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Home , Claire Renard, Dominique Visse, Festival de Beaune, Florence Malgoire, Gideon (Handel), Harry Kupfer

BAM 2013 Winter/Spring Season

Brooklyn Academy of Music

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board

Adam E. Max, Vice Chairman of the Board et Karen Brooks Hopkins, David President

Joseph V. Melillo, Executive Producer Jonathas

By Marc-Antoine Charpentier Les Arts Florissants An Aix-en-Provence Festival production Conducted by William Christie Directed by Andreas Homoki

BAM Howard Gilman House Apr 17, 18 & 20 at 7:30pm Apr 21 at 2pm Approximate running time: two hours and 30 minutes, including one intermission

Scenic design by Paul Zoller Costume design by Davey Lighting design by Franck Evin

BAM 2013 Winter/Spring Season sponsor: Performed in French with English titles

Co-produced by Opéra Comique and Théâtre de Caen Leadership support provided by Ronald P. in association with Les Arts Florissants with the Stanton and The Delancey Foundation, the support of The Selz Foundation Stavros Niarchos Foundation, and The Gould Foundation Les Arts Florissants receive Financial support from the Ministère de la Culture et de la Communication, the Ville de Major support provided by Aashish & Dinyar Caen and the Région Basse-Normandie. They are artists in Devitre, The Andrew W. Mellon Foundation, and residence at the théâtre de Caen. IMERYS and ALSTOM are The Peter Jay Sharp Foundation with The Evelyn Principal Sponsors of Les Arts Florissants Sharp Foundation and Mary Sharp Cronson

Additional support provided by The Grand Marnier Foundation, The Francena T. Harrison Foundation Trust, Charles and Mildred Schnurmacher Foundation, and Iconic Artist Talk: William Christie, moderated by John Heilpern Susan L. Baker & Michael R. Lynch Sunday, April 21 at 11am, Fishman Space. $20; $10 for Friends of BAM David et Jonathas

Pascal Charbonneau Ana Quintans Neal Davies Kresimir Spicer

Frédéric Caton Dominique Visse Pierre Bessière Photo: Denis Rouvre

William Christie Andreas Homoki

Gideon Davey Franck Evin Paul Zoller David et Jonathas

Photo: Ana Quintans and Pascal Charbonneau, by Artcomart/P. Victor

Cast

David Pascal Charbonneau, high tenor Jonathas Ana Quintans, soprano Saül Neal Davies, Joabel Krešimir Špicer, tenor Achis Frédéric Caton, bass La Pythonisse Dominique Visse, high tenor L’Ombre de Samuel Pierre Bessière, bass

Un de la suite de Jonathas Geoffroy Buffière, bass Un guerrier Arnaud Richard, bass Bergères Élodie Fonnard, Juliette Perret, Virginie Thomas, sopranos Captifs Maud Gnidzaz, Rachel Redmond, sopranos; Reinoud Van Mechelen, high tenor; Benjamin Alunni, tenor Un du peuple Benjamin Alunni, tenor Un de la suite de David Reinoud Van Mechelen, high tenor

Young David WILLIAM LACH Young Jonathas KIVLIGHAN DE MONTEBELLO Understudy for young David and young Jonathas ANDREW APPEL David et Jonathas—Synopsis

Before the opera begins suspicions. He sets off in pursuit of David while , King of Israel, welcomed David into his Joabel basks in self-congratulation at the success palace, the shepherd who defeated the giant Go- of his calumny. liath and singer who possesses a voice capable of soothing the King’s distress. But he soon grew Intermediary Scene* suspicious of David, suspecting the shepherd Doubtful of God’s support for his war against the of wanting to depose him. The deep friendship Philistines, dressed incognito Saul visits a Witch the young man developed for his son Jonathas and asks her to invoke the ghost of Samuel, his seemed to confirm Saul’s doubts. One day, in a illustrious predecessor. In response to the Witch’s fit of rage he hurled his javelin at David, who es- incantations, Samuel’s ghost appears and reveals caped from the court and found refuge with the that the Heavens have abandoned Saul and will enemies of Israel, the Philistines, and their King take back all that was bestowed on him. Achis. But the Philistine army chiefs, jealous of his achievements, chased him away. Act IV Conscious that the truce has been broken, David Act I prays to God. Jonathas finds him and reproaches After David defeats the Amalekites, the Philis- him for having fled. Disconsolate, the two friends tines recall him to their camp. Warriors, shep- know they must part. Then left alone, Jonathas herds, and prisoners, liberated by David, sing is torn: should he follow his friend and abandon his glory. Alone later the young man is agitated: his father? But the sounds of combat call him he fears that his return among the Philistines into battle. He resolves to protect David. Spewing will take him to war against the Israelites and invectives at Achis, Saul breaks the truce and his friend Jonathas. King Achis prepares to meet Joabel relishes the King’s decision to engage in with Saul to negotiate a truce. He places the final combat. decision in David’s hands, who pleads for peace. Act V Acte II At the height of the battle, Jonathas is seriously Joabel, head of the Philistine army, attempts to wounded. When Saul finds him, he first turns provoke David to take up arms but the young against the guards accompanying his son and man resists. Envious of the shepherd’s glory, then, consumed with wrath, he attempts to Joabel seethes with rage and plots to fuel assault David. As the Philistines claim victory, Saul’s suspicions in the hope that the truce will David rushes to Jonathas who declares his love fail. Meanwhile David seeks out Jonathas and one last time and dies in friend’s arms. David together with the shepherds they celebrate the is overcome with despair. Mortally wounded, beauties of peace. in vain Saul makes one last dive at him. Achis arrives on the scene and pronounces David the Act III new King of Israel. But in the midst of the victory During his consultation with Achis, Saul divulges celebrations, the victor is devastated: “I have lost his suspicions about David and instructs him to all that I love / All is lost for me.” execute the young man. Achis refuses. When David presents himself to the King, Saul accuses * This scene constitutes the prologue to the original opera. him of treason and orders Jonathas to take re- Through common agreement, the artists working on this production decided to insert it between acts III and IV to venge. When Jonathas declines, the King’s rage ensure the clarity and coherence in the storyline. increases further. Horrified by the scene, David steals away and seemingly confirms Saul’s David et Jonathas—Synopsis Photo: Artcomart/P. Victor Photo: Artcomart/P.

