Indian Queen intervals, and once in the repertoire lessons teaching the purchasers of were revived as often as possible. sheet music how to sing or play it. Like Upfront investment took years to Andrew Lloyd Webber today, Purcell enry Purcell grew up in the and harpsichord pieces; social music recover. Fierce competition between the sustained a lucrative industry based in service of King Charles II and (catches) for the Gentlemen of the two companies in operation from 1660 the theatre but with offshoots reaching Hnarrowly escaped being born into it (he Chapel Royal to enjoy when off-duty; to 1682 increased the risk: if an opera far beyond it. Only a composer was born in 1659; 1660 was the year of and a steady stream of strictly occasional and a popular comedy were scheduled confident of his market worth would the Restoration). His father and uncle, and welcome songs. Following the head to head neither theatre could hope have wanted to write and release a both professional musicians, secured deaths of Pelham Humphrey in 1674 to sell out. The rivals amalgamated in catch like To all lovers of music (track salaried posts in the Chapel Royal choir and Matthew Locke in 1677, John Blow 1682 (by which time one was close to 1 on this CD), poking fun at music when business there resumed. Young and Henry Purcell together emerged bankruptcy), limping together through publishers. John Playford, John Carr Henry joined the same choir aged as the two most dependable court the politically turbulent later 1680s. and Carr’s business partner Samuel seven or eight, and while a chorister composers, sharing production By 1690 confidence had returned. Scott are mentioned by name. (Carr received expert tuition in composition duties between them to ensure that The United Company enjoyed a total and Scott enjoyed the joke, evidently: and keyboard playing. He stayed at deadlines were met and that individual theatrical monopoly and moved to the catch appeared in Book I of Comes court when his voice broke, in a series creative freshness could be maintained. take advantage of it. A new, big-budget Amoris, 1687, under their imprint.) of positions paying him to compose, Purcell opera opened in spring 1690 perform and direct music meeting ’s licensed theatres had re- (), spring 1691 () By 1693 rising tension between actors its voracious and very varied needs: opened within weeks of the Restoration and spring 1692 (The Fairy Queen). and managers in the United Company anthems for the Chapel Royal (many and from the beginning made Ticket prices doubled for the length made further extension of Purcell’s with string accompaniments, giving strategic use of music to attract crowds. of the run – while the other theatre blockbuster opera series seem unwise. courtiers a rounded concert experience More music than usual, along with under United Company control stayed Poor company morale affecting while officially at prayer); a repertoire spectacular dancing, costumes and helpfully shut. These Purcell premieres standards of performance on stage of sonatas on which the royal violinists moveable scenes, turned plays into were trailed in the press, eagerly would in turn affect performance at could draw when asked to provide ‘’; highlights of the theatre season discussed, and skilfully exploited by the box office. Cheaper plays-with- function music; songs for the singers but obviously expensive to put on. New merchandisers: opera word-books and music reduced the risk while retaining in Charles’s ‘Private Musick’; organ productions launched at widely spaced sheet music went on sale, along with Purcell’s services and keeping up

