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Home , A major, Don Giovanni, Idomeneo, Il mio tesoro, Il sogno di Scipione, La clemenza di Tito

Mozart 9 Misero! o sogno, K.431 [9.28] AN ITALIAN JOURNEY 0 [4.04] Don Ottavio, : Act 2, No.22

1 Il de­­sio di vendetta [5.12] q Fuor del Mar [6.25] Lucio, Lucio : Act 1, No.5 , Idomeneo: Act 2, No.12

2 Sposa cara [4.26] w Un’aura amorosa [4.40] Polidoro, : Act 2, No.17 Ferrando, Cosi fan tutte: Act 1, No.17

3 Quercia annosa [3.05] In qual fiero contrasto — Tradito, schernito [3.24] Publio, : Act 1, No.7 Ferrando, Cosi fan tutte: Act 2, No.27

4 Dentro il mio petto [5.56] r Se all’imperio [5.12] Don Anchises, : Act 1, No.3 Tito, : Act 2, No.20

5 Se vicendo [6.04] Total timings [67.31] Alessandro, Il rè pastore: Act 2, Scene 4

6 Il padre Adorato [2.52] Idamante, Idomeneo: Act 1, No.7

7 Sol può dir [2.49] JEREMY OVENDEN Agenore, Il rè pastore: Act 2, Scene 10 OF THE AGE OF ENLIGHTENMENT 8 Vedrommi intorno [3.51] JONATHAN COHEN CONDUCTOR Idomeneo, Idomeneo: Act 1, No.6 www.signumrecords.com ARTIST’S NOTE MOZART (1756-1791) was rapidly written but fell foul of Viennese AN ITALIAN JOURNEY musical politics, so the Mozarts returned to The inspiration for this recording came from two We started with which he wrote , where the work was performed at the simple factors: I have been singing Mozart’s when he was 16 years old and ended with The development of Mozart’s creative genius Archbishop’s Palace the following year. The for the last 14 years and I have an ‘Se all impero’ from La Clemenza di Tito, the very can be illustrated in many of the genres that he plot, in the manner of the commedia dell’arte, enormous affinity with Italy, the country where last Italian aria that Mozart wrote before adorned – symphony, concerto, string quartet derives from a farce by Goldoni. In the aria my career began and where I lived happily for his death at the age of 35. We chose the concert – but is perhaps most striking in the field of ‘Sposa cara’, the timid Polidoro tells his proud five years. aria Misero! o sogno o son desto as the opera. From his first attempts he was an brother Cassandro that he should not be so rude centrepiece of the CD – an aria which is rarely amazingly adept setter of a text, and had already to the baroness Rosina, who loves him. If he I wanted the programme for this CD to be a performed, fiendishly difficult to sing and produced operas of marvellous invention in his is upset, he suggests, then he should beat musical journey through Mozart’s life but emotionally draining, but that shows so well teens. But he steadily achieved a more profound Polidoro, not her. concentrating solely on his Italian repertoire. the brilliance of Mozart. grasp of dramatic situations and pacing, whether Jonathan Cohen and I spent some time going comic or tragic, and refined his psychological In strong contrast to this amiable comedy through every Italian aria that Mozart ever I hope this CD takes you on an enjoyable musical insight in delineating character. The selection stands Lucio Silla, K.135, a ‘’ wrote and began the fascinating task of creating journey and that you discover for yourself how of operatic arias presented here, which range composed by the 16-year-old Mozart for our disc. the young Mozart changed and became the from his earliest operas to his last, are a perfect performance in the theatre at Milan (which Mozart that we know today. illustration of his unrivalled skills in operation was then under Austrian rule). The last opera he