CHORUS Chorus master François Bazola

sopranos tenors Solange Añorga, Benjamin Alunni (Un Captif, Un du peuple) Nicole Dubrovich Édouard Hazebrouck Élodie Fonnard (Une Bergère) Thibaut Lenaerts Maud Gnidzaz (Une Captive) Nicolas Maire Violaine Lucas Jean-Yves Ravoux Brigitte Pelote Michael-Loughlin Smith Juliette Perret (Une Bergère) Rachel Redmond (Une Captive) Basses Isabelle Sauvageot Pierre Bessière (L’Ombre de Samuel) Ysaline Staniszewski Justin Bonnet Virginie Thomas (Une Bergère) Geoffroy Buffière (Un de la suite de Jonathas) Fabrice Chomienne high tenors Laurent Collobert Camilo Angarita Christophe Gautier Sean Clayton Arnaud Richard (Un guerrier) Bruno Renhold Marduk Serrano Lopez Marcio Soares Holanda Renaud Tripathi Reinoud Van Mechelen (Un de la suite de David, Un Captif) David et Jonathas

OrchestrA

violins doublebass Florence Malgoire (violin solo) Jonathan Cable (basso continuo) Catherine Girard (second violin solo) Jean-Paul Burgos Flutes Bernadette Charbonnier Serge Saitta Myriam Gevers Charles Zebley Sophie Gevers-Demoures Christophe Robert Recorders Michèle Sauvé Sébastien Marq Michelle Tellier violas I Galina Zinchenko Oboes Simon Heyerick Pier Luigi Fabretti Kayo Saito Michel Henry

violas II Deirdre Dowling Claude Wassmer (basso continuo) Gabriel Grosbard Rhoda-Mary Patrick Michel Renard Trumpets cellos Jean-François Madeuf David Simpson (basso continuo) Philippe Genestier Elena Andreyev Emmanuel Balssa Timpani, percussions Paul Carlioz Marie-Ange Petit Alix Verzier Theorbo Viola da gamba Brian Feehan (basso continuo) Anne-Marie Lasla (basso continuo) Harpsichord, Organ, chef de chaNt Béatrice Martin (basso continuo) Who’s Who