8 9 appearances. The Indian Queen belongs aimed at averting break-up. To help Though Howard published The Indian that evidence of inexperience when the in this category. It was not an ‘opera’ on persuade him of the justice of their cause Queen as his own unaided work in 1665 actors did open their mouths would be anything like the scale of Dioclesian, the United Company management there is no reason to dispute Dryden’s more readily forgiven. King Arthur or The Fairy Queen and it promised Howard a musical revival of later claim to have written or polished cannot fairly be compared with them. one of his own scripts. Purcell would up parts of it. The Betterton company’s inaugural supply the music – coincidentally (or production (premiering , The complicated theatre politics of perhaps not) a regular visitor to the But the best laid schemes … Howard by ) was a triumphant 1694-5 brought The Indian Queen into Howard house, calling in to give Sir sided with the rebel actors when it came success, running for thirteen days being. Discontent within the United Robert’s fourth wife Annabella music to it. On his recommendation their from 30 April 1695. The Indian Queen Company came to the boil. Its leading lessons. When Purcell died late in 1695 licence request was approved, allowing would have opened as soon as possible actor and dramaturgical genius Thomas Lady Annabella paid for his monument them to leave the United Company after that, to hit back and to show that Betterton threatened to lead a walkout, in . Purcell’s widow and open a new theatre. Betterton led the enterprise he had abandoned was taking all his most experienced Frances dedicated Orpheus Britannicus, the exodus, taking his vast experience still a going concern: early- to mid- colleagues with him. They would need a posthumously published collection of of opera with him (Dioclesian, King June 1695 is the likely window. The permission to set up on their own her husband’s songs, to Lady Howard, Arthur and The Fairy Queen had all been masque of Cupid, Hymen and married and planned to petition the king for it. mentioning in her dedication that lyrics Betterton productions). Managers of people for which Henry Purcell’s brother Worried company managers tried to by Robert Howard had occasioned the formerly united company were left (or conceivably his cousin) Daniel buy Betterton’s support by paying him Purcell’s last and greatest compositions. to stage The Indian Queen as best they provided music was almost certainly a bonus – £50 to ‘gett up’ The Indian These may have been lyrics penned for could. Newly recruited actors covered added for a revival in 1696, after Henry’s Queen (i.e. turn it into an opera). The The Indian Queen, work on them giving most of the roles; Howard’s script was death. Following five acts of bloodily Indian Queen was a canny choice, being Howard an opportunity to re-live his heavily pruned (revenge!), and Purcell’s unfolding tragedy it is a spectacular one of several well-crafted plays written artistic youth. He and John Dryden music slotted none-too-tidily into place. non sequitur, though it serves its mood- by the veteran politician Sir Robert (later poet ) had shared lodgings To create favourable first impressions lightening purpose well, supplying the Howard several decades previously. in the 1660s, and while living together Purcell was asked to set the whole trumpety finale which opera audiences And Howard had been asked by the enjoyed many literary conversations. of the prologue – the usual speech- had come to expect. Lord Chamberlain (theatre monitor on They became brothers-in-law when filled wait for singers to make their behalf of the crown) to chair crisis talks Dryden married Sir Robert’s sister. appearance was eliminated, in the hope Andrew Pinnock © 2015

10 11 visits the conjurer Ismeron hoping for Act V The Indian Queen plot synopsis relief but he is no help at all, calling up Priests and prisoners enter in procession a God of Dreams who gives nothing ready to perform the sacrifice (‘While thus Setting: Mexico with incursions from Inca refuses. Montezuma changes away (‘Seek not to know what must not we bow before your shrine’). But intricate neighbouring Peru (the South American sides abruptly, to lead the Mexicans in be reveal’d’) along with Spirits of the Air disputes ensue about who should fall first. ‘Indies’) their fight back. Zempoalla the Indian either immune to human passion (‘Ah Acacis bleeds to death while Zempoalla Queen presumes Acacis dead. She how happy are we’) or helplessly victim watches, distraught. Zempoalla – a near- Sung Prologue swears vengeance. Now the Mexicans to it (‘I attempt from love’s sickness to fly tragic figure by now – cuts Montezuma Trumpet alarms wake a boy and girl, are winning. in vain’). free. She still loves him. Montezuma kills shocked to discover their country at war Traxalla. Then to everyone’s amazement and an audience watching. They discuss Act II Act IV Amexia the rightful Indian Queen enters the futility of war (‘Why should men Montezuma captures the Inca and Orazia. Visiting prison, Zempoalla offers (Zempoalla had usurped that position), quarrel?’), recall an ancient prophecy But Zempoalla’s general Traxalla steals Montezuma his freedom on predictable with Montezuma’s childhood guardian foretelling the conquest of their ‘new’ them from Montezuma’s tent. They terms. Traxalla makes Orazia a similar Garucca and a large armed party. They world by an older one, mistake the are paraded humiliatingly at the start offer. Both are scornfully refused. take control. Amexia and Montezuma audience for old world invaders and of Zempoalla’s triumph scene (‘I come Montezuma and Orazia are left in prison embrace – long-lost mother and her pray for gentle treatment if the opera to sing great Zempoalla’s story,’ etc.). awaiting execution. Acacis appears long-lost son. Zempoalla produces a performance pleases. Montezuma and Acacis – rivals in love to rescue them. Soldiers under his hidden dagger and stabs herself before now working together to protect Orazia command escort Orazia away. Reluctantly, onlookers can prevent it, dying soon after. Act I – burst in to attempt a rescue. Both are Montezuma and Acacis fight a duel to With Montezuma revealed as true heir Montezuma – a young warrior with a overpowered. Montezuma is dragged decide who deserves her most. Acacis to the Mexican throne the Inca readily mysterious past – leads the Peruvian away to join the Inca and Orazia in gaol. is mortally wounded. Zempoalla and agrees to a dynastic match with Orazia. army to glorious victory. Acacis, the Traxalla arrive with Mexican army back- Dead bodies remain on stage while final Indian (=Mexican) Queen’s son, is Act III up to recapture Montezuma and Orazia words are said (the 1695 version) or are captured in battle. Both love Orazia, A complication: Zempoalla has fallen and prepare them for ritual sacrifice, along cleared away ready for a final masque in beautiful daughter of the Inca of Peru. hopelessly in love with Montezuma, with the Inca who is still in gaol. Orazia praise of marriage (1696). To reward his services Montezuma and Traxalla has fallen for Orazia. New sings a love-song to Montezuma (‘They claims Orazia’s hand in marriage. The rivalries are introduced. Zempoalla tell us that your might powers above’). Andrew Pinnock © 2015

