Lucio Silla, One of His Very First Operas 30Th Anniversary of the Creation of His Ensemble Composed, Around the Age of 17, for the Teatro Ducale Matheus

Home , Andreas Scholl, Armida abbandonata, Brian Asawa, Christophe Rousset, Dixit Dominus (Handel), Franco Fagioli

e 39 festival international

d’opéra baroque BEAUNE & romantique

39th Beaune International

Baroque & Romantic

Opera Festival 2021

from 9th to 31st July . 4 weekends

Riccardo Novaro in Haendelʼs Serse opera cond. Ottavio Dantone Beaune festival 2019 photo JC Cottier festival international d’opéra baroque

BEAUNE & romantique

39th Beaune International Baroque & Romantic Beaune Opera Festival 2021 romFrom 9thh3 9th to 31st July . 4 weekends

Courtyard & Salle des Pôvres of The Hospices de Beaune 15th C.

Notre-Dame basilica 12th & 14th C.

Beaune Festival office : Place de la Halle BP 60071 21200 Beaune cedex Phone : + 33 3 80 22 92 94 E-mail : [email protected] Website : www.festivalbeaune.com

C o n t e n t s

Artistic program

Presentation of the 39th édition 2021 5

Calender 7

Operas & Oratorios 9 à 16

Concerts & recitals 18 à 23

Gourmets & Buffets tasting 24

Supports & Partners 25

Useful informations 27

Short history of Festival 29

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 4

PRESENTATION OF

TH THE 39 EDITION 2021

Dear Friends, virtuosities. L’Allegro, il Penseroso ed il Moderato, conducted by William Christie which gives us to hear a After the Covid-19 pandemic, which proved most trying score, both a pastoral and lyrical symphony, for the performing arts world and led to the cancellation comparable to Haydn’s Seasons. And in contrast of 2020’s 38th edition of the festival, it is with immense Semele, a dramatic opera in which Handel paid joy that we can now share with you this new 39th particular attention to the continuity of the recitative with edition 2021. We offer our warmest thanks to: the the arias, anticipating by twenty years Gluck’s reform in corporate sponsors and public institutions who offered his opera Orfeo ed Euridice. Indeed, these arias are their support during this difficult period; the many fascinatingly diverse and take on a musical stylisation passionate music lovers who have shown their trust that sets them apart with their modernity and constant and loyalty to us through their donations, also helping metamorphosis. to ensure the continuity of the festival. We believe more than ever that the world needs, both now and in the > With Il Ritorno d’Ulisse in patria, we open a future, the beauty, emotion and poetry of music. We new trilogy of Monteverdi operas led by a new guest invite you to meet the wonderful artists for this new conductor, Stéphane Fuget, one of his most enthralling edition, which includes 3 operas and 3 recitals performers, at the head of his admirable new orchestra, postponed from July 2020 to July 2021 (The Magic Les Epopées. Monteverdi, at the height of his art, Flute by Mozart, Il Ritorno d’Ulisse in patria by composed two of the most grandiose scenes of Monteverdi, Handel’s Il Trionfo del Tempo e del dramatic literature for this Ulysses: in act 1, the lament Disinganno, and recitals by Chiara Skerath, Mari of Penelope where she deplores the interminable wait Eriksmoen and Andreas Scholl), and 5 new lyrical for Odysseus’ return (“Torna, torna, deh torna, deh productions. torna Ulisse”) and the famous monologue by Ulysses stranded on the shores of Ithaca (“Mi lasciate in questa On the programme for this 39th edition : riva aperta ... misero abbandonato”).

7 operas and oratorios, 4 recitals > The Magnificat one of Bach’s most famous sacred music and Vivaldi’s Gloria another very popular > 2 Mozart operas on period instruments: to piece are conducted by Jean-Christophe Spinosi for the open, Lucio Silla, one of his very first operas 30th anniversary of the creation of his Ensemble composed, around the age of 17, for the Teatro Ducale Matheus. in Milan. Lucio Silla has long been a little-known work in Mozart’s production. It is, however, a masterpiece of > 4 recitals: two dedicated to great voices and opera seria: da capo virtuosos which are a real two to young talents: Mari Eriksmoen, a wonderful challenge for singers, expressing the passions and Norwegian soprano, who sings on the greatest stages torment of the human soul with depth and intensity, in the world, interprets arias from famous operas by agility and lightness and infinite grace. A revelation to Handel and Mozart (who we will find in the role of see and hear, conducted by Laurence Equilbey in an Pamina from Mozart's Magic Flute), while Andreas original staging by Rita Cosentino. The Magic Flute, Scholl, much-loved countertenor who has remained composed at the age of 36, in the last months of his loyal to the festival since 1994, offers us a tremendous life, is certainly the Mozart opera which, at every programme centred on cantatas and Neapolitan arias moment, fascinates us, moves us, amazes us and from the 17th and 18th centuries, in particular from the transports us. We asked Jérémie Rhorer, the iconic young Handel in Naples. Chiara Skerath, an admirable Mozart conductor who caused a sensation when he young soprano, acclaimed by critics for "her brilliant debuted in Beaune with Idomeneo, then in the trilogy, technique", "velvety tone" and "her engagement", in to conduct this Flute that we have been waiting for over great arias from operas by Mozart and Gluck (whom we the last few years. A new event in perspective! will also find in the role of Cinna in Mozart's opera > 3 operas or oratorios by Handel, important Lucio Silla) and Paul-Antoine Bénos, a young, talented milestones in his career including an early works com- French countertenor who will make his festival debut posed during his trip to Italy and 2 mature compositions with arias by Monteverdi, Vivaldi and Handel. : Il Trionfo del Tempo e del Disinganno conducted by

Ottavio Dantone, Haendel’s first oratorio composed at the age of 22 in Rome during his trip to Italy, and which already bears witness to the extraordinary stylistic Anne Blanchard mastery of a musician freshly imported from multiple Artistic Director

