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Home , Chorale cantata, Greta de Reyghere, Jill Feldman, Les Muffatti, Magnificat (Schütz), Marius van Altena

Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM

Zsuzsi Tóth SOPRANO Stefanie True SOPRANO Caroline Weynants SOPRANO Victoria Cassano SOPRANO Alexander Chance ALTO Jan Kullmann ALTO Robert Buckland Philippe Froeliger TENOR Olivier Berten TENOR David Lee TENOR Sebastian Myrus BASS Lionel Meunier BASS & ARTISTIC DIRECTOR

Anthony Romaniuk ORGAN Ricardo Rodríguez Miranda DA GAMBA

PERFORMANCES MAGAZINE 8 ABOUT THE PROGRAM PROGRAM (1483-1546) “Music for farewell” Mit Fried und Freud ich fahr dahin The hymn Mit Fried und Freud ich fahr dahin (“In peace and joy Martin Luther (1483-1546) I now depart”) by Martin Luther is a paraphrase in German of Mit Fried und Freud ich fahr dahin (verses 1 & 4) the Latin “Nunc dimitis,” which is the of Simeon. Luther created the text and melody in 1524, and it was first published in the same year. It has been used for funerals and appears in Schütz’ Heinrich Schütz (1585-1672) and Bach’s Mit Fried und Musikalische Exequien, "Funeral Mass", Op. 7 Freud ich fahr dahin, BWV 125. Concert in Form einer teutschen Begräbnis-Missa SWV 279 Heinrich Schütz (1585-1672) Motette: Herr, wenn ich nur Musikalische Exequien, “Funeral Mass”, Op. 7 dich habe SWV 280 Heinrich Schütz, the greatest German composer of the 17th Canticum B. Simeonis: Herr, nun lässest du century, belonged to a prominent bourgeois family. Facile in deinen Diener in Friede fahren SWV 281 many languages, Schütz also showed an early gift for music. The Landgrave Moritz, who was a distinguished musical amateur, INTERMISSION heard him sing in 1598, and was so impressed that he invited him to his court in Kassel, where Schütz would attend the Collegium Mauritianum, a school for local nobles. At 13, Schütz joined the (1659-1695) Landgrave’s court and was encouraged to make music his Funeral Sentences vocation; soon after, he received a grant for two years of study Man that born of a woman, Z. 27 in under , an experience that was of paramount importance for the young Schütz, who published his In the midst of life, Z. 17a first important collection, a book of 19 five-part , in . Thou knowest, Lord, Z. 58c The evidence of Italian influence, in particular Venetian polychordal style, persists in his works, although he used German texts for most of them. After Gabrieli’s death, Schütz returned to the Margrave’s court as a musician, although his family persisted in discouraging Jesu meine Freude, BWV 227 him from a professional interest in music. Schütz nevertheless pursued music and spent most of his long career as music director (Kapellmeister) of the electoral chapel in Dresden. All his life, Vox Luminis is grateful for the support from Schütz worked on constructing ways to adapt the innovations of Wallonie-Bruxelles International for their Italian Catholic into a German Protestant setting. As a U.S. & Canada Tour. composer, he became known for his mastery of writing for multiple choruses, a particular specialty he learned from Gabrieli and perfected in study with Monteverdi. This style in turn influenced Bach’s double-choir . Brahms re-discovered the music of Schütz, championing this composer who lived a century before Bach and yet was almost completely unknown to the Romantic era. A hundred years later, Stravinsky also marveled at the “unforgettable pages” of his music. Schütz was commissioned to write this mass for the funeral of Prince Heinrich Posthumus von For more information, visit www.voxluminis.com Reuss, (1572-1635), a member of the ruling family in the region where Schütz was born. Under von Reuss’ jurisdiction the area Vox Luminis records for the Belgian Label and Alpha. was sheltered from almost all conflict during the 30 Year’s War. MANAGEMENT: Alliance Artist Management 5030 Broadway The exalting and magnificentMusikalische Exequien, a Lutheran Suite 812 New York, NY 10034 Funeral Mass to German texts, for six to eight voices plus ripieno singers (a six-voice choir) with accompaniment on organ, is a little known masterpiece yet one of the composer’s finest works. It was written to be the introductory liturgy to the funeral service. Oddly enough, the work was little praised at the time of its composition; it has received most recognition by critics only in the last fifty years. Schütz wrote a lengthy dedication to his friend: “What good does it do if I say here that you appreciated my modest song/ And my rustic music just as much as the finest things?/ What favour-grace/ And kindness you have so often shown to me/ Because of my art: this you did immediately/ Because of my origins – I was born/ In the lands that you rule; you considered this an honour/ For yourself and for this reason you loved me even more.” Von Reuss was deeply religious and planned every detail of his own funeral including how and of what the coffin should be made, the eulogy and the texts to be read. He had the copper coffin painted and the texts he chose inscribed on it. It was these texts that Schütz used in his mass. Von Reuss’ widow