12 13 Henry Purcell (1659-1695) ACT I 6 Overture 1 Catch (Mark Dobell, Jeremy Budd, Matthew Long) 7 Trumpet Tune To all lovers of music, performers and scrapers, To those that love catches, play tunes and cut capers; Prologue 8 Indian Boy (Jeremy Budd) With a new catch I greet you, and tho’ I say it that shouldn’t, Wake, Quivera, our soft rest must cease, Like a fiddle, tis music, tho’ the words are but wooden. And fly together with our country’s peace; No more must we sleep under plantain shade, But my brother, John Playford, and I shall present you Which neither heat could pierce nor cold invade; E’er long with a book I presume will content you. Where bounteous nature never feels decay, Tis true we know well the sale of good music, And op’ning buds drive falling fruits away. But to hear us perform would make him sick or you sick.

My maggotman Sam, at the first Temple gate, 9 Indian Girl (Kirsty Hopkins) Will further inform you, if not my wife Kate; Why should men quarrel here, where all possess From between the two Devils near Temple Bar, As much as they can hope for by success? I rest, your friend and servant John Carr. None can have most, where Nature is so kind As to exceed man’s use, though not his mind. (John Carr; 1686-7)

bl Boy (Jeremy Budd) The Indian Queen (1695) By ancient prophecies we have been told Our land shall be subdu’d by one more old; (John Dryden and Sir Robert Howard) And see! That world’s already hither come. Girl, Boy (Kirsty Hopkins, Jeremy Budd) • If these be they we welcome then our doom. Boy (Jeremy Budd) First Music Second Music Their looks are such that mercy flows from thence, 2 3 4 5 Air Hornpipe Air Hornpipe More gentle than our native innocence;

14 15 By their protection let us beg to live: Envy (Eamonn Dougan) and followers They come not here to conquer, but forgive. (Jeremy Budd, Mark Dobell) I fly from the place where flattery reigns; Girl, Boy (Kirsty Hopkins, Jeremy Budd) See those mighty things that before If so your goodness may your power express, Such slaves like gods did adore, And we shall judge both best by our success. Contemn’d and unpitied in chains. I fly from the place where flattery reigns; bm Trumpet Tune I hate to see fond tongues advance High as the Gods the slaves of chance. What flattering noise is this, • At which my snakes all hiss? ACT II bn Symphony bq Fame (Matthew Long) bo Fame (Matthew Long) and chorus Begone, curst fiends of Hell, I come to sing great Zempoalla’s story Sink down, where noisome vapours dwell, Whose beauteous sight, so charming bright, While I her triumph sound, Outshines the lustre of glory. To fill the universe around.

br bp Envy (Eamonn Dougan) Chorus and two followers (Jeremy Budd, Mark Dobell) We come to sing great Zempoalla’s story … What flatt’ring noise is this, At which my snakes all hiss? I/we hate to see fond tongues advance • High as the Gods the slaves of chance. ACT III bs Ismeron (Eamonn Dougan) Fame (Matthew Long) You twice ten hundred deities Scorn’d Envy, here’s nothing that thou canst blast: To whom we daily sacrifice, Her glories are too bright to be o’ercast. Ye pow’rs that dwell with fates below And see what men are doom’d to do,