William Christie (music director) was born won the Prix Georges Pompidou in 2005 as in Buffalo, NY, and studied at Harvard and Yale, well as the Prix de chant choral Liliane Betten- before settling in in 1971, where he court awarded by the Académie des Beaux- founded Les Arts Florissants in 1979. Harpsi- Arts in 2004. chordist, conductor, and musicologist, he taught at the Conservatoire de between 1982 and ANDREAS HOMOKI (director) was born in 1960 1995 and pioneered the rediscovery of in Germany to Hungarian musicians and studied music in France. He has collaborated with music and German in West . While at the renowned directors in theater and opera (J.-M. university he sat in on Harry Kupfer’s produc- Villégier, R. Carsen, A. Arias, J. Lavelli, G. Vick, tions at the Komische Oper in East Berlin, and A. Noble, A. Serban, L. Bondy, and more): at the later assisted him on productions, including at Paris Opera ( in 1996, Les the Festival. From 1987 to 1993, Ho- Indes galantes, in 1999, and Les Boré- moki worked with Willy Decker at Cologne Opera ades in 2003), at the theater of Caen (Médée in as a director’s assistant and evening supervisor. 1993, Il Ritorno di Ulisse in patria in 2002, Les From 1988 to 1992, he also lectured in sce- Boréades in 2003, and Les in nography at the opera school of the Musikhoch- 2004, Il Sant’Alessio by Stefano Landi in 2007), schule Köln, where he created his first produc- at the Opéra du Rhin (Die Entführung aus dem tions. In 1992 Homoki’s first guest production Serail in 1993), at the Théâtre du Châtelet (King took him to Geneva, where his interpretation of Arthur in 1995, Les Paladins in 2004), and attracted international at the Aix-en-Provence Festival, where Les Arts attention, and was performed at the Théâtre du Florissants presented many shows including Cas- Châtelet in Paris. It received the French Critics’ tor et Pollux (1991), The Fairy Queen (1992), Prize in 1994. From 1993 to 2002, Homoki (1994), (1997), a worked as a freelance opera director. His produc- triumphal Il Ritorno di Ulisse in patria in the tions include Das Schloss by Aribert Reimann US (and again in 2002), and (2004). and (Hanover); Der Wildschütz, Der This marks his 18th engagement at BAM; the Freischütz, Die Zauberflöte (Cologne); first was Atys in 1987 (reprised in 1992 and (Hamburg); Orfeo ed Euridice (Geneva and 2011) and includes performances of Hippolyte Lyon); , (Leipzig); , et Aricie, , Les Boréades, and The Fairy , Verdi’s (Basel); Queen. In 2007, Les Arts Florissants started a Hänsel und Gretel (); new collaboration with the Teatro Real in , , Capriccio, (); and where the ensemble performed the complete , Arabella, Manon Lescaut ( Monteverdi between 2008 and 2010. He State Opera). Homoki debuted at the Komische has made an impressive number of recordings Oper Berlin with Falstaff in 1996, followed with Harmonia Mundi and Warner Classics/ by Die Liebe zu drei Orangen (1998) and Die Erato. Since November 2002, Christie and Les lustige Witwe (2000). In 2002, he succeeded Arts Florissants have recorded for Virgin Classics; Kupfer as principal director at the Komische Oper the first title for this label was a disc of sonatas Berlin, opening with Die verkaufte Braut, a co- by Handel with H. Kurosaki, violin soloist with production with the Teatro Comunale di Bologna, Les Arts Florissants. Since 2002, Christie has followed by two co-productions with Théâtre regularly been guest conductor at the Berlin Phil- de la Monnaie, Brussels: Eine florentinische harmonic Orchestra. Eager to deepen his impact Tragödie/Der Zwerg by Alexander von Zemlinsky as a teacher, he founded in Caen an academy and Die Csárdásfürstin by Emmerich Kálmán. for young singers, Le Jardin des Voix, whose first In 2003 Homoki took on temporary directorship five seasons generated great interest in France, of the and was officially Europe, and the US. He obtained French citizen- appointed at the beginning of the 2004—05 ship in 1995, and is Commander of the National season. His directorial work at the Komische Order of the Legion of Honour and of the Order of Oper Berlin included Eugene Onegin (2005), Arts and Letters. In 2008, Christie was elected to Der Rosenkavalier (2006), Rise and Fall of the the Académie des Beaux-Arts and was officially City of Mahagonny (2006), La Bohème (2008), received by the Institute in 2010. He also The Meistersingers of Nuremberg (2010), Who’s Who

and most recently The Cunning Little Vixen. Paris; David et Jonathas, Aix-en-Provence In the 2008—09 season he staged two world Festival, Edinburgh Festival, Opera Comique, premières: the children’s opera Robin Hood by and BAM; La Traviata, Dresden; I Frank Schwemmer, and Christian Jost’s Hamlet. and Von Heute auf Morgen, Teatro la During his tenure there, Homoki came to the fore Fenice, ; Der Rosenkavalier, Komische with new productions, such as at the Théâtre du Oper, Berlin; Romeo & Juliet, Munich (set and Châtelet in Paris (Tannhäuser, 2004), Bavarian costumes, all with director Andreas Homoki); State Opera in Munich (Roméo et Juliette, 2004; Der Meistersinger, Netherlands Opera; L’Etoile, Die Königskinder, 2005), New National Theatre Frankfurt; Luisa Miller, Lyon; Alcina, Bordeaux; Tokyo (Le nozze di Figaro, 2003; La Fanciulla , Santa Fe and English National del West, 2007), Saxon State Opera in Dresden Opera; The Cunning Little Vixen, Grange Park (Turandot, 2004; La Traviata, 2009), Hamburg Opera; La Donna del Lago, Garsington Opera; State Opera (Faust, 2010), and the festival in Ring Cycle, Munich (all with director David Aix-en-Provence (David et Jonathas, 2012). Alden); Julius Caesar, Erfurt; Die Fledermaus, Since the 2012—13 season, he has been the National Opera Korea; , Theater an der director general of the Opera of Zurich where he Wien; Troilus and Cressida, St. Louis; and staged Der fliegende Holländer (in coproduction Acis and Galatea, Innsbruck (all with director with in Milano and the National Opera Stephen Lawless); Macbeth, Malmo, with in Oslo) and Shostakovich’s Lady Macbeth of director Matthew Richardson; and costumes for Mzensk. Homoki has been a member of the Il Seraglio, Opera North and Owen Wingrave, Berlin Academy of Arts since 1999. ROH Linbury Theatre, directed by Tim Hopkins.