PERFORMANCES MAGAZINE 9 ABOUT THE PROGRAM went to Schütz to ask him to write music Henry Purcell (1659-1695) of argument; no autograph scores exist, for the occasion, as the men were friends. Funeral Sentences and the composer left no account of his The funeral was Feb. 4, 1636. The Mass is own. It is highly probable that Purcell also subtitled “Concert in Form einer deutschen Purcell was the greatest composer in the included a March and for brass and Begräbnis Missa” ( in the Form of history of music in England. He was organist in addition to the choral anthems a German Funeral Mass”) and was written at the Chapel Royal and Westminster Abbey, sung today. The brass Canzona, an energetic for seven soloists (two sopranos, alto, two where he is buried, and he wrote for the polyphonic piece in two related and and two basses called “Favoriti”) church, for the theater and for every kind repeated sections, was performed in the and six-part chorus (divided sopranos, alto, of private performance. Like Mozart and middle of the service. and drums divided tenors and bass called “Capella”). Mendelssohn, he had a long and productive are known to have participated in the event, The word Concerto had been used in similar career that was condensed into a lifetime of but no timpani part has been connected to circumstances by Monteverdi to describe a only 36 years. Between 1690 and 1695 alone, the brass movements, although timpani are sacred work for solo voices accompanied Purcell wrote incidental music for more than often included in modern performances. by basso continuo. In this work, Schütz forty plays, sometimes so much music as The music for the occasion was solemn and distilled all the aspects of his vocal writing austere, but also illuminating and heartfelt, virtually to convert them into . Dido for different combinations of voice, using with a startling " Processional." and Aeneas is his only true , a work varying polyphonic and choral techniques, in which the music advances the dramatic Purcell’s solemn, stately, perfectly as well as juxtaposing the post-Lutheran action instead of simply being inserted proportioned Funeral March was played on German musical tradition with Italian vocal into a play. Purcell composed it in 1689 for four ‘flat trumpets’ notable because they techniques; he also met the challenge of “young gentlewomen” who were students could play in a minor key and similar to the its structure in an innovative masterful in a London school for girls. Purcell’s other or the , but with a slide way. The mass does not follow the texts of very successful composition, although less moving backwards. The music for the quartet the mass as used by Lutherans but rather is notable for its repetitive sequence of well-known today, is this Funeral Music for uses the texts chosen by von Reuss. It has variants on a very simple four-or five-note Queen Mary, also known simply as Funeral two parts corresponding to the Kyrie and phrase. The texts for the choral pieces, Sentences. Queen Mary, the wife of William Gloria (which together are known as the of Orange, was one of England's most having to do with the earthly life’s transitory Missa Brevis). The funeral procession was beloved monarchs. Of the four monarchs nature, fear of divine judgment, and hope accompanied at the start by the chorale, Purcell served, his relationship with Mary for divine mercy, come from the Book of sung alone (see above). The two sections was the closest: she was the only monarch Common Prayer of 1660 and from Job 14: of the mass are recognizable, each being for whom he composed Birthday Odes. She 1-2. The Funeral Sentences, an interlocking introduced by a plainsong incipit with a was one of the many victims of the smallpox set of short settings of the burial texts, tenor solo. The first movement was written epidemic of December 1694 and her death, were probably composed in the early for a single six-part chorus and would have just after Christmas, plunged the nation into 1680s. Purcell’s music for these emotional functioned as an Introit, alternating with texts was to include effects used generally genuine