Saturday Evening, November 19, 2016, at 7:30

The Juilliard School presents Juilliard415 and Royal Conservatoire The Hague Baroque Orchestra and

Ton Koopman , Conductor Aldona Bartnik , Soprano Kara Dugan , Mezzo-soprano Aleksan Chobanov , Alto Joshua Blue , Tenor Tigran Matinyan , Tenor Dominik Belavy , Bass Berend Eijkhout , Bass

JOHANN SEBASTIAN BACH (1685 –1750) Mass in B minor, BWV 232 I. Missa II. Credo (Symbolum Nicenum) III. Sanctus IV. Osanna, Benedictus, Agnus Dei

Performance time: approximately 2 hours and 15 minutes, including one 15-minute intermission.

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.

The Royal Conservatoire The Hague would like to thank its patrons and sponsors, the municipality of The Hague, Netherland –America Foundation, Embassy of the United States The Hague, and the Netherlands Consulate General in New York.

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Note on the Program opportunity to present the new elector of Saxony, Friedrich August II, with a petition by Robert Mealy to be appointed court composer. Accom - panying this petition was what he describes Mass in B minor as a “trifling product of that science which I have attained in musique .” This was the Born March 21, 1685, in Eisenach, Kyrie and Gloria of what was eventually to Thuringia, Germany become the Mass in B minor. Died July 28, 1750, in Leipzig, Germany Lutheran services, particularly in a univer - The Mass in B minor by now has taken on sity town like Leipzig, would certainly have the massive stature of a large, free-standing involved Latin as much as German, and work of art like an enormous sacred sculp - there was plenty of liturgical reason for cre - ture. Bach himself would be very surprised ating a Latin setting of these two parts of the to find his Mass heard in a concert hall, as Mass. In fact, Bach created several other an uninterrupted performance. After all, Latin Masses around the same time, two of any setting of the Ordinary of the Mass which were the subject of Juilliard415’s col - was intended for a context of hymns, laboration with the Yale Schola last season prayers, an extended sermon, and read - with Masaaki Suzuki. But clearly this par - ings from the Bible. It was only with the ticular setting was very special to Bach, publication of what was described as the not only as a display of his mastery of the “Hohe Messe” in the 1840s that (follow - great arts of counterpoint, but also as a sig - ing the fashion of grand mass perfor - nal that he could accommodate the more mances inaugurated with Beethoven’s modern tastes of the Dresden court. Missa solemnis ) Bach’s Mass in B minor began to be heard as a performance piece The breadth and gravity of the work are in itself. announced with the very opening of the first Kyrie, in a massive threefold invoca - The 1733 Missa tion. What follows is the working out of a In fact, there are several B-minor Masses, great fugue in two large-scale expositions, depending on when you look. The first part each with an instrumental introduction. Most of this work, the setting of the Kyrie and unusually, all the thematic and motivic mate - Gloria , was assembled in 1733, at a time rial for this fugue is introduced at the very when Bach was becoming deeply frus - beginning, during a 24-bar orchestral ritor - trated by his working conditions in Leipzig. nello. Once the fugue has worked itself out In 1730 he wrote a memorandum to the twice through all the choral entries, in town council, explaining the bare minimum Tovey’s words, “it reaches its last note number of musicians he required to exe - with an astronomical punctuality.” cute his duties. One of the few surviving bits of his correspondence from this time The second Kyrie is an equally dense but is a letter to his old friend Georg Erdmann , far more straightforward exercise in the complaining bitterly about his job at the stile antico traditions of strict counterpoint, Thomaskirche and asking about any possi - a style that Bach was more and more inter - ble job openings. ested in during the 1730s and 1740s. By con - trast, the invocation to the human figure of By 1733, when his oldest son Wilhelm Christ, Christe eleison, is set as an operatic Friedemann became organist at the duet. (It is tempting to read a certain Sophienkirche in Dresden, Bach took the amount of symbolism into his use of two voices as the depiction of the second The remaining clauses of the Gloria are set member of the Trinity.) in a variety of ways. The Laudamus te becomes an opportunity for exceptional The movements of the Gloria , like most of virtuosity on the part of both the violin the Mass, were probably all adapted from soloist (whose part rises to the highest earlier works. Bach’s reuse of cantata note Bach ever writes for the instrument, a materials increases during this period, as high A) and the soprano. Was this perhaps he became increasingly preoccupied with intended as a tribute for the celebrated consolidating his work and as a way of cre - soprano Faustina Bordoni, who