Paul Zoller (scenic design) was born in Franck Evin (lighting design) was born in Innsbruck, . After architectural studies at Nantes, France. In 1983—84 he received a the University for Applied Arts , University scholarship from the French Ministry of Educa- of Michigan, and University for Art in Berlin, tion and the Arts and became assistant to the he began work as an architect, taking part in lighting chief of the Opéra de Lyon. There he architectural competitions and exhibitions, and worked with Ken Russell and , cofounded architectcompany. He studied set among others. Since 1986 he has worked design with Erich Wonder at the Academy of Fine regularly at the Düsseldorf Schauspielhaus, in Art in Vienna, and since then has worked as a Nantes, Strasbourg, Montpellier, Paris, Caen, freelance set designer with directors Andreas Lyon, Bochum, Vienna, Los Angeles, Bonn, and Homoki, George Tabori, Thilo Reinhardt, Lorenzo Brussels. In recent years he has also worked at Fioroni, Jetzke Miensken, and choreographer the opera houses of Oslo, Amsterdam, Stock- Mario Schroeder at numerous opera houses holm, and Tokyo, and at the Munich Staatsoper, and venues including Deutsche Oper Berlin, Komischen Oper Berlin, Festival Aix-en-Provence, the Opéra de la Bastille in Paris, and the Scala Oper Leipzig, Theater Basel, Aalto-Theater Essen, di Milano. Since the 1995—96 season, he has Opernhaus Dortmund, Nationaltheater Weimar, been artistic direcor of lighting at the Komische Staatstheater Kassel, Münchner Musikbiennale, Oper Berlin and designed lighting for The Love and Hebbeltheater Berlin. He is also a perfor- of Three Oranges, , The Gypsy mance and installation artist and was nominated Princess, Alcina, The Abduction from the Sera- for the Faustpreis in 2012. glio, Lady Macbeth of Mzensk, , Jewgeni Onegin, Così fan tutte, and The Gideon Davey (costume design) was born Knight of the Rose. In March 2006, Evin was in Bristol, UK. He won Opernwelt Costume awarded the Opus German Stage Prize 2006 for Designer of the Year award for the Munich the lighting design of Così fan tutte, and since production of The Return of Ulysses in 2005. 2012, has overseen a lighting design course Current and recent work includes Canterville at the Salzburg Mozarteum. Ghost, Zurich; The Cunning Little Vixen, Opera du Rhin; , Paris; , Glyndebourne; Pascal Charbonneau (high tenor, David) Platée, Teater an der Wien and Opera Comique, studied at McGill University in Montreal followed Who’s Who