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 5 Y ltd 2013, Narinbg. Y ltd 2013, © JM Pettina/Caisse des Dépôts - Fotolia : Dmitry Vereshchagin, Okalinichenko, Vladimir Karpenyuk, KazantsevAlexander, CHROMAKE KazantsevAlexander, Vladimir Karpenyuk, Okalinichenko, Vereshchagin, Dmitry : des Dépôts - Fotolia © JM Pettina/Caisse

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Calender |

WEEKEND 1

Fr 09. 07 opera “Lucio Silla“ of Mozart | Paris Choir & Insula Orch. | Laurence Equilbey | Courtyard Hospices de Beaune*. 9 PM |

Sa 10. 07 “Magnificat BWV 243” of Bach and Gloria RV 589 of Vivaldi Mélismes Choir & Orch. Matheus | Jean-Christophe Spinosi | Notre-Dame Basilica . 9 PM |

Su 11. 07 recital Chiara Skerath, soprano | “Great operas arias” of Mozart, Gluck | Antoine Palloc, piano | Hospices de Beaune - Salle des Pôvres . 9 PM |

WEEKEND 2

Fr 16. 07 pastoral opera or great Ode “L’Allegro, il Penseroso ed il Moderato” of Handel | Ch. & Orch. Les Arts Florissants | William Christie | Notre-Dame Basilica . 21 h |

Sa 17. 07 opera or oratorio “Semele” of Handel | Ch. Namur & Orch. Millenium | Leonardo G. Alarcon | Courtyard Hospices de Beaune*. 9 PM

WEEKEND 3

Fr 23. 07 opera “Die Zauberflöte“ (The Magic Flute) of Mozart | Ch. Namur & Orch. Cercle de l’Harmonie | Jérémie Rhorer | Courtyard Hospices Beaune*. 9 PM

Sa 24. 07 opera “Il Ritorno d’Ulisse in Patria” of Monteverdi | Orch. les Epopées | Stéphane Fuget | Notre-Dame Basilica . 9 PM

Su 25. 07 recital Mari Eriksmoen, soprano | “Great operas arias” of Handel, Mozart | Antoine Palloc, piano | Hospices de Beaune - Salle des Pôvres . 9 PM |

WEEKEND 4

Sa 31. 07 oratorio “Il Trionfo del Tempo e del Disinganno” of Handel | Orch. Accademia Bizantina | Ottavio Dantone | Notre-Dame Basilica . 9 PM |

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 7 C’est l’été sur France Musique Concerts, émissions, festivals…

du 5 juillet au 29 août 2021

France Musique partenaire 99.2 du Festival international d’opéra baroque de Beaune + 9 webradios sur francemusique.fr

Operas & oratorios

LUCIO SILLA | MOZART LAURENCE EQUILBEY

BACH’S MAGNIFICAT | VIVALDI’S GLORIA JEAN-CHRISTOPHE SPINOSI

L’ALLEGRO, IL PENSEROSO ED IL MODERATO | HANDEL WILLIAM CHRISTIE

SEMELE | HANDEL LEONARDO GARCIA ALARCON

THE MAGIC FLUTE | MOZART JEREMIE RHORER

IL RITORNO D’ULISSE IN PATRIA | MONTEVERDI STEPHANE FUGET

IL TRIONFO DEL TEMPO E DEL DISINGANNO | HANDEL OTTAVIO DANTONE

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 9 O P E R A in concert

Mozart’s operas Cycle on original instruments

W. A. MOZART 1756 - 1791 Lucio Silla

Opera seria in 3 acts, premiered on 25 december 1772 at Teatro Regio Ducale in Milano Libretto by Giovanni de Gamerra and Metastasio

PARIS YOUNG CHOIR & INSULA ORCHESTRA Musical direction : LAURENCE EQUILBEY Semi Staged : Rita Cosentino

Lucio Silla Alessandro Liberatore, tenor Cecilio Franco Fagioli, countertenor Giunia Olga Pudova, soprano Cinna Chiara Skerath, soprano soprano Celia Ilse Eerens,

Lucio Silla, a Roman dictator, is in love with Giunia, who prefers to remain faithful to Cecilio. The latter then tries to organise a plot to make Lucio Silla disappear. The plan fails, but the dictator eventually forgives the two lovers and even relinquishes power. When he composed Lucio Silla for the Teatro Regio Ducale in Milan, Mozart was approaching seventeen years old. He had already composed Mithridates for the same theatre two years earlier with resounding success, with more than 20 performances. Lucio Silla has long been a little-known work in Mozart’s production. It is, nevertheless, a masterpiece of opera seria: da capo virtuosos which are a real challenge for singers. Shaking up the canons of opera seria, it expresses the passions and torments of the human soul, distress and its questions, with depth and intensity but, above all, agility, lightness and infinite grace. The daring, subtle modulations of the voices, the refined orchestration and solemn accents of the choir underline the fact that Mozart here already seems much closer to Beethoven's Fidelio than to the great opera serias of his time, making this work a precursor opera of the romantic aesthetic. Let us highlight here a set of exceptional soloists including countertenor Franco Fagioli, worthy heir to the castrati, who made his remarkable debut in Beaune in 2005 under the direction of René Jacobs. Finally, the staging work of Rita Cosentino, whose play on symbolic accessories and careful lighting help bring out the best of this rare opera.

