CAL PERFORMANCES PRESENTS PROGRAM

Sunday, October 20, 2013, 3pm Johann Sebastian Bach (1685–1750) Suite No. 4 in D major, BWV 1069 Hertz Hall (original version) (1718)

Ouverture Bourrées I and II Les Violons du Roy Gavotte Bernard Labadie, Menuets I and II music director Réjouissance with Stephanie Blythe, mezzo-soprano (1685–1759) Selections from , HWV 17 (1723–1724)

Empio, dirò, tu sei PROGRAM L’empio, sleale, indegno Dall’ondoso periglio…Aure, deh, per pietà

Georg Philipp Telemann (1681–1767) Suite in C major, TWV 55:C6 (Ouverture à 7) Stephanie Blythe, mezzo-soprano

Ouverture: Grave — Allegro — Grave Harlequinade Espagniol Bourée en trompette Les Violons du Roy would like to thank the following partners: Conseil des arts et des lettres Québec, Sommeille Conseil des Arts du Canada, and Foundation des Violons du Roy. Rondeau Menuet I and II Gigue Exclusive Tour Management: Opus 3 Artists, 470 Park Avenue South, Ninth Floor North, New York, New York, 10016, www.opus3artists.com.

Joseph Haydn (1732–1809) Arianna a Naxos, Hob. XXVIb:2 (1789) (anonymous arrangement for string orchestra)

Teseo mio ben Dove sei, mio bel tesoro Ma, a chi parlo? Ah! che morir vorrei

Stephanie Blythe, mezzo-soprano This performance is made possible, in part, by Patron Sponsor Patrick McCabe.

Cal Performances’ 2013–2014 season is sponsored by Wells Fargo.

