April 2006 2006 Spring Season

Clayton Brothers, SptInf TIme Fmh, (detail) 2006

BAM 2006 $prI1II Seaon Is sponsoted by: Bloomberg ENCOREThe Performing Arts Magazine 2006 Spring Season

Brooklyn Academy of Music

Alan H. Fi shman William I. Campbell Chairman of the Board Vice Chairman of the Board

Karen Brooks Hopkin s Joseph V. Melillo President Executive Prod ucer

presents St. Matthew Passion

Approximate BAM Harvey Theater running time: Apr 8, 11, 12 , 14 & 15, 2006 at 7 :30pm; Apr 9 at 3pm two hours and 50 minutes, Conducted by including one Directed by intermission Lighting designed by R. Michael Blanco English singing translation based on the version by Robert Shaw Originally produced by Ron Gonsalves

Performers Evangelist Rufus Muller Jesus Curtis Streetman Mezzo-soprano Krisztina Szabo Soprano Suzie LeBlanc Countertenor Daniel Taylor Tenor Nils Brown Baritone Stephen Varcoe

Line producer R. Michael Blanco Stage manager Leticia D. Baratta Lighting director Joshua Starbuck "Evangelist" text adapted by Rufus Muller Casting consultant Evans Mirageas Choral casting consu ltant Michele Eaton BAM 2006 Spring Season is sponsored by Bloomberg.

Support for BAM is provided by the Isak and Rose Weinman Foundation, Inc., Max & Victoria Dreyfus Foundation, and the Eleanor Naylor Dana Charitable Trust. Opera endowment funding has been provided by The Andrew W Mellon Foundation Fund for Opera & Music Theater and The Peter Jay Sharp Fund for Opera and Theater. 33 St. Matthew Passion

Chorus I Chorus II

Soprano Soprano Eil een Clark Kristina Boerger (First Maid) Margery Daley Michele Eaton Jacqueline Horner (Pilate's Wife) Silvie Jensen (Second Maid)

Alto Alto Hai-Ting Chinn Jay Carter (First Witness) BJ Fredricks Corey-James Crawford Robert Isaacs Katie Geissinger

Tenor Tenor Oliver Brewer Brian Dougherty Matthew Deming Matthew Hensrud Steven Fox Michael Lockley (Second Witness)

Bass Bass Dominic Inferrera (Pilate) Mark Rehnstrom (High Priest II) Gregory Purnhagen (High Priest I) Jonathan Scott (J udas) Ala n Rasmussen Joshua South (Peter)

Orchestra I Orchestra II

Violin I Violin I Robert Mealy Jorg-Michael Schwarz Heidi Powell Claire Jolivet Dongmyung Ahn Theresa Salomon

Violin II Violin II Cynthia Roberts Karen Marmer Judson Griffin Peter Kupfer

Viola Viola David Miller Andrea Andros

Violincello Violincello/viola da gamba Phoebe Carrai Lisa Terry

Viol one Contrabass Jay Elfenbein Anne Trout

Organ Organ Dongsok Shin Edward Brewer

Flute/recorder Flute Sandra Miller Anne Briggs Wendy Rolfe Charles Brink

Oboe/ d'amore/oboe da caccia Oboe/oboe d'amore Stephen Hammer Virginia Brewer Kathleen Staten Julie Brye

The musicians employed in this production are members of and represented by the ~ Assoc iate Musicians of Greater New York, Local 802 of the American Federation of Musicians. Q&A with Jonathan Miller

Interview with Jonathan Miller, director of St. Matthew Pass ion Questions by Joseph V. Melillo, BAM 's executive produ ce r

Joseph V. Melillo: What originally inspired you to consider Bach's St. Matthew Passion as a staged production? Jonathan Miller: I had known the St. Matthew Passion for many years, and I had been to many traditional performances of it. It's impossi ble to resist in any form, as a concert or oratorio-that, after all, is how it was intended to be done. But I became increasingly aware that it had a dramatic story to it, a narrative, and unlike many oratorios that are seq uences of prayer, these are events that are narratively recorded in the gospel. It seemed that there was something stultifying about seeing a row of singers dressed in their evening dresses and tuxedos standing in front of lecterns, with an orchestra behind them, with no relationship between the orchestral instruments and the singers, and practically no representation of the dramatic events that are described within the gospel.