grief. Purcell composed the Funeral duets and trios by the soloists. The origins for madrigals effects as well as intense Sentences for her funeral in Westminster of the Kyrie are obvious: the first section Abbey, but because the ceremony was chromaticism. Each is sung first by a quartet is addressed, according to the German held on March 5, 1695, he had plenty of of soloists, who are then joined by the practice of the time, to God the Father, the time to plan and compose the music for chorus. The atmosphere of the masterpiece, Son and the Holy Spirit. The relationship the ceremony. The royal funeral was a Remember not Lord, our offences (c. 1680) of the Gloria to the original mass texts is sumptuous occasion. Black cloths were is established with the first word, set as a less straightforward, but this section has hung along the route of the procession from simple block chord and reiterated as the a unique, near symmetrical construction. Whitehall to Westminster Abbey; nobility, phrase moves forward to “offences.” The After the tenor intonation, 16 subsections aldermen, judges, the Lord Mayor and an phrase is repeated, still in homophonic alternate with the chorus on chorale enormous crowd of people paid their last style, but in the repetition set in the relative stanzas. The settings for solo voices are respects to their much-beloved Queen. major. “Neither take thou vengeance of our active and make much use of imitation. Purcell’s eloquent work for the Queen’s sins” is always countered with “but spare The full solo grouping only sings together in funeral can be understood as powerful us good Lord.” The music climaxes with a the first and last of its sections as well as in desperate cry for mercy; and ends, as it masterpieces. The Funeral Sentences the central one. At the midpoint, the whole brings together music composed in 1677, began, with a quiet prayer for salvation. solo group is featured: first alto alone, then perhaps originally intended for the funeral “Man that is born of a woman” and “In the sopranos and bass, then tenor alone, then of Purcell's teacher with midst of life we are in death” both survive alto, the two tenor parts and bass. This is the music written in 1694 for the Funeral of in autograph score. The first of the choral the longest section of the movement and Queen Mary II. One of the choristers at the selections, “Man that is born of a woman,” is its formal center, including the whole funeral, Thomas Tudway, later recalled the is melancholy and expressive music. The text and most of the musical material. The melody rises and falls in imitation of the extraordinary effect of Purcell’s music; ‘I chorus presents a different choral stanza words “he cometh up and is cast down like a appeal to all that were present .... whither each time, singing the same chorale as its flower. “ they ever heard any thing so rapturously fine, ” In the midst of life we are in death” first and last statements. The two choral begins in the soprano section, which would & solemn, & so heavenly .... which drew tears sections are nearly the same but the second almost certainly have been sung by boys from all; & yet a plain, Naturall Composition; one is extended and elaborated. The choral in the first performance, and then is taken which shows the pow’r of music, when section that follows the mid-point soloist up by the rest of chorus, one section after ‘tis rightly fitted, & Adapted to devotional section, “ ” another. The music is chromatic, and by the Mit Fried und Freud ich fahr dahin purposes.’ Ironically, Purcell’s music for is the German hymn paraphrase of the text standards of the time, created a dissonant Thou knowest, Lord was performed at his of the Exequien. own funeral in November of the same year. cry of anguish. Purcell uses extraordinary Just what music was performed is a matter word painting on “the bitter pains of eternal death.” Thou know'st, Lord is one of two

10 PERFORMANCES MAGAZINE ABOUT THE PROGRAM