INTERMISSION

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Georg Philipp Telemann (1681–1767) Neukirche, a job whose requirements forced Ouvertures (i.e., instrumental suites), dozens of Joseph Haydn (1732–1809) Suite (Ouverture) for Three Oboes, Strings, him to give up another facet of his burgeon- concertos, and an immense flotilla of miscella- Arianna a Naxos, for soprano and and Continuo in C major, TWV 55:C6 ing career: singing at the local house. A neous chamber, keyboard, and vocal works. string orchestra year later, Count Erdmann von Promnitz lured During the nine years (1712–1721) that With the condescending pronouncement, “Since Telemann to his estate at Sorau, a hundred miles Telemann served as music director for the city of Composed in 1789. the best man could not be obtained, mediocre southeast of Berlin, to become his music mas- Frankfurt, he had regular contact with the court ones would have to be accepted,” City Councilor ter. In 1708 or 1709, Telemann was appointed of Darmstadt, 20 miles south, where the music- Though the cantata is today most readily asso- Platz announced the appointment of Johann court composer at Eisenach, Sebastian Bach’s loving Landgrave (and composer-manqué) Ernst ciated with the German-language, sacred mas- Sebastian Bach in 1723 as Cantor for Leipzig’s birthplace, and in 1712, he moved to the post Ludwig maintained a top-notch orchestra, a terpieces of Johann Sebastian Bach, the form’s churches. Platz’s “best man” was Georg Philipp of city music director in Frankfurt-am-Main. large library of performance materials and a origin and major historical development were Telemann, then the most highly regarded com- Nine years later, he was appointed director of prodigious schedule of programs; city and court in Italy. For more than a century after its intro- poser in all Germany. Telemann’s association music at Hamburg’s five main churches, a po- frequently traded musicians for occasions when duction in the 1620s at the musically sophisti- with Leipzig went back to 1701, when his mother sition he retained for the rest of his long life. the local forces proved insufficient. Telemann cated courts of northern Italy, the cantata was forbade him to follow music as a profession, and During his tenure, he also headed the munici- remained in touch with Darmstadt for the rest the principal genre of vocal chamber music. Its sent him to register as a law student at Leipzig pal opera house (known throughout Europe as of his life—in 1765, two years before he died, most common realization was as a series of two University. On the journey from his hometown the Gänsemarkt, because of its proximity to the he wrote a suite for Ernst Ludwig’s successor, or three arias for a solo singer accompanied by of Magdeburg to Leipzig, however, Telemann city’s goose market), and oversaw Hamburg’s Ludwig VIII of Hesse-Darmstadt, which includ- chamber ensemble; each aria was prefaced by a stopped in Halle, where he met another teen- flourishing concert series. When the city fathers ed parts for two horns in honor of the younger recitative. The texts were taken from (or written age musician, one George Frideric Handel, who vented their displeasure over Telemann’s mix- Landgrave’s passion for hunting. The Darmstadt anew in the style of) existing opera librettos, so was also nurturing the flame of his parentally ing of secular and sacred activities, he gained library is one of the most important repositories that the Italian cantata was, in effect, a small- proscribed musical desire under cover. (Literally. significant leverage by applying for the church of Telemann’s scores, and holds nearly a hun- scale solo operatic scene. The form reached its Young Handel copied manuscripts beneath the job in Leipzig recently vacated by the death of dred suites that would have been perfectly suited peak of popularity in the decades around 1700; bed clothes.) Even before he matriculated into Johann Kuhnau, and ended up being retained to the court’s taste and instrumental resources. (father of the celebrated the study of jurisprudence, Telemann was lost in Hamburg—with a raise in pay. He composed As is typical of the genre, the “Darmstadt” keyboard composer, Domenico) wrote at least to that discipline—“from my acquaintance with with staggering prolificacy for the rest of his Suite in C major for Three Oboes, Strings, and 600 examples. Handel, I again sucked in so much of the poison days (“a good composer should be able to set Continuo (TWV 55:C6) opens with a majestic By the years of Joseph Haydn’s maturity, the of music as nearly overset all my resolutions,” he public notices to music,” he insisted; Handel Ouverture in the French manner that juxtaposes solo cantata had slipped largely out of fashion. confessed in one of his three autobiographies. said Telemann could compose a cantata as eas- sections in broad dotted rhythms with lively Among the half-dozen of his such works is the Telemann’s roommate in Leipzig was also a ily as most men compose a letter), being slowed imitative passages. (These works, especially in splendid Arianna a Naxos (“Ariadne on Naxos”), music lover and an occasional singer at one of only in his last years, like Bach and Handel, by Europe, are sometimes called “Ouvertures” after composed at the end of 1789. The motivation the local churches. He took some of Telemann’s problems with his eyesight. He died of (prob- this opening movement.) A set of four descrip- for the work’s creation is uncertain. It was pub- compositions to a rehearsal at the Thomaskirche ably) pneumonia in 1767 (Mozart turned eleven tive movements with theatrical implications fol- lished the following year in Vienna by Artaria for a reading one day, and the young composer that year), and was succeeded in his Hamburg lows: Harlequinade evokes the energy and antics as “Cantata a voce solo, accompagnamento del was soon receiving regular commissions from the post by his godson, Carl Philipp Emanuel Bach. of Harlequin, the buffoon of the Italian com- clavicembalo [harpsichord] o fortepiano,” so it City Council for new service music. Telemann Telemann’s music was well suited to the media dell’arte; Espagniol is a graceful dance in may just have been written on speculation, but thereafter gave up the pretense of studying law, galant, mid–18th century German taste. (It the mood and manner of a sarabande; Bourée en biographical evidence suggests that it was more and devoted himself entirely to music. In 1702, should be kept in mind that Bach—“old Bach,” trompette includes a fanfaronading imitation of likely composed for 16-year-old Josepha von he became director of the local opera house, and as even his sons called him—was hopelessly trumpets by the oboes; and Sommeille suggests Genzinger, then a voice student of Haydn. The began churning out specimens of that genre to out of fashion for the last 20 years of his life.) a somewhat melancholy state of sleep. The Suite girl’s father, Dr. Peter Leopold von Genzinger, fill his own stage. Two years later, he started a Combining the lyricism of Italian opera, the closes with a stately Rondeau encompassing two was the personal physician of Haydn’s employer, Collegium Musicum with some of his talented grandeur of French dance music and the har- returns of its opening strain, a pair of courtly Prince Nicholas Esterházy, and he and his wife, University friends in a local coffee house to monic invention of the German instrumental- Menuets, and an energetic Gigue. Marianne, became close friends of the com- give concerts of instrumental music. (This en- ists, Telemann’s work was so highly prized that poser. The Genzingers not only hosted one of deavor, which Sebastian Bach took over after he he could boast of subscribers for his publications Vienna’s most fashionable musical salons, with came to Leipzig, was the direct predecessor of as far distant as Spain and Russia. His creative Mozart, Albrechtsberger, and Dittersdorf as the Gewandhaus concerts, thus making it the output includes at least forty , a dozen frequent guests, but they also provided Haydn oldest continuous concert-giving organization full series of cantatas and motets for the litur- with an emotional fulfillment that had long in the world.) Also in 1704, Telemann was ap- gical year (perhaps 3,000 individual items), 44 been missing from his childless marriage to pointed organist and Kapellmeister of Leipzig’s Passions and other sacred works, hundreds of his shrewish wife (“the household dragon,” he