> Friday 9 july - 9.00 PM . Courtyard of The Hospices de Beaune* * In case of bad weather the opera take place in Notre-Dame Basilica

TARIFF A

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€ 120 70 35 15

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 10

S A C R E D M U S I C

Bach’s & Vivaldi Cycle

JOHAN SEBASTIAN BACH 1685 - 1750

BWV 243 Magnificat Composed between 1728 and 1731

ANTONIO VIVALDI 1678 - 1741

Gloria RV 589 Composed between 1728 and 1731

MELISMES CHOIR & MATHEUS ORCHESTRA Musical direction : JEAN-CHRISTOPHE SPINOSI

Soprano Marlène Assayag Soprano Emily Rose Bry Alto Benedetta Mazzucato Tenor Pierre-Antoine Chaumien Bass Jean-Jacques L’Anthoen

We celebrate JC Spinosi’s 30th Anniversary of the creation of his Ensemble Matheus

The Magnificat in its final form has become one of Bach’s most famous sacred works. It opens and ends with two powerful choral movements between which the vocal and instrumental soloists interact according to constantly varied formulas of a confusing abundance of invention. The Cantor shows its sense of the image, to align the musical expression with the symbols of the libretto. Among the most original ideas, we highlight the choir singing on the words «omnes generationes» to evoke the multitude of humans across generations, the duet subtly balanced for alto and tenor with flutes in «Et misericordia», the impressive choral fugue of «Fecit potentiam» that expresses the power of the Lord, the limpid trio for 3 sopranos in «Suscepit Israel» and the first choir’s return to the topic for the final «Gloria Patri». Beyond these brilliant ideas, this festive work confirms Bach’s never-denied affection for the character of the Mother of Christ. Gloria RV 589 is a familiar and popular piece among sacred works by Vivaldi, composed for the famous young girls of Ospedale della Pietà in Venice.

> Saturday 10th - 9 PM . Notre-Dame Basilica

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series 1° 2° 3° 4°

€ 120 70 35 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 11

O P E R A O R G R E A T O D E

Handel Cycle

G. F. HANDEL 1685 - 1759

L’Allegro, il penseroso ed il Moderato

Opera pastoral or Great Ode in English in 3 acts, premiered in 1740 at The Royal Lincoln’s Inn Fields Theater in London. Text by Jensen, based on John Milton’s poems.

LES ARTS FLORISSANTS CHOIR & ORCHESTRA Musical direction : WILLIAM CHRISTIE

Soprano Rachel Redmond Ténor Rory Carver Basse Streten Manojlovic

We celebrate William Christie’s 35th years at Beaune Festival

L'Allegro, il Penseroso ed il Moderato is truly Handel's most English work and a counterpart to Gainsborough's poetic landscapes in line with the Romantic sensibility of the time. Handel wrote this work on a text by Jennens inspired by Milton's two allegorical poems L'Allegro (The Joyful Man) and Il Penseroso (The Contemplative Man) to which he added a third part, Il Moderato (The Moderate Man). The work is a pastoral symphony and an opera at the same time and comparable to Haydn's The Seasons or Beethoven's 6th Symphony. The music describes the virtues of nature in an enchanting and imaginative way. L'Allegro is alternately bucolic, carefree, cheerful and spiritual (especially the aria with carillon “Or let the merry bells ring round”) in contrast to Il Penseroso, which is more majestic, ecstatic and visionary (especially the wonderful melody “Hide me from day's garish eye” and the aria of the nightingale, “Sweet Bird”). Il Moderato features “As steals the morn upon the night”, the most beautiful duet ever written by Handel.

> Friday 16 July - 9 PM - Basilica Notre-Dame

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€ 120 70 35 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 12

O P E R A In concert

Handel’s Cycle

G. F HANDEL 1685 - 1759

Semele

Secular opera or oratorio in English in 3 acts, premiered on 10 February 1744 at the King’s Theatre, Covent Garden in London. Libretto by Newburgh Hamilton based on William Congreve and Ovid's Metamorphoses.

NAMUR CHOIR & MILLENIUM ORCHESTRA Musical direction : LEONARDO GARCIA ALARCON

Semele Ana Maria Labin, soprano Jupiter, Apollo Matthew Newlin, tenor Ino, Junon Dara Savinova, contralto Iris Chiara Skerath, soprano Athamas Lawrence Zazzo, countertenor Cadmus, Somnus, Great Priest Andreas Wolf, bass

New festival production, co-production Namur Music Festival

Unlike most of Handel's English-language compositions which are drawn from biblical subjects, Semele is inspired by a subject with a mythological nature, written "like an opera" in 3 acts. The mythological subject serves as a pretext to build a dramatic plot with a strong moralising ambition (Jupiter's amorous passion for Semele, where coquetry and ambition cause Semele's loss). Thus, Handel paid particular attention to the continuity of the recitative with arias, composing no less than ten accompanied recitatives, thus anticipating by twenty years Gluck’s reform in his operas (Orfeo ed Euridice, Alceste). These arias are fascinatingly diverse and take on a musical stylisation that sets them apart by their modernity and constant metamorphosis (see the sublime “Endless pleasure, endless love” (act I), “Where'er you walk1}”, “O ecstasy of happiness” (act III) or “Oh, sleep, why dost thou leave me”. Another legacy of opera, this musical drama has only ten choruses, but what choruses! “…Semele’s music is so varied, the recitatives so expressive, the orchestration so original, the characterisation so skilful, the degree of invention so high, the action so full of credible situations and incidents, the work as a whole is perfectly suited to an opera setting...”

> Saturday 17 July - 9 PM - Courtyard of The Hospices de Beaune*

* In case of bad weather the opera take place in Notre-Dame Basilica

TARIFF A

series 1° 2° 3° 4°

€ 120 70 35 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 13 O P E R A in concert

Mozart’s Opera Cycle on original instruments

W. A. MOZART 1756 - 1791

Die Zauberflöte (The Magic Flute) Singspiel in German in 2 acts, premiered the 30 september 1791 in Vienna. Libretto by Emanuel Schikaneder

NAMUR CHOIR & LE CERCLE DE L’HARMONIE ORCHESTRA Musical direction : JEREMIE RHORER

Tamino Matthew Newlin, tenor Pamina Mari Eriksmoen, soprano Queen of the Night Sarah Traubel, soprano Papageno Riccardo Novaro, baryton Papagena Elena Galitskaya, soprano Sarastro Luigi De Donato, bass Monostatos Maxime Melnik, ténor The three Ladies Gwendoline Blondeel, Florence Losseau, Mélodie Ruvio L’Orateur Guilhem Worms, bass-baritone The three Boys Maîtrise des Hauts de Seine

New festival production on original instruments, postponement of July 2020

Co-production Bremen festival (Germany)

After having conducted, Idomeneo, The Marriage of Figaro, Così fan tutte, Don Giovanni, with the phenomenal success that we know, Jérémie Rhorer conducts, in Beaune, The Magic Flute. The most popular and marvelous opera written by Mozart, the unrivalled magician. The opera is based on a masterful libretto of Mozart’s friend Schikaneder, librettist but also initiator of the role of Papageno. Created two months before his death, the Magic Flute is a magical fairy tale dealing with the elevation by wisdom, love and goodness of the human being to a higher morality corresponding to the ideas of the Age of Enlightenment, the Aufklärung of rationalism. Since the beginning “The Magic Flute” was a real success. At the moment Mozart leaves one world to enter another: the music of the Magic Flute marks the beginning of the 19th century.

