33rd SEASON

Handel and Steffani Baroque Duets of Love and Passion

Amanda Forsythe Colin Balzer Emőke Baráth Christian Immler Boston Early Music Festival Ensemble

Saturday 30 September 2017 Alix Goolden Hall Concert Season

Cantores: 14th C Music from Bach and Sons the Pope’s Chapel in Avignon 10 February 2018 Saturday 8pm 14 October 2017 Saturday 8pm Alix Goolden Hall Alix Goolden Hall Elinor Frey, viola da gamba Diabolus in Musica FRANCE Luc Beauséjour, harpsichord MONTREAL There was a time when the Christian world bowed to Avignon. The Two of Canada’s leading exponents of historically-informed wealth, splendour, and power of the French popes attracted kings, performance bring to life masterpieces of high Baroque chamber princes, and the greatest Medieval artists. This pilgrimage through music by Johann Sebastian Bach and his sons Johann Christoph beautiful music born in Papal opulence includes many works sung Friedrich and Carl Philipp Emanuel. for the first time since the 14th century. A Telemann Celebration “My Heart Remains With You”: 24 March 2018 Saturday 8pm Medieval Love Songs Inspired Alix Goolden Hall by Arthurian Romance La Rêveuse FRANCE 18 November 2017 Saturday 8pm A master of instrumental music, Telemann enjoyed more fame and Alix Goolden Hall adoration in his time than even the lauded J.S. Bach. Open to French and Italian influences as well as the new galant style that flourished Asteria NEW YORK in Germany, he excelled in chamber music, creating a charming Sylvia Rhyne, soprano Eric Redlinger, tenor and lute synthesis of European styles at the crossroads between Baroque Through the tale of Sir Yvain, one of the most beloved of Arthurian and Classicism. stories, Asteria explores how the ideal of courtly love was very much alive and well in the art songs of the 15th century. Compositions War and Peace include those by Binchois, Busnoys, and Dufay. 22 April 2018 Sunday 3pm Vivaldi: Gloria and Magnificat Alix Goolden Hall 22 December 2017 Friday 8pm UK Alix Goolden Hall Peter Phillips, music director Monica Huggett, violin and music direction UK To commemorate the centenary of the end of World War I, Peter Phillips has put together a stirring program with Pacific Baroque Orchestra masses on the theme of the Armed Man (L’homme armé), Celebrate the holidays with a fresh take on some old favourites. chansons describing a battle (La Batalla), movements from Vivaldi’s Gloria and Magnificat were originally composed for an all- Victoria’s Requiem Mass, and deeply moving funeral motets: female ensemble. Join beloved violinist Monica Huggett as she leads Tavener from the funeral of Princess Diana, Mouton from the these joyful works the way they were originally heard – performed funeral of Anne of Brittany, and Lobo from the funeral of entirely by women. Philip II of Spain.

Legacy of the Fugue 13 January 2018 Saturday 8pm Alix Goolden Hall Diderot String Quartet NEW YORK When Leipzig composer Felix Mendelssohn revived Bach’s music, it finally received universal admiration. The Diderot String Quartet performs excerpts from The Art of Fugue alongside Mendelssohn’s No. 4 Fugue for String Quartet, Op. 81 and his much-loved String Quartet No. 2, Op. 13, in a beautiful nod to Bach, the Baroque master. Handel and Steffani

Amanda Forsythe, soprano

Colin Balzer, tenor

Emőke Baráth, soprano

Christian Immler, baritone

Boston Early Music Festival Chamber Ensemble

Stephen Stubbs

Paul O’Dette

Maxine Eilander, harp

Michael Sponseller, harpsichord

Erin Headley

3 Handel and Steffani

Tengo per infallibile

Quanto care al cor

E perché non m’uccidete

Su, ferisci, alato arciero

INTERMISSION

Occhi belli, non più

Gelosia

Fulminate, saettate

4 Texts and Translations

Tengo per infallibile I take it as certain

Tengo per infallibile, I take it as certain, Bella Clori, che morirò, Lovely Clori, that I will die, Perch’il foco che m’infiammò For the fire that inflames me È già reso inestinguibile. Has already proved inextinguishable.