6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES called her, privately). He developed a genuine af- Haydn’s finest and most moving vocal cre- him, Louis would even shed his ermine robes with a brisk opening jump, a characteristic mir- fection for Marianne, not least because of her ations. Rossini declared it the “prime example of and tread a step or two with the dancers on rored in Bach’s quick upbeat rhythm pattern. considerable talent as a keyboard player (the Haydn’s gifts as a vocal writer,” and the words of stage. (Reports, all—understandably—lauda- Next is a Gavotte, a dance of moderate liveliness Piano Sonata in E-flat major, H. XVI:49, was the London Morning Chronicle’s critic still ring tory, had it that he was excellent.) For formal whose ancestry traces to French peasant mu- composed for her in 1789), and she became the true: “It abounds with such a variety of dramatic ballroom dancing or dinner entertainment or sic. The two following Menuets are examples of most important correspondent of his later years. modulations and is so exquisitely captivating in concert performance, Lully extracted individu- the most famous of all the old courtly dances. Josepha is known to have performed Arianna at its larmoyant [tearful] passages, that it touched al dance movements from his operas, prefaced Originally a quick peasant dance from south- the Genzingers’ home in 1790; on March 14th, and dissolved the audience.” them with the opera’s overture, and served them western France, the minuet had become more Haydn wrote to her mother, “I am delighted up as suites. This type of work, virtually the only stately and measured by Bach’s time. The clos- that my favorite Arianna is well received at the Baroque genre for orchestra that did not involve ing triple-meter Réjouissance is light and playful, Schottenhof.” That further performances there Johann Sebastian Bach (1685–1750) soloists or singers, was carried to Germany by a rousing ending to this richly hued work. were anticipated is suggested by his postscript: Suite (Ouverture) No. 4 in D major, BWV 1069 one of Lully’s students, Georg Muffat (1653– “Please tell Fräulein Pepperl [Josepha’s family 1704). Bach’s cousin Johann Bernhard (1676– nickname] to articulate the words very clearly, Composed around 1718. 1749), a talented organist in Johann Sebastian’s George Frideric Handel (1685–1759) especially the passage ‘chi tanto mai.’” hometown of Eisenach, was one of the German Selections from Giulio Cesare Haydn took the cantata with him when he From 1717 to 1723, Bach was director of music musicians who became acquainted with this re- went to London in January 1791, and it created at the court of Anhalt-Cöthen, north of Leipzig. cent bit of French fashion. He concocted four Composed 1723–1724. Premiered on February 24, a sensation when the noted castrato Gasparo He liked his job. His employer, Prince Leopold, suites of dances in the Lully/Muffat manner for 1724, in London. Pacchierotti performed it (with Haydn at the was a well-educated man, 24 years old at the time the local town band, and Bach probably learned keyboard) on February 18th. “They speak of it he engaged Bach. (Bach was 32.) Leopold was the French style from him. When Bach came Giulio Cesare, based on the timeless events that in rapturous recollection,” the reviewer from the fond of travel and books and paintings, but his to compose his Orchestral Suites, he was famil- transpired in Egypt in 48–47 B.C., treats the Morning Chronicle reported of Arianna’s auditors, real passion was music. He was an accomplished iar not only with the French tradition of Lully love of Cleopatra and Caesar, the intrigues, “and Haydn’s cantata will accordingly be the mu- musician who not only played violin, viola da through cousin Bernhard, but also with that of battles and treachery surrounding them, and sical desideratum for the winter.” Closely attuned gamba, and harpsichord well enough to join Italy (many German musicians of Bach’s genera- the reconciling of forces and feelings that have to commercial opportunity, the London publisher with the professionals in his house orchestra, but tion were trained in Italy), and he was able to echoed down through history. Before the cur- John Bland issued a new