I not only wanted to record the famous arias, Jeremy Ovenden over more than two decades. would write for Italy, this is an ambitious and but also to rediscover Mozart’s early arias, and almost dramatic work, somewhat in the tradition so I came up with the title of the CD, Mozart: an Mozart’s first full-length opera – and only his of the older , full of long bravura Italian Journey: a journey of discovery through second work for the stage – was the opera arias. The by Mozart’s music. I also wanted listeners to buffa La finta semplice, K.51/46a (The feigned (revised by Metastasio) is loosely founded on embark on their own journey, discovering for simpleton), composed at the age of 12 in 1768. events in the Roman dictatorship of Lucius themselves just how the young Mozart developed had taken his son to Vienna and, Cornelius in the first century BC. The first as a composer as he journeyed from childhood anxious to increase his reputation, invented performance, in the Teatro Regio Ducal, Milan into adulthood. a story that the Emperor himself had taken a on 26 December 1772, was a near-disaster since fancy to Wolfgang’s music and thus persuaded the audience had to wait three hours for the the impresario Giuseppe Afflisio to commission opera to begin (owing to the delayed arrival of an opera from him for 100 ducats. The work the Archduke) and the work itself, already four Adrian Peacock (producer), Jeremy Ovenden and Jonathan Cohen (conductor).

- 4 - - 5 - hours long, was filled out with three ballets. Roman general Scipio Aemilianus dreams that his love for Sandrina and sings now of the sound friend Agenor, who is in love with Tamyris, Nevertheless it played to full houses on 26 the goddesses of Constancy and Fortune tell him of the orchestra with its and and its laments the torture he is going through subsequent evenings; but like most of Mozart’s he must choose one of them as his protectress. drum and : a feast of sound that almost by losing his love to Aminta through early operas was long forgotten until the 20th Transported to heaven, he consults his ancestors drives him insane. Alexander’s decree. century. ‘Il desio di vendetta’ finds the dictator on which goddess he should choose, but Silla in a rage because Junia, whom he desires, eventually selects Constancy of his own volition. Il rè pastore, K.208 (The Shepherd King) is not Six years passed before, in 1780, Mozart has declared her hatred for him, as the daughter ‘Quercia annosa’ is sung by the spirit of a full-length opera but a two-act drama to a composed the ‘dramma per musica’ Idomeneo, of his defeated rival Marius and the fiancée of Scipio’s adoptive father, Publio. Scipione libretto adapted from one that Metastasio had rè di Creta, K.366 – another work commissioned his enemy Cecilio. All his affectionate feelings wishes to leave the mortal world and remain based upon a 16th-century play by Torquato for performance in , but which stands for her have turned to hatred, and he resolves to in Heaven, but Publio tells him that it is not yet Tasso. Contemporary writers also refer to it as a at the beginning of the series of his mature kill her. She may beg him for her life, he says, time. Like an oak tree growing strong against or a cantata, which rather suggests operas. Premiered at the Residenz Theater on 29 but he will not grant her a pardon. winds and winter, Scipione must go through that the premiere – which took place in the January 1781, the work was held to be a success, many trials to strengthen him before he is Archbishop’s Palace in Salzburg on 23 April but its only revival in Mozart’s lifetime was an Despite its earlier Köchel number the one-act ready for heavenly life. 1775 – was a concert performance rather amateur performance in Vienna in 1786, for ‘serenata drammatica’ Il sogno di Scipione, than staged. The work had been commissioned which he partly revised the score. An epic drama K.126 (Scipio’s Dream) is probably a little La finta giardiniera, K.196 (The feigned to celebrate the fact that a son of the Empress of conscience and filial love complete with later than Lucio Silla. In all probability it was gardener), a three-act to a libretto Maria Theresa was visiting Salzburg. In it, sea-monster, Idomeneo was among Mozart’s composed in mid-1771 for the celebration of the by , was commissioned in Alexander the Great restores the rule of Sidon most ambitious operas, for which he produced a 50th anniversary of the ordination of Mozart’s 1774 for the carnival season at Munich. Originally to its rightful king, Aminta, who has been living score of unrelenting intensity. In ‘Il padre Adorato’ patron, Archbishop von Schrattenbach – who scheduled for performance just before the end as a shepherd and would prefer to remain one. Idamante, the son of Idomeneo, greets his died before the anniversary arrived. The ‘serenata’ of the year, its difficulties demanded additional father, whom he has not seen for 20 years. His may then in fact have been performed to rehearsal time and the premiere took place on ‘Se vicendo’ is an aria for Alexander (Alessandro), joy turns to consternation, however, when celebrate the arrival of his successor as 13 January 1775 at Munich’s Salvatortheater. in the Greek military camp. He has decided Idomeneo runs away from him. We discover the Archbishop of Salzburg, Hieronymous Colloredo It was later adapted as a in German, to leave Sidon now that Aminta has assumed reason in ‘Vedrommi intorno’, where Idomeneo – with whom Mozart would later have such a with spoken dialogue. A comedy of errors and the kingship, and also to wed Tamyris to himself recalls how, shipwrecked, he promised fraught relationship – though no certain record misunderstandings leading to a triple marriage, Aminta. Believing he has thus made everyone Neptune he would sacrifice the first person that of the event survives. The libretto, by Metastasio, it is a work of bucolic simplicity for the most happy, he sings that as long as he leaves peace he met if he was saved from the wreck. Now, had already been set by several composers, and part. In ‘Dentro il mio petto’ Don Anchises, governor and happiness behind him, he has fulfilled saved indeed, he imagines how the ghost of is founded on a story in Cicero in which the of the fictitious town of Lagonero, has just declared all his wishes. But in ‘Sol può dir’ Alexander’s the sacrificed person will haunt him for his entire