Spargo da’ mesti lumi, Pouring forth from my two eyes, Per spegner tanto ardore, To put out such a conflagration, Disciolt’il cor in lagrimosi fiumi; My heart unleashes rivers of tears; Ma il caldo elemento, But the fiery element, Per essermi avverso, To do me yet more harm, Riceve alimento Receives sustenance Dai pianti ch’io verso, From the tears I shed, E rende Amor per gioco And Cupid, to play a joke on me, Salamandra dell’acque il mio bel foco. Turns my beautiful fire into a water salamander.1

Infocati sospiri Burning sighs Sen volano dal petto Fly forth from my breast, In traccia di ristoro a’ miei desiri; Attempting to restore my lost love; Ma fattisi venti, But transformed into winds Fan anco di Clori They incite even Clori Più freddi, più algenti, To cool and to chill I tepidi avori, The tepid ivory of her breasts, E mormoran ch’è lieve And the winds also murmur: it is easy Gelar con mesti fiati un sen di neve. To freeze with sad winds a breast of snow.

—Translation by Stephen Stubbs

1 The Salamander’s usual mythological repute is to survive the fire, but here a “water salamander” makes the lover’s “fire” survive the “waters” of his tears.

5 Quanto care al cor How dear to my heart

Quanto care al cor voi siete, How dear to my heart are you, Mie catene, My chains, Per colei che mi legò; Because of her who tied you ’round me; Amo sì fra voi le pene, I love so much the pains you inflict, Che se mai non vi rompete That if you never break, Io già mai non vi sciorrò. I shall never loose you. Quanto care al cor voi siete, How dear to my heart are you, Mie catene, My chains, Per colei che mi legò. Because of her who tied you ’round me.

Adorati miei tormenti, O my beloved torments, Sì, stringetemi ogn’or più; Yes, oppress me ever more; Che goder veri contenti A heart that has not suffered Non sa un cor che in voi non fu. Cannot enjoy true happiness. Mai, mai non v’allentate: Never, never let go: Che viver non poss’io se mi lasciate. I cannot live if you release me.

Vivi dunque incatenato, And so live on in chains, O mio cor, sino alla morte; My heart, until you die; E se allora il laccio forte And if the powerful bond Eternarsi non potrà, Cannot last for ever, Per pietà della mia doglia Out of pity for my suffering, La man che mi legò, quella mi scioglia. May the hand that bound me free me.

E perché non m’uccidete So why do you not kill me

E perché non m’uccidete, So why do you not kill me, Spietatissimi occhi ingrati, Most pitiless, ungrateful eyes, Se a’ miei danni congiurati If, sworn to bring me down, Ch’io languisca risolvete? You resolve that I should pine? E perché non m’uccidete? So why do you not kill me?

Forse vi mancan l’armi Perhaps you lack the weapons Per ferir, per piagarmi? To wound or injure me? Ah no, che d’arco e strali armati siete. Ah, no: you are armed with bow and arrows.

Deh, luci amate, Come, beloved eyes, Se negate If you refuse D’essere amiche stelle, To be propitious stars, Siatemi pur rubelle, Be hostile, then, Siatemi pur comete. Be comets of doom.

E perché… So why…

—Text by Brigida Bianchi

6 Su, ferisci, alato arciero Come on, shoot, winged archer

Su, ferisci, alato arciero, Come on, shoot, winged archer: Il tuo stral non fa morir. Your darts do not kill. Occhio nero che saetta A dark eye firing arrows of love Fa una piaga Makes a wound Che diletta That delights E fa dolce anco il martir. And also a pain that is sweet. Su, ferisci… Come on, shoot…

Che tormento può dar un guardo What pain can be given by a glance Che s’incontra con piacer? That is received with delight? Fera pur il nume cieco, Then let the blind god strike, Se ’l suo dardo If his arrow Porta seco Brings with it La speranza di goder. The hope of pleasure.