was in res - ating a context for this music that would idence at Dresden with her husband, the be more long-lasting than the original can - opera composer Hasse? tata. A Latin Mass could be reused on var - ious occasions, but a cantata’s text is The Gratias is another stile antico fugue, highly specific to a particular Sunday, and and one of the few movements where an would rarely be revived. earlier version definitely survives. This is based on the opening of Cantata 29, Wir Only a few earlier models survive for the danken dir, Gott, which was written for the movements of Bach’s Mass in B minor, but election of the Leipzig town council in judging by various details of the autograph 1731, and probably reused several times (writing the wrong clef or key at the begin - for other city council elections. ning of a line, for example) it seems clear that Bach was generally adapting music At the heart of the Gloria comes another that already existed. The fact that we don’t movement that seems to be aimed at a have specific models for many of these specifically Dresden musical taste, the duet movements is not so surprising. We have Domine Deus. In Bach’s carefully prepared a great deal of Bach’s sacred music, but by set of parts presented to Augustus, the flute no means all. And we have very little of the solo is notated in a lombard rhythm, the large-scale secular works he wrote to cele - sighing short-long figure that was so charac - brate various name-days and birthdays of teristic of Hasse’s galant style. The muted Saxon nobility. These works in particular strings are also a marker of this “modern” would likely have involved festive D-major style. Within this delicate texture, dominated choruses in triple-time, and are believed to by a single recurring motif, the singers be the source of many of these celebratory declaim two texts at the same time, one movements in the Mass. about God the Father and one about God the Son, an elegant musical way of indicating A good example of this is the opening cho - they are two aspects of the same divinity. rus of the Gloria, which may have been taken from a secular cantata, or might per - The Qui tollis is another adaptation, this time haps have originated as an instrumental from Cantata 46 written in 1723, where the concerto (since Bach’s alterations in the original text was one familiar to us from manuscript are mostly in the vocal parts). Handel’s Messiah : “Behold and see, if The following Et in terra pax also seems to there be any sorrow like unto my sorrow.” be an adaptation: among the new features The transformation of this from D minor to are the radiant trumpet lines toward the B minor, and the reworking to fit the new end, which are the subject of much cor - text, required a good deal of labor from Bach, rection and reworking in the manuscript. with many corrections in the autograph. After the Qui sedes, set for alto and oboe Bach’s autograph score labels each section d’amore solo, we hear one of the most of the missa tota as a separate part: after unusual instrumental textures of the Mass. the 1733 Kyrie and Gloria (labeled Section In the Quoniam the idea of God alone 1) , there comes “2. Symbolum Nicenum ” being the “most high” is illustrated by an (Bach’s term for the Credo), “3. Sanctus ,” instrumental setting of subterranean instru - and finally “4. Osanna - Benedictus, Agnus ments . Corrections in the manuscript sug - Dei, et Dona nobis pacem .” gest that this was originally a work for two oboes and trumpet. Bach transforms this Even more than the Gloria, the Symbolum into a dark texture of two bassoons and Nicenum is arranged symmetrically, with the continuo, accompanying a spectacular horn Crucifixus at its center. The Symbolum opens obbligato perhaps intended for the great with one of the few movements that seem to Dresden player Johann Adam Schindler. have been written specifically for this project, Bach had heard Schindler play in the pre - and not adapted from earlier texts. (Like the miere of Hasse’s Cleofide two years before, Confiteor, the Credo uses the Latin chant for - in an aria with a memorable scoring for mula as its basis, so it would not have had obbligato theorbo and horn. another text.) This is a very pure example of stile antico, with the two violin parts entering The Quoniam leads directly into the final as the last two voices of the fugue. chorus, which like many of the Mass cho - ruses begins without an instrumental ritor - The more “modern” chorus of Patrem nello. This large-scale fugue (complete with omnipotentem follows, again without an an extended bass solo in its middle) moves opening instrumental introduction. Bach through some thorny modulations before had used this chorus in 1729 for Cantata finally returning to the home key of D major. 