> Friday 23 July - Courtyard of The Hospices de Beaune* * In case of bad weather the opera take place in Notre-Dame Basilica

TARIFF A

series 1° 2° 3° 4°

€ 120 70 35 15

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 14

O P E R A in concert

Cycle of Monteverdi’s trilogy operas

CLAUDIO MONTEVERDI 1567 - 1643

Il Ritorno d’Ulisse in Patria Dramma per musica with a prologue and 3 acts, premiered at Teatro San Cassiano on Februart 1641 in Venise. Livbretto by G. Badoardo, based on latest songss from Homer’s Odyssey

LES EPOPEES ORCHESTRA Musical direction : STEPHANE FUGET

Ulisse Valerio Contaldo, tenor Penelope Anthéa Pichanick, mezzo-soprano Telemaco, Giove Matthias Vidal, tenor Minerva, Fortuna Ayako Yukawa, mezzo-soprano Iro Jörg Scheinder, tenor Giunone, Amore Marie Perbost, soprano Antinoo, Nettuno, Tempo Luigi De Donato, bass Melanto, Ericlea Ambroisine Bré, mezzo-soprano Eumete Cyril Auvity, tenor Eurimaco P.-Antoine Chaumien, tenor Anfinomo Fabien Hyon, tenor L’Umana Fragilita, Pisandro Filippo Mineccia, countertenor

New festival production, postponement of July 2020 (in a new Monteverdi’s trilogy on three years, conducted by Stéphane Fuget, new conductor in residence with his orchestra

Les Epopées)

With Il Ritorno d’Ulisse in patria, we open a trilogy of Monteverdi’s operas led by a new guest conductor, Stéphane Fuget, one of his most eminent performers. The libretto, based on the latest songs of Homer’s Odyssey, tells the story of Ulysse who finally returns to Ithaca. Monteverdi, at the peak of his art, composes for this Ulysses two of the most grandiose scenes of dramatic literature: in act 1 Penelope’s lamentation about the endless waiting for Ulysses’ return («Torna, torna, deh torna, deh torna Ulisse», a melodic chorus whose poignant chromaticism is deeply expressive), the famous monologue of Ulysses grounded on the beach of Ithaca («Mi lasciate in questa riva aperta ... misero abbandonato»), expressing with violent harmonies fear, doubt and anguish in a stunning way and the emotional final duo ( «Sospirato mio sole»).

> Saturday 24 July - 9 PM - Notre-Dame Basilica

TARIFF A

series 1° 2° 3° 4°

€ 120 70 35 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 15

O P E R A in concert

Handel Cycle

G. F HANDEL 1685 - 1759

Il Trionfo del Tempo e del Disinganno

Moral Oratorio in two parts, created in Roma in 1707. Libretto of Cardinal Benedetto Pamphili.

ACCADEMIA BIZANTINA ORCHESTRA Musical direction : OTTAVIO DANTONE

Belleza Ana Maria Labin, soprano Piacere Emmanuelle de Negi, soprano Disinganno Delphine Galou, contralto Il Tempo Valerio Contaldo, tenor

New festival production . Postponed of July 2020

“Il Trionfo del Tempo e del Disinganno” is Handel’s first oratorio of a young virtuoso of 22 years. The Beauty (Bellezza) who swore fidelity to Pleasure (Piacere), is reminded by Time (Tempo) and by Disillusionment, or rather the «Non-illusion», that is to say the Truth (Disinganno). This oratorio reveals the extraordinary stylistic skills of young Handel. First of all the vocal virtuosity, especially in the arias of Beauty and Pleasure and the duo that brings them together. Orchestral virtuosity in the air of Pleasure, Come nembo che fugge, and in the swirling quartet, Voglio Tempo. And finally the virtuosity of writing, until the perfection of the quartet, one of the most prodigious ensembles of his time, exhilarating and whirling like a waltz. The aria which follows, rises perhaps still higher by the force of a total simplicity; it has barely been changed and will become Rinaldo’s first London opera, one of the composer’s most famous works under the title “Lascia ch’io pianga”.

> Saturday 31st July - Courtyard of The Hospices de Beaune* * In case of bad weather the opera take place in Notre-Dame Basilica

TARIFF A

series 1° 2° 3° 4°

€ 120 70 35 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 16 VOUS ÊTRE UTILE

La Caisse d’Épargne de Bourgogne Franche-Comté est fière de soutenir toutes les musiques de notre région.

Caisse d’Epargne et de Prévoyance de Bourgogne Franche-Comté Siège social : 1, Rond-Point de la Na琀on - B.P 23088 - 21088 Dijon Cedex 9 - Banque Coopéra琀ve régie par les ar琀cles L.512-85 et suivants du Code Monétaire et Financier – Société anonyme à Directoire et Conseil d’Orienta琀on et de Surveillance – Capital social de 475 307 340 € - 352 483 341 RCS Dijon - Intermédiaire en assurance, immatriculée à l’ORIAS sous le n° 07 002 200 - Garan琀e 昀nancière délivrée par CEGC n° 146331-07 - Titulaire de la carte professionnelle « Transac琀ons sur immeuble et fonds de commerce sans percep琀on de fonds, e昀ets ou valeurs » n° CPI 2102 2018 000 024 400 délivrée par la CCI de Côte d’Or. Contact : Téléphone : 09.69.36.20.00 (appel non surtaxé) - [email protected] - Télécopie : 03.80.70.44.01 - Relations clientèle : 09.69.36.27.38 (appel non surtaxé). Crédit photo : BPCE. Document à caractère publicitaire et sans valeur contractuelle.