settings of this text by Purcell. This Thou through the resurrection of Christ. Its text , a duet for sopranos, to which the know'st, Lord is hushed and resigned, but is based on a strict alternation of strophes, tenors provide vocal continuo, with the Purcell, in this new setting he composed for in a somewhat unlikely match of the rather altos in the middle with a different version Queen Mary’s funeral, has used saccharine hymn stanzas of Jesu, meine of the hymn tune than the one used in the that is quite involved; his more serene Freude by the poet and a other five chorale movements. In the 5th homophonic setting of the same anthem chorale melody by Johann Crüger with movement, Bach conjures the medieval makes a fitting conclusion. The simplicity stern verses from the Bible, Romans 8:1-2 image of “the old dragon” with the graphic and brevity of the second setting of this and 9-11, St. Paul’s Epistle to the Romans. vividness of a painter like Cranach or a anthem completely express the composer’s Although it was not unusual in Lutheran Grünewald and opposes it with the powerful restrained grief. motets to include chorale and Biblical image of Luther himself, fearless in his text, Bach did so with ease and successful isolated rebellion (“ich steh hier und singe”) Johann Sebastian Bach (1685-1750) dramatic alternation, crafting a perfectly and brave and unmovable in his defiance (“in Jesu meine Freude (“Jesus, my symmetrical work, giving much thought to gar sichrer Ruh”). The motet begins with a providing balance and unity. The structural four-part setting of the chorale Jesu meine joy”) BWV 227 plan of Jesu, meine Freude distinguishes it Freude. The last movement of the motet from any other work of its time. The odd- is an identical four-part setting, but using Jesu meine Freude is the earliest, longest, numbered movements of the motet are all the last verse of the chorale Weicht, ihr and most musically complex and the varied treatments of the hymn tune; the Trauergeister [go away, ye spirits of sorrow.] most well-known of the five motets Bach even numbers are free settings of the Bible The 2nd movement speaks of those who are composed; what is sometimes referred to text. Bach gives the work musical, literary ‘in Christ,’ while the penultimate movement as a sixth motet is probably a movement and devotional equilibrium by balancing refers to the Spirit of Christ dwelling ‘in from a lost cantata. Jesu meine Freude, the movements symmetrically around the you.’ Much of the same musical material is BWV 227, was most likely written in 1723 central of No. 6. Thus Nos. 1 and 2, contained in both verses. The 4th movement for the funeral of Johanna Maria Käsin, the for example are almost identical with Nos. is a trio for high voices, the fourth to last, a wife of Leipzig’s postmaster. As with all 11 and 10. Bach intersperses six verses of trio for low voices, while in the center is the Bach's motets, the work calls for voices the hymn with five passages from St. Paul's fugue of exquisite tenderness and lyricism. only, without any instrumental component Epistle, musically giving each hymn verse other than light keyboard accompaniment, its own individual treatment, sometimes Program notes © Susan Halpern, 2018. unlike his which had more expanding upon the hymn tune at great elaborate instrumental forces. A motet is length with vivid dramatic effect, especially generally a choral piece set to a sacred in verses 3 and 5. The motet has eleven text, although examples do exist of motets short movements can be divided into three for accompanied solo voices. The motet groups of settings: choral tune and text (nos. (derived from the French mot, meaning 1, 3, 7, 11); free settings of the chorale (nos. word) came into being in the 13th century 5 and 9) and settings of the extra biblical when words, were added to the upper parts text (nos. 2, 4, 6, 8, 10). The whole piece of passages of (from Gregorian is centered on the fugal number 6; either , organum meant two melodic lines side of this are two groups (nos. 3–5 and moving simultaneously note against note). nos. 7–9) containing a chorale, a trio and an The motet did not become the predominant -like movement. Numbers 2 and 10 have form of church music until the 16th century material in common and numbers 1 and 11 when imitation and counterpoint were used use identical music. Bach gave this motet to illustrate each phrase of text. Although an unusual feature: he included two solo Bach may have composed a few more trio sections (Nos. 4 and 8) in a genre that, motets than are now extant, he did not in its traditional Lutheran form, is purely compose many because the cantata, which choral. The choral writing is in five parts, had solo , independent orchestral parts although several strophes of the hymn are and poetic texts, had become the dominant set in simple four-part harmonizations. form. When writing in the German motet Among theories concerning the work's tradition, Bach used fugal writing; he also genesis is the suggestion that it is a work used techniques that he took from vocal that was developed over time, the earliest and instrumental , juxtaposing music possibly dating back many years to the fast and slow movements. He found few composer’s pre-Leipzig period. Evidence to stylistic barriers between