Qual martire può dar quel seno What torment can be caused In cui fisso sta ’l desir? By a heart that hosts desire? Poca nube è quel tormento, That torment is a slender cloud, Ch’il sereno Which by the clear sky D’un contento Of one delight In brev’ora fa sparir. Is soon dispelled.

Su, ferisci… Come on, shoot…

—Translations by Colin Timms

Occhi belli, non più Pretty eyes, no more

Occhi belli, non più. Pretty eyes, no more! Voi siete vincitori, ed io son vinto: You win, and I am vanquished: Sono vinto ed avvinto. I am vanquished and enchained. Deh posate omai, posate, Come, leave off now, leave off, Deh non più saettate, Come, shoot at me no more Perch’io trafitto moro Because I, transfixed, am dying, E moribondo i miei nemici adoro. And in dying I adore my enemies.

Renditi omai, mio core, Surrender now, my heart, E lascia la battaglia, or che non puoi And give up the fight, since no longer Resister contro doi. Can you stand up to two foes. Ceda, ceda il coraggio, Let your courage give way, Hai troppo disvantaggio; You are at too great a disadvantage; Pugnar fora un aborto It would be a disaster, as a dying man, Contro doppo nemico un semimorto. To fight against a double enemy.

7 Perché, lumi bugiardi, Why, deceitful eyes, Offrirmi pace e poi mancar di fede? Offer me peace and then prove faithless? Fermezza non si vede No constancy is found In voi, mie stelle erranti, In you, my wayward stars, Comete degl’amanti. You comets of lovers. Begl’occhi mentitori, Beautiful, lying eyes, Fe’ non potete aver, nasceste mori. You do not deserve trust; you were born infidels.

Occhi, pietà, pietà. Eyes, have mercy, have mercy! Tanto crudeli più, quanto più belli. The more cruel you are, the prettier. Siete nati gemelli You were born twins Per duplicarmi affanni, To double my pains, Solo uniti a’ miei danni. United only for my affliction. Già cado morto al suolo; I now fall dead to the ground; Voi per la morte mia vestite a duolo. You, at my death, put on mourning weeds.

—Translation by Colin Timms

Gelosia Jealousy

Gelosia, che vuoi da me? Jealousy, what do you want of me? Folte schiere Hordes of Di fantasmi e di chimere, Phantoms and visions Già nell’alma Are in my soul, Van turbando la mia calma, Disturbing my calm, Per timor dell’altrui fè. For fear of the actions of others. Gelosia, che vuoi da me? Jealousy, what do you want of me?

Fuggi, vola, sparisci, Go, fly away, disappear! E in altra parte vomita il gel And somewhere else disgorge the ice De tuoi sognati inganni! Of your dreamt-up deceits! Rinunzio al nume arciero, I will renounce the archer god, Se martire mi vuol del mio pensiero! If he wants to make me a martyr to my own thoughts!

Ah, no! mio cor si soffra, Ah, no! my heart will suffer it, e pur che eterno for if, in all eternity, Non abbia gelosia l’albergo in seno, Jealousy would have no place in my heart, Non v’è gioia maggior del suo veleno! There is yet no greater joy than its poison.

E pur dolce tornar in pace, And how sweet it is to return to peace, Poichè l’alma gelosa penò, After the soul has suffered jealousy’s pangs, Nulla più contenta e piace Nothing more contents and pleases Del diletto Than the delight Ch’il sospetto, Which has been Col suo fiato intorbidò. Troubled by suspicion. E pur dolce tornar in pace, And how sweet it is to return to peace, Poichè l’alma gelosa penò. After the soul has suffered jealousy’s pangs.

—Text by Marquis Bartolomeo D’Ariberti

8 Fulminate, saettate Blaze, fly forth

Fulminate, saettate Blaze, fly forth Luci belle eccovi il sen. Lovely eyes, here is my heart. Se una volta i vostri rai If once your lovely eyes Disprezzai I despised Di sdegno armatevi, Arm yourself against me with disdain, Ne più placatevi And never be placated; Lo merto ben. I well deserve it.