Recitals

RECITAL CHIARA SKERATH | MOZART, GLUCK ANTOINE PALLOC

RECITAL MARI ERIKSMOEN | HANDEL, MOZART ANTOINE PALLOC

RECITAL PAUL-ANTOINE BENOS | VIVALDI, PURCELL... LEONARDO GARCIA ALARCON

RECITAL ANDREAS SCHOLL | NEAPOLITAN CANTATAS DOROTHEE OBERLINGER

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 18 Sylvia Schwartz in récital Festival Beaune 2017 photo JC Cottier

R E C I T A L

Young Talented Voices

W.A MOZART 1756 - 1791 C.W GLUCK 1714 - 1787

Recital Chiara Skerath, soprano “Great operas Arias” by Mozart, Gluck, Bizet...”

ANTOINE PALLOC, piano

Born of a Belgian father and an Italian Swiss mother, the young soprano Chiara Skerath is praised for «her brilliant technique», «her velvety timbre « and «her commitment». «Her vocal agility is coupled with a talent as an actress» «which would be nothing without her exceptional singing skills». She has since been awarded numerous prizes including the Audience Prize at prestigious Queen Elisabeth Competition or the Grand Prix de Duo, Chant-Piano at the International Nadia et Lili Boulanger Competition. Chiara Skerath has sung many roles of Mozart’s operas such as Despina, Zerlina, Servilia, Cinna, Sifare or Pamina. We are now greatly looking forward to her recital that she will focus on arias of Mozart and Gluck, with some arias of Hasse and Haydn. She will perform Mozart’s: «Ach ich fu hl’s» (The Magic Flute), «Giunse alfin il momento ... deh Vieni» (Les Noces de Figaro), «Lungi da te, mio bene» (Mitridate) or «S’altro che lagrime” (La clemenza di Tito); and Gluck’s: «Se mai sensi spirarti sul volto», «Che fiero momento» or «Nocchier che in mezzo all’onde» (Orfeo e Euridice). We also have the great pleasure to see her in the role of Megacle in the Vivaldi’s opera L’Olimpiade conducted by Jean-Christophe Spinosi on the last weekend of the festival.

> Sunday 11 july - 9 PM. Hospices de Beaune - Salle des Pôvres

TARIFF C

series 1° 2° 3°

€ 55 30 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 20

R E C I T A L

Young Talented Voices

MONTEVERDI 1567 - 1643 G. F HAENDEL 1685 - 1759 ...

Recital Paul-Antoine Bénos, countertenor

ENSEMBLE LES EPOPEES conductor STEPHANE FUGET

The countertenor Paul-Antoine Bénos-Djian has been performing on stage from the age of 10 thanks to the Junior Opera of the Montpellier Opera. In 2012, he joined the Maîtrise des Chantres of the Baroque Music Centre in Versailles, which gave him the opportunity to take part in his first recording: Judith or Betulia liberata - Le Massacre des innocents by Marc-Antoine Charpentier conducted by Olivier Schneebeli, then in 2013, Sacchini’s Renaud conducted by Christophe Rousset. The following year, he was admitted to the National Superior Conservatory of Music and Dance in Paris. In 2015, he won the First Young Hopefuls Competition Prize at the Avignon Grand Opera. This prize saw him selected for the Mozart Academy at the Aix-en-Provence Festival and the Académie Philippe Jaroussky. 2017 marked the date of his first major title role in Handel's Rinaldo during the French tour in 20181}, under the direction of Bertrand Cuiller, who opened other doors for him in 2018, notably in Francesco Cavalli's Erismena conducted by Leonardo Garcia Alarcon, then in the Saint John Passion by Bach and in Stradella’s San Giovanni, in 2019, both conducted by Damien Guillon. “This twenty-eight-year-old singer gave us an incarnation both ardent and steeped in moving humanity of Stradella's San Giovanni Battista, because he has everything of a great performer, starting with a radiant musicality and disarming simplicity”. Anne Blanchard, who has followed him for several years, offered him his first recital in an opera festival as well as several roles in operas in 2022. Don’t miss him.

> Sunday 18 July - 9 PM . Hospices de Beaune - Salle des Pôvres

TARIFF C

series 1° 2° 3°

€ 55 30 15

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 21

R E C I T A L

The Great Voices

G. F HANDEL 1685 - 1759 W.A MOZART 1756 - 1791

Recital Mari Eriksmoen, soprano “Great operas Arias ” by Handel, Mozart

ANTOINE PALLOC, piano

Mari Eriksmoen, a wonderful Norwegian soprano, performs in the most prestigious opera houses in the world: Salzburg, Vienna, Glyndebourne, Berlin, Munich, La Scala in Milan... with the most famous orchestras and conductors including Rattle, Baremboim... in emblematic roles like Pamina, Blonde, Sophie or Arabella. She receives laudatory reviews: «Mari Eriksmoen is the perfect Pamina combining undeniable charm and grace with an ideal soprano voice». To our greatest delight, she interprets famous opera arias from Handel such as: «Da tempeste» in Giulio Cesare, «E gelosia» in Serse or «Lascia chi’o pianga» in Rinaldo and Mozart such as: «Padre, germani, addio» in Idomeneo,“«Per pieta» in Così fan tutte, «Al destin che la minaccia» in Mitridate or «Deh, vieni, non tardar» in Nozze di Figaro. For the festival’s opening we have the pleasure to see her in the role of Pamina in Mozart’s «The Magic Flute» conducted by Jérémie Rhorer.