the various genres support such a notion comes from the lack in which he cast his music; there seems of any real relationship between the Biblical to have been no rigid dividing line for him text and the chorale, normally a carefully between instrumental melodies and sung considered matter in the Lutheran motet. arias or phrases. He wrote almost every It was most likely written for the funeral of one of his cantatas for performance on a Frau Kee, the wife of a Leipzig official. The specific Sunday of the church calendar, but underlying idea is the opposition of the flesh his motets are pieces he composed for a and the spirit, and the whole motet revolves specific occasion, often commissioned for around a centerpiece expressing this, the performance at funerals of distinguished fugue “ihr aber nicht fleischlich sondern citizens. The intimately expressive motet’s geistlich.” Some passages seem to have an overall message is one of victory of “life early Weimar provenance, particularly the of the spirit” over “death of the flesh” sublime “Gute Nacht” in the heart of the

PERFORMANCES MAGAZINE 11 ABOUT THE ARTISTS

VOX LUMINIS is a Belgian IMEP) in Namur where he earned his The lyrical tenor ROBERT BUCKLAND vocal ensemble created in 2004 by degree in recorder with great received his early musical training as a Artistic Director Lionel Meunier. The distinction. Meunier then focused his chorister at Regensburg Cathedral. ensemble performs over 60 concerts a attention on vocal at the Royal During his studies, he has performed year, appearing on stages in Belgium, Conservatory of the Hague (NL). At the regularly with some of ’s top across Europe and around the world. same time, he started a career as a ensembles including the Huelgas Since its inception, the ensemble has concert musician. He was soon in Ensemble, and been defined by its unique sound, demand as a soloist, and he joined the Dutch Bach Society. As a soloist appealing as much through the prestigious ensembles like Collegium Robert has performed both Arias and personality of each as it does Vocale Ghent (P. Herreweghe), World the in J. S. Bach’s Christmas through the color and the uniformity Youth Choir, Arsys Bourgogne and Passion , as well as other of the voices. The size and (P. Cao), Amsterdam Choir oratorios by Medelssohn, Keiser, composition of the group depends on (T. Koopmann), the Chamber Choir of Stradella, Monteverdi and Telemann, the repertoire, with the core of Namur, the Favoriti de la Fenice (J. several Haydn, Schubert and Mozart soloists, mostly from the Royal Tubéry), the Soloists of the Chamber masses, numerous (Bach) cantatas, Conservatory of the Hague, often Choir of Namur, Cappella Pratensis (S. requiems and operas such as Handel’s joined by additional performers. The Bull) and the soloists of the Dutch Acis and Galathea (Acis), Siroe (Arasse), repertoire is essentially Italian, English Bach Vereniging (J. Van Veldhoven). He Lotario (Berengario), Haydn’s Philemon and German and spans from the 16th has been increasingly in demand from und Baucis (Philemon), Purcell’s Dido to the 18th century. Vox Luminis many ensembles throughout Europe as and Aeneas (Aeneas), King Arthur and boasts 12 albums on the labels Alpha coach, conductor and artistic leader. The Fairy Queen. He performed Robert Classics, Ricercar, Ramée and Musique His passionate yet thoughtful approach Schumann’s Dichterliebe in New York en Wallonie. These recordings have to the early music and a capella and Franz Schubert’s die Schöne enjoyed international critical acclaim, repertoire, combined with the Müllerin in Oslo and the Hague. Robert and have won numerous prizes understanding of and respect for the studied at the Royal Conservatoire in including the prestigious Gramophone singers, has allowed him to achieve The Hague and had masterclasses with Recording of the Year in 2012 for the progressively ever-higher standards. Michael Chance, and Musicalische Exequien by Heinrich Moreover, he is jury member for many Marius van Altena. He finished his Schütz. Vox Luminis has performed in international festivals and studies cum laude in and was a prestigious venues such as Wigmore competitions. member of the ensemble of the Hall in London, the Oratoire du Louvre Operastudio Nederland in the season in Paris, the Auditoria Nacional de OLIVIER BERTEN joined the 2008/09. He is currently being taught Música in Madrid, the Concertgebouw Conservatoire Royal de Bruxelles, by Reinhard Becker. in Brugge, the Muziekgebouw in where he obtained a Higher Diploma in Amsterdam and the Tivoli Vredenburg opera singing under Marcel Vanaud. He The Spanish-English