edition of the score a few also had an exceptional bass voice. He started synthesize these two great streams of Baroque tain rises, Caesar has defeated his rival, the weeks later for the delectation (and purchase) of the court musical establishment in 1707 with art in music which is both surpassingly majestic Roman general Pompey, at Pharsalia in Greece, English music lovers. Arianna enjoyed great pop- three players (his puritanical father had no use and melodically inspired. and followed him to Egypt, then jointly ruled by ularity in public and private performances from for music), and by the time of Bach’s appoint- Each of Bach’s four Suites is scored for a Cleopatra and her brother, Ptolemy. Following Venice to London to Vienna during the following ment the ensemble had grown to nearly 20 per- different orchestral ensemble. Three trumpets, his arrival at the Nile, Caesar receives a grisly years; when Lord Nelson spent four days at Prince formers equipped with a fine set of instruments. timpani, three oboes and bassoon join the gift of welcome from Ptolemy—the severed Esterházy’s palace in Eisenstadt in September It was for this group that Bach wrote many of his strings and continuo (bass and harpsichord) in head of Pompey. He responds with scorn in the 1800 to hear a performance of the Mass partly in- outstanding instrumental works, including the the Fourth Suite. Each Suite comprises a gran- aria Empio, dirò. spired by his successful exploits against Napoleon Brandenburg Concertos, the Orchestral Suites, diose Overture followed by a series of dances of Cleopatra seeks an alliance with Caesar to in Egypt, his mistress, the beautiful and talented the Violin Concertos and much of his cham- various characters. These aptly named “French” wrest sole control of Egypt from Ptolemy, who Lady Emma Hamilton, gave her rendition of the ber music. Leopold appreciated Bach’s genius, Overtures are based on the type devised by sings in the brilliant aria L’empio, sleale, indeg- cantata for the composer. and Bach returned the compliment when he Lully—a slow, almost pompous opening sec- no—“The impious one, the unworthy traitor”— In the ancient tale on which an unknown said of his Prince, “He loved music, he was well tion filled with snapping rhythmic figures and of his determination to thwart their plan by kill- writer based the cantata’s text, Ariadne, daugh- acquainted with it, he understood it.” Though rich harmony leading without pause to a spir- ing Caesar. ter of King Minos of Crete, has been abandoned the exact dates of Bach’s Orchestral Suites are ited fugal passage in faster tempo. The majes- Cleopatra and Caesar combine their forces, on the island of Naxos by her former lover uncertain, all four were apparently composed tic character of the opening section returns to but they are defeated by Ptolemy at the edge of Theseus, whom she has helped to slay the dread- during or immediately after the Cöthen period. round out the Overture’s form. The procession the Mediterranean Sea. Cleopatra is captured, ed Minotaur of Crete by playing out a skein of These Suites follow the early–18th-century of dances that follows varies from one Suite to and Caesar, having struggled to shore alone, tells thread to allow him to find his way out of the German taste of deriving stylistic inspiration the next, though Bach’s sense of musical archi- of the scene surrounding him and his grief over labyrinth that was the monster’s lair. The two from France. It was Jean Baptiste Lully, compos- tecture demands that they create a careful bal- the loss of his beloved in the magnificent aria paired recitatives and arias in Arianna a Naxos er to the legendary court of Louis XIV, whose ance of tempos and moods. The first such move- Dall’ondoso periglio…Aure, deh, per pietà. express Ariadne’s love for Theseus, her anxiety operas and instrumental music set the fashion. ments in this Suite are a pair of Bourrées, a dance at his disappearance, and the stunning realiza- Lully filled his operas with dances to please the of French origin that is joyful and diverting in tion that he has deserted her. Arianna is among taste of his ballet-mad King. If the mood struck character. When it was danced, the steps began © 2013 Dr. Richard E. Rodda