- 6 - - 7 - life. Finally in ‘Fuor del Mar’, Idomeneo confronts commissioned the work and he is said to 1791. His exertions may well have contributed is unknown: it feels as if it might be part of an the sea-god Neptune who, even though sparing have suggested the subject – two men testing to his death on 5 December. In a sense La existing libretto, but if so this has never been Idomeneo’s life, is still torturing him: escaped the faithfulness of their fiancées by each, in Clemenza di Tito (The Clemency of ) returns identified. Strongly dramatic – even prophetically from the sea, Idomeneo still has a sea raging in disguise, wooing the other’s beloved – though to the old-fashioned form of opera seria, but looking forward to Beethoven’s – it finds his breast. doubt has been cast on this attribution. True or with the richness and dramatic power of Mozart’s the tenor character imprisoned in a dark and scary not, da Ponte made of this suggestion a late style. The libretto, as so often, was by cave. He shouts to his captors to release him, The remaining extracts are from the great wonderfully rich and humane comedy. After its Metastasio, and deals with a subject from to open the hellish door, but no one answers his operas of Mozart’s last few years. The one that initial performances the opera was pretty well Roman history – a political drama about a plea: all he hears is the echo of his own voice, and we know as Don Giovanni, K.527 was in fact neglected until the 20th century, but is now plot by star-crossed lovers against the life of implores the winds to carry his sighs to the ears originally performed as Il dissoluto punito (The generally accepted as one of Mozart’s greatest the Emperor Titus. The aria ‘Se all’impero’ is of his beloved, whom he will never see again. In libertine punished). After the enormous success works. In ‘Un’aura amorosa’ Ferrando, in love sung by the Emperor himself as, after an internal the last part of the aria, his mind becomes of Le Nozze di Figaro in , Mozart’s librettist with Dorabellai, praises the fact that she has struggle, he tears up the death warrant on one increasingly agitated at the thought of never suggested he should capitalize (so far) resisted the advances of his friend of the conspirators and declares that if the getting out; he can find no peace. The musical upon it by writing another work for performance Guglielmo. The ‘In qual fiero contrasto’ world wishes to accuse him of anything it will result is a fascinating blend of the Baroque there and suggested a version of the Don and its following cavatina ‘Tradito, schernito’ be for having an excess of mercy rather than the and proto-Romantic. Juan legend. Responding with alacrity, Mozart reflect, on the other hand, Ferrando’s confusion desire for revenge. produced his archetypal study of hubris and its and turmoil when he realizes that his inammorata © 2011 by Malcolm MacDonald punishment. ‘Il mio tesoro’ is a revenge aria has, in fact, fallen for his friend and thus In addition to full-scale opera, Mozart wrote ­ sung by Don Ottavio, the fiancé of Donna Anna, betrayed their love. numerous concert arias for independent whom Don Giovanni wishes to seduce. Sure that performance: glimpses, as it were, of an Giovanni was the person who killed Anna’s father, Mozart had hoped to write another opera for unwritten drama, whose antecedents and Ottavio swears that he will make sure she is Prague after Don Giovanni, but La Clemenza consequences we are left to imagine for revenged on the rascally nobleman. di Tito, K.621, which proved to be the last opera ourselves. One such is the recitative and aria he wrote, was actually commissioned by the Misero! o sogno, K.431 written for the tenor Mozart’s third da Ponte opera was the highly Bohemian Estates to celebrate the coronation of Johann Valentin Adamberger (1740-1804), a sophisticated two-act opera buffa Cosi fan Emperor Leopold II as King of Bohemia. Though Mason and friend of Mozart, who wrote several tutte, K.588 (All women behave so), produced in poor health, Mozart laboured over the work and other works for him. Adamberger sang this at the Burgtheater, Vienna on 26 January 1790. travelled to Prague to complete it in time for the aria in concerts by the Vienna Tonkünstler-Societät According to legend the Emperor Joseph II first performance, which took place in September in December 1783. The authorship of the text