About twelve yea rs ago, someone asked if I'd I ever thought of staging it. I said that it occurred to me, but I hadn't begun to see clearly how it might be done. knew what ought not to be done if it were to be staged- that it ought not to be pictorially real, it shouldn't have scenery, it shou ldn't have biblical costumes, it shouldn't look like a C.B. DeMille The Greatest Story Ever Told . I managed to persuade the man who asked me whether he could set up a wo rkshop and he managed to secure the services of a sma ll orchestra, soloists, and a small choir. We sat around in a room in a school in Westminster, London, and my wife and I sat like a pair of priveleged German ari stroc rats, enjoying this performance. And they simply sang it through.

They all sat round in a circle, and they sang, and as they went along, I kept saying 'why don't you stop here, why don't you get up and talk to the person who seems to be the person you're addressing?' And then I'd hear someone sing an aria , with an obligato instrument, and I'd say to the violinst or flautist, 'why don't you come and sit beside the person who's singing, and have a musical dialogue?' And at the end of the day's workshop, they said to me, 'Well, have you got any ideas of how to do it?' and I said, 'I think we've just done it!' and I realized that a minimally dramatized version was all that was needed. We began rehearsing, and halfway through the rehearsals members of the orchestra said 'what are we going to wear?' and I said, 'You' re wearing it,' and they said 'What do you mean? I'm in jeansl' and I said 'fine, you're in jeans.' It's a dramatic story that doesn't require you to look like the people that you're playing. The people you're playing will become apparent by what you're singing. The rapt attention which the members of the choir, and the orchestra who perhaps are not playing at this moment, will give to the performance, will focus the attention of the audience. That was how it started, and that's how I've done it ever since. 35 St. Matthew Passion

Melillo: How did you discover your specific directorial approach to the staging? Miller: It simply happened as it so often happens to me when I'm directing a play or opera. I don't come into the room with very clear ideas about what I'm going to do, but no sooner has someone begun to sing or say something, it always occurs to me, 'Wouldn't it be nice that when you're singing that, or saying that, you were in fact sitting next to the person who you seem to be addressing? It wasn't that I had a directorial approach to start with, it's only by hindsight that I can see as one emerged as a result of working in rehearsal. Rehearsal, for me, is really a way of finding out what to do. I think for a lot of directors, rehearsal is a way of bringing into existence what they had already conceived in their mind's eye before they even got to work with the cast. It's the work with the cast which for me develops the drama.

Melillo: Why did you want Paul Goodwin to be your musical partner? Miller: It wasn't that I started with any particular idea of who the musical partner would be. The producer who first put it on had suggested Paul Goodwin as the conductor. We immediately established an absolutely perfect partnership, which doesn't always-and to some extent rather rarely-prevails between director and conductor. It was so intimately related-what I was doing was related to what he was doing-and what he was doing was somehow part of the drama, and that he wasn't, as it were, simply wagging his stick ... that in some strange way he was part of the drama as well. Ever since then, I've always done it with him.

Melillo: What do you consider your greatest challenge to be in working with the singers for the staging? Miller: I think the only challenge is just simply personal reality. You have to persuade the singer to try and be what they are actually expressing. It's to some extent a question of eliminating the mannerisms of singers, particularly the mannerisms of being the singer of an oratorio. People who are accustomed to standing behind a lectern, encased in a tuxedo, often have a standard way of doing it. You have to tell them very early on. I met with no resistance from any of the people I've worked with, and many of the people who are going to be in this particular version are people I've worked wth several times before, and they know what I do and they feel themselves to be partners in its creation. They're not people upon whom I've imposed an idea; they're co-producers of it.

Melillo: What is your opinion of working within the architectural environment of the BAM Harvey Theater? Miller: The BAM Harvey Theater is the ideal setting and circumstance for anyone who works like me, and as indeed it was for Peter Brook when he first encountered it. Peter and I have been long dedicated to the idea of the unfurnished space in which you don't have to put up lots of elaborate scenery, in which what happens dramatically takes place between the participants, not in a setting that needs to be illustrated. There's something so wonderfully informal and heartwarmingly shabby about the Harvey. It's not shabby in a perjorative sense, it's just wonderfully informal. It's the ideal circumstance for doing most of what I enjoy doing. I can't really conceive of doing it elsewhere. I don't really like doing opera in opera houses. I think probably if I were to start my opera career over again, I'd probably do most of my productions in somewhere like the Harvey, and best of all actually in the Harvey. I've done many scenic versions of in which I have often expensively built scenery, and they're often quite impressive. But I could see very many of my previous scenic productions done in the Harvey. It's an ideal circumstance. It's one of the great artistic centers of New York, if not the United States as a whole. It's the only place in the U.S . where you know the performing arts are actually close to the original energy of performance. ~ Who's Who