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LES VIOLONS DU ROY soloists as Magdalena Kožená, David Daniels, Bernard Labadie, Music Director Vivica Genaux, and Alexandre Tharaud, in- cluding two guest appearances at Amsterdam’s first violin Concertgebouw. The orchestra has also toured Nicole Trotier in Mexico, Ecuador, and Morocco. Angélique Duguay Since its first performance in Washington in Pascale Gagnon 1995, Les Violons du Roy has extended its per- Véronique Vychytil formance network in the United States and now makes regular stops in New York, Chicago, and second violin Los Angeles. The orchestra is heard frequently Pascale Giguère on NPR in the United States, and is now rep- Maud Langlois resented by the Opus 3 Artists agency. A recent Michelle Seto high point was the performances of Handel’s Noëlla Bouchard Messiah and Bach’s Christmas Oratorio with La Chapelle de Québec and an outstanding array of viola soloists (Rosemary Joshua, David Daniels, Jan

Jean-Louis Blouin Delisle Luc Kobow, Andrew Foster-Williams, and Joshua Annie Morrier The chamber orchestra Les Violons du Roy bor- Hopkins), part of a U.S. tour that took the Marina Thibeault rows its name from the renowned string orches- orchestra and choir to Carnegie Hall in New tra of the court of the French kings. The group, York and the Walt Disney Concert Hall in Los cello which has a core membership of 15 players, Angeles. The concerts received remarkably posi- Benoit Loiselle was brought together in 1984 by music direc- tive reviews, in particular from The New York Raphaël Dubé tor Bernard Labadie and specializes in the vast Times and the Los Angeles Times. In March 2012, repertoire of music for chamber orchestra, per- the orchestra returned to Carnegie Hall with La double bass formed in the stylistic manner most appropri- Chapelle de Québec to present Bach’s St. John’s Raphaël McNabney ate to each era. Although the ensemble plays on Passion. Then in October, the musicians toured modern instruments, its approach to the works several American cities with flautist Emmanuel oboe of the Baroque and Classical periods has been Pahud, and made their fourth visit to Mexico for Marjorie Tremblay strongly influenced by current research into per- concerts in Guanajuato (Festival internacional Lindsay Roberts formance practice in the 17th and 18th centu- Cervantino) and Saltillo (Festival internacional Vincent Boilard ries; in this repertoire Les Violons du Roy uses de las artes Coahuila). copies of period bows. The orchestra also regu- The 24 recordings made by Les Violons du bassoon larly delves into the repertoire of the 19th and Roy have been acclaimed by critics and earned Mathieu Lussier 20th centuries, as witnessed by its recordings of various distinctions and awards at the national works by Piazzolla, Bartók, and Britten. and international levels. Of twelve CDs released harpsichord Les Violons du Roy is at the heart of the by Dorian, two won Juno Awards (Handel’s Thomas Annand music scene in Québec City, where it has been Apollo e Dafne and Mozart’s Requiem). Since in residence at the Palais Montcalm since 2007. 2004, the association with the Québec label theorbo Since 1997, it has also been an important part of Atma has led to six CDs, including Water Music, Michel Angers Montreal’s cultural scene. The orchestra is well winner of a Félix Award in 2008; Piazzolla, con- known throughout Canada thanks to numerous ducted by Mr. Zeitouni and winner of a Juno for opus 3 artists concerts and recordings broadcast by Société Award in 2006; and Britten’s Les Illuminations David V. Foster, President & CEO Radio-Canada and the CBC and its regular pres- with soprano Karina Gauvin, also directed by Leonard Stein, Senior Vice President, Director, Touring Division ence at music festivals. Les Violons du Roy made Jean-Marie Zeitouni and released in summer Ilya Gidalevich, Manager, Artists & Attractions its European debut in 1988 and has since gone 2010. The CD Bonbons, also on the Atma label, John C. Gilliland III, Associate, Touring Division on to give dozens of performances in France, came out in fall 2010. The group’s first collabora- Rachel Adams, Assistant to Ilya Gidalevich Germany, England, Spain, Switzerland, and the tion with the multinational Virgin Classics label Tim Grassel, Tour Manager Netherlands in the company of such renowned led to the release in fall 2006 of a CD of cantata