- 8 - - 9 - 1 Il desio di vendetta 3 Quercia annosa Lucio, Lucio Silla: Act 1, No.5 Publio, Il sogno di Scipione: Act 1, No.7

Il desìo di vendetta e di morte The desire for vengeance and for death Quercia annosa su l’erte pendici Against the opposition of hostile winds Sì m’infiamma e sì m’agita il petto, Inflames me and so agitates my breast, Fra’l contrasto de’venti nemici the aged oak on the steep slopes Che in quest’alma ogni debole affetto that each tender feeling of the soul Più sicura, più salda si fa. makes itself more secure, more steadfast. Disprezzato si cangia in furor. That has been scorned is turned to wrath. Chè se’l verno le chiome le sfronda, For if winter denudes it of foliage, Più nel suolo col piè si profonda; it digs its feet further into the ground; Forse nel punto estremo Perhaps you will at the end Forza acquista, se perde beltà. if it loses beauty, it gains strength. Della fatal partita Of the fateful duel Mi chiederai la vita, Beg that your life be spared, 4 Dentro il mio petto Ma sarà il pianto inutile, Yet tears will then be useless, Don Anchises, La finta giardiniera: Act 1, No.3 Inutile il dolor. Useless anguish. Dentro il mio petto io sento Within my breast I hear 2 Sposa cara Un suono, una dolcezza a sound, the sweetness Polidoro, La finta semplice: Act 2, No.17 Di flauti e di . of flutes and oboes. Che gioia, che contento, What delight, what contentment, Sposa cara, sposa bella, Dear wife, beautiful bride, Manco per l’allegrezza, I swoon with happiness, Per pietà, deh non piangete: Oh please don’t cry: Più bel piacer non v’è. there is no greater pleasure. E se voi bevuto avete And if you have been drinking Poveretto, andate in letto, Poor man, go to bed, Ma oh Dio, che all’improvviso But, oh heavens, suddenly Né la state a molestar. Don’t disturb her. Si cangia l’armonia the harmony changes, Che il cor fa palpitar. making my heart flutter. Piano, piano, ch’io burlavo; Take it easy, I was joking; Sen’entran le viole, I hear the enter, State in là, che vi son schiavo. Remain where you are, I am your slave. E in tetra melodia, they come to disturb me, Quanto a me, tutto v’è lecito: As far as I’m concerned, everything is allowed: Mi vengono a turbar. with sombre melodies. Bastonatemi, accoppatemi, Hit me, kill me, Poi sorge un gran fracasso, Then a great tumult arises, Ma mia moglie, no signore, But my wife, no sir, Li , le trombe, the drums, the trumpets, Non l’avete da toccar. You mustn’t touch her. Fagotti e contrabbasso and basses Mi fanno disperar. drive me demented.