Jonathan Miller's (director) career spans many Passion-which he conducted at BAM in 1997 different fields: author, lecturer, television producer and 2001-was followed by regular opera and presenter, and director of theater, opera , collaborations, such as the acclaimed Marriage of and film. His involvement in opera began when Figaro and /I Re Pastore for , Handel's he was invited to direct the British premiere of in Karlsruhe, Handel's Amadigi with Arden Must Die by Alexander Goehr in 1974 AAM at the Opera Comique, and Haydn's and subsequently spent several seasons working L'isola disabitata in Lisbon. Other opera projects closely with Kent Opera. At the English National include Handel's Poro at the Handel Opera , Miller directed some of his most enduring Festival and Gluck's Orfeo at the Opernhaus successes-The Mikado, , The Marriage Halle. In 1999, Goodwin directed a production of Figaro , The Turn of the Screw, Rosenkavalier, of Monteverdi's L'incoronazione di Poppea from and . He has also directed operas for La a new edition of the score that he prepared for Scala, the Metropolitan Opera, the State the Megaron Concert Hall in Athens. Recently, Opera, the at Covent Garden, he conducted two Mostly Mozart concerts at the and Glimmerglass Opera. In addition to 1997 Barbican Centre London with the Academy of and 2001 performances of SI. Matthew Passion, SI. Martin-in-the-Fields, and a highly acclaimed Miller directed a production of Monteverdi's BBC Prom with the . L'incoronazione di Poppea at BAM in 1996 In addition to SI. Matthew Passion at BAM, and Mozart's Cosl fan tutte in 2003. Miller's Goodwin's 2005-06 season includes theatrical career has included many memorable a Tavener dance project with the South bank productions-The Merchant of Venice with Sir and Northern Sinfonias, the SWR Kaiserslautern Laurence Olivier and Joan Plowright, The Taming Orchester, the City of London Sinfonia, of the Shrew (Royal Shakespeare Company), The Baselkammerorchester, and Minnesota Orchestra. Seagull (Chichester Festival Theatre), A Long Day's Journey Into Night (Hayma rket Theatre), Nils Brown (tenor) began the 2005-06 season and The Emperor (Royal Court) . Between January singing Neapolitan songs in the festival of Ita lian 1988 and October 1990, as artistic director of music and theater, Ritalfest, in . A the Old Vic, Miller directed a number of highly specialty of Brown's, he performs these songs acclaimed productions including Andromache self-accompanied on classical guitar with a small with Janet Suzman , The Tempest with Max von band of musicians . Subsequent to this Brown Sydow, King Lear, and Corneille's comedy, The journeyed immediately to Guatemala City for a Liar. Most recently, Miller directed La Clemenza di performance of Haydn's Die SchOpfung. Other Tito in Zurich, Don Pasquale at the Royal Opera highlights this coming year, in addition to six House Covent Garden, and Cosl fan tutte at performances of Bach's SI. Matthew Passion Seattle Opera. (tenor arias) in the Jonathan Miller staging at BAM, include a performance of Verdi's Requiem Paul Goodwin (conductor) who for many years in his hometown, Kingston, Ontario and Handel's was widely considered the foremost baroque Messiah performances with the Jacksonville oboist of his generation , has made more than Symphony in Florida. Australian-born, Brown 20 solo and concerto records and was soloist began singing in the local church choir as a boy with many of Europe's finest early music soon after his family immigrated to . groups. Goodwin serves as associate conductor He continued singing at a very high level as a of the Academy of Ancient Music (AAM) and treble during a family sabbatical year to the U.K. , as principal guest conductor of the English joining the choir of SI. Georges Chapel at Windsor Chamber Orchestra. Goodwin has a long-standing Castle. His full scholarship there was personally relationship with Harmonia Mundi USA, on sponsored by Queen Elizabeth II. As a changed which he and AAM have recorded several CDs, voice, he studied at McGill University, at the including Christmas music by Schutz and his University of Opera Division, and at Atelier contemporaries and Mozart's . Goodwin's Lyrique de l'Opera de Montreal. Summer studies partnership with Jonathan Miller in SI. Matthew included Bach master classes with Ernst Haefliger 37 Who's Who