> Sunday 25 July - 9 PM. Hospices de Beaune - Salle des Pôvres

TARIFF C

series 1° 2° 3°

€ 55 30 15

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 22

R E C I T A L

The Great Voices

HANDEL 1685 - 1759 A. SCARLATTI 1660 - 1725 PORPORA 1686 - 1768

Recital Andreas Scholl, countertenor

“Neapolitan Arias and Cantatas” of 17th & 18th C.

ENSEMBLE 1700 Flute & cond. : DOROTHEE OBERLINGER

To close the 38th edition of the Festival, Andreas Scholl – one of its favourite and faithful countertenor – comes with an unusual and exclusive program based on Neapolitan cantatas and arias of the XVIIe and XVIIIe centuries. He will be accompanied by Ensemble 1700 founded and directed by the virtuoso flute player, Dorothee Oberlinger. They will take us in the footsteps of young Handel, who travelled in Italy from 1706 to 1710 andwho discovered the vocal inventiveness of Scarlatti, of Leo and of Porpora, Farinelli’s master. Handel composed overthere an impressive number of masterpieces devoted to the musical capitals that were Florence, Roma, Venice and Napoli. Among the cantatas Andreas Scholl will sing in Beaune, let’s mention « Mi Palpita il Cor » by Handel, that the composer probably wrote in Napoli. This cantata became one of his most popular ; its striking repeated notes are meant to figure the singer’s heartbeat. The aria «Torcere il corso all’onde», from Porpora’s Il Trionfo di Camilla and written for the famous castrato Senesino, is one of those exhilarating tunes that last for long once you’ve heard it.

> Friday 30 july - 9 PM . Notre-Dame Basilica

TARIFF A series 1° 2° 3° 4°

€ 120 70 35 15

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 23

Gourmets Buffets & Tastings

of famous wines from Hospices de Beaune Before operas or concerts in

famous Chambre du Roy des Hospices

Dates : 10, 16, 23, 30 July 2021 > between 7 PM to 8.30 PM

We propose every Friday or Saturday in the prestigious Chambre du Roy of the Hospices de Beaune, before the operas or concerts, a gourmet buffet with tasting of the famous Hospices wines, in a friendly atmosphere. A talented chef offers dishes accompanied by exceptional wines. Corton, Meursault, Volnay or Pommard, these are the sumptuous appellations offered for tasting. All of the receipts from these tasting buffets are dedicated to supporting and promoting young talents, chefs, ensembles and singers in residence. In particular, Stéphane Fuget, at the head of his new orchestra Les Epopées, will conduct Montverdi’s opera “Il Ritorno d’Ulisse in patria”. As such, your participation in these buffets may benefit from a tax benefit of around 66% or 60% *.

INFORMATIONS & BOOKING

> Price of Buffet : 150 € > real cost after tax deduction* : 51 € for an individual (-66%)

or 60 € for a company (-60%) for the countries of the European Community and Switzerland

> by E-mail : [email protected]

> by phone : +33 3 80 22 97 20

> by website : www.festivalbeaune.com

> by postal : Festival d’Opéra Baroque de Beaune , Place de la Halle BP 60071 / F 21200 Beaune Cedex

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 24 The 39th Beaune International Baroque & Romantic opera festival 2021

is made thanks to

Corporate sponsors

Médias partners and ohters

Supports

HOSPICES DE BEAUNE BASILIQUE NOTRE-DAME OFFICE DE TOURISME DE BEAUNE ET DU PAYS BEAUNOIS BOURGOGNE FRANCHE-COMTÉ TOURISME CÔTE D’OR TOURISME CLUB OF PARTNERS RENAULT LA FNAC

th F E S T I V A L D E B E A U N E 39 E D I T I O N 2 0 2 1 25 Luigi De Donato in opera lʼItaliana in Algieri by Rossini dir. JC Spinosi / Beaune festival 2018 photo JC Cottier Festival 2018

I N F O R M A T I O N S

Booking > Beaune Festival Office : BP 60071 - F 21202 Beaune Cedex > Phone : +33 3 80 22 97 20 > E-mail : [email protected] > Website : www.festivalbeaune.com > Fnac & France Billets, Carrefour : 0 892 683 622 . Internet : www.fnac.com

Prices of seats

TARIFF A TARIFF A REDUCED*

series 1° 2° 3° 4° 1° 2° 3° 4°

euros 120 70 35 15 102 60 30 12

TARIFF B TARIFF B REDUCED*

series 1° 2° 3° 4° 1° 2° 3° 4°

euros 75 60 30 15 64 50 25 12

TARIFF C TARIFF C REDUCED*

series 1° 2° 3° 1° 2° 3°

euros 55 30 15 46 25 12

* The reduced rate is granted to : - unemployed, RSA, handicapped, schoolchildren and students on presentation of the corresponding documents

Covid-19 Informations Measures guaranteeing the health security of all, public, artists, Festival teams, will be implemented to ensure that the Festival remains a beautiful musical time. To allow you to book safely, we are now making commitments on very broad reimbursement conditions and the establishment of a strict and evolving health protocol. Check our website regularly to find out about these changes. For this season, we are setting up a procedure that will allow you to allocate an optimized placement while respecting, if necessary, social distancing: > When making your reservation, you only have to choose your seat category. > To best meet the requirements of the latest health protocols in force at the time of the Festival, the ticketing team will be responsible for assigning you your seat. > The placement will be made by date of reservation, chronologically. > Finally, you will be informed of your placement and your tickets will be available as soon as possible.