- 10 - - 11 - 5 Se vincendo Un tormento è quel ch’io sento, I feel tormented, Alessandro, Il rè pastore: Act 2, Scene 4 Più crudel d’ogni tormento, More cruel than any torment, E un tormento disperato This is a desperate torment Se vincendo vi rendo felici, If I make you happy by winning, Che soffribile non è. Which is impossible to bear. Se partendo non lascio nemici, If I leave no enemies when I go, Che bel giorno fia questo per me! What a wonderful day this is for me! 8 Vedrommi intorno De’ sudori ch’io spargo pugnando, The sweat I spill through my labours Idomeneo, Idomeneo: Act 1, No.6 Non dimando più bella mercé. Requires no greater thanks. Vedrommi intorno I shall see about me 6 Il padre Adorato L’ombra dolente, a lamenting shade, Idamante, Idomeneo: Act 1, No.7 Che notte, e giorno: which night and day Sono innocente will cry to me: Il padre adorato My beloved father M’accennerà. “I am innocent.” Ritrovo, e lo perdo, I find again, only to lose him. Mi fugge sdegnato He scorns and flies me Nel sen trafitto, The blood spilt Fremendo d’orror. trembling with horror. Nel corpo esangue from his pierced breast, Il mio delitto, his pale corpse, Morire credei I thought I would die Lo sparso sangue will point out to me Di gioia, e d’amore: of joy, and love: M’additerà. my crime. Or, barbari Dei! but, cruel gods! Qual spavento, What horror, M’uccide il dolor. Grief is killing me. Qual dolore! what grief! Di tormento questo core How many times this heart 7 Sol può dir Quante volte morirà! will die of torment! Agenore, Il rè pastore: Act 2, Scene 10

Sol può dir come si trova The only one who can understand the feelings Un’amante in questo stato For a lover in this state Qualche amante sfortunato, Is some unfortunate lover, Che lo prova al par di me. Who feels the way I do.

- 12 - - 13 - 9 Misero! o sogno che più non mi vedrà. that she will never see me more. Ho mille larve intorno Around me are a thousand phantoms Misero! o sogno, o son desto? Unhappy that I am! Am I dreaming di varie voci il suono; and the sound of my voices. Chiuso è il varco all’uscita! or awake? The way out is barred! Che orribile soggiorno! What a dreadful abode! Io dunque, o stelle! Here then, O stars! Che nuova crudeltà! What new cruelty! solo in questo rinchiuso Alone in this enclosed Che barbara sorte! What barbarous fate! abitato dall’ombre, silent, gloomy place Che stato dolente! What pitiful state! luogo tacito, e mesto, haunted by shadows, Mi lagno, sospiro, I lament, I sigh, ove non s’ode where nothing is heard nessuno mi sente, no one hears me, nell’orror della notte in the horror of the night nel grave periglio in this dire peril che de’ notturni augelli save the mournful voices nessun non miro, I see no one. la lamentabil voce, of nocturnal birds non spero consiglio, I have no hope of help: I giorni miei must I end my days? non trovo pietà! I find no pity! dovrò qui terminar? Open this infernal gate, Aprite, indegne, vile, pitiless creatures, 0 Il mio Tesoro questa porta infernale! open, open! Don Ottavio, Don Giovanni: Act 2, No.22 spietate, aprite! No one hears me, and, Alcun non m’ode, hidden in these rocky caves, Il mio Tesoro intanto On your affection relying E solo ne’ cavi sassi ascoso, only a merciful echo Andate a consolar, I leave her to your care, risponde a’ mesti accenti eco pietoso. answers my cries. E del bel ciglio il pianto Ease all her tears and sighing E dovrò qui morir? Must I then die here? Cercate di asciugar And comfort her despair. Ah! negli estremi amari sospiri Ah, if with my final bitter sighs almen potessi, oh Dio! I could at least – Oh God! – Ditele che i suoi torti Tell her I go to serve her, dar al caro mio ben l’ultimo addio! bid my beloved a last farewell! A vendicar io vado, Tell her I shall avenge her, Che sol di stragi e morti To him who made her suffer, Aura, che intorno spiri, Breeze that blows around me, Nunzio vogl’io tornar. Justice and death I bear. sull’ali a lei che adoro go, on your wings carry my sighs deh! porta i miei sospiri, to her whom I adore: dì che per essa moro, say that for her I die,

- 14 - - 15 - q Fuor del Mar e In qual fiero contrasto — Tradito, schernito Idomeneo, Idomeneo: Act 2, No.12 Ferrando, Cosi fan tutte: Act 2, No.27