at the Britten-Pears School at Aldeburgh, . opera and oratorio throughout Europe, Scan­ Brown performs a large va riety of repertoire , dinavia, Japan, and in North America. He has the core being Bach, Handel , Haydn , and worked with many leading conductors including Mendelssohn. A respected stylist, his seasons Sir , , Ivor include invitations to perform repertoire as Bolton , , Nicholas McGegan, diverse as Monteverdi's Vespers of 1610, Richard Gustav Leonhardt, Frans Bruggen , , Strauss' Ariadne Auf Naxos, and Beethoven 's Philippe Herreweghe, Joshua Rifkin, Andrew Par­ Symphony No.9, all with major companies. rott, Nicholas Kraemer, and Ivan Fischer. Operatic roles include Tamino (Garsington Opera); Lucano, Suzie LeBlanc (soprano), internationally L'lncoronazione di Poppea (Houston Grand renowned , has established an extraordinary career Opera); the title roles in Rameau's Pygmalion specializing in music of the Baroque and Classical and Lully's Persee (Opera Atelier, Toronto); the periods. Her busy schedule is a mix of concert title role in Monteverdi 's Orfeo (Opera Zuid, The and opera perforrnances, festival appearances, Netherlands); Aminta in Peri's Euridice (Opera de and recording projects both on video and for Normandie) ; Alessandro in Handel 's Poro (Halle, the CD market. Her engagements for summer Germany); and Lurcanio in Handel's 2005 included the Montreal Baroque Festiva l, in Gottingen with Nicholas McGegan released on Festival Vancouver, Vancouver Early Music, and a prize-winning disc by Harmonia Mundi USA. performances in Berlin. The repertoire for these Other recordings include Bach's St. John Passion engagements included Caldara's rarely heard La and Bach Cantatas with John Elliot Gardiner for Conversione di Clodoveo, Re di Francia, Handel 's DG Archiv, Dowland 's First Book of Airs with Acis and Galatea, and concerts featuring the lutenist Christopher Wilson for ASV, Telemann music of Purcell. She began her 2005-06 solo cantatas on Capriccio, Ned Rorem 's Evidence season with Bach 's for the of Things Not Seen with the New York Festival Washington Bach Consort, a work she later of Song on New World Records, and songs by repeats for Toronto's Tafelmusik. LeBlanc debuted Franz Lachner with Christoph Hammer on Oehms with the Calgary Symphony in Schubert's Mass in Classics. Muller is much in demand for his A Flat followed by a tour of the east coast with the interpretation of the Evangelist in Bach's Passions, Arion Ensemble of Montreal. Messiahs claimed which he has performed in many parts of Europe her attention for L'Orchestre Symphonique de and North America. His many performances of Montreal and Symphony New Brunswi ck; she Messiah include regular appearances at Carnegie was in Toronto again for Carissimi's Jepthe with Hall in New York, a televised tour in Spain with the Toronto Consort and an additional Rome­ Trevo r Pinnock and , as well themed program with Tafelmusik. She returns to as performances in Canada, Denmark, Norway, BAM for Bach's St. Matthew Passion as staged by Sweden, and the U.K. Numerous other concert Jonathan Miller. High lights of 2004-05 included engagements have included Bach Cantatas with a tour to Calgary, Winnipeg, Montreal, Quebec, John Eliot Gardiner in Lond on, works by Bach and Japan featuring music from her album and Handel with the Philhamonia Baroque Handel Love Duets. She appeared with Violins Orchestra in , a European tour of of Lafayette, Chicago's Music of the Baroque, Casals EI Pessebre with the Berlin Symphony (Gluck's Orphee), New York Collegium (King Orchestra, Bach's at the BBC Proms in Arthur, conducted by Bernard Labadie) and at the London, and Finzi's Dies Natalis with the Orches­ 92,d St. Y in Handel's Esther, sung in Hebrew. tra della Svizzera Italiano. His recital engagements Also on her schedule were Bach performances include performances with the New York Festival for the Vancouver Chamber Choir; The Trinity of Song, and recitals with the pianist Maria Joao Consort in Portland , OR; Victoria Symphony; the Pires in Spain, Portugal , Germany, Ireland, Japan , Ottawa Bach Choir; and the Kitchener Waterloo and the U.K. The 2005-06 season includes the Philharmonic Choir. premiere of Sir 's Laila at Sadler's Wells Theatre in London; the title role in Garcia's Rufus Muller (tenor), of British/German heritage, Don Quijote in Spain; Messiah in Washington, has established a distinguished reputation for DC, Calgary, and New York; Mozart's Mass in C Who's Who