by advanced studies at the Atelier Lyrique de Amore (L’Incoronazione di Poppea), Argie (Les l’Opéra de Montréal. He was awarded the Orato- Paladins), Belinda/Second Witch (Dido and Ae- rio/Lied prize at the Julian Gayarre International neas), Atalante (Serse), Pamina/First Lady/First Singing Competition. Engagements for the cur- Boy (Die Zauberflöte), Lisetta (Il mondo della rent season and beyond include David in David Luna), Scoiattolo (Il scoiattolo in gamba), and et Jonathas at the Festival d’Aix-en-Provence‚ Lion/Bird (Fables). She has worked with opera Edinburgh International Festival‚ Opéra Comique, directors such as Jorge Listopad, Paula Ribeiro, and BAM; Acis in Acis and Galatea in Venice (La Frederique Dussene, and Warner, Fenice) and Aix-en-Provence; Castor in Castor and conductors including Alan Curtis, Cesario et Pollux at Opéra de Dijon and Opéra de Lille Costa, and Enrico Onofri. She sang at the Opéra with Emmanuelle Haim; Medoro in Orlando de Lyon, Festival Culturel Européen de Rouen, Paladino‚ Tobias in Sweeney Todd, and Freddy Wiener Festwochen, Festival Ambronay, Cité de in My Fair Lady (Châtelet); Tobias (Münchner la Musique, and more. As a concert soloist she Rundfunkorchester); Aljeja in From the House of has sung in and Judicium Salomonis the Dead (Opera National du Rhin); Paolino in (Charpentier); (Pergolesi); Stabat Il matrimonio segreto (Opéra de Rennes); Art in Mater (Scarlatti); (Vivaldi); Knight Crew (Glyndebourne); St. John Passion (Handel/Mozart); Mass in C Minor, Exsultate Ju- (Washington National Cathedral); and L’enfance bilate, and Requiem (Mozart); Requiem (Fauré); du Christ and Jeanne d’Arc au bûcher (Orchestre Choral Fantasy (Beethoven); and recitals with Symphonique de Montréal). He has appeared the pianists José Brandao and Hein Boterberg. as Jaquino and Flute in A Midsummer She recorded Judicium Salomonis (Vera Mater) Night’s Dream (Garsington Opera); Ziggy in Star- and Motet pour une longue offrande (Les Arts mania, Beppe in I Pagliacci, Brighella in Ariadne Florissants for EMI/Virgin Classics). Her recording auf Naxos (Opéra de Montréal); and Janácek’s of Fauré’s Requiem with the Sinfonia Varsovia, Diary of One Who Vanished at the Aspen Music conducted by Michel Corboz, was recently issued Festival. Other operatic roles include Don Ottavio‚ by the label Mirare. In 2007 she sang Peaseb- Tamino‚ Peter Quint‚ Jupiter ‚ Don Ramiro lossom in The Fairy Queen at the Landestheater (La Cenerentola), and Gonzalve (L’Heure espag- Bregenz and in concerts in Portugal, , nole). Concert appearances include Le Jardin des France, and Tokyo with Corboz and Les Arts Voix with Les Arts Florissants‚ Handel’s Florissants. She appeared at the Cine-Teatro (Calgary Festival Chorus), Bach’s Mass in B Louletano, Igreja Matriz de Olhajo, Teatro Minor (Tafelmusik), Bach’s Christmas Oratorio Sao Luiz, the Lisbon , and Teatro (Toronto Bach Consort)‚ Orff’s Carmina Burana Nacional de Sao Carlos; in in (Ottawa Symphony‚ Asheville Symphony, and Vienna, Paris, and Amsterdam; and in the title Orchestre Metropolitain), and Handel’s Messiah role in L’Incoronazione di Poppea at the Stadt- with Portland Baroque Orchestra. theater Klagenfurt. Recent seasons include a tour of Dido and Aeneas with Les Arts Florissants ANA QUINTANS (soprano, Jonathas), hails from (US, Russia, ); L’Incoronazione di Poppea Portugal. She completed her studies in sculpture (Teatro Real and on DVD); Salle Pleyel (Paris, in 1998, studied singing at the Conservatory of Maggio Musicale Fiorentino); (Théâtre des Lisbon with José Manuel Araujo. She completed Champs Elysées); Lobgesang (RTVE Orchestra, a workshop with composer Claire Renard at the Madrid); and various recitals. She also sang in Calouste Gulbenkian. In 2002—04 she attended with Il complesso barocco (Bucharest, OPERAPLUS, the summer school for young ); L’Egisto (Le Poème Harmonique at Opéra singers in Belgium and won the Vera Rozna Comique and Opéra Rouen); and Dido and Scholarship Award (2003) and the Temple Aeneas (Opéra Comique). She made her debut Square Concert Award (2004). In 2005—06 at the Festival d’Aix-en-Provence as Jonathas in she graduated from the Calouste Gulbenkian David et Jonathas (Edinburgh Festival, Opéra de Foundation and studied at the Flanders Opera Comique in Paris, Théâtre de Caen, and BAM). Studio in Ghent. Her operatic repertoire includes She sang the title role in Ippolito at the festival in Who’s Who