Fuor del mar ho un mare in seno, Saved from the sea, I have a raging sea In qual fiero contrasto, in qual disordine Ah! My mind is distracted! The voice of reason Che del primo è più funesto, more fearsome than before within my bosom, Di pensieri e di affetti io mi ritrovo? is overwhelmed by the conflicting urges of passion? E Nettuno ancora in questo and Neptune does not cease Tanto insolito e novo è il caso mio, So completely unheard of is my dilemma, Mai non cessa minacciar. his threats even in this. Che non altri, non io That there’s no one, but no one, Fiero Nume! dimmi almeno: Stern god! Tell me at least: Basto per consigliarmi … Alfonso, Alfonso, Competent to advise me … Alfonso, Alfonso, Se al naufragio è si vicino Il mio cor, If my body was so close to shipwreck, Quanto rider vorrai What contempt you will feel qual rio destino for what cruel purpose Della mia stupidezza! For my naïve behavior! Or gli vieta il naufragar? was that wreck withheld? Ma mi vendicherò: saprò dal seno But I shall be avenged: You faithless woman Cancellar quell’iniqua, You will see from now onwards w Un’aura amorosa Saprò, cancellarla … With scorn I’ll dismiss you … Ferrando, Cosi fan tutte: Act 1, No.17 Cancellarla? I’ll dismiss you? Troppo, oh dio, questo cor per lei mi parla. Vain attempt if my heart fails to resist you. Un’aura amorosa, From eyes so alluring, Del nostro tesoro, Our hope reassuring, Tradito, schernito Her treason is poison Un dolce ristoro A mystic refreshment Dal perfido cor, That tortures my heart, Al cor porgerà; Our hearts will beguile; Io sento che ancora Though her love may falter, Quest’alma l’adora, Yet mine cannot alter, Al cor che, nudrito, For hearts that are nourished, Io sento per essa I still hear the accents Da speme, da amore, On longing and passion, Le voci d’amor. Of love in my heart. Di un’esca migliore A glance is ambrosia Bisogno non ha. And nectar a smile.

- 16 - - 17 - r Se all’imperio Tito, La Clemenza di Tito: Act 2, No.20 BIOGRAPHIES

Se all’impero, amici Dei, If a hard heart is necessary to a ruler, Necessario è un cor severo; ye benevolent gods; JEREMY OVENDEN O togliete a me l’impero, either take the empire from me, O a me date un altro cor. or give me another heart. Jeremy Ovenden studied at The Royal College of Music, London and privately with . Se la fé de’ regni miei If I cannot assure the loyalty Coll’amor non assicuro: of my realms by love: His regular Mozart appearances have included D’una fede non mi curo, I care not for a loyalty, Ferrando Così fan tutte for , Che sia frutto del timor. that is born of fear. Covent Garden and Staatsoper ; Ottavio Don Giovanni at , Milan and Staatsoper Berlin; Count Belfiore La finta giardiniera at La Monnaie, Brussels; Vogelsang with Concerto Köln and Publio Il sogno di Scipione and Ozia with Concentus Musicus. Appearances at the include Fracasso La finta semplice; Don Asdrubale Lo Sposo Deluso, Biondello L’Oco del Cairo and Mozart’s Mass in C Minor.

He has also appeared at Netherlands Opera and in concerts with the London Philharmonic and London Symphony and Deutsches Symphonie Orchester Berlin.