Sono reo del vostro sdegno I am worthy of your disdain Più non merto che rigor, And merit only your harshness; Di pietà mi resi indegno Of pity, you rendered me unworthy; Quand’altero quando fiero As haughty as I was proud, Vi negai dolci rai I denied you, sweet eyes, Questa vita e questo cor. My life and my heart.

All’hor quando voi m’amaste At the time when you loved me Il mio cor ritroso fu. My heart was resistant, Hora che me l’involaste Now that you have taken it from me, Io v’adoro per voi moro, I adore you and die for you, Ma piagate lacerate But wounded and torn Che pietà non chiedo più. I no longer ask for pity!

Sia pur rigida la sorte Let the fate indeed be severe Ch’a penar mi condannò Which thus condemned me to suffer. Che ben merita la morte He deserves death Chi la vita ricusò. Who refuses life.

Su ferite pupillette, Go on, wound me, little eyes, Vostri sguardi sian saette, Let your glances be arrows, Siano dardi i vostri rai. Your rays be darts. Io non merto pietà se la negai. I deserve no pity, because I denied you.

—Translations by Stephen Stubbs

9 Programme Notes

When the young musical lion This statement confirms that Handel had chosen arrived in Rome in 1706 at the age of twenty-one, fresh his model wisely. Also, in the estimation of Mattheson, from his victories at the Hamburg , he was eager who would have known at least some of Handel’s duets, to make an impression and learn what he could from the Steffani’s works remained unsurpassed. Italian musical scene. Why did a composer of such stature as Steffani Handel is perhaps the greatest illustration of W. H. disappear from our collective consciousness whereas Auden’s adage: “amateurs borrow, professionals steal” Handel and Corelli are both virtually household names for he methodically found the best models for creating for classical music lovers? One answer is that he was an his own compositional practices. Bound for Italy, he Italian composer who spent the vast majority of his career left Hamburg with several Reinhard Keiser in his in Germany, and consequently is missing from Italian luggage and on his arrival in Rome immediately acquired musical histories. Or, influential as he was in Germany, a book of ’s chamber duets. In particular, its musical history was much occupied (particularly in his “modeling” on Steffani duets parallels his reliance on the twentieth century) with establishing the “purity” of Arcangelo Corelli for the instrumental trio sonata. German inspiration free of foreign influence. Another The outstanding feature of Steffani’s chamber duets is reason is surely that Steffani’s most important music their contrapuntal sophistication. But another element was vocal music for the theater or the chamber–that is, is of equal importance: the fact that they are written for opera and chamber duet. Only recently has there been extremely accomplished solo singers who also have the an interest in reviving his operas and there is no modern sensitivity necessary for complex chamber music. Both tradition of high-level vocal chamber music performance points were recognized by Johann Mattheson in 1739– to compare with the popularity of instrumental chamber eleven years after Steffani’s death–when he compared the music. Italian duet to the French form: For all of these reasons, concert performances such as this one are likely to remain rare. Nevertheless, if the “The Italian type of duet lacks much of the occasion arises to pair excellent solo and chamber singers aforementioned virtues of piety and clarity because of with a well-matched team of continuo players, there their fugal, artificial and intertwined nature; however, could be no music more rewarding to perform. they require a true man and are a great pleasure to the musically-trained ear, in the chamber as well as Tengo per infallibile the church (and earlier in Steffani’s time, also in the The combination of bass and soprano voices seems theater) if skilled, well-trained singers can be found to have been in particular favour in Italy, but not in for them: of these last we now have fewer than of the north. Handel wrote his only examples of this such works. The said Steffani was incomparably combination when in Italy, while Steffani composed outstanding in this type, before all others whom most of his in south Germany. This piece is partly built I know, and to this hour deserves to be taken on the ostinato bass patterns of the ciaccona and the as a model. For such things do not easily passacaglia, harking back to the duets of Monteverdi become obsolete.” such as the celebrated Zefiro torna.