171, where the text is “Gott, wie dein Name, so ist auch dein Ruhm.” It may well have The Missa tota existed in earlier, lost versions as well. Sometime between August 1748 and October 1749 Bach expanded his 1733 missa In the duet Et in unum Dominum, Bach into a complete setting of the Mass ordi - finds a deft means of conveying some cru - nary. This has since caused a great deal of cial theology through a simple strategy . doctrinal discussion: was this missa tota an Christ, who is both God and Man, is repre - attempt to create a work that would encom - sented by a phrase that is imitated exactly pass both Lutheranism and Catholicism? except for one two-note figure, which is Was it another grand project for the Dresden first slurred, and then quite clearly articu - court? There was no immediate occasion lated: the same, but different. for its creation, and we have no indication it was ever performed as part of a service. This duet originally included the text descen - dit de cœlis (descended from heaven), and Instead, this completion seems to be one you can still hear the falling figuration for of several late projects where Bach was this text late in the duet. But as Bach began concerned with summing up the art of music to assemble the B-minor score, he decided in his last years: The Musical Offering, the to add a separate movement for these great Canonic Variations, the Art of Fugue . words, and created a strikingly timeless The score of the missa tota may well include movement where the violins inscribe a some of the very last music Bach ever wrote, repeated falling pattern: the divine coming postdating even The Art of Fugue. to be manifest in the world. This, some of the newest music in the Confiteor and Et expecto parallel the two Mass in B minor, is juxtaposed with the choruses which open the Symbolum : with heart of the Symbolum, the setting of the each, a chorus in stile antico on the tradi - Crucifixus. Here Bach quotes from one of tional psalm-tone is followed directly with his very earliest cantatas, written in a celebratory dance-movement. Weimar in 1714. This great lament uses the classic rhetorical device of the passus For the Sanctus, Bach reused a grand duriusculus, or the heavy descending chro - movement with six-part chorus that he had matic line, as a repeated ground, harmo - written for one of his first Leipzig Christmas nized differently in each repetition. celebrations in 1724. Then follows the last complex, of Osanna, Benedictus, Agnus Like many of the D-major movements in Dei, and Dona nobis pacem. The Osanna is the Mass, the Et resurrexit begins without another adaptation of a secular cantata, an instrumental ritornello, with the chorus again in praise of Augustus I. As with so rejoicing in the resurrection. Some schol - many movements in the Mass, Bach ars believe this is a reworking of a move - removes the original instrumental introduc - ment celebrating elector’s father, with the tion to begin the action with the striking original text being “Augustus.” If so, it is a choral declamation of “Osanna, Osanna!” classic example of the interconnectedness of secular and sacred styles. Whether the The Benedictus that follows is perhaps based king of Heaven or the king of Poland, mon - on an earlier model, although one Bach archs can be celebrated in the same way. scholar points to faint traces in the manu - script which suggest Bach was sketching his After the serene bass aria for two oboes ideas directly into the autograph score. After d’amore rejoicing in the Holy Spirit, we a recapitulation of the Osanna, we come to come to one of the most remarkable move - one of the deepest movements of the Mass, ments in the Mass. The Confiteor, with its a reworking of an aria from a lost wedding complex fugue worked around the Latin cantata from 1725 that Bach had already recy - cantus firmus chant, was actually com - cled in his Ascension Oratorio , BWV 11. In posed directly into the the autograph, and this last complex the two arias of the not sketched out in advance. It is one of the Benedictus and the Agnus are both in minor most contrapuntally elaborate movements keys, both interior meditations on the individ - in the entire work, and seems to have cost ual set against the collective acclaim of the Bach a good deal of labor: one bar in partic - D- major choruses around them. ular was totally crossed out and has had to be reconstructed. Its ending, with the extra - After the charged G minor of the Agnus ordinary transition from the firm statement dei, the Mass ends not with a grand cele - of belief in one church to a visionary com - bration, but with a recapitulation of the mitment to life after death, is one of the sober music of the Gratias in the Gloria. In most uncanny moments in the entire work. its first version we heard it with the words “we give thanks to your great glory”; here, The Symbolum ends with a setting of the Et at the end of this enormous work, it is set expecto, another festive D-major chorus, to the text “grant us peace.” this one a movement that Bach had used at least three other times, including in 1742 Robert Mealy is the director of Juilliard for Cantata 120. The two final choruses of Historical Performance. Texts & Translations I. MISSA Kyrie CHORUS Kyrie eleison. Lord, have mercy.