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 27 Opera in the Courtyard of The Hospices de Beaune The Beaune International Baroque & Romantic Festival Short historic

Since 1983 Anne Blanchard, funder and artistic (2013, Dir. Ottavio Dantone); Pergolèse: L’Olimpiade director of the Beaune International Baroque Music (2003), Il Flaminio (2004), Adriano in Siria (2008), Dir. Festival, has developed: a pioneering artistic policy Ottavio Dantone, Septem Verba (2012, Dir. René by rediscovering Baroque opera on period Jacobs). The Festival helped redescovering Spanish instruments focused on high quality productions, the Baroque operas, highly influenced by the Italian reconstruction and interpretation of unpublished opera seria, like Los Elementos (1997) and Acis y works according to the latest musicological research; Galatea (1999) composed by Literes, conducted by a conductor policy inviting most renowned conductors Eduardo Lopez Banzo; but also rarely performed as well as the young generation; a policy to identify French lyric tragedies: Campra: l’Europe Galante new vocal talents by organizing auditions in France (1993, Dir. Marc Minkowski); Desmarest: Didon and Europe; a production and coproduction policy by (1999, Dir. Christophe Rousset); Lully: Acis et setting up a European broadcast network with other Galatée (1996 Dir. Marc Minkowski), Persée (2001, festivals and opera houses, a recording policy of its Dir. Christophe Rousset), Bellérophon (2010, Dir. events with over 20 albums coproduced with famous Christophe Rousset), Phaëton (2012, Dir. Christophe record companies. Rousset), Amadis (2013, Dir. Christophe Rousset); The Beaune International Baroque Music Festival is Rameau: Hippolyte et Aricie (1997, Dir. Marc regarded within the European lyric festival movement Minkowski and 1757 version in 2012, Dir. Raphaël as the reference Baroque Festival (“the Salzburg of Pichon), Zoroastre (1998, Dir. William Christie), Baroque music” according to Diapason magazine). It Pygmalion (2010, Dir. William Christie), Dardanus has taken part in the “Baroque movement revolution” 1744 version (2011, Dir. Raphaël Pichon); by broadcasting Baroque music to a new audience in Destouches: Callirhoé (2005) and Marin Marais: France and Europe. Since its inception the Festival Sémélé (2006) conducted by Hervé Niquet. has presented over 100 baroque operas (mis en In addition to these opera revivals, the Festival has espace and concert version), over 30 of them revivals entirely performed better known operas like: Handel: and world, European or French premieres; over 80 Giulio Cesare conducted by Réné Jacobs (1991), oratorio and sacred music concerts, including 5 Orlando (1996), Xerses (1997), Rodelinda (2006) revivals or premieres; over 40 recitals, over 10 conducted by Paul McCreesh; Rinaldo (1996), symphonic concerts and an Academy of Vocal Tamerlano (2000) conducted by Christophe Rousset, Baroque. Ariodante (2009) conducted by Federico Maria By focusing on European Baroque Opera, and Italian Sardelli, Orlando (2013 dir. René Jacobs) or Purcell: opera seria dating form the17th and 18th century, the The Fairy Queen (1993), King Arthur (1994), Festival has highly participated in the revival of conducted by Paul McCreesh. Handel’s operas and oratorios in France, revealing to Thanks to a privileged collaboration since 1985 the public some missing works in the history of between the Festival and William Christie and his music, and especially the following operas: Handel: Arts Florissants some masterworks have been Flavio (1990, Dir. René Jacobs), Scipione (1993, Dir. performed, like: Purcell’s Dido and Aeneas together Christophe Rousset), Poro (1994, Dir. Fabio Biondi), with Charpentier’s Actéon (1988), Beethoven’s Riccardo Primo (1995, Dir. Christophe Rousset), Missa Solemnis (1995), Handel’s Acis and Galatea Admeto (1998, Dir. Christophe Rousset, Partenope (1996), Alcina (1999, with Opéra National Garnier), (2005, Dir. Antonio Florio), Alessandro (2010, Dir. L’Allegro, il Penseroso ed il Moderato (2001) and Eduardo Lopez-Banzo), Agrippina (2012, Dir. Hercules (2004, with the Aix-en-Provence Festival), Federico Maria Sardelli); Jommelli: Armida Monteverdi’s Vespro della Beata Vergine of 1610 Abbandonata (1994, Dir. Christophe Rousset); (1997) and Il Ritorno d’Ulisse in Patria Porpora: Arianna in Nasso (1995, Dir. Rinaldo (2000),Rameau’s Zoroastre (1998), and Haydn’s Alessandrini), Semiramide (2011, Dir. Stefano oratorios The Seasons (2003) or The Creation Montanari); Traetta: Antigona (1997, Dir. Christophe (2007) ... The Festival also encourages the Rousset); Jommelli : Armida Abbandonata (1994, performance of operas by Mozart and Gluck on Dir. Christophe Rousset) ; Porpora : Arianna in period instruments: especially Mozart’s: Zaïde Nasso (1995, Dir. Rinaldo Alessandrini), Semiramide (1996), Die Entführung aus dem Serail (1997) (2011, Dir. Stefano Montanari) and Il Trionfo della conducted by Christoph Spering, Cosi fan tutte Divina Giustizia (2015, dir. Thibault Noally) ; Traetta : (2000, Dir. René Jacobs), The Magic Flute, Don Antigona (1997, Dir. Ch. Rousset) ; Cavalli: I Strali Giovanni (2005 and 2006, Dir. Sigiswald Kuijken), d’Amore (2001, Dir. Gabriel Garrido); Conti: Don Idomeneo, The Marriage of Figaro and Cosi fan tutte Quichotte (2005, Dir. René Jacobs); Vivaldi: La (2006, 2007 and 2008 Dir. Jérémie Rhorer); Gluck’s: Senna Festeggiante (2001), L’Olimpiade (2002), Dir. Iphigénie en Tauride (2006) and Orphée and Rinaldo Alessandrini, Tito Manlio (2006, Dir. Ottavio Eurydice (2008) conducted respectively by Marc Dantone), Orlando Furioso (2011, Dir. Jean- Minkowski and Jérémie Rhorer, as well as Orfeo ed Christophe Spinosi), Orlando version 1714 (2012, Dir. Euridice in 2013 conducted by Federico Maria Federico Maria Sardelli), L’Incoronazione di Dario Sardelli. .../...