10 Sinfonia à due Su, ferisci, alato arciero Francesco Corbetta was the most celebrated guitarist of This duet has the satisfying overall form of a large da the seventeenth century with a career that spanned the capo aria with the vivacious duet for two sopranos at the greatest courts of Europe. This Sinfonia, in his native beginning and end with matching solo “gavottes” for Italian style, was published in his Varii Capricii per la each singer in between. Ghitarra Spagnuola in Milan in 1643. Occhi belli, non più Quanto care al cor This duet for soprano and tenor is a large structure Handel seems to have been particularly taken with with opening and closing duets, but with solo sections this duo, borrowing from it for two of his own duets, for each of the singers comprising two or three arias in and in particular, using it as a model for creating contrasting meters and keys. This is another piece studied vocal “chains” whenever such an image arises in the closely by Handel who used material and techniques poem to be set. from it in several of his own works.

Partita sopra la Ciaccona Gelosia Corbetta’s Roman contemporary Girolamo Frescobaldi Between the opening and closing duet sections of Gelosia, specialized in music for keyboards. This was the main each solo is a recitative with cavata: the text consists source of contemporary music for harpists who guarded entirely of recitative verse, but the final line of each their compositions jealously and rarely published stanza is set as a short aria that is “excavated” from their works. the poetry.

E perché non m’uccidete Col partir la bella Clori This text is by Brigida Bianchi, an actress and singer Originally an aria from one of Handel’s Roman at the Comédie-Italienne in Paris whose poems were cantatas–Ah! che pur troppo è vero, HWV 77–this piece published in Paris in 1659 and 1666. Steffani may have lends itself to instrumental performance by providing encountered these texts and their author on his visit to a mesmerizing and pulsating bass line reminiscent of a Paris in 1678–1679. tango, with a gorgeously arcing vocal melody above it that perfectly suits the viola da gamba. Air and Variations (“Harmonious Blacksmith”), HWV 430 Fulminate, saettate The Air and Variations is the final movement We end with one of the most dynamic Steffani duets on of Handel’s Suite No. 5 in E major for Harpsichord the propulsive idea of blazing, darting eyes. Of course, which has been continuously known and played poetic emphasis on the eyes of the beloved, whether as an independent piece since Handel’s time, bewitching or all-conquering, is a recurring theme in gaining the title (not given by Handel) this poetry of love and passion–but here, their deadly, “Harmonious Blacksmith” somewhere along the dangerous speed and force are portrayed in this way. The exhilarating effect of the increasingly intense music. virtuosic variations probably accounts for its STEPHEN STUBBS, 2017 continued popularity. (with multiple “thefts” from Colin Timms)