Christe SOPRANO, MEZZO-SOPRANO Christe eleison. Christ, have mercy.

Kyrie CHORUS Kyrie eleison. Lord, have mercy.

Gloria CHORUS Gloria in excelsis Deo, Glory to God in the highest, Et in terra pax hominibus bonae voluntatis. And peace on earth to men of good will.

Laudamus te MEZZO-SOPRANO Laudamus te, benedicimus te, We praise You, we bless You, Adoramus te, glorificamus te. We worship You, we glorify You.

Gratias CHORUS Gratias agimus tibi propter magnam We give You thanks for Your great glory. gloriam tuam.

Domine Deus SOPRANO, TENOR Domine Deus, Rex coelestis, Lord God, King of Heaven, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, Jesu Christe Lord only-begotten Son, Jesus Christ the altissime. most high. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father.

Qui tollis CHORUS Qui tollis peccata mundi, You who take away the sin of the world, Miserere nobis. Have mercy on us. Qui tollis peccata mundi, You who take away the sin of the world, Suscipe deprecationem nostram. Hear our prayer.

Qui sedes ALTO Qui sedes ad dexteram Patris, You who sit at the right hand of the Father, miserere nobis. have mercy on us.

Quoniam BASS Quoniam tu solus sanctus, tu solus Dominus, For You alone are holy, You alone are Lord, Tu solus altissimus, Jesu Christe. You alone are the Most High, Jesus Christ.

Cum Sancto CHORUS Cum Sancto Spiritu in gloria Dei Patris, With the Holy Spirit in the glory of God the Father, Amen. Amen.

II. CREDO (SYMBOLUM NICENUM) Credo CHORUS Credo in unum Deum. I believe in one God.

Patrem omnipotentem CHORUS Patrem omnipotentem, The Father, the Almighty, factorem coeli et terrae, Maker of heaven and earth, visibilium omnium et invisibilium. Of all that is, seen and unseen.

Et in unum SOPRANO, ALTO Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, the only Son of God, Filium Dei unigenitum, et ex patre natum ante Eternally begotten of the Father, omnia saecula, Deum de Deo, lumen de God from God, light from light, lumine, Deum verum de Deo vero. Genitum non True God from true God, begotten, not factum, made, consubstantialem Patri; per quem omnia Of one being with the Father; through facta Him all sunt. Qui propter nos homines et propter Things were made. For us and for our nostram salvation He salutem descendit de coelis. Came down from heaven.

Et incarnates CHORUS Et incarnatus est de Spiritu Sancto, By the power of the Holy Spirit He became incarnate ex Maria virgine; et homo factus est. from the Virgin Mary, and was made man. Crucifixus CHORUS Crucifixus etiam pro nobis sub Pontio For our sake He was crucified under Pilato, Pontius Pilate; passus et sepultus est. He suffered death and was buried.

Et resurrexit CHORUS Et resurrexit tertia die secundum On the third day He rose again in Scripturas, accordance with the Scriptures; et ascendit in coelum, sedet ad dexteram He ascended into heaven, and is seated Patris, at the right hand of the Father; et iterum venturus est cum gloria, He will come again in glory to judge the judicare vivos living and the dead, and et mortuos, cujus regni non erit finis. His kingdom will have no end.

Et in Spiritum BASS Et in Spiritum Sanctum Dominum, And I believe in the Holy Spirit, the Lord, the giver et vivificantem, qui ex Patre Filioque of Life, who proceeds from the Father procedit, and the Son; qui cum Patre et Filio simul adoratur, with the Father and the Son He is worshipped and et conglorificatur, qui locutus est per glorified. He has spoken through the Prophetas. prophets. Et unam sanctam catholicam et apostolicam I believe in one holy catholic and apostolic Eccelsiam. Church.

Confiteor CHORUS Confiteor unum baptisma in remissionem I acknowledge one baptism for the peccatorum, et expecto resurrectionem forgiveness of sins; I look for the mortuorum, resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

III. SANCTUS Sanctus CHORUS Sanctus, Sanctus, Sanctus, Dominus Holy, holy, holy, Lord God of Hosts. Deus Sabaoth. Pleni sunt coeli et terra gloria ejus. Heaven and earth are filled with his glory.

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, - , , Royal Academy of Music in London in 2014 Current plans include performances and and this year received an honorary profes - recordings with the Wrocław Baroque sorship with the Musik hochschule Lübeck Ensemble, La Risonanza conducted by Mr. and became honorary artistic advisor of the Bonizzoni, and the early music ensemble Guangzhou Opera House in China. Vox Luminis.