minor in Quebec; Haydn's in Krisztina Szabo (mezzo-soprano), of Canada, Madrid, and SI. Matthew Passion staged at the made her Lincoln Center debut as Dorabella in BAM. Cos! fan tutte at the Mostly Mozart Festival where she was praised in The New York Times for being Curtis Streetman (bass) perfo~ms repertoire "clear, strong, stately and an endearingly vulner­ ranging from the Renaissance to the music of able Dorabella." Her 2005-06 season includes and Conrad Susa. High lights a return to the Canadian Opera Company as Wel­ of 2004-05 included performances of Handel gunde in Das Rheingold, Musetta in La Boheme Operas with the Festiva l, as well as with Opera, touring the U.S. as soloist debuts at 's Concertgebouw and at with (Haydn's Arianna a Vienna's Musikverein. He returned to the Halle Naxos) , and singing the Mozart Requiem with the Opera in Germany to perform the title role in Oregon Symphony. Szab6's past season highlights Handel 's Hercules. Concerts and recitals took include: Nerone in Agrippina with L'Opera de him throughout the U.S. and Europe. Highlights Montreal; The Double (Offred in The Time Before) of the 2005-06 season include his solo debut in The Handmaid's Tale; Nancy in Albert Herring , with the National Symphony Orchestra at and Musetta in La Boheme with the Canadian Kennedy Center in Washington, D.C. and with the Opera Company; a performance of Beethoven 's Cleveland Orchestra under Maestro Franz Welser­ Missa Solemnis with the Toronto Mendelssohn Moest in Cleveland's Severance Hall. He has Choir; her first performances of the Countess in recently performanced with the SI. Paul Chamber Le Nozze di Figaro with Chicago Opera Theater; Orchestra directed by Nicholas McGegan, the San the Verdi Requiem at the Elora Festival; and, in Diego Symphony, and Canada's Les Violons du Paris and Rouen , performances of the title role in Roi under the direction of Bernard Labadie. He Charpentier's Medee, with Le Concert Spirituel. toured Spain with the Salzburg Festival which Szab6 debuted with Chicago Opera Theater as also presented him for inaugural performances Ottavia in L'lncoronazione di Poppea. She has at Dortmund 's New Philharmonic Hall. Curtis toured to Singapore with Opera Atelier, performed Streetman also returned to Carnegie Hall and the title role in Iphigenie en Tauride, sung Paride toured the U.S. with the Instrumental Ensemble in Gluck's Paride ed Elena at the Caramoor Rebel. He performed Bach's SI. Matthew Festival , performed Ruggiero in Alcina with Les Passion , with Toronto's Tafelmusik Baroque Violons du Roy, returned to Canadian Opera as Orchestra, conducted by Andrew Parrott, and Siegrune in Die Walkure, and sung Elijah with appeared in Boston's Symphony Hall in Handel's the Toronto Mendelssohn Choir. She debuted Ariodante with the Handel and Haydn Society as Rosina in " Barbiere di Siviglia with L'Opera conducted by . Streetman de Quebec and as Magnolia in Showboat at the has recorded Monteverdi's Vespers for Musical Opera National du Rhin. As well as being known Heritage Society as well as Castelnuovo-Tedesko's for her operatic work, Szab6 is a frequent per­ Romanciero Gitano on the New World Classics former of recital, concert and chamber repertoire. label, music of Charpentier on the Naxos label In recital, she has appeared with Music Toronto and Clarembault Cantatas for Dorian. Streetma'n Aldeburgh Connection, Ravinia Festival , and Off has been a frequent soloist with The New York Centre Music Salon. In concert and oratorio, she Collegium, and has directed two programs for the has performed with Symphony , Lan­ group: The Lutheran Trad ition, and The Musical audiere Festival , Calgary Philharmonic, Orchestra Life of Samuel Pepys, which featured English London , and Toronto Operetta Theatre. Audiences Restoration Music, accompanied by readings are able to see Szab6 as Zerlina in the Rhombus from the seventeenth century diary of Samuel Media film : Leporel/o's Revenge, Pepys. Streetman began his musical training at appearing with the Russian baritone Dmitri an early age at the Choir School of SI. Thomas Hvorostovsky. She made her European debut in Church in New York City, where he worked with Amsterdam, singing the title role in Britten's The the renowned Dr. Gerre Hancock. In 2000, Rape of Lucretia. his ca reer brought him full circle, as he was appointed voca l instructor at th e Choir School. Who's Who