11 The Artists

Amanda Forsythe Amanda Forsythe has sung principal roles in the opera Forsythe’s recordings include Wolf’s Italienisches houses of Geneva and Munich, the Rossini Opera Liederbuch, and Eisler and Henze song anthologies. Mr. Festival in Pesaro, the Théâtre des Champs-Élysées in Balzer earned the Gold Medal at the Robert Schumann Paris, and the Royal Opera House at Covent Garden. Competition in Zwickau with the highest score in Recent performances include L’Amour in Gluck’s twenty-five years. Orphée (Covent Garden), Agrippina (), Mozart’s Requiem and Mass in C minor with the Emőke Baráth Monteverdi Choir and Orchestra under Sir John Eliot Hungarian soprano Emőke Baráth has performed roles Gardiner, and her début with the Boston Symphony in in many Handel opera productions including Sesto in Mendelssohn’s A Midsummer Night’s Dream under , Antigona in Admeto, Oriana in Amadigi Andris Nelsons. di Gaula, and Alceste in Arianna in Creta, in prestigious Forsythe sings Euridice on Charpentier’s La Descente venues such as Theater an der Wien, Auditorio Nacional d’Orphée aux Enfers with BEMF, which won the Grammy in Madrid, and Théâtre des Champs-Élysées. Award for Best Opera Recording. Her début solo album She also regularly sings Bach: his Mass in B minor, of Handel arias was released in 2015 to great acclaim. Saint Matthew Passion, and Christmas with such Highlights of the 2016–2017 season include groups as the Freiburger Barockorchester, Il Pomo d’Oro, Marzelline in Fidelio, débuts with The Chicago Accademia Bizantina, and Les Musiciens du Louvre. Symphony and Tafelmusik, Pamina in Seattle Opera’s Baráth specializes in seicento composers and has Die Zauberflöte, a European tour of “Orpheus, the performed the lead roles in Monteverdi and Cavalli Myth” with countertenor Philippe Jaroussky, and, her operas. She is increasingly in demand to perform Mozart appearance in the EMSI season last September. and has appeared as Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, and Despina in Così fan tutte. Colin Balzer In 2017, she sings the title role of Cavalli’s Hipermestra at Acclaimed tenor Colin Balzer has sung at recitals in the Glyndebourne Festival under William Christie. London, New York, and Philadelphia, and in concert with the Portland, New Jersey, Québec, Atlanta, Christian Immler Montreal, and Indianapolis Symphonies, Early Music German baritone Christian Immler studied with Vancouver, Tafelmusik, Les Violons du Roy, the National Rudolf Piernay and won the International Nadia et and Calgary Philharmonics, National Arts Centre Lili Boulanger Competition in Paris. Christian has Orchestra, Musica Sacra, and the Oratorio Society worked with numerous renowned conductors, including of New York. performances at the Amsterdam Concertgebouw, the His performances with the Boston Early Music Salzburg and Lucerne Festivals, and the BBC Proms. Festival include Monteverdi’s Ulisse, Handel’s , He has appeared on stage at Opéra Comique Paris, Steffani’sNiobe , Lully’s Psyché, and Mattheson’s Boris the Grand Théâtre Genève, New Israeli Opera, and the Goudenow. He was featured in Mozart’s Don Giovanni at Boston Early Music Festival. A keen recitalist, Immler the Bolshoi and in Aix-en-Provence, as well as Mozart’s has been invited to perform at Wigmore Hall, the Frick La finta giardiniera in Aix and Luxembourg. He has Collection in New York, the Salzburg Mozarteum, and also appeared with Collegium Vocale Gent, Fundacao Tonhalle Zurich with pianist Helmut Deutsch. OSESP Orchestra, Les Musiciens du Louvre, Rotterdam Many of his recordings have won prizes such as the Philharmonic, and Akademie für alte Musik. Diapason d’Or, Diapason Découverte, Diamant d’Opéra,