In recent years he has been active as guest conductor with orchestras including the Berlin Philharmonic, New York Philharmonic, Mu - nich Philharmonic, Chicago Symphony, San Francisco Symphony, Royal Concertge - bouw, Symphonieorchester des Bayerischen Dominik Belavy Rundfunks, DSO Berlin, Tonhalle Orchestra Zurich, Orchestre Philharmonique de Radio Baritone Dominik Belavy is a bachelor of France Paris, Vienna Symphony, Boston music student at Juilliard where he studies Symphony, and Cleveland Orchestra. with Sanford Sylvan. At the school he has been featured as Thomas Bouché in Kurt Mr. Koopman has edited the complete Weill’s Down in the Valley and L’horloge Handel Organ Concertos for Breitkopf and Comtoise and L’arbre in Ravel’s L’enfant Härtel and recently published new editions et les sortilèges. He also covered Presto of Handel’s Messiah and Buxtehude‘s Das in Poulenc’s Les mamelles de Tirésias . Mr. Jüngste Gericht for Carus Verlag. He is a Belavy has been featured in recital in professor at the University of Leiden, an New York, London, Dublin, and Baden bei honorary member of the Royal Academy of Wien, and has toured to Leipzig and Music in London, and artistic director of the Boston with Juilliard415. He made his Festival Itinéraire Baroque in France. Alice Tully Hall debut as part of the Wednesdays at One series. As a partici - pant at the Franz Schubert Institut, he par ticipated in master classes with Elly Ameling, Helmut Deutsch, and Julius Drake, among others, and while a Tanglewood fel - K A N

Z low he sang under the baton of John E Z R

Harbison and appeared in Alan Smith’s The .

R Aldona Bartnik Other Side of the Door . Soprano Aldona Bartnik is a specialist in the Renaissance, Baroque, and Classical rep ertoire both as a soloist and ensemble singer. She performs with the Collegium Vocale Gent, Vox Luminis, De Nederlandse Bachvereniging, Capella Cracoviensis, Gabrieli Consort and Players, and Netherlands Radio Joshua Blue Choir; and has worked with conductors in - cluding Giovanni Antonini, Konrad Junghanel, British-American tenor Joshua Blue is from Philippe Herreweghe, Fabio Bonizzoni, Jos Aurora, Illinois, and is a master of music van Veldhoven, Paul McCreesh, Benjamin student at Juilliard where he studies with Bayl, and Andrew Parrott. With the Wrocław Robert C. White Jr. Mr. Blue has sung Gabriel Baroque Ensemble she has recorded four von Eisenstein in Strauss’ Die Fledermaus , albums devoted to Polish . the title role in Britten’s Albert Herring, Sam Kaplan in Weill’s Street Scene, Male Chorus in Britten’s The Rape of Lucretia, Don Ottavio in Mozart’s Don Giovanni , and Ruggero in Puccini’s La rondine in perfor mances with Oberlin Opera Theater, Franco-American Vocal Academy in Austria, CityMusic Cleve - Kara Dugan land, and Oberlin in Italy. He has been a Gerdine Young Artist with the Opera Theatre Mezzo-soprano Kara Dugan recently recei - of Saint Louis and will return to that company ved her master of music degree at Juilliard, in 2017 as a Gaddes Festival Artist to sing in where she also earned her bachelor of the American premiere of Philip Glass’ The music degree. Last season she performed Trial. He earned his bachelor’s degree from with the New World Symphony premiering the Oberlin Conservatory of Music. Four Preludes on Playthings of the Wind composed and conducted by Michael Tilson Thomas. Performance highlights include Papagena in Mozart’s Die Zauberflöte and Cherubino in Mozart’s Le nozze di Figaro at Juilliard and two international tours with Aleksan Juilliard415. Ms. Dugan is a proud recipient Chobanov of a Novick Career Advancement Grant.