16 17 Where elements in discord dwell; For by that knowledge of his destiny Thou God of Sleep, arise and tell He would not live at all but always die. Great Zempoalla what strange fate Enquire not then who shall from bonds be freed, Must on her dismal vision wait. Who ‘tis shall wear a crown, or who shall bleed. By the croaking of the toad, All must submit to their appointed doom; In their caves that make abode, Fate and misfortune will too quickly come. Earthy dun that pants for breath Let me no more with powerful charms be press’d: With her swell’d sides full of death; I am forbid by Fate to tell the rest. By the crested adders’ pride That along the cliffs do glide; cl Trumpet Overture By thy visage fierce and black; By the death’s head on thy back; cm Aerial spirits (Jeremy Budd, Mark Dobell) By the twisted serpents plac’d Ah, how happy are we, For a girdle round thy waist; From human passions free! By the hearts of gold that deck Those wild tenants of the breast Thy breast, thy shoulders and thy neck: No never can disturb our rest. From thy sleeping mansion rise Yet we pity tender souls And open thy unwilling eyes; Whom the tyrant Love controls. While bubbling springs their music keep, That used to lull thee in thy sleep. cn Aerial spirits (Kirsty Hopkins, Julie Cooper) and chorus We, the spirits of the air bt Symphony: The God of Dreams rises That of human things take care, Out of pity now descend bu God of Dreams (Julie Cooper) To forewarn what woes attend. Seek not to know what must not be reveal’d; Greatness clogg’d with scorn decays, Joys only flow where fate is most conceal’d: With the slave no empire stays. Too busy man would find his sorrows more Cease to languish then in vain If future fortunes he should know before. Since never to be loved again.

18 19 co Air (Julie Cooper) ACT V cr Chorus I attempt from love’s sickness to fly in vain, While thus we bow before your shrine, Since I am myself my own fever and pain. That you may hear, great pow’rs divine, No more now, fond heart, with pride no more swell; All living things shall in your praises join. Thou canst not raise forces enough to rebel. High priest (Stuart Young) For love has more power and less mercy than fate, You who at the altar stand To make us seek ruin and of those that hate. Waiting for the dread command,

The fatal word shall soon be heard: Third Act Tune: Rondeau Answer then, is all prepared? Chorus • All’s prepared. ACT IV cp Air (Kirsty Hopkins) High priest (Stuart Young) They tell us that your mighty powers above Let all unhallow’d souls be gone Make perfect your joys and your blessings by love. Before our sacred rites come on; Ah! Why do you suffer the blessing that’s there Take care that this is also done. To give a poor lover such sad torments here? Chorus Yet though for my passion such grief I endure, All is done. My love shall like yours still be constant and pure. High priest (Stuart Young) To suffer for him gives an ease to my pains; Now in procession walk along, There’s joy in my grief and there’s freedom in chains. And then begin your solemn song. If I were divine he cou’d love me no more, And I in return my adorer adore, Chorus O, let his dear life then, kind Gods, be your care, All dismal sounds thus on these off’rings wait, For I in your blessings have no other share. Your pow’r shown by their untimely fate; While by such various fates we learn to know cq Fourth Act Tune: Air There’s nothing, no nothing, to be trusted here below.

20 21 Daniel Purcell (1664-1717) dl Two married people (Kirsty Hopkins, Eamonn Dougan) He I’m glad I have met him. (1695) She Let me come at him! The Masque of Hymen He Bane of passion, (John Dryden and Sir Robert Howard) She pleasure’s curse! Both Confounded inventor of better for worse! You told us indeed you’d heap blessings upon us, You made us believe you, and so have undone us. • He In railing cs Symphony She and wailing, Both Lamenting, repenting, we pass all our days, What stomach have we to sing thy praise? ct Hymen (Ben Davies) To bless the genial bed with chaste delights, dm To give you happy days and pleasant nights, Hymen (Ben Davies) Lo! I appear to crown your soft desires, Good people, I’d make you all blest if I could, And with this sacred torch to consecrate Love’s fires. But he that can do it must be more than a god; And though you think now perhaps you are curst, I’ll warrant you thought yourselves happy at first. cu A follower of Hymen (Julie Cooper) Come all, come all, dn Come, come at my call, Two married people (Kirsty Hopkins, Eamonn Dougan) Heroes and lovers, come away, She My honey, my pug, Come all, and praise this glorious day. He My fetters, my clog, Both Let’s tamely jog on as others have done, Chorus She And sometimes at quiet, Come all, and sing great Hymen’s praise, He But oft’ner at strife, The god who makes the darkest night Both Let’s hug the tedious load of a married life. Appear more joyful and more bright Than thousands of victorious days.