mezzosoprano in Utrecht. Residencies for the studied with Udo Reinemann and other VICTORIA CASSANO (Madrid, 1987) ensemble have been held at the Abbey famous names at the Conservatories specializes in the historically informed of Sainte-Marie-des-Dames, the of Amsterdam, Metz and Brussels. He performance of and Centre for Fine Arts in Brussels, the studied baroque singing with Monique , focusing mainly on Concertgebouw in Brugge, the Zanetti and . During ensemble music and . prestigious Festival of Early Music in the 2004-2005 season, he was Following her passion for ensemble Utrecht and the "Musique et Mémoire member of the Operastudio singing, she regularly collaborates with Festival.” In 2017, the Aldeburgh Vlaanderen in Ghent. He used to ensembles such as Vox Luminis, La Festival in England, founded by regularly perform on opera scenes in Capella Reial de Catalunya, the Benjamin Britten, hosted the ensemble Brussels (Eliogabalo, Werther, Orlando Nederlandse Bach Vereniging and for the first time. furioso), Flanders (Villa Vivaldi) and Musica Temprana. She is also a Wallonia (Ne criez pas au loup and Sybil founding member of The Windsor LIONEL MEUNIER is a singer and the et les silhouettes). He also worked with Consort, a vocal ensemble specializing founder/artistic director of the early ensembles like the Liège Philharmonic in the performance of English and music vocal ensemble Vox Luminis. (L’enfant et les sortilèges), Italian madrigals. Since 2014, she has Being passionate about music from a the Flanders Symphony Orchestra been part of the Young Bach very young age, he started his musical (Rossini for kids) and Fellowship of the Nederlandse Bach education in the city of Clamecy (Matthew Passion). He is a regular Vereniging. Recent opera appearences () with the , recorder member of the Scherzi Musicali, Vox include the role of Eduige in the opera and solfège. Lionel then continued his Luminis and Cappella Pratensis Rodelinda by Haendel and the role of studies at Institut Supérieur de ensembles. The recordings he shares Arethuze in La descente d'Orphee aux Musique et de Pédagogie (the Superior with them are very much appreciated Enfers by Charpentier. Victoria began Institute of Music and Pedagogy - by both the critics and the audiences. her musical studies playing both piano

12 PERFORMANCES MAGAZINE ABOUT THE ARTISTS and in her hometown. In 2008, degree in 1995), as well as choir and conductor John Butt. David’s she graduated from the Universidad conducting, harmony, counterpoint dissertation focused on the Complutense de Madrid, with a and music history. He has given emergence of as Bachelor’s degree in Music Teaching. In concerts as a soloist with mainly a professional activity in early modern 2009, she decided to move to The French ensembles (Akadêmia, La Lutheran , and was generously Netherlands to study Early Music Fenice, Mora Vocis) and is frequently supported by a scholarship from the Singing at the Royal Conservatory in invited by ensembles like Pygmalion, government’s Arts & Humanities The Hague. During her Master’s Les Eléments, Sequenza 9.3. He is a Research Council. As a singer, David studies, she specialized in the regular member of Vox Luminis since works across Europe, appearing with performance of Spanish sacred music 2009. leading early music ensembles of the 17th Century, and she obtained including Dunedin Consort, I Fagiolini, her Master’s degree in Early Music JAN KULLMANN was Nederlandse Bachvereniging, Concerto Singing. born in Germany, where he began his Copenhagen and the Academy of musical training as a chorister in Ancient Music. He is also regularly ALEXANDER CHANCE graduated in Jugendkantorei Hösel. He completed a invited to perform contemporary 2015 having read Classics at New Master’s degree in Early Music Singing music with ensembles including the College, Oxford, where he was a choral and Historical Performance Practice at Britten Sinfonia and London Voices, scholar under the direction of Edward The Royal Conservatory of The Hague. and has appeared on numerous film Higginbottom for three years, and then His operatic roles include Handel’s and video game soundtracks, most of Robert Quinney for one. Many Siroe, Lotario (with Contrasto recently including Jurassic World and opportunities for solo performances Armonico) and Medoro World of Warcraft He has taught at the came his way all over the world, most (Combattimento Consort Amsterdam), University of Glasgow, and is notably in Grace Cathedral, San San Giovanni Battista by Stradella and frequently invited to write program Francisco, where he sang the alto arias St. Eustachio by