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 29 The Festival also encourages the performance of has been conducted the same trilogy at the Scala in operas by Mozart and Gluck on period instruments: Milan since 2009; Jérémie Rhorer and his orchestra especially Mozart’s: Zaïde (1996), Die Entführung Le Cercle de l’Harmonie were invited to play their aus dem Serail (1997) conducted by Christoph first Mozart’s operas Idomeneo (2006 and 2011) Spering, Cosi fan tutte (2000, Dir. René Jacobs), and The Marriage of Figaro (2007) in Beaune as The Magic Flute, Don Giovanni (2005 and 2006, well as at Vienna’s Staatsoper in 2011. He has Dir. Sigiswald Kuijken), Idomeneo, The Marriage of conducted the same opera in 2009 in Bologna and Figaro and Cosi fan tutte (2006, 2007 and 2008 Dir. Haydn’s opera L’Infedelta delusa in 2008 at the Aix- Jérémie Rhorer); Gluck’s: Iphigénie en Tauride en- Provence Festival; Paul McCreesh invited to (2006) and Orphée and Eurydice (2008) conducted conduct a cycle of Handel’s and Purcell’s operas respectively by Marc Minkowski and Jérémie since 1993 in Beaune, has conducted Handel’s Rhorer, as well as Orfeo ed Euridice in 2013 Tamerlano at the Teatro Real in Madrid together conducted by Federico Maria Sardelli. with some of the soloists discovered by Anne On Anne Blanchard’s instigation, the Festival has Blanchard (Ann Hallenberg and Renata Pokupic), strongly contributed to the promotion and the and Ottavio Dantone has conducted Handel’s renown of young talented conductors (Christophe Rinaldo in Beaune and the Scala in Milan in 2009. Rousset, Paul Mc Creesh, Rinaldo Alessandrini, The Festival has also revealed numerous young Fabio Biondi, Ottavio Dantone, Emmanuelle Haïm, vocals singing nowadays in the most well-known Jérémie Rhorer, Raphaël Pichon, Leonardo Garcia operas in Europe, especially: Sara Mingardo, Laura Alarcon, Valentin Tournet, Stéphane Fuget...) by Polverelli, Andreas Scholl, Brian Asawa, Annick offering them in a 3-year-residency program the Massis, Véronique Gens, Sandrine Piau, Philippe possibility to conduct their first operas. Thus, Jarousky, ... Rinaldo Alessandrini invited to conduct Monteverdi’s opera trilogy in Beaune since 2005, &

F E S T I V A L D E B E A U N E 39th E D I T I O N 2 0 2 1 30

Basilique Notre-Dame

Its importance, its inspiration and expressive effectiveness make Dixit Dominus to be considered as the most

famous motet composed by Handel during his stay in Rome. Composed in 1707 it reveals Handel’s stunning LES HOSPICES DE BEAUNE (XVe SIÈCLE) G. F HAENDEL 1685 - 1759 capacity to absorb the Italian style, which he reuses later for his English oratorios. Vivid and exultant,Beaune, capitale elegant des fameux and vins de Bourgogne, est une demonstrative,vieille the cité nine d'Art movements et d'Histoire. Elle of fut l'une des capitales des Dixit Dominus Dixit Dominusducs contain de Bourgogne Handel’s dont lefuture duché s'étendit jusqu'aux Pays- work. The explosiveBas. L'Hôtel-Dieu opening deand Beaune, ending plus connu sous le nom Motet, créé à Rome en 1707. Texte du choirs don’t they sound like the Psaume 110 Hospicesmonumental choirsd'Hospices in Israël de Beaune, en Egypte fut fondé or en 1443 par Nicolas Rolin, Messie? Howchancelier can desyou ducs, resist pour servir the d'hôpital et d'hospice. irresistible verveExceptionnel of the témoin writing, de l'art franco-flamandthe du XVe siècle GABRIELI CONSORT AND rhythmic energy avec son célèbre and the PLAYERS toit aux tuiles colorées Direction musicale : et vernissées, PAUL McCREESH il renferme, entre

autres chefs-d'oeuvre, Soprano le polyptyque Charlotte Beament de Van der Weyden Soprano Mary e Beavan du XV siècle. Mezzo-soprano Ann Harvey Ténor Thomas Walker Basse David Stout L'une des plus && belles églises de Le Dixit Dominus est par son la région où l'on importance, son inspiration, son efficacité expressive le plusretrouve fameux toute des motets que Haendel composal'histoire de lors de son séjour à Rome. l'architectureComposé en 1707, il prouve la stupéfiantereligieuse capacité d’assimilation du style italien bourguignonne par Haendel dont il reprendra plus sumptuous choirs? e e tard des éléments dansdu ses XII auoratorios XV siècle, dans un ensemble où domine le style anglais. Haendel a construitroman. saSa constructionpartition commença vers 1120. On remarquera sur des motifs grégoriensle utilisant magnifique le cloîtreplain- roman attenant à la basilique ainsi que le chant en cantus firmus commmedécor sculpté un des chapiteaux représentant des animaux choral luthérien : admirable démonstration musiciens (chèvre jouant de la harpe, lion hippocéphale tenant de synthèse stylistique. En outre, l’allégresse polyphoniqueune comme cloche et les une flûte), l'Arche de Noé, les cueilleurs de multiples passages concertants,fruits... Dans où le choeur on peut admirer de superbes Basilique interviennent les cinq solistes,tapisseries bâtissent flamandes du XVe siècle évoquant en dix-sept un ouvrage fastueux. Coloréstableaux les etprincipaux épisodes de la vie de la Vierge. exultants, raffinés et démonstratifs, les neufs mouvements du Dixit Dominus portent en eux tout leL devenirA BASILIQUE de l’art COLLÉGIALE NOTRE-DAME (XIIe/XVIe) haendélien. Les fulgurances des premiers et derniers choeurs n’annoncent-elles pas les passages choraux monumentaux d’Israël en Egypte ou du Messie ? Comment résister à la verve irrésistible de l’écriture, à l’ardente énergie rythmique et à la somptuosité des choeurs ? coproduction Gabrieli Consort & Players

> Samedi 8 juillet - 21 h .