Daniel Taylor's (countertenor) debut at Britten on Chandos. His long-standing relationship Glyndebourne in Handel's Theodora followed on with Hyperion has produced many recital discs: his highly successful operatic debut in Jonathan Hahn , Chabrier, and Schubert with Graham Miller's production of Handel's Rodelinda (EMI Johnson ; Finzi , Gurney, and Stanford with Clifford recording). He receives invitations from an ever­ Benson and Armstrong Gibbs with Roger Vignoles. widening circle of the world's leading early and He has also recorded works by Stravinsky, contemporary music ensembles, appearing in Schoenberg, Nigel Osborne, Thea Musgrave, opera (Metropolitan Opera , Glyndebourne, San and John Tavener. On the concert platform, Francisco, Rome , Welsh National Opera, Opera Varcoe has appeared with orchestras in the U.K., North , and Munich), oratorio (Gabrieli Consort, Scandinavia , Europe, Japan, and North America Monteverdi Choir/, Bach working with conductors including Bruggen , Collegium Japan , Berlin Academie fur Alte Musik, Christie, Herreweghe, Knussen , Leonhardt, Collegium vocale de Ghent, Orchestra of the Norrington, Rifkin, Kuijken, Marriner, Zehetmair, Age of Enlightenment, King's Consort, Academy and Malgoire. He has regularly taken part in the of Ancient Music) , symphonic works (Dallas, BBC Proms and festivals throughout the world St. Louis, Philadelphia , Toronto, Rotterdam) , and appeared in recital with julius Drake, Graham recital (Vienna Konzerthaus; Frick Collection, Johnson , lain Burnside, and Peter Seymour. His New York; Forbidden Concert Ha ll, Beijing; operatic appearances include Haydn's L'infedelta Wigmore Hall , London) , and film (Podeswa's Delusa in Antwerp, Debussy's Fall Of The House Five Senses for Fineline-winner at Cannes and Of Usher in Lisbon and London, John Tavener's also of a Genie). Taylor has made more than 60 Mary Of Egypt for the and recordings , including Bach Cantatas/Monteverdi Plutone in Peri's Euridice for the Drottningholm Choir/Gardiner (Deutche Gramophone and SG) , Festival and in Japan. His repertoire also includes Renaissance duets with James Bowman (8IS), Death in Holst's Savitri, Demetrius in Britten's Handel's with Bartoli /AAM/Hogwood A Midsummer Night's Dream and Salieri in (Decca), Bach Cantatas/Herrewege (Harmonia Rimsky Korsakov's Mozart & Salieri. He reprises Mundi), and Sakamoto's pop-opera Life with the his performance in Jonathan Miller's staging Dalai Lama (Sony) . Upcoming recordings include of the St. Matthew Passion at BAM as well as a CD/DVD at Notre Dame/Mass in B Minor/Nelson appearances with the Symphony Orchestra (EMI), Handel's Saul (Rilling/Bach Academie and National Orchestra of Wa les. Varcoe is often - Hanssler), and Handel's Jephtha invited to adjudicate song competitions, such as (McCreesh (DGG). Taylor is Artistic Director of the Kathleen Ferrier awards. the Montreal Early Music Festival and a Visiting Professor at McGill University. He is Founder and R. Michael Blanco's (lighting designer & line Artistic Director of the Theatre of Early Music, a producer) radio experience includes WNYE-FM period-instrument ensemble based in Montreal "Music in the Morning with Blanco & Blanco"; comprising musicians from all over the world. at BAM- Sarah Kane's 4.48 Psychose, Water­ mill: The Winter's Tale; RSC: Hecuba ; Laurie Stephen Varcoe (baritone) has established a Anderson's The End of the Moon ; Jonathan reputation as one of Britain's most versatile Miller's St. Matthew Passion ; Sydney Theatre baritones, and has sung in opera, concerts, and Company's Hedda Gabler; and at the Metropolitan recitals covering a wide range of repertoire in Opera House-Bolshoi Ballet, Kirov Ballet, and Europe, the U.S. and Asia . He has made over Ennosuke's Kabuki. 125 recordings , collaborating with John Eliot Gardiner for Philips, Erato, and DG Archiv on discs of Purcell , Handel , and Bach ; with Trevor Pinnock record ing Scarlatti and Dido & Aeneas for Archiv, and has joined Richard Hickox for numerous releases of Haydn , Hummel, Beethoven , Vaughan-Williams, Grainger, and st. Matthew Passion- Libretto