Countertenor Aleksan Chobanov is from Plovdiv, Bulgaria, and has performed and recorded with some of Bulgaria’s leading orchestras, including the Orchestra of the Bulgarian National Radio and the Orchestra of the Plovdiv Opera. He graduated last sum - Berend Eijkhout mer from the early music vocal department at the Royal Conservatoire The Hague where Dutch bass-baritone Berend Eijkhout studied he studied with Rita Dams, Michael Chance, at the Royal Conservatoire The Hague with Jill Feldman, Peter Kooij, Pascal Bertin, Robin Frans Fiselier and Gerda van Zelm. He has Blaze, and Dorotheé Mields. Mr. Chobanov also stud ied with Peter Kooij, Nadine is continuing his studies at the Royal Con - Secunde, and Michael Chance, and has taken servatoire’s master of early music program. master classes with Elly Ameling, Marcel He is involved in both sacred and operatic Reijans, and Johannette Zomer. Mr. Eijkhout music projects in the Netherlands and around has sung in operas including Il barbiere di Europe and has worked under the guidance Seville (Figaro), Le nozze di Figaro (Count), Die of Michael Chance, Kenneth Montgomery, Zauberflöte (Papageno), and Alceste (Apollon Patrick Ayrton, Peter van Heyghen, Hidemi and Héraut), and created the roles of Jup in Suzuki, Charles Toet, Peter Coin, and Frans Chiel Meijering’s Who’s Afraid of Orfeo? and Brüggen, among others. Jean in Jan Peter de Graaff’s All Rise! Oratorio performances include the bass and baritone solos in Bach’s St. John Passion , Christmas Oratorio , and Magnificat ; Handel’s Messiah ; Haydn’s Creation ; Rossini’s Petite Messe Sollennelle ; and in Requiems by Mozart, Brahms, Fauré, and Duruflé. He has worked with noted early-music specialists including with Juilliard’s Ellen and James S. Marcus Marcus Creed, Peter van Heyghen, Fabio Institute for Vocal Arts and the integration Bonizzoni, and Teunis van der Zwart. of modern-instrument majors outside of the Historical Performance program have introduced new repertoires and increased awareness of historical performance prac - tice at Juilliard.