Lanciani (Les notes for events including the in Bach’s . He also Muffatti). He also appeared as Ottone Edinburgh International Festival, Kings made a number of recordings with the in Handel´s Agrippina in the Teatro Place and St John’s, Smith Square, and New College Choir, including a recent Comunale di Modena (Opera2Day), and to speak at venues including London’s CD of symphony anthems, in the title role in Handel´s Orlando at Wigmore Hall. on which he features as a soloist. the Scottish Opera. Jan’s concert Recent solo appearances include repertoire includes solo parts in J.S. SEBASTIAN MYRUS began his musical Handel’s Messiah with Richard Cooke Bach´s passions and oratorios as well training as boys choirister in at Cathedral, Bach’s St as Orff’s Carmina Burana and Windsbach. He studied singing at the John Passion with Mark Deller at St Bernstein’s Chichester Psalms. He has Academy of Music and Theatre in his Mary’s Ashford, Christmas Oratorio also performed a leading role in a hometown of Munich, Germany. During with Robert Quinney at the Sheldonian modern theatre production, Biest by his studies at the Academy he joined Theatre in Oxford, with De Wetten van Kepler. Jan has worked the Opera School at the Bavarian Edward Higginbottom at King’s Place in as a soloist throughout Europe and the Theatre Academy and started his London, St Matthew Passion with Americas with and operatic career. His engagements Geraint Bowen at Hereford Cathedral, ensembles such as Concerto Köln, included Giove in Cavalli’s La Calisto, the role of ‘Micah’ in Handel’s Samson Capriccio Basel, Wrocław Baroque Bottom in Britten’s A Midsummer at Stour Music, B Minor Mass with Vox Orchestra, Düsseldorf Symphonie, Night’s Dream, Calchas in Offenbach’s Luminis in Utrecht and regularly in Stavanger Symphonie and La Belle Hélène and Batone in Rossini’s Oxford with Tom Hammond-Davies and Combattimento Consort Amsterdam. L’Inganno Felice. He performed the Oxford Bach Soloists. Upcoming Jan is a co-founder of the vocal soloist Stravinsky's Rake's Progress at the projects include Handel’s Triumph of ensemble Vox Luminis. Bavarian State Opera, Purcell’s King Time and Truth at King’s Place in Arthur at the Markgräfliches Opernhaus London in October, and Purcell’s King Hailing from Glasgow, DAVID LEE Bayreuth, the world premiere of Arthur at Stour Music. He also sings enjoys a multi-faceted musical career Thomas Jennefelt's opera, Paulus, for regularly with The Tallis Scholars and as a singer, teacher, researcher, writer the Deutsches Theater in Berlin and the Gesualdo Six. and administrator. He studied Music as Handel's Siroe for the Handel Festival an undergraduate at Christ Church, in Halle. Sebastian regularly performed The French tenor PHILIPPE FROELIGER Oxford, where he was also a Choral and recorded with numerous began his musical study in the Scholar, graduating with first-class acclaimed groups and ensembles, conservatory of his home town, honours. Following this, David went on including the Athesinus-Consort Berlin, Strasbourg, at age 6. For 8 years, he to complete Master’s and Doctoral Polyharmonique, the Netherlands Bach studied piano, ballet dance and sang degrees in Historical Musicology at the Society and the Collegium Vocale as a boy soprano in . Then came University of Glasgow, under the Gent. As soloist Sebastian Myrus has proper singing studies (Bachelor supervision of the noted Bach scholar worked with Freiburg Baroque

PERFORMANCES MAGAZINE 13 ABOUT THE ARTISTS

Orchestra, Akademie für Alte Musik Singing Competition (Budapest, Hungary Baroque music. She has sung in many Berlin, Barocksolisten München, Les 2003) and the Simándy József Singing festivals and concert halls nationally Muffatti, Orchestre des Champs- Competition (Szeged, Hungary 2004). and internationally. In addition to her Elysées, of Seville She performs regularly throughout long involvement with CAV&MA, her and the Doha Baroque Ensemble. Europe and beyond and has appeared main engagements are with Sebastian is a core member of the as soloist with Collegium Vocale Gent Correspondances (S. Daucé) and Vox prize-winning vocal ensemble Vox (Philippe Herreweghe), Nederlandse Luminis as a core member of both Luminis which performs regularly at Bach Vereniging (Jos van Veldhoven), ensembles. renowned international festivals. Goeyvaerts Trio, Les Muffatti, Pannon Filharmonikusok and Tetraktys (Kees RICARDO RODRÍGUEZ MIRANDA (Viola Pianist/harpsichordist/improviser Boeke). She has been a regular da Gamba) was born in 1973 in Caracas ANTHONY ROMANIUK inhabits a member of Vox Luminis for 10 years. where he studied piano and violoncello