Chorus and Chorale excerpts from It were better that this ointment had been sold, The Passion According to St. Matthew, BWV 244 and the poor and the needy nourished. English performing translation by Robert Shaw 14 Reprinted by arrangement with G. Schirmer, Inc. Chorus I publisher and copyright owner. Where wilt Thou, Master, that the feast of the Passover be prepared? Part I 16 1 Chorale Choruses I and II and Treble Chorus 'Tis I, Lord, who should suffer, Come, ye daughters, come and mourn Him . My hands and feet should offer See Him! To wear the bonds of Hell. Whom? The evil crowds around You, The Bridegroom see! See Him l Who jeer at You and wound You, How? Are merit of my sinful soul. A Lamb is He. See it! What? 21 His patience mi ld. Chorale At all times meek and lowly. Remember me, my Savior, Though by Your children forsaken. My Shepherd, lead me home. Look! (Ah, where?) Upon our guilt. o fount of every goodness, The sins of man Thou 'rt bearing From which my good has come. Else were we left despairing. A table You made ready Look on Him ; for love untold With milk and honey'd food. He Himself the cross is bearing. I slumber in Your spirit Have mercy on us, 0 Jesus. And wake to Heaven's good.

3 23 Chorale Chorale Ah, dearest Jesus, how have You offended, I'll stand here close beside You, That such a bitter judgement has been rendered ? Lord , ne'er from me depart. Where is Your guilt, and whose the great Nor will I ever leave You, transgression Though grief shall break Your heart. For Your confession? And when life's lingering paleness By crown of thorns is pressed, 5 Into my arms I'll take You Choruses I and II And hold You to my breast. Not upon the feast lest from it an uproar riseth, a riot among the people. 25 Recitative: Tenor and Chorus II 7 Ah, woe! what trembling fills His tortured breast! Chorus I How sinks His heart! How pale Hi s face To what purpose is this wasted? oppressed! '-II Li bretto

What is the cause of all this tribulation? dispel them' Before the judge He must appear; Strike swiftly to brand the false-hea rted traitor, the There is no help, no comfort near. murderous band! 'Tis my own sinning, not of Your transgression! 35 Such agonies doth Hell awaken: Choruses I and II with Treble Chorus That He for others' guilt be taken. o man, bewai l your grievous sin, 'Tis I, Lord Jesus, all the guilt must Wherefore the sole begotten Son own here, Has left His Father's dwelling. Which You atone here . Born of a virgin sweet and mi ld, Ah, if my love Thy stay could be, To earth came down this holy Chi ld, My Savior, could calm Thy fear or share it. God's perfect love revea ling. Cou ld make it less, or help to bea r it, How gladly would I watch with Thee' The dead He raised to life again, He healed the sick and eased our pain, 26 Until His time drew near Him Aria: Tenor and Chorus II That He for us be sacrificed. I would be with my Jesus watching, Then we re our sins put on by Christ, So slumber all our sins, and stay' And on the Cross forever. Ev'n my death Ransom finds in His last breath; His sorrow maketh sure my gladness. The griefs that He for us enduring, Part II How bitter, yet how sweet are they. 36 31 Aria: Alto with Chorus II Chorale Ah, now is my Jesus gone! What God has willed will always be. Wh ither has your dear one departed, His wil l is best, most surely. o you, fairest one among women? An ever-present help is He, Must it be so? Can I bear it? If faith be fixed securely. Wherefore has your friend turned away? Our help in need, all good, all wise , Ah , my Lamb in tiger's talons! He rules with justice ever. Ah, where is my Jesus gone? Who trusts in God , on Him relies , For we would go with you to seek Him . Will be forsaken never. Ah, my soul, what can I say thee, When thou wilt so anxious pray me? 33 Duet: Soprano and Alto with Choruses I and II 38 Alas, my Jesus now is taken. Chorale Free him! Stop there! Bind Him not! So does the world its treach'ry weave: Moon and stars have for grief the night forsaken, Its web of falsehood to deceive, Free Him, stop there, bind Him not! To tangle and ensnare us. Have lightning and thunder from Heaven all Be you our guard va nished? In danger, Lord ! Then open your fiery abysses, 0 Hell ! And from false tricks preserve us. Defile them , devour them , destroy them, Ll2.t Libretto

43 Evang and Choruses I and II 54 Thou prophet! Now prophesy! and tell us, Choruses I and II Thou Christ, by whom Thou art struck! Barrabas! Let Him be Crucified!