Ambronay and Casa da Musica in Porto and La Opera of Chicago as Major General Stanley (The Musica in Monteverdi’s L’Orfeo at the Gulbenkian Pirates of Penzance) and returned as Ko-Ko in Lisbon. Future engagements include Hippolyte (The Mikado) with Sir Andrew Davis. In addition et Aricie (Glyndebourne Festival), Sidonie in to David et Jonathas, engagements this season Armide (Netherlands Opera), Euridice in Orfeo include a return to the as ed Euridice (Gulbenkian Foundation), Belinda Don Alfonso (Così fan tutte) and concert appear- in Dido and Aeneas (Opéra de Rouen), and a ances with Adam Fischer, Edward Gardner, and recording of arias by Albinoni for Sony Classics John Wilson. with the ensemble Concerto de Cavalieri. In concert, she can be heard with Les Musiciens Krešimir Špicer (tenor, Joabel) was born in du Louvre—Grenoble under the direction of Slavonski Brod, Croatia and took his first singing . lessons at the Music Academy of Zagreb. In 1994 he went to Amsterdam to study at the Neal Davies (bass, Saül) studied at King’s Sweelinck Conservatorium with Dutch mezzo- College, , and the Royal Academy of soprano Cora Canne Meijer. In 1997 he won first Music, and won the Lieder Prize at the 1991 prize in the Netherlands’ National Competition Cardiff Singer of the World Competition. He has for Young Singers and in 1999 he won four of appeared with the Oslo Philharmonic under Jan- five prizes at the Vriendenkrans Competition for sons, BBCSO (Boulez), Cleveland and Philhar- Young Musicians organized by Concertgebouw monia Orchestras (Dohnanyi), Chamber Orches- Amsterdam. His breakthrough took place at the tra of Europe (Harnoncourt), Orchestra of the Age Aix-en-Provence Festival 2000 as Ulisse in Il of Enlightenment (Brüggen), Gabrieli Consort ritorno d’Ulisse in patria under William Christie, (McCreesh), the Hallé (Elder), Concerto Koln resulting in a tour to Lausanne, Bordeaux, (Bolton), and London Symphony and Vienna Paris, London, New York (BAM), and Vienna Philharmonic Orchestras (Harding). He has been (Wiener Festwochen) and an acclaimed DVD. a regular guest of the Edinburgh Festival and the With René Jacobs he reappeared as Ulisse in BBC Proms. His wide discography includes Mes- Berlin, in Geneva with A. Cremonesi, and at the siah, Theodora, Saul, and Creation (Gramophone Frankfurt Opera under P. Carigniani. He sang in Award 2008) under McCreesh, Jenufa and The Alcine (Festival de Beaune, William Christie), Makropulos Case (Mackerras), Barber’s Vanessa Aeneas in Dido and Aeneas (Baden-Baden (Slatkin), Messiah (Rene Jacobs), Beethoven’s Festival) and in Mozart’s Il re pastore 9th Symphony (Osmo Vänskä), the Hyperion (; DVD for DGG), both with T. Complete Schubert Edition (Graham John- Hengelbrock, with whom he appeared at the son), and Britten’s Billy Budd (Daniel Harding; Schwetzingen Festival in Scarlatti’s Telemaco Grammy Award, 2010). Operatic appearances (Balthasar-Neumann-Ensemble), and as Tito in have included /Figaro in Le nozze di Clemenza di Tito (Festival d’Aix-en-Provence with Figaro (Royal Opera, Covent Garden); L’Allegro, P. Daniel), a role he reprised in Luxembourg, Zebul in , Publio in La clemenza di Amsterdam, and Baden-Baden. Špicer made his Tito, Ariodates in Xerxes, and Kolenaty in The debut at the Zurich Opera with M. Minkowski in Makropoulos Case (English National Opera); Handel’s Il trionfo del Tempo e del Disinganno Radamisto (Opera de Marseille); Theodora (Les and in Salieri’s La Grotta di Trifonio. He sang the Arts Florissants, Paris and Salzburg); Orlando title role in Monteverdi’s Orfeo under (Gabrieli Consort); Leporello in Don Giovanni N. Hervé, Eisenstein in Die Fledermaus (Scottish and Montreal Opera); Britten’s Curlew (Zagreb), the title role in Oedipus Rex, and River (Edinburgh Festival); Guglielmo/Don Le Pêcheur in Le Rossignol (Strasbourg). In Alfonso in Così fan tutte, Papageno in Die Zau- Toronto he interpreted Mozart’s Idomeneo, berflöte, Leporello/Dulcamara in L’elisir d’amore, Clemenza di Tito, and Pylade in Gluck’s Iphi- Zebul/Sharpless in Madama Butterfly (Welsh genie en Tauride and Orfeo, and in Moscow, National Opera); and (Deutsche Eisenstein in Die Fledermaus and Idomeneo. Staatsoper, Berlin). He made his debut with Lyric At the Los Angeles Opera he sang Arturo in Lucia Who’s Who

di Lammermoor and Testo in Monteverdi’s Il Théâtre ( conducted by John Nelson); Combattimento di Tancredi e Clorinda. In con- Rome’s Accademia Santa Cecilia; and London’s cert, Špicer has performed at the Gewandhaus (Rossini’s William Tell). He also Leipzig under H. Blomstedt; Concertgebouw Am- performed in Massenet’s Cendrillon in Osaka, sterdam with Ch. Zacharias; with Yuri Termina- Japan. His many recordings include L’enfance kov in Rome; with Myung-Whun Chung in Rome du Christ with and Philippe and Paris; with K. Nagano in Berlin; with Ph. Herreweghe (Harmonia Mundi); eight scenes Herreweghe in St. Petersburg, Talin, and Riga; from Berlioz’s Faust with Yutaka Sado (Erato); and with C. Rizzi in Strasbourg. In 2011—12, Mozart’s Night Sings conducted by Gilles Thomé in addition to the David et Jonathas tour, he (Une soirée chez les Jacquins, Zig Zag). With performs Enea in Cavalli’s La Didone with W. Kent Nagano (Erato): Werther, La damnation de Christie in Paris, Bajazet in Handel’s Faust by Berlioz; Docteur Faustus; and William with M. Minkowski in Bremen and Grenoble, Tell conducted by Antonio Pappano (EMI). He is Max in Der Freischütz in Toronto, and Eisenstein Christian in a film of Stravinsky’s Les Noces, de in Die Fledermaus in Zagreb. Stravinski, directed Philippe Béziat.