Juilliard415 Tigran Matinyan Since its founding in 2009, Juilliard415, the school’s principal period-instrument en - Tenor Tigran Matinyan was born in Moscow semble, has made significant contributions and is a graduate of the Tchaikovsky to musical life in New York and beyond, Conservatory Academic Music College in bringing major figures in the field of early Moscow where he studied with Aleksey music to lead performances of both rare Martynov. Following graduation he contin - and canonical works of the 17th and 18th ued his studies at the Gnessin Russian centuries. Among the distinguished guests Academy of Music. He worked as a soloist who have led Juilliard415 are Harry Bicket, with the Moscow State Philharmonic and William Christie, the late Christopher was a winner of the Riccardo Zandonai Hogwood, Monica Huggett, , Competition in Italy. He is currently work - Nicholas McGegan, Jordi Savall, Lars Ulrik ing and living in the Netherlands where he Mortensen, and Masaaki Suzuki. Juilliard415 is in the master of early music program at tours extensively in the U.S. and abroad, the Royal Con servatoire The Hague and with notable appearances at the Boston studying with Michael Chance, Peter Kooij, Early Music Festival, Leipzig Bachfest, and Pascal Bertin, and Gerda van Zelm. Utrecht Early Music Festival (where Juilliard was the first-ever conservatory in residence). Juilliard Historical Performance With its frequent musical collaborator, the Juilliard’s full-scholarship Historical Perfor - Yale Institute of Sacred Music, the ensem - mance program was established and ble has performed throughout Italy, Japan, endowed in 2009 by the generous support South east Asia, and the U.K. Recent mile - of Bruce and Suzie Kovner, and is open to stones include fully staged productions of candidates for the master of music, gradu - Cavalli’s La Calisto and Handel’s Radamisto , ate diploma, and doctor of musical arts a tour of Charpentier’s Actéon , and con - degrees, and offers comprehensive study certs in New York and Miami of incidental of music from the 17th and 18th centuries. music to Shakespeare plays in collabora - A high-profile concert season of opera, tion with the Juilliard Drama Division. It has orchestral, and chamber music is augmented also offered the rare opportunity to hear by a performance-oriented curriculum that both Bach Passions in successive months. fosters an informed, vital understanding of the many issues unique to period-instrument This season’s highlights include tours to performances with the level of technical Holland for Bach’s Mass in B minor conducted excellence and musical integrity for which by Mr. Koopman (a collaboration with the Juilliard is renowned. The faculty comprises Royal Conservatoire The Hague), India with many of the leading performers and schol - the Yale Schola Cantorum under the direction ars in the field. Frequent collaborations of David Hill, and New Zealand with Bach spe cialist Masaaki Suzuki. This season also A farewell concert was given by Mr. sees two concerts in collaboration with Yale Brüggen in 2014, the year of his death, Schola Cantorum, a celebration of the with his Orchestra of the Eighteenth Italian concerto led by Rachel Podger on Century and students of the Royal Con - the Music Before 1800 series, symphonies servatoire. Since then, there has been a of Haydn with Ms. Huggett, fortepianist yearly concert of late-18th- and early-19th- Kristian Bezuidenhout leading symphonies century music performed by musicians and concertos by Mozart, music of Bach from both organizations. led by Mr. Suzuki, and Handel’s in concert at Alice Tully Hall conducted by The Royal Conservatoire The Hague draws Laurence Cummings in his Juilliard debut its students from as many as 35 countries and in fully staged performances at the each year and has played an important school’s Rosemary and Meredith Willson role in the revival of not only historically Theater led by Jeffrey Grossman. informed instrumental performance prac - tice, but vocal as well. The school’s voice Royal Conservatoire The Hague department introduced the concept that With 150 students, the early music depart - there are two different techniques of ment of the Royal Conservatoire The singing: a bigger classical voice and a Hague is one of the largest of its kind in smaller early music voice. Today this the world. Since its founding in the late notion has changed, and there are many 1960s by Frans Brüggen, it has been a singers who possess impressive vocal leading institution for historical perfor - flexibility that makes it possible for them to mance, where pioneering initiatives and succeed in several genres and styles. Early the highest level of musicianship merged music singing is still an important special - into a style known as the Dutch School. ization in the Royal Conservatoire’s voice Under Mr. Brüggen’s guidance, artist- department; the curriculum for early music scholars such as Bruce Haynes have singers includes historical keyboard skills, greatly enhanced the quality of perfor - ornamentation and diminution, and early mance on 18th-century wind instruments. music studies. Singers can take courses in After engaging a faculty in the early 1970s, Franco-Flemish polyphony or participate in including the brothers Wieland, Sigiswald, special projects. This season the Royal and Barthold Kuijken, the school was Conservatoire performs Monteverdi’s Poppea given a boost by projects under the led by and singing teacher supervision of Nikolaus Harnoncourt that Michael Chance; presents a project about focused on Monteverdi and Bach. Sub - Charpentier’s Lecons de Ténèbres ; focuses sequent generations of performers found on art song before 1800 with Jill Feldman their own ways of interpret ing a wide and fortepiano player Bart van Oort; and per - range of repertoire, inspired by visiting forms Orazio Vecchi’s Missa in Resurrectione conductors including William Christie, Domini . Singing lessons are given by spe - Philippe Herreweghe, and Ton Koopman, cialists who are active soloists in the early who became a faculty member in 1985. music field. Juilliard415 and Royal Conservatoire The Hague Ton Koopman , Conductor

ORCHESTRA (Juilliard and Royal Conservatoire Artists) Violin I Viola Flute Horn Noyuri Hazama RC Stephen Goist J Florencia Gomez RC Kaci Cummings J Augusta McKay Lodge J Ivan Saez Schwartz RC Mili Chang J - Ula Kinderyté J Jeffrey Girton J Organ Anna Jane Lester RC Robert Warner J Oboe Gerard de Wit RC Isabelle Seula Lee J Fiona Last J Eunji Lee J Elise van der Wel RC Cello Aga Mazur RC Oliver Weston J Karlijn Oost RC Timpani Violin II Matt Zucker J Jennifer Heins RC Karen Dekker J Anne-Linde Visser RC Bassoon Xiangji Zeng RC Neil Chen J Alana Youssefian J Bass Luke Toppin RC J Juilliard artist Francesco Nitti Peter Ferretti J RC Royal Conservatoire Catania RC Zhou Feng RC Trumpet artist Sarah Jane Kenner J Danny Teong Shi Feng RC Annie Gard J Brandon Bergeron J Wen Rong Lau J