44 55 Chorale Chorale o Lord, who dares to strike You? What wonders rare this punishment does offer! My Savior, who would smite You The Shepherd for His sheep content to suffer; So fierce and false a blow? The Lord of righteousness pays full del iverance For You have none offended , For guilty servants, Nor yet to sin surrendered, No evil did You ever know, 63 Chorale 46 o head , so bruised and wounded, Chorus II/EvangiPeter Defiled and put to scorn, Surely, you also are a disciple, for all your o sacred head, surrounded speech does betray you , By mocking crown of thorns , o head, that once was honored , 48 And lovely, fair to view, Chorale But now so lowly humbled , Have I also from You parted? I greet and treasure You, Still I will return again, Life anew in me is started , o face of kingly grandeur, By my Lord 's despair and pain, What fear will gird Your throne, I may not my guilt efface, When You shall judge in splendor, But His mercy and His grace Though now so spat upon, Are far greater than my failing, o face , so pa le and withered, And the sin within me dwelling, Those eyes that once were bright, With glory of no other: 49 Ah, who has dimmed their light7 Choruses I and II And what is that to us? Go, see you to that, 67 go see you to that! Choruses I and II You that destroy the temple of God , 53 And build it again in three days, Chorale Save yourself! Entrust your ways unto Him , If You're the Son of God, come down to us And all your heart's distress, from off the Cross! His wisdom and His bidding Do highest Heaven confess, Choruses I and II By Him the clouds are ordered , Savior was He of others , but for Himself not a The winds arise and blow, Savior! If He be King of Israel , then let Him now He best can choose the pathway come from the Cross, and we will then believe Whereon your feet should go, Him , He in God has trusted: let His God then Libretto

deliver Him now, if He will , for He has said: 77 I am God's own Son. Recitative: Bass , Tenor, Alto and Soprano with Chorus II 70 Now has the Lord been laid to rest. Aria: Alto with Chorus II My Jesus, goodnight. Haste ye! Jesus waiting stands , The pain is o'e r, Open arms and oustretched hands. Which all our sins on Thee hath pressed. Come! (Ah, where?) My Jesus, goodnight. Let Jesus hold thee. Seek salvation; find o holy, precious Body I His mercy. See, how I come in pen itence and weeping. Seek ye (where?) For even my Fa ll your death has sanctified. Let Jesus hold thee. My Jesus, goodnight. Live here, die here, softly rest. While life shal l last, I wi ll this wonder ever thank: You forsaken sweet ones here stay then! That thus my sou l was worthy in His sight! Let Jesus hold thee. Stay then l (Where?) My Jesus, goodnight. Let Jesus hold you. 78 72 Choruses I and II Chorale We stay here now with tears and weeping, When comes my hour of parting, And call to You in grave so sti ll. Then part You not from me. Rest softly, softly rest. When shades of death are dark'ning, Rest, 0 weary Body sleeping, Your love my light shall be. Rest softly, softly rest. When anxious fears sha ll rend me, And break my heart in twain, See in grave and stone a grace o comfort and befriend me, For the anxious, the despai ri ng: Through Your own grief and pain. Heaven's promise, comfort bearing, And the soul's sure resting place. 73 Rest softly, softly rest. Choruses I and II Come, my Soul! Trul y, this was the Son of God who passed away. Slumber now my eyes embrace.

76 We stay here now, with tears and weeping, Choruses I and II And call to You in grave so still. Sir, we bear it in mind that this base deceiver Rest softly, softly rest. said , when He was still alive: Upon the third day I will arise again in glory. Therefore, command END the tomb be made secure, yea, until the third day, lest His disciples come by night and steal Him hence, and say to all the people: From the grave He is this day arisen ! Thus making the final deceit greater than the first one.