22 23 do Cupid (Julie Cooper) Harry Christophers is known internationally as founder and The joys of wedlock soon are past, conductor of The Sixteen as well as being a regular guest But I, if I please, can make ’em last. conductor for many of the major symphony orchestras and opera Where love’s a trade and hearts are sold, companies worldwide. He has directed The Sixteen choir and How weak’s the fire, how soon ’tis cold! orchestra throughout Europe, America and Asia-Pacific, gaining a The flame increases and refines distinguished reputation for his work in Renaissance, Baroque and Where virtue and where merit joins. 20th- and 21st-century music. In 2000 he instituted The Choral

Pilgrimage, a national tour of English cathedrals from York to Borggreve Marco Photograph: dp Follower of Cupid (Mark Dobell) Canterbury in music from the pre-Reformation, as The Sixteen’s Sound, sound the trumpet, let Love’s subjects know, contribution to the millennium celebrations. The Pilgrimage in From Heav’n’s high vault to Erebus below, the UK is now central to The Sixteen’s annual artistic programme. That from this hour their discords all shall cease; Love, that can only do it, will give ’em peace. Since 2008 Harry Christophers has been Artistic Director of Boston’s Handel and Haydn Society; he is also Principal Guest Conductor of the Granada Symphony dq Two followers of Cupid (Ben Davies, Stuart Young) Orchestra. As well as enjoying a partnership with the BBC Philharmonic, with whom Make haste, make haste to put on Love’s chains, he won a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin- Ye heroes that delight in arms! in-the-Fields . With The Sixteen he is an Associate Artist at The Bridgewater Hall in Forsake fond honour’s gaudy charms; Manchester and features in the highly successful BBC television series, Sacred Music, And join your trumpets to our rural strains. presented by Simon Russell Beale. dr Trumpet Air Harry has conducted numerous productions for Lisbon Opera and English National Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange ds Grand Chorus Park Opera. He is a regular conductor at Buxton Opera where he initiated a very successful Let loud Renown with all her thousand tongues cycle of Handel’s operas and oratorios including Semele, Samson, Saul and Jephtha. Repeat no name but his in her immortal songs. Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama and has been awarded the Honorary Degree of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 • Queen’s Birthday Honours.

24 25 After three decades of worldwide performance and recording, The Sixteen is recognised as one VIOLIN 1 Oboe/RECORDER of the world’s greatest ensembles. Its special Sarah Sexton (leader) Anthony Robson reputation for performing early English polyphony, Huw Daniel Catherine Latham Graham Cracknell masterpieces of the Renaissance, Baroque and SOPRANO Bassoon early Classical periods, and a diversity of 20th- and 21st-century music, all stems from Julie Cooper VIOLIN 2 Sally Jackson the passions of conductor and founder, Harry Christophers. Kirsty Hopkins Daniel Edgar Trumpet Jean Paterson Robert Farley The Sixteen tours internationally giving regular performances at the major concert TENOR Sophie Barber Jeremy Budd halls and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as HARP Mark Dobell VIOLA Frances Kelly well as Associate Artists of The Bridgewater Hall, Manchester. The group also promotes Matthew Long Martin Kelly The Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. Stefanie Heichelheim Theorbo/baroque guitar BASS David Miller The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged Ben Davies CELLO performances of Purcell’s The Fairy Queen in Tel Aviv and London, a fully-staged Eamonn Dougan Joseph Crouch ORGAN/harpsichord production of Purcell’s King Arthur in Lisbon’s Belém Centre, and new productions of Stuart Young Imogen Seth-Smith Alastair Ross Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Recording Producer: Mark Brown Recording Engineer: Mike Hatch (Floating Earth) Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music Recorded at: St Augustine’s Church, Kilburn, London 22-24 September 2014 of 500 years. In 2009 the group won the coveted Classic FM Gramophone Artist of the Cover image: An Inca Princess and Dwarf, oil on canvas, c.1700-1800. Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen © Museo Inka del Cusco, Universidad San Antonio Abad del Cusco Photograph © Daniel Giannoni also features in the highly successful BBC television series, Sacred Music, presented by Design: Andrew Giles: [email protected] Simon Russell Beale. 2015 The Sixteen Productions Ltd. the voi ces of In 2011 the group launched a new training programme for young singers, called © 2015 The Sixteen Productions Ltd. Made in Great Britain Genesis Sixteen. Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded choral For further information about recordings on CORO or live performances and tours by programme for young singers designed specifically to bridge the gap from student to The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] professional practitioner. Also available as a studio master quality download at 26 www.thesixteendigital.com