10 CAL PERFORMANCES CAL PERFORMANCES 11 ABOUT THE ARTISTS ABOUT THE ARTISTS arias by Handel and Hasse with mezzo-soprano of Enlightenment, the English Concert, and many conductors with whom she has worked Recordings); and Vignettes: Ellis Island, also by Vivica Genaux. Two other Virgin Classics discs Collegium Vocale Gent Orchestra. include Harry Bicket, James Conlon, Charles Alan Smith and featured in a special television released in 2011 feature C.P.E. Bach’s cello con- As a leading ambassador for music in his na- Dutoit, Mark Elder, Christoph Eschenbach, program entitled Vignettes: An Evening with certos with the Norwegian cellist Truls Mørk tive city of Québec, Mr. Labadie was made an Rafael Frühbeck de Burgos, Alan Gilbert, James Stephanie Blythe and Warren Jones. and J. S. Bach’s keyboard concertos with the Officer of the Order of Canada in 2005 and a Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Ms. Blythe starred in the Metropolitan French pianist Alexandre Tharaud. A recording knight of Ordre national du Québec in 2006. Mackerras, John Nelson, , Opera’s live HD broadcasts of , of opera arias by Mozart, Haydn, Gluck, and In 2008, he received the Banff Centre’s National Mstislav Rostropovitch, Robert Spano, Patrick Il Trittico, , and the complete Ring Graun with contralto Marie-Nicole Lemieux Arts Award for his contribution to the develop- Summers, and Michael Tilson Thomas. cycle. She also appeared in PBS’s Live from was launched in 2012 under the Naïve label. ment of the arts in Canada, as well as an honor- A frequent recitalist, Ms. Blythe has been Lincoln Center broadcasts of the New York The ensemble’s most recent disc, which features ary doctorate from Laval University. presented in recital in New York by Carnegie Philharmonic’s performance of and her Haydn concertos with pianist Marc-André Hall (both in Stern Auditorium and Zankel acclaimed show We’ll Meet Again: The Songs of Hamelin, came out under the Hyperion label Mezzo-soprano Stephanie Hall), Lincoln Center’s Great Performers Series Kate Smith. Her recordings of works by Mahler, in March 2013. Les Violons du Roy is a proud Blythe is considered one at Alice Tully Hall and its American Songbook Brahms, and Wagner and of arias by Handel and member of Orchestras Canada, the national as- of the most highly respect- Series at the Allen Room, Town Hall, the 92nd Bach are available on the Virgin Classics label. sociation representing Canada’s orchestras. ed and critically acclaimed Street Y, and the Metropolitan Museum of Art. This season, Ms. Blythe returns to the artists of her generation. She has also been presented by the Vocal Arts for the new production Bernard Labadie is an in- Ms. Blythe has sung Society and at the Supreme Court at the invi- of and makes her debut at San Diego ternationally recognized in many of the renowned tation of Supreme Court Justice Ruth Bader Opera in Un Ballo in Maschera. She also appears expert on 17th- and 18th- opera houses in the United Ginsburg in Washington, D.C.; the Cleveland in concert with the , century repertoire and States and Europe, in- Art Song Festival, the University Musical Society tours the United States with Les Violons du Roy,