- 18 - - 19 - Conductors with whom Jeremy has collaborated Perfect a work and then move on? Too lazy. The But don’t ever think the ensemble has lost sight programme of Gluck, in include Sir , , Orchestra of the Age of Enlightenment was born. of its founding vow. Not all orchestras are London and Paris. Vladimir Jurowski, , , the same. And there’s nothing quite like this one. Christophe Rousset, , Jeremie Rhorer, And as it began to get a foothold, the OAE As assistant conductor to William Christie, Yannick Nézet-Séguin, Paul McCreesh Rene Jacobs, made a promise to itself. It vowed to keep JONATHAN COHEN Emmanuelle Haim and Harry Bicket, Jonathan Rinaldo Alessandrini and Giovanni Antonini in questioning, adapting and inventing as long has worked on numerous productions over the repertoire ranging from Monteverdi, Bach and as it lived. Residences at the Southbank Jonathan Cohen is rapidly developing a reputation last few years. Highlights with Emmanuelle Handel through Mozart and Haydn, to Berlioz, Centre and Festival Opera didn’t as one of Britain’s finest and most versatile young Haim include Monteverdi’s Orfeo (Lille Opera), Britten, Szymanowski and Henze. numb its experimentalist bent. musicians. A conductor, cellist and keyboardist, Mozart’s Nozze di Figaro (Lille) and Monteverdi’s record deal didn’t iron out its quirks. Instead, with a wide ranging experience of music from Poppea (Glyndebourne Festival). Jeremy’s extensive discography includes Mozart’s the OAE examined musical notes and Baroque to contemporary, he is in increasing Il sogno di Scipione, Betulia Liberata, La finta instruments with ever more freedom and resolve. demand worldwide. Jonathan enjoys a close relationship with Les semplice, L’Oca del Cairo and Lo Sposo Deluso; Arts Florissants and has recently been appointed Bach’s St Mark Passion and St John Passion and That creative thirst remains unquenched. In the 2010/2011 season Jonathan conducted Associate Conductor. His conducting debut Cantatas; Biber’s Missa Salisburgensis; Handel’s Informal night-time performances are redefining Monteverdi’s Poppea with Glyndebourne Touring with them conducting Zampa at the Opéra Ode for St Cecilia’s Day and Saul; Haydn’s The concert formats. Searching approaches to Opera, Ulysses with Comique in March 2008 received great critical Seasons and The Creation; Holst’s Morning of the varied repertoires see the OAE involved in and Dido & Aeneas with Dijon Opera. On acclaim: “his exhilarating yet attentive baton Year and Book VIII of Monteverdi Madrigals. exceptional musical and non-musical the concert stage he conducted the brought out all the impetus, liveliness and flowing collaborations. New generations of exploratory Orchestra of the Age of Enlightenment, colours of Hérold’s score” (Opera Magazine). ORCHESTRA OF THE AGE OF musicians are encouraged into its ranks. Ensemble Orchestral de Paris and ENLIGHTENMENT It enjoys a truly international reputation. Capella Cracoviensis. Recent highlights have With counter tenor Iestyn Davies, Jonathan will New York and Amsterdam court it; Birmingham included the Lausanne Chamber Orchestra, début his newly founded orchestra in Just over two decades ago, a group of inquisitive and Bristol cherish it. the Irish Chamber Orchestra and Potsdamer 2012 with a disc for Hyperion of Porpora cantatas London musicians took a long hard look at that Kammerakademie. For the 30th anniversary and a concert tour. Other exciting artistic curious institution we call the Orchestra, and In its 24th season, the OAE is part of our season of Les Arts Florissants, Jonathan projects with Arcangelo are planned and decided to start again from scratch. They began musical furniture. It moved recently to beautiful collaborated with William Christie conducting Jonathan intends to focus his energies on by throwing out the rulebook. Put a single new headquarters. It has even graced three performances of Dido & Aeneas (Netherlands developing Arcangelo whilst enjoying his conductor in charge? No way. Specialise in legendary conductors – Rattle, Jurowski and Opera), Purcell’s Fairy Queen (Opéra Comique and collaboration with Les Arts Florissants and his repertoire of a particular era? Too restricting. Fischer – with the joint title of Principal Artist. Brooklyn Academy New York) as well as a rapidly expanding guest conducting career.

- 20 - - 21 - Recorded at St Silas the Martyr, Kentish Town, from 29 September to 2 October 2010. Producer - Adrian Peacock Recording Engineer - Mike Hatch Editor - Dave Rowell

Cover image and photos of Jeremy Ovenden - © Pierre-Philippe Hofmann Design and Artwork - Woven Design www.wovendesign.co.uk

P 2011 The copyright in this recording is owned by Signum Records Ltd. © 2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

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Monteverdi Vespers 1610 Orchestra of the Age of Enlightenment The Choir of the Enlightenment Robert Howarth, Director & SIGCD237

“Not all orchestras are the same,” runs the message on the cover, and it’s true: … a shimmering, captivating choral sound that seems to float effortlessly through the psalms. The Independent

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