diverse musical environment at the Escuela de Música “Juan Manuel incorporating solo recitals, concertos, Canadian born STEFANIE TRUE has Olivares.” In 1989, with the ensemble and baroque basso enjoyed performing worldwide, and is Musica Rhetorica, he recorded “Les continuo alongside frequent forays a singer equally at ease on both opera Concerts Royaux” by F. Couperin, the outside the classical realm. His and concert stages. Highlights include first baroque music recording on CD repertoire spans several centuries; the role of Celia in Händel’s Lucio Silla made in Venezuela. He became a from Byrd, Bach, Beethoven, Chopin at the Internationale Händel-Festspiele member of the Camerata de Caracas. and Brahms – often on historical Göttingen, the role Poppea in Händel’s Ricardo began his studies of viola da instruments – to Crumb, Ligeti and Agripinna at The Grange Festival, gamba with Wieland Kuijken at the 21st-century industrial noise music. Pergolesi’s Stabat Mater in San Royal Conservatory in The Hague. For Frequent collaborators include Patricia Francisco with Voices of Music, the this study he was awarded a Kopatchinskaja, Pieter Wispelwey and Israelite woman in Händel’s Esther with scholarship from the Ministry of the Australian Chamber Orchestra. La Risonanza led by Fabio Bonizzoni, Culture in Venezuela (CONAC). Ricardo Other noteworthy collaborations in the Bach Cantatas with the Lutherse Bach took master classes with in 2017/18 season include performances Ensemble led by and a . In 1998, he received the with the JACK Quartet, and Danish tour of the Netherlands with Medieval Teachers and Performers Diploma and Indy rock band Efterklang, as well as ensemble Tetraktys led by Kees Boeke. began to study Musicology for 4 years Schumann and Liszt lieder with young She also continues to tour worldwide at the University of Utrecht. Ricardo star tenor Reinhoud Van Mechelen. with Vox Luminis and reappears this Rodriguez Miranda performes regularly season as soprano soloist with Nieuwe with Vox Luminis, Nederlandse ZSUZSI TÓTH was born in Hungary Philharmonie Utrecht in Bach’s St. Bachvereniging, L'armonia sonora and where she began her musical studies Matthew Passion and Handel’s Messiah. Margaretha Consort. He performs as a with the piano at the age of seven. She In 2011, Stefanie placed first in the soloist in Bach's St. John’s and St. started classical singing at the Faculty London Handel Singing Competition Matthew’s Passion with several Dutch of Music of the University of Szeged, (Adair Prize) and won second prize in orchestras like the Het Residentie receiving a Master’s degree in 2004. the John Kerr Award competition 2010 Orkest. He has participated in many She went on to specialize in Early in Kent, UK. She studied voice with CD recordings which have been Music at the Royal Conservatory of The Catherine Robbin at York University awarded with Diapason D’or (Camerata Hague, where she was awarded a (Toronto), and has a Master’s in Early de Caracas, Nederlandse Bachelor’s degree, and, in 2009, Music from the Royal Conservatory in Bachvereniging, Leclair’s Violin earned her Master’s with distinction as The Hague. and Vox Luminis). His repertoire a student of Peter Kooij, Jill Feldman extends from the Middle Ages, the and Rita Dams. She also participated in CAROLINE WEYNANTS is a Belgian great masters of the Baroque Era and masterclasses given by Martin soprano specializing in Baroque Music. compositions of Calliope Tsoupaki to Klietmann, Mitsuko Shirai, Júlia She has been working with many his own on the viola da Hamari, Marius van Altena, László well-known international ensembles gamba based on Early Music and the Polgár and Adrienne Csengery and and recorded numerous discs. She music of his native Venezuela. At the received coaching from Charles Toet gratuated in the Royal Conservatoire moment, he performs regularly and and . During her studies of Liége (Belgium) in 2003 obtaining a teaches viola da gamba and piano she won a Hungarian State Grant Classical Singing and Chamber Music privately. Since September 2011, (2002-3), as well as the Huygens diploma. In 1998, she joined Namur Ricardo has taught French Baroque Programma Scholarship in The Chamber Choir (Centre d’Art Vocal & Music and Dance at the Royal Netherlands (2006-7). Zsuzsi has won de Musique Ancienne – CAV&MA), Conservatory in The Hague. prizes in several international singing where she forged her career as a choir competitions and was the first-prize singer and soloist. She has performed winner in both the Gyurkovics Mária with the best European ensembles of

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