Frédéric Caton (bass, Achis) this season, in Dominique Visse (high tenor; La Pythonisse) addition to the tour of David et Jonathas, sings began singing at the age of 11 as a chorister Phaëton with in Lausanne in the Cathedral of Notre Dame in Paris, and and Paris, Catel’s Les Bayadères in Bulgaria, started studying organ and flute at the Versailles and Frère Laurent in Gounod’s Roméo et Juliette Conservatory. Passionate about early music, he in Osaka. In France, he sings Dr. Grenvil in two met pioneer in 1976 productions of La Traviata (Saint-Etienne and and became his pupil. He also worked with Angers-Nantes Opéra). Caton first joined the Nigel Rogers, René Jacobs, and William Christie. Centre de Musique Baroque de Versailles, then In 1978 Visse founded the Ensemble Clément the Lyon Opera house, and sang numerous roles Janequin with whom he made benchmark including Colline in La Bohême, the Monk in recordings of French polyphonic chansons of , Sarastro/the Sprecher in The Magic the 16th century. The following year he became Flute, Figaro/Bartolo in Le Nozze di Figaro, Don a founding member of Les Arts Florissants and Fernando in Fidelio, and others. He has worked edited much of the ensemble’s repertoire in with prestigious conductors and stage direc- its early years. Visse is a popular lyric tenor in tors such as Kent Nagano (Carmen in Tokyo; Baroque opera, working with Jacobs, Philippe L’Amour des Trois Oranges, festival and Herreweghe, Nicholas McGegan, Christophe recordings); on Massenet’s Werther (Vienna; Rousset, Emmanuelle Haïm, and others in opera London); La damnation de Faust in Frankfurt; houses in Paris, Berlin, , Versailles, and Busoni’s Docteur Faustus (Grammy Award), Monnaie in Brussels, Théâtre du Châtelet and and with Christophe Marthaler, Olivier Py, Robert the Théâtre des Champs Elysées (Paris), Royal Wilson, and others. Caton has sung at Opéra de Opera House (London), on tour in Japan and Lyon, Toulouse’s Capitole, Angers-Nantes Opéra, North America, and at the Festivals of Glynde- Opéra de Marseille, Théâtre Musical de Besan- bourne, Aix-en-Provence, and Edinburgh, among çon, and in Paris at Salle Pleyel and Théâtre du other venues. Memorable appearances include Châtelet. He frequently performs on European productions of Calisto, Giulio Cesare, Agrippina, stages including Salzburg Festival (Pelléas et Mé- and L’incoronazione di Poppea. In addition to lisande, Katia Kabanova, Les Troyens, Le Nozze Baroque and early repertoire, he has sung in di Figaro); Amsterdam Concertgebouw (Berlioz’s Offenbach’s Les Brigands, directed by Jérôme L’enfance du Christ; Messiaen’s St. François Deschamps, and has recorded the role of La d’Assise); Brussels’ La Monnaie (Lully’s ; Marquise in Poulenc’s Gendarme incompris for Meyerbeer’s ; Enescu’s Œdipe); Decca directed by Charles Dutoit. He sang the Edinburgh Festival (St. François d’Assise); Barce- role of in Offenbach’s La Belle Hélène lona’s Liceo (Katia Kabanova); Geneva’s Grand staged by Herbert Wernicke at the Festival of Who’s Who

Aix-en-Provence and revived in Salzburg. He per- the Centre National d’Artistes Lyriques’s special forms contemporary music such as Berio’s opera prize. He had the opportunity to sing the works Outis (La Scala, ; Théâtre du Châtelet, of Charpentier, Rameau, and Campra with the Paris); Perela, l’Homme de Fumée by Pascal Du- Swiss ensemble Cappella Genevensis before sapin (Opéra de Paris); La Frontière by Philippe joining the chorus of Les Arts Florissants for the Manoury (Bouffes du Nord, Paris); Kagel’s Mare 2011 revival of Lully’s opera Atys. Nostrum with Jean-Claude Malgoire; and a pro- duction with Péniche Opera. In addition to the LES ARTS FLORISSANTS David et Jonathas tour, forthcoming opera pro- Musical director ductions include Bontempi’s Il Paride with Chris- William Christie tina Pluhar (Innsbruck Festival), L’Anfparnaso/Gi- Associate conductors anni Schicchi with Jean-Claude Malgloire (Atelier Paul Agnew, Jonathan Cohen lyrique de Tourcoing; French tour); La Dispute, a new work by Benoît Mernier (La Monnaie ), The vocal and instrumental ensemble Les Arts and a revival of Giulio Cesare with Emmanuelle Florissants is one of the most renowned early Haïm (Paris Opera). Visse performs and records music groups in the world. Dedicated to the with his Ensemble Clément Janequin, in its 35th performance of on original year; its extensive Harmonia Mundi discography instruments, the ensemble was founded in 1979 has won numerous prizes. He also gives recitals by the Franco-American harpsichordist and with lute, piano, and accordion of music ranging conductor William Christie, and takes its name from Machaut to Berio via Dowland, Schubert, from a short opera by Marc-Antoine Charpentier. Poulenc, and Takemitsu. He has made more Les Arts Florissants pioneered the resurgence of than 50 recordings, principally for Harmonia interest in French music for a neglected reper- Mundi, most recently the Ensemble Clément toire (in particular unearthing treasures from the Janequin’s L’Écrit du Cri with music from the Re- Bibliothèque Nationale de France) but which is naissance to the present. His recording Parole e now widely performed and admired: 17th-cen- querele d’amore with Agnès Mellon was recently tury French repertoire, but also European music released on Zig-Zag. His recent Dowland recital of the 17th and 18th centuries. Since the 1987 recording with celebrated English consort, production of Lully’s Atys at the Opéra Comique Fretwork and French lutenist Eric Bellocq, was in Paris, triumphantly revived in May 2011, it released in 2012 by Satirino. has been in opera that Les Arts Florissants has enjoyed its greatest success. Notable productions Pierre Bessière (bass, L’Ombre de Samuel), include works by Rameau (, born in 1980 in La Rochelle, began his musical 1990, 1999; Hippolyte et Aricie, 1996; Les studies at the National Music School there and Boréades, 2003; Les Paladins, 2004); Lully continued at the Conservatoire National de Ré- and Charpentier (Médée, 1993, 1994; Armide, gion de Poitiers. In 2003 he entered the Conser- 2008; David et Jonathas, 2012); Handel (Or- vatoire National Supérieur de Musique in Paris lando, 1993; Acis and Galatea, 1996; Semele, and studied in the opera class of Mireille Alcan- 1996, 2010; Alcina, 1999; Serse, 2003; tara. Initially focused on religious music, he was Hercules, 2004, 2006; L’Allegro, il Moderato regularly performed the bass parts in a repertoire ed il Penseroso, 2007); Purcell (King Arthur, including Mozart’s Requiem, Handel’s Mes- 1995; Dido and Aeneas, 2006; The Fairy siah, Bach’s St. Matthew Passion, and Berlioz’s Queen, 2010); Mozart (Die Zauberflöte, 1994; L’enfance du Christ. He played the roles of Figaro Die Entführung aus dem Serail, Opéra du Rhin, in Le nozze di Figaro, Arkel in Debussy’s Pelléas 1995); and Monteverdi (opera trilogy, Teatro et Mélisande, and more recently, Frère Laurent in Real de Madrid, 2008, 2010). The ensemble Gounod’s Roméo et Juliette. In 2008 at the 20th has collaborated with renowned stage directors Concours International de Chant in Marmande such as Jean-Marie Villégier, Robert Carsen, he won first prize in the melody category and Pier Luigi Pizzi, Adrian Noble, Andrei Serban, third prize in the opera category. He also earned , and Macha Makeïeff as well as Who’s Who