12 Echo Klassik Preis, France Musique’s Record of the Year, operas, recordings of which were nominated for four and a Grammy nomination. He is Professor of Voice at Grammy awards with a win of a Grammy for Best Opera the Musikhochschule in Lausanne/Fribourg. Recording in 2015. His appearances included Handel’s Giulio Cesare and Boston Early Music Festival Chamber Ensemble Gluck’s Orfeo in Bilbao, Mozart’s Magic Flute and Così The Boston Early Music Festival Chamber Ensemble was fan tutte for the Hawaii Performing Arts Festival, and established in 2008 and delighted the public at the début Handel’s Agrippina and for Opera Omaha. He has production of the Boston Early Music Festival Chamber conducted Handel’s with the Seattle, Edmonton, Opera Series with ’s and and Birmingham Symphony orchestras. And his extensive Marc-Antoine Charpentier’s Actéon. discography includes over one hundred CDs, many of A unique and intimate subset of the BEMF Orchestra, which have received international acclaim and awards. its creation was inspired not only by the smaller In 2013, Stubbs was appointed Senior Artist in instrumental forces required for BEMF’s annual Chamber Residence at the School of Opera Series productions, but also by invitations from Music. His first major production there was Handel’s numerous collegial organizations. Semele in May 2014 followed by Mozart’s Magic Flute in The BEMF Chamber Ensemble’s third CD, the 2015 and Gluck’s Orphée in 2016. Charpentier opera double bill of La Descente d’Orphée Paul O’Dette has been described as “the clearest aux Enfers and La Couronne de Fleurs, won the Grammy case of genius ever to touch his instrument” (Toronto Award in 2015 for Best Opera Recording. The Ensemble Globe and Mail). He performs the lute at major festivals is led by artistic directors, Paul O’Dette and Stephen throughout the world and in chamber music programs Stubbs and Orchestra Director, Robert Mealy; it also with leading Early Music colleagues. features the best Baroque instrumentalists from He has over one hundred and forty recordings, around the world. received six Grammy nominations, and won two Grammy awards and numerous international awards. Stephen Stubbs and Paul O’Dette The Complete Lute Music of John Dowlandreceived the Stephen Stubbs, who won the Grammy Award as prestigious Diaspason d’Or de l’Année and was named conductor for Best Opera Recording in 2015, spent a “Best Solute Lute Recording of Dowland” by BBC Radio thirty-year career in Europe. He was Professor at the 3. The Bachelar’s Delight: Lute Music of Daniel Bacheler Hochschule für Künste in Bremen, Germany before was nominated for a Grammy as Best Solo Instrumental returning to his native Seattle in 2006 as one of the Recording in 2006. world’s most respected lutenists, conductors, and Baroque Best known for his recitals and recordings of virtuoso opera specialists. In 2014 he was awarded the Mayor’s solo lute, O’Dette is also active as a conductor of Baroque Arts Award for “Raising the Bar” in Seattle. opera. Together with Steven Stubbs, he won a Grammy In 2007, he established his new production company, as conductor in 2015 for Best Opera Recording as Pacific MusicWorks (PMW) in Seattle– a reflection of his well as an Echo Klassik Award for their recording of lifelong interest in both Early Music and contemporary Charpentier’s La Descente d’Orphee aux Enfers with the performance. The company’s inaugural presentation Boston Early Music Festival Chamber Ensemble. Their was South African artist William Kentridge’s acclaimed CDs of Conradi’s Ariadne, Lully’s Thésée, Lully’s Psyché multimedia staging of ’s opera The with BEMF Orchestra garnered Grammy nominations in Return of Ulysses in co-production with the San Francisco each of 2005, 2007, and 2008. Their 2015 BEMF CD of Museum of Modern Art. PMW’s performances of the Steffani’sNiobe, Regina di Tebe was also nominated. Monteverdi Vespers were described in the press as “utterly In addition to performing, O’Dette has done extensive thrilling” and “of a quality you are unlikely to encounter research on the performance and sources of seventeenth- anywhere else in the world.” century Italian and English solo song, continuo practices, Stubbs is also the Boston Early Music Festival’s Artistic and lute music. He has published numerous articles on Co-Director along with his long-time colleague Paul issues of historical performance practice, and co-authored O’Dette. They are the musical directors of all BEMF the entry in the New Grove Dictionary of

13 Music and Musicians. He is Professor of Lute and Director appearances in many of America’s Baroque orchestras of Early Music at the Eastman School of Music and and chamber groups, including the Boston Early Music Artistic Co-Director of the Boston Early Music Festival. Festival, Bach Collegium San Diego, Les Délices, Tragicomedia, and the Aston Magna Festival. Maxine Eilander He has taught at the Longy School of Music, Baldwin Seattle-based harpist Maxine Eilander first performed Wallace University, and Oberlin’s Baroque Performance at the Boston Early Music Festival in 1999, and is the Institute and given numerous masterclasses throughout regular harpist for Tragicomedia and the Festival’s the U.S. In 2014 he was named Associate Director of operas. Maxine has also performed at numerous opera Bach Collegium San Diego. His recordings are on the houses and festivals such as Covent Garden, Staatstheater Delos, Centaur Eclectra, Vanguard Classics, RMAP, and Stuttgart, and Netherlands Opera. Naxos labels. In 2012, Eilander was invited to perform Handel’s Harp Concerto at the World Harp Congress in Erin Headley Vancouver, B.C. As an administrator, she became Thirty years of performing with Tragicomedia and Les Director of Education for Pacific MusicWorks in 2007, Arts Florissants, countless recordings on major labels, and in 2013 PMW’s Managing Director. and her unique status as the world’s leading authority on Her recordings include Handel’s Harp featuring all of the lirone have made Erin Headley pre-eminent in the Handel’s obbligato music for harp and his famous harp field of Early Music. She rediscovered the instrument concerto, William Lawes’ Harp Consorts, Sonata al Pizzico in 1980 and since 2009, her recordings with Atalante (Italian music for harp and Baroque guitar with duo have won numerous prizes including a Diapason d’Or. partner Stephen Stubbs), and Teatro Lirico. Her website “The Lirone Museum of Curosities” is forthcoming. Michael Sponseller Erin’s work was generously funded by the Arts Michael Sponseller is recognized as one of the and Humanities Research Council UK (2007–2012), outstanding American harpsichordists of his generation. with a post-doctoral fellowship at the University of Since graduating from the Oberlin Conservatory of Southampton. She was musician-in-residence at Harvard Music (where he studied with Lisa Goode Crawford) and University’s Center for Italian Renaissance Studies at Villa the Royal Conservatoire The Hague, he has won several I Tatti in Florence (2013). Iain Fenlon (Early Music) said prizes – including a rare two-time triumph at the Bruges of her work, “Erin Headley must be congratulated for Competition in 1998 and 2001. bringing together musicianship and scholarship in a way He now enjoys a highly-diversified career which brings that is truly revelatory…a milestone. A more powerful him to concert venues and festivals as harpsichordist and and persuasive advocacy for these pieces could hardly continuo organist to today’s finest musicians with regular be imagined.”