founded Les Violons du cluding the Metropolitan Kobie Rensburg Van in Ann Arbor, the Philadelphia Chamber Music and will be presented in recital in San Francisco Roy and La Chapelle de Opera, San Francisco Society, Shriver Hall in Baltimore, and San and Princeton. Québec in 1984 and 1985, Opera, , , Francisco Performances. Ms. Blythe was named Musical America’s respectively. He continues Royal Opera House Covent Garden, and the A champion of American song, Ms. Blythe Vocalist of the Year for 2009. Her other awards to direct their regular sea- Opera National de Paris. Her many roles in- has premiered several song cycles written for include the 2007 Opera News Award and the

sons in Québec City and Delisle Luc clude the title roles in , Samson et her, including Twelve Poems of Emily Dickinson 1999 Richard Tucker Award. Montreal and throughout the Americas and Dalila, Orfeo ed Euridice , La Grande Duchesse, by the late James Legg; Covered Wagon Woman Stephanie Blythe is represented by Opus 3 Europe on tour. He has made 20 recordings , Mignon, and Giulio Cesare; Frugola, by Alan Smith, which was commissioned by Artists, 470 Park Avenue South, Ninth Floor with the ensembles on the Virgin Classics, Principessa, and Zita in Il Trittico, Fricka in the Chamber Music Society of Lincoln Center North, New York, New York, 10016, www Dorian, Atma, and Hyperion labels. both and Die Walküre, Waltraute and recorded with the ensemble (CMS Studio .opus3artists.com. His services as guest conductor are much in Götterdämmerung, Azucena in , sought after, and he regularly accepts engage- Ulrica in Un Ballo in Maschera, Baba the Turk in ments with major North American orchestras The Rake’s Progress, Ježibaba in , Jocasta including the New York and Los Angeles phil- in , Mere Marie in Dialogues des harmonics, the Chicago, Boston, San Francisco, Carmélites; Mistress Quickly in Falstaff, and St. Louis, Houston, and Toronto symphonies, Ino/Juno in . the Cleveland Orchestra, and the Metropolitan Ms. Blythe has also appeared with many Opera Orchestra. In Europe, he has taken the of the world’s finest orchestras, including the podium with Amsterdam’s Concertgebouw, the New York Philharmonic, Boston Symphony Bavarian Radio Symphony, Orchestre philhar- Orchestra, Chicago Symphony Orchestra, monique de Radio-France, and the orchestra of Los Angeles Philharmonic, San Francisco Barcelona’s Gran Teatre del Liceu. He is regular- Symphony, Philadelphia Orchestra, Opera ly invited to conduct the Melbourne Symphony Orchestra of New York, Minnesota Orchestra, Orchestra in Australia. Halle Orchestra, Orchestra of the Age of Increasingly in demand among period- Enlightenment, the Ensemble Orchestre de Paris, instrument orchestras, Mr. Labadie regularly and the Concertgerbouworkest. She has also ap- directs the Academy of Ancient Music and peared at the Tanglewood, Cincinnati May, and has worked with the Orchestra of the Age Ravinia festivals, and at the BBC Proms. The

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