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Program Notes | Music for the Royal Fireworks

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Program Notes | Music for the Royal Fireworks 23 Season 2018-2019 Friday, November 16, at 2:00 The Philadelphia Orchestra Saturday, November 17, at 8:00 Sunday, November 18, Emmanuelle Haïm Conductor at 2:00 Lenneke Ruiten Soprano Purcell Selections from The Fairy Queen First Music: Prelude Hornpipe Second Music: Aire Rondeau Act I: Overture Act III: Prelude and “If Love’s a Sweet Passion” “The Plaint” Symphony While the Swans Come Forward (Overture) Third Act Tune: Hornpipe Monkeys’ Dance Symphony and “Thus Happy and Free” Chaconne: Dance for a Chinese Man and Woman First Philadelphia Orchestra performances Handel Music for the Royal Fireworks I. Ouverture II. Bourrée III. La Paix IV. La Réjouissance V. Menuet I VI. Menuet II Intermission 24 Handel Il delirio amoroso, cantata for soprano and orchestra I. Introduction II. Recitative: Da quel giorno fatale III. Aria: Un pensiero voli in ciel IV. Recitative: Ma fermati, pensier V. Aria: Per te lasciai la luce VI. Recitative: Non ti bastava, ingrato VII. Aria: Lascia omai le brune vele VIII. Recitative: Ma siamo giunti in Lete IX. Entrée X. Minuet: In queste amene piaggie serene XI. Recitative: Sì disse Clori XII. Minuet First Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 25 26 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, free Neighborhood is inspiring the future and and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The and residency work in of achievement, sustaining Orchestra maintains a Philadelphia and abroad. the highest level of artistic strong commitment to Through concerts, tours, quality, but also challenging— collaborations with cultural residencies, presentations, and exceeding—that level, and community organizations and recordings, the on a regional and national by creating powerful musical Orchestra is a global cultural level, all of which create experiences for audiences at ambassador for Philadelphia greater access and home and around the world. and for the US. Having engagement with classical been the first American Music Director Yannick music as an art form. orchestra to perform in the Nézet-Séguin’s connection The Philadelphia Orchestra People’s Republic of China, to the Orchestra’s musicians serves as a catalyst for in 1973 at the request has been praised by cultural activity across of President Nixon, the both concertgoers and Philadelphia’s many ensemble today boasts critics since his inaugural communities, building an five-year partnerships with season in 2012. Under his offstage presence as strong Beijing’s National Centre for leadership the Orchestra as its onstage one. With the Performing Arts and the returned to recording, with Nézet-Séguin, a dedicated Shanghai Media Group. In four celebrated CDs on body of musicians, and one 2018 the Orchestra traveled the prestigious Deutsche of the nation’s richest arts to Europe and Israel. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at Carnegie Hall while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs and Vail. thousands of listeners on the promotes Health, champions For more information on radio with weekly broadcasts music Education, eliminates The Philadelphia Orchestra, on WRTI-FM and SiriusXM. barriers to Accessing the please visit www.philorch.org. 27 28 Conductor Marianne Rosenstiehl French conductor Emmanuelle Haïm makes her Philadelphia Orchestra debut with these performances. Highly acclaimed as a performer and champion of the Baroque repertoire, both as a keyboard player and conductor, she also debuts this season with the New York Philharmonic and with Zurich Opera in a new production of Rameau’s Hippolytus and Aricia. Other recent debuts have included the Bavarian Radio Symphony, the Leipzig Gewandhaus Orchestra, and the Vienna Philharmonic at home and at the Lucerne Festival. She regularly conducts both the Berlin and Los Angeles philharmonics. In 2000 Ms. Haïm founded Le Concert d’Astrée, a vocal and instrumental ensemble dedicated to Baroque music, which has quickly established an international reputation. During the 2018-19 season, performances include new productions of Handel’s Rodelinda at Lille Opera and Rameau’s Les Boréades in Dijon. The ensemble also undertakes a major European tour with a Handel program entitled “Desperate Lovers” with soprano Sandrine Piau and countertenor Tim Mead, with performances in Paris, Vienna, Geneva, and Barcelona, among others. The musicians of Le Concert d’Astrée have their residency