with choreographers Francine Lancelot, Béatrice Vienna Festival, Madrid’s Teatro Real, and many Massin, Ana Yepes, Maguy Marin, Jiri Kylian, Tri- others. Since the Art Florissant’s 30th anniver- sha Brown, Robyn Orlin, and Montalvo/Hervieu. sary in 2009—10, Christie expanded the artistic Les Arts Florissants has an equally high profile management by appointing associate conductors in the concert hall and on disc, as illustrated Paul Agnew and Jonathan Cohen. Both conduct by its many acclaimed concert or semi-staged Les Arts Florissants each season in both small performances of opera. It also performs contem- and large-scale programs. This season, in addi- porary repertoire, giving the premiere of Motets tion to performances at BAM (this marks its 18th III – Hunc igitor terrorem by Betsy Jolas in 1999 Brooklyn run), Les Arts Florissants’ produc- to mark its 20th anniversary. The ensemble tion of David et Jonathas, which premiered in has an impressive discography: more than 40 Aix-en-Provence, travels to Caen and Paris. The recordings for Harmonia Mundi, and some 30 sixth edition of Le Jardin des Voix embarks on an on the Warner Classics/Erato label. As part of international tour. They will perform Charpen- a collaboration with EMI/Virgin Classics (since tier’s oratorios Caecilia virgo et martyr and Filius 2003), Les Arts Florissants has released a dozen prodigus as well as Handel’s oratorio . recordings including the recent Lamentazione They will also continue, with the Fourth and Fifth conducted by Paul Agnew, and Duetti, duets Books, their performance of the complete Monte- with Philippe Jaroussky and Max verdi madrigals under the direction of Agnew. Les Emanuel Cencic conducted by William Christie. Arts Florissants receive financial support from the Its DVD catalogue has recently expanded with Ministry of Culture and Communication, the City Purcell’s Dido and Aeneas (Deborah Warner’s of Caen and the Région Basse-Normandie. They production) and Lully’s Armide (staged by Robert are artists in residence at the théâtre de Caen. Carsen). Recently out are a DVD of the documen- IMERYS, the world leader in mineral-based tary Baroque Académie, devoted to the academy specialties for industry, and ALSTOM, a global of Le Jardin des Voix (Bel Air Classiques) and leader in the world of power generation, power Atys by Lully and Quinault (Fra Musica), as well transmission and rail infrastructure, are the Prin- as La Didone by Cavalli (Opus Arte). For 20 cipal Sponsors of Les Arts Florissants. years, Les Arts Florissants has been in residence arts-florissants.com | artsflomedia.com at the théâtre de Caen, presenting an annual concert season in the Basse-Normandie region. The ensemble tours widely within France, and abroad, with regular invitations to BAM, Lincoln Center, the Barbican Centre in London, the