CHORUS (Royal Conservatoire Artists) JanJoost van Elburg , Chorus Master Soprano Viktoria Nikolova Tenor Hidde Kleikamp Heleen Bongenaar Dalma Süle Chris Postuma Hessel Vredeveldt Marta Loncar Bethany Shepherd Georgi Sztojanov Andrew Hopper Mariana Batista Picado Pablo Gregorian Einar Gudmundsson Pauline Doolaard Alto André do Nascimento Francisca Prestes Tim Braithwaite Cruz Gomes Branco Gouveia George Carling Carlos da Fonseca Laura Rodrigues Lopes Monteiro Mezzo-soprano Maite Cathérine de Wit Cally Youdell Eimi Witmer Bass Vera Fiselier Vita van der Dussen Yuichi Sakai Ewa Sawczuk Jacob Gramit

Kenneth Merrill , Juilliard Music Coach William Hobbs , Juilliard Language Coach Juilliard Historical Performance Administration Robert Mealy , Director Benjamin D. Sosland , Administrative Director Rosemary Metcalf , Assistant Administrative Director Annelise Wiering , Coordinator for Scheduling and Educational Support

Faculty

Violin/Viola Flute Plucked instruments Continuo Skills Elizabeth Blumenstock Sandra Miller Daniel Swenberg Steven Laitz Robert Mealy Charles Weaver Avi Stein Cynthia Roberts Oboe Gonzalo Ruiz Harpsichord Core Studies Cello Richard Egarr Robert Mealy Phoebe Carrai Bassoon Béatrice Martin David Schulenberg Dominic Teresi Peter Sykes Viola da gamba Artists in Residence Sarah Cunningham Horn Recorder William Christie R.J. Kelley Nina Stern Richard Egarr Double bass Monica Huggett Robert Nairn Trumpet Rachel Podger John Thiessen Jordi Savall Ellen and James S. Marcus Institute for Vocal Arts One of America’s most prestigious pro - of new operas as well as works from the grams for educating singers, The Juilliard standard repertoire. School’s Ellen and James S. Marcus Institute for Vocal Arts offers young artists pro - Juilliard graduates may be heard in opera grams tailored to their talents and needs. houses and concert halls throughout the From bachelor and master of music degrees world; diverse alumni artists include well- to an advanced artist diploma in opera known performers such as Simon Estes, studies, Juilliard provides frequent perfor - Renée Fleming, Leontyne Price, Risë mance opportunities featuring singers in Stevens, Tatiana Troyanos, and Shirley its own recital halls, on Lincoln Center’s Verrett. Recent alumni include Paul Appleby, stages, and around New York City. Juilliard Sasha Cooke, Isabel Leonard, Erin Morley, Opera has presented numerous premieres Susanna Phillips, and Julia Bullock.

Administration Brian Zeger , Artistic Director Monica Thakkar , Director, Performance Activities Kirstin Ek , Director, Curriculum and Schedules Emily Wells , Associate Director David Strobbe , Production Administrator Andrew Gaines , Projects Administrator, Performance Activities Sarah Cohn , Schedule and Program Coordinator Alison Snow , Vocal Arts Administrative Apprentice

Voice Faculty John Giampietro Eve Shapiro, Dramatic Advisor Edith Bers, Chair William Hobbs for Artist Diploma in Opera Cynthia Hoffmann Bénédicte Jourdois Studies Marlena K. Malas Natalia Katyukova Arlene Shrut Sanford Sylvan Kathryn LaBouff Jeanne Slater Robert White Gina Levinson Cameron Stowe Robert C. White Jr. Denise Massé Stephen Wadsworth, James S. Edith Wiens Kenneth Merrill Marcus Faculty Fellow, David Moody, Chorus Master Director of Artist Diploma in Ellen and James S. Marcus Glenn Morton Opera Studies Institute for Vocal Arts Faculty Nils Neubert Gary Thor Wedow Marianne Barrett Adam Nielsen Reed Woodhouse, Music Edward Berkeley Donald Palumbo Advisor for Master of Music Mary Birnbaum, Associate David Paul, Dramatic Advisor for and Graduate Diploma Director of Artist Diploma in Master of Music and Graduate Brian Zeger, Artistic Director Opera Studies Diploma Steven Blier J.J. Penna Corradina Caporello Diane Richardson, Principal Daniel Cataneo Coach and Music Advisor for Robert Cowart Artist Diploma in Opera Cori Ellison Studies Mary Lou Falcone Lauren Schiff

2016-17 Ellen and James S. Marcus Institute for Vocal Arts Fellows Jonathan Gmeinder, Piano William Kelley, Piano Mo Zhou, Opera Directing