in Lille and are passionate and active ambassadors for the region. Ms. Haïm has conducted regularly at Glyndebourne Festival Opera, including Handel’s Theodora and Monteverdi’s The Coronation of Poppea. She has also led Rodelinda with Glyndebourne Touring Opera, and she was the first woman to conduct at the Lyric Opera of Chicago, with a production of Handel’s Julius Caesar. With Le Concert d’Astrée, Ms. Haïm has an extensive discography with Erato/Warner Classics. Their recordings have won numerous awards, including Victoires de la Musique Classique, the ECHO, and nominations for the Grammy. Recent releases are DVDs of Mozart’s Mitridate and Handel’s The Triumph of Time and Truth. As a committed champion of Baroque music who epitomizes French musical expertise, Ms. Haïm has been awarded the distinctions of Chevalier de la Légion d’Honneur, Officier des Arts et des Lettres, and Officier de l’Ordre National du Mérite. She is also an Honorary Member of the Royal Academy of Music. 29 Soloist Victor Thomas Victor Dutch soprano Lenneke Ruiten’s upcoming engagements include her role debut as Agathe in Weber’s Der Freischütz at the Opéra National du Rhin, Strasbourg; Handel’s Il delirio amoroso with the Leipzig Gewandhaus Orchestra; Beethoven’s Ninth Symphony and Charpentier’s Te Deum at the Potsdam Festival; Sophie in Strauss’s Der Rosenkavalier with the Israel Philharmonic; Bach cantatas with the Bach Academy Stuttgart; and Donna Elvira in Mozart’s Don Giovanni and Fiordiligi in Mozart’s Così fan tutte at La Monnaie in Brussels. Ms. Ruiten, who is making her Philadelphia Orchestra debut, recently appeared as La Mort in Henze’s Das Floß der Medusa at Dutch National Opera; in Mozart’s Mass in C minor at the Concertgebouw in Amsterdam; and in Weill’s The Seven Deadly Sins and Schoenberg’s Pierrot Lunaire at the Opéra du Rhin. She has been invited to the opera houses of Paris, Milan, Baden-Baden, Brussels, Amsterdam, Stuttgart, Vienna, and Lausanne, performing numerous Mozart roles. She is also a frequent guest at the Festival d’Aix-en-Provence, and the Lucerne, Edinburgh, and Salzburg festivals. She has worked with the Vienna Philharmonic, the Musiciens du Louvre, the English Baroque Soloists, the Monteverdi Choir, the Mozarteum Orchestra Salzburg, the Academy for Ancient Music Berlin, and the Staatskapelle Dresden with conductors including Christoph Eschenbach, John Eliot Gardiner, Marek Janowski, Helmut Rilling, Ton Koopman, Marc Minkowski, Iván Fischer, and Emmanuelle Haïm. Ms. Ruiten has a special passion for lieder. She works with pianist Thom Janssen and has given recitals in venues including the Concertgebouw, Wigmore Hall, and the Kaisersaal in Frankfurt. Her discography includes Mozart concert arias with the Concertgebouw Chamber Orchestra and Ed Spanjaard on Pentatone; Bruckner’s Mass in F minor with the Orchestre de la Suisse Romande and Mr. Janowski, also on Pentatone; and Bach cantatas with the English Baroque Soloists and Mr. Gardiner on SDG Records. She studied flute and singing at the Royal Conservatory of the Hague and the Bavarian Theatre Academy in Munich, and in 2002 she won several prizes at the International Vocal Competition ’s-Hertogenbosch. 30 Framing the Program Henry Purcell and George Frideric Handel dominated Parallel Events the English musical scene for many decades, helping 1692 Music to establish a golden age unmatched in the country for Purcell Charpentier generations after their deaths. The Fairy Te Deum Queen Literature Purcell is one of the supreme masters of setting the Congreve English language to music. He is best known for his Incognita modest opera Dido and Aeneas, but he also composed Art several “semi-operas” that mix spoken drama with music. Dusart The Fairy Queen combines an anonymous adaptation of The Pedlar Shakespeare’s A Midsummer Night’s Dream with songs, History dances, and choruses. Today we hear instrumental and Salem Witch vocal selections from the piece. Hunt begins Although Handel is better known for his vocal than for 1707 Music his instrumental pieces, the Music for the Royal Fireworks Handel Albinoni has been a popular favorite ever since its first hearing at Il delirio Concerto for a public rehearsal in 1749, allegedly attended by some amoroso Orchestra, Op. 5, 12,000 people. No. 4 Literature The program ends with a rarity and Philadelphia Orchestra D’Urfey first performance: a cantata for soprano and chamber Stories, Moral orchestra that Handel composed in his early 20s while and Comical spending four years honing his craft in Italy.
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