14 For advance notice of EMSI concerts and performers, subscribe to the EMSI newsletter: www.earlymusicsocietyoftheislands.ca

The programme, notes, and artist biographies are available on the EMSI website prior to each concert

EMSI wishes to thank…

The EMSI Volunteer Guild Alix Goolden volunteers Caroline Mitic, graphic designer for EMSI David Strand, maintainer of the EMSI website

www.earlymusicsocietyoftheislands.ca

15 Supporting the Society

Make a Donation help the Fund grow. These operating grants will both assist The Early Music Society of the Islands relies on in presenting artists who would otherwise be unaffordable individual donations, memberships, and grants to and ensure the long-term sustainability of the Society. Tax sustain its operations each year. Your donation will help receipts will be provided. to present concerts featuring internationally-renowned artists and to promote interest and appreciation of Early You can contribute directly to this Fund in three ways: Music in the community. MAIL By sending a cheque to: Ways to Donate Early Music Endowment Fund, Victoria Foundation, ONLINE To make a secure online donation Suite #109–645, Fort Street Victoria, BC V8W 1G2 by Visa, MasterCard or AmEx, visit: www.earlymusicsocietyoftheislands.ca ONLINE Donate online by Visa, MasterCard, Amex at the Victoria Foundation’s Web site: MAIL Please send cheque payable to EMSI to: http://www.victoriafoundation.bc.ca/web/give/ways Click EMSI Donations c/o McPherson Box Office, on “give now” to go to CanadaHelps, select “Donate #3 Centennial Square, Victoria BC V8W 1P5 Now” and choose “Early Music Endowment Fund” from the drop-down list. THROUGH UNITED WAY OR EMPLOYEE CAMPAIGNS If your employer participates in BEQUESTS OR GIFTS OF SECURITIES the United Way or other employee campaigns, Bequests or gifts of life insurance or securities may you can support the Early Music Society of the Islands be arranged through the Victoria Foundation. by writing in the gift on your pledge For more information, visit www.victoriafoundation.bc.ca card. Our charitable registration number is or phone the Foundation at (250) 381–5532. 11889-0367-RR0001. Sponsorships To discuss donation options, please contact BUSINESS SPONSORS The Society welcomes business Rondallyn Perras, Fundraising Director sponsorships and will provide appropriate public [email protected] acknowledgement of such support. Tax receipts are issued for all donations of $10 and over. CONCERT SPONSORS James Young, Artistic Director [email protected] would be Donate for the Future pleased to offer guidance and information relating to gifts The Early Music Endowment Fund is owned and to support a specific concert. managed on our behalf by the Victoria Foundation. Each year, part of the investment income is given as Please contact us at: a grant to EMSI and the balance is re-invested to [email protected]

Thank you for your generosity in supporting Early MusicS on southern Vancouver Island www.earlymusicsocietyoftheislands.ca PHONE 250-882-5058

16